When the weather heats up and you want to cool down, white is the colour of summer. From romantic broderie anglaise to sexy off-the-shoulder, to a frilly mini, white is a win-win with its flattering reflections, aura of freshness – and it’s never a big deal to accessorise. Summer’s answer to what to wear when you want to look your best without having to try too hard, white suits all your holiday mood swings and loves high temperatures, sunshine and blue skies. Here are some of our favourite finds, from girlie to sophisticated… 1. White off-the-shoulder top The off-the-shoulder top isn’t going anywhere this summer, especially when the weather hots up. From Bardot-inspired to peasant style, these pretty cottons have just enough sensual softness to be worn with confidence – and a cute pair of shorts. Threadbare Women’s White Linen Blend Strap Bardot Top, £23.99 The White Company Organic Cotton Off-The-Shoulder Jacquard Top, £89 2. White broderie belted dress While last year’s take on broderie anglaise was all about a boho vibe, this season there’s a sense of sophistication with loop tie-waisted dresses, camp collar and flattering A-line silhouette. Pair with flat tan sandals for the chance to show off your nude pedicure. Damart White Broderie Anglais Dress, £69.99 Jasper Conran Daria Broderie A Line Dress, £320 3. White frill mini It’s sort of impossible to look anything but happy and carefree in a flirty mini dress trimmed with ruffles. And a few fun accessories such as a wide-brim hat or summer straw, large wicker basket and gypsy hoop earrings, will kick up the look a couple of notches. V by Very Frill Detail Woven Mix Mini Dress – White, £26, Very River Island White Broderie Frill Mini Dress, £65 4. White jumpsuit Tailored but soft-shouldered with an effortlessly draped neckline, there’s no mistaking the glamour of a white jumpsuit. With free-flowing wide-leg trousers, this style hero is particularly on trend with a cape sleeve – and all that’s needed is a pair of strappy sandals for summer soirées. River Island White Cape Jumpsuit, £79 Reiss Carmen Halter Neck Linen Blend Jumpsuit, £268 5. White beach skirt Skip the sarong with fashionista’s new must-have staple to transition from beach to bar… and beyond. Ultra-versatile, if you go for a sexy split you can still show off your best bikini while sipping on a sundowner. Otherwise, a tiered maxi looks drop dead gorgeous with a white cotton crop top with long puffy sleeves for a statement look. Ta-da! M&S Collection Textured Maxi Tiered Beach Skirt, £35 Next Crochet Lace Skirt, £34 Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Paternity leave should be paid for six weeks, campaigners tell Government My teenager gets all their news from TikTok – should I worry? How to take care of pets in the heat

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Fashion lovers can now live out their Devil Wears Prada dream (or “nightmare”), as Vogue is hiring an assistant to none other than Anna Wintour. This week, Vogue publisher Condé Nast posted a job listing for Assistant to the Editor in Chief of American Vogue and Global Chief Content Officer in New York City. Much like Anna Hathaway’s character Andy Sachs in the 2006 film The Devil Wears Prada, Vogue is looking for a candidate to assist with coordinating meetings, managing events and engagements, and overseeing the overall flow of communication and information that comes in and out of Anna Wintour’s office. The ideal candidate is extremely organised, deadline-oriented, and able to multitask in a fast-paced environment. Perhaps knowing the difference between turquoise, lapis, and cerulean wouldn’t hurt, or where to pick up an advanced copy of the seventh Harry Potter book. Minimum requirements include a college education, one to two years of work experience in administrative support, and strong writing skills. The salary range is $60,000 to $80,000. “This is a tremendous opportunity for an ambitious, business-savvy professional who is passionate about culture, fashion, digital media, and content,” the listing reads. Unsurprisingly, the new job listing sparked many comparisons to the beloved movie The Devil Wears Prada, in which Meryl Streep stars as Miranda Priestly – an intimidating magazine editor largely inspired by Anna Wintour. The 2006 film was adapted from a book of the same name by Wintour’s own former assistant, Lauren Weisberger. Since it was posted, many people have shared their reactions to the job listing by posting memes and iconic moments from the film. “A million girls would kill for this job!!!!” tweeted author Matt Ortile, along with a screenshot of the job posting. “Y’all didn’t watch The Devil Wears Prada?” one person asked. “This sounds like a nightmare actually,” another user said. “Does it come with the makeover from Stanley Tucci,” someone else joked. Meanwhile, others couldn’t help but point out the annual job salary, which ranged from $60,000 to $80,000 per year. Some people believed it was too low of a pay day, considering some of the tasks Anne Hathaway’s character had to do for her boss throughout the film, while others felt it was an unsustainable salary for living in New York City – where monthly rent has soared to record-high numbers. “Salary is a f***ing travesty for vogue they should be ashamed,” claimed one user. “u can’t afford to live in nyc based off of this salary alone”. “If Andrea Sachs was actually paid the $80k (and in 2006, no less), I’d understand her sticking with Miranda for so long,” said someone else. Another person wrote: “The salary range on this is *interesting* but speaks to who gets to occupy space in fashion – oftentimes a demo [demographic] who do not need to work for a living. In turn, the way that demo approaches work + their coworkers/office is……” Anna Wintour has served as Vogue editor-in-chief since 1988 and global chief content officer for Condé Nast since 2020. Lauren Weisberger, one of Wintour’s two assistants from 1999 to 2000, wrote the novel The Devil Wears Prada in 2003 based on her experience working at Vogue. However, it seems that the fashion giant has no recollection of the former personal assistant who wrote the famed novel. In Amy Odell’s 2022 book, Anna: The Biography, she claims that Wintour didn’t know which of her assistants could have written the 2003 fiction novel. “On May 21, 2002, Women’s Wear Daily reported that The Devil Wears Prada had sold to Doubleday for a reported $250,000. When Anna learned about the book, she said to [Laurie] Jones, ‘I cannot remember who that girl is,’” writes author Amy Odell. Odell also claimed that a friend of Wintour’s, William Norwich, said she “didn’t really didn’t care” about The Devil Wears Prada, even after it spent six months on The New York Times best-seller list. “‘I don’t think Anna is as interested in the cultural phenomenon that she is as the rest of us are,’ he said. “Anna has said to friends, ‘I’m so bored by me’. This is one reason she doesn’t plan to ever write a memoir. Norwich explained, ‘She doesn’t want to stop working to reflect,’” Odell writes. However, the author noted that Wintour did attend the premiere of the film adaptation dressed in Prada, alongside her daughter, Bee Shaffer. “Anna had a seat at the end of the row and, though she had a habit of dashing out of plays that bored her, watched the whole movie,” Odell wrote. “At one point, Bee turned to her and said, ‘Mom, they really got you.’” Read More ‘Worst one ever’: ‘Art world family’ sparks backlash with personal assistant job ad Anne Hathaway explains why The Devil Wears Prada wouldn’t work today Anne Hathaway responds to her ‘accidental’ Devil Wears Prada outfit at NYFW: ‘It was kind of nuts’ Harry Potter star Miriam Margolyes makes British Vogue cover debut aged 82 Miriam Margolyes reveals the secret to her 54-year relationship Edward Enninful reflects on closeted upbringing and finding freedom in fashion

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Miriam Margolyes says she “never had any shame about being gay” as she makes her British Vogue cover debut aged 82. The award-winning actress, known for her foul mouth and lovable eccentricity, said gay people are “not conventional” and she “wouldn’t want to be straight for anything”. Margolyes is known for a wide range of work in the TV and film industry, including roles in Blackadder, Babe and the Harry Potter franchise. She features along with other “LGBTQ+ pioneers”, including Ncuti Gatwa and Emma D’Arcy, in the July edition of British Vogue. In an accompanying interview, she discusses her sexuality and says she has always tried to “make people feel good about themselves”. “It’s a strong position if you’re not afraid to be who you are,” she said. “We’re all so insecure. People are frightened such a lot of the time and what I’ve always tried to do… (is) make people feel good about themselves.” Margolyes came out as a lesbian in 1966, a time when homosexuality was illegal, and lived through the HIV crisis of the 1980s – during which she lost 34 friends. She has been with her partner – academic Heather Sutherland – for 54 years. “I never had any shame about being gay or anything really,” she told British Vogue. “I knew it wasn’t criminal because it was me. I couldn’t be criminal.” She added: “I think gay people are very lucky, because we are not conventional, we are a group slightly apart. It gives us an edge. “We’re good artists, we’re good musicians. And I like being gay. I wouldn’t want to be straight for anything.” The full interview with Miriam Margolyes can be read online on British Vogue’s website.

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The red carpet at the 2023 Tony Awards on Sunday night (11 June) was awash with some of the biggest names on Broadway, as stars turned up in their finery. The annual ceremony has been recognising the biggest achievements in theatre since 1947. This year, the show was hosted by Ariana DeBose, who made a statement when she opened the show by referring to a “blank script” due to the ongoing Writers Guild of America strike in pursuit of a fair deal. Meanwhile, the two biggest awards of the night were clinched by Leopoldstadt for Best New Play and Kimberly Akimbo was named Best New Musical. You can see the full list of Tony Awards winners here. Yet among the dozens of actors, musicians and performers who strutted down the red carpet, only a few truly dazzled with their outstanding sartorial choices. Here are our six favourite looks from the 2023 Tony Awards. Lupita Nyong’o Lupita Nyong’o’s striking look became a talking point among fans watching the awards show. The Black Panther: Wakanda Forever star wore a metallic custom-made breastplate moulded over her own chest. The silver breastplate, which was created by Pakistani artist Misha Japanwala, covered the front of Nyong’o’s entire torso, from her neck to her waist. The actor wore a black velvet suit jacket and trousers over the piece and accessorised with a Venezia box clutch by The Bella Rosa Collection, along with large diamond earrings and geometric silver rings. It wasn’t just her outfit that turned heads. Nyong’o also sported an intricate henna tattoo on her shaved scalp by artist Sabeen Marghboob Sharing her look on Instagram, Nyong’o wrote: “Honoured, humbled, strengthened and energised to don this breastplate created by @mishajapanwala, which she cast and moulded of my body.” Dylan Mulvaney Comedian and TikTok star Dylan Mulvaney debuted a dramatically different hairstyle at this year’s Tony Awards. The transgender rights activist swapped her usually dark brunette hairstyle for platinum tresses, which were styled as wavy strands framing her face. She wore a sparkly black off-the-shoulder dress with a corset-style waist and a full skirt by Christian Siriano. Mulvaney first showed off her new hair in an Instagram post on Friday (9 June) and last night was the first time she wore it out at a public event. J Harrison Ghee Some Like It Hot star J Harrison Ghee made history at this year’s Tony Awards when they became one of the first openly non-binary actors to win an award. Ghee made a splash on the red carpet in a bright blue structured gown with a plunging neckline and off-the-shoulder collar. They wore matching blue opera gloves, as well as a layered choker around their neck and dangling earrings, as well as a large diamond ring on their left pinky finger. On social media, fans described Ghee’s dress as “gorgeous”, with one person writing: “This is a fabulous outfit J Harrison Ghee got on, we love when winners dress to win.” The 32-year-old won Best Lead Actor in a Musical for their dual role in Some Like It Hot and dedicated their award to “every trans, nonbinary, gender nonconforming human who was ever told you couldn’t be seen”. They continued: “People often see me and say, ‘Well, I could never wear that or I can never do that’ and this whole season, I have been living in this mantra: You have to free yourself to see yourself.” Jessica Chastain Jessica Chastain was a bright ray of sunshine as she walked down the red carpet in a bold yellow Gucci down with a matching cape. The A Doll’s House star’s stunning dress featured a sweetheart neckline and a bodice that cinched in at her waist. The skirt fell in straight, tiny ruffles, while her cape swept dramatically across the floor as she walked. Chastain kept her red hair off her face in a sleek ponytail and wore a large chain necklace with an oversized glittering pendant. She was nominated for Best Actress (Play) alongside Jodi Comer (Prima Facie), Jessica Hecht (Summer, 1976) and Audra McDonald (Ohio State Murders). Comer emerged victorious at the end of the night. A Doll’s House was also nominated for a number of awards, including best play revival, best supporting actor for Arian Moayed, and best direction for Jamie Lloyd. Alex Newell Alongside Harrison Ghee, Alex Newell also became one of the first openly non-binary actors to clinch a Tony Award last night. Newell won Best Performance by an Actor in a Featured Role in a Musical for their part in the 2022 musical Shucked. The 30-year-old star was dressed to the nines for the evening in a sparkly gold off-the-shoulder gown with a corset waist and draped floor-length skirt. In their acceptance speech, Newell thanked the crew, cast and creative team behind Shucked and their mother for “loving me unconditionally”. They added: “Thank you for seeing me, Broadway. I should not be up here as a queer nonbinary fat Black lil baby from Massachusetts. “To anyone that thinks they can’t do it, I’m going to look you dead in your face [and say] that you can do anything you put your mind to.” Stephanie Hsu The Everything Everywhere All At Once star brought goth glam to the Tony Awards in a beautifully structured black off-the-shoulder gown by Markarian. The structured dress featured puff sleeves and a fitted bodice, with a voluminous skirt. Hsu kept her jewellery simple by wearing dangling pearl earrings that stood out against her jet-black hair. Although Hsu is best known for her role in the Oscar-winning film, as she starred alongside Michelle Yeoh and Ke Huy Quan, she has regularly appeared in Broadway musicals including Be More Chill and Spongebob Squarepants The Musical. Read More Shapewear is booming, and body image experts are worried: ‘It’s really dangerous’ Tony Awards 2023: The 5 biggest talking points Tony Awards 2023: Full list of winners Shapewear is booming, and body image experts are worried: ‘It’s really dangerous’ Chanel’s classic 1926 little black dress added to fashion exhibition in Scotland 6 innovative self-tan products to help you get your best-ever faux glow

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In a number of scenes in 2001’s Bridget Jones’s Diary, our heroine – a thirtysomething singleton played by Renée Zellweger – squashes the skin of her lower torso into an array of Lycra shapewear, all in an attempt to make herself appear slimmer. When Hugh Grant’s Daniel Cleaver sets his eyes on her high-wasted, nude-coloured underpants in one memorable scene, Bridget blushes with embarrassment. “Well, hello mummy,” Daniel purrs. At the time of the film’s release, control shapewear – or tummy-tucking underwear designed to smooth its wearer – was marketed predominantly at people like Bridget, someone who was told by society she was “fat” or undesirable unless she had a flat stomach. Today, though, shapewear is branded differently, marketed to young women as a sexy, must-have fashion accessory. Shapewear products are not only promoted as stomach-smoothing fixes, but for anyone who wants a narrow waist or their figure to resemble a contoured, Kardashian-style hourglass. Skims, Kim Kardashian’s self-owned shapewear brand that she founded in 2019, sells viral sculpting bodysuits geared towards achieving this particular body shape. They start at £70. Since the launch of Skims, as with anything that a member of the Kardashian clan wears or makes, fast fashion knock-offs have swelled the market. Online retailer PrettyLittleThing, which has a murky track record of contributing to a harmful cycle of fast fashion, sells duplicates of the Skims viral bodysuit for around £20. They also sell waist trainers – a corset-style casing worn underneath clothes to aggressively teach your waist to be narrow – for just £12. “Doll cinch your waist in an instant with this waist trainer,” the item’s description reads. The product has boning to make it stiff and restrictive. Venture onto TikTok and you’ll find viral dresses with Spanx-style shapewear, designed to minimise the width of a person’s waist and accentuate their bottom, built into the clothing itself. While Skims is not solely responsible for this recent boom in shapewear, it has contributed to transforming how we view it – Bridget’s “granny pants” are now glamorous and aspirational. For the brand’s latest collection, for example, buzzy British singer-songwriters Raye and PinkPantheress were enlisted to promote it, along with viral Bronx rapper Ice Spice. The resulting campaign wouldn’t look out of place in the pages of Vogue. What this marketing tells us is that fashion isn’t just about the garments you wear, but the apparently malleable shape of the body on which they’re worn. Early shapewear emerged in the 16th century, not as a trend or body sculpting device, but for practical support. Karolina Laskowska, a lingerie designer and director of the underwear archive The Underpinnings Museum, tells me that the primary purpose of shapewear back then was to support the body much in the same way that a contemporary bra is made to support the breasts today. “A pair of stays [a corset style bodice] would have offered bust and back support for women who worked,” she explains. “These styles were more functional and supportive, rather than trend-driven.” The beginnings of the shapewear we see today were first seen in the Sixties, when the invention of Lycra, a synthetic-based elastic fibre, allowed for stretchier fabrics. What Laskowska dubs the grandparent of modern shapewear was the “Little X Girdle” by a British brand called Silhouette. “It was a turning point for a shift from traditional structured corsetry into elasticated shapewear,” she says. The item was a seamless, pull-on girdle – an elasticated corset extending from waist to thigh – and was eventually licenced to sell in over 32 countries as turnover increased exponentially. We then saw the evolution of more comfortable, everyday shapewear, like those made by Spanx, an American brand founded in 2000. They’re so uncomfortable, but they’re so afraid of what others will think about them due to their body size Victoria Kleinsman By contrast, modern shapewear is now geared towards sculpting the body to appear differently underneath clothes. And now, fast fashion is getting involved, too. But lingerie designers like Laskowska are increasingly worried about the consumer physically “hurting” themselves with badly made undergarments. “We’ve seen fast fashion adopt corsetry and shapewear trends but it’s not made to fit the human anatomy, since it’s made to be as cheap as possible,” she says. She adds that people could “injure” themselves with elasticated shapewear if they buy a size too small, meaning they could potentially restrict their blood’s circulation. Victoria Kleinsman, a self-esteem expert and body love coach, works with women between the ages of 13 to 60, and says that she’s seen how her younger clientele are feeling the pressure to wear shapewear in order to conform to the cult of thinness. Some clients have bought pantyhose with built-in cushioning to make the bottom look larger and perkier. Others will wear layers of shapewear to sculpt the body, particularly the waist and stomach, to look slimmer or flatter. To Kleinsman, wearing modern shapewear allows people to apply an “IRL [Instagram] filter” to their bodies. She speaks to women each day who are “crying” to her on Zoom calls because they’re worried about what their bodies look like. “It’s to the point when it’s boiling hot weather [but] they’re wearing spandex shapewear and tights, and they’re so uncomfortable, but they’re so afraid of what others will think about them due to their body size.” The expert fell into her line of work after she struggled with an eating disorder – she also wore a waist trainer when she was dealing with her own body image issues. “I would go to the gym wearing it because apparently you ‘sweat more’ and therefore lose ‘water fat’,” she says. “Which is b******! It’s physically painful to your physical body and even more painful to your emotional and mental well-being.” Kleinsman doesn’t think that this type of elasticated shapewear has anything to do with fashion and it should not be marketed as such. “It’s really dangerous,” she tells me. “Shapewear gives you a fake ‘confidence’ but then underneath it all when that comes off, then, who are you?” The popularity of Skims and their various knock-offs doesn’t seem likely to decline any time soon, but Kleinsman is hopeful that more women will soon have epiphanies about the shapewear revival. “Fatphobia and body image trauma is still the norm,” she sighs. “There has never been more [appropriate] a time for us to embrace our natural bodies.” Read More ‘The models are skinnier than ever’: Has London Fashion Week stopped caring about body diversity? 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Half of surveyed adults in the US disapprove of students' race and ethnicities factoring into the college admissions process, according to a recent Pew Research Center study.