The problem with Wintour is that she doesn't use the unending resources around her. One person commanding creative control is going to produce redundant shit, which is what happens at Vogue. Also, everyone young seems to be in mignon positions. Working in creative, I know you have to tap into younger people, not just because of their youth, but because of their eagerness.
I think the most revealing piece is the Daddy quote. To think that her entire career (and life) has been the result of her father saying 'You're going to go into fashion; you're going to edit Vogue,' presumably when she was a teenager, seems to indicate a huge lack of self-examination. I am constantly surprised by people who still associate "success" in life with job title.
'In addition to replacing stylists, trashing finished shoots (including one with Hilary Rhoda and Chanel Iman, which never saw the light of ink), pre-approving all styling choices, and demanding a full, un-edited selection of shots from the photographers Vogue works with, she nay-says fonts. "This type seems so large, and pretentious," she mutters. "It looks like it's for blind people." '
Er, yeah - that's what all magazine editors do: edit the magazine. At least, every single one I have worked with.
I saw a screening this week, and it's so juicy, I loved it!
I have a new dislike for anything AW though - but an enormous love for Grace Coddington, who is everything Anna isn't (warm, passionate, romantic, creative).
Sienna Miller is not going to pleased I think (her hair is 'problematic' and her teeth are too English). For the life of me, I don't get why AW picked her again as a cover moddle this month if she dislikes her that much.
"Details of your incompetence do not interest me. Tell Simone I'm not going to approve that girl that she sent me for the Brazilian layout. I asked for clean, athletic, smiling. She sent me dirty, tired and paunchy. And R.S.V.P. yes to the Michael Kor's party. I want the driver to drop me off at 9:30 and pick me up at 9:45 sharp."
What occurs to me is that, even in the minute or two of video I watched here, in one fell swoop the mystique that surrounds Anna Wintour for me is gone. I think it was a mistake for her to do this, unless she is okay with losing some of that with The Common Folk Like Me. She comes off as yet another demanding, annoying, kvetchy boss.
It nice that someone can confirm for me, through diligent research, that the editorials and the ads are often the same in each issue and that the editorials are the same issue to issue. I always suspected but never cared enough to check.
@sportz.star: This also happens because some design houses require their clothing to be shot as total looks- not mixed with other designers' clothing. Et voila, advertisement-like editorials.
@greygreygrey: Sure, if you're random-magazine-X and you've never pulled from Prada before, their PR department is going to rake you over the coals for breaking up one of their looks. But one of the perks of being American Vogue is an insulation from that kind of pernicious dictation. If Vogue's stylists wanted to create their own looks, they could. Other Vogues do.
I saw this at Sundance this year (Ms. Wintour and her daughter were at the screening too - AW in JEANS & fur). IT IS SO GOOD. She isn't painted in a negative light at all and there are moments of real warmth (weird, I know). I walked away feeling I got a well-rounded look at how Vogue's biggest issue, the one for September (hence the title of the film) is put together. The working relationship between AW and Grace is the meat of the film because they both really need each other to be as awesome as they are at their respective jobs. Highly recommend parting with your $12-15 to see it in a theatre.
I look forward to seeing this. And, it sheds some light into why American Vogue has been seriously lacking for years. One person controlling creative content makes for a very narrow viewpoint and is just plain stupid, really, from a financial and managerial perspective. The best creative managers are the ones who listen to those around them. I'm sure she has an unending supply of talented resources.
How can Vogue turn a profit when Wintour demands that the same photoshoot get redone three or more times? Isn't it really expensive to stage a scene, hire a fancy photographer, get the hair, makeup, fashion people signed up, etc? And is the pic above the one that got cut or the one that AW finally accepted?
Also, I kind of want to buy purple tights now. Is that weird?
Poor Anna wants to kill the shot with photoshop. The composition of the Jump Shot totally hangs on the cameraman's tummy. He's echoing her shape. It's the old compositional formula of round meets pointy. (See also the Trilon & the Perisphere, and American Gothic.)
Wow. She comes from a very accomplished family. Her remark that they find her work amusing seems almost like she also considers her work inferior to theirs. It would definitely be tough at the holidays to discuss what everyone is doing.
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Er, yeah - that's what all magazine editors do: edit the magazine. At least, every single one I have worked with.
06/25/09
I have a new dislike for anything AW though - but an enormous love for Grace Coddington, who is everything Anna isn't (warm, passionate, romantic, creative).
Sienna Miller is not going to pleased I think (her hair is 'problematic' and her teeth are too English). For the life of me, I don't get why AW picked her again as a cover moddle this month if she dislikes her that much.
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Wonder if Plum(b) Psycho is featured in here? The trailer's too grainy and quick for me to see properly.
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also - i don't know how you are as a model (i'm sure you're great) but as a writer, tatiana, you rock!
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Sorry, I had to.
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MODDLE#2: I THINK IZ ' TARD '
OOPS! WUZ DAT SWEETNUR OR REEL SUGGAR? MODDLE NO CAN HAZ SUGGER
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Also, I kind of want to buy purple tights now. Is that weird?
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