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’

Sienna Miller joined stars from music, fashion, theatre and royalty in a daring outfit at the Vogue World event. She was the latest celebrity to bare her baby bump on the red carpet – following in the maternity style footsteps of Rihanna – and wore a romantic two-piece from Schiaparelli. Miller later changed into a red tartan set to perform onstage at London’s Theatre Royal Drury Lane, matching with some of the UK’s leading acting talent: Damian Lewis, Cush Jumbo, James Corden and James McAvoy. 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 debut an Apple TV+ docuseries tracking their rise to fame on September 20. 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: Richard Quinn, Miu Miu, Alexander McQueen and more. Daring style was also a common theme on the star-studded red carpet. Queen & Slim actor Jodie Turner-Smith chose a couture outfit for the night: a revealing Viktor & Rolf creation made up of a statement satin bow, opera gloves and matching underwear. Bridgerton star Nicola Coughlan wore a timeless black off-the-shoulder gown by Harris Reed – who showed his latest collection on Wednesday night – and added some drama with a statement black and gold headpiece. Presenter and model Alexa Chung went all-in on feathers for her look: a flirty, Sixties-inspired two-piece from Nicklas Skovgaard, made up of shorts, a crop top and a matching feather headpiece, topped off with Boucheron jewellery. 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. October Vogue cover star Kate Winslet was more demure in her fashion choices, wearing a slouchy cream suit with a beige underwear-style top underneath. Royalty was also in attendance, with Princess Eugenie in a jewel-toned blue-green Fendi gown. Princess Beatrice wore a classic floral dress from London-based designer Richard Quinn, complete with built-in gloves and a cape. Posing on the red carpet together, model Poppy Delevingne, designer Stella McCartney and actress Carey Mulligan were all smiles – Delevingne wearing a pop of colour, while McCartney and Mulligan opted for black gowns. Simone Ashley was another Bridgerton star on the red carpet, wearing a bejewelled net couture dress by Tamara Ralph with a white bodysuit underneath. 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. 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, cut-off sheer tights and an interesting headpiece. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live 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 How homeowners are creating pet-specific stylish spaces

Kim Kardashian has sparked backlash for posing in an outfit by Balenciaga one year after condemning the brand’s campaign scandal. The reality star, 42, took to Instagram on 13 September to showcase her look from the brand, which she wore to the Kering Foundation’s annual Caring for Women Dinner. Her outfit choice came nearly a year after she said that she was “re-evaluating” her relationship with the brand, due to its controversial campaign of child models holding teddy bears dressed in bondage gear. For Wednesday night’s dinner, she wore a semi-sheer, pink, sparkly dress with a halter neckline and train, along with a pair of nude heels. Along with the series of photos of herself in the outfit, she also shared a snap with Nicole Kidman, who was also wearing a dress by Balenciaga. In the caption, Kardashian quipped: “Caring for women at the Kering Foundation Gala.” On her Instagram Story, the Skims founder shared another snap of herself and Kidman posing together at the dinner, along with the caption: “@balenciaga babes.” Fans have taken to the comments of Kardashian’s Instagram post to question her for publicly working with Balenciaga again after the campaign, which featured an image of a Supreme Court opinion on a child pornography case, was removed due to backlash. “Why are you both wearing Demna again,” one critic wrote, while another added: “But the brand….” A third agreed: “I seriously don’t get it. This is a simple look that she could have commissioned from any brand. I’m here because I’m a fan but this really upsets me.” Social media users have also taken the criticism to a Reddit thread, where one person posted Kardashian’s story with Kidman, and claimed that the reality star’s “outrage” towards the scandal last year “really was performative”. The Reddit user also added that they’d “never view the brand the same” way that they did due to the controversy. “I mean even when people asked her to speak out Kim really made a super neutral and vague statement,” another claimed about Kardashian’s previous remarks. “Not surprised,” a third claimed about Kardashian wearing Balenciaga. “She still supported them like a week or two after the whole incident and then tried hiding that she was wearing them.” Back in November 2022, the KKW Beauty founder first broke her silence about the campaign, noting that as mother of four children – who she shares with ex Kanye West – she was “shaken by the disturbing images” of the advertisements. “The safety of children must be held with the highest regard and any attempts to normalise child abuse of any kind should have no place in our society – period,” she wrote on X, formerly known as Twitter, at the time. “I have been quiet for the past few days, not because I haven’t been disgusted and outraged by the recent Balenciaga campaigns, but because I wanted an opportunity to speak to their team to understand for myself how this could have happened.” After she explained that she was “re-evaluating [her] relationship with the brand, basing it off their willingness to accept accountability for something that should have never happened to begin with”, she added that she “appreciated” Balenciaga’s decision to issue an apology and remove the campaign. “In speaking with them, I believe they understand the seriousness of the issue and will take the necessary measures for this to never happen again,” she concluded. One month after issuing the statement, Kardashian explained why she didn’t speak out against the Balenciaga teddy bear controversy at the very beginning. “With the Balenciaga thing, everyone was like: ‘Why aren’t you speaking out? Why aren’t you speaking out?’ And I’m like: ‘Wait. I’m not in this campaign. I don’t know what’s happening. Let me take a minute to research this,’” she said. “And then as soon as I saw what everyone was seeing on the internet and the reality of the situation, I completely spoke out and gave my thoughts on child porn and completely denounced it.” She also made claims about why she believed she faced criticism amid the Balenciaga scandal, continuing: “But because I didn’t say: ‘F*** you, Balenciaga. That’s it,’ people got mad at that. So they’re mad if I don’t speak out. They’re mad if I do speak out, and if I don’t cancel.” The Independent has contacted a representative for Kardashian for comment. Read More Kim Kardashian-West repeatedly tags wrong Mert Alas in Twitter photos with her famous friends Kim Kardashian explains why she doesn't 'label' herself a feminist at Commonwealth club talk Kourtney Kardashian claims she ‘hates’ sister Kim in dramatic Kardashians trailer Cindy Crawford says her father initially thought modelling ‘form of prostitution’ 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

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

If there ever was a day Michael Owen could relive, it would be the 2001 FA Cup final. With about three to four minutes left of the match between Liverpool and Arsenal, he sprinted past Lee Dixon and Tony Adams, and scored the winning goal for The Reds, proving that he has a strong left foot after all. “It was the exact moment my boyhood dreams came true,” says the 43-year-old, who also played for Real Madrid, Newcastle United, Manchester United, Stoke City, and England (89 times), before hanging up his boots in 2013. “When I was a kid, the FA Cup final was one of the biggest games of the year. But lifting up that trophy is just the icing on the cake. The true feeling is the 10-15 seconds after scoring a goal and realising that you are going to win. That’s the moment. “You have an adrenaline rush and lose touch of where you are. Listen, it’s been 10 years since I retired and I [still] can’t find anything in life that gives me the same feeling. Just incredible.” Owen, who is also a regular TV pundit, doesn’t miss playing football but has found other ways to maintain his “absolute love” for the game. “I watch games from a different perspective now, especially since doing a lot of TV work. I’m always thinking about how I can inform the viewer, share insight, and bring my own experience into it,” he says on a Zoom call from his home near Chester. “I’m also at the stage in my career and life where clothes are pretty important to me too. I’m not running around the pitch or promoting energy drinks and sportswear anymore. My work is now about being seen on TV and appearance is a big part of that. So it’s important to look presentable and feel good when you are about to go on air.” Owen’s personal style has always been pretty consistent: classic, smart, and gentlemanly. He stays within the boundaries of never wearing anything “really outlandishly mad” and doesn’t mind a bit of colour here or there. “But I’m a father of four and my children are at the age — my eldest is 20 now and my youngest is 13 — where they all have their own opinion about my fashion choices. I get more tips nowadays than I ever have before,” he says. So when England’s 11th most-capped player started working on his own menswear collection, called The Michael Owen Edit, with British high-street brand Peacocks, it was an eye-opening experience. The collection includes casual staple pieces, such as chinos, knitwear, a bomber jacket, smart polo shirts, and stretchy jeans, all in high-quality materials. “I wanted the collection to fit and suit me. It felt right straight away. I had no idea so much thought and attention to detail went into a simple t-shirt,” he says. “I’ve loved learning more about menswear and helping design pieces that I think represent my own style.” His love for learning new things is also what convinced the former professional footballer to buy a farm at 24 and turn it into Manor House Stables. It’s at the heart of Cheshire near Malpas, and the home of his business, The Michael Owen Racing Club, which allows racing fans to experience racehorse ownership with an annual membership of the club for £95. “I’ve been trading at Manor House for 20-odd years,” Owen says. “I started very small. We were trading 10-15 horses, now we’re trading 110-115 horses. It’s a big business — we employ 40-odd people — that has been really popular for people who want to get a piece of the action for a small amount of money. “It’s a sport I feel like I know, because there’s a relationship between football and racing. We are doing the same thing. We’re trying to train a body and mind to be fast and durable. It’s a competition. It’s people. It’s social. The whole thing is a massive passion of mine. “And [the] horses are magnificent animals that we treat with utmost care. We give them the best feed, the best care, the best everything, to be legends themselves in many ways.” Owen didn’t know what he had to do to lock in his status as an England football legend, but he’s really grateful. “You don’t get called that at the start of your career, and I was always so focused on the next thing and never really looked back. I don’t think about it much or know how to feel. “It’s why I have great admiration for footballers such as Marcus Rashford and Jude Bellingham, who are brilliant on and off the pitch. I know this path and how hard it is. You’re only taught to be a footballer, but because you are a footballer, you get pushed in front of hordes of press to speak on behalf of the nation. But even though our voices travel far and wide, we aren’t politicians. “It’s about being confident and learning fast; understanding what’s right and wrong. My family always teases me and says I think I’m bloody good at everything. If I was playing Tiger Woods in golf, I’d probably think I’m going to beat him even though I’ve got no chance. But I’m a bit delusional like that. And I guess football has driven that since I was a kid.” The Michael Owen Edit is available now online and across the 340 Peacocks stores nationwide. Peacocks offers fashion for all the family at affordable prices and great quality.

Fans of Sex Education will have noticed something curious about the costumes on the hit Netflix show. The eclectic fashion of the cast of characters – including Eric (played by Ncuti Gatwa), Otis (Asa Butterfield), Maeve (Emma Mackey) and Jean (Gillian Anderson) – seems to have no specific era. Eighties prints mix and match with grungey Nineties-inspired looks, topped off with the occasional Noughties accent – and this is all purposeful. “It gives it it’s own individuality,” explains costume designer Daniella Pearman, who worked on the show for its fourth and final season, due to air September 21. “I do feel like people watching it can feel like: We can be anyone we want to be, we can dress how we want, we don’t all have to own the same snazzy phone or the same designer wardrobe, because everyone can be in their own little world like Moordale [School, where many of the characters were enrolled for seasons one to three].” With the new season comes new challenges for the characters and new locations – meaning tweaks were made to the costumes to help tell the story. At the end of season three, Moordale shut down – so now, many of the central characters have relocated to the progressive Cavendish Sixth Form College, which is eco-friendly, technologically advanced and on a much bigger scale than the Moordale students are used to. “From the beginning, we wanted them to look like their normal Moordale [selves], because it’s only been about eight weeks since the end of the third series,” Pearman, 42, says. “We wanted them to be walking into this new environment and looking like it’s all quite alien to them, that they’re these small fish in this massive pond.” The other big change – which was teased at the end of the last series – is Maeve moving to school in America. “It’s another different environment from Moordale – very much grown-up compared to Moordale. With her, we didn’t want to totally change her look. We wanted to mature it slightly, but still have the elements of Maeve. “So the leather jacket, the boots, the fishnet tights – but we had a new vintage leather jacket, new vintage cowboy boots that she might have picked up in a thrift store. Maybe she’s had influences from her new group of friends.” Eric’s style also follows his character arc as he makes a new group of friends, as does Aimee’s (played by Aimee Lou Wood), “As she’s opening herself up to new things, post everything that had happened to her in her past”, Pearman says. “She joins art class and becomes a photographer, and we got this brilliant, arty feel to her.” However, not everyone had a costume glow-up. “The only one I don’t think really changes dramatically is Otis – but why should he? He’s still trying to find himself, he’s pining for Maeve, he’s been looking after his newborn sister, looking after his mum – he’s not had time to evolve.” As Otis joins the new school and finds a rival sex therapist, Pearman did give him new chinos and put him in a shirt – but it’s small tweaks, rather than anything dramatic. “When people watch it, that enables the story. It’s not jarring, but shows we had fun developing those characters through their costume.” While Pearman – who got her start in the industry as a trainee on soap Coronation Street in 2004 – struggles to pick a favourite character to dress, she does mention fan favourite Eric, who’s know for bold looks on the show. “Eric is incredible, looks amazing in anything you put him in and is so collaborative and interested in it,” Pearman says – and this season, she wants viewers to look out for the “amazing vintage jackets” she’s dressed him in. Vintage is a running theme throughout the costumes, with Pearman saying: “We tried to be as sustainable as we could” – particularly as the new school puts the environment front and centre. “We did shop in vintage stores and charity shops, and stuff is hired from costume houses. Then there’s stuff that has to be bought, because you don’t have the choice or time to have stuff made. “In telly, things happen quite quickly, and there are last-minute changes. So we needed doubles for stunts or repeats of stuff – if someone’s having a drink spilled over them.” If you’re looking to get the vintage vibe of show, Pearman’s advice is to “invest time in it”. When shopping in secondhand stores, she says: “Don’t rush it and enjoy it – and think outside the box. If you see something you really like and you’re like, ‘Where will I wear it?’ Never think that, always find somewhere to wear it.” Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Groundbreaking migraine treatment offers ‘new hope’ for patients ‘Millions of women and girls suffer severe pain’ during periods – research finds Cats given vegan diets ‘have better health outcomes’, study claims

The 2023 MTV Video Music Awards (VMAs) on Tuesday night was a star-studded event, with Taylor Swift, American rapper Megan Thee Stallion and Shakira all in attendance. It took place at the Prudential Center in Newark and was hosted – for the second year in a row – by American rapper Nicki Minaj, who was also nominated for six awards, including video of the year and artist of the year. Here’s what the stars wore on the red carpet and onstage… American singer-songwriter Taylor Swift made a grand entrance onto the pink carpet in a sultry black Atelier Versace halter neck gown, with gold button detailing and a high slit. The 33-year-old styled it with a variety of necklaces and black barely-there stiletto heels, and swept the VMAs in nine categories, including her single Anti-Hero winning her the song of the year award. Clombian superstar Shakira wore the thigh-high trend too as she picked up the video vanguard award and gave a electrifying performance. Her flowy chrome blue Versace gown, which included the Italian luxury brand’s signature safety pins, really turned heads. She paired it with gold heels. Elsewhere underwear as outerwear seemed to be the theme of the night. Nicki Minaj wore a baby pink Dolce & Gabbana lingerie gown, finished off with a mermaid skirt. Underneath the lace detailing, was a satin strapless body suit. The 40-year-old finished off the look with a short veil in the same colour. American singer and actor Sabrina Carpenter wore a bright white strappy tulle diaphanous dress, over a silver embellished bralette. The 24-year-old who performed her songs Feather and Nonsense at the VMAs pre-show, paired her look with gold peep toe platform heels and a dainty necklace. Rapper Megan Thee Stallion wore a black custom made boned sheer corset fitted gown by designer Brandon Blackwood, who used two layers of bobbinet and silk grosgain, so it could appear as second skin. She paired the look with a diamond chocker necklace, matching bracelet and studs, to complete the look. While Sean “Diddy” Combs who accepted the Global Icon Award at the VMAs, took the audience back in time with a melody of hits, including I’ll Be Missing You and Bad Boy for Life. Dressed in red from head to toe, the 53-year-old rapper and business mogul wore a shiny three piece outfit, which used straps for detailing. He paired it with matching red trainers. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Gabrielle ‘Coco’ Chanel was the first superstar fashion designer, says curator of V&A exhibition 6 times Kate has worn London Fashion Week designers Pro-gamer Jukeyz ‘died for two minutes’ after cardiac arrest which left him ‘scared to sleep’

As well as introducing groundbreaking garments for women, Gabrielle ‘Coco’ Chanel embodied her brand in a way no other designer had done before, a new exhibition highlights. Gabrielle Chanel. Fashion Manifesto – at London’s V&A Museum – traces the life and work of the famed French designer, who was born in the Loire Valley in 1883 and taught to sew by nuns in the orphanage to which she was sent aged 11, when her mother died. “Before her, designers weren’t really known,” says Oriole Cullen, curator of modern textiles and fashion and the V&A. “Their names were known, but they weren’t visible figures within society.” Starting out as a seamstress and cabaret singer, before establishing herself as milliner, Chanel later turned her focus to couture fashion and began designing casual clothing for women, inspired by the menswear of the era. “The Chanel brand as it stands [today] is really based on these ideas that she ushered in 100 years ago,” Cullen says, which is where the exhibition title comes from. “The meaning of that is really about a template that Gabrielle Chanel set out at the very beginning of her design career and came back to, reimagined and reinvented throughout her long career of sixty years.” Bringing together nearly 200 outfits, the show features items from the opening of her first millinery boutique in Paris in 1910, to the showing of her final collection, two weeks after she died in 1971. Signature designs on display include little black dresses, tweed suits and quilted leather handbags – the most iconic of which is the 2.55 bag. “The 2.55 has never really gone out of fashion since she designed it in 1955,” Cullen says. “That is fascinating in terms of high fashion, that an object can stay the course for such a long time and still be relevant.” Part of the upper echelons of French society, Chanel initially relied on wealthy lovers, such as French ex-cavalry officer Etienne Balsan and English polo player Arthur Edward ‘Boy’ Capel to fund her boutiques. Later becoming a celebrity in her own right, she amassed a personal fortune, thanks to the success of her fashion, accessories and cosmetics lines. “The perfume Chanel No5 was introduced in 1921, but then introducing make-up in 1924 and skincare in 1927, she was really ahead of her time,” Cullen says. “It’s something she was doing because she was designing for herself.” Chanel is credited with helping to liberate women from the constricting corsets and long skirts that were de rigeur at the turn of the century, and for popularising softer textiles, such as jersey. “She cuts her garments with high armholes, so you can lift your arms over your head,” Cullen continues. “She thinks about fabrics that are practical, and skirt lengths you can move in.” The exhibition – which was originally staged at Paris’s Palais Galliera in 2020 – highlights the brand’s UK and Ireland connections via British Chanel Limited. “This was an umbrella company set up in 1932 to work with an array of British textile manufacturers,” Cullen explains. “From lace in Nottingham, cotton velvets from Manchester, wools from Huddersfield, and also voiles and silks from Carlisle. “One of the other companies she worked with was the Old Bleach Linen Company, which is based in Randalstown in Northern Ireland.” Split into 10 sections, the exhibition concludes with a recreation of the mirrored staircase from Chanel’s Paris atelier. “Gabrielle Chanel used to sit at the top of the stairs when she was having presentations,” Cullen explains. “The models would descend and this faceted mirror would reflect back the audience’s faces to her, so she could read the mood in the room.” Gabrielle Chanel. Fashion Manifesto opens at London’s V&A Museum on September 16. Tickets available at vam.ac.uk/chanel. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live 6 times Kate has worn London Fashion Week designers Pro-gamer Jukeyz ‘died for two minutes’ after cardiac arrest which left him ‘scared to sleep’ Young people not snowflakes or wasters, says curator of rebellious fashion exhibition

The Princess of Wales will likely keep a close eye on the catwalks this season, as she’s been known to champion clothes from London Fashion Week (LFW) designers. The upcoming season kicks off on September 15 and will see major labels – including Burberry, Richard Quinn and Erdem – debuting their spring/summer 2024 collections. These are just some of the times Kate has worn LFW designers for royal engagements… 1. Erdem For the Commonwealth Day service in Westminster Abbey earlier this year, Kate stepped out in one of her go-to labels: Erdem. Helmed by designer Erdem Moralioglu, the brand is known for its romantic and floral aesthetic. For the service, Kate chose a navy ensemble featuring an all-over white flower print, made up of a peplum blazer with delicate chain detailing on the bodice, and a midi-length skirt. It was a well-chosen look, drawing upon a Commonwealth designer for the event – Moralioglu is originally from Canada. 2. Roksanda As a patron of the All England Lawn Tennis and Croquet Club, Kate is a familiar face at Wimbledon – and in 2022 she attended the iconic event in a sunny yellow dress. The outfit, which had capped sleeves and bow detailing at the shoulder, was from Roksanda – a label known for its vibrant use of colour, helmed by Serbian designer Roksanda Ilincic. 3. Burberry Heritage brand Burberry is one of the most highly-anticipated shows on the London Fashion Week schedule, and Kate is obviously partial to its designs – she has even been spotted in one of the label’s iconic beige trench coats. She brought a bit of Britain to Canada on a 2011 trip, dressing down in an olive Burberry shirt during a visit to Blachford Lake near Yellowknife. 4. Stephen Jones Stephen Jones is often seen as the go-to milliner for the royals – his hats have been worn by the Duchess of Sussex, the late Diana, Princess of Wales, as well as Kate herself. One of Kate’s more experimental fashion moments in a Stephen Jones creation came at the 2011 Epsom Derby, when she wore a beret-style brown straw hat with a bow detailing. 5. Temperley London Many of Kate’s royal engagements require her to wear an evening gown, and she’ll often choose LFW stalwart Temperley London for the occasion. At the National Portrait Gala in 2017, she wore one of creative director Alice Temperley’s designs – a floor-length forest green lace gown with long sleeves and a high neck. 6. Emilia Wickstead Emilia Wickstead is another LFW designer who often features in the Princess of Wales’ wardrobe. Wickstead’s designs are very much in Kate’s wheelhouse: classic and demure cuts, usually in interesting colours or with a quirky twist. Kate wore a lemon midi dress with long sleeves to the National Service of Thanksgiving at St Paul’s Cathedral during the Platinum Jubilee celebrations in 2022, with the elegant dress given an added bit of interest thanks to twisted detailing at the waist. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Pro-gamer Jukeyz ‘died for two minutes’ after cardiac arrest which left him ‘scared to sleep’ Young people not snowflakes or wasters, says curator of rebellious fashion exhibition Meet the man who grows the biggest vegetables in the world

It’s been dubbed Britain’s answer to New York’s Met Gala: London’s first ever Vogue World, happening this Thursday, will be a star-studded theatrical extravaganza, fundraising for Britain’s cash-strapped performing arts scene. And at the helm, of course, is Vogue’s all-powerful Editor-in-Chief Anna Wintour. Billed as a “multi-act celebration of the British performing arts”, the event will be fabulously starry. On the line-up will be British celebrity royalty, including supermodels Kate Moss, Cara Delevingne and Adwoa Aboah, British rapper Stormzy, former Spice Girl Victoria Beckham as well as actors Ian McKellen and Idris Elba. In 2022, the first ever Vogue World took over New York’s meatpacking district with a rough-and-ready fashion show and street food fair, paying homage to the city’s street atmosphere and culture. It was quite the eclectic affair. “Old Town Road” singer Lil Nas X performed with the Hadid sisters as backup, 112 models stormed the runway to Madonna’s “Vogue” while Serena Williams made a surprise cameo. And it was all wrapped up with a street food party featuring pop-up stalls run by couture houses (think pastrami sandwiches courtesy of Michael Kors, gourmet cookies by Gucci and high tea by Burberry). Vogue World’s pilgrimage to UK soil feels like an inevitable one, given that British and US Vogues are at the heart of Conde Nast’s operation. But behind Vogue World is an epic power struggle between the two editors, Wintour and British Vogue’s outgoing editor-in-chief, Edward Enninful, as she moves closer into his territory and is even rumoured to be looking to relocate back to London. On the surface, the fundraising goal is the same as the Met Gala – a philanthropic arts cause the fashion crowd can get behind while at the same time beaming the Vogue brand around the world. Thursday’s extravaganza will be held at the Theatre Royal Drury Lane in London’s West End to raise money for Britain’s critically underfunded performing arts scene, which Anna Wintour insists is “under threat”. All net proceeds from ticket sales will be pledged to a range of performing arts organisations – but so far, they all seem to be based in London – including the National Theatre, Royal Opera House and the Royal Ballet. “The arts are under threat in the UK,” said Wintour of the fundraising decision. “Vogue World will be a timely reminder of how important they are, how vital a part of our lives, and how much they need our support.” A three-tiered party The main attraction of the night, like the Met Gala, will be the red carpet running outside of the theatre, where celebrities will fight it out to be the best dressed in the latest Spring Summer 2024 couture. But that won’t be all the event has to offer: those who were lucky enough to scoop up the exclusive and now sold out £150 tickets will watch live performances overseen by The Crown director Stephen Daldry, followed by a catwalk show featuring collections from British fashion labels like 16Arlington, Burberry and Vivienne Westwood to kick off London Fashion Week, which starts this Friday. Although the details of the event are being kept under the closest secrecy, we can hope for a number of spectacular surprises – perhaps cameos from British acting greats on stage at the Theatre Royal, or live performances from stars confirmed to be attending, like Stormzy or opera singer Hongni Wu? The theme The Met Gala is famed for its iconic yet often polarising themes, some of which have been cemented into fashion history. There was 2019’s Camp: Notes on Fashion, which saw Lady Gaga go through four theatrical outfit changes, or last year’s ode to the late controversial Chanel designer Karl Lagerfeld, with both Doja Cat and Jared Leto styling themselves as Lagerfeld’s beloved white cat, Choupette. While the Met Gala was launched as a fundraising evening for New York’s Metropolitan Museum of Art’s Costume Institute in 1948, the event has grown to be the most exclusive event of the year, with an all-important red carpet arrival followed by a glamorous charity dinner and afterparty. The theme for Vogue World 2023 is in keeping with its cause. The invitation for the event says the dress code is “Opening Night”, with the invitation’s design depicting a West End stage covered by blood-red velvet curtains. Meanwhile, the original poster for Vogue World’s London edition sees British supermodel Naomi Campbell standing in a dance studio, dressed in all-black, while a group of leotard-clad ballet dancers straddle a wooden barre behind her – another nod to Britain’s performing arts scene. Though Vogue World tickets do not come with a price tag as hefty as the Met Gala’s eye-watering $50,000, we hope celebrities tackle the Vogue World theme with the same commitment. Expect lots of West End theatrics, glamorous gowns, theatre binoculars and endless references to London’s world-leading theatre culture. The guest list The guest list is expected to be packed out with A-listers (the theatre’s auditorium seats more than 2000 people). Representing British supermodels will be Kate Moss, Cara Delevingne and Adwoa Aboah. It’s likely that Enninful’s very close friend and confidante Naomi Campbell will be playing a leading role, given that she appeared in the original marketing campaign for the event. British rapper Stormzy, former Spice Girl Victoria Beckham as well as actors Ian McKellen and Idris Elba will all be involved in the theatrics in some capacity, as we know. Bridgerton’s Simone Ashley, Sienna Miller, Emilia Clarke and Kate Winslet will also be dropping in, while musician FKA Twigs is also expected to participate in some capacity since she was also included in Vogue’s announcement. But all eyes will be on “Vossi Bop” rapper Stormzy and who might turn up on his arm; it’s rumoured that he has rekindled his romance with Love Island presenter Maya Jama after fans spotted that the pair were holidaying in the same villa. We have word from Maya’s publicist that she is filming abroad, but seeing as the presenter starred on the August cover of British Vogue, will she fly back in time for the big event? The politics Vogue World comes at a time when Vogue’s senior editorial team is under scrutiny like never before The event has been billed on its invite as a collaboration between Edward Enninful and Anna Wintour, but it is very much seen as Wintour’s creation. Many will be watching closely, given rumours of a “feud” between the two editors ahead of Enninful’s departure. The rumour mill began the whir when the company announced in June that Enninful, who became the first Black gay man to take the role of editor-in-chief in 2017, would step back from Editor-in-Chief at British Vogue in January to become a “global creative and cultural advisor”. Alexandra Shulman, who was succeeded by Enninful when she stepped down as editor in 2017, has since said that Enninful was “always playing second fiddle to Anna Wintour” within the company, amid rumours that Enninful had harboured ambitions to become editor of US Vogue, which led to a rumoured rift between him and Wintour That Wintour is on Enninful’s London turf is being seen very much as her taking back “control”.She is said to be sizing up who will be Enninful’s replacement as British Vogue’s notably less fancy sounding “head of editorial content”, as the company’s senior editorial team prepares for an internal shakeup. At the front of the race is Chioma Nnadi, editor of vogue.com, and a global network lead at the company – a London girl who could be coming back to UK soil to take up the role when Enninful leaves. “Chioma is a great choice,” one insider told The Times. “She is serious and clever and knows her stuff. She doesn’t suffer fools.” Another Conde Nast insider told the newspaper: “Chioma isn’t the terrifying fashion editor of old. She’s quite shy one-on-one, and very calm. She’s one of those people that pauses before she answers a question.” One source credited Chioma for being down to earth. Another said: “She Brooklyn, not Manhattan”, while another said the journalist is the “nicest person” they had ever dealt with at Vogue. An announcement is expected this week with whispers that the news could break at Vogue World on Thursday. However, also in the running alongside Nnadi is Sarah Harris, the European deputy editor and another global network lead, who has worked on the fashion desk for almost two decades and has become an influencer of sorts, having been credited for making silvery-grey hair cool with her unmistakable locks. Others in the running could be Mark Holgate, another Brit in New York, who heads up fashion news on the US edition, or Emily Sheffield, the former editor of The Evening Standard and Vogue deputy from 2005 to 2017, who is also the sister of David Cameron’s wife Samantha. However, it seems a decision has not yet been made – the vacancy for Head of Editorial Content on the Conde Nast careers portal still says applications are open. Vogue fans will be watching what happens next in the chapter of fashion’s most iconic title and who will win the battle for its soul. Thursday’s gala could be a chance for Vogue to retain its relevancy in the world of live-streamed red-carpet events (Vogue’s Met Gala live stream generated 53 million viewers alone last year). And while Wintour is certainly the face of the Met Gala as its host, it is not Vogue’s creation, nor is it Conde Nast’s. Could Thursday night be an opportunity for Conde Nast to call a red-carpet event its own? Whatever the goal, this week’s Vogue World is clear evidence of the brand’s desire to evolve and maybe Anna Wintour’s desire to take back control. Read More Ex-Vogue editor claims Edward Enninful was ‘always playing second fiddle’ to Anna Wintour Edward Enninful steps down as British Vogue editor-in-chief to take on new Condé Nast role amid reports of rift Kate Winslet rails against male executives who ‘patronised’ her while she was raising money for new war drama Vogue story on Kylie Jenner and Timothée Chalamet’s sparks backlash Saweetie’s ‘caveman’ inspired VMAs dress sparks comparisons to The Flintstones Selena Gomez returns to the VMAs red carpet in stunning red dress