Carlos Sainz said he had goosebumps after sending Monza wild by putting his Ferrari on pole position for the Italian Grand Prix. The Spanish driver saw off Red Bull’s Max Verstappen by just 0.013 seconds to huge roars at the sun-cooked Temple of Speed, with Charles Leclerc third in the other scarlet car. George Russell took fourth for Mercedes with team-mate Lewis Hamilton, who this week signed a two-year contract extension, only eighth. Verstappen has swept all before him this year – winning 11 of the 13 rounds so far – and, despite being pipped to top spot in qualifying, he will still be the favourite to land a record 10th straight win in Sunday’s 53-lap race. But Saturday belonged to Sainz and the tifosi celebrated their man’s pole like a victory. Ferrari flags were hoisted into the air as Sainz, who celebrated his 29th birthday on Friday, hoisted his right arm from the cockpit. “It is difficult to put into words to describe how I feel,” said Sainz after taking just the fourth pole of his life and his first in Monza. “I have had goosebumps since I crossed the finish line. Watching the crowd and getting out of the car and seeing this is incredible. “Everywhere we go, it is just noise, support and encouragement, and it is the best feeling you can have as an athlete. “I have been feeling comfortable with the car, I cannot fault it, and I honestly put in one my best laps in Q3 to take pole. And tomorrow I am going to give it everything for that first place and see if we can battle Max.” Verstappen has been an unstoppable force this season and he will make history if he goes behind enemy lines and betters the record he shares with Sebastian Vettel by reaching double figures for consecutive triumphs. But the Dutchman, who took the chequered flag here last year, might be wary of a curious streak in Monza. Leclerc, Pierre Gasly and Daniel Ricciardo, who won here in 2019, 2020 and 2021, did not finish on their next visits. Verstappen’s Red Bull team are also bidding to become the first team to go through a season unbeaten. McLaren came the closest to achieving a perfect campaign. The British outfit failed to win on just one occasion in 1988. The venue was Monza and the winner that afternoon was Gerhard Berger – in a Ferrari. “Honestly, I don’t believe in statistics too much and this kind of curse,” added Sainz. “On Sunday, the winner is the one who deserves it the most and is quicker and I am just going to try to be that one.” Over at Mercedes, Hamilton snuck into Q3 after bemoaning a lack of grip and suggesting he had been impeded by Red Bull’s Sergio Perez. He ultimately qualified eighth, half-a-second behind Sainz and two tenths adrift of team-mate Russell. When, erroneously, he was told he had qualified one place lower, the 38-year-old replied: “I thought I was P8? It is s*** either way. “I was just struggling. Our car is hard to optimise. There is nothing easy about this car.” Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Carlos Sainz’s pace in practice gives Ferrari fans hope for Italian Grand Prix How Max Verstappen equalled Sebastien Vettel’s record for consecutive race wins Max Verstappen reveals Sebastian Vettel prediction as he closes on GP record run

It's hard to believe, but the September iPhone event is only weeks away. With that,

Florence Pugh stepped in to save Emily Blunt from a possible wardrobe malfunction at the Oppenheimer photocall in London. The Oppenheimer cast was posing for photos in Trafalgar Square on Wednesday 12 July when Pugh came to Blunt’s rescue after her jacket appeared to come loose. The Devil Wears Prada star attended the photocall while sporting a gold, metallic suit with black buttons. As for the Don’t Worry Darling actor, Pugh arrived at the Oppenheimer photocall in a blue Moschino shirt dress with a deep, plunging neckline. According to the DailyMail, the Mary Poppins star’s gold jacket popped open in front of cameras, prompting Pugh to rush over and cover her pal’s suit. In photos from the red carpet, the pair could be seen giggling about the near-wardrobe malfunction as Pugh helped hold Blunt’s jacket closed. Meanwhile, fans praised Pugh for lending Blunt a helping hand and gushed over the pair’s friendship. “Florence Pugh is a real one for protecting Emily Blunt from a wardrobe malfunction,” one person tweeted. “They’re sooo cute together,” another said, while someone else wrote: “Literally my worlds colliding” In Oppenheimer, which hits theatres on 21 July, Emily Blunt stars as Kitty Oppenheimer, the wife of physicist J Robert Oppenheimer – played by Cillian Murphy in the Christopher Nolan film. The Irish actor, 47, leads the highly-anticipated biographical drama as “the father of the atomic bomb,” whose World War II invention changed the nature of war forever. Florence Pugh, 27, portrays physician Jean Tatlock, who was known for her romantic relationship with Oppenheimer. However, fans recently came to Murphy and Pugh’s defense when people began “griping about the age gap” between the co-stars. As critics condemned the 20-year age gap between the two actors, many people pointed out that “Tatlock was 22 years old when she started dating Oppenheimer and 29 when she died”. “The on-screen age gap discourse is very valid but this isn’t the film for it because Oppenheimer & Tatlock had a 10-year age gap,” another agreed. “So Cillian & Florence Pugh are perfect casting.” As for Blunt, the 40-year-old actor recently revealed that she will be taking a break from acting to spend more time with her two daughters, who she shares with husband John Krasinski. Blunt opened up about her decision to take a brief hiatus on a recent episode of iHeart’s Table for Two with Bruce Bozzi podcast. “This year, I’m not working. I worked quite a bit last year and my oldest baby is nine, so we’re in the last year of single digits,” the British actor explained. “And I just feel [like] there are cornerstones to their day that are so important when they’re little.” “It’s: ‘Will you wake me up? Will you take me to school? Will you pick me up? Will you put me to bed?’” she continued. “And I just need to be there for all of them for a good stretch. And I just felt that in my bones.” In addition to Murphy, Blunt, and Pugh, Oppenheimer also features a star-studded cast of Matt Damon, Robert Downey Jr, Rami Malek, Gary Oldman, Kenneth Branagh, Matthew Modine, and Casey Affleck. Read More Emily Blunt opens up about decision to take year-long acting hiatus: ‘I just felt that in my bones’ ‘No need to infantalise her’: Fans defend Florence Pugh and Cillian Murphy’s age gap in Oppenheimer Oppenheimer hailed as ‘spectacular’ in rapturous first reviews following Paris premiere Florence Pugh makes return to Paris Fashion Week in sheer dress following uproar Fans can’t get enough of Barbie’s already sold-out collaboration with Crocs Fan breaks down the outfits worn by Jeremy Allen White in The Bear

The soft drink company teased consumers with a giant contest offer. But could they really pay it out?

There's plenty of British TV on Hulu, but what's the best? Sure, you could enjoy

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

A group of influencers have come under fire after posting glowing videos from their paid trip to a factory owned by controversial fast fashion retailer Shein in Guangzhou, China. Shein, which has been previously accused of labour abuse and admitted to breaching rules around working hours, brought the group of six fashion influencers from the US to tour its “Innovation Factory”. Influencer and model Dani Carbonari was one of the influencers who went on the trip and posted a video tour on her social media last week. After facing criticism from her followers – of which she was more than 481k on Instagram and nearly 300k on TikTok – Carbonari appears to have deleted the post. In her original post, she wrote in her caption that the trip to Shein’s factory gave her the opportunity to see with her “own two eyes what the entire process of Shein clothing looks like from beginning to end”. “I feel more confident than ever with my partnership with Shein. There are so many companies not taking half the initiative Shein is. They are aware of every single rumour and instead of staying quiet they are fighting with all of their power to not only show us the truth but continue to improve and be the best they can possibly be,” the “confidence activist” continued. The video showed a brightly lit factory, with staff working in clean, dust-free conditions and automated bots that assisted with processing and packaging orders. The other influencers, Destene Sudduth, Aujene, Fernanda Stephany Campuzano, Kenya Freeman, and Marina Saavedra, also shared similarly glowing Instagram posts about their visit. Viewers have pointed out that the influencers appeared to use a “script” for their posts, as they involved similar language. In her post, Saavedra said: “Like many others, I’ve heard a lot of misinformation”, while Carbonari wrote: “You have to remember our country is filled with so much prejudice – we want to believe we’re the best and no one else can be better.” @shein_us Get a glimpse of the process of how your purchases are packaged directly from our facility and delivered to your doorstep. Watch as our partners discover the cutting-edge tech that streamlines our operations and receive a hands-on experience in packaging. Stay tuned to the #SHEIN101 series to learn more of what goes on behind the scenes at #SHEIN #SHEINOnTheRoad ♬ original sound - SHEINUS But viewers have pointed out that the influencers’ comments about the Shein factory they saw – one of 6,000 factories that the online retailer has, according to Time magazine – do not address the allegations that have been levelled over Shein’s labour and environmental impact. Channel 4 launched an investigation last year that involved an undercover worker filming inside two Shein factories in Guangzhou and found that workers receive a base salary of 4k yuan per month (approximately £434) to produce 500 pieces of clothing per day. The investigation also found that workers in both factories were working up to 18-hour days regularly and were only given one day off a month. Later, Shein said that after conducting an independent investigation, it found that employees indeed working longer hours than the local laws allowed. Shein found that staff at one factory were working up to 13-and-a-half hour days with two to three days off a month, while those at the second site worked up to 12-and-a-half hour days with no fixed structure for days off. It said that “while these are significantly less than claimed in the documentary, they are still higher than local regulations permit”. At the time, Shein vowed to invest US$15m (£11.8m) to improve standards at its supplier factories. On Twitter, one person wrote: “Shein is sending the influencer girlies to China to some (PR) ‘innovation’ factory where it looks pristine and super clean and the workers are having fun while sewing and the company saying they pay a ‘competitive’ wage lol.” Another said: “The funniest part of the Shein debacle to me is the influencers acting like they went undercover to investigate. You were invited, of course, it’s PR.” A third added: “Them Shein influencers getting cooked and Shein ain’t [sic] defending them. Meanwhile the girls are doing their best to explain to us why Shein ain’t too bad. It’s sad.” The Independent has contacted Shein, Carbonari, Sudduth, Aujene, Campunazo, Freeman and Saavedra for comment. Read More Give Greenpeace a chance: Art and activism join forces for Glastonbury’s campaign for the future Harry and Meghan’s ‘lack of productivity’ left Spotify and Netflix bosses ‘underwhelmed’, report says A woman stopped cleaning after her husband accused her of doing ‘nothing’. Then she filmed the results Princess Diana’s ‘black sheep’ jumper predicted to sell at auction for up to £70,000 The best onstage fashion at Glastonbury Glastonbury 2023: All the best fashion at the biggest UK festival of the year

The European Food Safety Authority said on Thursday it had not found "any critical areas of concern" preventing the controversial and widely used herbicide glyphosate from being...

Refinery29 Somos continues our preservation of customs that serve us and our retiring of those that don’t this Latine Heritage Month. In 2023, we’re exploring how Latines are pushing back on assimilation by resurrecting and remixing traditions to serve us today.

Flying on Mars presents a major challenge. The Martian surface air density is only about

Appointees of Florida Gov. Ron DeSantis on the board of Walt Disney World's governing district are asking a state judge to dismiss Disney's counterclaims in a lawsuit

In a number of scenes in 2001’s Bridget Jones’s Diary, our heroine – a thirtysomething singleton played by Renée Zellweger – squashes the skin of her lower torso into an array of Lycra shapewear, all in an attempt to make herself appear slimmer. When Hugh Grant’s Daniel Cleaver sets his eyes on her high-wasted, nude-coloured underpants in one memorable scene, Bridget blushes with embarrassment. “Well, hello mummy,” Daniel purrs. At the time of the film’s release, control shapewear – or tummy-tucking underwear designed to smooth its wearer – was marketed predominantly at people like Bridget, someone who was told by society she was “fat” or undesirable unless she had a flat stomach. Today, though, shapewear is branded differently, marketed to young women as a sexy, must-have fashion accessory. Shapewear products are not only promoted as stomach-smoothing fixes, but for anyone who wants a narrow waist or their figure to resemble a contoured, Kardashian-style hourglass. Skims, Kim Kardashian’s self-owned shapewear brand that she founded in 2019, sells viral sculpting bodysuits geared towards achieving this particular body shape. They start at £70. Since the launch of Skims, as with anything that a member of the Kardashian clan wears or makes, fast fashion knock-offs have swelled the market. Online retailer PrettyLittleThing, which has a murky track record of contributing to a harmful cycle of fast fashion, sells duplicates of the Skims viral bodysuit for around £20. They also sell waist trainers – a corset-style casing worn underneath clothes to aggressively teach your waist to be narrow – for just £12. “Doll cinch your waist in an instant with this waist trainer,” the item’s description reads. The product has boning to make it stiff and restrictive. Venture onto TikTok and you’ll find viral dresses with Spanx-style shapewear, designed to minimise the width of a person’s waist and accentuate their bottom, built into the clothing itself. While Skims is not solely responsible for this recent boom in shapewear, it has contributed to transforming how we view it – Bridget’s “granny pants” are now glamorous and aspirational. For the brand’s latest collection, for example, buzzy British singer-songwriters Raye and PinkPantheress were enlisted to promote it, along with viral Bronx rapper Ice Spice. The resulting campaign wouldn’t look out of place in the pages of Vogue. What this marketing tells us is that fashion isn’t just about the garments you wear, but the apparently malleable shape of the body on which they’re worn. Early shapewear emerged in the 16th century, not as a trend or body sculpting device, but for practical support. Karolina Laskowska, a lingerie designer and director of the underwear archive The Underpinnings Museum, tells me that the primary purpose of shapewear back then was to support the body much in the same way that a contemporary bra is made to support the breasts today. “A pair of stays [a corset style bodice] would have offered bust and back support for women who worked,” she explains. “These styles were more functional and supportive, rather than trend-driven.” The beginnings of the shapewear we see today were first seen in the Sixties, when the invention of Lycra, a synthetic-based elastic fibre, allowed for stretchier fabrics. What Laskowska dubs the grandparent of modern shapewear was the “Little X Girdle” by a British brand called Silhouette. “It was a turning point for a shift from traditional structured corsetry into elasticated shapewear,” she says. The item was a seamless, pull-on girdle – an elasticated corset extending from waist to thigh – and was eventually licenced to sell in over 32 countries as turnover increased exponentially. We then saw the evolution of more comfortable, everyday shapewear, like those made by Spanx, an American brand founded in 2000. They’re so uncomfortable, but they’re so afraid of what others will think about them due to their body size Victoria Kleinsman By contrast, modern shapewear is now geared towards sculpting the body to appear differently underneath clothes. And now, fast fashion is getting involved, too. But lingerie designers like Laskowska are increasingly worried about the consumer physically “hurting” themselves with badly made undergarments. “We’ve seen fast fashion adopt corsetry and shapewear trends but it’s not made to fit the human anatomy, since it’s made to be as cheap as possible,” she says. She adds that people could “injure” themselves with elasticated shapewear if they buy a size too small, meaning they could potentially restrict their blood’s circulation. Victoria Kleinsman, a self-esteem expert and body love coach, works with women between the ages of 13 to 60, and says that she’s seen how her younger clientele are feeling the pressure to wear shapewear in order to conform to the cult of thinness. Some clients have bought pantyhose with built-in cushioning to make the bottom look larger and perkier. Others will wear layers of shapewear to sculpt the body, particularly the waist and stomach, to look slimmer or flatter. To Kleinsman, wearing modern shapewear allows people to apply an “IRL [Instagram] filter” to their bodies. She speaks to women each day who are “crying” to her on Zoom calls because they’re worried about what their bodies look like. “It’s to the point when it’s boiling hot weather [but] they’re wearing spandex shapewear and tights, and they’re so uncomfortable, but they’re so afraid of what others will think about them due to their body size.” The expert fell into her line of work after she struggled with an eating disorder – she also wore a waist trainer when she was dealing with her own body image issues. “I would go to the gym wearing it because apparently you ‘sweat more’ and therefore lose ‘water fat’,” she says. “Which is b******! It’s physically painful to your physical body and even more painful to your emotional and mental well-being.” Kleinsman doesn’t think that this type of elasticated shapewear has anything to do with fashion and it should not be marketed as such. “It’s really dangerous,” she tells me. “Shapewear gives you a fake ‘confidence’ but then underneath it all when that comes off, then, who are you?” The popularity of Skims and their various knock-offs doesn’t seem likely to decline any time soon, but Kleinsman is hopeful that more women will soon have epiphanies about the shapewear revival. “Fatphobia and body image trauma is still the norm,” she sighs. “There has never been more [appropriate] a time for us to embrace our natural bodies.” Read More ‘The models are skinnier than ever’: Has London Fashion Week stopped caring about body diversity? Hostage to fashion: Margot Robbie’s Chanel problem speaks to a wider red carpet crisis Jeans shopping is still a total nightmare Kim Kardashian says Kris Jenner gets ‘sad’ thinking of how fame changed her family Kanye West and wife Bianca Censori cause confusion with Sunday Service outfits Chanel’s classic 1926 little black dress added to fashion exhibition in Scotland