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Plus-size model Ashley Graham took to the runway in a glamorous corset for the Harris Reed show. The show marked the informal start of London Fashion Week – officially running from September 15-19. Graham donned a black gown with a shimmering gold corset and a sweeping shawl, as part of the 10 look show. This isn’t the first time Reed has worked with Graham, 35, having dressed her in a sculptural pale pink and black gown for the 2023 Met Gala. Reed’s catwalks are typically dramatic – previous shows have had performances from actor Florence Pugh and singer Sam Smith – and this season was no different. Entitled ‘Duet’, the collection was inspired by Old Hollywood styles, mixing together masculinity and feminity. Designs on the catwalk used deadstock black velvet and white duchess satin with pops of gold, and played around with exaggerated proportions. One of the standout looks of the show was a black and white evening gown with statement shoulders and a revealing low cut-out at the back – which could have been inspired by the low-slung ‘bumster’ trousers popularised by Alexander McQueen in the Nineties. The largely monochrome nature of the collection was punctuated by metallic accents, with silver and pearl half-moon breast cups on one look, showcasing Reed’s partnership with London-based jewellery brand Missoma. The show was accompanied by vocals from Cosima, a Peckham-born singer-songwriter who wore an off-the-shoulder black and white gown to perform. Watching front row at the Tate Modern in London were activist and model Monroe Bergdorf, Game Of Thrones actress Maisie Williams and Bridgerton’s Charithra Chandran. The show was inspired by Virginia Woolf’s 1928 historical novel Orlando, often seen as one of the earliest representations of trans identity in English language literature. Reed cited the quote: “Different though the sexes are, they intermix. In every human being a vacillation from one sex to the other takes place, and often it is only the clothes that keep the male or female likeness, while underneath the sex is the very opposite of what is above.” Backstage, Reed expressed the need for LGBTQ+ representation. “It’s more important today than ever, because we are seeing so much more hate on the streets. I think it’s getting rapidly more aggressive and more unsafe to be queer and queer presenting in the city,” the Evening Standard reported him as saying. “Casting trans and non-binary individuals in my show potentially runs the risk of turning off some of my Middle Eastern and Asian clients. “As a designer, I walk a very fine balance of not offending too many people to equal sales and build my brand, but I still need to stand behind my messaging.” Reed’s designs are often concerned with gender fluidity and theatricality, both at his eponymous label and in his role as creative director of French fashion house Nina Ricci. In January 2024 he will publish his first book, called Fluid: A Fashion Revolution. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Football legend Michael Owen: My four kids all have opinions about my fashion choices How homeowners are creating pet-specific stylish spaces Sex Education season 4: How vintage finds help characters get their unique style

If there ever was a day Michael Owen could relive, it would be the 2001 FA Cup final. With about three to four minutes left of the match between Liverpool and Arsenal, he sprinted past Lee Dixon and Tony Adams, and scored the winning goal for The Reds, proving that he has a strong left foot after all. “It was the exact moment my boyhood dreams came true,” says the 43-year-old, who also played for Real Madrid, Newcastle United, Manchester United, Stoke City, and England (89 times), before hanging up his boots in 2013. “When I was a kid, the FA Cup final was one of the biggest games of the year. But lifting up that trophy is just the icing on the cake. The true feeling is the 10-15 seconds after scoring a goal and realising that you are going to win. That’s the moment. “You have an adrenaline rush and lose touch of where you are. Listen, it’s been 10 years since I retired and I [still] can’t find anything in life that gives me the same feeling. Just incredible.” Owen, who is also a regular TV pundit, doesn’t miss playing football but has found other ways to maintain his “absolute love” for the game. “I watch games from a different perspective now, especially since doing a lot of TV work. I’m always thinking about how I can inform the viewer, share insight, and bring my own experience into it,” he says on a Zoom call from his home near Chester. “I’m also at the stage in my career and life where clothes are pretty important to me too. I’m not running around the pitch or promoting energy drinks and sportswear anymore. My work is now about being seen on TV and appearance is a big part of that. So it’s important to look presentable and feel good when you are about to go on air.” Owen’s personal style has always been pretty consistent: classic, smart, and gentlemanly. He stays within the boundaries of never wearing anything “really outlandishly mad” and doesn’t mind a bit of colour here or there. “But I’m a father of four and my children are at the age — my eldest is 20 now and my youngest is 13 — where they all have their own opinion about my fashion choices. I get more tips nowadays than I ever have before,” he says. So when England’s 11th most-capped player started working on his own menswear collection, called The Michael Owen Edit, with British high-street brand Peacocks, it was an eye-opening experience. The collection includes casual staple pieces, such as chinos, knitwear, a bomber jacket, smart polo shirts, and stretchy jeans, all in high-quality materials. “I wanted the collection to fit and suit me. It felt right straight away. I had no idea so much thought and attention to detail went into a simple t-shirt,” he says. “I’ve loved learning more about menswear and helping design pieces that I think represent my own style.” His love for learning new things is also what convinced the former professional footballer to buy a farm at 24 and turn it into Manor House Stables. It’s at the heart of Cheshire near Malpas, and the home of his business, The Michael Owen Racing Club, which allows racing fans to experience racehorse ownership with an annual membership of the club for £95. “I’ve been trading at Manor House for 20-odd years,” Owen says. “I started very small. We were trading 10-15 horses, now we’re trading 110-115 horses. It’s a big business — we employ 40-odd people — that has been really popular for people who want to get a piece of the action for a small amount of money. “It’s a sport I feel like I know, because there’s a relationship between football and racing. We are doing the same thing. We’re trying to train a body and mind to be fast and durable. It’s a competition. It’s people. It’s social. The whole thing is a massive passion of mine. “And [the] horses are magnificent animals that we treat with utmost care. We give them the best feed, the best care, the best everything, to be legends themselves in many ways.” Owen didn’t know what he had to do to lock in his status as an England football legend, but he’s really grateful. “You don’t get called that at the start of your career, and I was always so focused on the next thing and never really looked back. I don’t think about it much or know how to feel. “It’s why I have great admiration for footballers such as Marcus Rashford and Jude Bellingham, who are brilliant on and off the pitch. I know this path and how hard it is. You’re only taught to be a footballer, but because you are a footballer, you get pushed in front of hordes of press to speak on behalf of the nation. But even though our voices travel far and wide, we aren’t politicians. “It’s about being confident and learning fast; understanding what’s right and wrong. My family always teases me and says I think I’m bloody good at everything. If I was playing Tiger Woods in golf, I’d probably think I’m going to beat him even though I’ve got no chance. But I’m a bit delusional like that. And I guess football has driven that since I was a kid.” The Michael Owen Edit is available now online and across the 340 Peacocks stores nationwide. Peacocks offers fashion for all the family at affordable prices and great quality.

Fans of Sex Education will have noticed something curious about the costumes on the hit Netflix show. The eclectic fashion of the cast of characters – including Eric (played by Ncuti Gatwa), Otis (Asa Butterfield), Maeve (Emma Mackey) and Jean (Gillian Anderson) – seems to have no specific era. Eighties prints mix and match with grungey Nineties-inspired looks, topped off with the occasional Noughties accent – and this is all purposeful. “It gives it it’s own individuality,” explains costume designer Daniella Pearman, who worked on the show for its fourth and final season, due to air September 21. “I do feel like people watching it can feel like: We can be anyone we want to be, we can dress how we want, we don’t all have to own the same snazzy phone or the same designer wardrobe, because everyone can be in their own little world like Moordale [School, where many of the characters were enrolled for seasons one to three].” With the new season comes new challenges for the characters and new locations – meaning tweaks were made to the costumes to help tell the story. At the end of season three, Moordale shut down – so now, many of the central characters have relocated to the progressive Cavendish Sixth Form College, which is eco-friendly, technologically advanced and on a much bigger scale than the Moordale students are used to. “From the beginning, we wanted them to look like their normal Moordale [selves], because it’s only been about eight weeks since the end of the third series,” Pearman, 42, says. “We wanted them to be walking into this new environment and looking like it’s all quite alien to them, that they’re these small fish in this massive pond.” The other big change – which was teased at the end of the last series – is Maeve moving to school in America. “It’s another different environment from Moordale – very much grown-up compared to Moordale. With her, we didn’t want to totally change her look. We wanted to mature it slightly, but still have the elements of Maeve. “So the leather jacket, the boots, the fishnet tights – but we had a new vintage leather jacket, new vintage cowboy boots that she might have picked up in a thrift store. Maybe she’s had influences from her new group of friends.” Eric’s style also follows his character arc as he makes a new group of friends, as does Aimee’s (played by Aimee Lou Wood), “As she’s opening herself up to new things, post everything that had happened to her in her past”, Pearman says. “She joins art class and becomes a photographer, and we got this brilliant, arty feel to her.” However, not everyone had a costume glow-up. “The only one I don’t think really changes dramatically is Otis – but why should he? He’s still trying to find himself, he’s pining for Maeve, he’s been looking after his newborn sister, looking after his mum – he’s not had time to evolve.” As Otis joins the new school and finds a rival sex therapist, Pearman did give him new chinos and put him in a shirt – but it’s small tweaks, rather than anything dramatic. “When people watch it, that enables the story. It’s not jarring, but shows we had fun developing those characters through their costume.” While Pearman – who got her start in the industry as a trainee on soap Coronation Street in 2004 – struggles to pick a favourite character to dress, she does mention fan favourite Eric, who’s know for bold looks on the show. “Eric is incredible, looks amazing in anything you put him in and is so collaborative and interested in it,” Pearman says – and this season, she wants viewers to look out for the “amazing vintage jackets” she’s dressed him in. Vintage is a running theme throughout the costumes, with Pearman saying: “We tried to be as sustainable as we could” – particularly as the new school puts the environment front and centre. “We did shop in vintage stores and charity shops, and stuff is hired from costume houses. Then there’s stuff that has to be bought, because you don’t have the choice or time to have stuff made. “In telly, things happen quite quickly, and there are last-minute changes. So we needed doubles for stunts or repeats of stuff – if someone’s having a drink spilled over them.” If you’re looking to get the vintage vibe of show, Pearman’s advice is to “invest time in it”. When shopping in secondhand stores, she says: “Don’t rush it and enjoy it – and think outside the box. If you see something you really like and you’re like, ‘Where will I wear it?’ Never think that, always find somewhere to wear it.” Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Groundbreaking migraine treatment offers ‘new hope’ for patients ‘Millions of women and girls suffer severe pain’ during periods – research finds Cats given vegan diets ‘have better health outcomes’, study claims

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The 2023 MTV Video Music Awards (VMAs) on Tuesday night was a star-studded event, with Taylor Swift, American rapper Megan Thee Stallion and Shakira all in attendance. It took place at the Prudential Center in Newark and was hosted – for the second year in a row – by American rapper Nicki Minaj, who was also nominated for six awards, including video of the year and artist of the year. Here’s what the stars wore on the red carpet and onstage… American singer-songwriter Taylor Swift made a grand entrance onto the pink carpet in a sultry black Atelier Versace halter neck gown, with gold button detailing and a high slit. The 33-year-old styled it with a variety of necklaces and black barely-there stiletto heels, and swept the VMAs in nine categories, including her single Anti-Hero winning her the song of the year award. Clombian superstar Shakira wore the thigh-high trend too as she picked up the video vanguard award and gave a electrifying performance. Her flowy chrome blue Versace gown, which included the Italian luxury brand’s signature safety pins, really turned heads. She paired it with gold heels. Elsewhere underwear as outerwear seemed to be the theme of the night. Nicki Minaj wore a baby pink Dolce & Gabbana lingerie gown, finished off with a mermaid skirt. Underneath the lace detailing, was a satin strapless body suit. The 40-year-old finished off the look with a short veil in the same colour. American singer and actor Sabrina Carpenter wore a bright white strappy tulle diaphanous dress, over a silver embellished bralette. The 24-year-old who performed her songs Feather and Nonsense at the VMAs pre-show, paired her look with gold peep toe platform heels and a dainty necklace. Rapper Megan Thee Stallion wore a black custom made boned sheer corset fitted gown by designer Brandon Blackwood, who used two layers of bobbinet and silk grosgain, so it could appear as second skin. She paired the look with a diamond chocker necklace, matching bracelet and studs, to complete the look. While Sean “Diddy” Combs who accepted the Global Icon Award at the VMAs, took the audience back in time with a melody of hits, including I’ll Be Missing You and Bad Boy for Life. Dressed in red from head to toe, the 53-year-old rapper and business mogul wore a shiny three piece outfit, which used straps for detailing. He paired it with matching red trainers. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Gabrielle ‘Coco’ Chanel was the first superstar fashion designer, says curator of V&A exhibition 6 times Kate has worn London Fashion Week designers Pro-gamer Jukeyz ‘died for two minutes’ after cardiac arrest which left him ‘scared to sleep’

As well as introducing groundbreaking garments for women, Gabrielle ‘Coco’ Chanel embodied her brand in a way no other designer had done before, a new exhibition highlights. Gabrielle Chanel. Fashion Manifesto – at London’s V&A Museum – traces the life and work of the famed French designer, who was born in the Loire Valley in 1883 and taught to sew by nuns in the orphanage to which she was sent aged 11, when her mother died. “Before her, designers weren’t really known,” says Oriole Cullen, curator of modern textiles and fashion and the V&A. “Their names were known, but they weren’t visible figures within society.” Starting out as a seamstress and cabaret singer, before establishing herself as milliner, Chanel later turned her focus to couture fashion and began designing casual clothing for women, inspired by the menswear of the era. “The Chanel brand as it stands [today] is really based on these ideas that she ushered in 100 years ago,” Cullen says, which is where the exhibition title comes from. “The meaning of that is really about a template that Gabrielle Chanel set out at the very beginning of her design career and came back to, reimagined and reinvented throughout her long career of sixty years.” Bringing together nearly 200 outfits, the show features items from the opening of her first millinery boutique in Paris in 1910, to the showing of her final collection, two weeks after she died in 1971. Signature designs on display include little black dresses, tweed suits and quilted leather handbags – the most iconic of which is the 2.55 bag. “The 2.55 has never really gone out of fashion since she designed it in 1955,” Cullen says. “That is fascinating in terms of high fashion, that an object can stay the course for such a long time and still be relevant.” Part of the upper echelons of French society, Chanel initially relied on wealthy lovers, such as French ex-cavalry officer Etienne Balsan and English polo player Arthur Edward ‘Boy’ Capel to fund her boutiques. Later becoming a celebrity in her own right, she amassed a personal fortune, thanks to the success of her fashion, accessories and cosmetics lines. “The perfume Chanel No5 was introduced in 1921, but then introducing make-up in 1924 and skincare in 1927, she was really ahead of her time,” Cullen says. “It’s something she was doing because she was designing for herself.” Chanel is credited with helping to liberate women from the constricting corsets and long skirts that were de rigeur at the turn of the century, and for popularising softer textiles, such as jersey. “She cuts her garments with high armholes, so you can lift your arms over your head,” Cullen continues. “She thinks about fabrics that are practical, and skirt lengths you can move in.” The exhibition – which was originally staged at Paris’s Palais Galliera in 2020 – highlights the brand’s UK and Ireland connections via British Chanel Limited. “This was an umbrella company set up in 1932 to work with an array of British textile manufacturers,” Cullen explains. “From lace in Nottingham, cotton velvets from Manchester, wools from Huddersfield, and also voiles and silks from Carlisle. “One of the other companies she worked with was the Old Bleach Linen Company, which is based in Randalstown in Northern Ireland.” Split into 10 sections, the exhibition concludes with a recreation of the mirrored staircase from Chanel’s Paris atelier. “Gabrielle Chanel used to sit at the top of the stairs when she was having presentations,” Cullen explains. “The models would descend and this faceted mirror would reflect back the audience’s faces to her, so she could read the mood in the room.” Gabrielle Chanel. Fashion Manifesto opens at London’s V&A Museum on September 16. Tickets available at vam.ac.uk/chanel. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live 6 times Kate has worn London Fashion Week designers Pro-gamer Jukeyz ‘died for two minutes’ after cardiac arrest which left him ‘scared to sleep’ Young people not snowflakes or wasters, says curator of rebellious fashion exhibition

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