Coach Swys de Bruin believes a strong defensive effort from the Lions in their Super Rugby quarter-final will give them a solid foundation when they take on NSW Waratahs in next weekend’s semi-final.

The Lions beat the Jaguares 40-23 at Ellis Park on Saturday to keep themselves on course to reach the final for a third successive year but not before producing some stout defending to hold the Argentine side at bay.

“I thought at stages our defence was great, at the right times,” De Bruin said after Saturday’s success in Johannesburg.

De Bruin anticipates a similar attacking onslaught from the Waratahs, who came from behind to win 30-23 in their quarter-final at home to the Otago Highlanders on Saturday.

The Australians will travel to Johannesburg for Saturday’s semi-final.

“Their strengths and the way they attack are a bit different. They play from edge to edge a lot and vary their kicks. They have a lot of international players and we anticipate a team that will be up there.

“The Waratahs were third on list of the number of tries scored in this year’s Super Rugby so they know how to find your try line. But with the defensive effort that I saw against the Jaguares, I’m happy,” added the Lions coach.

The Lions have already beaten the Waratahs this season, winning 29-0 in Sydney in April.

The Lions will host the Waratahs in the Super Rugby semi-final on Saturday July 28, kicking off at 3:05pm local, 11:05pm AEST, LIVE on FOX SPORTS.

Jean Shrimpton at Derby Day in 1965

Fashion is to horseracing what tonic is to gin. One doesn’t just make the other better: they’re entirely symbiotic. Ever since the Victoria Racing Club introduced Fashions on the Field in 1962, to encourage a more enthusiastic female contingent in the crowd, style has become as important as the stakes at the Melbourne Cup Carnival.

There are rules and conventions at the Carnival that make dressing to a theme more interesting, but some of the best fashion moments in racing history were created by women who didn’t play by the rules.

In 1965, three years after Fashions on the Field kicked off, model Jean Shrimpton arrived in Melbourne sans hat, gloves and stockings (accessories that were considered essential to the dress code), and caused a stir. The then-22-year-old beauty was also clad in a white shift dress that was 12 centimetres above her knees – apparently enough to kick the winning horse off the front pages of the newspapers the following day. Shrimpton’s legs (she claimed that photographers knelt at her feet to shoot upwards and make the skirt appear even shorter) replaced the ‘race that stopped a nation’ with ‘the legs that stopped a nation’. Her dress, by London-based maker Colin Rolfe, not only rocked the local establishment, but also made a strong case for shorter hemlines the world over. For her next appearance at the Carnival, Shrimpton paired a hat (by Melbourne milliner Adele Chapeaux) with a two-piece suit. Her unwillingness to conform to convention might have been shocking back in 1965, but by the following year, mini-dresses were seen all over Flemington.

A racegoer at the Melbourne Cup in 1969

Jean Shrimpton and Terrance Stamp at Melbourne Cup in 1965

Gai Waterhouse (at centre) with Melbourne Cup fashionistas in 1969

In the 1970s, maxi-dresses, florals, boots and pants-suits dominated on and off the track. In place of Fashions on the Field, which took a temporary hiatus, a local newspaper ran a contest for the most stylish couple. Finally, fashion-forward men in flared pants and pointy collars got the attention they deserved.

The 80s were a colourful era for the Melbourne Cup, and the reinstatement of Fashions on the Field recaptured the public’s attention to sartorial choices. In fact, a significant boost in prize money catapulted fashion to the forefront. In 1985, Princess Diana arrived at the Melbourne Cup not in shoulder pads and taffeta, like most of her contemporaries, but in a black and white Bruce Oldfield suit and matching monochrome Frederick Fox hat, black gloves and pearl-drop earrings. It was a bold antithesis to the brashness of the decade, which made it even more of a style statement. But it was her sheer stockings with a delicate back seam and bow above the ankles that was the most memorable – and most emulated – element.

The focus on fashion from the neck up took an artistic turn in the 90s and into the 00s. Hats were big, bold and colourful and dresses smaller. Spaghetti-strap slip dresses were the perfect backdrop for oversized and outlandish headwear, designed to become conversation starters. Men joined in, with the introduction of a male category in Fashions on the Field in 2001.

The current decade has proven everything old is new again, as traditions are revived and a more conservative era romanticised. When Nicole Kidman arrived at Derby Day in 2012 wearing an organic silk and lace L’Wren Scott dress and a hat made out of
recycled plastic bottles by British milliner Stephen Jones, she could very well have been dressed in character for a remake of Audrey Hepburn’s iconic My Fair Lady. In 2013, Naomi Campbell chose a black-and-white hound’s-tooth Dior gown and Philip Treacy hat to keep it classic for the Melbourne Cup, offering a lesson in the value of keeping things simple, no matter the code of the day.

So, what will dominate Flemington in the next decade? Investment pieces you can repurpose time and again are odds-on favourites, according to milliner Viktoria Novak. “Crowns and headbands continue to be
popular. Something that is re-wearable is important, as there’s such a strong move towards sustainability in fashion. Modern racegoers would much rather invest in a quality headpiece and understand the
history of where and how it is made,” she says.

Fashions on the Field at the Melbourne Cup in 1971

Spectators at the Melbourne Cup

Gai Waterhouse with Kate Bosworth at Derby Day in 2006

Ita Buttrose and Bernard King at the Melbourne Cup in 1982

Nicole Kidman wearing L’Wren Scott at Derby Day in 2012

Diana, Princess of Wales at the Melbourne Cup in 1985Click Here: habitat tord boontje

While there is a certain dress standard that comes with a royal title, and the added pressure of being photographed each and every time they step out at a public engagement, that doesn’t always make them exempt from making relatable wardrobe choices.

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The new generation of British royals, namely Kate Middleton and Meghan Markle, are spearheading slightly left-of-field wardrobe habits, often side-stepping long-held dressing traditions—such as rules about royals having to keep their coats on in public, and hats and headpieces in public being a must before 6pm—in favour of a slightly more modern approach to dressing which leaves a little more room for movement.

Middleton, for example, has mastered the art of the outfit repeat, something you wouldn’t expect one of the more prominent world figures, with a slightly larger wardrobe budget than most, to make a habit of.

Sure, this particular wardrobe choice may come as a bi-product of keeping royal wardrobe spending low, but it sure has brought us a little closer to once-distant figures when it comes to fashion.

Joining Middleton in her outfit repeating ways is Markle, who admittedly has had to tighten her wardrobe restrictions since becoming the Duchess of Sussex, but has made her own mark when it comes to royal dressing, relatable habits included.

Ever a fan of a Manolo Blahnik suede stiletto heel, and already having a strong penchant for Aquazzura’s pointed pumps for a royal occasion, the duchess is a big fan of the outfit recycle. She’s even gotten good wear out of her Castañer Carina heeled espadrilles over the last year—never in the presence of the Queen of course—and now, Markle has brought her repetitive ways to her main wardrobe.

Scroll on to see our round up of every single time Meghan Markle has recycled an outfit.

Stepping out on September 23 with husband Prince Harry for a visit to the District 6 Museum and Homecoming Centre during their 2019 royal tour of South Africa, Markle’s blue Veronica Beard button-down midi dress struck us immediately with an air of familiarity. And after a little digging through our duchess dressing archive, we soon realised that this was the exact dress Markle wore just last year on her royal tour of Australia, Fiji, Tonga and New Zealand.

Attending Tupou College on October 26, 2018 in Nuku’alofa, Tonga, the then-newly pregnant duchess first selected the belted blue item to participate in the Unveiling of The Queen’s Commonwealth Canopy.

During the very same royal tour of South Africa mentioned earlier, Markle’s striped Martin Grant maxi dress also looked to be extremely familiar at first glance. Again borrowing from her royal tour wardrobe from the previous year, the duchess had recycled the dress for a reception for young people, community and civil society leaders at the Residence of the British High Commissioner in Cape Town, South Africa on September 24.

The duchess first wore the Martin Grant piece while visiting a local Australian surfing community group, known as OneWave, who raise awareness for mental health and wellbeing, at Bondi Beach in Sydney on October 19, 2018.

The Mexican sides both look well in control of their quarterfinal ties following dominant first-leg road wins over MLS outfits

Santos Laguna took a commanding 2-0 win over the New York Red Bulls in the first leg of thier Concacaf Champions League quarterfinal clash on Tuesday.  

Playing at home, the MLS side couldn’t match the Liga MX club, with poor finishing from New York proving costly as Santos showed a clinical edge in front of goal either side of halftime to take control of the tie.  

The visitors opened the scoring just before the break with a clever bit of play near the top of the New York box.  

Brian Lozano slipped a ball into the feet of Julio Furch, who in turn picked out Diego Valdes.  

With another option streaking down his right, Valdes used the space to fire off a shot that left New York goalkeeper Luis Robles stranded and handed the Mexican club a 1-0 lead.  

The second for Santos came just two minutes after the re-start.  

Furch was the man to finish the move, but it was Javier Correa ‘s clever touch in the box that split the Red Bulls’ defense and made it little more than a tap-in for the striker.  

Bradley Wright-Phillips had multiple chances throughout the night, including one in the final minute of regular time, but Santos Laguna goalkeeper Jonathan Orozco was outstanding throughout to preserve the clean sheet for his side. 

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The other match of the night Liga MX power Tigres also take a dominant position against the Houston Dynamo with a 2-0 win in Houston.  

Tigres broke the deadlock 78 minutes in through Enner Valencia following a quick counterattack, the Ecuadorian tapping home on the doorstep from a Luis Quinones .  

Valencia then turned provider, setting up Julian Quinones two minutes later with a ball over the top to seal the win.  

Houston had no response for the late onslaught and will now face the daunting task of trip to face Tigres at El Volcan needing to overturn a two-goal deficit.  

The return legs for both matches will take place next Tuesday, with the MLS sides needing something of a miracle for either of them to earn a spot in the CCL semifinals.

The champions pulled level with Lucien Favre’s side on Saturday but the manager insists he is only thinking about his own side

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Niko Kovac insists he is not thinking about Borussia Dortmund despite seeing his Bayern Munich side pull level with them at the Bundesliga summit on Saturday.

Long-time leaders Dortmund had opened the door for Kovac’s men after suffering a shock 2-1 defeat to Augsburg on Friday and the reigning champions took full advantage as they thumped Borussia Monchengladbach 5-1.

Javi Martinez and Thomas Muller netted inside 11 minutes before Lars Stindl pulled one back for the hosts.

The visitors pulled away in the second period, however, as a Robert Lewandowski double and Serge Gnabry’s strike sealed an 11th win in their last 12 Bundesliga games in some style.

Kovac refused to be drawn on Dortmund after the game, instead choosing to focus on the momentum that his own side have built up.

“I do not want to talk about Dortmund,” he said.

“We talk about ourselves and I think our team is doing very well right now. We have won 11 times in the last 12 games and that is what I expect.

“I’m very happy with the game. We should have scored one or two more goals. It was possible.”

Monchengladbach won the reverse fixture at the Alliaz Arena in October 3-0 – a result goalkeeper Manuel Neuer is pleased to lay to rest.

“There was just a little bit different from the last Gladbach game,” he said. “Of course, you lose reluctantly and that was not quite deserved back then. 

“We could have achieved one or two more goals, but overall we are satisfied.

“We know that in this season a lot is possible, so we have to stay calm. We just must make sure we give everything we can to become champions.”

Youngsters Mason Greenwood and Tahith Chong played against PSG and want more big-time action, says their teenaged team-mate

Manchester United’s next generation are hungry for more after getting a thrilling taste of the big stage against Paris Saint-Germain, says 18-year-old midfielder Angel Gomes.

Interim manager Ole Gunnar Solskjaer boldly blooded 17-year-old striker Mason Greenwood in the latter stages of the Red Devils’ amazing Champions League comeback in the French capital last week.

He also threw on winger Tahith Chong, 19, for only his second appearance for the club and had fellow youngster Gomes on the bench.

All three are pushing for further first-team opportunity and Gomes told MUTV: “It was a great experience, not just for me but all of the lads who came and got involved.

“I think there were eight players who have come through the academy that came on the trip and it just shows how much the club has an interest in the youth.

“It is big for the club and it showed, everywhere, how great this club is.”

Greenwood and Chong gave nerveless performances as United won 3-1 to progress to the quarter-finals on the away goals rule.

“The more that come, the more it shows Man United,” added Gomes. “I think it was great for Mason and Chongy to be involved.

“It is an experience they will never forget as well. I have grown up with these boys, right from Under-9s to now. To see us all with the first team, travelling and getting some experiences, is amazing.”

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Gomes was given his debut by former manager Jose Mourinho against Crystal Palace during the final game of the 2016-17 season.

The teenager was thrilled by the atmosphere in Paris – and ‘overwhelmed’ to be in the dressing room with club greats Sir Alex Fergsuon and Eric Cantona after the game.

“Obviously, I have only watched from the sides and been in the crowd myself, so to be able to go out and celebrate with the fans was an amazing experience and it’s something I will never forget,” he said.

“What was also massive for me was Sir Alex [Ferguson] and Eric [Cantona] coming in afterwards to shake hands and speak to us. They are massive, massive people and just to have them in the changing room. I think it got everybody a bit more excited and everyone was a bit overwhelmed really.“

Gomes will be part of the Under-19s squad that travels to face Midtjylland in the UEFA Youth League on Wednesday.

It’s no secret that Christian Dior was enchanted by gardens. They informed everything from the silhouette of his iconic New Look in 1947 – the shape of an inverted flower – to the pattern depicting flora and fauna that adorned the walls of his original store at 30 Avenue Montaigne in Paris.

For her spring/summer 2020 collection, Dior artistic director Maria Grazia Chiuri drew inspiration from the heritage of the French fashion house and the garden, but not in the way that you might expect. Instead of thinking in terms of ornament and decoration, she instead looked to Christian’s younger sister, Catherine – a member of the French Resistance who was interned in a German concentration camp during the second world war, and later became a gardener.

Many a gardener – from Catherine Dior to Vita Sackville-West, to name just two – are known to have been fond of a hat, and in keeping with tradition they play a central, albeit suitably utilitarian role for Dior this season. “Gardeners need hats to protect them from the sun,” explains British milliner Stephen Jones, who created a bucket-style design for the collection. “The [hats for Dior this season are] made using grasses from Switzerland, Italy, the Philippines and France, so it’s like the United Nations in a straw hat.”

Ahead of Dior’s spring/summer 2020 show, Chiuri sat down with to talk botanical theories and research – plus her collaboration with an urban planning collective – which all inspired this season. 

Why did you choose Catherine Dior as your muse this season?
Maria Grazia Chiuri [MGC]: Straight after the war, Catherine worked as a gardener and sold flowers in the market at Les Halles in Paris before moving to the south of France, where she lived with her father. When Christian bought Château de la Colle Noire near Grasse [widely considered the perfume capital of the world] his sister Catherine came here to plant fragrant flower beds of roses, jasmine and lavender. To have been such an active member of the Resistance and to then work in the garden, establishing her own business – this was not common at the time. Everyone knows the perfume Miss Dior, but not everyone knows the woman who inspired it. I decided to use this show to celebrate Catherine because I really believe that she was a truly modern woman.

You are renowned for using fashion to make a statement. How does that present itself in the spring/summer 2020 collection?
MGC: The message in this collection is the idea of taking care of everyone, of the world we live in, just as Catherine Dior and other women in history took care of their gardens. All modern ideas of feminism talk about humans and nature and bringing these two worlds closer together again.

You’ve worked a lot with dancers, from Sharon Eyal who performed at your spring/summer 2019 show to the costumes you designed for Sébastien Bertaud’s ballet, Nuit Blanche, at the Teatro dell’Opera di Roma in March. Has this influenced the collection in any way?
MGC: Sébastien and I collaborated on another ballet this summer called which was presented at the Origen Festival in Switzerland. The work was based on Monte Verità [the hill of truth] a very special place overlooking Lake Maggiore, close to the Italian border. At the beginning of the 20th century, a community of artists and thinkers [psychoanalyst Carl Jung, dancer Isadora Duncan, painter Paul Klee and novelist Hermann Hesse, to name a few] came here to create new work, but also be more in contact with nature. 

In the past, fashion was about expressing yourself to other people. At the moment, I think it’s more about how it can make you feel better and more confident within yourself. That’s why I like to work with dancers because they know how to express themselves through their bodies and understand how clothes can maximise this.

How did all these ideas around nature and gardens inform the show set?
MGC: The idea was not just to think about the garden as inspiration for a pretty prints for clothes; that’s not appropriate for the times we are living in. I know the history of the house of Dior very well, so it was about creating a dialogue with the present. Right now, we are all too aware of the importance of sustainability, and the state of the planet. 

Last year, I visited the Manifesta art biennale in Sicily and I came across the work of the Paris-based Coloco – a collective of landscapers, gardeners and artists that bring nature back to communities. For the set this season, we created an arboretum. After the show all of the potted trees go to Coloco to help with the creation of urban groves in central Paris and other projects. A garden is something you make for the future, it literally brings oxygen into our lives. Creativity should be responsible – the environment is something that affects everyone.

And did this more holistic idea of gardens feed into the design of the spring/summer 2020 collection?
MGC: For the prints and embroideries in the collection, as well as the jewellery, I decided to reference natural species like thistles and dandelions. The colours draw inspiration from theosophist Charles Webster Leadbeater and paintings depicting auras – colours representing different emotions – which the artists of Monte Verità were obsessed with. Paris’s National Museum of Natural History, which houses one of the world’s largest and oldest herbariums, was also an important resource.

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Most of the bags and shoes are made with an embroidered canvas technique we developed, and the shoes are flat, based on an espadrille or gardening-boot style. For me, functionality is essential to my job, as a designer I see it as my responsibility to make clothes that are beautiful, but also comfortable.

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“I love her style …” Tommy Hilfiger begins to list, looping his little finger as Zendaya sashays around in the background in golden platforms, possibly within earshot, cool as a cucumber, metallic make-up shimmering in the light. Funk and soul classics from Prince to Diana Ross boom into the 7th arrondissement studio, keeping the tempo up as the pair prepare to work on their collaboration late into the night, finishing pieces and completing fittings with Joan Smalls and Pat Cleveland ahead of their first Paris Fashion Week see-now-buy-now show tomorrow.

“I love that she’s in film, TV and music,” he muses, three more fingers quickly disappearing. “And she believes in what she believes in,” and just like that, thumb gone too, we’re already out of digits to count all the ways Hilfiger knew Zendaya had to be his latest global ambassador. And we get it. Because Zendaya, the 23-year-old American actress and singer with close to 60 million followers on Instagram, is not short of admirers.

Just this year, we’ve seen her in HBO’s Euphoria, the bildungsroman TV drama that made controversial waves with its eyes-wide-open depiction of teenage sexuality and drug use in suburban America. She’s also appeared in Netflix’s second series of The OA; reprised her role as Michelle Jones in the latest Spider-Man instalment (with electric chemistry opposite British co-star Tom Holland); and completed filming alongside Timothee Chalamet, Charlotte Rampling and Jason Momoa on next year’s all-star sci-fi, Dune. And that’s just acting. 

Fashion highlights include that Met Gala Cinderella moment in a techsmart dress (a wry nod to her Disney Channel days). But Zendaya eclipsed all the above when she linked arms with Hilfiger on the spring/summer ’19 runway, having just sent out their first TommyXZendaya 1970s- and zodiac-inspired collection. For the show, the pair had cast all black models, from the age of 18 to 70, and everyone from Winnie Harlow to Grace Jones walked for them. Fashion never felt so refreshing. All the clothes were available immediately, globally, from sizes 4 to 24 – the first time that’s ever happened.

“I did that because it’s important to me,” Zendaya states, matter-offactly. “I wouldn’t have done this without it. If my older sister, if my mother, if my aunties, if they couldn’t wear these clothes that I’m designing, then why would I make them?”

Thankfully, Hilfiger’s approach was: “I’ll let you do anything you want!” He grins, remembering his head-over-heels courtship of Zendaya. And so, after many emails, FaceTiming, meetings and messaging, a friendship blossomed and a collaboration formed. Hilfiger, it seems, was no easy taskmaster, either: “You know, we had it in a good place [at one point],” Zendaya begins, “but Tommy was like: ‘I think you can do better’. And I was like: ‘Word. I hear you!’” Zendaya recalls of rising to the challenge. “He offered so much guidance, because we have all these ideas, but it’s wonderful to have someone with the experience and the knowledge; someone who can push you to take that next step.”

“And that’s all I had to say, and it happened,” Hilfiger verifies, eyebrows raised, implicitly impressed by Zendaya’s savvy. “Tommy offers guidance, but he’s also interested in younger perspectives,” Zendaya continues.

“He wants to know what I think is cool or what I’m interested in. It would be easy for him – with his long career and level of experience and knowledge of the industry – to be like: ‘I know best’, but he nurtures young creativity. Which is actually how you have a long career, by nurturing the people coming up under you.”

That evening, Zendaya displays not one butterfly of nervousness ahead of sending out her debut fashion week collection in front of a slew of editors as well as Tyra Banks, Janelle Monae and Gigi Hadid, Tommy’s former global brand ambassador, all watching with anticipation from the front row. Clearly her partnership with Hilfiger was a natural fit, since the next range with the brand was already in the works before the first one hit the runway. 

So what can we expect for the autumn/winter ’19/’20 collection, set to show at New York fashion week this month? “I heard spots …” I posit, waiting for their reaction. Zendaya and Hilfiger look at each other. “Am I allowed to say things?” Zendaya asks dutifully of Hilfiger. “It will show in Harlem,” Hilfiger reveals. “And there’s going to be lots of tailoring,” Zendaya adds excitedly. “Expect a lot of suits, a lot of clean lines, but in our own funky way.”

When Hilfiger first contacted Zendaya, she was window-shopping with her assistant. “To be honest,” Zendaya says with a shrug, “I was pretty sceptical. You know you get into those situations: people will promise you the moon and the stars but when you get there it’s like: ‘Oh well, here are the clothes, put your name on it and that’s how it’s going to work.’ This wasn’t one of those situations.”

“After Gigi, we figured we had to find someone phenomenal,” Hilfiger adds. “I just thought: ‘Zendaya’s so perfect for us.’ If she wants to do what she wants to do, I’ll let her do that. I had other people in the company say: ‘But what if she wants to do something really crazy? Are you going to go back on your word?’ And I said: ‘I trust that somehow she’s going to come up with a look and an idea that’s trendsetting for us.’ And guess what? Voila!”

Turns out, Hilfiger did serve up the moon and stars – and Zendaya made them shine.

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

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Just like that, the final of the ‘Big Four’ fashion weeks has come with the commencement of Paris Fashion Week.

And not unlike the other cities with their respective shake-ups—New York’s condensed schedule, London’s inclusive runway invitations, and Milan’s diplomatic handing of prime schedule spots to emerging designers—Paris’s spring/summer 2020 presentations will still include well-established heavy hitters, but has experienced a slight overhaul, too.

Making room in its fashion heavyweight-packed schedule, this season, Paris will see a number of younger designers, such as Marine Serre and Y/Project, infiltrate the often impenetrable show timetable.

Often dubbed the ‘fashion capital of the world’, and known for its flair for theatricality and aptitude to produce breathtaking couture, it should come as no surprise that the week with so much industry gravitas has the ability to pull front rows its fellow three big fashion weeks can’t quite manage.

Flocking to the French city, which still plays host to a number of shows presented by heritage fashion brands—including Chanel, Christian Dior, and Saint Laurent, who this year, featured a scene-stealing close courtesy of Naomi Campbell—celebrities, influencers and even royals alike are filling the most coveted seats and flexing their Parisian-inspired sartorial skills while doing so.

Bianca Jagger, Jennifer Lawrence and Princess Sirivannavari of Thailand filed into Christian Dior’s front row in the label’s wares, while Kate Moss, Catherine Deneuve and Cindy Crawford sat in prime positioning at Saint Laurent’s iconic location under the Eiffel Tower wearing one of the brand’s signature pieces: the blazer.

To see our round-up of the front row fashion moments from Paris Fashion Week spring/summer 2020, scroll on.

Pictured above: Jennifer Lawrence at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Karlie Kloss at the Christian Dior spring/summer 2020 show. Image credit: courtesy of Christian Dior

Natalia Dyer at the Christian Dior spring/summer 2020 show. Image credit: courtesy of Christian Dior

Zoë Kravitz at the Saint Laurent spring/summer 2020 show. Image credit: Getty Images

Bianca Jagger at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Kate Moss at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Nina Dobrev at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Olivia Palermo at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Luka Sabbat at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Cindy Crawford at the Saint Laurent spring/summer 2020 show. Image credit: Getty Images

Jorja Smith at the Christian Dior spring/summer 2020 show. Image credit: courtesy of Christian Dior

Julianne Moore at the Christian Dior spring/summer 2020 show. Image credit: courtesy of Christian Dior

Jacob Elordi at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Romee Strijd at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Chiara Ferragni and Sofia Sanchez de Betak at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Princess Sirivannavari of Thailand at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Tommy Dorfman at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Juno Temple at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Monica Bellucci and Laetitia Casta at the Christian Dior spring/summer 2020 show. Image credit: courtesy of Christian Dior

Jeanne Damas at the Christian Dior spring/summer 2020 show. Image credit: Getty Images

Amber Valletta at the Saint Laurent spring/summer 2020 show. Image credit: Getty Images

Natalia Vodianova at the Christian Dior spring/summer 2020 show. Image credit: courtesy of Christian Dior

Salma Hayek at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Charlotte Casiraghi at the Saint Laurent spring/summer 2020 show. Image credit: Getty Images

Rami Malek at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Charlotte Gainsbourg at the Saint Laurent spring/summer 2020 show. Image credit: Getty Images

Catherine Deneuve at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Ezra Miller at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

Andie MacDowell at the Saint Laurent spring/summer 2020 show. Image credit: courtesy of Saint Laurent

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25th Sep 2019

Kylie Jenner has a new job as the artistic director for make-up at this week’s Balmain show during Paris Fashion Week. Having been asked by creative director, Olivier Rousteing, to lead the charge on the look, Kylie and her make-up brand, Kylie Cosmetics, will then launch a capsule collection with Balmain, which will go on sale immediately after the show on September 27.

As well as lip shades and eye shadows, the bespoke offering will include accessories that incorporate make-up, all set to be revealed at the show. A cross-body lipstick bag? Yes please.

“We really wanted to launch this collection in a big way,” Kylie told WWD. “The inspiration really came from look 26 [the pastel pink jumpsuit she wore to the Grammy awards] and we went from there.”

Never one to pass on the responsibility to someone else, 22-year-old Kylie is expected backstage from the moment the models start arriving for glam at the catwalk show.

“She wanted to know when the first make-up artist will be arriving backstage, so she’s going to be there at 7:30 a.m. to be the first to work on all the models,” Olivier added. “There’s a definite look for the show, but within that, each girl will have different make-up depending on their skin tone and the clothes they’ll be wearing.”

This isn’t the first time that Kylie and Olivier have come together on a project. Her Grammys red-carpet look aside, Kylie has been a loyal fan of the Parisian designer and a long-time supporter of the #BalmainArmy, which is why, in 2015, it made sense that Kylie – along with elder sister, Kendall – posed for the Balmain autumn/winter ’15/’16 campaign.

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“This is really the first time I’ve collaborated with a fashion house, and Olivier has created so many incredible looks,” Kylie explained of her decision to collaborate. “We worked together the entire process and were always video calling each other to discuss colours and swatches, as well as the packaging design.”

The end result is a meeting of minds and aesthetics: Kylie’s signature matte lip look is reimagined in iridescent packaging that reflects the Balmain colour palette of late, while a nine-shade palette of high-pigment shades are also included and intended to be applied like Kylie sports in the campaign imagery.

“Olivier and I talked through which products we wanted to create, and we agreed that an eye shadow palette, a matte lip kit and a high gloss would really bring together the look we were aiming for,” Kylie said. “We worked together and selected the colours for all products and designed the packaging. We knew we wanted to launch it the same day we do the fashion show so the whole day is about the show and the collab.”

This story originally appeared on Vogue.co.uk.