[New York, September 3. Image via INF]

Karen Mulder was a blonde 5'10" Dutch teenager who shot to fame after a friend sent in pictures of her to the Elite agency's famous Elite Model Look competition. Within two years, Mulder had given up high school to work full-time for clients like Valentino, Giorgio Armani, Calvin Klein, Yves Saint Laurent, and Versace. She made the covers of British Vogue, Italian Vogue, and various international editions of Elle, among many other magazines. At 21, she bagged a multimillion-dollar multiyear contract with Guess? She was picked as one of Peter Lindbergh's iconic gaggle of leather-clad biker supermodels in American Vogue in 1991, when DUMBO was still thought of as a little dangerous.

That's Mulder second from the right, between Stephanie Seymour and Naomi Campbell. Her career, still managed by Elite, flourished through the 1990s. Mulder capitalized on her wholesome look with commercial gigs, like her two appearances in Sports Illustrated's Swimsuit Edition, and she became a Victoria's Secret model. There was a Karen Mulder doll, made by Hasbro. Mulder dated a racecar driver, she dated Prince Albert II of Monaco, she dated a real-estate developer named Jean-Yves Le Fur. They broke up, but it was still Le Fur who picked her up off the floor of her Paris apartment and called the ambulance in the winter of 2002, after Mulder attempted suicide by overdosing on pain pills.

The suicide attempt and the coma she would lie in for two days following it came after Mulder had told the press, "From the beginning, I hated being photographed. For me, it was just an assumed role, and in the end, I didn't know who I really was as a person. Everybody was saying to me, 'Hi, you're fantastic.' But inside, I felt worse from day to day." It came after she laid a formal rape complaint in France against Prince Albert. It came after she said, "My job distracted me from my worries. It enabled me not to be myself, to pretend I was someone else." It came after a notorious appearance on French television where her various claims — that men at Elite had raped her, that she had been coerced into having sex to garner better contracts, that Elite had used her and other models as sex slaves in a ring that extended through the top echelons of French society, implicating politicians, members of the police, and other top officials, that her own father had raped her, that she had been sexually abused by a family friend from the age of 2, that she had been hypnotized and raped, kidnapped and raped, and raped some more — were regarded as so potentially libelous that France 2 not only never aired the segment, but destroyed the master tape. No matter: In a series of more-or-less coherent magazine interviews, Mulder repeated most of her accusations, and added that her agency had encouraged her to use cocaine and heroin. She told the Daily Mail, "They tried to turn me into a prostitute because they thought it would be so easy. I was raped by two bookers. I reported them and they were fired. Another time I was shut in the office of [a high-profile man from the modeling world] for a whole day. All these people who betrayed me I used to love very much. Then I realized how big the conspiracy was. It brought in the government and police, who both used Elite girls. People have tried to kidnap and poison me."

Her suicide attempt came after she was packed off to Montsouris hospital and heavily sedated for five months of treatment for depression and anxiety. (Gerald Marie, the head of Elite Paris and one of the men Mulder had accused of raping her, paid.) It came after Marie was filmed on hidden camera by the BBC trying to give a 15-year-old model £300 for sex, and bragging of how many entrants to the Elite Model Look competition — average age 15 — he was going to sleep with that year. It came after Mulder's attempt at a crossover music career resulted in the release of a cover of "I Am What I Am", which peaked at number 13 on the French pop charts in the summer of 2002. It was after recanting all her rape accusations, and explaining that she was in fact dealing with the aftermath of childhood sexual abuse and had "gone overboard," that the former supermodel tried to kill herself. Since emerging from hospital, and until her arrest yesterday, Mulder has kept a low profile.

How a woman like Mulder, one of those people who journalists are always quick to say "has it all," could fall so far, so fast is not really the question that commands interest here. We all know this story: it's got drugs in it, and predatory older men, and very young women, and the abject self-consciousness of the individual whose worth is in her pictures. It's always more or less the same story, even if Mulder, with her recantations and paranoid stories of kidnapping and poison at the hands of a shadowy "they," isn't always its most credible narrator. It's the story of Wallis Franken, of Ruslana Korshunova, of Katoucha Niane.

It's the story presented in a 60 Minutes segment from 1988 that reported, according to author Ian Halperin, "about the many models who had been drugged, raped, and sexually harassed by the world's top agency owners." (Halperin characterized the segment as "shocking.") It's the story of the BBC's undercover documentary of Elite executives offering to pimp out their models for drugs. (This was seen as "alarming" and "surprising.") It's the story models like Sena Cech are telling when they talk about being coerced into sex by photographers and clients at castings and on the job. (These accounts, and model Sara Ziff's documentary that provides one vehicle for them, were described in the Observer by writer Louise France as both "shocking" and "surprising.")

What amazes even more than how little the story actually differs from telling to telling, how fundamentally the same its elements remain, is our capacity for disbelief. It takes a certain dedication to one's own credulity to insist on being "surprised," "alarmed" and "shocked" by a situation that has been the subject of interest from such under-the-radar media venues as 60 Minutes going back a generation. As a culture, we have so far managed, through every news story and blog post and exposé, to maintain an innocence of the realities of the modeling industry that is almost touching. Or nearly culpable.

Our persistent willingness to be taken aback by the notion that wealthy, powerful, older men, when left in charge of a younger, poorer, female workforce, might generally act as something less than gentlemen, is testament to the power the multibillion-dollar fashion industry wields as an expert creator of narratives. It's this attitude of disbelief that allows agency directors to claim they had no idea some of their models were using cocaine and that some of their bookers were dealing it to them, or that some photographers like to sleep with models and some bookers encourage models to go along with it. Our endless capacity for shock is what gets Karen Mulder sedated and lets Gerald Marie retain, to this day, his position as head of Elite Paris.

The longer we keep up our charade of disbelief, the less the industry will change. One of the most chilling scenes in Sara Ziff's documentary, Picture Me, didn't make the final cut. A model was talking about a photo shoot that took place she was 16, with what Ziff has described as "a very, very famous photographer, probably one of the world's top names." When the girl left the studio to go to the bathroom between shots, the photographer cornered her in the hall. Then he started touching her dress. "But you're used to this," Ziff reported he said. "People touch you all the time. Your collar, or your breasts. It's not strange to be handled like that." Then the world-famous photographer put his hand to her crotch and forced his fingers into her vagina. The teenager, who had never even kissed anyone before, just froze and waited for the man to walk away. They finished the shoot, and she never told anyone. The day before the New York premiere, she begged for the scene to be cut.

But more and more models are speaking out. (I have.) If only we can dispense with our "shock" at what they have to say, perhaps this is an industry where some realistic chance for improvement remains.

Supermodel Karen Mulder Arrested For Threatening To Attack Plastic Surgeon
"We Need To See You Without Your Bra, He Told Me. I Was 14. I Didn't Even Have Breasts Yet."

Earlier: The Not-Rape Epidemic: The Modeling Industry Is Anything But Immune
Suicide And Abuse In Fashion's Top Echelon
Ruslana Korshynova, No Longer Anonymous

• Posters The Last International Playboy, featuring Lydia Hearst in a state of undress have been banned in major cities. We just hope all this publicity right ahead of the June 12 release won't harm its box-office! [Observer]

• Karl Lagerfeld, Olivier Theyskens, and Alber Elbaz are rumored to be doing a grand fashion switcheroo. According to fashion writer Diane Pernet, Lagerfeld hasn't renewed his contract at Chanel, and Elbaz, of Lanvin, is going to take his place. Theyskens won't go to Schiaparelli, as previously thought, and instead will take the reins at Lanvin. Just wrap your head around that for a minute. [ASVOF]
• Proctor & Gamble is ending distribution of Max Factor makeup in the United States. [WWD]
• A nude photo of Carla Bruni-Sarkozy auctioned in Berlin sold for $19,600. It had been estimated to fetch $3,568-$4,997. [AP]
• André Leon Talley says that Anna Wintour was "thrilled" with Morley Safer's softly-lit, mostly softball 60 Minutes profile — this despite the fact that Safer essentially called Wintour a "bitch" to her face. Talley did puzzle at some of Safer's takes on the various designers and models he met in the course of his research — he memorably said Karl Lagerfeld "this season favors a Dracula look." "He's had that look for eight years!" laughed Talley. [Mediabistro]
• Model Daisy Lowe: "I'm going to get old and wrinkly, and when I'm older I'm going to put on loads of weight, and I'm excited about it. I think it's just really important to remember that you aren't your face." [Telegraph]
• Designer Charlotte Ronson: "i lost my favorite black vintage sweatshirt at Avenue in ny last night. Please if anyone finds it contact me. there will be a reward." [CJRonson's Twitter]
• Linda Evangelista says that lip liner and a slick of gloss is a much more "modern" look than lipstick. Okay. [MSN]
• Creative director Esteban Cortazar is said to be on his way out at the troubled house of Ungaro. Although Lindsay Lohan is not, as had been rumored, in the running for any kind of creative position, C.E.O. Mounir Moufarrige favors her, or another celebrity, as a face of the brand. This marketing strategy was not to the 25-year-old Columbian designer's liking. [WWD]
• Jason Wu showed his resort collection yesterday in New York, and some of the editors who came to watch it did not eat any of the hors d'oeuvres. Shocking fashion behavior, that! [P6]
• Banana Republic is going to launch a men's and women's fragrance duo, to be called Republic Collection. [WWD]
• Pictures of the Hotel Missoni in Edinburgh, the first of three currently planned Missoni-designed hotels, are now available. It looks nice. Single rooms start around $289 per night. [Hotel Missoni]
• For those of you who appreciate good design, have several homes, and enjoy the sun (but not the surf), Rosa Cha has a line of beach wear that can't get wet. Although Raquel Welch has already bought up all their $1,200 leather bikinis (joke), and a $1,900 caftan also already sold out, the designer's Swarovski-studded bathers are still available, at $3,200 for a maillot and $1,200 for a bikini. "The people that buy the pieces are people who, well, can definitely afford these kinds of items," said store manager Christina Delice. Indeed. [UPI]
• First order of business for Roberto Cavalli and Clessidra SpA, the private equity fund he just agreed (in a non-binding way) to sell 30% of his business to, is finding a C.E.O. Apparently, they already have a shortlist, although we don't know who's on it. Versace, whose C.E.O Giancarlo di Risio is expected to tender his resignation to the board at its meeting in Milan today, isn't in any such hurry. The company is understood to be still drafting its list of potential leaders. [WWD]
• Abercrombie & Fitch experienced a 28% drop in same-store sales for the month of May. Stock fell by 13% after the announcement. [The Street]
• Madewell, the slightly-less-expensive J. Crew outpost, is going to launch an e-commerce site in its name by the first quarter of next year, said C.E.O. Mickey Drexler. Let's hope it works a little better than the regular J. Crew site. [WWD]
• Although Orla Kiely's privately held company is not obligated to disclose its sales and revenue figures publicly, the designer says her business is going gangbusters, recession be damned. Her housewares line for Target is especially successful. [NY Times]
• A Pennsylvania woman who patented her design for a bra that would provide uplift and a smooth silhouette, and then sought out Victoria's Secret as a potential manufacturing partner, says that the company instead consulted with her long enough to steal the idea. She is suing. [UPI]

• In a stunning revelation that will surprise no-one, Karl Lagerfeld's ex-assistant says the Kaiser is "an unbelievable narcissist." Who "needs an eternity to get ready in the morning." [Blackbook]

• Hilary Swank on the tough reality of Cannes: "I'm starving and the music's so loud I can't hear a thing." [WWD]
• In a plan expected to be announced today at City Hall, New York city boutiques will throw a party to kick off the next fashion week, on September 10. Anna Wintour and Mayor Michael Bloomberg are behind the idea; stores will stay open till midnight running promotions and designers will be in attendance. Fashion Week is traditionally an industry event focused on buyers and editors. Maybe this could be a good way to capitalize on an opportunity to target the actual public, and retail? [Cityroom]
• Ending a long search, Halston has chosen London designer Marios Schwab as its new creative director. The label had been rudderless since the departure of Marco Zanini in early 2008. [WWD]
• Some contend that Michelle Obama's purported magical effect on clothing sales is a media construct. J. Crew's CEO, for example, believes that while the First Lady has given the company vast free publicity by favoring its cardigans, she has not necessarily driven sales. This is a view backed up by JP Morgan's research report on the company. Several J. Crew items the first lady has worn are even on clearance. (Of course, it's entirely possible that many of the younger, less-established designers Michelle Obama has favored would have a different experience to report. Jason Wu and Thakoon have to be feeling her patronage in their sales.) [The Big Money]
• That doesn't stop the fashion world from going giddy over Mrs. Obama. [WWD]
• French Vogue editor Carine Roitfeld: "Fashion is not about clothes, it is about a look." [Guardian]
• Anna Wintour's 60 Minutes segment was watched by 10.2 million on television, and drew an unknown number of online viewers. [Folio]
• Tim Gunn just got a new apartment — "Most of the apartment is aubergine. It's like living in a bruise." In between repainting, he's traveling to promote the new season of Project Runway, and pick designers for the next. He also recommends you read Adam's Navel by Michael Sims. [Blogging Project Runway]
• Carolina Herrera, who is often glimpsed in a crisp, white shirt, gets hers at the Gap. Sort of — designer friend Patrick Robinson sends her them by the dozen, and she gets them monogramamed. But if you, mere pleb lacking designer friends, want to buy them off the rack, they cost $44. [Style.com]
• Manhattan might be getting a Nordstrom Rack. [WWD]
• Angelina Jolie's stylist seems surprisingly grounded, for a woman whose most recent splurge was an $1,100 Gucci dress. (Which she is thinking of returning, since she saw a similar style at H&M.) [LA Times]
• The New York Times' Cintra Wilson cast her critical-shopping eye on Derek Lam. "There is absolutely nothing wrong with Mr. Lam's desire to create ruling-class finery; it's lovely, top-shelf stuff, and he should make no bones about the fact that his creations are not warm, fun, affordable or sensuous," writes Wilson. "They are formal, uptight gift wraps — silk boxes in which women may demurely present themselves, with politesse, deference and flawless snobbery, to a world of rich and powerful men." [NY Times]
• First-quarter earnings for Philips-Van Heusen, parent company of Calvin Klein and Van Heusen, among other brands, sank by 47% on last year's numbers. Sales declined by almost 11% during the period. [Crain's]
• Key words for this Marks & Spencer commercial, starring Twiggy: "value" nostalgia recession "quality" penny pennies prices trust penny. [Guardian]
• Current Marks & Spencer print model Marie Helvin is 56, and and pretty fantastic. "Please shoot me if I'm doing this in my 80s," she tells the Times of London. "Anyway, one day I won't be able to...I've had an amazing life, done lots of fantastic things. I never wanted children, so that's not an issue." She's also open about having had an abortion. [Times of London]

• Victoria Beckham reportedly owns 100 Birkins, with a $2 million value. Although Posh's penchant for the carryalls isn't in question, we do nonetheless note this story has two pictures of her holding Kellys. [Daily Mail]

• Right after settling the lawsuit brought against it by Woody Allen to the tune of a cool $5 mil, American Apparel released its quarterly results. And they were less than glowing. In the period ended March 31, the fashion giant lost $9 million, as operating costs rose 21%, to $69.3 million, and sales grew only 2.4%, to $114.3 million. Company stock fell by 20% during yesterday's trading. Because of the classification of its revolving credit facility as a long-term obligation, American Apparel may also be obligated to restate its previous financial statements. It has already reduced its full-year sales forecast by $25-$50 million. [Reuters]
• Michelle Obama cut the ribbon on the renovated American Wing of the Metropolitan Museum of Art wearing a purple Isaac Mizrahi sheath. Oscar de la Renta was heard to sob quietly into his pocket square. [WWD]
• Then, she went to the American Ballet Theatre's spring gala at the Metropolitan Opera House, where she wore an Azzedine Alaïa dress and a Thakoon jacket. Earlier, at the museum, she said: "The arts are not just a nice thing to have or to do if there is free time or if one can afford it. Rather, paintings and poetry, music and fashion, design and dialogue, they all define who we are as a people and provide an account of our history for the next generation." [AP]
• Anna Wintour's office chairs, glimpsed briefly in the 60 Minutes segment that aired Sunday, have been ID'd: they are classics of Art Deco design, and cost $250 apiece. [UnBeige]
• Brüno has a Twitter account, and you can expect Tweets in the character's voice until the movie hits theaters on July 10 (it is, naturally, a marketing effort). For now, enjoy witticisms such as: "Am I ze most gifted Austrian ever? Let's just say zat at 14 ich could play Rock Me Amadeus on ze flute. Falco didn't write it til he vas 29." And: "Ze vorld ist zo screwed up - vhy do zey give out Nobel Prizes for physics, medicine und svimming, but not for fashion?" [Brüno's Twitter]
• Isabel and Ruben Toledo, fashion designer and fashion illustrator, respectively, were honored with the André Leon Talley Lifetime Achievement Award at the Savannah College of Art and Design's annual fashion show. Talley told the crowd, "The Toledos represent a quarter century of love and brand building. They're like two oaks, branches intertwined forever." [Reuters]
• In other awards-show effusions, Betsey Johnson compared New York Fashion Week head Fern Mallis to David Bowie and Mick Jagger as she presented her with Parsons' AAS Icon Award. When students in the Associates in Applied Science fashion marketing program got a little rowdy, Johnson quieted them with four words: "I'm looking to hire." [WWD]
• For a taste of how the Valentino half lives, imagine this: fireplaces ablaze out of season, air conditioners running, and uniformed manservants depositing cool glasses of water onto linen napkins. Also: secret buttons inside the bookshelves. [Guardian]
• Marc Ecko has announced he'll be doing co-branded collections with DC Comics, incorporating the characters of Batman and the Rogues Gallery. Perhaps the superheroes can save his troubled business? [WWD]
• Burberry, in the year ended March 31, lost $9 million. Its core earnings fell 13%, but annual sales rose 21%. The main reason for the loss was a company write-down that cost £116 million. The brand, which has already laid off 800 workers, still expects to open 10-15 stores this year. [WSJ]
• Yesterday, we included a Rag Trade item, sourced to WWD, about designer Erin Fetherston. Fetherston was reported to be making a short film about her fall collection in New York's West Village, starring Juliette Lewis with music by Damon Dash, and her husband, the artist Hedi Firjani, told WWD that Fetherston was looking to launch a line with QVC, probably timed to coincide with New York Fashion Week this September. Both are untrue, according to Fetherston's PR rep, who contacted us shortly after we published. Fetherston is making a film, with director Marisa Crawford, but Juliette Lewis isn't the star. And the deal with QVC is not confirmed.

That low barrier to entry might just be what left the septuagenarian Canadian Vietnam war correspondent feeling entitled to come to some very definite opinions about other sartorial matters during the course of his reporting on Anna Wintour for last night's 60 Minutes. I edited the juiciest examples of Safer's judgments on his newfound area of expertise into the clip at left.

Exposure to the month-long rigmarole of the international ready-to-wear season made Safer so cranky he seems to have forgotten the London shows even existed, as he blithely elides them from his list of fashion weeks. But seated there in the front row, with Wintour as his guide, Safer at least learned enough to confidently diss Karl Lagerfeld's "Dracula" look, and accuse Italian Vogue's legendary Anna Piaggi of being "campy." He calls models "as angry as they are emaciated" while footage of Alyona Osmanova in the fall/winter Prada show rolls. Then his camera zooms in on the straining sleevecap of John Galliano's suit as Safer, in perfect underminey ladymagspeak, intones that "some might say" the designer would benefit from "a better tailor." Louis Vuitton Moet Hennessy chief executive Bernard Arnault, whom Safer later interviewed, definitely had that tailor, so the journalist gives him props. But wait! As we find out in this clip, when Safer gets a tour of the Vogue accessories closet, there's a whole lot more to style than just picking the right suit.

"I guess all of this constitutes accessories," says Safer warily, peering at rows of hats and bags. "Right!" explains a Vogue worker bee, helpfully. "Everything that is not a piece of clothing is an accessory." So much to learn, and so little time. Keep working on it, Morley!

Anna Wintour, Behind The Shades [CBS News]
More Anna Wintour Clips And Outtakes [CBS News]

"To an outsider, these [fashion] shows are another planet. Part dazzling, part Rocky Horror Show. Models who seem as angry as they are emaciated, wearing clothes fit for a cadaver." Dude, we get it. You don't like fashion. Insinuating that Karl Lagerfeld is Dracula shows real journalistic integrity. It was also annoying when Safer went on about Wintour being well-groomed; do you really expect the high-profile editor of a fashion magazine be anything less? But back to Anna Wintour:

She came off as a shrewd businesswoman who knows her stuff, makes no apologies and never backs down from what she believes in. She loves clothes, fashion, style and glamour, and doesn't think there's anything wrong with that. On the one hand, you have to admire her steely resolve; there's no waffling, and her strength and commitment to her vision is what makes her a respected editor. On the other hand, that rigidity paired with a narrow view of what "beauty" is means that she's completely unapologetic about things like Photoshop and fur.

As seen in this outtake, Ms. Wintour gushes, "I love fur! Fur is very much part of the fashion industry." When it comes to the raccoons and paint thrown at her she says, "I simply ignore it." It's quite clear that she does not give a shit if lower life forms have to die, and she will never ever ever feel bad about that.

In addition, it's clear that Ms. Wintour really dislikes "fat" people. She wants everyone to be slim, which is why she told Oprah to lose weight to be on the cover of Vogue. In this outtake, she claims she gave Oprah the "gentle suggestion" to drop some pounds. "I suggested that… she lose a little bit of weight… I said simply that you might feel more comfortable. She was a trouper! She totally welcomed the idea and she went on a very stringent diet and it was one of our most successful covers ever."

In this video, Ms. Wintour is explaining a picture of an obese woman. She says, "I'd just been on a trip to Minnesota, where I can only kindly describe most of the people I saw as little houses." She uses her hands to show just how wide these fatties were. She goes on about the epidemic of obesity in the United States and basically whines that everyone is always picking on the anorexics, when we really need to be teaching people how to "eat and exercise."

In another outtake, Wintour defends Photoshop, saying she uses it to make people "look their best." She says, "That's one of the things that makes me rather angry, that I don't understand — that if you look wonderful, does that make you less important? Less powerful? Less serious?" Well, no… but Vogue creates images which are lies, pictures which have been essentially proven to make women feel bad about themselves. Is that for the best?

While her 60 Minutes interview was illuminating, and certainly reinforced Ms. Wintour's persona as a brusque, extremely serious and intimidating figure (though not cold; she is passionate, about fashion — did anyone catch when she called the price of a $1200 dress "reasonable"?) there were several questions Morley Safer neglected to ask. Such as: Why were there zero models of color in the magazine, issue after issue, for the last couple of years? Why do you think your magazine sales numbers are down? And how come you don't produce more fashion shoots which lend themselves to LOLVogue?

More Anna Wintour Clips And Outtakes [CBS News]
Related: Women Of All Sizes Feel Badly About Their Bodies After Seeing Models [Science Daily]
Earlier: 5 Possible Reasons Why Women's Magazine Sales Are Plummeting

This 45-second clip, complete with the typical plodding Morley Safer voiceover, hints at the main newspeg of the whole segment: that four-syllable word that starts with "E" and rhymes with "nobody has any money anymore." At an editorial meeting with André Leon Talley and Grace Coddington, among others, Wintour states that the September issue has to be about "value." Yawn.

Looking over proofs for what would become the May issue, Wintour criticizes the subhead for a Stephen Meisel portrait of some of the photographer's current favorites models, Isabeli Fontana, Natasha Poly, Raquel Zimmerman, Liya Kebede, Karen Elson, Sasha Pivovarova, Natalia Vodianova, Lara Stone, Coco Rocha, and Caroline Trentini. An editor wanted to headline the photo "The Faces of the Moment," because that's the issue's cover tagline — even though these models are a slightly different group than the cover gang — but a nonplussed Wintour replies, "Keep thinking." (I just checked Vogue. The picture ends up getting called "Divine Inspiration.") Snooze.

Ever the hard-hitter, Safer also apparently gets Wintour to explain why she wears sunglasses indoors. Snore.

Watch CBS Videos Online

There was that documentary she allowed to be made, and even did publicity for; that "conversation" with fellow Condé Nast editors-in-chief David Remnick and Graydon Carter; the Wall Street Journal interview; the 60 Minutes special, dedicated to her, that will finally air this weekend. An awfully full dance card for a woman who otherwise seems to regard the press as an impertinent gnat.

In her interview last night with Jonathan Tisch, Wintour, much like her magazine, addressed a limited number of exquisitely soft issues in predictable ways. Shockingly, she thinks Michelle Obama is fantastic. Wintour also denied advertisers exert any sway whatsoever over Vogue's editorial content (explain, then, why the ladymag feels the need to present head-to-toe runway looks that exactly duplicate designers' own ad campaigns, month after month and year after year?) Wintour of course denied she had any plans to retire: "Mostly I'm thinking about the next day. I think that I have the best job in the entire world." She weathered a vocal attack from PETA protesters who threw a banner from a balcony — "As I was saying, fashion means different things to different people," she said mirthfully, before continuing — and hinted that more models may be seen on Vogue covers in the near future. (That's probably no red herring: not only has scuttlebutt of that exact nature hit fashion blogs and forums as of late, but at one of her last public appearances, in December, Wintour said she hoped to have Michelle Obama on the cover — and that came true this March. The lady does not mess around with cover talk.)

But what seems to be on her mind more than anything else is a certain dress with sequins. At the Y, she said that before the economy cratered last fall:

I probably didn't delve as deeply as I should have into what things cost. Now I ask the price of every single outfit that comes into the office, and I think a lot of my editors have been quite surprised about what a little sequin dress from an unnamed designer might be, and if it's $25,000, we'll say, ‘Okay, well, not this time.'

You might remember that in February, she told the Wall Street Journal:

Without naming names, we had a little sequined thing that wouldn't come down to here on you [points to chest.] And I said, 'How much is it?' $25,000. I said, 'No. We're not going to photograph that right now.'

And, at the December editors' conversation, she related that when a $50,000 dress "not much bigger than your shirt, Graydon" came through the Vogue offices, she said:

I'm sorry, but we're not putting that in the magazine, no matter how magical Steven Meisel thinks it is.

This dress — and I'm confident it is a dress, even though the Wall Street Journal reporter, Rachel Dodes, came away with the impression that it might have been nothing more than "a bedazzled shrug" — is Anna Wintour's rosebud. It's the MacGuffin of the recession! This slinky sequined mini-thing, which costs either $25,000 or $50,000 or some other similarly absurd sum, which may or may not have been requested for a Meisel shoot, which may be by "an unnamed designer" or alternatively a designer Wintour wishes not to name (odds-on it's an advertiser, then) — this dress is the key to understanding the new fashion economy. Surely Anna wouldn't just be wasting our time with tired talking points and six-month-old stories about nothing.

Now all we have to do is identify the sucker. You know where to send the candidates.

Earlier: Being Anna: "Sometimes You Don't Love The Press"

Related: Anna Wintour Getting Ready For Her 60 Minutes Close Up [Gawker]
Anna Wintour Gets Chatty At Sundance [The Cut]
Anna Wintour Adresses Rumors About Leaving Vogue, Michelle Obama, The Recession, And More [The Cut]
In Which We Offend Anna Wintour And She Shoos Us Away [The Cut]
Just Asking: Anna Wintour [WSJ]

She said that her style was inspired by the "town tramp" whom she admired when she was a little girl, thinking that her big hair, short skirt, long nails and red lips were glamorous.

• Candie's decided to take a chance on Britney Spears, and her cohort of current fans. The singer is the latest face of the tween-friendly brand. [WWD]

• Hello, viral marketing! There's already a "behind-the-scenes" vid of Ms. Spears shooting looks for the Candie's campaign, but, slightly more interestingly, it includes rehearsal footage featuring Spears in what are presumably those DSquared costumes we just heard about. There's a cool big-shouldered red jacket with swinging black fringe on the epaulettes. [PopSugar]
• Here's some news to make it worth getting up in the morning: Tom Ford, who has said in the past that he wants to do women's wear with his eponymous label, might be re-hiring Alessandra Facchinetti as head designer for the ladies' stuff. Facchinetti was Ford's women's wear point person when he was at Gucci, and she succeeded him when he left the company. But Facchinetti was fired from her position after just two seasons, and she was unceremoniously dumped from her next position, as creative director at Valentino, after just a few months in charge as well. Facchinetti is a talented designer, but maybe it takes Ford to get the best work from her? Let's hope this rumor proves true. [The Cut]
• Uniqlo had its fourth straight month of improving same-store sales, even in the midst of this recession. Same-store sales were up 4.2% in February, mainly on the back of increased patronage, since per-customer sales didn't rise significantly. [WWD]
• Also demonstrating that retail isn't entirely a scorched-earth zone these days, albeit more tentatively, is Claire's. Although their fourth-quarter results are still bad, their same-store sales rose in January and crossed into positive numbers last month. [WWD]
• This month, Forever 21 is launching a new plus-size range, called Faith 21. (The company is run by weird fundamentalist Christians, which pretty much explains the name.) [LA Times]
• Chanel, on the other hand, is closing two of its Japanese stores, and Chopard is having layoffs. [WWD]
• Jennifer Connelly wears Balenciaga in her Revlon ads, shot at Milk studios in New York. In this video, she talks about beauty. [Style.com]
• Freida Pinto might be a pick for an Estée Lauder contract. [WWD]
• Pharrell Williams, whose fashion interests already include Ice Cream and the Billionaire Boys Club, bought an interest in an ecologically sensitive yarn company in December. Which W decided to write about, now. For some reason. [W]
• Marc Jacobs donated a signed iPod to charity and we might as well pretend for the fun of it that his song list offers unexpected insights into his personality. What kind of man mixes Leonard Cohen and Lady Gaga? And then polishes the lot off with "No Scrubs" by TLC? It's fun to imagine Jacobs mouthing, "No, I don't want your number/No, I don't wanna give you mine/I don't wanna meet you nowhere/I don't want none of your time!" while sketching blouses for his collections or something. Oh, and for one last piece of Britney news: her iPod only fetched $801 at auction. [Unbeige]
• The difference between Anna Wintour, who has the dusty feel of a fashion institution these days, and Carine Roitfeld, who gives the impression she just might have a dust rag on or about her person, couldn't be more aptly underscored by the difference in the camera crews they attract. Wintour, editor of American Vogue, is to be the subject of a 60 minutes piece by Morley Safer, who first came to acclaim for his Vietnam coverage. Roitfeld, editor of French Vogue, gets something on CNN Revealed, which will almost certainly be cooler, hipper, and better, since it's cable and Carine and all. [The Cut]
• Katie Grand's Love magazine is either sold out of its 67,000 print run, and therefore fastest-selling debut magazine for Condé Nast UK ever, or it's just a lot of creative hype and there are in fact copies all over the place in Britain, depending on whether you believe Love magazine, or a bunch of anonymous Fashionista commenters. [Fashionista]
• Ever flip through a J. Crew catalog and think, 'Wow! These people clearly are a bunch of insurgent creatives, introducing mad art and design to chinos and pastels.' The impression will only be confirmed by Alex Katz's turn as a model for their spring catalog and in-store displays. Katz, 81 years young, is a Big Deal in American painting. [Unbeige]

[CBSNews]

Earlier: Valentino In Vogue: Models With Ennui Playing Invisible Croquet
Why Don't I Love Shoes? An Exploration In Photos

War Against Women, Anderson Cooper Reports On the Use Of Rape As A Weapon [CBS News]
Earlier: In Congo, They Rape Three-Year-Olds

The internet is abuzz this morning with angry bloggers railing against Katie Couric's line of questioning during her sitdown with John and Elizabeth Edwards on last night's 60 Minutes.

For those of you who haven't seen the interview, the gist of it is this: For 14 captivating but simultaneously excruciating minutes, Katie questioned John and Elizabeth regarding the couple's decision to continue on with John's run for the presidency despite Elizabeth's newly-returned cancer. Although the interview started out friendly enough, Katie quickly began to engage in what one CBS News commenter rightly describes as a cross-examination, questioning John and Elizabeth's priorities using the dreaded "some people say" pretense:

"...some say, what you're doing is courageous, others say it's callous."

"Some have suggested that you're capitalizing on this."

"Some people watching this would say, 'I would put my family first always, and my job second.' And you're doing the exact opposite. You're putting your work first, and your family second."

"I guess some people would say that there's some middle ground."

..."Even those who may be very empathetic to what you all are facing might question your ability to run the country at the same time you're dealing with a major health crisis in your family."

We understand that in journalism, asking the tough questions is of the greatest importance. But Katie Couric didn't do the Edwardses — or herself — any favors by rephrasing the same questions and opinions over and over and attributing them to "some people". Doing so made Katie — the first solo female network news anchor, mind you — come across as the sort of person who wants to be taken seriously but feels she has to attribute her most difficult, uncomfortable assumptions to others so she doesn't come off as an asshole.

Please, Katie: If you're going to be an asshole, own it. This passive-aggressive stuff is precisely what gives women a bad rap.

Update: Once again, Nora Ephron explains it all for us.