• Today in pointless clothing lines of the stars: Miley Cyrus and Max Azria's Wal-Mart collection! The digs look well worth every penny of their sub-$20 price point. [Lucky]
• Now, even the Kings of Leon has one. [Blackbook]

• Lady Gaga wants in on the action. On starting a clothing line, she told Flare magazine, "At some point, I will. Right now, I'm more concerned with using my fame to promote young designers such as Gary Card, an artist who designed a piece I used on stage." Why would she do such a thing? "There hasn't been a commercial artist lately that has embodied avant-garde and couture so insistently as myself." [ONTD]
• Gaga has one new position to console herself with: M.A.C. Viva Glam AIDS fund face. Cyndi Lauper will co-star in the campaign to sell lipstick and raise money for research. [WWD]
• The British Fashion Council and British Vogue are launching a fashion prize to encourage young talent, somewhat along the lines of the American Vogue/CFDA Fashion Fund awards, which kicked off in 2003. £200,000 will be awarded to one UK designer who can demonstrate he or she has international stockists, a media profile, and demonstrated need of the money. [Telegraph]
• Angelina Jolie and Shiloh are apparently fans of Stella McCartney's line for GapKids. [Radaronline]
• That Christian Louboutin made his first public appearance in Washington, D.C., under Obama's watch is no coincidence. "For eight years I was invited, but I never wanted to come before. I never wanted to come with Bush," says the shoe designer. "I'm looking forward to coming back — at least for four years." We really want to make a crack about voting with your feet here. [WaPo]
• Roberto Cavalli: "All over the world people don't treat me like a fashion designer; they treat me like a rock star… I can't walk down 5th Avenue without being treated like a rock star. In fact, maybe it's more… Many times I've walked down 5th Avenue with rock stars and nobody pays attention to them. It's very strange." [FWD]
• Gisele Bundchen passed the written exam portion of her pilot's license. Although heavily pregnant, and "Almost too big to fly," according to her instructor, she's still making supervised practice flights up to three days a week. [People]
• Karolina Kurkova has given birth to a baby boy. [People]
• Kelly Osborne: Fan of Spanx. [People]
• Christian Siriano says his new reality TV show will reflect the best of several recent high-profile fashion documentaries. "It's very like The September Issue, very Valentino [The Last Emperor]. We want it to be as cool and as real as possible." Apparently, September Issue director R.J. Cutler wouldn't touch the project, but he did advise Siriano "just to be real." [The Cut]
• Sadie Frost's clothing line with Jemima French, FrostFrench, is opening its second store in London's Soho. [WWD]
• A real ad man of the 1960s has some bones to pick with Mad Men's treatment of the brand London Fog. So an employee of an industry that manufactures fictions objects to a fictional show's fictionalizing history? We shake our heads at the irony. [AdAge]
• JC Penney is being sued for trademark infringement by the retailer New York & Company. New York & Company says Penney's new "NYC Style" slogan is too close to its "NY Style" advertising tag line. [WWD]
• Can Sir Philip Green conquer America? [Bloomberg]
• Polo Ralph Lauren reported a 10% rise in second-quarter profits. [TS]
• Bata shoes was, before Communism, an international brand headquartered in Slovakia. The company town isn't doing so hot right now, with the economic transition and the competition from Asia. [BussinessWeek]
• Liz Claiborne may have had seven consecutive quarterly losses, with the announcement of an eight expected next week, but C.E.O. Bill McCombs doesn't have to worry about one thing: his job security. McCombs recently had his contract renewed for another three years. It's not an unusual strategy: only 38 companies in the S&P 500 have replaced their C.E.O.'s in the year to September 30, down 10 on the same period last year, despite the trying economic times. [WSJ]
• Not so lucky is Missoni's general manager, Massimo Gasparini. He has been let go and his position will not be filled. [WWD]

• As predicted, Beyoncé will have a fragrance by springtime. For the rights to her name, Sasha Fierce is set to earn up to $20 million over the next three years. [WWD]

• Marc Jacobs didn't invite Madonna or Lady Gaga to his runway show — they asked to come, and he acquiesced. Would have been pretty awkward to turn your campaign model (Madonna) and after-party performer (Gaga) down. [WWD]
• In addition to doing a line that will sell exclusively on eBay, Narciso Rodriguez — who lost his financial backing last year — is doing more dresses that will retail at less than $1,000, rather than $1,800 and up, his typical price point. [WSJ]
• Carolina Herrera did a "Got Milk?" ad with her daughter. [JustJared]
• There is no better demonstration of the phenomenon of a collection becoming overexposed and untrendy before it even hits the stores than Pink and Shakira both attending the Video Music Awards in the same Balmain leather-and-chains minidress. It wasn't the label's flacks' fault, however: while Shakira borrowed the dress, Pink ordered it herself online. [WWD]
• Bee Schaffer took the place of her mother, Anna Wintour, at the Thakoon show on Monday afternoon. Is she as set on a career in the theater as she seems? It's hard to read about a thing like that without hearing Wintour's voice in The September Issue: "We'll see about that!" [NYObs]
• Freida Pinto popped up at fashion week to go to a party at the Harry Winston store. [WWD]
• "I am calm! I am a calm person!" is clearly not the kind of thing one should to have to shout, but if Russell Simmons couldn't get a seat at Charlotte Ronson, that definitely explains why I, a ticket-holder, couldn't even get into the show. [Radar]
• Rachel Zoe's QVC collection sold out within minutes. But fear not, for she of the sharp clavicle will be back on the idiot box on October 10. [People]
• Likewise, if you weren't refreshing your browser to buy Anna Sui for Target Sunday when the collection went live, you may now be out of luck. [Crain's]
• Ramona Singer, professional Housewife, is launching a jewelry line with the Home Shopping Network. [People]
• Urban Outfitters' president and founder Dick Hayne sold $50 million worth of his company shares. [TS]
• A Chinese company that embroidered the text, "In the name of God, the compassionate, the merciful" on jeans has seen its wares seized in Iran. The importers were arrested. [Guardian]
• The U.N. has recognized Indonesian batik fabric as an element of the world's cultural heritage, and added it to its Intangible Cultural Heritage list. [NYTimes]

• Two weeks after adding Nicolas Cage's home to his sheaf of L.A. properties, Ed Hardy designer Christian Audigier has announced he's moving into Michael Jackson's last residence. Audigier will rent the $38 million home from his C.E.O., Hubert Guez. [E!]

• The glove the late King of Pop wore to marry Debbie Rowe has sold at auction for $49,000. [TMZ]
• "I love Japan. I love the people, the shopping, the fashion. I think they have so much fun with fashion...they don't take it too seriously," says Nicky Hilton. Don't take fashion seriously? Because insanely awesome and carefully cultivated street fashion just happens. [WWD]
  
• Mad Men's Christina Hendricks tells InStyle Weddings about her planned wedding to actor Geoffrey Arend, and specifies the designer (Carolina Herrera) and the look (Sophia Loren) of her wedding dress, but doesn't let it be photographed. [People]
• Lily Cole is a model, who is also (very) smart. The Daily Mail took a break from publishing finger-wagging paparazzi photos of her and scurrilous scuttlebutt about her to notice these facts. [Daily Mail]
• Nanette Lepore would like you to remember Labor Day by saving New York's Garment District from rapacious commercial exploitation. [NYTimes]
• Juicy Couture co-founder Gela Nash-Taylor doesn't drink out of common Starbucks cups. She has her own paper cups, because "I'm so into monogramming. I'm doing it on everything right now." [ToL]
• More than 800 stores across all five boroughs are involved in Thursday's shopping-with-fun event, Fashion's Night Out in New York City. Other regional and international events are also planned. [BrandWeek]
• Karl Lagerfeld will be tending the Chanel store with Carine Roitfeld in Paris, for example. [WWD]
• R.J. Cutler's documentary, The September Issue took in more than a quarter of a million dollars over Labor Day weekend. The $40,000 per-screen average makes it the fifth-highest-grossing documentary ever made. [AdAge]
• Meanwhile, Studio 360's Kurt Anderson says that based on the film, the fashion world is "amazingly old-fashioned, like some royal artifact from the 18th Century." [Studio360]
• The Los Angeles Times says the film "charts the intersection of art and commerce with a perhaps inadvertent eye for an excess that wasn't to last." (I am quoted in this article, proving that if you write long enough and, well, long enough on the Internet, someday someone will mistake you for an expert in something.) [LATimes]
• Anna Wintour, for her part, says that complaining about the sea change in the fashion industry that has taken place since the filming of that documentary is "like talking about that house you could've bought for nothing on the beach in Southhampton. Forget it. It's gone. The amazing golden years that everyone in the industry was enjoying were fantastic from a business point of view but also maybe a little unseemly. Every celebrity thought she could be a designer, and how many handbags? How many shoes? How much of a thing does everyone really need?" Then Wintour goes to the Macy's in Queens where she will be — on Mayor Bloomberg's orders that the event not smack of elitism — kicking off Fashion's Night Out, and upon surveying the scene, asks in a horrified voice, "Can we...enhance?" [NYMag]
• Sixteen months of declining same-store sales at the department store chain might make the budget for those "enhancements" leaner, however. [BW]
• And retailers in general, after an apocalyptic fall and winter, and a barely-improved spring and summer, are hungry for the fall sales boost that events like Fashion's Night Out are aiming to provide. [WWD]
• WWD has a beautiful, subscription-only, series of photographs of various New York designers as they prepare for fashion week. Alex Wang looks radiant and un-stressed, but the same can't be said of the male models snapped lining up for a casting at Yigal Azrouël. [WWD]
• Naomi Campbell would like to point out, for all those who called her hypocritical for modeling fur in Dennis Basso's fall campaign, that she actually quit PETA years ago. So her hypocrisy has weathered a few seasons now — like a vintage mink. [SB]
• More bad news for Annie Leibovitz: the practically-bankrupt photographer is being sued by an Italian photographer, Paolo Pizzetti, who claims that Leibovitz used his pictures without consent — or payment — for a Lavazza coffee campaign. Since Leibovitz could not travel to Italy to complete the shoot, which features images of models in romantic poses in front of Italian landmarks like the Trevi fountain and the Piazza San Marco, she had Pizzetti scout locations and take snapshots for her. Then Leibovitz shot the models in a New York studio, and digitally stitched the fore- and backgrounds together. Pizzetti says he was never paid for the rights to his contributions. [AW]
• Lady Gaga is reportedly set to perform during New York Fashion Week at an after-party for Givenchy hosted by Out magazine and to be held at The Box. [WWD]
• On the night of the 13th in New York, a short teaser film for Spring '10 by Gareth Pugh will be screened at Milk studios' M.A.C.-sponsored fashion shows in Chelsea. Although the first screening will be invitation-only, the second is open to members of the public who register on M.A.C.'s Facebook page. [Style.com]
• And newly-minted director Christian Louboutin just wrapped filming on an advertisement for Piper-Heidseick champagne starring model Elisa Sednaoui. [WWD]
• Manolo Blahnik says he never wanted to be a celebrity designer, and blames Sex And The City for his unwilling transformation. "If people talk to me about Sex And The City, I get sick," he told the Telegraph. "The taxi drivers recognize me now. It becomes too much and I don't feel comfortable." [PC]
• Sojin Lee's new online fashion venture, Fashionair, has launched. Lee last worked for Net-A-Porter, and her backer is Simon Fuller's company. [Forbes]
• Giorgio Armani designed a custom costume for a Spanish matador. It's grey and spangled. [Telegraph]
• Despite growing sales, profits for 2008 at Armani shrank by 41.4%, to $188.3 million. [WWD]
• Harold Tillman, a British fashion businessman who already owns Jaeger, has apparently acquired the bankrupt house Acquascutum. [ElleUK]
• Tom Binns for Disney might seem like a weird combination, because, well, it's a weird combination. [WWD]
• The Ebony Fashion Fair, an important industry event for black designers and models, is canceling its fall tour. The largest traveling fashion show in the world, Ebony helped launch the careers of talents like Kevan Hall and Tracey Reese, and raised money for various local and national charities including the NAACP and the Urban League. The economy is the culprit. [Examiner]
• Milan Fashion Week has been thrown into "chaos" by a series of re-schedulings to avoid schedule conflicts, which begat new conflicts and new re-schedulings, and then yet more conflicts and re-schedulings. [WWD]

• Naomi Campbell: "Unfortunately, we are the same as before...People, in the panic of the recession, don't dare to put a girl of colour in their campaign, full stop. Nor of any other race. It's a shame. It's very sad." [Telegraph]

• Designer Tara Subkoff is on the mend following the removal of a benign brain tumor: speedy recovery! [NYPost]
• Let the wild rumpus begin! Hipper-than-thou retailer Opening Ceremony, no stranger to the celebrity vanity project, is carrying a line of faux furs inspired by, yes, Where the Wild Things Are. We're more inspired by the dough suit in In the Night Kitchen, personally. [W]
• Speaking of Opening Ceremony: its Tokyo store opening was predictably sparkly and Olsen-studded. [WWD]
• Apparently high-end retailers - think Tiffany and Neiman's - have taken to holding secret sales for VIPs, so as to get the biz without "diluting their brand" with vulgar door-busters. [TimesUK]
• What does Maria Sharapova like to do? "I'd probably have to say shopping and eating...I mean, I am a girl after all, and there's no better place than New York to shop." What, no chasing men with a sassy sidekick? [WWD]
• TopShop is getting into workout clothes. Because we know we like sweating in "chenille." [WWD]
• "Themes of youthful disdain and playfulness continue in Victoria Beckham's second film for her A/W 09 collection," which you can watch. We don't know about the "disdain," but it's pretty cute. [Dazed Digital]
• Sara Ziff, on her documentary Picture Me: "(T)here's a hierarchy when you pair a 45-year-old male photographer-and many of the photographers are older, heterosexual men-with a 15-year old girl. And I think in a way you're asking for trouble if that girl is totally unsupervised, living miles away from friends and family. It's kind of a no-brainer. There should be some protection for these girls." [Mother Jones]
• Temperley of London is launching an affordable (no, really!) line of their ultra-cool duds, coming this spring. [New York]
• Grace Coddington, on The September Issue: "But my very favorite scene is when Raquel [Zimmermann, the model] was eating pies at the couture. She kept looking at them and saying she wanted one, while we were lacing her into this tiny corset and reminding her she wouldn't fit if she ate one. So she didn't eat them ... and she didn't eat them. Then when the shoot was over she ate, like, a whole pie! It's a funny scene, and she looks absolutely beautiful." Well, yeah: that box of pastries was just sadistic! [New York]
• Wait, what? In that doc, Anna Wintour's daughter, Bee Shaffer, says she wants to be a lawyer. Now, apparently, she's working in theatre. Lady's prerogative, we suppose! [NY Post]
• Well, thank God. Pamela Anderson's addressing the serious dearth of celebrity perfumes, launching "Malibu by Pamela" this fall. [New York]
• Kim Kardashian: "My YRB magazine shoot just came out and I am loving the results! "I really love the transformation and the clothes were amazing!!! This has got to be one of the most unique shoots I've ever done! Not sure I'll ever go for a permanent short cut, but it definitely works for this shoot." She looks kind of like Karen O, weirdly. [People]
• Speaking of covers: if you buy the special Lady Gaga issue of V, you can peel her New Wavy glasses off the mag and wear them yourself! Or, you know, not. [New York]
• Model Lily Cole, who's taken a hiatus to go to university: "I like learning. I was going to do social and political science, then I switched to history of art, but I could have done either. I can get impassioned about politics, but I find studying it can lead to a boxy way of looking at the world, so I was put off studying it." [TimesUK]
• Peter Som on his scaled-down collection: "I have to make sure that every piece I design is special and unique," Som says. "People don't come to me for basics. They come to me for print and for color and for happy clothes." [New York]
• Um. For Fashion's Night Out, which we're almost starting to buy the hype for, Calvin Klein has commissioned "a performance by CK One model Jamie Burke and his band, Burke." That'll pack 'em in. [WWD]
• Alleged designer and convicted rapist Anand Jon is about to learn his fate: he could get life. [Yahoo]
• Michael Kors' description of his trip to South Africa is exactly what you'd guess if you were parodying Michael Kors describing a trip to South Africa. "We saw the big five (lions, leopards, rhino, elephant and buffalo) within the first two days. Truly mind blowing. Chilled out midday at the spa and one day even ended up doing an impromptu yoga session in the bush next to the Jeep." [WWD]
• Tyra sports Alexander Wang on ANTM, leading fashionistas who speculate that she'll start supporting more high fashion. But Ty-Ty is a fickle mistress! [Fashionista]
• Department store shoppers, take note: Miranda Kerr was momentarily blinded by a spritz of "Heavenly Enchanted" perfume at the scent's launch. [NYPost]

The film, which opens today in New York and in other cities on September 11, follows Anna Wintour and the staff at Vogue during the eight months it took to construct the September 2007 issue, the largest magazine ever produced. It's believed that Wintour allowed director R.J. Cutler, who produced The War Room, such unprecedented access because she was trying to rehabilitate her image after The Devil Wears Prada or because her contract is up this year. Many reviews mention that Wintour comes off as cold and direct, but there aren't really any outrageous diva moments. However, creative director Grace Coddington emerges as the hero of the film.

Coddington is a red-haired former model from North Wales whose career was cut short by a car accident. She and Wintour started on the same day at Vogue, and she is now the only person who routinely stands up to her. Though some critics complained that the film's focus on their workplace conflicts isn't really all that dramatic since there was never a question as to whether or not the issue would be completed on time, most said it was entertaining. The film doesn't offer a scathing expose of Wintour, Vogue, or the fashion industry in general, but for those fascinated by how Wintour influences desigers' collections or why she decides to reconstruct Sienna Miller's cover shot in Photoshop, it's the most revealing portrait we're likely to see.

Below, check out what the critics are saying:

Variety

Some juicier behind-the-scenes drama and a more revealing examination of the creative process might have bulked up The September Issue,... But what remains is still a dishy and engrossing peek inside the fashion world's corridors of power — every bit as slickly packaged as the publication it seeks to uncover — that should rivet couture enthusiasts in endless trips down the cable runway... Like the hit movie version of The Devil Wears Prada, The September Issue often resorts to bubble-gum montages (edited by Azin Samari), hurling evening wear, headdresses and pop songs at the screen and inviting the viewer to get lost in the magnificent chicness of it all. The clothes are fab, to be sure. But a more rigorous, analytical approach would have offered more insight into Wintour's aesthetic criteria (about the only concrete thing we learn is that she likes fur and hates black) and reinforced her belief, shared early on, that fashion is more than just expensive fluff.

The Hollywood Reporter

Cutler navigates Vogue's predominantly feminine realm with aplomb, concentrating as much on the magazine's publishing process as the fashion angle. His observational approach captures a wealth of revealing moments between magazine staffers, designers, photographers and stylists, sometimes to the participants' palpable chagrin... The digital production clearly benefits from the format's mobility, as cinematographer Bob Richman seeks out subjects' most telling glances and gestures, then opens the frame to absorb the glamour and excitement of haute couture fashion shows and photo shoots. Editor Azin Samari stylishly distills hundreds of hours of footage into a vibrantly energetic narrative.

Time Out New York

The people on display here are neither lionized nor criticized. Cutler just lets them be, and so our interest lives or dies on how fascinating we find the world they belong to. Indeed, once you're hip to Wintour's approach (cruelly cold and distant in the office, benevolently cold and distant at home) she becomes a fairly monotonous presence. The doc's breakout star is Vogue creative director Grace Coddington, a former model whose plain appearance (the end result of a horrible car accident) and frumpy clothing belie her genius for fashion. She counters her boss every chance she can get and provides the film with a much-needed emotional center.

The Wall Street Journal

Despite the movie's use of bulletins, apparently to add a sense of urgency and suspense to the proceedings-three months until the close of the issue, six weeks, a month, a week, etc.-it's a completely false sense of urgency. None of the doings on-screen suggest a desperate race against the clock. A larger problem is that fashion is all about the moment-thismoment. The September Issue is old news, all the more so given the recent recession-driven transformation of the magazine landscape.
Because Ms. Wintour's lightest word is law-this keeps meetings brief and conversations briefer-and because the magazine's staff communicates in the shorthand of glances and gestures and seems experienced at heading trouble off at the pass, nothing much happens in The September Issue.

New York Post

R.J. Cutler's documentary never does catch Wintour lashing an assistant with her belt or any of the other dirty doings you know she gets up to when there isn't a camera in her face. But if a syllable could kill (and it can, can't it?), the movie would be the Texas Chainsaw Massacre of the stiletto-heeled and dagger-toothed... Wintour evidently consented to the film as counterpropaganda to the movie The Devil Wears Prada, which came out the year before, but that strategy is like curing a whiskey spree with a beer. The September Issue is milder, but its cast of husky-voiced women and shrill men still generate plenty of chuckles.

Time

Is it possible that Wintour isn't so much a sponge-squeezing killjoy as simply ... an editor? She names decisiveness as her greatest strength, and the movie shows her making good decisions, rapidly and repeatedly. The first picture Wintour vetoes from Coddington's treasured shoot is distractingly fussy and rococo. Grace mopes, but the magazine benefits. At the film's climax, Cutler plays up the drama of Coddington's refusal to allow an appealing but not-quite-model-standard image to be digitally nipped and tucked at Wintour's request. It's lively storytelling, except that Wintour's suggestion seems more like playful banter - an attempt to be charming for the documentary crew - than an edict.

NPR

Though most will visit R.J. Cutler's subtle, supple documentary hoping to peek beneath the formidable bangs of Vogueeditor Anna Wintour, they will be disappointed: This is a movie whose ambitions range wider than the contents of her guarded psyche... But a life dedicated to selling outrageously expensive clothing to averagely compensated women demands a personality programmed to repress, and the portrait that emerges is that of a brilliant and influential woman whose mind is as masked as her runway-show presence. We see no partner, no home life, no friends and no indication of her beliefs or worldview. Whenever a flicker of emotion disturbs her glacial surface, it's quickly contained: a flash of defensiveness when comparing her work to that of her siblings (a political editor at The Guardian, a low-income housing advocate, a labor organizer), and a fleeting sadness when her daughter, Bee, announces a preference for legal briefs over the designer variety. If Wintour's prodigious self-control were the primary emotion on view, The September Issuewould quickly alienate all but the most Ungaro-obsessed. But Cutler - and his movie - are clearly more drawn to the magazine's senior creative director, Grace Coddington, whose gorgeous layouts are continually getting bumped in favor of the celebrity du jour.

Entertainment Weekly

Is she a diva, a bitch? The devil in Prada? (If my eyes don't deceive me, she seems to prefer Lagerfeld.) Well, she's a devil only if you think there's something nasty about a woman who's paid a royal salary to elevate her every whim into a command. The September Issueis organized so that we observe the ruthlessness, the high perfectionistic logic, of each decision Wintour makes. There's not enough color in that collection! Why does this layout feature only one fur garment? - it looks out of place! "I don't see any real evening on that rack," she tells a quivering Yves Saint Laurent designer. No casual comment about after-dark wear was ever such a threat. Yet Wintour isn't mean; she simply means what she says.

If she were just pushing people around, we might look on with derision (or fear), but part of the movie's dishy fun is that there's room for more than one ego in the room. André Leon Talley, who is Wintour's consigliere and editor-at-large, isa bitch (I mean that as a compliment), a witty postmodern man so neurotic about swaddling his giant physique that he can't play tennis without draping a designer towel over his shoulders. And if Wintour is the film's subject, its true heroine is Grace Coddington, Vogue's passionate and addled creative director. A former model (like Wintour herself) who rose up in the 1960s glory days of swinging London, Coddington now looks like a Pre-Raphaelite ghost. It's she who orchestrates the magazine's photo shoots, which are like eroticized couture dioramas that fuse the past and the future... I came away from The September Issue liking Anna Wintour more than I thought I would, but mostly with an appreciation for her mission: not just to sell magazines, to market clothing and style, but to give femininity its sheen.

Salon

R.J. Cutler's vibrant and mischievous documentary The September Issue is only partly a movie about fashion. At its heart, it's really a movie about work, about the ways individuals compete with, grate against and inspire one another in the workplace. What really drives Cutler's picture is the dynamic between Wintour and her right-hand woman, creative director Grace Coddington, who has, for more than 20 years (she started at American Vogue at the same time Wintour did, in 1988), been the mastermind behind the magazine's most imaginative fashion spreads. Wintour may be the elusive minx who first captured Cutler's interest. But with Coddington as the other half of this highly mismatched tag team, Cutler has struck documentary gold. Coddington — a former model and flame-haired Welsh giantess who pads around the Vogue office in billowy black trousers and sturdy flat sandals, a chic but earthbound contrast to Wintour in her tiny, fur-trimmed jackets and spiky heels — is the not-so-secret star of The September Issue. Radiating equal parts flamboyance and good common sense, Coddington needles Wintour in a way no one else on staff dares. Their working relationship is an uneasy chemistry of mutual regard and know-it-all stubbornness, a fascinating model — not easily described, nor, alas, readily reproducible — of the way creativity and friction can coexist in the workplace.

The Village Voice

The quick peeks into Her Highness's inner life break up Cutler's too-often-rushed, montage-heavy countdown of the frenzied months leading up to that behemoth issue's close, capturing the desperate attempts of Voguestaffers to please their boss and their singular, gnomic pronouncements at meetings: "The jacket is the new coat." Even Vogue's queenly editor-at-large, André Leon Talley must bend to Madame's will, explaining his presence on a tennis court: "Miss Wintour said I had to lose weight. What Miss Wintour says, goes." But not always. Grace Coddington, Vogue's creative director and the only one who dares to say no-if not always directly-to Wintour, emerges as The September Issue's true star, or at least the player with the greatest resolve, a devoted romantic who still has the sanest perspective on the industry... Coddington is especially gifted at manipulating the presence of Cutler's crew to get what she wants from her boss.

The A.V. Club

[The Devil Wears Prada] readers might wonder why a figure as legendarily image-conscious and remote as Wintour might open herself up to the scrutiny of a documentary, but the fashion/publishing icon makes it through September with her privacy and secrets intact. Director R.J. Cutler maintains a respectful distance from Wintour and similarly compelling subjects, like model turned Voguecreative director Grace Coddington and towering, iconic editor-at-large André Leon Talley. Cutler is in the enviable position of having arguably too many fascinating documentary subjects, but while Septemberis never boring, it's also superficial. The internal machinations of Voguemight be too much for a single documentary to handle; a multi-part TV documentary series might have given the folks behind the camera more time and space to flesh out these colorful characters and let audiences decide for themselves whether they love or hate Wintour, or fall somewhere in between.

The New York Times

Most of the truly ugly stuff in fashion - the models starving themselves, the exploited Chinese workers cranking out couture fakes and the animals inhumanely slaughtered for their fur - remains unnoted in The September Issue, much as it often does in Vogue. And while the movie shuns any overt discussion of money, it includes an instructive scene of Ms. Wintour playing the coquette with one of the magazine's important advertisers. Of course it really is all about money. Despite being crammed with glossy images of beautiful, weird, unattractive, ridiculous and prohibitively expensive clothes and accessories, Vogue isn't about fashion: it's about stoking the desire for those clothes and accessories. It's about the creation of lust and the transformation of wants into needs. Almost everything in this temple of consumption, including its lavish layouts and the celebrities who now most often adorn its covers, hinges on stuff for sale. Some of that stuff comes with a price tag, but some of it is more ephemeral because Vogue is also in the aspiration business. Mr. Cutler doesn't notice or doesn't care about any of that, which makes his movie as facile as it is fun.

What becomes clear in the film is just how far Wintour's influence ranges within the domain of fashion. In addition to interceding with designers in order to appease retailers concerned with their collections' saleability, Wintour acts as a kind of kingmaker in other ways that far exceed the presumed ambit of her magazine. Thakoon, a young designer, was a runner-up in the Council of Fashion Designers of America/Vogue Fashion Fund Award, and in this clip, he's getting part of his prize: the chance to design a line of three white shirts for the Gap.

But it isn't the Gap creative director who's okaying Thakoon's designs. It's Anna Wintour. When, later in the movie, a journalist for the National Post asks him how it was to get that call from the Gap, Thakoon corrects her: He didn't get any call from the Gap. He got a call from Anna Wintour at Vogue. When the Spanish fast-fashion retailer Mango approaches Wintour about hiring a New York designer as a consultant, Wintour also pushes Thakoon. "Thakoon?" says a clearly jealous Oscar de la Renta, who notes that the Mango position pays extremely well. Wintour replies, "Thakoon."

André Leon Talley, is a man who must live by his own "aesthetics of style." In this scene, he's decked out in designer goods, emerging from his chauffeured car holding a Louis Vuitton racket case, a small Louis Vuitton trunk, wearing Damon Dash trousers, and a vintage 1960s Piaget diamond-encrusted tennis watch. A Louis Vuitton towel is draped over his Ralph Lauren polo shirt. "Miss Wintour inaugurated me into health," he explains, "She saved my life. I guess." Then he plays what could almost be mistaken for tennis.

But the woman who steals this quiet, ploddingly paced movie is stylist Grace Coddington. Although it's a little hard to pick a winner among the Wintour and Coddington duo — in truth neither has the kind of aesthetic sense that commands much awe, as any Vogue reader has seen from Coddington's borderline cheesy styling and conceptualization (especially in her frequent "fairytale" shoots), and from Wintour's predilection for running stonkingly unimaginative spreads with models jumping in head-to-toe runway looks in front of gray backdrops. But Coddington doesn't have to be remade as, as one source calls her in a nice bit of hyperbole, "the greatest living stylist" in order for the movie to work.

To be Wintour's foil, she just has to be her reflective, sensitive, eyes-open self. Standing there on the steps of Versailles, with the wind in her hair and her boss far away, Coddington is likable and one feels that she has earned the viewer's respect.

Earlier: The September Issue: A Portrait Of The Quaint Old Consumer Economy

• "I've thought about clothing and jewelry lines," says Usher. "But fragrance stays on when everything else comes off." [People]
• Bottom of the barrel? For $8, American Apparel will sell you a bag of fabric scraps. [BF]

• Elle Creative Director Joe Zee dined with R.J. Cutler, the director of The September Issue. Which obviously means that he's going to spend two more years making a movie about Elle now! [FWD]
• Says lost soul Ashley Olsen, in fashion, "everyone is just really looking out for themselves. I don't know if I'll be designing this collection forever. A couple of years from now, I'm sure I'll want to do something else, and I'm not going to shy away from that. What if I just want to be an artist, or if I want to go back to acting? Which is not in the cards, but what if I wanted to do that?" [Daily Express]
• An Hermès representative says the rumors that creative director Jean Paul Gaultier is going to leave the company are false. Gaultier has been in his position for six years, and Hermès has experienced continued strong sales from its luxury categories since the start of the recession. [FashionMag]
• Christian Blanckaert, Hermès' director of international affairs, is leaving the company in early September. Blanckaert will become the non-executive chairman of the French children's clothing line Petit Bateau, and is expected to pursue a more international strategy for the brand. [WWD]
• Meanwhile, some anonymous sources in the finance industry are saying that Louis Vuitton Moët Hennessy may spin off DKNY, the Donna Karan diffusion label it has owned since 2001. Or that it may sell Moët Hennessy itself, where revenues fell 17% in the first half of 2009. The reason the luxury conglomerate supposedly wants to free up some cash? To make a bid for Hermès, which is trading well below its usual share price. [Fashionista]
  
• Conservative party supporter Anya Hindmarch: "I started my business when I was 18, and I realized the difference it made having Thatcher in power. It was the start of privatization-there was a feeling of ‘Get out there, get going, be an entrepreneur.' I've seen what politics can do to make a difference. It really inspires me and that's why I've been passionate about it." [VF]
• Lara Stone is set to curate the choices available at Not Just A Label's online shop, a home for avant-garde and emerging designers. Lara's choices go on sale on September 2. [UK Elle]
• Uniqlo has a licensing deal with Disney that'll allow it to roll out Disney-themed apparel starting next month. Which should mean the mouse products will hit stores around the same time as Jil Sander's long-awaited first collection for the retailer. [WWD]
• Jean-Charles de Castelbajac is launching a diffusion line called JC/DC. The line will be presented in London and again in Paris at the upcoming shows, and the company wants real-life hepcats to model its wares — anyone who wants to apply for a spot in the runway lineup can do so via the websites of Dazed & Confused or Jalouse magazine, respectively. [WWD]
• Someone named Bronson van Wyck is obsessed with "The Penguin Sparkling Water Maker from Williams-Sonoma. The penguin makes the water fizzy. You can adjust from superfizzy like Perrier to moderate like S. Pellegrino to milder like Hendon." Socials! They're not like us at all. [WWD]
• Vogue Brasil mis-spelled photographer Guy Bourdin's name as "Guy Bourdain" in huge font on its cover. [MadeinBrazil]
• Rosemary Port, the writer behind the infamous "Skanks In NYC" hate-blog against model Liskula Cohen, says that she will continue her $15 million lawsuit against Google for disclosing her e-mail address and IP to Cohen. Even though Google only disclosed those details after losing its long legal battle and being ordered to so by a Manhattan supreme court judge! Port feels her right to privacy has been violated, and alleges of Cohen, "By going to the press, she defamed herself." Her lawyer had this to say: "I'm ready to take this all the way to the Supreme Court. Our Founding Fathers wrote 'The Federalist Papers' under pseudonyms. Inherent in the First Amendment is the right to speak anonymously. Shouldn't that right extend to the new public square of the Internet?" Which, if you think about it, is an airtight argument. Doesn't anyone else remember reading that long footnote in the Federalist Papers where James Madison goes on and on about how Brutus is, like, such a ho? And then of course next month Robert Yates was all like, Nuh uh, you're a big fat skank, Publius, and everyone knows it! Whatever, Rosemary Port. Defamation isn't traditionally considered protected speech. [NYDN]
• Louis Vuitton has won a $400,000 judgment against Bonini Handbags for trademark infringement. [WWD]
• Derek Blasberg watched The Rachel Zoe Project in Los Angeles, with Rachel Zoe. "Watching the actual show and having an alternate show happening in front of me was surreal. And kind of confusing. There was Brad on TV wearing a Missoni sequined shift dress impersonating his boss, and then there, in the flesh, was Brad trying on a Louis Vuitton tennis skirt and booties impersonating his boss. Taylor was on TV moaning, and there she was in person moaning." [StyleFile]
• Casual Male, a U.S. maker of men's plus-size clothing, has seen its quarterly profits increase by 92.1% on last year, even as sales fell 13.4%. [WWD]

The cover hearkens back to 1991, the last September issue of Vogue we could find that had fewer than 600 pages. For comparison's sake: Last year's had 796, 2007's had a record-breaking 840. And 1996's had 700.

Do you think the advertising crunch and the precipitous decline in consumer spending might make Vogue do something a little different, a little out-there, a little untested?


Why, no!

Charlize Theron, this month's cover subject, has graced Vogue a total of four times — in October, 2000, October, 2004, October, 2007, and now again in September, 2009. In the last three instances, the South African actress was photographed by Mario Testino.


But that's not the only place in the magazine that had us rubbing our eyes with déjà vu. As other bloggers have pointed out, the Mert Alas and Marcus Piggott-shot editorial with Natalia Vodianova as Little Red Riding Hood from this September's Vogue bears a striking resemblance to...


A Mert Alas and Marcus Piggott-shot editorial with model Doutzen Kroes as Goldilocks, which was published in the August, 2007, issue of W.


The Natalia Vodianova spread for Vogue is called "Into The Woods."


The Doutzen Kroes editorial for W is also called "Into The Woods."


Both the editorials even boast creepy masked soft-toy molesters.


Grace Coddington, the fashion editor for this shoot, can sometimes be a little derivative for my tastes; in recent years, we've seen her turn The Wizard of Oz and Romeo and Juliet into editorial spreads that didn't add much to their source material. "Into The Woods" fits perfectly with that trend.


Natalia's absolutely wretched 'do in those pictures is not a fluke: this issue's full of deeply bizarre hair. You took one for the team here, Liya Kebede.


And in this shot, it's as if you can see Karlie Kloss thinking, "Really, Guido Palau? Really?"


I, for one, am getting just a little bit sick of seeing this particular photo re-made. This, David Sims' version...

...owes as much to an interpretation from last September's Vogue by Patrick Demarchelier, featuring model Catherine McNeil...


...as it does to the Richard Avedon original, with Jean Shrimpton, from the September, 1965, Harper's Bazaar.


Dodai already did an excellent LOLVogue! on the rest of David Sims' editorial. Karlie Kloss has apparently wrested the Vogue showjumping title from Caroline Trentini. The St. Louis teenager has an astonishing three editorial appearances in this issue — four if you count an Annie Leibovitz portrait of her, which runs alongside a short profile of Karlie by Sally Singer.


But what's amazing about that Leibovitz shot is just how much it looks like another portrait the legendary photographer recently took of a young starlet.


I'm referring, of course, to the photograph of Miley Cyrus that Annie Leibovitz took for the June, 2008, issue of Vanity Fair. Karlie and Miley are photographed with the same dampened hair, the same skin that's lit extremely pale, and the same red lips on a nude face. They even share a similar pose and both are shot against the same backdrop. The fact is that even though Cyrus and Kloss were roughly the same age when when they were photographed by Leibovitz — Cyrus was 15, Kloss, who only turned 17 earlier this month, would have been 16 — this photo is certain to draw less ire. That says more about our culture's parallel impossible expectations for the few young women who make it in the entertainment business than anything else: we demand that our pop stars remain forever young, and we expect our models to impersonate adult women from the time they hit 5'9".


Steven Meisel has a 16-page editorial with models Liya Kebede, Karen Elson, Coco Rocha, Sasha Pivovarova, and Viktoriya Sasonkina. It's shot in and around Manhattan's Essex House hotel and styled by Grace Coddington.


Something about the spread, though, suggests this was one of Meisel's autopilot days.


This shot, by Meisel for the February, 2009, issue of Vogue, has a different color palette than the "In The Mood" bicycle picture, but the quirky period styling, the models' poses, and the hats, all nonetheless echo it.


This shot, of Viktoriya Sasonkina, from September's Vogue is lovely.


Until you remember that Meisel shot Sasonkina for last September's Vogue Italia in virtually the same pose, and practically the same dress, in a nearly identically-themed 40s editorial.


Liya Kebede, in the September Vogue spread, looks divine.


And "In The Mood" really hits its stride when it starts playing with the murals in the background. Coco Rocha looks like she could be jumping out of that painting.


And I love those creepy hands.


But again, it's hard not to think of Meisel's old Vogue Italia story, with Sasonkina.


Probably the best editorial of the bunch in this year's slimmed-down September Vogue is Steven Klein's offering, "Take Cover."


Karlie Kloss and Caroline Trentini star as two futuristic gals about town.


They are armed and they are dangerous. And what's more, this editorial mercifully does not appear to be a direct re-shoot of anything else.

Fresh ideas: how novel.


Earlier:Harper's Bazaar: Talking About That "Recession" Thing Is Just "Really Annoying" Now
LOLVogue: I Purmd Mai Hare!

The September, 2007, Vogue, which sold 13 million copies, weighed nearly five pounds, and its 840 pages made it the single largest magazine ever published. Seven-hundred and twenty-seven of those pages were ads. When publisher Tom Florio exhorts the magazine's advertising sales team to "sell Vogue the brand like it's never been sold before," you feel it: this is what things were like when economic growth and consumer spending were lockstep in one upward trend, and magazines like Vogue could reliably put out Our Biggest Issue Ever, every year.

You feel it when Grace Coddington reports that Wintour, in killing shots from a lavish 1920s-themed spread, has "just thrown out probably $50,000 worth of work." You feel it when Wintour, having seen stills from an editorial with a color-blocking theme, orders a re-shoot, with different models, different clothes, and a different photographer. (No sum is supplied for the cost of that waste of daily rates, studio rental, and catering.)

You also feel it when Wintour is filmed with her deputy, Sally Singer, at a retailer luncheon the magazine has convened. Retailers are nervous about certain of the things they've seen on the fall runways, and they rely on Wintour as a kind of emissary to the design world; when Singer prompts her boss to share their "good news," Wintour tilts her head and reports that she has spoken to "Mrs. Prada" several times, and that she has agreed to "reinterpret" certain of her runway looks in a more wearable silk-mohair blend, instead of the wool-mohair she had shown on the catwalk. The assembled tableful of executives from Saks and Bergdorf's practically coo with appreciation.

After that decree is handed down to such a happy reception, Burt Tansky, the president and C.E.O. of Neiman Marcus, starts to ask Wintour a long question about delivery schedules. Designers, it seems, are making late and infrequent deliveries, which retailers feel cost them sales; customers want what's new right now. Tansky uses the phrase "demand outstripping supply" several times. It is a shocking moment: it's as if the incredible glut of oversupply, the $3,000 handbag bubble that rose through the market during the years of easy credit and burst last fall in a mess of steep discounting and steeper layoffs, had risen up, taken over Tansky's body, and thunderously demanded to be fed.

Wintour's response is equally shocking: given her magazine's role in pushing the culture of consumption, the culture of "aspirational" consumerism and "It" bags, one might expect Wintour to tell the titans of retail that she will speak to these tardy designers and tell them what's what. But instead she dresses down Tansky, giving him a politician's non-response about how she "hears what he is saying" and that it boils down to a problem of "editing." She says some of the younger designers have trouble editing their collections down, and she will see what she can do. Never mind that "editing" is almost the exact opposite of Tansky's concern; Wintour gets up from the table and leaves. And one is confronted with the surprising sense that, whether or not she knew it at the time, Wintour was on the right side of that issue.

There are a number of surprising things about The September Issue, which I finally saw last night. Although Wintour comes across as fairly warm and forthcoming, the camera cannot hide her staff's authentically fearful reactions to her presence; when Wintour is perusing photo spreads with her art director, she moves slowly and deliberately down a long bench, looking at photos one by one. When she approaches a young assistant who is lingering over, or perhaps just straightening, one of the shots, Wintour, without moving a muscle, says quietly, "Excuse me." The girl jumps out of Wintour's way like she's been bitten, and Wintour continues down the line of pictures without breaking stride.

Apparently, there also must be a rider in Patrick Demarchelier's contract about being able to shoot in beautiful locations, because we witness the production of one of those terrible, jumping, grey-background editorials of which Vogue is so very fond, and it doesn't take place at Milk Studios. Demarchelier, Caroline Trentini, Coddington, and the rest of the team are whisked away to a beautiful modernist house on a wide-open expanse of land; in the living room, a grey backdrop has been hung, and what emerges is a shoot which gives no inkling of its geographical origin. The location fees alone for that shoot boggle the mind.

The adversarial but respectful relationship between Grace Coddington, Vogue's top stylist, and Wintour is also explored. While other fashion editors crumble under Wintour's reproach — Edward Enninful says after a styling critique where Wintour rejects nearly every look he has put together that he wants to kill himself — Coddington fights, both in her editor's office and via backchannels. (She's always using the documentarians to try and find out how her spreads are faring — gaining pages, losing pages, or holding steady — in the layout room.) Wintour seems to respect Coddington all the more for her willingness to scrap; it's as though, like a good boss, she wants to be challenged.

When cover subject Sienna Miller steps into the scene, an instructive juxtaposition between celebrities and models is created. (We also see Raquel Zimmerman, Caroline Trentini, Coco Rocha, and numerous other no-name girls, do their thing; during a couture shoot in Paris, Zimmerman carefully eats a fruit tart the size of a saucer, while a distressed makeup artist looks on in preparation to re-perform her handiwork.) Sienna is full of life, giddy and excited and seemingly fun — also a canny business woman: she makes sure to introduce her designer sister, Savannah, to Wintour and the Vogue team — and the models are more subdued; there's a care taken in their movements. When a source makes the argument that women like Sienna got the idea to be models because they saw the supermodels of the late 80s and early 90s take over the fashion world, and grew to covet Linda Evangelista and Christy Turlington's beautiful ubiquity, it's hard not to agree. Sienna poses and jumps and mugs for the camera like an actress trying to look like a bombastic 80s model, as if by sheer enthusiasm she could will a beautiful picture into existence, and consequently her shots take all manner of Photoshop trickery — fake backgrounds, a head from one shot Frankensteined onto the neck and shoulders from another — to finesse. Raquel and Coco know just how to move a hand or a shoulder to set off the lines of the garment, and they work at it until the shot is just right. Coddington says at one point that she wouldn't care if she never saw another celebrity again in her life; and after seeing the focus that Raquel brings to that couture shoot — which ended up in the October, 2007, issue — you can't help but kind of agree.

The film is a well-studied evocation of all the hard work that goes into producing a magazine; unfortunately, the beauty and editorial sides are a little under-represented (we briefly see a spread featuring the makeup artist Pat McGrath in the layout room, and Wintour spends one scene looking bored while a junior editor goes over story ideas for the issue. "We're focusing on the eye, because I think eyes are a real concern for all women, they're the first thing that starts to really show age, even girls in their 20s worry about their eyes," says the editor. It's like watching a need being manufactured.) Wintour emerges as a surprisingly insecure. "Just because you like to put on a beautiful Carolina Herrera dress or a pair of J Brand blue jeans instead of something basic from Kmart doesn't mean you're a dumb person" is the kind of pre-emptive defense that says more about the defender's perceptions of the attack than anything else. "People are scared of fashion — because they're frightened or insecure, so they put it down...There is something about fashion that can make people very nervous." The idea that people only hate what they do not understand — implicit in which is the idea that there are no valid grounds on which to criticize Wintour, her magazine, or the fashion industry, just hurt feelings — is about the oldest trick in the book. And it comes off like Wintour, with her intellectual heavyweight family, is shadow-boxing. Who seriously pretends these days that appreciating good design and being smart are incompatible? Wintour's eagerness to defend herself on the issue is telling.

Vogue editorial image via Luxx at The Fashion Spot

I must say, I'm wondering at the significance of Anna Wintour's vaguely ethnic prints - although my instinct is to go with "none."


Sienna Miller and Anna Wintour are clinging together in half these shots - as two women victimized irrationally by the dislike of other women? Perhaps. The truth is, Sienna may be a victim of hype, but man, can the dame work an outfit. And I like to imagine this frock's a tribute to the best of John Hughes.


Look, we all get that Thom Browne's doing carefree subversive preppy here, but that doesn't mean it can't also look awful, absurd, vaguely disturbing.


Do you know what I love best about Georgina Chapman's dress? It's like "Franciscan Monk goes to Studio 54," and even one of these elements would have been a recipe for awesome.


It's so unfair. If most of us wore this, we'd be dismissed as "nerd whose Little House stage has lasted a weirdly long time." Whereas, Alexa Chung is protected by the auspices of high fashion!


I'm very eager to hear people's take on Renee Zellweger's choice, since she, flaming June orange and draped open panelling are all polarizing things. Note, please, that Renee has bravely bucked the gratuitously aggressive shoe trend, two days in a row, by sporting near-nudes.


I love how Cassie has become this Prince-inflected fashion star. Does this send me? No. Would I have done something a little more interesting than the usual jumpsuit-and-drag-heels? Probably. But she still manages to be essentially fab at all times.


Carolina Herrera is an ongoing argument for the efficacy of the uniform. I remember an essay she did in Vogue a few years ago extolling the virtues of the white blouse, which she claimed had "literally saved (her) life." The life-saving in question involved losing her luggage before a Chicago gala and finding a nice blouse at Banana Republic.


Anne V's shirt reads "Fashion's Night Out, September 10, 2009." So, you know, brace yourselves for that.


This Tyrolean smoking jacket situation was probably the inevitable evolution of Zac Posen's recent devotion to "shrunken dandy." He's trying to do for shrugging what Beau Brummel did for "moving your neck."


Okay, this is a lot going on. If idle hands are indeed the devil's playground, then Hilary Rhoda's incredibly busy outfit is in absolutely no danger of falling prey to the temptations of Old Nick.


See, the difference between Jessica White and the rest of the world is that when she chooses to break up her length with a lot of unflattering, harsh lines, she's still tall and willowy. The rest of us would be cut down to approximately microscopic size.


See, when, like Cynthia Rowley, her whole thing has always kinda been "girly downtown lunatic," one can only revel in her consistency.


Man, the amount of jewel-toned satin here is starting to give me that claustrophobic David's Bridal feeling - I'll save you the bad modern fiction image of the lines of dead gowns in their shrouds or whatever. And if you think I'm avoiding discussing Tory Burch's dress because I'm having a really hard time overcoming my instinctive, infantile aversion to its color (and the fact that she appears to have scalped Beaker to make her bag) well, you're right.


Vera Wang has officially discovered the most uncomfortable red-carpet pose in the world's history. It's called "Cat-on-a-Hot-Tin-Headlight."


Wow, the fun never stops at the Trump house!


Here's one thing I've wondered: has kilt-wearing taken off since Marc Jacobs started doing it exclusively? And I don't mean his entourage who obviously probably feel pressured to toss all their pants.

[Images via Getty]

Peter Lindbergh shot an entire editorial without recourse to that particular computer program, except for minor color-correction. Kristen McMenamy, Tatjana Patitz, Nadja Auermann, Claudia Schiffer, et. al., also posed without any hair products or makeup.

And they predictably look fantastic. Does this spread in any way address the constant barrage of unrealistically altered images of women in the fashion media? Only obliquely, at best. And the skincare peg — all the models are shilling their supposed favorite spas and products — is a little annoying. I worry sometimes that these non-Photoshopped editorials are becoming more of a stunt than a corrective; French Elle had one, also shot by Lindbergh, and even Life & Style ran a Photoshop-free cover, of Kim Kardashian. How awesome would it be for a fashion magazine to state, as a matter of editorial policy, that excessive and unrealistic retouching will never find a home in its pages? That adjusting the white balance in post-production is fine, but that rhinoplasty-by-liquify-tool and 80 gazillion layers of changes are not? That would be a magazine worth buying.

Which is not to say that it isn't still wonderful to see images of real women at a variety of ages, images that haven't been "fixed" beyond recognition, even if these spreads are annoyingly presented as the fashion equivalent of Very Special Episodes. Shalom Harlow, pictured here, has always been one of my favorite models, and shots like this prove she of all people doesn't need post-production smoothing and sculpting to look bewitchingly beautiful.

Karl Lagerfeld shot this editorial, notionally inspired by Peggy Guggenheim, in Venice with Lara Stone and his latest boytoy, Baptiste Giabiconi. (Baptiste gets to wear boy clothes in this one, amazingly: Lagerfeld has a habit of styling his favorite hot young thing in women's wear and heels.)

Lara often looks kind of severe and disapproving — Cathy Horyn once compared her to Lurch — but the Gugg-inspired blonde clown hair in this spread sure isn't helping her.

These sunglasses, which if you look closely you can see are the shape of a bat spreading its wings, belonged to La Dogaressa (real, and awesome, nickname) herself.

It wouldn't be fall without some kind of a generalist "New Shapes" spread. This one, shot by Camilla Akrans, stars Kendra Spears and Katie Fogarty, who are aged 20 and 17, respectively, and accompanies text by Suzy Menkes. Representative quote: "THOUGHT FOR THE DAY: It could be time to go green. Rethink jade."

Of course, Madonna's bunny ears get a shot.

It also wouldn't be fall without a long, studio-shot editorial of a model — Karmen Pedaru — jumping dazedly.

There is, however, a beautifully shot Glen Luchford editorial, starring the spooky Eniko Mihalik.

And Siri Tollerod turns up with Richard Burbridge to do one of those perennial accessories editorials where the fashion magazines try and convince their readers that even when it's fall and the mind turns to tweed, we will still somehow feel like wearing acid brights and neon and "pops of color."

Oh, look: Our old friend Jean-Paul "I have jungle fever" Goude. Styling Naomi Campbell in leopard print, racing a cheetah across the serengeti, really is daring and original.

Naomi rides an elephant. Like a real African Queen.

She jumps rope. With monkeys. Monkeys.

We all know that black models have been lamentably absent from mainstream fashion magazines and runways. But all that shoots like these do is draw offensive similarities between black women and wild animals, and reiterate, in pictures, the old colonialist assumption that black people are savage and uncivilizable. Naomi Campbell isn't from Tanzania, she's from Streatham; at what point does having a British woman wander around the African wilderness, performing truly awful received ideas of how African women behave, for a publication with a majority white audience, verge on minstrelsy? Having no black models represented in magazines is a problem. But is this kind of representation actually worse than being totally ignored?

Then, Naomi perched on the back of a crocodile — this shoot was obviously not Photoshop-free — while wearing a Dior haute couture crocodile jacket and pants.

Interestingly, the Jean-Paul Goude shoot is followed in the magazine by a 14-page Peter Lindbergh editorial starring Chanel Iman and Arlenis Sosa. The theme? The Harlem Renaissance. This shot of Chanel was taken just outside the iconic Lenox Lounge, on Lenox just south of 125th Street.

Chanel and Arlenis, who are photographed carrying trumpet cases and singing into old-fashioned microphones, make pretty great foxy jazz musician dames. And while the Harlem Renaissance is kind of a cliché — and the period doesn't really have much discernible connection with life in the Harlem of today — it's nice to see a period with a black cast mined for interest in a fashion magazine, rather than just another all-white editorial about the Summer of Love or Studio 54.

Besides, the setting is the perfect way to set off the 1940s looks so many designers have turned out for this coming fall.

Can anyone identify this block? I want to say it's one of those gorgeous brownstone streets south of Marcus Garvey Park, but it also could be Strivers' Row. Either way, it's gorgeous.

The commitment to period realism does falter slightly in places: Sylvia's restaurant was founded in 1962.

And if you look really closely in the magazine, you can see the Fairway supermarket, just under the elevated rail line. In all, though, it's a beautiful shoot.

I don't think I even want to investigate the subtext of Harper's Bazaar using a milk-pale blonde British model as a stand-in for a black American pop megastar; let's just reiterate that this spread, which was obviously thrown together at the last minute, unfolds like an uninspired afterthought. And also the clothes suck.

Jessica Stam and Benjamin Alexander Huseby pop in for an editorial all about gardening, and fall tweeds of the sort that Little Edie would have loved.

Nobody does sublime eccentricity like Stam.

And Magdalena Frackowiak has an editorial all about shopping, photographed by Terry Richardson. Seeing her play a ditzy society lady with more credit than sense would be funny, if the photos weren't desperately captioned things like "SHOP: SAVE JOBS!"

In an accompanying article, by Derek Blasberg, about the macroeconomic imperative of increasing consumer spending, Margherita Missoni says: "It was cool to talk about the recession — which I found extremely annoying. But it seems not that people are no longer embarrassed to have good things." Thank god that recession thing is so over! God, that was such a drag!

I will leave you with images from Harper's Bazaar's Sesame Street-themed shoot, which features models Sessilee Lopez and Tao Okamoto. It's Sesame Street's 40th anniversary this year, so the magazine sent designers down to where the air is sweet.

This shot of Oscar de la Renta with Oscar the Grouch might actually top Harper's Bazaar's awesome The Simpsons fashion spread. Maybe.

• Charlize Theron has nabbed the September cover of a slimmed-down Vogue. The issue counts only 584 pages, compared with the 840 pages of Sienna Miller's 2007 issue. Theron last made the cover in October 2007. [TFS]

• Kate Moss is the fall face of Just Cavalli. Splitting the difference between the competing trends of top- and bottomlessness, she poses for one ad in a tuxedo jacket and nothing else, and for another in some kind of leopard-print leotard. In a third, she wears a micromini sequined dress that seems to be held up with magic. [FWD]
• Legendary photographer Corinne Day — whose pictures of Kate Moss for The Face helped put the supermodel on the map — is facing a serious illness, and requires expensive medical treatment. Friends are trying to raise money by selling 500 prints of a 2001 photo of Moss nude on a bed; the pictures are £100 each. [LOVE, link NSFW]
• The first images of Jil Sander's hotly anticipated +J line for Uniqlo have just surfaced, and it looks fantastic. Japanese magazine Non-No shot seven looks from the men's collection, and it's entirely apparent that the German designer has not lost her talent for tailoring and her ability to pare down a look to its most basic, striking elements during her years in the fashion wilderness after being fired from her namesake label by owners Prada. +J, which hits Uniqlo stores this November, includes around 140 pieces of men's and women's wear, and prices start at $25. [Hypebeast]
• Macy's has announced that Ne-Yo will be the new face of Alfani's Red men's wear. [WWD]
• Uma Thurman has the campaign for Givenchy's new Angel or Demon perfume. [The Sun]
  
• Under Isaac Mizrahi's direction, Liz Claiborne continues to seek a higher-fashion image without shedding its affordability. To wit: this fall, Coco Rocha and her old flaming red hair star in a very kaleidoplaid campaign. Also, count this as another example of the models-in-the-supermarket fashion imagery trope. [Design Scene]
• Patrick Robinson and his design team at the Gap have been concentrating on the basics — and particularly on revamping the company's various styles of jeans. To advertise the offerings, the company has chosen a bevvy of top models, including Carmen Kass, Anja Rubik, and Arlenis Sosa, each identified with a particular style of denim — "The Boyfriend," "Curvy," "Long & Lean," etc. We wonder who it was, though, who chose to put the lesbian model Freja Beha Erichsen next to giant type that reads "Real Straight." [Models.com]
• Loeffler Randall is adding e-commerce to its website. [WWD]
• Jewelry designer Anna Sheffield's collection for Target hits stores at the end of this month. The pieces range from $19.99-$79.99; some are made of sterling silver. They all look very cool. [Lucky]
• You know the economy's terrible when Jessica Seinfeld serves pigs-in-blankets to Gwyneth at a charity gala. [WWD]
• In Paris, several recent fashion school graduates are starting their own lines — with a difference: instead of focusing on the tradition ready-to-wear, these young designers each want to do small collections made-to-measure for each client. And the prices are right: 50-80 Euros for a shirt, 70 Euros for a dress, 150 Euros for a jacket. In putting an affordable price on services that are something more than tailoring and something less than couture, with all its connotations of excess, these youngsters have almost certainly found a gap in the market. [DazedDigital]
• Meanwhile, shoe designer Jeffrey Campbell knocked off a Chloé boot. His offerings this season are basically just Ann Demeulemeester's and Balmain's shoes done for cheap(er). How is it this guy hasn't gotten sued yet? (Of course, Chloé probably took inspiration for their shoes from some vintage boots.) [The Greyest Ghost]
• And there are also instances of high-end brands ripping off less-expensive ones. Cf. Proenza Schouler's version of the Frye boot. [On The Fringe Of Fashion]
• After the record-breaking sale of all the art he collected with Yves Saint Laurent, partner Pierre Bergé plans to go ahead with an auction of furniture, sculptures, and textiles in November. The works are expected to fetch around $5.7 million; the proceeds will go to AIDS research. [WWD]
• Miss J's new memoir, Follow The Model: Miss J's Guide To Unleashing Presence, Poise And Power contains a troubling blind item about not being let in to a fashion show on the explicit instructions of the head of the PR company running the designer's front-of-house operations. The PR company seems to be Kelly Cutrone's People's Revolution, and the designer — specified as Brazilian — seems to be either Carlos Miele or Alexandre Herchcovitch. Was Miss J denied entry because he is black, or because he now bears the taint of Night-Time Tyra? The latter seems unlikely, since Miss J points out that the same designer later begged America's Next Top Model to use his line for the finale runway show when ANTM went to Brazil in Season 12. (That particular laurel went to Rosa Chá.) [Fashionista]
• The New York Fashion Week menswear schedule is out, and it contains some surprises. This season, Yigal Azrouël is killing his separate men's wear presentation, and combining his two shows into one. Philip Lim is doing the exact opposite, adding a separate men's wear presentation. [WWD]
• Feast your eyes on ShopBop's "WARTIME" array of products, and ponder the aestheticization of orchestrated human killing. [ShopBop]

As Cathy Horyn writes in today's New York Times, the September 2007 issue of Vogue was the largest issue ever: 840 pages. The cover proclaimed, "Fearless Fashion." Horyn says the issue, in the film,

...has all the gaiety of the "Titanic" two miles out to sea, with a spread on Sienna Miller in Rome, pages of models leaping in the new fall clothes, and a reflective piece by Plum Sykes on brooches.

Obviously times have changed. Today, NY Post media columnist Keith Kelly reports:

Conde Nast is reeling from what is expected to be a loss of 5,000 ad pages this year, translating into a revenue shortfall of between $275 million and $350 million — and very likely pushing the publishing giant into the red.

Vogue is one of the magazines whose ad pages are down; and in The September Issue, viewers see Anna Wintour spend, spend, spend. When Wintour cuts a photo shoot, the magazine's creative director, Grace Coddington sighs, "They've probably thrown out $50,000 worth of work," according to today's Gatecrasher column. And, notes Horyn, magazines like Vogue have always "readily projected a spare-no-expense mentality to help maintain their status." She continues:

A fashion shoot at a magazine like Vogue, or Vanity Fair, or W, can easily cost $150,000. Anna Wintour, the editor of Vogue, has killed shoots that didn't meet her standards and ordered them reshot. Such creative excess serves Vogue's star image, like the Town Cars waiting outside Condé Nast, and apparently has been condoned by management so long as revenues are high… It may be difficult for outsiders to appreciate the logic in fashion shoots that require a team of 30 photographic assistants, digital producers, lighting experts, hairstylists, makeup artists, a manicurist, editorial gofers and caterers to feed everyone. It's not uncommon at a top American magazine, editors say, to spend $5,000 a day just on food at a shoot.

But these days, there's a recession afoot. And last we heard, Vogue's September 2009 issue will only be around 450 pages — almost half of what it was 2 years ago — making The September Issue not only a documentary of what it takes to make a fashion magazine, but, quite possibly, evidence of the end of an era.

Still Fearless at Vogue? [NY Times]
Vogue's Anna Wintour's Power On Display In Film 'The September Issue' [Gatecrasher]
Sea Of Red At Conde [NY Post]

Earlier: September Ladymags: "Looking Thin"
5 Guesses Why Vogue Is Hurting
In Vogue: Things Learned From The September Issue, September Issue Trailer
The September Issue Less Than Flattering?

• 42-year-old Kristen McMenamy, whose deeply unconventional beauty shone in many of the most memorable fashion photographs of the early '90s, was chosen by Steven Meisel for the new cover of Italian Vogue. [FWD]

• Yves Saint Laurent's Stefano Pilati, whose recent ads have starred Naomi Campbell, continues his run with the '90s supes in his Fall 2009 campaign. Christy Turlington, wearing pleated pants that do no women any favors, poses against a white background, inside a black picture frame that floats in space. [Telegraph]
• Speaking of Naomi Campbell, she'll be the face of Dennis Basso this fall. Basso is a well-known fur designer, and Campbell once famously declared that she'd rather go naked than wear fur, but obviously her naked avarice got in the way. [WWD]
• Madonna wore jet-beaded Givenchy couture on stage in London. Says designer Riccardo Tisci, "She's wearing an outfit that will make history." [People]
• The couture shows get underway in Paris today, and in this economy, selling $70,000 dresses seems like a difficult task. But at Christian Lacroix, whose house recently declared bankruptcy, there is an order backlog for more than 20 outfits. [WWD]
• That still might not save Lacroix. Employees were told Friday of a restructuring plan that would cut the 124-strong workforce to 12, and reduce the Lacroix label to a licensing operation. The only hope is for a buyer to step in. [WWD]
• Prodigious design talent — and rumored Madonna collaborator — Christian Audigier has some sharp words for Victoria Beckham and her celebrity dress line. "I like her, she is a nice girl, but she is not completely my style. I have seen some of her designs — they are very simple. It's difficult for an artist or a singer to enter into the world of fashion," quoth the popularizer of such classics as the trucker hat and the tattoo t-shirt. "You can't just rely on your name to help you sell. The way to sell and who to sell to and what you want to accomplish, these are all things you will need help with if you're entering into the world." [HindustanTimes]
• "I can't analyse my appeal. If I did I'd be in a straitjacket," reports supermodel Daria Werbowy. "I am very lucid in relation to the reality of this industry, the ephemeral nature of beauty and fame,' she says, 'and that gives me a certain distance and quite a bit of humour." [Telegraph]
• Stylist Patricia Field took the opportunity of an interview with the Mirror to settle an old disagreement with Kristin Davis. And with A-line skirts, which we always have found extremely flattering. "I hate the A-line skirt. It's like a lampshade. Ugly. Kristin Davis always wanted to wear A-line skirts as she thought it hid her big behind. She has a fabulous figure – she is completely hour glass, and I would say: ‘Kristin, you have a small waist – show off your round ass!' She would never show it. I wanted to make her into a Bettie Page in Sex And The City, but all she wanted were A-line skirts and Ralph Lauren clothes." [Mirror]
• Meanwhile, Roberto Cavalli has deep thoughts on our economy. "I never pay attention to costs — it's not attractive to speak about numbers. Why can't we just focus on the beauty of an object? I don't know anything about the financial crisis." [ToL]
• Times of London writer Shane Watson asks whether Abercrombie & Fitch's decision to tell an employee with a prosthetic arm to stay in the stockroom was really all that surprising, given the chain's refusal to hire anyone who isn't "regulation cute." Because discriminating against disabled people is exactly the same as dictating your employees hair length and nail polish colors! [ToL]
• Seeing the Wall Street Journal's perspectival dry-point etching of a man wearing skinny jeans totally makes up for this pedestrian story about how the trend caught on. [WSJ]
• Foot wear maestro Manolo Blahnik: "Are shoes so important? Really? If I was a woman, I would be dressed in the same thing for a month and just change my hat and gloves. Maybe my shoes too; yes, I see what you mean but, really, it's jewels that change an outfit. And I do love gloves. And I adddore hats. There are toooo many shoes now. I always tell the children, 'Don't do shoes! Do hats!' And the shoes are so strange, so vulgar. I hate these platforms that are all over the place today; they are all about grabbing attention. They are suburban! I never do a platform. Well, I did, in the 1970s, but that was a bad experience." [FT]
• Ben Westwood, Vivienne Westwood's fetish photographer son, whose latest exhibit featured bound models with the heads of celebrities' children inexpertly Photoshopped onto their bodies, is launching a men's wear line. London Fashion Week must be holding its breath. [Harper's Bazaar]
• Children's apparel is more resilient than other sectors of the clothing market during economic downturns. Why? Kids grow. [WWD]
• The Guardian reviewed R.J. Cutler's The September Issue, and called it "utterly riveting." The paper also said, of the relationship between stylist Grace Coddington and editor Anna Wintour, "to watch them do battle over whether or not to shoot a rubber dress is to see the great fashion battle of creativity versus commerciality acted out in an urbane New York office: a Punch and Judy show scripted by Woody Allen." [Guardian]
• If this is news to anyone here: online ads in the form of fake quizzes, à la Coach's new "Are you a Poppy girl?", are rigged. We are all Poppy girls, in the eyes of Reed Krakoff. Buy a $198 tote bag now! [TBM]
• Apparently, while New York has been drowning in a consistent downpour since mid-April, London has been having a heat wave. Unsurprisingly, sales of bikinis — and beer — have spiked. [FT]
• Because he is paid primarily in stock and options, Ralph Lauren's compensation slipped by more than 40% in value this year. He still made $20.3 million. [WWD]
• Despite cashflow concerns, Prada is still opening stores at a fast clip. Two new boutiques will open this month in Paris and Prague, and the company plans to keep up its 2008 pace, which saw 34 new stores open, for the next three years. [WWD]
• For those nights when you can't seem to remember your underwear, behold: the anti-paparazzi handbag! Activated by camera flashes, the bag emits a beam of light (clue: it's like a slave flash) powerful enough to ruin anyone's shot. [BoingBoing]

• Michael Jackson has settled on a costume for his upcoming tour: an ensemble made entirely from Swarovski crystals. His wardrobe uses 300,000 of the sparklers. Of course, this is the man who once wore a gold-plated jacket. [WWD]

• Meanwhile at Glastonbury, the band Florence and the Machine had its outfits designed specially by Topshop. [Telegraph]
• Anna Wintour is said to have instructed Vogue petty officers to create sockpuppet accounts on Facebook to monitor fan page comments about The September Issue. [P6]
• Bucking the trend of British fashion designers returning to London Fashion Week for its anniversary, Giles Deacon has announced he'll show his Spring 2010 collection in Paris. [WWD]
• Eva Green read what you wrote about her on the Internet, but unlike Anna, she just doesn't care! "I want to wear something that I wouldn't wear every day, I like to be a bit eccentric and I know lots of people say 'Oh my god blah' but I don't care, I want to have my style, I like to try something new," said the actress, who also pines for Topshop when she's in France. [Mirror]
• 50 Cent unveiled his new fragrance, Power, at a private party in New York. While unspecific about its target audience ("Everyone human...breathing...") he did manage to shove a journalist out of his path. The way she writes it, she didn't seem to mind. Power indeed. [The Cut]
• This week sees the official previews of two dark, "intellectual" fashion ranges, heavy on the strange shapes and deconstruction, and costing around $300-$600. One is by Juicy Couture ("There is...one pair of very expensive leather leggings", but we knew that already). The other is by Comme des Garçons. Odd! [Racked] [Racked]
• Council of Fashion Designers of America menswear award winner Band of Outsiders' Scott Sternberg (who tied for the award with Calvin Klein's Italo Zucchelli) was good enough to answer some of W magazine's questions. To "Waverly Inn or Monkey Bar?" he sagely responded: "No." Asked, "Jon or Kate?" Sternberg said: "Who?" Also, Paris Hilton better not ever ask to borrow his clothes. We like him even more now. [W]
• Christy Turlington, who bagged the spring campaign, too, is coming back this fall as the face of Bally. Mario Sorrenti shot the ads. A number of fashion houses have made the choice to stick with their spring casting choices for fall. Versace re-shot Gisele in virtually the same position and dress as before, and Louis Vuitton re-hired Madonna. [WWD]
• Bar Refaeli is now the new face of Garnier Fructis. [SassyBella]
• Speaking of, L'Oréal has been found guilty of racial discrimination in French court. To market its Fructis shampoo in supermarkets, the beauty giant hired a sales staff — and was caught giving instructions in writing to a temp agency to employ only white women aged 18-22 who wear a French size 38-42. L'Oréal and the temp agency, Adecco, each have to pay fines and damages of €60,000. [Times of London]
• Models of color did not fare well at Milan menswear week. Even reliably diverse clients, like DSquared2 (which last year used an all-black cast) had virtually no faces of color on their runways. Check out these pictures to see the practically all-white casts for yourself. [FashionBombDaily]
• An Australian retail chain called Diva has ripped off a wide variety of jewelry by indie designers. [ShanaLogic]
• Let me say this again: Male modeling is just like modeling for women. Only even more poorly paid. (This article quotes 500 Euros to several thousand Euros as a typical rate for men who work the shows in Europe — and says that it's lower than what women models get. Why do reporters never keep in mind who they're asking? In this case, it's a pair of twins who started out by booking campaigns for Dolce & Gabbana. Nothing about their experience of the industry is average.) [Telegraph]
• Project Runway's Leanne Marshall wrote on her personal blog that she was unhappy with a business opportunity gone sour — but one which it was too late to pull the plug on. Discontent with retail partner Bluefly is the only logical conclusion. [Racked]
• Ex-model and PR whiz Carlos Souza has returned to the house of Valentino to try and repair its damaged reputation. Since Valentino's departure, the brand has suffered through the embarrassing ousting of the talented successor Alessandra Facchinetti, and lackluster collections designed since then by two of Valentino's former assistants. [FWD]
• Vena Cava now has a blog. [Viva Vena Cava]
• Philippe Starck has launched a new clothing line, which he describes as "non-photogenic." It's made of waterproof cashmere and designed to last a long time, which is still enough to prick our interest. [UnBeige]
• Dress Barn announced plans to buy Tween Brands Inc., which operates the Limited Too and Justice. [WSJ]
• Nike, which cut 5% of its global workforce, some 1,750 jobs in May, saw sales for the fourth quarter decline to $341.4 million, from $490.5 million the year before. Orders for the next few month are also down 12%. [AP]
• Troubled Jones Apparel Group is betting on the Asian market. It just bought a 15% stake in the Hong Kong-based retail distribution group GRI, upping its total stake in the company to 25%. [WWD]
• H&M's sales are up by 6.4% in the quarter just ended. Revenue climbed 23%. [WSJ]
• Uniqlo is talking about buying the Gap. [Independent]
• The company that owns Lacoste has chosen the former head of the European supermarket chain Carrefour to lead the brand. [WWD]

Everyone wants to know what exactly goes on around the 12th floor of 4 Times Square. As the trailer states, one in ten U.S. women will get Vogue's September issue — which is a fantastically broad reach for a fashion title. How the sausage is made is a question that R. J. Cutler's documentary will, one hopes, answer in full. What we can tell from the trailer is this:

Wintour's legendary editorial nit-picking is not an exaggeration. 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."

The trailer also makes clear that Wintour's interventions do not always redound to her title's benefit. The camera lingers over an image from stylist Grace Coddington and photographer Steven Meisel's 1920s-themed shoot, which Coddington reports her boss killed and re-shot at least three times.

Even in grainy online video, this double-page picture — a witty take on "Déjeuner dur L'herbe", with picnicking models in pageboys and flapper dresses — looks better than what actually made it into the magazine nearly two years ago.

As for the actual September, 2007, issue, it mostly sticks out in my mind as the point at which Vogue basically ate itself. In addition to relying on model Caroline Trentini, a perennial Wintour favorite, to do three editorials, there were numerous other embarrassing juxtapositions that proved the paucity of Vogue's ideas. For instance, accidentally publishing a shot-by-shot re-make of a David Sims editorial which had been perfect-bound by the magazine only seven months before.

That's Patrick Demarchelier's September, 2007, story with Trentini, "Brights! Camera! Action!" on the left, and Sims' February, 2007, story with Gemma Ward, "Park Avenue" on the right. In case you couldn't tell them apart.

And Raquel Zimmerman appeared for a Craig McDean edit in a head-to-toe Balenciaga runway look, which was also identical to the David Sims-shot Balenciaga campaign of that season, starring Anabela Belikova.

Advertising and editorial images which are not just indistinguishable, but actually mirrors of one another — just a few pages apart.

I suppose that kind of overlap is the risk you run when all your styling decisions are taken straight off the catwalks of six months prior, and your inch-thick magazine is 87% ads, anyway. To date, the September, 2007, issue remains the biggest Vogue ever printed — a monument to pre-recession thinking, advertiser largesse, and hamstrung creativity that we may never see surpassed.

The September Issue [Yahoo! Movies]

Earlier: The September Issue Less Than Flattering?

Writer Jonathan Van Meter calls Sienna "tiny, blonde, blue-eyed," and "just about as fetching as a girl can be." Duh. That is why she is on the cover. Models rarely get covers; actresses do. Are there better-known actresses? Are there better actresses? Yes, yes. Sienna has never been nominated for a Golden Globe or an Oscar — unlike, say, Viola Davis or Taraji P. Henson. But for Vogue, the more model-esque (white! conventionally pretty! hopefully blonde!) the actress, the better. (Paging Vogue fave Kate Bosworth!) And we all know that Vogue's Anna Wintour loves skinny women, especially Brits: Why else do you think Keira Knightley's had a cover every year since 2005? Being blonde, thin and British, Sienna is exactly the kind of woman Vogue thinks its readers care about... No matter that GI Joe is not exactly a Vogue-friendly project.

No, wait! She's not on the cover because she's thin! It's because she is admirable. Writes Van Meter:

Miller is nothing if not brave. After all, she has long been battling the perception that she is, variously, a superficial party girl, a quirky fashion plate, an almost famous indie regular with no box-office clout, Jude Law's ex-girlfriend, or all of the above. "We have to be honest about it," says Miller of her reputation. "It's pretty bad. On the whole, you know, I've made some bad choices and done some stupid things." In other words: It is high time for a bold move. Or two.

Playing the Baroness, a cartoony villain in an action film, might seem at first like an ill-conceived strategy for a makeover. Guns and black leather? Rilly? But on closer inspection, it starts to look very clever indeed. G.I. Joe: The Rise of Cobra is based not on the G.I. Joe action figure of the sixties but on the wildly popular eighties Marvel Comics book series and television cartoon.

Sorry, what? Being in GI Joe is clever? Okay…

But what about the fact that she was engaged to Jude Law, who cheated on her with the nanny, and then hooked up with Balthazar Getty, who was married at the time? Sienna says:

"I've actually never been taken on a date in my whole life. I have never had a one-night stand. I'm a real relationship person-contrary to public perception. I'm either in one or I'm not. I get kind of emotionally involved very quickly, and I'm not going to spend time with someone unless I love them. But it's not hard for me to fall in love."

Right. Out of your control. Sure. Well, in any case, Anna Wintour allegedly bitched about Sienna's September 2007 cover, calling the actress "toothy" and complaining that Sienna needed a haircut. So maybe this is Vogue's (and Anna's) way of saying "Sorry."

For these keeping track at home, here's Sienna's first Vogue cover:



And here's the Photoshop of Horrors headswappy "toothy" September 2007 cover:

What do you think they'll come up with next year?

Seriously Sienna [Vogue.com]
Earlier: Vogue's Anna Wintour: High School Dropout & Fat-Shamer
Will The Vogue Documentary Make Sienna Miller Cry?

A&E IndieFilms, in addition to bringing us documentaries like Jesus Camp and co-producing The September Issue, is owned by Hearst Entertainment and Syndication. Hearst Entertainment and Syndication, as the name might suggest, is owned by Hearst. What else is owned by Hearst? Vogue competitor Harper's Bazaar, Glamour doppelganger Marie Claire, and a raft of other direct pendants to Condé Nast media properties. It's not clear that A&E IndieFilms' ownership status meant that anyone at Hearst enjoyed editorial control or creative influence over The September Issue, it is surprising that Condé Nast would accidentally put itself in its rival's hands.

And it does fit with reports that the documentary is notably harsher on Anna Wintour than previously thought.

Fashion Week Daily acquired a copy of the documentary, which isn't to be released in the U.S. and U.K. until September 11, and posted a detailed recap of its contents on the Friday before the long U.S. Memorial Day weekend. Cutler opens with a long discourse from Wintour, defending fashion on intellectual grounds, and calling people who criticize the fashion industry frightened:

"What I often see is that people are scared of fashion — because they're frightened or insecure, so they put it down. On the whole, people who say demeaning things about our world, I think it's because they feel in some way excluded or not part of the "cool group." Just because you like to put on a beautiful Carolina Herrera dress of a pair of J Brand blue jeans instead of something basic from K-Mart doesn't mean you're a dumb person. There is something about fashion that can make people very nervous."

It's often those who themselves are most desperate to be taken seriously who are quickest to project "insecurity" onto others. Perhaps it isn't a coincidence that Cutler, when he succeeds in getting Wintour to talk about her family, admits that her fellow high-achieving siblings — Patrick Wintour, political editor of the Guardian, Nora Wintour, deputy-general secretary of the Public Services International union, and James Wintour, an official with the Gravesham Borough Council who works in low-income housing — all regard her work with, she believes, "amusement."

What seems to emerge as a theme of the film, however, is Anna Wintour's relationship with Vogue stylist and former model Grace Coddington. Coddington, unhappy about the documentary team, threatened to quit the magazine and resisted Cutler's attempts to film her for months, the director recalled. (Coddington eventually relented, and Cutler's team's presence at one of her shoots led to a charming picture of Caroline Trentini and a cameraman, jumping together for an editorial.)

Wintour says that the cameraman's stomach needs retouching. "You need to go to the gym!" she says, not remotely in jest. (This is the woman who ordered Oprah to drop 20 lbs before shooting her for the cover, and who bullied André Leon Talley into taking up tennis, a sport he is filmed pursuing while decked out in Damon Dash pants, a Polo Ralph Lauren shirt, a vintage diamond Piaget watch, a Louis Vuitton towel, a Louis Vuitton racquet cover, and a Louis Vuitton gym bag.) Coddington rejects Wintour's criticism of the cameraman's body — "Everybody isn't perfect in this world. It's enough that the models are perfect. You don't need to go to the gym" — but she waits for her boss to leave the room before airing her disagreement.

The film also apparently gives an unprecedentedly detailed look at Wintour's managerial style and her level of involvement with the magazine. Wintour retains absolute creative control over every editorial shot. She does not shy from killing spreads by talented and proven long-time collaborators, such as Edward Enninful (Coddington's story with Trentini is a re-shoot of an Enninful effort) and Coddington herself. "I'm in a really foul mood right now because they've just killed another spread of my '20s story, and they're about to kill another one," says Coddington, at one point. "And they're all lying to me about it. It's just incredibly boring."

She also kills a spread with models Hilary Rhoda and Chanel Iman, jumping. (This was during Vogue's long, just-ended drought of faces of color on its editorial pages — it's interesting to note that Iman, who is black, was even in the running for inclusion in American Vogue in September 2007.)

It's no wonder, really, that her publication's creativity so often ends up channeled into the inevitable jumping editorial, the inevitable lavish-but-boring set piece. Wintour's nit-picking leaves even the talented eyes and minds around her too hamstrung to function.

If the full film is as critical as FWD maintains, then that means Anna Wintour has made one move worthy of respect: allowing Cutler to film her, no-holds-barred. But will Condé Nast be pleased at the results?

The September Issue, Revealed! [FWD]
More Details from The September Issue Vogue Documentary Featuring Anna Wintour and Grace Coddington [Fashionologie]
Hearst Takes On Condé [FWD]
Film reveals soft side to Vogue's icy style queen Anna Wintour [Guardian]

Earlier:
Vogue Documentary Is Delicious & Devil-ish

• Michelle Obama wore French-born Brooklyn-based designer Sophie Theallet to unveil a bust of Sojourner Truth at Emancipation Hall yesterday. Naturally, journalistically, WWD asked the designer to specify the First Lady's measurements. Theallet declined. [WWD]

• Michael Kors, on the now-solved problem of women becoming socially invisible as they age: "I used to hear women saying, ‘Oh, I hate my arms, I hate my thighs' when they got older, but now they don't. They're in the gym or doing yoga, or getting what they don't like fixed. Sigourney Weaver's 60, Michelle Pfeiffer's 50. Michelle Obama is showing older women that you can be serious without looking stiff, and showing younger women that you don't have to dress like a hoochy mama to be modern. It's all different. Everyone is refusing to age." [Times of London]
• Christopher Kane is tackling a wider range of items than ever in his next season's Topshop range. Expect bags, knitwear, and shoes, in addition to the clothes. [Grazia]
• Fellow Brit Stella McCartney made the Time 100, the only fashion designer represented. Gwyneth Paltrow, her BFF, did the profile. [WWD]
• Vera Wang bedazzled a BlackBerry for a breast cancer charity raffle. Elizabeth Hurley will do the honors. [WWD]
• Now this is a match made in heaven: showmen fashion designers Viktor & Rolf are turning their talents to opera. For a German production of Der Freischütz, the duo made costumes with over a million crystals. That, Vera, is how you do bling. [Elle UK]
• The Payless shoes on Christian Siriano's runway back in February were kind of hideous; the ones likely to make it into stores this August are kind of boring. Let's hope he can even out his aesthetic at some point during his multi-year contract. [Racked]
• Alexa Chung, the British ex-model, moved to New York to further her television career — and was hotly rumored to be exploring options with MTV. That opportunity seems to have come to fruition: Chung will host a daily show on the network, something like TRL, only with Twitter. [Yahoo! News]
• The September Issue Director R.J. Cutler, on how his subject, Anna Wintour, communicates: "It's mostly in silences, gestures, and the occasional use of language. It's more than enough and she always gets her way. When she's not getting her way, she's happy to speak at greater length. In her work environment, that's how she communicates with everyone. Some people see the film and say, she seems so closed. She's a closed gal. That's who she is. But the times that she does open up in her life are the times that you see her open in the film — when she's with Bee, when she's talking about her dad, talking about her siblings. It's family." [MakingOf]
• The SoHo Hogan store is closing, and looking for a space uptown. [Racked]
• Australian Fashion Week, like fashion weeks everywhere, was smaller this season than before the recession. There were 15% fewer shows, and two catwalks inside the venue, compared to last August's three. Fewer buyers attended, and, barring any case of Aussie economic exceptionalism, the orders they place will prove smaller. Organizers say they expect things will be much better next season, because organizers have to say things like that. At least in public. [Reuters]
• As for the designers who did bother showing, half of them seemed to be phoning in 80s nostalgia and Balmain shoulderpads, and one, Ant!podium, well, they really, really like Beth Ditto. So they found a proudly non-model-sized tattooed artist named Tokio Pink to walk in their show. Such is their commitment to diversity. [News.com.au]
• Max Azria, on the other hand, isn't predicting any great improvement in business conditions during the rest of this year. [WWD]
• Jones Apparel Group, owner of the brands Anne Klein, Nine West, and Jones New York, handily beat analysts' expectations in their quarterly profit announcement. Although revenue still fell 9%, Jones shares rose 10% in response to the good news. [Reuters]
• Prada's profits fell 22% in 2008. [WWD]
• The opening of Forever 21's first store in Japan was a bit of a madhouse, apparently. It isn't hard to imagine why. [WWD]