Marc Jacobs distilled his experimental, statement-making ways into simple, yet utterly beautiful wares. Having already built an empire conflating ideas, decades and references into cool American sportswear, Jacobs sent down easy A-line wool skirts and dresses, coats with sloping lapels and large buttons as well as serious three piece power suits. He hit on important trends of the season such as beige and grey colors, fur (as accents to many of his coats and bags) and velvet (in trousers, skirts and floor length gowns).

Ohne Titel was also in a pared down mood, resulting in a modern combination of commerce and creativity. Although trousers, military jackets and coats were relatively more wearable last season, there were unique flourishes such as silk dress made from different, randomly arranged materials and swingy dresses made from power netting. The duo behind the label, Alexa Adams and Flora Gill, also produced some of the most covetable accessories this season with geometrically paneled leggings and wide leather belts.

While Adams and Gill used leather as accents, Joseph Altuzarra used the material to make a loud and sexy statement. Leather dresses, pencil skirts and body suits evoked Catwoman with panels that seemed to be sutured together. Altuzarra’s fall collection is a departure from the softer, feminine wares of last season, but it is certainly a welcome shift judging by Carine Roitfeld’s approving nod by show’s end. Alexander Wang also recieved kudos for reworking the pinstripe suit into mini dresses with lace, long skirts featuring geometric, peek-a-boo cutouts (a huge trend this season) near the waists as well as tailored cropped tops. Nonetheless, the enterprising designer—whose business is already worth $25 million—had less than favorable responses overall.

Thakoon, meanwhile, presented a winning combination of voluminous fur, luxe wool and textured fabrics in carefully arranged layers for each eye-catching outfit. The beauty of this collection lies in Thakoon’s skill at making layers—an important trend when not overdone—look effortless. This dexterity marks his return to top form after an erratic last season.

After years at Bill Blass, Nepal-born Prabal Gurung proved that his aesthetically accessible take on high-end womenswear needs to be taken seriously by the gatekeepers of fashion. This coveted acceptance was also sought after by Victoria Beckham, who produced glamorous clothes that stand on their own merit rather than relying on her celebrity status.

After several seasons absent from the fashion scene, Pheobe Philo’s return to Celine was certainly welcomed by fashion folks last season in Paris. Philo has a way of designing what women want at a given moment, providing utterly chic and modern wares for her loyal customers. And, as Cathy Horyn pointed out in a recent New York Times article: “behind every good collection is Phoebe Philo.” Even designers such as Phillip Lim, Reed Krakoff and Derek Lam came a tad too aesthetically close to Celine’s spring/summer ’10 outing, hinting at percolating trends toward a straightforward, frippery-free manner of dressing.

The Olsen twins’s tightly edited collection for The Row was uncomplicated yet irresistibly hip—keeping in tune with this minimal design spirit. Marios Schwab, meanwhile, gave Halston’s signature draping a decidedly younger luster, and Matthew Ames used leather and soft colors to anchor voluptuous silhouettes.

Some designers, however, simply stuck to what they know best. Sophie Theallet didn’t veer away from the reliable femininity that helped her clinch the CFDA/Vogue Fashion Fund, while Francisco Costa for Calvin Klein used form and materials to convey his sculptural turn. Proenza Schouler’s J Brand collaboration yielded painted graphic jeans, which, along with updated American classics such as bomber jackets, toggle coats and cocktail dresses, have sustained the brand’s desirable status among the hip, deep-pocketed set.

American style can mean many things to many people, but New York Fashion Week’s varied new look is both grounded in its past and compelled by its future.

—Robert Cordero

In the lead up to London Fashion Week, we’re kicking the series off with breakthrough designer Holly Fulton. Surpassing all the other shows at last season’s BFC NEWGEN, she offered skyscraper prints and appliques on sharp silhouettes that screamed neo-deco chic. A hot ticket this week at LFW, we asked Fulton for a peak into how she works, her preference for total looks and what expectant editors and buyers will see for fall.

JC Report: Tell us about the evolution of your career in fashion?

Holly Fulton: I received a degree in fashion at Edinburgh College of Art and a post-grad diploma there. I later spent five years doing various things—was abroad, worked as an antique jeweler, then worked for Queene and Belle doing their embroidery and womenswear. After getting an MA at Royal College of Art from 2005-2007, I worked at Lanvin, did freelance with Swarovski, then applied for Fashion East and got it. I showed in February 2009 when my label started.

JCR: What or who inspires your work?

HF: Pop art (especially Eduardo Paolozzi for his imagery and colors), outsider art, Keith Haring, aboriginal art, art deco—especially the jewelry for its boldness and use of line and form.

JCR: Tell us about your current collection?

HF: For autumn/winter ‘10 I used snakeskin, suede in applique, Swarovski crystal, perspex, wools, printed habotai and velvet. There’s also digital prints manipulated from various sources within my own work, hand drawn prints, hotfix crystal and some new embellishment. A glass artist called Louis Barillet was also influential—I love his color and use of line. I want to consolidate what I started last season and present a collection that’s easy to wear yet strong, with a vibe of the ’80s cinema du look movement and a certain nonchalant attitude.

JCR: What are you trying to change about how women dress and use accessories?

HF: I’m not trying to change it, just put my own style into it. I believe in carrying a complete look in collections—covering all accessories, garments etc.—and through this it provides numerous ways to translate my style. I would only hope people like what they see and wear it their own way. You can do it top to toe or just as easily take one piece and work it with your own take. It’s the best feeling when you see someone wearing your stuff that you don’t know.

JCR:What has been your best accomplishment in your young career?

HF: I hope it’s still to come. Showing on my own at fashion week in February with Newgen is what’s exciting me most just now, but winning at the Fashion Awards was quite a huge compliment and also a bit surreal—so much has happened in a year that it just provided the most unbelieveable finale.

JCR: What is it about London that makes it such a fantastic place to work in?

HF: It’s open to anything and everyone—contrary to the myth, fashion people are actually quite friendly!

JCR: Any fashion idols?

HF: The actress Jeanne Moreau.

What’s hot right now?

I just finished working on my upcoming Fall collection and I must say it is smokin’ hot. I’m not so much of a party freak and I have very, very long working days—when I have some time off, the hottest thing for me is a bottle of Bordeaux, scented candles and a warm bath.

What are your favorite trends at the moment?

I’ve always thought “trends” were an annoying concept. The best trends are the ones that individuals create for themselves. The trendiest trend is to be unique.

What kind of shoes should women get for the s/s ‘10 season?

Mine. Because they’re the sexiest.

Men’s fashion is a precarious, often highly nuanced, trade. This holiday season, make sure you pick up the proper items for the men in your life to avoid veering into the wastelands of impersonal, generic gifts. Follow our advice on items for just about every kind of man and no one will be left feeling disappointed.

For the young, achingly hip male who prides himself on acquiring the latest on-trend fashion item, pick up a knit from Resistance, a pullover take on the Fair Isle sweater. Raf Simons and Doc Martens‘ 8-hole boots offer an emphatic punctuation to those beloved skinny jeans—like this Ksubi bleached number—and the fact that they’re limited edition means they won’t succumb to trend-chasing product ADD ways. Speaking of trends, grab an electric blue 10 Corso Como Commes des Garçons tote from the Italian emporium that’s always ahead of the curve.

The sports enthusiast must still be in disbelief at Tiger Woods spectacular downfall from his philandering ways, so make him feel more secure—or at least just stylish—with his game by picking up a stripe Polo from Dunhill By Kim Jones. If he prefers forehands over swings, then this Commes des Garçon short sleeve Play shirt is an infinitely cooler alternative to the ubiquitous Lacoste variety. Have the gym rat ditch those old sweatshirts in favor of something decidedly more stylish, such as Balenciaga’s light weight knit jersey jacket and personalized kicks with the Nike Air Mogan iD shoe. Both are versatile enough that he can also wear them outside his weightlifting sessions.

For the more pensive, professorial-type males in your life, go with Prism’s Rome frames, can make even an erudite man look classic and current at the same time. Sartorially speaking, no fabric exudes intelligence and sophistication more than herringbone, so opt for Stowers Bespoke’s double-breasted number or Edward’s two-button blazer. There’s also a Silver Bulldog paperweight from the Dunhill collection to give any desk an uppercrust British accent, while this Prada Saffiano briefcase will house documents and give off an Italian allure.

Just as erudite, but with a hint of fey and artsy, the sensitive, foreign film watching male is in need of holiday gifting with a heightened aesthetic. Few cater to this discerning fashion set as well as the French, so try Lanvin’s shirt with a knit collar, which lies poetically on the body, or the label’s gold and black raw edge scarf. For the feet, Pierre Hardy’s casual luxe suede ankle boots with eyelets make perfect parings to languid trousers that are stylishly secured at the waits by Marni’s sleek belt. Once you’ve satisfied the wardrobes, pick up Francis Bacon: A Terrible Tragedy from Steidle to satiate their artistic curiosities.

For men who prefer to be less manicured and a bit more rugged, the best bet is a durable-looking wardrobe that harkens back to American workwear. Richard Chai’s arc seamed plaid buttown downshirt and Kris Van Assche’s combat trousers both scream urban utilitarianism. Also consider giving an accessory in the form of Woolrich’s buffalo check attaché. Though not quite industrial, nothing is more American than a leatherman jacket ironically from Japanese label Neighborhood. Oak’s Merino wool hat will keep them warm, and if they like jewelry, then Martin Margiela’s ring has just enough toughness to be properly pulled off.

For boys with an intense passion for fashion, added color and shine makes everything that much better. Alexander McQueen’s OTT gladiator sandals will surely be hit, and can even be worn over Paul Smith’s colorful socks. Ann Demeulemeester’s dark looks wouldn’t normally be on this kind of radar, but it’s hard to deny the appeal of this sequined waistcoat. And above all, every male peacock just wants to look young—so go with Alford & Hoff’s facial serum with anti-aging qualities to preserve that youthful beauty.

From hip to sporty, from intellectual to romantic, from arty to rugged and to totally over the top, there’s something for every type of man. The hardest part is just remembering that you’re supposed to give these items away.

—Robert Cordero

Horacio Silva is responsible for helping T Magazine emerge as a distinctly modern, sought-after incarnation of The New York Times’ Style Magazine. Silva was the news and features director the last time we spoke to him, but he has since assumed duties as the online director and has helped push the magazine into a new era of web-savvy editorial and style. The newly redesigned website combines the magazine with the similarly popular The Moment blog for an online destination that is user-friendly, endlessly readable and the seminal resource for all things relating to luxury and design. Silva lets the JC Report in on the decision for an online makeover, his editorial balancing act and what readers will gain from the new website.

JC Report: Why was it time to merge The Moment blog with T Magazine?

Horacio Silva: We were really pleased with T Magazine online and The Moment blog, with the continuous stream of information generated over the past two years. I think we did a great job of drawing a line in the sand and differentiating ourselves from the competition—even if I do say so myself. The Moment in particular generated a fair bit of cultural traction, but we wanted to bring that continuous and diverse coverage to the site to give our users the best of the blog and the magazine in one destination.

JCR: What prompted the move from an image-heavy look to a more minimal approach?

HS: We moved away from a flash-based site to an HTML platform, which gives us greater editorial and technological capabilities for managing a continuously updated, daily magazine. I don’t think the images have been in any way short-changed, despite the increase in negative space—if anything, the images now get even more play. We have created multimedia templates that do a better job of showcasing our terrific image- and product-based features, and images are bigger in the new site than they were in the previous design. On most of our slideshows and interactives, users have the option to click on “full screen” and have the images fill your screen.

JCR: Was the change a business, operational, or aesthetic decision?

HS: All of the above, really. We wanted to give the site a vital new look and take advantage of our integrated web and print newsroom. More than any publication that I can think of, our editorial team is really hands-on with the site. Trust me, it’s definitely not an afterthought and the web is very much a part of our workday—across the board. From a business perspective, the new layout and design of the site make it more accessible for advertisers across categories. The new site can now feature the standard ad units we run on NYTimes.com, including some of the new immersive Online Publisher Association units, and advertising campaigns can be integrated into packages sold across the site.

JCR: Has the merging of content made the editorial process easier for you to manage?

HS: It’s been a blessing and a curse. By putting content from the magazine alongside content that’s exclusively made for the web—as opposed to having them live in two discrete destinations—we are able to surface a lot of great stuff that never really bubbled up to the top in the past. As a result, we have a lot more constantly refreshed content. But it’s a big beast that needs nonstop feeding and with that comes challenges in the managing and scheduling of that content. In the end though, I think it just made everyone a lot more organized and mindful of how our online coverage complements the print side. Bear in mind that in addition to the 15 issues of T each year, we also have a biweekly presence in the Sunday Styles section of the Times, so it’s a problem I’m happy to have had.

JCR: How have you incorporated Web 2.0 features into the new site?

HS: We integrated The Moment’s Twitter feed onto the site with prominent placement on the homepage. The new design also features a suite of tools that give users the ability to directly share content to Facebook, Digg and other popular social and bookmarking sites. The site is now much friendlier for searching, opening up the content to a new audience to search for their favorite products. But as with any web initiative, it’s an iterative process and we’re nowhere near done with offering innovations for our users so stay tuned.

JCR: How has the response been from your peers and readers?

HS: We have received great feedback from our peers in the publishing, development and design communities, who have responded enthusiastically to the homepage scaling and scrolling devices and to the general improvement in the engagement of the site. And the visible uptick in user comments speaks for itself.

JCR: What does this change mean for your loyal readers?

HS: Other than peace, love and happiness? The new site gives readers the best of what they have come to love in print by publishing each issue in its entirety, while offering new online features and something new every day. The navigation is also much more intuitive. There is now a separate culture section with exclusive online content, and each area of coverage (Women’s Fashion, Men’s Fashion, Travel, Design, Food and Culture) has its own subsection. And, the contents of each T Magazine issue are archived on the site and are easy to find.

It’s hard not to sound like a pitch-guy in a late-night infomercial, but—wait!—there’s more. With this design, T’s marquee columnists and contributors, who are also writing exclusive content for the site, are more prominently displayed. And our popular videos have their own player on the homepage and are archived in a video library. Overall, it’s a more engaging, immersive and useful experience and that can only be a good thing for our loyal users.

This interview was conducted by Robert Cordero

Most can agree that fashion and French philosopher Michel Foucault are an unlikely pairing. But for Siki Im, a former Karl Lagerfeld and Helmut Lang designer, it’s this unexpected overlap that sets his directional, high-end menswear apart from the rest of the scene in New York. Just as Foucault questioned homosexuality, urbanism and media with radical texts, this former architect challenges conventional notions of men’s fashion with meticulous tailoring, architectural details and inventive silhouettes.

Though this may seem rather complex in process, the pieces in Im’s eponymous debut s/s ‘10 collection are deceptively simple when on the body. As with post-structuralist philosophy, the clothes are more than meets the eye—one can appreciate the polished look of handcrafted, tailored jackets made from luxe Italian and French 130’s wool, but the real drama lies inside. Placing equal importance on the jacket’s interior, Im uses transparent silk organza as lining, allowing wearers to see loose threads that fuse the seams together. No buttons are outwardly visible, but that’s because they are all hidden and are made from horn.

There are also subtleties that the untrained eye wouldn’t necessarily catch upon initial inspection. A long wool vest’s armholes curve roughly half an inch deeper in the back to reveal more skin. A gorgeous black organza trenchcoat has kimono sleeves that create a slouchy drape over the shoulders. And inside some pieces there are straps that can be anchored onto their shoulders to convert into a cool looking cape.

While these clever techniques can be attributed to Im’s background in architecture—he was educated at Oxford and practiced at Architectonic—his play on sartorial proportions is a reaction to the taut silhouettes favored by male urbanites. Apart from the numerous skirts in the collection, he also featured voluminous trousers that taper at the hem, slouchy t-shirts with scoop necks and cotton sateen shirts with high armholes and cut to tunic length.

It takes a unique kind of designer to break down the philosophical and aesthetic traditions of menswear design, but Im has done just that—and will no doubt continue to do so for years to come.

—Robert Cordero

Behind the glitz and glamour, the founding purpose of New York Fashion Week is to sell designs to buyers. But with designers parading the most practical, rational collections of recent memory down runways last season, this intention seemed to eclipse everything else. Fortunately spring/summer ‘10 seems to offer excitement again, although the question still remains: how will designers sell the clothes, and how will the consumers pay for them? “All you really need is passion and a point of view,” Lazaro Hernandez, one half of the design team at Proenza Schouler, optimistically argued at a seminar on the future of fashion at Milk Studios during the last day of New York Fashion Week. With this is mind, JC Report lists the ten best New York collections of the season, all of which defy a temporary economic environment in favor of enduring aesthetic appeal that’s also functional.

Altuzarra
Joseph Altuzarra’s presentation last season was an intimate affair among industry insiders, including Carine Roitfeld of French Vogue. But this season, the Swarthmore educated and Givenchy trained designer saw his star power grow among the young Hollywood elite, which included having Leighton Meester and Rachel McAdams sitting front row at his presentation. Most designers try to marry European sensibility with New York practicality, but more often than not this approach falls flat. Altuzarra’s work for s/s ‘10, by contrast, is pitch perfect. As one of the best presenters at New York Fashion week, he offered patchworks of luxe eyelet fabric with silk, gathered suede skirts (which Roitfeld would love) and flirty dresses that had assymetrical hems. Unlike his peers, the shy Altuzarra is relatively quiet in the media—fortunately for him, he packs enough talent that his work does all the talking.

Hervé Léger by Max Azria
While we understand the easy currency of a fitted, banded dress, after the one thousandth viewing, Hervé Léger by Max Azria’s go-to status for modern sexy had lost appeal. Fortunately, the brand bounced back to life with the s/s ‘10 collection, which evolved beyond its one-trick pony status. The banded dress picked up new features such as braided denim and crochet, while much of the collection appeared in soft neutral tones and black, which will have women (including hardcore fashionistas) dashing to score their fitted dress of the season.

Oscar de la Renta
In some circles Oscar de la Renta is known as the godfather of American fashion. While our tastes lean to the more progressive side, it was hard to ignore the drop-dead chic of De la Renta’s s/s ‘10 collection: daytime safari jackets paired with pencil pants, off the shoulder nautical knits and culottes or criss-cross bib front dresses rendered in a to-die-for palette of jewel tones, sand and graphic black-and-white. Let’s just say, when it’s good, it’s good.

Proenza Schouler
Jack McCollough and Lazaro Hernandez, the duo behind Proenza Schouler, showed a youthful collection brimming with optimism. The label, which in recent seasons took more experimental turns, returned to its past glory with a collection that conjured up pieces every well-moneyed cool girl could want. There were colorful short dresses with the label’s signature breast cup shape, fun tye-dye tight shirts, mini skirts with metallic, lace and marabou embelishments as well as a series of beautiful printed silk shifts with blockbuster sell through potential.

Marc by Marc Jacobs
One of Marc Jacobs’ best skills is his ability to capture the zeitgeist with a masterful mix of divergent references that seamlessly coalesce in each collection. Jacobs’ recent s/s ‘10 collection harnessed an infectiously vibrant energy seen in African prints and bright colors on large voluminous skirts, onesies, rolled up trousers and flirty dresses with tiered skirts. There were also pieces from the early ’90s such as slouchy knitted sweaters and oversize electric yellow t-shirts with zebra prints that make fantastic daywear staples for young fashion folks. Though Marc by Marc Jacobs hinted at the brand’s collection line, the retail friendly and less convoluted interpretations earned more points.

Donna Karan
Donna Karan also returned to the functional, yet utterly feminine fashion beat that her multi-national company is built on. She’s already known to flatter women’s curves and accentuate all the best parts without being too overtly sexy, so naturally the latest collection featured gorgeous body-hugging jersey dresses. The pieces showed off the shoulder (the most beautiful part of woman’s body according to Karan’s aesthetic) with drapey tops that had a Kimono vibe, which allows for a shoulder cover up thanks to asymmetrical sleeves and buttonless jackets with clever crinkled ruching. With this outing, Karan reminded us why she’s a true Seventh Avenue stalwart.

Sophie Theallet
Sophie Theallet’s shows are always attended by power industry players who are never disappointed by the French, Brooklyn-based designer. For ladies who are more concerned with looking classic rather than trendy, it doesn’t get any better than Theallet’s unforced feminine offerings. For s/s ‘10, Theallet served up easy cotton dress shifts with drawstrings that slightly tug at the waist, silk tops with biased cut shoulders and chic cotton wrap dresses with a deep neckline and puffy sleeves. Though rudimentary in theory, these pieces easily fill a wardrobe and are made with precision and luxurious fabrics.

Jeremy Laing
Geometry isn’t the sexiest of references, but Jeremy Laing used the subject as a starting point for his technically sound collection. The visually appealing grouping rid the staid topic of its nerdy connotations, but employed its structure to effective ends. There was striking perspective on draped dresses, panelling on taut pants that added a visual lift on one’s height and sharp jackets that were at once fashion forward and wearable. But Laing also used soft fabrics to counter the rigidity of his lines with drapey dresses that appeared to be just put on the body, cropped tops and a gorgeous black lace dress with a nude under layer. Though Laing has been showing for a few seasons now, this is easily a break-out collection that will take him to new heights.

Rad Hourani
There was electricity in the room at Rad Hourani’s collection as one giant model after another took to the runway in skinny black, white and metal unisex combinations. It easily could have been one of Hourani’s past collections, but instead the s/s ‘10 style worked in the designer’s favor, helping to clarify his lazer sharp focus on a new modern uniform. We liken his approach to the original Helmut Lang and are closely watching his brand’s evolution.

Phi
The consummate underdog, Phi may not get all the love that it deserves, but with Andreas Melbostad at the helm, the label has turned out stellar collections season after season. Naturally, s/s ‘10 is no different. Continuing in the tough girl chic, bodycon vein, Melbostad kept us riveted with banded leggings, some of which sported plaiting up the sides, re-worked military buckle details wrapping the waist of corset-like fitted tops, dressed up by loose fitting and cropped blazers. Phi’s collection featured tons of ideas that will no doubt inspire many others for the coming seasons.

—Jason Campbell, Robert Cordero, Michael Miller

Many fashion folks would agree that the fashion show format for showcasing a designer’s collection can become a bit repetitive. Fortunately, Teddy Willoughby, the promising designer behind Bland, obliterated the runways setup by staging an artistic performance to present his spring/summer ‘09 collection.

Titled The Miraculous Conception of Mr. Beast, dancers moved to cacophonous music with poetic movements from ballet, modern dance and unpredictable gyrations reminiscent of voodoo rituals. The clothes they wore were just as eclectic. There were wearable pieces such as the black dress with a short tiered skirt, cropped jackets and randomly ruched tanks. Willoughby’s design spirit was particularly infectious in the mixing of unexpected materials such as silk and VHS ribbons on the skirt in a dress.

Even though the show was late at 9 pm, watching the frenetic performance was a welcome sensorial jolt, reminding us that, despite the commercial constraints on fashion has these days, there’s still room for this high level of creative expression. If you don’t believe us, watch the video here.

—Robert Cordero

With the Bryant Park tent drawing jeers for its disorganization this season, it’s a relief to attend a show that’s not only hassle free but starts on time. Victoria Beckham did just that and more. Instead of opting for an extravagant runway show, Beckham hosted a series of salon-like presentations for a small number of editors, where she personaly talked though her spring/summer ‘09 collection.

Celebrity lines can rarely contend with top designers in the upper echelon of fashion, but Beckham managed to dispel that myth too, presenting a serious collections showcasing her skill at making a woman’s natural curves all the more sensual. There were washed gazar dresses that had strong shoulders and accentuated the waist, a yellow corset power mesh dress with an origami fold on the front that Beckham calls a “folded petal effect,” and a silk floor length gown with geometric cut-outs and panels to accentuate the body. Apart from accentuating womens’ curves, Beckham also considered recessionary demands with a sexy black lace dress, which also comes with a tube dress. Worn together it’s sensual, but if you’re in a risque mood then you can wear them separately. Now that’s bang for your buck.

—Robert Cordero

Coach, the multination accessories company, even hosted a pre-fashion week dinner just in their honor. At the gathering—which included bloggers from the Glamourai, Lulu and Your Mom—Wendy Lam, the founder of Nitrolicious, said that she was delighted to be invited to shows this season by the KCD PR firm. Even though KCD is known to be iron-fisted when it comes to who gets in their shows, they invited Bryanboy last season to Marc Jacobs, which is arguably the hardest show to get into. This season, the Manila-based blogger has been seen around town taking in the presentations, while his fans wait giddily at the site to see his androgynous get-ups. Fellow blogger Susie Bubble has been serving up equally note-worthy looks, particularly colorful avant-garde ensembles from Bryant Park to Milk Studios.

Tavi, the cute 13-year-old blogger who has become somewhat of a superstar, caused as much hubbub with the photographers front row at Y-3 as the French soccer player Zinedine Zidane, who infamously head-butted an Italian opponent in the 2006 World Cup. Seas of Shoes’ Jane Aldridge, on the other hand, has managed to turn her celebrity into a line of footwear with Urban Outfitters. She’s also in demand as a muse—there have been numerous requests from designers for her to model their collections, and the 17-year-old Texan is now being flown by Karl Lagerfeld to Paris for a Chanel Haute Couture fitting. Now that’s power!

—Robert Cordero

Founded in 1988 by motorcycle-lover Richard Stark, Chrome Hearts features luxurious silver and leather jewelry that often exhibit a goth-rock vibe. In 2000, Stark and his wife Laurie Lynn launched an eponymous magazine that has come define the brand’s eclectic and sophisticated aesthetic. We sat down with Mrs. Stark to discuss the publication’s inception, plans for the future and the magazine’s upcoming piece on Iggy Pop.

JC Report: Why was the impetus in starting this Chrome Hearts magazine?

Laurie Lynn Stark: The first issue was published in 2000. It was organically conceived because we had a friendship with a publisher who encouraged us to put together a magazine. From the outset, we looked at it as an experiment, but as we began to develop the concept we envisioned it turning into something that could evolve alongside Chrome Hearts [the label]. We intentionally decided to add elements that would contribute to a bigger picture, such as naming each issue with a different letter on the spine, which would reveal a word or phrase over time.

JCR: How is the Chrome Hearts magazine angle different from a traditional fashion magazine?

LLS: It is hard to compare because our content is not trend or advertisement-driven. It is very much a reflection of our lifestyle and has become a visual archive of the life and times of all of us at Chrome Hearts as well as the people who have touched us during that time. There is no formula we follow—we simply feature what we love from art and design to travel and so on.

JCR: What are some of the most important elements of Chrome Hearts magazine?

LLS: For myself, working on this magazine with my husband is always an interesting process. I greatly enjoy the collaborative effort as we often have different perspectives, so it’s always a unique blend of both of our visions. We love that this magazine reflects so much of our family and friends—it’s something our children can look at when they grow up and see what was happening in our life during this time.

JCR: What is the Chrome Hearts brand trying to get across with this magazine?

LLS: There really isn’t a specific message. It’s mostly a creative means for us to document what we love the most, and to share it with customers who have been loyal to us since the beginning.

JCR: Tell us what’s going to be in the upcoming issue?

LLS: The centerpiece is on Iggy Pop, but other highlights include some collaborations Chrome Hearts is doing with other designers, new products and pictures from our 10th nniversary events in Tokyo last year. As with every issue, this one will also be accompanied by a music CD of our friend and family.

JCR: Where can we get the magazine?

LLS: The magazine is available exclusively in all of the Chrome Hearts store around the world.

This interview was conducted by Robert Cordero.

Amid the excitement of Paris’ spring/summer ‘10 menswear runways this week, Ann Demeulemeester’s show is set to be a singularly impressive event. In recent years, many discerning tastemakers have fallen for the Belgian design maestro’s brooding take on men’s fashion, and her exquisite work only gets better with time. Among her many loyal fans is Erik Madigan Heck, editor in chief of Nomenus Quarterly, who recently produced an exhilarating retrospective editorial, featuring pieces of Demeuleumeester’s menswear designs from 1996 up to her current 2009 season.

The editorial is an ode to the “quintessential Ann Demeulemeester man,” according to Heck. The visually stunning spread reinterprets the survivalist interactions of schoolboys on a deserted island from William Golding’s Lord of the Flies as well as the Catholic priests pervasive in Italian photographer Mario Giacomelli’s work. For the shoot, Heck assembled 12 male models who he thought represented the Demeulemeester male archetype and photographed them playfully frolicking about Morningside Park, New York. “I was trying to capture this innocent male, who was playing and dissecting the hierarchy of adulthood, but relishing the hierarchies of almost teenage angst,” explains Heck.

Of his impulse to delve deeper into the designer’s psyche, Heck elaborates: “We know Ann Demeulemeester publicly more for her women, and her [friendly] relationship with Patti Smith, etc., but I felt like her ‘Man’ was never really explored deeply in the public eye.” To revel in Heck’s interpretation of Demeulemeester’s brand of masculinity, check out the photos below. And to view all the images, head over to Nomenus Quarterly.

—Robert Cordero