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I-I THINK WHAT I OFTEN SEE IS THAT PEOPLE ARE FRIGHTENED OF FASHION,

AND THAT BECAUSE IT SCARES THEM

OR IT MAKES THEM FEEL INSECURE, THEY PUT IT DOWN.

ON THE WHOLE, PEOPLE THAT SAY DEMEANING THINGS ABOUT OUR WORLD,

I THINK THAT'S USUALLY BECAUSE THEY FEEL, IN SOME WAYS,

EXCLUDED OR, YOU KNOW, NOT PART OF THE COOL GROUP OR--

SO, AS A RESULT, THEY--THEY JUST MOCK IT.

JUST BECAUSE IF YOU LIKE TO PUT ON A BEAUTIFUL CAROLINA HERRERA DRESS OR A--

I DON'T KNOW--PAIR OF J BRAND BLUE JEANS THAT, YOU KNOW,

INSTEAD OF SOMETHING BASIC FROM K-MART,

IT DOESN'T MEAN THAT YOU'RE A DUMB PERSON.

THERE IS SOMETHING ABOUT FASHION THAT CAN MAKE PEOPLE VERY NERVOUS.

UH, SOPHIE, HI.

THIS EMAIL HERE FROM TOM FORD, CAN YOU SEND IT ON TO JAY?

OK. THANKS.

[TELEPHONE RINGS]

ANNA WINTOUR'S OFFICE.

KATE, THERE'S A BIT OF CRISIS.

ANNA SAW THE PICTURES,

AND SHE DOESN'T WANT CHANEL OR HILARY.

OK. BYE.

SO, I THINK WE'RE DONE WITH HILARY AND CHANEL.

I WONDER IF ANNA WOULD LIKE THIS ONE.

WELL, IT'S BLACK.

THAT'S TRUE.

I'D BE FIRED FOR THAT.

[DING]

THESE ARE THE APPROVED ONES THAT MARK AND I SHOWED ANNA.

BUT ALSO, ANNA DID NOT LIKE THE LANDING PAGE,

AND WE HAVE REDESIGNED IT,

AND THAT'S WHAT WE'RE SHOWING ANNA TOMORROW.

OK.

IT IS ALWAYS GONNA BE ANNA'S POINT OF VIEW.

"VOGUE" IS ANNA'S MAGAZINE.

THAT'S WHO SIGNS IT OFF.

WE KNOW THAT.

YOU BELONG TO IT.

YOU BELONG TO THIS CHURCH.

AND IS IT FAIR TO SAY THAT ANNA IS THE HIGH PRIESTESS OF ALL OF THIS?

I WOULD SAY POPE.

L'OREAL'S MEETING WITH ANNA TO TALK

ABOUT HAVING THE DESIGNERS DESIGN AN INFALLIBLE DRESS.

[CHUCKLES] THAT'S PERFECT.

SHE SEES HER ROLE AS THE DIRECTOR AND PRODUCER OF THIS FASHION WORLD.

CAN YOU THINK OF AN ASPECT OF THE FASHION INDUSTRY

THAT SHE ISN'T SOMEHOW INVOLVED IN?

NO.

WE HAVE TO SEE CLOTHES!

FIRST OF ALL, IT'S BEEN A VERY BLEAK WEEK SO FAR.

IT'S BEEN BLEAK STREET OVER HERE IN AMERICA.

YOU KNOW WHAT?

IT'S A FAMINE OF BEAUTY.

ALL RIGHT.

IT'S A FAMINE OF BEAUTY!

IT'S A FAMINE OF BEAUTY, HONEY.

MY EYES ARE STARVING FOR BEAUTY.

MORE WILD.

YOU DON'T HAVE TO GO TOO FAST, BUT GOOD ENERGY.

GOOD CONFIDENCE.

JULIE, UM, THEY'RE WONDERING, IS ANNA HERE YET?

VERA [INDISTINCT]

READY TO START. HERE WE GO!

WE'RE GONNA GO!

[TECHNO MUSIC PLAYING]

♪ THAT'S WHY EVERYTHING YOU TOUCH TODAY ♪

♪ DESTROY ME, THIS WAY...

I'M WITH THE INTERNATIONALLY RENOWNED EDITOR-IN-CHIEF

OF AMERICAN "VOGUE," ANNA WINTOUR.

ANNA WINTOUR IS THE EDITOR-IN-CHIEF OF "VOGUE" MAGAZINE,

A BIBLE FOR THE FASHION WORLD.

THE SINGLE MOST IMPORTANT FIGURE IN THE $300 BILLION GLOBAL FASHION INDUSTRY.

SHE IS WATCHED MORE CLOSELY THAN THE MOVIE STARS OR THE RUNWAY.

WELL, THIS WEEK IT WAS PRETTY COLD.

THAT'S ALL I CAN SAY.

♪ EVERYTHING YOU TOUCH, YOU DON'T FEEL ♪

♪ DO NOT KNOW, WHAT YOU STEAL ♪

♪ SHAKES YOUR HAND, TAKES YOUR GUN ♪

♪ WALKS YOU OUT OF THE SUN

♪ WHAT YOU TOUCH, YOU DON'T FEEL ♪

♪ DO NOT KNOW, WHAT YOU STEAL

♪ THAT'S WHY EVERYTHING YOU TOUCH TODAY... ♪

ANNA!

ANNA!

ANNA! ANNA! ANNA!

AH, ANNA.

ANNA, LOOK.

[INDISTINCT]

IT'S GORGEOUS.

[TECHNO MUSIC PLAYING]

ANNA.

IS THERE A WAY TO WEAR FUR THIS WINTER?

THERE'S ALWAYS A WAY TO WEAR FUR.

PERSONALLY, I HAVE IT ON MY BACK.

♪ EVERYTHING YOU TOUCH TODAY ♪

♪ DESTROY ME THIS WAY

♪ ANYTHING THAT MAY DELAY YOU ♪

♪ MIGHT JUST SAVE YOU

♪ YOU ONLY HAVE TO...

WHAT IS YOUR ROLE AT THIS DEFILE?

WILL YOU EXPLAIN?

WHAT IS MY ROLE AT THE DEFILE?

YES.

TO HELP ANNA WINTOUR DECIDE WHAT GOES

IN THE MAGAZINE AND TO HELP THE EDITORS

OF "VOGUE" TO HAVE A DIALOGUE ABOUT FASHION.

♪ DESTROY ME, THIS WAY

♪ EVERYTHING YOU TOUCH, YOU DON'T FEEL ♪

♪ DO NOT KNOW, WHAT YOU STEAL

♪ SHAKES YOUR HAND, TAKES YOUR GUN ♪

♪ WALKS YOU OUT...

OUI. ABSOLUTELY. OUI.

♪ ...TODAY, PLEASE DESTROY ME, THIS WAY ♪

HI, STEFANO.

HI, ANNA. HOW ARE YOU?

I'M WELL.

GOOD TO SEE YOU.

HOW ARE THINGS?

UH, WELL.

SO, TELL ME THE TRUTH.

[LAUGHS]

YEAH!

YOU'RE STRESSED?

HELLO.

IT'S GOOD TO SEE YOU.

AND YOU.

STEFANO, CAN WE START?

YES. OK.

[LAUGHTER]

ANNA, I'LL SHOW THEM 3 BY 3.

SO, THIS IS YOUR NUMBER ONE.

OK, YOU JUST WALK AROUND EASILY.

SO, THIS SEASON, BASICALLY, WHAT I DECIDE

TO WORK ON IS TO GO BACK TO THE ESSENCE OF THE CUT.

EVERYTHING IS HAND-STITCHED, ALL AROUND.

WOW.

I DON'T SEE ANY REAL EVENING ON THAT RACK.

ARE YOU NOT DOING IT?

NO, I AM...

BUT?

IN PIECES?

ABSOLUTELY, YES.

DO WE HAVE SKETCHES?

I HAVE ONE COCKTAIL DRESS.

THIS IS THE WORKMANSHIP.

WHICH IS THIS ONE?

I THINK YOU'VE SEEN IT.

NO, THAT'S PRETTY.

SO, YOU'RE NOT REALLY FEELING FOR COLOR, STEFANO?

NO.

[LAUGHTER]

NO, YOU KNOW, IT'S--IT'S MY MOOD.

I MEAN, IN WINTER, I NEVER FEEL SO MUCH FOR COLOR.

IS MORE--IS MORE A SUMMER THING FOR ME.

FRANKLY SPEAKING, BUT...

IT'S A BIT NEUTRAL.

NEW BLACKS.

[LAUGHS] I DON'T KNOW.

THERE'S BLUE NAVY.

THERE IS--THERE IS AN EMERALD GREEN.

[LAUGHS]

YOU KNOW...[LAUGHS]

VERY COLORFUL.

[LAUGHS] THIS IS COLORFUL.

OK, I'M GONNA NEED YOU WHEN I'M CONVINCING ANNA

THAT THAT'S NOT BLACK.

[LAUGHS]

WE HAVE GREEN, NAVY...

[INDISTINCT CHATTER]

GOOD MORNING. HI.

GOOD MORNING. HOW ARE YOU?

I'M FINE.

YOU LOOK BEAUTIFUL.

ARE YOU WEARING CHANEL?

YES. TRYING TO LOOK LIKE YOUR CUSTOMER.

[LAUGHS] YOU ARE OUR CUSTOMER.

SO WE'LL FOLLOW YOU.

WELL, THANK YOU FOR CONTINUING THESE BREAKFASTS.

I SPEAK FOR THE GROUP.

THEY'RE VERY HELPFUL AND, UH, AND CONTINUE TO ALLOW US

TO GET TO KNOW EACH OTHER BETTER AND BETTER,

AND WE THANK YOU FOR YOUR TIME.

SO, I'M GONNA ASK, UH, SALLY TO START TALKING ABOUT OUR MAIN POINTS.

THE--THE KEY ITEM FOR US, IT SEEMS TO BE, IS THE JACKET.

WE'RE GOING TO BE PUTTING A HUGE, HUGE PUSH

ONTO A WARDROBE OF JACKETS FOR THE--

FOR THE FALL ISSUES.

NOBODY WAS WEARING FUR UNTIL ANNA PUT IT BACK

ON THE COVER OF "VOGUE" BACK

IN THE EARLY NINETIES, AND SHE IGNITED THE ENTIRE INDUSTRY.

IF WE GET BEHIND SOMETHING, IT SELLS.

FOR ONCE, PRADA WAS IN GREAT DEBATE THIS SEASON.

ANNA HAD A LOT OF CONCERNS OVER THE FABRIC

AND S-SPOKE WITH MRS. PRADA ON YOUR BEHALF MANY TIMES.

WE FELT THAT THE PIECES WERE JUST SO HEAVY,

THAT YOU COULDN'T WEAR IT.

SO, VIRGINIA, WHAT WAS IT THAT THEY'RE GOING TO REINTERPRET?

'CAUSE WE REALLY PUSHED.

THEY'RE TELLING ME THAT THEY ARE DOING, UM, A VERSION OF A FABRIC

THAT'S SILK AND MOHAIR AS OPPOSED TO THE HEAVY WOOL AND MOHAIR.

IT'S A DEGRADE FABRIC.

FANTASTIC! THANK YOU.

[ALL TALKING AT ONCE]

YOU'VE MADE OUR WEEK OR 3 WEEKS.

LET ME TOUCH ON SOMETHING THAT, UH,

MAY BE OUT OF YOUR PURVIEW, BUT MAYBE

YOU CAN ALSO HELP US--UH, DELIVERIES OF MERCHANDISE.

[LAUGHTER]

WHAT DO YOU WANT ME TO DO ABOUT IT?

RENT A TRUCK?

TELL YOU WHAT I'D LIKE YOU TO DO.

YOU ARE SO INFLUENTIAL WITH THE DESIGNERS--

HA HA! NOT THAT.

[LAUGHTER]

THEY HAVE TO RECOGNIZE THAT THE WORLDWIDE

DEMAND FOR THEIR PRODUCT IS EXPANDING AT A RATE

THAT EVEN THEY DON'T UNDERSTAND, AND--AND THEY'RE NOT KEEPING UP

WITH THE PRODUCTION, SO THAT THE DEMAND IS OUTSTRIPPING SUPPLY.

WE ARE WAITING LONGER AND LONGER AND LONGER FOR DELIVERIES.

THEY'RE COMING AT THE BACK END

OF THE DELIVERY SCHEDULE

INSTEAD OF THE FRONT END.

YOU KNOW, FASHION IS FUN, AND WE ALL LOVE IT,

AND THAT'S WHAT DRIVES IT BUT--

YOU WANT IT NOW.

WITHOUT THE GOODS-- WITHOUT THE GOODS--

AND THE ADS IN YOUR MAGAZINES ARE FABULOUS,

AND I KNOW YOU'LL LOOK LIKE A TELEPHONE BOOK THIS YEAR, BUT...

[LAUGHTER]

UH, WE--WE GOTTA-- YOU'VE GOTTA HELP US WITH THIS NOW.

YOU HAVE A COUPLE OF CHOICES.

YOU CAN START SELLING TO YOURSELVES.

NO, I THINK YOU SAID SOMETHING VERY INTERESTING,

BURT, WHICH IS EDITING.

AND I THINK SOME OF THE DESIGNERS DO HAVE A PROBLEM

WITH THAT, AND WE ARE WORKING ON THAT.

AND WE WILL CERTAINLY-- WE ARE RIGHT THERE WITH YOU.

LESS IS MORE.

I MEAN, I CAN'T SHOOT EVERYTHING

FOR THE REST OF MY LIFE WITH STEVEN MEISEL IN ALDER MANSION

WHICH IS AN UGLY FUCKING HOUSE.

I WAS DISCUSSING MY SEPTEMBER SHOOT WITH STEVEN KLEIN.

I THINK HE REALLY LIKES THIS LOCATION.

IT'S SO GLOOMY, EDWARD.

WHERE'S THE GLAMOUR?

UM...

IT'S "VOGUE," OK?

PLEASE, LET'S...

LIFT IT. LIFT IT.

I DON'T FIND HER TO BE HIDDEN.

I JUST DON'T FIND HER TO BE ACCESSIBLE TO PEOPLE

SHE DOESN'T NEED TO BE ACCESSIBLE TO.

THIS, I DON'T THINK WE NEED.

THIS IS--WE'LL JUST WAIT FOR WHATEVER IT IS THEY'RE MAKING.

AND THAT'S IT.

THIS, I DON'T THINK WE SHOULD DO.

OK.

THIS, I DON'T THINK WE SHOULD DO. THIS...

SHE'S BUSY.

[CHUCKLES] YOU KNOW?

AND SHE'S NOT WARM AND FRIENDLY.

SHE'S DOIN' HER BUSINESS.

THESE ARE ALL HORRIBLE.

YES.

I FELT THIS WAS PRETTY WEAK.

IT IS.

THAT STUFF NEEDED A LOT OF WORK.

OK. ALL RIGHT?

YES.

WE LEAVE WARM TO ME.

I'LL HAVE TO BE WARM ENOUGH FOR THE TWO OF US.

[INDISTINCT CHATTER]

WHEN WE PUT OUT THE SEPTEMBER ISSUE OF "VOGUE,"

THE FIRST THING THE REPORTERS USUALLY ASK US IS,

"HOW MUCH DOES IT WEIGH?"

AND "HOW MANY PAGES?"

1 IN 10 AMERICAN WOMEN,

ALMOST 13 MILLION PEOPLE, WILL GET THAT ISSUE.

A FEW YEARS AGO, WHEN WE PUT OUT A RECORD ISSUE

OF SEPTEMBER, IT WAS THE LARGEST MONTHLY MAGAZINE EVER PUBLISHED.

GUYS, WE'RE LOOKING TO BREAK THAT RECORD.

WE HAVE TO BREAK RULES.

I WANT YOU TO GO INTO IT LIKE IT'S "VOGUE,

THE BRAND," AND MARKET IT LIKE IT'S NEVER BEEN

MARKETED IN ITS ENTIRE 114 YEARS.

ALL RIGHT, SO, SEPTEMBER.

SIENNA, I THINK WE ARE IN EXCELLENT SHAPE.

RIGHT?

IT'S ALL FEATHERS.

I THINK THIS IS REALLY CUTE.

I DO, TOO. DO YOU?

BIG BIRD.

THE TEAM SEES THE COLLECTIONS

AND THEN COMES BACK AND HAS FASHION MEETINGS.

AND IN THE MEETINGS YOU DISSECT THE COLLECTIONS

AND DECIDE WHAT TRENDS TO FEATURE.

ANDRE, HE DIDN'T LIKE CALVIN'S.

I THOUGHT IT WAS CLINICAL.

[LAUGHTER]

[INDISTINCT]

SEPTEMBER IS THE JANUARY IN FASHION, YOU KNOW?

THIS IS WHEN I CHANGE.

THIS IS WHEN I SAY, YOU KNOW, GONNA TRY TO GET BACK

ON THOSE HIGH HEELS, 'CAUSE EV--'CAUSE THAT'S THE LOOK.

I THINK THE JACKET IS THE NEW COAT.

THE LOOK IS SEXY. THE LOOK IS GRANNY.

YOU NEED TO KNOW.

THIS IS HEAVEN.

THAT'S GORGEOUS.

THAT'S YOUR BIG FASHION STORY.

WELL, THAT'S--BUT THAT'S THE PROBLEM, GRACE.

IT'S AN ACCESSORY STORY, AND THAT'S WHY I NEED--

WELL, IT'S A STORY CRYING TO BE DONE.

YES, I HEAR YOU, BUT IT'S JUST NOT WHAT I NEED

IN THE SEPTEMBER ISSUE.

YOU HAVE TO REALLY FIND SOME STORIES THERE,

AND YOU HAVE TO FIND SOME STORIES THAT HAVEN'T BEEN

PLAYED OUT ANYWHERE ELSE,

AND THEY HAVE TO BE ON CERTAIN SCALE.

HAVING TALKED TO GRACE A LITTLE BIT ABOUT THIS,

I THINK SHE VERY MUCH WANTS TO DO TEXTURE.

[GIGGLES]

WHAT HAS THAT GOT TO DO WITH TEXTURE?

WELL, LOOK!

NO.

I THINK YOU SHOULD BRING IT ANYWAY.

YOU'RE BREAKING MY HEART.

USUALLY, IN THE SEPTEMBER ISSUE,

THERE'S ONE BIG DISASTER.

THERE'S ALWAYS ONE SHOOT

AND THAT'S A BIG PROBLEM IN THE ISSUE.

BECAUSE IT'S A BIG ISSUE,

AND THERE'S A LOT OF THINGS GOING ON.

LET'S PUT THAT ONE TO THE SIDE FOR NOW.

AND THAT ONE, TOO.

LET ME SEE WHAT ELSE THERE IS.

JONATHAN SAUNDERS IS SOMEONE WE WANTED TO--

WE'RE TRYING TO GET HIM IN...

IT'S CUTE, BUT IT'S A DIFFERENT THING.

A DIFFERENT THING.

THEY'RE NOT COLOR BLOCKER.

MM-HMM.

YOU WANNA KILL YOURSELF? YEAH.

WHY?

WHAT'S HAPPENED?

I JUST GOT THROWN OUT.

IT'S JUST A BIG...

IF IT'S WITH THIS...

IT'S WHAT WE DID.

IT'S FINE.

IT'S A LOOK. SHE SAID "NO."

THE COLOR BLOCKING IS ALL THE DIFFERENT COLORS.

IT'S, YOU KNOW, THIS WITH THIS, AND THIS WITH THIS AND--

I'M GONNA TAKE THIS ANYWAY.

IS THAT THE BEST ONE?

THAT'S NOT THE BEST ONE.

YOU'VE GOTTA BE TOUGHER.

EDWARD...

TELL ME, WHAT DO YOU DO?

YOU GOTTA BE TOUGH.

WHAT DO YOU DO?

YOU GOTTA JUST DEMAND.

YOU HAVE TO DEMAND BECAUSE, OTHERWISE, YOU'LL BE BLAMED.

DON'T BE TOO NICE.

EVEN TO ME.

[LAUGHTER]

NO, HONESTLY, BECAUSE...

YOU'LL LOSE.

YOU HAVE TO LEARN THE WAY TO BEAT YOUR PATH

THROUGH TO MAKE YOURSELF FELT AND MAKE YOURSELF NECESSARY

AND FIND A WAY THAT WORKS FOR YOU FOR "VOGUE"

BECAUSE A LOT OF PEOPLE HAVE COME

AND A LOT OF PEOPLE HAVE GONE.

THEY JUST COULDN'T TAKE THE HEARTBREAK.

YOU KNOW, YOU HAVE TO BE FAIRLY TOUGH TO WITHSTAND THAT.

SO, IT'S ALL PINKS?

MM-HMM.

AND--AND MAGENTA.

DO YOU REALLY FEEL THAT THIS IS THE MOST IMPORTANT MESSAGE

TO PUT IN THE SEPTEMBER ISSUE?

I--I-- IT'S IMPORTANT.

I LOVED IT. I THOUGHT IT WAS PRETTY.

LOOKS VERY SPRINGY.

WELL, THERE'S A FUR.

MAYBE YOU WANNA DEVELOP IT A LITTLE BIT MORE.

I'D ALSO LIKE TO SEE WHAT YOU'RE THINKING ABOUT WITH THE CLOTHES,

SO I CAN GET MORE OF A HANDLE ON IT.

I WAS THINKING MAYBE IT'S KIND OF BODY-CONSCIOUS,

THE CLOTHES.

MM-HMM...

THEN, ONE POINT I THOUGHT,

MAYBE SHE COULD BE SORT OF BIONIC.

IT LOOKS GOOD ON THE RACK.

I FEEL IT'S QUITE ONE-DIMENSIONAL.

BUT ALSO, THE GIRLS ALWAYS LOOK THE SAME, ELISSA,

IF YOU LOOK AT YOUR PICTURES.

THE WAY THEY'RE DRESSED. IT'S ALWAYS THE SAME.

AND SOMEHOW, THE PICTURE'S ALWAYS THE SAME.

IT'S USUALLY THE SAME KIND OF MINIMAL APPROACH.

I MEAN, IT'S WHAT YOU ARE, I KNOW.

AND THE GIRL ALWAYS TENDS TO HAVE STRAIGHT HAIR.

IF YOU LOOK AT IT, THEY GET JUST LIKE--IT'S ALWAYS THE SAME.

SO, IT WOULD BE GREAT IF WE COULD BREAK OUT.

THANKS.

SO, YOU KNOW THAT COMPANY MANGO IN SPAIN?

YES.

THEY'RE LOOKING FOR SOMEONE TO HELP THEM CONSULT.

MM-HMM.

MAYBE THAKOON, YOU THINK?

I THINK HE'S ONE OF THE MOST TALENTED PEOPLE OUT THERE.

HE'S COMING IN TO SEE ME, I THINK, THIS WEEK,

SO I CAN TALK TO HIM.

OK. OK.

[INDISTINCT]

SO, CAN WE STOP AT STARBUCK'S PLEASE?

MY FATHER WAS A NEWSPAPER EDITOR.

HE EDITED A NEWSPAPER IN LONDON CALLED "THE EVENING STANDARD."

FORMER FLEET STREET EDITOR, CHARLES WINTOUR,

WILL BE ASSESSING THE LONG-TERM EFFECT...

HE CAME FROM QUITE A VICTORIAN UPBRINGING.

I'M NOT SURE HIS MOTHER EVER SPOKE TO HIM.

HE WAS ALSO VERY PRIVATE AND VERY, IN SOME WAYS, INSCRUTABLE.

THE MPA HAVE ABOUT AS MUCH COLLECTIVE SPINE AS A TEPID JELLYFISH.

GROWING UP IN LONDON IN THE SIXTIES, I MEAN,

YOU'D HAVE TO BE WALKING AROUND WITH IRVING PENN'S SACK

OVER YOUR HEAD NOT TO KNOW THAT SOMETHING EXTRAORDINARY

WAS HAPPENING IN FASHION.

THE LOOK OF THE GIRLS THEN, AND EVERYTHING THAT WAS GOING ON.

THE PILL AND EMANCIPATION OF WOMEN

AND THE END OF THE CLASS SYSTEM AND THE--JUST SORT OF SEEING

THAT REVOLUTION GO ON MADE ME LOVE IT FROM AN EARLY AGE.

I THINK MY FATHER REALLY DECIDED FOR ME

THAT I SHOULD WORK IN FASHION.

I CAN'T REMEMBER WHAT FORM IT WAS I HAD TO FILL OUT,

MAYBE IT WAS AN ADMISSIONS THING,

AND AT THE BOTTOM IT SAID, "CAREER OBJECTIVES."

YOU KNOW, AND I LOOKED.

I SAID, "WHAT SHALL I DO?

WHAT SHALL I--HOW SHALL I FILL THIS OUT?"

AND HE SAID, "WELL, YOU WRITE THAT YOU WANT

TO BE EDITOR OF 'VOGUE,' OF COURSE."

SO THAT WAS IT.

IT WAS DECIDED.

WE HAVE KNOWN ABOUT THIS PIECE FOR A LONG TIME, SO IT--

I DON'T WANNA HEAR IT, OK?

I MEAN, SHE SHOULD JUST GET ON THE PHONE.

THIS IS NOT CLEAR.

SOMEONE NEEDS TO CHECK THESE.

SHE LOOKS PREGNANT.

WE NEED TO... FIX HER.

YEAH.

THE FIRST TIME THAT YOU'RE ASKED TO GO SEE ANNA

AND SHOW HER YOUR COLLECTION, IT'S LIKE...

INTIMIDATING?

INSANE. RIGHT.

AND I REMEMBER THERE WAS ME AND MEREDITH

IN ANNA'S OFFICE, AND IT WAS THE FIRST TIME I MET HER.

I WAS LIKE, "OH, MY GOD. IT'S ANNA."

IT'S LIKE MADONNA IS ANNA, YOU KNOW?

AND, I WAS...

YOU KNOW, SHE'S LIKE, "GO ON."

SO, I'M LIKE TALKING ABOUT THE INSPIRATION,

LIKE I'M MOVING MY HANDS, AND I'M LIKE SHOWING HER, YOU KNOW,

THE PIECES, AND I CAN SEE MY HAND, LIKE, SHAKING.

LIKE, IT WAS LIKE, SHAKING.

BECAUSE SHE JUST SAT THERE THE WHOLE TIME LIKE, "MM-HMM. MM-HMM."

SO THEN, WE GET OUT OF THERE,

AND MEREDITH'S LIKE, "OH, MY GOD.

YOU WERE SO WELL-SPOKEN, BUT THAT HAND KEPT SHAKING."

[LAUGHTER] AW.

[TELEPHONE RINGS]

ANNA WINTOUR'S OFFICE.

HI, THAKOON.

HI. HOW ARE YOU?HOW ARE YOU?

I HAVE 8 SKETCHES.

I DON'T KNOW HOW YOU WANT ME TO LAY THEM OUT FOR YOU.

RIGHT HERE.OK.

YOU KNOW THAKOON, RIGHT?

YEAH. NICE TO SEE YOU.

SO, THESE ARE HIS SKETCHES FOR THE GAP PROJECT.

MM-HMM.THE SHIRTS.

AND IT'S 3 THAT WE'VE--

WE'RE ABOUT TO NARROW IT DOWN TO 3?

MM-HMM.

I THINK WE OUGHT TO DO ONE WITH A LITTLE SLEEVE.

I LOVE THE LITTLE SLEEVE.

AND THEN MAYBE ONE THAT'S A DRESS.

IT'S VERY HARD TO BE A DESIGNER IN THIS COUNTRY,

SO WE CREATED A FASHION FUND

TO DRAW ATTENTION TO NEW TALENT.

TO FUND IT, AND TO F--AND TO GET MENTORING FOR IT.

THE WINNERS GET TO DESIGN SOMETHING FOR A MEGA-BRAND.

YOU LIKE THIS ONE?

I WOULDN'T DISCOUNT THAT.

IT'S GOT A SIMPLICITY THAT THE GAP CUSTOMER

IS GOING TO IMMEDIATELY ACKNOWLEDGE.

THAKOON WAS ONE OF THE WINNERS OF THE AWARD.

HE HAS ALL THE COMPONENTS

TO HAVE A SERIOUS HIGH-END DESIGNER LINE.

I'M HAPPY WITH THOSE 3.

LOVE IT. ALL RIGHT. WELL, THANK YOU.

THANK YOU.

YOU NEVER KNOW THOUGH.

I MEAN, UH, REMEMBER, ISAAC MIZRAHI WENT OUT OF BUSINESS.

THE FASHION BUSINESS ISN'T FAIR.

THEY DO EVERYTHING RIGHT AND THEY STILL CRASH.

THOSE COLORS ARE GOOD.

I'M ONE OF THE LAST REMAINING FASHION EDITORS

WHO DRESS THE GIRLS MYSELF.

I'M TOLD THE VERY MODERN THING...

IS TO DON'T TOUCH THE GIRLS.

IS THAT RIGHT?

YEAH.

WHO DOES IT? THE ASSISTANT?

YEAH.

I'M A BIT OLD-FASHIONED.

[GIGGLES]

I LOVE THIS.

YOU SEE? I LOVE THIS.

GOOD POSE.

WATCH THE LIGHT, GUYS. COME ON.

SHE LOOKS LIKE SHE'S GOT A PLASTIC BAG ON,

BUT IT LOOKS GOOD.

GARBAGE BAG.

GOOD NIGHT.

GOOD NIGHT.

GOOD NIGHT, EVERYONE.

I STARTED READING "VOGUE" WHEN I WAS A TEENAGER,

AND I GREW UP IN NORTH WALES,

AND IT WAS KIND OF, UH, DIFFICULT TO GET.

SO, I USED TO ORDER IT AND RUSH ONCE A MONTH

TO GET MY COPY WHICH WAS PROBABLY 3 MONTHS OUT OF DATE.

I LOVED THE WHOLE SORT OF CHIC THING

THAT WAS SO ENTIRELY OUT OF CONTEXT

COMPARED TO THE LIFESTYLE I LED.

YOU KNOW, I WENT TO SCHOOL.

I WENT TO A CONVENT.

I NEVER WENT ANYWHERE FOR MY HOLIDAYS,

AND SO I JUST LOOKED AT "VOGUE."

AT THE SAME TIME, THERE WAS A "VOGUE" MODEL COMPETITION,

AND SOMEBODY SENT MY PIC-- VERY BAD PICTURES IN.

AND I ACTUALLY WON THE YOUNG SECTION

'CAUSE I WAS QUITE YOUNG AT THAT TIME.

AND SO, I STARTED MODELING FOR "VOGUE."

SOMEHOW, EVERYTHING I DID, I KIND OF FELL INTO.

I JUST KNEW THAT I PROBABLY HAD TO GET OUT OF THAT PLACE,

SO I WENT UP TO LONDON, AND I BECAME A FULL-TIME MODEL.

THESE ARE THE PICTURES OF ME BY VARIOUS PHOTOGRAPHERS.

THIS IS ONE OF MY VERY FIRST MODEL PICTURES.

UM, IT'S PROBABLY IN '59 BY LORD SNOWDON.

I STOPPED MODELING BECAUSE I HAD A CAR CRASH.

UM, MY HEAD WENT INTO THE DRIVING MIRROR,

OR MY EYE WENT INTO THE DRIVING MIRROR,

SO I HAD A LOT OF PLASTIC SURGERY.

AND, UM, THEN 2 YEARS LATER, I SORT OF WENT BACK TO WORK.

THIS IS FROM A SHOOT THAT I DID WITH BAILEY PALMUT.

THIS IS MANOLO BLAHNIK,

AND THIS IS ANJELICA HUSTON WHEN SHE WAS MODELING.

I WAS OFFERED A JOB AT BRITISH "VOGUE."

I WAS A JUNIOR EDITOR AND, UM, KIND OF SLOWLY WORKED MY WAY UP.

HELLO.

MISS CODDINGTON!

MY GOD.

HOW WAS YOUR SHOOT?

IT WAS GREAT.

IT WAS GREAT.

THIS IS REALLY GOOD, ISN'T IT?

THESE ARE GOOD.

[OVERLAPPING CHATTER]

IT'S BEAUTIFUL.

GRACE IS, WITHOUT QUESTION, THE GREATEST LIVING STYLIST.

THERE'S NO ONE BETTER THAN GRACE.

THERE'S NO ONE WHO CAN MAKE ANY PHOTOGRAPHER

TAKE MORE BEAUTIFUL, MORE INTERESTING,

MORE ROMANTIC, MORE...

JUST STUNNINGLY REALIZED PICTURES THAN GRACE.

THERE--THERE ABSO--THERE'S NO ONE BETTER.

PERIOD.

SHE COMES FROM THE IDEA THAT FASHION

IS THIS WORLD OF PLAY AND MAKE-BELIEVE.

IT'S AS IF SOMEONE'S GONE TO THE DRESSING UP BOX

AND FOUND THE MOST KIND OF WONDERFUL,

PERSONAL THINGS AND PUT THEM TOGETHER.

BUT IT'S BEAUTIFUL.

HI, ANNA.

HI.

I'M NOT CRAZY ABOUT THIS ONE. ARE YOU?

I LIKE IT.

DO WE NEED THIS?

IT'S JUST NOT SAYING TEXTURE TO ME.

ALL THE OTHERS, I...

DO YOU UNDERSTAND WHAT I'M SAYING?

YEAH.

I'M JUST REALLY, REALLY CONCERNED

ABOUT HOW MUCH BLACK WE'RE GETTING.

SO, IF WE WERE TO TAKE ANOTHER ONE OUT...

IT'D BE THAT ONE.

LET ME SEE IT. OK.

LET ME JUST SEE IT. OK.

OK? WHOSE IS THAT?

WHAT HAVE THEY SNIPPED OFF HERE?

WHICH ONE WENT?

THAT'S THE GUESS.

OH, YES, OF COURSE. THE OTHER BLACK ONE.

THOSE POOR GODDAMN RODARTES.

I KNOW. THEY'RE, UH--THEY'RE OUT.

RUBBER'S NOT A TEXTURE?

AND LEATHER...

WE ORDERED IT. WE ORDERED ALL THE PRINTS, SO--

OH, YEAH. I'VE HEARD THAT STORY.

YEAH.

BUT IT'S SUCH A GREAT PICTURE THOUGH.

I ACTUALLY LIKED IT AS A PICTURE.

[SIGHS]

SHE THOUGHT IT WASN'T "TEXTURE."

IT IS TEXTURE.

LET'S ADD THE WAIST SEAM, ADAM.

DO WE NEED POCKETS?

SO, THIS ONE IS-- IS IT NOT AROUND?

YES, IT IS, ACTUALLY.

♪ WE WANT SOMETHING

♪ EVERYONE WANTS SOMETHING

♪ EVERYONE'S GOTTA BELIEVE

♪ WE TAKE YOU TO IT

♪ NOTHING ELSE TO DO BUT LIVE THE LIFE ♪

♪ IT'S ALL A LIE

FABULOUS COLOR.

♪ WE BURN THE FLAGS, BURN THE HOUSE ♪

♪ BURN THE CHURCHES, BURN IT... ♪

I PERSONALLY WOULD NOT PUT THIS ONE IN THE SHOW,

BUT THE OTHER THINGS YOU'VE SHOWN US ARE EXCITING.

ALL OF THIS, ACTUALLY, IS STILL UNDER CONSIDERATION.

YOU NEED TO ADD 100 THERE.

GRACE IS VERY GOOD AT THAT.

GO ON, GRACE.

SLASH AND BURN.

NO, ANNA IS,

BUT I DON'T THINK YOU COULD TAKE ANNA'S SLASHING.

SO, ANNA...

OH.

TAKHOON.

AND PERHAPS THEY WANT TO...

THAKOON. MM-HMM.

HE'S REALLY GOOD.

♪ BURN THE FLAGS, BURN THE HOUSE ♪

♪ BURN THE CHURCHES, BURN IT ALL DOWN ♪

♪ WE BURN THE STREETS, BURN THE TREES ♪

♪ BURN THE LESSONS, BURN IT ALL DOWN ♪

SEE? NOW IT'S BEAUTIFUL.

YEAH.

NOW, IT'S REALLY PRETTY.

IT IS.

♪ BURN THE CHURCHES, BURN IT ALL DOWN ♪

♪ WE BURN THE SIGNS, BURN THE SAINTS... ♪

THIS IS GOOD. THIS IS GOOD.

SO, FOR THE BROOCH.

[INDISTINCT]

WE HAVE THIS. IT'S FROM BALENCIAGA.

I THINK THAT'S COOL.

IT'S LIKE A NECK BRACE.

WELL, AT FIRST WE THOUGHT MAYBE IT WAS A SCARF, BUT--

IT'S A NECK BRACE.YEAH.

♪ BURN THE WHOLE THING DOWN, DOWN, DOWN ♪

♪ BURN IT ALL DOWN

I'VE MOVED ON. I'M ON TO TWENTIES NOW.

TWENTIES IS SOMETHING THAT WILL REALLY BE INSPIRATIONAL,

AS JOHN GALLIANO SHOWED.

HE WAS INSPIRED BY THE PHOTOGRAPHER, BRASSAI,

WHO'S A PHOTOGRAPHER FROM THE TWENTIES.

SHOES, I'M VERY DESPERATE FOR.

IT JUST HAS TO BE SOMETHING THAT SLIGHTLY EVOKES THE TWENTIES.

MM-HMM.

WHAT HAS SHE GOT?

WOW.

YOU HAVE TO HAVE THAT FASHION STORY, YOU KNOW.

SPOTS ARE IN OR STRIPES OR FULL SKIRTS

OR STRAIGHT SKIRTS OR WHATEVER IT IS,

BUT I HAVE TRIED TO MAKE THAT SECONDARY.

WE BUILT A FANTASY AROUND THE GIRL

AND WHAT SHE'S DOING, WHAT SHE'S THINKING, WHO SHE IS.

BUT THERE, YOU KNOW--AH.

THAT, OF COURSE, WHAT'S SO GENIUS ABOUT THAT IS THAT,

YOU KNOW, SHE HAS BIG, FAT LEGS.

OF COURSE, I LOVE THAT.

THIS WAS PHYLLIS' REFERENCE PICTURE, AS WELL.

THEY'RE SO BEAUTIFUL.

OK. ARE THEY COMING FOR THE RUN-THROUGH, PLEASE?

THAT WAS JUST ANNA'S OFFICE.

SHE HAS AN 11:00 APPOINTMENT.

SO, WHAT DOES THAT MEAN?

ITS 10 TILL 11:00 RIGHT NOW.

SO, SHE WANTS TO SEE ME BEFORE?

MM-HMM.

UH, VIRGINIA.

YEAH?

ANNA WANTS TO SEE US NOW

'CAUSE SHE HAS SOMEWHERE TO BE AT 11:00.

OK.

WE'RE GOIN' IN.

WELL, I HAVE A TON OF STUFF HERE.

AND I DON'T KNOW HOW MANY DOUBLE, TRIPLES, SINGLES I'M DOING.

BUT MAYBE WE CAN PRIORITIZE WHAT--

BUT YEAH. AND YOU SHOULD,

YOU KNOW, IF YOU HATE SOMETHING, JUST SAY,

"I NEVER WANNA SEE THAT IN THE MAGAZINE."

OK.

WELL, THERE'S 2 COATS HERE.

I'M--I'M SORT OF UNDECIDED ABOUT THEM, BUT...

BUT IT IS SIMILAR TO THE ONE WE DID IN JULY.

IT'S NOT, BECAUSE YOU'RE THINKING OF THE ONE WE SHOT AND DIDN'T RUN.

I'VE SHOT THEM TWICE,

BUT WE HAVE NOT HAD THEM IN THE MAGAZINE.

THE COAT DIDN'T RUN.

ANYWAY, THERE'S ALL THESE LITTLE DRESSES,

AND THEN THERE'S A LITTLE COAT.

I LOVE ALL THESE LITTLE EVENING THINGS.

LET'S REMOVE THE COAT.

I-I HAVE TO HAVE A LITTLE FREEDOM TO PLAY AROUND.

GRACE, I MEAN, THERE'S A LOT OF WEARABLE THINGS IN THIS,

AND I WANT THIS TO BE MORE WEARABLE THAN NOT.

I STARTED WORKING FOR AMERICAN "VOGUE"

THE SAME DAY AS ANNA DID.

I THINK WE UNDERSTAND EACH OTHER, PRETTY MUCH.

UH, JUST THROUGH, YOU KNOW, LIVING TOGETHER FOR 20 YEARS.

SHE KNOWS I'M STUBBORN.

I KNOW SHE'S STUBBORN.

AND I KNOW WHEN TO STOP PUSHING HER.

UH...SHE DOESN'T KNOW WHEN TO STOP PUSHING ME.

I MEAN, IS IT ODD JUST HAVING ONE FUR?

I MEAN, SHOULD WE HAVE ONE OTHER THING THAT HAS A FUR...

I MEAN, I JUST THINK IT'S ODD TO HAVE ONE--

I MEAN, MAYBE YOU'RE GOING TO DO A FUR HAT OR A--

I THINK IT'S SORT OF STRANGE TO HAVE A WHOLE SHOOT--

WELL, I'M TRYING TO MAKE AS MANY DIFFERENT LOOKS AS POSSIBLE--

YEAH, BUT I THINK YOU NEED ONE MORE.

BECAUSE OTHERWISE YOU'RE GONNA GET BORED.

WELL, I WOULDN'T--I WOULD TAKE THAT OUT, AND THEN THESE ARE ALL...OUT.

IS THAT RIGHT?NO.

OH, THIS IS OUT?

ABSOLUTELY NOT.

THESE ARE BEAUTIFUL.

I MEAN, DON'T THROW THOSE OUT.

THEY'RE BEAUTIFUL.

I DON'T THINK WE SHOULD DO THIS.

IT'S THE ONE FROM RESORT, RIGHT?

YEAH, IT'S SO PERFECT.

I KNOW, BUT IT'S GOING IN THE STORES IN NOVEMBER.

YOU CAN DO IT FOR THE NOVEMBER ISSUE.

HOW CAN SHE THINK OF LEAVING THESE OUT?

I KNOW. LOVE THOSE.

THAT WAS UNBELIEVABLE.

BUT I'M NOT LEAVING 'EM OUT.

SO CUTE.

YEAH.

THEY ARE.

AND PERFECT.

AND WHAT IS THIS THING ABOUT WE NEED A FUR COAT TO MATCH THAT ONE?

OR A FUR HAT.

OH, PLEASE.

I MEAN, LOOK...

WHAT'S THIS?

OH, WELL, SHE'S THROWN IT OUT.

THIS IS FUR.

THIS--THIS IS FUR.

THIS IS FUR.

THAT'S THE CRAZIEST THING I'VE HEARD.

[TECHNO MUSIC PLAYING]

THESE ARE ALL THE SEPTEMBER ISSUES...

THOSE ARE ALL THE SEPTEMBER ISSUES...

THAT YOUR MOTHER...

HAS DONE. YEAH.

SHE HAD A LOT OF HER OLD ISSUES,

AND THEN ONE TIME I CAME IN HERE AND LOOKED AND, LIKE,

SAW THAT SHE DIDN'T HAVE EVERYTHING

THAT SHE'D EVER DONE, AND I JUST

THOUGHT IT WOULD BE NICE FOR HER.

SO, NOW, SHE'S GOT EVERYTHING.

I REMEMBER THAT.

THAT WAS CONTROVERS--

THAT WAS CONTROVERSIAL.

PUTTING A BLACK GIRL ON THE SEPTEMBER COVER WAS--

FOR MY FIRST ONE--THAT WAS CONSIDERED QUESTIONABLE.

THIS GOT US A LOT OF ATTENTION--FUR ON THE COVER

OF SEP--THIS IS THE "DEATH WARMED UP" COVER, HEH.

THIS ONE'S REALLY CUTE.

ISN'T THERE...

I KNOW, BUT THEY LOOK SO...

PUPPIES.

THEY LOOK SO PALE.

I CERTAINLY READ BRITISH "VOGUE" WHEN I WAS 14, 15.

HERE'S THE ONE YOU HATED.

YEAH.

MY AMERICAN GRANDMOTHER USED TO SEND ME "SEVENTEEN."

THAT WAS A VERY HIGH POINT OF MY CHILDHOOD EVERY MONTH.

ALL RIGHT, GWYNETH.

THIS IS WHEN WE MOVED INTO CELEBRITIES.

SO, WE GOTTA DECIDE BETWEEN THESE TWO.

WHICH DO YOU LIKE?

I LIKE THE COLOR ON THAT.

YOU DO?

BUT I LIKE THE DRESS ON THE OTHER ONE.

AND THEN THE OTHER THING I WANTED TO SHOW YOU, DARLING, WAS THAT.

WHAT DO YOU THINK?

THAT'S NOT YOUR LOOK.

HER HAIR IS IN HER FACE IN THAT ONE.

MM-HMM.

YOU LIKE THAT ONE?

ONE OF THESE.

OK. GOOD.

DO YOU THINK YOU'D EVER WORK AT THE MAGAZINE WITH YOUR MOM?

NEVER.

NO. I THINK I'M GONNA GO TO LAW SCHOOL,

SO PROBABLY NOT.

[GIGGLES]

BUT I DON'T KNOW.

I'M GONNA GET THROUGH COLLEGE FIRST.

SORRY, MUMMY.

WELL, EARLY DAYS. WE'LL SEE.

I REALLY DON'T WANNA WORK IN FASHION.

IT'S JUST NOT FOR ME.

I REALLY RESPECT HER, OBVIOUSLY, UM...

BUT IT'S A REALLY WEIRD INDUSTRY TO ME, AND IT'S JUST NOT FOR ME.

SHE WANTS ME TO BE AN EDITOR.

I DON'T WANNA PUT IT DOWN,

BUT IT'S--I WOULD NEVER WANNA TAKE IT TOO SERIOUSLY.

SOME OF THE PEOPLE IN THERE ACT LIKE FASHION IS LIFE,

AND IT'S JUST--IT'S REALLY AMUSING,

AND YOU CAN MAKE FUN OF THEM, BUT FOR THAT TO BE YOUR CAREER, IT'S JUST,

YOU KNOW, THERE ARE OTHER THINGS OUT THERE, I THINK.

[PERCUSSION MUSIC PLAYS]

♪ OOH, OOH, YEAH

ISABEL, LET'S GO LOOK AT YOUR RESORT COLLECTION.

WONDERFUL.

THEY'RE VERY CLEAN AND CRISP.

ALMOST--TH-THIS IS A COMPLIMENT--INSTITUTIONAL.

CLINICAL. YOU GOT IT.

CLINICAL. YOU GOT IT.

ANDRE...

ANDRE'S HAVING A GREAT TIME WITH ISABEL TODAY.

FABULOUS TIME.

HAS ALL THESE IDEAS OF STILL-LIFES

AND THINGS THAT WE CAN DO, SO WE'RE DOING ALL THAT.

YOU MAKE SUNGLASSES, TOO?

YEAH. UPSIDE DOWN.

LOOK AT MY TAPE. [INDISTINCT]

UPSIDE DOWN.

YOU HAVE SUCH AN EYE.

♪ YOU FEEL THE NEED...

MAKE SURE YOU FEATURE THE BAG.

♪ YOU FEEL THE NEED

♪ OH, YEAH, IT BURNS

♪ WHAT A RIDE...

IT'S VERY CINEMATIC, ACTUALLY.

MM-HMM. I LIKE THAT ONE A LOT.

YEAH, I REALLY THINK...

♪ YEAH, YEAH, YEAH

♪ GIVE ME THAT THING, GIVE IN MY FRIEND... ♪

THAT'S THE LOOK. BEAUTIFUL.

♪ I'LL STAY FOREVER...

THIS IS IT.

ARE THEY SENDING MORE CHOICES, OR IS THIS KIND OF IT?

TH-THESE ARE ALL, YOU KNOW, THEM.

SOMEHOW, YOU KNOW,

LITTLE DARK WIGS WE'VE SEEN QUITE OFTEN.

SO, YOU HAVE TO FIND ANOTHER WAY TO DO TWENTIES.

DO YOU LIKE THAT?

THE GIRLS WERE WONDERFUL, AND, UH...

THEY ALL SEEMED TO WORK PERFECTLY.

I HO--I HOPE IT LOOKS AS GOOD AS I THINK IT DOES.

♪ YOU FEEL THE HEAT

♪ THERE IS NO WAY TO RETURN...

WE'VE DONE THEM IN A VERY SOFT COLOR.

YOU KNOW, IT'S ALMOST LIKE OLD FILM THAT'S FADED.

I LOVE WHEN IT GOES SOFT, AND EVEN SOMETIMES,

IF THERE'S MOVEMENT, THERE'S A LITTLE BLUR AND THINGS, BUT...

I DON'T KNOW.

EVERYBODY SEEMS TO LIKE THINGS PIN-SHARP THESE DAYS.

I THINK IT'S A SHAME.

♪ GIVE ME THAT THING, GIVE IN MY FRIEND ♪

♪ GIVE ME GOOD, GOOD TIMES AROUND THE BEND ♪

♪ I'LL STAY FOREVER

♪ GIVE ME THAT THING...

I HOPE IT'S OK.

THAT LOOKS GREAT.

WAS THAT THIS WEEK?

YEAH. THIS WAS THIS MORNING.

THIS MORNING? YEAH.

I MEAN, I KNEW THAT THEY WERE DOING THAT,

BUT I DIDN'T KNOW THAT--

THAT THAT WOULD BE ON THE COVER. RIGHT.

IT'S KIND OF EXCITING.

I GUESS IT JUST--JUST, YOU KNOW,

START AT THE BEGINNING WITH,

UH, WHEN THE GAP CAME TO YOU.

IT WAS, UH, "VOGUE," THAT CALLED AND SAID THAT,

"YOU KNOW, WE ARE WORKING WITH THE GAP THIS--

"UH, THIS COMING UP YEAR, AND WE, YOU KNOW,

"WE WANNA LAUNCH THE PARTNERSHIP

WITH THIS CONCEPT OF REWORKING THE WHITE SHIRT IDEA."

♪ OH, YEAH!

♪ GIVE ME THAT THING, GIVE IN MY, FRIEND ♪

♪ GIVE ME HOT, HOT LOVE AROUND THE BEND ♪

♪ I'LL STAY FOREVER...

CONGRATS! THANK YOU.

YOUR FACE IS EVERYWHERE!

HOW ARE YOU? IT'S GOOD TO SEE YOU.

GOOD. IT'S AMAZING.

AMAZING. SO PROUD OF YOU.

IT'S SO GREAT!

HI, ANNA. HOW ARE YOU?

HOW ARE YOU?

SO, I TOLD YOU I'D GET YOU THE GAP.

I KNOW. I KNOW.

YOU GOT ME A HUGE THING, WHICH IS GREAT.

THANK YOU SO MUCH.IT'S SO FUNNY.

I WAS JUST THINKING ABOUT OUR CONVERSATION ALL THOSE MONTHS AGO.

I KNOW. I KNOW. I KEEP THINKING--

IT WAS LIKE I-I DIDN'T REALIZE

IT WAS GONNA TURN INTO SUCH A BIG DEAL.

WELL, HAVE YOU HAD A GOOD RESPONSE?

YES. I THINK THEY'RE SOLD OUT ONLINE.

REALLY? YEAH.

THAT'S GREAT.

♪ I'LL STAY FOREVER

♪ OH, YEAH!

♪ GIVE ME THAT THING, GIVE IN MY FRIEND ♪

♪ GIVE ME HOT, HOT LOVE AROUND THE BEND ♪

♪ OOH! I'LL STAY FOREVER WITH YOU... ♪

SO, THIS IS WHAT WE SHOT THE OTHER DAY.

IT WAS REALLY DIVINE.

THIS IS ALL GALLIANO WHO WAS THE INSPIRATION

AND THE START OF THE WHOLE STORY.

AND I COMPLETELY FELL IN LOVE WITH THESE.

THIS IS COCO.

SHE WAS DOING THE CHARLESTON HERE ON THE BAR.

NEARLY FELL OFF, BUT... I THINK THAT'S KINDA GREAT.

EXCUSE ME.

OH, SURE.

WE'RE GONNA TRY TO PRINT THESE OUT AGAIN BRIGHTER.

OK.

THIS ONE'S A LITTLE--

I KNOW.

UNNECESSARY. YEAH, DON'T YOU THINK?

YEAH. TOO MUCH.

IT IS. IT'S ALL OPPOSING.

A DIFFERENT KIND OF A SET ALMOST.

YEAH, BUT THAT-- THE OTHERS LOOK FINE.

BUT DO YOU AGREE?

YEAH.

[INDISTINCT]

I THINK YOU HAVE MORE PERSONALITY OUT OF THESE

THAN YOU DO IN THAT.

MM-HMM. SO...

AND THERE'S PLENTY OF GALLIANO, SO...

YES.

NO, THEY'RE FUN. ANYWAY, THIS ONE'S AGAIN, THE GROUP.

YEAH.

BUT MAYBE IF IT'S MORE IN THE MIDDLE, IT MIGHT WORK.

WE'LL SEE. ALL RIGHT.

HOW MANY ARE THERE?

22.

WELL, LET ME GIVE YOU THE RIGHT NUMBER.

LET ME GIVE YOU THE RIGHT NUMBER.

OK, I HAVE TO FIND OUT HOW MUCH--

I'M GONNA GO CHECK AND SEE HOW MUCH OF THAT IS WITH XEROX.

I NEED TO PRINT OUT THE BEAUTY BETTER, FOR SURE. OK.

AND THEN TRY TO PRINT THIS OUT BETTER, TOO, IF YOU CAN.

SEE IF THAT HELPS.

IT'S--IT'S--IT'S THE-- WELL, LOOK.

I THINK IT'S THE--

BECAUSE THEY'RE MEANT TO BE--

ON THE SCREEN, THERE WAS MORE COLOR.

NO, 'CAUSE EVEN THE BEAUTY--

THE MEISEL--IT'S EVERYTHING.

I THINK IT'S JUST THE PRINTER...RIGHT NOW.

IT'S THE PRINTER RIGHT NOW.

THEY'RE MEANT TO BE SOFT.

THEY'RE MEANT TO BE.

OK. THAT'S THE POINT.

BUT THE COLORS ARE NOT LIKE THIS THOUGH.

LIKE THIS.

RIGHT.

THERE WE ARE.

I TAKE THAT TO BE LIKE THAT, NO MATTER WHAT.

I MEAN, THEY'RE MEANT TO BE.

THEY'RE NOT SUPPOSED TO BE BRIGHT, YOU KNOW, LIKE THIS.

THEY'RE NOT--NO, NO, NO.

I KNOW IT'S--I KNOW THAT. NO, NO, NO.

I KNOW.

SO, DON'T TRY BECAUSE YOU WON'T GET ANYWHERE.

NO, THEY JUST SEEM F--

OH, YOU PROBABLY WILL,

'CAUSE YOU CAN PROBABLY PUMP THEM UP,

BUT THAT'S REALLY A SHAME. IS THIS OUT?

MAYBE.

ARE YOU KIDDING?

NO. WHY?

BECAUSE SHE DOESN'T FEEL IT GOES WITH THE REST OF THE STORY SO MUCH.

WAIT AND SEE.

THIS IS EARLY YET.

WE HAVE THE WHOLE ISSUE TO PUT TOGETHER.

I-I-I DON'T GET WHY IT WOULDN'T GO IN.

BUT THAT'S NOT ALL GALLIANO...

WHICH IS THE POINT OF THE THING.

WE GOT A FEW MORE.

HMM?

WE GOT A FEW MORE THERE.

YEAH.

I LOVE THESE.

THIS ONE POSE.

IT'S ASTOUNDING.

BUT THEY'RE SUPPOSED TO BE SOFT LIKE THAT.

THEY'RE SUPPOSED TO BE BACK-LIT.

IT'S MAYBE ALL THE THINGS SHE DOESN'T LIKE,

BUT THAT'S WHAT THEY'RE SUPPOSED TO BE.

NO, IT'S GREAT. IT'S REALLY NICE.

THANKS. I'LL TELL SUE.

SO LET'S SEE WHAT'S AROUND HERE FOR SIENNA.

THIS IS SIENNA COMING OUT.

SO I DON'T HAVE TO BE THERE FOR THAT ONE.

WELL, IT'S A COVER.

OH, GOOD LORD. I'LL GO TO A CHURCH.

JUST CALL ME WHEN.

SO... ALL RIGHT.

SORRY ABOUT THIS.

THIS IS LIKE A GIRLY HEAVEN.

HOLY...OH, MY GOD!

IS THAT THE...[INDISTINCT]

OH, MY GOD! IT'S AMAZING.

ANDREW?

THAT'S AMAZING.

HO HO!

OH, MY GOD.

IS THAT WINGS? NO.

I DON'T UNDERSTAND HOW EVERYONE SORT

OF COLLECTIVELY DOES-- DO YOU KNOW WHAT I MEAN?

YEAH. [CHUCKLES]

I MEAN, IT'S THE SEPTEMBER ISSUE OF "VOGUE."

HI, GUYS.

HI. HI.

HOW ARE YOU?

I'M GOOD.

HELLO. HI.

THIS IS SAVANNAH, MY SISTER.

HI, SAVANNAH. HOW ARE YOU?

FINE, THANK YOU.

THANK YOU FOR COMING.

DO YOU WANNA TRY THAT?

IT LOOKS CHEAP TO ME.OK.

THAT'S QUITE RIDICULOUS.

THE EVOLUTION FOR "VOGUE" TO PUTTING CELEBRITIES

ON ITS COVERS HAS BEEN BECAUSE OF ANNA.

SHE WAS AHEAD OF THE CURVE.

TO APPRECIATE THE FACT

THAT CELEBRITY CULTURE BECAME OVERWHELMING.

AM I SUPPOSED TO POSE IN THIS BIT?

NO.

I DON'T KNOW.

WHAT "VOGUE" DID, AND WHAT THE SUPERMODELS DID,

IN THE PAGES OF "VOGUE,"

IS THAT THEY TRAINED A GENERATION OF CELEBRITIES

TO WANT TO BE SUPERMODELS.

ACTRESSES STARTED BELIEVING THAT FASHION WAS A SEAMLESS PART

OF LIFE AND A SEAMLESS PART OF CELEBRITY, AND THAT WAS FINE.

[GASPS]

[GIGGLES]

OH, MY GOODNESS.

IT'S AMAZING.

[GASPING FOR BREATH]

REALLY, NO PASTA.

I CAN'T BEAR GOING TO ROME

AND NOT BEING ABLE TO HAVE PASTA.

THAT'S INCREDIBLE.

IT IS. YOU LOOK AMAZING IN THAT.

THIS IS AMAZING!

I THOUGHT IT WAS IN PARIS.

IT'S AMAZING!

AND THE REST OF THE SHOOT IS JUST BRILLIANT, GRACE.

WELL, DO MENTION IT TO ANNA

BECAUSE SHE'S KILLED HALF OF IT.

OH, JUST BEAUTIFUL.

IT IS BEAUTIFUL.

SHE TOOK OUT THE 2 BEST PICTURES.

[INDISTINCT CHATTER]

DO YOU WANNA GO DO THE HAIR STUFF?

OR DO YOU WANT TO DO THAT ANOTHER TIME?

YOU KNOW WHAT? I JUST WANTED TO SHOW YOU THIS.

THIS WAS WHAT YOU--

WHAT WE LOOKED UP, WHICH I LOVED.

IT'S DIVINE, ISN'T IT?

MY HAIR'S TOO THICK TO DO IT WITH.

I MEAN, YOU'RE GREAT IN SHORT HAIR.

DO YOU THINK BETTER?

DO YOU?

I DO.

I MEAN, I HAVE A--

IT'S A SURVEY OF EVERY HAIRSTYLE YOU'VE HAD.

IT'S ON MY BOARD. I'M SERIOUS.

THE SHOOT IS CENTERED AROUND A WEEKEND IN ROME.

SHE'S GONNA GO, UM, AROUND TOWN,

AND I HAVE TO STORYBOARD THAT, LITERALLY,

BECAUSE THIS IS GONNA BE HIGHLY PRODUCED.

OTHERWISE, IT'S GONNA BE CHAOS.

FEATHERS. FEATHERS.

FEATHERS.

[COUGHING]

I'M GOING TO EUROPE TODAY--

ROME, PARIS, AND LONDON.

WHAT TIME AM I LEAVING ON WEDNESDAY?

I'M EMAILING YOUR ITINERARY SHORTLY.

JUST TELL ME A TIME.

HAVE WE ORGANIZED, LIKE,

WHERE THEY WOULD BRING THESE DRESSES IN ROME?

NO.

IT--IT'S A PROBLEM WHEN YOURS ARE THE FIRST

PICTURES IN, 'CAUSE PEOPLE GET BORED WITH 'EM.

SO, SHE'S GONNA LOVE THE ROME PICTURES

BECAUSE THEY'LL COME STRAIGHT IN,

AND THEY'LL GO STRAIGHT TO PRESS, SO...

IF SIENNA GETS SICK AND DOESN'T TURN UP IN ROME, MAYBE.

MAYBE ALL THE PICTURES'LL COME BACK.

THEY'LL PROBABLY FIND ANOTHER CELEBRITY TO TAKE HER PLACE.

I DON'T KNOW.

SO, SHALL WE NOT TALK ABOUT PHOTOS ANYMORE?

[LAUGHTER]

PHOTO DISCUSSION IS OVER.

OK, IS THERE ANYTHING WE NEED TO TALK

ABOUT FOR DECEMBER, OR IS THAT JUST--

WAIT TILL WE COME BACK.

[INDISTINCT]

GRACE, I'M LEAVING SOON.

DO YOU NEED ME FOR ANYTHING?

UM, WELL, YEAH, WE HAVEN'T, UH, YOU KNOW, LIKE...

THE BUDGET IS A PROBLEM BECAUSE, YOU KNOW...

IT'S NOT FINE. IT'S NOT FINE.

IT'S NOT THAT SIMPLE.

WELL, YOU NEED TO TALK TO-- SHE HAS THE FIGURES.

I KNOW, BUT IT'S A HELLUVA LOT OF WORK

TO PUT TOGETHER, WHICH I DON'T WANNA DO

IF YOU HAVE A LIMITED BUDGET, SO I CAN'T

REALLY FIND OUT WHAT THE LIMIT IS

'CAUSE THE LIMIT KEEPS CHANGING.

NOW I'M IN A REALLY FOUL MOOD

BECAUSE THEY'VE KILLED IT ALL, THE SPREAD OF MY TWENTIES STORY.

AND THEY'RE ABOUT TO KILL ANOTHER ONE.

AND THEY'RE ALL LYING TO ME ABOUT IT,

INCLUDING DANKO, WHO I THOUGHT WAS MY FRIEND.

LET ME JUST SIT HERE.

EVERYTHING IS KILLED.

IT'S LIKE, INCREDIBLY BORING.

AND I LOVE TO TALK MONEY IN FRONT OF YOU GUYS WITH ANNA

'CAUSE IT DRIVES HER CRAZY.

[LAUGHS]

IT'S A SURE WAY TO GET THE BUDGET UP.

[LAUGHS]

I DON'T LIKE THIS.

NO.

NO, WE DID THIS, TOO, BUT...

NO, NO. IT'S--IT'S-- IT'S JUST THAT THAT'S

NOT A GOOD PLACE FOR THAT TO GO.

OH, OK.

THIS IS TOO LONG, CHARLIE.

STILL?

ALL RIGHT. WE'LL--WE'LL TAKE IT DOWN.

THAT'S EASY TO TAKE DOWN THEN, IF THAT'S THE CASE.

YES, I'LL HAVE 'EM DO IT RIGHT AWAY.

OK.

DIDI? I'M FINE. HOW ARE YOU?

I THINK IT IS ACTUALLY GONNA BE A WIG, DIDI,

SO YOU'RE GONNA NEED TIME TO...YEAH.

MM-HMM. HER HAIR IS JUST COMPLETELY LACKLUSTER,

AND, UH, SHE'S GROWING IT OUT.

SHE WON'T CUT IT.

YOU KNOW, BLAH, BLAH, BLAH, BLAH, BLAH.

IT MIGHT BE JUST EASIER TO DO A WIG.

DO YOU NEED THIS?

YOUR TICKETS ARE IN THE JULY--YOUR UPPER ENVELOPE.

THE MONEY IS IN THE BAG.

OK. OK.

I'LL SEE YOU GUYS IN EUROPE.ALL RIGHT.

WELL, I THINK WE HAVE TO DISCUSS THINGS.

IT'S GONNA BE AROUND UNTIL THE NEXT--

UNTIL TAMMY'S PICTURES COME IN.

AND, YOU KNOW--

NO, THAT'S FOR NEXT MONTH.

NO, SIENNA IS NOT NEXT MONTH.

BUT WE'RE NOT GOING TO REALLY DO THE ISSUE UNTIL ANNA GETS BACK.

WE'RE JUST PUTTING ALL THESE THINGS UP.

WELL, NO. YOU'RE TAKING THEM ALL DOWN.

YOU'RE TAKING EVERYTHING DOWN.

THEY TOOK 2 MORE OUT,

AND THERE'S QUESTION MARKS ON 2 MORE.

SO, IT'S BEEN WHITTLED DOWN.

AND I'M FURIOUS.

THEY'VE PROBABLY THROWN OUT $50,000 WORTH OF WORK.

I CARE VERY MUCH ABOUT WHAT I DO.

I DO, OR I WOULDN'T BE STILL DOING IT, YOU KNOW.

UM, BUT IT GETS HARDER AND HARDER...

TO SEE IT JUST THROWN OUT.

AND IT'S VERY HARD TO GO ON TO THE NEXT THING.

[WOMAN VOCALIZING]

[INDISTINCT]

HI. HOW ARE YOU?

DID THEY GIVE YOU THE MESSAGE ABOUT CHANEL?

THAT YOU'RE GOING THIS AFTERNOON?

YEAH. YEAH.

[ELEVATOR DINGS]

[COUGHS]

OH, ANNA. HOW NICE TO SEE YOU.

NICE TO SEE YOU, TOO.

PLEASURE TO SEE YOU.

WELCOME. WELCOME TO PARIS.

MAYBE I WON'T, UH...

THE THING IS, THAT MY CLOTHES ARE NOT--

NOTHING'S READY. WE KNOW THE STORY.

NO. BUT-- BUT--BUT--BUT--BUT--

BUT THERE IS SOMETHING I NEED TO SHOW YOU.

I SHOW YOU ONE [INDISTINCT].

WELL, YOU KNOW, I'M DOING A SHOOT HERE IN PARIS.

I MEAN, I'M LOOKING 'CAUSE I ALWAYS COME

TO THE COUTURE, ALMOST ALWAYS.

I'VE BEEN, ACTUALLY, FOR 20 YEARS AT AMERICAN "VOGUE"

AND 20 YEARS BEFORE THAT IN BRITISH "VOGUE"

AND A FEW YEARS BEFORE THAT WHEN I WAS MODELING.

SO, I'VE BEEN COMING FOR A LONG TIME.

OBVIOUSLY, OSTENSIBLY, I'M THERE TO FIND SOMETHING TO SHOOT.

BUT I ALWAYS MARK TOO MANY THINGS.

[LAUGHS]

ANNA SAYS, "DON'T BE SILLY. CAN'T DO THAT ONE."

BUT, UH...

HI, DARLING.

HOW ARE YOU?

I'M GOOD, AND YOU?

DID YOU SEE THE MATCH LAST NIGHT?

MY, GOD. YOU LOOK AMAZING FOR THIS ROOM.

HA HA! RIGHT.

I DON'T THINK--

DID YOU SEE ROGER'S MATCH YESTERDAY?

HE WON. NO, I DIDN'T SEE IT, BUT I HEARD HE WON.

SO, WE GO TO SIENNA.

SO, A SCHEDULE--

A ROUGH SCHEDULE I'VE DONE WITH TOMMY.

BASICALLY, I WANT TO CREATE A FILM, YOU KNOW,

A MIXTURE OF FELLINI MEETS VISCONTI MEETS--

AH, RIGHT.ALMOST LIKE--

"ROMAN HOLIDAY."

YEAH. VERY CINEMATIC.

I THINK THAT I WOULD LIKE TO TRY AND DO A--

BUT THE CHARMING SIDE OF ITALIAN FILM RATHER

THAN THE BROODY, MOODY SIDE.

OF COURSE--OK. BUT LOOK HOW BEAUTIFUL

HER WITH THE PEOPLE IN THE BACKGROUND IS.

YEAH.

I MEAN, I WANT THINGS THAT ARE QUITE SPECTACULAR,

AND I WANT TO DO SOMETHING

TO DO WITH THE [INDISTINCT] IN ST. PETER'S SQUARE,

AND THEN I WANTED SOMETHING WITH HORSES AND SOLDIERS.

I MEAN, THERE IS A LOT OF WHITE.

LIKE, I LOVE THAT.

MM-HMM.

THE FEELING OF THIS WHITE.

THERE'S THE PASTRY SHOP WHICH IS ALL WHITE.

I MEAN, THERE'S A LOT OF WHITE.

I DON'T KNOW WHY I KEEP ON LOOKING

AT THINGS THAT ARE WHITE.

YOU KNOW, THE WHITE HORSES BECAUSE I THINK

THAT THAT WOULD BE QUITE BEAUTIFUL, TOO.

AND THEN I LOVE THIS IDEA OF PUTTING THE HORSE

IN ODD PLACES, AS WELL.

BUT I JUST DON'T WANT THAT TO BE THE WHOLE THRUST OF THE STORY.

YEAH. OK.

NOW, LET'S LOOK--TALK ABOUT HER BECAUSE HER--

HER HAIR IS NOT LOOKING ITS BEST, AND I GATHERED SHE'S--

WE HAVE THOUGHT ABOUT PUTTING A--PUTTING A WIG ON HER--

WELL, I THINK THAT'S A GREAT IDEA.

A REALLY GRAPHIC ONE--

BLUNT.

YEAH. BLUNT.

MY ADVICE, SINCE WE'RE GOING TO BE SHORT ON TIME IS,

IF WE DECIDE ON A LOOK AND JUST STAY WITH IT, BECAUSE--

OF COURSE.

YOU DON'T WANNA WASTE HOURS.

OH, NO.

I WOULD DO A LOOK, AND THAT'S HER LOOK.

YEAH. WELL, GREAT.

I'M REALLY EXCITED ABOUT THIS.

THIS IS GONNA BE THE BIGGEST ONE IN OUR HISTORY.

INCREDIBLE. YOU SHOULD HAVE A PARTY HERE.

THE SEPTEMBER ONE IS GONNA BE THE WHAT--HOW MANY PAGES?

LIKE 10,000?

I DON'T KNOW YET, BUT IT'S THE BIGGEST IN OUR HISTORY.

REALLY?

YEP. SO WE'RE EXCITED.

YOU SHOULD HAVE A PARTY HERE. NO?

PARIS IS SO BEAUTIFUL.

IT REALLY IS.

I NEVER DREAMT TO BE A MODEL OR NEVER,

NEVER DREAMT TO BE A FASHION EDITOR,

BUT I JUST LOVE THE PAGES AND THE PICTURES.

IN MY EARLY YEARS AS A FASHION EDITOR, UH,

I WORKED WITH NORMAN PARKINSON,

WHO WAS A REALLY BIG PHOTOGRAPHER,

AND HE TAUGHT ME TO ALWAYS KEEP YOUR EYES OPEN, YOU KNOW.

NEVER GO TO SLEEP IN THE CAR OR ANYTHING LIKE THAT.

KEEP WATCHING BECAUSE WHATEVER YOU SEE OUT

THE WINDOW OR WHEREVER, IT CAN INSPIRE YOU.

[BIRD CAWS]

IT IS AMAZING.

IT'S SORT OF STRANGE TO THINK HOW OLD IT IS.

IT'S BEAUTIFUL.

I THINK I GOT LEFT BEHIND SOMEWHERE

'CAUSE I'M, YOU KNOW, STILL A ROMANTIC.

YOU HAVE TO GO CHARGING AHEAD.

YOU CAN'T STAY BEHIND.

OK.

ALL RIGHT NOW.

SHE LOOKS GORG.

GORG!

AND THE HEAD JUST A TINY BIT FORWARD

SO YOU GET LIKE AN "S."

THAT'S GOOD. THAT'S THE ONE. GOOD, GOOD.

OH, WOW.

ANNA, HOW ARE YOU?

WE'RE DOING VERY WELL.

I'M SITTING HERE WITH MARIO AND EVERYBODY.

GRAZIANA'S HERE DOING A WIG.

EVERYTHING'S GREAT.

LET'S DIVIDE OUR STORY LIKE THIS.

LET'S DO 4 VERY SHORT LOCATIONS.

LET'S SAY...

THAT'S PRETTY SPECTACULAR, DON'T YOU THINK?

YEAH. I MEAN, LOOK...

YOU'VE GOT THE COLOSSEUM.

IT'S BEAUTIFUL.

THAT'S BEAUTIFUL.

I THINK WE DON'T NEED IT.

IT'S GOT BEAUTIFUL, OPEN, SHADE LIGHT.

I MEAN, IT'S SO PRETTY.

THAT IS WHAT I'M WONDERING-- WHETHER WE WANT FILM.

I FIND I'VE DONE THIS HAIR LIKE REALLY--

I WOULD LOVE SOMETHING NEW-- A NEW PROPOSITION.

YEAH.

WE TRIED THE WIG, AND IT DID NOT WORK,

AND WE MOVED ON, AND WE MOVED ON IN THE RIGHT DIRECTION, I THINK.

THERE, WOW! STAY THERE. DON'T MOVE.

DON'T-- THIS IS YOUR FACE.

DON'T MOVE.

THIS IS VERY BEAUTIFUL, NO?

I LIKE THE FRESHNESS OF THE SEPTEMBER COVER.

COME, SIT.

COME, COME, COME, COME, COME, COME, COME, COME.

OK, AGAIN.

NO, NO, NO, NO, NO.

AGAIN.

COME FORWARD, COME FORWARD.

HOLD. GOOD.

THAT'S QUITE BEAUTIFUL. ISN'T IT THOUGH?

NO.

IT'S BEAUTIFUL.

HUH?

I CAN CERTAINLY GET RID OF THE HEAD THING.

DO YOU WANT TO GET RID OF THE HEAD THING?

MAYBE. MAYBE IT'S NOT GOOD.

[LAUGHTER]

GRACE, THANKS FOR THE PIE.

I JUST DON'T KNOW IF I SHOULD EAT THAT

BECAUSE THE CORSETS ARE SO TIGHT.

IT'S NOT--OH, THAT'S NOT GOING TO MAKE A DIFFERENCE.

RAQUEL.

HELLO.

[LAUGHTER]

FANTASTIC.

CAN YOU BREATHE?

YEAH.

ARE YOU ALL RIGHT?

YEAH, YEAH.

THAT'S INCREDIBLE.

THAT'S BEAUTIFUL.

AND THE EXPRESSION HERE IS VERY LOVELY.

JUST PLAY WITH THE HANDS A LITTLE,

RAQUEL, FOR ME, DARLING. THERE.

[CLICKING]

OH, WOW!

THAT'S BEAUTIFUL.

IT AIN'T BAD.

I THINK YOU GOT IT.

OK. LET'S GO. NEXT.

BOING!

TA-DUM!

GOOD.

[INDISTINCT CHATTER]

[CHUCKLING]

SQUAT RIGHT--LEFT, LEFT.

AH!

[LAUGHTER]

MISS WINTER INAUGURATED ME INTO HEALTH BY INTERVENTION.

SHE SAVED MY LIFE, I GUESS IN THE LONG TERM BECAUSE

SHE INTERVENED ABOUT 3 YEARS AGO THAT I GOT TO LOSE WEIGHT.

SO, NATURALLY, WHAT MISS WINTER SAYS GOES.

SO I TOOK UP TENNIS.

OVER YOUR SHOULDER.

COME ON, COME ON, COME ON. GOOD.

I WOULDN'T COME TO THE TENNIS COURT

IN JUST A PAIR OF SHORTS AND A TENNIS SHIRT.

I GO TO DAMON DASHWOOD FOR MY TROUSERS.

I GO TO RALPH LAUREN FOR THE SHIRTS.

THIS IS MY VERSION OF A TENNIS WATCH.

IT'S A PIAGET FROM THE SIXTIES.

BUT I WOULD WEAR THIS TO THE TENNIS COURT.

I WOULD WEAR IT ALL DAY LONG.

IT'S ALL A PART OF THE WHOLE LIFE OF BEING WHO I AM.

I HAVE TO GET UP AND APPROACH LIFE

WITH MY OWN ESTHETICS ABOUT STYLE.

ANNA WINTOUR'S OFFICE.

THE MAGAZINE WILL BE ACTUALLY ALMOST 9 MILLION

WHEN WE COME OUT IN SEPTEMBER.

WONDERFUL.

THIS IS NOT A GREAT LOOKING OPENER.

I MEAN, THIS IS A CLEANER OPENER,

YOU KNOW, THE GIRL LOOKING AT YOU.

YOU WANT TO OPEN WITH SOMETHING PEOPLE WANT TO READ, I THINK.

DO YOU NEED ME, CHARLIE?

YES. THE COUTURE IS HERE.

OH, GREAT. WHAT ABOUT MARIO?

MARIO?

HELLO?

I LOVE THEM.

THEY LOOK GORGEOUS. I'VE STOLEN THEM.

I SNATCHED THEM OUT OF CHARLIE'S HANDS.

HA HA HA HA.

[MUTTERING]

[LAUGHING]

KIND OF, BUT YOU KNOW,

HE HATES TO SAY UNTIL ANNA'S SEEN THEM IN CASE HE MAKES A MISTAKE.

A LOT OF WIGS.

ALL THROUGH IT.

IT'S 14 PAGES.

THIS IS PRETTY.

BEAUTIFUL.

WELL, WE CAN WAIT, RIGHT?

OH, YES, SURE.

THIS SLIGHTLY HINGES ON WHAT HAPPENED WITH SIENNA,

I THINK.

OK.

GRACE WASN'T CRAZY ABOUT THAT ONE ANYWAY.

HI.

I KNOW. BRIAN JUST TOLD ME.

IT'S COMING OUT NOW.

SO AS SOON AS I LOOK AT IT,

MAYBE I'LL CALL YOU RIGHT BACK.

OK, THANKS A LOT, MARIO.

OK, I NEED THESE PRINTED OUT RIGHT AWAY.

SURE, YEAH.

IT'S PRINTING NOW, BUT--

SO THIS IS WHAT MARIO SENT?

THIS IS WHAT HE JUST SENT, YES.

BUT DID HE SEND THE COVER?

NO.

OK.

HE'S TAKING THEM ALL TO DO THAT.

THAT'S IT.

YES.

THAT'S IT FOR THE CLOTHES?

THAT'S ALL I'VE GOT.

THAT'S ALL HE SAID.

CAN YOU GET TANYA IN HERE?

IT JUST SEEMS LIKE--

SHE WASN'T IN BEFORE.

LET ME SEE IF SHE'S BACK.

NOT YET.

HER ASSISTANT'S CALLING HER TO FIND OUT.

OK. COULD WE ASK HER ASSISTANT

TO SEE HOW MANY PICTURES HERE WE'RE MISSING?

YES.

THIS IS ALL HE SENT.

CAN I SEE IVAN, PLEASE?

IVAN.

AND I NEED TONNE'S ASSISTANT, OR--

HI. DID HE SAY THERE'S MORE COMING, OR...

THERE'S NOTHING ELSE?

NO, THIS, I THINK, IS THE STORY,

BUT I'LL GO BACK TO THEM AND JUST DOUBLE CHECK.

ALL RIGHT.

AS I UNDERSTAND IT, THIS IS EVERYTHING.

OK. CAN WE GET TONNE'S ASSISTANT OR VIRGINIA IN HERE, PLEASE?

[DIALING]

TONY, I'M SORRY, I'M LOSING YOU.

I THOUGHT WE WERE GOING TO HAVE MORE CLOTHES.

OK, MARIO.

I'D LIKE TO SEE THE REST OF THE FILM AS SOON AS POSSIBLE.

DO YOU UNDERSTAND?

BUT I DIDN'T GET THE COLISEUM.

RIGHT.

I DON'T THINK THAT'S IT.

I THINK THE THING IS--

IT'S THE WHOLE LOOK IS EVERYTHING, TRUTHFULLY.

BUT I DON'T KNOW IF WE EVEN NEED TO RESHOOT.

BUT IT'S SOMETHING THAT'S BEING TALKED ABOUT,

SO I JUST WANT TO PUT IT IN YOUR EAR.

I JUST FINISHED TALKING TO MARIO.

NO OTHER NINA RICCI.

THAT WAS IT? THAT WAS IT.

THAT DIDN'T DO IT FOR ME.

NOW, AND THEY DIDN'T--HE SAYS HE DIDN'T DO THE COLISEUM DRESS.

HE SAYS HE DIDN'T LIKE IT, SO HE DIDN'T DO IT.

OK.

I JUST FINISHED TALKING TO MARIO ON THE PHONE.

YEAH.

HE SAYS THERE IS NOTHING

ON THE DRESS IN THE COLISEUM, THAT--

WHAT, HE DIDN'T LIKE IT?

HE REALLY COULDN'T--

HE SAYS HE DIDN'T LIKE IT SO HE NEVER REALLY DID IT, HE SAID.

WELL, HE--WHICH I HAD TO TELL HER.

YOU KNOW, IT'S DIGITAL.

HE DID SOMETHING, BUT HE NEVER GOT AN IMAGE

THAT HE WANTED TO HOLD ONTO. RIGHT.

YOU KNOW, I UNDERSTAND THAT, YOU KNOW,

SHE NEEDS TO DO MORE DRESSES, BUT, YOU KNOW,

YOU GET WHAT YOU GET.

I'M CONCERNED A LITTLE

BECAUSE I'M NOT POSITIVE OF THE COVER AT THE MOMENT.

THE ONE HE'S CHOSEN,

SHE'S KIND OF TOUGH-LOOKING IN THE FACE.

THAT'S NOT A FACE FOR A COVER.

RIGHT.

SEE, THIS. YEAH.

THIS IS JUST-- IT CAN'T BE THAT.

I MEAN, I THINK THERE COULD DEFINITELY BE SOMETHING THERE.

THAT'S WHAT I'M THINKING.

SO...

I THINK THAT'S PRETTY RAVISHING.

WELL, OK, NOW, I'VE CROPPED IN ON IT AND TURNED IT.

WHAT DOES THIS SAY? SOMETHING.

AND...

"LIKE THIS BEST BUT TEETH."

BUT TEETH.

MARIO, HI.

I JUST HAD TO ASK IF THERE WAS SOMETHING

THERE THAT YOU THOUGHT THAT WE COULD AT LEAST LOOK AT.

NOT ONE?

FLORENCE, COULD YOU MAKE ME SOME COFFEE, PLEASE?

OK.

THANK YOU.

ALL RIGHT. THANKS.

SHE HAS TO LOOK SO CONSERVATIVE

BECAUSE SHE'S WORKING IN A LAWYER'S OFFICE.

NO, A JUDGE.

A JUDGE, SORRY.

MY OLDER BROTHER IS IN CHARGE OF FINDING

LOWER INCOME HOUSING IN LONDON FOR PEOPLE THAT NEED IT.

AND MY SISTER'S VERY INVOLVED IN SUPPORTING

FARMERS' RIGHTS IN LATIN AMERICA.

MY YOUNGER BROTHER IS POLITICAL EDITOR

OF "THE GUARDIAN," AND VERY SUCCESSFUL, VERY BRILLIANT.

AND, UM...

UH...

MY 2 BROTHERS AND MY SISTER, UM...

I THINK THEY'RE VERY AMUSED BY WHAT I DO.

UH...

THEY--THEY, UM...

THEY'RE AMUSED.

SO...

[INDISTINCT DIALOGUE]

SEE YA.

LOVE YOU.

AMANDA LACEY IS A LONDON FACIALIST

WHO IS A GREAT FRIEND OF PLUM'S.

AND SHE'S GOT A BEAUTIFUL LINE OF PRODUCTS

AND SHE'S OPENING A NEW STORE IN LONDON.

AND IF IT'S READY, I'D LOVE TO DO A LITTLE ITEM ON THAT.

AND THEN, THIS IS A PIECE ABOUT ALL THE ADVANCEMENTS IN EYES.

AND I THINK THAT EYES ARE SOMETHING THAT WOMEN OF ALL AGES

THINK ABOUT BECAUSE YOUR EYES START AGING.

THEY'RE THE FIRST THING THAT STARTS TO AGE,

AND I THINK EVEN WOMEN IN THEIR TWENTIES ARE CONCERNED ABOUT IT, SO...

THE MOST DELICATE SKIN ON YOUR BODY...

THIS IS A LOOK THAT ANDRE WOULD PREFER TO HAVE.

THERE'S NO ALTERNATIVE?

THERE'S NONE, NO.

I SAID I DIDN'T WANT ANY MORE--

ENVIRONMENTAL?

BLACK AND WHITE.

OH, BLACK AND WHITE, OK.YEAH.

IS IT THIS ONE ANNA'S USING?

YEAH, BUT I STILL LIKE THIS ONE.

OK? BUT STRONGER.

I REMEMBER WHEN MY DAD RETIRED AND I ASKED HIM

WHY HE WAS LEAVING BECAUSE HE WAS OBVIOUSLY

SO PASSIONATE ABOUT WHAT HE WAS DOING STILL.

AND HE SAID, "WELL, I GET TOO ANGRY.

"I GET TOO ANGRY.

I FIND MYSELF GETTING TOO ANGRY."

SO I DO REMEMBER THAT,

BECAUSE I KNOW THAT AT TIMES I GET QUITE ANGRY.

SO I TRY AND RESTRAIN THAT.

SO I THINK WHEN I FIND MYSELF GETTING REALLY,

REALLY ANGRY, IT MIGHT BE TIME TO STOP.

ANNA SAW THE CELEBRITY THING COMING

WAY BEFORE EVERYBODY ELSE JUMPED ON THAT BANDWAGON.

AND, YOU KNOW, WHILST I HATED IT,

I'M AFRAID I HAVE TO ADMIT SHE WAS RIGHT.

YOU KNOW, YOU CAN'T STAY BEHIND.

YOU HAVE TO GO CHARGING AHEAD, AND SHE DID.

AND THE MAGAZINE IS VERY SUCCESSFUL BECAUSE OF IT.

I MEAN, WHILST I WOULDN'T REALLY CARE

IF I NEVER SAW ANOTHER CELEBRITY,

OBVIOUSLY, IF THE MAGAZINE DOESN'T SELL,

I DON'T HAVE A JOB.

SO IT WOULD BE SILLY.

YOU KNOW, YOU'VE GOT TO HAVE SOMETHING

TO PUT YOUR WORK IN, OTHERWISE, IT'S NOT VALID.

"VOGUE." GOOD MORNING.

HAS PRADA GOTTEN THIS REQUEST YET OR NO?

I HAVEN'T GOT...[INDISTINCT]

IT'S ALL CHANGED.

WHAT?

IT'S ALL CHANGED.

WHAT'S ALL CHANGED?

THE SHOOT WE'RE DOING THIS WEEKEND IS GOING TO BE

A RESHOOT OF THE COLOR BLOCK SHOOT THAT EDWARD DID.

WHAT?

AND I KILLED COLOR BLOCKING AND THEY WANT TO RESHOOT IT.

AND THEN, OF COURSE, IT'S VERY URGENT, SO...

I GOT YOUR MESSAGE.

WE'RE ALREADY WORKING ON IT.

OK. A LITTLE WHILE.

OK.

I'VE GOT TO GET ALL THEIR CLOTHES IN 5 MINUTES.

OK.

IT'S GETTING A LITTLE BUSY UP HERE.

THERE'S JUST A BUNCH ON THE PRIORITY RACK.

I DON'T KNOW WHERE IT CAME FROM.

SARAH HAS MARK JACOBS ON HER RACK.

I'LL GRAB THAT FOR YOU AS WELL.

WHAT ABOUT STUFF LIKE THIS?

THAT PARTICULAR ONE WAS SHOT.

BUT, YES, IN THEORY, IT COULD BE COLOR BLOCKED.

I SHOT ONE OF THESE, DIDN'T I, IN THAT SAME ISSUE.

SO THAT'S NO GOOD.

AND THIS ONE?

THAT'S GOOD, THAT HASN'T BEEN SHOT.

HAVE I SHOT THAT SKIRT?WELL, YOU SHOT THE SKIRT.

YES.

THIS HAS TO CLOSE ON THURSDAY.

I KNOW.

AND IT'S NOT GOING TO COME IN UNTIL WEDNESDAY?

NO, IT WON'T. I CAN'T DO ANY BETTER.

A CHANGE WAS MADE AND I DIDN'T EVEN KNOW.

DID I SHOOT THIS? I SHOT THIS.

YOU DID.

THERE'S A RED COAT.

YES, SHOT.

WAS YOUR TWENTIES PRADA DRESS SHOT?

THE RED ONE? YEAH.

YOU SHOT IT AND IT DIDN'T WORK.

AND IT WAS KILLED.

[LAUGHTER]

WE'VE JUST REDONE THE LAYOUT.

I FEEL VERY EXCITED TO SEE THAT THERE

WAS A PHOTO OF MINE IN THE HALLWAY.

20 YEARS LATER.

HA HA.

ARE WE OPENING THE ISSUE?

YES, AS OF NOW.

WHAT DO YOU MEAN, AS OF NOW?

DOESN'T HE HAVE TO [INDISTINCT]?

[LAUGHTER]

NOTHING IS SETTLED...YET.

IS THAT ALL I DID?

THAT'S ALL.

IT SEEMED LIKE SWEAT LIKE MAD TO GET THESE.

WHATEVER HAPPENED TO THE COLISEUM, I DON'T KNOW.

THAT WAS THE ONLY ONE.

THAT DIDN'T WORK, UNFORTUNATELY.

YOU KNOW, WE HAD LITTLE TIME,

AND I WANTED TO DO ANOTHER COVER,

AND I SAID, YOU KNOW, I'M NOT GOING TO SPEND 3 HOURS HERE

AND RUN AND DO A COVER.

IT WAS ONE OR THE OTHER. YEAH.

DO YOU HAVE THE COVERS?

RIGHT HERE.

SO IT'S BETWEEN THESE TWO.

WE'RE TESTING BOTH FOR NOW.

DO YOU THINK I SHOULD USE THIS BODY AND THAT HEAD?

[INDISTINCT]

WOULD THIS BE MORE--.

IT'S A BETTER NECK.

NO?

YOU SEE, WE HAVE TO RETOUCH A LOT OF THIS.

'CAUSE IT'S A LOT OF TEETH--IT'S VERY TEETHY,

AND ALSO THERE'S A FILLING--

THERE'S A COUPLE OF FILLINGS THERE.

BUT WE COULD FIX THAT.

OF COURSE, YEAH, YEAH, ABSOLUTELY.

I THINK THAT THAT IS VERY INVITING.

YOU KNOW, WHEN YOU PUT COVER LINES ON THE HAIR, IT'S GOING TO BE AT YOU.

YEAH. SO THAT'S THE ONE.

BUT, YOU'RE RIGHT, I THINK THAT NECK--

THE SHOULDERS THERE--

THIS BODY MIGHT BE MORE BEAUTIFUL, NO?

AND I'M GOING TO DUMMY IT UP THAT WAY, SO--

OK, GREAT.ALL RIGHT.

THERE'S NO COLOR STUFF LEFT

THAT HASN'T ALREADY BEEN TRIED, AS ANNA GOES.

SO WHAT IS IT CALLED THAT YOU'RE SHOOTING?

I DON'T KNOW.

I'M MAKING IT UP AS I GO ALONG.

WHOOPS, AND I'VE GOT 2 DAYS TO--

IS THIS THE LAST SHOOT THAT WE EXPECT?

YOU BETTER PRAY IT IS,

BECAUSE OTHERWISE I DON'T KNOW WHO'S GOING TO SHOOT IT.

THE BIGGEST ISSUE OF THE YEAR,

AND WE HAVE TO CLOSE AND THEY'RE STILL SHOOTING.

NOW I HAD AN IDEA BUT I DON'T KNOW IF I WANT TO DO IT OR NOT.

AND IT INVOLVES YOU.

THAT'S WHY I'M ASKING.

NOT YOU, CONNIE.

HA HA.

MY FRIEND HERE.

[LAUGHTER]

HOW DO YOU FEEL TODAY? GOOD?

DO YOU FEEL YOUNG TODAY?

PRETTY GOOD?

CAN YOU JUMP?

YEAH, THAT'S GREAT.

THIS ONE'S GREAT.

[SPEAKING INDISTINCTLY]

OK.

[LAUGHTER]

OH, THAT'S GREAT!

[INDISTINCT]

VERY CLOSE TO HIM, LIKE THAT?

RIGHT. JUMPING, TOO.

[INDISTINCT]

♪ TAKE YOUR TIME

♪ DON'T YOU WORRY, WORRY, I'LL BE FINE ♪

♪ OH

♪ DON'T YOU WORRY, I'LL BE FINE ♪

♪ I'VE BEEN KNOWN

♪ TO NOT KNOW WHERE I'M GOING... ♪

THAT'S GOOD, I THINK.

SHE'S LOOKING RIGHT IN THE LENS.

YEAH, YEAH.

♪ DON'T YOU WORRY, I'LL BE FINE... ♪

GOOD.

♪ WHAT DO YOU EXPECT ME TO BE? ♪

♪ IF YOU DON'T WANT TO BE WITH ME ♪

♪ WHAT DO YOU EXPECT ME TO BE? ♪

HERE WE GO.

♪ DON'T YOU WORRY, I'LL BE FINE ♪

AWESOME.

♪ IF YOU DON'T WANT TO BE WITH ME ♪

♪ WHAT DO YOU EXPECT ME TO BE? ♪

♪ IF YOU DON'T WANT TO BE WITH ME... ♪

HOW MANY TIMES DID THEY MAKE YOU JUMP?

NOT TOO MANY.

I LIKE THEM.

THEY'RE FUN.

I MEAN, WE JUST NEEDED A BREATH OF FRESH AIR.

IN THE ISSUE EVERYTHING WAS QUITE DENSE.

SO...

LOOK GREAT.

ACCESSIBLE.

GREAT PROPS.

WE'RE WORKING ON THIS ONE.

YEAH.

[LAUGHTER]

A LITTLE BIT OF RETOUCHING.

NEED TO GO TO THE GYM.

[LAUGHTER]

BUT THEY LOOK GREAT.

WE DID IT.

YEAH.

IT'S PATRICK?

PATRICK, YES.

GREAT.

PATRICK AND GRACE.

DID SHE LIKE THEM?

OH, I BET.

HA HA. OF COURSE.

DUE TO WHICH PICTURE?

THE JUMPING ONE?

YEAH.

NO, BUT, YOU KNOW, PERSONALLY, I THINK

IT'S BETTER THAT YOU'RE NOT LIKE SKINNY, SKINNY.

I REALLY--TO ME IT'S MUCH MORE...

MAKES THE POINT THEN THAT YOU'RE REAL PEOPLE AND NOT MODELS.

EVERYBODY ISN'T PERFECT IN THIS WORLD.

I MEAN, IT'S ENOUGH THAT THE MODELS ARE PERFECT.

YOU DON'T NEED TO GO TO THE GYM.

[LAUGHTER]

THANK YOU, GRACE.

CHARLIE, WHEN YOU WERE LOOKING AT PATRICK'S PICTURES,

PLEASE DO NOT RETOUCH BOB'S STOMACH.

NO, PLEASE DON'T, BECAUSE I DON'T WANT HIM

TO LOOK LIKE, YOU KNOW, A SKINNY MALE MODEL.

OK.

BUT, NO, I JUST WANTED TO CATCH HIS STOMACH

BEFORE YOU GAVE HIM A--HE'S PULLING IT IN NOW AS I SPEAK.

[LAUGHING]

OK, ALL RIGHT, THANKS, BYE.

WHEW.

[CHEERING AND APPLAUSE]

I BETTER GO AND FINISH IT.

ME, TOO.

SO MAKE IT GOOD NOW.

TWENTIES, THE COLOR BLOCK, POLISHED.

AND THEN WHAT ABOUT THE TEETH?

OH, I'VE BEEN WORKING ON THIS A LOT.

I'M GOING TO FIX HER NECK.

OH, THAT'S THE NEW NECK.

YEAH. IT'S BETTER COVERS.

THIS IS THE NEW NECK ON THIS.

OH, OK, GREAT.

SO WE HAVE PRINTS, SIENNA...[INDISTINCT]

PEOPLE WON'T KNOW IF IT'S RIGHT.

WE CAN'T WRITE SINGULAR SIENNA

OR SENSATIONAL SIENNA.

THIS ALL SEEMS SO LARGE AND PRETENTIOUS, THIS TYPE.

MM-HMM.

IT LOOKS LIKE IT'S FOR BLIND PEOPLE.

IT'S GOING TO COME OUT LIKE THAT, RIGHT?

IS SHE WEARING FEATHERS?

ARE THOSE FEATHERS?

YEAH.

WHAT ARE WE SUPPOSED TO DO WITH FEATHERS THIS FALL?

YOU'RE SUPPOSED TO WEAR THEM.

[LAUGHTER]

AND THEN THERE'S A RING.

THESE AREN'T VERY GOOD. NO.

THIS IS NOT IN THE CORRECT ORDER.

YES, IT IS.

MORE LIKE THIS.

YEAH, EXACTLY.

DO WE HAVE THE BOOK AND THE COVER THERE?

DEFINITELY UPDATED.

YES, IT HAS TO.

HMM? OK.

THEN THIS IS OUR COVER GIRL

WHOM WE TOOK TO ROME WITH MARIO TESTINO.

SHE WAS INTERVIEWED HERE BY SALLY SINGER.

WE HAD THE IDEA TO DO A SORT OF JAZZ AGE SHOOT.

THAT'S THAKOON AND ON THE RIGHT IS CHANEL.

THAT IS THE ISSUE.

VERY NICE, ANNA.

THANK YOU.

OH, MY GOD.

WASN'T SIENNA ORIGINALLY THE LEAD?

YES, IT WAS.

[SIGHS]

OK.

JUST ONE MORE SPREAD HERE.

THEN IT WILL BE MY WHOLE ISSUE, JUST ABOUT, EXCEPT FOR SIENNA.

IT LOOKS GREAT.

FASHION'S NOT ABOUT LOOKING BACK.

IT'S ALWAYS ABOUT LOOKING FORWARD.

OK.

NEXT.

ARE WE STARTING?

LET'S MOVE THE BOARD.

YES, I WILL.

I DON'T BELIEVE FOR ONE MINUTE THAT I HAVE A SENSE

OF WHAT'S GONNA HAPPEN

OR A SENSE OF REAL CHANGE THE WAY GRACE DOES.

I MEAN, GRACE IS A GENIUS,

AND THERE IS NO ONE THAT CAN VISUALIZE A PICTURE,

OR UNDERSTAND THE DIRECTION OF FASHION,

OR PRODUCE A GREAT SHOOT.

I MEAN, SHE'S JUST REMARKABLE.

OK.

SHE AND I DON'T ALWAYS AGREE,

BUT I THINK THAT OVER THE YEARS WE'VE LEARNED

HOW TO DEAL WITH EACH OTHER'S DIFFERENT POINTS OF VIEW.

[TELEPHONE RINGS]

ANNA WINTOUR'S OFFICE.

IS ANYONE COMING TO THIS RUN-THROUGH EXCEPT ME?

SO WHAT ELSE?

♪ WE JUST WANT TO EMOTE TOWARD DEATH ♪

♪ I KNOW WE SUFFER FROM PASSION OR WHATEVER ♪

♪ WE DON'T WANT THESE DAYS TO EVER END ♪

♪ WE JUST WANT TO EMASCULATE THEM FOREVER ♪

♪ FOREVER

♪ FOREVER

♪ PRETTY SIRENS DON'T GO FLAT ♪

♪ IT'S NOT SUPPOSED TO HAPPEN LIKE THAT ♪

♪ NOT LIKE THAT

♪ NOT LIKE THAT

♪ WE'VE GOT TO KEEP IT PHYSICAL ♪

YOU KNOW YOU'RE FEATURED IN THE SEPTEMBER ISSUE.

NO WAY.

[INDISTINCT]

GET THE SURPRISE.

WHEN IS IT COMING OUT?

♪ FROM ME OR WHATEVER...

THIS IS BETTER.

THIS IS AUTHORITY.

THIS IS IT OR NOTHING.

THIS IS IT OR NOTHING, OK?

I GOT THE POST. STRIKE IT.

♪ FOREVER...

THAT'S A STROKE OF GENIUS ON MY SIDE,

I THINK, TURN THE CAMERAS ON YOU.

I KNOW IT JUST CAME TO ME LIKE--

I WAS WALKING ALONG THE CORRIDOR AND I THOUGHT, "OH, MY GOD!

"THEY'RE LOOKING AT MY RACK AGAIN. I CAN'T--.

HANG ON A MINUTE. I'LL TEACH THEM."

♪ ... NOT TOO SLOW...

WHAT'S YOUR STRENGTH?

DECISIVENESS.

YOUR WEAKNESS?

MY CHILDREN.

WHAT GIFT WOULD YOU LIKE?

A BETTER BACKHAND.

♪ LET'S DO IT TOGETHER

♪ LET'S GO TOGETHER

♪ LET'S DO IT TOGETHER

♪ LET'S GO TOGETHER

♪ I COULD NEVER, EVER WANT TO BE A STAR ♪

♪ YOU SAY IT'S RIGHT

♪ YOU SAY IT'S WRONG

♪ I COULD NEVER, EVER WANT TO DO IT RIGHT ♪

♪ IT'S HARD TO SPEAK TO PEOPLE I DON'T KNOW ♪

♪ WHEN I--WHEN I GO OUTSIDE, I LIKE TO SEE ♪

♪ I HATE BIG LIGHTS

♪ I HATE SUNGLASSES

♪ WORDS AND PICTURES HAPPEN AND I DON'T LOOK GOOD ♪

♪ AND THEN I KNOW, SO I CAN'T BE A STAR ♪

♪ WHAT'S THIS?

♪ I CANNOT WAIT TO GO HOME

♪ THE GIRLS ARE CALLING ME ON MY PHONE ♪

♪ I CANNOT EVER GO OUTSIDE

♪ MY SISTER NEVER CALLS

♪ MY SISTER NEVER CALLS

♪ IT'S LIKE A [INDISTINCT] THAT NEVER, EVER KNOWS ♪

♪ MY SISTER NEVER CALLS

♪ MY SISTER NEVER CALLS

♪ IT'S LIKE A [INDISTINCT] THAT NEVER, EVER KNOWS ♪

♪ I COULD NEVER, EVER WANT TO BE A STAR ♪

♪ YOU SAY IT'S RIGHT

♪ YOU SAY IT'S WRONG

♪ I COULD NEVER, WANT TO DO IT RIGHT ♪

♪ IT'S HARD TO SPEAK TO PEOPLE I DON'T KNOW ♪

♪ OHH, OHH, OHH, OHH, OHH

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