Pic: Vogue.com

When you work at US Vogue, a fashion shoot’s no mere bagatelle. Nope, you don’t just have an idea a couple of months out, run it past the editor and then plan it. A Vogue shoot, as the three-part video diary for the March 2014 fashion story, Petal Pushers – or its working title, Flower Power – shows just how far into high art (or high farce) the magazine has pushed it. An “uber-standard,” a staffer describes their approach.

Supermodels, ultra-luxe designer clothes, a set, a phalanx of hair and makeup artists, hotshot photogs and techs, lighting experts, stylists, tailors and more – not to mention story and mood-boards plus booking and market editors (I work on a magazine, I have no real idea what a market editor is) are all involved in producing a fashion shoot it’s likely a lot of people will do little more than glance at.

But shoots are the creative lifeblood for a magazine like this and admired, torn out and used as inspo (and the digital equivalent, pinned) left, right, and centre by fans. Vogue stays ahead partly on the strength of its shoots, so this one, planned as it was for one of the year’s big fashion issues, was particularly crucial.

Will it make it in? Will Anna Wintour like it? Find out below.

Contributing editor Tabitha Simmons (yes, that shoe designing Tabitha Simmons), tentatively begins to plan Flower Power. Anna has a gander at the rails…

The two-day shoot starts. Um, doesn’t seem to be going all thaaaaat well yet.

The shots are back, but will the shoot make the issue?

What do you think? An interesting insight into the magazine-making process or a fashion foible?