The pope of fashion, the head of fashion, the bible of fashion, the most powerful woman in the United States, the 25th most powerful woman in the world, she has made a lot of celebrities and contacts all over the world. Fashion advice for celebrity dignitaries. A single sentence can determine a designer's career. These are the labels affixed to ANNA WINTOUR, editor-in-chief of VOGUE magazine. Fashion is far from ordinary people, not to mention the key figures in the center of fashion.
The September issue took the audience closer to ANNA and her VOGUE. The film focuses on the VOGUE September issue from the preparation to the listing process, and examines VOGUE from the protagonist WINTOUR and his subordinates. The film doesn't spend its time exploring fashion. Instead, it focuses on WINTOUR and the people behind the magazine. Realistically restore a flesh-and-blood VOGUE and WINTOUR (short hair, sunglasses, and eyes that can penetrate everything). Her aloofness, inhumanity and human weakness, etc. But WINTOUR's success is due to her determination and perseverance and a clear purpose in life from the inside.
People who have worked in magazines and photographers can find a lot of resonance and interesting inspiration from this film. The most interesting scene in the film is when WINTOUR found that the photographer of another group of hard photos did not finish the photos according to the established requirements, and called the photographer to the editorial department. The photographer went into WINTOUR's office and sat down and chatted, while WINTOUR looked ugly and didn't say a word. This scene became the turning point of the film.
The climax of the film is that CODDINGTON re-shoots the hard photo that was killed by WINTOUR. CODDINGTON pulled the film crew into the studio to participate in the shooting. From a photography point of view, I personally think this group is very creative (the crew posted a picture at the end of the film). Conversation between CODDINGTON, WINTOUR and the photographer of this film (Do you want to PS off the photographer's belly). Also give CODDINGTON a lot of extra points. These subjective and objective POVs have entered the fashion from the perspective of the audience, adding a human touch to the film, which is more real, and it is not blindly watching. It is indeed a veteran who has been in the fashion industry for more than 20 years (CODDINGTON has also worked with WINTOUR for more than 20 years).
From this film, I can deeply feel how filthy men in the fashion industry are, from the male editor-in-chief of VOGUE to the designers. These further highlight how strong and domineering WINTOUR is. Except for CODDINGTON who insisted on his own opinions in private, everyone obeyed WINTOUR. why? WINTOUR has a very charming personality. Second, she is very qualified. fashion queen. Interestingly, in 2008, WINTOUR wanted Hillary to be on the cover of VOGUE. But Hillary backed out, feeling too feminine. WINTOUR later wrote in the magazine:
"Many people think that women become more masculine and want to seize power. This kind of thinking is depressing and speechless." After
watching the film and writing these words, I became a fan of passers-by.
Fashion world in the eyes of fashion pope.
As is known before, ANNA WINTOUR has unuqie personal branding etches in the fashion world. And September Issue, a documentary by JC Cutler, as a peep into WINTOUR's fashion cosmos the way she sees, brings us WINTOUR's saber-like eyes, almost piercing your body while she's looking straight at you. Unlike the news stories and newspaper features which pulls more mystery on the lengendary editor and her magazine and fashion world she spearheads, this movie demystifies the icon.
The film walks us the smooth storytelling of the magazine from planning to shipping interwoven by narratives, interviews from WINTOUR's workmates & employees (running the gamut of fashion from editors to models to photographers to fashion designers), as testimonials to reinforce WINTOUR's epic clout over magazine AND in the industry, plus her magnetic personality. The story might as well resonates with some magazine fellows and photographers as they could find that feel and experience. But it's not the point. What counts is capturing an illusory and risky realism how professionals think about fashion pioneered by WINTOUR in their eyes, instead of runways and catwalk shows.
For me, a dramatic moment comes when WINTOUR throws a sober face to summoned prestigious cover photograher MARIO TESTINO, who fell short of photo shoot on at his will. Clearly, WINTOUR IS unhappy. That twist paves the way for CODDINGTON's creative reshoot thanks to an ironic kill by also capricious WINTOUR. WINTOUR made a right decisive desion again with her eyes.
Added up to a funny, warm and humaternian touch, texture and emotion is CODDINGTON, with experience spanning over 25 years and coworking with WINTOUR seeing VOGUE growth, ideates the crew (Bob the cameramen goes first) into an imporvised reshoot, metaphorically a fresh a closeup and POVs into the fashion waves symbolized by VOGUE. A closer eye straight on fashion. A little Behind the scene dialogue on whether retouch BOB's belly or not delivers another intersting dimension and to personalities of WINTOUR and CODDINGTON. They ARE humans and accessible. And CODDINGTON is funnier that icewoman.
In the film, eveyone shows obedience to WINTOUR, and the men looks womennish. Frankingly dismaying. Why? Partly because WINTOUR is much too powerful, even Queen falls behind her. And she is an super-over-arching fashion authority with laser-percing eyes.
After finishing up the movie and this review, I feel myself being in thrall with WINTOUR. Like a fan.
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