I have a love/hate relationship with the fashion industry. Some might call this a “guilty pleasure.” I believe I have mentioned this previously. Since I first heard about the documentary The September Issue (TSI) I wanted to see it. I enjoy Vogue more than any other fashion magazine. I was beside myself when I learned Tulsa actually has a really cool independent/nonprofit movie theater 5 minutes from my house that was showing the film this weekend.
TSI is brilliant in that the director, R.J. Cutler, so poignantly articulates in this film what I both love and hate about the fashion industry and its so-called “bible” (a.k.a Vogue’s September issue). Cutler accomplishes this by providing the obvious behind-the-scenes glimpse into the making of the magazine, but also by providing viewers with much subtler behind-the-scenes look at the human beings whose personalities both mesh and clash along the way.

one of Coddington's beautiful photos from the Sept. 07 issue.
One of these personalities is that of Grace Coddington. Ever heard of Grace Coddington? Nope? Me neither – well, not until a few hours ago. I am glad I went to see this film if for no other reason than to be introduced to this woman. She is the Creative Director of Vogue and is simply remarkable. In a world of fake, retouched photos, $3,000 blouses, and fashion models, Grace stands out to me as the most beautiful vision of all in this film.
This is ironic considering she is the most unfashionable sight in the film – with her exceedingly frizzy red hair, makeup-less face, and dowdy black dresses, you would never guess she is a past fashion model turned creative director. What I love about Grace is that she embodies what it is I like about the fashion industry – romanticism, beauty, fantasy…creative fun. She is an unapologetic dreamer. She finds beauty everywhere she goes. She tears up while in Paris talking about how beautiful it is…how old it is. As she gazes off into the distance in reflection you can tell this woman is 100% genuine. That kind of passion cannot be edited onto a woman’s face.
Grace’s authenticity captured me as I watched this film. She won me over as she not only presented her breath-taking work, but

another one of Coddington's beautiful photos
also as she shares her disappointments with the direction the fashion industry has taken. For example, she humorously laments the trend of putting celebrities on the covers of magazines that has happened over the last decade. Grace says she would be happy if she never saw another celebrity ever again while at the same time acknowledging that that’s what sells magazines today, and if magazines didn’t sell, she would not have a place in which to put her work. It’s business.
And that’s where Wintour comes in. Grace’s idealism has obviously been reigned in by Anna’s realism which is just as note-worthy. Perhaps this is where the creative spark is created that results in Vogue. Both Grace and Anna started at Vogue at the same time. Grace is the behind-the-scenes artistic genius – even Anna admits this – and Anna is the front and center business genius. Comparing and contrasting their personalities throughout the film was incredibly entertaining – especially for a counselor-type person. These women have incredible skills and clearly work well together even when beyond frustrated with one another. One woman has a hard time compromising true beauty and artistic integrity for superficial beauty. The other knows that superficial beauty is what sells magazines.
Which brings me to what I hate about the fashion industry. TSI also exposes the absolutely appalling side of the making of the magazine. There were scenes that made me cringe. For example, Sienna Miller was Vogue’s cover girl for this particular September issue. In the film Anna complained about the following features of Sienna: her hair, her teeth, and her neck. Yes, her neck. In the final issue of the magazine that was sold all around the world (see below) Sienna’s head has been photo-shopped onto a different picture of her body. Moreover, Anna felt Sienna was showing too many teeth in the photograph (i.e. she was smiling – beautifully I might add). Not to mention, some teeth had visible fillings, (oh my) so Sienna’s mouth/teeth were retouched as well. The image on the cover was not really Sienna as captured in the moment of the photo shoot at all. It was “Anna’s Sienna.” This is what concerns me about the fashion industry.
You learn throughout the film that everyone surrounding Anna in her personal life including her daughter, brothers, sisters, etc. simply consider what she does “amusing.” Her daughter wants to be a lawyer, her brother helps people who are low-income find housing, and her sister does international work. I found this information as refreshing as Grace. To many in the world Anna is a god, to her family her work is simply amusing…like a game at Chuck. E. Cheese or something.
I left the theater with the same love/hate duality that I entered it. An older woman commented on her way out, “see, it’s fantasy not reality…that’s why I love it.” Therein lies the secret that the film very subtly tells. Fashion is amusing but should not be taken too seriously by those of us who enjoy it. High fashion belongs in the genre of fantasy…of artistic fantasy and story. At its best it’s the art of Grace – the mythical, angelic, dream-like images she creates that help you escape reality for a bit. At its worst it’s “Anna’s Sienna” with a photo-shopped body (and teeth) parading around the world as reality.