Michelle Williams Turns Marilyn Monroe for Vogue

Channeling an iconic figure, Michelle Williams transformed into Marilyn Monroe for the October 2011 issue of Vogue magazine.

Set to hit newsstands on September 20, the cover spread comes as the 31-year-old actress is readying for the November 4th release of her new movie "My Week with Marilyn".

Highlights from Michelle's interview are as follows. For more, be sure to visit Vogue!

On being more willing to open up in interviews:

“I feel like something has changed for me, but it’s a new change, so it’s going to be hard for me to describe. Maybe it has something to do with turning 30. I don’t feel as shy or nervous or self-conscious. I have more confidence that I can handle what life brings me. I don’t feel scared to have an idea and express it. I feel giddy about it because it’s a complete transformation. It’s like I’ve found my voice.”

On the challenge of playing the legendary Marilyn Monroe:

“As soon as I finished the script [for My Week with Marilyn], I knew that I wanted to do it, and then I spent six months trying to talk myself out of it. But I always knew that I never really had a choice. I’ve started to believe that you get the piece of material that you were ready for.”

On packing on pounds to get Marilyn's curves:

“Unfortunately, it went right to my face (puffs up cheeks to illustrate). So at some point it became a question of, Do I want my face to look like Marilyn Monroe’s or my hips?” (She opted for the former and filled out the latter with foam padding.)

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Victoria Justice: Teen Vogue Haute Spot Hottie

Posted Tuesday September 13, 2011 10:22 AM GMT

Stepping out for a swanky event, Victoria Justice was spotted at the Teen Vogue Haute Spot in New York City yesterday (September 12).

The “Victorious” vixen was all smiles as she hammed it up at Lincoln Center as part of the Mercedes-Benz New York Fashion Week festivities.

Earlier in the day, Victoria dropped by “The View” to talk about her recent charity mission trip to Guatemala.

She explained, "I flew out on a red eye to Guatemala for an observational trip. The message is just to bring awareness to girls in the U.S. about girls in developing countries that are so bright, and that deserve an education, and that deserve opportunities, and deserve to have a future like anyone else. So that's what we were working on."

Enjoy the pictures of Victoria Justice at the Teen Vogue Haute Spot in New York City (September 12).

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Vogue and Conde Nast Launch Another Social Media Tool, but Do We Really Need It?

It’s not exactly a secret that Conde Nast has been a little late to the whole Internet thing. Look no further than the fact that their most famous fashion title–Vogue, in case you weren’t sure–only got a dot com a few years ago. So it makes sense the famed publisher is trying to make up for lost time.

Today Conde Nast launched new social media tool “Social Sidekick.” The in-house developed tool works as an aggregator for most-shared content from W, Style.com, Glamour, Self, Teen Vogue and Lucky. It sounds sort of fancy but all it actually means is that on those sites there will be a window at the bottom of the page, which splashes out popular content from the aforementioned sister sites–basically, it’s an aggregator like any other aggregator on any other site. It’s not a bad idea–especially from the advertising perspective–but it’s certainly not groundbreaking, or as Business Insider says, “It’s nice to look at, but it won’t make a big difference to the bottom line.”

It was also reported today on WWD, that Conde Nast (International) will launch yet another app–this time for London FNO. This, and the Social Sidekick, are only the latest in a long string of digital developments at the publishing house, including an FNO NYC app, launching Voguepedia, implementing mobile codes in their biggest titles, the mysterious new digital property (a Vogue archive?), and in a weird reversal, launching a Style.com print magazine. This isn’t even to mention all the iPad and mobile apps that the publishing house has rolled out in the past year or two.

But while we commend Conde for their tremendous effort, and are excited for many of the new developments (Voguepedia, hello!), some of this smells at least a little like a gimmick-style tactic–an attempt to get people to click by slapping on some newfangled digital “tool.” Or is Vogue just trying to figure it all out, like the rest of the traditional media world? What do you think? Are you excited to try their new gadgets?

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Iman On Her New Platinum Collection for HSN, Why She’ll Never Go Back to Modeling, and Her Reaction to Vogue Italia’s Racist Gaffe

Iman says her supermodel days are behind her but she’s still got the super touch at the Home Shopping Network. Her “Global Chic” collection for HSN became the second best seller in fashion for the network in three years. So when HSN CEO Mindy Grossman asked Iman to add to her best-selling under $100 collection with more luxe and higher priced accessories she embraced the challenge. It’s called the Platinum Collection and it launches today. The line is comprised of bags, wallets, gloves and coats all done in real leather, suede and pony hair for under $300.

I got a chance to see the collection and chat with Iman about expanding her line at a higher price point when the economy is taking a nosedive, why HSN will be her only foray into the fashion world (read: no more fashion shows or editorial for this supermodel) and her reaction to Vogue Italia’s now infamous “Slave Earrings” feature.

Fashionista: So how did this relationship with HSN come about?
When i came to HSN three years ago I only wanted to do accessories because that’s my love. I picked up my baby blue Hermes bag today and that’s how I put this outfit together. I’m an accessories girl. So when I came in I created bags and accessories, it became a huge success, and then Mindy asked me to create some fashion things and I told her, ‘I’m not a fashion designer.’ I’ve been around fashion designers and it’s not an easy thing. So I created a couple of things and before I knew it the line was the second best seller in fashion on HSN in three years.

Were you apprehensive about creating a line at a higher price point when Global Chic was initially all under $100?
I was very worried with the economy how it is. A customer for three year who has been shopping at a price point of under $100 and then all of a sudden it’s higher? But this is about pulling in a new customer. People will look at these pieces and say, “That’s HSN?” It’s still mass and it’s still affordable.

When I present the collection [today] it will be like a fashion show–there will be lighting like on a runway, all the models for the first time ever will have the same hair and makeup like a proper show. And i’ll be on my feet in heels for two hours and I haven’t done that since I was a model. We’re talking about 1989. I don’t stand in high heels for two hours. Who does that?

You’re launching your newest collection for HSN right before fashion week–will you be involved in anyway or going to any shows?
I’ve said it but no one ever believes me. I stopped modeling in 1989 and I’ve never been to a fashion show since then. I was at the tents at Lincoln Center as an interior decorator–I did the Mercedes lounge–and when they saw me everyone was like, ‘Come to a show!’ But I’m done.

Why do you say that with such finality?
Because I worked with literally every designer. So when I stopped I was invited and there was no way I could do one and not do the other and if I did everybody, and I know my industry very well, they will say, ‘Oh poor her, she wants to come back.’ Come on, I know fashion people. The reason I lasted this long is because I’m not around them all the time!

You were one of the pioneering women of color in this industry. What’s your reaction to Vogue Italia running a feature titled “Slave Earrings”?
I’m a huge fan of Franca Sozzani and Vogue Italia’s website because they have a whole section on black models. Is it controversial? Yes. The naming of it, I don’t get it. I sometimes wonder in this age of reality shows has it become part of the language–the more controversy the more [buzz] it creates. But yeah, I didn’t like it. Slave does not make it ethnic. Mind you, it’s not lost in translation–the word slave, we know what it is. They might as well have called them “n***** earrings.” For somebody like Franca Sozzani, who did that whole black issue for Vogue, somebody should have said something.

Take a look at Iman’s Platinum Collection for HSN.

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Fashion News Roundup: Alex Wang Nail Polish, Florence Welch Covers Japanese Vogue and Old Navy’s Punctuation Problems

Genderbending Florence Welch On October Vogue Japan: We haven’t even seen all of the September issues yet and vogue Japan is already rolling out its October cover, which is awesome. Karl Lagerfeld shot musician Florence Welch, who looks like Jack White’s long-lost brother with slicked-back hair and red-white-and-black suiting. {Daily Mail}

Alexander Wang is Making Sally Hansen Polish! He’s working with the nail polish megabrand on a line of exclusive colors to debut at his Spring 2012 show. It’s his first foray into beauty and will probably be insanely popular; don’t expect them to sit on shelves for long (if at all). {Style.com}

Details on the Style.com Magazine: According to their website, the print magazine will launch “just days after the last look has left the runway” and will focus on every aspect of the Spring 2012 shows: clothing and trends, but also people, parties and backstage peeks. They’ll post daily updates on Twitter until the launch. {Style.com}

September Vogue Can Crush Small Items: The people over at Racked decided to see just how much weight the September issue of Vogue can throw around– turns out, it’s enough to smush your lunch. {Racked}

What Fifth Ave. Looked Like Before Shopping Took Over: In the good ‘ol days, Fifth Avenue was just a stretch of beautiful buildings, many home to the rich and powerful (think Vanderbilts). It’s… sort-of changed? The homes are gone, but see what still-rich businesses took their places. {Lucky}

Brioni Ending Women’s Line: Sad face: Brioni womenswear designer Alessandro Dell’Acqua’s contract has been terminated and their Italian factory will close in September. The decision is reportedly part of the acquisition talks between PPR and Brioni, though both declined to comment. Their Milan show is scheduled for September 25, but considering this, will the show still go on? {WWD}

Old Navy Forgot the Apostrophe: Someone at Old Navy needs to go back to grammar school. Their line of newly-printed collegiate shirts all noticeably lack an apostrophe, reading “Lets Go [University],” rather than the correct “Let’s Go.” Embarassing! {NY Daily News}

Manolo Blahnik Dishes on Bridezilla Kate Moss and The End of “Furniture Shoes”: In an interview with WWD, the footwear designer talks about technology, Kate and Will, and designing Kate Moss’ wedding shoes, of which he says, “We did them five times to get them the way she wanted… The shoes arrived the day before and there were too many jewels on the heel… So we had women working up until midnight to change it.” {WWD}

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Vogue Italia Runs Feature on ‘Slave Earrings,’ Changes Headline to ‘Ethnic Earrings’–Does That Make It Better?

Slavery was one of the greatest perversions of human rights that has ever happened in modern history–and it continues to leave deep scars, even today. So, needless to say, using the term to describe a trend, or fashion accessory, is well, just plain wrong.

Unfortunately, that’s exactly what has happened. Last night, Jezebel reported that Vogue Italia posted a feature entitled “Slave Earrings” on their website. The piece features a runway shot of a woman wearing oversized hoop earrings and suggested several earrings in the same style, describing them as classic “slave and creole styles.”

Vogue Italia has already changed the features title to “Ethnic earrings,” in a quick exercise in backpedalling. However, it’s equally frightening that the high fashion magazine, would find the two words–slave and ethnic–interchangeable.

Even worse, Vogue Italia has kept the original copy that ran with the piece, ruling out any sort of translation misstep: “If the name brings to the mind the decorative traditions of the women of colour who were brought to the southern Unites States during the late 18th century, the latest interpretation is pure freedom.”

Ick.

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