The art of dressing on purpose to appear in the photo has a prize. For those who pose, but above all for those who portray: the notoriety won by the vain is directly proportional to the money that those who immortalize their stylistic prowess pocket.
From 100 euros the snapshot published in a printed medium (between 60 and 75 if it is digital), doing business with fashion has never been so easy. It is enough to bet on the door of the parade presentation shift, point and shoot. Even with the phone. Street style lifestyle photographer Hong Kong, they call it, because it thrives on the heat of what is carried on the street. The hen of the golden eggs of the bloggers with camera.
At the end of the penultimate season of catwalks, last March, the US portal Fashionista uncovered – via anonymous source – the figures of such lucrative photographic modality: from 10,000 to 25,000 euros to cover the circuit of fashion weeks and up to 1,000 for a single image published full-page in a prestigious magazine.
The numbers, of course, vary depending on the recognition fame of the authors, but suffice it to say that an editorial group of the scope of Condé Nast ( Vogue, Vanity Fair, Glamor, among their headers), can get to pay for the work of all one month around 5,000 euros, which does not include travel, accommodation and subsistence. It is the price of the supposed social reality of fashion.
Natural alternative to the imposture of the editorials of the magazines, urban style photography has had its place in publications of all kinds and conditions since the mid-seventies, with pioneers like the Americans Bill Cunningham, still active at 85 years for the New York Times , and James Shabazz; the Japanese Rei Shito, the street goal of the legendary magazine Fruits , and even the Spanish Miguel Trillo.
Until the advent of democracy 2.0 and its promise of instantaneousness revealed that anyone, armed with a digital camera, could emulate them. Since 2005, a turning point marked by the launch of The Sartorialist , the online photodiarioof the American Scott Schuman, to distinguish to the paparazi of turn of the upstart with camera is already almost impossible.