The September Issue

The world of haute couture fashion might, in popular perception at least, appear to be the realm of outlandish, impractical and outrageously expensive catwalk-only clothing that, like modern art, is without reason or practical use, and impenetrable to understanding. R.J. Cutler's documentary, however, is the opposite of this - it is NOT of limited appeal or only of interest to fashionistas (although, in both cases, having a knowledge of the finer details and history of those worlds only enhances one's appreciation).

This engaging, enlightening, and thoroughly engrossing documentary is about the (American) Vogue magazine September issue, which each year lays out the new season's fashions and looks in glorious photo spreads; it is the bible (in the western speaking world, at least) for new fashion and new designers, and in recent times has grown in ever-increasing page numbers with each year's release.

Almost as famous as the magazine itself is its Editor-in-Chief, UK-born Anna Wintour, who worked her way up through the ranks of fashion journalism in the early 70s, set her sights early on a Vogue editorship, and assumed that position in Vogue's New York offices in 1988. For anyone who, like me, is oblivious to all these things, the film's pre-title sequence patiently explains who Anna is, the place and power of Vogue within the fashion industry, and the importance of its September issue. Plus, the film neatly infers the scale of Anna's influence by showing the head of Neiman Marcus (an expensive department store chain in the US) asking Anna if there's anything she can do about getting clothing manufacturers to deliver their garments earlier in the season, because demand is far outstripping supply and choking their sales.

Specifically, this film is about the preparation of the 2007 Vogue September issue; what turned out to be largest monthly magazine issue ever (yet) published, weighing in at 840 pages (or over 2kg of paper per issue). The film was shot over an eight month period, where Cutler and his crew had extensive access to the staff of Vogue's New York offices and to the photo shoots organised for the issue. But, this film doesn't just run to a "putting on a show" theme like you might think: you know, scenes of rushed final preparations, stress, disaster and the above-and-beyond efforts of a few winning individuals who make it all alright on the night. There's some of that, but really this film is a two handed character study of Anna Wintour and Vogue's Creative Director Grace Coddington.

Together, the two cut such different figures: Anna in her trademark bobbed haircut and sunglasses, clutching her Grande Starbucks cup; Grace, with long wavy red hair to match her flowing dresses, sporting little makeup and an easy, unpretentious charm. Long before the film explicitly states Grace Coddington's importance and influence at Vogue, we see it in the way she is nearly always by Anna's side at fashion show runways. And we soon learn that Grace is the only one amongst the magazine's staff willing to object to Anna, to say no and to voice her own opinion. No doubt this is because she is one of Anna's few contemporaries on staff, but it is also perfectly illustrated by her contrast to the yes-man Art Director that follows in Anna's tow. Anna comes across as controlling, vain, and anxious about how she is seen by others due to fashion's flexible status in our culture, but she is also hailed by most (including Coddington) as a innovator and visionary in fashion publishing. Grace sees fashion as a playground, a fantasy world, though she worries she is too old and too old fashioned for the scene now.

Grace's role as Creative Director is akin to a Film Director's: working from a rack of clothes that have been selected (by her, in part) to feature in the issue, she imagines the scene and the mood for a photo shoot which the photographer, under her supervision on the set, then tries to capture. The results are often amazing; visually sumptuous, a heady concoction of cinematic vistas, clothes perfectly matched to exotic locations under delicate, expressive lighting. These are more than just photographs of models wearing expensive clothes; each is a scene that tell a story, implying much more to happen after or before it, like a still from a feature film. However, in the run up to the issue deadline, we see Grace's contributions whittled back, photograph by photograph, by Anna's decree, and we share Grace's frustration in having what she feels is some of the best images left out.

This is a film about a complex working relationship: the dynamics of the interaction between two powerful and influential women who often clash (in a familiar way), and which can so easily be read as representing a clash between commerce (Anna) and art (Grace). For me, this is what gives this film its strong appeal. But while it's easy to cheer on Grace and hiss at Anna, we can only speculate about the exact balance of power in this relationship; perhaps Grace shines so brilliantly because there is someone tightly holding the reigns above her. So, this film is not just for lovers of fashion; it's for designers, painters, filmmakers, artists, and lovers of the visual, of aesthetics, and anyone else who's felt the pinch when money (or business) rubs up against art.

As a final aside, it's refreshing in The September Issue to see people acting guarded in front of a camera; in this age of reality TV wannabes, where everyone wants to let it all hang out for the camera, these media makers hold back. And Grace exploits this with glee, protesting about a photo shoot's changing budget to Anna in front of the doco crew, (where Anna visibly squirms) then boasting afterwards that she loves discussing money with Anna on film, because it's a sure-fire way of getting the budget increased. The doco crew (camera operator) even end up in the issue itself, as Grace's solution to another spread that has to be re-shot right at the last minute (and with the camera man's slight belly intact and un-photoshopped at Grace's insistence).