MOSS CASE CLOSED?: Will history repeat itself in London’s High Court? Sources say a team of lawyers working on behalf of the Mirror Group has been looking into the possibility of “reexamining” the libel case that Kate Moss won against London’s Sunday Mirror in July. Moss won substantial — but undisclosed — libel damages over the paper’s claims that she collapsed into a cocaine-induced coma in Barcelona in June 2001. The Sunday Mirror was forced to apologize for “the distress and embarrassment” it caused her. And that was that — until now. One source said it was still “very, very early days,” and the media group’s lawyers were simply examining its options in light of the Daily Mirror’s footage of Moss snorting what looks like cocaine — and later checking herself into an Arizona rehab clinic. Moss’ lawyers declined to comment on the possibility of the case returning to court, and a Mirror Group spokeswoman also declined comment. However, if the case is reopened, it would mirror that of another famous libel trial. Four years ago, the author and former Tory party heavyweight Jeffrey Archer was convicted of perjury more than a decade after he won a libel case against London tabloid the Daily Star. Archer was found guilty of fabricating an alibi in the libel case — and ended up in jail as a result, serving half of a four-year sentence.
— Samantha Conti
YOU READER, ME JANE: As awkward introductions go, “I’m the new editor of this magazine” isn’t as bad as, say, “I’m your new mommy.” But it can still be tricky, particularly when the previous editor was a semi-celebrity whose name is still on the cover and whose free-associative letters were a must-read. It was a challenge Brandon Holley faced when she sat down to write her own note to readers in the November issue of Jane (like WWD, part of Fairchild Publications). She starts by addressing what happened to her predecessor. “After nine years of running the show (an eternity in this business), founding editor Jane Pratt has decided to move on to the finer things in life,” Holley writes. Next comes establishing her bona fides, which, in her case, include writing Jane’s car column back in the day. “Perhaps you hard-core devotees remember some of my groundbreaking reportage — like how to use your pantyhose as a fan belt in a pinch?”
The reference to Jane’s past is apt, as Holley says her goal is to reinforce the magazine’s original mission. “We’re bringing it back to what it was,” she said Tuesday. Toward that end, the November issue, with Nicole Richie on the cover, features two new sections: Psych, a home for the magazine’s formerly dispersed advice columns, and Live, a place to put “real-life stuff.” The changes are the first in a gradual makeover that will culminate in March with the official relaunch issue. “We’re in the laboratory trying to figure it all out right now,” said Holley.
Meanwhile, Jane’s masthead continues to morph. The newest additions both worked under Holley at Ellegirl. Marie Suter was art director there; she replaces Johan Svensson as creative director. Brekke Fletcher, most recently managing editor of FHM, replaces Debbie McHugh, now managing editor of Aspen magazine. All together, now: They’re so Jane!
— Jeff Bercovici
KODAK MOMENTS: Penury isn’t always an obstacle to collecting art. Art + Commerce’s second annual Festival of Emerging Photographers opens Oct. 15 in the old Tobacco Warehouse in Brooklyn Bridge Park, and though the relatively inexpensive prints aren’t technically for sale during the event, contact information is provided for all the photographers so private arrangements can be made. “Last year, I bought a beautiful picture of Spanish moss by Katherine Wolkoff. I bought some abstract images by a man named Irvin Morazon. And there were these great landscapes with food in them by Nicholas Gaffney, a forest with a trail of pretzels in them,” Art + Commerce founder and partner Jim Moffat said of snapping up pieces for his own collection. Moffat wasn’t the only one. Several of last year’s participants subsequently received commissions from private patrons, as well as The New York Times and The New Yorker.
This year, more than 1,100 unsigned photographers from the tri-state area responded to the open submissions call. Their photos were judged by members of Art + Commerce, editors, book publishers and other photographers, who narrowed the pool to 150 images by 24 artists. The works will be on display until Oct. 25.