Wine grapes and table grapes are a huge agricultural asset. It's no wonder that the humble grape is among the world's largest fruit crops.

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I remember the day I realised the embodiment of my persona was a long-sleeve ironed shirt with only the collar close-lipped. Initially, I gravitated toward the crisp button-down for function, as my former workplace tended to emit heaps of chilly air, but a spontaneous feeling compelled me to button the top, leaving the rest of the shirt open. It may have been, in part, my obsession with wanting to define my look outside of popular construction or how this new silhouette framed my figure. Regardless, the androgynous piece of clothing left me feeling more confident than ever before. A clothing rack full of these formal tops sits perpendicular to my bed now, and I wear them strategically closed with almost every outfit. I couldn’t tell you exactly what it is about them that makes me feel alluring and powerful, but my style hasn’t been the same since. Now more than ever, women are setting aside archival forms of womenswear for the structure of men’s clothing, assuming their most confident, authentic selves. Mini denim shorts, bodycon dresses, and micro skirts are being swapped for baggy jorts and boxers. Individuals are donning contrasting proportions, taking risks, and exuding self-assurance in items that have historically been deemed representative of masculine codes in Western fashion. In doing so, women are diminishing the gap between gendered collections. According to Hazel Clark, professor of fashion studies at Parsons School of Design, women initiated the crossover between menswear and womenswear in the early 19th century when they started working in coal mines and riding horses. A working-class of women deliberately assumed the male dress code, whether business or activity related, because womenswear constricted their necessary movement with tight bodices and corded petticoats. Here, function and ability took precedent over society’s expectation of femininity as more opted to dirty a pair of trousers instead of their voluptuous gowns. Heading into the Second World War and the 20th century, the design gap minimised further when women’s roles in society advanced. In the 1940s, men were forced to leave their factory jobs for war, leaving their female counterparts to fill their positions. For women to be respected in the workplace, they mirrored the male look and wore the classic pantsuit. Francesca Granata, professor of fashion theory and history at Parsons, identified the “power suit of the 1980s” as “a classic instance of women trying to access men’s power in the workplace by wearing an outfit which imitated menswear and with wife shoulders: the ideal male physique.” She noted: “Yet the wide-shouldered suit jacket was often rendered appropriately feminine by being paired with a skirt.” With this came an influx of women wearing these masculine codes outside of the workplace. Though my grey dress pants from the men’s section of a closet sale were welcomed into my weekly rotation almost immediately, it took a lot of courage and self-assurance back then for women to wear similar pairs, just like it did for them to wear miniskirts when both styles were socially unacceptable. The initial need for “businesswear” transformed into desired style even if it meant a woman could be labeled as “inappropriate” or be refused at the door of an establishment. Looks from men turned to public disapproval, but that didn’t stop the progression of women dressing in menswear at all. “Although baggy clothing has been acceptable for men for quite some time, especially in the US, unlike older appropriation of menswear which were often adapted to be more skintight or revealing or somewhat rendered ‘feminine’ baggy clothes question the old dictum that women’s bodies should be on display for the male gaze,” Professor Granata remarked. In other words, this “sense of power dressing” left the confines of the office environment alongside any lingering thought to the heteronormative gaze. Fast forward to the early 21st century, when the groundwork for this fashion fusion had been laid in terms of utility and preference. As society began to understand sexuality and gender fluidity, non-gendered collections became increasingly popular. Designers became more proactive about creating androgynous clothing that didn’t need to be separated into the two typical identifiers: women and men. “Fashion must get to a point where we don’t have to talk about gender,” designer and creative director of Loewe Jonathan Anderson wrote in Amelia Anderson’s “What We Can Do Better” in 2021, nine years after he introduced the first transgender collection for his eponymous brand. “Fashion can be a way to experiment with character or to work out your identity, and I believe that clothes can have a protective role on a more emotional level.” Anderson’s obsession with how queer individuals dressed contributed to his perception that fashion can be used to “break the rules”. To him, clothing is a marker of individuality and subculture, which is what motivates him to create designs for people to express themselves free from outdated norms. Between boxy, textured T-shirts, bouncy blouses, and tailored high-waisted pants, Anderson’s worked to incorporate rival style cues even in his gender-specific collections. “Clothing is full of paradoxes, but ultimately it can empower us - and in a world that has historically taken power away from queer people, that can be vital,” he proclaimed. “In a world that often expects certain things for certain people when it comes to clothes - where society wants men, say, to wear some things, and women to wear others - I sometimes question why I do menswear and womenswear shows. But for me, it’s not about classifying people, it’s about using these categories as ideas - ideas to borrow from.” As designers helped bridge the gap, celebrities like Hailey Bieber and Bella Hadid have been seen being more experimental in campaigns for big name brands as well as in their personal street style. The 26-year-old Rhode Skin founder has been a recognised ambassador for the French fashion house, Yves-Saint Laurent, a company which has irrevocably impacted womenswear since their 1966 creation of a menswear-motivated tuxedo for women called “Le Smoking.” Both Bieber and Hadid blend feminine and masculine codes in everyday wear, leading the craze for oversized jean shorts and lengthy vintage sportswear paired with dainty ballet flats and platform boots. Other brands, such as Uniqlo and Thom Browne, design collections labelled and distributed as menswear and womenswear, but the items are still being bought and worn interchangeably. “It’s hard to explain,” Marissa Petteruti, senior menswear designer at Rag & Bone, tells The Independent when asked why she feels more assured in men’s clothing over feminine-labelled pieces. “I’ve always just felt more comfortable in, you know, oversized men’s shirts and pants. I kind of always have gravitated toward men’s fashion. I remember when I was a kid, my parents used to tell me: ‘You have to wear a skirt one day a week.’ I never saw why I couldn’t wear whatever I wanted. So maybe part of it became going against what my parents wanted me to do.” Petteruti has cultivated a closet full of suit pants, designer shirts, and vintage bomber jackets in pursuit of the perfect capsule wardrobe and collection of exclusive ready-to-wear. Ever since she attended the Parsons School of Design, pressure and expectation were absent from her style. Here, Petteruti was drawn to the serenity of menswear, and she appreciated the simplicity of its form more than women’s clothing. Her eyes wandered to streetwear brands such as Supreme and Hood-by-Air because the concept of a lux T-shirt intrigued her, and oversized pieces were pleasing. When she started at Rag & Bone, she learned that men’s tailoring was more extensive, but even so, the trends were ephemeral - meaning the pieces were inherently timeless. Womenswear detailing such as peplum cuts, scallop or lace trimming, floral embellishments, and sheer fabrics tend to cycle through seasonal collections more frequently than the stylistic choices and material preferences within menswear. The classic button-down may be presented in a specific range of colours depending on whether it’s fall or spring, but the shape and design stay the same. In other words, womenswear is more likely to follow suit with trends. Industry leaders and A-listers embracing a more avant-garde mindset in ready-to-wear and street style begs the question of whether brands will ever officially scrap the formal separation of womenswear and menswear. “Why do they have to be called ‘men’s clothing’? Just ‘cause you put the buttons on one side of the shirt and the fly on one side of the shirt and the reverse. It’s, it’s silly to me,” Petteruti agreed when asked if she thought the division was necessary. “I mean, the interesting thing about fashion now is at any given moment, it’s so diverse. We don’t all wear the same things to be in fashion. If we wanted to be in fashion, I mean, regardless of our sort of age or gender, you know, they’re like lots of different choices we can make, depending on the kind of the group we associate with or who we follow,” Clark explained. But Clark doesn’t believe concrete separation is on the horizon, due to the sizing and proportional differences between a man versus a woman. “Men’s and women’s bodies are different. You know, I mean, that’s part of it. Size and physique will prevent womenswear and menswear from being entirely infused with one another,” she proclaimed. Petteruti would argue that there’s potential. Already, she’s seen Rag & Bone mix more feminine codes into their menswear designs with varying fabrics and silhouettes. Being that inspiration is often plucked from the demand and visibility of others who motivate obsessions, the runway no longer dictates style fads. This means it may be expensive on the backend for companies, but we could see collections move away from the label if consumers want more androgynous, unisex pieces. As for Granata, she interprets the division of womenswear and menswear as already having been “tenuous,” which is exactly why women found themselves gravitating toward masculine codes to begin with. Read More How hip-hop went from being shunned by big business to multimillion-dollar collabs Dior celebrates 5 years as designer in gender-fluid Paris men's show Womenswear leads the way as Ted Baker sales soar

Gemma Atkinson has hit back at trolls who called her “fat and unfit” just three weeks after giving birth to her second child. The Hollyoaks actor, 38, who welcomed son Thiago with Strictly professional Gorka Marquez, revealed she had been branded “fat and lazy” by trolls after her mum pushed her son’s pram back from a doctor’s appointment. Gemma, who had a C-section with son Thiago only last month, said: “I didn’t want to overdo it. “I’ve had a message saying how lazy I was letting my mum push the pram. I got another saying ‘you used to be fit and you’re still fat’.”

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Finding a decent pint of Guinness in London can all too often be a disappointing quest, from sour or bitter to poorly poured pints in plastic cups with bubbly heads. Some even say London is where Guinness goes to die. For those who feel they should at least enjoy drinking the pint they’ve paid ludicrous prices for, here’s a small, non-exhaustive and open-ended list of London pubs where you’re more or less guaranteed a scrumptious pint of what my friends and I call Guinny Jones. I’d like to add a disclaimer that I’m not an expert – though I am a quarter Irish and have taken the Guinness factory tour in Dublin – I just really, really like a good pint. So, I spoke to Ian Ryan, who runs an Instagram account dedicated to the capital’s crimes against the black stuff (@shitlondonguinness) and though he isn’t exactly short on blasphemous submissions, he’s also got a lot of insight into what makes a good pint and where to find it. Plus, Ian has a book coming out in October, A Beautiful Pint: One man’s search for the perfect pint of Guinness - he cares about the cause. Before we get to the pubs, here’s what we’re looking for in a pint. Texture: it should have a texture that withstands the “tilt test”, if you tip your glass slightly to the side and the head starts dripping down the side, it’s too watery. It should rise just above the edge of the glass in an oh-so-satisfying manner. Taste: Guinness has a malty sweetness and bitter hoppines, but it shouldn’t be too bitter, nor should it be sour. It should be rich and creamy, with slight aromas of coffee. If it tastes metallic, run for the hills. Head: a good pint of Guinness needs that signature creamy head. Ideally, it’ll be domed and around three-quarters of an inch. This is essential for balance and flavour. Also, if the head is littered with bubbles, it means it hasn’t been properly aerated and will almost definitely taste bad. Pour: according to Guinness Storehouse it should, of course, be in a Guinness or milk stout glass – it’s just wrong drinking out of a Stella or Beavertown. It should then be poured at a 45-degree angle up to the harp and then left to settle for at least a minute, but up to two if possible. It’s finished by topping up with the glass held straight. Red flags: according to Ryan, any sort of bubbles in the head are a big no-no. “Also, if you walk into a pub and no one is drinking Guinness, it could be a sign of bad things to come…” The Auld Shillelagh, 105 Stoke Newington Church Street, London, N16 0UD This Irish pub is most die-hard Guinness fan’s favourite London establishment, Ryan included. It looks tiny and unassuming from the outside but its narrow interior stretches far back into a surprisingly spacious garden. They have live music, great craic and, of course, perfect pints of Guinness. The best thing about the Shillay is that it doesn’t try too hard, which means it ends up absolutely nailing the pub formula. The Irish Times even named it the “most authentic Irish pub in the world outside Ireland”. If that doesn’t convince you, I don’t know what will. The Globe, 20 Morning Lane, London, E9 6NA A pub where you can enjoy Spoons prices without Spoons guilt, The Globe is a local’s pub through and through, but they’re also incredibly welcoming to newcomers. They’ve got live sports, pool, darts, karaoke, live music and pints of Guinness that pass the test at around the £4 mark, for zone 2, that’s practically unheard of. The Coach and Horses, 42 Wellington Street, London, WC2E 7BD Not far from Covent Garden piazza, The Coach and Horses is just far enough off the beaten track to not be inundated as most pubs in central are. This one-room Irish pub was once voted as the best Guinness in Britain by The Irish Post, plus they also sell hot roast beef sandwiches. Gibney’s London, 70 City Road, London, EC1Y 2BJ Staying open until 2am on a Friday, Gibney’s is an Irish pub based in the heart of Shoreditch. Upstairs they have “inventive small plates, Irish meats cooked over the open flame, fresh seafood and more from chef Richard Corrigan”, while downstairs they have Shit London Guinness-approved pints. The Cock Tavern, 23 Phoenix Road, London, NW1 1HB An unpretentious pub that prides itself on not being trendy, The Cock Tavern is a delight for both locals and tourists due to its proximity to Euston. Described by one reviewer as an “oasis of humour, personality and character” in the big city and endorsed by SLG, this rough-and-ready establishment knows how to pour a pint and provide good times. The Sheephaven Bay, 2 Mornington Street, London, NW1 7QD An “Irish bar with a conservatory, beer garden and no less than seven plasma screens for showing sports”, The Sheephaven Bay is easily the best Guinness in Camden. Lively atmosphere and friendly staff, what’s not to like? The Kenton Pub, 38 Kenton Road, London, E9 5BA Most of the pubs listed have unsurprisingly been of the Irish variety, so to throw a curve ball into the mix is the Kenton, a Norwegian pub in Hackney. There’s loads of cosy nooks and crannies, occasional DJs on a Saturday and the fantastic staff all pride themselves on pouring a proper pint. I asked general manager Morgan Ryan about what the secret to serving great Guinness is: “There’s not really a trick to it if you’ve ever poured a pint. Don’t buy old kegs, don’t store them badly and don’t have dirty ass lines.” Read More Marina O’Loughlin is wrong – there’s joy in solo dining Budget Bites: Three recipes to keep food bills down before pay day Meal plan: Romesco chicken and other recipes to fall in love with The chef who hated food as a child Who knew a simple flan could be so well-travelled? Midweek comfort food: Singaporean curry sauce and rice

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If you’re a dedicated skincare junkie, you might be thinking about how you can get that glow beyond your night-time skincare routine. Facials can be an appealing way of targeting any concerns you might have and giving your skin a bit of professional care. But they’re undoubtedly expensive, and generally more of an investment than buying a pot of moisturiser. Naturally, you want to spend your money as wisely as possible – and if you do have the extra funds for a facial, you don’t want to waste it. So, what’s the best type of facial to get for your age group? In your twenties “Facials and skincare choices in your twenties should be preventative; aiming to optimise your skin’s health and supercharging collagen and elastin levels,” says Dr Thuha Jabbar, aesthetic doctor and founder of Almas Dental. “Hydrafacials are a great, non-invasive skin boosting treatment that deep cleanse the skin, brighten and reduce fine lines. Chemical peels and other non-invasive facial treatments are also great to improve skin tone and keep breakouts at bay.” Dr Sophie Shotter is also a fan of Hydrafacials (which start from £125 depending on clinic and location – available in over 1,300 UK and Ireland providers). They provide a deep clean, followed by extracting any impurities then moisturising the skin. Shotter says they can “help to give the skin a deep clean, minimising the risk of breakouts. LED [light therapy facials] is also an excellent choice. Many facialists will combine techniques for best results.” Dr Radmila Lukian, dermatologist at the Lucia Clinic, recommends microdermabrasion for people in their twenties – a process where fine crystals and a vacuum are used to remove dead skin cells. She says it’s “a great treatment for brightening dull skin and reducing pigmentation. Perfect for young adults.” In your thirties When you hit your thirties, this is the time when Shotter recommends “starting to think about upping the ante” with your skincare. She recommends facials which incorporate microneedling – a process where small needles pierce the top layer of your skin. “We often start to notice the early signs of ageing, as collagen loss kicks in through our thirties, and these treatments can help to stimulate collagen production leading to significant improvements in skin texture,” Shotter says. Lukian recommends a facial that incorporates dermaplaning – where a scalpel removes hair and dead layers of skin – which she says can help “combat free radical damage, stimulate collagen and improve skin texture”. In your forties When you reach your 40s, Lukian suggests LED light therapy and laser skin resurfacing treatments, as they “become more relevant to target wrinkles, stimulate collagen and improve skin elasticity”. She adds: “Laser skin resurfacing uses targeted laser energy to promote collagen production – revealing healthier, younger-looking skin.” Kim Kardashian, 42, is a fan of laser facials, and often posts about her treatments on Instagram. Jabbar adds: “Your forties are a great time to try laser treatments, to reduce the visibility of wrinkles and boost the overall health and appearance of your skin. From laser skin resurfacing treatments to IPL [intense pulsed light] facials that reduce hyperpigmentation and sun spots, lasers are a versatile and non-invasive option which can restore a youthful glow to your skin.” In your fifties and beyond “In your fifties and beyond, keeping focused on collagen stimulation with similar approaches to our forties certainly helps a lot,” says Shotter. “But in our fifties, we often start to notice many more visible signs of ageing, including pigmentation and skin wrinkling (elastosis). Using deeper chemical peels or resurfacing laser techniques, which may carry a little downtime, but are worthwhile for the results.” For this age range, she says skin hydration “is also often a higher concern than in younger years”, so hydrating facials are an excellent choice too. While Hydrafacials are great in your twenties, they’re equally beneficial in your fifties and beyond – singer and actor Jennifer Lopez, 54, recently collaborated with the brand for her own ‘JLo Beauty Booster’ that can come as part of the treatment. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live What is the TikTok ‘carnivore diet’ trend and is it actually good for you? How to save money on your summer barbecue as prices soar Exercise and yoga can help improve lung function in adults with asthma – study