Video summary

VIDEO A In Vogue The Editors Eye 2012

Main summary

Key takeaways

Art and Creativity

Overview

The video is a behind-the-scenes look at how Vogue fashion images are planned and created, framed as an “editors’ anniversary” discussion. It argues that fashion photography—crafted by fashion editors in collaboration with photographers—acts as a mirror to the era (“zeitgeist”), transporting readers into fantasy while also documenting real cultural change, including war, feminism, celebrity, street style, surveillance, grunge, and more.

Across decades, the editors describe their work as story architecture and image production: researching concepts, directing models and sets, collaborating with photographers, managing wardrobe, and adapting to unexpected problems during shoots.

It also contrasts several notable Vogue editorial directions, including:

  • romantic narrative fantasy
  • informational modern utility
  • confrontational realism
  • minimal American practicality
  • celebrity-driven spectacle

Overall, the video emphasizes that editorial direction shapes the final photograph as much as the clothing itself.

Artistic Techniques, Concepts, and Creative Processes Shown

Fashion editing as image “production”

Editors collaborate with photographers to create images that:

  • reflect the fashion being featured
  • “hold a mirror up to the zeitgeist” of the moment

The process is described as hard to fully explain, but highly iterative:

  1. editorial vision
  2. story planning
  3. shoot direction
  4. final image selection

Editorial pre-production / concept development

Pre-production involves extensive research and preparation, including studying references (e.g., multiple editions of Alice in Wonderland).

Key approach elements include:

  • “Storyboard” thinking: planning outfits, narrative beats, and shot logic like film
  • managing logistics for large-scale productions, such as multi-week international shoots with large amounts of wardrobe (e.g., “15 trunks”)

Directing on set (model + shot control)

Editors closely observe and adjust to what the photographer needs, including:

  • model pose timing (e.g., “Hold it” / camera click)
  • ensuring details read correctly from the camera’s position

They also make iterative corrections for realism and composition, such as:

  • reorienting wardrobe so elements (like ruffles) appear correctly to camera
  • physically disassembling and rebuilding garment parts to match the planned view

Set/wardrobe engineering for “optical” effects

Some methods are described humorously, but presented as technically real solutions. Examples include:

  • controlling scarf motion when fabric won’t naturally “fly” by tying a thread to direct movement
  • using props/animals (including doberman, snakes, and bees) that require careful risk management and precise timing
  • staging environments that reinforce metaphor—fairy tales, mirrors, and unconventional locations like elevators and corridors

Using shock, sensuality, and cultural controversy as editorial tools

Several shoots deliberately challenge norms, including:

  • publishing stark war imagery as a break with tradition
  • sexualized or confrontational re-framings of women and clothing
  • surreal, thought-provoking concepts (including unconventional bathroom/bath imagery, surveillance, and grunge)

Photographic “style” as personal editorial identity

Different editors pursue distinct aesthetic identities, such as:

  • romantic narrative magic (fairy-tale worlds, poetic storytelling)
  • informational “useful” modern fashion (less fantasy, more practicality)
  • minimal, sharp American sensibility (stripping to essentials)
  • cinematic, subversive realism (surveillance, nontraditional spaces)

Notable Step / Material / Advice Elements

  • Pre-shoot planning

    • Read and study reference materials (including multiple editions/drawings) before the shoot.
    • Collaborate with photographer and model to pre-visualize the shot.

  • Wardrobe adjustment for camera readability

    • If garment orientation doesn’t match the intended composition:
      • disassemble the dress to relocate ruffles
      • reassemble so details read correctly from the camera viewpoint

  • Controlling motion

    • When fabric motion fails:
      • tie a thread to the scarf and run behind the subject to simulate breezing

  • Prop safety and execution

    • When using live animals (snakes, bees):
      • arrange expertise/handlers
      • prioritize model comfort so the pose stays natural and expressive

  • Risk-taking editorial philosophy

    • Don’t avoid controversy—take risks to create images that stop readers, provoke attention, and drive reaction.

Creators / Contributors Featured

Editors / magazine figures (contributors)

  • Anna Wintour
  • Grace Coddington
  • Toni Goodman (American editor)
  • Polly Mellen (Polly)
  • Diana Vreeland
  • Carine Roitfeld (referenced indirectly as “Carine/Carlin/Carlin” in subtitles)
  • Phyllis (described as creating single images that “stop you in your tracks”)
  • Holly

Photographers (featured / referenced)

  • Richard Avedon
  • Helmut Newton
  • Peter Lindbergh (referenced as “Peter” for a shoot concept)
  • Steven Klein
  • Irving Penn
  • Camila (camera/photography referenced in relation to surveillance-style work; exact surname unclear from subtitles)
  • Dick Avdon (appears as a subtitles variant for Avedon)

Models / notable subjects

  • Natalia
  • Arushka (mentioned for a “lovely warrior”)
  • Christy
  • Patty Hansen
  • Deborah
  • Keith Richards
  • Elizabeth Taylor
  • Lady Gaga
  • Camila (also mentioned in connection with the editorial approach; exact relationship unclear)

Historical / documentary figure

  • Lee Miller

Designers / brands mentioned

  • Balenciaga
  • Marc Jacobs
  • Chanel
  • Yves Saint Laurent / Dior (Dior referenced via “Diors”)
  • Hermès
  • Fendi / Lacqua (Lacqua couture t-shirt mentioned; spelling uncertain in subtitles)
  • Tiffany’s
  • Pece Corps (Peace Corps referenced)

Original video