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Beauty Inspiration From Backstage At London Fashion Week

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Subtle, clean and minimal are the words we'd use to describe the beauty looks which have reigned supreme at London Fashion Week in past years. However for AW20, the hair, makeup and nail trends are anything but.

Alex Brownsell for BLEACH London and Terry Barber for MAC Cosmetics are just a handful of this year's legendary tastemakers who have been tasked with dreaming up bold backstage beauty looks – and each one is begging to be seen. Think two-tone hair your '00s emo self would have been obsessed with, circus-inspired eye makeup, jazz age glamour and natural texture meets fluorescent colours. That's just the tip of the iceberg.

From Richard Malone to Ashley Williams and everyone in between, click through to find the best beauty trends from London Fashion Week AW20 so far.

Ashish


Makeup artist Daniel Sallstrom for MAC Cosmetics looked to New York socialites in the late '60s and early '70s for this dramatic look. "We wanted to push big eyes and glitter liner especially," Daniel told R29.

There were lots of different trends, including a double cut crease and tomato lips, a blue and pink layered cat-eye, red glitter lips and contrasting green liner, and lime green eyes. Daniel used MAC Chromaline Gel Cream Liner, £17.50, in varying shades. For the glitter looks, artists mixed MAC Glitter, £16.50, with Mixing Medium Eyeliner, £14.

"For the face, we used the MAC Studio Fix Conceal and Correct Palette, £30, and Studio Face and Body Foundation, £27. We left the brows bare save for MAC Brow Set in Clear, £16, to groom."

JW Anderson


"There's a slight masculine nod to this," said Anthony Turner using Dyson. "Because there's so much going on in the collection, including lots of volume, we wanted to elevate the girls and keep it fresh." Using the Dyson Supersonic, £299.99, and the precision nozzle attachment, hair was blow-dried flat to the head with a soft bristle brush and given a deep side parting. "I applied some serum to the ponytail and hairspray to the top to prevent flyaways, and we've tucked some of the ponytails into the clothes," said Anthony. "I wanted the girls to look like little illustrations; beautiful little drawings."Photo Courtesy Of Dyson

Simone Rocha


This collection was very much cemented in elements of loss, creation and destruction, both in life and in regard to the ocean. As well as shells, Rocha put an emphasis on crystals to represent the theme. Manicurist Ama Quashie created a wave-inspired tip design using Swarovski crystals in clear and jet black. The nail base was minimal, and slicked with clear polish. Photo Courtesy Of Ama Quashie

Halpern


Isamaya Ffrench for MAC Cosmetics served up this asymmetrical, crystal-encrusted eye makeup. "We wanted to make it tough," she told R29, "so we alternated between large and small crystals or rocks. The skin is simply a touch of balm."

Nails were also vying for centre stage thanks to nail artist Marian Newman for CND. "The coffin shape is slender and tapered and the designs complement the out-there outfits. We wanted all nails to be matte, as some of the clothes are very sparkly. There are ombre nails, glitter nails, foil nails and blue raffia nails, which took inspiration from the tiered dresses in the collection." Each model also had an accent nail in the form of a 3D resin floral design.

Toga


"The beauty look for Toga is modern, fresh and sophisticated," said Sada Ito, NARS global artistry director. "For more impact and toughness, some models have an abstract wash of black eyeshadow across the crease."
 
Skin was prepped with NARSskin Luminous Moisture Cream, £46, followed by the Natural Radiant Longwear Cushion Foundation, £25Soft Matte Complete Concealer, £24, new Tinted Glow Booster, £28, and Soft Velvet Pressed Powder, £29.

The eyeshadow stole the show, though. The Pandora Duo Eyeshadow, £25, gave models their thumb-print, panda-esque look, while lips were slicked with the Clean Cut Lip Balm, £23.

Vivienne Westwood


"AW20 is, as usual for Vivienne, about individuality. Is it anarchy or is it punk? I’d say punk," said manicurist Marian Newman, using Peacci. "Each model has an individual but tribal look. Not trying too hard." Marian wanted nails to mirror the red lipstick and so looked to shades Diva and Jet Black, both £10, available at Peacci.

"This was juxtaposed with the archetypical chipped black that many of the models would wear happily on a normal day, plus a little touch of gold foil (a bespoke mix) to finish. There are no rules or formulas. It's all about character and individuality," said Marian.Photo Courtesy Of Peacci

Charlotte Knowles


"For Charlotte Knowles’ AW20 show we wanted to lean into the awkwardness of beauty, so I created angular shapes on earthy toned talons, some with a gradient to create an off-key juxtaposition," said manicurist Lauren Michelle using new vegan and cruelty-free nail polish brand Peacci. Some nails evoked our obsession with jade crystal rollers with ombre tips in varying green tones, while others were ultra glossy monotone colours, such as black or terracotta. Photo Courtesy Of Peacci

David Koma


Led by industry hair expert Jon Reyman for Aveda, the hair look at David Koma took cue from the "street chic nature of the collection, reflecting the setting of the city backdrop from the Leadenhall building."

Jon began by prepping the hair liberally using Aveda's Pure Abundance Style Prep, £23, which he applied throughout the hair from the root to the tip. The saturated hair was then gently blow-dried flat against the head and more of a focus was placed at the ear, so that the hair didn't move.

Using two wide-tooth combs, hair was separated and blow-dried at the crown and kept under lock and key with Control Force Firm Hold Hairspray, £23. The ends were free of product to keep a natural finish.
Once the hair had set, sections were clipped to the nape of the neck and around the ears, then undone just as models were about to head on stage.Photo Courtesy of Aveda

David Koma


"This look is all about the skin," said Illamasqua’s director of artistry, Pablo Rodriguez. "My aim was to create super natural, clean and beautiful fresh skin. I only used a couple of products to create a fresh face, starting with Illamasqua’s Hydra Veil, £34, to prime. I then flourished the skin with a translucent loose powder and Skin Base Concealer, £22, to create a matte finish."

The focal point was most definitely the eye. "I glazed the lid with a highly pigmented Glamore Lipstick in Buff, £20, which I also dabbed on the lip for models with a darker skin tone." Other models wore shade Sonnet, £20, on the lips. "This lipstick has peach undertones which enhanced their complexion and took the fresh-faced look to the next level. To finish, I used the Brow And Lash Gel in Clear, £14, to shape the natural brows." Photo Courtesy of Illamasqua

Richard Quinn


"For this look, we wanted to bring in ballerina or Russian doll-like elements with strong blush," said Dominic Skinner for MAC Cosmetics. Using various shades of MAC Powder Blush, £19.50, depending on the model's skin tone, makeup artists washed the pink hues over the cheeks and flushed a little over the eye for a monochrome finish.
The eyeliner definitely stole the show, though. "We extended the idea of ballerinas or Russian dolls by going deep, dark and straight with the liquid liner (MAC's Liquidlast, £17.50), as though the model is a doll in a factory and the liner been stamped or painted on." In the waterline, Dominic and his team applied white eyeliner and went over this with a lime green shade, which complemented the pink and mimicked a "country garden".

"We flashed the eyes, cheeks and Cupid's bow with MAC's Reflects Transparent Glitter, £16.50, so the skin almost looks like a shrink wrap," added Dominic. A slick of MAC'S Extended Black Gigablack Lash Mascara, £16.50, to delicately separate each individual lash completed the pretty look.

Ashley Williams


"Ashley's world is eclectic, fun, goth, feminine and easy," said Alex Brownsell, founder of BLEACH London. Each model had an entirely different look. "For some, we attached electric blue hair extensions to Ashley's signature clips and positioned them at the back of the head to create fake mullets. Other models have box braids intertwined with these blue hairpieces and for the rest, we've placed numerous clips in a semicircle at the side of the head to give the illusion of a shaved side or undercut."

Two-tone hair also reigned supreme with one model sporting BLEACH's I Saw Red Super Cool Colour, £6.50, throughout the top half of her hair and jet black lengths underneath, radiating emo vibes.

To create an undone texture, hairstylists used BLEACH London Hair Elixir Oil, £7, and Swamp Spritz, £6.

Richard Malone


Fusing masculine traits with 1920s dandies, Richard Phillipart whipped up "military precision flat waves" at Richard Malone, making sure that they felt slightly boyish, rather than too feminine, like finger waves.

"It's about blurring the gender binary with a masculine look at the front and feminine ponytails at the back," Richard told R29. "We used the BaByliss Pro Titanium Expression 25mm Tong, £65, 9000 Cordless Straightener, £200, and the ItaliaBRAVA Hairdryer, £120, complete with a diffuser to sculpt the hair, which was laden with mousse, gel and then hairspray."

Side partings were exaggerated and the waves were lifted at the front to play on the masculine feel, almost like a cowlick.

On makeup, Illamasqua's director of artistry, Pablo Rodruiguez wanted things to be simple but pretty. Pablo mixed Illamasqua's Skin Base Foundation, £33, with Hydra Veil Primer, £34, as he wanted the coverage to be minimal. "For the eyebrows, we needed them to be straight, like Natalie Portman or Brooke Shields, so we didn't accentuate the arch. Instead, we filled in sparse hairs with eyeshadow shade Desdemona, from the Illamasqua Elemental Artistry Palette, £38."

Lashes were curled but kept free of mascara, save for a dab of clear gloss on the lids. Illamasqua's Powder Blusher in Naked Rose, £23, took centre stage, but not on the apples of the cheeks. Instead, placement was lower down, as though models had come in from the cold sporting wind-dappled cheeks. To finish, a touch of Loaded Lip Polish in Grind, £19, patted on with fingertips kept lips nude and natural.

Temperley


At Temperley, makeup artist Sofia Schwarzkopf-Tilbury for Charlotte Tilbury looked to Hollywood in the jazz age for inspiration. Before foundation, skin was perfected with Magic Cream, £49, and Hollywood Flawless Filter, £34.

Lids were dressed in lashings of gold eyeshadow from the Luxury Palette in Queen of Glow, £40, concentrated to the centre for a halo of light, and a jet-black cat eye using The Feline Flick in Panther, £22, and Rock’n’ Kohl in Bedroom Black, £19, for added intensity.

After defining the lips with Lip Cheat in Savage Rose, £17, Sofia lacquered on the Matte Revolution in Red Carpet Red, £25, or Hot Lips in Tell Laura, £25, chosen based on the shade which best complemented the model’s skin tone. A slick of cream highlighter courtesy of the Beauty Light Wand, £29, dialled up the glow.

Aveda took over hair with stylist Britt Dion at the helm. There were three looks in total: braids, bouncy bobs and flat barrel curls.

Models with braids had their baby hairs fashioned into loops and curls, while the bouncy bobs were inspired by the wedge or triangle shape of vintage hairstyles. "Think French girl, curls bouncing in the wind," Britt said. Stylists used a flat barrel curling tong, brushed the curls to break them up slightly and slathered on Aveda Nutriplenish Multi-Use Hair Oil, £30.

For the larger waves, Aveda's Phomollient Styling Foam, £19, was used all over to create volume, then stylists looked to a wide-tooth comb to mould hair into shape. Once dry, Control Force Firm Hold Hairspray, £23, was misted over the crown.

Matty Bovan


When MAC makeup artist Miranda Joyce emailed Matty Bovan for inspiration for this beauty look, he pinpointed American actress and writer, Cookie Mueller (namely her bold eye makeup) as his muse. Miranda tried all-encompassing black eyeshadow but mentioned it looked too gothic. So she settled on fuchsia (MAC's Eyeshadow in Passionate, £10) with a touch of coral in the inner corner to highlight, and "Tippex white" (MAC's Eyeshadow in Gesso, £15).

"It's painty, punky and really works with the graphic fringe some models have," Miranda told R29. "The trick is to really pack it onto the eye and make sure that the shape is round, not straight or winged out. For the skin, we kept it really raw. It made for a much nicer canvas, otherwise it would feel too makeuppy."

ON/OFF


"Colours from the collection have been fused with foils to create this look using Peacci's vegan and cruelty-free nail polish in Jet Black, Bonfire, Jungle, Miami and Pumpkin," said manicurist Simone Cummings of these accent nails. "They are brave and living out fantasy through fashion."

ON/OFF


For her second nail look, Peacci manicurist Simone Cummings opted for onyx black in the form of Jet Black, £10, with a layer of topcoat for brilliant shine. Talons were shaped into precarious points almost like claws to offset the dots framing the models' faces.

Rixo


Taking cue from the polka dot pattern peppered throughout Rixo's collection and inspired by vintage Christian Lacroix, Rita Remark for Essie created a playful manicure using just two shades: Essie Nail Polish in Licorice, £7.99, and Blanc, £7.99. For picture perfect circles, Rita recommended alternating between a 'dotting' tool and the end of a makeup brush handle. "It's an easy way to get a luxe finish with something you already have at home," she said. Rita finished the look with lashings of Essie Nail Care Cuticle Oil Apricot Treatment, £8.99, to keep cuticles clean and nourished.

Rixo


NARS global makeup artist Vincent Ford dreamed up two looks for Rixo – yellow and pink – and each one was seriously bold. "Rixo is partnering with Christian Lacroix, which made me think of early '00s shows which were all about goth and haute couture. I married the two by creating a soft smoky eye using the shades Savage and Aroused from the new NARS Overlust Cheek Palette, £46, applied in a boomerang shape."

For eyes, Vincent alternated between Duoro Eyeshadow, £17, a matte bright yellow, and Fatale Eyeshadow, £17, a bright red. A small dot of either Powerchrome Loose Eye Pigment in Riding High or Naked City (both available in spring at narscosmetics.co.uk and NARS boutiques) was applied in the inner corner for a pop of shimmer, while lips were patted with the Afterglow Lip Balm in both Turbo and Torrid, £23 each.

Marques'Almeida


"This is skin from heaven," said Terry Barber for MAC Cosmetics. "It's transparent and perfected using Face and Body Foundation, £27," Terry continued, but the glitter eye was the main event. "It's a small glitter moment reminiscent of when light hits water. A glimmer. We used MAC Glitter in Iridescent White, £16.50, which isn't opaque, too disco or carnival-like. Instead, it's very sweet."

The application process was simple. Terry slicked MAC's Lip Glass Clear, £16.50, around the eyes like a halo and delicately sprinkled on the flecks of glitter.

Fashion East


At Gareth Wrighton for Fashion East, MAC's Terry Barber created "a slightly dystopian story of cheerleaders and American footballers who have got locked into some weird zombie movie meets computer game."

Terry gave some of the models 'YouTube' makeup (flawless cut creases, sharp winged liner, fluttery false lashes and a killer contour). He finished the look with a plaster across the nose and chose to keep the translucent powder on the jawline. "This is a little story about different characters pulling from the iconography of video games."

Fashion East


Designer GOOMHEO enlisted MAC's Terry Barber for this "slightly '90s, dirty, sick eye". Terry mixed MAC's Pro Longwear Paint Pot in Groundwork, £16.50, with Chromaline Eyeliner in Genuine Orange, £17.50.

Other models had "rained on mascara" smudged underneath the lower lash line, as though they had been caught without an umbrella.

Preen By Thornton Bregazzi


At Preen By Thornton Bregazzi, Eugene Souleiman for Wella took inspiration from the renaissance. Hair was "sprayed to death" with hairspray, fashioned into a ponytail and braided. After a while, the braids were taken out, which resulted in a crimped wave. 

The pièce de résistance was layer upon layer of gold leaf, which was moulded and looped around the ears by Sam Bryant for MAC Cosmetics. Sam played on the renaissance style by giving a nod to Venetian statues and the Catholic church. Some models had gold leaf across their forehead and down the side of the face to mimic a nun’s habit. "Whenever we see statues or portraits of the Virgin Mary, they are always hyper-shiny," Sam told R29. "We also gave the complexion the same look with MAC’s upcoming Strobe Face Glaze, a liquid highlighter, using a damp sponge to press it into the skin." 

Lashes were naked save for a quick curl, brows were brushed up and a touch of peach lipstick in Fleur d’Coral, £17.50, was applied low down on the cheeks with two fingers in a downwards patting motion for a ruddy finish.

Emilia Wickstead


Dyson took charge of hair at Emilia Wickstead, with stylist Benjamin Muller behind the "super masculine" look. A deep parting was carved into hair to counteract the glamour. Instead, it evoked that '90s, dead-straight trend. "It’s strong, positive and super sleek," said Benjamin. 

Benjamin used lashings of Bumble and bumble Bb. Anti Humidity Gel Oil, £24, and Bb. Thickening Dryspun Texture Spray, £22, to give hair lift when blow-drying with the hairdryer all stylists love, Dyson Supersonic, £299.99. The key is enlisting the attachment to ensure a poker-straight finish. A slight wave was incorporated into the front and set in place with the Dyson Supersonic diffuser attachment. Bumble and bumble Spray de Mode Hairspray, £25, and a few spritzes of the Bumble and bumble Glow Thermal Protection Mist, £24, added shine.

The glow came courtesy of Aurelia Skincare, who treated models to a speedy facial using the Aurelia Probiotic Skincare Miracle Cleanser, £42, and Cell Revitalise Day Moisturiser, £58

Makeup was all about really beautiful, raw skin to allow the colour-laden clothing collection to do all the talking. Some models were given bleached brows and all were adorned with a gold lip, thanks to the Illamasqua Cream Pigment, £18. The skin shades were cool, with just a little MAC Studio Face & Body Foundation, £27, and Laura Mercier Flawless Fusion Ultra-Longwear Concealer, £25, where needed. Photo Courtesy of Dyson

Roksanda


"Roksanda is always about polished skin," said Miranda Joyce for MAC Cosmetics. "I wanted to keep this light, so I took my time to perfect the skin and groom the brows." Try MAC Brow Set, £16, for hazy definition.

The talking point was the dark raspberry lip. "I used the Powder Kiss Liquid Lip Colour (available soon) in Burning Love," said Miranda. "It has an almost waxy texture which is easy to layer. It builds really nicely and creates a strong, intense colour."

In the meantime, try MAC Powder Kiss Lipstick, £17.50, in the same shade.

Erdem


On behalf of Dyson, hairstylist Anthony Turner created hair that was "out of the ordinary" and inspired by English photographer, Cecil Beaton. Each style had flashes of silver running through it, a theme seen throughout Cecil's art. Some models wore entire silver-sprayed wigs, while others wore masculine waves moulded close to the ear with ponytails to complement.

"The hair is meant to reflect feminine masculinity," said Anthony. "We used L'Oréal Professionnel Tecni.Art Fix Max, £17.99, through the top of the hair and carved out a very strong side parting. The wave is not a finger wave, which feels old and costume-like. Instead, it's set behind the ear. It looks like a paint stroke."

For NARS, Lynsey Alexander paid homage to Cecil, too. Lids were embellished with swathes of silver leaf which was then fragmented using a makeup brush. Brows were bleached and taped upwards to create an "alien-like" effect. On cheeks, Lynsey used NARS Lipstick in Sex Shuffle, £22, teamed with Laguna Bronzing Powder, £31, to give a strong, 3D highlight. Skin was also made slightly paler using a foundation that was one or two shades lighter than the model's skin tone.

For models who hadn't had their brows bleached, Lynsey gave them a brushed-up boyish vibe, fluffing different shades of eyeshadow through sparse hairs. Lynsey employed the NARS Single Eyeshadow in Bali, Blondie and Coconut Grove, £17 each.

Christopher Kane


Lucia Pieroni for MAC Cosmetics created "gorgeous, fresh and rich-looking skin" using the MAC Pro Face Palette, £30. "It has a low level, quiet glow about it," one backstage artist told R29.

The focal points were the eyes and the lips. Artists mixed MAC Glitter in Pink and Fuchsia Hologram, £16.50 each, with Lipglass Clear, £16, to create a gel which was patted over lips and lids for a playful My Little Pony-esque spattering of colour.

Like what you see? How about some more R29 goodness, right here?


19 Beauty Products Used At London Fashion Week – All Under £10

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Illamasqua, NARS, ghd... There are beauty brands you'll always spot in the kits of industry professionals while backstage at fashion week. There's a reason why they are beloved by top artists like Dominic Skinner and Sofia Schwarzkopf-Tilbury: the shade ranges are impressive, the formulas are on point and more importantly, the products – from foundation to liquid liner and hairspray – have the ability to last through sweaty backstage conditions, bright lights and hours on the catwalk.

But if we've learned anything from snooping behind the scenes, it's that you don't have to spend a fortune to achieve model-worthy skin, hair and makeup. Ahead, find all the bargain beauty products and tools we spotted the pros using at LFW AW20, all under £10.
Spied backstage at Richard Malone, Mario Badescu's cult facial mist drenches skin in dewy moisture, making it the perfect precursor to foundation, and alleviates any tautness with aloe vera.

Mario Badescu Facial Spray With Aloe, Herbs And Rosewater, $, available at BeautyBay.com
Depending on the look, artists apply foundation with both their hands and makeup brushes, so sanitiser is necessary. Spotted in makeup artist Pablo Rodriguez's kit, this eliminates bacteria without stripping skin. Plus, it smells great.

Dr. Bronner's Organic Hand Hygiene Spray, $, available at Dr. Bronner's
As seen backstage at JW Anderson, these soft, skin-friendly wipes are great at whipping off makeup and starting again when you've made a mistake.

Kiko Cosmetics Pure Clean Wipes, $, available at Kiko Milano
We eyed up this lash glue at Richard Malone but it's used by makeup artists all over the globe. It adheres false lashes gently and allows for speedy, painless removal at the end of the day.

Duo Striplash Eyelash Glue Clear White, $, available at Superdrug
Hair at Pam Hogg was all about the drama, so lashings of shine spray was non-negotiable. This imparts glossiness without making strands sticky or rock hard, and works on all hair types.

label.m Shine Spray, $, available at label.m
Gentle yet effective, we saw this micellar water at virtually every station backstage. It melts away makeup in seconds, including mascara, and doesn't leave skin feeling greasy or stripped.

Garnier Micellar Water Sensitive Skin, $, available at Superdrug
Avène's Eau Thermale soothes irritated skin, primes skin for makeup and sets foundation in place.

Avène Soothing Thermal Spring Water Spray, $, available at Boots
The original and the best, makeup artists at Richard Malone and Emilia Wickstead primed lips with a slick of Chapstick to prevent creasing and dryness before applying lipstick.

ChapStick Original SPF 10, $, available at Lloyds Pharmacy
Backstage at Hanger AW19, lead hairstylist Anna Cofone at The Wall Group veiled hair in this super strong-hold hairspray to keep the gravity defying looks in place. It might be industrial strength, but it's easy to brush out.

Fudge Professional Unleaded Skyscraper Hairspray, $, available at Beauty Bay
At JW Anderson, makeup artist Lynsey Alexander sculpted cheeks by swiping this under the cheekbones and blending it into skin with a fluffy brush. "It's not bronzing, it's invisible shading," she told R29.

Kiko Cosmetics Sculpting Touch Creamy Stick Contour, $, available at Kiko Milano
Yes, another sanitiser. But the alcohol-free credentials mean the foaming formula is kind on both skin and brushes.

Bentley Organic Antibacterial Hand Sanitizer, $, available at Victoria Health
At Ports 1961, Guido Palau spritzed Redken's Wind Blown 05 into the roots to achieve lived-in texture and volume while creating his effortless chignon bun.

Redken Wind Blown Dry Finishing Spray (250ml), $, available at Mankind
Spied backstage at Rejina Pyo, this makeup sponge is a snip of the price of others, and blends makeup into the skin seamlessly. Just make sure it's slightly damp before you use it.

Glamher Booth Hour Glass Blending Sponge, $, available at Beauty Bay
No-makeup makeup reigned supreme at JW Anderson, where MUA Lynsey Alexander patted lips with Kiko's Smart Fusion Lipstick in 401 (cashmere beige) and followed with shade 433 (light, rosy brown).

Kiko Cosmetics Smart Fusion Lipstick, $, available at Kiko Milano
This moisturiser smooths away parched patches and provides just the right amount of dewiness under foundation.

Embryolisse Embryolisse Lait-Crème Concentré 15ml, $, available at LookFantastic
This mascara lengthens and volumises in a single swipe. Thanks to the added vitamins and ceramides, it doesn't leave lashes crispy.

L'Oreal Paris Voluminous Mascara, $, available at Boots
Spied at Christopher Kane, Elnett is the hairspray all industry insiders swear by. It keeps hair in place without the crunch and is so easy to brush out.

L'Oréal Supreme Hold Hairspray, $, available at Boots
This is proof you don't have to splash out on a good nail polish remover. It does the job of lifting off colour without drying out nails or making them go flaky.

Superdrug Beauty Essentials Nail Polish Remover 250ml, $, available at Superdrug
If your current micellar water just isn't cutting it, pick up this oil-infused version. MUA Pablo Rodriguez uses it to chip away at waterproof mascara, gel liner and matte lipstick. Give it a shake before use.

Garnier Micellar Water Oil Infused Facial Cleanser, $, available at LookFantastic
Models at Emilia Wickstead had their brows bleached with a touch of Jolen Creme Bleach. Always read the instructions and conduct a patch test before trying.

Jolen Cream Bleach Mild, $, available at Superdrug
Spotted at lots of AW20 shows, makeup artists used this micellar water to sweep up mistakes and to chip away at heavy eyeliner.

Nivea MicellAIR Micellar Water for Sensitive Skin, $, available at Boots
Parched lips and hands were treated to a touch of La Roche-Posay's soothing lotion complete with moisturising vitamin B5.

La Roche-Posay Cicaplast Baume B5 Soothing Repairing Balm, $, available at LookFantastic
We spied this lotion in so many kit bags. If you're working with waterproof makeup and happen to slip, a little touch on the end of a cotton bud works wonders to clean it up.

Nivea Body Lotion for Dry Skin Extra Rich Moisturising, $, available at Superdrug
When models arrived backstage wearing a full face of makeup from a previous show, heaps of artists reached for this stuff. Spotted at Richard Malone, it cuts through heavy foundation and long-wear lipstick.

L'Oreal Paris Micellar Water Normal/Dry Skin, $, available at Superdrug
If Boots' own-brand cotton wool pads are good enough for international models, they're good enough for us. Soft, not scratchy, they won't leave your skin red raw.

Boots Double Faced Round Cotton Wool Pads, $, available at Boots
A staple in pretty much every makeup artist's kit, paw paw balm is the solution to ragged cuticles, chapped lips, rough elbows, frizz and flyaways. Slicked over eyeshadow, it makes for an expensive-looking glossy eye, too.

Dr. PawPaw Original Balm, $, available at BeautyBay.com
Spotted backstage at Christopher Kane, makeup artists used this cult brush cleanser to remove product from brushes speedily.

Parian Spirit Pump Brush Cleaner, $, available at Amazon

Like what you see? How about some more R29 goodness, right here?

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What Happened To NYFW?

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HOLLYWOOD, CALIFORNIA – FEBRUARY 07: A model walks the runway at the Tom Ford AW20 Show at Milk Studios on February 07, 2020 in Hollywood, California. (Photo by Frazer Harrison/Getty Images)

Last Friday evening, one in-demand model after the next walked — or, more accurately, floated — down a mirrored runway to a remix of The Pointer Sisters’ hit “I’m So Excited”. The show was Tom Ford and “excited” was undoubtedly the mood at his highly anticipated event, which was bursting at the seams with glamour. Supermodels turned superheroes donned vibrant, cape-like tops that cascaded over fitted joggers; an otherworldly Bella Hadid, hair slicked back, opened the eveningwear portion of the night in a glittering sheer gown with Kendall Jenner not far behind in an equally transparent, lace iteration of the same silhouette. This epic spectacle was running on the star power in the room as attendees like Jennifer Lopez, Tracee Ellis Ross and Jeff Bezos (yes, you read that last one correctly) looked on.

Ford is known for his signature New York Fashion Week kickoffs, and this would’ve been one hell of a way to do it. Except he wasn’t in New York.

The mega-designer decided to show his A/W 2020 collection in Los Angeles and, like an irresistible fashion magnet, he attracted a bevy of A-listers and editorial talent (Anna Wintour included) all the way across the country. Naturally, this redirected the industry’s attention away from the regularly scheduled east coast happenings — a blow to the gut of NYFW and its already dwindling relevancy. 

“When I went to the Tom Ford show in LA, what I was really struck by was the amount of editors, stylists, journalists and critics who are based in New York but showed up for the show,” says Connie Wang, a senior writer at Refinery29 who lives in California. She points out that for those in attendance, accommodating the 7th February date of Ford’s show required missing the first day of NYFW and, most likely, at least half of day two. “That Friday-through-Saturday time stretch has generally been pretty important, and the spot is usually reserved for a lot of really buzzy and contemporary designers whose shows are well attended [in New York],” Wang explains. And while the absence of showgoers was already felt throughout the early portion of fashion week — which included big-ticket items like the Brandon Maxwell show at the Museum of Natural History and a collection of voluminous gowns by CFDA/Vogue Fashion Fund winner Christopher John Rogers — a sizeable handful opted to skip out on all six days entirely.

Dora Fung is a freelance editor and stylist who has been covering NYFW since 2006 for publications like Vogue China and The Cut. She was among the crowd of Tom Ford spectators who chose to forgo most of the New York events in favour of an extended, sun-drenched stay in California, making it back only for day six’s Michael Kors and Marc Jacobs shows. “I felt bad missing some of the shows in New York, especially Monse and Self-Portrait because I have a personal relationship with the designers, but Tom Ford has been so good to the magazines I work with that it was too important to not be in LA for it,” she says, with her sights now set on Milan. Ford’s clout, it appears, is heavily rooted in his ties to Hollywood. This has long been the not-so-secret ingredient in his recipe for success. The designer-cum-film director knows how to make an irresistible cocktail of ravishing designs mixed with potent VIP energy and topped off with a delicious sex appeal, and people are drinking it up now more than ever. “That is the power of having an A-lister sitting front row. Where else would you have gotten J.Lo, Renée Zellweger, Demi Moore and Miley Cyrus?”

HOLLYWOOD, CALIFORNIA – FEBRUARY 07: Tom Ford walks the runway at the Tom Ford AW20 Show at Milk Studios on February 07, 2020 in Hollywood, California. (Photo by Frazer Harrison/Getty Images)

So is Ford at the helm of a mass exodus from New York? Or, as NYFW struggles to stay afloat in a turbulent sea of change, is he simply riding the current out west?

This is not the first time Ford has deviated from tradition in the direction of California. In February 2015, he showed his A/W 2015 collection in LA. Similarly to his recent A/W 2020 show, the occasion was planned to align with the run-up to the Oscars. “Culturally speaking, the Oscars are more important than NYFW, so why not invest energy and time and physical bodies in the Oscars rather than in NYFW? That might be really forward-thinking,” Wang says. The city is also Ford’s professional and personal base. 

But last Friday marked the designer’s second season as the newly minted chairman of the Council of Fashion Designers of America, so the controversy of defecting to LA is more symbolic this time around. It can be perceived as a vote of no confidence in NYFW, which just happens to be the most significant export of the institution Ford now leads. After being tapped for the role due to his global vision and perspective, his first order of business was to slice a few days off the NYFW schedule — something editors were actually quite thankful for, and an act CFDA president and chief executive officer Steven Kolb tells Refinery29 has been “an overwhelming success”. But Ford’s LA decision was met with less praise among NYFW organisers and participants who feel like their captain has jumped ship. 

LOS ANGELES, CALIFORNIA – FEBRUARY 07: A view of atmosphere at Tom Ford: Autumn/Winter 2020 Runway Show at Milk Studios on February 07, 2020 in Los Angeles, California. (Photo by Stefanie Keenan/Getty Images for TOM FORD: AUTUMN/WINTER 2020 RUNWAY SHOW )

“The point of a show now is to create an Instagrammable moment, and the reason that you have to show in a Fashion Week, in a key city, is that you need as many of the people that people care about in one room at one time to shoot those images all over the world,” Ford told Vogue in an August 2019 interview just months before the announcement of his A/W 2020 show location. For a designer like Ford whose pieces are red carpet staples, those “people” for him are in LA, not New York. That means the “key city” for his business is also LA, not New York. Apparently, the CFDA does not disagree. 

“NYFW will always be the epicentre of American fashion and newness,” Kolb says. “CFDA believes brands should do what is best for their business, and we support designers who decide to embrace other fashion capitals and expand their horizons — which is at the heart of our mission.”

Ford is certainly not the first to skip town in the best interests of his company. For the past few years, big-name brands like Thom Browne and Altuzarra have left New York to show in Europe instead, chasing the promise of bigger sales in Milan and Paris. Buyers have followed suit to keep up with the industry’s top designers, and the empty seats at New York shows are becoming increasingly hard to ignore. This international shift has drawn into question the real purpose and efficacy of NYFW, asking whether it can survive in its existing format. The growing desire to conduct business abroad is exactly what earned Ford, who has spent the majority of his career in Paris and London, his position in the CFDA. 

So the problem, it seems, might be New York itself. As the needs and demands of designers and attendees evolve, the CFDA has to evolve quickly along with them, regardless of where Tom Ford and his army of chic celebs are rallying. Writers and editors are growing tired of Ubering back and forth across the city to watch shows that brands no longer want to pay for (or simply can’t afford). Plus, the rise of influencer culture has made way for a decline in the involvement of traditional and even digital media, resulting in an audience that’s often more concerned with being seen rather than actually seeing. 

When bloggers (aka the OG influencers) first infiltrated the fashion circuit over 10 years ago, their presence at shows and presentations incited a collective eye roll among the magazine professionals they’d ultimately replace. But the rapid rise of then-rookies like Leandra Medine, Bryan Grey Yambao and Susie Lau caused a stylish stir, and the hype surrounding the value of their digital followings intensified. Bloggers multiplied and morphed into influencers, and with every Instagram post, social media shoutout and enthusiastic RSVP, they persisted in asserting their credibility. As more invitations rolled in, the influencer floodgates were forced open, washing editorial veterans out of their front row spots. Add to this NYFW’s current partnerships with platforms like YouTube and TikTok for content streaming and creation, and it’s clear that technology and social media are reshaping and democratising New York’s approach to fashion week — but the city is losing some of its MVPs in the process. 

Now that the week has officially come to a close, we look back on its series of events with the same apprehension that’s plagued NYFW for a number of seasons. Yes, Marc Jacobs had his choreographed dance routines and Miley Cyrus (who was just sitting front row at Tom Ford). And yes, Brandon Maxwell had creepy-but-cool taxidermy and Bella Hadid (who also came back from Tom Ford). But it might not be enough to keep the conventional fashion world engaged and, more importantly, invested. 

But there were moments of definite promise, most notably the triumphant return of Rodarte and Proenza Schouler to the NYFW scene. The homecoming was described as “comforting” by Alexa Seitz, a buyer at Manhattan’s mecca of luxury retail, Bergdorf Goodman. “Over the past few years, we have seen key players in NY leave us for Europe… and you know for a moment it did feel like something was missing,” she says. “Like the city of New York itself, fashion weeks have their ups and downs, but we continue to see exciting things coming out of New York — think Khaite and Deveaux. Even if it’s on a smaller scale, New York is our home and it’s still just as important.”

And then there’s the innovation and hope that radiates from runways of young brands like Area, Christopher John Rogers and Priscavera. The death of NYFW would mean a destructive decline in opportunity for these up-and-comers, and nobody wants that. Consumers are craving newness and optimism, which is exactly what these designers are serving up on a brightly coloured, crystal-embellished platter. These are the unsung heroes of NYFW who deserve our attention. They may even be able to save NYFW. So don’t look away just yet, because these players are just entering the game, and from the looks of it, they aren’t going anywhere. 

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These Incredible Photographs Shatter Stereotypes Of Women & Poverty

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Local female photographers in Afghanistan, Uganda and South Africa will have their work exhibited at London’s South Bank for International Women’s Day next month.

International charity ActionAid has partnered with six photographers from around the world to tell the stories of women and girls living in poverty, as well as shatter stereotypes and gender norms.

Women by Women is a yearlong project that shines a spotlight on talented women working in challenging environments, who are often overlooked.

The project features stories from a street artist in Afghanistan and the founder of a women-only coffee collective in the Democratic Republic of Congo, as well as a South African activist and a nurse in Uganda.

Esther Mbabazi, an award-winning documentary photographer from Kampala, Uganda, has captured images of women from around the capital, many of whom have their own stories of domestic violence.

She said: "It feels good to be among the few of the female photographers available in Kampala…it gives us an opportunity to feel part of our own stories and tell the stories of our own people. Many wouldn’t fly me from Uganda to go and tell a story in the UK, but they would fly a photographer from the UK to go and tell a story in Uganda, but now it’s starting to change. It’s really exciting for me – I can be part of the stories of how my country and community is being presented out there in the media."

The campaign also features work from Farzana Wahidy, the first professional female Afghan photojournalist to work with major international press agencies including the Associated Press, as well as street photographer Tahmina Saleem, who has documented the achievements and challenges of women in Afghan society.

"If men see you with a camera, they are shocked; they think 'how can a woman be doing photography?'" says Tahmina. "It’s difficult but we do it for ourselves and we do not give up."

Other photographers include Morena Perez Joachin from Guatemala, award-winning Miora Rajaonary from South Africa and Pamela Tulizo from the Democratic Republic of Congo.

The campaign, which was announced last year, aims to address the gender gap in photography. The project has been shot by local photographers in an attempt to "move away from the traditional photography associated with NGOs."

Women by Women will be exhibited at gallery@oxo on London’s South Bank from Wednesday 4th March to Sunday 8th March 2020. Tickets are free.
Democratic Republic of Congo
A member of RWH recites the motto of the collective to her fellow members after their portrait is taken.


Photo by Pamela Tulizo/ActionAid.
Democratic Republic of Congo
Marcelline pays a visit to Rosette Bosengimana, a mother of seven. Rosette, 27, brought her baby twins to Hala to meet Marcelline.Photo by Pamela Tulizo/ActionAid.
Kabul, Afghanistan
Fakhria Momtaz (45) takes a yoga class up to the mountains at Shahrak-e Omid Sabz in Kabul.Photo by Tahmina Saleem/ActionAid
Kabul, Afghanistan
Fakhria Momtaz (45) arrives home from work at her yoga centre in Karte 4, Kabul.Photo by Tahmina Saleem/ActionAid
Kampala, Uganda
Nurse Margaret Kasolo, 57, at Kawala Health Centre IV in Kampala. Photo by Esther Mbabzi/ActionAid
Kampala, Uganda
Asiah’s daughter works in her mother’s salon ahead of her university enrolment. Asiah is a businesswoman in Kampala.


Photo by Esther Mbabzi/ActionAid
Antigua, Guatemala
Rebeca Lane going through her vocal exercises and warming up her voice minutes before the concert.Photo by Morena Perez Joachin/ActionAid
Antigua, Guatemala
Rebeca Lane performing at Obsidiana Show concert in Antigua, Guatemala.Photo by Morena Perez Joachin/ActionAid
South Africa
A portrait of South African activist Thato Emily Mphuthi. Photo by Miora Rajaonary/ActionAid
South Africa
A portrait of South African activist Thato Emily Mphuthi. Photo by Miora Rajaonary/ActionAid

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“Instagram Was Ruining My Life”: Billie Eilish Opens Up About Online Bullying

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Billie Eilish has announced that she no longer reads the comments on her Instagram. Speaking to BBC Breakfast with her brother and producer Finneas O’Connell ahead of her highly anticipated performance at the BRIT Awards, the “No Time To Die” singer opened up about the effect that online bullying was having on her, and why she decided to step away from the social media platform.

Eilish explained it was only two days ago that she decided to disengage from Instagram comments – of which she can receive up to 50 or 60,000 per post. “It was ruining my life,” she said. “Once again.”

“I think you might see someone who’s like a famous celebrity and you may think, you know, sticks and stones, nothing I can say is going to actually be potent to them, but it’s all very equal online,” O’Connell added.

The 18-year-old artist last shared a post on her Instagram three days ago. It was a clip from Justin Bieber’s interview with Apple Music, in which he fought back tears while explaining why he feels protective of Eilish after struggling with the realities of fame at a young age himself, too.

Just last month Eilish made Grammys history after becoming the youngest person ever to win the award for Song of the Year, taking home the accolade for her 2019 hit “bad guy”. But as she explained in the interview, her incredibly successful career doesn’t make her immune to the pain of online bullying and being targeted by trolls.

“It’s worse,” Eilish added. “It’s way worse than it’s ever been right now.”

Eilish joins Stormzy, Harry Styles, Mabel and Lewis Capaldi on the lineup for the 2020 BRIT Awards ceremony at London’s O2 Arena this evening. She’s nominated for International Female Solo Artist at the awards and, according to reports, is expected to perform the James Bond song for the first time, accompanied by Hans Zimmer and a full orchestra.

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Stranger Things Fans Will Love Netflix’s Brilliant New Teen Superhero Show

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Netflix dropped a sneak peek at its new series I Am Not Okay With This this week and contrary to its title, we’re definitely into this show.

The series follows Sydney, a “boring, 17-year-old white girl” living in a small, sleepy town — sound familiar, Stranger Things fans? Played by Sophia Lillis (It, Sharp Objects), Syd reveals some anger issues bubbling just under the surface, which initially manifests in knocking over trash cans, breaking pencils, and cutting her hair off. 

But there’s more to Syd’s life (and temper) than meets the eye. I Am Not Okay With This is based on Charles Forsman’s 2017 graphic novel of the same name, and it takes the familiar premise of a John Hughesian high school coming-of-age story and infuses it with the supernatural. As the trailer reveals in a plot twist halfway through, Syd has superpowers. 

It looks like super strength (she accidentally knocks over a street sign after throwing a pebble at it) but she also appears to make things move and float later in the trailer. After her powers first manifest, Syd tries to rationalise it: “It’s probably just puberty,” she says in a voiceover.

But even she doesn’t sound convinced by the puberty explanation. She vents to her diary, talks to her neighbour and crush, Stanley (Wyatt Oleff, also of It fame), and best friend, Dina (Sofia Bryant), and tries to learn how to control what’s happening to her. She’ll need to, too, and fast — the trailer hints that she eventually finds herself in some trouble with law enforcement, not to mention some drama with high school bullies.

I Am Not Okay With This comes from 21 Laps Entertainment, the production team behind Stranger Things; Jonathan Entwhistle, the director of The End Of The F***ing World; and co-creator, writer, and executive producer Christy Hall. (I Am Not Okay With This shares some DNA with at least one of these properties: Forsman also wrote the comic book that The End Of The F***ing World was based on.) Considering its premise and aesthetic, I Am Not Okay With This aims to capture the same teen angst, supernatural twists, and small-town nostalgia that keeps fans coming back to those shows — and it looks like yet another binge-worthy addition to our Netflix queues.

I Am Not Okay With This drops on Netflix on 26th February.

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Bethany Cosentino Got Sober. Then She Wrote A New Best Coast Album. Now What?

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It’s been five years since the last Best Coast album, the longest stretch in the band’s history. That’s because its primary songwriter and frontwoman, Bethany Cosentino, had a lot of things to figure out. Since their 2015 release, California Nights, Cosentino has gotten sober, gotten into Jungian therapy, and gotten over the election of President Donald Trump. But it wasn’t easy.

Cosentino hit a rough patch while trying to write Always Tomorrow. Between the writer’s block and her creative blockage, she says making this album was the longest process of her life. She had to work on her issues around depression and anxiety, as well as drinking, before the ideas started to really flow. For her next trick, Cosentino has to figure out who she is on stage when she’s sober as the band prepares to tour behind this album.

Ahead, Cosentino talks to Refinery29 about the badass women in music who inspired her to be someone who does whatever she wants, sitting in closets to write songs, and why voting is the most important thing you can do in 2020.

Refinery29: From listening to the lyrics on your new album, Always Tomorrow, it seems like your worldview has shifted. What changes have you been going through that inspired it?

Bethany Cosentino: “I went through a deep depression and I was struggling with — God, what wasn’t I struggling with? Especially after the [2016] election, I felt so hopeless. It was confusing. I went through a lot of existential shit, where I was asking myself, ‘What is the point of this, what am I doing?’ I was also dealing with heavy writer’s block and feeling creatively blocked. I couldn’t get music out of me. I had so much to say but I couldn’t — I felt so helpless. Then I got sober in 2017. I was doing intense therapy and reconnecting with parts of myself that I had lost through the whirlwind of my career starting in 2010 and leading up to where I am now. It was an intense decade for me. I needed to do a lot of self-reflecting. My life now looks like — I am excited. I feel good and I’ve learned to live in the moment. Well, I didn’t learn, I’m still struggling with that. I’ve learned to be closer to the moment [laughs].”

Finding that calmness of mind is extremely difficult.

“Yes, it is. This record, to me, is a reminder that growth, healing, and grief — none of it is linear. You can have a period where you feel like you’re on top of the world and the next day, everything collapses and you feel fucking awful again and like you have to start all over. That’s just life. I have learned to accept that life is hard. I used to feel a permanence to everything. If a day was bad, the rest of my life was going to be bad. I’ve learned that a day is just a day and that’s why I called the record Always Tomorrow. There literally is always tomorrow to do it all over again. For me, it’s been a journey and it still continues. The journey is not over, it never ends.”

I was doing intense therapy and reconnecting with parts of myself that I had lost through the whirlwind of my career starting in 2010 and leading up to where I am now. It was an intense decade for me.

Bethany Cosentino

A lot of women are talking about their struggle since the 2016 election and discussing how the news cycle has an outsized effect on them. Did you find that doing this work and learning to ease anxiety and depression helped you deal with those feelings?

“Yes and no. I do Jungian therapy and there’s a lot of symbolism. Symbolically, fire is this idea that everything has to be burned down to start again. For me, I see the 2016 election and all the horrible things happening in the world as awful things I don’t want to happen, but sometimes I wonder if these things need to happen so that there can be rebirth and regrowth to put new things into place? That’s where I struggle because I want to that to be true but I see things continuing to pull backward and it makes me wonder when the new growth comes? The world is crazy, it really is. This new headspace I’m in has made it easier for me to change my perspective but I also have to learn that I can’t change the perspective of every person on Earth. I wish I could get into Donald Trump’s head and tell him, ‘Hey, this would help you to let go of some of your bullshit because that’s clearly why you’re a miserable, horrible person.’ But I can’t do that, nor am I responsible for that.

“I have learned to see things in a way where I think of my own journey and use it in terms of how I see the world, where everything had to get bad before it got better. But I still struggle with seeing news reports and wondering if it’s going to get better. I don’t know. The biggest thing we can do in that problem area of our lives is to get engaged and vote. I know that some people say it doesn’t matter but it fucking matters. Go do it.”

Does thinking of the world in that way make it easier for you to write songs about these intensely personal changes in your life?

“I’ve always used music and art as a way to talk about my feelings and my issues. I’ve been writing and performing music since I was a little kid and when I first started, it was always about whatever pain I was going through. I’m a very private person, which you wouldn’t know by hearing my music because I let it all out. For me, music has become this place where I figure out how to talk about it and sort through it. It has become the place for me that is a giant therapy session to the world. It has allowed me to get things out that I didn’t even know were there. Sometimes I listen back to songs I’ve written and think, Woah, I didn’t even know I felt that way. But I guess I did.”

Tell me about “Everything Has Changed,” which is the track that got you started writing this album.

“What’s interesting about that song is that I wrote it about three years ago, pre-sobriety. I had just moved into a new house, which made me think life was so different, even though it wasn’t. My location was just different. I wrote that song about a life that I wasn’t living that is very much the life I’m living now. It’s a weird, prophetic song that I willed the life I have today into existence. I was going through a long bout of writer’s block and felt so backed up creatively. My house had this big walk-in closet and, for whatever reason, that was the place I was trying to write in. I went in that day and sat there and wrote — and that song came out. At the end of the day, I was like, wait a minute, I like this song and I think I have something here. All of the sudden something in me clicked. I still struggled after that with writing and having that song as the first one out of the gate made me feel like nothing was going to be as good or catchy or poppy. It got me excited about writing music again, but I don’t think I wrote another song after that one for another six months. The writing of this record took forever. I used to sit down and write a record in a week. With this go around, it took longer and I think that happened because I had a lot of shit that I needed to sort through before I could write songs. And all of it is on the album.”

Since so much has changed and you’re sober, do you have a new way that you deal with those feelings of anxiety or panic, especially on stage or around people?

“That is still something I’m trying to learn to navigate. Performing sober is so different. I used to get drunk before we would play as a way to numb my stage freight, which I never thought I had. Of course I wasn’t nervous, I had the power of alcohol flowing through me and helping me let go of inhibitions. Now when I get up there, I use performing in that way to get the dopamine I was searching for through drugs and alcohol. It’s scary because now I’m just up there with no filter, nothing to hide behind. I feel like it has turned me into a different type of performer who is more powerful and I don’t care as much about what my weird dance moves look like, what my hand movements are, what people think. I turn off and use it to channel the different part of myself. I’ve never done a tour sober — I’ve done shows but not a tour. I’m interested to see what my stage presence looks like, I can’t tell you. I might get nervous and scared, but I’ll push through it and be okay. Also, I’m very honest with audiences. I once had a panic attack on stage and I just told everyone and they applauded. When you’re honest and vulnerable, people respect that.

“I remember there was one live review several years back when we were touring California Nights. I had taken on a different persona on that record where I didn’t talk a lot between songs, I just wanted to play the music and go offstage. There was a review where a guy, of course it was a guy, who said the outfit I was wearing was sexy, I looked good, the show was good, but that I looked so bored. It was all about me and how I wasn’t engaging but when he talked about Bobb [Bruno, guitarist], he talked about him being a shredder and doing his thing. It’s crazy to me that if I go on a stage and I don’t act like, ‘Oh my God, thank you for being here!’ that gets turned into me being a bitch. But the men in my band, and no offence to them, nobody even talks about them. I’m this frontwoman, this person everyone is looking to see: is she going to fuck it up? Is she going to do good? What is she wearing? What products do you think she uses in her hair? It’s weird. People think that male rockstars are wasted and on drugs, but they don’t talk about it as much with women. It’s very much a problem for women too, don’t get it twisted. There are women who use that shit to cope, just as men do.”

How has looking up to other women in rock brought you confidence and inspiration?

“I will when I was a kid and I was first getting into music outside of what my parents listened to. I remember seeing No Doubt and Gwen Stefani. I was like, what wait? This girl can do a guy’s job? I didn’t even understand it was possible for a woman to do that and her at that time — she was so brazen and crazy and cool. She was wearing half a shirt! It was so cool to me. I have always gravitated towards these women in music who have an attitude that you don’t expect to see from a woman performer. This is an issue with sexism and misogyny, but you see women performers as people who are supposed to get on stage and be proper, beautiful, pretty, and sing with pretty voices. I remember the first time I saw Brody Dalle and thinking it was so cool, she was scream-singing. It taught me that I don’t have to act like this prim and proper little girl. I took opera, I was training to be a prim and proper performer.

“Being exposed to that at a young age made me feel like this is the cool shit, these women who take on roles like Joan Jett. The Runaways and the Go-Go’s were acting the way we saw men act in music. They had so many groupies and they were like, fuck it we’re going to act the way the guys do, what’s the big deal? I’ve always been interested in women like Courtney Love who act however the fuck they want to and make you deal with it. Isn’t that what men have been doing for the entirety of the world? [laughs] Seeing those women from such a young age was important to me. It helped me understand that I can act however the fuck I want and people have to decide if it’s for them or it’s not. That’s the inspiration I’ve found in female artists. Listen, there’s nothing wrong with a woman like Adele who sings in a classical, strong way. It’s really cool that there are so many women doing whatever they want.”

This interview has been edited and condensed for clarity.

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Her Social Media Call Outs Led To Real Change At Prada. Here’s How She Did It.

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When Chinyere Ezie first wrote a post on Facebook about the racist display in Prada’s windows and inside its Soho store, she hoped that something would happen, but didn’t expect much. After all, these controversies seemed to catch fire and blow over in the matter of a few days. The pattern, as she saw it, tended to go something like this: A blatantly racist product will be called out on social media, inciting boycotts and online protests; the company responsible will subsequently deny ill-intent and issue a milquetoast apology that blames the incident on cultural misunderstanding. “How can we know all cultures?” Miuccia Prada told WWD, in an interview following the Pradamalia fiasco. “People want respect because now there is talk of cultural appropriation, but this is the foundation of fashion, as it has always been the basis of art, of everything.” 

But Ezie was tired of the same old song and dance; maybe this time could be different. “Frankly, it struck me as insincere,” she told me over the phone at the Center for Constitutional Rights, where she works as a civil rights lawyer. “I didn’t want Prada’s moment of reckoning and reflection after the blackface scandal to end at platitudes.”

So she pressed on. She met with Prada’s chairman about how to improve the company, and then filed an official complaint with the NYC Commission of Human Rights, stating that Prada, as an entity that provides products and services to the public, discriminated against her as a public citizen and potential consumer by offering products that explicitly called upon racist iconography meant to make African Americans feel unwelcome and threatened.

A year and a month after that Facebook post, Prada and the NYCCHR reached an unprecedented agreement, in which the Italy-based Prada agreed to a litany of trainings, scholarships, and promises to diversify its workforce, in order to continue to doing business in NYC. Instead of issuing a fine or payment, Prada agreed to proactively change the way they do business. (According to the NYCCHR, these measures will cost Prada far more than what a fine would have been.) “It’s easier to levy a penalty and be done with it. We’re not trying to punish, but to bring about the kind of change that will hopefully transform Prada,” explained Demoya Gordon, NYCCHR’s supervising attorney, and the lead negotiator on the settlement.

This agreement is the second major example of restorative justice under commissioner Carmelyn P. Malalis, whose November 2019 agreement with hair salon Sally Hershberger resolved an anti-black discrimination case, and relied on conversations with black communities to figure out what repair and restoration looked like. 

Some have questioned whether the law infringes on free speech, or that it gives local government too much jurisdiction over international companies based abroad. Some questioned whether an agreement of this scope would hold up under pressure in courts. But the NYCCHR is committed to restorative justice as a legal strategy — not only because it seems to prevent future wrongs from being committed, but because it also provides a legitimate sense of relief for all parties involved. Said Malalis, “The measures required in this settlement may today be considered unconventional for law enforcement, but my hope is that government, here in New York City and across the country, continue to think outside the box to address and remedy historical and current harms perpetrated through anti-black racism.”

Ezie saw her Facebook post transform into real change. While she didn’t ask for nor receive a monetary settlement, she did feel a resounding sense of closure: “I felt like I left the conversation with Prada having come full circle, achieved repair, and been restored.” Ezie and I spoke about how more of us can harness the power of online activism.

Did the NYC Commission on Human Rights reach out to you for feedback about the terms of the agreement? 

They did, and that’s ultimately what made me sign the agreement. I was very concerned about past instances of racism that had ended with just pithy statements and platitudes without a meaningful commitment to invest in structural or innovational change. I reviewed the settlement agreement in draft form, and I was able to provide comment. It was ultimately shaped by the input I provided into an agreement I felt was worth signing.

What input was that?

That training encompasses the heads of the company. It was very clear to me that the artistic choices were made out of Italy. I had read from interviews with Ms Prada after the scandal first erupted where it was very clear that she had not done any reflecting on the impact of the blackface line on people like myself who encountered it, and felt like as if we were walking straight back in the past of 1950s Jim Crow-era racism. 

I had a very interesting meeting with the chairman of Prada where, to Prada’s credit, they came to the table for a discussion about racism and repair in the wake of the blackface scandal. At the time, the chairman admitted that, in his own words — although I think he’s had a change of heart about being this candid [editor’s note: responding to the NYTimes, a Prada spokespeople denied that their chairman, Carlo Mazzi, ever made the statement] — he wasn’t aware of any Black employees at headquarters. But he also stated that it wasn’t because of racism, because there’s no racism in Italy. Like, in the entire country of Italy, in case you were not aware. [The lack of Black employees] was because people don’t like to travel to Italy. In case you had ever wanted to plan a romantic getaway…or a girl’s trip to Italy! You had it all wrong. No one wants to go to Italy apparently. It was just very apparent to me that if training didn’t go all the way to the top of the company, it would have no impact on the culture of the organisation. That’s a term [of the agreement] that I proudly take credit for.

Why did you file an official complaint with the NYC Commission on Human Rights? What was your goal?

There was an initial refusal to acknowledge the ways that the product line bore an unmistaken reference to blackface. For them to initially deny any resemblance, to take the position that these are just creatures that have no modern references, including monkeys? It was just all so insincere. Then there were Miuccia Prada’s subsequent statements that seemed very defensive, and unconcerned about the impact on the public. 

I just wanted there to be a real accountability moment for the company that would result in repair with the public. That was my only objective in seeking the complaint. I believe that statutorily, complainants standing in my shoes would have been entitled to monetary damages. That could have been something I sought. But I never proffered monetary demands on the company. What I wanted were real commitments by the company to change the way they do business and to make racial equity part of the DNA and fabric of the company going forward.

One of the reasons your story is so unique is that your online call out actually led to concrete policy changes. That’s rare. Do you have any advice for those who spot injustices, but want their online activism to have real-world consequences?

I do believe that online activism and call outs can be a form of social justice advocacy. It’s certainly how I got a seat at the table with Prada. It’s something I believe can be radically democratic because it doesn’t require a lot of access besides a mobile phone and an internet connection, which is something that can be accessed by many sorts of people. Call outs can be a force for good. But it’s important that we’re taking care to articulate the problem with our call outs, rather than making ad-hominem attacks; you’ll notice I never criticized Miuccia Prada or said ‘your bags are ugly.’ I explained what the problem was, and tried to create a space for there to be a conversation about next steps, and a way forward. A call out is most effective when we give people the room to respond and commit to a path forward for change, rather than the aspect of calling and cancelling, and no conversation can develop about what repair looks like. That was a really important piece for me. 

Certainly, working with the City Commission on Human Rights definitely helped go the extra mile. Now, there’s a concrete agreement. Here, I would encourage people to be creative, to think about all the ways they can access a little bit of a platform in moments where they otherwise feel powerless. I was able to go to my local commission even though I wasn’t a Dapper Dan, or had 5 million Twitter followers. With them, I was ultimately able to have the ear of the company and work as a change agent in these ways.

There’s no blueprint. The key is making the decision to speak up, whether it’s on an online forum or to your local human rights agency. It’s choosing not to settle for silence when you feel you’re observing a social wrong.

Commissioner and chair of the NYCCHR Carmelyn Malalis has been focused on restorative justice. As a civil rights lawyer, what do you think about this approach, rather than punitive ones, to matters of human rights?

I really welcome it. It’s pretty hard to deny that our criminal justice system is broken. It’s based on many of the same principles that perhaps cancel culture are based: If you make a mistake, you should be thrown out. It was really gratifying to see an agency really share my interest and create a model for accountability where no one was abandoned as part of the process. That Prada was a willing partner is gratifying.

For me, and many people who experience racism and micro-aggressions, it’s all come to really dampen your view of human progress. I feel like I’ve been able to emerge from this with a restored sense of hope.

Some punishments fit the crime, while others spiral out of proportion. We get it, there are actions that deserve to be cancelled, but for some people, the slightest slip-up can be life-ruining. With Cancel Culture, Refinery29 will examine the implications of “cancelling” public figures whose fuckups — major or minor — were put on trial in the court of public opinion. We’ll also pose the question: Is it finally time for cancel culture to be cancelled, too?

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Broken Heart Syndrome Is A Real Thing — And It Hurts

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Here’s the thing I always forget about broken hearts: They hurt. Like, physically. Yes, there’s the emotional pain — the sadness and disappointment and fear. But they’re often accompanied by real, tangible aches. That comes out in the way we talk about the experience. We describe having a lump in our throats. Being sick to our stomachs. Feeling like there’s an elephant on our chests. Even the term itself — “a broken heart” — evokes pain.

Those sensations aren’t all in our heads. Losing a loved one or going through a breakup can trigger an actual, medical condition called “broken heart syndrome.” It’s brought on by emotional stress, including intense grief. Here’s everything you need to know about it.

What is broken heart syndrome?

It’s a temporary heart condition that can occur after periods of intense grief or other emotionally tumultuous times. Ninety percent of cases are in women between ages 58 and 75, Harvard Health Publishing reports.

Extreme stress can cause the “left ventricle of the heart to balloon out at the bottom while the neck remains narrow,” ScienceDaily describes. That hurts. In fact, many people confuse broken heart syndrome (also called Takotsubo syndrome or TTS) with a heart attack because the symptoms — including breathlessness and chest pains — are similar, reports the Cleveland Clinic. But while heart attacks occur when the arteries are blocked by a blood clot from fatty buildup, no such blockage exists during cases of broken heart syndrome.

What causes broken heart syndrome?

As we mentioned, stress seems to play a major role in the onset of the condition. Research suggests that broken heart syndrome can be caused by episodes of severe emotional distress, such as grief, anger, or fear, or reactions to happy, joyful events. Basically, anything that can cause an intense or extreme emotional reaction.

Physical stressors can also be a trigger, according to Johns Hopkins Medicine. Think: stroke, seizure, asthma, or significant bleeding.

But what is it about stress that affects your heart? To answer that question, researchers scanned the brains of 15 people with TTS and compared it with brain scans of 39 healthy people and published the results in the European Heart Journal.

The findings: Compared to healthy subjects, the “broken hearted” people had less communication between certain areas of the brain. The regions that control how we process emotions “spoke” less to the regions that control the autonomic nervous system (which regulates unconscious responses, like heart rate, breathing, and blinking), described Christian Templin, MD, PhD, the study author, to ScienceDaily.

He goes on to say that because of this communication glitch, when people with TTS are stressed, it could lead more easily to the overstimulation of their autonomic nervous systems — which controls heart contractions and heart rate, among other things. This could “make them more susceptible to developing TTS,” Dr Templin says.

How do you treat broken heart syndrome?

When you have any sort of chest pain or shortness of breath, you should immediately call 911, Sara Sirna, MD, cardiologist at Loyola University Health System told ScienceDaily. These could be signs of TTS, but also could mean you’re having a heart attack.

If it is broken heart syndrome, there’s no standard treatment, notes Harvard Health Publishing. Your doctor will determine the best course of action based on the severity of the symptoms and other factors like blood pressure. Some options include aspirin, or a more intense course of heart failure medication.

The good news is it doesn’t often lead to death, according to Harvard Health Publishing. And for the most part, people who have it once don’t get it a second time, says Mayo Clinic. Although the condition improves in four to eight weeks, 20% of people with TTS do end up experiencing heart failure.

Of course, not everyone who goes through heartbreak will end up with TTS. But consider the possibility additional incentive to take good care of yourself after a breakup — emotionally and physically.

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Michelle Obama Posted Her ’80s Prom Photo For An Election-Related Reason

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Mandatory Credit: Photo by Paul R Giunta/Invision/AP/Shutterstock (10234970e) Former First Lady Michelle Obama attends An Intimate Conversation about her book ‘Becoming: with Michelle Obama’, featuring moderator Gayle King at State Farm Arena, in Atlanta “Becoming: An Intimate Conversation with Michelle Obama” – , Atlanta, USA – 11 May 2019

On Tuesday, Michelle Obama shared an important throwback photo on her Instagram that proved two things: silk slip dresses and getting young people to register to vote will never go out of style.

In a picture where then-Michelle Robinson un-awkwardly posted in an elaborate wicker chair beside her date and a table-top floral arrangement, Obama’s effortless prom throwback seemed like just simple Tuesday nostalgia. “Throwing it back to my 1982 prom night and this pink satin, polka-dotted dress,” she wrote. But, for the upcoming IGTV star and former first lady — who is timelessly admired — the caption served a much greater purpose: a call to action for young voters in the US to register to vote.

“If you’re a student or teacher, join the #PromChallenge with @WhenWeAllVote and @MTV and tell us what your school is doing to register students to vote — you could get a free prom for your school! Learn more at prom.mtv.com,” Obama continued in her caption. “You can also help me spread the word by posting your prom photo with #PromChallenge.”

According to the challenge’s website, 20 high schools will win up to $5,000 (£3,848) to put toward their school’s prom. Participants are asked to explain how they approach voter registration at their school, whether they are a student, teacher, or administrator, and how they plan to change the culture around civic engagement. The goal is to encourage as many young and first time voters to get involved and take the power their votes have seriously.

Given the uptick in political and environmental activism in recent years as Generation Z begins to come into its own, getting out to vote seems right on message. First time and Gen Z voters are expected to make up 10% of the total voting base in the 2020 election, according to a Pew Research Center study. They represent the most diverse voter group in history with 55% white and 45% nonwhite voters. Overall, it is projected that roughly 156 million people could vote in 2020 which represents an unprecedented increase from the 139 million people who voted in 2016.

With increasingly higher turnout rates among both Millennial and Gen Z voters, an encouragement like this from Obama to register and be politically engaged is more important than ever to keep that number growing. Plus, with any luck, thanks to #PromChallenge, we get to see a bunch of throwback prom photos from celebrities on our social media feeds. 

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How To Stop Yourself From Crying

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Hi, I’m Jess, and I’m a crier.

I cry at anything. A car advert with a particularly nice family in it, an especially rousing Elbow song, the overwhelmingly emotional BBC News countdown.

I don’t mind being a crier, most of the time. I like to think it’s a nice thing that I sob my way through the first Christmas advert of the year while everyone else rolls their eyes and mutters something about “the capitalisation of pagan holidays”.

Crying at everything gets annoying when I’m in a serious situation. See, I don’t just cry at silly things; I also cry when I’m arguing, when I’m asking for something, when I’m scared and when I’m sick. Sometimes, it can lead to a positive outcome (who do you really want to give that priority boarding to: Johnny Businessman or the poor girl crying her eyes out because of turbulence?) but sometimes, it’s really f***ing frustrating.

Take, for instance, the time I decided to ask for a raise at my first real job. I built myself up for weeks through a series of ‘you deserve this’ pep talks and wild imaginings of how well the situation was going to go. “How can I help you?” my boss, a fellow grown-up professional woman asked me, when we finally met. I didn’t even manage to get the first ‘I’ out of my mouth before I burst into tears and started hiccuping something about how I thought everyone else was getting paid more than me and I was really sad. I leaned in so far, I toppled over and fell on my face.

Confrontations and arguments are something I avoid – because they make me cry. Most people wouldn’t think twice about having a go at a good mate who missed your birthday party “because she was tired” but I’ll often let it slide, because the moment I try and chastise her (quite frankly shitty) behaviour, the floodgates will open and I’ll go from nonchalant and pissed off thirtysomething to a simpering child who appears to have overreacted beyond all comfortable means. In situations where you need to stand up for yourself, crying can often take you from standing on an equal footing to your opponent to just handing them the ball, your racquet, and the whole damn court.

There’s a hugely valid argument that we view crying at work in a negative light because the workplace has been male-dominated for so long. Women are too often characterised as ’emotional’ (stupidly seen as a negative trait for many years), and crying in the workplace reinforces this sentiment among the morons looking for a reason to deny women their seat at the head of the table.

However, while everyone – male or female – should celebrate crying and being in touch with their emotions in their personal life, crying at work in situations where you’re supposed to stand up for yourself can be a hindrance.

Cara Alwill Leyba, author of Like She Owns The Place, a book aiming to help women learn self-confidence, agrees: “When we get too caught up in emotions in the workplace, we cloud our ability to think clearly and be solution-oriented. It’s important to create enough space between ourselves and our work so that we can avoid taking things too personally and stay in a place of peace and positivity.”

Life coach Ben Edwards goes further and says that when we cry, it can demonstrate “putting your weapons down”. It can be perceived, he says, as “almost giving up within the negotiation”.

And so I am trying to learn not to cry at times when I need to be Together-with-a-capital-T and ask for what I want and, more importantly, deserve. (Don’t worry, I am not and will not ever give up my right to cry at the end of all and every well-acted BBC period drama.)

To figure out how not to cry, it’s probably worth figuring out why we do cry. It’s an area of science that doesn’t have hugely definitive conclusions. We know it’s a physiological reaction, like sweating (i.e. we can’t help it – great) and it has been theorised that, because we’re the only species that routinely cries, it’s an advanced form of communication, “aimed at soliciting assistance, comfort and social support from others”. Still more research suggests that it’s a way of soothing ourselves in times of trouble.

“Typically, we cry in high intensity situations because we’re feeling some heavy emotions: sadness, anger, or frustration to name a few,” says Cara. “Crying can signal our ‘breaking point’ and our tears can sometimes feel like a release of those pent-up emotions that we have not been able to express.”

“We sometimes don’t know how to channel our feelings in a tough situation and therefore turn to actions rather than words,” Ben agrees. “Crying replaces any need for communication as it’s often easier, and sends a powerful message to the person in conversation that we’re struggling to continue.”

Okay, cool. But when the tears are pricking at my eyes and the panic is setting in, how do I tell my tears to eff off? I’ve spoken to criers, actors and confidence coaches, and delved into scientific studies in a bid to find what works best to keep those tears at bay in a tough situation.

Look up

This has been my go-to so far. It’s not 100% effective but it can work for smaller attacks of welling up. Rolling your eyes up to the ceiling isn’t exactly subtle, but it can prevent the gathering flood of tears from spilling over, at least until you can get to a place where you can safely dab away the excess residue.

Blinking

The act of blinking is used to sweep the eye and restore it to its regular state so it makes sense that excessive blinking will help curb crying. From the (must-read) September ’07 issue of Optometry Today:

“Blinking is also important in tear drainage, which is an active process mediated by the contraction of the orbicularis oculi muscle. Tears collect at the medial canthal angle assisted by the medial movement of the lower lid with each blink. They are drawn into the superior and inferior puncta, and then enter the lacrimal sac via the canaliculi. From the lacrimal sac tears drain into the nasolacrimal duct and into the nasal cavity.”

Essentially, more blinking helps drain tears – do that.

Tap your forehead

I’ve not tried this one but model Jen Dawson swore by it in a now-deleted YouTube video and, judging from the comments under that video, it worked for loads of people. Tap that forehead, and breathe.

Pinch yourself (not hard)

Administering (light) pain is by far the most popular way people stop themselves from crying. One person recommended that I “bite my tongue or pinch my arm”. Just something to get your brain to focus on the sensation of pain instead of the sensation of crying. But before you start carrying around a peg in your pocket with which to pinch yourself discreetly, remember it doesn’t necessarily have to be pain you use as distraction. “The crucial element to this is physiology,” says Ben Edwards. “Shifting the conversation, our mindset and body movements is vital to changing our emotional state. Accessing the feelings of the brain enables a change in thought, distracting ourselves from the original topic. Body movements such as lifting up our heads, bringing the shoulders back and giving eye contact are simple ways to reset and begin over.” So shake your head vigorously, swing your arms, tickle your palm – whatever will distract your brain from giving the signals to cry. Or, if you must, pinch; just not too hard.

Roll with it

From Reddit user VR46: “Take that ‘cry emotion’ when it starts to swell inside you and picture yourself holding it at arm’s length in the palm of your hand, like a pool ball of emotion, and analyse it, accept it, and then let it pass through you without any resistance. Don’t fight it, don’t run from it, don’t picture naked old people or beaches… live in it. Invite it in and then kick it the fuck out when it’s not long [sic] useful to you.”

Breathe

Oh my God how boring is it when someone advises that you ‘breathe’ in answer to your problems. So annoying. Seriously though, here it’s going to help. Deep breaths in and out will help slow down your body, which is in the throes of a physiological response, having set off its stress triggers, increasing the flow of oxygen and sugar to the muscles so they’re ready to be used. The increase in oxygen manifests itself in several ways: “Blood flow to the muscles is increased by making the heart beat harder and faster, and by decreasing blood flow to the internal organs; absorption of oxygen into the blood is increased by making the lungs breath faster; and air intake into the lungs is increased by opening the throat and mouth.” Swallowing with this open throat is what causes us to feel like we’ve got a lump there when crying. Breathing deeply will help lessen these symptoms.

Grace, a recent graduate of a prestigious acting course, says that overcoming emotion was a huge part of her training. “We focused a lot on breathing,” she tells me. “To stop yourself crying, the key is to distract the brain. When you feel yourself about to cry, you need to instantly change your breathing. Use your breath to push the need to cry out.” She continues: “Focusing on your breathing can help stop your emotions flying off the handle.”

She does, however, have another trick up her sleeve. “In very serious cases I have pinched my thigh to stop myself crying.”

Don’t beat yourself up

Look, crying happens. Sometimes it happens in situations we don’t want it to. It can be frustrating, and annoying, and make you feel like you’ve let yourself down. But most people have been there and aren’t going to write you off because you’ve shed a few tears. No-one is in control 24/7; nor should they wish to be. Emotions are part of making you the excellent human being you are and if crying is part of that, so be it. If you can’t face a meeting with your superior, you can always send an email instead, or try and get your tears out on someone you trust first. But if you do cry in front of someone important, remember it’s unlikely to be the first time they’ve seen another person do this – they’re not heartless, and they will give you some leeway. So get out of the situation, take a walk around the block and give yourself a pat on the back for attempting a difficult conversation in the first place. There’s plenty more time for you to head back in and give it another go.

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All The Best Looks From The 2020 BRIT Awards

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The great and the good of the music industry will be celebrated tonight at the BRIT Awards 2020, and stars have started to gather on the red carpet donning their finest garms.

Lizzo, who will be blessing us all with a performance at tonight's event, arrived looking sweet like chocolate (quite literally) in a Hershey's print custom gown by Moschino.

Also performing tonight are Harry Styles, Rod Stewart – who last performed in 1993 when he received the Outstanding Contribution Award – Stormzy, and Billie Eilish, who will perform her new James Bond theme tune, "No Time To Die", with Hans Zimmer.

Ahead, find the best looks we spotted on the BRIT Awards 2020 red carpet.
Lizzo looking like a snack (sorry) in Moschino.
Harry Styles wearing a '70s-esque Gucci suit, with scalloped collar and Mary Janes.
Mabel wearing custom red sequin Moschino.
Billie Eilish in Burberry.
Neneh Cherry wins in Bottega! This short suit situation is perfection.
Johnny Marr looking suave.
Laura Whitmore in a newspaper-print mini.
Model Eva Apio wears a cutaway black and silver gown.
Presenter AJ Odudu shines in a silver and feather Malan Breton number.
DJ Yasmin Evans in a sheer blazer and pearlescent dress.
We're digging Lewis Capaldi's duck egg blue jacket.
Grace Carter's co-ord is perfection.
Michael Kiwanuka in a black velvet blazer.
Stormzy wears head-to-toe white.
Freya Ridings looks gorgeous in a blue gown.
Top Boy's Micheal Ward looks slick in a black Prada suit.
Hailee Steinfeld in a floral jacquard column Fendi dress.
Annie Mac looking divine in Rejina Pyo.
Musician Mahalia is phenomenal in green velvet.
Charli XCX in frothy tulle by Fendi.
Tiana Major9 proving all-white needn't mean boring.
FKA twigs' puffed-sleeve get-up is heavenly.
Singer Joy Crookes is a vision in yellow.
Dave gets our vote for the best suit in emerald green.
Iris Law looking phenomenal in a black cutaway and hardware dress by Christopher Kane.
Jorja Smith in a racer-style Jean Paul Gaultier jumpsuit.
Paloma Faith dons Miu Miu and standout headwear.
Nicola Roberts in a sage green dress.
Adwoa Aboah fresh from London Fashion Week in a white satin Vivienne Westwood gown.
Clara Amfo in a monochrome tuxedo.

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The Most Important Things To Happen At The BRIT Awards 2020

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This year marks the BRIT Awards’ 40th birthday and after an emotional, politically charged evening, the 2020 ceremony is certainly not going to be forgotten any time soon. Dave brought some critical home truths to the stage in his explosive performance, Billie Eilish gave a world exclusive and Lizzo spontaneously downed Harry Styles’ glass of neat tequila. And that’s not even the half of it.   

Comedian Jack Whitehall returned to London’s O2 arena to host the show for the third year in the row and used his opening speech to remind us all of what’s become an important focus this awards season. “Environmental issues have been a big theme of awards shows this year,” he said. “And in the spirit of sustainability, the BRITs has been recycling all the same excuses for why so few women were nominated.”

Here, he was referring to the fact that the 2020 nominations showcased an embarrassingly low turnout for female artists, with just one woman in the running for the mixed awards (Mabel was nominated for Best Song and Best New Artist). Whitehall concluded his introduction with a touching tribute to presenter Caroline Flack, “one of the Brits family” who died at the weekend. “She was a kind and vibrant person with an infectious sense of fun,” he said. “She will be sorely missed.”

The evening’s first category was New Artist Of The Year. The award went to Lewis Capaldi who was honoured by having his entire acceptance speech bleeped out. Turns out, he had simply said “Thank you so fucking much,” but of course Ofcom’s pre-watershed rules and regulations do not allow swear words.

The Scottish singer (and national treasure) managed to keep it clean for his second speech of the night, though. When he took to the stage to collect the statue for Song of the Year (with a bottle of Buckfast in the other hand, obviously), he revealed that his winning song “Someone You Loved” was not about his ex-girlfriend, who is currently a contestant on Love Island, but rather his grandmother, who passed away a couple of years ago. He then gave an awkward and mumbled thanks to his parents for hooking up before shuffling back to his seat.

There were welcome moments of lightness in Whitehall’s celebrity mingling, particularly with Harry Styles and Lizzo; a duo whose beautiful relationship only seems to be blossoming. Both stars performed during the course of the ceremony – Styles with an exceptional performance of “Falling” and Lizzo with an energetic medley of her hits. The highlight of the evening, however, had to be when Whitehall ‘mistakenly’ took a sip from what he thought was Styles’ glass of juice. It was in fact straight tequila, which Lizzo calmly polished off to a large round of applause.

The most impactful moment of the ceremony came from Dave. In a chilling performance of “Black” with nothing but a piano lit up by text, graphics and illustrations, the rapper added a new verse in which he addressed the government, Grenfell and Windrush, as well as paying tribute to London Bridge attack victim Jack Merritt with a concise, gut-punching delivery.

Lines like “The truth is our prime minister is a real racist”, “How the news treats Kate versus how they treat Meghan”, “Rest In Peace Jack Merritt, you’re my brother in arms” and “Grenfell victims still need accommodation, and we still need support for the Windrush generation, reparations for the time our people spent on plantations” will no doubt ripple through Twitter over the next few days. It was a performance that made Dave’s eventual Album Of The Year win even more pertinent.

Stormzy gave the penultimate performance of the night, delivering a headline-worthy set of hits from his second album Heavy Is The Head after picking up the award for Best Male Artist earlier in the evening. Billie Eilish took home the award for International Female Artist after performing her James Bond theme tune “No Time To Die” with her co-writer and brother Finneas, Bond theme collaborator and ex-Smiths member Johnny Marr and an orchestra conducted by musical legend Hans Zimmer, for the first time.

Eilish opened up about having experienced a challenging few days in her acceptance speech. “I have felt very hated recently,” Eilish explained to the crowd. “But when I was on the stage and saw you guys smiling at me, it genuinely made me want to cry. I want to cry right now,” she added, thanking her fans for their ongoing support.

The ceremony was then closed by Rolling Stones star Ronnie Wood who gave a delightfully nostalgic performance which, to be honest, was nothing compared to the rogue video of him taking the London Underground to the arena earlier in the day.

See the full list of winners below:

Male Solo Artist

Dave
Harry Styles
Lewis Capaldi
Michael Kiwanuka
Stormzy (Winner)

Female Solo Artist

Charli XCX
FKA Twigs
Freya Ridings
Mabel (Winner)
Mahalia

Best Group

Bastille
Bring Me the Horizon
Coldplay
D-Block Europe
Foals (Winner)

Song of the Year

AJ Tracey – Ladbroke Grove
Calvin Harris & Rag’n’Bone Man – Giant
Dave ft Burna Boy – Location
Ed Sheeran & Justin Bieber – I Don’t Care
Lewis Capaldi – Someone You Loved (Winner)
Mabel – Don’t Call Me Up
Mark Ronson ft Miley Cyrus – Nothing Breaks Like A Heart
Sam Smith & Normani – Dancing With A Stranger
Stormzy – Vossi Bop
Tom Walker – Just You and I

Mastercard Album of the Year

Dave – Psychodrama (Winner)
Harry Styles – Fine Line
Lewis Capaldi – Divinely Uninspired to a Hellish Extent
Michael Kiwanuka – Kiwanuka
Stormzy – Heavy is the Head

Best New artist

Aitch
Dave
Lewis Capaldi (Winner)
Mabel
Sam Fender

International Female Solo Artist

Ariana Grande
Billie Eilish (Winner)
Camila Cabello
Lana Del Rey
Lizzo

International Male Solo Artist

Bruce Springsteen
Burna Boy
Dermot Kennedy
Post Malone
Tyler the Creator (Winner)

Rising Star – winner announced in December 2019

Beabadoobee
Celeste (Winner)
Joy Crookes

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The 5 Major Coat Trends We Loved At London Fashion Week

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London Fashion Week drew to a close this week, with Riccardo Tisci’s blockbuster Burberry show ending AW20 on a high. While innovative and exciting collections from Roksanda, Molly Goddard, Shrimps and JW Anderson gave us plenty of sartorial inspiration for the year ahead, we’d be remiss to overlook the wardrobe wonders we spotted out on the streets this season.

While several micro trends flourished (think turbo boots, greens of every shade and colour-blocking brights), thanks to the turbulent Storm Dennis, it was the outerwear offering that truly stole the show. Thankfully, editors and influencers departed from the beige brigade this time around, and instead a slew of far more thrilling coats were present.

From the trench’s cooler cousin to the not-so-country quilted jacket, via rock 'n' roll snakeskin and faux fur trims Penny Lane would be proud of, here are the five coats we saw on repeat at London Fashion Week AW20. We almost don’t want winter to end...

Blazers That Make Us Want To Go To Work



Despite the miserable weather, there were lots of zingy shades spotted on the streets. Proving that the nine-to-five needn’t be mundane, we saw a slew of workwear-appropriate jackets that will brighten up any boardroom, from zesty lime to sophisticated creamy hues, via Crayola colours like true blue and pillar-box red. Pair with neutrals to make the piece pop or clash with contrasting shades for the ultimate rainy day pick-me-up.DESIGNED BY MEG O'DONNELL


Victoria Beckham Crepe Blazer, $, available at Net-A-Porter


Mango Blue Crepe Blazer, $, available at Mango


Joseph Jan Single-Breasted Contrast-Trim Wool Blazer, $, available at Matches Fashion


Finery London Alsace Rose Pink Velvet Blazer Jacket, $, available at Finery London


Topshop Rust Self Stripe Blazer With Linen, $, available at Topshop

Snake Print Suitable For The Stage



We’ve embraced animal prints and textures of all kinds over the past few years, from monochromatic zebra and cow to tiger and trusty leopard, but (faux) snakeskin has taken the title for most-worn in the animal kingdom. Our favourites either come in all-out colour or stick to a subdued black, white and grey palette. Either way, they’re lightweight and patent, which is ideal for this tricky transitional season.DESIGNED BY MEG O'DONNELL


Topshop Yellow Faux Fur Snake Car Coat, $, available at Topshop


CloinaStore Faux Oak Snake Skin Jacket, $, available at Etsy


Stand Studio Pernille Teisbaek Snake-Effect Faux Leather Trench, $, available at Net-A-Porter


Topshop Brown Leather Snake Blazer, $, available at Topshop


Stand Studio Snake Faux Jacket, $, available at Farfetch

Fuzzy Fur Penny Lane Would Be Proud Of




While we’ve been a fan of Mongolian faux fur-trimmed coats since Kate Hudson wore one with just a pair of knickers in Almost Famous, they’ve fast become fashion’s favourite outerwear. From House of Sunny’s sellout pistachio take to Shrimps’ duck egg blue checked version, they’re the perfect cover-up in that they make you look like you’ve made way more of an effort than you really have. No need to lean into the ‘70s vibe – go for a fresh pastel hue and pair with box-fresh kicks.DESIGNED BY MEG O'DONNELL


Etsy 70s Leopard Print Coat, $, available at Etsy


Kitri Navy Coat With Faux-Fur Cuffs, $, available at Kitri


House Of Sunny Waiter Blazer, $, available at House of Sunny


Shrimps River Coat, $, available at Shrimps


Charlotte Simone Penny Jacket, $, available at Charlotte Simone

Not-Quite-Country Quilting




When we think of quilted coats, we think of our parents’ practical doing-the-Sunday-food-shop coat or posh folk donning one to hit the countryside for a spot of clay pigeon shooting. Now though, thanks to Alexachung’s collaboration with heritage brand Barbour, the quilted jacket has brushed off its stuffy connotations and instead feels entirely contemporary. Remember, quilted styles go diagonally, rather than puffers, which go horizontally; Arket, Weekday and Uniqlo are your best bet for minimalist takes.DESIGNED BY MONTSE TANÚS


ASOS Marketplace Vintage 90s Lightweight Quilted Jacket In Yellow, $, available at asos marketplace


Barbour Darcy Army Green Quilted Jacket, $, available at


Arket Quilted Long Jacket, $, available at Arket


Ganni Oversized Double-Breasted Quilted Patchwork Jacket, $, available at Net-A-Porter


Burberry Fernleigh Quilted Shell Jacket, $, available at

The Trench Coat's Cooler Cousin




It’s time to pack away the traditional trench and try something new: the wardrobe staple got remixed this season, so much so that we didn’t spot one classic style on the streets of LFW. From two-tone to deconstructed, patent to colour-pop, the failsafe cut means you can experiment with colour, print and texture as much as you like. See JW Anderson’s supersize sleeves from SS20’s collection, or ASOS' two-in-one colour-blocked pieces.DESIGNED BY MONTSE TANÚS


Zara Buttoned Trench Coat With Belt, $, available at Zara


Ganni Contrast Collar Tie-Waist Trench Coat, $, available at


Browns Pink Nanushka Manila Vegan Leather Trench Coat, $, available at Browns


ASOS DESIGN Colourblock Tie Sleeve Trench Coat In Stone, $, available at ASOS


Maje Belted Checked Rubberised PU Trench Coat, $, available at Net-A-Porter

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I Tried Julianne Hough’s KINRGY & It Made Me Cry

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I’m swaying from side to side in a warehouse in Brooklyn, surrounded by people with jewels glued to their foreheads. No, I’m not attending a rave or a music festival or a cult initiation. I’m trying KINRGY, a program created by Julianne Hough. It’s sometimes called the “SoulCycle of dance,” though it focuses more on developing spiritual fitness than physical. The Dancing With The Stars alum uses what she calls “nurturing movement” to get people in touch with their “energetic health.” The name (which is pronounced kin-er-gee) is a mashup of kin (for community), kinesthetic (for movement), and energy.

Sound a little woo-woo? I would have said the same thing a couple hours ago.

As soon as I entered the space, a woman wearing yellow, heart-shaped sunglasses swept me into a hug. I quickly gleaned that she was from Daybreaker, a “morning dance community” that’s co-hosting this event. It wasn’t difficult to suss out: As she pulled me into her arms, she shrieked “Daybreaker hug!”

Running on two hours of sleep, with a low-level hangover, I couldn’t bring myself to match her level of hype. I mustered up a simple: “Thanks.” 

But soon after Hough came on stage and we all started to sway, something started to shift in me.

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“It’s not about being a good dancer,” Hough reassures us as we all warm up with some squatting, some swaying, and many, many affirmations. (“The beauty in me is the beauty in you!”) The floor is packed; I try my best not to brush up against a girl next to me who’s wearing a flower crown while a man clothed in nothing but a red silk robe walks around spraying essential oils — lavender, I think — into the air.

Things start to pick up. We’re dancing one second, flowing into a yoga sequence the next, then pausing for some breathing exercises. The purpose of all this is to help you tap in to “the freedom, joy, and power of that dance,” the KINRGY website declares. Hough calls it a “whole-self fitness session,” meant to build mental and spiritual strength as much as it’s meant to build physical strength. You’ll be engaging your muscles, but also connecting with your body and tapping into self-confidence and gratitude.

The planking and dancing are no joke, and I’m happy when Hough slows things down for a breathing exercise. As we inhale and exhale, she asks us to close our eyes, extend our left arm with the palm up, and focus on a moment of gratitude.

I find myself reminiscing about sitting in my living room with my parents, sipping tea and joking around. It makes me miss them, but in a happy, nostalgic way.

Out of the blue, my eyes start to tingle. Am I about to cry!? I’m usually not a crier. I’m suddenly very aware that I’m standing in a crowded room with strangers. As an Andra Day song plays over the loud speakers, one salty tear streaks down my cheek. I crack my eyes open to bat it away — only to notice several people spraying essential oils into the air around me. 

Hough asks the group to call to mind two more grateful moments, but my mind has switched gears. Am I having an energetic experience, or are these “feelings” just some kind of allergic reaction to the essential oil-saturated air? I debate the point for a few minutes, then decide that I’m feeling too chilled out to care — I’m just gonna go with it. Why not lean into this emotional outburst? I think to myself. Maybe that’s what KINRGY is all about.

After this intense (for me) period of meditation, Hough leads us back into dance. People really seem to be feeling the bliss. I see one couple kiss, and friends are putting their arms around each other. I feel uplifted too.

As the final song trails off, Hough leaves us with these words: “When we connect to our energetic field, we feel what is possible — and anything is possible.” 

Honestly, I believe her. I feel invigorated. I want to tackle my to-do list and hug my roommate. Even the long subway ride back to Manhattan seems less daunting.

I’m not the only one who bought in.  “Before it started, I was like, ‘Oh my gosh, it’s Sunday, I’m gonna go home after this and sleep,’” KINRGY-goer Paulina Cossio tells me. “But now, I feel like there’s no way I can sleep… I feel connected to the earth, connected to my own body. I feel awake.” 

Same, Paulina! KINRGY cured my hangover and erased my negativity. At least for a little while.

As I leave, I watch a woman’s kombucha bottle explode all over her in a fizzy volcano. In true KINRGY fashion, she laughs and lets it go. 

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The Brand-New Netflix Shows You’ll Actually Want To Watch In 2020

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Every week, Netflix releases somewhere around a dozen new shows, movies, and specials. It's overwhelming, and it's very easy to immediately press “play” on the projects you're already comfortable with — your Chilling Adventures of Sabrinas and 13 Reasons Whys.

However, 2020 is going to be a banner year for brand-new series from the streaming service. There are the ultra buzzy new dramas from superstar writers Ryan MurphyHollywood and Ratched — and the already-trending bio-series about icons like Madam C.J. Walker and Selena Quintanilla.

But there's more to this new year in Netflix than the biggest names in Hollywood and history. We can also expect new reality shows with wild premises, tons more bingeable international YA content, and even a show starring a 13 Reasons Why alum (you didn't think you had seen the last of Katherine Langford, did you?).

It's a lot to keep track of in an ever more packed Netflix landscape.

In an effort to keep television fun, we're here to organise the endless stream of new Netflix shows heading to your screen. Keep reading for a full guide to all the upcoming series you'll actually want to spend your time with, complete with premiere dates, cast details, and plot summaries.

Next in Fashion

Netflix premiere date: Wednesday 29th January

Netflix dips into its own talent pool for Next in Fashion, the streaming service’s answer to Project Runway. Queer Eye star Tan France leads the competition show along with longtime British It-Girl Alexa Chung. As with most competition series, Next will feature challenges for its players within weekly themes, with episode titles like “Red Carpet,” “Underwear,” and “Denim.” 

Each instalment will whittle down the talent pool until someone is officially crowned the Next in Fashion.

Luna Nera

Netflix premiere date: Friday 31st January

Netflix has a lot of witchy original content (Hello, Sabrina and Siempre Bruja). Now the streaming service is expanding that spooky stable of series with Luna Nera, a 17th century-set period piece about Italian witches. 

Expect teen angst under the stress of a countryside witch hunt.

Ragnarok

Netflix premiere date:
Friday 31st January

Meet another set of teens with superpowers they don’t quite understand. Ragnarok’s leading young person is Magne (David Stakston), the new kid at his Norwegian high school. Magne — who has recently acquired abilities like invincibility — may have to battle the most powerful family in his new town to stop the apocalypse. 

Locke & Key

Netflix premiere date:
Friday 7th February

Keeping with the supernatural teen theme, Netflix will also debut Locke & Key.

The YA drama follows a group of siblings who are forced to move into their father’s childhood home following his abrupt death. As the Locke kids come to learn about their new home — and therefore themselves — they find themselves further unmeshed in a terrifying supernatural journey.

Love Is Blind

Netflix premiere date:
Thursday 13th February

Remember Dating Around? The magic of that series was just how low stakes it was. This time, Netflix is ratcheting up the intensity. Dating show Love Is Blind works a little like The Circle a few dozen singles are split by gender and placed on separate sides of a large complex. During the day, the players get to know the participants of the opposite gender in completely sealed pods. This way, no one can see the person they are on a “date” with. 

Love Is Blind tests whether these blind dates can actually lead to lasting love. Since the catch of the show is that people can’t meet until they are already engaged. 

Gentefied

Netflix premiere date:
Friday 21st February

America Ferrera executive produces — and pops up in — this East L.A.-set comedy. Genefied revolves around a trio of cousins who must band together to save their grandpa's beleaguered taco shop amid tightening financial pressures.

The Gentefied team's greatest enemy? A conniving landlord who happens to also be Latinx.

I Am Not Okay With This


Netflix premiere date: Wednesday 26th February

I Am Not Okay With This is a mashup of many lovable things. It comes from The End of the F***ing World writer Jonathan Entwistle, and shares executive producers Shawn Levy and Dan Cohen with Stranger Things. The coming-of-age comedy/sci-fi ride — about a teen girl who suddenly gets superpowers — is led by It co-stars Sophia Lillis and Wyatt Oleff

The very best news is that, like TEOTFW, Okay episodes all come in at a half-hour or less.

Followers


Netflix premiere date: Thursday 27th February

Followers is about one aspiring Tokyo actress whose life is changed overnight when a successful woman photographer posts a photo of her on Instagram. 

Like Sex and the City, The Bold Type, and Insecure, the dramedy asks what happens when women follow their dreams — while buoyed by a very good closet.

Queen Sono


Netflix premiere date: Friday 28th February

Queen Sono is one of the most exciting upcoming Netflix projects of the year. The thriller is the streaming giant’s first-ever African series.

Sono revolves around its titular character (Pearl Thusi), an expert spy whose world is turned upside down when she learns dark secrets about her mother’s assassination.

Feel Good


Netflix premiere date: Thursday, March 19

This dramedy has all the promise of Russian Doll or first-season On My Block before it. Feel Good revolves around Mae (creator Mae Martin), a now-sober stand-up comedian with a complicated past and a brand new girlfriend who previously only dated men.

Feel Good's six episodes are poignant, boundary-pushing, and very, very funny, all at the same time. Plus, there's Lisa Kudrow.

Self Made: Inspired by the Life of Madam C.J. Walker


Netflix premiere date: Friday 20th March

It’s time to go in-depth on the tale of America’s first-ever self-made millionaire Black woman, beauty mogul C.J. Walker. Oscar-winner Octavia Spencer players the historical figure. Talent including Tiffany Haddish and Carmen Ejogo also star.

Hollywood 


Netflix premiere date: May 2020

Ryan Murphy has two new Netflix projects premiering this year. The first is Hollywood, which the super producer has dubbed “a love letter to the Golden Age of Tinseltown.”

Emmy-winner Darren Criss stars, as does Politician heartthrob David Corenswet, American Horror Story’s Dylan McDermott, Ready or Not’s Samara Weaving, Spider-Man: Homecoming’s Laura Harrier, and Euphoria breakout Maude “Bob Ross Halloween Costume” Apatow.

Ratched


Netflix premiere date: September 2020

Murphy’s second new series is Ratched, a prequel to classic 1975 film One Flew Over the Cuckoo's Nest. Murphy-favourite repertoire player Sarah Paulson will play the iconic sadistic health care professional Ratched is named for, Nurse Ratched. 

Selena: The Series


Netflix premiere date: TBA

The Walking Dead’s Christian Serratos leads the upcoming drama inspired by the life of the great Tejano superstar Selena Quintanilla. 

Cursed


Netflix premiere date: TBA

13 Reasons Why’s Katherine Langford is stepping into her solo power with Cursed, a take on the infamous Arthurian legend. Only this time, the tale is told through the perspective of Langford's Nimue, the woman destined to become the tragic Lady of the Lake.

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16 Bobs From London Fashion Week To Inspire Your Next Haircut

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London Fashion Week is always a melting pot of inspiring hairstyles but when it comes to Instagram-worthy cuts and colours, Autumn/Winter 2020 is proving to be one of the best seasons yet.

We've seen everything from shag cuts and full fringes to '90s-esque tendrils and sleek ponytails, but one style in particular is reigning over the others: the bob.

Including razor-sharp, jaw-grazing cuts and softer styles adorned with cutesy slides, here's all the bob inspiration you need, courtesy of the coolest street stylers at LFW AW20.
Flicked out at the ends and ever so slightly wavy, this proves that bob haircuts don't have to be poker straight and perfectly sleek to make an impact. PHOTOGRAPHED BY KIRSTY SIM
Two simple resin hair slides update this classic bob style. London Fashion Week's cool girls love Tort.PHOTOGRAPHED BY KIRSTY SIM
Juxtapose a blunt bob with cutesy clips and place them a little further in, so that they don't change the shape of the cut.PHOTOGRAPHED BY KIRSTY SIM
A centre parting with the ends tucked under makes this bob bang on trend.Photo by Christian Vierig/Contributor/Getty Images
This yellow and lime ombre bob teamed with brown extensions placed solely at the back feels futuristic. PHOTOGRAPHED BY KIRSTY SIM
The lob (long bob) is going nowhere. Keep the ends razor sharp for fullness. PHOTOGRAPHED BY KIRSTY SIM
Jourdan Dunn makes a case for the shoulder-grazing lob and looks effortlessly cool. Photo by Edward Berthelot/Contributor/Getty Images
This jaw-grazing bob and side parting combo is seriously sharp.PHOTOGRAPHED BY KIRSTY SIM
Ariel red, rhinestone slides and a full fringe? This ticks so many boxes.PHOTOGRAPHED BY KIRSTY SIM
The smoky gold hue makes this bob even more envy-inducing while the subtle wave throughout the mid lengths to the ends hauls the classic look into 2020.PHOTOGRAPHED BY KIRSTY SIM
This bob and accompanying side fringe is our new favourite combination. Photographed by Kirsty Sim
Sharp-edged and cut just below the cheekbone, this is reminiscent of 1920s flappers. The bitty fringe makes for a modern twist. PHOTOGRAPHED BY KIRSTY SIM
Proof that bobbed hair doesn't have to be poker straight. Photographed by Kirsty Sim
An embellished Alice band gives this sleek bob a sweet update. Photographed by Kirsty Sim
This stone blonde long bob has a Farrah Fawcett vibe about it.Photographed by Kirsty Sim
This choppy bob and micro-fringe gets our seal of approval. Photographed by Kirsty Sim

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7 Foods To Eat When You Really Can’t Afford To Get Sick

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Cold and flu season is still upon us, and we all want to do everything we can to avoid getting sick. Washing our hands and logging enough sleep are a good start. But when it comes to protecting your immune system, diet counts too.

It makes sense: Foods are packed full of vitamins, minerals, antioxidants, and other nutrients that can help prepare your body to fight off invading bacteria and viruses.

So if you want to lower your chances of turning into a coughing, sniffing mess this month, consider adding some of these immune-boosting superfoods to your diet.

Blueberries

A compound called pterostilbene found in blueberries could be a major player in boosting your immune system. Pterostilbene helps the CAMP gene function. This gene is the body’s first line of defence to combat bacterial infection, the study outlines. It needs vitamin D to work, though, so make sure you’re getting enough, via sunlight, supplements, or food.

Blueberries also contain compounds known as flavonoids, which are broken down by a certain type of gut microbe, producing metabolites that may help prevent the flu, according to a study from the Washington University School of Medicine.Photo: Getty Images.

Turmeric

The spice has been used for centuries to treat infections, but recently research has shown how it works: Curcumin, a chemical found in turmeric, works its way into cell membranes, improving their ability to ward off infectious microbes, according to a study in the Journal of the American Chemical Society. (Turmeric has tons of other benefits too; it may even prevent Alzheimer's Disease.)

You can sprinkle the spice onto vegetables, add a spoonful to smoothies, and or try turmeric tea.Photo: Getty Images.

Garlic

Get your mints ready. This fragrant herb is a disease-fighting powerhouse. It plays a role in how the body produces cytokines, cells released by the immune system to fight off bad-for-you bugs, reports the Journal of Immunology Research. Even if you do get sick, aged garlic extract can shorten your cold duration by 61%, according to a study in the Clinical Nutrition Journal.

Chop up a few cloves and toss them in with your favourite vegetable or meat dishes. If you're brave, you can even just pop some garlic into your mouth and eat it raw.
Photo: Getty Images.

Spinach

Popeye was on the right track. The leafy green is packed with antioxidants and nutrients like vitamin E and vitamin C that may be able to help the immune system beat infections.

Spinach is healthy raw or cooked, but some experts say it's best to blend it into a smoothie or juice. A study from Linköping University revealed that when the leaves are chopped into small pieces, a greater amount of lutein, an antioxidant that can reduce inflammation, is released.
Photo: Getty Images.

Sweet Potatoes

When it comes to the cold-preventing star that is vitamin C, citrus fruits get all the attention. Well, it's time sweet potatoes got some credit. The versatile vegetables have an insane amount of vitamin C, and are packed with vitamin A to boot. Both can help protect and strengthen your immune system so you can more efficiently fight off sickness.

Boil them, grill them, microwave them — or my fave, eat them in fry form. Photo: Getty Images.

Ginger

The spicy root can do it all: It's an anti-inflammatory and an antioxidant with potent abilities to keep you well.

You can indulge in the benefits of the root by drinking ginger tea, adding it minced to a few recipes, and even just eating it raw.Photo: Getty Images.

Oysters

It's oyster season. If you like them, here's an additional reason to slurp them down this month: The sea creatures are rich in zinc, a mineral that helps your white blood cells reproduce at a quicker rate. That boost may let you fight off harmful bugs more easily. Photo: Getty Images.

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Rose Gold Hair Is Making A Big Comeback For Spring 2020

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Colourist Kate Reid equates pink hair dye to the sparkly lip gloss many of us loved as teens. "They're both shiny, bright, and have that '90s pop," she says. While the glitter makeup of years past is relatively easy to find again, it's rose-tinted highlights and cotton-candy braids that are fully back in focus after New York Fashion Week.

As the Australia-based global design director for Kevin Murphy, Reid is an expert on fashion hair colour and specialises in shades of pink, which is exactly why we tapped her for info on the latest shades and techniques.

What will the most rad versions of pink be for 2020? We've compiled Reid's predictions, plus more from other in-the-know colourists, for proof that pink hair is not only back, it's cheerier than ever.
To get this cool-toned pink, Reid combined two cream lighteners: an orange-tinged peach followed by an icy lilac.
Reid calls this shade "true rose" because it's essentially single-process pink applied from root to tip.
Blunt bangs, rose-dipped ends, and glossy shine create a trend trifecta.
Colourist Larisa Love recommends a root smudge to ease the transition between your natural colour and the faux pink lift. Plus, it makes the whole thing look super modern.
If your goal is subtly, NYC-based stylist Linda de Zeeuw recommends first perfecting the blonde in your base. "A blonde with a yellow undertone infuses the gold into rose gold," she explains.
Looking for something brighter? You can never go wrong with a true bubblegum colour.

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“Today I Feel Less Valuable”: Why Priti Patel’s Points System Is Bad For Women

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Home Secretary Priti Patel has announced that the UK will close its borders to “low-skilled workers” as part of a tough new immigration system that will come into force in January 2021.

The government’s proposed Australian-style points-based system will judge applicants based on their salary, qualifications, ability to speak English and the type of job they are planning to do. This means migrants from EU or non-EU countries won’t be able to come to the UK without a firm job offer, except for a handful of exceptional candidates, such as world-class scientists.

Under the proposed system, applicants will need to gain 70 points to be eligible for a visa from 1st January 2021. After Brexit, people will need to earn more than £25,600, have a job offer that is at a “required skill level” and speak a certain level of English.

The new rules were announced on Wednesday, fulfilling the government’s election manifesto pledge of ending freedom of movement and overhauling the country’s immigration policy.

It is thought there are around 3.4 million EU citizens living in the UK and most are said to be unskilled or low-skilled workers.

In the government’s policy statement, the Home Office told businesses they should end their “reliance on cheap, low-skilled labour” and train up British workers to fill vacancies. But critics have said the proposals could be an “absolute disaster” for the social care and hospitality sectors, due to the number of EU migrants who make up a large proportion of employees.

Patel, who spoke to Nick Ferrari on LBC on Wednesday morning, admitted her own parents may not have been allowed into the UK under her new immigration laws.

Sophie Walker, chief executive of Young Women’s Trust, said: “These immigration proposals, designed to shut out ‘foreigners’, in fact barricade millions of women into a life of poverty, as the government designs another system that gives paid job opportunities to others based on forcing women to pick up unpaid caring, cooking and cleaning work.

“Once again the ‘unskilled’ work of care is classed as undesirable by those who don’t do it or need it. Until we value and invest in care we can never build a balanced and thriving economy – no matter how many walls and borders we build.

“One million young women across England and Wales live daily on the edge of poverty because they are out of work or trapped in low-paid jobs – left behind by sexist workplaces that don’t factor in the support women need to balance access to paid work against the demands of their unpaid work.

“Investing in social infrastructure is vital not just so young women can flourish – but because without it the government will never resolve our national productivity problem or end the skills shortage it is so worried about. Economic justice for women is the foundation of a fair society and a thriving economy.”

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Lisa Leysen started on a trainee salary of £17,000 in digital marketing when she moved to the UK from Belgium in 2016. She told Refinery29: “It’s really hard to get a permanent job in journalism and media in Belgium so I had to apply for a role in the UK. I was hoping an employer would take a chance on me and they did. The company didn’t sponsor me but I was able to move to the UK within three weeks and gain new skills.”

Had I not been given this opportunity, I wouldn’t have existed. I wouldn’t know all the people I know and experienced all I have.

Lisa Leysen, 30

Despite speaking four languages, including English, Lisa wouldn’t qualify for a visa under the government’s new immigration system. “I don’t have a PhD, I wasn’t sponsored and there isn’t a job shortage in my industry. My salary didn’t meet the government’s threshold. It’s really sad because had I not been given this opportunity, I wouldn’t have existed. I wouldn’t know all the people I know and experienced all I have.”

Lisa is still working in the same industry but now earns nearly twice as much thanks to her training and working her way up the career ladder. She added that she was deeply offended by the government’s term “low-skilled”.

“Yesterday I felt valuable. Today I feel less valuable. You feel like you’ve been put in this box which you never thought you belonged in and now you think you have to get a PhD or earn over a certain amount. But it’s unattainable,” she added. “I feel like people look upon EU migrants as just claiming benefits but we work. I make a huge contribution to the job market.

“It’s heartbreaking because I’ve learned so much and I’m a completely different person because of my experiences. I’ve met so many people and learned so much about British culture – good and bad – and it’s just so sad. People won’t even look for jobs knowing there will be a strict system. It’s discouraging for young people. The UK will miss out on fresh talent.”

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