Last week, you may have had the pleasure of seeing the “The September Issue” at SCAD FASH Museum of Fashion + Film. If you didn’t see the film, then you need to add it to your list of must-see movies. “The September Issue” is a documentary that was released in 2009, but is routinely shown at SCAD FASH. The film follows Anna Wintour, American Vogue Magazine’s editor-in-chief, and her team as they prepare to release the magazine’s September issue.
As with any publication, it takes an army to produce — from conceptualization to physical print. Now, take the most iconic fashion magazine. It’s almost unfathomable the amount of work it takes. The drama and chaos that comes from editors, stylists, photographers, models, designers and everyone in-between is enough to make anyone go mad.
Though as Wintour continuously shows, there is rarely a problem that can faze her cool, icy demeanor — even overseeing a magazine that’s based in a trillion-dollar industry. She knows exactly what she wants or doesn’t. Quite frankly, she isn’t for the faint of heart. Despite being labeled as intimidating and cold, there is reason to Wintour’s methods.
When Wintour became the editor-in-chief of Vogue in 1988, the magazine desperately needed a revival. Having previously worked at Vogue (UK) Magazine, Wintour gained an insightful eye to what simply works and what doesn’t. American Vogue quickly began to pick back up and eventually became the forefront of the fashion revolution.
Wintour is credited for being ahead of many trends involving publications. Her choice to start using celebrities for covers, and not just supermodels, has led to some of Vogue’s most iconic covers — including this year’s September issue.
Wintour’s strategic plan and vision along with Creative Director Grace Coddington’s beautiful concepts, makes some of the most beautiful imagery within those pages. The dynamic duo is almost always together, sitting front row at fashion shows with Coddington’s playful mind marking down pieces to shoot, and Wintour’s expression neutral behind the iconic dark sunglasses.
The two are almost polar opposites — their frequent disagreements are highlighted in the film. Despite their differences, each have a great respect for each other and the type of work that they produce.
Wintour seems to edit down Coddington’s imagination and in turn, Coddington pushes Wintour to be a bit more open to opinions other than her own — which is nearly as difficult as moving a mountain. Not many question Wintour or her decisions, but Coddington charges right ahead without hesitation. She’s learned to just let things roll off of her without much disdain in a world that can be utterly brutal.
The film offers an interesting look into a world that not many know about, but everyone wants to be a part of. It also shows Wintour in a more intimate and personal way and reminds us that she is more than her legacy.