Fashion On Film: Scatter My Ashes At Bergdorf's

We all need fantasy, and it can be found at Bergdorf's on 5th Avenue in Manhattan. Scatter My Ashes delves into the dream and desire that fashion evokes in all its lovers, and follows to objects and people that have led to making Bergdorf Goodmans the success story it is today.

While the film itself is slightly lacking in depth and detail, it doesn't prevent you from becoming utterly enchanted with dream like world of Bergdorf's. It's a place to escape from reality and step into this fantasy land where anything is possible. At one point in the film, Robert Verdi states: 'Being able to shop at Bergdorf's is an aphrodisiac', it's a place for pleasure and nothing more high brow than that. And I think that's what Bergdorf's prides itself on so much, that escapism, a safe haven of all things fashion and luxury. And what could be more luxurious than the shoe salon! Just the name itself makes you envisage a setting so lavish and sumptuous designed for the most pampering of experiences, and this is all within a shop! Though I should really be disciplined for referring to it just as a shop. It's an elite destination for designers and discerning clientele alike. 

Designers & Fashion Elitists

From the very start of the film we are introduced to countless designers, celebrities and some of the most influential people in fashion, all of whom gush at how amazing and iconic it is. Much of that success has been from discovering and nurturing new talent. No one else could have done what Bergdorf did for their careers, and they know that. It's a benchmark for designers, that is where their aspirations lie, having their designs showcased in Bergdorf's is the making of a designer. In the words of one of the interviewees, 'If your clothes are not at that place, then your clothes have no future.' That seems to be the general consensus amongst most of the cast of the film. Everyone one of them when they spoke was both radiant and animated, showing the utmost adoration for Manhattan's most magical emporium. 

One of the most emblematic characteristics of Bergdorf's is the huge window displays that every year capture the eyes and hearts of thousands. The status of the windows means that the clothes are designed to fit the windows instead of the other way around, with designers sometimes being commissioned to make dresses especially for the window, that's how prestigious they are. They're so full of action that often they look like stills from movies, not installations ultimately designed for selling clothes. It's a huge attraction for tourists, and I myself have every intention of visiting when I go to New York in January! 

Just the most incredible visual merchandising ever, these windows are stunning!

While the documentary itself wasn't exactly academy award winning, more like one very long and ostentatious commercial, it has opened my eyes to the fascinating inner workings and remarkable untold tales of the history of the iconic Bergdorf's Goodman's. 

It's luxury, It's glamour, It's so Sex In The City

Fashion on Film: The September Issue

Cover for 2007 September Issue
 featuring Sienna Miller

Fashion is demanding, daring and oh so desirable, and nothing epitomises this quite like the fashion bible itself Vogue. In 2007, the September Issue of Vogue weighed over 5 pounds, was 840 pages long and contained 727 ads. Undoubtably something with that kind of magnitude within the print industry requires a huge amount of hard work and dedication, as well as blood, sweat and tears that stain each page. 

The September Issue is a documentary following the creation and production of this most ambitious issue ever, as well as the “life” of Editor and Chief, Anna Wintour. I say “life” in inverted commas, because I think that was the most lacking element of the entire film, despite it being the area I was most intrigued to see, really it seemed like a bit of a lost opportunity. There was not attempt at exposing the myth of Anna Wintour as “nuclear Wintour” a nickname earned from her renowned frosty exterior and Ice Queen like demeanor. Ultimately the reason for this could just be that it is not a myth at all. Wintour herself does little to discourage the judgements about her with at one point responding the accusations of her being an Ice Woman with “Well it has been very cold this week.” 

Personally I was disappointed with the lack of insight into her actual job role. Yes we see her approving or dismissing other people’s work, but I was more interested in finding out more of what being editor and chief of vogue America consisted of: her day to day routine, her presence on shoots, her own creative input into the magazine. It’s all very well watching her purse her lips at other people’s ideas, but I was hoping the film would expose more of her own “talent” as reportedly the most influential woman in fashion. How did she earn that role, and what justified that amount of prestige to be placed on such a high pedestal? Despite this, I couldn’t help but have a certain amount of respect for the First Lady of fashion. Her take no prisoners approach may be brutal, but there’s no denying it gets the job done. At one point in the film, Creative Director herself Grace Coddington is seen advising a young, fresh faced colleague. “Don’t be too nice,” she tells him, “because you’ll lose. You have to beat your way through.” This appears to be the mantra that Wintour has lived her career by. Yes she’s ruthless, but it’s clear to see everything she does is for the magazine, her obsessiveness and possessiveness is to protect the legacy she has built. She’s not particularly exciting though. Failing to demonstrate any real creativity, and throughout most of the film she just appears bored with the whole saga, with the occasional sarcastic role of the eyes and rather pertinent looking pursed lips. When it comes to Anna Wintour, I think the director has played it too safe. The film doesn’t challenge her, and instead just allows her to glide through this apparently very insular world of worshiping minions and handmaiden assistants. 

Now Grace Coddington is one I feel is portrayed as a far more interesting and dimensional personality. Not afraid to say what she’s thinking, we get the impression that she is the only person ballsy enough to confront Wintour, and the only one Anna will in turn listen to. She is clearly respected by all, with Wintour even referring to her as a genius. It’s easy to see why. Despite her prolific status, she will still personally dress her models instead of delegating the slightly mundane job to someone beneath her, showing a personal touch, and that no job is beneath her. Furthermore some of the editorial shoots the documentary follows are absolutely stunning. Her artistic vision is inspired, with concepts executed so beautifully. My personal favourite was the 1920s flapper girls inspired shoot. I think it beautifully highlighted the class and sophistication of fashion at the time, whilst also playing with the slightly darker more mysterious vibe of the speakeasies and prohibition. 

I think the overarching theme of the film is shear amount of work, man hours and money that is poured into the September issue  of Vogue is staggering. I remember during the film being horrified when at one point Grace Coddington refers to how Anna Wintour had just scrapped $50,000 worth of photo shoot; madness! But moments like that are the ones that remind you of the perfection that Vogue is striving for, and that it’s Editor and Chief will not just allow anything merely good or nice within its pages. I guess that’s why people call it the fashion bible. And well Anna Wintour...She’s the high priestess.