The social set is gearing up for a slew of parties, from New York to Paris. Plus, the Crown Princess of Sweden hits boot camp.

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Libby Pataki

Photo By WWD Staff

Making Like Romans * Agent Angie * Princess Victoria Gets Her Kicks

As high society and the culterati around here will be happy to tell you — or should — a high point of the social season is the American Academy in Rome’s gala dinner dance at Cipriani 42nd Street on April 7. The evening will pay tribute to three great American composers, who were Fellows and Residents of the Academy — Elliott Carter, Samuel Barber and Aaron Copland — and selections from their brilliant compositions will be played by the noted American violinist Robert McDuffie together with the pianist Albert Tiu. Mercedes and Sid Bass always run this gala with brio, which translates into cultivated, sweet-smelling, beautiful people in beautiful clothes. Smiling for the cameras. Such a change from the parties packed with people who look like they should have the hose turned on them.

If you are one of the privileged ones, you have already received your invitation from Paris to the International Gala des Arts de la Culture et de la Science, a glittering gathering at Versailles on May 26. The evening, a memorial to the late billionaire philanthropist Edmond Safra, will honor his widow, Lily, and what a dazzling night it should be. Zubin Mehta will be there conducting the Philharmonic Orchestra of Israel in concertos by Bach, Mozart, Vivaldi and Beethoven. After cocktails in the Galerie de Pierre and the concert, guests will visit the Royal Apartments in the palace and dine in the Galerie des Batailles. The Conseil Pasteur-Weizmann, one of the great scientific and cultural institutes in France will benefit.

If Angie Harmon has an "Emma Peel look" playing CIA agent/mentor to undercover teen operative Frankie Muniz in MGM’s new flick "Agent Cody Banks," it’s on purpose.

"I watched ‘The Avengers’ and thought Uma Thurman looked fantastic," says Harmon. "That was what the director, Harald Zwart, and I were going for, a futuristic kind of thing. When my character, Ronica, is in the office, she’s strict and rigid with her hair slicked back but very self-involved. Every time she’s seen, she’s in a different outfit, different hair, different makeup because, you know, whether she has to save the world or not, she has to look good at all times. If that means green eye shadow instead of blue, that’s what we have to do. We wanted her to be va-va-voom sexy and still not be afraid to whip out a swift roundhouse kick to the face and throw the villain to the floor." Does Jason Sehorn know about this?
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