Ryan Lochte, Anna Wintour and Dwayne Wade at Calvin Klein Collection's FNO bash.

The Observer positively loathes the yearly shopping-and-style populist event known as Fashion’s Night Out. While we certainly understand this social philanthropic “fashion for everyone” affair championed by Anna Wintour and friends, it absolutely obliterates the little decency that remains in luxury shopping in this city. Yes, we all find the attitudes inside the gilded foyer of Hermès to be a bit frigid, but isn’t it completely understandable that if someone was overseeing the aggressive push of $15,000 ostrich-skin merchandise to a marvelously affluent and demanding clientele day after day that they would develop an extreme snob complex? Besides which, unwelcoming as shops such as Hermès may be, the atmosphere does establish some sense of order and brand image, and people can actually browse and shop in peace.

Order means nothing during the evening of Fashion’s Night Out. Peace? Fuggetaboutit! Instead, posh shopping establishments become laden with breathing and mobile fashion atrocities. These individuals bring an uncouth, boisterous je ne sais quoi to boutiques such as Rebecca Taylor, Brunello Cucinelli, Oscar de la Renta, Alexis Bittar and Rag & Bone. They purchase nothing, spill their drinks frequently, scream, hiss, push and even fight. But occasionally order presides, publicists greet attendees and pleasantries and frivolities are exchanged. Donna Karan’s Stephan Weiss book launch party at her boutique on Madison Avenue was one such example.

Nina Arianda and Debra Messing, and designer Michael Kors judge the competition.

The Observer was holed up in the office late, despite fabulous offers of champagne at Carolina Herrera and meet-and-greets with Olympian Alex Morgan at watchmaker Girard-Perregaux uptown. By the time we did escape for fresh air the chaos had commenced. We traipsed delicately to a few events that still lingered. Most memorable was a raucous karaoke competition at Michael Kors where Nina Arianda, Debra Messing and Kate Upton made an appearance. The Observer could only take the sweltering heat and packed crowds so much. Across the way, Calvin Klein Collection hosted a special in-store event with Vogue’s Ms. Wintour, who patiently signed September issues, and Miami Heat NBA Star Dwyane Wade, who stood proudly by his new book, A Father First: How My Life Became Bigger Than Basketball. Newly-crowned fashion week front-row whore/Olympic gold medalist swimmer, Ryan Lochte, also made a splash at the fling. Editors and the "in crowd" mingled with Bryan Adams, Amir Khan, models Liu Wen, Hanne Gaby, Karen Elson and Mathias Lauridsen, and DJ Mia Moretti.

Downtown we trekked next. Soho was out of the question—too crowded, too unruly, t0o cramped. A quick glance at our invites and we elected for Diane von Furstenberg’s Meatpacking shindig with Mayor Michael Bloomberg. Upon arrival The Observer regretted ever having set foot outside of the office. Masses teemed the glassy entrance of DvF’s fortress. It had all gone too smooth and we deserved it. Fashion’s Night Out had reared its ugly head. Travesties shoved. With not a publicist in sight to assist with swift entry, we rolled up our sleeves, promptly cut the line and frantically waved a business card at a bouncer. Ushered inside, we wanted to know what all the fuss was about?

In the end, it was better to sip and dance at Richard Chai’s afterparty at Catch with an intimate set of revelers. Once the bar ran dry, we bailed. We traveled through the hordes creeping and stumbling sloppily on the Meatpacking cobblestones to the New Museum where Supra unveiled its Royal shoe collection. More Ryan Lochte and vodka—wowee!

Au revoir until next year, Fashion’s Night in Hell.

Anna Wintour, Diane von Furstenberg, Oscar de la Renta and Sarah Jessica Parker

Quelle chance that the venerable philanthropist and socialite Jean Shafiroff invited The Observer to wine and dine at her table at the David H. Koch Theater for Fashion Institute of Technology’s 2012 Couture Council of The Museum luncheon.  Despite the hefty $1,000-a-head price tag, around 600 guests, including Sarah Jessica Parker, Barbara Walters, Anna Wintour, Simon Doonan, Fe Fendi, Diane von Furstenberg, editrix and realty star Nina Garcia, Carolina Herrera, Mario Buatta, Yaz Hernandez, Martha Stewart, Dennis Basso, Ruben and Isabel Toledo, YUE editor Chiu-Ti Jansen and Mayor Michael Bloomberg, paraded uptown for the ruckus.  FIT’s clout was undeniable with so many powerful New Yorkers packed into the gold-leaf foyer. Truth be told, 2012 Couture Council Artistry of Fashion honoree Oscar de la Renta certainly deserved credit for the monumental turn-out.

The festivities took place early at 11.30a.m., with the sylphlike, the supremely coiffed, and the magnificently nipped-and-tucked sloshing back glasses of rosé and chardonnay. It was a bit too early for The Observer, but we took in the self-appreciating, Fashion Week crowd with great enjoyment. Kisses and posing were promptly cut short, as the Couture Council committee and organizers ushered the aristocrats and fashion frenzy to their tables.

Then a few speeches that went largely ignored and lunch was served.

“I don't know where this was swimming early,” grumbled one guest, poking at some nondescript white fish. “The Hudson river!” he suggested, answering his own query, “It's a boring plate.”

Since no one exactly gobbled down the cuisine—it’s not de rigueur in these circles—the program seemed to move along swiftly.

Mayor Bloomberg, who presented Mr. de la Renta with the 2012 Artistry of Fashion Award, started with a series of well placed jokes about his fashion status to warm up the crowd, before acknowledging the legendary Mr. de la Renta.

“Oscar is more than a fashion visionary... You can't swing a stiletto without hitting one... I'm his biggest fan,” the mayor said. “His clothes have been to more award shows than Meryl Streep.”

After a standing ovation, the CFDA Lifetime Achievement Award winner took the stage to accept his award from the mayor.

“I live in the best city, in the best country,” began Mr. de la Renta.

“I'm so proud to be here today with so many of my friends who have been important to my career. I love what I do.”

The 80-year-old designer who left his native Dominican Republic to study in Spain, has held leading roles at Balenciaga, Lanvin, Balmain and Estée Lauder, before beginning his eponymous label to critical and financial success. Today, his designs are coveted by editors, starlets and the mega-rich alike.

“Fashion is not really about what I did but what I'm doing now," Mr. de la Renta concluded, “I've been at it 50 years and I'm still leaning.”

By the time The Observer arrived on the scene this morning, a queue of giddy Djokovic diehards was already snaking around Fifth Avenue and 53rd Street.

Inside at a press conference, Mr. Djokovic emerged from a waiting area, wearing the navy version of his special edition U.S. Open Uniqlo uniform. He was flanked by Uniqlo U.S. CEO Shin Odake and creative director Naoki Takizawa.

The store-level also displayed Mr. Djokovic’s previously worn French Open, Wimbledon Championships and London Olympics outfits, in addition to looks from the Djokovic Performance Wear Collection that will be available for the public at a later date.

“I’m feeling very excited. Coming into to this beautiful store for the first time!” proclaimed Mr. Djokovic.

“[I’m] obviously looking forward to perform[ing] in this new Uniqlo collection and at the U.S. Open, the biggest tournament in our sport this time of the year.”

Subsequently, Mr. Takizawa highlighted the innovative technology and advanced design aspects of the tennis suit: Cooling fabrics for warm weather play and sweat-absorbent, quick-dry materials too keep the world’s No. 2 tennis player comfortable. The color scheme of navy, white and touches of red, Mr. Takizawa said, was inspired by the national flag of Serbia. On and on it went, but how could The Observer focus on all that design banter with Mr. Djokovic, a smoldering Adonis of a man, just inches away, elevated on a stool? It was nearly impossible.

“It’s very important from the perspective of a professional tennis player to have the most advanced and finest possible materials and fabrics used in the clothes,” Mr. Djokovic said about the uniform, getting serious. “They don’t feel heavy underneath. So I feel light, I feel comfortable in my movements on the court, which is very important.”

Mr. Djokovic then demonstrated the “quick-action” component of his designer duds. Mr. Takizawa had designed a unique zipper feature, making it a cinch to take it all off. Mr. Djokovic modeled his warm-up jacket’s quick-action by tearing off his top in one swift movement. It’s not often that you get to have a tennis star shed off layers with such ferocity.

Mr. Djokovic told the crowd that he was involved with the design process of the collection as much as possible. Considering how busy his tour schedule is, Mr. Djokovic’s specific involvement is debatable. Still, he voiced contentment with his collaboration foray alongside Mr. Takizawa, saying, “I was very impressed with the professionalism and the people. We try to get together as much as we can—every couple of months we sit down and talk about the upcoming collections.”

Women’s Wear Daily editor Rosemary Feitelberg, seated near The Observer in the front row, asked Mr. Djokovic if he thought all this fuss about determining what outfits players would wear subtracts from the athleticism of the sport.

“I don’t think so, I actually think that it’s good for tennis players to always seek for improvement with their sponsors and the clothes that they where,” Mr. Djokovic replied. “It’s in the common interest of both tennis players and the brands representing them to look good on the court.”

That was all the intimate time we were allowed before the floodgates were opened and screaming tennis fans poured into the store for their moment up-close and personal. Mr. Djokovic descended suavely down the three-story escalator like a dreamy movie star, ready to address his sea of devotees.

Over the years the garden series has become quite popular, reported Ms. Gillman. Thanks, in part, to Hamptons art bigwig Ruth Appelhof, who has championed the tour. These lush, East End gardens are prideful displays that highlight the diverse collaborations between esteemed architects, landscape and visual artists and wealthy homeowners.

For Guild Hall, it’s not always easy to find willing residents; they often guard their privacy and perhaps lavish lifestyles with soaring walls, fences and hedges. “It’s a challenge to open up these private homes,” admitted Ms. Gillman. “A number of people don’t want that exposure, but we do find very generous people who want to share their gardens.”

Still, imagine the level of Victoria Grayson-like envy one could incite if their residence was selected by the Guild’s finicky committee. “We see what we can find and choose the best,” said Ms. Gillman gingerly, careful not to disclose too much insider knowledge about the selection process. “We’re very eclectic.”

Many skeptical green thumbs may scratch their heads as to why on earth Guild Hall, a reputable bastion of Hamptonite culture, would host a garden tour out of primetime season—early summer.

"A garden in June is a like a teenager in a prom dress,” Ms. Gillman retorted to that outlook, quoting some notable to the best of her ability. Touché. The reality of the timing is mostly happenstance. “[There is] a hugely busy calendar,” explained Ms. Gillman. “June, which is the usual time for garden tours, is so crowded and we don’t want to interfere." She did admit that the late August timing turns out to be both a blessing and a curse. “We have thought about changing it,” Ms. Gillman said. “We are brushing up against hurricane season.”

On the positive, there aren’t other tours and—let’s face it—Guild Hall has plenty of sway.

“People are hungry [for a] last look at natural spaces,” Ms. Gillman told The Observer. “It’s a good time for the social calendar and the Guild Hall calendar.”

The 2012 Garden as Art tour will once again kick things off with a pair of VIP events.  On Friday, August 24 from 6-8 p.m., the Guild will host a patron and benefactor cocktail party at a Devon Colony estate. On August 25, the day of the tour, there will be a pricey benefactor luncheon at two neighboring East Hampton estates. In regards to whose palatial residences Guild Hall guests would be dining at, Ms. Gillman remained mum. She did however divulge that there would be a high-brown rendition of musical chairs at the luncheon: “Guests will have lunch at one house and then switch places for a [seated] dessert at the other.”

If you’re lucky enough to score a seat at the Guild Hall patron festivities beside the likes of Paul Goldberger and Martha Stewart (or signup in advance for the tour), expect something a bit unique: “The gardens are very unusual this year—quite different,” said Ms. Gillman. She described some as large estates, while others are small gardens that, despite their size, hold their own. “Small gems and things to marvel at,” she concluded in a hushed tone.

This year’s roster for the Garden as Art Tour is: Lenore and Adam Sender (Sag Harbor), Lisa and Richard Perry (North Haven), Jenny and Trey Laird (Bridgehampton Village), Jody and Larry Carlson (Bridgehampton), Michael MacElhenny and David Wine (East Hampton Village).

“Every time I have directed Aida before this summer, I’ve done it on a very large scale,” said director Francesca Zambello. “Now, to do an intimate version of it is a thrilling discovery for me. The chance to focus on the characters and not on spectacle has allowed us to understand the story and Verdi’s music in what feels like a very fresh and contemporary way.”

One aspect of the opera that does get a dose of opulence is the costume design. Up-and-coming New York fashion designer Bibhu Mohapatra was tapped to create the couture for the production, which runs through August 25.

“I turned to Bibhu—whose clothes I wish I could wear all the time—to create a world that is evocative of the contemporary Middle East, but that could create its own mythic language,” the director told The Observer. Ms. Zambello was delighted with Mr. Mohapatra’s results, saying, “His understanding of character and translating it into color and fabric and design has been revelatory for all of us in the theater.”

Below the jump, we speak to Mr. Mohapatra about his first swing at designing opera costumes.

Designing for opera! How was that?

It was an amazing experience. I loved every bit of it. I have always loved Aida and when Francesca invited me to design the costumes for the Glimmerglass production, I was ecstatic. The Glimmerglass Festival has an amazing team that works tirelessly on every production every summer.  I had a ball working with the costume shop, which is run by Jodi Zanetti.

What do you think of Aida as an opera?

To me, Aida is a perfectly balanced story for an opera. It has everything in it.  Love, passion, sorrow, joy, courage, honor, power, celebration and mourning...all weaved in to one story of love and sacrifice.  The story is a great landscape for designing costumes for each character, principals and chorus.

What was the best part of this experience?

Coming from a fashion background, the most exciting part for me was the preparation before actually designing. I had multiple meetings with Francesca Zambello, Lee Savage, Eric Sean Fogel and Jodi Zanetti to find out about the setting, to get into the story, into each character and the roles they play. The balance between the contemporary setting and the traditional story and music presented me with the exciting challenge of coming up with design ideas for each character including the chorus.  It’s like Aida in modern haute couture.

Had you ever visited Glimmerglass or Cooperstown before?

Yes, I have been to Glimmerglass before. Last summer I saw the production of Medea and A Blizzard on Marblehead Neck... Loved it. It is a great setting on the Lake Otsego. In Cooperstown, there is the Baseball Hall of Fame; I have not been there yet.

What would be your biggest fashion advice for Glimmerglass folk?

I really do not have any fashion advice for Glimmerglass. But maybe the baseball aficionados can dress more colorful and fun and try to take advantage of the Glimmerglass Festival more? For Glimmerglass, I hope they keep the interesting mixture of talent that they bring together every summer.  This is what sets it apart from others.

They came in all shapes and sizes yesterday, but each one was a queen. This year's installment of the annual Invasion of the Pines on Fire Island saw hundreds of amateur and professional drag queens wreak havoc on the tiny Long Island beach community. Fueled by booze, the boisterous queens gathered at the Ice Palace pool and deck in Cherry Grove to pose and prep before crowding on a water taxi to the Pines. There, each drag queen was announced by name as they sashayed down a red carpet in front of hundreds of Independence Day revelers. The Observer was on hand to document the peacock parade. Here are the most outrageous outfits we witnessed.

(All photos by Billy Morrissette.)

Whoopi Goldberg repents for her smoking sins to S. Epatha Merkenson

“I don’t know how we became friends, but we did,” began Whoopi Goldberg of her dear comrade and Law & Order star S. Epatha Merkerson.

Last night, Ms. Goldberg presented Ms. Merkerson with a Help and Hope Award at CancerCare’s annual spring gala for her considerable efforts as an advocate of the fight against cancer.

"I don’t have anyone like her in my life,” said Ms. Goldberg to the audience filling Mandarin Oriental’s ballroom. “She has never made me feel bad for the things I do.”

“Smoking!” chided Ms. Merkerson to the dismay of the undoubtedly anti-smoking, anti-cancer philanthropists.

“Yes—the legal stuff,” Ms. Goldberg confessed.

“Cigarettes!” Ms. Merkerson hissed for all to hear. Everyone chuckled.

After accepting her Tiffany & Co. crystal, Ms. Merkerson, holding back tears, spoke to her profound experience with CancerCare.

“This is the menopause, y’all,” she said in reference to her weepy demeanor. “I’m gonna flow with it.”

“This is a humbling experience,” she continued. “I believe in the care that they give to each client and family. I believe in CancerCare.”

Many may recall that her character on Law & Order, Anita van Buren, was diagnosed with cervical cancer in the drama’s final season. A lesser-known fact is that several of Ms. Merkerson’s family members have battled various cancers and received support from CancerCare, which provides cancer victims and their caregivers and families with counseling, support and financial help. In 2011 alone, over 110,000 people benefited from CancerCare.

The gala serves as the organization’s biggest yearly philanthropic initiative. Guests received iPod Touches retrofitted with BidPal, allowing them to place and monitor bids without missing a beat of the action in the ballroom.

Lively Sotheby’s auctioneer C. Hugh Hildesley managed to squeeze every last penny out of the well-heeled crowd with glitzy packages to Paris and the Emmy Awards. Over $100,000 was raised from bid donations alone.

Todd Haynes with Zoë Saldana: He unfortunately didn't wear 8" platforms heels to Persol's Magnificent Obsessions premiere. (Getty Images)

“We could have flown to Boston at this rate,” spat one late arrival to the premiere of Persol’s Magnificent Obsessions: 30 Stories of Craftsmanship in Film exhibition last night. For many of the film and art glitterati that attended the event at the Museum of Moving Image in Astoria, Queens, the trek, albeit worthwhile, seemed endless. The Italian eyewear brand, which has a storied history in cinema--it provided Cary Grant with sunglasses in North by Northwest and Marcello Mastroianni in La Dolce Vita--honored costume designer Arianne Phillips and director Todd Haynes at the event. Publicist-groomed celebs such as Zoë Saldana and Patricia Clarkson mingled alongside fashion legend Diane Pernet and creative cognoscenti.

On the second floor, John Turturro engaged guests in an intimate discussion on cinematography, while others soaked up the history and painstaking process of filmmaking through interactive installations on the third. Magnificent Obsessions is the second installment in a series of three, which boasts rare film props, equipment, costumes, sketches and footage to provide viewers with an insider perspective of some of cinema's most acclaimed motion pictures.

The Observer caught up with Mr. Haynes to learn more about his unique approach to the art of filmmaking and to see if he actually likes Persol’s eyewear.

Tell us how you discovered your passion for filmmaking.

I think it must have started when I saw my first film when I was three. I saw Mary Poppins [and] it just blew my mind. It really was an obsession. It provoked a creative response in me, according to my mom and all the collected drawings that still remain. [I was] just drawing pictures of Mary Poppins constantly and acting out scenes from the movie and trying to dress my mom up as Mary Poppins.

How did she react to that?

Oh, she was cool. She was lovely about it. And even my grandmother—both grandmothers—were great sports.

Then there were other films I would get obsessed with throughout childhood, and they would generate similar kinds of total immersions and creative reactions. Romeo and Juliet, the Zeffirelli film in ’68, was one. One of my first films that I made was my own version of Romeo and Juliet when I was nine, so [the film] forced me to be creative in response I guess.

How would describe your style of filmmaking? Do you have directors that influence you?

Regionally I don’t know if I have a settled spot that I look to for inspiration--certainly European cinema. Postwar cinema has been a major influence on me, but so have great Hollywood directors and Hollywood cinema and experimental film too, so [my interests are] fairly broad and diverse--contradictory interests, perhaps. And I don’t know that there’s a specific style that [I lean toward] except a real delight in getting inside the universe that each film requires me to master to the best of my abilities.

Most of my films have been set in different historical periods, and you just have this amazing assignment to get to know that particular historical era: the clothes, the manners, the language, the dialects, the music, the film, the art, the culture that inspired and formed that era. Usually those stylistic traditions, as well traditions of habit and dress and manner, are relevant to the approach I want to take in the film I’m making.

And how do you immerse yourself in a time period? Obviously music you can listen to—but do you read, speak with people who lived during that period, or something else?

A variety, and it depends on when it was. The 1930s, which was the period when I worked with Kate [Winslet] and Mildred Pierce, was harder to talk to actual people, so I was reading and seeing films and references. And in that particular film, I was interested in ‘70s films actually--films from the 1970s in America that were quoting classic genres, but bringing a kind of new naturalism--breaking out of the studio style of filmmaking and bringing a sense of the contemporary culture to those classic genres, like The Godfather or Chinatown or whatever they were. That’s why those films felt so relevant and so contemporary, as if they were speaking to this cultural climate of the 1970s, despite the fact that they were set in the past, whereas [with] Far from Heaven we really applied ourselves to the specific language of the films from that time.

When the extras caster would say, "Hartford had a lot of Italian-Americans and these are the kind of faces that would have been in Hartford, Connecticut," we were all like, "No, we don’t want people who look like they really were in Hartford in 1957."  We want people who look like they were in the studio system as extras in a film that was made in 1957.  So we picked patrician white folks that looked like they were in the back line at Universal Studios. That was very specific. We were embracing the sort of artifice that was so masterfully and beautifully perfected at that time by these filmmakers, for all kinds of various reasons. So each film offers its own little strategic specifics.

Then when I was researching Velvet Goldmine, which is a film about the glam-rock era, that’s probably the time I most fully immersed myself physically in the preparation. I literally was wearing glam-rock-era-infused clothes for the years that I was writing it and learned things that you can only learn by teetering on 8” platform heels.

Do you still have those?

(Laughing) I do have most of that stuff still stashed away, and I learned, for a man, you feel so different up there and with the wind rustling up your midsection and blowing through the tops of your hair. Stuff you can’t learn just by reading and watching videos.

I’m curious about your views on gender roles, especially with the women--female characters and empowerment and authority. Can you speak to how that enhances your storytelling, or what influences you to focus on those themes?

There are themes that I keep going back to in various ways, starting probably with the Superstar film about Karen Carpenter, my short film. I love melodrama, I love domestic stories, and not necessarily because they’re about people who can overcome the problems that they encounter in their lives. [They are] often about the ways we are beaten down by society and the ways options are limited and uncircumscribed for women and men. The subjects of classic melodrama are often kind of mediocre people, they’re not exceptional people, and they succumb to suffering in a sadly noble way, seeing that they’ve failed to [achieve] the ideals that they think they should [have achieved]. I think you actually learn more about society and what it does to people when you don’t see people being victorious in the end. You actually maybe relate to them more because [these are] the kinds of things that we all actually really truly deal with in our lives. [These are] not perfect happy endings. They’re compromises and they’re tradeoffs, and I love that about these films. There’s a tenderness about these people when they’re not super heroic and they don’t have all the answers.

One last question: I see your Persols. Do you wear them and are you a fan?

These [glasses] are for long distance, but I have these beautiful frames that I didn’t get done with my progressive lenses, so I can read for both distance and reading. They’re so beautifully made and you know you feel good when you put them on, and obviously what’s so cool about Persol is how they’ve had a role in cinema, in classic cinema. They’ve almost been around as long as cinema, which I didn’t know either. So it’s pretty cool.

Julie Macklowe, Marcel Marongiu and Chiu Ti Jansen. Photo: (C) Patrick McMullan

When society and PR rainmaker Susan Shin invited The Observer to drinks and dinner “under the stars” at 620 Loft + Garden to celebrate “stellar women,” we were curious. While the drizzly, muggy gloom didn't allow us any stargazing, a bevy of extravagantly stylish women provided enough sparkle to form their own constellation. Co-hosts Julie Macklowe, Selita Ebanks and Dayssi Olarte de Kanavos had summoned their best gal pal, along with a few blokes, to pay tribute to non-profit Seven Bar Foundation. The organization, which works to empower women in Guatemala with sustainable work opportunities, helping them to be self-sufficient, recently inked a global partnership with premium rum label Zacapa Rum.

“Booze doesn’t empower anybody!” said Ms. Macklowe in an HONOR dress and Alexander McQueen S&M leather harness, an outfit that her daughter helped style. “It might empower you to be bold,” she continued. Talking more seriously, Ms. Macklowe said that the microfinance initiative was a smart one and would improve the lives of female Guatemalan artisans and their families—especially in the aftermath and recovery of the devastating civil war in the late 1900s.

“I like a nice, dark liquor,” she yelled before prancing off with a glass of Zacapa Rum XO, served neat.

Tekla Israelson, Rum Brand Ambassador, explained that the new partnership would more specifically raise funds for small business and provide jobs for petate reed weavers, whose ancient skills are used for the packaging of each Zacapa bottle. She added that Guatemala's volcanic and tropical climate make it ideal for growing premium rum.

For cocktail hour, Ms. Israelson had concocted two special libations, which were slurped aggressively by guests such as Alexandra Lind Rose in a lemony Oscar de la Renta frock, Chiu-Ti Jensen in a sherbet tiered lace dress and Valesca Guerrand-Hermes in an HONOR outfit. The modelesque Donna D’Cruz, had slipped into a gilded, lime graffiti linen cocoon dress and matching chartreuse platform sandals, all by Giambattista Valli, for her Latin-flavored DJ set.

“For a minute you actually feel like you’re in Europe,” The Observer overheard Guy Laroche Artistic Director, Marcel Marongiu, sardonically utter about the view of Saint Patrick’s Cathedral from the Rockefeller Center roof terrace.

Just in time, Ms. Shin herded her patrons off to an exquisite orchid and candle-lit banquet room for dinner. Sonnier & Castle’s Chef Patrick Phelan constructed a sensible two-course meal with dessert that featured Zapaca Rum throughout: A chilled Gazpacho with rum, red onion, cilantro and Jalapeño; filet of beef marinated in run with grilled summer vegetables and Israeli couscous; and finally, Giaduja milk chocolate cake with chocolate feuilletine crunch and Hazelnut crème Anglaise. Naturally, Ms. Israelson paired her own original Zacapa cocktails with each serving.

Seven Bar Foundation founder, Renata Mutis Black, concluded the evening with a speech thanking the group for their support and summarizing the agenda of her cause. “We deploy funds in Guatemala to make [these women] sustainable,” she concluded.

Everyone raised their glasses to that.

Kenneth Cole and Debbie Harry watch the events from a(m)fAR (Patrick McMullan)

Thursday night on the steps of the New York Public Library, a sea of familiar faces flooded the red carpet for the third annual Inspiration Gala--a celebration of men’s style to benefit the American Foundation for AIDS Research (amfAR).  Chaired by Kenneth Cole and Dr. Mathilde Krim, with Marc Jacobs presiding as honorary chair, the evening featured a live auction, runway shows and a performance by Scissor Sisters that raised over $1 million dollars.

Josh Duhamel and Hillary Swank presented awards to Fergie and Robert Duffy, of Marc Jacobs International, in honor of their contributions to the fight against AIDS. Inspiration Gala is one of a series of amfAR events that have raised over $3 million total for AIDS research.

With a Grey Goose Cherry Noir cocktail reception awaiting post-carpet, many of the notable attendees, among them Mark Sanchez, Rose McGowan, Cheyenne Jackson, Calvin Klein’s Francisco Costa, Thom Browne, Greg Louganis, Ben Cohen, Simon Doonan, Jonathan Adler, Debbie Harry, Gail Simmons, Clinton Kelly, Kelly Bensimon, Sean Patterson, Larry Boland and John Demsey, rushed past inside to the Stephen A. Swartzmann Building.

We asked a few questions of producer Joshua Woods, who reported first and foremost that Simon Doonan was auctioning off the world’s most expensive and high-tech toilet.

“It took a bit for me to get onboard with that request when it came through,” he said.  “But the odd things give [an event] character.”

“The Dallas Cowboys cheerleaders wanted to come,” he added. “They couldn't make it, but we do have the Philadelphia Eagles cheerleaders.  Many people have asked if Greg Louganis is walking in the show in his Speedo.  Someone asked if I would wear a wrestling singlet.  That's not happening.”

Mr. Cole reported on the red carpet that nothing had gone wrong, “yet.”

Despite Mr. Wood’s biggest fears going into the event: “Rain. Too hot. Too cold. No one having fun. Am I sweating? Why are tuxedos so uncomfortable?” he echoed his fellow chairman. “We should be good.  I have faith in the universe.”

Mr. Wood added that the event took over a two-block long corridor in library, making it “pretty much [the] world’s longest runway.” He explained that each year has a different theme for the runway show and guests. This year, inspired by the Olympics and modern sports, 65 models and 50 designers worked to pull off black-tie-meets-athletic attire. The 72 resulting looks were auctioned off during the dinner.

Jake Shears of Scissor Sisters got in the spirit with an ambitious set of bottoms: one cut-off and normal-length black jean spotted with white safety pins. Sheer genius? We weren't sure. The band goes on tour next week in Vegas--amfAR is just the start.

“I love playing parties like this,” he said. “We’ve been wanting to do it for years and have never been in the city when it’s been going on.” On playing in the States, he added: “We have a very sexy crowd.”

Many celebrities donned Marc Jacobs Collection, among them Ms. Swank and, most notably, Ms. Harry with a fabulously chic pair of black lens 2003 limited-edition glasses.

According to Mr. Cole, everything about the night was unique: “Tonight is really catered to the fashion community and it’s a way of celebrating how far we’ve come, speaking to a constituent group that’s been very supportive for a very long time.”

“This past year we have learned, for the most part, how to live with AIDS. There is no rational scenario today where people should contract the virus going forward," he said. "We know how to render ourselves safe, we know how to prevent ourselves from spreading the virus, we know how to protect unborn children from contracting the virus in the womb--but we still don’t have a cure. So tonight we’re going remind everybody about how far we’ve come and what we still need to do, and we’re going to have fun doing it."

“You have a lot of the fashion community that’s here to make their unique personal statements, individual expression, and that’s what amfAR does. We’re very creative and innovative in how we fund research initiatives, and that is why we’ve been seed money for the six groups of drugs today that keep people alive," he said.

Everything was donated, Mr. Wood explained. “The models do it for free.  The stylist, the casting directors, the tailors...everyone volunteers. It's really like a giant school play where everyone is doing it for the love of the cause.  Very much a 'Let's get together and put on a good show' kind of thing,” he said.

Though about as mysterious as her black-lensed glasses, Ms. Harry was on the same page: “It’s one of these things,” she said. “What goes around, comes around.”