Scott [The Sartorialist] Schuman’s aesthetic began, at least in part, as an outsider’s fantasy of intimacy with the world of fashion. Especially in the early pictures—the smaller, less luminous ones he took with his old camera—it’s as if he’s trying to impose himself on that world symbolically by shooting its leading lights in the same casual way he shot ordinary people. Like he’s trying to blur the line separating the insiders from the out. It was the perfect approach: Nobodies logging on from their own private Indianas got the illusion of access to the fashion-show tents or an imaginary trip to imaginary Paris. Somebodies got a magic mirror that both subtly affirmed their fairest-of-them-all status and broadcast it to the world.