The British actress, who dated the prince for two years between 2012 and 2014, suffered a wobble after seeing her future brother-and-sister-in-law travel around New Zealand and Australia in 2014 with their eight-month-old son.
She described the moment as a "wake up call", realising this was the life she would have if she stayed with Harry, according to Katie Nicholl, author of Harry: Life, Loss, and Love.
"Cressida had been 'completely spooked' while watching TV coverage of William, Kate and George touring New Zealand and Australia that spring," Katie wrote.
"There was no way she wanted that sort of attention and she told Harry so."
The biographer claims a pal told her Prince Harry didn't want things to end as he was "in love with her".
"He tried to convince her they could make it work, but Cressida’s mind was made up," she wrote.
"Harry suffered a real blow when she said, ‘I can’t do this'. I think she really broke his heart.”
Katie continued: "Twice [Harry] had been left heartbroken because the women he had fallen in love with didn’t want to share the life he had been born into," referring to his ex Chelsy Davy, who also decided the life of a royal bride "was not for her".
Despite breaking Harry's heart, Cressida still managed to bag an invite to his wedding to Meghan Markle last year.
She revealed her biggest fear about attending her ex's big day was choosing the right hat to wear.
Cressida is now dating chartered surveyor Harry Wentworth-Stanley, and posted a loved-up snap on Instagram on his 29th birthday.
Earlier today we revealed Harry Potter author JK Rowling has a crush on "sexy" Prince Harry.
Consider this a taste of what's to come at the Virgin Australia Melbourne Fashion Festival (VAMFF): last week, a collection of Australia's top fashion folk gathered at Hobart's MONA museum for the David Jones' Art of Living season launch. Two female fashion editors wore the same Bianca Spender suit – a loose-fitting jacket-and-pant set – in different warm tones. Designer Rebecca Vallance donned her label's own checked take on a suit, while Amanda Shadforth, from fashion/art site Oracle Fox, paired her blue suit with a white button-up shirt. Were they dressing like men? Hard to say, when you consider the standout men in the room: leading the pack were Romance Was Born designer Luke Sales, dressed in loose fisherman-style floral pants accessorised with a gingham elephant bag and pink-soled sneakers and model Josh Heuston, looking frankly like he'd borrowed Amanda Shadforth's suit but had made it scull a few MONA cocktails first, that's how relaxed it was. Were they dressing like women? Not according to the residents of fashion's new utopia, where clothes are so unlabelled and inclusive, they no longer fit into a category based on gender.
And although not everyone is following suit (pun intended), there's no doubt that this is fashion's newest frontier. Other barriers have been broken already: VAMFF special guest Ashley Graham, a curvy model, appeared on the famed swimsuit cover of Sports Illustrated; at past David Jones parades, there have been models who are shorter/older/curvier than in previous years, and from more diverse ethnic backgrounds. Once upon a time, their presence was heralded with a press release; now, no one blinks a fake eyelash. And with it comes the blurring of lines between what defines womenswear and menswear, and who can wear it. At last year's VAMFF, suit maestro Dom Bagnato sent several female models down the runway in his garments. As VAMFF chief Graeme Lewsey says, "The opportunity for this year's festival does lie in this concept of us appealing to more non-binary consumers. Menswear especially is offering another version of wearing clothes that may not necessarily be defined by a gender binary outcome. This fluidity of gender and spectrum is why menswear is on the rise, and it's not at all feminised menswear, it's this other construct of fashion…There's a lot more playfulness, and there's this experimentation and creativity in how clothes are worn."
Shelby Green of Giant Management and Jack Moran of Vivianas model outfits by Double Rainbouu. Credit:Eddie Jim
Among menswear in particular, rules are lately being broken. On the red carpet in Hollywood for the SAG Awards last month, it was the famous men whose risk-taking stood out: they wore gold jackets (Henry Golding), printed suits (Anthony Ramos) and lapel jewellery (Chadwick Boseman). But Black Panther's Michael B. Jordan one-upped all of them, wearing the new Louis Vuitton floral man harness. He wasn't even the first celebrity to wear it, since actor Timothee Chalamet wore a black beaded version for the Golden Globes. And with one-time Kanye West collaborator Virgil Abloh heading up LV, everyone gets the message: menswear is being disrupted, big time.
But while a floral harness might not have much staying power, unisex clothing and fashion that crosses gender lines is predicted to get bigger. Lately, fashion has been an accurate reflection of where public consciousness lies: it's shown more diversity, has promoted political causes and is ethically aware. Now it's important that fashion represents the population – particularly those in Generation Z – who don't conform to typical gender labels.
Shelby Green and Jack Moran model Chris Ran Lin outfits. Credit:Eddie Jim
Sydney's Double Rainbouu – which will be part of VAMFF's Runway 7 parade – was created as an alternative to resort wear, but does most of its pieces – think Hawaiian-style shirts and baggy pants in playful prints – for men and women, with the only difference being in the sizing. Co-designer Toby Jones says: "We always started with the idea that it would be a unisex brand, but we also felt that the pieces were gender neutral, and people could get into them no matter what sex, shape and size they are. The bulk of our collection crosses over into both men's and womenswear, so we sell basically the same products to men and women … it used to be that if you crossed those barriers [of gender labels], you might have been a fringe dweller, but that's not the case any more. It's more widely accepted." Accessibility of fashion via online shopping, he believes, has allowed customers to niche shop more than ever before. "Customers are seeking out brands for a specific item or product, and they'll go to that brand for one thing and someone else for another. There's not the kind of brand loyalty that there used to be."
Women gravitating towards menswear isn't new; Bianca Jagger, Diane Keaton and Lauren Hutton all popularised men's-style suits in the '70s. These days, sports luxe labels such as P.E. Nation are the off-duty uniform de jour for many fashion females, and as David Jones ambassador-model Jessica Gomes says, "I love men's clothes, and I love wearing an oversized tailored men's suit, big hooded jumpers, baggy jeans and basketball shorts. I once bought a men's suit and tailored it to fit me. Although I love wearing girly stuff, I feel most powerful when I am comfortable. I have a floral dress on now, and in a dress I'm very restricted – it's very lady-like, you have to cross your legs and carry yourself in a different way. You can garden in your overalls; you can't really garden in a skirt!" She says that the idea that certain clothes are for men and certain clothes are for women "is so archaic. Now, if you're a little girl and you want to wear T-shirts and jeans every day, you're allowed to. You don't have to wear cutesy dresses every day."
Melbourne-based designer Chris Ran Lin will be showing his menswear collection at VAMFF, but says that it's menswear in name only. "I have female customers buying my designs – it's more a matter of who likes to wear it, not what gender they are … Also, we realise there are not only two genders … when people say who is your target market, that's not a question for me. I want to dress everyone, and I want them to feel comfortable in what they're wearing."
It's a sentiment echoed by Nixi Killick, one-time designer for Lady Gaga, whose latest collection will be shown in a VAMFF exhibition, Cryptic Frequency. "I see my brand as inclusive, not exclusive. The brand is seasonless and genderless – I'm very much designing for the human body whether that's in masculine or feminine form, and no matter how that person identifies – it's irrelevant. In the last year especially, a lot more men are buying into the label and alternate fashion in general. There's a new wave of experimentation … It's breaking down the idea of dividing clothing into separate camps and looking at the power of colour and aesthetics to communicate in fashion and effect change. To me, it tells people that they can express themselves in any way they want. It's about the best possible future."
Nixi Killick fashion.
When you compare Killick's label to the clean lines and sometimes austere appeal of Jade Sarita Arnott's Arnsdorf label, they seem to have nothing in common, apart from both originating in Melbourne. But Arnsdorf also appeals to both sexes – stylists occasionally borrow the clothes for male model shoots – and Arnott also says that "it makes sense that in this time of openness and inclusivity, codes of dress have blurred and there's more fluidity … womenswear is becoming more inclusive to people who don't just identify as women."
But although she welcomes the fact that society is becoming less constrained – "my friend was at a music festival and she was quite surprised there were so many men wearing dresses; we're really deconstructing clothes and de-genderising garments" – she also points out that there's a practical reason for keeping some line between men's and womenswear. "From a construction point of view, we do focus on a traditionally female biological figure because it's hard to cater to everyone. But we do made to measure and alterations, so we give everyone access to our garments – we're specifically able to cater to your body."
A model showcases designs by Camilla and Marc during the David Jones Art of Living season launch.Credit:Mark Nolan
David Jones' general manager of menswear, Chris Wilson, also thinks that erasing the division between menswear and womenswear will never be completely possible. "I think there will always be elements of unisex, and you see that in sportswear. But men and women have different shapes, so I don't think it will ever not be separate." He does note that menswear has changed in his eight years at David Jones. "Now, accessories are huge, and the colour palette has changed – it's gone from blue, black, grey and white to all sorts of different colours, with lots of pinstripes and printed shirts. Guys are now happy to stand out."
Melbourne-based designer Christian Kimber has had women come in to buy pieces since he first opened his doors at the end of 2016. They still don't account for a large chunk of sales, unless you count their shoe purchases. "Women respond more to the relaxed silhouette we have. But they do want our shoes – maybe it's because when Nike does a women's sneaker, it's often purple or pink, and they want a black shoe." He had so many women wanting his shoes that he went down several sizes, starting his line at 37. He's happy where he stands in the marketplace; although he does have garments in hues that were traditionally associated with women – pink and baby blue – they don't tend to have the same turnover as his other colours. So while he loves the fact that both sexes shop in his store, he knows he can't be everything to everyone. "Identity is so important in fashion, and you have to stand for something." For the Christian Kimber label, that's essentially defining the look of the Australian male. "My concept is to sell the Australian lifestyle through fashion, where menswear is not formal, but it's not so casual, either."
One person with a different perspective is model Stefania Ferrario, who looks feminine and curvaceous when she appears in campaigns for Dita Von Teese's lingerie line, but who slips into a male role on film when she wears boyish gear, gels her short hair and wears a different expression. Although she enjoys the creativity of switching roles for a photo, she's surprised by the reaction she sometimes gets. "People can get really confused and say, 'You're not a male, why are you dressing like this?' They can get quite triggered by this and upset."
Her own view is that "Clothes are a way of expressing yourself and saying who you are on the inside. When you allow people to explore clothes that aren't stereotypes of masculine and feminine, it allows them to find out more about themselves … I remember first seeing [androgynous-looking model] Erika Linder shooting men's campaigns, and it was empowering. It used to be that brands thought, 'Let's grab headlines and shock people.' And now it's moved into the norm … [gender diversity in fashion] really does end up trickling down and affecting everyday people. We're going to take it in subconsciously and having those images around more and more would have a huge impact on the psyche of the youth of today. It's important to see that in fashion."
Natural, pared back but exceedingly personalised is the emerging overall theme for weddings this year, as couples try to put their stamp on their celebrations while keeping things classic and stylish.
While 2018 saw couples fall head over heels for gorgeous greenery, full-on florals are back this year as bouquets get bigger and pretty petals line the aisles of ceremonies nationwide. The trendiest couples are going even further with their statement florals by using alternatives such as pampas grass and circular floral arrangements as ceremony backdrops and centrepieces.
Last year’s wedding buzzword may have been ‘unplugged’ but this year it’s ‘plastic-free’ as couples take a cue from the likes of Princess Eugenie et al and attempt to keep their big day decor as eco-friendly and ethical as can be.
We are becoming more mindful about how we eat and drink, and there’s no better place for couples to highlight their newfound healthy ways than at their weddings, which they are doing with a focus on local Irish produce being served up to the most discerning of guests, and non-alcoholic alternatives such as alcohol-free craft beer and gin on offer for those forgoing the fizz.
The classic, elegant dinner party is returning, albeit without the formal top table as couples adopt every effort to make wedding planning as relaxed and drama-free as possible, and integrate with their guests to immerse in the day.
Colour-wise, ‘Living Coral’ was announced as Pantone’s Colour of the Year for 2019 and while it may creep into high summer weddings, as a tricky colour to wear it’s likely that brides will side step this one in favour of easier-to-style purples and pinks.
Elsewhere, alternative celebrations including the chilled out ‘zen do’ are making waves with those who are favouring a relaxed weekend with their pals ahead of the Big Day, while those wanting to really extend the celebrations are opting for the ‘buddy-moon’. A second dress for the reception is now very much a thing for fashionista brides, while hyper personalisation with custom illustrations of the couple and hand written notes for each guest could be expected at some of the more romantic, intimate soirées.
Of course, when it’s all done and dusted couples can look forward to doing it all again at their the 10-year anniversary vow renewal ceremony — another huge trend trickling down from celebrities who are finding that they want to do it all again!
For now though, here’s a closer look at some of the top trends for the wedding year ahead…
Paperless & plastic-free
One of the major focuses for the individual this year has been to become more aware of the plastics we use in our daily lives, and to make a concerted effort to reduce waste. And while when Princess Beatrice proudly declared to British Vogue ahead of her big day last year that her wedding would be ‘plastic-free’ many rolled their eyes, she did further highlight that it’s not just in our day-to-day lives that we could be more mindful about what we use and throw away. With that in mind, many couples this year are looking to reduce their footprint (and bonus — save a bit of cash too) by going paperless with their wedding invites and/or save-the-dates, attempting to cut down on the plastic waste produced from their weddings, and choosing to go local for food and decoration.
Reusable, hired or borrowed decor, coaches for guests instead of their individual cars, donating flowers or reusing them for next day celebrations and thinking twice about hen party outfits or photo booth props are just some of the ways couples are attempting to reduce the impact of their big day. When it comes to DIY projects, ethical couples are choosing glass over plastic and opting for stationery suppliers who use recycled paper and local printers to create their products. Guests are getting in on the action by restyling their wedding outfits and wearing them again à la Kate Middleton. So-called ‘ethical’ or eco-friendly weddings are nothing new, however people are more aware than ever of the effect of their choices on the planet, not least those choices they make for a lavish affair like their nuptials.
When it comes to decor, bringing the outside in is the order of the day for weddings in 2019. Many saw the huge impact huge florals had on the likes of the wedding of the Duke and Duchess of Sussex last year, and are opting to go big on the blooms and make their florals a real statement feature throughout their celebrations. Whether it’s floral illustrated invites to set the tone for what’s to come, a huge Royal-inspired ceremony arch to welcome guests as they arrive, or candyfloss-feel cherry blossom trees as pew ends, couples are using nature as their backdrop no matter where the wedding may be.
“The trend is moving towards a larger bouquet,” Ruth Monahan from Appassionata Flowers concurs. “These will be loose and flower-centric in style and similar in tone to Dutch Masters with colour and texture. Peonies and vintage garden roses are still the favourite choice, and dusty pink bouquets are proving to be very popular.”
Greenery remains a big favourite this year, both for bouquets and table decor, with florists achieving texture by mixing in various types of eucalyptus, acacia, waxflower and more.
When it comes to weddings this year, everything is personal. Custom illustrations of the couple for the invites and stationery throughout the celebration will offer a whimsical keepsake that’s sure to impress guests, while others are going one step further with custom illustrations of the guests themselves for table plans and place cards.
Photos are still very much a feature, with guests’ carefully dug-up past profile pics perched on their place setting to break the ice, while sentimental couples are taking the idea even further with individually hand-written notes to guests as a way to thank them on the day.
The idea is to make everything as personal as possible for couples this year, from the choice of music in ceremonies to the choice of celebrant for a symbolic, non-legal blessing. If having a friend say the wedding isn’t quite an option, getting family and friends involved by singing, playing an instrument, dancing or adding to the ‘open speeches’ are other ways of making sure the couple’s stamp is put on the day. For those embracing social media, the personalised hashtag is still very much an option.
In keeping with ethical, plastic-free and eco-friendly weddings, minimalism is set to take over this year with many couples paring back decor and making a statement with simple contemporary feel details including bare banqueting tables and typography-led stationery.
Along with the decor, the dress is another item getting the minimalist once-over. Inspired by Meghan Markle’s stunning ‘second’ dress by Stella McCartney, ‘less-is-more’ is the idea when it comes to the sophisticated bride, where the dress is all about an exquisite cut, fabulous fabric and, most importantly, the fit and feel.
Further to that, the make-up-free look that has become the go-to beauty trend this year extends to the wedding day, with brides showing off their glowing, glossy skin — complete with freckles and birth marks — in a bare faced, luminous look.
Cakes: Focus on flavour
While from Pinterest and Instagram it may seem that the focus on wedding cakes is all about their appearance (and height!), couples this year are thinking more about how their cake tastes in order to ensure it goes down a treat with family and friends.
Many are becoming a little more adventurous with their flavours too, and opting for dark and decadent flavours such as velvety chocolate for autumn/winter weddings, or a light lemon buttercream for summer soirées.
“Couples want something different, something they haven’t had before,” says baker and cake designer Caroline Goulding. “My most popular flavours [at the moment] are raspberry, white chocolate and honeycomb; blackberry, elderberry and vanilla cream cheese; and lime, coconut milk and passion fruit curd.”
Jen Rojas of Cupcakes and Counting reveals her most popular flavours for 2019 are equally exciting, including ‘Genuinely Guinness’ — a rich and deep dark chocolate cake infused with a Guinness draught and layered with Bailey’s cream frosting; ‘Salted Carmelita’ — a moist caramel cake layered with salted whiskey caramel and salted caramel frosting; and ‘Lemon and Elderflower’ — a tangy lemon cake layered with fresh lemon zest buttercream frosting and a hint of elderflower.
The zen do
As an alternative to raucous, booze-fuelled hen dos, many health-conscious brides, their ’maids and friends are turning towards rest and relaxation this year as a way to celebrate and recharge batteries ahead of the Big Day.
‘Zen dos’ include everything from yoga retreats to countryside getaways where hikes and healthy meals are the order of the day.
It’s not only the pre-wedding celebrations that are seeing changes this year however, as family-moons and buddy-moons become more popular with couples taking a page from the likes of Meghan Trainor and Gwyneth Paltrow by bringing their friends, siblings, kids and/or ex-husbands (!) along on their more-the-merrier honeymoons.
What else we’ll be seeing over the wedding season
1. Wedding dresses with pockets
2. Brides in tiaras and bandeau headpieces
3. Smoke bomb photos
5. Non-alcoholic signature drinks
6. Colourful and printed grooms suits
7. Signs everywhere
8. No formal top table
Last year in the Weekend wedding special we predicted the wedding trends for the year ahead. How did we do?
The best-selling writer – now worth close to £1 billion thanks to her wizarding books and films adaptations – reveals her feelings for the dad-to-be in her latest work.
She has recently penned a string of adult crime thrillers under the pseudonym Robert Galbraith, in which the hero is a former Royal Military Police officer turned private investigator called Cormoran Strike.
And the latest instalment – Lethal White – sees Prince Harry, 34, a champion of injured servicemen with his Invictus Games, attending a reception for Paralympians ahead of London 2012.
A scene in the book reads: “Izzy… then peeked back over her shoulder at Prince Harry.
“’He gets sexier every passing day, doesn’t he?’ she whispered.”
Though the Scottish-born author clearly isn’t fan of what the Duke of Sussex might pack below the waistband, as the passage continues: “’Ginger pubes though, darling,’ said Charlotte, deadpan.
“Against his will, Strike grinned. Izzy snorted with laughter.”
Rowling has previously defended Prince Harry's wife Meghan, 37, after she was branded "unsuitable" for the royal family by a magazine for being a divorcee.
In response to the damning tweet by The Spectator, Rowling replied "#TeamDivorcée".
The Harry Potter creator has so far released four Strike books and hopes to produce at least 10 – with the next two already in the pipeline.
Rowling, 53, also revealed she imagines the character of Strike as "a hybrid" between her original idea and actor Tom Burke, who plays the lead character in the BBC adaptations of the novels.
She said she arrived at the alter ego of Robert Galbraith by mixing the name of her political hero Robert F Kennedy and her childhood fantasy name Ella Galbraith.
Yesterday we revealed the Duchess of Sussex is to use Chinese mystic art feng shui to lay out new home with Prince Harry.
The couple will move into Frogmore Cottage near Windsor Castle next month ahead of the birth of their first child.
The renovations are costing up to £3million. Taxpayers will foot the builders’ bill while the couple will pay for the interior.
The Oscars are the most glamorous night of the year. But just because you have an invite — or even a nomination — doesn’t give you license to rock the fanciest frock you can find.
In fact, industry insiders tell The Post that wearing a custom princess pouf or glittering gold when you’re not up for one of the evening’s top prizes could be as much of a faux pas as wearing off-the-rack Zara.
Stylist Tara Swennen, who dressed last year’s Supporting Actress winner Allison Janney in a sweeping, sexy scarlet Reem Acra gown, says the best practice for choosing an Oscars outfit is: “Know who you are in the room.”
“Essentially,” she says, “if you’re going because your husband was nominated for best director, you don’t need to have the biggest gown.”
It’s not just the plus-ones who have to worry about ruffling feathers, either.
“Hollywood is weird about their little social rules, and they overinflate the meaning behind certain images,” says Tom Fitzgerald, of the celebrity-fashion website Tom + Lorenzo. “So if you’re showing up on Oscars night as a long shot wearing some gigantic attention-seeking piece of couture, there are people in the room — and people in the press — who are gonna be like, ‘Hmm, that’s a bit much.’ ”
Lady Gaga experienced this last month, when she arrived at the Golden Globes in a periwinkle Valentino confection that required two wranglers to manage the lengthy train — only to lose the acting prize to Glenn Close, dressed in an understated black cape.
Dressing a Best Actress winner in the right outfit starts months before the Academy of Motion Pictures Arts and Sciences even announces the nominees.
According to a VIP fashion publicist, who spoke on condition of anonymity, brands are paying attention as early as the spring and summer, with film festivals such as Cannes in May and Venice in August.
“I’m looking at what movies are getting buzz that are likely to make it to the Oscars, and we’re engaging with those actors and actresses early and trying to form relationships,” she says.
Being a shoo-in for the grand prize isn’t the only priority, she says, adding that a designer would rather have someone that matches his or her aesthetic and messaging — but it does change the conversation.
“You kind of usually know who the one or two front-runners are,” she says. “The celebrities will never say anything about it, because everyone is too superstitious. But we [at the brand] will talk about it, and we’ll say, ‘OK, we think this person is going to win, and they’re probably going to be on stage, and they’ll probably be walking to the press room,’ so we’ll just think of the functionality of the look and colors that will look good when they’re holding an award in their hand.”
There’s also the question of whether the actor is up for a leading or supporting role award. The former tend to wear belle-of-the-ball gowns or sequinned Old Hollywood numbers.
“A lot of [Best Actress winners] show up in neutrals or metallics, very sparkly looks,” says Fitzgerald. (Think Emma Stone’s golden fringed column from 2017, Cate Blanchett’s embellished blush frock from 2014, or Jennifer Lawrence’s bridal, fishtailed Dior from 2013.) “It’s not often that you see someone in a red gown accepting her best actress Oscar.”
But Supporting Actress winners, he says, “have more leeway.” Think Lupita Nyong’o’s powder blue Prada from 2014 or Viola Davis’ striking ruby sheath from 2017.
Still, designers want to dress their clients in a way that will draw attention to the brand, which sometimes is at odds with what the celebrities — even those who will be on the grand stage presenting an award — think is appropriate.
That has happened to Aliza Licht, a fashion industry executive who previously did celebrity dressing for Donna Karan.
“I was dressing a Golden Globe presenter back in the day, and we had made a dress for her,” she says. “Then, on the day of the last fitting, she brought her boyfriend, who was like, ‘But you’re not nominated. I think it’s too much.’ The dress didn’t happen.”
Designer Christian Siriano, who outfitted a whopping 17 women for last year’s Oscars, including Supporting Actress nominee Laurie Metcalf, says that upstaging a winner is certainly a concern among some of his clients.
“There are definitely actresses that are like, ‘Oh, I’m not nominated, so I don’t want to stand out so much. I want to be a little more subdued, and I want to make sure that the attention is on the people being nominated,’ ” he tells The Post.
But he says that certain stars transcend the politics of the red carpet, such as Whoopi Goldberg, whom he dressed in a voluminous floral gown — and sunglasses.
“She’s like one of the only living EGOT winners. She’s gonna wear whatever she wants to wear,” he says.
Plus, fashion insiders say that the idea of a “winner’s dress” vs. a nominee’s or presenter’s dress is starting to
“When you think about what Frances McDormand wore last year, when she won Best Actress, it was not a typical Oscars gown,” says Fitzgerald of the “Three Billboards Outside Ebbing, Missouri” star’s covered-up Valentino. “I mean, [frontrunner] Glenn Close is not showing up in a princess gown — that’s not who she is.”
Siriano is also seeing a shift.
“I think everybody is about celebrating themselves and their culture — where they’re from or whatever that may be,” he says. “This year, we’re going to see all the amazing people from ‘Black Panther,’ and all those [actors] dress the way they want to represent themselves.”
And while Swennen will caution her clients if an outfit might read as too over-the-top for their station, she says she welcomes rule-breaking.
“Honestly, the best Oscars moments throughout the years have been people who have literally just not cared at all … from Bjork to Cher,” she says. The Oscars “is one of the biggest stages. So I think if there’s a statement you want to make, it’s definitely the place to do it.”
Wow, we see you, Bella and The Weeknd — even if you’re both in camouflage. The power couple stunted in twinning fits while ringing in The Weeknd’s 29th birthday!
After the lavish gifts on Valentine’s Day, The Weeknd, 29, and Bella Hadid, 22, continued to prove their love with matching camouflage outfits on Feb. 15! Both wore green camo jackets, but while The Weeknd opted for coordinating sweatpants, Bella wore a sexily reimagined version of a soldier: a camo halter top and matching mini skirt, complete with Timberland-inspired stilettos. They weren’t the only ones in “disguise” at the party, however, while celebrating The Weeknd’s 29th birthday as the clock struck midnight! The birthday party attendees also wore camouflage patterns for the affair, as seen on Abel’s Instagram Story. See his couple’s picture with Bella below, and also check out the model’s own picture, here!
The Weeknd wasn’t just sporting new threads, but a fresh ‘do too. The “Starboy” singer debuted braids in his photo with Bella, and fans approved of the style change. “New hair, new album, new era,” one fan commented, after The Weeknd tweeted that he’d be releasing “no more daytime music” on Jan. 19. True to his word, The Weeknd has been producing new music for his Beats 1 radio show, Memento Mori, which has been promoted with a steady stream of skeleton artwork. A more dangerous era is here, and Bella put together a sexy clip to advertise the show’s “celebratory birthday episode” that was released on Feb. 15! Couples who wear camo together and promo together, stay together.
Bella posed for even more pictures with Abel on her own Instagram Story, and wrote a steamy message in one of them: “Happy birthday daddy.” Howdy! Clearly, Bella’s still on cloud nine after her boyfriend lavished her with a landslide of roses, which were strewn across a table and filled multiple boxes and vases in the room. Candles and red teddy bears topped off the V-Day surprise!
Appearing on Channel 5's Spending Secrets of the Royals, biographer Katie Nicholl claims Prince Harry's costly expenses were covered by the billionaire owner after he waived the bill for the Royal.
While discussing Prince Harry's old spending habits, the royal expert claimed that he "ran up a £30,000 bill" while staying at the Wynn hotel in Las Vegas back in 2012.
But when it came around to settling his expenses, Katie added: "Steve Wynn, the owner of the hotel Harry was staying in, just wiped the slate clean."
It was during Prince Harry's stay at the luxury hotel in Las Vegas – where suites can cost upwards of £700-a-night – that the Royal was pictured naked in photos that were then leaked online.
Although the photos themselves were deemed an invasion of his privacy, The Sun recreated the photos of Prince Harry standing naked in the Las Vegas hotel room while covering his modesty.
However, the royal expert claims that this was not the only time Prince Harry didn't have to pay a bill.
While enjoying a night out in London's Mayfair in 2007, the royal expert added: "Prince Harry tried to pay with his Army identity card."
Having "racked up a pretty sizeable bar bill" while partying with friends and his then-girlfriend Chelsea Davy, Katie said: "The barman called for the manager to see exactly what to do about this transaction and the bill was waived."
Meanwhile, royal expert and editor of Majesty magazine Ingrid Seward added: "Prince Harry was, and probably still is, the party boy of the Royal Family.
"He just loved to go out drinking with his mates and go out clubbing."
But it would seem Prince Harry's extravagant spending prior as a young man in the army was only a warm-up for what would be his biggest party of all: his wedding day.
The royal biographer – who has previously claimed Prince William "riled" Harry after voicing "concerns" about his relationship with Meghan Markle – revealed that "Harry and Meghan's wedding cost over £32m."
Breaking down the cost of Royal Wedding, Katie added: "The majority would have gone on security, which was the biggest single expenditure.
"£286,000 or thereabouts was spent on catering for the evening event, £193,000 on drink alone, a further £100,000 on the flowers which beautifully adorned St George's Chapel and then £387,000 on Meghan's wedding dress."
In comparison, Kate Middleton's Alexander McQueen wedding dress is estimated to have to cost £250,000 when she married Prince William in 2011.
The documentary also reveals that the Queen Mother also lived extravagantly during her years at Clarence House.
Royal wine waitress Pippa Penny revealed: "At the age of 97, she was in hospital having an operation on her hip and she smuggled 12 bottles of Krug champagne into the hospital to make her stay a little more comfortable and enjoyable.
"A bottle of Krug can fetch up to £150."
It was this extravagant spending that led to The Queen eventually having to subside her mother's spending to £1.5m a year, according to Katie Nicholl.
She added: "When the Queen Mother died, she actually had an overdraft with Coutss bank of £4m which was left to the Queen to clear."
Spending Secrets of the Royals airs on Channel 5 tomorrow at 10pm.
In more Royal Family news, Prince Harry is "knuckling down" and reading military-style parenting book Commando Dad to "please Meghan Markle".
And "upset" Prince Harry "complained" William was always the centre of attention, a royal biographer has claimed.
Plus Prince William has admitted that he and Kate Middleton have "disagreements" with Prince Harry and Meghan Markle.
LONDON — A few weeks before her London Fashion Week show, scheduled for Sunday, the prizewinning fashion designer Grace Wales Bonner was wandering around a show of a different kind at the Serpentine Sackler Gallery here.
Titled “A Time for New Dreams,” it was full of photographs, sculpture, sound, film and even a shrine-like meditation space, and had been curated by Ms. Wales Bonner and the gallery staff, conceived as a kind of backdrop to her coming fall collection show.
Understand the one, she suggested, and you would have a better understanding of the other. For anyone trying to answer the perennial question of “where in the world did that designer come up with that idea?” the exhibition is effectively a primer on a fashion creative process.
“It’s important that there is no hierarchy between practices,” said the 28-year-old, who was wearing a Céline skirt (old Céline) and a shirt of her own design as she walked through the space, explaining how the exhibits by, or about, her literary and artistic heroes inspired her work.
According to Ms. Wales Bonner, they provide “an insight into my mind, how I put things together but also the context within which the characters and the collection emerges.”
So here were two cloth sculptures by Eric N. Mack, a Bronx-based textile artist and painter chosen because, Ms. Wales Bonner said, “his work connects to research I did in textiles and how you can integrate rhythm into aesthetic practice.” Mr. Mack also created a backdrop installation for the designer’s fall 2018 show, and worked with her on a hand-painted madras checked shirt for her spring 2019 collection.
Nearby were two day beds — red oak frames covered in authentic zebra skins — by the conceptual artist Rashid Johnson, based in New York. Ms. Wales Bonner said the beds reminded her of simple wooden altars as well as “suggesting an environment that a sophisticated black leisure class would inhabit,” while the Persian rugs beneath each “give a sense of grounding and connects to different histories.”
Elsewhere, a sound installation by Chino Amobi, the Richmond, Va.-based musician, artist and co-founder of the NON Worldwide record label, worked to “acknowledge where you come from and how you got here and all the people who have sacrificed or created work to give other artists, younger artists freedom,” Ms. Wales Bonner said. (One of Mr. Amobi’s sound works created last year was called “Ancestors.”) And then there were the texts by the Nigerian novelist Ben Okri — one of Ms. Wales Bonner’s favorite writers, whose 2011 collection of essays, “A Time For New Dreams,” gave the exhibition its title — scattered across the gallery’s white walls.
The idea for the exhibition and for the 70-piece collection, Ms. Wales Bonner said, was to stretch her usual focus on black masculinity and sexuality — she began as a men’s wear designer — to explore the life of the black intellectual. And the challenge, she added, was how to communicate cerebral ideas via clothing and organic materials.
She said she thought about Howard University, the historic black institution in Washington, D.C., whose chamber choir soundtrack is included in Mr. Amobi’s installation. Which led her to collegiate dressing in the 1980s, the era of many of the artistic and literary figures featured in the exhibition. Which led to the actual fashion, including her variations of varsity jackets, Oxford shirts, the Mac raincoat and even a white tuxedo.
“I was looking at the ways that you can kind of embed those very American pieces of clothing with a sense of magic or sense of ritual that comes from Africa,” Ms. Wales Bonner said. “So embroideries have a sense of magic.”
In practice that meant that the kind of sequined flags used to evoke spirits in Haitian voodoo ceremonies were embroidered onto a varsity jacket, and the names of literary works and their authors, rather than the usual athletic team insignia, were emblazoned on sports shirts.
Styles based on clothing once worn by the artists and writers represented in the exhibition also were integrated into the fall collection, which is titled “Mumbo Jumbo,” the same name as the disorienting 1972 voodoo novel by the American writer Ishmael Reed (represented in the exhibition in film and text).
But the designs, which include some women’s wear, were interpreted “in a way that I feel that is relevant to this time,” Ms. Wales Bonner said.
So David Hammons’s thick herringbone coat, which the American artist wore in the 1980s, has become a herringbone jacket with voodoo-inspired feather trims, and also inspired a trucker jacket with leather patches and an oversize coat. And Mr. Okri’s scarves, an accessory he has favored for years, are referenced in the collection’s scarves. Fabrics made by Mr. Mack, reflecting the same collaging and dyeing techniques he uses to transform old scarves into textile sculptures, were used for a kimono, pajamas and shirts.
Early plans are for the fashion show, to be held in the gallery the day after the exhibition closes, to be a moving presentation created by M.J. Harper, the dancer and choreographer who frequently collaborates with Ms. Wales Bonner, rather than a traditional runway march.
The goal is to communicate the same connections expressed by Trent Lafond, a 20-year-old model who wore the collection’s kimono at the exhibition’s preview. “I’m aware it’s an artwork,” he said of the garment. “But the first thing I noticed was how comfortable it is, so it makes me feel more confident.”
The former Spice Girl, 44, is releasing her first make-up range later this year, and announced the news on social media this week.
The Victoria Beckham Beauty range will initially launch as a digital brand, and Victoria will consult women on what products they wish to see most.
Victoria said in a statement this week: “I want to take care of women inside and out, providing them with the must-have items in make-up, skincare, fragrance and wellness that I feel I need in my own life.”
She said she went directly to customers to get opinions on her fashion creations, before she had a standalone store – and she will be doing the same with her make-up line.
The designer explained: “Just like I spend so much time in the fitting room getting to know what my customers want to wear, I’m going to be asking women to tell me which products they want me to develop for them in the beauty and wellness arenas. It’s important for me to know what they want.”
Victoria confirmed the line would be “cruelty free, inclusive for all skin tones, and available at an accessible luxury price-point.”
Fans were quick to take to social media to share their excitement at the mum-of-four’s news.
One wrote: “I've been waiting for you to do this @victoriabeckham thank you.”
Another added: “Yay I hope I can afford it!”
Victoria is often asked the secret to her beauty looks and youthful appearance, and has already enjoyed success with two sell-out collections with Estée Lauder.
And she recently revealed that the secret to her flawless Instagram glow is a £25 primer from Boots.
The singer has been sporting a fresh-faced look of late. and we can reveal that it's actually down to This Works In Transit Camera Close Up, which comes in at a reasonably priced £25.
Victoria apparently uses it alongside more expensive brands like La Mer and her own Victoria Beckham x Estée Lauder make-up collection.
Last year we tried Victoria Beckham’s bizarre vinegar, seeds and bee pollen diet – and it wasn't fun.
Posh might use a £72 sheet mask for her flawless skin – but here's how you can get the same results for £5.50.
And this is the cream that VB calls her 'body secret'- and it's just £10.
The fall 2019 collections unveiled at New York Fashion Week might not hit stores for another six months, but the runways were chock-full of style inspiration to take a cue from right now. From the coolest color to the poppiest print, read on for the top trends of the season.
Billowy gowns splashed with floral prints sprouted up all over the runways. Bold, tiered and sometimes trimmed with ruffles a la Marc Jacobs, these frocks were not your typical wallflowers. Bound to be the new silhouette for fall, these relaxed takes on feminine dressing looked comfy as all get out — especially when paired with flats, as they were at Carolina Herrera.
The Oscars are right around the corner, so it’s appropriate that designers served up red-carpet ready showstoppers on the February runways. Dreamy plumage took many forms, whether trailing the hemline of Michael Kors’ gold disco dresses or finished in angelic, asymmetrical froth a la Oscar de la Renta. These major pieces are best-dressed moments waiting to happen.
Designers are all about the flounce: bold single-shoulder silhouettes popped at Prabal Gurung, while Area’s downtown party girl layered hers with platforms and a serious dose of glittery accoutrements. Sies Marjan’s rainbow puff — as it glided down a crystal-covered runway — was pure fashion fantasy.
There’s often a standout color at Fashion Week, but it’s rare for a hue to be represented in so many shades. The regal tone was everywhere — from a series of grape-colored gowns by Christian Siriano to Sies Marjan’s eggplant leather suiting. Sally LaPointe’s full-on lavender looks, though (all matching, right down to the socks!), were a study in monochromatic magic. Purple people we shall be, come fall.
This sleek fabric took over — quite literally — at Jonathan Simkhai, where slip dresses topped turtlenecks and even checked trousers. It was poured head-to-toe at Brandon Maxwell in the way of body-skimming evening-wear. Tom Ford mixed it up, offering his spin on sexy suiting: cuffed satin pants styled with sheer tops and velvet blazers.
This fall, put your plain black coat in storage because the runways were all about over-the-top outerwear. Never have options been more plentiful — or playful. Among the favorites were slouchy bold puffers coolly mixed with tie-dye at Prabal Gurung, Oscar de la Renta’s ladylike patchwork duster cinched with an oversize brooch and LaQuan Smith’s sexy python-print numbers styled over stretchy leopard looks. The ideas were eye-popping, and so was the sartorial payoff.