Wanna know the dirty little secret of charity art auctions? Artists hate them, and so do their dealers. And they have every reason to. Now, I know you’re going to think I’m an uncharitable wretch but, first of all, there are plenty of organizations that can attest otherwise. And second, imagine being hit up — nay, pressured — on a regular basis to produce your work, which is likely a signature style arrived at during penniless times, free of charge. This happens to artists all the time.

Fine artists are not like fashion designers who create on a corporate schedule, nor is their output anywhere near the volume of fashion designers. And yet, while artists are asked constantly to make new works of art for charity auctions, fashion designers typically sell overstock at such fund-raising events as 7th on Sale. It’s a major reason why the art at these auctions generally sucks and therefore ends up not being worth all that much.

Despite all this, Vogue’s enthusiasm for the Bono- and Damien Hirst-led Valentine’s Day auction benefitting AIDS relief in Africa is kind of infectious. It’s one thing to ask struggling artists to donate their time and effort, but these dudes are only dealing with art stars who’ve already made plenty of money. Sure, most of them are a little past their prime. But getting brand-name art is so hard these days that newer collectors may view the auction as an opportunity to get these resource-rich artists into their collections. And that kind of ego-led competition could be great for the kids.

I’m not sure I believe in the fashion importance of the color-crazed Londoners featured in Vogue’s “State of the Union” story but I love the idea of optimistic fashion and how these designers — most notably David David, Alice Lee, Marios Schwab and Louise Goldin — have parlayed it into trippily graphic prints. Here’s hoping that the starburst of smart color signals the end of irony.

By the way, doncha just love the styling of the pic at left?

The grande dame of American fashion mags usually sits way high above the “get a load of that cute butt!” banter endemic to girlfriendy pubs like Glamour. So I love the subtle-but-totally-not circle around the cover _caballero_’s bum, embedded in a cover line. Muy caliente!

Politics has a dearth of sexy, stylish moms, and Cecilia Sarkozy held serious promise as the kind of First Lady who could wear designer everyday and not be perceived as a plastic, materialistic airhead like Nancy Reagan. Alas, Cecilia dumped pauvre Nicholas again, and while he is apparently not bereft (in terms of female company), the political scene has a lost a style arbiter who made the front pages a little more fun to look at.

Interestingly, Vogue’s profile of Madame barely nods to her fashion choices, concentrating instead on the fascinating, enigmatic drama mama that gave up the power and privileges associated with the French presidency. With its hard-hitting, sources-galore reportage that acknowledges the ultimately unknowable complexities of its subject, it’s a refreshing change from the usual puff pieces that glossies churn out every month, promising on the cover to reveal something new about its subject when all they ever really reveal are new studio pictures (which, admittedly, I love to look at). Even if you don’t give a hoot about Cecilia Sarkozy, Joan Juliet Buck’s story is a must-read character study.

Here’s hoping for equally awesome insight in Vogue’s February coverage of Sarah Palin and Kathleen Sebelius, the governors of Alaska and Kansas respectively. Unfortunately, that might be too much to hope for, seeing as Palin’s spokesperson told Memo Pad that Vogue’s are the governor’s first pictures without her glasses. I am totally on the edge of my seat.