Tired of hearing the two words “concept store”? Well, you may just be re-energized by the latest installment of such from London. “Up until now, so many fantastic props from fashion shoots, shows, and ad campaigns wound up in storage, back to the taxidermist, or even chucked,” said photographer Nick Knight at today’s viewing of his new shop on Bruton Place—the retail expansion of his Web site SHOWstudio. “These are real pieces of art, so why not treat them as such?” There it is: the “concept” of the new shop, which happens to be strategically placed nearby the city’s Matthew Williamson, Stella McCartney, Marc Jacobs, and Rick Owens boutiques. Quite a departure for Knight. “It’s a career move I never counted on—it wasn’t in the plan,” he added. But then, who plans on selling seven-foot stuffed tigers (from an Alexander McQueen for Puma ad) or gigantic eyeballs (from a Karen Elson portfolio)? Among the other goodies are a skull-slashed Union Jack, whipped up by Galliano for a portrait of himself by Knight, and a lion’s head that was made for a Dior show in Versailles—an indication that this ain’t no flea market. The tiger goes for £50,000 (approximately $82,000) and the Galliano Union Jack is £25,000, while the eyeballs are a snip at around £3,000. “It’s not like buying an It bag, to be sure,” said Knight. “But then how often do you get the chance to buy not just art but real fashion history?”

—Afsun Qureshi

Photo: Courtesy of SHOWstudio

Maybe the St. Lucia sun melted her cares away, but Amy Winehouse showed up for court in London yesterday looking a bit, well, unkempt in an ill-fitting Roland Mouret-knockoff suit, dirty ballet flats, and a ragged ‘do. Maybe that’s not so surprising, but the question is: What’s appropriate court attire? We’ve seen Michael Jackson, may he rest in peace, in pajamas and Courtney Love looking like she picked up the first things she found on the floor. Then there was Nicole Richie channeling Audrey Hepburn in an L.B.D., Jackie O shades, and Louboutin pumps facing DUI charges in 2007. Our favorite has to be Winona Ryder. Her ladylike Marc Jacobs dresses, prim cardigans, and cute headbands could very well have contributed to that not-guilty verdict. Any others we’re missing?—Romney Leader

Photo: Neil Mockford / Getty Images

Phillip Lim, Behnaz Sarafpour, Chris Benz, Band of Outsiders, Costello Tagliapietra, and Erin Fetherston are some of the 28 designers taking legal action against bankrupt Chicago boutique Jake. They may not get their money back, but they’re loving their newfound community. That’s sweet, but we imagine they’d really love a non-bouncing check. [WWD]

Mike Albo visits affordable work gear emporium Syms and finds purses Lauren Conrad could have designed. If she was drunk and wielding a crayon. [NYT]

Juergen Teller and Marc Jacobs, eleven years and still going strong. The photog revisits the hits from his decade-plus collaboration with Jacobs, from the “hardcore” Dakota Fanning ads to—his personal favorite—shots of a naked Charlotte Rampling. [The Moment]

Included in the Telegraph’s “ten anti-trends for winter” must-buy classics are the top, the skirt, and the trousers. Why, yes, we were planning on incorporating those somewhere in our fall wardrobe. Thanks! [Telegraph]

Read here for updates on Daisy Lowe and her sawdust toilet. Oh, yeah, and her new jewelry for Swarovski. [W Editors’ Blog]

—Alison Baenen

Photo: Courtesy of Marc Jacobs

Fashion’s constant state of flux means that few things ever remain, well, constant. For this reason, Juergen Teller’s creative relationship with Marc Jacobs as the shooter of all campaigns bearing some form of Jacobs’ imprimatur is so remarkable. Teller’s raw, intimate, and often comedically irreverent style is the thread running through the various seasons, but the mind meld between designer and photographer has managed to stay interesting and provocative over the course of a decade. Two of Teller’s past MJ campaigns have evolved into books: Louis XV, from his infamous romp with Charlotte Rampling at the Hôtel Crillon for Spring 2004 and Juergen Teller, Cindy Sherman, Marc Jacobs from the Spring 2005 shoot with the artist. But this week, Steidl releases the simply named Juergen Teller: Marc Jacobs Advertising 1998-2009, a chronological compendium of every single ad. Style.com caught up with Teller on his publicity tour to talk about getting dressed with Cindy Sherman, the arc of Marc, and his adventures at the Louvre.

So this book contains literally every single campaign organized chronologically?

We had to cut it down a little bit, but yes. That was kind of important to me that you see the development through the years. It starts with the first, which is Kim Gordon, and ends with Raquel Zimmermann. And it’s basically done as it appears in magazines, like tear sheets. It’s a crisp white page and you see faintly the tearsheet is a bit off-white. You can see that it’s Artforum size and it’s square, or that it’s Teen Vogue and it’s tiny. It’s quite important to me to not take a single photograph out and put it together as some sort of book. I wanted to see it how the consumer sees it in the end.

Let’s talk about the collaborative process. What happens every season with you and Marc?

It’s pretty much fifty-fifty. Sometimes he has an idea. Sometimes I have an idea. It comes through friends of ours who we’re interested in. Like he’s friends with Sonic Youth, and Kim was asking him whether she could wear a dress of his for her tour. He was really flattered and liked the idea. And he called me up and said, “What do you think? We don’t really have an advertising budget but there’s Joe’s Magazine“—which is Joe McKenna’s that he used to do—”and we would have a double page.” He told me the story about Sonic Youth and I said, “Well, I like them very much too.” Then I met them backstage and we took the picture.

You shot that one backstage?

No, I shot them onstage. That is really the only example out of the whole 576 pages where I’m not in complete control. You could call it a little bit more reportage. Everything else is completely thought-through and art directed by me.

So the two of you decide on a subject and then you direct it from there?

Well, that really depends. For example, he wanted to have at some point Kate Moss. But then she was very difficult and we didn’t have much budget then to pay a supermodel. So we were depending on her time and she couldn’t do it and this and that. Then she just called saying, “I’m going to take some time off and go to Ronnie Wood’s place in Ireland. Why don’t you come shoot there?” Very often I just like the idea of going to places where they are. Or like with Asia Argento, she was filming in Prague. So that was a great excuse for me to pack my bags and take all the clothes. I went on my own and we just figured it out over there.

Do you remember the first time you met Marc and Robert Duffy?

Well, Robert and Marc were very keen to have Venetia [Scott] help style the show. Venetia had turned it down because we just had our baby. It was an impossible idea to go to New York for three weeks. But they were very persistent in such an accommodating, nice way. They said, “We just want to fly over and we don’t want to intrude too much but if you could just listen to us.” So they came to London and we had this meeting. It was a lovely day. I remember it very well, in our garden. We both liked them very much. They were both so forthgiving [sic] with a kind of understanding of a mother. They were very, very good about the whole scenario. Venetia thought that would be a good challenge. So I came along to help out.

Have things changed greatly in the way that you work with him from the early days?

Well, thank God it does. That’s the kind of nice thing about it; it’s always changing and it’s always challenging. I find it just fascinating to work with Marc because there’s a constant progress with things. He changed a lot with himself of being the grunge boy into what he is now, and in terms of how the fashion developed. If that wouldn’t have changed, it would be boring. Do you know what I mean? It’s good.

Was there one subject in particular that was a tougher puzzle to solve?

I pretty much had my hands full everywhere. I got involved really heavily with everyone to try to tackle the idea of what I think a Marc Jacobs ad should look like. All the subjects themselves were very fantastic and totally up for an adventure. It’s not that there was somebody who was difficult. To your earlier question, the longer I went on, the easier it became for us in terms of the subject because they knew what they were getting into. They were excited to be in the ads. I was really surprised, in a positive way, with Victoria Beckham, who really did her homework. She knew all the ads of all the people and studied my work.

How did Victoria deal with the way that you work, without a full crew?

This is a bit of a complicated thing. It isn’t really always so true what sometimes is in the newspapers. Because in certain scenarios, for sure there is a hair and makeup person there. Of course there are other scenarios; like with Kate Moss and Asia Argento and Lisa Marie and Sofia Coppola, there was nobody there. So it’s not always true what the newspapers write.

Well, we can correct that misconception here. I think the Charlotte Rampling campaign is the most infamous. What do you think when you look at those images now?

Uh, I don’t really look at them anymore. [Laughs.] I have extremely fond memories of this time and I know exactly how they look. I liked the idea that it doesn’t have to be an 18-year-old model all the time. So you have a very successful European actress in her early 60s or whatever she is and then a kind of slightly much younger, kind of overweight guy who you don’t normally see in a fashion magazine, either. But I wanted to portray a certain kind of intimacy and friendship, which also you don’t see in so many fashion ads either. So it was all about that, really.

And of course you didn’t fit the clothes.

Through my excitement of doing this project with her, I completely lost sight of my weight and these model sizes or whatever they are. What are they called?

Sample size.

Ah yes. I mean, obviously I know that because I’m a professional fashion photographer. Then there was this pair of silver shorts which obviously fitted me. Anyway, the next day she came and said, “Well, what are we going to do?” And I said, “I just had this idea. Let me just show what I’m going to wear.” So I came out with it—the little shorts and I kept my socks on and that was it. And she said, “Oh my God, what are we going to do?” I sort of started stuttering and said, “Maybe I could kiss you and fondle your breast.” I couldn’t even believe that came out of my mouth, but that’s what I wanted to do. Then the room was completely silent. I just thought, “This is the stupidest thing I’ve said in my whole life.” And she lit her cigarillo and said, “Well, let’s go and I’ll tell you when to stop.” I thought, “This is genius. This is the best job I’ve ever had!”

Are you still surprised that she agreed?

Uh, no. It’s my job to do that in the right way. You know, I wouldn’t ask that of Victoria Beckham or somebody else because that would be completely inappropriate. It’s only because I knew her for so many years and I knew where I was trying to go, where it would make sense.

You recently shot Charlotte again, this time nude at the Louvre with Raquel Zimmermann, in the images that you’re showing on September 10 at Lehmann Maupin. How did you get permission to shoot there?

Through a friend of mine who’s the editor in chief of this magazine called Paradis. We’ve been working on this series of nudes together as well as this other series of portraits of Sir Norman Foster and David Hockney. He said to me, “Do you want to do some nudes in the Louvre?” And I said, “Yeah right. Call me later!” And then he called me later and asked, “Have you thought about it?” I said, “No! That’s just not going to happen.” And he said, “No, I’m serious.” I had been talking to Charlotte about doing some nudes of her for the past two years, but that didn’t quite materialize. But now I thought, “Well, this is something. I can pick up the telephone and say, “Charlotte, it’s your turn now. You’re going to be in front of the Mona Lisa and you’re going to be naked.”

Is it meant to be a critique of how women are viewed in the history of art?

Uh, no. It’s not a critique at all. It’s like, “Hey, me and Charlotte are in the Louvre.” And a little bit more weirder. It’s like, you know, I want to have an adventure. You know, I was there in the daytime before and there’s all these tourists just packed around the Mona Lisa and you can’t even see anything. They’re not even looking at it but just pressing the buttons on their mobile phones to show it to their friend and say, “I’ve seen the Mona Lisa.” It was pretty fantastic to be there on your own. It was a bit spooky and kind of strange. It had a totally different quality.

Speaking of art, what was it like to essentially do an artistic collaboration with Cindy Sherman for Spring 2005?

Well, the whole book is an artistic collaboration with all my subjects, if I may say so.

Sure, you may say so, but how was it working with Cindy?

Well, basically in that case it was Marc’s idea. He said, “What do you think about Cindy for the campaign?” I was like, “Definitely! Let’s do it.” Then pretty quickly after I put the phone down, I thought, “What the fuck am I going to do?” She’s been dabbling in and out of fashion and her work surrounds itself with disguises and costumes and fashion in one way or another. And I remember this fantastic Comme des Garçons ad that was just brilliant. I thought, “What the hell can I do that’s not just redundant?” I was seriously questioning what I could bring to it. Then I thought the one thing I’m quite good at is doing something quite direct with a subject whereas Cindy especially in her film still work doesn’t really look into the camera. Then it occurred to me that she’s always on her own. I thought a role-playing could be really fun, and challenging for her. So I had actor A and actor B and actor C, but then I thought, “Fuck these actors. It doesn’t make sense.” My wife and me just looked at each other and we realized it’s just got to be me again.

How did the shoot exactly work? Were you each dressing yourselves or each other?

I tried to be in her world where I kind of got wigs and stupid little things. And she got a whole sort, from fake teeth to wigs and this that and the other. Bigger breasts and all this sort of stuff. And then we sort of dressed each other together. It was like, “Hey, look at this. This looks stupid, in a really good way.” And then we figured out what kind of looks go together in a good, stupid way. Then she did the makeup on me and we tried different wigs. Then we decided that we liked it so much that we’re going to do a book.

Your creative freedom on these shoots is kind of legendary. Were you worried when LVMH took a majority stake in Marc Jacobs that it would change?

It never occurred to me. Now I’m thinking, maybe I should have thought about that. It meant that I probably got paid. But otherwise, it couldn’t have really interfered at all. They [Jacobs and Robert Duffy] are both so strong in what they want. Obviously Marc Jacobs is now a very big company, but Marc’s really in control and when he likes something, that’s what it’s going to be. That’s the strength of his whole success anyway, instead of having another CEO in front and some art director and everybody with their own opinion.—Meenal Mistry

Photo: Juergen Teller

Dear Marc, we’re going to strongly advise you against this. We know those Housewives can draw you in with their gripping mini-dramas, but pretty please don’t put yourself in a reality TV show about “high-powered (openly gay) playboys.” Just start twittering, or something, OK? Thanks. [NY Daily News]

Emmy Rossum had a secret marriage, and now she’s having a not-so-secret divorce. Luckily, all the money she saved on a big nuptial bash can go toward paying her husband’s court fees. Even better than a DJ! [Us Weekly]

Rumors of Claire Danes and Hugh Dancy’s recent wedding in France have still not been discounted, which in tabloid land is as good as a marriage license. [People]

Ever the contrarian, Cathy Horyn did not have such a great time in Milan. One show made her think that the city was covered in “an old pair of pantyhose,” which is never, ever a good thing. [NYT]

Opening Ceremony just got delivery of its Where the Wild Things Are merch. We’d go for the slightly savage faux-fur coats or Pamela Love bijoux. And if you want to be little Max come Hallowe’en, here’s your one-stop shopping. [OCNN]—Alison Baenen

Photo: Randy Brooke/Wireimage

What with both Lady Gaga and Madonna on Saturday Night Live and a corset-crammed Jean Paul Gaultier show, yesterday was quite the moment for innerwear as outerwear. But as our Sarah Mower points out, it was in fact John Galliano who sparked the revival of this old-trend chestnut with his Christian Dior haute-couture show back in July. Galliano continued the idea in his ready-to-wear collection two days ago with a forties glamour in lacy hems and sheer dresses layered over corsets. Is this the logical reaction to a few seasons of urban warriordom? Now that we’ve become weary of shielding ourselves with armor, perhaps it’s time to expose something vulnerable. And what could be more so than your unmentionables? That seemed to be partly the reason Marc Jacobs had—pronouncing himself tired of black and studs—at his Spring show, which wove in an exposed lingerie motif. Not that there isn’t a certain hard-edged facet to this trend. Look at the power of Dolce & Gabbana’s corsets. But there’s something fresh in the softer side, like Peter Copping’s pretty take on the subject at Nina Ricci and Fendi’s powdery shades; and frilled bras hazily visible through chiffon. Are you ready to expose your inner workings this Spring?Photos: Marcio Madeira

Who made our Top Ten list for Spring? Designers with a point of view: Nicolas Ghesquière at Balenciaga, who went back to his haute street roots. Karl Lagerfeld at Chanel, who made fashion fun again, and sent out some fabulously crafty clothes in the process. Celine’s Phoebe Philo, for her fearless new brand of contemporary minimalism. And even though they didn’t quite crack our top ten, there are plenty more who deserve shout-outs this season: Alexander McQueen, Bottega Veneta’s Tomas Maier, the young Londoner Christopher Kane, and the even younger Londoner Mary Katrantzou. We could go on, but what would be the point of a Top Ten list if we did that? To see who made our cut, check out our editors’ picks.

[The Top Ten Collections, Style.com]

Photo: Luca Cannonieri/GoRunway.com

Marc Jacobs and Lady Gaga will reunite this Monday at the ACE Awards, where Jacobs will present Miss Gaga with this year’s Stylemaker Award. Fingers crossed she’ll come in a Louis Vuitton Afro, which is totally this season’s bunny ears. \”>[WWD]

Good news: Your $300 jeans are now $200. But don’t get too crazy in low-triple-digit territory. Anything below $148 is “no longer premium.” Well, heavens forbid. [NYT]

Nipple pasties for everyone! Scant images from Sonia Rykiel’s line for H&M have emerged, and we do mean scant. [Nitrolicious]

—Alison Baenen

Photo: Sherly Rabbani and Josephine Solimene

With the spectacular view from the 49th floor of 7 World Trade Center as backdrop, Patti Smith wowed her audience at Pratt’s annual Legends scholarship benefit gala last night. The rock icon, who was honored alongside Marc Jacobs and David Rockwell, played four songs, including “Because the Night,” complete with an audience sing-along. Jacobs, who wore his now-signature kilt for the occasion, was keen to point out before the awards ceremony that “I feel good about being honored, but I see Patti Smith as a legend. She’s such an incredible artist.” So maybe it was the fashion designer himself who advised pal Helena Christensen to keep her introduction of him brief. “Someone once said a speech should be no longer than a woman’s dress,” the supermodel quipped. “Short and not covering more than necessary.” To make her point, Christensen wore a leg-baring Marc Jacobs frock from Fall ‘09.—Bee-Shyuan Chang

Photo: PATRICK MCMULLAN/PatrickMcMullan.com

Lady Gaga accepted the Stylemaker Award from Marc Jacobs at last night’s Accessories Council ACE Awards, and her speech won’t soon be forgotten. She called Hedi Slimane “a palm tree” and David LaChapelle “a creature, a liberation, a half lie, a half truth.” Revealing the until-now unknown name of her Haus of Gaga designer, Matthew Williams, she said, “I call him Dada. He is my Jean-Paul Goode, my everything.” Alexander McQueen, the photographer Araki, and designer Nasir Mazhar also got shout-outs. But she saved the best for last: “Remember, the most important fashion accessory is a condom.” All of this came after she glided onto the stage and—poof—spilled white powder from her hands. “I felt like the outfit needed gloves, so Nicola [Formichetti, her stylist and “fuse”] painted me white. I guess that’s what happens when you don’t have the right accessories.” The real spectacle, though, was her getup. She was pants-less, as usual, and wore a satin bra and briefs (MJ Spring 2010?) over her button-down top. A swath of black lace covered her entire face and part of her huge platinum blond Afro. What do you think of her latest look? Too far-out? Not far enough?—Nicole Phelps

Photo: CHANCE YEH/PatrickMcMullan.com