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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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