The September Issue

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.

So as a result, they just mock it.

Just because 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.

Sophie, hi.

This email here from Tom Ford,

can you send it on to Jay?

Okay, thanks.

Anna Wintour's office.

Kate, there's a bit of a crisis.

Anna saw the pictures,

and she doesn't

want Chanel or Hilary.

Okay. Bye.

So I think we're done

with Hilary and Chanel.

I wonder if Anna

would like this one.

It's black.

That's true.

I'd get fired for that.

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.

Okay.

It is always going

to 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 us?

I would say pope.

L'Oreal's meeting with Anna...

...to talk about having the designers

design an infallible dress.

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.

Right.

We're gonna have some beauty.

It's a famine of beauty, honey.

My eyes are starving for beauty.

More light.

You don't have to go too fast,

but good energy,

good confidence.

Julie, they're wondering

is Anna here yet?

There is she, there.

Ready to start. Here we go.

We're gonna go.

I'm with the internationally renowned

editor-in-chief...

...of American Vogue,

Anna Wintour.

Anna Wintour's 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.

Anna.

Anna, look.

It's gorgeous.

Is there a way to wear fur

this winter?

There's always a way to wear fur.

Personally,

I have it on my back.

What is your role at Day Finis?

Will you explain?

What is my role

at the Day Finis?

To help Anna Wintour decide

what goes in the magazine...

...and to help the editors of Vogue

to have a dialogue about fashion.

Hi, Stefano.

Anna, how are you?

- I'm well.

Good to see you.

- How are things?

Uh, well.

Shall I tell you the truth?

Yeah.

You're stressed?

Hello.

Good to see you.

Good to see you.

Stefano, can we start?

- Yes. Okay.

I'll show them

three by three.

So this is look number one.

Okay, you just walk around easily.

Voila. 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.

You're not doing it?

No, I am.

- But?

But they're all--

- In pieces?

Yes.

Do we have sketches?

- I have one cocktail dress.

But this is the workmanship,

which is this one.

No. Did you see that, no?

No, that's pretty.

So, you're not really feeling

for color, Stefano.

No.

No. You know,

it's my mood.

I mean, in winter,

I never feel so much for color.

It's more

a summer thing for me,

frankly speaking, but...

It's a bit neutral. New blacks.

I don't know.

There's blue navy.

There is an emerald green.

This is colorful.

Okay, I'm gonna need you...

...when I'm convincing Anna

that that's not black.

We have green, navy.

Good morning.

How are you?

You look beautiful.

Are you wearing Chanel?

Yes. Trying to look

like your customer.

You are our customer.

So we'll follow you.

Thank you for continuing

these breakfasts.

I speak for the group,

they're very helpful,

and continue to allow us to get to know

each other better and better,

and we thank you for your time.

So I'm going to ask Sally

to start talking about our main points.

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 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 spoke with Mrs. Prada

on your behalf many times.

We thought 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 did tell me that they

are doing a version of a fabric...

...that's silk and mohair as opposed

to the heavy wool and mohair.

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