“We concluded that birthdays end lethally more frequently than might be expected."

The rapper slammed her haters during her set at Outside Lands.

Lionel Richie couldn't make his New York City concert due to bad weather.

Robert F. Kennedy Jr.'s campaign on Sunday evening quickly tried to walk back comments the Democratic presidential candidate had made earlier in the day in support of a nationwide abortion restriction after the first three months of pregnancy.

Last year, Eddie Peterson lost consciousness at his home in Memphis and stopped breathing.

State agencies are warning people not to eat mountain whitefish caught in the Yellowstone River in the area where a train carrying chemicals went off the tracks in June, according to the Montana Department of Fish, Wildlife and Parks.

Billy Porter has re-addressed the criticism he made about Harry Styles becoming US Vogue’s first-ever solo male cover star in 2019. At the time, the former One Direction singer appeared on the cover of the fashion magazine wearing a Gucci dress. Porter, who is best known for starring in the hit TV series Pose, said in an interview The Sunday Times in 2020 that he had several issues with Vogue’s decision to feature Styles, with the actor claiming that all the singer had to do to break barriers was “be white and straight”. “I was the first one doing it and now everybody is doing it,” he said. “I’m not dragging Harry Styles, but... He doesn’t care, he’s just doing it because it’s the thing to do. This is politics for me. This is my life. “I had to fight my entire life to get to the place where I could wear a dress to the Oscars,” Porter added. “All [Styles] has to do is be white and straight.” Porter is known for championing gender-neutral fashion. He wore an iconic tuxedo dress, custom-made by designer Christian Siriano, at the 2019 Oscars. At the Met Gala that same year, he wore a Cleopatra-inspired golden catsuit with wings, and arrived at the event in a golden litter carried by six shirtless men. “Watermelon Sugar” singer Styles frequently performs in gender-neutral clothing, and told US Vogue in his cover story: “Clothes are there to have fun with and experiment with and play with. What’s really exciting is that all of these lines are just kind of crumbling away. There’s so much joy to be had in playing with clothes.” “I’ve never really thought too much about what it means – it just becomes this extended part of creating something,” he added. After making his initial comments, Porter issued an apology to Styles live on The Late Show with Stephen Colbert, telling the camera: “Harry Styles, I apologise to you for having your name in my mouth. “It’s not about you. The conversation is not about you.” Porter went on to explain that the conversation is “deeper,” as it is actually about “the systems of oppression and erasure of people of colour, who contribute to the culture”. After acknowledging that there is a lot to “unpack” regarding the topic, Porter noted that he is willing to do so as long as it is without the interference of “the cancel culture of the internet”. “I’m willing to unpack it, sans the dragging and cancel culture of the internet, because I do not now, nor will ever, adjudicate my life or humanity in sound bites on social media,” he said. “So when you’re ready to have the real conversation, call a b****. OK? I’m ready to have it!” In a new interview with The Telegraph, published on Friday (11 August 2023), Porter explained how he would have better approached Anna Wintour back in 2019. Months before the Harry Styles Vogue cover was revealed, Porter had participated in a Q&A with Anna Wintour in front of Condé Nast staff. “That b**** said to me at the end, ‘How can we do better?’ And I was so taken off guard that I didn’t say what I should have said.” Now, looking back, Porter reflected on what he wished he had said: “Use your power as Vogue to uplift the voices of the leaders of this de-gendering of fashion movement.” However, as Porter reflected: “Six months later, Harry Styles is the first man on the cover.” “It’s not Harry Styles’s fault that he happens to be white and cute and straight and fit into the infrastructure that way … I call out the gatekeepers,” he said. Porter now doesn’t claim to be “the first” to push against gender stereotypes in fashion. “I know David Bowie existed, I know Sylvester existed,” he told the publication. Porter added that Styles is “white and he’s straight”, which explains why “he’s on the cover”. “Non-binary blah blah blah blah. No. It doesn’t feel good to me. You’re using my community – or your people are using my community – to elevate you. You haven’t had to sacrifice anything,” he said. Porter is best known for starring in the hit TV series Pose, for which he was nominated for three Golden Globe Awards and won the 2019 Primetime Emmy Award for Outstanding Lead Actor in a Drama Series. He became the first gay Black man to be nominated and win in any lead acting category at the Primetime Emmys. Read More What I gained (and lost) by walking 10,000 steps each day for 5 months Pink fan who went into labour during concert names newborn son after pop star Woman behind viral ‘not real’ plane tirade says her life has been ‘blown up’ Billy Porter says he is ‘back on the market’ after filing for divorce Supermodels including Naomi Campbell recreate iconic Vogue cover from 1990 Will the gendered separation in clothing ever cease to exist?

An iconic Vogue cover, featuring Naomi Campbell, Christy Turlington, Tatjana Patitz, Linda Evangelista and Cindy Crawford in 1990, which capture the age of the Nineties supermodel, has been recreated more than 30 years later. The story, which will appear on the UK and US editions with the cover line: “The Greatest of All Time”, will be missing German model Tatjana Patitz, who died earlier this year. The original photograph appeared on the cover of the January 1990 edition of Vogue and has been reimagined for the 2023 September cover. The four models will appear in the forthcoming four-part Apple TV+ docuseries, The Super Models, as they reflect on the beginnings of their modelling careers in the late Eighties and early Nineties. The show will be premiering on 20 September. The four women, now in their fifties, are often considered to be among the first supermodels to become celebrities and known as household names outside of the fashion industry. Speaking to Vogue, Campbell said of her early days of modelling: “There was a sisterhood there, defined by caring and loyalty: when one is down you pick the other one up.” Elsewhere in the interview, Campbell recalled how her life began to change when she became famous, like when photographers captured her outside a Narcotics Anonymous meeting in 2001. “I was made to feel ashamed of my recovery,” she said. “It wasn’t that I was in hiding, but this is something you talk about when you are ready.” Meanwhile, Evangelista opened up about her own experience with Botox, after trying the CoolSculpting procedure that left her face “disfigured”. “I don’t mind and I never did mind ageing. Ageing gets us to where we want to be, and that’s for me a long life,” she said. “[Makeup artist] Kevyn Aucoin was so afraid of wrinkles and he never got them. I want wrinkles – but I Botox my forehead so I am a hypocrite – but I want to grow old.” Much of the feature focuses on what the four models have overcome and survived in their careers, such as “grunge” and the pre-#MeToo era. All four models said they largely avoided sexual exploitation despite working with photographers who have been accused of sexually inappropriate behaviour with models. Crawford explained she would avoid lots of parties, Turlington said it was down to “luck and grace”, while Campbell said she was taught to “speak up” by her family. “You’d get invited to a party on someone’s yacht and I’d think, ‘What do you even wear on a yacht? What fork do you use?’” said Crawford. “So I would just not go and, yes, I probably missed out on some fabulous opportunities but probably avoided some less than fabulous opportunities as well.” Edward Enninful, outgoing editor-in-chief of British Vogue – he will step down from the role in March to become Vogue’s global creative and cultural adviser – styled all four models for the cover shoot. Writing about the decision to put the four models on the September issue cover in his Editor’s Letter, Enninful wrote: “For such a hallowed moment, my esteemed co-conspirator Anna Wintour – editor-in-chief of American Vogue and Condé Nast’s chief content officer – and I decided there was only one thing for it.” “We had to put the legendary quartet simultaneously on the cover of both British and American Vogues.” You can read the full Vogue cover story here. The Super Models will be available to watch on Apple TV+ from 20 September. Read More Fan who went into labour at Pink concert names newborn son after her Husband ‘ruins’ dinner because of his wife’s typo: ‘The worst kind of control freak’ Woman says her life was ‘blown up’ by viral plane rant where she called passenger ‘not real’ Will the gendered separation in clothing ever cease to exist? All the top models and celebs in Victoria Secret’s new Icons campaign Government urged to remove VAT from period pants

Former Vice President Mike Pence says he expects to call out former President Donald Trump and Florida Gov. Ron DeSantis during this month’s Republican presidential debate for not insisting on a national abortion ban

Better cancer treatments, advances in longevity, groundbreaking medicines and vaccines: these are just some of the potential prizes on offer in an emerging global race to advance the biosciences.

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

All fried chicken tenders qualify as fingers, but not all chicken fingers are tenders.