As if it weren't exciting enough to find a Black model gracing the cover of any national, print publication (at any time throughout the year), this month's Teen VOGUE magazine features not one, but two ethnic women on its cover... nodding to the fact that enough -biased attitudes towards Black models- is enough. (Teen VOGUE- November 2009 Cover. Jourdan Dunn & Chanel Iman, Photographed by Patrick Demarchelier)
Cover girls Chanel Iman and Jourdan Dunn (both now moving past their formative "it" girl statuses), have been breaking down beauty barriers within the fashion industry for some years now, and they currently share the stage as the 'supermodels of the moment.' (Iman & Dunn)
Each young woman is beautiful and unique in her own right -Dunn with her British roots and caramel-colored complexion, and Iman with her iconic name and multi-racial heritage; both take their cues from the legendary Black models that have preceded them, i.e. the late Naomi Sims, Beverly Johnson, Tyra Banks, et al. (the latter of whom allowed Iman to be a guest judge on her hit reality tv show America's Next Top Model). (Dunn & Iman)
In conjunction with the countless runway appearances and magazine editorials, both girls have recently garnered major success as individual brands, bankrolling thousands of dollars in the process; Iman (this being her second Teen VOGUE cover), is now a spokesmodel for Victoria's Secret, (Teen VOGUE- February '08 Cover. Karlie Kloss, Chanel Iman & Ali Michael, Photographed by Patrick Demarchelier)
...and Dunn -reportedly- became a spokesmodel for Maybelline. Moreover, Dunn made history last year as the first Black model -in 10 years, since Naomi Campbell- to walk the runway for Prada (further news of Dunn has surfaced, confirming that she is pregnant and expecting her first child in December). (Dunn, age 19)
All in all, the Iman-Dunn cover feat has been long overdue in the eyes of many fashionistas, and although some may say it's only as good as it lasts, this actually isn't the first time either woman has graced the cover of a major magazine -including VOGUE. (US VOGUE- May '07 Cover. Group photo w/Chanel Iman atop the second ladder, Photographed by Steven Meisel) (US VOGUE- May '09 Cover. Group photo w/Jourdan Dunn amidst the second page, Photographed by Steven Meisel)
Even as we, here at STYLE101: prepare our own monthly magazine, we don't mind advocating and promoting the countless other fashion titles that educate readers and support creative progression... because regardless of color, the fact of the matter is, we're all in the same gang!!! (Iman & Dunn)
References: www.teenvogue.com, www.style.com/vogue and www.google.com
*clears throat* ...If possible, everybody sing-a-long in perfect harmony, "Here come the men in black..." (shout out to Will Smith as we borrow a music line from his eponymous film), lol. But seriously, we're happy to confirm that sightings of Black men -on magazine covers- have been reported across the globe. WOWSERS!!!
This month, Kobe Bryant joined a league of extraordinary gentlemen who have graced the covers of international men's magazines; his portrait was snapped for L'Uomo VOGUE. (L'Uomo VOGUE- October 2009 Cover. Kobe Bryant, Photographed by Mark Seliger)
Notwithstanding the controversy surrounding the lacking use of Black models, VOGUE magazine's Italian versions have apparently become the front-runners for ethnic diversity within the high-fashion publishing arena; Bryant's recent appearance on the cover is neither the first nor an impromptu profile of a Black man, rather L'Uomo VOGUE has quite often featured positive and progressive editorial opportunities for men of color -dating as far back as 2007- with cover images of Snoop Dogg and P. Diddy (not to mention the much hyped 'Black Issue' printed for women during the summer of 2008). (L'Uomo VOGUE- December 2007 Cover. Cordazar Calvin "Snoop Dogg" Broadus, Photographed by Mark Seliger) (L'Uomo VOGUE- October 2008 Cover. Sean John "Diddy" Combs, Photographed by Mark Seliger)
In regards to Black men having more visibility on newsstands within the US, such a feat would require a cultural rolling-up of our sleeves and a proclivity to make a louder noise on the front line of racial equality. But fret not, hope has always existed for brunneous folk even before the spotlight shone bright on today's aesthetic injustices; there have always been occurences of Blacks -both men and women- being a part of the bigger picture.
Even a few years ago, in 2005 GQ magazine hailed rap mogul Curtis Jackson (a.k.a 50 Cent), as their 'Man of the Year' (basketball star Lebron James and US President Obama were eventually made into GQ cover stars themselves). (GQ- February 2009 Cover. Lebron James, Photographed by Nathaniel Goldberg) (GQ- September 2007 Cover. President Barack Obama, Photographed by Peggy Sirota)
But, in stark contrast to the latter James and Obama images, Jackson was depicted -less tactful- busting out of his shirt with arms exposed and tie flying in the wind, conjuring up the image of either a strapping Mandingo or a romance-novel pirate; you be the judge... (GQ- December 2005 Cover. Curtis "50 Cent" Jackson, Photographed by Peggy Sirota)
Comparingly similar, before James appeared 'properly suited up' for his GQ appearance (back in February), he encountered his own share of image controversy in 2008, after he appeared on the cover of US VOGUE.
Out of the magazine's 117 year history, only Richard Gere and George Clooney precede him as the other two men -dead or alive- who have appeared on the cover. (1st male to ever appear on a US VOGUE Cover, November 1992. Richard Gere with ex-wife Cindy Crawford, Photographed by the late Herb Ritts), (2nd male to ever appear on a US VOGUE Cover, June 2000. George Clooney with Gisele Bündchen, Photographed by the late Herb Ritts), (3rd male to ever appear on a US VOGUE Cover, April 2008. Lebron James with Gisele Bündchen, Photographed by Annie Leibovitz)
Yet, in both commending James' accomplishment and attempting to deconstruct his wild and raucus appearance, many critics have found fault with his VOGUE cover, some even pointing out illusionary references to the assassination of the Black male image; again, you be the judge...
Moreover, Blacks -in general- and yes, even still in 2009, have to be able to take the bitter with the sweet, and understand that every Black image shouldn't have to be scrutinized and unconsciously scanned for flaws or misrepresentation, but instead be acknowledged as another milestone achievement for those Blacks who continue to gain more control and power in their respective fields; because at the end of the day, it's still about the bigger picture (and not about the bigger nigger).
On a brighter side, Black men can at least say that they've felt at home with being regularly featured in Men's VOGUE (which, unfortunately, folded earlier this year). Black celebrities/actors and personalities were displayed on the cover 5 out of 12 times while the publication was in print! A bizjournals property, portfolio.com, published an interview by Jeff Bercovici with former Men's VOGUE editor-in-chief Jay Fielden commenting on the matter, Fielden said, "I don't think that Tiger or [President] Obama appeal only to one segment of the population." He further went on record to say, "In fact, they proved to be two of the best-selling covers we've ever done... If there is some industry rule of thumb that you can't have African-Americans on the cover more than so many times a year, then we're glad to [have been] the ones disproving it." Bravo! (Men's VOGUE- April 2006 Cover. Tiger Woods, Photographed by Annie Leibovitz) (Men's VOGUE- October 2006 Cover. President Barack Obama, Photographed by Annie Leibovitz) (Men's VOGUE- November 2007 Cover. Denzel Washington, Photographed by Norman Jean Roy) (Men's VOGUE- January 2008 Cover. Will Smith, Photographed by Norman Jean Roy) (Men's VOGUE- October 2008 Cover. President Barack Obama, Photographed by Annie Leibovitz)
And with the industry's steady approach towards 'positively' reconstructing the image of ethnicity in the media, corporate leaders must keep in mind that Black consumers need to feel more connected to a brand instead of being made to feel like an occassional novelty. Some publishers could even take a lesson from the past and revere those strong images of Black men that once conquered the newsstands -such as the iconic Muhammad Ali, who thrice covered the pages of Esquire, (Esquire- August 1966 Cover. Floyd Patterson & Cassius Marcellus Clay, by George Lois) (Esquire- April 1968 Cover. Muhammad Ali, by George Lois) (Esquire- October 2003 Cover. Muhammad Ali & Cassius Marcellus Clay, by John Korpics)
...And don't forget about those leading men who were once photographed for EM- Ebony Man. (EM- April 1988 Cover. Dorian Harewood, by Johnson Publications) (EM- August 1988 Cover. Billy Dee Williams, by Johnson Publications) (EM- March 1990 Cover. Sugar Ray Leonard, by Johnson Publications)
Ultimately, the fashion industry should learn to be more creative in diversifying the persona of Black men, without constantly rotating the limited roster of athletes and entertainers. Let's instead be inspired to employ the use of Black male models and avant-garde artists, such as those featured in Trace or Bleu magazine... (Bleu- Summer 2008 Cover. Wendell Lissimore, Photographed by Justin Farkas) (Bleu- Fall 2008 Cover. Group photo, Photographed by Johnny Rodriguez) (Bleu- Hot Issue 2009 Cover. Shawn Sutton, Photographed by Justin Farkas)
...Let's even celebrate the spirit of those young men who are global ambassadors, living colorful lives and treading the streets of the world. At some point we all feel a little lost, but God always 'covers' us so that we may clearly know the course of our own destiny. (Black Boy, an Autobiography by Richard Wright)
Just as fashion is near and dear to my heart, so is the student organization FAM (Fashion At Morgan), Morgan State University's premier fashion and modeling club.
During this year's Homecoming season, FAM presented its annual fall fashion show on campus, but things were a little bit different this time around... the production was on point (as usual), the models were gorgeous (as usual), and the clothing was fabulous (as usual), but for the first time ever, FAM was not alone in gracing the runway; they were obligated to share the stage with campus rival ABC, another Morgan State fashion organization.
The theme of the event was 'School Days: The Miseducation of a Model' (note the reference to Lauryn Hill), and yes, everything was everything! This joint-venture came on the heels of a cooling battle between FAM and ABC, as both groups faced off last semester -taking stabs at each other in seperate campus events- vying for the title of best fashion club; ABC even went as far as creating t-shirts that dissed FAM, but FAM remained classy with no public comment on the action. (FAM models wearing Julian Pierre Swimwear)
Albeit the fall is usually reserved for primetime sports rivalries -e.g. football madness- one would not imagine a fashion smack down where students are concerned; ABC claims history as its fighting stance (10 years of establishment on Morgan State's campus), and FAM claims creativity as its position (5 years of innovation, and still growing). Yet, each group was forced to bury the hatchet due to the school's student government association intervening and giving them an ultimatum to either shake hands and be friends (and perform in the Homecoming show together), or prepare to have no fashion activity for the fall... ouch!!! But, as with all style arguments, fashion was the clear winner at the end of the day. (FAM models wearing Paco Rogiene)(FAM President, Chavon Henderson with FAM male models)
As a result of FAM and ABC's teamwork, the fashion show was a hit with over 800+ attendees (equaling a sold-out show), media coverage and a winning-over of fans! (Front-end & Back-end Team members Jessica Clark & Chanei Hollis)(Ticket holders)(800+ seated guests)
So, it's safe to say that for now, both groups can relax and enjoy the shared space, expect new interests in their organizations, and realize a newfound appreciation for healthy competition... because it won't be long before a 'new' fashion club rises from the ashes to lay claim to their own interpretation of fashion at Morgan. (FAM models) (FAM Executive Board)
The Art of Fashion -literally- was on display at the MAP (Maryland Art Place), gallery in Baltimore, Maryland.
As guests swarmed onto the scene, they were treated to complimentary cocktails provided by Ciroc vodka, Nuvo sparkling wine, and Jose Cuervo 'Platino' tequila. Not only was this event an occasion to raise glasses in a toast to the finer things in life, but an occasion to reflect on how one comes to have -and should appreciate- those finer things; as the ultimate benefactors of this event were the Baltimore Children's Charities, most notably the LIGHT Health & Wellness Comprehensive Services program and its commitment to children and families impacted by AIDS and HIV. Drive 2 Thrive event producer Mrs. Saran Fossett said, their "...compassion continues to be a living masterpiece," hence the apropo event theme 'the art of fashion.'
Fossett and her team of fashion coordinators pulled out all the stops for such an occasion, presenting fashion designers from all over the nation, including star presenter of the evening, the 2009 winner of Bravo TV's Project Runway, Leanne Marshall (www.leannemarshall.com).
Collections were also shown by Bishme Cromartie (www.yingedge.weebly.com),
Oscar Mai (www.modelmayhem.com/maimilano),
LAVSH by Alfred Lape (www.lavshlv.com),
...and an editorial presentation by Katwalk Boutique and The Couture Closet's Jessica Atkins (www.shopcouturecloset.com)
Male models, backstage
Moreover, there was a special highlight of the evening, with the event's host paying homage to one of Baltimore's humble philanthropist, Ms. Debbie Rock (President of LIGHT), who received the 2009 Community Champion Award.
With such a star-studded affair, everyone went home a winner, as Fossett's event continued to elevate lifestyles. (www.TheEchelonLife.com) Mrs. Saran Fossett & Asst. Producer Ms. Delia Wilson
It's that time of year again... FASHION WEEK in New York City!
This weeklong, gala event takes place every September and every February in the heart of Manhattan, at the Bryant Park tents (albeit, this will be the last showing of designer collections at that location), and the usual fanfair includes top models, celebrities, parties -and everyone's favorite- gift bags!!! Yet, this year is different, because never before has there been such a citywide -even global- send up of fashion.
Sure, fashion designers interact with the public, frequently presenting their collections in New York, London, Milan & Paris... but now they and the industry (read: Anna Wintour), on behalf of VOGUE magazine and the CFDA, have created a mass-retail event called Fashion's Night Out, in which everyday consumers like you and I are invited -no RSVP required- to enjoy extended hours of shop-til-you-drop frivolity. This initiative is seemingly set in place for the fashion industry to help do its part in stimulating a dire economy... and what better way to do that, than to get people to spend money!
If you're looking to revamp your wardrobe or fill in some new Fall '09 pieces, there's no better day than today (Thursday, September 10, 2009), to get your shop on, besides, you may find yourself receiving fashion advice or style tips from you favorite celeb or designer! FNO, the worldwide event, will also take place in Los Angeles, Japan, Paris, London, India, and every other major world capital where VOGUE magazine is in print.
Happy hunting :-D
Time Warner Center @ 7:00pm, special celebrity DJ Paul Sevigny; bar on 2nd floor. The Shops at Columbus Circle 646-215-6899 10 Columbus Circle at 59th Street, New York, 10019
MAJOR STORES Barneys New York: Appearances by Narciso Rodriguez, Mary-Kate and Ashley Olsen and Loomstate custom T-shirts. Bergdorf Goodman: Zac Posen painting; Victoria Beckham; Peter Som, Cynthia Rowley, Gilles Mendel and Lela Rose cooking; Donna Karan playing "Fashion Rules" with André Leon Talley, and an Isaac Mizrahi talk. Bloomingdale's: Howie Day performance and numerous other activities. J.C. Penney: Cindy Crawford appearance. Lord & Taylor: Patrick McMullen photos, and Lauren Santo Domingo hosting. Macy's Queens: The official kickoff with Vogue editor in chief Anna Wintour; Macy's chairman, president and chief executive officer Terry Lundgren; Mayor Michael Bloomberg, and Blake Lively. Macy's Herald Square: Appearances by Jaxx trio, Jill Zarin, Rachel Roy and Michael Kors. Saks Fifth Avenue: Justin Timberlake, Donna Karan, Carolina Herrera in a magic show; appearances by Chris Benz, Coco Rocha and other designers.
MADISON AVENUE Armani: Rosie O'Donnell reading "Love, Loss and What I Wore." Kerry Washington appearance. Bally: DJ Brian Atwood. Calvin Klein: Performance by Jamie Burke, Michelle Monaghan appearance. Carolina Herrera: Larry Fink photo booth. Coach: Graffiti artists working on Coach totes. Cole Haan: Maria Sharapova appearance. David Yurman: Auctioning a 1975 belt buckle. Donna Karan: Rock-jazz pianist Eric Lewis. J.Mendel: Lisa Airan and Julie Macklowe hosting. Jimmy Choo: Angela Lindvall shoot. Oscar de la Renta: Oscar de la Renta serenading customers, literally. Ralph Lauren: Appearances by Liev Schreiber, Blake Lively and Camilla Belle. Talbots: Lynda Carter singing.
FIFTH AVENUE Barnes & Noble: FEED truck and Lauren Bush. Henri Bendel: Sasha Pivarova and Gucci Westman appearances. Dior: Charlize Theron signing the September issue of Vogue, 7 to 8 p.m. Juicy Couture: Surfboards, skateboards and Mexican food. Manolo Blahnik: Manolo Blahnik appearance. Roberto Cavalli: Roberto Cavalli appearance. Van Cleef & Arpels: Opera singer Danielle de Niese will perform selections from her new record, "The Mozart Album." Versace: Appearances by Ciara, Taylor Momsen and The Misshapes.
SOHO Anna Sui: Anna Sui appearance. Betsy Johnson: Makeovers. Elie Tahari: Alexa Ray Joel performs. Intermix: Prince Street, Sienna and Savannah Miller appearance. Kirna Zabête: Appearances by Thakoon, Jason Wu and Lazaro Hernandez and Jack McCullough of Proenza Schouler. Longchamp: Lily Cole hosting, Lykke Li performing. Philosophy di Alberta Ferretti: Alberta Ferretti appearance. Rachel Roy: Estelle performance.
BOWERY AREA NEAR BOND STREET Narciso Rodriguez in a Winnebago, Tyson Beckford appearance. Topshop: Appearances by Karen Elson and Tabitha Simmons and DJs. Vera Wang: Vera Wang doing makeovers.
WEST VILLAGE Cynthia Rowley: Balloons and a scavenger hunt. Marc by Marc Jacobs: Candid photos in the window. Polo Ralph Lauren: Nacho Figueras appearance. Teen Vogue fashion show at Bleecker Street: Taylor Momsen's band. Tommy Hilfiger: Tommy Hilfiger appearance. Thom Browne: Thom Browne appearance.
MEATPACKING DISTRICT Diane von Furstenberg: Events on the Highline with Diane von Furstenberg. Jeffrey New York: Appearances by Hugh Jackman and Sean Avery, 10:30 p.m. Matthew Williamson: Matthew Williamson will do personal design consultation. Stella McCartney: Kate Hudson appearance. Tory Burch: Barbecue and street party.
LOWER FIFTH Aveda: Van Leeuwen ice cream. Kate Spade: Tango on the street.
WILLIAMSBURG, BROOKLYN A neighborhood block party.
* list of retail events provided by WWD (Women's Wear Daily).
Okay, sooo, we LOVE Tyra... and we love her hit television show The Tyra Banks Show (congratulations on another Emmy Award, hunny)!!! (Tyra Banks with her 2 Emmy Awards for Outstanding Informative Talk Show, 2008 & 2009)
But, we especially love her other show, America's Next Top Model, and we're feeling the newest cycle of would-be divas! Not only has Tyra opened the door for hundreds of girl-next-door beauties who dream of a chance at becoming a real fashion model, but this time around, she's giving the 'little' girls a chance too (i.e. girls that are 5'7" and shorter). The fashion industry has become notorious for its rigid standards on model size and beauty, and for the most part, female models have to be at least 5'9" or taller, to get a foot in the door (not even counting their looks). Tyra recognizes this as a hindrance to someone's full potential being realized, so she did what she always does, she created an opportunity where there may not have been one -and on a grand scale, to boot!
And speaking of consolation prizes, the viewers of ANTM were in for another surprise when a new panel of judges was revealed at the end of the show; the challenge -last night- was to see which contestant took the best 'grown-up' version of their baby picture, and with the judges following suit, each was seated -hidden- behind a large poster of their own baby picture (until Tyra introduced them), and the first judge she revealed was Chanel Iman!!! YAY...
In relation to the show, Chanel Iman is not a 'little' girl by any means, she's perhaps one of the biggest models of this decade -and Tyra's little sister! We here at STYLE 101: loves Chanel to pieces!!! Not only does her full name encompass the very essence of fashion: "Chanel" & "Iman" (HELLO!), but she has also become a sort of role model for ANTM's young generation of viewers.
For the past 4-5 years, we've watched Chanel grow up in front of the camera -fashion camera, that is. She's even appeared on the cover of VOGUE magazine, and has been a guest on Tyra's eponymous daytime talk show. (Chanel Iman @ top with Alek Wek & Tyra, @ bottom with other legendary Black Supermodels celebrating the VOGUE Italia 'Black Issue' on the Tyra Banks Show, 2008)
We figure that Tyra gave Chanel one of the famous "ty-over" pep talks about life after modeling, which is very important in the fashion business, and it seems that Chanel has taken the advice well. Maybe this television appearance will lead to more high-visibility for the ingénue?! (Chanel Iman on the covers of Harper's Bazaar -Dubai, and Page Six magazines; and featured in a V magazine editorial)
Back in March, Chanel helped to revive MTV's House of Style, as a premier host, but only time will tell what's next for this beauty... until then, we will continue to tune-in to America's next top Supermodel, no matter what station she's on... so don't you change that TV Chanel! lol
P.S.- here's a look at Chanel along with Sessilee Lopez, Jourdan Dunn & Arlenis Sosa having a blast (posing) for the latest issue of i-D Magazine:
During the past two weeks, I've been blessed to experience two, new motion pictures that connected with my soul; one evokes a spirit of righteousness and the other, a spirit of creativity.
With STYLE 101: I love to create, and I'm an advocate for equality... so it's no wonder that I urge everyone to go see the following films:
Passing Strange Produced by: Steve Klein Directed by: Spike Lee Written by: Stew Narrated by: Stew Original Music by: Stew & Heidi Rodewald Featuring: De'Adre Aziza, Daniel Breaker, and Eisa Davis Length: 135 Minutes Date of Release: August 21, 2009 (In limited theaters), August 26, 2009 (On Demand, Cable TV)
"What's inside is just a lie..." sings one of the actors in this enormously energetic film based on a musical. 'Inside', points to the film's idea that conformist ideals and propoganda are subconsciously instilled in us, e.g. how to act, who to like, what to become when you grow up, et al. The theme of confronting and questioning what you know to be true, or 'the real' (as the film eloquently puts it), seems to be the main artery of the story.
The film (directed by Spike Lee), follows a young, black man named "Youth" (played by Daniel Breaker), who is raised in Los Angeles, California, and wants to break away from his middle-class, Christian upbringing, so that he can pursue his dreams of becoming a rock star. His mother (played by Eisa Davis), disapproves but struggles to gain control over her son's life, as she herself is grappling with 'the real'. Loosely based on the life of Stew (the writer and narrator), the film opens on "Youth" and his mother heading out to a Sunday morning church service, which is mocked as nothing more than a 'baptist fashion show.' The criticism of church-goers putting more thought into their clothes rather than focusing on God, is an issue that most Black families are incoherent to- but as with most Spike Lee film's, his subject matter is always about what's touchy or taboo. Yet, what's most impactful about this scene is that as the son begrudginly sits in the church pews, he actually begins to feel some sort of spiritual awakening (read: the presence of God), but at the very moment he's moved, his mother slaps him out of his euphoric state, claiming that his behavior is embarrassing, causing others to stare. As Lee points out, it's an observation of how we're led to believe in certain things, yet after we've digested and saved -or regurgitated- that information, we find ourselves worrying too much about what others think.
As the film progresses, mother's house rules and nit-picking begin to prove too much for "Youth," he cannot stand anymore of the oppression from her or his 'ghetto' LA surroundings. After quitting the church choir and letting go of his heathen rock band, "Youth" moves out of the USA and onto Europe, first landing in Amsterdam and then settling in Berlin. It's in Amsterdam where "Youth's" eyes are opened and all that he felt was 'the real' had come to life, he meets a beautiful young woman (played by De'Adre Aziza), who fulfills all of his wildest dreams; she comforts and encourages his musical endeavors, opens his heart to love and frees the imagination that was once suppressed in LA. Not only has "Youth" found a lust-for-life while living in Europe, he is also reminded -by several of the film's characters- that no matter how far one roams away from home, the only thing that matters (or that is 'real'), is love and family, with the latter being most reprehensible to him.
Cinemagraphically, Lee captures a live, stage performance of Passing Strange (directed by Annie Dorsen), with cameras following the actors' every move, covering the entire stage, as they sing and dance. His footage feels organic and raw, and it strips nothing away from the original production of the stage play, in fact it adds more depth to an already vibrant painting. Lee's camera crews interact expertly with the actors, following them backstage (on break and between costume changes), filming overhead shots, up-close camera pans and frequent glimpses of the live audience that sat in attendance of the play; what happens on stage, er, in the film, can be described as movie magic shot in real-time.
At the film premiere in New York City, there was a Q&A session with the cast and the director (Lee was in attendance, but left just before the Q&A). The film's creator Stew, answered most of the audience questions, with the other cast members giving updates on what their next career move would be, in light of their recent success. The film's passage could be viewed as autobiographical in its approach, because Stew -much like the main character in the film- is also from LA and he too had to deal with freeing himself from family oppression and confronting 'the real' in his life. I asked Stew if the film had any truth to it, and he said, "the film is somewhat based on real life and some parts fiction," he feels that everyone should be able to relate to it without feeling biased or left-out. Stew says, "it's just like a Jewish guy growing up and his family wants him to pursue [that religion] but he doesn't want to... it's about breaking away from those pressures and not being oppressed. Not just Black oppression, but any kind of oprression."
The Internet Movie Database (IMDb.com) reports that the original Broadway production of "Passing Strange" opened at the Belasco Theater in New York on Feb. 28, 2008, ran for 165 performances and was nominated for the 2008 Tony Awards for the Best Musical and Score, and won for the Best Book; Daniel Breaker and De'Adre Aziza received Tony Award nominations for acting, as did Stew (who had four nominations and one win- Best Book). Ultimately, Stew feels that whatever your passion is in life, you should pursue it with all of your heart and rock on! (film producer Steve Klein & creator Stew) (cast from l-r, De'Adre Aziza, Heidi Rodewald, Eisa Davis, Chad Goodridge, Colman Domingo and Daniel Breaker) (me & Stew after the premiere)
The September Issue Produced by: R.J. Cutler Directed by: R.J. Cutler Original Music by: Craig Richey Featuring: Anna Wintour, Grace Coddington, and André Leon Talley Length: 90 minutes Date of Release: September 11, 2009 (In limited theaters)
In the whirlwind of a $300 billion-dollar industry, Anna Wintour stands tall as the queen bee, the veritable mover and shaker of fashion. Her 20-year stewardship over VOGUE magazine has amassed a steady base of 1.2 million subscribers -which translates into millions of dollars for Condé Nast Publications, the owners of VOGUE; and even in the face of a recession, she still continues to give readers the créme de la créme of beauty and fashion, even if they can't afford the price tag.
That type of power allows Wintour to have free reign over all things glamorous within her field, but it equally draws a ton of negative press because often her demeanor is seen as being haughty or non-accepting of those who aren't on her level. The documentary film The September Issue, produced and directed by R.J. Cutler, follows Wintour and the creation of VOGUE's September 2007 issue, and for once, audiences have the opportunity to see what goes on inside her ultra-exclusive world. The star of that issue was Hollywood actress Sienna Miller photographed for the cover, but the stars of the film are none other than Wintour and her hard-working staff at VOGUE; some characters are more colorful than others, but all are very dedicated when tending to the behemoth periodical. (The September Issue, VOGUE 2007)
Because VOGUE is a fashion magazine, the perspective of the film is going to be fashion, of course, but what's important to remember is that this documentary was made two years ago, just before the impact of a global recession (a predicament that the fashion industry is now trying to climb out of). Gone are those glory days of a magazine touting the capability to print 1,000+ pages of copy and advertisement (even the current issue of VOGUE looks anorexic compared to its September 2007 counterpart), but the ability to dissect this reality is one of the reasons why the film has achieved success. VOGUE was able to claim its 'biggest issue ever' at that point in time because advertisers and investors were riding high -financially- and were able to spend upwards of $100,000.00 for just a 2-page color ad in the magazine; and to remind us of how superflous the budgets were back then, Cutler shows us a scene in which Grace Coddington (VOGUE's Creative Director), is examining pictures from an assigned 1920's themed photoshoot which Wintour put her in charge of... the models hair is coiffed and the make-up is divine, but after Wintour scours the final pictures, some are met with disapproval and about "$50,000.00 worth of work" gets cut out of the story -because the disposed images didn't please Wintour's eye. (Coddington's 20's inspired story)
This is one of the many instances where we get to see how fashion is gathered and put together for the magazine, as well as what makes it in and what doesn't. Coddington (one of the first in the film to receive the axe from Wintour), says, "I care very much about what I do," which explains her loyalty to VOGUE for more than 40 years. Throughout the film, she and Wintour rarely see eye-to-eye, eventhough the pair began working at American VOGUE on the same day. Of their professional relationship, Coddington says "it's like you're living together for 20 years." Wintour says, "Grace is a genius," but that doesn't stop her from making Coddington re-shoot an entirely different color-blocking story, that -to other staffers- was perfectly fine to begin with. Balancing out Wintour's austerity with warm eclecticism, Coddington (who also hails from England), began her career in fashion at the age of 17, and even once appeared on the cover of VOGUE as a model, and by the end of the film she easily works her way into the hearts of the audience by standing up to the enemy (aka Wintour), who as the editor-in-chief, has little patience for others and gives a few of her own The Devil Wears Prada-esque eye-rolls and conversation quips, just as Miranda Priestly would. In a run-through of a different fashion story (for this same issue), Contributing Editor (Edward Enninful), fails at trying to appease Wintour with his dull location prospects and tired fashion concepts, after Enninful defeatedly exits Wintour's office, Coddington cautions him, "You gotta be tougher."
Wintour's powerful influence extends way beyond the magazine, the film also depicts her guiding the career of burgeoning fashion designer Thakoon Panichgul, to whom she exclaims, "I told you I would get you the Gap," (referencing the fact that she convinced the clothing retailer to select Thakoon as an exclusive collaborator). Moreover, it's hard to imagine the film without the presence of André Leon Talley, VOGUE's Editor-at-Large. He shows up on screen as more of a comic relief than as a viable industry leader that we've come to know him as. In helping to push the September issue more over-the-top (a Talley specialty), he exclaims, "It's a famine of beauty!," reminding the audience why magazines such as VOGUE still exist- to help us escape reality by selling fantasy and glamour to us, even if we can't afford the price tag. But there's a point in the film where even Talley has to face reality (and the limit of his own power), he's shown -unenthusiastically- playing tennis, under the suggestion of Wintour, who wants him to loose weight. And although Talley says, "I have to get out and approach life with my own aesthetics about style," (carrying a Louis Vuitton embroidered tennis-set), in the end, he too realizes that, "what Mrs. Wintour says, goes!"
In regards to the future of VOGUE, Wintour says "Fashion's not about looking back, it's always about looking forward," but where does one look when the magazine will no longer be under her helm? Oddly enough, her own daughter (Bee Schaffer), doesn't want to carry out mommy's legacy. Schaffer, who is 22, says "I really don't wanna work in fashion... I think I wanna go to law school." Further expressing how there's more to life than just fashion, Shaffer even mocks how most fashionistas take themselves "too seriously." In earnest, Wintour says, "When I find myself getting really, really angry, it might be time to stop," yet in the film, she gets angry often... she gets anrgy when her staff defies her (Coddington in particular), she gets angry when designers waste her time (a visit to Stefano Pilate induced eye rolls at the Yves Saint Laurent atelier), and she gets angry when her space is invaded (the press is shown throughout the film, asking her thousands of questions and pointing cameras in her face).
Perhaps the most ironic part of the film is towards the end, when Coddington's second try at the color-blocking shoot proves successful. She and photographer Patrick Demarchelier, incorporate the film's cinematographer (Robert Richman aka Bob) into the photoshoot with supermodel Caroline Trentini, and a few of the shots capture Bob and Trentini jumping and posing in mid-air. One shot in particular shows Bob with a slightly protruding stomach, and upon Coddington returning the final images to Wintour for approval, Wintour exclaims, "[there] needs to be a bit of retouching [here]...," pointing to Bob's pouch in the picture, "[someone] needs to go to the gym." Yes, she does this even as Bob is rolling the camera, and with it, the audience erupts in laughter. But in true form, Coddington protests against her boss, she says "Everybody isnt perfect in this world, it's enough that the models are already skinny," and in true defiance, Coddington calls the magazine's art department and demands that Bob's stomach not be retouched before the issue goes to print... et voila, it wasn't. (Bob & Trentini)
Earlier this year when the film premiered at the Sundance Film Festival, it was Bob who had the last laugh, he won the award for Cinematography in the Documentary category, the film itself was nominated for the Sundance Grand Jury Prize, but it didn't win. Cutler and his crew have received many accolades for taking moviegoers behind the scenes of an industry that dictates what people wear, and the film does an excellent job of not just serving Wintour up as the end all-be all of fashion, but also showing her vulnerabilities and the challenges of maintaining a supportive staff. The film reminds us of why people are enamored with the magazine and why VOGUE is -as the Fashion Features Director (Sally Singer), points out- "...something people want to read."
And just in case you're wondering why the VOGUE staffers would continue working in such a stressful environment under a boss whose attitude and ego appear to be larger than life, Coddington put it best when she says, "You gotta have something to put your work in, unless it's not valid," and for the past 100 years VOGUE magazine has been that final stamp of approval for all things fashion... so, read on! (Washington, D.C. film premiere of The September Issue, sponsored by the Gilt Groupe) (me & event host Katie Rost) (event host Katie Rost & her mom Rynthia Rost Buccine)
(Teen VOGUE- November 2009 Cover. Jourdan Dunn & Chanel Iman, Photographed by Patrick Demarchelier)
(Iman & Dunn)
(Dunn & Iman)
(Teen VOGUE- February '08 Cover. Karlie Kloss, Chanel Iman & Ali Michael, Photographed by Patrick Demarchelier)
(Dunn, age 19)
(US VOGUE- May '07 Cover. Group photo w/Chanel Iman atop the second ladder, Photographed by Steven Meisel)
(US VOGUE- May '09 Cover. Group photo w/Jourdan Dunn amidst the second page, Photographed by Steven Meisel)
(Iman & Dunn)
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