It’s no surprise Edo Mapelli Mozzi is in the headlines. The entrepreneur recently announced his engagement to Princess Beatrice, thrusting him into the international spotlight and ushering in a new era as a member of the British royal family. However, it’s on the design scene, since founding his property development company Banda in 2007, where he has been making the biggest waves.

At only 35, Mapelli Mozzi has spent the past decade or so giving property development his own distinct twist. With “young, aspirational owner- occupiers” in mind, Banda has taken old buildings around London — from former breweries and bakeries to an old Art Deco garage — and not only redesigned them with generous lateral living spaces and all the latest mod cons; but, more crucially, committed to revealing complete homes only when the very last finishing touches, right down to the coffee mugs in the kitchen cupboard, are in place. “The majority of developers invest in just enough design to sell something off-plan — we look to getting the quality right from the very start because we know buying into one of our developments is an emotional decision,” Mapelli Mozzi says. “We care about where the electric sockets go and if the guest bathroom is the right size.”

Much of Mapelli Mozzi’s background in design and architecture has been learnt “on the job”. While studying politics at university, he started buying small properties in London then reselling them as converted flats. During summer breaks, he interned at property banks and property legal firms “but none of it had that creative flair that really excited me,” he says.

So at just 23, Mapelli Mozzi went out on his own, aiming to bring “cool, relevant design” to the gap in the market between super high-end luxury developments and the “white boxes” of mass-market new builds. By contrast, each of Banda’s projects has, he says, been defined by the building rather than the area. “For example, I wouldn’t buy a building without the right light. It has to suit the people we think will want to live in it once we’re finished.”

Banda’s latest development is the 13-19 Leinster Square project in central west London. Behind the façade of a Grade II-listed stucco-fronted row of seven Victorian terrace buildings (formerly a hotel left to ruin), Mapelli Mozzi and his team have reconfigured the original spaces into eight apartments, five maisonettes and two penthouses, some with outdoor terraces.

Here, in one of the light and airy south-facing apartments, the mood is cool, calm and collected, much like the developer himself. The soft palette of greys and white, matching the colours he happens to be wearing the day we meet, speaks quietly of refined elegance. Each room is infused with Mapelli Mozzi’s penchant for a mix of old and new, an aesthetic that is at once both sensuously modern and texturally handcrafted, with echoes of “an authentic, lived-in feel”.

Tactile natural materials like oak, marble and brass give the space gravitas; an abundance of sunshine and leafy green views from the garden square opposite filter through the floor-to-ceiling windows, adding a soul-soothing breeziness. Most of all, the apartment feels deeply personal, purposely designed with furniture, artworks, even Le Labo candles, so as to appeal to someone who can literally turn up with a suitcase and move in.

To this end, Mapelli Mozzi has applied his well-honed eye to everything from the apartment’s generous proportions with 3.4-metre-high ceilings and beautifully restored Victorian plasterwork to the banks of storage cleverly hidden behind sleek joinery and full-length mirrors. “Minimising the detailing brings a sense of balance and cleanness to each space, allowing the architecture and spatial planning to shine through,” he says.

Craftmanship is celebrated through choices such as vintage Pierre Jeanneret and Joaquim Tenreiro cane chairs, the richly patterned marble Mapelli Mozzi hand-picks on trips to Italy and the kitchen designed by third-generation Belgian company Obumex. “I’m drawn to pieces which tell a story, whether it’s the journey of where its material has come from or the person who has made it,” he says. “I might have the big design ideas but it’s the thousands of hands, from Banda’s design team to our many craftsmen, that have brought it to life.”

The moment Mapelli Mozzi looks forward to the most is when potential buyers walk through the door. “They come in, not quite knowing what to expect — as they move around the space, I watch as they rub their hands along the side of the marble or feel the solidity of a door handle. I can see them happily imagining how they will live in the space. I love that.”

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Given that cult reality television show, Keeping Up With the Kardashians, is now in its 17th season, it’s impossible to deny the fact that we’re all rather enthralled by the lives of the Kardashian-Jenner clan. From the ups and downs of their professional lives, to each and every one of their highly-publicised roller coaster-like relationships, we can’t help but tune in, and quite frankly, attempt to keep up with the famous sisters and their fast-paced lives. To familiarise yourself with everything from Kim Kardashian West’s 72-day marriage to NBA player Kris Humphries, to the intricacies of Kylie Jenner’s whirlwind relationship with Travis Scott – which is now reportedly on hold – be sure to scroll on for a comprehensive guide to the Kardashian-Jenner family’s love interests, past and present.

Kylie Jenner and Travis Scott
After a total of two years together, and the birth of their daughter Stormi Webster, Kylie Jenner and Travis Scott are reportedly taking a break from their relationship. The pair were first romantically linked in April 2018, before Jenner joined the rapper on tour. “So he said, “I’m going back on tour—what do we want to do about this because we obviously liked each other,” Jenner revealed in an interview with GQ. “And I was like, ‘I guess I’m going with you’ … And then we rode off into the sunset,” she added. In February 2018, a total of nine months later, Jenner gave birth to Stormi Webster, her first child with Scott. While rumours of break-ups and engagements have come and gone since Webster’s birth, People has revealed the pair have decided to go their separate ways. “They are taking some time but not done,” a source told the publication. “They still have some trust issues but their problems have stemmed more from the stress of their lifestyles.”

Kim Kardashian West and Kanye West
Kim Kardashian West and Kanye West first met in 2003 on the set of a Brandy music video. “I vividly remember hanging out with him, and then they did a video together, so I’d see him a few times,” Kardashian West told Ryan Seacrest during an anniversary special for Keeping Up With the Kardashians, per Cosmopolitan. “He was asking his friends: ‘Who is this Kim Kardajan?’ He didn’t know what my name was.” Fast forward 16 years and the pair—who have been married since 2014—now have four children together. Despite the fact that Kardashian West’s previous marriages to music producer Damon Thomas and NBA player Kris Humphries failed to stand the test of time, her union with West appears to be a strong one.

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Kim Kardashian West and Kris Humphries
Kim Kardashian West was famously married to NBA player Kris Humphries for a total of 72 days, before the pair filed for divorce. Per US Weekly, the couple met in November 2010, while Kardashian West was filming Kourtney & Kim Take New York, and Humphries popped the question in May 2011. Just three months later, the pair married in Montecito, California. After filing for divorce in October 2011, Kayne West announced Kardashian West was pregnant with his child on stage in December 2012.

Kourtney Kardashian and Scott Disick
Kourtney Kardashian and Scott Disick’s rollercoaster ride of a relationship first began in 2006, when the pair met at a party in Mexico. Kardashian and Disick hit their first public speed bump in March 2008, when they spit after Kardashian accused Disick of cheating on her. They reconciled and Kardashian announced she was pregnant with Scott’s child in August 2009, per US Weekly. The pair split on a number of other occasions, and welcomed two more children into the world, before finally calling it quits in 2015. Both Kardashian and Disick has since moved on and are happily co-parenting their three children, Mason, Penelope and Reign.

Khloé Kardashian and Tristan Thompson
Khloé Kardashian’s relationship with Tristan Thompson was a tumultuous one. The pair were first romantically linked in September 2016, before the reality TV star confirmed the news in an interview with Jimmy Kimmel in November, per Cosmopolitan. In December 2016, Thompson’s ex-girlfriend, Jordan Craig, gave birth to his child. In March 2017, Thompson made his debut on Keeping Up With the Kardashians’s 13th season. After months of speculation, Kardashian confirmed she was pregnant with Thompson’s child in December 2017, before the athlete reportedly cheated on his very pregnant girlfriend in April 2018. Despite the fact that Thompson was unfaithful, when Kardashian gave birth to daughter True Thompson in May, the pair decided to make it work for the sake of their child. The year that followed was a rocky one, and in February 2019, Thompson made headlines for cheating on Kardashian with her sister Kylie Jenner’s best friend, Jordyn Woods. While Kardashian is keeping her distance, she is currently co-parenting with Thompson.

Khloé Kardashian and Lamar Odom
In September 2009, just a month after they first met, Khloé Kardashian and Lamar Odom tied the knot, before launching a spin-off series called Khloe & Lamar in 2010. Kardashian’s fame and Odom’s career as an NBA player took a toll on their marriage and the pair filed for divorce shortly after Odom was arrested for driving under the influence of alcohol in August 2013. In 2015, Odom was hospitalised after being found unconscious at a brothel, and Kardashian flew to Las Vegas to support her ex-husband, per Entertainment Tonight.

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3rd Oct 2019

The lengths celebrities have to go to for a little privacy on their wedding day looks to have reached extreme levels, an observation cemented by Hailey Bieber’s choice of transport as she made her way to Somerset Chapel at Palmetto Bluff to wed her now-husband, Justin Bieber, on September 30.

Traversing the luxurious South Carolina resort that played host to the Biebers’s nuptials, the bride stopped paparazzi—who looked to be helicopter bound—from getting any pre-wedding peeks at her and her wedding gown in the most extra (but absolutely necessary) way, making her way to the aisle covered in a huge tent.

Manned by four security guards donning tuxedos on each corner, Bieber shuffled to the chapel in the guise of camping gear, denying all of us a look at what’s sure to be a stunning wedding gown. But we get it, there would be nothing worse that concealing what’s likely a custom couture wedding gown for months, only to have your soon-to-be-groom copping a look at it via paparazzi snaps moments before you got to the ceremony.

The tent, with burly tent-lifting men in tow, transported Bieber all the way to the door of the chapel, a journey which shall now be known as the most covert trip to the aisle in history. And now we wait for the waves of memes that will surely follow.

Once the couple had said their “I do’s”, the content restraints loosened a little, with looks into their post-ceremony celebrations slowly making their way into the world.

Courtesy of the couple’s wedding reception photo booth, along with having social media mavens for guests, we were able to get a rough rundown of their celebrity-filled guest list—which included Katy Perry, Kendall, Kylie and Kris Jenner, Camila Morrone and Joan Smalls—and the chic wedding attire they wore for the loved-filled affair.

Both Jenner sisters side-stepped wedding outfit concealment when they themselves shared what they were wearing to the Biebers’s nuptials, the younger of the pair selecting a cascading gold gown designed by Melbourne-based label, J’Aton—now dubbed by many as a post-break-up look following her recent split from Travis Scott—with her model sister tapping a 90’s inspired, waist-cinching velvet dress in a similar metallic hue.

Courtesy of some social media super sleuths, we’ve also had a potentially accidental look at a number of the bride’s wedding outfits, which as of now, has hit a grand total of six, and includes four separate looks for the wedding day itself, a custom couture Vivienne Westwood piece for Bieber’s rehearsal dinner, and one final baggy pant suit ensemble for post-wedding day celebrations.

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As the final installment on the month-long fashion circuit, PFW spring/summer 2020 had the last word on the fashion trends set to rule next season. What’s in store? A mood-lifting take on the very best of Seventies fashion, a reimagining of delicate lacework and the simple beauty of celebrating that most feminine of objects, the bra. 

The trend: Seventies super-clash

Where we’ve seen it: Louis Vuitton, Paco Rabanne, Altuzarra

What you need to know: Nicolas Ghesquière’s soulful Louis Vuitton spring/summer 2020 show ended Paris Fashion Week with a standing ovation. The creative director’s signature mix of Seventies tailoring and electrifying futuristic detail hit a euphoric note – think mesmeric print blouses in acid hues and trim trouser suiting. It’s a timeless fashion agenda for the start of a new decade, where a saturated colour palette and pop florals (as seen at Paco Rabanne) are set to unleash an uncompromisingly optimistic outlook.

The trend: bralets

Where we’ve seen it: Givenchy, Lanvin, Loewe, Mugler

What you need to know: The trend for visible underpinnings has seen a wave of early Nineties bodycon returning to the Paris catwalks. If you missed new Mugler creative director Casey Cadwallader’s epic spring/summer 2020 show, here’s your rundown. The American designer’s architectural eye (which brought us Bella Hadid in a buttock-revealing bodystocking) has set the gold standard in knife-sharp tailoring for spring, while also making flounce feel modern. Most important of all is Cadwallader’s unifying message on body-confidence. Cue the theatre of a ruched skirt and matching bolero paired, simply, with a black bralet.

The trend: frills

Where we’ve seen it: Balenciaga, Valentino, Miu Miu, Chanel, Off-White

What you need to know: There is a theory posited by economist George Taylor, in 1926, which suggests that hemlines rise in line with soaring stock prices. Meaning that shorter skirts come into fashion during times of economic certainty; and that as stocks plummet, trends for longer skirting take hold. Perhaps in 2020, Taylor’s theory ought to become the ‘frill index’ – the scale of the fluttering peplums and enormous ruffles that took to the Paris catwalks at Valentino, Balenciaga and Chanel, could mean more than first meets the eye.

The trend: bronzed metallics

Where we’ve seen it: Celine, Balenciaga, Rochas

What you need to know: Demna Gvasalia chose a circular room within Paris’ Cité du Cinéma complex to unveil his spring/summer 2020 Balenciaga collection. The entirely blue space (carpet, drapes and seats were configured to match one another, all the colour of the EU flag) played host to Gvasalia’s exacting suiting, slouchy leather co-ords and power-shouldered shift dresses. But it was the golden Ferrero Rocher-esque foil finish of an enormous bow-embellished evening gown that stole the show.

The trend: full-look leather

Where we’ve seen it: Alexander McQueen, Givenchy, Isabel Marant, Hermès, Balenciaga 

What you need to know: The luxury industry’s continuing love affair with roomy full-look leather, plus innovative vegan alternatives, within its spring/summer collections hints to an increasingly seasonless approach. Clare Waight Keller’s spring/summer 2020 collection at Givenchy delivered a wishlist of refined classics, which also boast durability – her sumptuous, leather looks included. The way to wear it now? Elegantly oversized, with enough room to accommodate a chunky knit underneath come winter.

The trend: power shoulders

Where we’ve seen it: Mugler, Balenciaga, Balmain

What you need to know: In a nutshell, the Eighties-style blazer you invested in two seasons ago is here to stay. Pad the shoulders of your vintage mac to tap the newly accentuated silhouette and opt in to an unadulterated primary colour palette. The ultra-clean lines of 2020’s vintage retake now spell out some of spring’s most glamorous looks.

The trend: lacework

Where we’ve seen it: Loewe, Alexander McQueen, Isabel Marant

What you need to know: Unlikely as it may sound, the age-old craft of open-web lace making is leading one of spring/summer 2020’s freshest trends. At Loewe, creative director Jonathan Anderson spearheaded the look from head-to-toe, with a delicately spun, co-ordinating trouser and dress duo. Likewise at Isabel Marant, the peekaboo fabric represented refined, modern day bohemia that was anything antique.

As guests touched down in staggered bunches into a springtime Rome on the occasion of Gucci’s resort ’20 show, there was extra pressure. For his fifth resort collection for the house, Alessandro Michele had to play that gruelling task of hometown host to guests, showing off the city where he grew up, where he lives and where he has his creative sanctum. With leading tastemakers, editors and extended Gucci famiglia among arrivals, they came, expectant and numbering more than 400.

But Michele was prepared. Granted, this is easier with the formidable tailwind of the Kering conglomerate behind you, but, as if to remind us that his relationship with the Eternal City is complex (Michele has commented before he has a love-hate relationship with the ancient dame), Rome itself was being temperamental. Raining in fits and starts, it sloshed unsuspecting sandal-shod tourists with water pooling between the ancient cobbles while they willed the sun out to complete their Instagrammable Roman Holiday.

For Gucci guests, all was centred around that part of the old city that draws such crowds, the ruins and the musei, and here the trail to show night began with distinctly Roman fare. Carciofi (artichokes) and cacio e pepe, the famously minimalist pasta dish, fuelled showgoers who found their way to lesser-known enclaves of the Italian capital. First was the overwhelming scrolls and furls of Palazzo Colonna, home to more than 20 generations of the Colonna family, which gave Rome a pope. The walls, tiled with works by Bronzino and Guido Reni, and the ceilings, flourishing under Pinturicchio brushstrokes (the same that colour the Sistine Chapel), make up one of the largest private art collections in the world.

Then to a more discreet building, but only by comparison: the monastic silence of the 16th-century Biblioteca Angelica belies its treasures of explosive worth. Among the time-ravaged leather spines and puckered parchments standing sentinel in Europe’s first public library, rumour has it a first edition of Dante’s Divine Comedy convalesces, fragile, in a locked room. Meanwhile on full display is the world’s first street-level map that purportedly gave Google whizzes inspiration for Street View.

So began Michele’s hide-and-seek of tantalising touchpoints, ending at Antica Libreria Cascianelli, a favourite store of the Gucci creative director that’s crammed with curios and taxidermy. Here, guests were given invitations in the form of a stack of antique books, each wrapped, with show details and a quote from historian Paul Veyne stamped inside: “Because only pagan antiquity could arouse my desire. Because it was the world of the past, because it was a world that no longer exists.”

Which led to dusk, inside the Michelangelo-designed Musei Capitolini, not far from an elbow bend of the Tiber river, where guests converged under a slate sky. “Rome is a place that’s difficult to define, even if you’re born here,” Michele said of his city to journalists. The sentiment continued, literally writ large, with a repeat of the Veyne quote on a stretch of fabric strung across the show entrance.

When the clothes came out, the punch hit right in the stomach. A Bob Mackie-inspired phantasm in midnight black and glittering feathered headdress as high as a holy mitre was a visual command to attention, the iris purple blazer with the 70s slogan ‘My body, my choice’ was the message to heed. It was in the company of a besequined uterus embroidered onto the front of a plissé gown, and a date – 22/05/1978 – when the Italian law for protecting the social value of motherhood and legal abortion came into effect.

The references then were stratified in degrees of directness. It came in the 70s cut of pants and slightly flared blazers in herringbones and earthy checks, chunky bouclé trims and A-line tunics, as well as ‘Gucci Band’ branded guitar cases, all nodding to the era that was a boon to gender equality and freewheeling troubadours. But these were supporting acts to the above missive, being the most direct political message from the creative director so far. Those who have absorbed by osmosis his new world order through clothes – inclusivity (notwithstanding a recent cultural misstep), beauty in everything, freedom of expression, equality – might have wondered: why now?

Michele called it a “hymn to freedom” and told press afterwards: “It was really important to organise this show in Rome in a time when it’s important to glorify this place that is a place of freedom. All the beautiful things surrounding us from the pagan world are connected to a freedom that has sometimes been threatened.”

Indeed, there are many unseen forces acting on the city that was home base for one of Western culture’s most spectacular empires, none perhaps as omniscient as the Catholic Church. An eight-minute drive away from the show is the nation-within-a-city that still wields incredible power. With the 1973 Roe versus Wade abortion law decision in the US under threat that same month (and abortion laws up for revision here in Australia at the time of writing), Michele told press he felt an urgency to engage and show that this historic centre of tradition can also be free and freeing: he wanted us to see it the way he can.

And so, he reworked the ancient tropes, clerical or otherwise, in luxurious flesh-toned togas, blood red capes dripping with flamboyant crystals, and primly subversive headwear like nun’s habits paired with a sparkling vestment and choker. Tattoo-like transfers on models’ mouths read ‘Amore’ and ‘Roma’, one containing all the letters of the other. Details were particularly decadent, seen in the golden ear coverings with a mini Hercules, the Greco-Roman demi-god, which signalled that those we deem deities have human flaws, too.

It was a meshing of myths and mythologies, megaliths mingling with Mickey Mouse motifs and an idea of Rome, refreshed, released and renewed, if you take a second look. As if to emphasise this, Michele held the show under flashlights, forcing smartphones from hands and onlookers to seek out and direct their spotlights toward what they wanted to see.

Finally, it was on to another palazzo, Brancaccio, for the after party, where Stevie Nicks called upon Harry Styles for a special performance. The duo, who enjoy a mentor-like relationship and would no doubt put to use those guitar cases, sang Fleetwood Mac’s Landslide together. As guests in thrall, including Zumi Rosow, Harris Reed and A$AP Rocky, dispersed into the various smoke-filled rooms to dance with other eclectic, eccentric young things, Michele looked over it all. In his fifth year at the label’s helm, there was a sense that the city might have a new éminence grise, casting his inclusive magic over the places that traditional power structures, Roman or otherwise, fail to embrace. After all, when you have guests over, everyone wants to show off just a little.

This article originally appeared in Vogue Australia’s October 2019 issue.

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Koke, Diego Costa, Stefan Savic and Filipe Luis are already injured for Atletico Madrid, with Diego Godin joining them on the sidelines.

Atletico Madrid have confirmed captain Diego Godin has been sidelined by a thigh problem, the centre-back adding to the injury problems for the La Liga title hopefuls.

Godin forced off at half-time of Atletico’s 2-0 home win against Getafe on Saturday.

Atleti host Juventus in the first leg of their Champions League last-16 tie on February 20 and it is unclear whether Godin will be available.

“Our captain has undergone an MRI at the Clinica Universidad de Navarra and the results offered by the medical services of the club indicates that he suffers an elongation in the adductor muscle of the right thigh and remains pending evolution,” a club statement said.

Godin, who is out of contract at the end of the season, has been heavily linked with a free transfer move to Inter in recent weeks.

Atletico coach Diego Simeone admitted earlier this month that Godin could leave in the summer, though he denied suggestions that the club are making no effort to keep the defender.

In the short-term though, Godin joins a concerning injury list for Simeone with defenders Stefan Savic and Filipe Luis already sidelined along with Spain internationals Koke and Diego Costa.

They have, however, bolstered their forward line after agreeing a loan deal with Chelsea for Alvaro Morata.

The former Real Madrid forward has signed an 18-month loan deal with Atletico holding the option to make the move permanent at the end of that time.

Morata is in line to make his debut on Sunday when Atletico travel to Real Betis.

They then host Real Madrid the following week before taking on another local rival in Rayo Vallecano on February 16, four days before that huge European tie against Italian champions Juventus.

Simeone’s side are second in La Liga, five points behind leaders Barcelona, following Sunday’s win at the Wanda Metropolitano.

Antoine Griezmann and Saul Niguez scored in the first half to seal victory for Simeone’s side, with Getafe’s Djene Dakonam and Leandro Cabrera sent off late on – both for two bookable offences.

Atletico have now won six of their last seven games in the league and have lost just once in La Liga all season.

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The Paraguayan playmaker’s move to Newcastle not only marks a new standard for MLS players, it also shows a league gaining respect

Major League Soccer did not make Miguel Almiron. He was already worth an eight-figure transfer fee when he arrived as one of the cornerstones of Atlanta United’s standard-setting arrival in 2017.

What the league was able to do for the Paraguayan playmaker, though, is take his already-soaring stock and keep it heading in a direction that eventually saw Almiron break transfer records on both sides of the Atlantic Ocean.

Almiron’s imminent $27 million transfer to Newcastle United will shatter the record for a transfer fee paid for an MLS player, a record Alphonso Davies held for just two months after his $22 million move to Bayern Munich. Almiron’s move completes a two-year run that saw him dominate the league with his speedy runs, impeccable passing and ability to generate his own chances when he wasn’t setting up his teammates.

He plays the game with an infectious energy that, coupled with his trademark smile, made him a player Atlanta United fans fell in love with, and a player they had to know wouldn’t be around for long.

By completing a two-year stint in MLS that went as close to perfect as anyone could have hoped, Almiron became the poster child for the league’s shift away from signing mostly aging superstars and instead targeting high-priced young talent. Sure, MLS still signs big names at the tail end of their careers, like Zlatan Ibrahimovic and Wayne Rooney, but Almiron’s time in MLS, and his lucrative departure, are a blueprint more and more MLS teams will start to follow after seeing how well it worked for Atlanta United.

The long-term success of that change in philosophy was always going to depend on the ability to take those young talents and keep their development heading in the right direction.

Developing young talent in MLS would not only show prospective buyers that players who do well in North America can go on to do well in tougher leagues, but also convince future international prospects that the league is the perfect springboard for a move to Europe.

There was a time when high-priced youngsters wouldn’t consider MLS, but those days appear to be over and Almiron’s transfer will ensure perceptions of the league will continue to change.

It’s one thing for MLS teams to be willing to invest millions into young talent, but it would have been much tougher to attract those high-level prospects if Almiron’s career had stagnated, or if his winter move to Newcastle had fallen apart.  ​

Now with Almiron gone, the focus will turn to Ezequiel Barco, another high-priced teenager at Atlanta United who struggled through his first season in the league. Both Barco and $20 million signing Gonzalo ‘Pity’ Martinez will look to fill the void left by Almiron, while also trying to continue the Atlanta United trend of high-priced South Americans proving themselves worth the investment.

That change hasn’t come without its own set of issues, namely more instances of foreign teams trying to pry away top MLS talent at a bargain price. In January alone, rumors have swirled around FC Barcelona’s interest in Carlos Vela and Club America’s pursuit of New York Red Bulls star Kaku. As good as it is to have more interest in MLS players, the league also can’t afford to be pushed around and have foreign clubs prying away the best players in MLS for anything below market value.

That’s another reason why the Almiron transfer is so significant. Atlanta United president Darren Eales raised plenty of eyebrows when he stated that he believed Almrion was worth $30 million. That figure sounded wildly ambitious and unrealistic at the time, but Atlanta United fought to secure the price it felt was justified, even as the club faced the pressure that came with knowing it had to sell Almiron or risk a messy roster situation with four designated players, one more than the league maximum of three.

Almiron’s transfer, coupled with the Davies move to Bayern Munich and Zack Steffen’s $10 million transfer to Manchester City, has shown just how much has changed for MLS. Eight-figure transfers were once unheard of for MLS players, with Jozy Altidore’s 2007 transfer to Villarreal the notable exception. This winter alone has generated three and could yield a fourth if Club America decides to make a serious push for Kaku after having an initial offer rejected by the Red Bulls.

Almiron is far from the only young player to see his game sharpened, and stock bolstered, by his time in MLS. Venezuelan midfielder Yangel Herrera spent two seasons with New York City FC on loan from Manchester City and has now joined La Liga side Huesca, while Tyler Adams has hit the ground running with RB Leipzig after two seasons as a starter for the Red Bulls.

The success in Europe of players like Almrion, Herrera, Adams and Davies will determine if prices for top young MLS talent continue to rise, with Almiron sure to face the most scrutiny. His days in MLS may be behind him, but Almiron will continue to be a standard bearer for MLS even after he trades in the red and black of Atlanta United for the black and white stripes of Newcastle United.

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With a Premier League record in his sights, the Red Devils’ interim boss has explained how things have been turned around at Old Trafford

Manchester United caretaker manager Ole Gunnar Solskjaer says their winning run has built team spirit at Old Trafford.

United have won eight games in a row in all competitions since Solskjaer was installed as the temporary replacement for Jose Mourinho last month.

An FA Cup win at Arsenal on Friday was the latest victory to bolster Solskjaer’s claims for the job on a permanent basis, with United also back in the hunt for Champions League qualification.

Beating Burnley at home on Tuesday would make Solskjaer the first manager ever to win his first seven Premier League games in charge of a club, surpassing Carlo Ancelotti and Pep Guardiola’s record of six at Chelsea and Manchester City respectively.

And while team spirit at Old Trafford appeared to slump during Mourinho’s reign, Solskjaer is clear in his view that results are the main reason for an improved atmosphere around the club, rather than his own personal impact.

“When you’re winning games of football, you’re always going to have a good team spirit around the place,” he told United’s official website. “But that doesn’t just apply to the players, it’s the staff as well.

“When you come in on Monday morning, it’s well done and on to the next one. Don’t dwell too much on what’s happened because the focus is on the next one. I feel the whole club is thinking ‘next game, next game’ but of course you always enjoy winning.”

Solskjaer started Alexis Sanchez and Romelu Lukaku against Arsenal, with Anthony Martial and Marcus Rashford – who has scored in four consecutive Premier League matches – coming off the bench.

But the United boss does not envisage it becoming an issue keeping his four forwards happy with the return of the Champions League on the horizon, where his side are set to face Ligue 1 giants Paris Saint-Germain.

“Well, so far, there has been no problem because we’ve got so many games,” he added. “As soon as it becomes just one game a week, it might be a problem but we rotate even during the games.

“When we can put Anthony and Rashy [Rashford] on for Alexis and Rom [Lukaku], who did a fantastic job [against Arsenal], it is only going to help us. The players have been very, very good at staying ready and being ready when they get on.”

Burnley captain Tom Heaton will be charged with keeping out Solskjaer’s strikers on Tuesday, the former United goalkeeper having worked with the Norwegian during his time in charge of the club’s reserves.

“He’s a very good guy in terms of how he is, and he was excellent with me on a personal note,” Heaton told Burnley’s official website. “But there’s certainly a strength in there that’s required for the job and he’s probably got that. I am absolutely delighted to see him doing so well.

“I think he’s brought that little bit of history and United tradition to it, that fresh impetus and a bit of positivity and it looks like the players have responded to it. Sometimes that change can have that effect. They are on a great run, but we are looking forward to the game.”

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Image credit: Instagram.com/justinbieber

As the biggest celebrity wedding of the year—the long-anticipated religious nuptials of Hailey and Justin Bieber—draws to a close, we are gaining more and more insight into the lavish South Carolina affair.

Following their extremely low-key New York City Hall ceremony last year, that saw no more than the bride and groom themselves in attendance, the Biebers gathered 154 of their nearest and dearest to witness them saying “I do” at their second set of nuptials, held at The Inn at Palmetto Bluff.

And given the A-list status of both the bride and groom, the wedding guest list—while relatively slim considering the average size of a celebratory celebrity gathering—read like a veritable who’s who of today’s Hollywood figures, starting with the bridal party. Bieber’s sister, Alaia Baldwin, and cousin Ireland Baldwin served as bridesmaids, as reported by Vogue US, and the roll call of wedding-goers only increased in impressiveness from there.

Long-time family friends of Mrs Bieber, the Jenners—including Kendall, Kris, Kylie, and her daughter Stormi—were of course in attendance, thoroughly documenting the day and evening as it went on. And as expected, none of them were there to mess around when it came their wedding guest attire game.

The youngest Jenner selected a cascading gold gown with a jewelled Judith Leiber clutch in the shape of her favourite insect motif, a butterfly. And considering her very recent split with boyfriend Travis Scott, who was notably absent from the celebration, her breathtaking wedding wardrobe choice may have also served as an ultimate example of post-break-up dressing.

Her model sibling opted for a completely different look, channelling a ’90’s Kate Moss in a floor-length, slip-style velvet dress.

And their attendance wasn’t the only thing Jenner-adjacent at the wedding, with the Biebers rolling in a photo booth to commemorate their special day, shots from which gave us a peek at the day’s impeccably dressed attendees.

Fellow model, Joan Smalls, along with singer Justine Skye—who selected a plum silk charmeuse gown by Cushie for the event—featured in a number of photo booth snaps, along with Camila Morrone, Jaden Smith, David and Isabela Grutman, Bieber’s former tour manager and Kris Jenner’s partner, Corey Gamble, E! presenter Jason Kennedy and, of course, father of the bride, Stephen Baldwin.

For a peek at what celebrity guests wore at Hailey and Justin Bieber’s wedding, scroll on.

The new Mr and Mrs Hailey and Justin Bieber, of course.

Image credit: Instagram.com/justinbieber

Kendall Jenner.

Image credit: Instagram.com/kendalljenner

Joan Smalls, Justine Skye and Kendall Jenner.

Image credit: Instagram.com/joansmalls

Camila Morrone and Hailey Bieber.

Image credit: Instagram.com/renellaice

Justine Skye, Kendall Jenner, Renell Medrano, Joan Smalls and Riley Montana.

Image credit: Instagram.com/kendalljenner

Kendall Jenner and Fai Khadra.

Image credit: Instagram.com/kendalljenner

Kylie Jenner.

Image credit: Instagram.com/kyliejenner

Kylie Jenner and daughter, Stormi Webster.

Image credit: Instagram.com/kyliejenner

Kris Jenner and Corey Gamble.

Image credit: Instagram.com/krisjenner

Kris Jenner and Corey Gamble.

Image credit: Instagram.com/coreygamble

Alaia Baldwin and Stephen Baldwin.

Image credit: Instagram.com/alaiabaldwin

Hailey Bieber and long-time hair stylist, Jen Atkin.

Image credit: Instagram.com/jenatkinhair

Justin Bieber, Jaden Smith, Hailey Bieber and Alfredo Flores.

Image credit: Instagram.com/alfredoflores

Hailey Bieber and Justine Skye.

Image credit: Instagram.com/justineskye

Isabela Grutman, Hailey Bieber and David Grutman.

Image credit: Instagram.com/davegrutman

E! presenter Jason Kennedy, Justin Bieber and Ryan Good.

Image credit: Instagram.com/ryangood24

Celebrity pastor Rich Wilkerson Jr. and guests.

Image credit: Instagram.com/richwilkersonjr

Scooter Braun, Yael Cohen Braun, Hailey Bieber and Justin Bieber.

Image credit: Instagram.com/yael

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2nd Oct 2019

How might we approach our jewellery as a mouthpiece? Photographer Hannah Roche and philosopher Lachlan Malone, who founded their brand Released from Love in 2019, are lending the proverbial microphone to their jewellery, hoping to arouse this very question in their customers when they hang their made-to-order pieces from their ears or necks.

After training in traditional jewellery making in the Southern Highlands and developing a mutual love for the craft, Roche and Malone applied their know-how to design each other’s wedding rings when they married last year. In an organic turn (as the name suggests) into a professional project, they set out to fuse their interests and share their wares with the world in a way that riffs on popular jewellery trends and hopefully gets us talking. Below, the designers chat to about their hopes for the brand, why jewellery is ripe for disruption and how they distill an unending stream of ideas into delicate, wearable pieces.

“Jewellery is a culturally conditioned thing; it’s meant different things throughout history and culture. It’s represented different power dynamics, different ideologies, different aesthetic standards,” explains Malone, who is hopeful the brand’s pieces will become similarly symptomatic of a certain time and set of values. “Our biggest goal is to create something that feels familiar enough that it doesn’t push someone away, but also progresses their idea of something forward.” 

These opposites converge in a collection of core pieces designed according to 10 aesthetic commandments the designers formulated for themselves when they founded the brand. “These are things we care about,” explains Malone, springing to mind commandment one, for example, that states that all of the jewellery must be gender neutral, or commandment eight, that explains that every piece will be ethically made. Together, these inform the basis of necklaces and earrings that are equally beautiful and thought-provoking, but engagement with the ideas from which they germinate rests in the wearer’s discretion. As Roche explains: “If our jewellery relates to [our customer] on a fundamentally aesthetic level and they just really like it, that’s great. But if they want to read about what’s important to us as a brand, then we have that there for them [too].”

Even for the purists though, who might be satisfied by the jewellery’s appearance alone – Roche identifies Released from Love’s aesthetic as “quietly ostentatious” – the brand’s ability to inflect each piece with a dose of humour, and ensure every step of the process from ideation to delivery is sustainable, deserves closer inspection. Freshwater pearl drop earrings and baroque pearl necklaces serve as two such examples. Ironically rendered in recycled silver, both pieces play up the resurgence of pearls seen everywhere on and off Instagram, while speaking out against unethical pearl farming simultaneously. “We try to make every piece in a way that is practical to wear, looks beautiful but has a concept that is either lighthearted or fun or really challenges something,” explains Malone. Roche adds: “Hopefully, we can educate our customers a little bit, and other jewellers as well.”  

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To ensure the brand is doing its part, Released from Love uses exclusively recycled materials and FSC-certified packaging. All samples are melted down again and repurposed to make pieces anew, with scrap metals regularly donated or exchanged for alternative materials. It’s clear that for both designers any and all output must be considered, yes, but considerate, too.  “We want pieces that will be worn and loved as much as possible now,” explains Malone. “[But] they can be re-gifted, they can be given down, passed down the line. That’s [the intention behind] how everything is made.”