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Old 05-10-2011, 11:58 AM   #1
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Default mbt|The September Issue- Anna Wintour unmasked in

The September Issue: Anna Wintour unmasked in The real Devil Wears Prada - Telegraph
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The September Issue: Anna Wintour unmasked in The 'real' Devil Wear's Prada
Fearsome American Vogue editor, Anna 'Nuclear' Wintour allowed director RJ Cutler unprecedented way to film what really happens at the world's top fashion magazine.
BY Bryony Gordon |23 June 2009








Truth, it is periodically said, is stranger than fiction. When it comes to Anna Wintour, the fearsome editor-in- main of American Vogue, that is most certainly the circumstance. Does anyone memorize The Devil Wears Prada, the movie adaptedness of the novel about life at a New York fashion magazine, in which Meryl Streep played the despotic editor who reduced her staff to pudding, tears and occasionally, nervous breakdowns? Written by Wintour's former assistant Lauren Weisberger, everyone idea,0 it was based ashore her old employer, who has been at the helm of the magazine as,0 1988. But none really trusted that it was a true depiction of her. Surely Wintour - or Nuclear Wintour, as she is often referred to - wasn't that bad? Surely Streep's character was just a gross Hollywood amplification?
Related articles Fashion faces its coldest WintourVionnet exhibition opens in ParisHats, smart hats Anna Wintour’s devilish daughter Bee Shaffer is in charge
It would appear,0 not. For Wintour, 59, has taken the unusual tread of letting cameras film a documentary about the journal the New York Times once described as being "to our epoch what the idea of God was, in Voltaire's famous parlance, to his: whether it didn't exist, we would have to discover,0 it."
The result is The September Issue, a riveting and gorgeous film that makes The Devil Wears Prada look like an episode of The Care Bears. The cameras emulate British-born Wintour and her militia of editors for many of 2007, as they establish the biggest edition of the fashion year (the September issue, which that year had 840 pages, an incredible 727 of which were adverts).
Until this week, when it premiered at the Edinburgh International Film Festival, only a handful of fashion insiders had been allowed to see the 88-minute film. They had all been sworn to secrecy. For months the internet has been awash with assumption about the documentary, which earned mentor RJ Cutler a grand jury designation at this year's Sundance festival. The excitement circling it was enough for me to travel all the path to Scotland to watch it.
It follows Wintour approximately the shows - she famously once got Milan fashion week migrated to eligible into her timetable - and proves that she doesn't just flee a magazine: she runs whole,0 of fashion. When she meets the head designer by Yves Saint Laurent - a man we must infer to be reasonably powerful - she is disparaging ample of his collection for him to become flustered and rethink it; she has not qualms in inquiring Prada to "re-interpet" some of their designs. She does whole,0 of this in her trademark gigantic black sunglasses, precision-bobbed hair and Chanel suit, a see that has not changed as annuals. Wintour may affect fashion, but she apparently considers herself to be on it.
Anna - alternatively Ahhnna, like,0 her staff refer to her - does not speak quite many. There are only a few occasions when she speaks instantly to camera; her lasting poker face says extra about her than she ever could (tellingly she admits in her trans-atlantic drawl that she appreciated her father, Charles, a former redactor of the London Evening Standard, since,0 he was "inscrutable").
She darts out a shoot that cost $50,000 because she doesn't like it. When a stylist asks why the pictures of a model in a rubber outfit have been removed from a anecdote about "texture", the masterpiece director replies that for Anna, rubber is not a texture. Another staff member picks out a jacket from a rail and wonders out loud if her boss would like it, ahead analytic better of it. "No, of course she won't. It's dark. I could get fired for that."
Meanwhile, the magazine's publisher, Thomas Florio, when asked about Wintour's steeliness, has this to say: "She's just not procurable to people she doesn't need to be affable to. She isn't lukewarm, because she's engaged."
"It's like belonging to a mosque," says Candy Pratts Price, who runs the Vogue website.
"And Anna is the High Priestess?" asks the director.
"I would say she is more like the Pope."
Despite Wintour's all dominating presence in the Vogue offices, she is among by a hurl of colourful characters. There is Andre Leon Talley, her editor-at-large, a portly man who melodramas tennis in top-to-toe Louis Vuitton and complains of "a starvation of charm". Then there is Grace Coddington, a former model who likewise hails from the UK and began at the magazine the same daytime as Anna and is now her number 2. With brutal red hair and not a scrap of make-up on her face, Coddington could not be more differ to Wintour. Their relation,0 is intriguing. Coddington is perhaps the only person who stands up to Wintour (staff members really do spread out of her way, and when one designer meets her, his hands are shaking) and Wintour clearly respects her for that. At the end of the film, the editor-in-chief reluctantly concedes that she could not live without Coddington.
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"Mario didn't favor the Colosseum," says one assistant, and you half anticipate Wintour to demand that it is rebuilt.
So how on earth did director RJ Cutler get Wintour to agree to be filmed? "This will come as a shock to you," says Cutler, "but all I had to do was ask." Cutler produced The War Room, the 1993 documentary about Bill Clinton's presidential movement. Who was more frightening? Neither, he says. Did she like it? "I think it would be just to say that she would have made a different film to the one I did." Did she tamper? "Of course she did - she's Anna Wintour. But at Sundance she said 'I made numerous suggestions to RJ - but let's face it, it's his film.' I adore her for that."
They are still in touch. "She is amazing really," continues Cutler. "She is like an historical diagram that hikes amongst us. I forever unravel her this way: you can make a film without Steven Spielberg's congratulating, you can generate some software without Bill Gates' blessing, but you can't get into fashion without Anna Wintour's blessing."
Some have suggested that this may be Wintour's last year as Editor-in-Chief at American Vogue; the September Issue would surely serve as a supreme deed of self-commemoration. But, for a documentary about fashion, there is a amazing poignancy to it. On the surface Wintour may seem ice chilly, but her demeanour is underpinned by a deep insecurity. She says that "human are scared of fashion - because it scares them they put it down. They mock it because they are not part of it." Her siblings all have serious jobs - one of her brothers is the political editor of the Guardian - and she thinks that "they are very amused by what I do." She looks beautiful grim-faced as she says this.
Wintour has never struck me as the variety of person who would quest acceptance from anyone - she leads, everyone follows - and but here we see her desperately craving acceptance from her home. It is sad; touching even. At one point we meet her charming daughter Bee, who ambitions to go into Law, despite her mother's keenness that she ought become an editor. "Some of the people in there [the Vogue office] act as if fashion is life," says Bee to the camera at one point. "And I kas long asit is really amusement, and amusing. But there are other things out there."
Deep down, her mama would most probably admit.
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