The September Issue (2009) - full transcript

I thinkwhat I often see is that people
are frightened of fashion,

and that...

...because it scares them
or it makes them feel insecure,

they put it down.

On the whole,
people that say demeaning things...

...about our world,

I think that's usually
because they feel in some ways...

...excluded or, you know,
not part of the cool group.

So as a result, they just mock it.

Just because you like to put on
a beautiful Carolina Herrera dress...

...or a, I don't know,



pair of J Brand blue jeans that,
you know,

instead of something basic
from K-Mart,

it doesn't mean
that you're a dumb person.

There is something about fashion
that can make people very nervous.

Sophie, hi.

This email here from Tom Ford,
can you send it on to Jay?

Okay, thanks.

Anna Wintour's office.

Kate, there's a bit of a crisis.

Anna saw the pictures,

and she doesn't
want Chanel or Hilary.

Okay. Bye.

So I think we're done
with Hilary and Chanel.

I wonder if Anna
would like this one.



It's black.

That's true.

I'd get fired for that.

These are the approved ones
that Mark and I showed Anna.

But also Anna
did not like the Landing page,

and we have redesigned it,

and that's what
we're showing Anna tomorrow.

Okay.

It is always going
to be Anna's point of view.

Vogue is Anna's magazine.

That's who signs it off.

We know that.

You belong to it.
You belong to this church.

And is it fair to say that Anna is
the high priestess of all of us?

I would say pope.

L'Oreal's meeting with Anna...

...to talk about having the designers
design an infallible dress.

That's perfect.

She sees her role as the director
and producer of this fashion world.

Can you think of an aspect
of the fashion industry...

...that she isn't somehow involved in?

No.

We have to see clothes.

First of all,
it's been a very bleak week so far.

It's been Bleak Street
over here in America.

You know what?
It's a famine of beauty.

Right.
We're gonna have some beauty.

It's a famine of beauty, honey.

My eyes are starving for beauty.

More light.

You don't have to go too fast,

but good energy,
good confidence.

Julie, they're wondering
is Anna here yet?

There is she, there.

Ready to start. Here we go.
We're gonna go.

I'm with the internationally renowned
editor-in-chief...

...of American Vogue,
Anna Wintour.

Anna Wintour's the editor-in-chief
of Vogue magazine,

a bible for the fashion world.

The single most important figure...

...in the $300 billion
global fashion industry.

She is watched more closely
than the movie stars or the runway.

Well, this week, it was pretty cold,
that's all I can say.

Anna.

Anna, look.

It's gorgeous.

Is there a way to wear fur
this winter?

There's always a way to wear fur.

Personally,
I have it on my back.

What is your role at Day Finis?
Will you explain?

What is my role
at the Day Finis?

To help Anna Wintour decide
what goes in the magazine...

...and to help the editors of Vogue
to have a dialogue about fashion.

Hi, Stefano.

Anna, how are you?
- I'm well.

Good to see you.
- How are things?

Uh, well.
Shall I tell you the truth?

Yeah.

You're stressed?

Hello.

Good to see you.

Good to see you.

Stefano, can we start?
- Yes. Okay.

I'll show them
three by three.

So this is look number one.

Okay, you just walk around easily.

Voila. So this season,
basically what I decide to work on...

...is to go back to
the essence of the cut.

Everything is hand-stitched,
all around.

Wow.

I don't see any real evening
on that rack.

You're not doing it?

No, I am.
- But?

But they're all--
- In pieces?

Yes.

Do we have sketches?
- I have one cocktail dress.

But this is the workmanship,
which is this one.

No. Did you see that, no?

No, that's pretty.

So, you're not really feeling
for color, Stefano.

No.

No. You know,
it's my mood.

I mean, in winter,
I never feel so much for color.

It's more
a summer thing for me,

frankly speaking, but...

It's a bit neutral. New blacks.

I don't know.

There's blue navy.

There is an emerald green.

This is colorful.

Okay, I'm gonna need you...

...when I'm convincing Anna
that that's not black.

We have green, navy.

Good morning.

How are you?

You look beautiful.

Are you wearing Chanel?

Yes. Trying to look
like your customer.

You are our customer.

So we'll follow you.

Thank you for continuing
these breakfasts.

I speak for the group,
they're very helpful,

and continue to allow us to get to know
each other better and better,

and we thank you for your time.

So I'm going to ask Sally
to start talking about our main points.

The key item for us,
it seems to be, is the jacket.

We're going to be putting
a huge, huge push...

...onto a wardrobe of jackets
for the fall issues.

Nobody was wearing fur...

...until Anna put it back
on the cover of Vogue...

...back in the early nineties.

And she ignited
the entire industry.

If we get behind something,
it sells.

For once, Prada was
in great debate this season.

Anna had a lot of concerns
over the fabric...

...and spoke with Mrs. Prada
on your behalf many times.

We thought that the pieces
were just so heavy...

...that you couldn't wear it.

So, Virginia, what was it
that they're going to reinterpret?

'Cause we really pushed.

They did tell me that they
are doing a version of a fabric...

...that's silk and mohair as opposed
to the heavy wool and mohair.

It's a degrade fabric.

Fantastic. Thank you.

Good.

You've made our week,
our three weeks.

Let me touch on something
that may be out of your purview,

but maybe you can also help us.

Deliveries of merchandise.

What do you want me
to do about that?

Rent a truck?

I tell you
what I'd like you to do.

You are so influential
with the designers.

Not that.

They have to recognize...

...that the worldwide demand
for their product...

...is expanding at a rate
that even they don't understand,

and they're not keeping up
with the production...

...so that the demand
is outstripping supply.

We're waiting longer and longer
and longer for deliveries.

They're coming at the back end
of the delivery schedule...

...instead of the front end.

And, you know, fashion is fun,
and we all love it,

and that's what drives it, but...

You want it now.
- without the goods--...

...and the ads in your magazines
are fabulous,

and I know you'll look like
a telephone book this year, but--

You've gotta help us with this.

So, you have
a couple of choices.

You can start
sewing yourselves.

No, I think you said something
very interesting, Burt,

which is editing.

And I think some of the designers
do have a problem with that,

and we are working on that,
and we will certainly...

We're right there with you.
Less is more.

I mean, I can't shoot everything
for the rest of my life...

...with Steven Meisel
in Alder Mansion,

which is an ugly fucking house.

I was discussing my September shoot
with Steven Klein.

I think he
really likes this location.

It's sort of gloomy, Edward.

Where's the glamour?

It's Vogue, okay?
Please, let's--...

Lift it.
- Lift it.

I don't find her to be hidden.

I just don't find her
to be accessible...

...to people she doesn't need
to be accessible to.

This, I don't think we need.

We'll just wait
for whatever it is they're making.

And that's it.

This, I don't think we should do.

This, I don't think we should do.
This.

She's busy, you know.

And she's not warm and friendly.

She's doing her business.

These are all horrible.
- Yes.

I thought this was pretty weak.
- It is.

That stuff needs a lot of work.

Okay.
- All right?

We leave warm to me.

I'll have to be warm enough
for the two of us.

When we put out
the September issue of Vogue,

the first thing
the reporters usually ask us...

...is how much does it weigh
and how many pages?

One in ten American women,
almost thirteen million people,

will get that issue.

A few years ago when we put out
a record issue of September,

it was the largest monthly magazine
ever published.

Guys, we're looking
to break that record.

We have to break rules.

I want you to go into it
like it's Vogue the brand...

...and market it
like it's never been marketed...

...in its entire 114 years.

All right, so, September.

Sienna, I think
we're in excellent shape, right?

It's all feathers.

I think this is really cute.

I do, too.
- Do you?

Big Bird.

The team sees the collections...

...and then comes back
and has fashion meetings,

and in the meetings,
you dissect the collections...

...and decide
what trends to feature.

Andre, I hear you didn't like Calvin.

I thought it was clinical.

September is the January
in fashion, you know?

This is when I change.

This is when I say,

I'm gonna try to get back
on those high heels...

'cause that's the look.

Yeah, the jacket
is the new coat.

The look is sexy.
The look is granny.

You need to know.

This is heaven.
That's gorgeous.

That should be a fashion story.

But that's the problem, Grace.

It's an accessory story,
and that's what I need.

Well, it's a story crying to be done.

Grace, I hear you,

but it's just not what I need
in the September issue.

You have to
really find some stories there.

And you have to find stories that
haven't been played out anywhere else,

and they have to be
on a certain scale.

Having talked to Grace
a little bit about this,

I think she very much
wants to do texture.

What has that got to do
with texture?

Well, look.

No.

I think you should bring it anyway.
- It's breaking my heart.

Usually in the September issue,
there's one big disaster.

There's always one shoot
that's a big problem in the issue,

because it's a big issue
and there's a lot of things going on.

Let's put that one
to the side for now.

And that one, too.

Let me see what else there is.

Jonathan Saunders
is someone we wanted to--

We're trying to get him in.

It's cute,
but it's a different thing.

They're not color blocking.

You want to kill yourself? Why?

What's happened?

This got thrown out.

If it's with this.

This is what we did.
- It's fine.

It wasn't the look. She said no.

Color blocking's
all the different colors.

It's this with this
and this with this.

I'm gonna take this anyway.

Is that the best one?
That's not the best one.

You've gotta be tougher.
Edward.

Tell me, what do you do?

You gotta be tough.
- What'd you do?

You've gotta just demand.

You have to demand.

Because, otherwise,
you'll be blamed.

Don't be too nice, even to me.

No, honestly, because...

...you'll lose.

You have to learn the way
to beat your path through...

...to make yourself felt
and make yourself necessary...

...and find a way that works
for you for Vogue.

Because a lot of people have come,
and a lot of people have gone.

They just couldn't take
the heartbreak.

You know, you have to be
fairly tough to withstand that.

So it's all pinks.

And, Virginia, we really feel that
this is the most important message...

...to put in the September issue?

I loved it.
- It's important.

I thought it was pretty.

It looks very springy.

Well, there's a fur.

Maybe you want to develop it
a little bit more.

I'd also like to see what you're
thinking about with the clothes,

so I can get
more of a handle on it.

I was thinking maybe it's
kind of body conscious, the clothes.

And then at one point, I thought
maybe she could be sort of bionic.

It looks good on the rack.

I feel it's quite one-dimensional.

But also, the girls
always look the same, Elissa.

If you look at your pictures,

the way they're dressed,
it's always the same.

And somehow,
the picture's always the same.

It's usually the same kind
of minimal approach.

I mean, it's what you are, I know.

And the girl always tends
to have straight hair.

You look at it just
like it's always the same.

So it would be great
if we could break out.

Thanks.

So you know that company,
Mango, in Spain?

They're looking for someone
to help them consult.

Maybe Thakoon, you think?

I think he's one of
the most talented people out there.

He's coming in to see me,
I think, this week,

so I could talk to him.
- Okay.

So, Yuri, can we stop
at Starbucks, please?

My father was
a newspaper editor.

He edited a newspaper in London
called The Evening Standard.

Former Fleet Street editor,
Charles Wintour,

will be assessing
the long-term effects.

He came from quite
a Victorian upbringing.

I'm not sure his mother
ever spoke to him.

He was also very private
and very, in some ways, inscrutable.

The NPA have about
as much collective spine...

...as a tepid jellyfish.

Growing up in London
in the sixties,

I mean, you'd have to be
walking around...

...with lrving Penn's sack
over your head...

...not to know that something
extraordinary...

...was happening in fashion.

The look of the girls then
and everything that was going on,

the pill
and emancipation of women...

...and the end
of the class system...

...and just sort of seeing
that revolution go on,

made me love it from an early age.

I think my father
really decided for me...

...that I should work in fashion.

I can't remember what form
it was I had to fill out.

Maybe it was
an admissions thing,

and at the bottom, it said
'career objectives,' you know.

and I looked at it and said,
'What shall I do?

'How shall I fill this out? '

And he said, well, you write...

...that you want to be editor
of Vogue, of course.

So, that was it.
It was decided.

We have known
about this piece for a long time.

So I don't wanna hear it, okay?

I mean, she should
just get on the phone.

This is not clear.

Somebody needs to check these.

She looks pregnant.
We need to--...

Fix her.
- Yeah.

The first time that you're asked
to go see Anna...

...and show her your collection,
it's like...

...insane.
- lntimidating. Right.

And I remember there was me
and Meredith in Anna's office.

It was the first time I met her.

I was, like, oh, my God,
it's Anna.

It's like Madonna is Anna,
you know?

And I was just--
She's like, 'Okay, go on.'

So I'm talking
about the inspiration.

I'm moving my hands,
and I'm showing her the pieces.

And I can see my hand shaking.

It was shaking.

Because she just sat there
the whole time,

Iike, 'Mm-hmm, mm-hmm.'

So then we, we get out of there,

and Meredith's like, 'Oh, my God,
you were so well-spoken,'

but that hand kept shaking.

Anna Wintour's office.

Hi, Thakoon. How are you?
- Hi, are you?

I have eight sketches.

I don't know how you want me
to lay them out for you.

Right here.

You know Thakoon, right?
- Yes.

So these are his sketches
for the Gap project, the shirts.

And it's three that would--

We're meant to narrow it down
to three?

I think we ought to do one
with a little sleeve.

I love the little sleeve.

And then maybe one
that's a dress.

It's very hard to be a designer
in this country.

So we created a fashion fund
to draw attention to new talent,

to fund it,
and to get mentoring for it.

The winners get to design
something for a mega-brand.

You like this one?

I wouldn't discount that.

It's got a simplicity
that the Gap customer...

...is going to
immediately acknowledge.

Thakoon was one
of the winners of the award.

He has all the components to have
a serious high-end designer line.

I'm happy with those three.

Perfect. All right.
Well, thank you.

Thank you.

You never know, though.

I mean, remember lsaac Mizrahi
went out of business.

The fashion business isn't fair.

They do everything right,
and they still crash.

Those colors are good.

I'm one of the last remaining
fashion editors...

...who dress the girls myself.

I'm told the very modern thing is
to don't touch the girls.

Is that right? Yeah.

Who does it? An assistant?
- Yeah.

I don't know.
I'm a bit old-fashioned.

I love this.
See? I love this.

Good, Coco. Watch the light, guys.
Come on.

She just looks like
she's got a plastic bag on.

But it looks good.

Garbage bag or something.

Good night.
- Good night, everyone.

Well, I started reading Vogue
when I was a teenager,

and I grew up in north Wales.

And it was kind of difficult to get.

So I used to order it and rush
once a month to get my copy,

which was probably three months
out of date.

I loved
the whole sort of chic thing...

...that was so entirely out of context
compared to the lifestyle I led.

You know, I went to school.
I went to a convent.

I never went anywhere
for my holidays,

and so I just looked at Vogue.

At the same time, there was
a Vogue model competition,

and somebody sent
my very bad pictures in.

And I actually
won the young section.

'Cause I was quite young
at that time.

And so I started modeling
for Vogue.

Somehow everything I did,
I kind of fell into.

I just knew that I probably
had to get out of that place.

So I went up to London,
and I became a full-time model.

These are the pictures of me
by various photographers.

This is one of
my very first model pictures.

It's probably '59 by Lord Snowden.

I stopped modeling
because I had a car crash.

My head went
into the driving mirror,

or my eye went
into the driving mirror.

So I had a lot of plastic surgery.

And then two years later,
I sort of went back to work.

This is from a shoot that I did
with Bailey, Helmut.

This is Manolo Blahnik,

and this is Anjelica Huston
when she was modeling.

I was offered a job
at British Vogue.

I was a junior editor,

and kind of slowly
worked my way up.

Hello.
- Ms. Coddington.

Oh, my God.

How was your shoot?

It was great.

This is really good, isn't it?

Good, aren't they?

Who styled that?
- Grace, right?

Grace and Craig.

It's real nice.
- It's beautiful.

Grace is without question
the greatest living stylist.

There's no one better
than Grace.

There's no one
who can make any photographer...

...take more beautiful, more interesting,
more romantic,

more just stunningly realized
pictures than Grace.

There's no one better. Period.

She comes
from the idea that fashion...

...is this world of play
and make-believe.

It's as if someone's gone to
the dressing-up box...

...and found the most
kind of wonderful, personal things...

...and put them together.

But it's beautiful.

Hi, Anna.
- Hi.

I'm not crazy about this one,
are you?

I like it.

Do we need this?

It's just not saying texture to me.
All the others, l--

Do you understand
what I'm saying?

Yeah.

I'm just really, really concerned
about how much black we're getting.

So, if we were
to just take another one out?

Maybe that?

Let me see it.

Let me just see it.

Whose is that?

Something got snapped off here.

Which one went?
That's the guess.

Oh, yes, of course,
the other black one.

Those poor goddamn Rodartes.

I know. They're out.

Rubber's not a texture?

And leather's definitely--
- We ordered it.

We order all the prints, so...

Oh, yeah,
I've heard that story.

Yeah.

But it's such
a great picture, that.

Anna actually liked it as a picture.

She thought it wasn't texture.

It is texture.

Let's add the waist seam now then.

Do we need pockets?

So, this one, is it not around?

Yes, it is actually.

I personally would not
put this one in the show.

The other things you've shown us
are more exciting.

You need to have
a hundred there, no?

Grace is very good at that.
Go on, Grace.

Slash and burn.

No, Anna's, but I don't think
you could take Anna's slashing.

Thakoon. He's really good.

See, now it's beautiful.

Now it's really pretty.

This is good.

So, for the brooch.

Lanvin.

We have this.
- From Balenciaga.

I think it's cool.

Looks like a neck brace.

At first we thought
maybe it was a scarf.

It's a neck brace.

I moved on.
I'm onto twenties now.

Twenties is something that...

Well, really the inspiration
was John Galliano's show.

He was inspired by
the photographer Brassai,

who was a photographer
from the twenties.

Shoes, I'm very desperate for.

It just has to be something
that slightly evokes the twenties.

What has she got? Well.

You have to have that fashion story,
you know,

spots are in or stripes
or full skirts...

...or straight skirts
or whatever it is.

But I've tried
to make that secondary.

We build a fantasy
around the girl...

...and what she's doing,
what she's thinking, who she is.

But there, you know.
- Yeah, that.

But, of course, what's
so genius about that is that...

...she has big, fat legs
and things.

I love that.

It's a reference picture as well.

They're so beautiful.

Are they coming
for the run-through, please?

That was just Anna's office.
She has an 11:00 appointment.

So what does that mean?

It's 10 till 11:00 right now.

So she wants to see me before?
- Mm-hmm.

Virginia.
- Yeah?

Anna wants to see us now...

'cause she has somewhere
to be at 11:00.

We're goin' in.

I have a ton of stuff here,

and I don't know how many doubles,
triples, singles I'm doing.

But maybe we can prioritize.

And you should, you know,
if you hate something,

just say I never want to see that
in the magazine.

There's two coats here.

I'm sort of undecided about them.

It is similar to
the one we did in July.

It's not because you're thinking
of the one we shot and didn't run.

I've shot them twice,

but we have not had them
in the magazine.

The coat didn't run.

Anyway, there's
all these little dresses.

And then this little coat.

I love
all these little evening things.

Let's remove the coat.

I have to have
a little freedom to play around.

Grace, I mean, there's
a lot of wearable things in this,

and I want this
to be more wearable than not.

I started working
for American Vogue...

...the same day as Anna did.

I think we understand each other,
pretty much.

Just through
living together for twenty years.

She knows I'm stubborn.

I know she's stubborn,

and I know
when to stop pushing her.

She doesn't know
when to stop pushing me.

Is it odd just having one fur?

Should we have one other thing
that has a fur?

I just think it's odd to have one.

I mean, maybe you're
going to do a fur hat or--

I think it's sort of strange
to have a whole shoot--

I'm trying to make
as many different looks as possible.

Yeah, but I think
you need one more.

Otherwise,
you're gonna get bored.

Well, I would take that out.

And then these are all out,
is that right?

No.

These are beautiful.

Don't throw those out.
They're beautiful.

And I don't think
we should do this.

This one from Resort, right?

Yeah, it's so perfect.

I know, Grace. It's going
in the stores in November.

You can do it
in the November issue.

How can she think
of leaving these out?

I know. I love those.
- That was unbelievable.

But I'm not leaving them out.

They're so cute.

Yeah, they are. And perfect.

And what is this thing about we need
a fur coat to match that one?

Or a fur hat.

Oh, please. I mean, now, look.
What's this?

And she's thrown it out.
This is fur.

This is fur. This is fur.

That's the craziest thing
I've heard.

These are
all the September issues...

Those are all
the September issues...

...that your mother...
- has done.

She had a lot of her old issues.

And then one time,
I came in here and looked...

...and saw that she didn't have
everything that she'd ever done.

And I just thought
it would be nice for her.

So now she's got everything.

I remember that.

That was controversial.

That was controversial.

Putting a black girl
on the September cover was...

...for my first one,
that was considered questionable.

This got us a lot of attention,
fur on the cover.

This is
the death-warmed-up cover.

This one's really cute,
because they're puppies.

They look so pale.

I certainly read British Vogue
when I was fourteen, fifteen.

This is the one you hated.
- Yes.

My American grandmother
used to send me Seventeen.

That was a very high point
of my childhood every month.

Oh, right, Gwyneth.

This was when we
moved in celebrities.

So we've gotta decide
between these two.

Which one?

I like the color on that.
- You do?

But I like the dress
on the other one.

And then the other thing
I wanted to show you, darling, was--

What do you think?
That's got your look.

Her hair is in her face in that one.

You like that one?

One of these.
- Okay, good.

Do you think you'd ever work
at the magazine with your mom?

No.

I think I'm gonna go
to law school.

So probably not.

But I don't know.

I'm gonna get through college first.

Sorry, Mommy.

Well, early days. We'll see.

I really don't
want to work in fashion.

It's just not for me.
I really respect her, obviously.

But it's a really weird industry
to me,

and it's just not for me.

She wants me to be an editor.

I don't wanna put it down,
but it's...

I would never want
to take it too seriously.

Some of the people in there
act like fashion is life.

And it's just...

It's really amusing,
and you can make fun of them.

But for that to be your career,
it's just like...

There are other things
out there, I think.

Isabel.

Let's take a look
at your Resort collection.

They're very clean and crisp.

Almost--this is a compliment--
institutional, clinical.

You got it.
- Clinical.

Andre...

Andre's having a great time
with lsabel today.

Fabulous time.

Has all these ideas of still lifes
and things that we can do,

so we're doing all that.

You make sunglasses, too?
- Yeah.

Upside down.

Look at my tape. Exactly.

Upside down.

You have such an eye.

Make sure you feature the bag.

I like that a lot.
- Yeah, I really do.

Nice block.

Beautiful.

This is it?

Are they sending more to us,
or is this kind of it?

These are all they gave me.

Somehow, you know,
little dark wigs we've seen quite often,

so you have to find another way
to do a twenties.

Go like that.

The girls
were wonderful, and...

...they all seemed
to work perfectly.

I hope it looks
as good as I think it does.

We've done them
in a very soft color.

It's almost
like old film that's faded.

I love when it goes soft and
even sometimes if there's movement,

there's a little blur on things.

But I don't know.

Everybody seems
to like things pin-sharp these days.

I think it's a shame.

I hope it's okay.
- I think this looks great.

Is that this week?

This was this morning.

This morning?

I mean, I knew
that they were doing that,

but I didn't know...

That that would be on the cover.

Right. It's kind of exciting.

I guess I would just
start at the beginning...

...with when The Gap
came to you.

It was Vogue that called
and said that, you know,

we are working with The Gap
this coming-up year,

and we want to launch
the partnership...

...with this concept
of reworking the white shirt idea.

Congrats.

Thank you.
- Your face is everywhere.

How are you?
It's good to see you.

It's amazing.

Amazing. So proud of you.
It's so nice.

Hi, Anna, how are you?

So, I told you
I'd get you The Gap.

I know, I know.
You got me a huge thing,

which is great.
Thank you so much.

It's so funny.
I was thinking...

...about our conversation
all those months ago.

I know. I didn't realize it was gonna
turn into such a big deal.

Have you had a good response?

Yes. I think
they were sold out online.

Really?
- Yeah.

Great. Sorry.

So...

...this is what we shot
the other day.

It was really divine.

This is all Galliano,
who was the inspiration...

...and the start of the whole story.

But I completely fell in love
with these.

This is Coco.

She was doing the Charleston
here on the bar,

nearly fell off,
but I think that's kinda great.

Excuse me.
- Oh, sure.

We're gonna try to print these out
again brighter.

Okay.

This one is a little unnecessary.
- I know. It's another story.

Don't you think?
Too much.

It is. It 's all that posing,
in different kind of a set almost.

Yeah. But the others look fine.

But do you agree?
- Yeah.

It looks fake.

I think you have
more personality out of these...

...than you do on that also.

And there's plenty
of Galliano, so...

Yes.

No, they're fun.

Anna, this one's again,
the group.

But maybe if it's more in the middle,
it might work.

We'll see.
- All right.

How many are there?

Twenty-two.

Let me give you
the right number.

They have a sort of haze
over them, too.

I have to find out how much--

I'm gonna go check and see
how much of that is the Xerox.

I need to print out the beauty
better for sure.

And then try to print this out
better too if you can.

Let's see if that helps it.

Well, look.
I think it's 'cause on the screen,

there's a little bit more color.

'Cause even in the beauty,
that Meisel did, it's everything.

I think
it's just the printer right now.

It's the printer right now.

They're meant to be soft.

They're meant to be.

That's the point.

But the colors
are not like this, though.

Like this. No, they are.

They're too flat to be like that.

I mean, they're meant to be.

They're not supposed
to be bright, you know, like this.

They're not all like that.
- No, I know that.

So don't try
because you won't get anywhere.

I mean, you probably will,

'cause you can
probably pump them up,

but it's really a shame.

Is this out?

Maybe.
- Are you kidding?

No.
- Why?

Because she doesn't feel it goes
with the rest of the story so much.

Wait and see.
This is early yet.

We have the whole issue
to put together.

I don't get why it wouldn't go in.

That's all Galliano,

which is the point of the thing.

You've got a few more.

You've got a few more in there.

Yeah.

I love this.

It's wonderful, this.

It's astounding.

No, they're supposed
to be soft like that.

They're supposed to be backlit.

It's maybe all the things
she doesn't like,

but that's
what they're supposed to be.

No, it's great.

It's really nice.

Thanks. I'll talk to her.

Is this the run-through for Sienna?

This is Sienna coming up.

So I don't have to be there
for that one.

Well, it's a cover.

I'll go to it, sure.
Just call me when.

Sorry about this.

This is like a girly heaven.

Holy crap.
- Oh, my God.

Is that the Marchesa line?

Oh, my God.
- It's amazing.

That's amazing.

Oh, my God.
- Is that wings? No.

It's Nina Ricci.

I don't understand how everyone
sort of collectively does--

Yeah. I mean,
it's the September issue of Vogue.

Hi, guys.
- Hi. How are you?

I'm good.

Hello. Hi.
This is Savannah, my sis.

Hi, I'm Anna. How are you?

Thank you for coming.

Do you wanna try that?

It looks cheap to me.
Okay, put it back.

That's quite ridiculous.

The evolution for Vogue
to putting celebrities on its covers...

...has been because of Anna.

She was ahead of the curve...

...to appreciate the fact
that celebrity culture...

...became overwhelming.

Am I supposed to pose
in this bit?

No, darling.
- I don't like it.

What Vogue did
and what the supermodels did...

...in the pages of Vogue
is that they trained...

...a generation of celebrities
to want to be supermodels.

Actresses started believing that fashion
was a seamless part of life...

...and a seamless part of celebrity,
and that was fine.

Oh, my goodness.

It's amazing.

Really no pasta.
I can't bear going to Rome...

...and not being able to have pasta.

That's incredible.

It is. You look amazing in that.

This is amazing.
I thought it was in Paris.

It's amazing.

And the rest of the shoot
is just brilliant, Grace.

Do mention it to Anna
because she's killed half of it.

It's just beautiful.
It is beautiful.

She took out
the two best pictures.

Tonne, do you want
to talk to the hair stuff,

or do you want to do
that another time?

You know what?
I just wanted to show you this.

This was...

...what we looked up,
which I loved.

It's divine, isn't it?

My hair's too thick to do it with.

You're great in short hair.

You think better?
Do you?

I do.

I have a survey
of every hairstyle you've had...

...for my board.
I'm serious.

The shoot is centered
around a weekend in Rome.

She's gonna go around town...

...and I have to storyboard
that, literally.

Because this
is gonna be highly produced.

Otherwise, it's gonna be chaos.

Feathers.

I'm going to Europe today.

Rome, Paris, and London.

What time are we leaving
on Wednesday?

I'm emailing your itinerary.

Just tell me a time.

Have we organized
where they would...

...bring these dresses in Rome?

No.

It's a problem when yours
are the first pictures in.

'Cause people
get bored with them.

So she's gonna love
the Rome pictures,

because they'll come straight in,
and they'll go straight to press.

If Sienna gets sick and
doesn't turn up in Rome maybe,

maybe all the pictures
will come back.

They'll probably find another celebrity
to take her place, I don't know.

So, shall we not talk
about feathers anymore?

The feather discussion is over.

Is there anything
we need to talk about for December,

or does that just wait
till we come back?

I think we're done.

Grace, I'm leaving soon.
Do you need me for anything?

Well, yeah, we have,
you know, like...

The budget is a problem,
because, you know--

It's not fine.
It's not that simple.

Well, you need to talk with her
because she has the figures.

I know, but it's a hell
of a lot of work to put together,

which I don't want to do
if you have a limited budget.

So I can't really find out
what the limit is...

'cause the limit keeps changing.

I'm in a really foul mood,

because they've killed
a lot of the spread...

...of my twenties story.

And they're about to kill
another one.

And they're all lying
to me about it,

including Danko,
who I thought was my friend.

And you just sit here
and everything is killed.

It's, like, incredibly boring.

And I love to talk money
in front of you guys with Anna...

'cause it drives her crazy.

It's a sure way
to get the budget up.

I don't like this.

No. Then I'll rid you
of this, too.

No, it's just that that's
not a good place for that to go.

Oh, okay.

This is too long, Charlie.
- Still.

All right, we'll take it down.

It's easy to take down then,
if that's the case.

Yes, I'll have him do it right away.

Didier?

I'm fine. How are you?

I think that it's
actually going to be a wig, Didier,

so you're gonna
need time to, yeah.

Her hair is just completely lackluster,
and she's growing it out.

She won't cut it.
You know, blah, blah, blah, blah, blah.

It might be just easier to do a wig.

Do you need this?

And your tickets are in the July,
your 'up' envelope.

The money is in the bag.

See you guys in Europe. Bye.

Well, I think we
have to discuss things.

And it's gonna be around
until the next...

Until Tonne's pictures come in.
- She's come back.

That's for next month.

No, Sienna is not next month.

But we're not going to really do
the issue until Anna gets back.

We're just putting
all these things up.

Well, no,
you're taking them all down.

You're taking everything down.

They took two more out,

and there's question marks
on two more.

So it's been whittled down...

...and I'm furious.

They've probably thrown out
$50,000 worth of work.

I care very much about what I do.

I do, or I wouldn't be
still doing it, you know.

But it gets harder and harder
to see it just thrown out.

And it's very hard to go
onto the next thing.

How are you, Grace?

Hi, how are you?

Did they give you the message
about Chanel?

That you're going
this afternoon? Yeah.

Jean Paul.

How are you, Anna?
Nice to see you.

Nice to see you, too.

Pleasure to see you.
Welcome to Paris.

Maybe I want,
the thing is that my clothes--

Nothing's ready.
You're gonna say the usual story.

Bon. But, but, but, but
we are still going to show you.

I show you
the only one you can see. Coco?

Voila.

Wow.

Well, you know,
I'm doing a shoot here in Paris.

I'm looking, 'cause I always
come to the Couture, almost always.

I've been actually for twenty years
at American Vogue...

...and twenty years
before that on British Vogue...

...and a few years before that
when I was modeling.

So I've been coming
for a long time.

Obviously, ostensibly, I'm there
to find something to shoot.

But I always mark
too many things.

Anna says, 'Don't be silly.
We can't do that one.'

Hi, darling.

How are you?

I'm good, and you?

Did you see the match last--

My God, you look amazing
for this room.

Right. I didn't think.

Did you see Roger's match
yesterday?

He won. No, I didn't see it,
but I heard he won.

So, we go to Sienna.

So a schedule, a rough schedule
I've done with Tonne.

Basically, I want to create a film,
you know.

A mixture of Fellini
meets Visconti meets...

Oh, right.

Almost like cinema--
- 'Roman Holiday.'

Yeah. Very cinematic.

I think that I would like to try
and do a--

But the charming side
of ltalian film,

rather than the broody,
moody side.

Of course,
but look how beautiful,

her with the people
in the background.

I mean, I want things
that are quite spectacular.

And I want to do something to do
with the Vespas in St. Peter's Square.

And then I wanted something
with horses and soldiers.

I mean,
there is a lot of white.

Like, I love that.
The feeling of this white.

There's the pastry shop,
which is all white.

I mean, there's a lot of white.

I don't know why I keep on looking
at things that are white.

You know, the white horses.

Because I think that
that would be good use for this.

And then I love this idea...

...of putting the horse
in odd places as well.

But I just don't want that to be
the whole thrust of the story.

Now let's talk about her, because
her hair is not looking its best.

We had thought
of putting a wig on her.

Like a little blond wig.
- Well, I think that's a great idea.

A really graphic one.
Yeah, blond.

My advice, since
we're going to be short on time,

is if we decide on a look...

...and just stay with it because
you don't wanna waste hours.

Oh, no. I would do a look,
and that's her look.

Great.
I'm really excited about this.

This is gonna be the biggest one
in our history.

It is an amazing room, no?

Incredible.
You should have a party here.

What, the September one
is gonna be the--

What, how many pages,
like 10,000?

I don't know yet
but it's the biggest in our history, so.

Really?
- Yep. So we're excited.

I should have a party here, no?

Paris is so beautiful.
It really is.

I never dreamt to be a model...

...or never, never dreamt
to be a fashion editor.

But I just loved
the pages and the pictures.

In my early years
as a fashion editor,

I worked with Norman Parkinson,

who was
a really big photographer.

And he taught me
to always keep your eyes open,

you know, never to go to sleep
in the car or anything like that.

Keep watching, because
whatever you see out the window...

...or wherever,
it can inspire you.

It is amazing.

It's sort of strange
to think how old it is.

It's beautiful.

I think I got left behind somewhere,

'cause I'm still a romantic.

You have to go charging ahead.

You can't stay behind.

She looks good.
- Good.

Move her head just a tiny bit forward
so you get like an 's.'

Good. That's the one. Good.

Oh, wow.

Anna? How are you?

We're doing very well.

I'm sitting here
with Mario and everybody.

Sienna's here.

We're doing a wig.
Everything's great.

Let's divide our story ideas.

Let's do four visual locations.
Let's say...

That's pretty spectacular,
don't you think?

I mean, look.
You've got the Coliseum.

It is beautiful.
- It's beautiful.

I think we don't need it.

Got beautiful open shade light.
I mean, it's so pretty.

That is what I'm wondering,
whether we want pretty.

I find I've done this hair,
like, really- -

I would love something new.
A new proposition.

Yeah.

We tried the wig,
and it did not work.

And we moved on.

And we moved on
in the right direction, I think.

There, wow. Stay there.
Don't move.

This is your face. Don't move.

This is really beautiful, no?

I like that freshness.
It's the September cover.

Come, Sienna. Come.

Okay, again.

Go, go, go, go.

And again.

Come forward. Come forward.
Go there.

That's quite a view.
Isn't it, Mario?

I can certainly
get rid of the head thing.

Do you wanna get rid
of the head thing?

Maybe. Maybe it's not good.

Grace, thanks for the pie.

I just don't know
if I should eat that...

'cause the corsets are so tight.

That's not going to make
a difference, Raquel.

Hello.

There.

Fantastico.

Can you breathe?
Are you all right?

Yeah.

That's incredible.

That's beautiful.

And the expression here
is very lovely.

Just play with your hands
a little, Raquel, for me.

Oh, wow.

That's beautiful.
- It ain't bad.

I think you got it.
- Okay.

Let's go. Thanks.
- Well done, Raquel.

Let's go, Andre, left, left.

Ms. Wintour inaugurated me
into health by intervention.

She saved my life, I guess,
in the long-term...

...because she intervened
about three years ago...

...that I got to lose the weight.

So, naturally,
what Ms. Wintour says goes.

So I took up tennis.

Over your shoulder.
Come on. Good.

I wouldn't come
to the tennis court...

...in just a pair of shorts
and a tennis shirt.

I go to Damon Dash
for my trousers.

I go to Ralph Lauren
for the shirts.

This is my version
of a tennis watch.

It's a Piaget
from the sixties.

But I would wear this
to the tennis court.

I would wear it all day long.

It's all a part of the whole life
of being who I am.

I have to get up and approach life
with my own aesthetics about style.

Anna Wintour's office.

The magazine will be
actually almost nine million up...

...when we come out of September.

Wonderful.

This is not a great-looking opener.

I mean,
this is a cleaner opener.

You know,
the girl looking at you.

You want to open with something
people want to read, I think.

Do you need me, Charlie?
- Yes, the Couture's here.

Oh, great.
What about Mario?

Hello?

I love them.
They look gorgeous.

I've stolen them.

I snatched them
out of Charlie's hands.

He went bu-bu-bu-bu-bu-bu.

Kind of, but, you know, he hates
to say until Anna's seen them...

...in case he makes a mistake.

A lot of wigs.

All through it.

It's fourteen pages.

This is pretty.

Beautiful.

Well, we can wait, right?

Oh, yes, sure.

This slightly hinges on what
happened with Sienna, I think.

And Grace wasn't crazy
about that one anyway.

Hi.

I know it, Brian just told me.

It's coming out now.

So as soon as I look at it--
Maybe I'll call you right back.

Okay, thanks a lot, Mario.

I need these printed
out right away.

Sure. Yeah, it's printing now, but--

So this is what Mario sent?

This is what he just sent, yes.

But did he send the cover?

No.
- Okay.

It's taking him a while
to do that.

That's it?
- Yes.

That's it for the clothes?

That's all I've gotten.
That's all he said.

Can you get Tonne in here?

I don't know if she's in yet.
She wasn't in before.

Let me see if she's back.

Not yet. Her assistant's
calling her to find out.

Could we ask her assistant...

...to see how many pictures
here we're missing?

This is all he sent.

Can I see lvan, please?

And I need Tonne's assistant
or...Hi.

Did he say this was,
there's more coming...

...or there's nothing else?

No, this, I think is the story.

But I'll go back to them
and just double-check.

As I understand it,
this is everything.

Can we get Tonne's assistant
or Virginia in here, please?

Tonne, I'm sorry, I'm losing you.

I thought we were
gonna have more clothes.

Okay, Mario.

I'd like to see the rest of the film
as soon as possible.

You understand?

But I didn't get the Coliseum.

Right.

I don't think that's it.

I think the thing is
is the whole look is everything.

Truthfully.

But I don't know
if we even need to reshoot.

But it's something
that's being talked about.

So I just want to put it
in your ear.

I just finished talking to Mario.
No other Nina Ricci.

That was it.

That was it.
- They didn't do it for me?

No. And they didn't--

He says he didn't do
the Coliseum dress.

He says he didn't like it,
so they didn't do it.

Okay.

I just finished talking to Mario.

He says there is nothing
on the dress at the Coliseum.

Well, he didn't like it.
He really couldn't.

He says he didn't like it,
so he never really did it, he said,

which I had to tell her.

You know, it's digital.
- I know.

He did something,
but he never got an image...

...that he wanted to hold onto.
- Right.

You know, I understand that,
you know,

she needs a few more dresses...

...but, you know...

...you get what you get.

I'm concerned a little
'cause I'm not positive...

...of the cover at the moment.

The one he's chosen, she's
kind of tough-looking in the face.

That's not a face for a cover.
- Right.

See this.

This...It can't be that.

I think there could be
definitely be something there.

That's what I think.

So I think
that's pretty ravishing.

Look at it now.
I've cropped in on it and turned it.

What does this say? Something.

'Like this best, but teeth.'

'But teeth.'

Mario. Hi.

I just meant to ask
if there was something there...

...that you thought
that we could at least look at.

Not one?

Florence, could you make me
some coffee, please?

Thank you.

She has to look so conservative...

...because she's working
at a lawyer's office.

No, a judge.
- Judge. Sorry.

My older brother
is in charge of finding

Iower income housing in London
for people that need it,

and my sister's very involved
in, uh...

...supporting farmers' rights
in Latin America.

My younger brother is
political editor of The Guardian.

And very successful,
very brilliant.

My two brothers
and my sister,

I think they're very amused
by what I do.

They're amused.

So.

All right.
Well, have a good day.

You, too.

Love you.

Amanda Lacey is a London facialist
who is a great friend of Plum's,

and she's got a beautiful line
of products,

and she's opening
a new store in London.

And if it's ready,
I'd love to do a little item on that.

And then this is a piece
about all the advancements in eyes.

And I think that eyes
are something...

...that women of all ages
think about...

...because their eyes start aging.

They're the first thing
that starts to age,

and I think even women in their 20s
are concerned about it, so.

This is the look
that Andre would prefer to have.

There's no alternative?

I said I didn't want any more...

Environment?
- black and white.

Black and white, okay.

Is it this one, Anna,
do you think?

Yeah, but I still like this one.

Okay, but stronger.

I remember when my dad retired,
and I asked him why he was leaving...

...because he was
obviously so passionate...

...about what he was doing still.

And he said,
'Well, I get too angry.'

'l find myself
getting too angry.'

So I do remember that,

because I know there are times
I get quite angry.

So I try and restrain that.

So I think when I find myself
getting really, really angry,

that might be time to stop.

Anna saw the celebrity
thing coming...

...way before everybody else
jumped on that bandwagon.

And, you know,
whilst I hated it,

I'm afraid
I have to admit she was right.

You know, you can't stay behind.

You have to go charging ahead.

And she did,

and the magazine is
very successful because of it.

I mean, whilst I'd be...

I wouldn't really care
if I never saw another celebrity,

obviously if the magazine doesn't sell,
I don't have a job, so.

It would be silly.

You know, you gotta have
something to put your work in,

otherwise it's not valid.

Vogue. Good morning.

Has Prada gotten
this request yet or no?

I haven't heard back from them.

It's all changed.
- What?

It's all changed.
- What's all changed?

The shoot we're doing this weekend
is going to be a reshoot...

...of the color block shoot
that Edward did.

What?

Anna killed color blocking.

And they wanna reshoot it
and then,

but, of course,
it's very urgent, so...

I got your message.
We're already working on it.

Okay.
- A little while.

But I've gotta get all new clothes
in five minutes.

It's getting a little busy up here.

There's just a bunch
on the priority rack.

I don't know where it came from.

Sarah has Marc Jacobs
on her rack.

I'll grab that for you as well.

What about stuff like this?

That particular one was shot,

but, yes, in theory,
it could be color block.

But I shot one of these
in that same issue,

so that's no good.

And this one?

That's good.
That hasn't been shot.

Have I shot that skirt?
- You shot the skirt. Yes.

This has to close on Thursday.
- I know.

And it's not gonna come in
until Wednesday?

Now, Laurie,
I can't do anything about it.

A change was made,
and I didn't even know.

Did I shoot this? I shot this.

You did.

There's a red coat.
- Yes. Shot.

Was your twenties Prada dress shot?
The red one?

Yeah.
- You shot it, and it was--

And it was killed.

We just redid the layout.

I feel very excited to see...

...that there was a photo of mine
in the hallway.

Twenty years later.

Are we opening the issue?

Yes, as of now.

What do you mean 'as of now'?

Doesn't it have to ship?

Is that all I did?

That's all.

I seemed to, like, sweat like mad
to get these.

Whatever happened to the Coliseum,
I don' t know.

That was the only one.

That didn't work,
unfortunately.

You know we had little time,
and I wanted to do another cover,

and I said, I'm not gonna
spend three hours here.

I would rather do a cover.

Do you have the covers?

Right here.

It's between these two.
We're testing both for now.

Do you think I should use
this body and that head?

Let's look, let's do this.

Would this be more--
- It's a better neck.

We have to retouch a lot of this
because it's a lot of teeth.

It's very teethy.

And also there's a filling,
there's a couple of fillings there.

But we can fix that.

Of course. Absolutely.

I think that that is very inviting.
- When we put cover lines on there,

it's gonna be at you.
So that's the one.

But you're right.
I think that neck--

That shoulder is boring.
Might be more beautiful, no?

And I'm gonna dummy it up
that way, so.

Okay, great.
- All right.

There's no color stuff left
that hasn't already been shot...

...that is any good, so...

What is it called
that you're shooting?

I don't know.

I'm making it up
as I go along. Whoops.

And I've got two days.

Is this the last shoot
that we expect?

You'd better pray it is,

because otherwise
I don't know who's gonna shoot it.

The biggest issue of the year,
and we have to close,

and they're still shooting.

I had an idea, but I don't know
if I want to do it or not,

and it involves you.

That's why I'm asking.
Not you, Tonne.

My friend here.

How you feel today, good?

You feel young today?
Feel good?

I feel good, sir.

Can you jump?

Yeah, that's very fun.
This was great.

One more, okay?

That's great.

So we want her on the same page,
very close to him, like that?

Right.

Jumping, too.

That's good, I think.

She's looking right in the lens.

Good.

Here we go.

Awesome.

How many times
did they make you jump?

I like them. They're fun.

I mean, we just needed
a breath of fresh air in the issue.

Everything was quite dense.

They looks great.
Wearable, accessible, great props.

We're working on this one.

A little bit of retouching.

Need to go to the gym.

Anna.

But they look great.

I'm glad we redid it.

It's Patrick?

Patrick, yes.

Great.

Patrick and Grace.

Did she like them?

Oh, I bet.

Of course.

Due to which picture?
The jumping one?

Yeah.

No, but, you know, personally,

I think it's better that you're not,
like, skinny, skinny.

To me, it much more
makes the point then...

...that you're real people
and not models.

Everybody isn't perfect
in this world.

I mean, it's enough
that the models are perfect.

You don't need
to go to the gym.

Charlie? When you
are looking at Patrick's pictures,

please do not retouch
Bob's stomach.

No, please don't, because
I don't want him to look like,

you know,
a skinny male model.

But I just wanted
to catch his stomach...

...before you gave him a--

He's pulling it in now
as I speak.

Okay. All right.
Thanks, bye.

I'd better go and finish it.
- Me, too.

Enjoy, guys.

So make it good now.

Twenties, the color block,
polished.

And then
what about her teeth?

Oh, I've been working
on this a lot.

Gonna fix her neck.

So that's the new neck.

Yeah. It's the better covers.

This is the new neck on this.
- Okay, great.

So we have to write 'Sienna Miller'
large or people won't know.

You can't write 'Singular Sienna'
or 'Sensational Sienna.'

This all seems
so large and pretentious,

this type.

Looks like it's for blind people.

It's going to come out
like that, right?

Is she wearing feathers?
Are those feathers?

What are we supposed to do
with feathers this fall?

You just play with them.

And then there's a ring.

These aren't very good.
- No.

This is not in the correct order.
- Yes, it is.

More like this.

Do we have the book
and the cover there?

Is everything updated?

Yes, Anna.

And this is our cover girl...

...whom we took to Rome
with Mario Testino.

She was interviewed here
by Sally Singer.

We had the idea to do
a sort of Jazz Age shoot.

That's Thakoon,
and on the right is Chanel.

And that is the issue.

Very nice, Anna.
- Thank you.

Oh, my God.

Wasn't Sienna
originally the lead?

Yes, it was.

Just one more spread here.

Then it will be
my whole issue just about,

except for Sienna.

It looks great.

Fashion's
not about looking back.

It's always
about looking forward.

Okay, next.

Move the board.

Yes, we will.

I don't believe for one minute...

...that I have a sense
of what's gonna happen...

...or a sense of real change
the way Grace does.

I mean, Grace is a genius,

and there is no one
that can visualize a picture...

...or understand
the direction of fashion...

...or produce a great shoot.

I mean, she's just remarkable.

She and I don't always agree,

but I think that
over the years we've learned...

...how to deal with each other's
different points of view.

Anna Wintour's office.

Is anyone coming
to this run-through except for me?

So what else?

You know you're featured
in 'The September lssue'?

No way.

When is it coming out?

Is this better?

This is authority.

This is it or nothing.

This is it or nothing, okay?

When I got the pose, strike it.

That was a stroke of genius
on my side, I think.

I turned the cameras on you.

And it just came to me, like,
I was walking along the corridor,

and I was like, 'Oh, my God,
they're looking at my rack again.'

'Hang on a minute.

'I'll teach them.'

What's your strength?

Decisiveness.

Your weakness?

My children.

What gift would you like?

A better backhand.