The September Issue, R.J. Cutler's docu about Vogue editor Anna Wintour has a lot in common with Martin Scorsese's Shine a Light about the Rolling Stones--and not just the Byronic visage of Wintour's "Keith Richards," creative director Grace Coddington.
It raises more questions than it answers.
Why does Wintour's shellacked, pageboy helmet bob--last seen on Monica Lewinsky in 1999 when she was doing penance--not disqualify her fashion oeuvre? And the shrunken, osteoporosis blazers paired with A-line skirts? How about the sleeveless, abstract-floral orange print jersey dresses that look like, gulp, Butterick patterns? Am I missing something?
How does the daughter of Evening Standard editor, Charles Wintour and sister of Guardian political editor Patrick Wintour become Queen of Better Shoes? Didn't she listen in class?
Why does Wintour's grownup daughter Bee Shaffer call her "Mommy" and does this portend another tell-all book in light of all its implies?
Why do top designers, artists, stylists and photographers want to work for a caprice-and-fiat-driven taskmistress who's never heard an idea she didn't like and dismisses their best work out of hand? Non-negotiably? Always? Can anybody say Codependents Anonymous?
And how, given Wintour's perfectionism in concept and execution of fashion spreads, the theme of The September Issue, did the "Natural High" fashion spread in the October 2008 issue" happen?
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