Little Miss Nobody has a problem: nobody notices her. That is, until Little Miss Stella comes to the rescue with a bespoke suit that transforms her into a Somebody. This fashion-forward fairy tale, originally created by author and illustrator Adam Hargreaves in 2006 as an invitation for Stella McCartney’s fashion show, is now the inspiration for McCartney’s seven-piece capsule childrenswear collection.

From left: Little Miss Stella Jumper, $80; Organic cotton Pajamas Set, $95

While there aren’t any kid-size bespoke suits, the pieces are made from organic cotton, feature adorable scenes from the story, and come packaged with fabric markers to draw in your own Little Miss or Mr.

Available at stellamccartney.com and all Stella McCartney stores.

The Bekket Sneaker in suede, $665, Barney’s New York

TREND: Until very recently, the world of women’s sneakers was limited to girly versions of men’s kicks or slightly stodgy high-end options made for substance and not really style.

GAME CHANGER: The Isabel Marant Bekket

INSPIRATION: Marant attributes the design to her teenage years when she would put a cork sole in her trainers. “I wanted to keep the comfort of a sneaker while looking taker at the same time,” she says.

RESPONSE: Since Bekket’s introduction three years ago, it’s not uncommon for the shoes to be sold out before they could even hit shelves. Celebrities like Beyoncé and Anne Hathaway have been spotted in them and have turned the name Isabel Marant from a French symbol of contemporary femininity into another obsession for sneaker fanatics. And slews of wedged sneakers have now emerged from big names like Marc by Marc Jacobs, Chloé, and Stella McCartney; further propelling the trend of ultra-luxurious street fashion.

SPECIFICAITIONS: Women are abandoning their conspicuous sky-high platforms for a 2.75-inch wedge concealed in the sneaker and a .75-inch lift at the sole, all-told, lifting the wearer nearly four inches off of the ground.

Novak Djokovic in Uniqlo

To ring in the start of the US Open, Uniqlo teamed up reigning US Open Men’s Singles champ Novak Djokovic to create a line of shorts, polos, and tracksuits that replicate what Djokovic was wearing when he famously defeated Roger Federer in last year’s semifinals. We dig the super streamlined look of these sporty goods but their best feature, like Djokovic’s, is in their superior performance: made with DRY-EX, a hi-tech fabric that absorbs sweat, they’ll keep you cool on and off the courts.

Uniqlo Warm-Up Jacket, $89.90; Warm-Up Pants, 59.90

Uniqlo DRY-EX Polo Shirt, $49.90; DRY-EX Shorts, $49.90

Photos: courtesy of Uniqlo

The first shot from our fitting for Steven Meisel’s September story, “Spellbound.” xoxo—Edward Enninful

On the set of "Spellbound"

Who: Kate Hudson

Where: A photo call for The Reluctant Fundamentalist in Venice, Italy.

When: August 29.

What: A cream, double-breasted, fine wool suit with flared trousers from Gucci's Cruise 2013 collection.

Why: Hudson manages to take the white suit, usually a chic evening option, and transform it for day with an unbuttoned jacket, casually beachy hair and sunglasses nonchalantly tucked into her shirt's neckline.

Photo: Getty Images

Over the years, Brown University has spawned a fair share of thoughtful musical talent from Duncan Sheik to Nico Jaar. Now comes Gus + Scout, a country-inflected folk-rock band comprised of Gus Wenner, the son of Rolling Stone founder Jann Wenner, and Scout Willis, the daughter of Demi Moore and Bruce Willis. The pair met while growing up on the same street in Hailey, Idaho and reconnected while on the Providence campus.  Yesterday, they released their self-titled debut EP, and on Thursday will perform at Stephen Talkhouse in Amagansett. A full-length album is in the pipeline, as well as plans to tour. But first Willis, who will be a senior this year, wants to finish her studies.

Scout Willis and Gus Wenner

How did both of you get into playing music?
Gus: I started playing guitar when I was ten. My dad forced me to learn. I wasn't happy with him at the time, but now, you know, it's my favorite thing in the world.
Scout: I grew up in a very musical household. I have vivid memories of growing up in Idaho with Patsy Cline always playing in the background. Music has always been incredibly important to me but I always struggled to sing myself. I felt ashamed and like I shouldn't sing in front of people, like I was showing off or something. But when Gus and I started playing music together something just shifted ever so slightly. Suddenly I was playing the music that had been trapped inside of me my whole life. 

Did you guys play music together in Idaho when you were young?
Scout: Not really. We were only ever really friends at a very, very young age, and then were only just aware of each other in adolescence. It wasn't until my freshman year at Brown that we connected in a real way and began playing music together. 

Who have been some of your influences?
Gus: Van Morrison, Sam Cooke, and Lee Scratch Perry were playing on a loop in my house growing up. So they were in my mind from a young age. But when I was thirteen or so I started to fall in love with Bob Dylan—his music affected me on an emotional level like I didn't know possible, and it opened the door to a whole history of country and blues music that has made me who I am as a person, and definitely as a song writer. The first song Scout and I ever played together was "Silver Wings" by Merle Haggard.
Scout: There are so many! Though, as I mentioned earlier, Patsy Cline is a huge influence of mine, as well as other singers like Loretta Lynn, Wanda Jackson, Barbara Dane and Etta James. I am also a near fanatical Rolling Stones fan. These tracks have a lot of country influence to them but both Gus and I are huge soul and rock and roll fan. I personally am completely Elvis obsessed. 

The Gus + Scout EP

What's the writing process like? Do you guys work together on lyrics and music?
Gus: The songwriting process seems special. I am always amazed at the connection that Scout and I have in that respect, especially in relation to the people I have worked with in the past, and writing alone. Each song is different, but for the most part one of us will have some lyrics, a poem, whatever... or a melody and then we will just sit down together for hours and hash them out. It seems to me that if one of us writes something good, or alright, when we start working on it together, the song will become more than that. It is an emotional process, an honest one too. 
Scout: Our writing process is magical!! As someone who enjoys music on a very intuitive as opposed to technical level I have always struggled in other bands that I've tried to work with on the past. It is usually very frustrating to try and express what I want to hear without the proper vernacular. But with Gus it always just flowed so naturally. It was like we both were finally making the music we had always been trying to make. Gus would bring some lyrics that came from a poem he wrote for a class and I would create a melody for them, or else I would have some lyrics and a little tune in my head and I'd sing it for Gus and then together we would shape it into a song.

Do you have a favorite song from it?
Scout: That's such a difficult question, Gus and I used to joke that each new song we wrote was our favorite. The song "I'd Do Anything" from our EP is very special to me because it was a big departure from everything we had done before that. It's a song that is very personal to Gus and I, but is also open enough that people can find themselves within it. It's about that person that despite yourself you can't help but loving. I think everyone has or has had that person that bewitches them completely, and it's painful and beautiful at the same time. We wanted to write a song that evokes those same desperate, lovely feelings. 

No, it’s not what you think. That design on the “O” of iconic sportswear line Boast’s logo is a Japanese maple leaf, of course. It’s that winking rebellious cachet that made Boast the line of choice for not only the bad boys of the tennis world like John McEnroe and Roscoe Tanner, but any 70s and 80s country clubber who didn’t want to be penned in with the other ponies. Oh yes, and Dubya was a fan.

From left: a vintage Boast advertisement; George W. Bush and Laura Bush

Boast—named for a type of squash shot—faded from view in recent decades, but is now back on the scene and just celebrated their 40th anniversary with a runway show styled by Minnie Mortimer and hosted by Project at The Cosmopolitan in Las Vegas. And after four decades on the scene, it’s refreshing to see that the classic pieces—polos, retro-cut match shorts, track jackets and “maple leaf” ties—aren’t acting their age one bit. (boastusa.com)

Photos: courtesy of Boast

Designer Jess Brown started making rag dolls out of her Petaluma, California home 13 years ago for her children. The one-of-a-kind muslin dolls, made from antique linen scraps and cashmere sweaters, soon earned a cult following among the fashionable crowd— stylish moms could snap them up at Sweet William in Brooklyn and Tomas Meier in East Hampton. Last year, Botega Veneta commissioned life size versions of the dolls for the store’s New York City windows. (The dolls also inspired a childrens books "Kiki and Coco in Paris".)

From left: a Jess Brown quilt; Jess Brown's back-button shift, $210, jessbrownpieces.com

Today, Brown has expanded into custom quilts as well as a simple collection of clothing pieces like work shirts, gossamer thin slips, and tunics made from raw linen and the softest alpaca. Think Northern California nonchalance meets South of France chic. 

Photo: Tunic: Tristan Davison

“I definitely don’t want to think of myself as being an authentic rock star—I feel more like a video game character,” says singer Adam Green. “I just think of myself as someone who’s doing creative projects, and one of them is being a musician.” While the former Moldy Peach has recently broadened his creative horizons — painting Houseface, a series of Mondrian-esque architectural cartoon abstractions for his first show at The Hole; directing his first feature film, The Wrong Ferrari: A Screwball Tragedy, starring Macaulay Culkin— Green is still every bit the rock star when he wants to be, as Dima Dubson’s forthcoming documentary How to Act Bad demonstrates.

Adam Green in W's June 2012 issue

Dubson spent two years following Green as he goes on a groupie- and drug-fueled European tour in support of his Minor Love album. On camera, he reconciles a divorce that prompted reporters to question whether he was schizophrenic (“I’m not schizophrenic—I’m just Jewish,” Green says), embarks on his art career, attempts to make his film, and catalogues his drug use while snorting and smoking various substances (and performing mile-high-club activities) with his girlfriends the Shining Twins and committing another lover to Bellevue.

Though the chronically oversharing Green worries to the camera that Dubson is only capturing his “uncharismatic” moments, his wry humor through the awkward moments is at least as compelling as his quirky music. We caught up with the singer, who overshared some more about his new spate of art, film, and musical projects.

Adam Green's Houseface at The Hole Gallery

You seem to worry sometimes about the person you’re portraying in this film. Were you amplifying certain aspects of your personality for the camera?
It’s definitely me during that time—and at that time, I was in certain towns to do this fucked-up rock performance. Now I’m doing architectural design with cartoon production, and next year I’m going to be Aladdin. But I was trying to do the performance really passionately as a singer and I think it’s cool that on that tour I was able to be very sexual. At this moment, I’m just not on tour—I’m not living some crazy promiscuous lifestyle; I’m not being a flirt. Right now I’m just working on some paintings.

You reassembled the set from The Wrong Ferrari for the Houseface show at The Hole. How did that piece—and the rest of the work in the show—happen?
The Wrong Ferrari was really my first attempt to fully actualize a visual aesthetic, and it inspired me to do a lot of visual art. We built the set in a corner of a room in Macaulay Culkin’s house, and he kept it up for a year. We had the instinct to know it was a good installation, so we numbered it and packed it up it so we could do it somewhere else. Then I showed the set at the Jamboree at The Old School [in SoHo] about seven weeks ago, and that’s when Kathy [Grayson, the owner of The Hole] came in, saw the set and offered me the show. I had some other characters that I had been drawing, so I took Big Bird, Garfield, and Elmo and reduced them into these formal cubic cells, and then I rearranged them into architectural design.

A set from The Wrong Ferrari

Do you think you’ll do more set design for your shows now?
I did a little bit on the Gemstones tour—I designed the backdrop and some musical notes—but I think it would be more fun now to do it with a more developed idea. I’m also going be Alladin—it’s going to be a movie and an album, and I’ve been writing a script on index cards—I write down lines I think would be good for a particular character, then I lay out the cards on the floor and see how they connect. Aladdin is a really interesting idea because it’s this capitalist fairy tale about unlimited material wealth and having a genie. I want the genie to be Benicio del Toro, even though I don’t know the chap. It just seems like a cool motif, and I really want to have a genie—like an older brother type of situation. And when I go on tour for the soundtrack I’ll make all the sets look like Aladdin.

Aren’t you working on another album as well?
I have a new duets album with Binki Shapiro from Little Joy that’s coming out in January. I started recording that album right after I finished filming the documentary. It’s a really interesting album—it’s sort of a breakup record. We both were breaking up with people, and it’s interesting because it’s two people singing but they’re both alone. It’s got this existential vibe, but I’m really proud of the lyrics. It’s a very pretty album. We’re going to go on tour, but I want to be Aladdin after that. So I’ll be Aladdin next time I come to your town.

Portait: Emma Summerton

Sarah Buscho and Marina Storm

Anyone who spent a night at the Surf Lodge in Montauk this summer will surely recall the bath products—100% natural, plant-derived shower gels, face washes, and lotions that looked so smart and smelled so divine that management had to put a sign in each of the bathrooms asking guests not to walk off with them. Called Earth tu Face, the line was created by Bay Area herbalists Sarah Buscho and Marina Storm who believe nothing should go on your skin that can’t go in your mouth. The result is a range of products—from a Blue Chamomile + Carrot Seed Face Serum to a Coconut Oil + Cardamom Body Butter—that aren’t just good for you, they also (honest to God) improve the look of your skin. The packaging, which was designed by Alexandra Cassaniti, who also serves as the Surf Lodge’s creative director, takes inspiration from Alice Waters—Buscho’s and Storm’s fellow San Fran revolutionary—and the art nouveau posters that David Lance Goines designed for Chez Panisse, her legendary organic eatery. (Of note: the herbs used in the skincare line are grown in one of the restaurant’s original lettuce gardens).

Earth tu Face

Earth tu Face launches next week with an event at All Good Things, a new organic market in Tribeca where Chef Ryan Tate will incorporate all the ingredients from the products into hors d’oeuvres and cocktails. And so folks don’t have to keep swiping the goods from the Surf Lodge, Earth tu Face has just set up an online shop. (earthtuface.com)

Photo: Kassia Meador