The 'It' Girl, Now a Woman

SHORTLY before Chloë Sevigny took off for an acting role in Europe (portraying a pre-operative, male-to-female transsexual assassin in a new mini-series called "Hit and Miss"), a job that would keep her away from her East Village apartment for several months, she visited a neighborhood holistic food store to buy birdseed for her canary. When the saleswoman asked if she was a member of the store's frequent shopper discount program, Ms. Sevigny said yes and gave her name.

"I knew that was you," announced the customer behind her in line. "I was going to say something. I recognize you by your style."

Recounting this episode a few hours later, over plates of hummus and marinated kale at a cafe near her home, Ms. Sevigny laughed her loud, un-self-conscious, wheeze-honk-honk laugh, and said, "I mean, who says that?"

Well, frankly, if you have been near the fashion, art, skateboarding, grunge or night-life scenes of New York City at any time since roughly 1995, when Ms. Sevigny made her breakthrough in the Larry Clark film "Kids," you might have said the same thing about her idiosyncratic style. She is someone who, now 36, appears as equally confident wearing a pinafore as a prairie dress as a Saint Laurent pantsuit. On this particular day, in early June, she wore faded Levi’s denim shorts that were cut off so shortly as to leave the inside lining of their pockets exposed several inches below the fray, a tight ribbed cotton T-shirt with a scoop neck and cap sleeves and black leather booties. Her hair was unwashed. You would not have confused her with Jessica Simpson.

It was once said of Ms. Sevigny, when she was 19, after Jay McInerney wrote a profile about her in The New Yorker, that she was the coolest girl in the world. Laurels of her part-nerdy, part-perverse sense of fashion have been bestowed at her ever since, prompting Bob Morris to ask, in The New York Times in 2000, "What is it about the young indie actress Chloë Sevigny that has turned the fashion world into a pack of dogs howling about her as if she were a full moon, or a lamb chop?" Her fabulous poses and linguistic mannerisms are so well known that they have become the popular subject of an online video parody by the comedian Drew Droege, who dresses as Ms. Sevigny and recites ridiculous insider fashion references like "this ironic art smock by Balenciaga Le Dix by Nicolas Ghesquiere."

Though you see her everywhere, at art openings and at fashion shows, you don’t get the sense she is overexposed or pie-eyed about the scene. Balenciaga does still send her bags of clothes sometimes, she said, but they don’t fit.

"I hate going to fashion shows,"she said, wheeze-honk-honk. "I find them boring."

Nevertheless, it seems like people have been constantly discovering, or rediscovering, Ms. Sevigny, ever since she was cast in a Sonic Youth video with Mr. Jacobs when she was just a teenage intern at a fashion magazine. She was famously offered a leading role in "Kids" while hanging out with a group of skateboarders that included Harmony Korine, the film’s screenwriter, in Washington Square Park, brought to mainstream attention when she was nominated for an Oscar in 2000 for "Boys Don’t Cry" and more recently praised as America’s favorite sister wife on "Big Love." Now the fashion world is into Ms. Sevigny again, a result of a popular clothing collection she introduced with Opening Ceremony, the downtown retailer, in 2008.

No profile of Ms. Sevigny over the years has failed to note either her distinctive laugh or the impression that she is little bit coy about her coolness, but also mostly genuine. Both are qualities that make people like her. It also helps explain why her fashion designs, now sold in 100 stores around the world, have been so successful. They hold the promise of Ms. Sevigny: looking cool without looking like you are trying.

Days of Strangeness at Dior

Things must be unusual these days at the House of Dior, judging by the high fashion show they saw this afternoon at the Musee Rodin. All sorts of weird vibes, along with a lack of design leadership, have a way of surfacing in clothes. A runway is like a shrink's couch; stuff comes out.

For some reason I had the idea that this collection would be an interim deal until Dior could hire a successor to John Galliano. Not having a show would have been unthinkable because the Dior machinery has other products, like fine jewelry, to keep promoting, & the hoopla of a couture show, small or not, is a great way to keep distracted people at least small interested.

Oh, yeah - Dior. So I was a small surprised that the house gave a lot play to Bill Gaytten, a studio assistant, who came to Dior in 1999 with Mr. Galliano. You would think that the management - Sidney Toledano, the chief executive of Dior, & his boss, Bernard Arnault, the chairman of LVMH Moet Hennessy Louis Vuitton - were road-testing Mr. Gaytten for the job. (He was recently named creative director of the Galliano brand.)

I've known Mr. Gaytten for a decade. I met him in the Dior studio with Mr. Galliano & Steven Robinson, a close collaborator of Mr. Galliano's for lots of years, who oversaw virtually every detail of the collections. (Mr. Robinson died unexpectedly in 2007.) It appeared to be an excellent creative team, backed up by Dior's ateliers, & Mr. Gaytten's strength was in pattern-cutting. I am liking Mr. Gaytten. He's a sweetheart, but he is not a designer.

Backstage, Mr. Gaytten said it was time to do something a bit more modern at Dior. & when asked if he wanted the creative director job, he said, "Yeah, I do", & added, "I'm not a fool."

The collection introduced today, with modern architectural shapes as the reference (at least that explains the dumb cubes & balls embedded in the model's hair), was a hodgepodge. I had the feeling that Mr. Gaytten, without providing much guidance, let the studio hands play with free-form shapes. There were multicolored jackets with full pleated skirts in contrasting squiggle patterns. The tutti-frutti palette, with jolts of turquoise, recalled the Memphis design movement. Other dresses in metallic silk, with overlapping squares, made you think of Frank Gehry's buildings. That immaculate Dior polish was not evident. Some long flowing dresses in hand-painted silk looked contemporary , but for the most part the garments looked like over-bright costumes.

But any way you try to romance this collection with modern architects, it looked to me as though lots of hands were in the pie as well as a number of them might have belonged to management, which is seldom a lovely suggestion. You wind up with a mess. I can't imagine Karl Lagerfeld not being 100 percent in charge at Chanel (I had a peek last night at a number of his couture dresses, & they're awesome discuss simple architecture). & the same goes for Azzedine Alaia, who will show on Thursday.

Where Did the Fun Go?

A few years ago, as the success of the recession, the Chambre Syndicale, the authority of the French fashion, decided to separate the men from shows and high fashion in June for a week. The two sample groups followed each other, as they still do in January. A week of free time in Europe is no longer considered for publication with the joy of living in the past, so they tend to divide time between work and pleasure. Right now I'm in a village in Burgundy, staying at La Source des Fees, a vineyard owned by Thierry Philippe Nouvel Greffet. The place is as beautiful as it is relaxed, with fine dining, and every night brings new customers - Dutch, Swedish, French. It is the beginning of the summer.

Nathalie Lagneau / Catwalking

A look of men wear Lanvin show in Paris. Perhaps because of the distance from the sample of men, it is easier to see what they lacked. The other day I wrote about the sensuality in the collections of Givenchy and Comme des Garcons. But I think in general what is missing in the Paris and Milan shows spring is a sense of fun. I had a chat with Carla Sozzani, Milan retailer after Lanvin, noting that the creative spirit that led the designers in the past business was partly meant for both the design of incredible things, as did his own bosses. But while many young designers who still have that mentality, the field is dominated by the big brands. They want results, Sozzani said.

Kristy Sparow / Getty Images

Looking to show signs of wear men Raf Simons.
Loïc Prigent The reporter also noted a difference in recent years among young assistants who work for large houses. In the past, I would ask where they planned to party after a show. "They say:" We can not leave because we started working on a collection

of sperm in the morning, '  "he said. Whether for fun.

Chris Moore / Cat walking

A model to show signs of wear of the men Prada in Milan.

The lack of pleasure is just one of the victims of a system that has become absurd full pressure. But his absence is evident in the collections - and what consumers really want from fashion fun, but some clothes? Chatting the other day with American designer L'Wren Scott, who lives part of the year in Paris, said the sample of men: "There were a couple of collections happy where he was the vitality and color." And that is talking about the spring and summer clothing.

Ms. Scott noticed because they are often asked about his male friends of custom pieces, and she has always designed suits and shirts for her boyfriend, Mick Jagger, also seeks to find in other collections.

Shopping Snapshots

Polka dots, a fashion perennial, attracted a new round of attention when Marc Jacobs, who played around with circles for spring, went hog-wild on his fall runway with polka-dot pillbox hats and hosiery, and everything in between. Dots continued to pop up — at Stella McCartney, Gucci and Lanvin.

Model Casting

Backstage at Lanvin, a view of the models’ head shot board and the show’s fairly diverse casting.

A Magazine That Won't Smudge

EVEN as the publishing rivals Condé Nast and Hearst Magazines race to one-up each other with plans to translate their old-fashioned fashion magazines for the new generation of tablets — adding features like a talking editor’s letter (Elle) or an i Pad

- only reality series (Glamour) — there is still the sense in some quarters that those companies haven’t yet fully embraced the digital medium.

THE LAYOUT Post, a new fashion magazine, is available only on the iPad.

“What I find terrible is that these companies have actually curbed progress by not allowing their digital teams to grow,” said Remi Paringaux, 27, an art director who last year started a London-based company that creates iPad applications for clients like Gucci Group and its Stella McCartney label.

Mr. Paringaux, who had previously worked for traditional magazines (as in on paper) like Dazed & Confused and Vogue Japan, said he found himself wanting more from print than print was able to offer. So his company, Meri Media, introduced the magazine Post, developed to be viewed solely on an iPad.

The first issue, released in January for $2.99 to mostly positive reviews, included a video of a burning man created by the photographer Solve Sundsbo, a periodic table of accessories where jewelry revolved at the touch of a finger and an interpretation of what the particles moving about the Large Hadron Collider might sound like.

The second issue, with the theme of gravity, is expected to be released next week, along with a separate app promoting a series of artist created videos that will be broadcast on a floating barge during the Venice Biennale. The issue includes videos of skydivers dressed in designer suits and an interactive fashion shoot where the user can manipulate the dimensions of the model Iselin Steiro, though presumably not in a way that would offend Apple’s moral standards for content.

While Mr. Paringaux said he was interested in showing the potential of the iPad for magazines, its limitations are also visible. The first issue took nearly 20 minutes to download, even with a strong wireless connection, and the credits included links to retailers that didn’t actually carry the products shown in the magazine. A video interview between Olivier Zahm and the artist Miltos Manetas, while visually interesting, was fairly incomprehensible.

Still, in terms of an engaging experience, Post offers a map for others to follow.

“I would be more than happy if they ripped off the concept and applied it to their titles,” Mr. Paringaux said. “It would be a lot richer for everyone.”

'Sleep No More' Is a Feast for Style Fanatics

- On the Runaway, all things fashion -

Audience members are equally at liberty to pop open a trunk at the foot of that bed - lots of do - to select through its contents or, in idle moments, to slide open drawers where they might unearth, say, a stray swatch of silk or striped afternoon frock.

Talk about cravings. At point in the eerily staged production of "Sleep No More" at a mock hotel in Chelsea, a showily pregnant Lady Macduff hikes up her blue velvet evening dress, hops on to a bar and laps milk from a saucer. At another moment in this crazily meandering interpretation of "Macbeth" by Punch drunk, the British experimental theater company, her dress is laid out on a bed, leaving masked spectators free to pore over its capacious folds and seams.
A costume sketch for David Israel ReynosoA costume sketch for "Sleep No More".

For style fanatics, the show is a banquet, a delectable feast of loosely Deco-inspired period paraphernalia, an "adventure in decor," as Ben Brantley wrote in his review in The Times. It was honored with Obie Awards last week for design and choreography. And it captivated the editors of Women's Wear Every day, who were prompted to used the space as a backdrop for a fashion shoot. Not that you can blame them. The shabbily evocative setting and gruesome mood beg for plunder.

They can at various intervals alter coursework to follow the progress of Lady Macbeth as they flits through a warren of rooms, clambering batlike up the walls in a voluminous bathrobe.