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Since I moved to France two years ago, I’ve learned not to be in a hurry on market day. Everyone wants a chat. This is never more apparent than on the cheese stalls of our village market on Tuesdays and in the nearby town of Pezenas on Saturdays. We discuss what I bought last week, the merits of the new season cheeses, and I sometimes come away with a mini jar of jam or mildly spicy piment d’espelette jelly, a “free” gift for spending a ludicrous amount because if you put something in front of me I haven’t tried before I will not be able to resist. The French love of cheese is legendary. General de Gaulle is supposed once to have said, “How can you govern a nation that has 246 different kinds of cheese?” Skip forward a few decades, and the consternation over Nicolas Sarkozy’s flashy Rolex habit was as nothing to the outrage when it was revealed he planned to nix the cheese course from state lunches. Was a president who neither ate cheese nor drank wine (he believed it slowed you down) really worthy of the highest office in France? So imagine the reaction when it was announced that “meddlesome” Brussels, in a quest to make all food packaging recyclable by 2030, was voting on a ruling that would get rid of the classic and much loved round wooden boxes camembert has been packaged in since the 19th century. The ruling next week would also affect Mont d’Or cheese and the crates oysters are sold in, but let’s focus on camembert for now. There’s only so much smelling salts to go round. Guillaume Poitrinal, chair of the French Heritage Foundation, said on X/Twitter: “The wooden box – low carbon, light, biodegradable, tough, made in France – is better for the planet than plastic from Saudi oil, transformed in China with coal-fired electricity, and which will end up in the ocean.” But while in some quarters the camembert crisis of 2023 has been presented as an opportunity to give Brussels a kicking, it’s inevitably more complicated than that. An article in Le Monde suggests this is a red herring, a battle inflamed by the biggest producers of industrial camembert to protect their corner of the market. French customers bought more than 45,000 tonnes of camembert last year, with only 6,000 tonnes being artisanal camembert meriting the protected designation of origin label. At the moment, all camemberts are sold in the famous wooden boxes, making the artisanal and mass-market cheeses indistinguishable to most. If this legislation passes, only the protected-origin cheese will be allowed to retain the traditional boxes. The rest will be forced into some lesser, biodegradable plastic outfit, visually marking them out as a second-rank product. But shall we, while we’re here, put a word in for second best? In a world where there is as much snobbery about cheese as there is about wine, some wags have commented that the boxes taste better than the mass-produced cheese. Forgive them their snobbery, it’s all they have to make them feel alive. Of course, if you love cheese you won’t want to deprive yourself of a beautiful artisanal camembert, made in the way it has been made for centuries, offering whiffs of hay, mushrooms and the milkmaid’s apron. Who cares if it costs as much as the dinner that preceded it? But few of us could, without blinking, fill up a party cheeseboard with these precious rounds just to watch Fred from over the road hoovering them up unthinkingly between sloshing down cheap red and boring on about low-traffic neighbourhoods and parking. And removing everyday camembert from its wooden box would deprive us all of that cold-weather favourite, indulgent and delicious far in excess of its cost or difficulty. I speak of the glory that is a whole camembert baked in its box, served with small potatoes, cornichons, and perhaps a bit of ham? I know in my career as a food writer, few recipes are more crowd-pleasing than something that goes big on the melted cheese. If I were ever in any doubt, I recently shared a recipe in my weekly recipe newsletter for dauphinoise potatoes with a whole (mass-market) camembert baked in the middle. Essentially, I sent potatoes to do the wooden box’s job. The crowd went wild. Then, the Queen herself, Nigella Lawson, cooked it and shared a picture of it on her Instagram. Within hours, I had hundreds more followers hunting me down for the recipe. So I am very grateful for the little cheese in the wooden box and I hope it will never change. I know I share that feeling with the majority of French people, and if I’ve learned anything at all about my new countrymen and women, ruling or no ruling, I doubt camembert (or Mont d’Or, or oysters) will be sporting new outfits anytime soon. Plus ca change. Debora Robertson’s Lickedspoon online newsletter is published weekly; she also posts on Instagram, @lickedspoon Read More Woman defends her $7,000 cheese board Will an adaptogen a day keep the doctor away this winter? David Beckham spotted with Bollywood stars at Sonam Kapoor’s private party in Mumbai Will an adaptogen a day keep the doctor away this winter? 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A kind of refined beauty, made up of draped pearls, mod suits, and tiered frill, formed what we know to be Princess Diana’s bespoke wardrobe through the 80s, while a modern elegance juxtaposed with a bit of casuality took hold of her 90s apparel. In general, the icon, famed for her charitable actions and discernible humility, inadvertently left a lasting impression as the archetype for understated luxury, and Elizabeth Debicki’s renewed role as the “people’s princess” in season six of the Netflix special The Crown, captures that very sentiment. Back with the first four of the final episodes, The Crown has offered a fictionalised behind-the-scenes take on the royal family’s history from Queen Elizabeth assuming the throne in season one all the way up to Princess Diana’s devastating death in season six. And though the actors’ portrayals of each figure are meant to leave stylised impressions of their personalities, their costumes have left viewers with an all-too-realistic picture. Amy Roberts and Sidonie Roberts, the show’s wardrobe designer duo, have worked to fit each actor in garments representative of emblem outfits seen on the royals over the years – Debicki’s assumption of Diana being markedly authentic. The Roberts pair did not fault in the first half of season six, which released on 16 November, dressing Debicki in identical replicas of Diana’s ensembles in the summer of 1997. In the first episode, Diana is pictured on holiday in St Tropez. The Catherine Walker red dress seen on the actual royal on that very same trip is extremely similar to the one seen on Debicki. Between the high, square neckline – very depictive of 90s style – and the double, gold buckle waist belt, Debicki’s costume is almost an exact match for the Walker original, with the exception of the fabric shade. Diana’s was a more of a coral red with a hint of orange to make the hue a less potent ruby. However, in the show, the sophisticated shift garment is pinker. But the massive gold clip-on earrings worn by Debicki look exactly like the real ones. Because the season majorily recounts Diana’s time in the Mediterranean with her boyfriend Dodi Fayed, just before her untimely death, Amy and Sidonie were tasked with dressing Debicki in the many one-piece swimsuits Diana wore that summer. “There were lots of swimsuits on Diana this year,” Sidonie told Harper’s Bazaar ahead of the release. “She’s wearing them for four episodes – in fact, the majority of her outfits on her rail for this season were swimsuits.” Diana’s actual leopard print halter-neck, made by Gottex Swimwear, was re-released by the company, therefore allowing the show’s costume to be the exact style and design seen on her. But of Diana’s more illustrious waterproof wear, was her low-back light blue suit worn on Fayed’s yacht. Not only did Debicki favour this particular one-piece out of all her wardrobe changes throughout season six, but the designer pair were especially determined to do the bodysuit justice – which they did. “That blue swimsuit is so iconic,” Sidonie remarked. “That image of her, what we call ‘walking the plank’ and sitting at the end there, it’s so iconic that I think for an actor when they’re in that, it makes them feel completely in their character.” Each swimsuit seen on Debicki in season six came from Gottex as Diana donned the brand repeatedly. On shooting in the shimmery, aqua-coloured piece, Debicki noted: “There was just something about that swimsuit and recreating that moment that felt very sacred and important, and it was very important we got it right.” “It’s as close as possible to the real imagery and yet what I get to do as an actress, kind of enter into that space, which all the things around it feel so accurate, and then I get to discover what’s emotionally in that moment,” she told Harper’s Bazaar. The first four episodes of The Crown season six are now available to watch on Netflix. Read More How Princess Diana’s The Crown season six outfits compare to her actual wardrobe Fans react to most ‘heartbreaking’ scene in The Crown What’s fact and what’s fiction on The Crown season 6? The story of Dodi Fayed - Princess Diana’s last partner The story of Kelly Fisher, Dodi Fayed’s model ‘fiancé’ he dated alongside Diana Did Princess Diana really confront the paparazzi in Saint-Tropez?

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Naomi Watts has admitted that going through menopause in her mid-thirties felt like “the end of her worth”. Watts, now 55, said she thought of menopause as “equating to the end” of her career, when she experienced it three years after her breakthrough performance in David Lynch’s 2001 psychological thriller Mulholland Drive. In an interview with Times Radio on Thursday, the two-time Oscar-nominated actor added that the lack of conversation around menopause – or the end of menstruation – “told me that you don’t matter anymore”. She continued: “So I kind of spent a lot of time spinning out and turning in on myself, feeling panicked about the end of my career, the end of my worth. If I can’t bring children into the world, my partner will probably leave me. What do I mean? Where’s my purpose?” Watts has been advocating for greater awareness and sensitivity around the subject, with the actor launching her own menopausal beauty brand Stripes last October. In the interview, she noted that, while women come together to discuss their periods, first kisses, or experiences with getting pregnant, the conversation around menopause has remained shrouded in secrecy and shame. However, Watts acknowledged that she wouldn’t have spoken about her own experiences when she was younger. Opening up about her decision to talk about going through early menopause publicly, she said: “Maybe it was just the right timing, maybe that the average age of menopause is 51. Maybe I just had to get past that milestone to actually admit that that was me. However, Watts added, her outlook has since changed because she “got on top of the education” and has a better understanding of it. “I’ve also got my friends,” she continued, underscoring the importance of having a community. “We can moan about it if we have to, laugh about it and share our experiences openly. “I think when the conversation is off the table, that’s the worst part of it,” Watts said. The Impossible actor has previously said that going through early menopause was “incredibly isolating”, with the NHS estimating that premature menopause – before the age of 40 – affects one per cent of women in the UK. The symptoms are the same as perimenopause, or the years of transition leading up to menopause. These usually include changes in the pattern and/or frequency of menstrual cycles, anxiety, mood changes, hot flushes, and hair loss or thinning. Read More ‘It was the most isolating experience’: Meet the women with early menopause Smoking causes 150 cancer cases every single day in UK, study finds Millions of women able to get contraceptive pills over the counter next year Smoking causes 150 cancer cases every single day in UK, study finds Millions of women able to get contraceptive pills over the counter next year Woman with cystic fibrosis had weeks to live – now she’s climbing mountains

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