User reviews

The most interesting thing about this movie was that it wasn't about fashion. The movie was about work and excellence. Vogue wouldn't be a success without the creativity of Grace Coddington and the business acumen of Anna Wintour.

Grace Coddington was a revelation and her ability to tell stories through still images is inspiring.

I long suspected that The Devil Wears Prada was a cruel screed against Anna Wintour. I think in this movie we see a more accurate picture of who she is. While not the warmest person in the world, she comes across as incredibly real and she is good at what she does. That must be respected.

Meryl Streep's character in The Devil Wears Prada is rumoured to be inspired by Anna Wintour, the legendary editor-in-chief of the fashion magazine Vogue, and it's not hard to see how so. A cup of Starbucks in hand, the bob hairdo, the cutting remarks, people going into a frenzy whenever her name is mentioned, and worse when dazzled by her presence. Even the vogue office does seem quite similar in terms of layout, and the number of assistants constantly scurrying around looking busy and executing to her every instruction.

It's hard not to see why Wintour and Vogue for that matter, became the subjects of a documentary, since both are very powerful in setting the agenda for an entire industry, with what's being said and featured in the magazine, goes. R.J. Cutler's documentary provided that sneak peek into the behind the scenes working of what's to date the largest single issue of the iconic fashion magazine (it's September 2007 issue), where little interesting nuggets of information get dropped around, such as the distinction and importance of the September issue (hence the title) in trend-setting what's hot and what's possibly not, over the next 12 months.

There are always people curious about the glamorous industry, filled with pretty clothes, flamboyant designers, glitzy fashion weeks in trendy capitals of the world, and of course, the beautiful clothes-horse models. It does seem to be this perfect little eco-system filled with perfect people on the surface, though those looking toward this film in digging out some skeletons from the closet will be sorely disappointed. This in part due to the power that Wintour wields, where you see not only new designers in awe, but veterans from the established fashion houses that come with reverence, for possibly fear of offending the almighty, the high priestess or so she's called, in charge of the bible of the industry.

But of course one editor a magazine maketh not. R.J.'s documentary provided a more holistic look at the making of the magazine. And not just any magazine mind you, but THE one brand that has been around for more than a century, and with that comes trust and influence to make or break designers. R.J. was provided unprecedented access into the behind-the- scenes look at the assembling of an issue, and with that comes plenty of photo shoots, jet- setting lifestyles, the pursuit of deadlines, and enough of office politics. The amount of work is just staggering.

However, the filmmaker does seem to fall short in eliciting a lot more from Wintour, aside from talking-heads styled short interviews which became the bookends of the film. In fact, it's more of the Creative Director Grace Coddington's show, where you will probably be won over by her sheer genius and eye for creative art form in directing photo shoots and dreaming up storyboards on the fly for the still pictures to tell a story. I admit I was more impressed with Coddington's story, wry humour and creative style rather than Wntour's cool demeanour, which often sets them up for clashes, for the good of the magazine of course, in constantly raising the bar, though at times it does seem that someone's creative spark do get unappreciated and often doused with cold water. Such is their love-hate professional relationship.

Which primes this film with a "villain" so to speak, but of course the boss always has the final say and calls the shots. We do get to see how both of them rose to power (they started off as models!) through their joining Vogue at the same time, and rise through the ranks based on their respective strengths. Filled with countless of fashion celebrities, clothes, accessories and the occasional cutting remark (I do think Wintour seemed to have held back her tongue a lot more since a camera is constantly in her way), The September Issue is a superb look into the sheer intense and immense talent and hard work that goes into the publication of every issue, and would likely induce you to grab a copy of Vogue right after the show.

I'll never look at this magazine in the same frivolous light ever again, as they are really taken seriously given the money made available and someone's career probably on the line too.

The world of fashion is glamorous, absurd, and nowhere more so than at Vogue magazine, where legendary editor Anna Wintour rules with a famously frosty demeanour. 'The September Issue' follows the creation of Vogue's largest ever issue - which sounds as if it should be interesting, but which actually feels like a lost opportunity. There's no analysis of the finances or logic of fashion; no discussion of Vogue's rivals; or any attempt to debunk the myth of Wintour as ice-queen. Maybe this is because the myth is reality; but there's also a strong sense that director R. J. Cutler hasn't tried very hard, that he had his story before he started and was quite happy to shoot it deferentially. Wintour herself provides few real clues in some unrevealing interviews, and while she is plainly tough, she glides through an affluent world apparently insulated from anyone in whose interests it might be to answer her back, so it's a limited sort of toughness. Certainly Cutler doesn't challenge her; and his film, though watchable, ultimately has very little to say.

It is best to remember that this film is pre-economic breakdown and surely many of the perks are gone. That said, the September issue is really an unfolding mystery story about a woman with little talent who manages to become the editor of the most popular fashion magazine in the world. The documentary is also a war story between two minds, Wintour and Coddington's. Wintour is the general, so she gets to decide and in general, no pun intended, she makes bad decisions. It is impressive that the documentary got made and that Wintour, who must have seen it was OK with the image its portrays of her because, the source of her power, her editorship are nowhere to be found. Wintour behaves like a celebrity because when the veil is drawn, there is not much there. Her visual sense is tired and the manner in which she makes her decisions, with wimp art director Charlie Churchward, is appalling. It is one of those ongoing ironies that editors get to claim the honors for their magazines, when the real visual artists, in this case, Grace Coddington, have to play second fiddle to people so clearly less talented. The only one to escape this fate was Fabion Barone, who having worked for Harper's Bizaar, actually is seen as the force behind the success of the magazine. The other elephant in the room about this documentary is that no one seems very happy. Anna clearly is depressed about being seen as a lightweight in her family (i.e.,fashion), even her own daughter, while clearly enjoying the riches of her mothers fame, doesn't "get it." Grace and her weathered face tell it all: it is torture to work with his talentless woman called the editor and all the minions run around in fear—of what exactly is the real question...which reveals Anna's only real talent and power she has: the ability to fire people.

The September Issue is a superficial look into the making of the September 2007 issue of Vogue. Many of the shots consist of various photographers, art directors and members of the editorial staff behaving in a groveling and subservient way around editor-in-chief Anna Wintour. The one exception is stylist Grace Coddington, a confident and gifted woman who does superb creative work and isn't afraid to stand up for herself. Her work really is the backbone of the magazine. Once she leaves, Vogue is on a fast ride downhill. Wintour's insights, as she looks at and discusses potential fashion spreads, seem fairly prosaic. She must have gotten the job by game-playing and the usual machinations of the business world. Outside of standing back somewhat and letting Coddington do her work, I don't see what she contributes to the magazine except for making her staff feel compulsively insecure. I enjoyed the few scenes that show her with her twenty-something daughter, who wants to be a lawyer. She clearly has the ability to "get" to Wintour that no one else in the film does. Good for her. Wintour talks about her father and siblings, but neglects to mention her American mother, an interesting omission. Wintour is a lonely character, in a way. There's a revealing scene of her in the back of a town car clutching a Starbucks coffee and staring straight ahead. She's off in her own world most of the time.

As is to be expected, no one on the Vogue staff actually wears the outlandish clothing featured in the magazine. Wintour wears flattering silk dresses, Coddington dresses in various frumpy black outfits and the staff and photographers wear practical work clothes. The exception is Leon Talley, the only member of the staff who truly buys into the fashion myth. Since Wintour reveals so little of herself and the filmmaker is as deferential to her as the rest of her intimidated staff, ultimately "The September Issue" is an elegantly made film with no emotional heart.

This is a fascinating documentary, not so much about the fashion world but about the world of glossy magazines. Even if people may think that an interest in clothes and accessories is a sign of a shallow personality, it should not be forgotten that fashion is also big business, because dealing with the upper class clientèle creates a huge turnover.

While some photographers and editors might also be interested in the creative side, others are more concerned with the money-making machine and are pretty aware of the fact that department stores and advertisers must be treated nicely.

This split between hard-edge and creative personalities is quite clear in the documentary. Anna Wintour appears to be much of the first type and Grace Coddington of the second. We follow these two women (and a lot of other staff, famous photographers and beautiful models) through the making of the September issue, trekking to Paris, London and Rome and back to New York.

Sure, there is a lot of hard work involved in the creation of beautiful images and in the selection of ethereal (sometimes plain crazy) outfits. However, one can hardly feel much empathy for Ms. Wintour, who gives the impression of being an unpleasant, self-absorbed, arrogant woman. Apparently she is just confirming all the rumors about her. In the most revealing sequence she is uttering the lines "If I get too angry I will quit this job". Indeed, one could say that throughout the documentary she makes a big effort to conceal deep seated rage. But what exactly is making her so angry is a mystery.

She gets what she wants basically at all times, both with staff who does not dare to contradict her and with designers who tremble at the sign of her disapproval. In short she looks like a despotic queen, a sort of female Henry VIII who could at any time order to have heads cut off. And yet, she is so angry… It is difficult to see what people could do to please her more, but maybe it is just not in her nature to be happy.

Different story about Grace Coddington, who is the human face of this elitist fashion world. She actually seems a nice person who really cares about beauty and elegance. The photos she styles are indeed beautiful. Too beautiful for this commercial world, indeed. In fact, most are rejected by her commander in chief and one cannot but feel sorry for so much creativity compressed within the pages of what is basically just a luxury items catalog.

R J Cutler's camera follows her into the industry's biggest names, and they positively cower before her or so we are lead to believe, as at the end of the day and sadly its a controlled doc about a dreary woman who sees fashion as a business and has been allowed to have a voice with the power of this magazine , director R J Cutler is a great filmmaker, and I feel that his creation was amazing but after seeing Varon Bonicos's - A Man's Story - an underrated and sadly unknown documentary film about black UK tailor and m men's guru designer Ozwald Boateng , I now retrospectively crave the reality of this woman's world not just her day job, yes its fashion, but who is AW? In my opinion Cutler obviously started shooting with Andre Leon Tally who sold the idea that AW would have a say in the production , she allows the camera in her life and answer's Cutler's questions, but sadly there is nothing of any emotion she never cracks her reserve, while the warm and emotional sidekick Coddington has her talent thwarted at every turn, and quickly becomes the heart of this film. It's like we need a part 2 about AW without the September "Issues" .RR

I had two great insights into Vogue and the fashion world. The first, and most important insight is that assuming the Vogue target audience is 25-45, the people who make the most important decisions are well above that age. Anna Wintour must be in her mid 50's, similarly or even older, Grace Coddington, Karl Lagerfeld, Jean Paul Gaulthier, Giorgio Armani, Oscar de la Renta, etc, etc. And what was also relevant about this "discovery" as seen in the movie, is that these people are NOT wearing the ridiculous outfits they are foisting on the public through magazines such as Vogue--which sets the fashion dictates of a season. Anna Wintour wore only the most feminine, attractive, figure flattering, AGE-APPROPRIATE outfits throughout the movie---which are damn hard to find in the stores! (unless, perhaps, one is paying top, top dollar for designer prices which may cater to an older crowd) But the fashion designs that are being interpreted for mainstream America is following the latest trends as written and photographed by Vogue. Secondly, this is a movie that attempts to humanize Anna Wintour, and does so simply by showing that she is an obsessive human being, whose obsession is her magazine. She does show some warmth with her daughter, but otherwise she is simply driven and clearly makes no attempt to ease the palpable discomfort of others in her presence. She's not evil, nor bitchy, but she does seems to take some pride her in tabla rosa facial expressions--which clearly raises the anxiety level of those submitting work to her. It wouldn't hurt her professionalism to attempt more empathy, but I guess she doesn't see it that way. Overall, it's a very interesting movie and shows the business side of creating the largest fashion magazine in the world, complete with casual references to using Photoshop to enhance an already beautiful woman, or the promotion of fur in fashion due probably to the large amount of furriers who buy advertising. Great eye candy throughout!

I just flat out love this movie. First of all, as a life time journalism fan (even fanatic) there has never been anything like this. This film is a chocolate cake for anyone that wants an inside look at one of the great publishing stories ever. It is also a look at the industry just before the crash. Magazines, and all other print media will never be the same. So the fact that this movie nails an entire industry, is truly amazing.

But what's saves this from being a museum piece are the outrageous and fabulous people in the film. You won't believe a cast of chatacters who are NOT actors, but are better.

I say---don't miss this. There will never be another film anything like it.

I saw this documentary at the Galway Film Fleadh. The anticipation was high, and the screening was sold out; I'm happy to report that the audience wasn't disappointed. This doc details the run up to the printing of the titular September issue of American Vogue magazine, which an estimated one in eight American women purchase annually. The documentary style is fast-paced with out being breakneck, with one of the freshest soundtracks I've had the pleasure of hearing on a cinema sound system. (Ladytron, Ratatat, Cinematic Orchestra, Mark Ronson et al.) It focuses on mostly on the upper echelons of Vogue, namely inscrutable ice queen and inspiration for "The Devil Wears Prada", editor Anna Wintour. Creative director Grace Coddington brings some welcome levity during the more "fashion has no mercy, dahling!" moments. If you enjoyed Ugly Betty, The Devil Wears Prada, America's Next Top Model and Project Runway, you already know that this is right up your street; for everybody else it's a fascinating and occasionally funny study of an inordinately influential individual at the apex of a bizarre and enthralling industry, and those that surround her.

The documentary itself was great in many ways- the story-telling, film, interviews and insights about the nature of the relationships between each person involved with the production of the magazine issue.

I was most struck by Anna W...walking from place to place, person to person with a constant 'puss' on her face. Always ready to dish out demeaning and cutting remarks.

The first shot of the film was a surprise to me, I was not aware of Anna before this film, and when I heard this woman speak her ideas, I immediately thought this person is totally clueless about her class and about the distorted view of the world she had.

As the film went on, it became noticeable that the majority of the people she interacts with are white people, rich white people. I also observed the sheer amount of power she has.

This is not feminism folks, this is a woman who assumed the role of her past male predecessor, and combined them with her own seeming delusions of being royalty- the Folie of this delusion is that *everyone* helps make it happen by kissing her ass:they defer, they submit. This woman is exactly what is wrong with how people use their power. Her use of power appears to be based in supporting exclusivity, inequality and exploitation.

To see her complete clueless-ness about people who live outside of her vacuum of sycophantic/terrified underlings.

I felt turned off completely by this documentary- the entitlement, the implied nepotism (wants daughter in the industry), the seriousness given to the issue of fashion and the denial of the 'real' world outside of the fashion bubble. This doc to me, exposed a superficial world that is characterized by some of the ugliest uses of power, amazing disrespect and dis-ingenuity.

It's 2007 New York. The people at Vogue magazine are putting together the next September issue which is considered the yearly fashion bible. Anna Wintour is the legendary chief editor who commands the magazine and by extension the fashion world. The other main character is former model Grace Coddington who is now creative director. She is the only one who challenges Anna on her decisions. André Leon Talley is portrayed more as a sycophant. While it dives into the making of the issue, the business side of the magazine does not get as much time. There are small moments of personal reveals that cracks ever so slightly her steely facade. She talks about her family in a couple of scenes and her daughter has an appearance. It's a very small peak behind the curtains. This is a slice of an elite business. It's fascinating for some people and mildly interesting for everybody else.

Wintour, the mind behind Vogue performs in this documentary a person with no big issues, nevertheless she brings a bit of her personality of sucess. This personality is embodied in the paradox behind a very modest person as she is, against the luxury industry she represents, having to deal with big brands as Channel. Even though the documentary doesn't depict financial issues or the intricacies behind the sucess of Vogue and Wintour, it's a cut made by Cutler of how a focussed, concentrated and brilliant woman could bring the fashion industry to a high level, and also be admired by sportsmen and people from other scenarios.

First, let me tell you that I am a straight man who is not at all interested at fashion. I have never bought a Vogue September issue nor have I ever even bought a fashion magazine. After realizing this movie got great reviews, I decided to see it. The reviews were right and I most certainly was not disappointed. The September Issue is the rare kind of movie that is a combination of documentary with a message and elegance.

Many people know about Anna Wintour. If you seen The Devil Wears Prada, you'll know that she is pure evil. Although there may be some truth to this statement, this movie paints her in a different light. The movie opens with her explaining that people who wear high fashion should not be made fun of just because they were haute couture. Wintour is looked at as more of a person with morals who gets what she wants because she often is right and does what is best for the magazine. She doesn't strive to be mean, she does it for the magazine.

The star of the movie is not Wintour. It's actually the creative director, Grace Coddington. Coddington is not nearly as likable as Wintour ironically, but she is central to the movie and the reason it is so good. The movie's message is about how the fashion world is so superficial and perfect. Towards the end, the cameraman for the movie is used in a photograph, however, he is just an average person who is slightly overweight. Coddington urges people not to touch the picture up. She says "Nobody is perfect, but models are." This is the movie's central idea.

Another reason I really enjoyed the movie is that it really does have some great film-making. R.J. Cutler really does have some nice shots including my favorite of a couple kissing in front of the Eiffel Tower. It has nothing to do with the movie and yet it is such a moving shot. There are quite a few establishing shots similar to this in the movie and these little things are the icing on the cake.

You don't have to be a fashion lover to love this movie. You don't have to be a subscriber to Vogue. You don't have to be a woman. Whatever your preconceptions about this were, ignore them. This a movie for anybody that should be seen by everybody. The September Issue opens wide this weekend so make use of it and go see it.

My fashionable daughter insisted that my wife and I watch this movie. I liked it very much even though I am not into fashion. I think the movie gave some interesting insights into Vogue magazine and the power it wields.

However, my reaction to Anna Wintour, the Editor in Chief, and Grace Coddington, Vogue's Creative Director is what reinforced in me a conclusion that I became aware of years before. Anna Wintour, who most would say is very good looking, came off as very cold and distant and not especially likable. Grace Coddington on the other hand, who is eight years older and does very little to enhance her looks, especially with her hair, came off as smart, honest, thoughtful and very likable. By the conclusion of the movie, I found Grace Coddington to be by far the better looking of the two. The reason is that she had an inner beauty that shined through while, in my opinion, Anna did not.

I learned at an early age that your conception of looks and beauty of a person can change greatly when you get to know that person.

I've seen others that have said you don't need to care about fashion to get into this, well I assure you that isn't true. I am the first to admit I am a terrible dresser. I don't care about it in the least & find it to be extremely annoying and pointless to the extent where I should care at least a little. In fact my sister would love to stick me on that show "What Not to Wear." It's well done, looks good, & Anna Wintour seems like she would be an interesting lady. However if you don't care at least a little bit about fashion I would be very surprised if you like this. I watched the whole thing & found it not only tedious but extremely boring. Again that says nothing about how the movie was done, just the subject matter. If you love Fashion Magazines such as "Vogue" then I have a feeling this will be very interesting to you.

Anna Wintour OBE is perhaps one of the most powerful women in the fashion industry without being a fashion designer or a model. She's wickedly delightful in this documentary playing herself as the inspiration for the Meryl Streep character in the "Devil Wears Prada." Wintour doesn't work alone of course. Her right hand is Grace Coddington, a colorful former model turned Vogue Fashion Editor. Grace is completely different from Wintour in mannerisms. Yes, they disagree but it's for the sake of the Vogue. Then there is Andre Leon Talley, a flamboyant male editor at large, who has been with Vogue for years. They are preparing for their September issue which features Sienna Miller on the cover. During the course of the documentary, we get to know a little more about Grace and Anna than about Andre. Grace has the lovely long red hair and is passionate about a photo shoot of hers that is being edited out of the magazine. During the course, we see Anna work hard at her job. But then Vogue magazine is really about the art of fashion. She makes things happen if she really likes you. You wouldn't know it because she's got that poker face and wears sunglasses at shows. Anna makes the final decision of editing a huge magazine. There are many people who make up Vogue but Anna is the Queen who decides on it finally. I do admire the artistic photographs that cover the pages of the magazine like fine art rather than just fashion. Maybe that's what Vogue is to fashion, it's high art with a vision. Most of us won't wear designer gowns but we have to admire the presentation to make us want to spend money to look like a fashion model.

I've worked in and around fashion and the entertainment industry most of my life. I really enjoyed The September Issue as it validated that a lot of work goes into promoting and sustaining the industry.

I really liked how Anna Wintour was portrayed and I wholeheartedly agree with what she said about ever leaving the industry...she said she would leave if she found herself getting too mad. I also very much enjoyed Grace Coddington. I think she's probably the most real person in fashion and Vogue and Anna Wintour are lucky to have her.

On the other hand, I think we all wish we could be like the character "Andrea" in The Devil Wears Prada. It would be awesome to have access to the greatest fashions in the world and stylists to show you how to wear them, hair and makeup tips and unlimited accessories. But, as we all can see, that's not really the case. Most people working in fashion, magazines, films, TV, etc. look like they've never heard of or seen fashion. Most of them show up for work without hair or makeup done and their outfits look as if they came straight off the racks...of Goodwill.

That is, except for Andre Leon Talley. Have you ever seen anyone with more cliché, logo accessories? Again, he's probably a very nice guy, but does he really do anything? He appears to be little more than the office mascot as I have never seen him do any actual work. He always has the latest/greatest swag, but he just comes across as a caftan covered caricature of what a fashion editor should look like. He must really have some juicy dirt on Conde Naste. I don't think a female editor would ever be allowed to get away with not doing any actual work. He's closer to The Devil Wears Prada, LV and any other free designer labeled swag than Ann Wintour. But hey, it's a great job if you can get it! Overall, the documentary was very well done and very interesting to watch.