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Mother-daughter bonding time! Kris and Kendall Jenner enjoy girls' shopping trip during Milan

Mother-daughter bonding time! Kris and Kendall Jenner enjoy girls' shopping trip during Milan Fashion Week

They'll soon be celebrating 10 years of reality television success when the 14th season of their show premieres on Sunday.

But Kris and Kendall Jenner took a moment between gigs to indulge in their favorite sport of shopping while in Milan on Wednesday night.

The 61-year-old matriarch joined her model daughter at the Fendi showroom ahead of Kendall's appearance during Milan Fashion Week.

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The leggy model covered up in a pair of tight blue button fly jeans as she sported a large creamy cardigan on top.

She made sure to match her outerwear with a creamy turtleneck shirt underneath the over-sized coat which buttoned around her waist.

The Keeping Up With The Kardashians star wore a pair of point black patent leather booties as she walked with her mother to a waiting car.

Mom-ager extraordinaire Kris looked cheery in a long canary yellow winter coat which featured over-sized lapels.

She paired her loud jacket with a matching buttoned-up shirt underneath the coat which sweeped near her ankles.

Never one to miss an opportunity to accessorize, Kris carried a large yellow alligator leather purse in one hand and wore soft black suede boots.

The famous family sat down with host Megyn Kelly nearly five months ago for an interview about the upcoming 14th season of their show Keeping Up With The Kardashians, which aired today on Today Wednesday morning.

Megyn was joined by matriarch Kris and her daughters Kourtney, Kim, Khloe and Kendall, but noticeably absent was her youngest child Kylie.

Kendall was fiercely protective of her little sister and pointed out that Kylie has become successful thanks to her beauty empire, Kylie Cosmetics.

'My little sister has an insane business and anyone who says they don't want their kid to be like that, and have an insane business at 19, and literally be so successful is insane to me,' Kendall said to Megyn.

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What Do Fashion Buyers Do At Fashion Week?

What Do Fashion Buyers Do At Fashion Week?

Fashion week might appear to be all glitz and glam, new-season reveals, fashion kisses and late-night parties, but in reality it's a business hub that employs far more people than those that get papped on the FROW.

One group of people who's jobs are less transparent than that of the editors writing show reviews or influencers snapping selfies is buyers. Employed by boutiques and department stores alike, these important industry-shapers decide what goes into shops, and therefore, essentially into our wardrobes.

Why do you go to fashion week?

As London Fashion Week begins, we caught up with 26-year-old Harry Fisher, senior buyer at one of our favourite Soho-based boutiques, Machine-A, to understand what it takes to break into buying and how having a signature taste can impact your work overall:As a store, Machine-A is very involved in fashion week. It’s a great time to see everyone from the industry – especially from overseas - in store and at the shows. We attend fashion week shows to see what our existing brands are showing for the coming season. And also, to scout new designers for upcoming seasons. This London Fashion Week I’m most looking forward to Fashion East, Paula Knorr, Ashish and Dilara Findikoglu.

How has see-now/buy-now impacted on buyers?

I think the idea behind see-now/buy-now is quite exciting for buyers: it generates impulsive buys, and instant hype. However, I think big brands doing this has put major pressure on younger and smaller designers.

How much does the hype an item receives on social media impact how likely you are to buy it in?

We definitely have to take into account many aspects of a collection when buying. Social media can give us an insight into what people love and will want to see move of in store. As a store, our buy is renowned for representing the catwalk looks quite literally. So, when buying we are always looking for the stand-out pieces.

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New York Fashion Week spring/summer 2018: 10 key shows – in pictures

New York Fashion Week spring/summer 2018: 10 key shows – in pictures

From the American horror movie references at Calvin Klein to motocross stuntmen flying through the air at Rhianna’s Fenty x Puma show, Observer fashion editor Jo Jones picks her 10 highlights from New York Fashion Week spring/summer 2018

Calvin Klein

Raf Simons’ second collection for Calvin Klein continued his American journey, this time with a sinister edge referencing classic American horror movies. The set by Sterling Ruby featured giant pom-poms and axes inspired by The Shining’s “Here’s Johnny” scene. This season in addition to the cool denim and colour-block cowboy shirts, Simons’ DNA for experimenting with silhouette and materials was ever evident. Nylon full-skirted Fifties skirts and dresses were a masterclass in construction. New motifs included Andy Warhol prints from the artist’s “Death and Disaster” series.

Photograph: Rodin Banica/WWD/Rex/Shutterstock

Victoria Beckham

It’s a good sign when you want to own the entire collection. This season Victoria Beckham’s collection was both desirable and wearable. “This collection shows the many powers of femininity,” said Beckham backstage, “how delicacy can be strong.” Femininity appeared in the palette of dusty rose, lilac and powder blue, picking up the pace with vibrant red. Graph paper-inspired check shirts were worn with light pencil skirts; fluid oversize shirts were teamed with wide-legged pants. The new tailoring was a boxy blazer and slim pants. A red dress with a ruffled neckline had a cutaway panel at the waist. Highly desirable were the new glitter Harper slippers.

Photograph: PR Company Handout

Fenty x Puma

You wouldn’t expect a Fenty show to be a quiet affair, but Rih Rih raised adrenaline levels through the roof as motocross stuntmen roared up a giant ramp performing electrifying 360-degree tricks over mountains of pink sand on the runway below. The collection was a mix of biker, surf and scuba influences with detailing such as sheer mesh, industrial zippers, adjustable lacing and toggles. Top of the must-have list were the motocross-inspired anoraks in poppy colours. As for the footwear, thong sandals appeared with surf-style ankle straps, stomper boots.

Photograph: Swan Gallet/WWD/Rex/Shutterstock

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Weekending up North: A-Listers Let Loose at the Toronto International Film Festival

Weekending up North: A-Listers Let Loose at the Toronto International Film Festival

Kicking off the Toronto International Film Festival’s (TIFF) first weekend of its 10-day run, Stronger stars Jake Gyllenhaal, Richard Lane Jr., Miranda Richardson, Tatiana Maslany, David Gordon Green, and John Pollono took to the Soho House Toronto for a lively post-viewing party hosted by Grey Goose Vodka.

Under the direction of Green, Stronger follows the real-life story and memoir of Jeff Bauman, a Boston Marathon bombing survivor who lost both of his legs in the 2013 act of terror. Now standing tall with prosthetics, a “stronger” Bauman raised a glass alongside his Tinseltown counterpart, Gyllenhaal, who worked the room with a smile.

Stars Stanley Tucci and Armie Hammer (in town to promote Call Me by Your Name, which is already getting Oscar buzz) also stopped by the celebration late night to lend their support.

On Saturday, following the premiere of supernatural thriller The Killing of a Sacred Deer, A-listers Nicole Kidman, Colin Farrell, and director Yorgos Lanthimos (The Lobster) posted up in the Soho House Toronto’s second-floor Pantry restaurant for an intimate dinner with industry friends. Kidman stunned in a colorful dress by Valentino, Chloe Gosselin heels, and jewelry by Fred Leighton. While guests to the event enjoyed roast chicken, braised lamb shoulder, and sea bream, Farrell opted for an off-menu request by way of the club’s “Dirty Burgers” and fries. Would you expect anything less from the True Detective star?

Atop King West’s expansive rooftop patio, Lavelle, on Sunday, Woman Walks Ahead stars Jessica Chastain, Michael Greyeyes, Steven Knight (writer), and Susanna White (director) participated in an early-morning Q&A-style discussion as part of Grey Goose’s cozy “Cocktails and Conversation” series. Sun shining, guests to the intimate event enjoyed customizable Caesars and a French brasserie-style brunch.

Woman Walks Ahead tells the rarely told story of Catherine Weldon—a 19th-century artist from Brooklyn—who forms an unlikely bond with legendary Lakota Sioux leader Sitting Bull. Both Chastain (who plays the film’s title female role of Weldon) and Greyeyes (who assumes the role of Sitting Bull) were outspoken about the need for more indigenous narratives in film.

Shortly after, the cast of The Current War, including Benedict Cumberbatch, Michael Shannon, Nicholas Hoult, Alfonso Gomez-Rejon (director), and Michael Mitnick (writer), stopped by Lavelle to discuss the relationship between electricity rivals Thomas Edison and George Westinghouse in their latest film, which premiered Saturday night. Upon being asked about understanding the more technical subject matter their famous scientific counterparts preach in the film, Cumberbatch and Shannon modestly tipped their hats to physicists past, admitting their comprehension to be less than average at best. Hoult then boasted, “I understood everything and I think that shines through in my performance,” leaving the crowd in stitches.

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Does fashion care about disabled people and the purple pound?

Does fashion care about disabled people and the purple pound?

Since childhood, fashion has always given me joy. It has allowed me to present myself to the world as the person I am and strive to be, irrespective of the physical limitations of my disability. But in the five years since severe illness forced me to use a mobility scooter to get around, online retailers have become my primary access to new trends, owing to poor accessibility on my local high street. Recently, I heard about a disability charity’s campaign to improve shop access and wondered whether navigating luxury fashion stores on four wheels would be any less challenging. It seemed logical that designer labels, which often shell out millions to create opulent showrooms, would invest in basic equipment for access. So I ventured into Mayfair – one of London’s most expensive areas to shop – to explore the AW17 collections up close.

From the moment I rode out on to New Bond Street, I was beset by obstacles. It started with attempting to enter a designer store with a stepped entrance, then performing a red-faced U-turn outside because sales staff couldn’t provide a ramp. As I continued around Mayfair, I discovered boutique after boutique with stepped entrances and no access ramps. Often staff delivered this information with an expression of bewilderment as to why anyone would require one, and nearly half of the shops I visited said they didn’t have lifts to access upper floors.

Outside one store, however, I experienced the other extreme. A trio of sales staff emerged to offer assistance, WhatsApp numbers (“should you need any help in the future”) and a ramp, ceremoniously placed to help me up the vertiginous steps.

Instead of having the freedom to choose where I shopped, these vastly different attitudes predetermined which labels I can and cannot wear.

In July, We Are Purple began its campaign, Help Me Spend My Money, to raise awareness of the obstacles facing disabled shoppers and promote disability awareness training for retail staff. Purple’s Mark Flint explains that the initiative aims to “transform thinking” and “illustrate that becoming disability-friendly is not just morally right, but makes complete business sense”. I ask whether the campaign has had any interest from luxury fashion retailers. Flint stresses that it remains in its early stages and they are “having conversations” with a number of brands. It’s not exactly a resounding yes.

Britain’s 11.9 million disabled people are acknowledged to have a spending power of £80bn. Known as the purple pound, it represents the largest untapped consumer market. A recent study by the Extra Costs Commission has found that 75% of disabled customers have left a shop because of poor service or access, and that British companies risk losing £420m a week in sales. These challenges are not unique to luxury shopping, and are a daily occurrence on high streets and in shopping centres across the country. “Recently, I was trying to help my little sister buy a dress for a dance,” says Quin, a 19-year-old wheelchair user from Canterbury, “but all the shops had items too close together for me to navigate. I was forced to sit by the door and watch as my sister walked around. It seems as though there’s an attitude that disabled people would never come in. We need and want things just the same as abled people.”

Angie, a 39-year-old with epilepsy and arthritis from Warwickshire, says that sales assistants are rude and unaccommodating towards her when she struggles to move around the shop floor on crutches. “It’s often an anxious experience, as you don’t know how you will be treated by shop staff, and, when people tend to be negative rather than helpful, it’s easier not to go out and shop online [instead]”.

Lily, a 22-year-old from south-east England, doesn’t use any aids such as a wheelchair, so it’s not always clear she has a disability. “When I’m at the till and struggling to get money out because my left hand doesn’t work as well as my right, I feel embarrassed. I usually apologise even if I know I shouldn’t.” She now looks at every shop she visits to check it has adequate provision for disabled customers. If not, she will email the company or speak to them on social media.

My impossible shopping trip underlined the radical disconnect between the real-life experiences of disabled shoppers and the fashion industry’s very visible fascination with inclusion. Diversity is the hashtag du jour in fashion circles, with many designers talking fluently about their respect for a breadth of cultures and life experiences, and using models who do not conform to the tall, slim, white, cisgender, able-bodied archetype.

Edward Enninful, British Vogue’s new editor, has expressed frustration with the industry’s reluctance to create sustainable changes in reflecting the diverse identities of its consumers. His principles on ethnic diversity – “you put one model in a show or in an ad campaign, that doesn’t solve the problem”– also apply to disability representation. Although some designers have embraced disability models – most notably Alexander McQueen in the late 90s – the fact remains that, when disabled customers are prohibited from shopping, due to stairs, lack of seating or insufficient sales support, it is hard not to draw the conclusion that the catwalk trend for disabled models is nothing more than that. It is the metaphorical millennial pink, soon to be consigned to the back of our closets.

Debate surrounding the use of disabled models was reignited at Teatum Jones’s London fashion week show earlier this year, as Kelly Knox emerged on to the catwalk in a rust-hued dress knotted at the elbow to silhouette her amputated lower arm. The label’s AW17 collection presented disability models as emblems of a backlash against ideas of the perfect form: “Why do we look at ourselves in the mirror and see ugly instead of valuable? What are you looking at?” bellowed the disabled motivational speaker Nick Vujičić on the soundtrack. After reading reportsdescribing the show as a “spectacle” and “attention-grabbing”, I approached Catherine Teatum and Rob Jones to find out whether their interest in the disabled body ran deeper than aesthetics, and found both to have a positive understanding of the practical issues affecting disabled shoppers.

In a joint statement, they say that retail accessibility should be a democratic experience: “Imagine telling a group of people that they were not allowed into your retail space because you hadn’t thought it through in the design stage? Or because you simply forgot about them or didn’t consider their spending power? You’d feel pretty awful, and so would they.” They observed that, although many designers strategically position themselves as radical: “when a fashion audience is actually faced with the reality of physical difference, there is sometimes tendency to feel uncomfortable”.While the designers don’t believe luxury brands are actively disengaging disabled shoppers, they agree that more can be done and see e-commerce as having a wealth of applications for the disabled and able bodied alike: “This should be a conversation about inclusivity, after all.”

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Munroe Bergdorf on the L’Oréal racism row: ‘It puzzles me that my views are considered extreme

Munroe Bergdorf on the L’Oréal racism row: ‘It puzzles me that my views are considered extreme’

By 8.12pm on Sunday, Munroe Bergdorf is done in. It is a week since she was announced by L’Oréal as the face of True Match, a campaign that marries makeup to social justice, and three days since she was sacked unceremoniously. A BBC 2 producer is on the phone, talking to her about an interview with Victoria Derbyshire the next morning. “It has been the worst week of my life,” she tells him, trying to deflate the tension with a laugh. Prompted to explain why it has been so bad, she reels off “the death threats, threats of rape, threats of assault, people telling me to kill myself, the general bombardment and fear that something else will happen”. She pauses, then sighs. She hasn’t left her flat in days. “The most ridiculous thing is that you call out racism and they respond with more racism. It just doesn’t make any sense.”

Bergdorf, a 30-year-old, black, queer, trans woman who models and DJs, is no stranger to abuse and ridicule. Her very existence is subversive and threatening enough to the mainstream that a trickle of racist, homophobic and transphobic bile has become par for the course in her daily life on and offline – but now it has become a torrent.

As the Daily Mail reported it on Friday, “with a dizzying fanfare, she was brought in as the ‘face of modern diversity’. But days after she was announced as L’Oréal’s first transgender model, Munroe Bergdorf launched an extraordinary rant declaring all white people racist”. The story went viral, reported everywhere from Al-Jazeera to the New York Times.

“I’m trying to think of the best ways to get across what I actually said,” she tells me, over a picnic of French fries and apple Tango at her kitchen table.

She explains that, the morning after the rally in Charlottesville, Virginia, where an anti-racist protester was killed by a white supremacist, she wrote a Facebook post in response to that event. “It was an epic three-parter about how racism is a social structure and how, if this is the case, what can you do to combat racism?” She says the post was deleted by Facebook for breaching its terms on hate speech; the racist, transphobic comments made about Bergdorf, however, were left up. (A Facebook representative said: “We haven’t yet got to the bottom of what happened to Munroe’s post”, but “we are looking into it.”) The post was then filleted for its most incendiary lines: “Most of ya’ll don’t even realise or refuse to acknowledge that your existence, privilege and success as a race is built on the backs, blood and death of people of colour,” she wrote. “Your entire existence is drenched in racism. From micro-aggressions to terrorism, you built the blueprint for this shit. Come see me when you realise racism isn’t learned, it’s inherited and consciously or unconsciously passed down through privilege. Once white people begin to admit their race is the most violent and oppressive force of nature on Earth … then we can talk.”

Unsurprisingly, Bergdorf made some people uncomfortable, made some people cheer and pissed off many others, including her mother, who is white and reads the Daily Mail. “That was an awful conversation. I’m half-white. My mum thought I was lumping her in with everyone, but this isn’t about individuals. To understand my point, you have to take yourself out of the conversation – it’s not about you – and truly think about society, structurally, economically, as a whole.”

But isn’t that the trouble? Lots of people won’t and don’t understand. Not everyone reads Frantz Fanon and Patricia Hill Collins for kicks – academic theory will only go so far in convincing the average person on an average street that institutionalised, systemic racism is just as damaging as a violent, racist attack.

“I don’t regret what I said,” she says, calmly. “I’m an activist. Being an activist means calling people out, not just saying what everyone else is saying and what everyone else wants to think and upholding the common consensus. L’Oréal knew that when they hired me.”

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The Duchess of Cambridge pays sartorial tribute to Princess Diana

The Duchess of Cambridge pays sartorial tribute to Princess Diana

This year, Princes William and Harry have been marking 20 years since their mother's death with a series of documentaries and interviews paying tribute to her achievements. Today- on the eve of the anniversary itself- the Princes were joined by the Duchess of Cambridge to meet representatives from the charities which Princess Diana supported over the years at the garden which has been created in her honour in the grounds of Kensington Palace.

The Duchess of Cambridge never met Diana of course, but she paid sartorial tribute to her this afternoon with a perfectly pitched choice of outfit which combined symbols of remembrance with detailling which nodded to one of the style signatures which the Princess made famous as a style icon during the Eighties.

In her first public appearence since taking a break over the summer, Kate wore a £1,425 silk dress by Prada with a poppy floral pattern and a pussy bow tie at the neckline, looking elegant despite the rain in London this afternoon.Poppies are a familiar motif, most famously used to remember fallen soldiers but they have a wider significance of healing and memory for loved ones who have died. Although they came with a somber meaning, the pattern on the Duchess's dress was cheerfully bright, reflecting the eye-catching prints which Diana herself used to love to wear, especially when visiting hospitals, children and charities. Along with pie crust collars and ruffles, pussy bows were a romantic flounce which Princess Diana made her own early in her marriage. On the day that her engagement to Prince Charles was announced, she wore a blue and white speckled pussy bow blouse which she had bought in Harrods and was photographed wearing pale pink chiffon blouse by the Emanuels in Vogue soon afterwarsds; in fact, she loved that blouse so much that it led to her asking the couple to design her wedding dress. Later, Diana would often layer a white shirt with the pretty tie detail underneath tailored jackets and coats for public walkabouts and visits.Given the sheer breadth of outfits and trends which Diana played with during her years in the spotlight, it is perhaps little surprise that the Duchess of Cambridge has appeared to pay tribute to some of her late mother-in-law's iconic looks during her own time as a senior member of the royal family. Last year, she wore a pie crust collar dress to a children's tea party in Canada while the polka dot blue dress by Jenny Packham which she chose to leave the Lindo Wing after giving birth to Prince George drew immediate comparisons to a similar style by Catherine Walker which Diana wore after having William.

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The Duchess of Cambridge pays sartorial tribute to Princess Diana

this year, Princes William and Harry have been marking 20 years since their mother's death with a series of documentaries and interviews paying tribute to her achievements. Today- on the eve of the anniversary itself- the Princes were joined by the Duchess of Cambridge to meet representatives from the charities which Princess Diana supported over the years at the garden which has been created in her honour in the grounds of Kensington Palace.

The Duchess of Cambridge never met Diana of course, but she paid sartorial tribute to her this afternoon with a perfectly pitched choice of outfit which combined symbols of remembrance with detailling which nodded to one of the style signatures which the Princess made famous as a style icon during the Eighties.

In her first public appearence since taking a break over the summer, Kate wore a £1,425 silk dress by Prada with a poppy floral pattern and a pussy bow tie at the neckline, looking elegant despite the rain in London this afternoon.Poppies are a familiar motif, most famously used to remember fallen soldiers but they have a wider significance of healing and memory for loved ones who have died. Although they came with a somber meaning, the pattern on the Duchess's dress was cheerfully bright, reflecting the eye-catching prints which Diana herself used to love to wear, especially when visiting hospitals, children and charities.

Along with pie crust collars and ruffles, pussy bows were a romantic flounce which Princess Diana made her own early in her marriage. On the day that her engagement to Prince Charles was announced, she wore a blue and white speckled pussy bow blouse which she had bought in Harrods and was photographed wearing pale pink chiffon blouse by the Emanuels in Vogue soon afterwarsds; in fact, she loved that blouse so much that it led to her asking the couple to design her wedding dress. Later, Diana would often layer a white shirt with the pretty tie detail underneath tailored jackets and coats for public walkabouts and visits.

Given the sheer breadth of outfits and trends which Diana played with during her years in the spotlight, it is perhaps little surprise that the Duchess of Cambridge has appeared to pay tribute to some of her late mother-in-law's iconic looks during her own time as a senior member of the royal family. Last year, she wore a pie crust collar dress to a children's tea party in Canada while the polka dot blue dress by Jenny Packham which she chose to leave the Lindo Wing after giving birth to Prince George drew immediate comparisons to a similar style by Catherine Walker which Diana wore after having William.

Perhaps the most famous Diana-related item in the Duchess's repertoire is her sapphire and diamond engagement ring which William gave to Kate so that she would be part of his marriage and adult life. But she has also worn one of Diana's pearl-studded Lover's Knot tiara on several occasions and at a cocktail party in Germany last month, a pearl bracelet belonging to Diana was seen on Kate's wrist.

Read more at:  http://www.queeniebridesmaid.co.uk/purple-bridesmaid-dresses-online

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The millennial-pink pound: a right-on fashion phenomenon

Over the past 12 months, this light shade of pink has come to represent the socially enlightened values of young adults – and, naturally, a new wave of retailers has seized on the aesthetic as a way to flog clothes

Babe Power is the fastest-selling female fragrance of 2017. It comes in an 80ml rose gold “can”, costs £28 and claims to smell of absinthe, moss and candy floss. It’s the honk of the candy floss that stays with you, though, clinging to your sleeve with resolve hours after application. The debut perfume from British brand Missguided, it describes its wearers as “babes!”. A more accurate description may be “anosmic”. Babe Power might smell of cake, but it is also the smell of modern girl power – and money. The first run of stock sold out in three hours.

Missguided launched as a clothing brand online in 2005, although it barely registered until earlier this year. A steady barrage of TV ads, tube posters and odd tie-ins later – such as handing out free cans of Lucozade to commuters – saw sales rise by 70% last year. In the past year, it expanded from a website to actual stores, opening its first concession in Manchester in late 2016 and a flagship branch at Westfield Stratford, in east London, later that year. Love Island contestants do in-store appearances. Model Jourdan Dunn has just designed a line and the brand collaborated with Barbie for a sold-out collection. The whole enterprise is now worth more than £200m, propelling its founder, Nitin Passi, a thirtysomething internet entrepreneur, into the Sunday Times Rich List.

You may have heard of the millennial pound and the pink (gay) pound – but this is the millennial-pink pound. A new demographic defined by a colour that has become ubiquitous in the past 12 months – as well as the politics of the age.

Missguided and others have tapped into a curious territory of twentysomething customers with an ethos that is new to the fashion industry. They see themselves as modern, independent, Insta-savvy would-be feminists – which is why Missguided’s greatest triumph is probably its slogan tees. The message of female empowerment might be a little muddied – a “free the nipple” vest uses a nipple ring attached to the T-shirt in lieu of an actual nipple – but, for young women, it straddles the difficult territory between fashion, feminism and social media.

At the Stratford store, millennial pink is a dominant theme, seen on everything from the stairs and the curtains in the changing rooms to the walls and even mannequins’ wigs. Cavernous and cluttered, this huge two-storey floorspace is filled with vinyl dresses, logo swimsuits and other paraphernalia. It’s an intimidating shop full of club-intensity music and unicorns. Today, a Frank Ocean remix plays loudly. In the centre, a giant pink flamingo looms over the swimwear section – to the left, above a sale rail, sit three gold pineapples. One T-shirt reads “Feminist AF”. On every wall, and every T-shirt, empowerment is writ large. Often in the ubiquitous Avante Garde font. The entire place is both designed to be documented on social media and inspired by the motifs of the medium.

Then there are the clothes. Slogan tees are one thing. Longline T-shirts with cyrillic slogans quite another. Off the catwalk, Russian street-wear is a leftfield trend and yet here Russian phrases are on T-shirts (roughly translated, they say “girl power”). Elsewhere, bra tops with Roman numerals on the straps echo the current season of Dior.

Read more at:vintage bridesmaid dresses


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This is exactly what happens at a Victoria’s Secret casting, according to Australia’s newest VS model

“Everyone is so friendly.”

Hailing originally from Narrandera, a tiny town in New South Wales, Victoria Lee has travelled far (both literally and figuratively) to get to where she is today.

Announced on Tuesday night as one of Victoria’s Secret’s newest recruits, Lee admits it’s kind of the pinnacle moment for most models.

“Victoria’s Secret has always been one of those top tier achievements and goals which would be amazing. Victoria’s Secret has such an incredible lineage of models who, especially Australians, I’ve looked up to and admired. So to be included in that is such an honour,” she tells us from New York, where the 27-year-old has been based now for six years.

But how did Lee get there?

“It’s a dedication to just about everything. You have to be confident, your body has to be perfect. You really need to convey confidence, it’s like a cumulative process. Victoria’s Secret really embraces your personality.”

Explaining the dual-casting process, Lee takes us through exactly what’s involved, from start to finish (with that final confirmation email).

“There are two separate casting sessions. There's a pre casting session where you meet John Davis. That one doesn’t have camera crews or press. It’s just them in the room. You put on Victoria’s Secret lingerie and shoes from previous shows and you meet everyone and then you walk.”

“They’re so lovely, they make you feel as confident as they can.”

After that, the second round, or the callbacks, are the next step. And this time, the pressure is really on.

“That’s the one with Ed Razek, Monica Mitro, Sophia Neophitou and all the people from Victoria’s Secret. It’s the one that one also has the camera crews.”

“So that's all going on while you’re sitting there waiting. If you’re quite calm that’s okay, but there's this energy around you that you just can’t help to pick up on. There’s so much excitement going on - Jasmine Tookes and Martha Hunt were both there, they were filming some behind-the-scenes kind of stuff.”

But despite the frantic environment, Lee stresses the atmosphere is all genuine. “Then you go in five at a time. You go into this room, it’s a big big room and they have a curtained off area. You put on a pair of lingerie and shoes, and there are people there from Victoria’s Secret who make sure you look perfect. They make sure that you do the best that you can.”

Following that, it’s time for the runway. “There was a whole glittery runway and lights… I walked out and I was like ‘woah’ and you see the four of them, John, Monica, Ed and Sophia. And they’re smiling and you feel this warmth from them as soon as you walk out there. They want you to do a good job.”

They asked me what I’ve been doing, because they said my body looked amazing. And then you walk, and that’s it!”

Months of preparation, years of dreaming — all down to a few minutes, as Lee puts it.

So when did the newly minted models find out? For Lee, it was only a day later, on Tuesday night (her casting was the Monday).

“I honestly was just beside myself, I was shaking. It was quite surreal,” she says.

Who says modelling is easy?

Read more at: http://www.queeniebridesmaid.co.uk


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