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| The September Issue | |
|---|---|
| Name | The September Issue |
| Caption | Promotional poster |
| Director | R.J. Cutler |
| Producer | R.J. Cutler |
| Starring | Anna Wintour; Grace Coddington |
| Music | Miho Hatori |
| Cinematography | Michael Camerini |
| Editing | Chad Beck, David Teague |
| Studio | Everybody's Talking Productions |
| Distributor | Roadside Attractions |
| Released | 2009 |
| Runtime | 90 minutes |
| Country | United States |
| Language | English |
The September Issue is a 2009 documentary film directed by R.J. Cutler that chronicles the production of the September 2007 issue of Vogue and profiles editor-in-chief Anna Wintour and creative director Grace Coddington. The film follows the editorial, photographic, and production processes behind what is widely regarded as one of the most influential issues in fashion publishing history, while documenting interpersonal dynamics within Condé Nast and the operations of a major glossy magazine.
The documentary centers on the making of the September issue of Vogue under the leadership of Anna Wintour and highlights the editorial vision of Grace Coddington, the creative direction of photographers such as Annie Leibovitz, Irving Penn, and Inez van Lamsweerde & Vinoodh Matadin, and the influence of publishing executives at Condé Nast including Si Newhouse and editorial staff like Alexandra Shulman. It situates the magazine within the fashion calendar around events like New York Fashion Week and references designers and houses such as Marc Jacobs, Calvin Klein, Tom Ford, Ralph Lauren, and Chanel. The film illustrates magazine production workflows involving fashion editors, photo shoots with models like Lindsey Wixson and established stars including Hilary Swank, and interactions with stylists, makeup artists, and illustrators.
Directed and produced by R.J. Cutler through Everybody's Talking Productions, the film began shooting during the planning and production cycle of the September 2007 issue, embedding with editorial teams at Condé Nast headquarters in Manhattan near Times Square and documenting shoots across locations including New York and Paris during Haute Couture and ready-to-wear seasons. Cutler negotiated access with Anna Wintour and executive producers associated with Vogue and Condé Nast, coordinating cinematography by Michael Camerini and editing by Chad Beck and David Teague to condense months of editorial meetings, test shoots, and layout decisions into a 90-minute narrative. The production captured interactions with photographers like Patrick Demarchelier and Steven Meisel, stylists such as Grace Coddington’s collaborators, and contributors from creative departments including art directors and casting directors, while navigating corporate sensitivities involving executives like Jonathan Newhouse.
Upon release, the documentary screened at festivals including the Telluride Film Festival and the Toronto International Film Festival before a limited theatrical run via distributors such as Roadside Attractions, prompting reviews in outlets like The New York Times, The Guardian, Variety, and The Hollywood Reporter. Critics praised the film for access to high-level editorial decision-making and the interplay between Anna Wintour and Grace Coddington, though some commentators critiqued editorial framing and narrative focus. The film influenced public understanding of magazine production, brought attention to the cultural weight of the September issue among advertisers including Estée Lauder Companies and luxury houses like Louis Vuitton, and contributed to broader media conversations alongside series such as Project Runway and documentaries about fashion by directors like Frédéric Tcheng.
Key themes include editorial authority and creative collaboration, exemplified by the tension between Anna Wintour’s commercial instincts and Grace Coddington’s artistic priorities; the documentary interrogates how visual culture is curated by gatekeepers within institutions like Vogue and Condé Nast. It examines the nexus of fashion, celebrity, and media through photo shoots featuring celebrities and models tied to brands such as Gucci, Prada, and Dolce & Gabbana, and explores labor and craft among photographers, stylists, and production teams. Scholars and critics have situated the film within studies of cultural production, media industries, and celebrity culture alongside works addressing fashion historiography and the role of magazines in cultural taste formation.
The film prominently features Anna Wintour and Grace Coddington and includes appearances by photographers Annie Leibovitz, Patrick Demarchelier, Mario Testino, and Inez van Lamsweerde & Vinoodh Matadin; models and celebrities such as Hilary Swank and industry figures including Si Newhouse, Alexandra Shulman, and editors and stylists from within Vogue’s staff. Additional contributors include art directors, casting directors, makeup artists, and publicists who operate within the networks of fashion magazines and luxury brands like Chanel, Dior, Givenchy, and Versace.
After festival screenings at Telluride Film Festival and the Toronto International Film Festival, the documentary received a limited theatrical release distributed by Roadside Attractions and later aired on television and streaming platforms, reaching audiences through DVD releases and digital distribution channels. Marketing targeted readers of Vogue, subscribers of fashion outlets, and attendees of film festivals, with promotional coverage in periodicals such as The New Yorker and W Magazine and segments on broadcast outlets like BBC and CNN.
The documentary contributed to popular perceptions of magazine power, fashion gatekeeping, and the significance of the September issue as a cultural event, influencing portrayals of editorial labor in series like The Bold Type and informing academic and popular discussions of taste, branding, and media consolidation involving corporations like Condé Nast. It amplified public interest in figures such as Anna Wintour and Grace Coddington, inspired subsequent fashion documentaries and biographies, and remains a reference point in analyses of fashion media during the late 2000s.
Category:2009 films Category:Documentary films about fashion