The September Issue Page #3

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out of date.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.

Rate this script:3.0 / 1 vote