MovieChat Forums > The September Issue (2009) Discussion > The artistic vision of Grace Coddington

The artistic vision of Grace Coddington


My take: Anna is a bit envious of Grace's talent. I found her work SO incredibly amazing. It could be hanging in galleries and museums as far as I can see, not just in a fashion magazine. She puts so much effort into making the images perfect, and is so dedicated.

It was very frustrating to see the way Anna tossed out some of her work (some of the most beautiful images I've ever seen, not just in a magazine, but ANYWHERE). Grace was livid, but there's not much she can do about it. It must be so difficult for an artist to kowtow to someone who has control over your creations.

The fact that she's stayed at Vogue all these years? She said "your work needs someplace to go, or it's not valid." I think she's a bit afraid that her talent would not have anywhere to go. It's scary to strike out on your own, especially as an older woman. But she's completely wrong...at this point she probably sees Vogue as part of her identity, but it doesn't have to be. She is a true artist with unbelievable vision.

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I'm sure another magazine would snap her up if she were available!

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I think Anna and Grace shared a very symbiotic relationship, and they require each other to succeed. I think left to her own devices, Grace would pursue the art of fashion, creating images that were pleasing and paying tribute to the designers and models, but it would lack the 'wearability' and accessibility that Anna keeps mentioning. If Grace didn't have Anna to reign her in, she would veer off into creating fashion art. Vogue would become an art book, which it is not.

Vogue is in the business of marketing, and Anna understands that. She's responsible for editing a magazine that everyday women, and not just artists and photographers, would want to read. Grace's images were outstanding and beautiful, but the ones that were cut from the magazine sold a beautiful image, and not the garments within them. It's definitely a tough call, but a necessary one. Anna is the only one who can make that call, because beyond Grace, Vogue is staffed with bobblehead yes-men (Darko was ridiculous. I'd fire him immediately).

I think Grace and Anna understand this relationship, and while it can be a brutal process, it is a necessary process. If Grace is really that unhappy about her vision being compromised, then she can likely easily join the ranks of a Testino or Demarchelier. But she's in the magazine business, not the photography business.

It's a very similar relationship between a film director and a studio exec, one is about vision and story, and the other is about bringing in an audience. Compromise has to happen for either one to succeed.

"We can never achieve peace by killing each other's children."

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I completely agree with you, sridharisreddy,.

As an artist whose had very stern instructors driving me to achieve my full potential, I was shocked I found myself agreeing with the majority of Anna's edits. Especially, concerning Grace's work.

Though beautiful, that group picture of Galliano's clothes was not accessible.
The other images portrayed the clothes as integrated in life, while the final was simply a potrait of the designer's work. It didn't completely mesh with the total theme.

However, by the end of the film, to Grace's surprise her photos took up a majority of the magazine.

Like 'em or hate 'em, both Grace and Anna are two opposing forces that together
make an incredible combination.

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I think leaving that picture out was a mistake, because everyone loves that picture.

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