Celebrating ’40 years of love’, Moschino handed over the reins to four friends of the house for its spring/summer show at Milan Fashion Week. Fashion stylists Carlyne Cerf de Dudzeele, Katie Grand, Gabriella Karefa-Johnson and Lucia Liu were invited to create 10 looks inspired by the works of founder Franco Moschino, who died in 1994. To mark the brand’s 40th anniversary, the collection was unveiled at a spectacular runway show split into four acts. Under the stewardship of creative director Jeremy Scott, Moschino has become known for bright, brash and whimsical designs. Carlyne Cerf de Dudzeele, 73, offered a more restrained take on the usual house codes, with the French stylist opening the show with a model clad in a white double-breasted two piece suit and black rollneck top. Injecting the sleek look with some Moschino glamour, she styled the suit with statement crystal jewellery and a head wrap dotted with chunky diamantes. What followed was the most wearable of the four ranges, featuring wide-leg blue jeans and chinos, navy blazers and knitwear, and a chic beige biker jacket. These were elevated staples, however, and they came with kooky accessories, such as heart-shaped handbags and a tiny micro bag worn as a necklace. Gabriella Karefa-Johnson pulled no punches with her first look, a gold chain skirt and cropped black leather biker jacket worn over a stripey black and white bikini and topped with a cowboy hat. Her 10 looks were a sensationally summery ode to the 1970s and 80s worn by a diverse cast of models who frolicked joyfully down the runway. Skirts ranged from mini (a colourful crochet number) to maxi (several high-waisted styles with ruffled ra-ra hems), teamed with corset tops and boxy blazers. A yellow and green tie-dyed denim skirt and top will no doubt appeal to Gen Z Moschino fans. Chinese stylist Lucia Liu was inspired by the Moschino founder’s painting and her range was all about ruffles. Opening with a pink tiered maxi skirt and a T-shirt printed with the slogan ‘Protect me from the fashion system’, the 10 looks featured lots of floaty chiffon, floral embroidery and cute little bow embellishments. Alongside puff-sleeved jackets, lace tights and diaphanous cargo trousers, Liu rounded off her range with a truly showstopping look. Worn by a Canadian model, the voluminous pink skirt was covered in giant bows and rosettes, teamed with a matching feather-trimmed jacket and vest top with an Italian slogan. The final act, from British stylist Katie Grand, was titled Gone With The Wind and promised ‘frequent nod(s) to irony’. It certainly delivered, with the first model striding out in a T-shirt emblazoned with the slogan ‘Loud luxury’, which he stripped off to reveal a tiny crop top and trunks printed with suggestive brushstrokes. A joyous rejection of the understated ‘quiet luxury’ trend that’s taken the fashion world by storm this year, Grand’s black and white range was more about making a statement than it was about selling clothes. Models in catsuits and tutus cavorted on the catwalk, engaging in something that looked like combative dance and generally having a whale of a time. They managed to get round the rectangular runway twice before sprinting off into the wings. A violinist appeared and began a solo performance of Gloria Gaynor’s I Am What I Am as she made her way down the catwalk. As the song morphed into Gaynor’s original version, the models reappeared in white slogan T-shirts and blue jeans, taking a final turn on the runway before the guest designers took their bow. The limited edition designs were made in partnership with the Elton John Aids Foundation. Honouring Franco Moschino’s work on HIV/Aids awareness during his lifetime, all proceeds from sales of the T-shirts will go to the charity. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live From tailoring to florals: 5 key fashion trends to know for autumn/winter Cue the damson decor trend to snug up your space Sex Education: What is it like to be a real-life Jean Milburn?

MILAN (AP) — Milan Fashion Week continued Thursday for the second day with mostly womenswear previews for next spring and summer under a steady rain.

One euro homes in Italy are two a penny, so Jeffrey Pfefferle and Leon McNaught bought two. They snapped up their first cheap turnkey property in Mussomeli, Sicily. But the locals were so friendly that they decided to buy another.

Cindy Crawford has explained why she posed nude for Playboy magazine in 1988, even after her agents told her not to. The supermodel, 57, reflected on the early days of her career in the new Apple TV+ docuseries, The Super Models, which she appears in alongside fashion icons Naomi Campbell, Linda Evangelista and Christy Turlington. During the second episode of the show, Crawford noted that, after becoming the face of Revlon in the 80s, “things started really happening,” as she was “doing the right campaigns”. However, she claimed that when she was asked to appear on the cover of Playboy in 1988, some of her peers and agents advised her against it. “Everyone in my life at the time thought I shouldn’t do Playboy,” she said. “My modelling agency didn’t feel that that fit into the types of jobs I should be doing. I think the brand still had a connotation to it that maybe scared some people off.” Crawford said she knew why her agency was hesitant about on the gig, given how different it was from jobs she’d had before. “I understood the platform of Playboy and what that symbolised,” she explained. “It was definitely outside the normal trajectory for a Vogue model at the time.” She went on to specify that a famous fashion photographer, the late Herb Ritts, was the one who reached out to her about the project. After she recalled that she and Ritts were “really good friends” and that she “worked with” him a lot and previously “stayed at his house,” she shared another reason why she wanted to pose for Playboy. “I don’t know, there was just something about it that intrigued me. So against the advice of my agents, I said ‘yes,’” Crawford said, before describing the conditions she brought up to the maagazine when taking on the job. “But I said: ‘You don’t need to pay me a lot of money. As long as I can have control of the images, and I wanted the right to kill the story if I don’t like it,’” she recalled telling the publication. Crawford noted that when she did the photoshoot for Playboy, she and Ritts “combined it with another trip that [they] were doing for French Vogue to Hawaii”. And, according to the supermodel, the two photoshoots weren’t all that different from each other. “We’d shoot a picture for French Vogue and then we’d shoot a picture for Playboy,” she said. “I mean, you almost couldn’t tell which pictures were for French Vogue and which pictures were for Playboy, it was very organic and I loved them.” The actor concluded by noting that, despite what other people may think, it was ultimately her decision to pose for Playboy, and she did not feel pressured into it. “That’s the whole thing for me is, even if I make choices that other people disagree with or don’t like, if they’re my decisions and I have control of it, that’s empowering to me,” she said. “Even if it’s doing Playboy. I never felt like a victim of that decision.” This isn’t Crawford’s first time opening up about posing for the magazine. During an interview with Net-a-Porter’s PorterEdit in 2019, she acknowledged that she didn’t have any regrets about being photographed nude for the publication twice, as she also appeared in a 1998 Playboy spread. “I look back at some of my old Playboy pictures and I think: ‘Why wasn’t I walking around naked all the time?’” she said. “I’m not getting younger. So I want to celebrate who I am today.” She also opened up about posing nude in her fifties, and shared the candid reason why she did so in photographer Russell James’ book, Angels. “Part of the reason I wanted to do it was that I thought, at what age is being naked not beautiful anymore? Is there a sell-by date on us?” the model said. “I don’t look the same as I did at 20, 30 or even 40. If we take care of ourselves, why not? Am I frolicking on the beach in a string bikini? No.” Crawford continued to explain how, to her, posing nude showcases a type of beauty that isn’t typically shown in her other photoshoots. “But there is a place where I want to feel beautiful naked, in my private life, with my husband. [Russell] was tapping into that real place – not high heels, not a lot of makeup, not coy, just a real woman who doesn’t have clothes on,” she said. Read More Cindy Crawford candidly speaks about her marriage to Richard Gere 30 years later Voguewashing London Fashion Week won’t pay the wages of Britain’s young fashion designers Groping, abuse and racism: 10 of the most shocking revelations from The Super Models TV show

Darden Restaurants Inc. is seeing more “softness” among households with incomes above $125,000 compared to last year, Chief

It’s hard to resist garlic sometimes, but its pungent smell can often last long on the tongue and what better way to get rid of it than good old yoghurt? Garlic contains a compound called sulfur volatiles that can cause a bad odour after being eaten. Researchers wanted to better understand how yoghurt and its components can eliminate or reduce such strong odours. For the study, researchers from the Department of Food Science and Technology at Ohio State University, Columbus tested the garlic deodourising capabilities of yoghurt and its individual components of water, fat and protein to see how each stood up to the smell. As a result, the team found both fast and protein were effective at trapping garlic odours, leading the scientists to suggest high-protein foods may one day be formulated specifically to fight garlic breath. “High protein is a very hot thing right now – generally, people want to eat more protein,” said senior study author Sheryl Barringer, professor of food science and technology at the university. “An unintended side benefit may be a high-protein formulation that could be advertised as a breath deodorizer in addition to its nutritional claims,” she said. “I was more excited about the protein’s effectiveness because consumer advice to eat a high-fat food is not going to go over well.” In the lab experiment, researchers placed equal amounts of raw garlic in glass bottles and confirmed the smell of the garlic was released in concentrations that would be detected by the human nose. Scientists measured the levels of volatile molecules in gaseous form present before and after each treatment. It was revealed that garlic alone reduced 99 per cent of the major odour-producing raw garlic volatiles. When introduced separately, the fat, water and protein components of yoghurt also had a deodorising effect on raw garlic, but results showed fat and protein performed better than water. Looking at fat’s performance, a higher quantity of butter fat was more effective at deodorisation. The proteins which were studied included different forms of whey, casein and milk proteins, all of which were effective at deodorising garlic. This may be because of their ability to trap the volatile molecules before they are emitted into the air. A casein micelle-whey protein complex performed the best. “We know proteins bind flavour – a lot of times that’s considered a negative, especially if a food with high protein has less flavour. In this case, it could be a positive,” Barringer said. Additional experiments that involved changing the pH of the yoghurt to make it less acidic (4.4 pH to 7 pH) actually appeared to lower the yoghurt’s deodorisation effect on the garlic. However, changing the pH of water did not seem to make any difference on the water’s deodorization effect. “That’s telling me it goes back to those proteins because as you change pH you change the configuration of proteins and their ability to bind. That said we definitely should be looking at these proteins,” Barringer said. “It probably depends on the protein, as well, because different proteins react differently to pH. So that may be an important thing as we look at other proteins for their garlic deodorization effect.” The team also tested the deodorising effect of yoghurt and its components on fried garlic, in the process they found that drying garlic alone can significantly reduce garlic odour. Yoghurt and its individual ingredients neutralised a lower percentage of volatile compounds of fried garlic compared to raw garlic. Study authors think this may be because there were fewer volatiles to trap than were present in the raw cloves. The findings have provided a foundation for future studies on proteins that might help fight the garlic breath. In the meantime, Barringer predicts that Greek yoghurt, with a higher protein profile than the whole milk plain yoghurt used in the study, may be particularly effective at getting rid of garlic breath. Fruit-flavoured yoghurts will probably work, too, she said – and whatever is used, it must quickly follow ingestion of raw garlic. “With apples, we have always said to eat them immediately,” she added. “The same with yoghurt is presumed to be the case – have your garlic and eat the yoghurt right away.” The study was published in the journal Molecules. Read More 11 best mouthwashes that will keep your mouth minty fresh Women less likely than men to receive CPR from strangers, study finds Study finds toxic ‘forever chemicals’ may be ‘intentionally added’ to some period products Teenager’s death after drinking too much water was ‘preventable’ Could bats hold the secret to beating Covid and cancer? Groundbreaking migraine treatment offers ‘new hope’ for patients

Studio Ghibli, the animation house behind Spirited Away, My Neighbor Totoro and other movies, will become a unit

Ready for a wardrobe refresh? Time to phase out your summer staples, rethink your separates and swoon over the spectrum of styles walking down the catwalk. Naturally, most statement pieces will be toned down and reimagined by the time you’re rustling through the rails… but as every style follower knows, they need to be on your radar to sneak a front row seat. Here are five stand-out trends to get in the groove… 1. Bold tailoring This season it’s all about the sharp shoulder. From Saint Laurent to Christian Dior, to David Koma and Dolce & Gabbana, the tailored jacket is a key silhouette. Teamed with a crisp white shirt and sharp tie, pinstripes are also on point. Call it power dressing if you like, the 80s padded shoulder may not be cutting-edge, but suiting signals confidence – and you can always wear yours with a simple white T-shirt. Skinny belts and black court shoes were also seen throughout – think workwear with a sophisticated spin. 2. Fire engine red There’s no rhyme or reason why designers adore red (as do we), it just works. The colour of substance, romance and passion, the hottest ticket in town strutted its stuff down the catwalk at Stella McCartney, Fendi, Bottega Veneta and Valentino, to name a few. Showstopping from top to toe with all eyes on you, a strong red also solves the fashion dilemma of what to wear when you fancy more than a flick of colour for a red carpet look – as illustrated by Ukrainian designer Frolov. Red also sits well with classics… it’s no secret a red handbag is a workhorse wardrobe staple when it’s teamed with neutral tones – and takes you from lunch al desko to date night. 3. Winter Florals Sure to be a huge hit, who can resist the allure of fabulous florals when the leaves start to fall – and you want to look blooming marvellous whatever the weather? Florals featured foremost at Balenciaga, Chanel, Christian Dior and Emilia Wickstead – but even Jil Sander, noted for her understated mannish clothing, couldn’t resist the allure of charming floral prints. Best of all, whether your chosen bouquet is a loosely-fitted trouser suit or printed pleated dress, flowers were flourishing in all their forms… and it’s an easy look to recreate. An added bonus, you can’t go wrong with floral accessories, such as a floral print scarf, as seen at Burberry, teamed with wide-leg trousers as a nod to beautiful buds. 4. Dark drama Black is back, big-time. Proving the undisputed colour of AW23, you can never have too much monochrome, ebony or jet black to don and drape yourself in fashion’s darkest – and most desired shade. For day-to-night dressing, tailored, long black coats (LBC) were central at Dolce & Gabbana, Prada and Victoria Beckham – and an investment you can really bank on with its timeless appeal. And then you need to find the perfect long black dress (LBD) or bodysuit. From peak corset all-in-ones and dresses at Alexander McQueen; to sequinned silk chiffon capes at Michael Kors for a ‘liquid look’, to team with trousers, this is black at its sexiest best. 5. Metallics Torn between metallic chains and liquid metal, steely, silvery tones in futuristic form were seen on the runway at Balmain and Paco Rabanne. Most wanted, we’re a sucker for Paco Rabanne’s Silver Mesh Bomber Jacket – and can’t wait for a fast fashion version. One to wear with denim jeans and silver sphere bag with crystals à la Rabanne. Pre-Fall 23 Collection Along with her sculpted shapes, Roksanda also rocked the runway with floor length fluids and high-shine fabrics… And who doesn’t love to razzle-dazzle when darkness falls… and it’s your time to shine and go for all out glam in the run up to party season! Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Cue the damson decor trend to snug up your space Sex Education: What is it like to be a real-life Jean Milburn? King Charles to address French senate in historic first

Thousands came out in a rain to watch an open-air Diesel show during Milan Fashion Week on Wednesday, making the denim-centric brand the hottest ticket in town

I can’t lie. I felt famous during New York Fashion Week. With my focus oscillating between Google Maps and the cobblestone streets of Tribeca, I had no time to stop and think about the scene I would be approaching. The thing with runway shows is they never start on time. Who shows up early these days anyway? For me, someone constantly late but willingly accepting every opportunity, NYFW’s schedule worked to my advantage. Still, inklings of doubt mixed with the rush of not knowing how late would be too late – leaving me with little room for mental preparation. In the case of the Brandon Maxwell show, I anticipated an intimate setting. I was told the guests were close friends, family, and a few high-profile fashion moguls who were asked to refrain from using recording devices during the presentation. It was a trusted circle of less than one hundred. I knew there’d be paparazzi outside impatiently awaiting the elite attendees. However, I didn’t foresee the vast amount of turned heads and focused cameras crowding the corner of Walker Street and Cortlandt Alley, all readily directed at me. Suddenly, I was someone to be noticed. Through the white flashes and crisp calls for attention, I approached the threshold of the Andrew Kreps Gallery. I presented myself to be checked off a list of people deemed special enough to see inside. Camera personnel and event staff had no clue who I was or why I was there – the irony. I wasn’t Julia Fox, Anna Wintour, or Blake Lively-level distinguished or expected. But I, Kaleigh Werner, was presumed worthy of being photographed and granted access based on proximity, invitation, and seating. It was thrilling. I felt as though I’d made it. In the literal form, yes, I’d arrived at my destination and found my chair. But metaphorically, I was on the cusp of something sensational that surpassed the rush of being realised through an entirely new lens. As a reporter, someone invited to review these presentations, it’s easier to block out the A-list noise. My attention remains locked on the intricacies of each collection, and figuring out how they mirror the thoughts of a designer. Whether sitting in the front or standing in the back, I’m concentrating on how a designer’s societal impression can be contextualised in fashion, while still adhering to the temperature regulations of the season. I’m in a gallery or a museum to perceive art, not at a red carpet event. I’m not being dressed by the brand. I’m not worried about how I look. The runway demands my attention. So, my gaze is directed there. This year I attended three shows: ADEAM, Atelier Ndigo, and of course, Brandon Maxwell. For ADEAM’s spring/summer 2024 show, hosted inside a warehouse on the west side of Manhattan, creative director and CEO Hanako Maeda effectively fused her longtime love for the ballet with her desire to “juxtapose the performance art as a sport”. “I think the collection combines the romanticism and couture-like craftsmanship that you see in ballet costumes with a more modern, sporty mood. I also added a touch of rock ‘n’ roll edge with the accessories,” Maeda told The Independent. Through tulle skirts, corsetry, ribbon, sheer Ponte, mixed media knits, and tailoring, Maeda - who designed the costumes for New York City Ballet’s Fall Fashion Gala in 2015 - reconfigured ballerinas to be models replicating a facile silhouette on the street. By using the specific material and intentional shape often associated with ballet, she harnessed the “athletic prowess” a performance artist displays and weaved it into everyday wear. Atelier Ndigo played with personal inspiration by utilising vibrant colours, textured fabrics, and structured pieces. From a bumpy white two-piece to balloon short sleeves, brand founder Waina Chancy once again proved to be an architect in dainty yet outspoken fashion. The white-washed walls of Spring Studios, complete with a backdrop of block brand lettering, only made every shade of red, purple, pink, and orange louder. Back at Andrew Kreps Gallery, Brandon Maxwell strayed from the eccentricity of his past spring collections to construct an ethereal response to the power of love. To him, that response is seen through sheer and natural beauty, along with coding that only added a breath of elegance. On the catwalk, gusts of chiffon, leather, knits, and denim blew past the few guests who sat in the studio. With flourescent lights and white ambiance, it felt as thought Maxwell had called upon angels to introduce a new wave of purity and innonence. Yet, the see-through materials mixed with belted pieces reminded us of the allure of form. The Brandon Maxwell spring/summer 2024 runway presentation wasn’t just the launch of a new line, but a visceral discussion on freedom and restraint - being simutaneously aware of both independence and determinism. From the distant eye, minimalism was triumphant. But upon closer look, the details were unveiled. Spliced sleeves turned biker-esque jackets and blazers into capes; sheer layers over and under long, fitted jackets transformed signature workwear into chic formalwear; and ripped, patchwork denim paired with slouched sweaters or unbuttoned button-ups brought an air of luxury to street style. As I exited down the steps to return to the reality of a typical work day, I stuck around to see who I could spot leaving the venue. NYFW has assumed a certain social stigma and media blitz. As much as it’s known for the inspired collections crafted by the minds of upcoming and distinguished talents, the seven-day affair has been hit with criticism, as more participants and curious observers are blinded by its social scene. After an animal rights advocate and PETA supporter stormed Coach’s spring/summer 2024 runway to protest the brand’s use of leather, discussion errupted around influencers increased presence at NYFW. Famed creators like Taylor Hawkins have been quick to point out how “dead” some events can get, due to the amount of brands that prioritise seating and dressing social media stars based on their online presence. Kelly Cutrone, best-selling author and CEO of People’s Revolution, echoed these sentiments in conversation with Dear Media during NYFW in February. “It’s just like, because you’re good at marketing yourself on the internet doesn’t make you a fashion expert,” she said about influencer being invited to shows. “Don’t pretend that just ‘cause you come here for a week that you’re in the fashion business.” For industry representatives - who are devoted to furthering the conversations that are evoked in fashion collections - their experiences are entirely separate from those who are invited to sit and make content about what they saw. These professionals are behind-the-scenes, speaking with the creative directors and producing copy to candidly honour their own work. “You know what I really don’t get, and what I don’t have much time for anymore. The fact that so much of the fashion content around the show that I see, especially on Instagram with these influencers, it’s really all about them,” fashion journalist Mosha Lundstrom Halbert said on her podcast, NEWSFASH. “It’s all about the fact that they got to go to fashion week - okay, cool. The fact that they’re being dressed by the designer - great, I’m happy for you,” she went on. “No editors get dressed by the designers, that’s really just influencers. And the fact that they’re going to show you where they sat and who they’re friends with...” But, there’s an advantage to having paparazzi feed off the unpredictable swarm of A-listers and influencers, and an obvious benefit to designers who decide to fill their front row with them. At ADEAM, Lana Condor, Elsa Husk, Poppy Delevigne, Harry Shum Jr, and Anna Cathcart were among the photographed VIPs. Meanwhile, Brandon Maxwell hosted Henrik Morten Lischk, Lisa Aiken, Eva Chen, Camila Alves McConaughey, Kat Collings, and Alex Badia. From a brand perspective, visibility is everything. In order for clothes to sell, the pieces need to be represented and observed by the right people – the “Emily Ratajkowskis” who generate buzz, or the social media influencers who inspire fads. It’s worth noting that, even though the production, styling, and individual garments speak volumes to the attractiveness of a collection, desire is often born from those who are adored and admired. Designers will develop their seasonal lines in tandem with a muse or inspired concept, like ADEAM’s spring/summer 2024 being motivated by the ballet or Brandon Maxwell’s being an answer to the impasse of freedom and restraint. Then there was Dolce and Gabbana’s famed spring/summer 2023 show curated by Kim Kardashian, after both Domenico and Stefano were galvanised by the reality star’s “it girl” essence. High fashion runway can be viewed as a melting pot of celebrity image and designer conception. While the relationship between famed figures and name brands is pertinent to Fashion Week criticisms, the focus shouldn’t be on celebrity sightings or social climbings. Although I observed a clear presence of exclusivity hovering over runway presentations and after-parties, I found the purpose is not to be seen but to step inside the minds of imaginative designers and celebrate the execution of their visions. Read More London Fashion Week 2023: All the highlights from day two British Vogue appoints Chioma Nnadi as Edward Enninful’s successor London Fashion Week: Jourdan Dunn walks in emotional Richard Quinn show

A prankster wearing a transparent bin bag and shower cap made his way down the catwalk at New York Fashion Week before being bundled away by security. The man can be seen checking over his shoulder before strutting his stuff in front of the audience - who appeared not to notice he was an intruder. YouTuber Fred Beyer uploaded footage of the incident - which happened earlier this month - to his channel on 13 September. He walked the catwalk during a fashion show hosted by Creators Inc, an agency for social media influencers.

Iceland is turning to taxes to reduce the impact exponential growth in tourism has on its pristine wilderness,