Ditto, who explains that she was "really butch" in high school, says she "loves to break all the rules," in terms of fashion. That's why she wears horizontal stripes, floral patterns and clown-ish ensembles. But while it's interesting to see her gush about seeing designers as "artists," the best thing about this video is the idea that a non-thin person has been given such a platform — allowed to voice her thoughts about fashion on a Condé Nast website.

With buzz about plus-size models and Precious star Gabourey Sidibe rocking fantastic ensembles on the red carpet, it seems that we may finally be getting some positive coverage of larger women — and maybe the idea that fashionable = thin is beginning to break down.

Style Studio: Beth Ditto [Style.com]

Tea, whose last contribution to The Believer was an excellent 2006 essay that offered a queer theory reading of the Annual Taxidermy Convention, Competition, And Trade Show, here offers up a light Paris diary. But in between the Karl Lagerfeld and the Kanye West and the Kate Moss (who actually, during one climactic moment, walks up to Tea and pushes her), there are some real insights.

For one, sexuality issues in fashion are given a hearing, not least because Tea, a lesbian, is accompanying fellow lesbians Ditto, and Tara Perkins — the "Annie Oakley" behind the Sex Workers' Art Show Tour — who manages the Gossip. The fact that the three women are described as having each grown up very poor also motivates Tea to write some eloquent statements about fashion's foundational exclusivity, and about what it means to be on one side of the velvet rope. After being waved past a group of "queer boys with great style and no connections" outside the Nina Ricci show, Ditto remarks, "I've got survivor's guilt. I've got punk guilt."

We all know there's plenty to hate about the insanity of the consumer-driven, needs-manufacturing, world of fashion. But Tea also offers a cogent apologia for liking overpriced clothes:

"For a long time I hated beauty for the way people used it as a measuring stick to beat people, especially women. But I came to believe in a vast idea of beauty, one that included me and all my beautiful weirdo friends As for more conventional beauty, I didn't have to hate it just because people let it make them stupid. My attitude moved from the conceptual to the concrete: Take a beautiful dress. Say it's a Rodarte dress, made by these sort of creepy, gothic sisters who live with their parents in Pasadena. Their dresses look like a storybook princess messed them up while wearing them on a jaunt through the space-time continuum. They are torn tulle and stiff corset and lots of lace and flowers and fluffy bullshit stuck all over the place. Parts make you wonder if these sisters, the Mulleavy sisters — see, even their names make you think of the dark family landscape of a Joyce Carol Oates novel — are employing some sort of spider-beast to do their weaving. The dresses cost upwards of ten thousand dollars at Barneys. At one time in my psychological development, this would have made me hate the dresses, hate the designers, hate those poseur Mulleavy sisters, hate anyone and everyone who could afford them, hate capitalism, hate the world, hate the universe and whatever string of incomprehensible events led to the big bang. Now I think — when I go into Barneys to visit these dresses (the way I have gone to the SPCA to visit with various animals I can't adopt), to just pet their glorious fabrics and marvel at the endless detailing and giggle at the whimsical appliqués — I think: It isn't the dress's fault that it's so expensive. I love it like a living thing, and visit it at this department store. I don't love a painting on a museum wall any less for not being able to own it."

Beth Ditto comes across extremely well in the story. She seems kind, and down-to-earth; she can't sleep alone, and sometimes even then she has to make up jokes to combat insomnia. ("What do D&D-playing goth couples fight about the most? The thermoLeStat! Get it?") She spends hours doing different hair and makeup looks for the women in her life — she says if she weren't in a rock band, she'd be in beauty school. She goes to breakfast at her fancy Paris hotel in her pajamas. And Ditto is light years away from the typical raised-in-privilege star: Tea describes how she grew up "in a part of Arkansas with no MTV, no telephones, no indoor plumbing, and no money."

Yet everyone is on the star swag gravy train; Ditto and Perkins went "shopping" in London prior to fashion week, retrieving articles of clothing from designers' showrooms for nada. Even the girlfriend of a Gossip member grabs a free fur from Fendi. As Ditto puts it, "If people think you're rich they give you things. If they think you're poor, they don't give you anything." The true import of this paradox — the idea that fashion relies on a vast underclass whose belief in the value of products they could never afford actually inflates those very products' prices high enough that the profits they make for the label can be invested in giving away shit to those who actually could afford to buy at the inflated value — is regrettably never fully explored. If fashion is, even in part, a giant system for the regressive redistribution of wealth, then surely Tea could have drilled down on these issues with a source as articulate and informed as Ditto.

Many of Tea's criticisms of the fashion industry, seen through the particular seven-day-circus of fashion week, are similarly implicit. When discussing Ditto's magazine appearances, Tea notes that "magazines are always wanting to dress Beth burlesque, in feathers and corsets and other looks that died out around the turn of the present century, or else they want her to be naked. Beth's onstage stripping has more in common with Iggy Pop's frolicking in broken glass than a burlesque act." The fact that the nudity and burlesque concepts ends up reinforcing one of the tritest and most tired stereotypes about larger women — that they must be lusciously sexually available — must be an annoyance to Ditto, who puts down stereotypes like it's her job, but her reaction is not stated in Tea's piece, beyond the implication that Ditto finds burlesque shoots boring. And although Tea attributes this failure of magazines' imagination in part to "stylists unused to dressing fat girls," she fails to note the number one structural constraint of the industry that influences how Ditto might be styled: magazines shoot fashion samples. Fashion samples are made in tiny sizes. Any celebrity who can't fit into the ridiculously sized clothes is likely to be asked to pose naked. The industry that Ditto loves, and which claims extravagantly to love Ditto back (an LED screen at a party reads "FENDI <3 BETH"), cannot bring itself to make clothing she can wear, except by special arrangement.

Tea evidently likes Ditto; indeed, from the way she comes across in this essay — feminist, self-possessed, genuine — it would be impossible not to like her. But it seems like Tea's affection for her source kept her from asking, at crucial junctures, some hard questions. This shyness, this willingness to go right up to the edge of any of the contradictions that strikes through the heart of the fashion industry, but no further, is the only thing that keeps this piece from being truly excellent. All the sleepovers and makeovers and fashion parties make one yearn for something just a little bit deeper. To a certain extent, this problem of perspective ends up mirroring the frothiness of fashion itself. As Cathy Horyn once wrote, although there are many lively and informative angles from which to interrogate the fashion industry, from inside that world, perspective can be limited: "Fashion ain't deep. It looks into a mirror and sees...itself."

But although Tea's essay is at times perhaps a little too inclined to take the industry at face value, she understands and articulates a lot that most professional fashion writers never seem to get across. Perhaps it takes a genuine grown-up high school misfit to notice that most, if not all, fashion people are not the "cool" kids aged 10 years: "Though many would think of the term fashion people and conjure rail-thin, snotty, sickeningly wealthy women and their male counterparts, in reality, a lot of fashion people are ex-nerds, small-town gays who dressed eccentrically and got made fun of for being flamboyant and fruity." It really is a world populated by people who were always made to feel different. (Of course, having been at one time intimately acquainted with one's own disempowerment isn't necessarily a prophylactic against replicating that power structure later, in a new context, with oneself in a more secure place, and perhaps that is where the industry's "snottiness" comes from.)

At the end of the week, after Tea and Perkins sneak goodie bags and bump into Nan Goldin, and after Ditto talks with Vivienne Westwood about Leonard Peltier, the Gossip plays a Fendi after-party at the VIP Club wearing a specially-made sequin-and-fur ensemble she can take off, piece by piece — "a wonderful Russian nesting doll of an outfit," as Tea puts it. Ditto takes the stage, and announces, "I'm very, very rich!" before throwing her fur headpiece into the audience, and the band starts to play. The writer reflects:

"Even though I have been here all week, knowing that every moment was leading to this, watching Beth accosted by photographers and flattered by designers, I still cannot get over how this little band that I have known for so long, this indie queer feminist punk band, is the absolute star of the Fendi show. The reality is staggering. In many ways it shouldn't be a surprise — less-talented, less-interesting, less-charismatic artists get famous all the time. They just tend not to be so outspokenly queer, so flamboyantly fat, so poor in their roots, so disconnected from the music industry, with no secret dad producer or mom publicist. The Gossip got to this lit-up stage in Paris through the force of their own dogged dedication to their DIY garage-rock band. It makes my eyes fill with fucking tears."

If fashion — or music, for that matter — needed defending, that call-to-arms is plenty good enough for me.

All cell phone photos by Michelle Tea, courtesy of the Believer

Full disclosure: In 2006, I was a summer intern for The Believer and McSweeney's. I did a lot of fact-checking and tried to interest them in an essay about hoboes.

The Gossip Takes Paris [The Believer]
Charming Deformities [The Believer]
Conspicuous By Their Presence [NYTimes]

[Weston-Super-Mare, U.K., July 19. Image via Getty]

That's right: Evans is a plus-size store, and for once, if any of the skinny fashion set wants to get its mitts on these somewhat moderately priced goodies, they'll need a good tailor. (Evans' U.K. 14-32 size range is roughly equivalent to the U.S. sizes 10-24, and Evans does ship to the U.S.) Ditto — avowed lesbian, fat person, talented singer, fashion darling — is controversial, engaging and bracingly unusual. So do her clothes reflect her singular presence?

Take a look through the slideshow to see how the collection, which is heavy on the 80s references and sequins, stacks up.


This sequined top retails for £65, or around $105. The leggings are £18, or $30. While we're not indisposed towards outfits with a high sparkle count, $105 is too much to pay for a pillow case with paillettes.


This dress is £45 (approximately $75). How awesome is that domino print?


Ditto herself is rocking the same piece on the homepage of her collection's website.


£60, or about $100, will get you this dress. The leggings and the belt are £20 ($35) apiece. I personally love the clashing sequin-laden print on the bodice of the dress, and the structured looking skirt. The nipped-in waist is a better looking silhouette than any manner of tent dress. But the leggings take this look ove

[London, May 28. Image via Flynet]

Armstrong explores the "Beth Ditto Effect" in a piece that praises the fashion industry for their embrace of Ditto while questioning their motives behind it. Armstrong notes that Ditto is "fashion's mascot this nano-second," being spotted at fashion shows, placed on the cover of Love magazine, and being celebrated by the likes of Karl Lagerfeld, who often has less than flattering words for larger-sized women.

And while it's important for fashion to embrace and celebrate a myriad of shapes, Armstrong notes, one can't help but wonder if Ditto's presence is really making a difference: "Designers will continue to stop at size 14 (some at size 12) because that's how it works. And big women will continue to feel alienated by fashion," Armstrong writes. And with Vogue pushing a shape issue that promises styles for "Women Sized 0-20", things still look fairly bleak for women who go beyond Size 20 to be represented by major fashion labels and magazines.

I am a bit torn on this: while I think Ditto's contribution to the fashion world is important, most notably for her undying confidence, love for her body, and willingness to show the world that yes, larger women can be sexy, stylish, and confident, I often feel a bit strange when I see a picture of Ditto next to Karl Lagerfeld, who insists upon pointing at her in every photograph I've seen them in together, which just gives off a weird, "See? I can be friends with non-rail-thin people" signal.

The point here is this: if the fashion world is going to embrace Beth Ditto, then it also has to be willing to embrace other Size 20 plus women; not only on the runways but off. Otherwise, Ditto's inclusion reeks of tokenism; the idea that being a larger woman is "trendy", like a certain print or a type of shoe, is a dangerous message designed to paint Beth Ditto as a novelty, someone to be temporarily celebrated because she's not like the other models and then forgotten when the next big thing comes along, instead of someone to be celebrated because she represents a different ideal, and the notion that all shapes and sizes need to be embraced by the industry.

Ditto herself has spoken out about the hypocrisy of the industry; in 2007, she responded to her image being used to sell TopShop clothing as such: "I don't think it's fair to put my face somewhere where they would never let me in there to wear their clothes. If they want our music they've got to actually do something to earn it. I can get money anywhere, I don't need your money unless you're going to do it my way. They don't want to dress people that look like me, that have a normal body, a bigger body, whatever. I mean I don't really know why they want The Gossip to do things for them, I don't understand because if they saw me in the street they'd never give me the time of day."

One hopes that Ditto's presence on the fashion scene will, indeed, lend a voice to those who never get the time of day, at least in terms of being represented in the fashion world. The spotlight is on her; it will be interesting to see how the story plays out before the curtain falls and fashion finds another temporary hero.

Beth Ditto Vs. TopShop [Too Fat For Fashion]
The Beth Ditto Effect: Are Fat Girls Finally Trendy? [Guardian]

Earlier: How Offensive Is Beyonce's Vogue Cover? Let Us Count The Ways

• The Gossip played an hour-long set at the Paris Fendi party. Beth Ditto stripped off the five-piece stage costume Lagerfeld made her until she was performing in a sequined bra and thong. [Telegraph]

• Chanel's show at the Grand Palais in Paris was an appropriately star-studded affair, with Freida Pinto, Kate Moss, Olga Kurylenko and current Karl-favorite Claudia Schiffer in the front row. The models — basically a supermodel round-up, including several of the designer's former muses, like Karen Elson and Angela Lindvall — walked through a maze-like set that Lagerfeld designed himself. (Lindvall said they rehearsed the choreography three times.) Asked how it was that he got into the maze himself for the finale, the Kaiser said, "That I don't know and it's a strange thing. It happens to me often early in the mornings. I get into the middle of mazes and come out of completely nowhere!" [FWD]
• Alexander McQueen has heard your talk of recession-friendly safe fashion, and he bites his thumb at you. "I think it's dangerous to play it safe because you will just get lost in the midst of cashmere twin sets," said the designer, whose show was a vicious-minded mash-up of iconic fashions, played out on a set whose centerpiece was a crumbling, blackened heap of his own old set props. "People don't want to see clothes. They want to see something that fuels the imagination." [NY Times]
• This is the kind of gross original concept with a high potential for backfire: when launching a new cologne, how about not throw a crowded party and only allow guests into a backroom, one by one, to smell the scent — on a live male model? "It's really starting to smell in there," muttered someone who would have preferred, oh, I don't know, tester bottles. [WWD]
• Page Six is reporting that Anna Wintour shook hands with PETA vice-president Dan Matthews at the Stella McCartney show in Paris. Sees unlikely, given PETA's extra-vocal protests this season — French Vogue editor Carine Roitfeld's Balenciaga dress had its sleeve ripped off by PETA operatives, who presumably were trying to target her goat coat — and the animal-rights organization's own history with Wintour. (Once, PETA dumped an animal carcass on the editor's plate in a restaurant. Wintour calmly placed her napkin over it and asked to see the dessert menu.) But, strange things happen in fashion, so... [P6]
• The 80s are definitely back. Leighton Meester's first Reebok ad is out — and she's posing next to a boom box that looks like it takes about 19 D batteries. [Sassybella]
• Liskula Cohen, the former Vogue model suing Google in an attempt to force the company's Blogger service to reveal the identity of a user who posts scathing content about her, broke down in court when some of the offending posts were read into the record. The blog Skanks in NYC is entirely dedicated to smearing Cohen, alleging she has no soul, and calling her "desperate," a "ho," and a "skank" many times, and Cohen's aim is to pursue a defamation suit against the author, should he or she be revealed. The lawyer representing the anonymous site called the posts "youthful, jocular, slangy comments." [NYDN]
• That's Shalom Harlow, Eva Herzigova, and Vincent Gallo (yeah, wtf?) in the spring H&M ads. [Fabsugar]
• Katie Holmes told Glamour that she is currently in talks to start a children's clothing line with her friend and stylist Jeanne Yang. [Hollyscoop]
• Meanwhile, the Jonas brothers want the tween clothing market. [WWD]
• And is Heidi Klum thinking that grown women will buy Barbie-inspired duds? [The Cut]
• Christian-owned knockoff emporium Forever 21 sold an unauthorized t-shirt with the logo of punk band Minor Threat screen printed into a thicket of generic 80s imagery. Dischord Records, Minor Threat's label, objected — and in a surprise twist ending, the shirts have actually been pulled from store shelves. [Pitchfork]
• An Indonesian company that produces around 500,000 pairs of Adidas shoes every month has been sued by its main local creditors, the Bank of Negara Indonesia and a leather wholesaler, after an ongoing dispute over the shoe factory's unpaid bills. [UPI]
• After profits declined 45.1% in 2008, luxury Italian jeweler and perfumer Bulgari will cut jobs, close stores, and eliminate unprofitable product lines. [WWD]
• Eric Gaskins, a New York-based couturier whose wares have been worn by Salma Hayek and Tina Fey, among others, has been forced to file for Chapter 11 bankruptcy protection after 22 years in business. Gaskins is one of the most prominent high-end African-American designers in the US. [Crain's]
• Net profits at Swatch fell 17.4% in 2008. [WWD]

• Is former overweight person and current size-o-phobe Karl Lagerfeld changing his Hedi Slimane stripes? Beth Ditto, who in addition to being very talented, weighs somewhat more than 100 lbs, is playing a Fendi party. [FWD]

• Agyness Deyn's 17-year-old sister Emily is starting a t-shirt company with a chum named Aliyah Hussein. Their first offerings feature images of the girls' icon, Queen Elizabeth II, whom Emily called "the original gangster!" [Blackbook via Nylon]
• I have no idea why this writer seems to think female models all have drivers — that might be true of the dozen top girls who walk in every show, but, trust me, the rest of us ride public transport. But it is correct that even the top-earning male models are always paid significantly less than their female counterparts. Russian Matvey Lykov, for instance, walked 34 shows in Europe, and only made enough to buy a ticket to the Dominican Republic to relax for a spell afterwards. [LA Times]
• And the indignities just don't stop: Doutzen Kroes, the model and Victoria's Secret angel, was treated to a super-original pick-up line on the Caribbean island of St. Maarten. At a bar called Tantra, a drunk stranger cooed, "I thought you couldn't go out without your wings." Barf. [NYDN]
• The Daily News also has this horrific model blind item: "Which top model's plastic surgeon is in big trouble? He accidentally spilled acid on her chest while they were having sex in his office." That, right there, is fodder for nightmares. [NYDN]
• Caroline Trentini, the elfin, freckled Brazilian whom Anna Wintour puts in every issue of Vogue, has been less omnipresent this show season. In fact, people were wondering where she was — models of her caliber don't normally just skip the shows. Well, mystery solved! She was on exclusive for Yves Saint Laurent, whose show she closed just yesterday. [Fashionista]
• More forthcoming about his schedule is Valentino. The retired Italian designer has announced he'll be in New York on March 17 to tape an episode of The Martha Stewart Show, just ahead of the theatrical release the documentary modestly titled Valentino: The Last Emperor. I hope they bake amazing cookies, or do collage in tones of red together. [The Cut]
• According to Women's Wear Daily's "sources" — who can be pretty spot on about these things — Halston is sizing up the London designer Marios Schwab to become their new creative director. The revived Halston has struggled, and is still trying to replace Marco Zanini, the designer they let go after just two seasons last year. [WWD]
• Cathy Horyn, whose life is more fun than your own, describes what it's like to run into the people she's savaged ("I said hey to Anna...") and then hangs out with Karl Lagerfeld on his doorstep on the eve of the Chanel show. [On The Runway]
• Jil Sander might be back. After being dumped from her namesake label — and then begged to return, and then fired again — following its purchase by Prada, Sander has been a fashion orphan. Attending an industry textiles fair might mean she has a new project. Or it might not. [WWD]
• Feministing is surprised an article in H&M's in-store magazine on dressing like a tomboy ignored any hint of a queer perspective — despite using Samantha Ronson as one of its examples. Remember, girlie, it's OK to steal from your boyfriend, just remember to add that feminine touch! [Feministing]
• Beth Ditto, meanwhile, is enjoying her first fashion week in Paris. Coming off her cover spot in the first issue of Katie Grand's Love magazine, the Gossip songstress has the keys to the carrousel du louvre. And mark no fear of queer connotations on her part: Ditto's favorite thing about the Jean Paul Gaultier show was "the butch clothes! I mean that in the best way. Masculine is hot!" [FWD]
• Three different women designers — get this — respond differently to the question of how to clothe, and by extension, represent, the female body. Imagine, there's not a 1:1 correlation between being female and making feminine clothing! [International Herald-Tribune]
• Buyers at Paris fashion week aren't sure exactly what consumers are going to want to own in six months. Handbags are a sure bet in the Middle East, says one, because they can be toted freely in public despite women's clothing restrictions. Russians will still want to buy, well, everything, says a buyer for one boutique. London might be about jewelry and scarves; Paris stores aren't sure whether to under-order for a fall in demand, or bet on a surprise recovery. Left unsaid is the fact that almost nobody in retail could stand to see a repeat of last fall's choked-off sales. [Reuters]
• American Apparel, which had to recently renegotiate costly new financing of both their $75 million Bank of America revolving credit line and their $51 million loan from private equity group SOF Investments, now is approaching the March 21 deadline for both loans. [WWD]
• L.L. Bean's revenues were down $1.5 billion, or 7.8%, over the last financial year. The company expects to be making layoffs. [The Street]
• The Italian brand Tod's finished out a difficult year with enough money to give $1,700+ bonuses to all its employees, including the people who make their goods in Italy. [WWD]
• A small American fashion brand that sells its wares in France reportedly included the message "We are sorry that our president is an idiot, we did not vote for him" on the care tag. Obviously they meant Bush. Reminds one of how the teenaged Alexander McQueen stitched "I am a cunt" onto the interlining of a suit for Prince Charles when he was apprenticed to Savile Row tailors Anderson & Sheppard. [InventorSpot]

The Good:

Olivia Wilde played lezebel on The OC and now she's on House. I think she is super pretty and I like this sleek, city-chic outfit.

China Chow keeps it simple and showcases her shoulders. Some people just don't need lots of jewelry.

Rawr! Jacqueline Bisset is a stone cold fox in a leather jacket and pencil skirt.

This column makes Joy Bryant look like a tigergoddess.

Beth Ditto from The Gossip! She's a performer. She's on stage. Therefore this is good. At a premiere or a quiet brunch, a red sequin jumpsuit would not be appropriate.

I don't really know who Rose Apodaca is (Google says a fashion journalist?) but I like that she's got the ovaries to rock something weird and cool that no one else is wearing.

I think Eve's dress is good! Flowy, goddess-y. Let's look at it from another angle.

Yeah, it's good.

Well you can't wear this to work at a law firm or even to a restaurant where you might have a pasta dinner, but this is Janet Jackson and this is a work of art and therefore it is good. As long as she doesn't try to light any candles.

We interrupt this post to bring you a picture of Vidal Sasson, who is 80 years old and still a handsome devil.
You may now return to your regularly scheduled critique.

The Bad:

I'm not feeling the pattern of the dress Tracee Ross is wearing.

Rebecca De Mornay's tube dress and doo-doo brown pashmina seem sad.

Ioan Gruffudd is ridiculously hot (did you see him in King Arthur with Clive Owen?) but this outfit rubs me the wrong way. I mean, those are jeans, right? With scuffed round-toe boots? Sigh.

Animal print made Joy Bryant glow; it just makes Lady Victoria Hervey look washed out.

Cat Deely is wearing the same dress Natalie my best friend from 7th grade wore to our semi-formal in the '80s, and not in a good way.

The Ugly:

Green is good, but this dress is drowning Kelly Lynch.

Ew. Ew. Ew. Jay Manuel. Of America's Next Top Model. How can someone who supposedly has good taste pic something so awful? Maybe cream and ivory are in his "palette" but matching your jacket and pants to your hair is just odd.

Magda Berliner is a designer who needs a makeover.

[Images via Getty.]

• For its 140th anniversary issue, Harper's Bazaar styles little kids to look like mini-versions of our favorite (and not) fashion designers. And oh my god, is it awesome. (Please note mini-Olivier Theyskens, at left.) This is 10 times better than that Simpsons fashion spread, which was itself pretty freaking inspired, and may force us to reevaluate our position on the whole magazine, which is a lot to handle right now. [Fashion Week Daily]
  
• Last night's "Fashion Rocks" event in London featured: Uma Thurman screaming at Johnny Borrell for smoking during Razorlight's set for Burberry, The Gossip's Beth Ditto throwing her shoes into the audience, Lily Allen being introduced as model Lily Cole, Stella McCartney's models playing musical chairs, and Iggy Pop. Pictures later! [Vogue UK]
  
• Karl Lagerfeld has created a limited edition carrying case for Dom Perignon. It holds 6 bottles. At $140,000 it is the most expensive item in the Harrods Christmas catalog. And to all of this we say: Of course he did; of course it does. [Vogue UK]

• Pervert and D-list designer Anand Jon has been slapped with another lawsuit, by one of the 19 women named in the indictment against him for charges of rape, battery, and committing lewd sexual acts on a child. Natalie Pack says she is suffering from post-traumatic stress disorder as a result of her rape by Jon. We hope he is once again found guilty. [Yahoo]
• Moe's complaints have been heard! The second go-round of Simply Vera Vera Wang for Kohl's clothes will be offered in smaller sizes than the premiere collection. It seems during the debut retailing they expected, er, bigger girls to be buying the Wang garb. Turns out the skinnies like the cheap shit too. [WWD, final item]
• Um, how did we never know before that Nestle (as in makers of the deliciously-heinous chocolate beverage) owns close to 30% of L'Oreal? Yeah, but they're thinking of selling their shares. [WWD, sub req'd]
• Okay, WWD, good move. The headline on their story about Stella McCartney launching an exclusive "green" collection at everyone's favorite Simon Doonan creative-directed department store: "Stella McCartney Comes To Barneys, Naturally." [WWD, sub req'd]
• Rock & Republic CEO Michael Ball is being sued for libel by fashion photographer Markus Klinko. Ugh. [TMZ]
• Check out Hollywould for Target here. [Coutorture]
• i-D magazine has seen a 56% increase in newsstand sales with its November. Why, you might ask? Because it has Kate Moss on its cover with her new bangs. No, seriously. [Sassybella]