To those not involved in high fashion, the new Disney+ blockbuster series, In Vogue: The 90s, offers an enjoyable dollop of behind-the-scenes glamour and revelations.
To those not involved in high fashion, the new Disney+ blockbuster series, In Vogue: The 90s, offers an enjoyable dollop of behind-the-scenes glamour and a lot of fun revelations: Tom Ford camping it up outrageously for the cameras; Kim Kardashian declaring she was Madonna's dog walker in the Nineties; and Kate Moss claiming she didn't realise the Stella she hung out with was related to Paul McCartney – until she saw her driving around Notting Hill in a Mercedes.
I came through those doors to British Vogue in 1992, just when the era of the supermodels – who are made much of in the documentary series – was waning. Anna Wintour set about making American Vogue more to her taste, with smiling supermodels striding out in Chanel mini suits Change was afoot in the name of grunge. And it was this change that enabled the premise of the documentary series to take hold, essentially that the Nineties was a period when fashion and culture dramatically moved on.
It reminded me of my classmates in the Seventies, who looked just like that on the school bus. But its power was that it was rooted in something broader than fashion – the disaffected youth, their music and dark energy. For reasons I don't remember we had asked freelance stylist Cathy Kasterine to do the shoot. In the documentary, she refers to 'somebody from Vogue' calling her up. That was my very chic deputy Anna Harvey, who was also style adviser to Diana, Princess of Wales.
Advertisers threatened to withdraw their patronage – but didn't – and some newspapers filled columns with invective against the way Kate looked, hanging on her slender frame accusations of propagating eating disorders and paedophilia . Putting Madonna on the cover of US Vogue in 1989 is hailed as a groundbreaking event, but Liz Tilberis had already featured the singer on the cover of British Vogue in February that year.
However, to create the narrative of Anna Wintour desperately seeking glamour, a rejection of grunge is shown as a reason she started to embrace actresses as cover stars. By 1995, Britain – not America – was the heartland of Nineties culture. Not only was the industry spotlight on the fashion designers coming out of London's Central St Martins, including Alexander McQueen, John Galliano, Hussein Chalayan and Stella McCartney, but we had the new Young British Artists movement and Britpop stars Oasis, Blur and Pulp.
My chief quibble with the Disney+ series is the lack of awareness shown of how fashion became such a significant part of the cultural conversation in the Nineties Her desire to use Vogue as a platform for causes she believes in, such as the launch of her Seventh On Sale fashion event in 1990, which raised money to combat Aids, was inspirational. And currently she is relentlessly banging the gong for the Democrats in the forthcoming US election.
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