List of All Articles with Tag 'fashion'

I can’t lie. I felt famous during New York Fashion Week. With my focus oscillating between Google Maps and the cobblestone streets of Tribeca, I had no time to stop and think about the scene I would be approaching. The thing with runway shows is they never start on time. Who shows up early these days anyway? For me, someone constantly late but willingly accepting every opportunity, NYFW’s schedule worked to my advantage. Still, inklings of doubt mixed with the rush of not knowing how late would be too late – leaving me with little room for mental preparation. In the case of the Brandon Maxwell show, I anticipated an intimate setting. I was told the guests were close friends, family, and a few high-profile fashion moguls who were asked to refrain from using recording devices during the presentation. It was a trusted circle of less than one hundred. I knew there’d be paparazzi outside impatiently awaiting the elite attendees. However, I didn’t foresee the vast amount of turned heads and focused cameras crowding the corner of Walker Street and Cortlandt Alley, all readily directed at me. Suddenly, I was someone to be noticed. Through the white flashes and crisp calls for attention, I approached the threshold of the Andrew Kreps Gallery. I presented myself to be checked off a list of people deemed special enough to see inside. Camera personnel and event staff had no clue who I was or why I was there – the irony. I wasn’t Julia Fox, Anna Wintour, or Blake Lively-level distinguished or expected. But I, Kaleigh Werner, was presumed worthy of being photographed and granted access based on proximity, invitation, and seating. It was thrilling. I felt as though I’d made it. In the literal form, yes, I’d arrived at my destination and found my chair. But metaphorically, I was on the cusp of something sensational that surpassed the rush of being realised through an entirely new lens. As a reporter, someone invited to review these presentations, it’s easier to block out the A-list noise. My attention remains locked on the intricacies of each collection, and figuring out how they mirror the thoughts of a designer. Whether sitting in the front or standing in the back, I’m concentrating on how a designer’s societal impression can be contextualised in fashion, while still adhering to the temperature regulations of the season. I’m in a gallery or a museum to perceive art, not at a red carpet event. I’m not being dressed by the brand. I’m not worried about how I look. The runway demands my attention. So, my gaze is directed there. This year I attended three shows: ADEAM, Atelier Ndigo, and of course, Brandon Maxwell. For ADEAM’s spring/summer 2024 show, hosted inside a warehouse on the west side of Manhattan, creative director and CEO Hanako Maeda effectively fused her longtime love for the ballet with her desire to “juxtapose the performance art as a sport”. “I think the collection combines the romanticism and couture-like craftsmanship that you see in ballet costumes with a more modern, sporty mood. I also added a touch of rock ‘n’ roll edge with the accessories,” Maeda told The Independent. Through tulle skirts, corsetry, ribbon, sheer Ponte, mixed media knits, and tailoring, Maeda - who designed the costumes for New York City Ballet’s Fall Fashion Gala in 2015 - reconfigured ballerinas to be models replicating a facile silhouette on the street. By using the specific material and intentional shape often associated with ballet, she harnessed the “athletic prowess” a performance artist displays and weaved it into everyday wear. Atelier Ndigo played with personal inspiration by utilising vibrant colours, textured fabrics, and structured pieces. From a bumpy white two-piece to balloon short sleeves, brand founder Waina Chancy once again proved to be an architect in dainty yet outspoken fashion. The white-washed walls of Spring Studios, complete with a backdrop of block brand lettering, only made every shade of red, purple, pink, and orange louder. Back at Andrew Kreps Gallery, Brandon Maxwell strayed from the eccentricity of his past spring collections to construct an ethereal response to the power of love. To him, that response is seen through sheer and natural beauty, along with coding that only added a breath of elegance. On the catwalk, gusts of chiffon, leather, knits, and denim blew past the few guests who sat in the studio. With flourescent lights and white ambiance, it felt as thought Maxwell had called upon angels to introduce a new wave of purity and innonence. Yet, the see-through materials mixed with belted pieces reminded us of the allure of form. The Brandon Maxwell spring/summer 2024 runway presentation wasn’t just the launch of a new line, but a visceral discussion on freedom and restraint - being simutaneously aware of both independence and determinism. From the distant eye, minimalism was triumphant. But upon closer look, the details were unveiled. Spliced sleeves turned biker-esque jackets and blazers into capes; sheer layers over and under long, fitted jackets transformed signature workwear into chic formalwear; and ripped, patchwork denim paired with slouched sweaters or unbuttoned button-ups brought an air of luxury to street style. As I exited down the steps to return to the reality of a typical work day, I stuck around to see who I could spot leaving the venue. NYFW has assumed a certain social stigma and media blitz. As much as it’s known for the inspired collections crafted by the minds of upcoming and distinguished talents, the seven-day affair has been hit with criticism, as more participants and curious observers are blinded by its social scene. After an animal rights advocate and PETA supporter stormed Coach’s spring/summer 2024 runway to protest the brand’s use of leather, discussion errupted around influencers increased presence at NYFW. Famed creators like Taylor Hawkins have been quick to point out how “dead” some events can get, due to the amount of brands that prioritise seating and dressing social media stars based on their online presence. Kelly Cutrone, best-selling author and CEO of People’s Revolution, echoed these sentiments in conversation with Dear Media during NYFW in February. “It’s just like, because you’re good at marketing yourself on the internet doesn’t make you a fashion expert,” she said about influencer being invited to shows. “Don’t pretend that just ‘cause you come here for a week that you’re in the fashion business.” For industry representatives - who are devoted to furthering the conversations that are evoked in fashion collections - their experiences are entirely separate from those who are invited to sit and make content about what they saw. These professionals are behind-the-scenes, speaking with the creative directors and producing copy to candidly honour their own work. “You know what I really don’t get, and what I don’t have much time for anymore. The fact that so much of the fashion content around the show that I see, especially on Instagram with these influencers, it’s really all about them,” fashion journalist Mosha Lundstrom Halbert said on her podcast, NEWSFASH. “It’s all about the fact that they got to go to fashion week - okay, cool. The fact that they’re being dressed by the designer - great, I’m happy for you,” she went on. “No editors get dressed by the designers, that’s really just influencers. And the fact that they’re going to show you where they sat and who they’re friends with...” But, there’s an advantage to having paparazzi feed off the unpredictable swarm of A-listers and influencers, and an obvious benefit to designers who decide to fill their front row with them. At ADEAM, Lana Condor, Elsa Husk, Poppy Delevigne, Harry Shum Jr, and Anna Cathcart were among the photographed VIPs. Meanwhile, Brandon Maxwell hosted Henrik Morten Lischk, Lisa Aiken, Eva Chen, Camila Alves McConaughey, Kat Collings, and Alex Badia. From a brand perspective, visibility is everything. In order for clothes to sell, the pieces need to be represented and observed by the right people – the “Emily Ratajkowskis” who generate buzz, or the social media influencers who inspire fads. It’s worth noting that, even though the production, styling, and individual garments speak volumes to the attractiveness of a collection, desire is often born from those who are adored and admired. Designers will develop their seasonal lines in tandem with a muse or inspired concept, like ADEAM’s spring/summer 2024 being motivated by the ballet or Brandon Maxwell’s being an answer to the impasse of freedom and restraint. Then there was Dolce and Gabbana’s famed spring/summer 2023 show curated by Kim Kardashian, after both Domenico and Stefano were galvanised by the reality star’s “it girl” essence. High fashion runway can be viewed as a melting pot of celebrity image and designer conception. While the relationship between famed figures and name brands is pertinent to Fashion Week criticisms, the focus shouldn’t be on celebrity sightings or social climbings. Although I observed a clear presence of exclusivity hovering over runway presentations and after-parties, I found the purpose is not to be seen but to step inside the minds of imaginative designers and celebrate the execution of their visions. Read More London Fashion Week 2023: All the highlights from day two British Vogue appoints Chioma Nnadi as Edward Enninful’s successor London Fashion Week: Jourdan Dunn walks in emotional Richard Quinn show

Supermodel Linda Evangelista has claimed she was abused by her ex-husband, French former modelling agent Gerald Marie. Evangelista, 58, was married to Marie from 1987 until 1993, during his time as head of the European division of Elite Models. In an interview for a new Apple TV+ documentary, The Super Models, Evangelista described her five-year marriage to Marie as an “abusive relationship”. “It’s easier said than done to leave an abusive relationship,” she said in the programme released on Wednesday 20 September. “I understand that concept, because I lived it. If it was just a matter of saying, ‘I want a divorce, see ya’... it doesn’t work that way.” She added: “He knew not to touch my face, not to touch the money-maker, you know?” The Independent has contacted representatives of Marie for comment. In a statement provided to Apple TV+, and obtained by The Telegraph, the 73-year-old denied the abuse allegations, and said he “has never committed the slightest act of violence”. Marie was accused of rape and sexual assault by multiple women during the 1980s and 1990s. He denied all of the allegations. In 2021, French prosecutors decided to close their investigation since the allegations exceeded the country’s statute of limitations for reporting sex crimes. Read More ‘I had to endure the abuse in order to continue working’: Ex-model Carré Sutton accuses former agency boss of sexual assault Former model ‘raped by Linda Evangelista’s ex’ says fashion industry ‘complicit’ in widespread abuse Cindy Crawford calls out Oprah Winfrey for treating her like ‘chattel’ in old interview: ‘Seen and not heard’

Less than 10 days before Balmain’s spring/summer 2024 collection is scheduled to hit the runway for Paris Fashion Week, over 50 of the brand’s debut pieces were allegedly “hijacked” and stolen. On Saturday, 16 September, Olivier Rousteing, the Parisian fashion house’s 12-year creative director, took to Instagram to announce the garment crime. The 37-year-old explained how he’d arrived at the office by nine in the morning, anticipating the arrival of the last few designs for their upcoming show. However, he received a call from the driver meant to transport the pieces from an airport in Paris to the Balmain headquarters. The individual confessed that his vehicle had been overtaken, resulting in the theft of more than 50 looks. “Our delivery was hijacked. The camion got stolen. Thank god, the driver is safe,” Rousteing wrote. “So many people worked so hard to make this collection happen. We are redoing everything but this is so so disrespectful.” “This is so unfair. We will work more, days and nights. Our suppliers will work days and nights as well, but this is so disrespectful,” he continued. “I wanted to share this with you to remind you, don’t take anything for guaranteed and please be safe. This is the world we are living in.” The details surrounding the incident, such as the airport location and hijacking time, were not released. Executives flocked to social media, discussing the unheard-of tragedy with their followers. Bernard Garby, luxury client manager at Harper’s Bazaar, Elle, and Esquire, discussed the news on TikTok and described it as “a real fashion drama”. “What happened is something I’ve never heard ever before,” the fashion expert, known to deliver industry recaps every morning, said. Bernard carefully described the unfortunate impact this incident leaves on the brand with a collection debut scheduled for 27 September. “It’s basically a pure robbery,” the famed user proclaimed. “I have never ever heard of anything like that before... They have less than 10 days... How stressful!” Additionally, Bernard made a point to connect this alleged robbery with that of Kim Kardashian on 3 October 2016, when the reality TV star was tied to her hotel bathtub while five men stole her jewellery from the room. Speaking to David Letterman in 2020, Kardashian recounted the traumatising experience. “He grabbed me and I was wearing a robe and I wasn’t wearing anything under it,” she recalled. “He grabbed me and pulled me towards him but I wasn’t wearing anything underneath. So I was like, ‘OKay, this is the time I’m going to get raped. Just deal, it’s gonna happen.’” @bernardgarby Today's Fashion News: Daniel Lee's Spring / Summer 2024 collection for Burberry and fashion drama at Balmain! #fashionnews #TikTokFashion #fashion #fashiontiktok #fashiontok #burberry #balmain #bernardgarby ♬ original sound - BERNARD “Just prepare yourself.’ So I did... But then he tied me up with handcuffs and zip ties and duct tape,” she noted. Bernard ridiculed Paris in his video, telling the city to “fix your situation down there”. He added: “It’s just not a good image. I am meant to be going to Paris for the Paris Fashion Week as well and I can tell you because of this news around Paris, Paris is really ruining its reputation. And it’s not looking good. I don’t feel safe going to Paris anymore. So you need to fix it.” In conversation with The Independent, Bernard urged spectators to review Balmain’s new collection with less judgement. “Olivier has less than 10 days to recreate the collection that got stolen. Bear in mind, it’s Fashion Week season - where everyone in the industry is over-stretched and over-booked. If this happened in summer, maybe it would not be such a big deal,” he said. “However, since it happened during the Fashion Month and right before the collection - I think people should be compassionate if the collection doesn’t deliver people’s expectations.” He continued: “Also, a standing ovation for Olivier still continuing the collection and proving that he’s a go-getter and someone who doesn’t take no as an answer. It proves he’s a risk-taker and resilient - two qualities a designer needs if you want to survive in a competitive world of fashion.” The Independent has contacted Balmain for a comment. Read More London Fashion Week 2023: All the highlights from day two London Fashion Week: Jourdan Dunn walks in emotional Richard Quinn show British Vogue appoints Chioma Nnadi as Edward Enninful’s successor The Missing Thread exhibition celebrates the unique contribution of black British fashion Vogue World wowed but won’t pay the wages of young fashion designers H&M starts charging shoppers £1.99 for online returns

A new exhibition puts the spotlight on the contribution of black designers in British fashion. “A lot of what black creatives do is informed by some of those darker and negative experiences. It’s our secret weapon,” said Jason Jules, who curated The Missing Thread: Untold Stories of Black British Fashion, alongside Harris Elliott and Andrew Ibi. The exhibition at Somerset House looks at fashion, music, photography and art from the 1970s to present day, using four distinct themes: home, tailoring, performance and nightlife. It doesn’t shy away from the vivid experiences of racism and discrimination, and highlights how political yet liberating clothes can be for black communities. The exhibition features commissions from a new generation of black designers, including Bianca Saunders, Saul Nash and Nicholas Daley, as well as up-and-coming artists such as London-based couturier Ninivah Khomo and patternmaker Monisola Omotoso. There’s also the presence of design legends – such as Ozwald Boateng, Bruce Oldfield – who designed a red silk crepe dress worn by Diana, Princess of Wales – and Joe Casely-Hayford, a designer and tailor who started showing collections in the 1980s and died in 2019. “Joe was the starting point for this entire exhibition,” Jules said. “He is the most missing part of the narrative [of mainstream fashion]. Individually we’ve all worked with Joe. On one level he seemed like he was just constantly in fashion, very aspirational, elegant, a sophisticated and distant person. But beyond the surface, he was actually very social, non-judgemental, playful, fun – the whole lot. “And in a sense, we wanted to communicate the dichotomy between how we see people and ourselves. “For me, he was the best designer this country ever had, because when you put him back in his rightful place, he transforms the entire British and global landscape of how we understand fashion.” Ibi agreed: “To be able to sustain that level of tenacity for such a long period of time, when you are consistently overlooked, is just amazing. And not enough people know who he is, especially young black people. “This is why it’s never been just about fashion, because in the background, whether you were studying or trying to get to the club, taxis wouldn’t even stop for you. It didn’t matter if you were creative or not.” The curators hope that the immersive exhibition, which “references our lives, time, progress, and development”, Ibi said, will highlight that black people have always been in fashion. Elliott – who set up The Black Orientated Legacy Development Agency (BOLD) with Ibi and Jules – said: “Style was always inherently in our genes. We couldn’t leave our homes dressed in a certain way. You had to always look impeccable to get anywhere in life, when melanin is your best friend.” The Morgan Stanley Exhibition – The Missing Thread: Untold Stories of Black British Fashion exhibition opens on September 21, 2023 and will run until January 7, 2024 at Somerset House.

High street fashion retailer H&M has joined other companies in charging shoppers who return items purchased online. Customers must now pay £1.99 to return parcels either in store or online, with the cost of the return being deducted from their refund. Rival high street stores including Zara, Boohoo, Uniqlo and Next already charge for online returns, with retail experts predicting that even more are likely to follow suit. During the pandemic, when online shopping inevitably soared in popularity, customers became increasingly more reliant on returning items when they did not fit. However, this also led to a rise in people buying items in bulk and returning almost all those items, some of them worn. While most online and high street retailers do not formally announce the move to charge for returns, many have introduced the change under the radar, with H&M implementing the return fee this summer. Business analysts have told the BBC that other retailers are likely to do the same. "It’s interesting that companies seem to be doing it by stealth, but it’s a sensible thing to be doing," retail expert Jonathan De Mello told the outlet. "It makes economic sense, as it discourages shoppers from bulk buying online products and then returning the majority of them. That’s been a real problem for companies." While H&M shoppers might be disappointed in the extra returns fee, added De Mello, most might understand why a company would need to make this decision, especially when it comes to the environment. Many shoppers are increasingly aware of the environmental impact of deliveries and returns, from courier vans to wasted packaging. Retail expert and analyst Natalie Berg wrote on Twitter/X that retailers have “created a monster” with free returns. “​​H&M charging for returns. Retailers have created a monster with free returns. It makes financial and environmental sense to put an end to this ‘buy to try’ mentality.” But Berg pointed out that customers who have signed up to H&M membership would be exempt from the extra fee for returning items. “This is actually a really delicate way to tier your customers,” Berg said of the membership scheme. “Slowly climb down from costly promises by limiting those benefits to loyalty members. Retailers have become too generous over the past decade. Save that generosity for your most valuable customers.” Read More Inside London’s first Vogue World: Thong leotards and Anna Wintour’s VIP assembly line Voguewashing London Fashion Week won’t pay the wages of Britain’s young fashion designers Bridesmaid who “didn’t love” her dress spends 35 years wearing it around the world Meghan Markle praised for mixing high-fashion with affordable pieces Vogue World wowed but won’t pay the wages of young fashion designers Ukrainian designers prove beauty can come from darkness at London Fashion Week

Naomi Campbell has reflected on the racism she faced early on in her modelling career. The supermodel, 53, spoke about some of her experiences in the fashion industry in the upcoming Apple TV+ documentary, The Super Models, which also features modelling legends Cindy Crawford, Linda Evangelista, and Christy Turlington. During one episode of the show, which will premiere on 20 September, Campbell reflected on growing up in the UK, beforing moving to the US when she was still a child. According to US Weekly, she said that although she experienced racism as a child, such as when she was five years old and someone called her a racist word, she didn’t let it affect the way she viewed herself. “I wasn’t going to accept being bullied at school for the colour of my skin,” she said. “My mother was paying my school fees just like everybody else. I had every right to be there, so take your bullying somewhere else, is how I felt.” Campbell also added that when she moved to New York to pursue modelling, her mother had a few reservations about it. “At the time, modelling was kind of looked down on in my family. My mother had no idea I was doing any of it,” she said, before noting that she still followed through with her career. She further detailed that, once she got involved in the fashion industry, her mother warned her about the racism that exists in America, as well as the prejudices towards people of colour in the southern parts of the country. With those aspects about racism in mind, Campbell became aware of how hard she’d have to work in order to feel comfortable in her career. “I started to understand culturally that I was going to have to work really hard to feel accepted,” she said. “There was no way I could go back home with my tail between my legs … I was going to go harder and further.” Per US Weekly, the Apple TV+ show continued with Campbell recalling some of the stereotypes about people of colour that she witnessed as she adjusted to living in New York City during the 80s and 90s. She shared a specific experience when she and Turlington were getting into a taxi cab, and the driver appeared to assume that she lived in Brooklyn because she was a Black woman. “I would put my hands out many times on New York City streets, and the taxis would fly by,” Campbell recalled. “Then Christy would put out the hand and they would stop. The guy would be like: ‘I don’t want to go to Brooklyn,’ and I’m like: ‘I’m not going to Brooklyn.’ I was just like, why is he saying that? It didn’t strike me until, you know, Christy would have to stand out in front of me, get me a taxi to get it to work.” Campbell then shared how her friendship with Turlington grew over time, noting that they lived together throughout the early days of her career. Additionally, Evangelista also expressed how she tried to advocate for Campbell when the British model was discriminated against because of her race. “Naomi wasn’t always booked to do the shows,” Evangelista said. “I didn’t understand. Naomi, I thought, was more beautiful, had a much more rocking body than I did and a better strut. [I was] like: ‘Why aren’t they booking her?’ I said to them: ‘If you don’t book her, you don’t get me.’” This isn’t the first time that Campbell has opened up about the racism she faced at the start of career. In a personal essay for CNN Style, published in 2021, she praised Evangelista and Turlington for being “really supportive,” as she “wasn’t being booked for certain shows because of the colour of [her] skin”. “For whatever reason, those designers simply didn’t use Black girls; I didn’t let it rattle me. From attending auditions and performing at an early age, I understood what it meant to be Black,” she wrote. “You had to put in the extra effort. You had to be twice as good.” She emphasised that she was “lucky to have Linda and Christy stand up” for her, describing how they told designers that “if they wanted to have them in their show”, they had to book Campbell as well. “That kind of support was unheard of. I will be forever touched. When I got to walk in those shows, I felt a huge sense of victory, but also gratitude,” she added. Campbell also acknowledged what she’s learned from both her success and the racial prejudices she’d faced throughout her career. “I have had my challenges as a Black model, but in many ways I feel like one of the lucky few. If my career has taught me anything, it’s that you can always turn prejudice around, that you should never give up,” she wrote. “Racism is just ignorance.” Read More From Naomi Campbell to Hailey Bieber: All the top models and celebs in Victoria Secret’s new Icons campaign Cindy Crawford says her father initially thought modelling ‘was another form of prostitution’ Linda Evangelista says she still gets botox after CoolSculpting procedure that left her ‘disfigured Celebrities mingle with royals at glam Vogue World party in London Sienna Miller bares baby bump at celebrity and royal-studded Vogue event How Burberry evolved from humble raincoat maker to luxury fashion giant

Chioma Nnadi has been appointed the head of editorial content at British Vogue, succeeding outgoing editor-in-chief Edward Enninful. Enninful, 51, resigned from one of fashion’s most coveted jobs in June, triggering months of speculation over who would replace him. London-born journalist Nnadi becomes the first Black woman to be appointed editor-in-chief of the magazine, as Anna Wintour praised her as “an editor and writer with an impeccable reputation”. Announcing Nnadi’s appointment on Monday 18 September, Wintour said: “Chioma is beloved among her colleagues at Vogue, and is an editor and writer with an impeccable reputation – both here and in the fashion industry at large. “I’m so grateful to Edward Enninful for everything he’s accomplished at British Vogue, and we’re all looking forward to a productive and creative relationship with him in his new role. “I can’t think of a more worthy person to follow in his footsteps than Chioma, who has proven herself adept at speaking to our digital audience and has found ways to extend Vogue’s reach, authority, and influence across all of our platforms. “She is passionate about fashion, music and culture, and I couldn’t be happier that she will be leading our editorial and creative teams in London.” Nnadi said: “I’m beyond excited and honoured to have been appointed as British Vogue’s Head of Editorial Content. As someone who was born and raised in London, the energy of the city – its boundary-pushing style and creative scene – has shaped the way I look at the world. “Now, more than ever, it feels like a moment to look beyond borders while also celebrating the broad scope of what it means to be British. I’m looking forward to engaging a loyal and inspired digital community that is energised by our access, point of view, and storytelling.” Enninful, whose reign as head of editorial content comes to an end after six years, praised Nnadi as a “brilliant and unique talent with real vision” in a statement. “I am so thrilled that Chioma is joining British Vogue - she is a brilliant and unique talent with real vision, who will take the publication to ever greater heights, he said. More to follow... Read More V&A’s Coco Chanel exhibit doesn’t shy away from designer’s Nazi ties – review How the fashion industry fell out of love with heels How to do ‘The Meghan’ in seven easy pieces

First Rihanna, now Sienna: maternity fashion is officially a staple on the red carpet. Sienna Miller became the latest star to opt for a bold look that accentuated, rather than hid, her pregnancy bump at the lavish Vogue World event at London’s Theatre Royal Drury Lane, where the glitterati gathered to celebrate fashion’s best and brightest. Miller wore a romantic two-piece from Schiaparelli, with a couture crop top and puff-ball skirt both in a white silk material, paired with velvet peep-toe heels and sheer black tights. The 41-year-old’s ensemble follows pop star and Fenty Beauty mogul Rihanna’s trend-setting style while pregnant, including her look at the Gucci autumn/winter 2022 show, and the dramatic lingerie-inspired sheer dress worn to Dior’s autumn/winter 2022 event. “It's a lot of custom lately,” Rihanna told Fashionista at the opening of her Los Angeles Savage x Fenty store in March last year. “I'm pushing myself to just go for it, and I'm having fun. So the stuff that's more strappy or more revealing or that's not for maternity, I want that.” “My body is doing incredible things right now, and I’m not going to be ashamed of that,” she told Vogue that same year. “This time should feel celebratory. Because why should you be hiding your pregnancy?” Rihanna famously unveiled her second pregnancy while performing live at the Super Bowl halftime show earlier this year, while wearing a red lace bodysuit with arm-length gloves and stiletto heels. In a Voices piece for The Independent, Lucy Gray praised the Barbados-born “Diamonds” artist for empowering women to dress however they want. “Rather than elicit any feelings of inadequacy, she served to make mothers seem powerful, sexy, and ultimately cool. In an event focused on men’s strength, this halftime show karate-chopped the game and said, “Oh? Didn’t they tell you that I was savage?” she wrote. “All too often in television and film, pregnant and postpartum women are portrayed as not sexual, as frumpy and grumpy. As a childless woman, I salute any pregnant person and say be as grumpy as you damn well please, but for millions around the world to see a portrayal like this can only be positive.” Other celebrity women have swiftly followed suit. Tennis star Serena Williams announced her second pregnancy with her appearance at this year’s Met Gala, while wearing a sparkling pink and black Gucci blazer and matching Gucci dress with tulle mermaid tail and Tiffany pearls. Schiaparelli’s creative director Daniel Roseberry told Vogue.co.uk that the past “rule” for how women should dress while pregnant was one to “consider, question, and in [Miller’s] case, disregard entirely”. “Her choice is our honour,” he told the publication. “Nothing but our love and congratulations to Sienna and her little one in the making.” Miller shares her first child, Marlow, with former partner Tom Sturridge, who also attended the event with new girlfriend Alexa Chung. Miller is currently dating actor Oli Green. Her stylist Harry Lambert said he was “super proud and excited” for Miller’s look, remarking that it “deserves to make headlines”. The Layer Cake star later changed into a red tartan set to perform onstage at Vogue World, joining her acting peers including Damien Lewis, James McAvoy, James Corden and Cush Jumbo. Hailed as London’s answer to the Met Gala, the star-studded extravaganza on Thursday night was helmed by legendary American Vogue editor Anna Wintour, and featured a dramatic catwalk show spotlighting British labels on the eve of London Fashion Week. The “multi-act celebration of the British performing arts” aimed to raise money for a variety of arts institutions, including the Royal Ballet, the National Theatre and the Royal Opera House. The blockbuster show opened with model Kate Moss walking across the stage, and closed with the appearance of four of the “original supers”: Naomi Campbell, Cindy Crawford, Linda Evangelista and Christy Turlington, who will debut an Apple TV+ docuseries tracking their rise to fame on 20 September. Read More Celebrities mingle with royals at glam Vogue World party in London Coco Chanel: Nazi collaborator AND brave resistance fighter in wartime Paris? Sienna Miller pregnant with her second child Celebrities mingle with royals at glam Vogue World party in London Sienna Miller bares baby bump at celebrity and royal-studded Vogue event Bella Hadid seen with shaved head in new Marc Jacobs campaign

Fashion icons joined Hollywood stars and British royalty to celebrate the first Vogue World event at London’s Theatre Royal Drury Lane on Thursday night (14 September). Billed as London’s answer to the Met Gala, the star-studded extravaganza was helmed by legendary American Vogue editor Anna Wintour, and featured a live performance overseen by Billy Elliot and The Crown director Stephen Daldry, as well as a dramatic catwalk show spotlighting British labels on the eve of London Fashion Week. The “multi-act celebration of the British performing arts” aimed to raise money for a variety of arts institutions including the Royal Ballet, the National Theatre and the Royal Opera House. Sienna Miller was among the stars to walk the red carpet outside the Theatre Royal, wearing a striking ivory two-piece by Schiaparelli couture which showed off her baby bump. It was revealed last month that the 41-year-old actor, who is already mother to 10-year-old daughter Marlowe, is expecting her second child. The Anatomy of a Scandal star later swapped the ensemble, which consisted of a crop top and puff-ball skirt, for a red tartan set when she took to the stage alongside fellow actors including Damian Lewis, Cush Jumbo, James Corden and James McAvoy. Princess Eugenie was also photographed on the red carpet wearing a green gown by Fendi, marking her first public appearance since welcoming her second child, a son named Ernest, in May. Her older sister Princess Beatrice opted for a floral dress by London-based designer Richard Quinn. This choice of gown choice surely had special significance for the royal: in 2018, Quinn received the inaugural Queen Elizabeth II Award for British Design from the princesses’ late grandmother, who also attended one of his London Fashion Week catwalk shows that year. The dress code for the event was “opening night”, with invitations featuring a West End stage enveloped in dramatic red curtains. Many of the stars in attendance pushed fashion boundaries on the red carpet, with Queen & Slim actor Jodie Turner-Smith wearing a revealing Viktor & Rolf creation made up of a statement satin bow, opera gloves and matching underwear. Bridgerton star Nicola Coughlan added some drama to proceedings with an eye-catching black and gold headpiece, paired with a black off-the-shoulder gown by designer of the moment Harris Reed , who unveiled his latest collection on Wednesday night (13 September). Simone Ashley, Coughlan’s co-star on Netflix’s hit Regency romance, opted for bejewelled net couture dress by Tamara Ralph with a white bodysuit underneath, while presenter and model Alexa Chung wore a Sixties-inspired two-piece from Nicklas Skovgaard, made up of shorts and a crop top, finishing off the look with a matching feather headpiece. I May Destroy You writer and actress Michaela Coel opted for a structured leather-look blazer, seemingly tapping into the trend for wearing knickers as outerwear, first seen on the Miu Miu catwalk in March. Crazy Rich Asians star Gemma Chan sparkled in a dark silver Louis Vuitton strapless dress, with her hair in a sleek updo and a red lip, while Kate Winslet kep things low-key in a slouchy cream suit with a beige underwear-style top underneath. Model Poppy Delevingne, designer Stella McCartney and Promising Young Woman actress Carey Mulligan posed together on the red carpet, with Delevingne’s pink dress providing a pop of colour amid McCartney and Mulligan’s understated black gowns. The blockbuster show opened with model Kate Moss walking across the stage, and closed with the appearance of four of the “original supers”: Naomi Campbell, Cindy Crawford, Linda Evangelista and Christy Turlington, who recently reunited to appear on the cover of Vogue . New Apple TV+ docuseries The Super Models, due to be released on 20 September, will alsochart their rise to global fame. The second annual event followed a New York edition held in 2022, and celebrated music, theatre and fashion at the beginning of London Fashion Week (September 15-19). It saw musical performances from FKA Twigs, Stormzy and Annie Lennox, along with a Shakespearean monologue from actress Sophie Okonedo. Fashion was front and centre, with models including Jourdan Dunn, Ashley Graham, Emily Ratajkowski and Cara Delevingne wearing creations from designer labels including Miu Miu, Alexander McQueen and more. Flying the flag for sustainable fashion were singer Rita Ora, model Twiggy and TikTok star Wisdom Kaye. All were wearing pre-loved fashion and accessories from eBay: Ora in a timeless black strapless dress, Twiggy in a red velvet suit and Kaye in wide-legged white trousers and a navy coat. Game Of Thrones star Maisie Williams wore experimental brand Maison Margiela, donning a black mini dress with a Peter Pan collar and cut-off sheer tights. Read More Everything we know about Vogue World, London’s answer to the Met Gala Sienna Miller is the face of M&S’s new autumn collection – and it’s sure to sell out Sienna Miller is having a baby with someone 15 years her junior – good for her Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live

It’s official, Bella Hadid can pull off any look. In Marc Jacobs’ new jaw-dropping photos for its “Heaven” fall 2023 collection, the 26-year-old supermodel was pictured bare - shaved head and all. Her skin appeared smooth without a single hair in sight, as she posed in the futuristic universe crafted by the mind of Jacobs and photographer Carlijn Jacobs. Rather than formatting her sleek long locks to fit the concept of the collection, the team started with a clean slate, swiping Hadid’s hair and eyebrows. While her head remained bald, the brand’s muse could be seen with reconfigured dark brows angled upward. In the campaign, Hadid was placed on an entirely different planet with armour inspired by Marc Jacob’s iconic Kiki Boots. “The fall 2023 collection pays homage to the cult favourite Kiki Boot with the introduction of the Kiki Group, an assortment of ready-to-wear and accessories,” the fashion brand said in an official statement. With a long, spiraling silver tube seemingly coming out of her spine, the Dutch-Palestinian runway star celebrates the dominatrix essence of the platform boot. The campaign image also paid special attention to Hadid’s oversized wired ear cuff, which retails for $150, as she sat nude in front of the camera. Just five months ago, Hadid candidly spoke about her 15-year struggle with Lyme disease after taking five-month break to seek treatment at a wellness center in California. On 6 August, she posted a carousel of photos of herself in a doctor’s chair with an IV in her arm. “The little me that suffered would be so proud of grown me for not giving up on myself,” Hadid wrote on Instagram. “Living in this state, worsening with time and work while trying to make myself, my family and the people who support me, proud, had taken a toll on me in ways I can’t really explain.” “To be that sad and sick with the most blessings/privilege/opportunity/love around me was quite possibly the most confusing thing ever. One thing I want to express to you all is that one: I am OK and you do not have to worry, and two: I wouldn’t change anything for the world,” Hadid continued. “I have so much gratitude for and perspective on life.” In addition to Lyme disease, Hadid has also endured chronic disease and co-infection treatment. “Almost 15 years of invisible suffering was all worth it if I’m able to, God willing, have a lifetime of spreading love from a full cup and being able to truly be myself, for the first time ever,” she said. Read More Bella Hadid raises eyebrows after posting a GoFundMe page Bella Hadid looks back on ‘15 years of invisible suffering’ with Lyme disease What is Lyme disease? Bella Hadid reveals ’15 years of invisible suffering’

Cindy Crawford has shared how her father, John Crawford, didn’t initially understand that modelling was a career. The supermodel, 57, spoke candidly about the beginning of her career in a sneak peek of the new Apple TV+ documentary series, The Super Models, shared via People. While the clip showcased a photo of Crawford from the 1980s, she expressed that back when she was a teenager, she didn’t understand how the modelling world worked. “I never even thought about modelling,” she said. “I didn’t even know it was a real job. I didn’t know how I would get from DeKalb, Illinois, to a magazine.” After the clip showed footage of Crawford posing for the camera in the 80s, she then added that her father didn’t know what modelling was either. “My dad really didn’t understand that modelling was a real career. He thought modelling was like another name for prostitution,” she said. “So [my parents] came with me to my very first modelling appointment.” This isn’t Crawford’s first time opening up about the early days of her career. During an interview with Vanity Fair in 2016, she recalled how she posed for her first portrait at the age of 16, while living in her hometown. “When I was 16, Roger Legel, a local photographer in my small town of DeKalb, Illinois, asked to photograph me for the college newspaper. I agreed, and he shot this picture at the backyard pool of my high-school boyfriend,” she said. According to Crawford, that photoshoot offered her a change of perspective, as it ultimately encouraged her to go into modelling as a career. “I was still a teenager and dreamed of becoming something big - a nuclear physicist or the first woman president, the two biggest jobs I could think of,” she said. “Doing this first shoot changed my life. The photographer encouraged me to go to Chicago to try to find an agent.” The actor once again shared her parent’s initial thoughts about modelling, before recalling how she went on to officially start modelling in Chicago. “At the time, my dad thought modelling was a nice word for prostitution, so my parents were very protective of me,” Crawford said. “I went to Chicago, ended up signing with Elite, and from there started doing catalogue shoots as well as working with Victor Skrebneski - the most important photographer in Chicago.” She concluded: “This one photograph opened my eyes to a whole new world and started me down the path of modelling.” In the new Apple TV + series, The Super Models, Crawford comes together with fellow modelling legends – Naomi Campbell, Linda Evangelista, and Christy Turlington – to open up about her time in the fashion world. According to a press release shared by Apple TV, the program will discuss some of the achievements that these four women have had so far, as well as how they’ve shaped the modelling industry today. “Their prestige was so extraordinary that it enabled the four to supersede the brands they showcased, making the names Naomi, Cindy, Linda and Christy as prominent as the designers who styled them,” the press release reads. “Today, the four supermodels remain on the frontlines of culture through activism, philanthropy and business prowess.” “As the fashion industry continues to redefine itself – and women’s roles within it – this is the ultimate story of power and how four women came together to claim it, paving the way for those to follow,” the statement continued. The Super Models will premiere on Apple TV + on 20 September. Read More Supermodels recreate iconic Vogue cover from 1990 Watch: Cindy Crawford re-creates iconic 1992 Super Bowl Pepsi ad Kaia Gerber addresses nepotism in Hollywood: ‘That just isn’t how art is made’ See plus-size model Ashley Graham stun in Old Hollywood-inspired Harris Reed LFW show Football legend Michael Owen: My four kids all have opinions about my fashion choices Sex Education season 4: How vintage finds help characters get their unique style

Plus-size model Ashley Graham took to the runway in a glamorous corset for the Harris Reed show. The show marked the informal start of London Fashion Week – officially running from September 15-19. Graham donned a black gown with a shimmering gold corset and a sweeping shawl, as part of the 10 look show. This isn’t the first time Reed has worked with Graham, 35, having dressed her in a sculptural pale pink and black gown for the 2023 Met Gala. Reed’s catwalks are typically dramatic – previous shows have had performances from actor Florence Pugh and singer Sam Smith – and this season was no different. Entitled ‘Duet’, the collection was inspired by Old Hollywood styles, mixing together masculinity and feminity. Designs on the catwalk used deadstock black velvet and white duchess satin with pops of gold, and played around with exaggerated proportions. One of the standout looks of the show was a black and white evening gown with statement shoulders and a revealing low cut-out at the back – which could have been inspired by the low-slung ‘bumster’ trousers popularised by Alexander McQueen in the Nineties. The largely monochrome nature of the collection was punctuated by metallic accents, with silver and pearl half-moon breast cups on one look, showcasing Reed’s partnership with London-based jewellery brand Missoma. The show was accompanied by vocals from Cosima, a Peckham-born singer-songwriter who wore an off-the-shoulder black and white gown to perform. Watching front row at the Tate Modern in London were activist and model Monroe Bergdorf, Game Of Thrones actress Maisie Williams and Bridgerton’s Charithra Chandran. The show was inspired by Virginia Woolf’s 1928 historical novel Orlando, often seen as one of the earliest representations of trans identity in English language literature. Reed cited the quote: “Different though the sexes are, they intermix. In every human being a vacillation from one sex to the other takes place, and often it is only the clothes that keep the male or female likeness, while underneath the sex is the very opposite of what is above.” Backstage, Reed expressed the need for LGBTQ+ representation. “It’s more important today than ever, because we are seeing so much more hate on the streets. I think it’s getting rapidly more aggressive and more unsafe to be queer and queer presenting in the city,” the Evening Standard reported him as saying. “Casting trans and non-binary individuals in my show potentially runs the risk of turning off some of my Middle Eastern and Asian clients. “As a designer, I walk a very fine balance of not offending too many people to equal sales and build my brand, but I still need to stand behind my messaging.” Reed’s designs are often concerned with gender fluidity and theatricality, both at his eponymous label and in his role as creative director of French fashion house Nina Ricci. In January 2024 he will publish his first book, called Fluid: A Fashion Revolution. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Football legend Michael Owen: My four kids all have opinions about my fashion choices How homeowners are creating pet-specific stylish spaces Sex Education season 4: How vintage finds help characters get their unique style