There’s no mindset more blasé, no phrase more irksome or dismissive than “things aren’t how they used to be”—so you’ll have to forgive me for employing it right now! That blast of vengeful nostalgia seems the only way to sum up the passion, fury, and frenetic energy ofcontracted lensman during the 2000s, with his images making up the vast majority of the magazine’s front of book.
Over a Zoom call from his Cotswolds home with his wife and collaborator of 35 years Vanessa, Fairer reminisced about his halcyon days, discussed his new gig at Fendi, and wondered about the effect his photos might have in our new phygital era. Excerpts from our conversation are below, edited for clarity and length.
When I took these photos, it was a really hectic period of my life. I’d run around, shoot all the shows during a six-week period. I was sending the film back to England, so I didn’t actually get to see a lot of what I shot. Vanessa would go through edits, get the contact sheets sorted out and the transparencies.
A favorite photo is of Erin O’Connor in a huge dress at a Galliano Dior show. I mean, I’ll give you an idea of what it feels like: You’re in this huge space, surrounded by 30 enormous dresses, and you’re struggling to find a corner that you can squeeze back into in order to be able to fill your viewfinder with one, if you’re lucky, maybe two of these dresses.
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