0:00:06 > 0:00:11February 9th, 2016, the National Portrait Gallery in London.
0:00:12 > 0:00:17People are gathered for one of the biggest fashion parties of the year.
0:00:17 > 0:00:20British Vogue is celebrating its 100th birthday.
0:00:22 > 0:00:26I was invited to film inside the fashion bible for the first time
0:00:26 > 0:00:31ever by the magazine's editor-in-chief, Alexandra Shulman.
0:00:33 > 0:00:37She is one of the most powerful women in the fashion industry.
0:00:41 > 0:00:45I knew Vogue would be a passport into the rarefied world of
0:00:45 > 0:00:50top designers and impossible glamour so I decided to keep a diary.
0:00:51 > 0:00:55I'm glad I did because Vogue is a world where things are not
0:00:55 > 0:01:01quite what they seem, a place where appearances can be deceptive.
0:01:06 > 0:01:08So it's Vogue House, please.
0:01:13 > 0:01:15You know where it is? Just keep going round and then...
0:01:15 > 0:01:16- It's round here.- Yeah.
0:01:21 > 0:01:28'September 2015. Bought Vogue for the first time ever yesterday.'
0:01:28 > 0:01:29Here we go, mate.
0:01:29 > 0:01:30'It's quite intimidating,
0:01:30 > 0:01:34'the thought of entering the offices of the fashion bible.'
0:01:37 > 0:01:41- Morning, sir.- Hi. I've come to go to...to go to Vogue.
0:01:41 > 0:01:43- It's on the fifth floor, sir. - Fifth floor?
0:01:49 > 0:01:51LIFT BELL PINGS
0:02:00 > 0:02:02I was hoping to meet the editor-in-chief
0:02:02 > 0:02:06and get introduced to her team but she's away in New York.
0:02:09 > 0:02:11Her office is massive.
0:02:12 > 0:02:13This would be too much.
0:02:13 > 0:02:16But maybe this one under, like, a navy one, and then we're safe.
0:02:16 > 0:02:20We have two classic suits in his size from Huntsman,
0:02:20 > 0:02:24and then we have all the other more textury kind of things.
0:02:24 > 0:02:27Don't know if it's a bit too checked, or do you love it?
0:02:27 > 0:02:31- I love it but I don't know for him. - WHISPERS: It's quite nice, isn't it?
0:02:31 > 0:02:34Well, we know he likes Armani. Let's have a look at...
0:02:34 > 0:02:36- Where's the Armani? - He's bringing his own Armani.
0:02:36 > 0:02:38- He's bringing his own Armani? - He's bringing his own Armani,
0:02:38 > 0:02:42and we've covered everything else.
0:02:42 > 0:02:45I've been at Vogue since 2003.
0:02:49 > 0:02:56- It's a really key team, this corner. - In what way is it key?
0:02:57 > 0:03:00I think it's sort of the hub, really, of...
0:03:03 > 0:03:07..Alex's everyday life, you know.
0:03:07 > 0:03:14She sits there, you're privy to lots of confidential information,
0:03:14 > 0:03:17and you have to be really on the ball.
0:03:19 > 0:03:22We are her gatekeepers, her team.
0:03:24 > 0:03:27Yeah, we're her eyes and ears at all times.
0:03:28 > 0:03:32- We're quite often asked how the mood is that day.- Yeah.
0:03:32 > 0:03:33How's the weather today?
0:03:36 > 0:03:40We just try and make it a little bit easier rather than throwing them
0:03:40 > 0:03:42into stormy weather.
0:04:06 > 0:04:11TALKING ON RADIO
0:04:59 > 0:05:01- Hi.- Hi, how are you? - I'm fine, thanks.
0:05:03 > 0:05:09- Hey!- Hello. You look lovely. - Thank you. So do you.
0:05:09 > 0:05:12- How are you doing?- Amazing. - Thank you.- I'm doing well, yeah.
0:05:12 > 0:05:15- Got here yesterday.- Right.
0:05:15 > 0:05:18- Late, too late for your show. - I know.
0:05:18 > 0:05:22- It's sad that you missed it.- I know, but I've seen all of it online.
0:05:22 > 0:05:24- I've done my research. It looked amazing.- Thank you.
0:05:24 > 0:05:27- It looked really lovely. - It went down really well. - You must have been thrilled.
0:05:27 > 0:05:31- How's the family? Well?- The family are very well, yes. Yeah, yeah.
0:05:31 > 0:05:33Lovely. All good.
0:05:33 > 0:05:39So this was the opening story of the collection.
0:05:39 > 0:05:40This is a Bounce gingham,
0:05:40 > 0:05:43which is a really nice fabric because it's nice and light
0:05:43 > 0:05:46for summer, really easy to wear, has a nice amount of stretch.
0:05:49 > 0:05:50There's your prints.
0:05:50 > 0:05:52Yeah, someone said yesterday, actually,
0:05:52 > 0:05:56this had a bit of a Warhol feel about it, which was cool.
0:05:56 > 0:05:59So, I mean, playing with different proportions...
0:05:59 > 0:06:02- This is lovely.- ..I think there's definitely a more relaxed feel about this collection.
0:06:02 > 0:06:05And then we had some really nice knit pieces as well.
0:06:12 > 0:06:16I haven't got my card thing to get into the... Have you got yours?
0:06:16 > 0:06:17- Not yet.- You've got it?
0:06:20 > 0:06:22SHE CLEARS THROAT
0:06:22 > 0:06:25- Hiya.- Hi, you all right?
0:06:25 > 0:06:28You've been here, Lucinda, for 36 years.
0:06:28 > 0:06:32- Oh, God! Thanks, Richard(!) - Is it a precious world, fashion?
0:06:32 > 0:06:34Do people take offence easily?
0:06:34 > 0:06:37Well, I think it's a funny old world because,
0:06:37 > 0:06:43unlike if you were a musician or an actor or...
0:06:44 > 0:06:47..a film director, where you have a body of work,
0:06:47 > 0:06:54you have that body of work and you are as good as that body of work,
0:06:54 > 0:06:56you've got a kind of a longevity.
0:06:56 > 0:06:59In fashion, it's very quick,
0:06:59 > 0:07:04it's very quick to decide if you're in, if you're out.
0:07:04 > 0:07:05It's very...
0:07:06 > 0:07:08It can be over very quickly,
0:07:08 > 0:07:11and then it's almost as if you count for nothing.
0:07:13 > 0:07:17Because it's very instantaneous, it's relentless.
0:07:17 > 0:07:20You're making things redundant, in a way, all the time,
0:07:20 > 0:07:23and you're making things relevant all the time,
0:07:23 > 0:07:26but in a very superficial way.
0:07:29 > 0:07:31September 17th.
0:07:32 > 0:07:37The office here is a very polite and guarded world.
0:07:37 > 0:07:41Over the next few months, I'm hoping to get under the skin of the place,
0:07:41 > 0:07:43find out what the rules are.
0:07:45 > 0:07:48But I'm going to have to wait until the end of the fashion shows
0:07:48 > 0:07:49in a few weeks' time.
0:07:49 > 0:07:53Then they'll start preparing the issues for March, April and May.
0:07:56 > 0:08:00It must be strange being a man working at Vogue.
0:08:00 > 0:08:03There are a handful of them here.
0:08:03 > 0:08:06As a kind of inversion of the wider society,
0:08:06 > 0:08:10men here seem to be the underlings and the women dominant.
0:08:11 > 0:08:15Whenever I pass one of them in the corridor, we share a look,
0:08:15 > 0:08:17which is quite hard to explain,
0:08:17 > 0:08:21but is best described as...well, a look.
0:08:28 > 0:08:32British Vogue has a reputation for being about arts and culture
0:08:32 > 0:08:34as well as fashion.
0:08:34 > 0:08:37Alex employs an editor-at-large who writes stories
0:08:37 > 0:08:40about the latest movies, novels and plays.
0:08:41 > 0:08:44'She's on first-name terms with many Hollywood A-listers.'
0:08:44 > 0:08:46- We're going now, are we?- Yeah, yeah.
0:08:46 > 0:08:48- Have I got my phone? - I'm going to get Fiona to smell
0:08:48 > 0:08:51my mascara as the test for the thing.
0:08:51 > 0:08:53Because this is the one I got in Versailles on that shoot.
0:08:53 > 0:08:57Because I left my mascara on the plane, it smells like lilacs.
0:08:57 > 0:08:59- Oh, it does.- It's nice, isn't it?
0:08:59 > 0:09:00- It does!- Yeah.- Who's that by?
0:09:00 > 0:09:02It's like posh mascara.
0:09:02 > 0:09:04Usually I always buy my mascara from Boots.
0:09:04 > 0:09:06Now I'm hooked on too expensive.
0:09:06 > 0:09:11I like the smell. That kind of dusty smell of my grandmother.
0:09:11 > 0:09:13- Do you know what I mean?- Yeah.
0:09:13 > 0:09:15Let's go.
0:09:15 > 0:09:17ENGINE STARTS
0:09:19 > 0:09:22I think we just want to decide whether we have him on a sofa,
0:09:22 > 0:09:26kind of, feet up, with a burger, fries...
0:09:26 > 0:09:29The aim is basically we're doing a portfolio of
0:09:29 > 0:09:3112 or 13 Hollywood...
0:09:31 > 0:09:34Kind of what's been going on in London.
0:09:34 > 0:09:37Who's been shooting in London over one summer.
0:09:37 > 0:09:39What Hollywood movies.
0:09:39 > 0:09:42The shot we want to get is the idea of Hugh and it's, kind of,
0:09:42 > 0:09:44after the work's over.
0:09:44 > 0:09:46We want to have him with his feet up.
0:09:46 > 0:09:47You know, and a bit of a beer.
0:09:49 > 0:09:50And a burger.
0:09:50 > 0:09:52Just kind of like, "Phew! Day's over."
0:09:54 > 0:09:56- Sort of kicking back.- Kicking back.
0:09:56 > 0:09:59Ideally without his trousers on but I don't think it's going to happen.
0:09:59 > 0:10:01MARY CHUCKLES
0:10:03 > 0:10:05So Mary's got four children. Right.
0:10:05 > 0:10:10The average shoot involves a phone in her ear
0:10:10 > 0:10:13organising some kind of PTA experience.
0:10:13 > 0:10:15They're little, her children.
0:10:15 > 0:10:17It's good.
0:10:17 > 0:10:21It keeps me definitely occupied all the time.
0:10:21 > 0:10:24Do find that when you're photographing celebrities,
0:10:24 > 0:10:27people are very interested to ask you about your father?
0:10:27 > 0:10:29You know what, never, really.
0:10:29 > 0:10:31Unless they've met him, they don't.
0:10:31 > 0:10:33John Goodman had a wobble.
0:10:33 > 0:10:35- He did.- He mentioned...
0:10:35 > 0:10:38Usually what I find is if they've met my dad,
0:10:38 > 0:10:42then they'll say hello or have an anecdote but, um,
0:10:42 > 0:10:46I do find that maybe my background has...
0:10:46 > 0:10:49Because I've been a photographer over 20 years now,
0:10:49 > 0:10:53I realised it allows people to trust me quicker, I think.
0:10:53 > 0:10:56It's never got me a job, I don't think, ever.
0:10:56 > 0:10:58- It got you this.- It gets you...
0:10:58 > 0:11:00That's why I gave it to you!
0:11:00 > 0:11:01She never takes me home.
0:11:01 > 0:11:05- You haven't actually even met Dad, have you?- No, I haven't met.
0:11:09 > 0:11:10Long...
0:11:10 > 0:11:13Long is beautiful. When you're long it's...
0:11:13 > 0:11:14It's quite nice, um...
0:11:14 > 0:11:16That's nice.
0:11:16 > 0:11:19Come and see how handsome you are, Hugh.
0:11:19 > 0:11:21You know how handsome you are.
0:11:22 > 0:11:24OK, pop you in the bath.
0:11:25 > 0:11:27Do you know I went to see a Lee Miller expression
0:11:27 > 0:11:30at the National Portrait Gallery once
0:11:30 > 0:11:34and there was a picture of a woman leaning out of a window.
0:11:34 > 0:11:38She must have lent out of the window to photograph somebody typing
0:11:38 > 0:11:40on the window ledge outside the opposite window.
0:11:40 > 0:11:43I remember thinking, when you do these portraits for Vogue,
0:11:43 > 0:11:46always try and do something that's maybe got a little...
0:11:46 > 0:11:47I don't know...
0:11:47 > 0:11:48Just something.
0:12:00 > 0:12:04When you've done your shoot here and you show it to Alex,
0:12:04 > 0:12:08do you feel nervous about it, or what she'll say?
0:12:08 > 0:12:10Yeah.
0:12:10 > 0:12:12It's really so like school, it's ridiculous.
0:12:12 > 0:12:16You do your work, you hand it in and then you wait for your marks.
0:12:16 > 0:12:20In Alex's case, it comes in all different forms, so...
0:12:20 > 0:12:22A tick is good.
0:12:22 > 0:12:26A "nice" is great, if you're handing in written work.
0:12:27 > 0:12:30A "fantastic" is...you save it and show a friend.
0:12:30 > 0:12:32You know, it depends.
0:12:32 > 0:12:34"Terrific" is something worth holding on to.
0:12:36 > 0:12:38If she doesn't like something, would she let you know?
0:12:38 > 0:12:40Yes.
0:12:40 > 0:12:43Yes. Yes.
0:12:43 > 0:12:44Yes.
0:12:57 > 0:12:59September the 20th.
0:12:59 > 0:13:02Alex has invited me to film with her at the fashion shows
0:13:02 > 0:13:04in London, Milan and Paris.
0:13:04 > 0:13:06What a glamorous way of arriving.
0:13:06 > 0:13:08I know.
0:13:09 > 0:13:11Where are the limos?
0:13:11 > 0:13:13But so has Lucinda,
0:13:13 > 0:13:16so I'm splitting my time between the two of them.
0:13:16 > 0:13:20Alex absolutely hates setting things in stone too early.
0:13:20 > 0:13:23You know, she likes to be able to, you know,
0:13:23 > 0:13:25take a breath after the shows and I understand that
0:13:25 > 0:13:27but I'm more Tigger-like,
0:13:27 > 0:13:30and she's perhaps a little bit more Eeyore.
0:13:31 > 0:13:33So what I tend to do is...
0:13:33 > 0:13:37I think it drives Alex mad, actually, because almost...
0:13:37 > 0:13:38I don't go to the New York shows,
0:13:38 > 0:13:41but almost when I'm scrolling through the shows,
0:13:41 > 0:13:44I'm already, like, identifying stories.
0:13:44 > 0:13:46Um...
0:13:46 > 0:13:48Like I thought New York was very sort of...
0:13:48 > 0:13:51You know, there was a Lego element to it.
0:13:51 > 0:13:52It was very sort of...
0:13:52 > 0:13:54What I said to Alex in e-mails was very primate.
0:13:54 > 0:13:56Primal...
0:13:56 > 0:14:00Sort of primary colours, red, yellow, blue, white.
0:14:00 > 0:14:03Then I always call the story something.
0:14:03 > 0:14:04Say I've called this Primate.
0:14:04 > 0:14:06I put PM or, you know,
0:14:06 > 0:14:09I'd quite like to do a road trip with Mario, so I put Road Trip.
0:14:09 > 0:14:11I just put the initials.
0:14:11 > 0:14:16Then when I go through my books, everything relates to the stories.
0:14:17 > 0:14:21What did Alex say when you suggested your Lego theme?
0:14:21 > 0:14:22- Nothing.- Was she a bit like...?
0:14:22 > 0:14:24- Nothing, she didn't respond. - She didn't respond.
0:14:24 > 0:14:27I know, she had more important things to think about at that time.
0:14:27 > 0:14:28I was getting ahead of myself.
0:14:30 > 0:14:32- Have you got a pass?- No.
0:14:32 > 0:14:35How are you going to get through here?
0:14:35 > 0:14:36I'll catch up with you.
0:14:36 > 0:14:38OK.
0:14:42 > 0:14:4435...
0:14:44 > 0:14:46It's in the first row.
0:14:48 > 0:14:49Hi.
0:15:03 > 0:15:07- Would you say it's an emotional experience for you, the shows?- Yes.
0:15:09 > 0:15:10In what way?
0:15:11 > 0:15:14Because it just takes your heart somewhere else.
0:15:14 > 0:15:17It takes your imagination elsewhere...
0:15:18 > 0:15:20Out of yourself...
0:15:20 > 0:15:23To somewhere else.
0:15:23 > 0:15:25It's really, really exciting.
0:15:25 > 0:15:28I mean, it just still is and even after so long,
0:15:28 > 0:15:32when you come out of a good show,
0:15:32 > 0:15:37it's just incredibly uplifting and it sets your mind thinking
0:15:37 > 0:15:40about possibilities of shoots,
0:15:40 > 0:15:43of clothes, of the way things are worn.
0:15:44 > 0:15:46It just is exhilarating.
0:15:46 > 0:15:50It's like seeing a wonderful film or a dancer,
0:15:50 > 0:15:52or a play or an exhibition.
0:15:52 > 0:15:56It's sort of meat and drink
0:15:56 > 0:15:59to what we do, really.
0:16:06 > 0:16:09For a world capable of creating such sublime beauty,
0:16:09 > 0:16:13I cannot get over how chaotic the fashion shows are.
0:16:13 > 0:16:15In New York, London and Milan,
0:16:15 > 0:16:18I've been very nearly late for each show
0:16:18 > 0:16:20because they cause huge traffic jams.
0:16:21 > 0:16:24It was OK today because I was with Alex in her car.
0:16:24 > 0:16:26She just made a quick call
0:16:26 > 0:16:30and they held the start of the show until we were there.
0:16:30 > 0:16:33Sometimes she'll see up to ten shows in a day.
0:16:33 > 0:16:34By the end of the season,
0:16:34 > 0:16:37she'll have sat in front of over 150 catwalks.
0:16:42 > 0:16:44People seem to run off adrenaline, or coffee.
0:16:45 > 0:16:48At lunchtime, Lucinda grabbed a hot dog.
0:16:48 > 0:16:51She offered me a chip but she was walking
0:16:51 > 0:16:54so fast I had to run to keep up.
0:16:54 > 0:16:56So I didn't get one.
0:16:56 > 0:16:58It's the customer, some girl,
0:16:58 > 0:17:00that's come out with a shopping bag.
0:17:01 > 0:17:04- Like a shop.- Where?
0:17:04 > 0:17:06Cos the English, the American,
0:17:06 > 0:17:08Japanese, Chinese, from Africa...
0:17:08 > 0:17:11- Yeah.- Is our customer...
0:17:11 > 0:17:12Russia.
0:17:12 > 0:17:14When they come to buy...
0:17:14 > 0:17:16- You understand.- No.- Come.
0:17:16 > 0:17:19I don't understand.
0:17:19 > 0:17:20- The stage...- OK.
0:17:20 > 0:17:22Is an Italian Street.
0:17:22 > 0:17:23And look...
0:17:23 > 0:17:26Oh, so she's going to come out shopping.
0:17:26 > 0:17:28Yeah, and during the show,
0:17:28 > 0:17:31we have an application
0:17:31 > 0:17:34and the girl shoots selfie
0:17:34 > 0:17:36and it goes straight onto the web.
0:17:37 > 0:17:40- Very clever.- Yeah. - You love your web.
0:17:47 > 0:17:50Everyone told me the Chanel show is the best.
0:17:50 > 0:17:54The huge set was designed like an airport with luggage trolleys
0:17:54 > 0:17:56and departure boards.
0:17:56 > 0:17:58For a joke, I asked one of the check-in girls
0:17:58 > 0:18:00where I could fly to.
0:18:00 > 0:18:01And she said...
0:18:01 > 0:18:03"Where would you like to fly to?"
0:18:06 > 0:18:08Social media is everywhere.
0:18:08 > 0:18:09From what I can gather,
0:18:09 > 0:18:12this is the thing that's really changing about fashion.
0:18:12 > 0:18:15Everyone's filming the shows on their phones.
0:18:16 > 0:18:18Everyone apart from Lucinda.
0:18:20 > 0:18:23I know for a fact that Anna Wintour uses Snapchat.
0:18:24 > 0:18:28I think Karl Lagerfeld might be on Twitter.
0:18:38 > 0:18:4017th of October.
0:18:43 > 0:18:46In the 25 years Alex has been in charge,
0:18:46 > 0:18:49British Vogue has enjoyed a winning formula
0:18:49 > 0:18:52with monthly sales often topping 200,000.
0:18:53 > 0:18:58But Alex has returned from Paris inspired to shake things up a bit.
0:18:58 > 0:18:59- Hi.- Hi, Alex.
0:18:59 > 0:19:03She wants to change the magazine's covers.
0:19:03 > 0:19:04It's quite a risky move
0:19:04 > 0:19:07because it's breaking with years of tradition.
0:19:09 > 0:19:13It's a kind of reaction to the social media that's going on.
0:19:13 > 0:19:16And a feeling that people are so used to having access to
0:19:16 > 0:19:20everybody's lives who's on Instagram, you know,
0:19:20 > 0:19:22showing themselves in bed,
0:19:22 > 0:19:25or what they had the breakfast, or on holiday, or whatever.
0:19:25 > 0:19:28You know - question - I don't have the answer.
0:19:28 > 0:19:30Um...
0:19:30 > 0:19:35Do perhaps people like the idea of a magazine cover reflecting that?
0:19:35 > 0:19:38More intimate knowledge, or...
0:19:38 > 0:19:43Other question - do they actually want covers to remain distanced
0:19:43 > 0:19:46and something that's other than that?
0:19:48 > 0:19:51I guess my job, and what's really interesting,
0:19:51 > 0:19:56is how do you keep that element of, you know,
0:19:56 > 0:20:01the iconic model, fashion model idea of Vogue,
0:20:01 > 0:20:05but also make it part of
0:20:05 > 0:20:10the very kind of, um, democratic kind of conversation
0:20:10 > 0:20:12that's going on at the moment.
0:20:12 > 0:20:17I mean, I think, that's probably the biggest task that I've got.
0:20:20 > 0:20:23Alex has decided she wants one of the most in-demand models of
0:20:23 > 0:20:28the moment, Edie Campbell, to be the face of the March issue.
0:20:28 > 0:20:32She wants the modelling legend, Kate Moss, on April,
0:20:32 > 0:20:34and the pop star, Rihanna, on the May cover.
0:20:35 > 0:20:38Edie has agreed to let me film her shoot
0:20:38 > 0:20:41but getting Kate and Rihanna to say "yes"
0:20:41 > 0:20:44is, well, a long shot.
0:20:44 > 0:20:46I saw somebody's Instagram,
0:20:46 > 0:20:49who I won't mention, and I never look at Instagram...
0:20:49 > 0:20:51- I did Skype for the first time last night.- Did you.
0:20:51 > 0:20:53Toby said, "You don't have to shout there's a microphone."
0:20:53 > 0:20:55I was like shouting as if it was a tin can.
0:20:55 > 0:20:57- Getting really close.- I was!
0:20:57 > 0:20:59"Can you see me? Can you see me?"
0:20:59 > 0:21:02He's like, "Don't, shush, you're shouting, you're shouting."
0:21:02 > 0:21:05And then I'd go like soft, "Can you hear me? Yes, I can hear you."
0:21:05 > 0:21:07So, anyway, I saw an Instagram.
0:21:07 > 0:21:09I think it's the first Instagram I've ever seen.
0:21:09 > 0:21:10I really loved it.
0:21:10 > 0:21:13It was just very free. It didn't feel like a fashion...
0:21:13 > 0:21:15It wasn't a fashion story.
0:21:15 > 0:21:19- Obviously, because it's for March, it has to be kind of fashion.- Mm-hm.
0:21:19 > 0:21:21So this is basically you.
0:21:21 > 0:21:23It's a bit of a romantic rebel.
0:21:23 > 0:21:28Because I can imagine you going to a party in something like that.
0:21:31 > 0:21:34- I thought that was lovely. - That is beautiful, yeah.
0:21:34 > 0:21:35It's beautiful, isn't it?
0:21:35 > 0:21:37I think, if she looks really fresh...
0:21:37 > 0:21:38- Are they Gucci?- Yeah.
0:21:38 > 0:21:41- Only thing I'm concerned about... - Yeah, tell me.
0:21:41 > 0:21:42..is whether that's going to look...
0:21:42 > 0:21:44Dolly daydream?
0:21:45 > 0:21:48I just can't tell without seeing it on what it looks like on her.
0:21:48 > 0:21:50- I know. - Which am a bit worried about.
0:21:50 > 0:21:53And will that look like an old lady's knickers kind of thing?
0:21:53 > 0:21:55Well, let's leave that to one side
0:21:55 > 0:21:57and let's just...
0:21:57 > 0:21:58But on the other hand,
0:21:58 > 0:22:01it could look really wonderful with the sparkle and the...
0:22:01 > 0:22:04I mean, in a way, Alex, what I feel about this shoot...
0:22:04 > 0:22:06I know, you want to see...
0:22:06 > 0:22:08- Well, I want to be a bit free with it.- Yeah.
0:22:08 > 0:22:10Well, these are all possible.
0:22:10 > 0:22:12And give you options, do you know what I mean.
0:22:12 > 0:22:14- Options, sounds fabulous. - In an ideal world, I know.
0:22:14 > 0:22:16I mean, I rather agree with you.
0:22:16 > 0:22:18- I think that's probably the better of the two.- I do.
0:22:18 > 0:22:20- I think that's a bit hippy.- Yeah.
0:22:21 > 0:22:24So every season we do two walls.
0:22:24 > 0:22:28One wall will be the more classic girls that we shoot more regularly,
0:22:28 > 0:22:31and then every season I like to do a wall of the new faces,
0:22:31 > 0:22:33the girls who've just come out of the shows,
0:22:33 > 0:22:36who the editors, you know, might have seen or might not have seen,
0:22:36 > 0:22:38depending on which shows they were at.
0:22:38 > 0:22:39Which is this wall?
0:22:39 > 0:22:42This wall is the new faces for the season.
0:22:42 > 0:22:44This is actually last season's.
0:22:44 > 0:22:47So we're going to be changing it, imminently.
0:22:47 > 0:22:49So that wall's the kind of wannabes
0:22:49 > 0:22:52and that's the sort of made-its, is that right?
0:22:52 > 0:22:56I wouldn't say wannabes, I'm saying new faces and classics.
0:22:56 > 0:22:58All right, OK.
0:23:04 > 0:23:07You know, lots of people think standing around in front of
0:23:07 > 0:23:10a camera all day is really easy, but it takes a lot.
0:23:10 > 0:23:15Just to get on to that wall will take a hell of a lot of hard work.
0:23:15 > 0:23:17It's not just good genes.
0:23:19 > 0:23:23- Kate's still up there. - Kate will be up there forever.
0:23:26 > 0:23:28And the rest can stay.
0:23:30 > 0:23:31Spared for another day.
0:23:31 > 0:23:33- SHE LAUGHS - They live to fight another day!
0:23:33 > 0:23:36No, we're going to do lovely nice new pictures of them,
0:23:36 > 0:23:38and then bring in a load of the newer faces.
0:23:55 > 0:23:59MUSIC: Sull'aria from The Marriage of Figaro by Mozart
0:24:09 > 0:24:12Your idea is to really...
0:24:12 > 0:24:13- Be free.- ..be free.
0:24:13 > 0:24:17I think that what I love about this story is that
0:24:17 > 0:24:18none of the clothes...
0:24:19 > 0:24:21..go with anything,
0:24:21 > 0:24:24they're just a random, beautiful selection of stuff.
0:24:28 > 0:24:31So, what I'd love, Mario, is the idea...
0:24:31 > 0:24:34Like, your picture with this cap is my favourite picture of all time -
0:24:34 > 0:24:36so sad that I didn't do it.
0:24:36 > 0:24:40Erm, but I love the sort of intimacy and the coolness,
0:24:40 > 0:24:45and that she could be anywhere, and you have such a range,
0:24:45 > 0:24:47and I think that's what I really want to see
0:24:47 > 0:24:50in this shoot, is that...is your...
0:24:50 > 0:24:52Is to see your range.
0:24:55 > 0:24:57It's like a sort of beautiful, erm, doily.
0:24:59 > 0:25:01What do you think? Hair off? Hair on?
0:25:03 > 0:25:05- Off, no?- Edie, let's have a look.
0:25:08 > 0:25:12Open your elbows out, maybe. Like that, wow, stay.
0:25:12 > 0:25:16Head back, again, straight up.
0:25:17 > 0:25:19Lucinda, are you looking at the screen?
0:25:19 > 0:25:22No, I'm looking here. I love the light.
0:25:22 > 0:25:24Actually, I love it when it goes green. Love it.
0:25:24 > 0:25:26- Just before.- There, or...?
0:25:26 > 0:25:28Just before, there. Yeah.
0:25:31 > 0:25:34It seemed ironic to me, after months of negotiation
0:25:34 > 0:25:38to film with the most famous photographer in the world,
0:25:38 > 0:25:40he is shooting in a dingy passageway,
0:25:40 > 0:25:42no bigger than a cupboard.
0:25:42 > 0:25:44They look good, don't they?
0:25:44 > 0:25:48Lucinda and Mario have worked together for years.
0:25:48 > 0:25:49Stay there.
0:25:50 > 0:25:53He's the godfather to one of her three sons.
0:25:54 > 0:25:57'We both lived in squats when we were young.
0:25:57 > 0:25:59'Mario had his squat and I had my squat.
0:25:59 > 0:26:03'And Mario's squat was like an old hospital,
0:26:03 > 0:26:05'and he gave, like, the best parties,
0:26:05 > 0:26:07'doctors and nurses parties.'
0:26:07 > 0:26:09Very good, Edie Campbell.
0:26:09 > 0:26:11APPLAUSE
0:26:11 > 0:26:12Well done.
0:26:13 > 0:26:16How I met Mario's a really funny story, isn't it?
0:26:16 > 0:26:18It's a really funny... It's really amazing.
0:26:18 > 0:26:21I was on a bus, er, on Regent Street,
0:26:21 > 0:26:23and I see this girl,
0:26:23 > 0:26:25looked quite freaky, walking down the street,
0:26:25 > 0:26:29so I thought I had to get off the bus to meet this girl.
0:26:29 > 0:26:32So I talked to her, and, like, a week later,
0:26:32 > 0:26:35I get a call from a hairdresser salon,
0:26:35 > 0:26:38if I would document a haircut that they'd done on this girl,
0:26:38 > 0:26:39and it was her, the girl,
0:26:39 > 0:26:41and that was the beginning of our relationship,
0:26:41 > 0:26:45my first photo in Vogue was a photo of Lucinda.
0:26:45 > 0:26:49It was a postage stamp shot, I mean, but I thought I was in Vogue,
0:26:49 > 0:26:52even though my name was as big as a paragraph.
0:26:52 > 0:26:56But it's a wonderful thing because Mario used to come to the office,
0:26:56 > 0:26:59cos in those days, we got given luncheon vouchers.
0:26:59 > 0:27:01And I had no money, so I had to eat on her luncheon vouchers.
0:27:01 > 0:27:04And Mario had no money, so I used to give him my luncheon vouchers.
0:27:04 > 0:27:07- And...- "Hi, how are you? What are you doing?"
0:27:07 > 0:27:10Of course, it was one o'clock.
0:27:10 > 0:27:13And that would be Mario, and I'd be without my luncheon vouchers,
0:27:13 > 0:27:15- and we'd share them... - We'd share them every day,
0:27:15 > 0:27:18those luncheon vouchers fed me and kept me going.
0:27:18 > 0:27:19And me.
0:27:34 > 0:27:41It's a trend-driven, you know, industry, and it moves very fast.
0:27:48 > 0:27:51I think people are really hungry for something new.
0:27:51 > 0:27:55You know, they want to latch on to the next fad or the next big thing,
0:27:55 > 0:27:59and I think there's a lot of pressure, and you know what?
0:27:59 > 0:28:01Sometimes there is nothing new, you know?
0:28:01 > 0:28:04I think, probably, most of the time there's nothing new,
0:28:04 > 0:28:08so trying to make something feel like it's new all the time,
0:28:08 > 0:28:11it's kind of exhausting, you know what I mean?
0:28:11 > 0:28:15And, erm, you know, when something is really kind of new and exciting,
0:28:15 > 0:28:17I think people get sort of crazy about it.
0:28:19 > 0:28:21But, yeah, it's a lot of pressure,
0:28:21 > 0:28:23and it's... it's a lot.
0:28:28 > 0:28:30- Jaime, yeah?- Hi.- Hi.
0:28:31 > 0:28:34- Are we looking at the cells? - Yeah.- OK.
0:28:34 > 0:28:38- So this is some options - here's the Burberry cover.- Yeah.
0:28:38 > 0:28:40And then there's this one.
0:28:40 > 0:28:42I quite like the white logo,
0:28:42 > 0:28:44- if I'm honest, with the pink. - Me too.
0:28:48 > 0:28:52It's really hard, isn't it, because I think this picture,
0:28:52 > 0:28:54I think Edie looks more approachable
0:28:54 > 0:28:57and more like somebody I want to know
0:28:57 > 0:28:59than she does in that picture.
0:28:59 > 0:29:04But, you know, if you're going to just say "news-stand impact,"
0:29:04 > 0:29:09that primary colour, white, red and black is going to read better.
0:29:09 > 0:29:11I'm trying to think if there's anything we can do
0:29:11 > 0:29:13to, kind of, punch this up a bit.
0:29:16 > 0:29:19Our conversation before, when we were talking about how we keep...
0:29:19 > 0:29:23You know, in the past we've done so many default studio, white studio...
0:29:23 > 0:29:25Yeah, and we wanted to make this feel more intimate,
0:29:25 > 0:29:29- like this was the person you really want to know.- Yeah.
0:29:29 > 0:29:33So my emotional preference is for this one.
0:29:35 > 0:29:39My commercial preference brings that one into play.
0:29:39 > 0:29:43It's a bit like whether you should be ruled by your heart or your mind.
0:29:43 > 0:29:47Yeah. My heart is never allowed to rule.
0:29:51 > 0:29:54Well, I'll see what I can do to make this one punchier...
0:29:54 > 0:29:57I love...I do love this one because I think Edie looks exactly what
0:29:57 > 0:30:01I wanted her to, she looks like the most attractive...
0:30:01 > 0:30:04- Yeah.- ..girl that you really want to be her friend,
0:30:04 > 0:30:06and you really want to know her,
0:30:06 > 0:30:10and I think she looks so...yeah, attractive.
0:30:17 > 0:30:20Alex is quite difficult to read at times.
0:30:20 > 0:30:24I can't be certain whether she's happy for me to film something
0:30:24 > 0:30:25or whether she's not.
0:30:25 > 0:30:27For example, she wasn't keen for me to know
0:30:27 > 0:30:31about some market research on the two Edie cover options.
0:30:32 > 0:30:35But I found the results lying on someone's desk.
0:30:38 > 0:30:41And she wasn't keen on me filming with her mother
0:30:41 > 0:30:43but, today, has finally relented.
0:30:44 > 0:30:47Both her parents were successful journalists.
0:30:47 > 0:30:51'Her mother, Drusilla, used to work for Vogue,
0:30:51 > 0:30:54'and she lives in Belgravia.'
0:30:54 > 0:30:57- Welcome.- Hello.- Hello.
0:30:57 > 0:31:00In the '50s, and before I got married,
0:31:00 > 0:31:04I went to stay in New York for a bit,
0:31:04 > 0:31:08and I was a freelance there, I did a number of stories,
0:31:08 > 0:31:13and one of my stories was involved in what it was like to be
0:31:13 > 0:31:18dated by American men, and Eve Arnold,
0:31:18 > 0:31:22who was a very distinguished American photographer,
0:31:22 > 0:31:27was commissioned to take some appropriate photographs of me,
0:31:27 > 0:31:31and here I am at the top of the Empire State Building,
0:31:31 > 0:31:34looking, I must say, rather splendid.
0:31:35 > 0:31:38How did you find dating Americans?
0:31:38 > 0:31:39Well, I married a Canadian,
0:31:39 > 0:31:43so it couldn't have been totally disastrous, could it?
0:31:44 > 0:31:46He was thrilled when Alexandra was born,
0:31:46 > 0:31:49which was his first-born, and one of the reasons was
0:31:49 > 0:31:53he was convinced that she looked exactly like him.
0:31:53 > 0:31:55He was very, very proud of her.
0:31:55 > 0:31:58One of the real sadnesses is that he never kind of saw
0:31:58 > 0:32:03the real flowering of her in her present role.
0:32:03 > 0:32:08He got an indication - he knew, you know, he was up to that,
0:32:08 > 0:32:10but I think he'd love to see her now.
0:32:10 > 0:32:13And I think he'd be rather surprised!
0:32:14 > 0:32:16I think fathers do tend to be surprised
0:32:16 > 0:32:19when their daughters do extremely well.
0:32:23 > 0:32:24Here's Alexandra...
0:32:25 > 0:32:29Here's Alexandra aged three.
0:32:29 > 0:32:31I think she looks quite imperious there.
0:32:33 > 0:32:35You know, she's so successful.
0:32:35 > 0:32:38What are the key qualities that she has that's made her successful,
0:32:38 > 0:32:41do you think?
0:32:41 > 0:32:45I think she has a very unusual quality of being able to
0:32:45 > 0:32:48compartmentalise what she does.
0:32:48 > 0:32:53She somehow seems able to take a problem and kind of wrap it up
0:32:53 > 0:32:58in her mind and park it until she can deal with it.
0:32:58 > 0:33:02Now, I'm completely obsessive. If I have a problem,
0:33:02 > 0:33:04it absolutely floods the whole of my consciousness,
0:33:04 > 0:33:07I can't think of anything else but it,
0:33:07 > 0:33:10but Alexandra does not react in that way.
0:33:10 > 0:33:13It is... I think it's a rather unusual quality,
0:33:13 > 0:33:17and it has enabled her to keep going on so many different levels.
0:33:17 > 0:33:19Is she a competitive person?
0:33:20 > 0:33:23I don't think it's possible to do her job, really,
0:33:23 > 0:33:26without having a competitive spirit somewhere.
0:33:27 > 0:33:32But I'm incredibly proud of her because it just wasn't easy
0:33:32 > 0:33:35for her to begin with, and...
0:33:36 > 0:33:40..she had to kind of convince herself that she could do it.
0:33:41 > 0:33:45Once she really felt that it was within her grasp,
0:33:45 > 0:33:48there was no stopping her, really.
0:33:52 > 0:33:56Every time I see a copy of Vogue, I think, "Well done, Alexandra."
0:34:05 > 0:34:07So you open your sachet,
0:34:07 > 0:34:10- and then you pour water in here. - Ooh!
0:34:10 > 0:34:13- So, hold on, that's a mask? - Do you want some water?- Yeah.
0:34:14 > 0:34:16Yeah, yeah, this is a...
0:34:16 > 0:34:20- So what's in there? - Just a puff.- Like a sponge.
0:34:20 > 0:34:24November 19th - I'm into my third month here.
0:34:24 > 0:34:27The other day I was talking to the beauty editor,
0:34:27 > 0:34:30who had studied English at Cambridge University.
0:34:31 > 0:34:35She said to me, "I hope you don't portray us as people who are
0:34:35 > 0:34:37"just obsessed with blusher.
0:34:38 > 0:34:41"I mean, we are obsessed with blusher", she said.
0:34:41 > 0:34:44"It's just that we're interested in other things too."
0:34:44 > 0:34:46- ..and you'd buy, like, a pack of ten...- Yeah.
0:34:46 > 0:34:50Now I feel like you're just buying a one-hit, depending on what you want.
0:34:50 > 0:34:52Do you remember that one which was, like, 400 quid?
0:34:52 > 0:34:55Alex says she likes to recruit clever women
0:34:55 > 0:34:57who are prepared to challenge her.
0:34:57 > 0:34:59But in all the meetings I've filmed,
0:34:59 > 0:35:02I haven't seen any of her team do that.
0:35:04 > 0:35:05I hope I do.
0:35:06 > 0:35:08What you can't do is you can't have it both ways.
0:35:08 > 0:35:13You know, you can't expect people to be your friends, exactly, and...
0:35:15 > 0:35:18..you can't expect people, necessarily, to like you.
0:35:18 > 0:35:21That can't be your main consideration.
0:35:21 > 0:35:25And that can then mean that you're a bit isolated
0:35:25 > 0:35:27because you're sort of...
0:35:27 > 0:35:32You're not quite joining in in the same way, erm,
0:35:32 > 0:35:37but I never feel lonely, ever, here.
0:35:38 > 0:35:41I've got enough people around me that...
0:35:43 > 0:35:45..erm...
0:35:47 > 0:35:49..that I just don't ever feel lonely.
0:36:01 > 0:36:02What advice...
0:36:02 > 0:36:06I mean, we're very excited about the fact
0:36:06 > 0:36:08that she's agreed to take part in the documentary.
0:36:09 > 0:36:11What advice, if any,
0:36:11 > 0:36:15would you give to me before we set off?
0:36:15 > 0:36:16Erm...
0:36:18 > 0:36:21Probably don't bug her too much.
0:36:21 > 0:36:22Erm...
0:36:22 > 0:36:27I think Kate pretty well does what she wants to do, and if...
0:36:27 > 0:36:29I don't think she's likely to...
0:36:31 > 0:36:33You know, you may... You'll have to see what you get.
0:36:33 > 0:36:39You may get Kate being chatty and charming and funny
0:36:39 > 0:36:41and warm and embracing,
0:36:41 > 0:36:44or...or you won't get her at all,
0:36:44 > 0:36:46cos she won't probably have you around.
0:36:49 > 0:36:51Some of the covers she's done,
0:36:51 > 0:36:54where she's been almost a symbol rather than a person...
0:36:54 > 0:36:57I think that's what I've used her for a lot, as a symbol -
0:36:57 > 0:37:02a symbol of fashion, Britishness, Vogue
0:37:02 > 0:37:04are the three sort of...
0:37:04 > 0:37:06Yeah.
0:37:07 > 0:37:10It's not always about her as a person.
0:37:10 > 0:37:14There aren't many people who have that symbolic power, I think.
0:37:17 > 0:37:19OK, cool.
0:37:27 > 0:37:30I think it's supposed to be a bit, sort of, like,
0:37:30 > 0:37:35house in the Mediterranean gone a bit rock and roll.
0:37:35 > 0:37:39It's supposed to look like it's been lived in, there's been a party here,
0:37:39 > 0:37:41so we've got a lot of props.
0:37:41 > 0:37:43This is...
0:37:43 > 0:37:46This is a legendary photo shoot, isn't it, of the Stones?
0:37:46 > 0:37:49Exactly, they were in exile, erm,
0:37:49 > 0:37:52cos they owed too much tax in England so they had to go to
0:37:52 > 0:37:55the South of France and we're trying to invoke the same sort of mood.
0:37:55 > 0:37:58It's a very famous shoot of the Stones.
0:37:58 > 0:38:00Erm, yeah, and I think it's...
0:38:00 > 0:38:02We're doing a really good job.
0:38:09 > 0:38:13- Do you want it bare feet or do you care about the shoes?- No shoes.
0:38:13 > 0:38:14- You like it barefoot?- Yeah.
0:38:18 > 0:38:21Don't have much time, guys. Right, we've got two minutes.
0:38:21 > 0:38:23Hold, hold, hold.
0:38:23 > 0:38:25This'll be the last one.
0:38:42 > 0:38:45Beautiful, beautiful, beautiful, hold, hold, hold.
0:38:45 > 0:38:47Gorgeous, stay still.
0:38:50 > 0:38:53- OK, thank you.- Thank you.- Gorgeous!
0:38:55 > 0:38:58Kate, Kate, stay there. If it's no good...
0:38:59 > 0:39:04Nick, Nick, I need the camera now. I need the camera now, now, now.
0:39:04 > 0:39:06Get the camera in now.
0:39:27 > 0:39:29- What do we do now? - (I don't know.)
0:39:32 > 0:39:34It's all right, I can easily ask her one question,
0:39:34 > 0:39:35that's fine, I'll just...
0:39:38 > 0:39:41- That's huge. - Look, Mick, it's too big for me.
0:39:42 > 0:39:44- Is that a vintage piece? - It's huge, Mick!
0:39:44 > 0:39:45Yes, a vintage piece.
0:39:45 > 0:39:49Mick Jagger wore it in, erm, 19-something.
0:39:49 > 0:39:52I wasn't born but, erm...
0:39:52 > 0:39:55It's too big.
0:39:55 > 0:39:56(Shit.)
0:39:59 > 0:40:01- Can I just ask you one quick question, actually?- Yeah.
0:40:01 > 0:40:03It's fantastic of you to let us come along to the shoot today,
0:40:03 > 0:40:06but obviously this is about British Vogue.
0:40:06 > 0:40:08How many covers have you done for them?
0:40:08 > 0:40:13- 36, I think.- 36 covers.- Yeah, more than anyone else, apparently.
0:40:14 > 0:40:16Apparently - I don't know. That's what they say.
0:40:16 > 0:40:19- That's a record that's unlikely to be broken, isn't it?- I don't know.
0:40:21 > 0:40:26Well, what would you say British Vogue has done for your career?
0:40:26 > 0:40:29Oh, they're everything. They've been such a huge support to me. Yeah.
0:40:30 > 0:40:32To me.
0:40:32 > 0:40:35- I hate being interviewed.- Sorry. - I'm, like, "Ah!"
0:40:36 > 0:40:39- I don't like talking about myself. - Kate, do you want to take your shoes off?
0:40:39 > 0:40:41- Oh, yes, please. - Let's go outside.- Yeah.
0:40:49 > 0:40:53I'm not sure what to do now, really. I mean, do we just stay
0:40:53 > 0:40:56until someone says, "You've outstayed your welcome?"
0:41:03 > 0:41:08I always thought the currency of the fashion world was in the new.
0:41:08 > 0:41:10But Kate Moss's enduring success
0:41:10 > 0:41:15seems to be built more on extolling the virtues of the familiar.
0:41:31 > 0:41:33About 15 minutes after this,
0:41:33 > 0:41:36a woman came up to me and whispered in my ear,
0:41:36 > 0:41:38"It's time for you to leave."
0:41:46 > 0:41:48- Love that.- Yeah, this is great.
0:41:51 > 0:41:52That's beautiful.
0:41:53 > 0:41:55And that. That's really lovely.
0:41:55 > 0:41:58I was working on mocking up a few things, so...
0:41:58 > 0:42:02- Obviously, this is before retouch. I mean, that's pretty good.- Yeah.
0:42:02 > 0:42:06- That's pretty good. - I have to say I do think
0:42:06 > 0:42:07that kind of looks amazing.
0:42:11 > 0:42:12I'm not keen on that.
0:42:16 > 0:42:20I mean, if you were going to try a cloak one,
0:42:20 > 0:42:23I mean her leg does not look great in this.
0:42:23 > 0:42:25This is kind of, like, way too much Union Jack.
0:42:25 > 0:42:28- The other one would be better to try.- You think?- Yeah.
0:42:28 > 0:42:31I just thought that was more... Had more movement to it, or...
0:42:33 > 0:42:36- Well, it's not going to get my vote.- OK.
0:42:39 > 0:42:41You know...
0:42:42 > 0:42:45Yeah, actually, I think this is going to work really well
0:42:45 > 0:42:47- when we get this scrubbed up. - Mm-hm.
0:43:03 > 0:43:06If there's a risky cover, I guess sometimes,
0:43:06 > 0:43:10I think we've been surprised when we've taken risks.
0:43:11 > 0:43:13You know, and a lot of times, we'll take a risk
0:43:13 > 0:43:16and we don't sell a lot of copies
0:43:16 > 0:43:19so there's a lot of pressure to sell magazines right now and I think...
0:43:22 > 0:43:25You know, I think Alex feels confident
0:43:25 > 0:43:30the other picture was going to appeal more to our audience so...
0:43:30 > 0:43:32I don't know, personally, for me,
0:43:32 > 0:43:35if I saw that in the newsstands, I would want to buy it more.
0:43:35 > 0:43:37I think it's more arresting.
0:43:37 > 0:43:40I love the red and the blue and the white.
0:43:40 > 0:43:41And I think she looks really beautiful.
0:43:45 > 0:43:48Would you ever say to Alex if you felt passionate about something,
0:43:48 > 0:43:50"Alex, I really feel passionate about this"?
0:43:50 > 0:43:54- Or do you just accept her initial response?- No, I don't.
0:43:54 > 0:43:57I mean, you know, I am trying to push this through
0:43:57 > 0:43:59to get to a stage where...
0:44:00 > 0:44:03..you know, it is, where it could be considered in the running
0:44:03 > 0:44:08and, you know, I'm totally happy to voice my opinion with Alex.
0:44:08 > 0:44:11I think she's really, really appreciative
0:44:11 > 0:44:13of people voicing their opinions.
0:44:13 > 0:44:15You know, ultimately, what she says goes
0:44:15 > 0:44:19and I think sometimes if you push her too much, she gets annoyed,
0:44:19 > 0:44:22so I think it's better just to, you know, state your opinion
0:44:22 > 0:44:24and see what happens.
0:44:35 > 0:44:38Is... Yeah, so it's Kate Moss in vintage, basically.
0:44:40 > 0:44:44- I love it.- No, I'm not going to do that one.
0:44:44 > 0:44:48- That will definitely not make it. - I love that one.- I love it.
0:44:48 > 0:44:52You won't sell a single issue with that on the cover.
0:44:52 > 0:44:55But it's going into research.
0:44:55 > 0:44:58It's just... It's... It doesn't read.
0:45:01 > 0:45:05We obviously need a cover line for this.
0:45:05 > 0:45:07I don't actually want to make it look all Brit
0:45:07 > 0:45:10because we've got a whole British centenary thing happening
0:45:10 > 0:45:14so I think we don't want to start looking to kind of jingoistic...
0:45:16 > 0:45:18I mean, we've got to spell out what it is she's doing.
0:45:18 > 0:45:21Well, I don't know, do we? I don't think we have to say on it
0:45:21 > 0:45:25- that she's wearing clothes from an exhibition.- Not from an exhibition.
0:45:25 > 0:45:28No, but it's nice to know that she's in their clothes.
0:45:28 > 0:45:32Yeah, but it's not, like, someone else's version of.
0:45:32 > 0:45:34Romancing The Stones.
0:45:34 > 0:45:38- Kate Moss Tries It On.- That's good. - That's nice. I like that.
0:45:38 > 0:45:39Yeah.
0:45:39 > 0:45:41We'll definitely try that one.
0:45:43 > 0:45:47- Yeah.- Can you just do Rolling Stones Gather Moss?- Yeah.
0:45:47 > 0:45:49- Hold on.- Sorry.
0:45:50 > 0:45:52It's irresistible. What shall we do?
0:45:52 > 0:45:55- Rolling Stones Gather Moss. - It's got to be in somewhere.
0:45:55 > 0:45:56- Modelled by Moss.- It's really good.
0:46:00 > 0:46:03What about Rolling Stones Style: Kate Moss Tries It On?
0:46:06 > 0:46:10- I think we definitely need "style" in there.- Yes, I rather agree.
0:46:10 > 0:46:11Cos it's got to be, yeah.
0:46:11 > 0:46:13Or Like A Rolling Stone.
0:46:14 > 0:46:16- That's good.- Yes.- What was that?
0:46:16 > 0:46:19Kate Moss: Like A Rolling Stone. What was that? Yeah.
0:46:20 > 0:46:24- Kate Moss: Like A Rolling Stone, yeah.- OK, I think that's...
0:46:24 > 0:46:28Do you think there'll be a massive difference in these two?
0:46:28 > 0:46:32Well, listen, what do I know? I often get it wrong.
0:46:32 > 0:46:33But I would be very surprised if that...
0:46:33 > 0:46:37You like that because it's edgier... It is edgier, but it's...
0:46:37 > 0:46:40No, I just think that it's a very memorable Vogue cover
0:46:40 > 0:46:42and in a year of our hundredth...
0:46:42 > 0:46:46Most memorable ones tend to do so badly.
0:46:46 > 0:46:48I do not want this one to not sell.
0:46:49 > 0:46:52It's an interesting discussion, the two options for the cover.
0:46:52 > 0:46:55Can I ask everybody what their favourite is?
0:46:55 > 0:46:56Yeah.
0:47:00 > 0:47:01You start.
0:47:01 > 0:47:05- OK, so we'll do hands up then. Hands up for the...- The head shot.
0:47:05 > 0:47:06..the head shot, yeah.
0:47:10 > 0:47:12Really? Hands up for the other one.
0:47:15 > 0:47:17But it needs to be explained.
0:47:19 > 0:47:21I thinks she looks beautiful on that cover.
0:47:21 > 0:47:23I think she does not look beautiful there.
0:47:23 > 0:47:27I think this is very ugly, these legs wide apart here.
0:47:27 > 0:47:30And I don't like that. I don't like anything about that cover.
0:47:31 > 0:47:33- But it's interesting you're the only person.- It is.
0:47:33 > 0:47:35Why is nobody else...?
0:47:37 > 0:47:38- Why...?- What does that tell you?
0:47:40 > 0:47:42- It's teamwork.- I don't know.
0:47:43 > 0:47:46Shall we stop now? Enough on that.
0:47:46 > 0:47:49Let's see. It may well end up being this cover.
0:47:49 > 0:47:51Maybe everyone will love that one more.
0:47:53 > 0:47:56- We can do both.- I doubt it.
0:47:59 > 0:48:00OK, I'm going to research.
0:48:14 > 0:48:16I think it's less indulgent.
0:48:18 > 0:48:20I mean, when I joined Vogue,
0:48:20 > 0:48:23you'd go in and there would be clouds of Gitanes smoke.
0:48:23 > 0:48:27And people would be there with their feet up on the desk and...
0:48:27 > 0:48:28You know, it was...
0:48:30 > 0:48:35It was a sort of... much more heightened place.
0:48:35 > 0:48:40People weren't beavering away just getting on with it, behaving well.
0:48:40 > 0:48:43People behaved badly.
0:48:43 > 0:48:46You know, there'd be lots of hangovers and parties
0:48:46 > 0:48:49and much more rackety, much less kind of, like,
0:48:49 > 0:48:52"Get the job done, snip, snippety, snip," you know.
0:48:54 > 0:48:59There's no room for people to have hissy fits.
0:49:02 > 0:49:05And I think Alex runs a really, really tight ship in that respect.
0:49:08 > 0:49:12- So this is the April issue.- Yes. - The cover.- Kate Moss.- We had good...
0:49:12 > 0:49:15Looking over your shoulder for the numbers.
0:49:15 > 0:49:17- It's very strongly for cover D.- Mm.
0:49:17 > 0:49:19And they're looking for different ages.
0:49:19 > 0:49:21The oldies and the young 'uns prefer it
0:49:21 > 0:49:25and it sort of bumps up slightly with the 35 to 54s.
0:49:25 > 0:49:26- Interesting.- Yeah.
0:49:33 > 0:49:36I hope you two are going to remain friends after this.
0:49:39 > 0:49:43- They know you're filming? - Yeah, I think so.
0:49:43 > 0:49:45- Did you ask?- I did ask.- OK.- Yeah.
0:49:47 > 0:49:52- Hi, everyone.- Hi, there. - We've got the cameras.- Cool.
0:49:52 > 0:49:56- Hi.- Well, come on, unveil. We want to see...- OK.- ..what you've got.
0:50:02 > 0:50:06So it's Kate Moss in the vintage Stones clothes.
0:50:06 > 0:50:08Well, I'm feeling my spirits rise.
0:50:08 > 0:50:11I always put my cards on the table immediately.
0:50:11 > 0:50:14- Good, good.- And I prefer the one on the left.- With the white.- Yes.
0:50:14 > 0:50:17I think it's...
0:50:17 > 0:50:20I think it's the images. I prefer the one on the left.
0:50:20 > 0:50:21- Would do you think?- I agree.
0:50:21 > 0:50:24- Alexandra, yourself? - The one on the left.- Stephen?
0:50:24 > 0:50:28The one on the left. It's a very clear favourite.
0:50:28 > 0:50:33Richard, I imagine you're seeing a 15% uplift here.
0:50:33 > 0:50:36Well, I'm instantly drawn to the one on the left,
0:50:36 > 0:50:38and I also have reservations about flags.
0:50:38 > 0:50:42We have a very, very long track record across all magazines
0:50:42 > 0:50:45of Union Jack covers doing incredibly badly.
0:50:45 > 0:50:50Why this should be, we know not why. But it is a fact.
0:50:50 > 0:50:51- Ten examples. - Amongst the millennials,
0:50:51 > 0:50:54amongst all the different groups in that research,
0:50:54 > 0:50:56they did not want the flag.
0:50:56 > 0:51:00- Jamie.- Well, I love the one on the right.
0:51:00 > 0:51:01My whole office prefers, apart from me,
0:51:01 > 0:51:06- prefers the one on the right. - Everyone's...- This is so backing up.
0:51:06 > 0:51:08Well, just so you all know, everybody came up to my desk
0:51:08 > 0:51:10and looked at that image and they were,
0:51:10 > 0:51:13- like, "That's amazing. What a great cover."- This image?
0:51:13 > 0:51:14That one, and they saw that one
0:51:14 > 0:51:16and they said, "Oh, that's kind of boring.
0:51:16 > 0:51:18"It sort of looks like what we've seen already."
0:51:18 > 0:51:20Same in the ad department, all those girls opted for the right.
0:51:20 > 0:51:22- I mean, I don't know... - They're wrong.
0:51:22 > 0:51:23I also think it's a centenary year
0:51:23 > 0:51:25and even though it's not the centenary issue,
0:51:25 > 0:51:29we're sort of making the most of, like, 100th anniversary of Vogue
0:51:29 > 0:51:32and sort of being a bit more British Vogue.
0:51:33 > 0:51:38- It's not us.- I'm afraid I do... I don't even like that picture.
0:51:38 > 0:51:41- I don't like the knickers. - You can't see her face, really.
0:51:41 > 0:51:44I would make you a bet that the one on the left,
0:51:44 > 0:51:46which is a more classic image,
0:51:46 > 0:51:48would sell 10% more than the one on the right.
0:51:48 > 0:51:52Well, we won't know cos we're not going to do the one on the right.
0:51:52 > 0:51:55And you wouldn't have an interest in doing, like, a double cover
0:51:55 > 0:51:57and doing, like, subscribers get this sort of fun...?
0:51:57 > 0:52:00- That you could do. - But that wouldn't prove anything.
0:52:00 > 0:52:03- No, no, no. That's not the point. - No, but, just out of, like, for fun.
0:52:03 > 0:52:05You could if you wanted to but it's Alexandra's call.
0:52:05 > 0:52:10Cos a lot of people did like that. Not in this room, but...
0:52:10 > 0:52:12We've never done a subscriber cover before...
0:52:12 > 0:52:16- But you can.- ..but you can. Um...
0:52:18 > 0:52:20No, I don't want to do it, actually.
0:52:20 > 0:52:23- I just don't like that picture.- Then let's go with the far left cover.
0:52:23 > 0:52:25- OK, we're over.- Thank you.
0:52:30 > 0:52:33- You guys didn't think hard enough. - Oh, no.
0:52:35 > 0:52:36It's this one.
0:52:36 > 0:52:38Boo!
0:52:38 > 0:52:39No double cover.
0:52:40 > 0:52:42I think...
0:52:42 > 0:52:46Hi. Wait, can we film that reaction again?
0:52:46 > 0:52:49Can I show you what happened? OK.
0:52:51 > 0:52:53Look at the cover.
0:52:54 > 0:52:58- Boo! - THEY LAUGH
0:52:58 > 0:53:01Everybody wanted my one.
0:53:23 > 0:53:252016.
0:53:25 > 0:53:27The start of a new year,
0:53:27 > 0:53:29and there's a buzz in the office.
0:53:31 > 0:53:34It's like an A to Z of the most famous people in the world,
0:53:34 > 0:53:36- isn't it?- Yeah, it literally is.
0:53:37 > 0:53:39Do you enjoy the glamour of
0:53:39 > 0:53:43- being associated with such famous people?- Yeah, absolutely.
0:53:43 > 0:53:45It's part of the job.
0:53:49 > 0:53:53This year, British Vogue celebrates its 100th birthday,
0:53:53 > 0:53:56- and the June edition will be its centenary issue.- Thank you.
0:53:58 > 0:54:00Over the next 12 months, a host of star-studded events
0:54:00 > 0:54:04have been lined up to celebrate this auspicious occasion.
0:54:05 > 0:54:09A huge exhibition at the National Portrait Gallery, a gala dinner.
0:54:10 > 0:54:12Alex is in a really good mood.
0:54:16 > 0:54:20So can you tell us about last week's developments?
0:54:20 > 0:54:25So, last week's developments... Our March cover sold brilliantly.
0:54:25 > 0:54:29Edie Campbell in the Gucci dress.
0:54:31 > 0:54:37Well, the first estimate, it's, like, 20-odd% up year on year,
0:54:37 > 0:54:40which is, you know, very, very good.
0:54:42 > 0:54:45And so the next cover you've got coming up is Kate Moss?
0:54:45 > 0:54:50Er, well, it WAS Kate Moss, and it's now Rihanna.
0:54:57 > 0:55:00She was pleased about that. I was pleased for her.
0:55:02 > 0:55:06I think she's generally really well-behaved.
0:55:06 > 0:55:10Um, she doesn't behave badly.
0:55:12 > 0:55:15So I'm pleased when, you know, she gets to behave badly.
0:55:15 > 0:55:17Or, well, actually, it wasn't badly,
0:55:17 > 0:55:20but I'm pleased, you know, when that side of her comes out.
0:55:20 > 0:55:22Because she's so busy doing... She does the right thing.
0:55:26 > 0:55:28So this has never happened before in your career?
0:55:28 > 0:55:32No. I've never... Never anything this dramatic.
0:55:33 > 0:55:37I'm actually really shocked, because I've never seen anything, you know,
0:55:37 > 0:55:39a disaster this huge.
0:55:39 > 0:55:42We were literally printing the Kate Moss cover.
0:55:42 > 0:55:44It was scheduled to print within half an hour
0:55:44 > 0:55:46when we made the decision so we had to stop that press
0:55:46 > 0:55:49and I had to deal with the production department
0:55:49 > 0:55:52to get everything swapped over, the entire...
0:55:52 > 0:55:55All the pages that we designed for the inside
0:55:55 > 0:55:58to be swapped with the pages of the Kate Moss feature.
0:55:58 > 0:56:02And then they have to re-folio the entire issue,
0:56:02 > 0:56:06that means putting in all new page numbers, and then we had...
0:56:06 > 0:56:07My department had to redesign
0:56:07 > 0:56:09the contents page, the editor's letter...
0:56:10 > 0:56:13..anything that had any remnants of the Kate Moss story,
0:56:13 > 0:56:14it had to be swapped over completely
0:56:14 > 0:56:18so me and the production department had to work very hard on that
0:56:18 > 0:56:21in getting it done within 24 hours, basically.
0:56:23 > 0:56:25So you've got wind, have you,
0:56:25 > 0:56:28that another magazine's done a front cover...
0:56:28 > 0:56:30- On Rihanna?- ..on Rihanna, yeah. - Yeah.
0:56:31 > 0:56:32And they're coming out when?
0:56:34 > 0:56:38Well, I don't know their exact publication date
0:56:38 > 0:56:41and I don't know any of the details of that.
0:56:41 > 0:56:45All I know is that we agreed that we would have Rihanna.
0:56:47 > 0:56:49- Can you tell me which magazine, please?- No.
0:56:51 > 0:56:54Which is the publication that's competing with you?
0:56:54 > 0:56:58Er, I think it's Vogue in America. Um... I mean, you know,
0:56:58 > 0:57:01I think the problem is that we don't want to be
0:57:01 > 0:57:03in the newsstands at the same time with the same cover star.
0:57:05 > 0:57:07Would it have impacted your sales, do you think?
0:57:07 > 0:57:10I don't think it would have been helpful
0:57:10 > 0:57:14to have two covers on the newsstand at the same time,
0:57:14 > 0:57:17of the same person, within the same market.
0:57:21 > 0:57:24- But, presumably, the person... - We weren't going to talk about...
0:57:24 > 0:57:26- You said we weren't going to talk about this any more.- Oh, OK, sorry.
0:57:26 > 0:57:28- No, but you did.- All right.
0:57:30 > 0:57:32Sorry.
0:57:32 > 0:57:35- Alex was obviously a bit annoyed about that.- Yeah.
0:57:37 > 0:57:41And I suppose, in a sense, it's quite a sort of combative move
0:57:41 > 0:57:45on her behalf to bring her edition earlier.
0:57:47 > 0:57:48Yeah, I suppose.
0:57:49 > 0:57:52- I'm actually interviewing Anna Wintour tomorrow.- Are you?
0:57:52 > 0:57:56- Do you think I should ask her about it?- She won't know about it.
0:57:56 > 0:57:58- Oh, won't she? - No, so I really wouldn't...
0:57:58 > 0:57:59Please don't say anything.
0:58:03 > 0:58:05She doesn't know anything about this.