Every so often, when I’m in the grips of extreme procrastination, I scroll back through the old photo albums on my near-dormant Facebook account. Their titles are a mix of forgotten teenage in-jokes and once-beloved song lyrics (no doubt a hangover from the Myspace era, before Zuckerberg). The pictures, captured on the digital camera that accompanied me on every night out, look a little fuzzy now, compared to the ultra-high resolution of an iPhone. But they’re still sharp enough that you can make out all the hallmarks of Noughties fashion in every group shot. There are battered pairs of ballet flats. String upon string of fake pearls. Slouchy off-brand Ugg boots. Hi-shine, high-waisted disco pants, reflecting back the flash of my Canon. More waistbelts than the average episode of Gok’s Fashion Fix. I can practically smell the frazzled scent of burning hair, straightened to a crisp. All very nostalgic, all very cringe, all now thankfully relegated to the big Topshop in the sky. Or so I’d naively thought. Fashion’s relentless trend cycle comes for us all in the end and this year, it seems, the nostalgia pendulum has come to rest somewhere around 2007. Bella Hadid and Emily Ratajkowski have been papped strolling through New York City in beige Uggs. A waistcoat is acceptable – even chic on a night out – no longer the sole sartorial preserve of Steve Arnott from Line of Duty. Its more practical cousin, the gilet, is also back, ready and waiting to keep your torso warm and your arms cold. Kylie Jenner is wearing disco pants, paired with going-out tops of indeterminate length. Most triggering of all? The discovery that beloved Scandi brand Ganni is now selling a high-fashion version of the sole-destroying ballet flats that teenage me wore until they fell apart (typically after about two months of continuous use). It was inevitable that the trends of my adolescence would get re-tooled for a new generation somewhere down the line – that’s just how fashion works. But I certainly wasn’t expecting it to happen quite so quickly, or to induce such a stomach-flipping sense of vertigo. It’s only been exacerbated by a clutch of that era’s cultural figures re-entering the public consciousness. Pete(r) Doherty, once the poet laureate of try-hard indie teens, is cropping up everywhere (“ARE YOU WATCHING PETE AND LOUIS THEROUX????” my lifelong best friend urgently WhatsApped me the other night, reminding me of my teenage Libertines obsession). Waistbelt-wearing, bodycon-loving pop legends Girls Aloud may or may not be reuniting (please make it so!) and, erm, Call-Me-Dave Cameron is making a return to frontline politics. It’s enough to make you feel like a portal to the past has somehow opened up, Doctor Who-style (naturally David Tennant, who played the Doctor in the latter half of the Noughties, is reprising that role later this year). Noughties fashion is having a moment on screen, too. Emerald Fennell’s new film Saltburn stars Barry Keoghan as Oliver, a working-class student at Oxford who is befriended by the aristocratic Felix, played by Jacob Elordi; Felix later invites his new pal to spend the summer at his family pile. It takes place between 2006 and 2007, and these fictional freshers dress in authentic period finery: the three “Js” – Jane Norman, Juicy Couture and Jack Wills – superfluous beaded necklaces and daffodil yellow LiveStrong charity wristbands. The latter, of course, were a rubbery tribute to now-disgraced cyclist Lance Armstrong, which, for some unfathomable reason, became a must-have. When they sold out online, we’d go to bizarre lengths to source one. I distinctly remember sending an envelope covered in first class stamps to a friend of a friend of a friend, then receiving a rubbery bracelet in the post about a month later. I had only a vague idea of exactly who Armstrong was, really, but I liked the pop of colour against my white “Make Poverty History” band. To nail this very specific period look, Saltburn costume designer Sophie Canale made “mood boards mainly of my friends drunk on Facebook as inspiration”, she recently told Women’s Wear Daily. She sounds like a woman after my own heart. And just like my friends and I, Fennell’s characters love a good pair of Uggs – or at least, Ugg-adjacent copycats. So devoted was I to my tan knock-off versions that 16-year-old me carried on wearing them almost immediately after undergoing a knee arthroscopy (fake Uggs and crutches – a real fashion statement). My physiotherapist was horrified – and for good reason. In 2010, the British College of Osteopathic Medicine put out a statement imploring teenage girls like me to ditch their poorly-made imitation boots, warning that the lack of foot support could eventually lead to wear and tear on the ankles, knees and hips. “Just because something becomes a trend or fashionable doesn’t mean it’s good or right,” the organisation’s then-head Dr Ian Drysdale warned. Wise words indeed – but if I’d heard them at the time, I’d probably have rolled my eyes and gone back to trying to find the perfect footless tights to pair with my fleecy shoes. Ballet flats, with their similar absence of support, were pretty terrible for your podiatric health too, but it was a sacrifice we were willing to make in order to look a bit like Kate Moss. Looking good could be painful: after attending one friend’s 16th-birthday meal, I had to go home and lie down in agony thanks to waist belt-induced indigestion. Of course, Mossy, the patron saint of Noughties style, was on Canale’s radar when it came to dressing Saltburn’s students. The costume designer tracked down styles from the model’s first fashion collection for Topshop, which would have been seriously hot property around the period in which the film is set. More than 15 years on, I still have near-perfect recall of almost every piece, because I wanted them so much: the silvery halter-neck gown, the red skinny jeans, the patterned shorts crying out to be layered over a pair of 60 denier opaque tights. I’m pretty sure those designs are probably seared onto my poor, long-suffering mum’s memory, too. Like some sort of mini Miranda Priestly, I sent her trawling round all the Topshops in the Liverpool City Region to try and find the sell-out pansy print tea dress from Kate’s line. Why didn’t I do it myself? Too busy stomping around Snowdonia, attempting to get a bronze Duke of Edinburgh award, having been gaslighted into believing that this would prompt paroxysms of admiration from university admissions staff. She never did find the dress, but I managed to get hold of one years later, when Moss re-released some of her greatest hits to mark her final Topshop collection. It shrunk to unwearable dimensions after a few washes, but I still have it hanging in my wardrobe like a tiny floral trophy. Perhaps one day I’ll sell it on Vinted to a Gen-Zer who can’t remember the Noughties but likes the retro aesthetic (I’d have to label it “worn, with minor fake tan stains”, though). But most likely I’ll keep hold of it. The clothes we wear when we don’t quite know who we are or what we’re doing with our lives are a bit cringe-worthy, yes, but they’re also strangely endearing. Much as the rational part of my brain might be horrified by its baffling silhouettes and bizarre accessories, I’ll always have a soft spot for Noughties fashion – just don’t expect to see me in a waistcoat any time soon. Read More Chris Pine defends his short shorts Balenciaga divides with release of ‘absurd’ $925 bath towel skirt Women’s scarves and crocheted ties - what is Robert Peston wearing now?

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People can’t decide whether Balenciaga’s new $925 bath towel skirt is an example of clever marketing or just a ploy to wipe wallets. The unparalleled high fashion house, piloted by long-time creative director Demna Gvasalia, regularly releases peculiar designs, made to look beaten down and wrecked, with purposeful outlandish price tags – see its $1,850 fully destroyed sneakers or $1,800 trash bag tote. But this particular pick from the brand’s Spring 2024 collection sparked widespread debate online as soon it became available for pre-order on 14 November. A $927 terry-cloth towel, fashioned to be a wrap skirt, comes after the Georgian designer faced backlash for a controversial 2022 holiday ad featuring children holding teddy bears in leather bondage. Following the extensive criticism, Demna said he planned on tapping into his “roots in fashion as well as to the roots of Balenciaga, which is making quality clothes – not making image or buzz”. He told Vogue his plan in February a few weeks ahead of his fall 2023 debut. But while the designer intended to find motivation from Balenciaga founder Cristóbal moving forward, this quirky bathroom garment prompted further conversation about the brand’s continued desire to offer “absurd” luxury items. One riled up fashion enthusiast took to X, formerly known as Twitter, to make a larger generalisation. “This is absurd, These brands will sell anything and everything at such ridiculously high prices,” they wrote. “Balenciaga is so unserious,” another critic commented, while someone else said: “I’ll say it again... Balenciaga is conducting an experiment. It’s a behavioral science study. You can’t convince me otherwise.” Amid the flock of immediate criticism, brand supporters pointed out the platform and intended buyers Balenciaga targets. “In economics we’d say they are discovering the true demand curve. They are checking their customer base to see how elastic they are. If it’s a fairly inelastic demand curve of which it’s very likely to be. They won’t lose anything by being selling s*** like this, in actual fact…” one person wrote. “I need customers like theirs,” another fan proclaimed. One candid reviewer wrote: “What kind of madness is this? At least I’m not their target market.” Other X users added remarks about how they could make their own towel skirt with their fluffy fabric at home. “I already got a towel skirt, it cost $10 and it’s from Walmart,” one individual commented. Playing off the high-end fashion brand’s current visibility, Ikea, the Swedish homewares and furniture brand, dropped a similar advertisement, highlighting its $10 VINARN bath towel. In promotional photos, a model could be seen with the towel wrapped around his waist, layered over a pair of construction pants. On top, the man donned a common Balenciaga identifier with a black hoodie and wrap-around moto sunglasses. Read More Women’s scarves and crocheted ties - what is Robert Peston wearing now? McDonald’s and Crocs collaborate on new Grimace shoes Jacob Elordi reveals why he always carries a purse Women’s scarves and crocheted ties - what is Robert Peston wearing now? McDonald’s and Crocs collaborate on new Grimace shoes Jacob Elordi reveals why he always carries a purse

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McDonald’s and Crocs are joining forces to make spicy shoes inspired by the fast-food chain’s animated characters. In partnership with the notable footwear company, the popular creator of the mouthwatering McFlurry is releasing four limited-edition sandals available on 14 November. The special collection will feature three traditional Crocs alongside slip-ons in the brand’s colour scheme (red and yellow) as well as options made to look like Grimace, Hamburglar, and Birdie. “McDonald’s and Crocs are introducing their first-ever collab. Inspired by both Crocs Stars and Mickey D’s loyalists, the collab will drop with a full line of shoes, socks and Jibbitz charms beginning tomorrow in countries around the world,” Crocs announced in its press release, adding that the collection will go live midday. “From a Classic Clog with a McDonald’s spin to a throwback, limited-edition collection inspired by iconic McDonald’s characters – Grimace, Birdie and Hamburglar – the new shoes are designed to give consumers a way to live out their bold fandom every day,” it continued. A layer of potent purple fur will line the inside of the Grimace sandals, while the outer rubber straps will feature the footwear brand’s iconic punctured holes to place themed Jibbitz in. Meanwhile, the Birdie design will be adorned with plastic pink bows, her white goggles, and matching insoles. Then, in true Hamburglar fashion, the Crocs will be detailed with black and white strips, popout masked eyes, and yellow soles. In addition to the McDonald’s emblem – the golden arch – a pack of french fries, a soda cup, a carton of McNuggests, and a Big Mac will be available as Jibbitz add-ons. Each unique pair will retail between $70 and $75, with optional coordinating socks for $20. The entire collection will be sold at Crocs stores as well as select wholesale locations. While the McDonald’s and Crocs collaboration is certainly a tasty treat, the humourous line follows the shoe company’s edgy drop a little over a month ago. On 5 October, Crocs fused a Western aesthetic with dark grunge to come up with its very own cowboy boot. The “foul” shoe was lengthy yet bendable, with two spurs lining the faux leather shaft. Careful stitching and a textured vamp mirrored a classic cowboy boot but was still reminiscent of the brand’s love for funky design. These $120 boots, made in accordance with “Croctober,” the time of year when the brand releases a new style, riled up fans online, eager customers debating harsh critics over the inventiveness and look of the spongy boots. “Why...why do I not hate these?” one person questioned, while another said: “Crocs released cowboy boots. That’s enough internet for today.” Read More The Wrong Coat? You’re bang on trend my friend Chrissy Teigen has hilarious reaction to wardrobe malfunction at Baby2Baby Gala

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Chrissy Teigen had a hilarious reaction to her latest wardrobe mishap. The model, 37, took to Instagram over the weekend to share a snap of her outfit at the 2023 Baby2Baby Gala. For the occasion, she opted for a black dress with a high-knee slit adorned with a sparkling 3D flower decal. She also paired the outfit with a gold clutch and black heels. As she shared photos of the event on her since-expired Instagram Story, captured by People, she revealed that she had a bit of a wardrobe problem during the event. In the picture, she was seen sitting in a chair with her back turned, as her dress accidentally slipped open along its zipper. Teigen, who was bent over in the photo, continued to poke fun at the dress malfunction in the caption, writing: “Oh lol.” This isn’t the first time that Teigen has shared a candid reaction to a wardrobe issue. Back in 2017, fans noticed her shirt happened to be sheer while she was sitting in the stands at the Super Bowl with her husband, John Legend. However, Teigen didn’t hesitate to play the situation off on social media. At the time, per Us Weekly, she simply retweeted the video and wrote: “Boom goes the dynamite.” On 11 November, the mother of four was one of the many famous faces at the annual gala that raises money for Baby2Baby, which “provides children living in poverty with diapers, clothing and all the basic necessities that every child deserves,” according to its official website. The star-studded guest list at the event included Kim Kardashian, Salma Hayek, Olivia Wilde, Heidi Klum, Matthew McConaughey, and Zoe Saldaña. This year, Channing Tatum also presented Hayek with the Giving Tree Award, in honour of the work that her charity has done to help underprivileged children in Mexico. “All children are our children. We have a responsibility. They hold in their hands our future. They are our hope,” she said during her speech, per The Hollywood Reporter. “Dignity is an essential; diapers are dignity, make no mistake. Love is an essential. For all these children and all the mothers and all their families, how can we say ‘Let’s love, not hate,’ but how do you teach compassion and empathy to people who have never felt compassion and empathy from anyone?” Hayek concluded: “So, in everything you donate and everything that Baby2Baby brings to every single home or street, there is an intention. It’s not just money. It is love. It is compassion. It is caring. We are all interconnected.” Read More The Wrong Coat? You’re bang on trend my friend ‘I made $2k in 24hrs’: These sellers built businesses off Beyonce’s tour – now what?

Chrissy Teigen was left red-faced after her dress split open at the Baby2Baby Gala.

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All five answers to the questions below have something in common. Can you figure it out?

When Abby Misbin received an Etsy order for one of her handmade cowboy hats from someone claiming to be Beyoncé’s stylist, she thought it was a prank. Setting her reservations aside, in June 2022, Misbin sent off a one-of-a-kind Stetson adorned with more than 5,000 mirror discs, in the hopes that the order was genuine. Then there was silence. Eight months later, Beyoncé announced her Renaissance World Tour on Instagram. In the official poster, the “Break My Soul” superstar is seen mounted on Reneigh, her disco horse, wearing a glorious diamanté leotard, cascading blingy jewellery and… Misbin’s hat. Three hours later – after Misbin asked a mob of her friends to tag her business account, TrendingByAbby, in the comments – she was inundated with orders. “I was under the impression that I hadn’t seen the hat being worn because Beyoncé didn’t like it!” recalls Misbin down the line from Pennsylvania, six weeks on from the tour’s final concert in Kansas City. “I just imagined her saying, ‘I’m not wearing this.’” But Beyoncé did like the hat. And so did millions of fans who were desperate to emulate their idol’s style. Misbin’s sales soared from approximately two hats a week to 30. At the height of the tour, she would be working 12-to-15-hour days just to keep up with demand. Each night, she’d find tiny shards of glass in her hands after glueing thousands of individual mirror discs to dozens of hats. Misbin is just one of many Etsy sellers who earned small fortunes making unofficial merchandise for the Renaissance shows. Many of these small business owners spent the six-month duration of that tour at the singer’s whim – their day-to-day lives consumed by the various hues of silver that dominated the tour’s colour pallette – a nod to Beyoncé’s disco-themed album. But it’s been six weeks since the concerts came to an end and Beyoncé rode off into the darkness on Reneigh. The silver bubble has popped, leaving Misbin and her peers wondering: what now? Erin Fritts, the owner of North Carolina’s Everwind Creations whose holographic hand-fans also became a staple among the concert crowd, says she was at the “mercy of Beyoncé” during the tour. Between May and October, the singer would make specific demands of her fans – ones that Fritts, Misbin and other Etsy sellers had to be savvy about. For her birthday in September, for example, Beyoncé implored her devotees to dress like “shimmering human disco balls” – and so Fritts got to work. Firstly, she did research into what keywords were being searched on Etsy the most: “Renaissance”; “silver”; “hand-fan”. It made sense. After all, it was peak summertime and an arena full of boisterous fans was bound to get sweaty. Fritts also noticed that the main prop Beyoncé used in the tour routine for her hit song “Heated” was a sprawling hand-fan. The stars had aligned. During the course of the tour, Fritts saw orders for her fans shoot up from two a day to more than 30. At £26 each, there was a time when the fans were generating over £800 daily. “My Etsy sales just skyrocketed out of nowhere,” she says over the phone. In those peak months, Fritts pivoted from her day job in digital marketing to focus on her Etsy full-time. “I was working long hours, and sometimes my mum would help out.” She laughs, “I was at the mercy of Beyoncé. I had to listen to whatever dress codes she put on the internet because who knows what she’s going to tell her fans to wear next?” When the music stopped on 1 October, though, these Etsy sellers faced an unwelcome inevitable. “I was really worried about demand dropping off,” Fritts tells me. “I was like ‘No! Please add more tour days!’ I was definitely mourning the end of the tour. I miss just chatting with the Bey Hive.” Her orders fell back to three per day– five on a good day. “I often wonder… if she does go on that tour again – will she use hand-fans in songs and make it her thing again? It’s up in the air.” Anna Ferguson, the owner of the OneLoveOneAnna Etsy shop based in Atlanta, Georgia, has noticed a similar lull in the sales of her disco ball earrings in the aftermath of both the Renaissance tour and Taylor Swift’s similarly colossal Eras tour, which is currently on hiatus. In addition to online sales, Ferguson would regularly loiter in hotel lobbies near arenas to peddle her handmade jewellery to fans staying there. “In Atlanta, I walked around the hotel with a bag of my earrings and a sign and in five minutes I had made hundreds of dollars,” she says. The next weekend, Ferguson followed the tour to Nashville, where she made $2,000 in 24 hours. “The tours were really a game-changer for me in terms of sales. And I have just ridden on the crazy world tour coattails all of the way.” Now, Ferguson is trying to adapt to a post-tour world. “Sales trickle in, but it’s nothing like what I was seeing,” she says. “This weekend, I’m trading at a Tay-Gate party [unofficial concert parties run for Taylor Swift fans].” She is also holding out for the Renaissance tour movie, which releases on 1 December, as she hopes there will be another spike in Beyoncé-related purchases, like her disco ball earrings with Queen Bey’s face printed on them. “During the tour, I managed to accommodate everyone with their accessory emergencies – I just hope that happens again.” Misbin says that the tour’s end is bittersweet. “Business is not what it was,” she sighs. “I don’t have as many opportunities like that anymore, but I do feel really lucky to have had it in the first place.” At her peak, she was selling 30 hats a week. Now, if she sells 10, she considers it a success. The milliner has also noticed hundreds of dupes of her hat surfacing online with a cheaper price tag. “I’m lucky to still be working full-time but I’m noticing companies recreating it with varying quality,” she says. Misbin herself had been advised to start outsourcing to a factory when she was at her busiest, but she never wanted to compromise on the quality. “I wouldn’t feel right paying someone pennies to make what I make,” she tells me. ‘I can’t imagine someone getting paid less than me.” When Beyoncé’s Renaissance tour ended, ticket seller Live Nation said it made more than half a billion dollars ($579m) from 56 concerts performed to approximately 2.7 million fans. Some fans will have searched Amazon or fast-fashion sites to get their quick fix of silver, disco-inspired outfits, but many, hearteningly, turned to independent sellers. For now, Misbin says she is keeping her “finger on the pulse” for the next big thing. She hopes that with Christmas around the corner and the forthcoming Renaissance tour movie, her sales will soar again before the new year. “I don’t want to miss another thing. If I had closed down my store two years ago, then this would have never happened,” she says. “I’m not going to necessarily shut down if sales are slow – they’re pretty good now. I’m just trying to ride it out.” Read More Beyonce’s mom says her daughter is ‘really mean’ Met Gala officially announces its 2024 theme What does the 2024 Met Gala theme ‘Sleeping Beauties’ actually mean? Met Gala officially announces its 2024 theme What does the 2024 Met Gala theme ‘Sleeping Beauties’ actually mean? Why do people think Met Gala 2024 theme could be a dig at Kim Kardashian?