The English are coming, the English are coming! Oh—no, wait, it’s the French. Racked reports there are signs of life at Isabel Marant’s (pictured) long-awaited Soho store: A French stick-figure drawing announces progress. [Racked]

And while Marant’s going resolutely 2-D, Burberry’s getting the Avatar treatment—the label is live-casting its upcoming London fashion week show in 3-D. [Fashionologie]

Christie’s will hold a special auction for Earth Day this April, with profits to be divided among four environmental charities. Here’s your chance to snap up a Maya Lin, an Olafur Eliasson, or a special date with Hugh Jackman, all for a good cause! (One guess which one we’re gunning for.) [WWD]

The Times reviews the history of werewolves/wolfmen, perhaps the progenitors of the grizzled beardo look currently in vogue. Team Edward, meh—give us Team Lon Chaney! [NYT]

And if you’ve ever wondered whether models need to look good, have name recognition, and dress stylishly to book jobs, take it from Storm Models founder (and Kate Moss discoverer) Sarah Doukas: They do. [Models Off Duty]

Photo: Niviere / Sipa Press

To celebrate their decade in business, Sarah-Jane Clarke and Heidi Middleton, the Aussie duo behind Sass & Bide, asked ten of their favorite people to come up with an artistic interpretation of the word “shine.” The chosen few included Mischa Barton, Kate Moss, Twiggy, Sam Taylor-Wood, and photographer Rankin. And some of their creations, which were auctioned off last night at a London fundraiser for the children’s charity Barnardo’s, were, in a word, out-there. Barton’s, for instance, was a kooky, twisted four-pronged aluminum clocklike thing, and Moss’ was a star surrounded by a sickly neon green. It didn’t matter, as all were successfully sold within minutes to a crowd that included not only the cross-dressing DJ Jodie Harsh, in the acid-washed Balmain Sergeant Pepper jacket and some of the biggest hair we have seen this side of Nashville, but also Sir Peter Blake, the artist who, ironically, designed the Sgt. Pepper’s Lonely Hearts Club Band album cover. So, after ten years, what’s next for Sass & Bide? Said Sass, a.k.a. Clarke, in cheetah-print sequin harems and statement shoulders, barely looking like she gave birth six months ago: “We would really like to show at London fashion week—that’s the next project.”

—Afsun Qureshi

Photo: Max Cisotti

It wasn’t coffee that jolted me awake this morning but an e-mail with the new Mango campaign starring Scarlett Johansson. There she was in all her blonde glory, sprawled out on a (very questionable) floral couch in a sweater and ripped nylons (which seem to be as trendy as ripped jeans and just as tacky). I thought I was having déjà vu, because just last night I had been ogling Great Kate’s new images for her Topshop line. There she was in all her blonde glory sprawled out in a sweater and ripped nylons. Is Scarlett Kate’s mini me? Tell us what you think about this double vision.—Laird Borrelli-Persson

Photos: Courtesy of Topshop; Courtesy of Mango

When Michael Nevin launched The Journal ten years ago, the magazine was a skinny black-and-white zine dedicated to all things skate and snowboard. A decade later, the issue of The Journal that comes out tomorrow comprises, among other features, new work by Jonathan Meese in memorial to Dash Snow, semi-destroyed photographs of Kate Moss and Mario Sorrenti taken from photographer Glen Luchford’s archives, a lengthy interview with Walter Pfeiffer, and a supplement dedicated to William Eggleston. The Journal is glossy now, and hard-bound, and printed in color; there’s a gallery in Williamsburg attached to it, too. Contributions from the likes of Juergen Teller, Helmut Lang, Mark Gonzales, and Miranda July fill The Journal archives. Not bad for a magazine first stapled together at a highway-side Kinko’s in New England by a kid who was all of 19. Now, more transformations are afoot. The tenth anniversary issue of The Journal is physically larger than the previous one, it’s been given an engaging redesign by Peter Miles, and it includes the magazine’s first-ever fashion spread, starring Jamie Bochert. And yet, for all that, The Journal has changed less than it might appear. “The magazine has always been—and I hope will always be—an honest reflection of my interests,” explains Nevin. “It’s just that those interests have shifted over time.” Here, Nevin talks to Style.com about dialing up the Internet, cold-calling art stars, and texting Rodarte.

This is going to sound like a snotty question, but—why launch a magazine? This is the digital age, or hadn’t you heard?
When I first started The Journal, “online” wasn’t really a thing yet. I mean, I can remember signing up for my first e-mail account after I published the first issue of The Journal. I just wasn’t looking for the things that interested me on the Web. At the time, I was looking at magazines. Really looking—I mean, I grew up in Vermont, and there weren’t too many progressive publications around, so I’d have to work to cobble together bits and pieces of what interested me from the mainstream stuff I had access to. I’d spend hours in the bookstore, poring over magazines. And there was nothing out there covering this whole creative universe that derives from skateboarding and snowboarding. I wanted to read about that, and having just come off a year entering pro contests as a snowboarder, I felt like starting a magazine was a way to continue being a part of something I’d loved.

In other words, magazine-ness—print—runs deep in you.
Yeah, it does. But for reasons that are more than sentimental. I think they’re more than sentimental, anyway. I love the printed image, I love being able to open up the magazine and flip through the pages, I love being able to give a copy to somebody, I love seeing it in stores. I love what it represents. It’s essentially my curation in those pages, and to send the magazine overseas, and know that what I’ve worked on is being looked at, in the same material way, is really fantastic.

The Journal has changed a lot over the years. Was there one particular moment when you thought to yourself, it’s time to evolve?
There have been a few of those moments. When I first moved to the city, five or six years ago, I wound up in this gigantic space in the East Village. Which is how we wound up with the gallery, by the way—it was sort of an accident of having that space. And moving to color and to bound copies, that happened because, I mean, I was working on The Journal with one other guy, we had 3,000 square feet in Manhattan and dial-up Internet, because we were trying to save money. We’d literally be unplugging the cord and handing it to each other anytime one of us needed to get online. And there was some moment when it became clear that we had to make a change, go bigger, or else it was always going to be like that. Later, as I was feeling ready to steer the magazine away from the skateboard/snowboard focus, I managed to get Mark Gonzales, who is both an amazing skateboarder and an amazing artist, to guest-edit an issue. He was a longtime hero of mine, and that issue definitely felt like an inflection point. This new issue feels that way, too—the change in format, the redesign.

I’ll come back to the redesign and other new changes, but since you bring up Mark Gonzales, I have to ask: How have you managed to pull all these VIP contributors into The Journal’s wheelhouse? You consistently punch above your level.
I think on the one hand, it’s that they see the magazine, they see what we’ve done, and they identify with our spirit. And on the other hand, it’s amazing what you’ll get if you just ask. Pick up the phone, you know?

That’s how you got William Eggleston in the new issue, you picked up the phone?
That is literally what happened. I mean, the catalyst was that I’d heard he was making drawings—and I like drawings a lot, I like their quickness. I feel like you can learn a ton about a person’s work from their drawings. So I called his son, who heads the Eggleston Trust, and then a while later I was on a plane to Tennesssee to meet William Eggleston. He showed me this one piece of his, and I was like—”Wow, that’s exactly what I’ve been looking for.” And he said, “Well, I’m glad you found it.” It was very cool.

You shot his portrait for the supplement. Was that intimidating?
Yes. At first it was, and then it wasn’t. Obviously, I mean, I studied photography at school, and what art student isn’t inspired by William Eggleston? So it was weird to be taking his picture, sure. But then he grabbed my camera and started shooting with it, and after that I wasn’t intimidated anymore. He made it easy for me to let my guard down.

This whole “pick up the phone thing”—has there ever been a hard sell? Name names, please.
Honestly…I can’t think of anyone. It’s kind of like, if it’s a hard sell, then it’s probably not the right thing. I only want to work with people who are enthusiastic.

Back to the redesign, etc. Do these changes signify a new era at The Journal? And if so, what’s happening? Where are you headed? Is fashion now a priority?
It was just time for a change. A magazine requires a lot of people and a lot of elements, and for a while now, I’ve felt like the design, the thing that ties all that stuff together, needed to be stronger. I feel really lucky that Peter [Miles], who is my dream design director, agreed to take this on. As for the fashion, that just feels like a natural development. It does to me, at least. What’s funny is that friends of mine, people who have been reading the magazine for a long time, when they find out that we have a fashion spread in this issue, they seem sort of…disappointed. But that shoot came about the same way a lot of work makes its way into the magazine—I’m friends with someone, I respect his or her work, I want to make a space for it somehow. And I have so many friends, at this point, who are involved in fashion, it felt more unnatural to keep it out of The Journal.

You’re actually launching the issue at the Rodarte show, correct? Attendees are going to find the new issue waiting for them at their seats.
Yeah. Kate’s a good friend of mine, so…

How did you meet?

Well, before we actually met, she and Laura contributed something to the magazine, part of a Miranda July piece called “Learning to Love You More.” And then Kate and I somehow wound up text pen pals. It’s strange, I can’t even remember the first time we met face-to-face. But now we talk all the time.

Do you ever imagine turning The Journal into a monthly, or going bigger in some other way?
I think a monthly would drive me crazy. Bigger otherwise—yes and no. I’d like the business to be successful enough that I don’t have to spend so much time thinking about the business, and I believe in what we’re creating, so obviously I’d like it to reach as many people as possible. But ultimately, my heart is in the magazine itself, and as long as I can keep doing it the way I want to do it, that’s really all I want. I like being accessible. It’s like, we have this gallery space, and the nice thing about that is that people come through all the time; readers stop by to ask questions or drop off submissions, and I actually get to meet them. I like having that feedback. I like face-to-face. I mean, the first issue of the magazine, a friend and I drove down to an art opening in New York and handed out copies outside the gallery.

Not something you can do with a blog, really.
No. I mean, isn’t there some stuff you just want to hold in your hand?—Maya Singer

Apart from “tube closures” and “swine flu,” what two words can strike fear in a Londoner’s heart like few others? “Postal strike.” That was the talk at last night’s inaugural LFW event, Still, hosted by Poltock & Walsh and photographer Poppy de Villeneuve at the very swish Sanderson hotel. A strike means that tickets for the Christopher Kane, Matthew Williamson, and Burberry shows are—gasp—potentially sitting in a sorting bin somewhere with 20 million other pieces of mail. Let’s just say when the editors arrive at their hotels without their stacks of invites, they won’t be happy. Of course, last-minute plans are in place, like couriers, which is how we found out about the event last night for the cool London designers Poltock & Walsh, whose fans include Alexa Chung and Kate Moss. Poltock & Walsh commissioned de Villeneuve, (whose dad Justin famously discovered Twiggy in the sixties) to photograph their “fave girls,” including Alice Dellal’s socialite mom Andrea, Mick Jones’ daughter Lauren Jones, Jade Parfitt, Jasmine Guinness, and, curiously, Lydia Gifford, a model/circus worker/sculptor, all wearing key looks from 2010. Said de Villeneuve of the portraits, which will be auctioned off in support of the Tibetan charity Ropka: “My favorite was of my mom (the American model Pam de Villeneuve). I don’t get to work with her often, and it’s always interesting photographing people that you are close to, because the dynamic is so different—not that I didn’t make her work for it!”

—Afsun Qureshi

Photo: Courtesy of Poltock & Walsh

Ellen von Unwerth doesn’t pick and choose. She loves all women. “There are many who are my favorites, from Claudia Schiffer to Eva Herzigova to Elizabeth Hurley to Lindsay Lohan,” said von Unwerth last night at Sloane Square’s Michael Hoppen Gallery during a private viewing of Fraulein, a collection of her rarely seen or published photographs. Von Unwerth continued, “They are all fun and they give a lot.”

That was evident in the sexy, girly photographs of von Unwerth’s array of beautiful subjects, all in various stages of undress with lots of lingerie, toys, and even the odd vegetable thrown in. There was Claudia with big hair in her underwear—an image eventually used for a Guess campaign; Kate Moss making horn-rimmed glasses sexy; and Monica Bellucci in nipple tassels. In “What recession?” news, several prints of Heidi, Kitzbuhel, the photographer’s racy take on the Alpine Miss in red stockings and garters, as well as Nadja Auermann in a mask, have all but sold out. (More images after the jump.)

It was von Unwerth’s friend Ingrid Sischy who prodded her to dust off these favorite images for a new book to be released in December by Taschen. Sischy, of course, authored the coffee-table tome. Last night’s event was a cheeky sneak preview. “The book has been in the planning for three years,” said the Teutonic blonde, standing amid a crowd that included Suzy Menkes, Serena Rees, and Nick Rhodes. She continued, flashing that famous grin, “The title Fraulein came to mind, and I thought it was great to do a kind of retrospective with this theme, my favorite subject, women.”

Despite the London-centric nature of the art world, von Unwerth told us that she plans to spend more time in New York. As for upcoming projects, the photographer coyly hinted, “Maybe something in the film direction.” Although, as she left us staring up at a picture of Moss holding a cucumber, we had to wonder what kind of films she was talking about.

—Afsun Qureshi

Photos: Ellen von Unwerth, Courtesy of Taschen

Gucci (or is it Gookie?) spokesmodel James Franco takes his job very seriously. Filming the brand’s fragrance commercial reduced him to tears. Watch the clip. [Funny or Die, WWD]

More recession blues: Versace announced plans to cut 350 jobs by the middle of next year. [WWD]

When modeling loses its appeal for Heidi Mount, she’s got her next job all lined up: “I’d really like to try to be an aesthetician. I’m a zit popper and I enjoy it, so I’ve looked into it.” [W Editors’ Blog]

The brave women at British Vogue test-walked Alexander McQueen’s 12-inch—a.k.a. one-foot—heels and were humbled by the experience. [British Vogue]

Kate Moss to walk the runway for Givenchy?If Riccardo Tisci has anything to say about it. [Fashionologie]

—Alison Baenen

“We received something like 10 million hits on the Internet for the Lindsay Lohan shoot,” Muse editor in chief Fabio Crovi said last night. The Milan-based quarterly was in New York to celebrate its latest issue with a dinner at Armani / 5th Avenue’s Ristorante. “It was the first time we used a celebrity on our cover,” Crovi added. “I don’t know if we could do it again. I love celebrities, but I don’t get any sleep!” For a Tinseltown first-timer, he wasn’t exactly gun-shy: “Lindsay Exposed,” reads the cover line, emblazoned across the actress’ bare chest. Shot by photographer Yu Tsai, the editorial channels another well-known provocateur: the younger, wilder Kate Moss in her pre-baby, Johnny Depp days, re-creating their famous hotel-romp photos, ménage à trois included. Model Petey Wright—personally requested by Lohan, no less—takes on the role of Depp. With all that time on set, the Tennessee-born model seems to have caught the acting bug. “Modeling is great, but acting! I was always in plays in high school,” Wright said. “I would love to do that next.”—Bee-Shyuan Chang

What’s black and white and, uh, lilac all over? Jil Sander’s new +J line for Uniqlo. Coats and tops will come in shiny, sweet pastels like mauve and pink (and, fear not, minimalists—plenty of somber shades, too). Prices range from $44 to $164, roughly, and the line will be in-store in mid-March and again in April. We’re feeling warmer already. [WWD]

Lacoste loves croc so much, it’s spending a half-million dollars to protect its trademark animal. Save Your Logo, a global initiative aimed at companies with iconic furry, feathered, or four-legged friends, is spearheading attempts to protect endangered species. [WWD]

Kate Moss will not be trifled with. The model-mogul, who penned a few songs with ex Pete Doherty, has joined the U.K.’s Performing Rights Society to ensure she receives all due royalties from her work, past and future. Please add “Kate Moss’ debut album” to your 2010 wish list. [WWD]

The SATC girls do desert-chic in their next film, with turbans and caftans aplenty. Eye roll? Sure, but you know you want to see a few shots from the trailer anyway. [Daily Mail]

—Alison Baenen

Photo: Warner Bros. Pictures / www.thedailymail.co.uk

Is your birthday card in the mail? Tomorrow, Katherine Ann Moss—you may know her better as Kate—turns 36. The girl’s been in front of the lens since she was 15, making her a lifer in the fashion game several times over. We’d be the first to step up and present her with a lifetime achievement award, except that she shows no signs of being anywhere near finished yet: The latest feather in Ms. Moss’ cap, a design gig at Longchamp, a brand she’s faced since 2006, was announced today. So instead, we’ll just say happy birthday, and take a moment to remember when—in this case (above), Paris, 1991.

Photo: David Tunley/Corbis