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The cover boasts the sort of mass appeal articles – “Stylish Steals and Smart Splurges” and “Fall Fashion Fun” – that have previously been anathema to the unapologetically actress elitist Miss Wintour during her two-decade reign.

Conde Nast, the publishing powerhouse that includes Vogue, Vanity Fair and The New Yorker actress among its stable of magazine heavyweights, has deployed the management consultants McKinsey & Co to conduct a root-and-branch review of operations in its swanky Times Square headquarters.

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The company has already axed receptionists, slashed the deliveries of fresh flowers that would clog the elevators each mature women morning and drastically cut back expense accounts – including the old practice of taking an advertising client for a manicure or pedicure.

There is little doubt that McKinsey will recommend much deeper cuts and job losses, although the New York Post reported on Friday that for the French fashion party shows, Miss Wintour will be staying at the Ritz in Paris as usual, with little expense spared for her entourage.

With less than three weeks before the start of New York Fashion Week, the model agency in the world fashion industry capital is grim. The event was once synonymous with extravagance, excess and self-congratulation, but now insiders are focused on simple commercial survival.

So the release of The September Issue, with its reminder of a now apparently halcyon epoch, so recent yet so remote, is providing some much-needed relief for the model agency industry. It might also offer some valuable ammunition for the bean-counters of McKinsey.

In one of the more memorable exchanges, the veteran creative director Grace Coddington laments that her boss has just discarded pictures from a photo shoot that cost $50,000.

“It was just me mouthing off, expressing my frustration,” Miss Coddington said before the premiere. “It was just so wasteful, throwing it away. Of course, if the work’s not good, it should be thrown out. That’s called editing. But I thought this was good.”

The September Issue begins with Miss Wintour looking into the mature women camera and pronouncing: “There is something about fashion that can make people very nervous.” As we see repeatedly during the 88-minute documentary, she can also make people very nervous too.

The chief designer for Yves Saint Laurent is left gibbering and gesturing desperately as she makes clear she is not impressed by his collection; a staff member looks close to tears when she derides her lack of originality; another fidgets nervously as she asks despairingly: “Where is the glamour? It’s Vogue, okay?”

Source: telegraph.co.uk

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I am sitting here trying hard to imagine how it would feel should scores of designers, a mob of retailers and half the British high street ever decide to appropriate my personal style and sell it on to the masses. The first actress famous hurdle in this creative visualisation is that I’m finding it tricky to pinpoint what my style is.

Oddly, Carine Roitfeld says that this has been her agency models problem, too. “It’s true. Designers have told me that their collections are so me,” she says disarmingly when I call her at her office in Paris, “but I don’t always recognise it because if you ask me what my style is, I’m really not that sure.” Really? “Really. It wasn’t until I started to work for Gucci in the Nineties that it started to become clear to me. And that’s because Tom Ford was pushing me to do the dark eye make-up, to wear high heels and to keep things very simple and lean.”

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The difference between Roitfeld’s late epiphany and my fitness model style adjustments is that no one has ever, to my knowledge, copied my style, whereas fashion is definitely doing a Carine this season. “Good,” she says, when I call her in her Paris office. “It will help me with my shopping, because sometimes it’s only when you see a new interpretation that you recognise what you are.”

Unless you are a high court judge or, perish the thought, an infrequent visitor to these mature women pages, you will know that Roitfeld is the Editor of French Vogue, a magazine so fashion-y that it still features pregnant women smoking cigarettes in its shoots. Actually it wasn’t a real pregnant woman. It was a model, Lily Donaldson, wearing a prosthetic bump. But the message was almost as confrontational as if she had been Madonna with child (Christ, not Lourdes or Rocco, that is) — ie, let them smoke fags. If French Vogue were a person it would be Marie Antoinette. And if Roitfeld were a magazine she would be, well, French Vogue, so closely does it embody her sense of chic.

Notwithstanding the actress famous loftiness of Roitfeld’s perch, it is unusual for a magazine editor’s personal style to exert so much influence over fashion. Yet exerted it has been. It is not merely a case of the designers whom Roitfeld has championed personally — Christophe Decarnin at Balmain, for instance, or Riccardo Tisci at Givenchy — paying tribute to her distinctively angular, tailored aesthetic, although they have.

Other designers, some unexpectedly, have fallen into line, too. Donna Karan has the skinny pencil skirts and mannish jackets. Derek Lam has the impeccable oversized, tailored camel coats. Sophia Kokosalaki, Jil Sander and Bottega Veneta have the agency models fitted shift dresses. Ferré, Preen, Loewe, Burberry Prorsum, Fendi and Jason Wu have done the shaggy, big — and I mean big, so out of my way — coats. It almost goes without saying that they are all pushing big shoulders and a whole lot of black.

Source: women.timesonline.co.uk

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