The term "GoPro" has become an eponym for action cameras as a whole, like "Coke,"

Whether you’re a beauty novice or a skin-care obsessive, few ingredients can be as intimidating as retinol. By now, many of us know about its many benefits: It encourages the new skin cell growth, stimulates collagen production, reduces the appearance of pores and pigmentation, and improves skin texture.

Sarah Jessica Parker seemed to pay homage to her character Carrie Bradshaw as she took to the red carpet in New York on Thursday (5 October). The And Just Like That and Sex And The City star paired her black tutu-inspired dress with mismatching shoes at the New York City Ballet Fall Fashion Gala. Parker, 58, tapped into the “balletcore” trend with a black bow in her hair and a full skirt in the Carolina Herrera dress – perhaps a nod to the white tulle mini skirt she wore in the opening sequence of Sex And The City. Dance has been a big theme on the runways of fashion month in September – Victoria Beckham’s spring/summer 2024 Paris Fashion Week show was inspired by her childhood love of ballet, with the collection full of diaphanous tulle gowns. But the most notable part of Parker’s outfit was undoubtedly her footwear. With one pearlescent pink high heel and the other black – both from the star’s own brand, SJP Collection, and with statement buckles – the shoes seem to hark back to her character Carrie in an episode of Sex And The City. In a 2000 episode of the show called Escape From New York, Carrie and her friends head to Los Angeles – and she dons a white dress with floral detailing, worn with one blue and one pink Christian Louboutin strappy sandals. In an Instagram comment in 2019, Parker explained the sartorial decision: “We had 2 pairs of what I believe are @louboutinworld scrappy [sic] sandals. Pat [costume designer Patricia Field] and I chose to do 1 of each. Perhaps because both were so delicious in color and seemed in harmony with the dress but also because we simply loved doing 1 of each.” Mismatched shoes are becoming something of a signature for Parker: she wore one bright pink and one yellow high heel to attend the same gala event in 2019. Parker, who sits on the board of directors of the New York City Ballet, was joined on the red carpet by her husband, Ferris Bueller’s Day Off actor Matthew Broderick. Celebrities including talk show host Andy Cohen and actresses Laverne Cox and Claire Danes also attended the event. Read More Photographers scream at Dianna Agron for blocking shot of Sarah Jessica Parker Sarah Jessica Parker wears mismatched heels to New York City Ballet Gala Sarah Jessica Parker’s custom 2014 Met Gala dress goes up for auction

Contrary to prior interviews she’s given, Kim Kardashian is no longer taking extreme measures to chase a “youthful” complexion. Yes, at 42, she looks the way she looks and people have no issue sharing their unsolicited thoughts. But the famous Skims mogul and mother wants to be clear: Her aging process is about maintenance.

As someone who still hopes Samuel L. Jackson In An Eye Patch will show up

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

TL;DR: As of September 27, get a refurbished iPad 7 for only $237.99 — a

Planned Parenthood is shifting funding to its state affiliates and cutting national office staff

Space enthusiasts can soon boast their very own mini Mars Rover. LEGO Technic has unveiled

Two mothers have been hailed geniuses for their creative McDonald's dessert hack. Janelle and Kate frequently take to the platform with their divisive food recipes – but one, in particular, has caught the attention of almost 10 million people. The footage shows the pair in the car mashing six McDonald's ice cream cones in a plastic container while disclaiming that things can get messy. They proceed to top the ice cream with chocolate sauce and their own sprinkles for good measure, before using the dessert as a dip for their fries. "It's the sweet and salt mixture," one said, while another called their creation "perfect". The clip was soon inundated with thousands of comments from fellow TikTokers, with one writing: "At first I thought you were crazy but the further you went ... I thought that looks pretty good." Sign up for our free Indy100 weekly newsletter "These are my kind of girls," another added, while another stunned user wrote: "WOAHHH why haven’t more people thought of this." Meanwhile, others weren't so convinced... "You lost me at the French fries," one wrote. @janelleandkate Moms share McDonalds secret! ?? #mcdonalds #mcdonaldshacks #momsoftiktok Attention soon turned to the fact that the McDonald's ice cream machine was actually working, a long-standing joke between fans of the fast food chain. The ice cream machine became an international phenomenon that one McFlurry lover launched McBroken in 2020, a site dedicated to tracking all the broken machines in the US. In a 2021 statement by Taylor Commercial Foodservice LLC, the company that makes the machines for McDonald’s, they explained the issues with broken machines. The company said that, although it tries to send out repairs specialists as quickly as it can, the waiting times became longer due to the Covid-19 pandemic. The statement said: "A lot of what’s been broadcasted can be attributed to the lack of knowledge about the equipment and how they operate in the restaurants, "The machines are built up with a lot of interconnecting parts that have to operate in a complex environment and manner." Have your say in our news democracy. Click the upvote icon at the top of the page to help raise this article through the indy100 rankings.

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