We were psyched to see Angelina Jolie on the cover of the new W. But then we saw Nicole Kidman, Lindsay Lohan, Katie Holmes and five other cover girls.

Does this mean no Angelina interview?

Apparently not.

The covers were created by Richard Prince, the artist who just made Marc Jacobs' latest bags.

Prince layered the starlets' alleged autographs over stock paparazzi photos for W's latest creations. Of course, he actually wrote each quote, ranging from, "To Richard Prince, Love you long time, Cameron Diaz," and "To Richard Prince, Let's not and say we did, Jennifer Aniston."

Though none of the cover girls are actually featured in the magazine's Art Issue, Marc Jacob's art-filled Paris apartment is.

Is this false advertising? Or would we rather see Marc's latest muses than US Weekly images anyway?

--BRITT ABOUTALEB

Editor's Note: Faran was sorta bummed there was no Angelina interview... sorry.

You may remember last year, when Mary Kate Olsen wrote about her favorite handbag in T Magazine.

It was the sort of thing that only happened because it could - "Hey, we're the Times, let's get an Olsen!" - as Mary Kate displayed neither originality nor clarity in her piece, but we still loved reading it.

Now it's Lily Allen's turn, as the British singer details her favorite eyeliner for an upcoming beauty issue. We expect the same level of fuzzy comprehension, but more swear words and perhaps a few rhymes.

The magazine hits stands in two weeks, but we have a sneak peek at her story, with one small problem:

We can't identify Lily's favorite eyeliner, since all we've got is a photo, and we've been using the same liquid stuff - from Maybelline - for like ten years.

Can you ID the liner from Lily?

We know celebrities sell copies of fashion magazines.

Usually stars just sit for an interview and an Annie Leibovitz portrait, but sometimes they're called on to perform more editorial duties.

For years French Vogue has been noted for its December/January "Guest Editor" issue, for which they enlist the style-savvy services of icons ranging from Catherine Deneuve to Sofia Coppola to Kate Moss.

As of late other magazines have been following their lead. Last spring we had a special edition of Self-Service with over 100 pages dedicated to cover girl Chloe Sevigny. This fall Kirsten Dunst plays fashion editor at LULA, with an entire spread featuring Polaroids from the actress's trip to Germany.

When Charlotte Gainsbourg recently announced that she'll be taking over the reigns of this winter's French Vogue, we thought it sounded promising. Aside from being Nicolas Ghesquiere's muse, her fashion choices are classic with a twist, always imbued with that Parisian nonchalance.

That doesn't escape the fact, however, that Charlotte is an actress-singer first, style star second.

Are celebrity-edited magazines an insightful glimpse into clothes and personal style, or should celebrities leave the editing to the editors?

--NATALIE GUEVARA

We're all about the new Page Six magazine. Our only question is why Sunday should be the only day the Post comes with a free gossip magazine tucked in.

Naturally, our favorite feature was the "25 Best Dressed Women at Fashion Week."

We were amazed to see on the list: two fake-glasses sporting ladies (Jesse Kamm at #20 and Georgia Frost at #24), our middle-school style icon (Kim Gordon at #25), and Irina in acid-washed denim (#8).

After all this joy, we were only slightly baffled to see Bijou Phillips channelling Mary Poppins with a goofy umbrella and clad in the kind of dress we wouldn't even bother trying on at Salvation Army.

How does that get you five places ahead of the fierce styles of Carine Roitfeld (#13)?

Can someone please explain?

--ALISON COOL

In June, we wrote about how British wunderkind Christopher Kane is collaborating with Beth Ditto on an outfit for October's Swarovski Fashion Rocks concert.

If you can't wait to see what vibrant outfit these two have cooked up, whet your appetite with the Autumn 2007 issue of Pop, which features a spread shot by Steven Klein of Ditto traipsing about in fashions both off-the-runway (Prada, Yves Saint Laurent) and made specially for the magazine (Gareth Pugh, Louis Vuitton, Proenza Schouler). Both humorous and poignant, the photos have that Paris, Texas vibe of wanderlust and adventure with the jet-set styles to match.

The accompanying article proclaims Beth Ditto is a "size hero," an icon both revered and criticized for representing an alternative to fashion's willowy norm. It also explores some of the underlying skepticism surrounding the singer's rise to fame and fashion notoriety.

Is the style world embracing Beth Ditto out of a genuine interest in her art and message or is it using her in a bid to establish itself as a tolerant community? Is all this hoopla over her image overshadowing what's important - her artistry and originality?

Discuss.

--NATALIE GUEVARA

This Saturday, London's V&A museum debuts 'The Golden Age of Couture: Paris and London 1947-1957'.

The exhibit will feature 100 outfits from houses like Dior, Balenciaga, and lesser-known English couturiers like Hardy Amies and Norman Hartnell. There will also be bills and receipts on display --one informs us that in 1950 a couture Balenciaga evening gown cost $230--.

Though today's couture is often discussed as one of the last links to the hallowed traditions of luxury clothing, the show and accompanying article in October's Vogue UK throw light on just how much it's changed.

In 1950 there were over 30 couture houses in Paris. A couturier would present 150-200 looks a collection, all of which were intended for sale. Shows took place daily until interest in ordering the clothing was gone, and customers might order 30 outfits from a single house in a season.

A suit from Dior's 'New Look' collection retailed for $180. For those on a tighter budget, retailers like Bergdorfs bought patterns directly from the designers to make their own, cheaper, versions of the couture looks.

Nan Kempner was a lifelong customer of couture, both in the "golden era" and in the nineties. Before she died she declared that couture is not "made for real women anymore. It's theater now-- and I've seen it all."

Couture today does seem like a distant, fantastic dream. But if you're looking for a peek at the era when couture was something you wore for a walk in the park, check out the V&A--

or if you can't make it to London, just buy the exhibition catalog.

--ANNA FIELDING GRIGGS

This week's Time Out New York pronounces fashion magazines useless and irrelevant to the real lives of fashion-forward New Yorkers.

Here's what they have to say:

"Flipping through the September issue of Vogue, we realized something we always knew but never got pissed about until now: The magazine’s useless. It’s pretty to look at, for sure, influential and impressively heavy—this month’s was their “biggest issue ever,� part of a record fall for fashion mags in general.

But New Yorkers looking for actual clothes to wear had to sift through 727 pages of ads, only to find a spread featuring an amazon in an explosion of “dyed fox fur spliced with plaid taffeta� and Sienna Miller wearing what looked like a turkey stitched to her back."

Of course, we're not cancelling our subscriptions anytime soon (then we would just get bills), but Time Out is right, in a way. It's not exactly news that fashion trends hit the streets before you see it on the runway, that the expensive clothes sprawled across the glossy pages of fashion mags are not really what the fashion cognoscenti wear in real life.

But the article does raise some interesting questions about fashion magazines in general. Clearly magazines can't keep up with the speed that information is moving across the internet through myspace, blogs, party photos websites, and all the rest.

So why do we keep reading them?

--ALISON COOL

Lately, it seems that Parisian rock 'n rollers are growing younger and younger -

Alison recently informed us that the Bob Dylan doppelgangers she spotted in Paris were "all underage." Oh dear...

And in French Vogue's September issue, boys no older than six hog the spotlight, toting guitars and looking very much like Pete Doherty minis.

You can watch these little Libertines in action in Boys Don't Cry, a behind-the-scenes peek at the photo shoot featured on Vogue.fr

We think the concept is adorable, and the kids pulled off the look perfectly.

Let's just hope that style is the only Pete-influence they adopt...

--SARAH MUEHBAUER

Even though you could wallpaper your apartment with unremarkable new magazines, every now and again something really good comes along.

Currently, we’re all about Blag, the brainchild of British identical twins Sarah J. Edwards and Sally A. Edwards.

While the mag’s real strength is its insider music coverage, we’re also pretty into their fashion stories – especially because they usually just have cute boys from bands all dressed up.

This month, the glossy has Anthony Rossomando, the hot singer from Dirty Pretty Things, wearing labels like Licentious and Neil Barrett.

We marvel at how boys in bands never really look styled - and also how much we're in love with James McAvoy, the actor clad in Hugo Boss on several of the new issue's pages.

Even if it's not the most inspirational menswear, it can still lead to aspirational dating...

--ALISON COOL

Today's the launch of Shop Vogue, the website that makes the magazine's ads interactive.

Here you can click through Lily's Burberry campaign and buy the dress she's wearing, and here you can watch Gisele dish makeup tips and pose secrets - all thanks to her sponsors.

The website is easy to use and fun to browse, but there's one unexpected quality:

It's really informative and gorgeous.

The video clips in particular will distract for hours, beautifully shot and almost more exclusive than stories in the magazine - for example, a breathless backstage look at the Chloe campaign shows the way Shalom writhes on set, and the bashful smile of Freja in full use. Meanwhile, there are incredible shots of Anja Rubik's new haircut and further flashes of her movie-star grin.

Meanwhile, the site has full-screen video of some of the season's best collections, and watching the Nina Ricci show, with its original music and close camera angles really might make you shiver. So what if you stare at a Nina Ricci ad while it loads - don't you have to flip though them in print anyway?

With magazines teetering between their independent vision and their commercial duties, many fashion spreads feel like commercials, anyway. Maybe Shop Vogue just embraces that reality, and lets us get on with the clothes.

Of course, there's one thing we can't get on the website that we must have:

Sally Singer and her sharply amorous rundowns of what the clothes actually mean.

Thankfully, that will never be sponsored... we hope.

Previously on Fashionista, we marveled at W's use of Lara Stone.

First, the Dutch model writhed on a cracked ice floor, naked and cozy with a giant fur Fendi (it was bright orange, like a traffic cone).

Next, Lara posed for Juergen Teller, naked and spread-eagle, and splayed on another giant fur (this one was red).

Then Doutzen posed on a bed of leaves, with a teddy bear, also pretty naked.

Now it's Suvi's turn - though she looked so much like Lara that we got confused!

Unlike DK and LH, Suvi actually gets to sit up for a bit - as she's straddled by a bird.

The tableau is a modern take on "Leda and the Swan" - the Greek myth where Zeus comes in bird form to rape a beautiful mortal woman who's vowed to remain a virgin. The result of the assault is Helen of Troy, who is birthed in a golden egg.

We love that W mixed Lanvin and J. Crew, and we love mythology references, but we wonder:

How many other submissive poses - with fur or feathers - will W whip up?

Also:

Is that a tattoo like Gisele's on Suvi's hand?