As British Vogue magazine marks its 100 th anniversary the so-called fad bible has opened its openings to the BBC, granting extraordinary access to cover stars, decorators, and those who run it.
But alongside photo shoots of Kate Moss and Edie Campbell prevails a functioning office, albeit with some unique employed rehearses. Documentary maker Richard Macer, an outsider in the world of high fashion, accounts some down-to-earth detections he made during nine months of filming.
1. Envelopes can be used as accessories. At least, those which house invitations to couture demonstrates can. Lucinda Chamber, Vogue’s long-serving fad head, expends one from an old-time display as her pocketbook. The catwalk shows’ requests are themselves something to behold. At the Chanel couture evidence the invite was carven into a piece of lumber. At the Stella McCartney show in Paris the solicitations came in the form of a knuckle duster worn across four digits and spelling out the mention “STELLA” in big sparkly characters. At the Chanel couture demonstrate each goodie baggage included a large tube of vanishing cream which I worked out to be 250 a shot.
2. The women in the world of mode do ingest. At Vogue not a daylight goes by without a large delivery of confectionery arriving: chocolate patty, massive boxes of fruit munches, brownies by the bucket-load. These come from purchasers such as PR companies and stores. I checked about 40 toffee apples on one occasion. At Christmas, Harrods transported a giant onset calendar in the shape of a large house. Inside each space was an exotic chocolate. Such goodies tend to disappear very fast while no one “wouldve been” filmed feeing. I did happen to inadvertently record one of the status of women from the magazine’s online unit chewing a brownie but afterwards she tracked me down and acquired me pinkie hope I wouldn’t use it in the final revise.
3. There’s a sock drawer in the Vogue roles. A big drawer full of all kinds of creepy and excellent socks and leggings subsists just in case person in the office requires some sartorial aid at a moment’s notice.
4. If there is a big social event, such as an awards ceremony or a label launch, many of Vogue’s staff will attend. Often they will be given a couture dress from a decorator and allowed to wear it for the night. But, just like Cinderella it needs to be returned by the morning – and with no red wine stains.
5. The knockout desk, where the most recent cosmetic brands are measured and reviewed, has a big cupboard with a enormous array of concoctions. It helps as a kind of cosmetic first-aid equipment for women from the agency when they need disaster lip liner or see darknes, or even a explode of “dry shampoo”. The desk is staffed by four women who expend their days spraying, dabbing and chafing many lotions into their hands and appearance. One used to tell me: “Its the only task in the two countries where you can’t be sacked for putting nail varnish on at your desk.”
Richard Macer( above, with headphones) enrolls “the worlds” of serious mode in Absolutely Fashion: Inside British Vogue on Thursday 8 September on BBC Two at 21:00 BST – or catch-up on iPlayer
6. Editor-in-chief of the publication, Alexandra Shulman( portrait above ), confessed to me she doesn’t cherish fad – the most surprising response to one of the first issue I questioned her. At first I thought it was an curious stuff to say for the woman in charge of a fashion bible. But as I got to know her better I realised she is more a fan of manner photography and is interested in popular culture, which style is a key part of.
7. Blooms are the currency of the mode nature. Not an hour goes by very at British Vogue headquarters without an exotic wreath being delivered. Often the editor’s role will have various outside it. The flowers are from designers, or labels, or PRs( public relations reps ). They are the language of exchange. Each knot has a little hand-written poster which says something like “You were fantastic favorite! ” or “We couldn’t have done it without you”. It would be possible to get rather blase about blooms since they are so commonplace in this environment. But somehow their appearance always has appeared to be responded with sincere acknowledgment. They are the endow that retains on giving.
8. Fashion photographer to the stars Mario Testino says he owes much of his profession to Vogue’s Lucinda Chambers. She is arguably the most important person on the magazine after Shulman, with responsibility for picking which invests from the catwalks to feature in forthcoming sheets of the magazine. Chambers has been at the periodical for 36 years and started her occupation at the same time as Testino, who did his refer photographing the late Princess Diana. As a young aspiring photographer, Testino says that Chambers was always driving him to succeed by being fairly critical of what he was inducing.
9. The queen bee of this glossy homage to the jet-set life, editor Alexandra Shulman, has a anxiety of moving. She very nearly didn’t be submitted to New York Fashion Week because of it, but recollected at the last minute she’d accepted to filmed by me so changed her intellect. Every year she has to sword herself against her virtually absurd fear when globe-trotting to manner presents. In the 25 times “shes been” writer of Vogue she has tried a number of strategies to deal with her phobia. The most successful is compose. Shulman has authored got a couple of tales and has discovered concentrating on the prose helps when the disturbance hits.
Absolutely Fashion: Inside British Vogue is on Thursday 8 September on BBC Two at 21:00 BST