The US Supreme Court on Thursday upheld a California animal cruelty law that bans the sale in America's most-populous state of pork from...

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

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This content originally appeared on Mashable for a US audience and has been adapted for

This content originally appeared on Mashable for a US audience and has been adapted for

A new art exhibition that has been made to look like a beauty salon where viewers are invited to look at works while sitting on salon chairs is set to open in Edinburgh. American artist Christian Noelle Charles launches the show on Friday at Edinburgh Printmakers. What A Feeling Act 1 will run until September 17. Artworks are in place of salon mirrors, and a radio will play excerpts of conversations with the artist. Ms Charles said she wanted to create a place of “relaxation and security” and a “new way of seeing”. She said: “I grew up going to beauty salons. I have always got my hair done since I was a kid. And I wanted to create a place of relaxation, security, that sense of getting ready is like the whole social aspect of it. “Creating these types of sets and installations change the perception of how people should look at art and also just feel relaxed in the space instead of analysing it too much.” Ms Charles composed a series of screenprints that explore and convey the gestures of being judged, analysed, and satisfied within a format of salon. Some examples of these gestures are hand crossing, lowering the glasses and tapping of the fingers. Ms Charles added: “As a black American, I was raised through the sense of gathering where barbershops and beauty salons were a centre of community and neighbourhood. “I feel like it is a good hybrid place to meet different cultures. In terms of black community in the African diaspora, salons were places of gathering that would do beauty or nails and was essential in terms of understanding one another, making sure that we look our best and what our culture represents from that. “Also, the idea of the beauty salon was a younger and modern take on that sense of the salon when it comes to showcasing paintings or prints in a specific way. It’s a pun on ‘The Salon’ within a beauty salon. “Since the work that I’ve been doing has been focused on getting ready and beauty and the essence of black women and how hard they work.” Ms Charles currently lives in Glasgow after studying for a masters degree at Glasgow School of Art. She is originally from Syracuse in New York. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Bursts of activity that make you huff and puff ‘linked to reduced cancer risk’ Study uncovers what nap times reveal about young children’s brain development New outfits in Highland dress collection help museum tell the story of modern tartan

This week’s new entertainment releases include the “Mandalorian” spin-off “Star Wars: Ahsoka” starring Rosario Dawson, the well-received, fantasy movie “Dungeons and Dragons: Honor Among Thieves” lands on Prime Video and Tim McGraw roars back with the album “Standing Room Only.”

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Crystelle Pereira can’t believe how time has flown in the two years since she competed in the Great British Bake Off. “Since I hit send on that application, it’s literally felt like I have just hit, like, times 10 in speed of life!” she tells me, wide-eyed, on a video call from the home in North London she shares with her parents and one of her two sisters. The 28-year-old – who finished runner-up to Giuseppe Dell’Anno in the 2021 season – was working in a fast-paced finance job when she took part. Landing a book deal shortly after the series aired (seven publishers were vying for her signature), she waited seven months before handing in her notice to pursue a cookery career. “I wouldn’t say I’m a pessimist, but I’m a realist,” the London-born cook says. “It’s very easy to quit your job and think, ‘Oh my gosh, I’m famous, this is great’. But I thought, ‘I don’t want to quit my job blindly and chase my dreams’. I need to think, ‘Is this viable? Can I actually get work?'” How did she decide to finally take the plunge? “It got to a point where I was like, I’m just working two full-time jobs – I’ve got no more annual leave, I’m about to burn out. “And also I need to grab this opportunity with both hands and just do it [otherwise] I think I’ll always regret it.” She hasn’t looked back since: “Honestly, it’s the best decision I’ve made. [Cooking] is literally my full-time job, it’s no longer a side hobby that I rush to do after I finish a long day of work. “It means I’ve got more time to really put into my job, I’m free to go on trips to Italy to look at Parmesan,” (an excursion she’s embarking on soon) “and obviously doing my book took up so much time.” Flavour Kitchen, her debut cookbook, is a colourful ode to Pereira’s Portuguese-Goan heritage (her parents met in Mumbai before moving to the UK). Split into two halves, the savoury section features brunch bites, curries, pasta, noodles, salads and more, all bursting with international flavours, such as Goan chilli chicken fry, kimcheese toasty, and honey and chipotle baked camembert. The sweet half is all about cakes, cookies, pies and other treats with a twist. Bake Off fans will remember the pistachio, orange and cardamom carrot cake Pereira created for her final Signature Challenge. “Goa is in the south of India, and it was colonised by the Portuguese,” Pereira says, which is why Goan food is so different to the rest of Indian cuisine. Vindaloo curry, for example, has its roots in Europe: “The Portuguese had this dish called carne de vinha d’alhos, a pork and wine dish. The Goans took that and swapped Portuguese wine with Goan vinegar and that became vindaloo.” Many of the savoury recipes in Flavour Kitchen feature a liberal splash of the tangy liquid. “Our food is very vinegar-based, which sounds a bit off-putting but it just works because it’s all balanced really well,” Pereira says. “If something’s got lots of vinegar, then it’s offset with something sweet like jaggery, which is an unrefined sugar, or coconut, because coconuts are in abundance in Goa.” Given the choice, the adventurous cook would much rather tuck into fiery fish curry, egg fried rice with Korean gochujang chilli paste or noodles with “about 10 cloves of garlic” than a plate of pretentious haute cuisine. “I will be honest, this is really controversial…” she begins, pausing before admitting: “I’m not that big on French food.” Conceding that Parisian pastries are unbeatable, she continues: “I’m just more into pan-Asian and Mediterranean food – I just think the flavours are a bit more vibrant. “Like you think about South Korea, you think about gochujang; in Greece you think about fresh mint, coriander, lemon, halloumi; Mexico, you’ve got chipotle; go to the Middle East, you’ve got harissa, ras el hanout [spice mix], all these flavours.” The cook credits her mum and dad’s cooking for helping her develop a taste for the exotic, and her late grandad – to whom she dedicates the book – with overseeing her success. “He sadly he passed away before any of this took off, but I genuinely believe in life after death – I genuinely believe he’s been a big part in guiding me through all of this. “I think he just knew l was going to end up in food. Funnily enough he used to call me MasterChef – we used to watch a lot of cooking shows together.” Having amassed 190,000 Instagram followers and cooked live on Good Morning America, The Today Show and ITV’s Lorraine, Pereira is well on her way to celebrity chef status. There have been many a pinch-me moment during her first year as a fully-fledged foodie, none more surreal than when she met King Charles (at that point still a Prince) at a Queen’s Jubilee lunch event last summer. “[Charles and Camilla] turned up and I thought, ‘I’m sure they won’t come over to speak to us,” Pereira recalls. “All of a sudden he’s walked over and said, ‘Oh, do you mind if I sit there? Because there was a seat next to me.” What did the pair talk about? “I think I was just word-vomiting! I said ‘Do you like baked goods?’ and ‘Do you bake?’ “The general consensus was he doesn’t bake, but he does like to eat. He likes cakes, he likes Italian cuisine. And then I was just talking to him about my style of baking and stuff. We had a merry old chat!” As well as finding herself starstruck by royals, Pereira has had to get used to being recognised by fans: “It literally happened the day after the first episode, which was wild. “I was going to work, I was on the train platform – I had a mask on my face, which is even funnier. This girl comes up to me and goes, ‘Oh my gosh, are you Crystelle from Bake Off?” Though she was recently “so embarassed” to be spotted at the end of spin class while “red and sweaty”, being asked for selfies is a small price to pay for being able to live out her dream. “I will never complain,” she says. “Like, no one’s there like throwing things at me! If I bump into anyone on the train or on holiday or whatever everyone is genuinely so lovely, so it’s actually just really nice to be honest.” ‘Flavour Kitchen: Vibrant Recipes with Creative Twists’ by Crystelle Pereira (Kyle Books, £22).

Not to brag, but we’ve become pretty savvy when it comes to gifting. Having a front seat as shopping editors tends to have that effect, after all. However, we’ll admit that nailing the perfect Father’s Day gift is somewhat of a challenge. If your dads are anything like ours, then they can be notoriously difficult to shop for. Whether they’re the unfussy, serious type (*raises hand*), pragmatic to the extreme (“I don’t want anything, I promise!”), or brimming with quirky ol’-geezer charm, dads — and father figures of all kinds — take a little more sleuthing in order to find the perfect present. And while there are very few online destinations that are bound to have something for every kind of dad, Amazon, being the massive e-marketplace it is, is in a league of its own in that respect.

The self-styled Un-Carrier now looks a little more carrier-ish: T-Mobile will soon move some customers