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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.
#NEW YORK CITY 2007#
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.
#FASHION WEEK NEW YORK CITY#
- 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.
Many people say that you are a Ice Woman.
Well, this week, it was pretty
cold, that's all I can say.
#FASHION WEEK
PARIS#
Anna.
Oh, voila. Anna, look.
This one we call Anna.
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.
Anna is the most powerful woman in
the United States. - Oui, absolument.
#THE SEPTEMBER ISSUE#
Hi, Stefano. - Anna,
how are you? - I'm well.
Good to see you. - How are things?
- Well. Shall I tell you the truth? - Yeah.
I'm a bit stressed this season.
- You're stressed?
A bit. A bit. But I
hope it's gonna be okay.
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.
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.
Very colorful.
- 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?
- Fine.
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.
It's a degrade fabric.
- Fantastic. Thank you.
You've made our week,
our three weeks.
Let me touch on something
that may be out of your purview,
but maybe you can also help us.
Deliveries of merchandise.
What do you want me to do
about that? Rent a truck?
I tell you
what I'd like you to do.
You are so influential
with the designers.
Not that.
They have to recognize that the
worldwide demand for their product
is expanding at a rate that
even they don't understand,
and they're not keeping
up with the production
so that the demand is
outstripping supply.
We're waiting longer and longer
and longer for deliveries.
They're coming at the back end of the
delivery schedule instead of the front end.
And, you know, fashion is fun,
and we all love it,
and that's what drives it, but
- You want it now.
Without the goods and the ads
in your magazines are fabulous,
and I know you'll look like
a telephone book this year, but.
You've gotta help us with this.
So, you have a couple of choices.
You can start
sewing yourselves.
No, I think you said something very
interesting, Burt, which is editing.
And I think some of the designers
do have a problem with that,
and we are working on that,
and we will certainly.
We're right there with you.
Less is more.
#VOGUE OFFICES
TIMES SQUARE, NEW YORK#
I mean, I can't shoot everything
for the rest of my life
with Steven Meisel
in Alder Mansion,
which is an ugly *** house.
I was discussing my September
shoot with Steven Klein.
I think he really likes this location.
- It's sort of gloomy, Edward.
Where's the glamour?
It's Vogue, okay? Please,
let's - Lift it. - Lift it.
I don't find her to be hidden. I
just don't find her to be accessible
to people she doesn't need
to be accessible to.
This, I don't think we need.
We'll just wait for whatever it
is they're making and that's it.
This, I don't think we should do.
This, I don't think we should do. This.
She's busy, you know.
And she's not warm and friendly.
She's doing her business.
These are all horrible. - Yes. - I thought
this was pretty weak. - It is.
That stuff needs a lot of work.
- Okay. - All right? - Yes.
We leave warm to me. I'll have to
be warm enough for the two of us.
#VOGUE ADVERTISING SALES TEAM
SEPTEMBER KICK-OFF MEETING#
When we put out the
September issue of Vogue,
the first thing the
reporters usually ask us
is how much does it weigh
and how many pages?
One in ten American women, almost
thirteen million people will get that issue.
A few years ago when we put
out a record issue of September,
it was the largest monthly
magazine ever published.
Guys, we're looking to break that
record. We have to break rules.
I want you to go into it
like it's Vogue the brand
and market it like it's never been
marketed in its entire 114 years.
All right, so, September. Sienna, I
think we're in excellent shape, right?
It's all feathers. I think this is really
cute. - I do, too. - Do you? - Big Bird.
The team sees the collections and then
comes back and has fashion meetings,
and in the meetings, you
dissect the collections
and decide what trends to feature.
Andre, I hear you didn't like Calvin.
- I thought it was clinical.
September is the January
in fashion, you know?
This is when I change.
This is when I say,
I'm gonna try to get back on those
high heels 'cause that's the look.
Yeah, the jacket is the new coat.
- The look is sexy. The look is granny.
You need to know.
- This is heaven. That's gorgeous.
That should be a fashion story.
- But that's the problem, Grace.
It's an accessory story, and that's what I
need. - Well it's a story crying to be done.
Grace, I hear you, but it's just not
what I need in the September issue.
You have to really
find some stories there.
And you have to find stories that
haven't been played out anywhere else,
and they have to
be on a certain scale.
Having talked to Grace
a little bit about this,
I think she very much
wants to do texture.
What has that got to do with
texture? - Well, look. - No.
I think you should bring it anyway.
- It's breaking my heart.
Usually in the September issue,
there's one big disaster.
There's always one shoot that's
a big problem in the issue,
because it's a big issue and
there's a lot of things going on.
#FIVE MONTHS UNTIL ISSUE CLOSES#
Let's put that one
to the side for now.
And that one, too.
Let me see what else there is.
Jonathan Saunders is someone we wanted to
- We're trying to get him in.
It's cute, but it's a different thing.
They're not color blocking.
I wanna kill myself.
- You want to kill yourself? Why?
What's happened?
- This got thrown out.
If it's with this. - This
is what we did. - It's fine.
It wasn't the look. She said no.
- Color blocking's all the different colors.
It's this with this and this with this.
- I'm gonna take this anyway.
Is that the best one?
That's not the best one.
You've gotta be tougher. Edward.
Tell me, what do you do? - You
gotta be tough. - What'd you do?
You've gotta just demand.
You have to demand.
Because, otherwise, you'll be blamed.
Don't be too nice, even to me.
No, honestly, because you'll lose.
You have to learn the
way to beat your path through
to make yourself felt and
make yourself necessary
and find a way that
works for you for Vogue.
Because a lot of people have come,
and a lot of people have gone.
They just couldn't
take the heartbreak.
You know, you have to be fairly
tough to withstand that.
So it's all pinks.
And, Virginia, we really feel that
this is the most important message
to put in the September issue?
It's important.
- I thought it was pretty.
It looks very springy.
- Well, there's a fur.
Maybe you want to develop
it a little bit more.
I'd also like to see what you're
thinking about with the clothes,
so I can get more of a handle on it.
I was thinking maybe it's kind
of body conscious, the clothes.
And then at one point, I thought
maybe she could be sort of bionic.
It looks good on the rack.
- I feel it's quite one-dimensional.
But also, the girls always
look the same, Elissa.
If you look at your pictures, the way
they're dressed, it's always the same.
And somehow, the picture's
always the same.
It's usually the same
kind of minimal approach.
I mean, it's what you are, I know.
And the girl always
tends to have straight hair.
You look at it just like
it's always the same.
So it would be great if we
could break out. Thanks.
So you know that company,
Mango, in Spain?
They're looking for someone
to help them consult.
Maybe Thakoon, you think? - I think he's
one of the most talented people out there.
He's coming in to see me, I think,
this week, so I could talk to him. - Okay.
So, Yuri, can we stop
at Starbucks, please?
My father was a newspaper editor.
He edited a newspaper in
London called The Evening Standard.
Former Fleet Street editor, Charles Wintour,
will be assessing the long-term effects.
He came from quite a
Victorian upbringing.
I'm not sure his
mother ever spoke to him.
He was also very private and
very, in some ways, inscrutable.
The NPA have about as much
collective spine as a tepid jellyfish.
Growing up in London in the sixties,
I mean, you'd have to be walking around
with lrving Penn's sack over your head
not to know that something extraordinary
was happening in fashion.
The look of the girls then and
everything that was going on,
the pill and emancipation of women
and the end of the class system
and just sort of seeing
that revolution go on,
made me love it from an early age.
I think my father really decided
for me that I should work in fashion.
I can't remember what
form it was I had to fill out.
Maybe it was an admissions thing,
and at the bottom, it said
'career objectives,' you know.
and I looked at it and said, 'What
shall I do?' 'How shall I fill this out?'
And he said, well, you write that you
want to be editor of Vogue, of course.
So, that was it. It was decided.
We have known about this piece for a
long time. So I don't wanna hear it, okay?
I mean, she should just
get on the phone.
This is not clear. Somebody
needs to check these.
She looks pregnant. We
need to - Fix her. - Yeah.
The first time that you're
asked to go see Anna
and show her your collection, it's like
insane. - lntimidating. Right.
And I remember there was me
and Meredith in Anna's office.
It was the first time I met her.
I was, like, oh, my God, it's Anna.
It's like Madonna is Anna, you know?
And I was just
- She's like, 'Okay, go on.'
So I'm talking about the inspiration.
I'm moving my hands, and
I'm showing her the pieces.
And I can see my hand shaking.
It was shaking.
Because she just sat there the whole
time, like, 'Mm-hmm, mm-hmm.'
So then we, we get out of
there, and Meredith's like,
'Oh, my God, you were so well-spoken,'
but that hand kept shaking.
Anna Wintour's office.
Hi, Thakoon. How are you?
- Hi, are you?
I have eight sketches. I don't know
how you want me to lay them out for you.
Right here. You know Thakoon, right?
- Yes.
So these are his sketches for
the Gap project, the shirts.
And it's three that would
- We're meant to narrow it down to three?
I think we ought to do
one with a little sleeve.
I love the little sleeve.
And then maybe one that's a dress.
It's very hard to be a
designer in this country.
So we created a fashion fund to
draw attention to new talent,
to fund it, and to
get mentoring for it.
The winners get to design
something for a mega-brand.
You like this one? - I wouldn't
discount that. It's got a simplicity
that the Gap customer is going
to immediately acknowledge.
Thakoon was one of the
winners of the award.
He has all the components to have
a serious high-end designer line.
I'm happy with those
three. Perfect. All right.
Well, thank you.
- Thank you.
You never know, though. I mean, remember
lsaac Mizrahi went out of business.
The fashion business isn't fair.
They do everything right,
and they still crash.
#TEXTURE SHOOT#
Those colors are good.
I'm one of the last remaining fashion
editors who dress the girls myself.
I'm told the very modern thing
is to don't touch the girls.
Is that right? Yeah.
Who does it? An assistant?
- Yeah.
I don't know. I'm
a bit old-fashioned.
I love this. See? I love this.
Good, Coco. Watch the
light, guys. Come on.
She just looks like she's got a
plastic bag on. But it looks good.
Garbage bag or something.
Good night.
- Good night, everyone.
Well, I started reading Vogue when I was
a teenager, and I grew up in north Wales.
And it was kind of difficult to get.
So I used to order it and rush
once a month to get my copy,
which was probably
three months out of date.
I loved the whole sort
of chic thing that was so
entirely out of context
compared to the lifestyle I led.
You know, I went to school.
I went to a convent.
I never went anywhere for my holidays,
and so I just looked at Vogue.
At the same time, there was
a Vogue model competition,
and somebody sent my
very bad pictures in.
And I actually won the young section.
'Cause I was quite young at that time.
And so I started modeling for Vogue.
Somehow everything I did,
I kind of fell into.
I just knew that I probably
had to get out of that place.
So I went up to London,
and I became a full-time model.
These are the pictures of
me by various photographers.
This is one of my very
first model pictures.
It's probably '59 by Lord Snowden.
I stopped modeling because
I had a car crash.
My head went into the driving mirror,
or my eye went into the driving mirror.
So I had a lot of plastic surgery.
And then two years later,
I sort of went back to work.
This is from a shoot that
I did with Bailey, Helmut.
This is Manolo Blahnik, and this is
Anjelica Huston when she was modeling.
I was offered a job at British Vogue.
I was a junior editor, and
kind of slowly worked my way up.
Hello.
- Ms. Coddington.
Oh, my God. - How was
your shoot? - It was great.
This is really good, isn't it?
Good, aren't they? - Who styled that?
- Grace, right? - Grace and Craig.
It's real nice.
- It's beautiful.
Grace's without question the greatest living
stylist. There's no one better than Grace.
There's no one who can
make any photographer
take more beautiful, more
interesting, more romantic,
more just stunningly
realized pictures than Grace.
There's no one better. Period.
She comes from the idea that fashion
is this world of play and make-believe.
It's as if someone's gone
to the dressing-up box
and found the most kind of wonderful,
personal things and put them together.
But it's beautiful.
Hi, Anna.
- Hi.
I'm not crazy about this one, are you?
- I like it. - Do we need this?
It's just not saying texture
to me. All the others.
Do you understand what I'm saying?
- Yeah.
I'm just really, really concerned
about how much black we're getting.
So, if we were to just take
another one out? - Maybe that?
Let me see it. Let me just see it.
- Ok.
Whose is that?
- I think it's Rodarte
Not a very snap job here.
Which one went? That's the guess.
Oh, yes, of course,
the other black one.
Those poor *** Rodartes.
I know. They're out.
Rubber's not a texture?
- No, not for Anna.
And leather's definitely
- We ordered it. We order all the prints, so
Oh, yeah, I've heard that story.
- Yeah.
But it's such a great picture, that.
- Anna actually liked it as a picture.
She thought it wasn't texture.
- It is texture.
Let's add the waist seam now then.
Do we need pockets?
So, this one, is it not around?
- Yes, it is actually.
I personally would not put
this one in the show.
The other things you've
shown us are more exciting.
All of this, actually, is
still under consideration.
You need to have a hundred there, no?
Listen, we have a hundred and fifty pieces
and we have to edit them down to sixty-five.
Grace is very good
at that. Go on, Grace.
Slash and burn. - No, Anna's, but I don't
think you could take Anna's slashing.
That's the man from, from Mango.
And who do you think that would be good?
Thakoon. - And apparently
they pay extremely well.
And perhaps they want to.
I'm going to propose you and me.
Who is, who is this, this, Anna, Anna?
- Thakoon. - He's really good.
See, now it's beautiful.
Now it's really pretty.
This is good.
- So, for the brooch.
Lanvin. We have this.
- From Balenciaga.
I think it's cool.
- Looks like a neck brace.
######sdfsdf##
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##FGS###
Twenties is something that.
Well, really the inspiration
was John Galliano's show.
He was inspired by the
photographer Brassai,
who was a photographer
from the twenties.
Shoes, I'm very desperate for.
It just has to be something that
slightly evokes the twenties.
What has she got? Well. You have to
have that fashion story, you know,
spots are in or stripes or full skirts
or straight skirts or whatever it is.
But I've tried to make that secondary.
We build a fantasy around the girl
and what she's doing, what
she's thinking, who she is.
But there, you know.
- Yeah, that.
But, of course, what's so
genius about that is that
she has big, fat legs
and things. I love that.
It's a reference picture as well.
- They're so beautiful.
Are they coming for
the run-through, please?
That was just Anna's office.
She has an 11:00 appointment.
So what does that mean?
- It's 10 till 11:00 right now.
So she wants to see me before?
Virginia. - Yeah?
Anna wants to see us now 'cause
she has somewhere to be at 11:00.
We're goin' in.
I have a ton of stuff here, and I don't know
how many doubles triples, singles I'm doing.
But maybe we can prioritize. - And you
should, you know, if you hate something,
just say I never want to see
that in the magazine. - Ok.
There's two coats here.
I'm sort of undecided about them.
It is similar to the
one we did in July.
It's not because you're thinking
of the one we shot and didn't run.
I've shot them twice, but we
have not had them in the magazine.
The coat didn't run. Anyway,
there's all these little dresses.
And then this little coat. I love
all these little evening things.
Let's remove the coat. - I have to
have a little freedom to play around.
Grace, I mean, there's a lot
of wearable things in this,
and I want this to be
more wearable than not.
I started working for American Vogue
the same day as Anna did.
I think we understand
each other, pretty much.
Just through living
together for twenty years.
She knows I'm stubborn.
I know she's stubborn,
and I know when to stop pushing her.
She doesn't know when
to stop pushing me.
Is it odd just having one fur? Should
we have one other thing that has a fur?
I just think it's odd to have one. I mean,
maybe you're going to do a fur hat or
I think it's sort of
strange to have a whole shoot
I'm trying to make as many different looks
as possible. - But I think you need one more
Otherwise, you're gonna get bored.
- Well, I would take that out.
And then these are all out,
is that right? - No. No.
These are beautiful.
Don't throw those out.
They're beautiful.
And I don't think we should do this.
This one from Resort, right?
Yeah, it's so perfect. - I know, Grace.
It's going in the stores in November.
You can do it in the November issue.
How can she think of
leaving these out?
I know. I love those.
- That was unbelievable.
But I'm not leaving them out. - They're
so cute. - Yeah, they are. And perfect.
And what is this thing about we
need a fur coat to match that one?
Or a fur hat. - Oh, please. I
mean, now, look. What's this?
And she's thrown it out. This is fur.
This is fur. This is fur.
That's the craziest thing I've heard.
#LONG ISLAND, NEW YORK#
These are all the September issues
- Those are all the September issues
that your mother - Has done.
She had a lot of her old issues.
And then one time, I
came in here and looked
and saw that she didn't have
everything that she'd ever done.
And I just thought it would be nice
for her. So now she's got everything.
I remember that. - That was
controversial. - That was controversial.
Putting a black girl on
the September cover was
for my first one, that was
considered questionable.
This got us a lot of
attention, fur on the cover.
This is the
death-warmed-up cover.
This one's really cute,
because they're puppies.
They look so pale.
I certainly read British Vogue
when I was fourteen, fifteen.
This is the one you hated.
- Yes.
My American grandmother used
to send me Seventeen.
That was a very high point
of my childhood every month.
Oh, right, Gwyneth.
This was when we moved in celebrities.
So we've gotta
decide between these two.
Which one? - I like the
color on that. - You do?
But I like the dress on the other one.
And then the other thing I
wanted to show you, darling, was
What do you think?
That's got your look.
Her hair is in her face in that one.
You like that one? - One of these.
- Okay, good.
Do you think you'd ever work
at the magazine with your mom?
No. I think I'm gonna
go to law school.
So probably not.
But I don't know.
I'm gonna get through college first.
Sorry, Mommy.
- Well, early days. We'll see.
I really don't want to work in
fashion. It's just not for me.
I really respect her, obviously.
But it's a really
weird industry to me,
and it's just not for me.
She wants me to be an editor.
I don't wanna put it down, but it's I
would never want to take it too seriously.
Some of the people in
there act like fashion is life.
And it's just It's really amusing,
and you can make fun of them.
But for that to be your
career, it's just like
There are other things
out there, I think.
#SIX WEEKS UNTIL ISSUE CLOSES#
Isabel. Let's take a look
at your Resort collection.
They're very clean and crisp. - Almost this
is a compliment institutional, clinical.
You got it.
- Clinical.
Andre - Andre's having a
great time with lsabel today.
Fabulous time. Has all
these ideas of still lifes
and things that we can do,
so we're doing all that.
You make sunglasses, too?
- Yeah. - Upside down.
Look at my tape. Exactly. - Upside down.
- You have such an eye.
#ACCESSORIES SHOOT#
Make sure you feature the bag.
I like that a lot.
- Yeah, I really do.
#COLOR BLOCKING SHOOT#
Nice block.
Beautiful.
This is it?
- I don't love the way these
purple pants look. They look big.
Are they sending more to
us, or is this kind of it?
These are all they gave me.
Somehow, you know, little dark
wigs we've seen quite often,
so you have to find another
way to do a twenties.
Go like that.
The girls were wonderful, and
they all seemed to work perfectly.
I hope it looks as
good as I think it does.
We've done them in a very soft color.
It's almost like old
film that's faded.
I love when it goes soft and even
sometimes if there's movement,
there's a little blur on things.
But I don't know.
Everybody seems to like things pin-sharp
these days. I think it's a shame.
I hope it's okay.
- I think this looks great.
Is that this week? - This was
this morning. - This morning?
I mean, I knew that they were
doing that, but I didn't know.
That that would be on the cover.
- Right. It's kind of exciting.
I guess I would just start at the
beginning with when The Gap came to you.
It was Vogue that called
and said that, you know,
we are working with The Gap this
coming-up year, and we want to launch
the partnership with this concept
of reworking the white shirt idea.
Congrats. - Thank you.
- Your face is everywhere.
How are you? It's good to see you.
- It's amazing.
Amazing. So proud
of you. It's so nice.
Hi, Anna, how are you?
So, I told you I'd get you The Gap.
- I know, I know. You got me a huge thing,
which is great. Thank you so much.
- It's so funny. I was thinking
about our conversation
all those months ago.
I know. I didn't realize it was
gonna turn into such a big deal.
Have you had a good response?
- Yes. I think they were sold out online.
Really?
- Yeah. - Great. Sorry.
So this is what we shot the other day.
It was really divine.
This is all Galliano,
who was the inspiration
and the start of the whole story. But
I completely fell in love with these.
This is Coco. She was doing
the Charleston here on the bar,
nearly fell off, but I
think that's kinda great.
Excuse me.
- Oh, sure.
We're gonna try to print
these out again brighter. - Okay.
This one is a little unnecessary.
- I know. It's another story.
Don't you think? Too much.
It is. It 's all that posing, in
different kind of a set almost.
Yeah. But the others look fine.
But do you agree? - Yeah.
It looks fake.
I think you have more personality
out of these than you do on that also.
And there's plenty of Galliano, so
- Yes.
No, they're fun. Anna,
this one's again, the group.
But maybe if it's more in
the middle, it might work.
We'll see. - All right. - How
many are there? - Twenty-two.
Let me give you the right number. - They
have a sort of haze over them, too.
I have to find out how much, I'm gonna go
check and see how much of that is the Xerox.
I need to print out the
beauty better for sure.
And then try to print this
out better too if you can.
Let's see if that helps it.
Well, look. I think it's 'cause on the
screen, there's a little bit more color.
'Cause even in the beauty,
that Meisel did, it's everything.
I think it's just the printer right
now. It's the printer right now.
They're meant to be soft.
They're meant to be.
That's the point. - But the colors are not
like this, though. - Like this No, they are.
Well, that to be like that no matter what.
- I mean, they're meant to be.
They're not supposed to be
bright, you know, like this.
They're not all like that.
- No, I know that.
So don't try because
you won't get anywhere.
I mean, you probably will, 'cause
you can probably pump them up,
but it's really a shame. Is this out?
- Maybe. - Are you kidding?
No. - Why? - Because she doesn't feel it
goes with the rest of the story so much.
Wait and see. This is early yet.
We have the whole issue to put together.
- I don't get why it wouldn't go in.
That's all Galliano, which
is the point of the thing.
You've got a few more.
You've got a few more in there.
Yeah.
- I love this.
It's wonderful, this.
It's astounding.
No, they're supposed to be soft like
that. They're supposed to be backlit.
It's maybe all the things she doesn't like,
but that's what they're supposed to be.
No, it's great.
It's really nice.
Thanks. I'll talk to her.
Is this the run-through for Sienna?
This is Sienna coming up. - So I
don't have to be there for that one.
Well, it's a cover. - I'll go to it,
sure. Just call me when.
Sorry about this.
This is like a girly heaven.
Holy crap.
- Oh, my God. Is that the Marchesa line?
Oh, my God.
- It's amazing.
That's amazing.
Oh, my God.
- Is that wings? No.
It's Nina Ricci. - I don't understand
how everyone sort of collectively does
Yeah. I mean, it's the
September issue of Vogue.
Hi, guys.
- Hi. How are you?
I'm good. - Hello. Hi.
This is Savannah, my sis.
Hi, I'm Anna. How are you?
Thank you for coming.
Do you wanna try that? - It looks
cheap to me. Okay, put it back.
That's quite ridiculous.
The evolution for Vogue to
putting celebrities on its covers
has been because of Anna.
She was ahead of the curve to
appreciate the fact that celebrity
culture became overwhelming.
Am I supposed to pose in this bit?
- No, darling. - I don't like it.
What Vogue did and what the
supermodels did in the pages of Vogue is
that they trained a generation of
celebrities to want to be supermodels.
Actresses started believing that
fashion was a seamless part of life
and a seamless part of
celebrity, and that was fine.
Oh, my goodness.
- It's amazing.
Really no pasta. I can't bear going to
Rome and not being able to have pasta.
That's incredible.
- It is. You look amazing in that.
This is amazing. I thought
it was in Paris. It's amazing.
And the rest of the shoot
is just brilliant, Grace.
Do mention it to Anna because
she's killed half of it.
It's just beautiful. It is beautiful.
- She took out the two best pictures.
Tonne do you want to talk to the hair stuff,
or do you want to do that another time?
You know what? I just wanted
to show you this. This was
what we looked up, which I loved.
It's divine, isn't it?
- My hair's too thick to do it with.
You're great in short hair.
- You think better? Do you?
I do. I have a survey of every hairstyle
you've had for my board. I'm serious.
The shoot is centered around
a weekend in Rome.
She's gonna go around town and I
have to storyboard that, literally.
Because this is gonna be highly produced.
Otherwise, it's gonna be chaos.
Feathers.
I'm going to Europe today.
Rome, Paris, and London.
What time are we leaving on Wednesday?
Emailing your itinerary.
- Just tell me a time.
Have we organized where they'd bring
these dresses in Rome? - No.
It's a problem when yours
are the first pictures in.
'Cause people get bored with them.
So she's gonna love the Rome pictures,
because they'll come straight in,
and they'll go straight to press.
If Sienna gets sick and doesn't
turn up in Rome maybe,
maybe all the pictures will come back.
They'll probably find another
celebrity to take her place, I don't know.
So, shall we not talk
about feathers anymore?
The feather discussion is over.
Is there anything we need
to talk about for December,
or does that just wait till we
come back? - I think we're done.
Grace, I'm leaving soon. Do
you need me for anything?
Well, yeah, we have, you know, like
Are there any restrictions on Couture?
If the budget is a problem, because,
you know, for obvious reasons.
Christiane says the budget is fine.
- It's not fine. It's not that simple.
Well, you need to talk with
her because she has the figures.
I know, but it's a hell of a
lot of work to put together,
which I don't want to do if
you have a limited budget.
So I can't really find out what the
limit is 'cause the limit keeps changing.
I'm in a really foul mood,
because they've killed
a lot of the spread
of my twenties story.
And they're about to kill another one.
And they're all lying to me about it,
including Danko, who I
thought was my friend.
And you just sit here and everything is
killed. It's, like, incredibly boring.
And I love to talk money in
front of you guys with Anna
'cause it drives her crazy.
It's a sure way to get the budget up.
I don't like this.
- No. Then I'll rid you of this, too.
No, it's just that that's not a good
place for that to go. - Oh, okay.
This is too long, Charlie.
- Still.
I think the spread's too long.
- All right, we'll take it down.
It's easy to take down
then, if that's the case.
Well, I'm leaving, so
- Yes, I'll have him do it right away.
Wait 'til I've gone.
- Ok.
Didier?
I'm fine. How are you?
I think that it's actually
going to be a wig, Didier,
so you're gonna need time to, yeah.
Her hair is just completely
lackluster, and she's growing it out.
She won't cut it. You know,
blah, blah, blah, blah, blah.
It might be just easier to do a wig.
Do you need this? - And your tickets
are in the July, your 'up' envelope.
Okay, and what about money?
- The money is in the bag.
See you guys in Europe. Bye.
And it will be more.
Well, I think we have to discuss things.
- And it's gonna be around until the next
Until Tonne's pictures come in.
- She's come back.
That's for next month.
- No, Sienna is not next month.
But we're not going to really
do the issue until Anna gets back.
We're just putting all these things up.
- Well, no, you're taking them all down.
You're taking everything down.
They took two more out, and
there's question marks on two more.
So it's been whittled
down and I'm furious.
They've probably thrown
out $50,000 worth of work.
I care very much about what I do.
I do, or I wouldn't be still
doing it, you know.
But it gets harder and harder
to see it just thrown out.
And it's very hard to
go onto the next thing.
#PARIS#
#COUTURE COLLECTIONS#
How are you, Grace?
- Hi, how are you?
Did they give you the
message about Chanel?
That you're going this
afternoon? Yeah.
Jean Paul. - How are you,
Anna? Nice to see you.
Nice to see you, too. - Pleasure
to see you. Welcome to Paris.
Maybe I want, the
thing is that my clothes
Nothing's ready. You're
gonna say the usual story.
Bon. But, but, but, but we
are still going to show you.
I show you the only one
you can see. Coco? Voila.
The dress is not done but it
will be like 'wrought iron'...
The collection is different
Princes of different countries.
Well, you know, I'm doing
a shoot here in Paris.
I'm looking, 'cause I always come
to the Couture, almost always.
I've been actually for twenty
years at American Vogue
and twenty years before that
on British Vogue and a few years
before that when I was modeling.
So I've been coming for a long time.
Obviously, ostensibly, I'm
there to find something to shoot.
But I always mark too many things.
Anna says, 'Don't be silly.
We can't do that one.'
#LONDON#
Hi, darling. How are you?
- I'm good, and you?
Did you see the match last
- My God, you look amazing for this room.
Right. I didn't think. Did you
see Roger's match yesterday?
He won. No, I didn't see
it, but I heard he won.
So, we go to Sienna.
So a schedule, a rough
schedule I've done with Tonne.
Basically, I want to
create a film, you know.
A mixture of Fellini meets
Visconti meets - Oh, right.
Almost like cinema 'Roman Holiday.'
Yeah. Very cinematic. I think
that I would like to try and do a
But the charming side of ltalian film,
rather than the broody, moody side.
Of course, but look how beautiful,
her with the people in the background.
I mean, I want things that
are quite spectacular.
And I want to do something to do
with the Vespas in St. Peter's Square.
And then I wanted something
with horses and soldiers.
I mean, there is a lot of white. Like,
I love that. The feeling of this white.
There's the pastry shop, which is all
white. I mean, there's a lot of white.
I don't know why I keep on
looking at things that are white.
You know, the white horses. Because I
think that that would be good use for this.
And then I love this idea of putting
the horse in odd places as well.
But I just don't want that to
be the whole thrust of the story.
Now let's talk about her,
because her hair is not looking its best.
We had thought of
putting a wig on her.
Like a little blond wig.
- Well, I think that's a great idea.
A really graphic one. Blond. - My advice,
since we're going to be short on time,
is if we decide on a look and just stay
with it because you don't wanna waste hours.
Oh, no. I would do a look, and that's her
look. Great. I'm really excited about this.
This is gonna be the biggest one in
our history. - It is an amazing room, no?
Incredible. You should
have a party here.
What, the September one is gonna be the.
What, how many pages, like 10,000?
I don't know yet but it's the
biggest in our history, so.
Really?
- Yep. So we're excited.
I should have a party here, no?
Paris is so beautiful. It really is.
I never dreamt to be a model or never,
never dreamt to be a fashion editor.
But I just loved the
pages and the pictures.
In my early years as a fashion editor,
I worked with Norman Parkinson,
who was a really big photographer.
And he taught me to
always keep your eyes open,
you know, never to go to sleep in
the car or anything like that.
Keep watching, because whatever
you see out the window
or wherever, it can inspire you.
It is amazing.
It's sort of strange to
think how old it is.
It's beautiful.
I think I got left behind somewhere,
'cause I'm still a romantic.
You have to go charging ahead.
You can't stay behind.
#COUTURE SHOOT#
She looks good.
- Good.
Move her head just a tiny bit
forward so you get like an 's.'
Good. That's the one. Good.
- Oh, wow.
#ROME#
Anna? How are you? We're doing very well.
I'm sitting here with Mario and everybody.
Sienna's here. We're doing
a wig. Everything's great.
Let's divide our story ideas. Let's
do four visual locations. Let's say
That's pretty spectacular, don't you think?
I mean, look. You've got the Coliseum.
It is beautiful. - It's beautiful.
- I think we don't need it.
Got beautiful open shade light.
I mean, it's so pretty.
That is what I'm wondering,
whether we want pretty.
I find I've done this
hair, like, really
I would love something new.
A new proposition. - Yeah.
We tried the wig, and it did
not work. And we moved on.
And we moved on in the
right direction, I think.
There, wow. Stay there. Don't move.
This is your face. Don't move.
This is really beautiful, no?
I like that freshness.
It's the September cover.
Come, Sienna. Come.
Okay, again.
Go, go, go, go.
And again.
Come forward. Come forward. Go there.
That's quite a view. Isn't it, Mario?
- I'm not convinced of this.
I can certainly get rid of the head thing.
Do you wanna get rid of the head thing?
Maybe. Maybe it's not good.
Grace, thanks for the pie.
I just don't know if I should eat
that 'cause the corsets are so tight.
That's not going to
make a difference, Raquel.
Hello.
Fantastico.
Can you breathe? Are you all right?
- Yeah.
That's incredible.
That's beautiful.
And the expression
here is very lovely.
Just play with your hands
a little, Raquel, for me.
Oh, wow. That's beautiful.
- It ain't bad.
I think you got it. - Okay. Let's go.
Thanks. - Well done, Raquel.
Let's go, Andre, left, left.
Ms. Wintour inaugurated me
into health by intervention.
She saved my life, I
guess, in the long-term
because she intervened about three
years ago that I got to lose the weight.
So, naturally, what
Ms. Wintour says goes.
So I took up tennis.
- Over your shoulder. Come on. Good.
I wouldn't come to the tennis court in
just a pair of shorts and a tennis shirt.
I go to Damon Dash for my trousers.
I go to Ralph Lauren for the shirts.
This is my version of a tennis watch.
It's a Piaget from the sixties.
But I would wear this to the tennis
court. I would wear it all day long.
It's all a part of the
whole life of being who I am.
I have to get up and approach life
with my own aesthetics about style.
#ONE WEEK UNTIL ISSUE CLOSES#
Anna Wintour's office.
The magazine will be actually almost nine
million up when we come out of September.
Wonderful.
- This is not a great-looking opener.
I mean, this is a cleaner opener.
You know, the girl looking at you.
You want to open with something
people want to read, I think.
Do you need me, Charlie?
- Yes, Victoria's here.
Oh, great. What about Mario?
- Mario?
He's, the film is on a plane
and they don't land 'til two.
Hello? I love them.
They look gorgeous.
I've stolen them. I snatched
them out of Charlie's hands.
He went
bu-bu-bu-bu-bu-bu.
Kind of, but, you know, he hates
to say until Anna's seen them
in case he makes a mistake.
A lot of wigs.
- All through it.
It's fourteen pages.
This is pretty.
Beautiful.
Well, we can wait, right?
- Oh, yes, sure.
This slightly hinges on what happened
with Sienna, I think. - Okay.
And Grace wasn't crazy
about that one anyway.
Hi. I know it, Brian just told me.
It's coming out now. So as soon as I
look at it. Maybe I'll call you right back.
Okay, thanks a lot, Mario.
I need these printed out right away.
Sure. Yeah, it's printing now, but
So this is what Mario sent?
- This is what he just sent, yes.
But did he send the
cover? - No. - Okay.
It's taking him a while to do that.
That's it? - Yes.
- That's it for the clothes?
That's all I've
gotten. That's all he said.
Can you get Tonne in here?
I just, it seems like.
I don't know if she's in yet. She wasn't
in before. Let me see if she's back.
Not yet. Her assistant's
calling her to find out.
Could we ask her assistant to see
how many pictures here we're missing?
This is all he sent.
- Can I see lvan, please?
And I need Tonne's assistant or Hi.
Did he say this was, there's more coming
or there's nothing else?
- No, this, I think is the story.
But I'll go back to them and just double check.
As I understand it this is everything.
Can we get Tonne's assistant
or Virginia in here, please?
Tonne, I'm sorry, I'm losing you.
I thought we were gonna
have more clothes.
Okay, Mario. I'd like to see the
rest of the film as soon as possible.
You understand?
- But I didn't get the Coliseum.
Right. I don't think that's it. I think the
thing is is the whole look is everything.
Truthfully.
- It's a bit short on clothes.
But I don't know if we even need to reshoot.
But it's something that's being talked about
So I just want to put it in your ear.
I just finished talking to
Mario. No other Nina Ricci.
That was it. - That was it.
- They didn't do it for me?
No. And they didn't. He says
he didn't do the Coliseum dress.
He says he didn't like it,
so they didn't do it. - Okay.
I just finished talking to Mario.
He says there is nothing on
the dress at the Coliseum. - Well,
he didn't like it. He really couldn't.
He says he didn't like it, so
he never really did it, he said,
which I had to tell her.
- You know, it's digital. - I know.
He did something, but he never got
an image that he wanted to hold onto.
Right. - You know, I understand that,
you know, she needs a few more dresses
but, you know you get what you get.
I'm concerned a little 'cause I'm not
positive of the cover at the moment.
The one he's chosen, she's kind
of tough-looking in the face.
That's not a face for a cover.
- Right.
See this. This it can't be that.
I think there could be
definitely be something there.
That's what I think.
- So I think that's pretty ravishing.
Look at it now. I've cropped
in on it and turned it.
What does this say? Something.
'Like this best, but teeth.'
'But teeth.'
Mario. Hi.
I just meant to ask if
there was something there
that you thought that we
could at least look at.
Not one?
Florence, could you make me
some coffee, please? Thank you.
She has to look so conservative because
she's working at a lawyer's office.
No, a judge.
- Judge. Sorry.
My older brother is
in charge of finding
lower income housing in
London for people that need it,
and my sister's very involved in,
supporting farmers'
rights in Latin America.
My younger brother is political
editor of The Guardian.
And very successful, very brilliant.
My two brothers and my sister,
I think they're very
amused by what I do.
They're amused. So.
All right. Well, have
a good day. - You, too.
Love you.
- Love you.
Amanda Lacey is a London
facialist who is a great friend of Plum's,
and she's got a beautiful line of products,
and she's opening a new store in London.
And if it's ready, I'd love
to do a little item on that.
And then this is a piece about
all the advancements in eyes.
And I think that eyes are something
that women of all ages think about
because their eyes start aging. They're
the first thing that starts to age,
and I think even women in their
20s are concerned about it, so.
This is the look that
Andre would prefer to have.
There's no alternative?
I said I didn't want any more
black and white. - Environment?
Black and white, okay.
Is it this one, Anna, do you think?
Yeah, but I still like this one.
Okay, but stronger.
I remember when my dad retired, and
I asked him why he was leaving
because he was obviously so passionate
about what he was doing still.
And he said, 'Well, I get too angry.'
'l find myself getting too angry.'
So I do remember that, because I know
there are times I get quite angry.
So I try and restrain that.
So I think when I find myself getting really
really angry, that might be time to stop.
It's very long Sienna.
Twenty-two pages.
Anna saw the celebrity thing coming
way before everybody else
jumped on that bandwagon.
And, you know, whilst I hated it,
I'm afraid I have to
admit she was right.
You know, you can't stay behind.
You have to go charging ahead.
And she did, and the magazine
is very successful because of it.
I mean, whilst I'd be I wouldn't really
care if I never saw another celebrity,
obviously if the magazine doesn't
sell, I don't have a job, so.
It would be silly.
You know, you gotta have something to put
your work in, otherwise it's not valid.
Vogue. Good morning.
Has Prada gotten this request yet or no?
- I haven't heard back from them.
It's all changed. - What? - It's all
changed. - What's all changed?
The shoot we're doing this
weekend is going to be a reshoot
of the color block
shoot that Edward did.
What?
- Anna killed color blocking.
And they wanna reshoot it and then,
but, of course, it's very urgent, so
I got your message. We're already
working on it. - Okay. - A little while.
But I've gotta get all new clothes in five
minutes. It's getting a little busy up here.
There's just a bunch on the priority
rack. I don't know where it came from.
Sarah has Marc Jacobs on her rack.
I'll grab that for you as well.
What about stuff like this?
- That particular one was shot,
but, yes, in theory, it
could be color block.
But I shot one of these in that
same issue, so that's no good.
And this one? - That's good.
That hasn't been shot.
Have I shot that skirt?
- You shot the skirt. Yes.
This has to close on Thursday.
- I know.
And it's not gonna come in until Wednesday?
- Now, Laurie, I can't do anything about it.
A change was made,
and I didn't even know.
Did I shoot this? I shot this.
- You did.
There's a red coat.
- Yes. Shot.
Was your twenties Prada
dress shot? The red one?
Yeah. - You shot it, and
it was - And it was killed.
We just redid the layout.
I feel very excited to see that there
was a photo of mine in the hallway.
Twenty years later.
Are we opening the issue?
- Yes, as of now.
What do you mean 'as of now'?
Doesn't it have to ship?
Is that all I did?
- That's all.
I seemed to, like, sweat
like mad to get these.
Whatever happened to the Coliseum,
I don' t know. That was the only one.
That didn't work, unfortunately.
You know we had little time,
and I wanted to do another cover,
and I said, I'm not gonna spend three
hours here. I would rather do a cover.
Do you have the covers?
- Right here.
It's between these two.
We're testing both for now.
Do you think I should use
this body and that head?
Let's look, let's do this.
Would this be more
- It's a better neck.
We have to retouch a lot of this because
it's a lot of teeth. It's very teethy.
And also there's a filling,
there's a couple of fillings there.
But we can fix that.
- Of course. Absolutely.
I think that that is very inviting.
- When we put cover lines on there,
it's gonna be at you. So that's the one.
But you're right. I think that neck
That shoulder is boring.
Might be more beautiful, no?
And I'm gonna dummy it up that
way, so. - Okay, great. - All right.
There's no color stuff left
that hasn't already been shot
that is any good, so - What is
it called that you're shooting?
I don't know. I'm making
it up as I go along. Whoops.
And I've got two days.
- Is this the last shoot that we expect?
You'd better pray it is, because otherwise
I don't know who's gonna shoot it.
The biggest issue of the year, and we
have to close, and they're still shooting.
I had an idea, but I don't know if I
want to do it or not, and it involves you.
That's why I'm asking. Not you, Tonne.
My friend here.
#COLOR BLOCKING RESHOOT#
How do you feel today, good?
You feel young today? Pretty good?
I feel good, sir.
- Yeah? We've got a plan for you.
Can you jump?
Yeah, that's very fun. This was great.
One more, okay?
That's great. - So we want her on the same
page, very close to him, like that? - Right.
Jumping, too.
That's good I think. She's
looking right in the lens.
Good.
Here we go.
Awesome.
How many times did they make you jump?
- Not too many.
I like them. They're fun.
- I mean, we just needed a
breath of fresh air in the issue.
Everything was quite dense.
They looks great. Wearable,
accessible, great props.
We're working on this one.
A little bit of retouching.
Need to go to the gym.
Anna.
But they look great.
I'm glad we redid it.
It's Patrick?
- Patrick, yes.
Great.
- Patrick and Grace.
Did she like them?
- A bit of retouching she said.
Oh, I bet. Of course.
She told me I needed to go to the gym.
Due to which picture?
The jumping one? - Yeah.
She's right.
No, but, you know, personally,
I think it's better that
you're not, like, skinny, skinny.
To me, it much more
makes the point then
that you're real
people and not models.
Everybody isn't perfect in this world.
I mean, it's enough that
the models are perfect.
You don't need to go to the gym.
- Thank you, Grace.
Charlie? When you are
looking at Patrick's pictures,
please do not retouch Bob's stomach.
No, please don't, because I
don't want him to look like,
you know, a skinny male model.
But I just wanted to catch his
stomach before you gave him a
He's pulling it in now as I speak.
Okay. All right. Thanks, bye.
We are one hundred pages
up over the last year.
In one issue. - I'd better go and finish it.
- Me, too. Enjoy, guys.
So make it good now.
Twenties, the color block, polished.
And then what about her teeth?
- Oh, I've been working on this a lot.
Gonna fix her neck.
So that's the new neck.
Yeah. It's the better covers. - This
is the new neck on this. - Okay, great.
So we have to write 'Sienna Miller'
large or people won't know.
You can't write 'Singular Sienna'
or 'Sensational Sienna.'
This all seems so large
and pretentious, this type.
Looks like it's for blind people.
It's going to come
out like that, right?
Is she wearing feathers?
Are those feathers?
What are we supposed to do with feathers
this fall? - You just play with them.
And then there's a ring.
- These aren't very good. - No.
This is not in the correct order.
- Yes, it is. - More like this. - Yeah.
#SEPTEMBER ISSUE CLOSING#
Do we have the book
and the cover there?
Is everything updated?
- Yes, Anna.
And this is our cover girl whom
we took to Rome with Mario Testino.
She was interviewed
here by Sally Singer.
We had the idea to do a
sort of Jazz Age shoot.
That's Thakoon, and
on the right is Chanel.
And that is the issue.
- Very nice, Anna. - Thank you.
Oh, my God. Wasn't Sienna
originally the lead?
Yes, it was.
Okay. Just one more spread here.
Then it will be my whole issue
just about, except for Sienna.
It looks great.
Fashion's not about looking back.
It's always about looking forward.
Okay, next.
Move the board.
- Yes, we will.
I don't believe for one minute that
I have a sense of what's gonna happen
or a sense of real
change the way Grace does.
I mean, Grace is a genius, and there
is no one that can visualize a picture
or understand the direction of
fashion or produce a great shoot.
I mean, she's just remarkable.
She and I don't always agree,
but I think that over
the years we've learned
how to deal with each
other's different points of view.
Anna Wintour's office.
Is anyone coming to this
run-through except for me?
So what else?
You know you're featured
in 'The September lssue'?
No way.
When is it coming out?
Is this better?
This is authority.
This is it or nothing.
This is it or nothing,
okay? When I got the pose, strike it.
That was a stroke of
genius on my side, I think.
I turned the cameras on you.
And it just came to me, like, I
was walking along the corridor,
and I was like, 'Oh, my God,
they're looking at my rack again.'
'Hang on a minute.
'I'll teach them.'
What's your strength?
- Decisiveness.
Your weakness?
- My children.
What gift would you like?
- A better backhand.