Everywhere I go, I am being stalked by mullets. Walk into a pub in the vicinity of Hackney, east London, and you, like me, will be haunted by the sight of them. Queue for a Fred Again concert and you’ll see an ocean of the things. Go to a rugby match at Twickenham Stadium, and there will be as many mullets as there are team shirts. Whether you know it as the mullet or the “Kentucky waterfall” or “beaver paddle”, they’ll have been in your sightline as of late. The hairstyle, which involves a shorter crop at the front, top and sides, and longer in the back, is currently being paraded by on-screen heartthrobs like Paul Mescal, Australian actor Jacob Elordi and American movie star Timothée Chalamet. In the world of sport, Spanish footballer Hector Bellerin, British rugby player Joe Marler and Formula One driver Valtteri Bottas have all rocked the hairstyle this year (and that’s not forgetting about 90 per cent of “Aussie rules” football players have mullets right now too). But its ubiquity in modern pop culture goes back a few years. Singer Lil Nas X, for example, turned up at the MTV Awards in 2021 wearing a curly, layered version of the hairstyle. Women have been wearing the coiffure even longer. Pop culture mainstays like Rihanna and Zendaya have both worn mullets on the red carpet, in 2013 and 2016, respectively. By 2021, Miley Cyrus was donning the style. That same year, Vogue hailed the mullet as the unlikely star of modern street style. The mullet has also stormed down fashion week runways, with Junya Watanabe, Stella McCartney and Alexander McQueen all incorporating the hairstyle into their 2022 shows. If that wasn’t enough proof of the mullet going mainstream, a failsafe method for judging something’s popularity is when that trendy thing gets banned in schools, or there’s a level of moral panic about it. That happened last month when a Sunderland schoolboy’s mullet was decided to be so “extreme” that he was put in isolation and ordered to chop it off. Meanwhile, even more Brits are trying to catch up with Australian mullet culture: a doctor from Dorset made headlines this week as he has been growing his locks in preparation for the world mullet growing championships in Australia, a contest that he said was “widely considered to be the Everest of the competitive mullet growing world”. We’ve all gone mullet mad. Though the name itself wasn’t coined until two decades ago – the Oxford English Dictionary credits the Beastie Boys’ 1994 song “Mullet Head” for the popularisation of the word – the mullet existed long before that. In his book Mullet Madness, Alan Henderson writes that prehistoric people may have figured out that having their hair cut shorter at the front and longer at the back meant they could keep their hair out of their eyes and their necks still toasty. What’s more, Ancient Greek texts referenced men with mullet-style cuts, while depictions of Greek gods that date back to the 6th century suggest that the hairstyle existed even then. In certain indigenous populations in the US, long hair symbolises power and a connection with the divine, and a version of the mullet – the front spiked and the back long – is considered a traditional style in tribes of the western United States like the Blackfoot and Crow. The version of the mullet we see in popular culture today, though, strongly harks back to David Bowie’s tangerine-orange waterfall-style mullet worn as his alter ego Ziggy Stardust. In the Seventies, it set a cultural precedent for the mullet as a fashion statement. Back then, the hairstyle was subversive. It spurred strong reactions from the more conservatively coiffed elite because it refused to conform to any one standard: the mullet is both long and short; masculine and feminine; somehow, scruffy while slick. The mullet’s return could be seen as a happy accident. In lockdown, men would scissor away at their locks, crafting eccentric hairstyles out of sheer boredom, sharing pictures of the resulting cut to their respective WhatsApp group chats. But that comedy mullet has since died out. A fashionable, en-vogue hairstyle has stuck around. In searching for the perfect modern mullet, men have downed tools and turned to the professionals for help. Ryan Lewis, owner of Club 13 barbershop in Hull, says that about one-third of his customers are opting for mullets. “Its presence within combat and contact sports alone conveys a modern masculinity that has trickled down into the mainstream,” he says, adding that the “harsher cuts” seen in rugby culture are being cancelled out by the more subtle, feathery mullets worn by Mescal et al. “The modern mullet is bringing a more natural and effortless look with a softer and less obnoxious shape.” James Doyle, the manager of Bristol barbershop Harry Blades and Angry Daves, says it’s not just people who work in non-corporate environments who are taking the plunge, either: it’s becoming workplace-appropriate. “You would think it’s only the musicians or creatives,” he says. “But I’ve got a couple of accountants that are rocking mullets. Anyone and everyone seems to be jumping on the trend.” The mullet trend allows men to be more expressive and embrace their individuality. I had a sixth form student come in the other day and ask for a mullet – young men are becoming more daring with their hair Samantha Perkins, salon owner and lecturer The style has become so sought after that hairdressing schools are changing the way they train stylists, too. Samantha Perkins is the owner of the salon Hair by Sam and lectures at the London Hairdressing Academy, and says that the academy has launched special masterclasses in the art of cutting mullets due to popular demand. “It’s very technical,” she explains. “It’s cut with scissors and razors, so without using clippers – so it’s already a level three cut without a doubt. Students really need to understand the hair type to execute the look.” Perkins adds that the supremacy of the cookie-cutter “short back and sides” haircut that has dominated men’s hairdressing trends for the past decade is on its way out. “The mullet trend allows men to be more expressive and embrace their individuality,” she says. “I had a sixth form student come in the other day and ask for a mullet – young men are becoming more daring with their hair.” Michael Kent, a stylist at Blue Tit hair salon in London, agrees that the popularity of the mullet hairstyle has opened up a new way of self-expression for men. “Men’s hair has always been so bland and [the mullet] has allowed people to really embrace their individuality. In popular culture, a lot of people are more comfortable in their sexuality and diversifying so much. We’re seeing a lot of clients coming in and asking for a cut like Timothée Chalamet’s. Before, people would ask for Ed Sheeran’s hair, so you can see how it’s changing.” The mullet is not just limited to men, either. The coif has long been donned by famous women (Scarlett Johansson, Joan Jett and Dolly Parton have all worn variations of the style over the years), and both Perkins and Kent say they have women customers asking for the same. “The mullet is a genderless cut,” says Kent. “Women and men are really embracing it – it’s an androgynous look.” And if you want to try the mullet yourself, Kent assures me it suits most people: “It’s like a wig you can put on anyone!” Read More Women’s scarves and crocheted ties - what is Robert Peston wearing now? I salute Dolly Parton’s beauty routine – no one sees me without my make-up How Naomi Campbell proved all her haters wrong – including me Women’s scarves and crocheted ties - what is Robert Peston wearing now? I salute Dolly Parton’s beauty routine – no one sees me without my make-up How Naomi Campbell proved all her haters wrong – including me

In 1999, I was sent to interview Naomi Campbell. Friendly, she was not. In fact, 24 years on, she remains one of the most difficult people I’ve ever interviewed. I now know why. Even though I worked in fashion for 20 years, it took the recent documentary The Super Models for me to understand the unique challenges Campbell has faced. This is because I am a naive white woman. As anyone who has watched the four-part series will attest, despite all occupying the highest echelons of modelling, it transpires that Cindy, Christy, Linda and Naomi were never actually equal. Some are richer. Some are healthier. Some found love. And one had to deal with a lifetime of systemic racism. Life doesn’t deal all of us the same hand, even if, on the face of it, we are equally deserving. No matter that you are one of the world’s top models: sometimes, life still gives you lemons. And that’s when you are faced with a choice – to let it sour you, or to make lemonade. Beyoncé may have made an album about this, but Naomi Campbell has made it the defining principle of her entire career. Her 40-year reign at the top of her profession reminds us that there are supermodels, and there are SUPER models. Even Cindy, Christy and Linda would probably admit that out of the four of them, their friend is most deserving of the title. For not only has Campbell, 53, carved out a stellar career as a model: she’s also an activist and philanthropist, an advocate for social change who hasn’t just walked the walk (and what a walk), but has put in the time and done the hard work. As one of the first Black models to achieve supermodel status, Campbell broke barriers and opened doors for models of colour, changing perceptions of beauty in the fashion industry and paving the way for more diversity and representation. It is far from perfect now, but few would argue that she was a pioneer. Ever since being discovered as a schoolgirl in Covent Garden, London, at the age of 15, Campbell has been changing the game, despite said game being stacked against her. Aged 17, she became the first Black model to be on the cover of British Vogue since 1966. Aged 27, she became the first Black model to open a Prada show (one of the show season’s biggest badges of honour). Aged 29, years after her white peers, she signed her first contract with a cosmetics company – a division of Wella – to launch a scent. How old was Campbell when she scored her first beauty contract? Forty-eight. Despite being the most famous Black model of her time, Campbell never earned the same money as her peers, because those lucrative beauty contracts – the ones that bring in the serious money – weren’t given to her. “There is prejudice,” she admitted in 1997. “This business is about selling, and blonde, blue-eyed girls are what sells.” In 2013, she joined with fellow Black models to form an advocacy group, Diversity Coalition, penning an open letter to the governing bodies of global fashion weeks to call out high-profile designers who used just one or no models of colour in that season’s shows and calling it a “racist act”. Even though it could have jeopardised her career to do so, she spoke up, in the hope that those coming up behind her wouldn’t have to suffer the same prejudices. While it would be an egregious form of whitewashing to gloss over the disadvantages Campbell has faced, it would be just as much of a disservice to paint her as a victim. For she is not a victim: she is an absolute queen. For every lemon lobbed her way, she’s countered with a dose of sugar, making lemonade where less resilient women would have crumbled. She is the queen of turning negatives into positives: think of her tumble at the Vivienne Westwood show in 1993, when she fell off her nine-inch platforms and landed in a fit of giggles. Instagram was yet to exist, but the incident still went “viral”, with other designers begging her to fake a fall in their shows, to garner the same publicity. When social media did come to exist, Campbell swiftly proved she was a natural. While some models proved themselves to be only marginally less vapid than anticipated, Campbell’s deadpan humour was a delicious surprise. Who can forget 2019’s “Airport Routine”, a YouTube video as seminal as “Charlie Bit My Finger”? ‘I do not care what people think of me,” she says, donning disposable gloves and swabbing down her tray table with a Dettol wipe. In the supermodel documentary, she pokes fun at herself again, this time when experiencing a hot flush during a fashion shoot. “Lord!” she says, pacing agitatedly while looking unfeasibly more gorgeous than most women in the throes of a sweat. “One minute I’m fine, the next I’m a furnace. Why do men not get menopause?” Clearly, Naomi isn’t perfect. She was convicted of assault on four occasions between 1998 and 2009, leading her to take anger management therapy. She has battled addictions to alcohol and cocaine. Last month, she faced a backlash for her collaboration with the fast fashion giant Pretty Little Thing, with critics pointing out that as a woman of colour, she should be especially sensitive to the plight of low-paid garment workers in a way that Molly Mae Hague, presumably, should not. “Do they say anything when other caucasian models have worked for fast fashion brands?” Campbell clapped back in an interview. “They’ve not said a word. So why are they coming for me?” However often they come for her, Campbell will always roll with the punches, pick herself back up again, and keep fighting. She is a survivor: a south London girl done good, a woman who has had to work harder than many of her peers simply to get to the same place, yet has still surpassed them. Of all the supermodels, only Naomi is recognised all over the world, from Gravesend to Ghana. As her friend and mentor, Edward Enninful, once said, “Naomi represents what is possible.” The world doesn’t need another famous female white role model. But it unquestionably needs more Black ones. This is why the V&A’s forthcoming exhibition – the first ever to be dedicated to a solo model – is such welcome news. Launching in June 2024, in addition to displaying 100 curated outfits Campbell has worn throughout her modelling years (a reason alone to visit) the exhibition will also cover her philanthropic work and activism. For Naomi is more than fashion. She is history: Black history, a subject too often seen through a white lens, or not documented as thoroughly as it should be. Above all, she is the ultimate embodiment of the saying “be the thing you wish to see”, a role model for any girl who aspires to be strong and successful. Now a mother to two children of her own, at 53, Naomi Campbell is at the top of her game. That she had to fight so hard to get there no doubt makes her achievement feel all the sweeter. She fought so the daughters of others wouldn’t have to. That’s what queens do. V&A exhibition ‘NAOMI’ will run from 22 June 2024 to 6 April 2025 Read More Naomi Campbell: British supermodel’s career to be honoured in new V&A exhibition Naomi Campbell opens up about past drug and alcohol addiction It’s 2023 and we still defer to pretty people. 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Just why is it that we never see the French first lady, Brigitte Macron, commit a fashion faux pas? How is it that this 70-year-old grandmother can, for example, pull off black leather trousers, really quite short dresses, or a swimming costume for a cover shoot? With the King and Queen’s state visit in France this week providing yet another welcome opportunity for scrutiny of Madame Macron’s impeccable wardrobe, she always seems to exemplify faultless French chic. In fact, we’re calling it – with those impossibly toned, glossy bronzed legs, the power blow-dries and endless outfit wins, she’s starting to seem like “Brigitte Barbie TM”. In a good way. The explanation to the questions above can be found within the Mme Macron Venn diagram of style. The French first lady has at her disposal a long list of extremely cool and effortlessly elegant French style icons from which to borrow all manner of trademark looks and ripped-up rulebooks (French women adore a broken fashion rule). This Venn diagram features some of the heroines of French-girl style, from film stars Brigitte Bardot and Catherine Deneuve to rock-chic fashion editor Carine Roitfeld, to the most iconic French fashion plate of all, Coco Chanel, with Brigitte Macron standing in the middle of it all, assimilating all of their signatures and making them her own. Sensuality, age defiance, and lots and lots of leg are at the core of it. Who would have thought that you could say that about a first-lady Barbie? So what exactly are the components of the ultimate Venn diagram of Brigitte chic? 1. Carine Roitfeld Bare-legged, kohled eyes, teak-tanned – the superficial similarities between “Brigitte Barbie “and the former French Vogue editor-in-chief, Carine Roitfeld, are plain to see. (Note: that pulling off this formula requires innate French insouciance and je ne sais quoi in order to avoid looking like a superannuated Towie star, as we Brits inevitably would be given the same treatment.) Of course, it wouldn’t do for Mme Macron – at least in her public-facing guise – to go the full rock’n’roll Roitfeld, all femme fatale black leather pencil skirts, lace tights and dresses slashed to the thigh. But Roitfeld’s influence is still clear to see: just a year younger than Brigitte Macron if the ex-Vogue editor says it’s fine for grandmothers – as they both are – to wear towering heels with (some way) above-the-knee skirts, douse themselves in bronzer, and scaffold their eyelashes with whacking great shelves of black mascara, who are we to argue? 2. Brigitte Bardot Most wouldn’t even dare to take inspiration from the blonde bombshell that was Bardot – who are we, after all, to think there could be any physical connection? But, as we are so often told, French women are made of different stuff (not to mention, calorie-negative croissants). They are just naturally confident in their God-given sex appeal – while we wear pants, they wear lingerie, while we wear PJs, they wear negligees. None more so, it seems, than Brigitte Macron, the glamazon of first ladies – the woman who arranged to be photographed in a blue floral halterneck swimsuit on a Biarritz beach for Paris Match ahead of her husband’s 2016 presidential campaign. Smooth, tanned legs, beachy, undone hair, and the victorious smile of a woman who’s bagged a handsome younger husband, there was a clear resemblance of a confident, carefree “Bardot does Cannes” – the original sex bomb; the epitome of feminine sexuality. This is surely Mme Macron’s unspoken cause, to remind women that they too can be sexy whatever their age. 3. Catherine Deneuve Did any woman in French history have a better blonde blowout than the iconic French film star Catherine Deneuve? If glamour, polish and sex appeal are your watchwords (as they evidently are with Brigitte Macron), why wouldn’t you take a leaf out of Deneuve’s playbook and infuse your hair with buttery blondeness, volume and lift? Of course, expensive, high-maintenance hair is a terribly middle-aged French woman pursuit, because they all know that, as ably demonstrated by Mme Deneuve, big blonde hair is a fast track to voluptuousness when the body is perhaps less inclined (the Macrons, by the way, are understood to spend €62,000 a year on hair and make-up, as revealed in 2018 by the French Court of Audit). What’s more, a golden crown of bouffy hair creates a perfect frame for wearing more make-up than is strictly necessary. But the Deneuve reference is not just concerned with big hair – or, indeed, their shared love of late Parisian designer Yves Saint Laurent (which the French first lady wore to welcome the king and queen on their state visit, and which Deneuve commissioned for her first meeting with the late Queen Elizabeth II – and which always, always lends an elegant, sophisticated simplicity). It’s about an attitude, one that is cool, sexy and a little edgy, with so much going on beneath the surface. It’s all tres, tres French. 4. Françoise Hardy As any fashion historian will tell you, the French chanteuse Françoise Hardy set the benchmark for wearing leather with effortless chic. In fact, she famously “double leathered” with a black leather biker jacket and black leather trousers while sitting on the back of a motorbike, her luxuriant, fringed hair unfettered by any unsexy safety equipment. Brigitte Macron might not be able to do the motorbike, but she can – and regularly does – do the skinny leather pants. Worn black like Hardy, with yet more of Mme Macron’s beloved sky-high heels, the French first lady ably demonstrates what Theresa May was just never going to grasp – that succeeding with leather, is all about sex. You don’t achieve sex appeal by wearing leather, but rather, you pull off leather when you have an innate ability to deploy some sensuality. Sometimes you just have to leave it to the French. 5. Coco Chanel There surely isn’t a French woman of any standing whose fashion sense isn’t informed by Coco Chanel. And of course, Brigitte Macron would not be doing her job as ambassador-in-chief of French fashion if she were not seen to be wearing plenty of Chanel. But that’s not really the point here. It’s not just about being able to have an ample, Chanel-labelled armoury of classic design, good taste and French chic – as displayed this week when Queen Camilla and the French first lady visited Chanel, Brigitte Macron wearing a red boucle long line jacket from the fashion house (think, as ever, a strong shoulder, a nipped waist and flattering tailoring). Non, it’s about “liberté”. Chanel’s fashion philosophy was about freedom of movement and independence so when Brigitte Macron teams a blazer with jeans (admittedly unlikely on this state visit but clearly in evidence on many a walkabout), you know who paved the way for that. Chanel style is also about ensuring that you are the statement as opposed to your outfit. With Brigitte Macron’s style signature being legs, lashes and a distinct lack of apology for not dressing her age, Coco would surely be proud. Read More Queen Camilla enjoys game of ping pong with Brigitte Macron In Pictures: King delivers historic address to French senate King Charles and Queen Camilla greeted by Emmanuel Macron and his wife in Paris Queen Camilla enjoys game of ping pong with Brigitte Macron King Charles to address French senate in historic first King Charles and Queen Camilla greeted by Emmanuel Macron and his wife in Paris

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