Beauty spot: the new colourblock make-up

Beauty spot: the new colourblock make-up

We saw a new take on colourblock make-up at the Shrimps show. Models sported a whimsical look, using the same colour on their eyes, cheeks and lips. This gives a warmth to the face, perfect for the autumn season. A word of warning: it is not a look that can be rushed. Slowly build up the colour with soft strokes to avoid unblending lines. For pale skin, go for pinks, medium skin tones suit shades of coral, and for darker skin, choose a deep berry to nail this look.

Now’s the time to…

Buy Kohl Kreatives’ new collection of stand-up make-up brushes – 100% of profits go to its charity, Kohl Kares (which offers free make-up consultancy to cancer patients). Prices from

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DOUBLE BUBBLE

DOUBLE BUBBLE

Fashion designer Thom Browne appears to be channelling Little Britain’s Bubbles De Vere at Paris Fashion Week

US designer Thom Browne appeared to be channelling Matt Lucas’s fat-suit wearing creation at his Paris Fashion week show.

He topped off the outfits with bauble-shaped headwear, diamond chokers and high heels.

Award-winner Browne’s clothing regularly sells for £400 per item.

Cheryl strutted her stuff earlier this week in an striking and unusual checked couture dress as she hits the catwalk for L’Oreal’s Spring/Summer 2018 show.

The new mum, sporting bright purple lipstick, looked amazing in the high fashion garb as she joined the other celeb ambassadors Dame Helen Mirren and Jane Fonda for the beauty brand’s walk.

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Roman ‘licking dog’ never seen before in Britain found by metal detector enthusiasts

Roman ‘licking dog’ never seen before in Britain found by metal detector enthusiasts

Abreathtaking hoard of ancient Roman bronze artifacts, described as the first of its kind in British history, has been unearthed by a pair of metal detector enthusiasts.

The 4th century hoard found by Pete Cresswell and his brother-in-law Andrew Boughton in Gloucestershire includes a sculpture of a “licking” dog never found before in the UK.

The licking dog is an example of a healing statue, and may be linked to a Roman healing temple at Lydney, near the Forest of Dean.

Experts said there was also the possibility that a previously undiscovered Roman temple may be sited elsewhere in the county.

The artefacts appear to have been deliberately broken and hidden – with the exception of the dog statue, which remains intact.

Archaeologists believe the items could have been stashed by a metal worker who intended to retrieve them at a later date in order to melt and re-cast them.

The artefacts are of such significance that they need to be kept under special conditions for insurance reasons, and are currently being stored at Bristol museum, where they are being photographed and catalogued on an online database.

Experts are piecing together the clues, and the findings will be presented by the British Museum at a launch event, likely to take place around the end of the year.

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Meghan Markle’s favourite bag is affordable,

Meghan Markle’s favourite bag is affordable, practical and aesthetically pleasing all at once

When Meghan Markle stepped out for her first public date with Prince Harry on Tuesday, the first thing we noticed was her outfit.

Casual yet oh-so chic, Markle’s laid-back choice of shirt, jeans and ballet flats was fit for a Princess, and we wanted everything.

But it was her carry-all tote bag that had us talking.

Apart from wondering what was inside (a hat? a water bottle? what does one bring to the tennis?) we wanted to know where to get it.

As it turns out, the bag is readily available from everyone’s favourite sustainable label, Everlane, for a cool AUD$200.

Made from ethically sourced leather and ready to be filled with your prize possessions, we’re set to emulate Markle’s royal style, stat.

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Meet The Toweling Blazer: The Coolest Piece Of Fashion You Will Ever Own

Meet The Toweling Blazer: The Coolest Piece Of Fashion You Will Ever Own

It’s an old cliché that the best new ideas often spring to life from the simplest revelations.

While sitting around the pool sipping Mount Gay and sodas with his wife a few years back, web developer Marko Andrus had his own epiphany. Pondering how casual and informal pool attire had become, Andrus wondered to himself what the Great Gatsby might have worn poolside back in the Roaring 20s at one of his epic waterfront parties. In that instant, Andrus envisioned the “toweling blazer”, a formally-cut terry cloth jacket (for men, women and children) that’s not only functional after a dip in the pool, but superbly tailored like the ever-classic smoking jacket making it equally de rigueur at the bar or the clubhouse for a five-course dinner. Quite simply, it’s genius.

“After I came up with the idea of terry cloth, I went to my tailor on the Upper East Side and asked him to make me a blazer that I could wear once I got out of the pool,” Andrus recalls. “He laughed and told me that the concept already exists: it’s called a robe”.

Andrus wasn’t deterred. He had his tailor stitch up a half dozen prototypes to his design specifications for his wife and himself and a few other friends and family. It was on a trip to Italy’s Tuscan coast a few months later when Andrus realized that he might be on to something big.

“We were at one of the fanciest hotels I had ever been to in my life,” recalls Andrus. “My wife was wearing her sample by the pool when the hotel General Manager asked her where she got her jacket and she of course told him, ‘My husband makes them’. She came running down to the beach to find me to tell me the news. When the manager wanted to order them for his guests we knew we were onto something and we had to figure out who was going to produce them for us as soon as we got back to New York City”.

Nine months later, after perfecting his blazer’s fit and silhouette, Bask was officially in business. Andrus tells me, “We went to market in late July of 2015. At the time I had about 500 units. I did not expect to sell all of them, but then we watched them all disappear”.

There are less visceral inspirations for her clothes, too. And her emphasis on traditional craft techniques and textiles – particularly unusual space-age fabric hybrids, such as laminated leather and plasticised crochet – mean her designs are much more than the emotions embodied in clothes.

Autumn/winter 2017 offers an interpretation of camo and protective wear because it was created in the aftermath of the Brexit vote, and Trump’s election victory. “There is velvet and padding in there because it can’t all be hard, even if the world’s gone tits up.” The spring/summer 2014 collection, which included pearl-topped stockings and voluminous skirts slashed with pearl-edged slits, was the result of a swim in the Irish sea. “All the rocks were licked by the water. I thought how amazing it would be to do something shiny, so we coated lace to make it wet-look. Then I wanted something else that came from the sea so that was the pearls… It all came from being in a place.”

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Heavily jewelled Bella Hadid dazzles as she steps

Heavily jewelled Bella Hadid dazzles as she steps out in a strapless dress with a daring thigh-high slit at Bvlgari bash during Milan Fashion Week

She helped open Milan Fashion Week on Wednesday evening, as she took to the runway in style for Alberta Ferretti’s star-studded SS18 presentation.

And Bella Hadid didn’t let the night end there, as she later put on a dazzling display when she attended a lavish party celebrating Serpenti Forever by Nicholas Kirkwood for Bvlgari in the picturesque Italian city.

The brunette beauty wowed as she arrived at the glitzy affair in a velvet black strapless dress, which featured a thigh-skimming side slit.

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She teamed the simple yet chic number with a matching pair of vertiginous heels decorated with a criss-cross bejewelled design.

However, it was the California-born beauty’s accessories that proved to be the true centrepiece of the ensemble, with an emerald and diamond statement necklace illuminating her decolletage, while drop earrings added a sparkly frame to her face.

Wearing her raven tresses in a sleek updo, the coveted model enhanced her natural beauty with a dusting of makeup from the naturally-hued end of the palette.

She was joined at the event by her 53-year-old mother Yolanda, who wowed as she arrived at the hot ticket event in a green jumpsuit.

Bella and her sister Gigi have been joined by their proud mother for much of their time at the international fashion weeks, which so far have hit New York City and London before Milan.

The proud mother-of-three, who is also mum to 18-year-old model son Anwar, has openly spoken of how she wouldn’t let her children enter the fashion industry until they she deemed them old enough.

‘I never let them work [as models] before they were 18,’ she told ELLE.com. ‘I didn’t want anybody judging them on what they looked like.

‘I wanted them to feel and be the authentic human beings that they are and I think that created a lot of strength for them.’

She continued: ‘I always said to them, listen, there are thousands of girls that are much more beautiful than you girls, but you have an extraordinary character.

‘And you’re going to have to set yourself apart by being a role model by showing up on time and being kind to everybody… that’s how you can make a difference in the world.’

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Festival fashion is stuck in the era of Kate Moss v Sienna Miller – with one exception

Festival fashion is stuck in the era of Kate Moss v Sienna Miller – with one exception

There was once a myth, Charlotte, that festivals were Britain’s fashion crucibles. They were almost holy places where the edgiest new fashions were birthed and unveiled, and freelance photographers risked life and limb, throwing themselves in front of packs of young women in Reading and Somerset in the hope of catching an early glimpse of a nascent new style – half undone boilersuits, perhaps? Glitter on lips? Oh, what new style would emerge, like the Christ child, on this site of Sodom that might then merit that holiest of holiest of celebrations, a photo spread in Grazia?

But then, a strange thing happened. It turned out festival fashion is, in fact, a lot like summer fashion, in that once people find something that works, it never, ever changes. And it turned out that festival fashion peaked in that seismic era we shall call the Boho Sienna/Kate’n’Pete era, and never altered a jot since. Oh, what was this magical era, you ask? Come closer children, Ol’ Granny Time here has tales to tell you from a long ago age.

Once upon a time, back in ye olde 2004, a young fairy princess called Sienna Miller went to Glastonbury wearing a black, tiered mini dress, a studded belt, neon-framed sunglasses and a pair of Uggs, and even though it makes no sense to wear Uggs at a British festival, the world shook with excitement, and festival fashion was deemed to have been altered for ever. The following year, Kate Moss turned up with a strange feral pet, who was later discovered to answer to the name of Pete Doherty, and, having seen Miller’s audacious grab at fashion queen status the summer before, Moss upped her game, and stomped around Glastonbury in, alternately, a pair of hot pants teamed with a waistcoat, and a shimmery Lurex dress paired with wellies. The world applauded. Never mind Mayweather v McGregor: this was the era of real rivalries, the kind not seen since the legendary Country House v Roll With It battle that Britain has never really recovered from.

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And that, to be honest, is kinda where festival fashion has stayed ever since. Oh, sure, the addition of Alexa Chung and her denim hot pants sparked some interest, but really, Mossy was doing that years ago. As a result, all festival fashion has amounted to ever since is hot pants with wellies, vintage-esque dresses (bought from Asos) with wellies – and that’s about the size of it. You can throw in a playsuit, here, a jumpsuit there, but, let’s be honest, they just look a bit try-hard, given everyone knows what a nightmare they will be when you have to undo them in the portable toilets. And, fine, celebrities can wear jazzy heels, or cropped tops, or prom dresses, but they don’t really count, given that festivals are now so luxe that celebrities don’t actually go to festivals: they stay in five-star Airstreams and occasionally step out to a VIP terrace to watch Ed Sheeran entertaining some peasants. What really counts is what “the civilians” are wearing, and the wisest of civilians have stuck pretty much to the 2004 and 2005 formula, if they can be bothered to make an effort at all.

There is, however, one exception to this “festival fashion is nonsense” rule, and that is Bestival, which is happening this weekend. Now, I really take my hat off to this plucky little festival, which has somehow risen up to become Britain’s most delightful music festival, second only to the mighty G. I’ve been to Bestival three times and it really is the only one where dressing up doesn’t make people look like misguided attention-seekers. In fact, last time I went I didn’t dress up at all and I felt about as ridiculous as a person wearing a tutu and fairy wings in the middle of a thunderstorm at T in the Park. This, I think, is because the festival somehow manages to be quirky, but not in an annoying way, which is an incredibly difficult trick to pull off, given that “quirky” is usually Latin for “unbelievably effing annoying, confuses stupid hair colour and oversized glasses for a personality”. This means that if you don’t get into the spirit, you don’t look too-cool-to-try – you just look a bit rubbish.

This year’s fancy dress theme (like I said, it’s quirky) is “colour”, which is definitely easier than last year’s “future”, although it does have fewer pleasingly camp possibilities than 2012’s “HMS Bestival” (I have a very strong memory of a young man in a tight Breton shirt, eyebrow-pencil moustache and chaps from that year, which is really quite a look to pull of on the Isle of Wight, in September, in the drizzle).

So what I’m saying, Charlotte, is, frankly, forget festival fashion themes. It’s as absurd as saying “rainy-day fashion”: you’ll wear whatever gets you through unscathed and gangrene free. But the exception to this is actual fancy dress, and only Bestival manages to do this well, so we’ll have to wait until the end of this coming weekend for this year’s highlights. But I’ll leave you with words of wisdom from the goddess of festival dressing, Kate Moss, when I once asked her at Glastonbury what she was wearing: “Who cares?” Words to live by, my friends. Post your questions to Hadley Freeman, Ask Hadley, The Guardian, Kings Place, 90 York Way, London N1 9GU.

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The great cover up: why ​we’re all dressing modestly now

The great cover up: why ​we’re all dressing modestly nowDo you prefer midiskirts that cover your knees to minis these days? When you wear a slip dress, do you sometimes layer a polo neck underneath it? On a lunchtime browse, do you find yourself drawn to a voluminous sleeve? If you are reading this, then the answer is probably yes. The look of 2017 is notably more demure than that of a decade ago. Hemlines have dipped a crucial few inches, from just above the knee to just below it. A collar up to your chin is the norm. Party dresses have sweeping sleeves, rather than plunging necklines. Or, to put it another way: for the simple reason that you are engaged with fashion, you have become a modest dresser.

When Victoria Beckham launched her fashion house a decade ago, her style had already left the Wag days behind. Cleavage and Daisy Dukes had been replaced by neat knee-length dresses whose necklines exposed only the clavicles. Since then her wardrobe – one of the most photographed and most influential in the world – has evolved further. Her clothes are now loose and fluid, concealing the shape as well as the surface of the body.

Meanwhile at Paris fashion week, the signature Valentino look has exerted a powerful slow-burn influence on fashion in the five years it has defined the house. Long, fluid, with a slender shape that hints at the body but doesn’t cling, it is a romantic silhouette – part Brontë heroine, part Renaissance principessa – that has proved catnip to modern party girls bored of LBDs.

“I’ve noticed a gradual change in silhouette over the five years I’ve been at Harper’s Bazaar,” says editor-in-chief Justine Picardie. “I see it on the catwalk, and I see it in the office. It’s very often a long-sleeved dress, and there’s a kind of gracefulness to it. This season, there are a lot of below-the-knee and full-length looks in the collections, and that’s filtered down to the high street.”

It is intriguing that this mainstream shift toward modesty has taken place at the same time as fashion explicitly aimed at women who dress modestly for religious or cultural reasons has become big business. The Modist made a splash in e-commerce when it launched on International Women’s Day this year with luxury fashion curated for women who cover up. Dolce & Gabbana now sells abayas. Nike stocks hijabs for athletes. At almost every global fashion week, the dominant fashion aesthetic has tilted toward longer hemlines, higher necklines and more voluminous fabric. Cool and covered – concepts that have tended to live at opposite ends of the style spectrum – are converging.

Is there a connection between modest dressing as a cultural and political issue, and modesty as a trend? At a time of heightened tensions around how a multicultural society can live in harmony, fashion is experimenting with the aesthetic of covered woman, which has itself become a kind of visual shorthand for Islam. “I think there is a link,” says Reina Lewis, professor of cultural studies at the London College of Fashion, who has written widely about modesty and fashion. “I’m seeing longer sleeves and hemlines, higher necklines, and more fabric. Not just more cover, but more volume, so it obscures the body’s shape.”

Fashion reflects the world around it, and women who dress modestly are highly visible both on the streets of modern cities and in media imagery. What’s more, the economics of the fashion industry put covered-up clothes front of mind. Valentino is owned by Mayhoola for Investments, the emir of Qatar’s investment fund. Middle Eastern clients are a significant market for many brands showing in Paris or Milan. Alexandra Shulman, now a columnist at the Business of Fashionafter 25 years as editor of Vogue, has observed a shift in the styling of catwalk fashion. Short dresses might be worn over trousers, for instance, rather than alone. “In a Chanel show, say, a good deal of the looks will have been styled in a way that fits modest dressing,” she says. While there is nothing to stop a client buying the short dress without the trousers worn beneath, “the subliminal effect is to make a covered look feel current”.

Ian Griffiths, creative director of Max Mara, saw the casting of hijab-wearing Halima Aden in his latest show as keeping in step with the times. “If you walk down a top-end shopping street in any major city, you wouldn’t be surprised to see a Max Mara coat worn with a hijab,” he told Vogue. “So why shouldn’t our runway reflect that, too?”

So is the modest mainstream a meaningful trend, or a red herring thrown up by the cyclical nature of fashion? “Bodycon has been the norm for so long that covering up has a certain novelty value for young women,” Shulman points out. And while fashion can function as social commentary, it can also be a kind of Rorschach test: we see what is already in our head, as much as what is in front of us. “When the fashion crowd dressed in great swathes of Comme des Garçons back in the 80s, people talked of black crows, not about being modest,” Lewis says. “Covering up has become politicised.”

Long dresses mean different things at different times. Erdem took his inspiration for a recent collection of tiered lace floor-length gowns from 1930s Deauville bathing beauties and the shipwrecked wardrobe of a 17th-century lady-in-waiting, Jean Kerr.

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Whatever its origins, mainstream modesty is sticking around. Natalie Kingham, buying director of matchesfashion.com, tips a below-the-knee shirt dress as a key look for autumn, and for winter a pleated silk midiskirt with a knit and knee-high boots. Coco Chan, head of womenswear at online retailer stylebop.com, is confident that the polo neck as a layering piece has legs for another year. “With Raf putting it in his first show for Calvin,” she says, “that puts the polo neck right in the frame.”

If any fashion week trend can rival the midi for fashion-week staying power, it is “female empowerment” as a buzz-phrase of post-show designer chat, and many designers have drawn links between the two. Victoria Beckham said recently that a looser silhouette “puts power back into the hands of the wearer rather than the observer”. Where once the miniskirt was championed as a feminist statement because of its message of liberation, now a longer hemline is seen as the badge of a woman who does not feel the need to make her body shape central to her identity.

“I don’t think not being allowed to show their bodies comes into it, for our customers,” muses designer Justin Thornton of Preen, a label that has shifted over a decade from being famous for bandage-tight party frocks to being known for demure, calf-length dresses. “Thea [Bregazzi, Thornton’s wife and co-designer] and I are inspired by our friends, women in the industry, women who work. A more fluid way of dressing is definitely a positive choice for them.”

Shulman recognises this sentiment: “I’m normally the first into a sleeveless dress in hot weather, but two years ago I was in India, totally covered up, and I realised how comforting it was. I felt secure. So it’s true that there can be liberation in it.”

The issue of individual choice lurks in any discussion of female empowerment and modest dressing. Clothes can express what society values in women – and what it fears. These judgments exist everywhere, whether explicitly defined or not. “Dressing modestly can be about a patriarchal community wishing to control women’s sexuality,” Lewis says. “But that’s not specific to any one culture. The reality is women are more judged and regulated than men. Look at the fat-shaming that happens within our secular society.”

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Haute ticket: everything you need to know about Adelaide Fashion Festival

Haute ticket: everything you need to know about Adelaide Fashion Festival

Adelaide brand Paolo Sebastian’s coveted couture line is known for its intricate beading, exquisite embroidery and global following. It’s also one of the most sought-after tickets at the Adelaide Fashion Festival (AFF), the style spectacle held each October.

Now in its tenth edition, and presented by Mercedes-Benz Adelaide, AFF is an exuberant celebration of style, design, food and wine spanning 5 days, 10 runways, and more than 20 events. The best bit? The fashion-loving public is welcome! Imagine yourself perched front-row, a flute of Wicks Estate sparkling in hand, admiring the latest offerings from local, national and international designers. It’s the ultimate new-season preview.

In a fashion first, this year’s AFF sees the debut of Vogue Festival, a two-day fete in Rundle Mall and Rundle Street presented by Vogue Australia. Adelaide’s premier retail precinct will be buzzing with runway shows, spring showcases, chances to customise their fashion, special giveaways and fun in-store activities. It’s a leisurely day of retail therapy taken to the next level in signature Vogue style.

Lighting up the 2017 AFF runway will be local stars Tiff Manuell, Acler, Australian Fashion Labels (home of Finders, C/MEO Collective and Keepsake The Label), plus iconic couture house Paolo Sebastian. Designer and founder Paul Vasileff will also be honoured with a 10-year retrospective exhibition, Paolo Sebastian: X, at the Art Gallery of South Australia, from October through December.

Front row of the runway not the right fit for you? There’s a wide range of style-focussed activities happening in and around the city, including a trend-forecaster masterclass with industry legend David Shah (founder of Pantone), a Q&A lunch with Vogue Australia editor-in-chief Edwina McCann at the stylish Sean’s Kitchen, or an al fresco feast with fashion installations at King William Road. In the city’s idyllic surrounds, visit Anlaby Station to explore the archives of the International Woolmark Prize, or venture to Seppeltsfield Winery for a rural runway show and abundant Barossan feast.

Jennifer Hawkins will appear on the Myer catwalk for the retailer’s new season collections – a FREE show – while David Jones has enlisted super-stylist Nicole Bonython-Hines to curate its spring-summer offerings. There are more complimentary events too including the TAFE SA runway highlighting the next generation of design talent, as well as a marketplace devoted to indie brands with a sustainable and ethical outlook.

Showcasing Adelaide as a creative and culinary hub, major runway shows also feature the AFF Private Balcony where groups can enjoy local wines from Wicks Estate and Hugh Hamilton Wines and artisan treats from Woodside Cheese Wrights. Before or after the show, the CBD brims with vibrant dining and drinking options, including award-winning restaurants Africola and Restaurant Orana. Or take an easy 30-minute drive for an afternoon of rest, inspiration and indulgence in the Adelaide Hills, McLaren Vale or the Barossa.

Better nab some beauty sleep – a five-day fashion blitz awaits you.

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Lauren Conrad: How to Wear Fall’s Best Fashion Trends

Lauren Conrad: How to Wear Fall’s Best Fashion Trends

Metallics: Shine is everywhere right now. There are a lot of trends out there that I’d say not to take so literally. For example, the pajama trend—I think people are literally wearing pajamas; whereas, that can be interpreted as a slip trip or a silky, pajama-like top with denim. But personally, I think the shine trend should be embraced. Maybe don’t wear it head to toe, but when it’s appropriate, it’s fun to include a glittery or shiny piece or a metallic fabric into your wardrobe.Fall Florals: It’s sort of like a ‘70s vibe, like a vintage wallpaper floral as opposed to a bright, summery floral. They are a bit darker in color scheme and simpler. I know in the past there’s been a lot print mixing. I think this upcoming fall is all about bold colors, so if you do wear a print, I’d wear it with just solid colors and let that stand out.

Velvet: I felt like velvet was so present this summer, which is interesting—it was more in a slip silhouette or little cami. I just went to a wedding, and there was so much velvet, and it was like 90 degrees outside. I was so surprised to see it, but I thought it was fantastic—it’s such a great, luxe fabric. Right now, it’s being done in a transitional way. You’ll be able to continue to wear it in more of a layered way through fall.

We did an exposed, sort off-the-shoulder velvet top in a couple of colors that I really like. We actually did a pleated velvet skirt, which is kind of fun. I haven’t seen a lot of pleating in velvet.

Faux Fur: It’s all about how it’s styled. Part of its appeal is that it’s a little bit costume-y, but I like that. It brings a fun element to an element. It usually a fun layering piece that you maybe shed once you arrive to your party. I think colors are important—we did it in a dark navy, so it feels a little more subtle. It’s also more of a shrunken piece. I think if you style it with cleaner pieces, it doesn’t look too silly.

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