As my fellow Oregon football fans and I return to work still giddy off Saturday’s rout of Washington (six straight over the Huskies is a mind-bending experience for those of us old enough to remember the bad old days), there’s apparently a new fashion statement to be made when USC comes to Autzen Stadium this Saturday.

As if there weren’t enough hype building for this nationally televised game between two top-10 teams, this clothing option stands poised to outfit the stadium in all-black for the Halloween game Saturday evening. I’m not one for all the color changes the Ducks put us through. And I will be outfitted as usual in Section 37 in my conventional green and gold. But for one night, I’m not gonna go all purist on those who want to sport black.

Just please don’t sit near me wearing this.

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[Ed note: We ran a shorter version of this story in the Scoop column of yesterday's print newspaper, but we didn't include a photo of the ad in question. So, here it is, in all its hairy glory.]

Voodoo Doughnut owner Tres Shannon doesn’t understand why Bitch magazine declined from running his store’s new clothing ad in their publication. According to him, the only thing that might be controversial about the ad is the fact that the woman, whose underpants-clad privates are being depicted in the ad, is unshaven. “It’s just pubic hair,” says Shannon. “I thought Bitch would be happy the woman isn’t plucked and shaved, but all natural like a real woman.”

According to Shannon, Bitch magazine came to him months before to host one of their parties in his doughnut shop. Shannon complied, then decided he wanted to continue their partnership by running a Voodoo Doughnut ad in their magazine. “I mean, they came to me first and asked me for my help, and you’d think they’d want to return the favor.”

“I recognize the ad is edgy,” says Shannon. “But I thought Bitch was all about edginess.”

Bitch spokeswoman Jaymee Jacoby says the mag is not ad-driven and reserves the right to reject any images that might “offend the readers that support us.” And although Jacoby wouldn’t comment about whether or not it was the pubic hair that made their executive team feel it was too offensive, she did say that they felt the ad objectified a woman’s body in order to sell their clothing.

“We went back and forth on this issue, and it comes down to how our readers would interpret the ad as a whole,” says Jacoby. “We felt that our readers would feel that the ad goes against our mission statement to be anti-sexist.”

Shannon disagrees, but adds that he does not have a personal vendetta against the publication. “They’ve been nice about it, but the whole thing is just confusing,” he says. “They okayed an ad by Voodoo Doughnuts, but were surprised by what they got.”

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The September Issue

September is the January of a fashionista’s calendar, the month when new trends are set and designers reveal their fall collections.  And if any one publication guides it all, it’s Vogue, ruled by the perfectly coiffed and notoriously cold Anna Wintour. In The September Issue, director C.J. Cutler gained unprecedented access to track the creation of Vogue’s September 2007 issue, the largest and heaviest ever to hit newsstands. (Spoiler warning: Cover model Sienna Miller was almost airbrushed into oblivion.) The look that viewers get behind the office doors of New York’s fashion Mecca is sharply comical and richly creative.

Wintour, who notoriously influenced Meryl Streep’s The Devil Wears Prada character, causes shakes in the most confident designers and gives stares that equate to a public bitch-slap, but her colorful supporting cast offsets her curtness. Creative director Grace Coddington is the unsung pack-mule of the operation. She continually turns out beautiful spreads featuring trends ahead of the curve, and behind her talent, she’s actually likeable. Editor-at-large Andre Leon Talley makes several cameos to add volume to Coddington’s subtle humor. The flamboyant, sashaying caricature of the fashion industry goes to play tennis draped in Louis Vuitton and wears kaftans and sunglasses indoors.

It’s clear that the reach of Wintour’s tentacles goes far beyond the fashion world. An advertisers meeting at the Ritz eerily resembles Zoolander’s fashion mafia—Wintour is asked to influence shipment times. The film credits her as pioneering the fusion of fashion and celebrity and as being “controversial” in the ‘90s for her choice of cover models.

The staffers understand that people on the outside mock the $300 billion dollar industry, but Wintour dismisses those people as “frightened” by fashion. It is her passion. No one could put in the nine months of labor to create that issue if she didn’t believe it had a profound impact. Though the liberal spending to produce never-published spreads is baffling, the film effectively peels back the glossy cover of Vogue to tell the compelling story of its industrious creators. But that is the paradox of the fashion industry: absurd artistry. PG-13. Opens today at Fox Tower.

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He coined Nike’s best slogan. Then he immediately died.

In a preview of the advertising documentary Art & Copy,” the New York Times revealed Wednesday that Portland ad agency Wieden+Kennedy borrowed its Nike motto “Just Do It” from somebody who wouldn’t need it back: Gary Gilmore.

Mr. Gilmore, the notorious spree-killer, uttered the words “Let’s do it” just before a firing squad executed him in Utah in 1977. Years later, the phrase became the inspiration for Nike’s “Just Do It” campaign. …

Dan Wieden, who first realized that a slight tweaking of Mr. Gilmore’s last words might make a good slogan for athletic gear, said the resonance of “Just Do It” was completely inadvertent and unforeseen.

“I like the ‘do it’ part of it,” Mr. Wieden, a co-founder of Wieden & Kennedy, says in the film, recalling the moment it dawned on him to use the phrase. “None of us really paid that much attention. We thought, ‘Yeah. That’d work,’ ” he says, adding, “People started reading things into it much more than sport.”

Considering the original intent was, “Hurry up and shoot me,” I’d say not quite enough was read into it.

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As Oregon and Oregon State football fans pretend to get work done (not me, of course) while gearing up the new season, there’s a new apparel company called Oregon Platypus that caters to a class of Oregonian I’ve never understood.

The business, which takes its name from the animal that has features of both a duck and beaver, sells shirts, hoodies and other items that blend the schools’ colors of green-and-yellow and orange-and-black.

As I’ve opined before, I will never understand rooting for both schools. Like most sports fans, my twisted allegiance to Ducks football formed when I was a child. And growing up here in the 1970s was a test of any football fan’s allegiance since both Oregon and Oregon State stunk then like Washington State and Washington do now (BTW, if there’s stronger evidence of a higher power than the Huskies’ freefall, I’d like to see it).

The only joy most Saturdays in the 70s was being able to say “at least the Beavers lost.” There is no way I could ever undo my fan’s DNA and take the “I root for both schools because they’re from Oregon” stance when half the fun of an intense rivalry is — to state the obvious — rooting against your rival.

The following pains me to write, but I have long suspected that Oregon fans are much more likely to adopt this platypus stance than OSU fans. I also strongly suspect that those Beavers fans look down on those Ducks fans with complete disdain. On that we can agree.

Oh yeah, the platypus gear is available online and at Music Millenium.

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OK, I get that throwback jerseys are a total marketing stunt designed to part a fool (uh, me) from my money.

But as a Trail Blazer fan who gets teary remembering the mid-1970s when Blazer stalwarts like Leroy Ellis sent me a letter or when Barry Clemens rallied Portland back from a 26-point deficit against the Lakers circa 1974, I think bringing back the red jersey from that era on the left is a total plus.

The Blazers, however, should have stopped there. In the opinion of this admittedly fashion-challenged observer, the white “rip city” jersey on the right is a total disaster. Wearing a jersey that plays off former announcer Bill Schonely’s catch phrase is too cutesy by half.

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Silverton Mayor Stu Rasmussen, who is a transgender male, has a showdown tonight at City Council in this Marion County town over his clothing choice, according to this report by KGW.

At issue, whether a skirt and halter top that Rasmussen wore in front of children was too “risque.”

We don’t know what will be decided tonight. But rest assured, it will likely be fodder for Bill O’Reilly.

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With the Portland Trail Blazers looking to the Cordish Co. for redevelopment of the Rose Quarter, The Oregonian’s Ted Sickinger wrote a good piece last month from Kansas City about the Power & Light entertainment district built in Kansas City by Cordish.

Sickinger found some fans of the district, but he described the place at first glance as “corporate hip, a formulaic mixture of “entertainment concepts” that seems out of step with Portland’s homegrown sensibilities” and reported that the district is “hemorrhaging taxpayer money.” He also wrote that Cordish “stepped on toes by establishing a dress code that prohibits hoodies, white T-shirts and baggy pants.”

Now Kansas City Star columnist Jason Whitlock, who is black, has written a piece this week that zeroes in on that last point about the dress code. With a hat tip to Deadspin, here’s Whitlock’s column reporting how he couldn’t get into a bar in the district wearing what he describes as “custom-made, black linen, crepe-weave shorts with a matching Tommy Bahama-style button-up shirt, black dress sandals and a black Kangol hat.”

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The popular national sports blog Deadspin got a local touch today with its introduction of Cathryn Tusow a.k.a. “Blazer Girl.”

Tusow, a senior at the University of Oregon and self-described hater of Los Angeles, is here to judge how fans support their teams by rating the attire they wear to cheer on their teams.

Got a sartorial sports tip for Tusow? (who says she “grew up drinking out of Rip City cartoon glasses” and had “life-sized Clyde Drexler and Terry Porter posters on my walls.”) Email tips@deadspin.com or ctusow@gmail.com.

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Got ink? The Portland Art Museum wants to see it. Beginning mid-June, Marking Portland: the Art of Tattoo will showcase your mom hearts, ’90s tribal bands and tramp stamps as a way to present tattoos as a historical art form and a way to create a sense of culture and community.

Museum curators ask Portlanders and people with ink from the rose city to upload shots of their ink to their flickr account. A select few will be shown as a multimedia presentation in the Whitsell Auditorium.

Marking Portland will be making its mark on the museum through September, so check out the programs, speakers and films meant to “expand the dialogue around tattoo and its role in adornment and identification in social and cultural groups.”  Ink away, Portland.

(The photograph above is in no way associated with the Portland Art Musem or the exhibit.)

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