Fashion's New Order

Fashion's New Order

FOR much of the 20th century, the seating chart of a runway show gave a fairly accurate reading of power in the fashion industry. The press on one side, retailers on the other; editors and buyers prioritized neatly from front row to last.

But so much has changed in the new millennium — the great online migration, fashion’s ascension as a leading force of popular culture, a thriving new generation of young designers and the explosive growth of social media — that power can no longer be measured solely by where you sit.


In fact, the players have changed, sometimes in subtle ways. There are giants whose power is perennial, as when Anna Wintour, already at the top of the pyramid, sealed her legacy by creating an annual night out for shopping, all the while rebranding herself as a fashion philanthropist, not the devil who wears Prada.

There are others who have unexpectedly become forces. It is now possible that the junior accessories editor sitting in the third row has a bigger voice than the editor in chief; or that the teenage blogger outweighs the middle-aged veteran who spent decades clawing her way up, just to get to the middle. So much competing noise, from people and devices, has skewed the perception of who really takes precedence.

To have power in fashion today means to have real impact, the kind that demonstrably moves an industry, as opposed to merely moving merchandise. It was this criterion that The New York Times considered foremost when setting out to define a new power establishment: those pullers of strings who, reacting to seismic shifts in technology, communication and the economics of their industry, have reshaped the way the rest of the world sees, senses and consumes fashion.

More symbolic than scientific, the following list includes designers, retailers, editors and stylists, and people whose work is largely behind the scenes. There are some whose power was established long ago, and others whose ascent is recent, but each was selected because of his or her impact on fashion in the 21st century, rather than for a lifetime of achievement. Many critical darlings whose work is broadly celebrated, as well as beloved designers whose businesses are worth billions, do not appear here for a simple reason: power is not a popularity contest.

THE DESIGNERS

Oh what a difference a little rivalry makes. As the spring 2013 runway season begins today, there is a sense that everyone will be trying just a little harder, that the fashion flock came home from their vacations a little earlier, especially in Europe. The game is on, and the star players are taking their places.

In New York, there are young designers on the rise, each vying to become the next big thing. In Paris, the first ready-to-wear shows of Raf Simons at Dior and Hedi Slimane at Yves Saint Laurent will take place, showcasing two of the most important designers in fashion today. Which will be the definitive look of the season? The lush coloring of Mr. Simons at Dior? Or the as-yet-undefined vision of Mr. Slimane for Saint Laurent.

But the truth is, there is already a talented field of designers at work, most of whom have only recently risen to the level of establishment. There are, of course, perennials (Ralph, Giorgio, Karl, Donatella — if they don’t need a last name, they’re here to stay), but you have the feeling that a leadership change had been in order for some time.

Click through the thumbnails above to read more about the designers; models; go-betweens; eyes and ears; merchants; business people; wildcards and image-makers who are ruling the game today.