One influential female editor and front-row fashion icon is often witnessed sitting stolidly cross-armed, her head swiveling side to side akin to observing a tennis match, veiling interest or disgust behind oversized sunglasses — her immaculate, unaltered trademark pageboy bob circa 1963 reflect upon her high standards requiring nothing short of perfection. Her powerful influence backed by 21 years of experience comfortably nestles her at the near pinnacle of the fashion industry’s hierarchy. In essence, anything she says goes.
Fashionistas know of and fear the anonymity behind Vogue’s acclaimed editor in chief, Anna Wintour — purported “Ice Queen,” “Sun King” and “alien fleeing from District 9” — who instigated the meteoric rise of Vogue and resulting immodest fashion shoot budgets and daily lunches from Balthazar. But someway, somehow, director R.J. Cutler (“The War Room”) infiltrates and thaws the ice wall that is Vogue to expose the uninspiring inner working of Vogue and its relatable mortal boss in “The September Issue.”
This business-oriented documentary observes the tantalizing assembly of Vogue’s largest — 840 pages — 2007 issue. R.J. Cutler tastefully and adeptly pieces together documented segments to expose the rather unglamorous, frantic lives of editors — eyes are sunken, weathered by the years at Vogue and their frazzled hairs accompany homely attire. It’s apparent that Hollywood feigns the romance of 4 Times Square, omitting the reality of tight deadlines, labor-intensive photo shoots and cramped offices and cubicles of high-fashion, high-paced magazines.
On the 12th floor, behind the glass doors of Vogue, editors and interns scramble within organized entropy to fashion work on par with Anna Wintour’s seemingly mercurial standards. Editor after editor, all too often, are subject to the sovereignty of an un-spectacled Anna Wintour, who indirectly approaches rewrite and redesign requests by posing questions pertaining to the piece’s flaw.
If Anna Wintour is piqued by the choice of clothing or a model’s posture, she, without second thought, will quickly throw out the $10,000 shoot and order a re-shoot — even with the recent McKinsey consultation, as Cond? Nast looks to adapt to the recession, egregious budgets will be archaic.
Cowering at Anna’s whim, even A-list designers conform to her opinions of their own collections on what should and should never cross the runway come Fashion Week. As quickly as the model steps onto Oscar De La Renta’s private runway for Anna’s critique, the Vogue editor in chief has come to a conclusion — excise the mundane final look.
With swirling rumors of a declining fashion industry, climbing to the top and remaining there requires nothing short of mercilessness coupled with dedication and authority that parallels Madonna. For Anna to have propelled and maintained Vogue at the near apex of today’s media-saturated era, she must be doing something right. Even Grace Coddington, who is privy to dispute Anna’s decisions, admits Anna’s proficient decisions — regardless of her unsympathetic air — kept them employed.
Life, for Anna, is fashion. Her placeholder in this world governs the pleasantries of vanity that, comparative to her siblings, runs shallow. Her two brothers and sister retain significant power in governing, political journalism and trade union careers, impacting lives that run deeper than mere entertainment. An interview-turned-confessional in “September Issue” makes it apparent that Anna’s unexpressed desire to live up to her family’s standards when the camera momentarily freezes on Anna’s fleeting grimace and turn of the head away from the camera upon admitting her siblings find her job “amusing.”
It’s a wonder why Anna Wintour suddenly decided to demystify the mystery of Anna Wintour in the most revealing means possible, allowing camera crews to follow and hover over Vogue employees for months. Could it have to do with rumors that Anna may be replaced? It’s likely that Anna Wintour is pushing the Vogue brand as Elle had done with “Stylista” and Marie Claire had done with “Running in Heels.”
R.J. Cutler’s “September Issue” staves preconceptions surrounding the queen of fashion, going as far as revealing Anna Wintour’s life outside of Vogue at her Long Island home. She understands the market for fashion and expects perfection. If “Ice Queen” and “alien” are arsenals against her demanding but effective work ethics, so be it. She’s the reigning editor in chief of Vogue and you’re not.
4 1/2 stars out of 5.
