0:00:02 > 0:00:05So this has never happened before in your career?
0:00:05 > 0:00:07No. Never anything this dramatic.
0:00:09 > 0:00:12Would it have impacted your sales, do you think?
0:00:12 > 0:00:14I don't think it would have been
0:00:14 > 0:00:18helpful to have two covers on the news stand
0:00:18 > 0:00:22at the same time of the same person within the same market.
0:00:22 > 0:00:26Which is the publication that is competing with you?
0:00:26 > 0:00:28I think it's Vogue in America.
0:00:28 > 0:00:31It's quite a sort of combative move,
0:00:31 > 0:00:34on her behalf, to bring her edition earlier.
0:00:34 > 0:00:36Yeah, I suppose.
0:00:36 > 0:00:38I'm actually interviewing Anna Wintour tomorrow.
0:00:38 > 0:00:40She won't know about it.
0:00:40 > 0:00:42Please don't say anything.
0:00:42 > 0:00:45We were not going to talk of that. You said we weren't
0:00:45 > 0:00:47- going to talk about this any more. - Oh, OK.
0:00:47 > 0:00:51- Sorry.- No, but you did. - All right. Sorry.
0:01:02 > 0:01:06February the 23rd, 2016.
0:01:07 > 0:01:09Sometimes, I wonder if a woman
0:01:09 > 0:01:12might have been a better choice to make this series.
0:01:12 > 0:01:15Alex phoned this morning in a furious mood,
0:01:15 > 0:01:18threatening to pull the whole project.
0:01:18 > 0:01:19She's angry that I might talk to
0:01:19 > 0:01:22Anna Wintour is about the Rihanna cover when I
0:01:22 > 0:01:25interview her today.
0:01:25 > 0:01:28She thinks I'm about to betray confidential information.
0:01:29 > 0:01:32But the last thing I want to do is get on the wrong side
0:01:32 > 0:01:34of the editor in chief of British Vogue.
0:01:37 > 0:01:40So, you were at British Vogue for a while.
0:01:40 > 0:01:42- What memories have you got? - Very short time!
0:01:42 > 0:01:45What memories have you got of that time?
0:01:45 > 0:01:47Well, I had a lot of fun, you know.
0:01:47 > 0:01:52I came here very determined to bring an American spirit
0:01:52 > 0:01:57and an American sensibility to the pages.
0:01:57 > 0:01:59At that time, there was no online.
0:01:59 > 0:02:03I look back on that time and think, how crazy was I?
0:02:03 > 0:02:08I mean, what's so wonderful about what Alexandra does
0:02:08 > 0:02:11and what the editors before her have done
0:02:11 > 0:02:13is they've really celebrated
0:02:13 > 0:02:16the British spirit, and that's what each Vogue
0:02:16 > 0:02:18should do, is represent the country that they
0:02:18 > 0:02:20are being published in.
0:02:22 > 0:02:23You know, I always use a
0:02:23 > 0:02:26quote that Ralph Lauren gave me many, many years ago.
0:02:28 > 0:02:31You can't be too hot and you can't be too cold.
0:02:31 > 0:02:34You just have to be part of the conversation.
0:02:35 > 0:02:38Vogue is a worldwide name
0:02:38 > 0:02:43and being steward of that name means just that,
0:02:43 > 0:02:48finding that balance between the future of fashion
0:02:48 > 0:02:52and what's existing right now.
0:02:52 > 0:02:55And Alexandra does that with enormous intelligence
0:02:55 > 0:02:57and integrity.
0:02:57 > 0:03:02I think... I hope she stays forever.
0:03:18 > 0:03:20January the 25th.
0:03:20 > 0:03:24When you think of a fashion icon, you wouldn't automatically
0:03:24 > 0:03:27think of a man who has a white ponytail and wears
0:03:27 > 0:03:30fingerless leather gloves, would you?
0:03:30 > 0:03:33But that's the thing about Karl Lagerfeld.
0:03:33 > 0:03:35He defies classification.
0:03:35 > 0:03:38Alex has invited me to a private meeting with him.
0:03:38 > 0:03:41So what's happening with these guys?
0:03:41 > 0:03:44She's always having one-to-ones with the top designers.
0:03:44 > 0:03:47She gets to see their collections the night before a show.
0:03:47 > 0:03:51I've been told Chanel's haute couture
0:03:51 > 0:03:54outfits cost over £10,000 each.
0:03:56 > 0:03:59This person has to be presented to Karl before doing anything.
0:03:59 > 0:04:00OK. Fine, fine, fine.
0:04:00 > 0:04:04- I've got to meet him personally? - Yes. With the camera down.
0:04:04 > 0:04:07- Oh, right. OK.- It's more polite to be introduced before the show.
0:04:07 > 0:04:08Oh, OK. Right, fine.
0:04:12 > 0:04:14- Really?- This one is a very good one.
0:04:14 > 0:04:16- So beautiful, Karl.- Quite right.
0:04:18 > 0:04:20So it's a tribute to nature, yes?
0:04:20 > 0:04:24We've suddenly got very ecologically...
0:04:24 > 0:04:26- That is so pride.- What is made of?
0:04:26 > 0:04:29- They are like little bits of wood.- It's wood?
0:04:29 > 0:04:32- Paper-thin, yeah. - It's wood?- I love it that
0:04:32 > 0:04:36you've got the beads down, the golden beads down here.
0:04:36 > 0:04:40- It's incredible.- It's incredible. We are showing...- Oh, wow.
0:04:40 > 0:04:42That's like paper embroidery.
0:04:42 > 0:04:44Can you walk until I see the length?
0:04:44 > 0:04:46It's incredible.
0:04:46 > 0:04:48Can I just ask you one quick question?
0:04:48 > 0:04:50Have you known Alex a long time?
0:04:50 > 0:04:53I understand not one word with all the noise here.
0:04:53 > 0:04:55Oh, sorry. Have you known Alex a long time?
0:04:55 > 0:04:58- Quite a long time. - Since she was a baby.
0:04:58 > 0:05:03- 100 years! - Quite a long time but,
0:05:03 > 0:05:07you know, we are always about today, not about yesterday.
0:05:07 > 0:05:09Exactly. Karl's a great one for
0:05:09 > 0:05:12- looking to the future, aren't you?- Yeah.
0:05:12 > 0:05:15In fashion, the future is six months, six months, six months.
0:05:15 > 0:05:16That's not created on the past.
0:05:22 > 0:05:24Because I didn't know if you liked cats.
0:05:24 > 0:05:27- I have a cat. I like my cat. - You want a Choupette?
0:05:27 > 0:05:30- I'd love a Choupette as well. - You want a Choupette?
0:05:30 > 0:05:32- Yeah.- Good.
0:05:33 > 0:05:37- Oh, thank you very much. - Is that your cat?
0:05:37 > 0:05:40- Yes.- Karl loves his cat.
0:05:42 > 0:05:44This is the hologram in a rock crystal.
0:05:44 > 0:05:46Of Choupette? No!
0:05:46 > 0:05:49- Yes.- Can I see?
0:05:49 > 0:05:52- It's here.- Oh, my God.
0:05:52 > 0:05:55- It's your cat! - What's that picture of?
0:05:55 > 0:05:57- His cat.- It's my cat.
0:05:57 > 0:06:00Choupette. That's unbelievable.
0:06:00 > 0:06:03- Alexandra. - Now, Karl, I've got to
0:06:03 > 0:06:05get you to London for our birthday, one way or
0:06:05 > 0:06:08another, otherwise I'll have to have Choupette instead.
0:06:22 > 0:06:25How's it going back at base?
0:06:25 > 0:06:28You seem a bit like you've got a lot on your mind.
0:06:35 > 0:06:39I'm in a car with the film crew, late for a show.
0:06:41 > 0:06:42What's up?
0:06:43 > 0:06:45Yeah. Have you got any news?
0:06:47 > 0:06:50'Tonight, Alex left in quite a brusque way
0:06:50 > 0:06:52'after our filming with Karl Lagerfeld.'
0:06:52 > 0:06:55No, but they can't hear what you are saying, and I'm
0:06:55 > 0:06:57about to hang up.
0:06:57 > 0:07:00'Sometimes, I feel like I'm treading on eggshells.'
0:07:00 > 0:07:02Oh, OK. No, I'll ring you in a moment, then.
0:07:02 > 0:07:05I'm going to get out of the car in a second anyway, OK?
0:07:05 > 0:07:07I'll ring you right back. OK. Bye.
0:07:07 > 0:07:11All right. Listen, I've got to go, all right?
0:07:11 > 0:07:14'Mind you, in just four months, the centenary
0:07:14 > 0:07:16'issue of the magazine will be published,
0:07:16 > 0:07:19'there is an exhibition at the National Portrait Gallery
0:07:19 > 0:07:22'and a huge gala dinner will take place in Hyde Park.
0:07:22 > 0:07:27'This must be the most intense six months of her career.'
0:07:54 > 0:07:56January the 26th.
0:07:56 > 0:07:59Today, I hung out with Sarah Harris.
0:07:59 > 0:08:02Sarah is one of Vogue's rising stars.
0:08:02 > 0:08:05She attends all the shows and then she writes reviews
0:08:05 > 0:08:08of the collections for the magazine.
0:08:08 > 0:08:11I was surprised how famous she is.
0:08:11 > 0:08:14She's got a huge Instagram following.
0:08:14 > 0:08:16If you look at her profile,
0:08:16 > 0:08:18you see the quintessential glamorous life,
0:08:18 > 0:08:24exotic sandy beaches, skiing in the Alps, sports cars.
0:08:30 > 0:08:32That was a bit crazy,
0:08:32 > 0:08:35being photographed by all those photographers, wasn't it?
0:08:35 > 0:08:38Yes, it can get a bit intense,
0:08:38 > 0:08:43I suppose, when there's quite so many of them.
0:08:43 > 0:08:45Do you... Is there a part of you that quite
0:08:45 > 0:08:49- likes being noticed like that? - I don't mind it,
0:08:49 > 0:08:51like, in the afternoon, I don't mind it,
0:08:51 > 0:08:54because I feel like my face has woken up a bit,
0:08:54 > 0:08:57but I don't know, in the morning it's a bit intense,
0:08:57 > 0:08:59when you're kind of half asleep
0:08:59 > 0:09:02and not so keen on having your picture taken.
0:09:02 > 0:09:06So that's a photograph that is already gone up on Twitter.
0:09:06 > 0:09:08- On Instagram.- On Instagram?
0:09:08 > 0:09:10Yeah. They posted it.
0:09:14 > 0:09:16I remember really loving shoes
0:09:16 > 0:09:20from a really young age and being really excited to get,
0:09:20 > 0:09:22you know, new term school shoes
0:09:22 > 0:09:25and going to Russell & Bromley
0:09:25 > 0:09:27and I used to obsess over keeping them clean
0:09:27 > 0:09:31and pristine and I'd keep them in the box.
0:09:31 > 0:09:33I'd wear them for a day, clean them off.
0:09:33 > 0:09:36I was, like, five years old. Put them back in the box.
0:09:38 > 0:09:41And then, yeah, as soon as they got a grass stain on them,
0:09:41 > 0:09:42I'd be devastated.
0:09:42 > 0:09:46And I'm still a bit like that with my clothes and my shoes.
0:09:47 > 0:09:53I really like these Manolos. I love those.
0:09:53 > 0:09:56I'll have those forever, wear them forever.
0:09:56 > 0:09:59I really like these Celines...
0:10:01 > 0:10:04..with the gold toe cap.
0:10:07 > 0:10:10My uniform is really pretty much jeans and a shirt,
0:10:10 > 0:10:13more or less, every day at work.
0:10:13 > 0:10:16Or jeans and a T-shirt or jeans and a cashmere jumper.
0:10:16 > 0:10:18Have you got a lot of jeans?
0:10:18 > 0:10:21Yeah. I've got, um...
0:10:21 > 0:10:23More than ten pairs?
0:10:25 > 0:10:2780? 82?
0:10:27 > 0:10:30- 82 pairs?- Yeah. - Of jeans?- Yeah.
0:10:31 > 0:10:35- I've got a lot. - 82 pairs of jeans?
0:10:35 > 0:10:37Yeah, and I try to sort of
0:10:37 > 0:10:40make a cull and throw lots out but they're
0:10:40 > 0:10:44so kind of imbued with memories, you know, it's
0:10:44 > 0:10:48hard to get rid of them.
0:10:48 > 0:10:55But I do fill up bin liners probably four times a year
0:10:55 > 0:10:58and take them down to the charity shop.
0:11:00 > 0:11:03I'll bring you the Vogue thing. So let's start, then.
0:11:04 > 0:11:08February 10th. I bought the last ever copy of the men's
0:11:08 > 0:11:10magazine FHM today.
0:11:11 > 0:11:14It has Holly Willoughby on the cover.
0:11:14 > 0:11:16Like all publications,
0:11:16 > 0:11:19Vogue can't just rely on the magazine any more.
0:11:19 > 0:11:22The website is key. The online team communicate
0:11:22 > 0:11:26with a new generation of Vogue reader through Snapchat,
0:11:26 > 0:11:28Instagram and Twitter.
0:11:28 > 0:11:32But they're banned from using modern social media parlance
0:11:32 > 0:11:36like emojis and exclamation marks.
0:11:36 > 0:11:39Then there's Vogue Video, the online channel.
0:11:39 > 0:11:43Today, they're shooting a feature called Inside My Wardrobe.
0:11:43 > 0:11:47It felt a bit cannibalistic, me stood there filming them,
0:11:47 > 0:11:49filming themselves.
0:11:49 > 0:11:57Hi, everyone. And, so, just to have a recap on
0:11:57 > 0:12:03the state of play in all these centenary endeavours.
0:12:03 > 0:12:07Rather frighteningly, it's sort of becoming real.
0:12:07 > 0:12:08'It's funny being in a place
0:12:08 > 0:12:12'where so much emphasis is on the future because,
0:12:12 > 0:12:15'ironically for Alex, her immediate future is being dominated
0:12:15 > 0:12:20'by the past and the multitude of events lined up to celebrate it.'
0:12:20 > 0:12:23Is there any thought, this being our centenary year,
0:12:23 > 0:12:26I think, have we not got a Vogue 100 T-shirt?
0:12:26 > 0:12:28Is that right or not?
0:12:28 > 0:12:33- We are asking...- We've got a Vogue everything.
0:12:33 > 0:12:36What I'm doing is approaching four or five different
0:12:36 > 0:12:39young British designers to see if they would all
0:12:39 > 0:12:41do 100 limited-edition T-shirts.
0:12:41 > 0:12:44- Right.- Couldn't Topshop do it? Just so that, I just
0:12:44 > 0:12:47think the exclusive product is very high-end
0:12:47 > 0:12:50and we need to speak to a wider audience, really,
0:12:50 > 0:12:52so maybe we have to have something from a...
0:12:52 > 0:12:55I think you get one brand to do one T-shirt.
0:12:55 > 0:12:56Topshop, we've spoken to before.
0:12:56 > 0:12:59I don't think it should be Topshop, actually, even if it's one brand.
0:12:59 > 0:13:01- Or H&M?- Well, I don't know, I mean,
0:13:01 > 0:13:03if we're going to just do one T-shirt,
0:13:03 > 0:13:08we probably, although we want it to be at a lower price point,
0:13:08 > 0:13:13we probably want it to be quite a special T-shirt,
0:13:13 > 0:13:16so not just, you know, a sort of Fruit of the Loom
0:13:16 > 0:13:18T-shirt with Vogue 100 written on it.
0:13:18 > 0:13:21That's why I thought the designer ones would be kind of special
0:13:21 > 0:13:24because they could all do their own interpretation, you know.
0:13:24 > 0:13:26'This afternoon, I received a call out of
0:13:26 > 0:13:29'the blue from the Vogue press office.
0:13:29 > 0:13:31'They've asked me to film an event at the end of
0:13:31 > 0:13:35'April but they won't tell me what it is.
0:13:35 > 0:13:39'All I know is that Alex is going to be making an announcement.
0:13:39 > 0:13:41'They've told me I mustn't
0:13:41 > 0:13:45'discuss this with anyone, not even Alex.'
0:13:54 > 0:13:57The fashion director, Lucinda, has been at
0:13:57 > 0:14:00Vogue even longer than Alex and she's invited me
0:14:00 > 0:14:05on what I've calculated to be her 422nd shoot.
0:14:06 > 0:14:09It is with the next big thing, a teenager from the
0:14:09 > 0:14:11Dominican Republic called Lenazy.
0:14:12 > 0:14:14Since it began 100 years ago,
0:14:14 > 0:14:17only a handful of black models have appeared on
0:14:17 > 0:14:20the cover of British Vogue.
0:14:20 > 0:14:23You know, you'll have a show season that everybody will be from
0:14:23 > 0:14:28Holland or everybody will be from Brazil,
0:14:28 > 0:14:30but in the last few seasons, there's been an
0:14:30 > 0:14:35incredible mix and for us,
0:14:35 > 0:14:37it's a blessing, because we're not
0:14:37 > 0:14:40limiting ourselves.
0:14:40 > 0:14:43So, it's brilliant to have that diversity.
0:14:45 > 0:14:47How are you?
0:14:47 > 0:14:49'Patrick Demarchelier has been
0:14:49 > 0:14:53'photographing for Vogue since the 1970s.'
0:14:53 > 0:14:56- How are you, Patrick? - Good, good.- Are you?
0:14:56 > 0:14:59Yeah, fantastic. You look fantastic. You look younger.
0:14:59 > 0:15:02That's such shit, Patrick, cos I've just got off a flight.
0:15:02 > 0:15:05- So are we doing Lego, a Lego story? - We are doing a Lego story.
0:15:05 > 0:15:08- I'm going to sort out the clothes and then I'll show you.- OK.
0:15:10 > 0:15:12So, that's great.
0:15:14 > 0:15:19- It's amazing how much stuff you need for one shoot.- Fabulous.
0:15:19 > 0:15:21This is quite little.
0:15:21 > 0:15:23Most people would have double this.
0:15:24 > 0:15:25It's just great.
0:15:30 > 0:15:35They've all got to hang like soldiers,
0:15:35 > 0:15:39like a beautiful army...
0:15:39 > 0:15:41a beautiful army of a story.
0:15:41 > 0:15:44I love those pants.
0:15:53 > 0:15:56OK, well, before I do anything...
0:15:56 > 0:15:58If we like the length, the height, the width.
0:15:58 > 0:16:00It's amazing. You look incredible.
0:16:00 > 0:16:03- I mean, I think it really brings out your beauty.- OK, let's go for this.
0:16:03 > 0:16:05I'm not even going to try the little one on because...
0:16:05 > 0:16:07No. And you know what I love, Sam?
0:16:07 > 0:16:11- I love this texture in here with this texture.- OK.
0:16:11 > 0:16:14- Oh, my God, I think you look incredible.- Great.
0:16:26 > 0:16:29Nice, sexy, nice. And down, something like that.
0:16:29 > 0:16:33- Very easy.- Eyes to the side. Don't move your face.
0:16:33 > 0:16:36Turn this way. Turn to face me a bit more.
0:16:36 > 0:16:38Too much. Now straight. Very straight.
0:16:41 > 0:16:46Don't move any of that. That? Just like that?
0:16:46 > 0:16:48Beautiful.
0:16:51 > 0:16:52That's beautiful.
0:16:54 > 0:16:55Don't move too much. Easy, easy.
0:17:00 > 0:17:02'In my time, when I started,
0:17:02 > 0:17:04'there were these supermodels and they
0:17:04 > 0:17:06'were really huge personalities.
0:17:06 > 0:17:08'Super glamorous - Cindy Crawford, Naomi Campbell.
0:17:08 > 0:17:11'And then after that came more of a fragile,
0:17:11 > 0:17:14'less healthy beauty, in a way.
0:17:14 > 0:17:15'Less obviously healthy.
0:17:15 > 0:17:19'So, your eye kind of changes as these girls come through
0:17:19 > 0:17:22'and I think what's difficult about right now
0:17:22 > 0:17:24'is that they come and they go.'
0:17:25 > 0:17:29What's wonderful about, say, five years ago, ten years ago,
0:17:29 > 0:17:33there was a longevity to girls and you could watch them develop
0:17:33 > 0:17:36and flourish and grow, and hate modelling
0:17:36 > 0:17:39and then come back to modelling, and they'd do something else
0:17:39 > 0:17:43and return to it and now what you see is a much faster pace.
0:17:45 > 0:17:47Watch the hand on the leg, Patrick.
0:17:47 > 0:17:50Just so it's more relaxed. Just...
0:17:50 > 0:17:53'It's almost as if the industry isn't
0:17:53 > 0:17:56'giving them a chance to grow into their own skin.'
0:17:59 > 0:18:02I think it's all... It's not, it feels...
0:18:04 > 0:18:06I'm not sure of it.
0:18:10 > 0:18:13Patrick, I'm just going to put her foot in the shoe more.
0:18:19 > 0:18:23- I still think it was better before.- This one?
0:18:23 > 0:18:28Lenazy, I think if you can make this foot not tilt up, if possible.
0:18:28 > 0:18:30She could even pull it forward a bit.
0:18:30 > 0:18:32- No, not that far forward.- No.
0:18:32 > 0:18:36Or just like point it down. Bring it back up and point it down.
0:18:36 > 0:18:39Bring this leg back up.
0:18:39 > 0:18:43- And then point the toe down. - No, this one.
0:18:45 > 0:18:48- I think you've got to feel... - You've got to go the other way.
0:18:48 > 0:18:50You've got to lean on that hand,
0:18:50 > 0:18:53like you are there and then that hand stays there.
0:18:53 > 0:18:56Richard, sorry, can we just sort of, give us a moment.
0:19:00 > 0:19:01We could be a while.
0:19:09 > 0:19:13That's beautiful. I love that. And I love that.
0:19:15 > 0:19:20To me, it's too busy and, I suppose, for me,
0:19:20 > 0:19:25a picture without emotion, without some sense of
0:19:25 > 0:19:30emotion of the girl is not a very successful picture
0:19:30 > 0:19:35and so what I think is happening here
0:19:35 > 0:19:40is that it's like all this is taking over from
0:19:40 > 0:19:43Lenazy's emotional qualities.
0:19:43 > 0:19:47So you're just getting jazziness and you're not getting
0:19:47 > 0:19:50a sense of her character
0:19:50 > 0:19:53and here, you get a sense of her.
0:19:54 > 0:19:57And here.
0:19:57 > 0:19:59And here.
0:19:59 > 0:20:03It's too distracting. Thank God we've got two days
0:20:03 > 0:20:05and everybody's really good-natured, so it's good.
0:20:44 > 0:20:48So, just explain to me where you're off to now?
0:20:48 > 0:20:53So, it's really exciting. I'm going to the National Portrait Gallery
0:20:53 > 0:20:59to see, for the first time, the centenary exhibition
0:20:59 > 0:21:02being installed.
0:21:05 > 0:21:08- Hi.- Hi.- Come on in.
0:21:11 > 0:21:12I love that.
0:21:17 > 0:21:21- Oh, hello.- Oh, hi, Alex. How are you?- Hi.
0:21:21 > 0:21:25I feel very, very excited
0:21:25 > 0:21:29and...live about being part
0:21:29 > 0:21:33of this year of celebrating 100 years of Vogue.
0:21:34 > 0:21:37I mean, the quality is incredible.
0:21:38 > 0:21:41It looks better than I was expecting.
0:21:41 > 0:21:44- And I was expecting a lot. - Oh, good, I'm really pleased.
0:21:44 > 0:21:48I mean, I had very high expectations but it's exceeded them.
0:21:48 > 0:21:51I mean, it's great to be in this position but,
0:21:51 > 0:21:54you know, I'm having sleepless nights.
0:21:55 > 0:21:57What time of night do you wake up?
0:21:58 > 0:22:00About three normally.
0:22:00 > 0:22:02You don't seem like someone who
0:22:02 > 0:22:04- would carry much stress with you, though.- No, I know.
0:22:04 > 0:22:07It's amazing, that, isn't it?
0:22:07 > 0:22:10I've never seemed like somebody who carries stress with me.
0:22:10 > 0:22:12- But you do?- Yeah.
0:22:15 > 0:22:17And is that part of what makes you good at what you do,
0:22:17 > 0:22:21- do you think?- Oh, I don't know. How could I know?
0:22:21 > 0:22:24You know, if somebody asked you that
0:22:24 > 0:22:26question, you wouldn't know.
0:22:26 > 0:22:29I don't think you have to be stressed to be good at something...
0:22:31 > 0:22:34..at all. And stress is such a kind of annoying word anyway.
0:22:34 > 0:22:39Now everybody is stressed, even though I use it, it's overused.
0:22:39 > 0:22:41Is it anxiety then?
0:22:42 > 0:22:48No, I feel a huge sense of responsibility to deliver,
0:22:48 > 0:22:50that's what it is.
0:22:50 > 0:22:54I just want to do what I think should be done.
0:23:06 > 0:23:11March 15th. I've been in Vogue for seven months now
0:23:11 > 0:23:13and what I've learned is this -
0:23:13 > 0:23:16it's not really about the fashion for Alex.
0:23:16 > 0:23:19It's about the competitive nature of journalism.
0:23:19 > 0:23:21She pushed back the issue with Kate Moss on
0:23:21 > 0:23:23the cover at the last
0:23:23 > 0:23:25minute and replaced it with Rihanna because
0:23:25 > 0:23:30American Vogue had the singer on their cover the same month.
0:23:30 > 0:23:33This seemed like a big thing at the time.
0:23:33 > 0:23:36But now Alex says it was just a storm in a teacup.
0:23:36 > 0:23:41Even so, it shows in this world, the magazine cover is everything.
0:23:43 > 0:23:46OK, this is what I've been working on for
0:23:46 > 0:23:48the centenary cover based on, like, a graphic idea.
0:23:48 > 0:23:53- So we have these mocked up. - Beautiful.
0:23:53 > 0:23:54Yeah, that's my favourite one,
0:23:54 > 0:23:57I think. I think that's really special.
0:23:58 > 0:24:01And if we do this, if we do the white in like a matte...
0:24:03 > 0:24:07This one's interesting. It's maybe not as good as that?
0:24:07 > 0:24:10No, I think the white's the problem.
0:24:10 > 0:24:14I mean, that's quite nice because it is, well,
0:24:14 > 0:24:16it's very direct, isn't it?
0:24:16 > 0:24:18That 100, you can see it's 100.
0:24:18 > 0:24:21The only thing I'm not sure about this is
0:24:21 > 0:24:24whether it's just a bit too understated.
0:24:24 > 0:24:27I mean, it's very beautiful but are we...
0:24:29 > 0:24:33Do we need to do something a bit more kind of...
0:24:33 > 0:24:36Maybe celebrating a century of style isn't enough?
0:24:36 > 0:24:38No, exactly. Maybe it should be sort of style,
0:24:38 > 0:24:41fashion, fame and something or other.
0:24:41 > 0:24:46You know, we should slightly oomph the words up a bit.
0:24:46 > 0:24:51Quite a big decision, isn't it, the front cover of such an anniversary?
0:24:51 > 0:24:53- Was it always your idea to have it as a graphic?- Yeah.
0:24:53 > 0:24:56How did one come to that decision?
0:24:56 > 0:25:03Well, I just feel that it's very hard to pick a person who can
0:25:03 > 0:25:06encapsulate 100 years of Vogue.
0:25:08 > 0:25:14And we've done very well with sort of... Celebration issues
0:25:14 > 0:25:21actually have historically not had a single figure on them,
0:25:21 > 0:25:23so, in a way,
0:25:23 > 0:25:26I'm continuing with a trend that we've already...
0:25:27 > 0:25:29..that's a familiar one.
0:25:30 > 0:25:32So is the decision that we'll continue working
0:25:32 > 0:25:35on these two designs and I'll get the paper stock?
0:25:35 > 0:25:39'I can't stop thinking about this announcement Alex is going to make.
0:25:39 > 0:25:42'The first thought that came into my head
0:25:42 > 0:25:45'was that she'll be throwing a surprise party
0:25:45 > 0:25:48'for all her staff to say thanks for all their hard work.
0:25:48 > 0:25:52'But I suppose it could be any number of things.
0:25:52 > 0:25:55'Maybe she's going to tell everyone she's leaving.'
0:25:55 > 0:25:57I think I'm going to
0:25:57 > 0:26:01prefer what you've originally done but it might be good to...
0:26:01 > 0:26:02'I wonder if anyone else in
0:26:02 > 0:26:06'the office knows about this surprise announcement.
0:26:06 > 0:26:08'For a moment today, I was
0:26:08 > 0:26:11'going to ask one of the women on the features desk,
0:26:11 > 0:26:14'but bottled it at the last minute.
0:26:14 > 0:26:16'Instead, we talked at length about Cher's
0:26:16 > 0:26:20'denim collection from the 1980s.'
0:26:20 > 0:26:24That's Cher on a bed of feathers. Fake fraying that isn't
0:26:24 > 0:26:27- quite on the knees. - Is that a good look?
0:26:27 > 0:26:31No, but it's a good throwback look, which is
0:26:31 > 0:26:32a different thing.
0:26:34 > 0:26:39I mean, this, if you squint, it could be Vetements,
0:26:39 > 0:26:42which is a hot new brand.
0:26:42 > 0:26:44- Could be what?- Vetements.
0:26:44 > 0:26:46Everyone's loving it right now.
0:26:46 > 0:26:47Oh, right.
0:26:47 > 0:26:49It's a good one.
0:26:49 > 0:26:54They do really stiff denim and they do really great kind of oversized,
0:26:54 > 0:26:57quite surreal streetwear.
0:26:57 > 0:26:58- Right.- Yeah.
0:26:58 > 0:27:04- It's good. It's very expensive. - Mmm.- Yeah.
0:27:04 > 0:27:09- Their jeans are about £750.- Oh.
0:27:09 > 0:27:12I know. But they're very...
0:27:12 > 0:27:15You see them and you know that they are Vetements
0:27:15 > 0:27:19because they've got this sort of funny, asymmetric finish.
0:27:19 > 0:27:23'Julia has been here for five years and was recently promoted.
0:27:23 > 0:27:26'She's part of Sarah's team and she writes articles for both
0:27:26 > 0:27:28'the magazine and the website.'
0:27:28 > 0:27:31What was the most expensive thing you ever bought?
0:27:33 > 0:27:36My Prada red shearling coat.
0:27:37 > 0:27:41It was the price of a second-hand Mini.
0:27:45 > 0:27:48I wear it a lot. It's really warm.
0:27:48 > 0:27:51- It's got big pockets. - Do you love it?
0:27:51 > 0:27:54I do quite love it. It's very red, though.
0:27:54 > 0:27:59'I guess people like Julia and Sarah represent the future of Vogue.
0:27:59 > 0:28:01'When Alex and Lucinda are gone,
0:28:01 > 0:28:03'these two might well be in charge.'
0:28:10 > 0:28:12'I wonder what Vogue would be like then.
0:28:12 > 0:28:16'Would the magazine even exist in a few years' time?'
0:28:24 > 0:28:29It's so beautiful. Very well done. And the light is great.
0:28:29 > 0:28:32Mario Testino is doing a special shoot
0:28:32 > 0:28:35for the centenary issue, which is a celebration
0:28:35 > 0:28:38of each decade of the magazine's history.
0:28:38 > 0:28:40This is 1910.
0:28:47 > 0:28:49Another big shoot is a collection of
0:28:49 > 0:28:52portraits of people Alex thinks are important
0:28:52 > 0:28:54figures in British culture.
0:28:55 > 0:28:58But as each new celebrity gets booked,
0:28:58 > 0:29:01my heart sinks a little bit more.
0:29:02 > 0:29:05Eddie Redmayne was a no.
0:29:05 > 0:29:07Keira Knightley was a no.
0:29:09 > 0:29:13Charlotte Rampling, posing with a chimp, was a no.
0:29:15 > 0:29:18The photographer does not want me on set.
0:29:20 > 0:29:22So you said you'd had a couple of hiccups?
0:29:22 > 0:29:26Yes, unfortunately we were going to be shooting on Friday
0:29:26 > 0:29:30and the model did not, er, turn up, which was a shame.
0:29:32 > 0:29:35- So which was the model? - I'm not sure if I should really say.
0:29:38 > 0:29:40Why can't you say? SHE LAUGHS
0:29:42 > 0:29:46I'm not sure that that would be appropriate to say, probably.
0:29:48 > 0:29:50Um, who was being shot on Friday?
0:29:50 > 0:29:51Who were the choices?
0:29:51 > 0:29:54We were hoping to shoot Naomi Campbell on Friday,
0:29:54 > 0:29:56- but, unfortunately, she did not make it.- Oh.
0:29:58 > 0:29:59And, um...
0:29:59 > 0:30:02did she, did she give a good...good...good reason why?
0:30:04 > 0:30:10Erm... I've yet to hear that reason, but I'm sure there will be one.
0:30:10 > 0:30:12Oh, so it was just like... Well, she wasn't ill or anything,
0:30:12 > 0:30:15- she just didn't turn up? - I don't know. I don't know the...
0:30:15 > 0:30:16I don't know the answer to that yet.
0:30:16 > 0:30:21I'm sure we'll find out, but we're moving on to, you know,
0:30:21 > 0:30:22other pictures.
0:30:25 > 0:30:29Later, Rosie told me the reason why Naomi didn't make it
0:30:29 > 0:30:30was because she got held up.
0:30:32 > 0:30:35But she said the shoot was rescheduled
0:30:35 > 0:30:36and the pictures were fabulous.
0:30:42 > 0:30:43March 15.
0:30:43 > 0:30:45Hooray(!)
0:30:45 > 0:30:49We've finally been given access to a big celebrity shoot
0:30:49 > 0:30:53and it's one everyone in the office is very excited about.
0:30:53 > 0:30:58Patsy and Edina from the sitcom Ab Fab are doing a photoshoot
0:30:58 > 0:31:02with Georgia May Jagger, daughter of Mick Jagger and Jerry Hall.
0:31:04 > 0:31:07They're being shot by David Bailey,
0:31:07 > 0:31:10but he's laid down some strict guidelines -
0:31:10 > 0:31:14I mustn't shoot him and I mustn't shoot the shoot,
0:31:14 > 0:31:17which actually makes things kind of impossible.
0:31:22 > 0:31:24We're not allowed...
0:31:24 > 0:31:28We're not being allowed to film any of the actual photos...
0:31:30 > 0:31:33..so there's not much we can get from this.
0:31:33 > 0:31:35No, I know.
0:31:35 > 0:31:38What about the Mulberry all in white cream?
0:31:38 > 0:31:40- Yeah, let's do that.- Yeah? - That would look nice.
0:31:40 > 0:31:41Yeah, that's lovely.
0:31:44 > 0:31:45That's a strong look.
0:31:45 > 0:31:50Today, we are doing Vogue's 100-year anniversary photoshoot
0:31:50 > 0:31:54for Absolutely Fabulous and it's a very exciting moment for me.
0:31:54 > 0:31:59I'm sort of the model for Edina and Patsy, and they're styling me.
0:31:59 > 0:32:01- They're styling you, are they?- Yes.- Oh, I see.
0:32:01 > 0:32:04Right, so everything that you've been wearing,
0:32:04 > 0:32:05they've chosen for you?
0:32:05 > 0:32:06Yeah, they're styling me.
0:32:08 > 0:32:10Oh, I don't know. We'll see.
0:32:10 > 0:32:13- If I'm white, anything would go with that.- Yep.- Good.
0:32:13 > 0:32:16'Did you watch it when you were growing up with your mum?
0:32:16 > 0:32:18'Yeah, I used to watch it with my mum and my sister.'
0:32:18 > 0:32:20We had it on VHS and sort of watched it over and over again.
0:32:20 > 0:32:22I've seen every episode.
0:32:22 > 0:32:24What was your mum's view about it?
0:32:26 > 0:32:29I mean, my mum's always loved it. I mean, she loves both of them.
0:32:29 > 0:32:33I mean, and I think...always Patsy's style,
0:32:33 > 0:32:37the sort of chignon, always sort of reminded me of my mum, you know,
0:32:37 > 0:32:42my mum's always smoked and stuff, so that kind of element of it.
0:32:42 > 0:32:44But it is funny, because, you know,
0:32:44 > 0:32:48fashion is ridiculous sometimes and that's the best part about it,
0:32:48 > 0:32:51is it's, you know, making fun of something that is really funny.
0:32:51 > 0:32:53And, also, both Patsy and your mum
0:32:53 > 0:32:55share a romantic connection with the Stones.
0:32:55 > 0:32:58- I can't talk about that. - Oh, right. Sorry.- No.
0:32:58 > 0:33:00Erm... Erm...
0:33:01 > 0:33:02Can I see in the mirror?
0:33:05 > 0:33:08- I think she looks cool. - Right, there you are.
0:33:08 > 0:33:10I think I look cool.
0:33:10 > 0:33:12- You look amazing. - I think I look amazing.
0:33:12 > 0:33:15- Have you got your shot? - Yes, great. Thank you.
0:33:15 > 0:33:17I think I look amazing.
0:33:20 > 0:33:23'Do you know, it's everybody's idea of what fashion people are like,
0:33:23 > 0:33:26'and they're larger than life and hilariously funny and,
0:33:26 > 0:33:30'you know, falling out of cabs and doing all that malarkey,'
0:33:30 > 0:33:34and, of course, we're, you know, very well-behaved in comparison,
0:33:34 > 0:33:36but they, you know, they make it fun.
0:33:36 > 0:33:38You must have fallen out of some cabs in your time.
0:33:38 > 0:33:40Oh, I've fallen out of some cabs, yeah.
0:33:40 > 0:33:42I've definitely fallen out of some cabs!
0:33:42 > 0:33:45Is their portrayal of fashion, is it ludicrous
0:33:45 > 0:33:47or is it rooted in reality?
0:33:47 > 0:33:52It's probably a bit of both. I mean, I think those days of...
0:33:52 > 0:33:55I think there were those days in the '80s, for sure,
0:33:55 > 0:33:58and mad, you know, up all night and partying,
0:33:58 > 0:34:00and we did have those days,
0:34:00 > 0:34:02and I think it's very different now.
0:34:02 > 0:34:05Everybody is incredibly professional now.
0:34:05 > 0:34:07I think there's a lot of money at stake.
0:34:07 > 0:34:12I think people's careers are taken very seriously, but for sure,
0:34:12 > 0:34:16you know, like all good comedy, it's rooted in the truth.
0:34:22 > 0:34:24- It's 100 years of Vogue this year.- Yeah.
0:34:24 > 0:34:26I mean, what a fantastic legacy.
0:34:26 > 0:34:29- It's fantastic.- It's fantastic. - I mean, I remember when it started.
0:34:29 > 0:34:31- Do you?- Do I?
0:34:31 > 0:34:33- No.- No, I don't. I don't remember when it started,
0:34:33 > 0:34:36but it just seems always to have been there, doesn't it?
0:34:36 > 0:34:41- Vogue.- Always just sort of been in our...in our zeitgeist.
0:34:41 > 0:34:43Yeah. Always here, always in Vogue.
0:34:43 > 0:34:46You two would remember the heyday of Vogue, I suppose,
0:34:46 > 0:34:49the '60s and the '70s, is that right?
0:34:49 > 0:34:52Well, yah, yah. I was pretty much, you know,
0:34:52 > 0:34:54on every cover in those days.
0:34:54 > 0:34:55I think...I think it was Vogue.
0:34:55 > 0:34:57I'm probably too young to actually remember it,
0:34:57 > 0:35:01- but I remember the idea of it.- Yah.- Hmm.
0:35:01 > 0:35:02- Mainly.- Yah.
0:35:02 > 0:35:04Cos, you know, the great thing about Vogue,
0:35:04 > 0:35:07especially American Vogue, is even if it's summer, it's always winter.
0:35:07 > 0:35:09British Vogue, not American Vogue.
0:35:09 > 0:35:12British Vogue isn't the same, it's always... It doesn't work.
0:35:12 > 0:35:15- Spring when it's autumn. - It doesn't work. Ho-ho, ho-ho!
0:35:17 > 0:35:20And will Vogue be here in 100 years' time?
0:35:22 > 0:35:24- Yah.- Yes.
0:35:24 > 0:35:27- And we'll be here to see it. - But it's going to be online.
0:35:27 > 0:35:30Online Vogue, yes. It'll be Vogue online.
0:35:31 > 0:35:33Do you know what that means?
0:35:33 > 0:35:34No, I don't.
0:35:37 > 0:35:39At the Ab Fab shoot, for a while,
0:35:39 > 0:35:43I couldn't decide what was real and what was fake.
0:35:43 > 0:35:46I think what makes Patsy and Edina so likeable...
0:35:46 > 0:35:49- BOTH:- Happy birthday to Vogue!
0:35:49 > 0:35:52- Yay!- ..is they both seem so out of kilter with the times.
0:35:52 > 0:35:53- Why did she go, "Yay"?- Hello?
0:35:53 > 0:35:55LAUGHTER
0:35:57 > 0:36:01'When you think about Vogue in, say, ten years' time, do you think
0:36:01 > 0:36:04'there's a chance it might just be online or something like that?
0:36:04 > 0:36:08'I don't know. I doubt it. I very much doubt it.'
0:36:10 > 0:36:14You know, I know one has to change and I'm very, you know...
0:36:15 > 0:36:17..you know, I can Google-ise with the rest of them
0:36:17 > 0:36:19and I do realise ten years ago,
0:36:19 > 0:36:22my assistant was having to print out e-mails.
0:36:22 > 0:36:24What a bloody waste of paper that was, you know?
0:36:24 > 0:36:26It's just embarrassing.
0:36:33 > 0:36:36- This is lovely. This is a good place to start.- Yeah.
0:36:38 > 0:36:41When I was really young and when I was a secretary for
0:36:41 > 0:36:44Beatrix Miller, one day she asked me if I would go and do
0:36:44 > 0:36:46a little, tiny interview, like a tiny thing -
0:36:46 > 0:36:49I think it was maybe my first thing for Vogue -
0:36:49 > 0:36:53to interview Marcel Marceau, you know, the mime artist?
0:36:53 > 0:36:56His character was called Bip and when I was leaving,
0:36:56 > 0:36:58he drew me this cartoon.
0:36:58 > 0:37:01And I found it in the scrapbook the other day and I framed it.
0:37:01 > 0:37:03What does the card say?
0:37:03 > 0:37:05It says, "To Lucinda, with love always, from Bip.
0:37:05 > 0:37:07"Marcel Marceau, 1980."
0:37:08 > 0:37:09God.
0:37:12 > 0:37:13That's my mother.
0:37:14 > 0:37:16She loved clothes.
0:37:16 > 0:37:19I mean, when I was growing up, we'd go to Harrods and she'd have
0:37:19 > 0:37:21a tape measure in her pocket and we used to try on
0:37:21 > 0:37:25all the kids' clothes and then she used to sort of sketch them
0:37:25 > 0:37:29and measure them, and then we'd go home and we'd buy the fabric
0:37:29 > 0:37:32and we'd sort of make copies of them.
0:37:32 > 0:37:35And... You know, she used to make me...
0:37:35 > 0:37:37I remember every outfit I had.
0:37:37 > 0:37:41I had, like, a snakeskin pinafore and I had a red patent leather
0:37:41 > 0:37:43with a huge zip.
0:37:43 > 0:37:45She put a huge zip in with a black turtleneck
0:37:45 > 0:37:50and black patent shoes with a big buckle and, erm...
0:37:50 > 0:37:52Yeah, I had a red patent one,
0:37:52 > 0:37:56I had a black snakeskin one, I had another snakeskin one. Erm...
0:37:56 > 0:37:59She used to make me amazing clothes.
0:37:59 > 0:38:02And we made lots of things together, actually,
0:38:02 > 0:38:06- and, and when, when... - SHE CLEARS HER THROAT
0:38:06 > 0:38:08I remember when she was...
0:38:08 > 0:38:12Just before she died, I remember I was making a sort of mosaic table
0:38:12 > 0:38:16in France and I made it out of all the plates that the boys
0:38:16 > 0:38:19had, sort of, broken over the years, and I was grouting it,
0:38:19 > 0:38:22and I suppose that really came from her.
0:38:22 > 0:38:26She was so... You know, there was always a cornflake packet
0:38:26 > 0:38:27cut up and made into a theatre,
0:38:27 > 0:38:29there was always dolls' clothes made.
0:38:29 > 0:38:33I mean, I played with dolls until a very inappropriate age.
0:38:33 > 0:38:34Poppy's still doing that, actually,
0:38:34 > 0:38:37you know, cutting their hair and making clothes for them.
0:38:37 > 0:38:39So I guess, you know, that's a really...
0:38:40 > 0:38:43You know, it's what we're still doing, really.
0:38:56 > 0:38:58CHATTER
0:39:44 > 0:39:47As I stood there, wondering if it would be all right
0:39:47 > 0:39:50to have a glass of champagne and a canape,
0:39:50 > 0:39:54I sensed I was in the middle of a very privileged world.
0:39:55 > 0:40:00Everyone here was part of that exclusive club, the fashion crowd.
0:40:03 > 0:40:06Elitism lies at the very heart of this world.
0:40:07 > 0:40:09It's what makes fashion tick.
0:40:12 > 0:40:16That's not to say people here haven't earned the privilege.
0:40:16 > 0:40:17Many of them have.
0:40:18 > 0:40:21But I wonder if they know when it's their time to go...
0:40:23 > 0:40:25..when they've outstayed their welcome.
0:40:28 > 0:40:33I'm very emotional about it, because it's not just the time
0:40:33 > 0:40:36I've been editing Vogue, but it's kind of...
0:40:36 > 0:40:40I feel like my childhood was on the walls and being here tonight
0:40:40 > 0:40:44and seeing all the people that came from many years of Vogue life
0:40:44 > 0:40:46coming into that room was, um...
0:40:47 > 0:40:50..really something quite...quite extraordinary.
0:40:53 > 0:40:57Alex and I always talk about, "How do you leave well?"
0:40:58 > 0:41:03- And I don't think there's such a thing. Sadly, I don't.- Really?
0:41:03 > 0:41:05No, I think it's really hard.
0:41:05 > 0:41:07I think if you're on top of your game,
0:41:07 > 0:41:10you don't want to leave and there's no reason to, for leaving.
0:41:10 > 0:41:14And then, you know, if you're slightly, sort of,
0:41:14 > 0:41:16going down, you don't want to leave.
0:41:16 > 0:41:18I mean, I hope...
0:41:18 > 0:41:23I think there are other things in life that you think...
0:41:23 > 0:41:26I don't know how you'd think, "That was my last shoot."
0:41:26 > 0:41:29That's the bugger about fashion, is you just see more stuff that
0:41:29 > 0:41:32you can do stuff with, so you're like, you know,
0:41:32 > 0:41:35permanently excited, you know, to do the next shoot.
0:41:36 > 0:41:39I think I will have to be told to leave, I'm sure.
0:41:39 > 0:41:43- Have you worked out your exit strategy?- No! I wish I had.
0:41:43 > 0:41:46I'd love it if somebody could work out my exit strategy for me.
0:41:46 > 0:41:49Well, they will, actually. That's a really stupid thing to say!
0:41:49 > 0:41:53They will and I'll have to take it. That's fine. That's fine.
0:42:11 > 0:42:13April.
0:42:13 > 0:42:19The 250-page centenary issue of the magazine is complete.
0:42:19 > 0:42:21What about we move the illustration?
0:42:21 > 0:42:24The last thing before it's sent to the printers
0:42:24 > 0:42:26is to finalise its running order.
0:42:26 > 0:42:28Beckham before Ab Fab?
0:42:28 > 0:42:31Yeah, I think, cos then it's another long, then Ab Fab.
0:42:36 > 0:42:39Then the lifestyle. Quite like that.
0:42:43 > 0:42:44Yeah.
0:42:47 > 0:42:50- Yeah, that looks fine, actually. That's nice.- Mmm. Doesn't it?
0:42:50 > 0:42:54Cos you feel like it's really solid all the way through.
0:42:56 > 0:42:57Let's do that.
0:42:59 > 0:43:00OK.
0:43:02 > 0:43:06How are you feeling, looking at your centenary edition
0:43:06 > 0:43:07up there on the wall?
0:43:07 > 0:43:09Yeah, it's amazing. I'm thrilled with it, actually.
0:43:09 > 0:43:11I think it looks really great.
0:43:11 > 0:43:13Erm...
0:43:13 > 0:43:14It's amazing.
0:43:17 > 0:43:19Everything in it is good.
0:43:23 > 0:43:27And...I'm very proud of it. I think it's fantastic.
0:43:31 > 0:43:32It's such a great...
0:43:32 > 0:43:34This one edition is like a fantastic body of work.
0:43:34 > 0:43:38It seems sad that it should be, sort of, a piece of ephemera, in a way.
0:43:38 > 0:43:41It's not a piece of ephemera. Everyone's going to keep it.
0:43:43 > 0:43:45It's a historical document.
0:43:47 > 0:43:50There's nothing ephemeral about it.
0:43:52 > 0:43:53It's a collector's item.
0:43:54 > 0:43:58It'll be worth hundreds of thousands of pounds at some point.
0:44:00 > 0:44:01I'm thrilled.
0:44:03 > 0:44:06All I meant by that was fashion is ephemeral, isn't it? That's all.
0:44:06 > 0:44:10No. But this is not about that.
0:44:10 > 0:44:14This is about a continuum and that's the whole point of it -
0:44:14 > 0:44:18that you have got this arc... Well, not even an arc, actually.
0:44:18 > 0:44:21It's just soaring off into the future.
0:44:21 > 0:44:23It's a bit like a sort of time capsule, isn't it?
0:44:23 > 0:44:27That people can come back to in 200 years' time.
0:44:27 > 0:44:29Hope so. Do you think they will?
0:44:30 > 0:44:34They might not know what a magazine is, I suppose, in 200 years' time.
0:44:52 > 0:44:54April 30th.
0:44:54 > 0:44:57It's the day of Alex's surprise announcement.
0:44:57 > 0:45:01I've been told to arrive at a secret location in central London
0:45:01 > 0:45:03at six in the evening.
0:45:04 > 0:45:05Thanks.
0:45:08 > 0:45:10- Hello!- Hi, Richard.- How are you? - Nice to see you again.
0:45:10 > 0:45:13Hello. Hi. Good to see you.
0:45:13 > 0:45:15Do you want to come through this way? There's been a slight change.
0:45:15 > 0:45:18- Come through? - Just through here, yes.
0:45:21 > 0:45:23It's all very intriguing, this.
0:45:23 > 0:45:25- Sorry?- It is, isn't it?
0:45:25 > 0:45:30'I had been speculating quite a lot about what Alex was going to say.
0:45:31 > 0:45:34'But as I was escorted down this long corridor,
0:45:34 > 0:45:36'I have to admit I had no real clue.
0:45:42 > 0:45:47'The corridor led right to the heart of the National Portrait Gallery.
0:45:52 > 0:45:54'But there was still no sign of Alex.'
0:46:08 > 0:46:11- NEWS REPORTER:- 'It was announced today that the Duchess of Cambridge
0:46:11 > 0:46:13'will feature on the front cover of British Vogue
0:46:13 > 0:46:14'to mark the magazine's centenary.
0:46:14 > 0:46:16'In her first sitting for a magazine,
0:46:16 > 0:46:20'the Duchess is seen looking relaxed and wearing casual clothes.
0:46:20 > 0:46:22'Alexandra Shulman, the editor in chief of British Vogue,
0:46:22 > 0:46:25'said, "To be able to publish a photographic shoot
0:46:25 > 0:46:26' "with the Duchess of Cambridge
0:46:26 > 0:46:29' "has been one of my greatest ambitions for the magazine."
0:46:29 > 0:46:32'The collaboration for the June edition had resulted in
0:46:32 > 0:46:35' "a true celebration of our centenary..." '
0:46:45 > 0:46:46Trust.
0:46:47 > 0:46:51It's a critical ingredient in any successful documentary.
0:46:53 > 0:46:56As a director, my job is to make the people I film feel they can
0:46:56 > 0:46:59speak openly and honestly in an unfettered way.
0:47:01 > 0:47:02But for some reason,
0:47:02 > 0:47:06Alex felt she couldn't tell me about the royal photoshoot.
0:47:08 > 0:47:11It wasn't just a case of withholding information.
0:47:11 > 0:47:12She actively lied.
0:47:13 > 0:47:17More than that, she developed an elaborate ruse.
0:47:20 > 0:47:24This was filmed one month after the shoot with the Duchess of Cambridge.
0:47:28 > 0:47:30- Yeah?- Was it always your idea to have it as a graphic?
0:47:30 > 0:47:32- Yeah.- How did one come to that decision?
0:47:32 > 0:47:36Well, I just feel that it's very hard to, erm...
0:47:39 > 0:47:43..to pick a person who can encapsulate 100 years of Vogue.
0:47:45 > 0:47:50Celebration issues actually have historically not had
0:47:50 > 0:47:52a single figure on them, so, erm...
0:47:56 > 0:48:00..in a way, I'm continuing with a trend that we've already...
0:48:01 > 0:48:03..that's a familiar one.
0:48:29 > 0:48:33My managing editor, Fran, knew about it...
0:48:35 > 0:48:39..and Rosie, because she had to organise
0:48:39 > 0:48:42all the logistics on the shoot,
0:48:42 > 0:48:45and Lucinda, who was styling the shoot.
0:48:45 > 0:48:50So, for a long time, only...only them.
0:48:50 > 0:48:52Well, I filmed you and Jamie talking about a cover with a graphic.
0:48:52 > 0:48:55Yeah, yeah, the cover that we produced.
0:48:55 > 0:48:57I've watched the rushes back of that particular scene.
0:48:57 > 0:48:59I have to say, you're quite convincing.
0:48:59 > 0:49:02- Good. Good liar, right?- Yeah.
0:49:04 > 0:49:07Did you feel a bit awkward about that at the time?
0:49:07 > 0:49:09No... I didn't.
0:49:12 > 0:49:15'The centenary issue of the magazine has hit the shelves
0:49:15 > 0:49:17'and it's selling like hot cakes.
0:49:17 > 0:49:21'It's made me aware that Alex is still at the top of her game.
0:49:22 > 0:49:24'Far from announcing her retirement,
0:49:24 > 0:49:27'she's pulled off a major journalistic coup.
0:49:31 > 0:49:34'I asked Alex if it would be all right to film her doing
0:49:34 > 0:49:38'something that wasn't related to her work, something personal.
0:49:39 > 0:49:42'She came back to me and said she'd like to take me to Hyde Park.'
0:49:47 > 0:49:52When I was a very small child, every afternoon, we'd come to the park.
0:49:52 > 0:49:57This tree here is the tree that we'd play around.
0:49:57 > 0:50:00I remember being so small that...
0:50:02 > 0:50:05..you could kind of get inside the hollows of the tree.
0:50:06 > 0:50:08So this is the hole, is it? HE CHUCKLES
0:50:08 > 0:50:11No, it's down here. This.
0:50:11 > 0:50:16It's that you were small enough that you could stand in, like,
0:50:16 > 0:50:20here, and it would feel like you were in a cave.
0:50:32 > 0:50:35I mean, I know I wanted to get married and have kids
0:50:35 > 0:50:39and I do clearly remember, at some point in my life, not wanting a life
0:50:39 > 0:50:43like my mother, not wanting to be working, rushing out the door in
0:50:43 > 0:50:46the morning, trying to get the food organised for the evening, rushing
0:50:46 > 0:50:50home at night, cooking dinner, and I did exactly the same thing as her.
0:50:50 > 0:50:53I mean, you know, exactly the same as her,
0:50:53 > 0:50:57and I actually remember walking round this park with her,
0:50:57 > 0:51:00walking round the lake and just kind of giving her a really hard time,
0:51:00 > 0:51:02you know, "I don't know why you make your life so hard.
0:51:02 > 0:51:05"Why do you try and do so much?" you know?
0:51:05 > 0:51:07"I'm not going to be like you."
0:51:09 > 0:51:15But now, you know, if you ask me about careers
0:51:15 > 0:51:17and having a job and everything or...
0:51:17 > 0:51:21not a career, but having something that you're engaged in,
0:51:21 > 0:51:24something that means something to you,
0:51:24 > 0:51:27that's sort of, that you're doing...
0:51:27 > 0:51:30You know, I increasingly realise how important that is.
0:51:30 > 0:51:36I was sitting on a plane yesterday and I was looking at a woman,
0:51:36 > 0:51:38a young woman, sort of in the...
0:51:38 > 0:51:43across the aisle, and she was very, very pretty and, erm...
0:51:47 > 0:51:51..and she was with a sort of, a guy, I don't know what he was.
0:51:51 > 0:51:52He was hugely tall.
0:51:52 > 0:51:54I mean, he could have been, like, a baseball player
0:51:54 > 0:51:57or something or other, you know, American footballer
0:51:57 > 0:51:58or something or other.
0:51:58 > 0:52:01And I was kind of, in my mind, you know, I was making
0:52:01 > 0:52:03a story up about her and I was thinking,
0:52:03 > 0:52:04well, she doesn't work.
0:52:04 > 0:52:10She's his girlfriend or his wife, but she's travelling around with him
0:52:10 > 0:52:13and she's very, very pretty, but...
0:52:13 > 0:52:15she's not going to be able to keep those looks,
0:52:15 > 0:52:18you know, her looks will go,
0:52:18 > 0:52:21and I hope she's doing something else
0:52:21 > 0:52:24and not just being his companion,
0:52:24 > 0:52:29because, you know, that must be so brutal for people
0:52:29 > 0:52:33who rely upon how they look to define themselves.
0:52:35 > 0:52:38You know, when you age, you just...
0:52:38 > 0:52:41that just goes, and then what have you got left?
0:52:41 > 0:52:43And I was just thinking, "Well, you know, I'm very lucky.
0:52:43 > 0:52:46"I've never defined myself by how I look."
0:52:46 > 0:52:47Erm...
0:52:47 > 0:52:50So, there hasn't been that much to go,
0:52:50 > 0:52:54and, erm...I've done something else.
0:52:54 > 0:52:59So I guess I did feel a sort of achievement at that strange moment
0:52:59 > 0:53:01on the flight from Geneva.
0:53:36 > 0:53:38I just want to see how small she is,
0:53:38 > 0:53:40cos they're always much smaller than I think.
0:53:40 > 0:53:41- (She's coming now.)- Charlotte.
0:53:48 > 0:53:50I know, I was...
0:53:50 > 0:53:54I don't think I went to bed until 3am.
0:53:54 > 0:53:57Hi, how are you? So nice to see you.
0:53:57 > 0:54:01- Can I get a quick picture for Instagram?- Yeah.
0:54:02 > 0:54:04May 21st.
0:54:04 > 0:54:05We need the flash.
0:54:05 > 0:54:09When I first started filming with Alex nine months ago,
0:54:09 > 0:54:13I asked her what she thought of the reality TV star Kim Kardashian.
0:54:14 > 0:54:18She said she didn't think she was particularly interesting.
0:54:22 > 0:54:26But Alex also told me she changes her mind quite a bit.
0:54:27 > 0:54:31Kim has been invited to speak at the Vogue Festival,
0:54:31 > 0:54:33which has been organised by Alex.
0:54:34 > 0:54:38It's part of the final weekend of celebrations.
0:54:43 > 0:54:46I'm changing this one around here, actually.
0:54:48 > 0:54:52- In a situation like this...- Yeah? - ..is there, like, a top table?
0:54:52 > 0:54:57- Well, sometimes there is. I'm trying to avoid that...- Right.
0:54:57 > 0:55:00..because then you have a problem with people feeling, if they're not
0:55:00 > 0:55:03on the top table, why aren't they on the top table?
0:55:03 > 0:55:05And there's that thing of "that much closer to God"
0:55:05 > 0:55:06that I'm trying to avoid as well.
0:55:06 > 0:55:10It was one of those things that they said in Sardinia
0:55:10 > 0:55:12when the Aga Khan's yacht was...
0:55:12 > 0:55:14And then there was this pecking order as to
0:55:14 > 0:55:17who was more next to the Aga Khan's yacht and, you know,
0:55:17 > 0:55:20the less important you were, the further down the harbour you went.
0:55:20 > 0:55:23That much closer to God you've got to get.
0:55:23 > 0:55:28So I'm trying to avoid the "that much closer to God" situation
0:55:28 > 0:55:32by distributing people who are, sort of,
0:55:32 > 0:55:34well-known throughout the tables,
0:55:34 > 0:55:38but also distributing the tables themselves
0:55:38 > 0:55:41so that you don't have a kind of cluster.
0:55:41 > 0:55:44I noticed you've put, on one of the tables,
0:55:44 > 0:55:46Samantha Cameron with Kim Kardashian.
0:55:46 > 0:55:48That'll be an interesting combo.
0:55:49 > 0:55:51Interesting is also good!
0:55:51 > 0:55:54- What was your thinking behind that? - That it would be interesting.
0:55:54 > 0:55:56Also, more to the point there,
0:55:56 > 0:55:59actually, that Samantha would be with Jonathan,
0:55:59 > 0:56:01and Jonathan is the head of Conde Nast,
0:56:01 > 0:56:06so she would be with the person that's, you know,
0:56:06 > 0:56:08the head of the whole thing,
0:56:08 > 0:56:13which would be appropriate for the wife of the Prime Minister.
0:56:13 > 0:56:14We've got Marie Helvin...
0:56:16 > 0:56:17I thought we sat her.
0:56:17 > 0:56:19Not yet, I think I moved her,
0:56:19 > 0:56:21because I thought maybe she should be...
0:56:34 > 0:56:40'Welcome to British Vogue's centenary dinner.
0:56:40 > 0:56:44'I'm Nicholas Coleridge, president of Conde Nast International,
0:56:44 > 0:56:49'and we are thrilled that you are here at our 100th birthday party.
0:56:51 > 0:56:58'Very few magazines make it to 100 years and even fewer
0:56:58 > 0:57:03'as stronger today than at any earlier time in their history,
0:57:03 > 0:57:06'but that is the case with Vogue.'
0:57:08 > 0:57:14Obviously and undeniably, how incredibly lucky we have been
0:57:14 > 0:57:19in the editor of Vogue over the past quarter-century, Alexandra Shulman.
0:57:20 > 0:57:22APPLAUSE
0:57:37 > 0:57:41She has edited the magazine for exactly one quarter
0:57:41 > 0:57:45of the magazine's life and it is no coincidence that
0:57:45 > 0:57:50the past 25 years have been the most successful in Vogue's history -
0:57:50 > 0:57:56creatively, financially, in circulation and in reputation.
0:57:56 > 0:57:58It is my pleasure to introduce
0:57:58 > 0:58:02the editor in chief of British Vogue, Alex Shulman.
0:58:02 > 0:58:04APPLAUSE