The September Issue
I think what 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
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
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
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...
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 f***ing house.
I was discussing my September shoot
with Steven Klein.
I think he
really likes this location.
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"The September Issue" Scripts.com. STANDS4 LLC, 2024. Web. 21 Nov. 2024. <https://www.scripts.com/script/the_september_issue_21283>.
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