The way we think about sex is changing, thanks to a new feminist agenda. “Sex should be a place of fun and enjoyment,” says author and illustrator Flo Perry, who’s just published . “For me, feminist sex is about having the sex you want to be having, rather than the sex you you should be having – and getting maximum pleasure.” 

This October marks two years since the rise of the #MeToo movement, which led to women around the world sharing deeply personal stories of sexual assault and harassment. Meanwhile, , the ’s viral short story published in December 2017, opened up conversations about consent and the grey areas that can exist when it comes to dating. 

“We’re starting to really explore the various ways in which inequality and power imbalances follow us into the bedroom,” Allison Moon, queer sex educator and author of tells . “Culture teaches women not to speak up clearly; and men to pursue in the absence of a firm ‘no’.” 

“There are a lot more conversations [to be had] about consent and the complexities around consent,” adds Vithika Yadav, founder of sex and relationships website . “It’s not only about [educating] girls and women, but also boys and men.” 

Like the western sexual revolution in the 1960s, these discussions have brought ideas of feminist sex back into focus. “Feminism is designed to respond to an inequality in society,” Moon says. “[This includes] equal access to the joy and pleasure of sex. Everybody’s voice matters.” 

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Addressing the orgasm gap 
According to the Kinsey Institute, heterosexual women are the least likely to orgasm during sex — only climaxing 63 per cent of the time, compared to 85 per cent for straight and gay men, and 75 per cent for lesbian women.  

“We all need to advocate for our own pleasure,” says Moon. “One of the things the sexual revolution has done for women is teaching us to speak up for what we want in bed; none of our partners are mind readers.” 

Broadening our definition of sex, which in the heterosexual world is often used to just refer to penetrative sex, also helps. “When we are limited by this very narrow idea of what counts as sex, we are losing so much access to pleasure,” she adds. 

It is essential that women feel empowered about their choices in the bedroom. “Women [should feel] empowered to take decisions regarding their own bodies, [and] be assertive around what they like and what they don’t like,” says Yadav. Clear communication between all parties involved is key when it comes to consent. “We talk a lot about ‘no means no’, but I think we also need to empower women to say ‘yes’,” Yadav adds. 

Navigating societal expectations 
“[Feminist sex] is about having a sex life that is free of expectations,” Perry says, citing porn, media and our upbringing as influencing and shaping these views. “When we [have sex] with preconceived notions about how somebody else’s body is supposed to work, we’ve [already] lost track of where the joy really comes from,” Moon adds. She notes that these preconceptions can differ when it comes to gay and lesbian sex. “A lot of us don’t know how to have queer sex before we do it for the first time; we haven’t grown up in a world saturated by media that shows us what it looks like, which [can be] a great benefit.” 

What’s perceived to be the feminist ideal can also conflict with personal sexual desires. The regular opener of podcast proves that case in point with the now infamous line, “I’m a feminist, but…”. Perry agrees: “Some people don’t want an equal power dynamic [while having sex]; that’s ok.” Body hair is another area where people feel forced to grapple with their feminist principles. “Obviously people should do whatever they like to their body hair; it’s their choice,” Perry continues. “It’s difficult to know if you’re doing it because society tells you to or because you actually want to do it, [but] there’s no point beating yourself up about it.”  

Self-exploration and pornography
Communicating effectively is one thing, but knowing what you want is another. “I think that women across the board can masturbate more and figure out what we like,” Moon says. “And then learn how to articulate that.”

And what of pornography? “The most feminist way to enjoy porn is by paying for it; tube sites regularly pirate professional scenes, offering no compensation to the performers or production companies,” she explains. “Do a little research into the performers and studios you like to see if the porn is made in an ethical way. Do the performers feel free to say yes or no to any acts? Do they feel safe and respected on set? Do they get paid fairly for their labour?” 

The role of men 
Men should also think about sex from a feminist perspective. “I hope people, regardless of gender, examine the times in which they have not been impeccable when it comes to [their] sexual ethics,” says Moon. “Learning how to ask really good questions, and listening to the answer you receive, is key.”  

“Feminist sex is essentially good sex,” concludes Yadav, “and it’s meant for everyone.” 

Milliner Stephen Jones throws a splendidly decadent dinner party. In the Banqueting Room at the Royal Pavilion in Brighton, fictive guests including Mick Jagger, Lady Gaga, Kate Moss and the Duchess of Sussex are represented by the bespoke hats that Jones has made for them. There’s a pink Milady straw hat with a flurry of ostrich feathers, a red velvet fedora, a black gazar-brimmed hat named Trophy Wife, and Swing, modelled on a grand chandelier. The scene is set for mischief.

The room is one of a series of tableaux that Jones has conjured for an exhibition showcasing his designs in the Regency building, constructed as a seaside pleasure palace for King George IV more than 200 years ago. Its state rooms will display nearly 200 of the most extraordinary hats that have resulted from the Saint Martin’s School of Art-trained milliner’s 40-year career. “It’s the first time the Royal Pavilion has allowed an exhibition in the rooms,” explains Jones. “So it is a bit special.

His designs have long encapsulated the dizzy pleasure of hat-wearing, finding their way all over the world, from Ascot to the Melbourne Cup. “You put a hat on to have fun,” he says. “It‘s an optimistic gesture to the world, not about how you feel, but about how you look. We ‘read’ hats, and clients always say how many compliments they receive – what has the power to do that now?”

Jones is one of the most prolific designers working across the worlds of film, celebrity, performance and runway, and has been creating hats for Dior since John Galliano’s debut in 1996 (some of his pieces are currently on display at the V&A’s retrospective Christian Dior: Designer of Dreams), as well as for Matty Bovan and Marc Jacobs. He equips royalty, pop stars and racing glitterati the world over with bespoke designs that frame faces, amplify personalities and magnify a moment with surreal wit and astonishing beauty. Take a boater seen at Derby Day at Flemington last year with a crisp black and white ribbon enveloping the crown. The top popped whimsically open, as if to let in the air in a Willy Wonka moment of irreverence.

Above: Chanel ready-to-wear spring/summer 2019.

Jones’s exhibition could not be more prescient. Hats are enjoying a resurgence as a new generation of wearers take up the habit. The lexicon of styles is expansive, from Gucci’s beribboned fedoras to Marc Jacobs’s glossy black net-veiled boaters and Valentino’s voluminous straw sunhats. At Saint Laurent’s spring/summer ‘19 show, there were Swarovski crystal-studded hats topping cocktail dresses; at Prada, outsized Alice bands; and at Jacquemus, giant, slouchy straws that rippled and rolled in the breeze. Last year’s two royal weddings also brought hats well and truly into the frame – at Princess Eugenie’s wedding to Jack Brooksbank, Cara Delevingne in her Chanel top hat and her sister Poppy in Victoria Grant’s feathered pillbox were a picture. “Society is, by nature, conservative, so steps forward are small,” observes Piers Atkinson, whose hats are adored by Hollywood. “But many of the guests took a bolder approach.”

Headgear is so wildly varied, from Mary Poppins’s nifty titfers decorated with birds and feathers to Cardi B’s coolie hat that drips with beads and jewels, to Meghan Markle’s impressive armoury of fascinators and curvilinear sinamay saucers, to Prada’s neon nylon bucket hat. However, Jones believes there’s one essential element to get right. “People want simple, graceful and elegant designs,” he explains. “Christian Dior, who started out as a milliner, did not see the hat as separate – it was part and parcel of an outfit. The hat is also about telling stories, and there’s an element of playfulness, but it is now about being more ‘real’ than sensationalist.”

But how does ‘real’ translate, when, for hat-wearing novices, millinery can be so intimidating? The good news is that a little practice and play makes all the difference. As the public’s taste for hat-wearing swells, feelings of self-consciousness will diminish in equal measure.

Above: Marc Jacobs ready-to-wear spring/summer 2019.

“Treat it like shopping for a new pair of jeans or shoes,” says Nerida Winter, who has 16 years as the Australian Turf Club’s official racing milliner under her belt. “Jump in head-first; grab some options that capture your eye, try them on. If they don’t fit or suit, keep trying or seek expert advice.”

Indeed, there are often contradictory impulses at play in this overly mediated era: an internal battle between wanting to stand out and a desire for privacy. Hats, conveniently, fulfil both. “People think sometimes that people who wear hats want to show off,” adds Philip Treacy, who has been making his striking architectural and feather designs since 1990, with patrons including the late Isabella Blow, Grace Jones and Dita von Teese. “A hat is a positive symbol; the ultimate glamour accessory. It thrills observers and makes the wearer feel a million dollars.”

Modern milliners are determined to make hats easy to wear. “Small hats are sometimes easier for people to wear and understand. You can have just as much drama as a large shape by adding veils and feathers,” says Treacy, who spends hours working on the forward ‘perch’ of a hat that gives the wearer elegant angles. Adelaide milliner Sylvy Earl creates subtly elevated headbands as part of her offering, padded, cast in silk abaca and finished with a single contrasting grosgrain ribbon.

At Maison Michel, the Chanel-owned millinery atelier in Paris, which is stocked by Harrolds in Australia, creative director Priscilla Royer has been rethinking the accessory for everyday. “If a hat is too stiff, then one is scared to wear it, and they can be so cumbersome,” says Royer, who has been at the helm since 2015. “Where do you put them? They need a chair or a shelf. It becomes an object rather than a fashion accessory. I started working on a supple straw with less coating. Last year, we launched Hat on the Go, a sunhat that you can roll and pack into a suitcase.”

Above: Prada ready-to-wear spring/summer 2019.

Royer has also come up with a charming array for spring in a collection entitled Sunken Cities, inspired by the sub-aquatic world. There are straws boasting silver brims, turbans and veils in sheer, luminous textures. The star piece is a silver paillette bucket hat. “The bucket is more sophisticated than the baseball,” explains Royer, “and it has an elegance that you don’t have with a cap. It’s the new cloche – it suits so many faces.” Winter, meanwhile, is also seeing increased interest in the bucket, along with casual styles like sunhats and athleticinspired headbands for everyday, coming from all walks. “Teenagers are growing up with hats as a cool accessory. I get all sorts of requests from men, from bespoke pieces through to everyday fedoras and caps.”

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The current appetite for headwear has ushered in small, independent makers and specialists. Consider The Season by Paul Stafford, who specialises in origami paper hats that ingeniously fold into flatpacks, or local designer Lorna Murray, whose pleated, ethically made creations collapse down into a simple packable cylinder. At Matchesfashion.com, which has increased its budget dedicated to hats by 35 per cent, womenswear buying director Natalie Kingham has been working with New York-based brand House of Lafayette on a line of leopard-print turbans and scrunchies, as well as picking up Eliurpi, a Barcelona-made line of cartwheel hats by Elisabet Urpí and Nacho Umpiérrez. “You can wear them behind your neck with the ribbon tied up, fashioned after the Mediterranean style,” explains Kingham. Another independent brand making waves at the retailer is French label La Prestic Ouiston, offering twill canotiers in brilliant prints by designer Laurence Mahéo, who also works on her family’s oyster farm in Brittany.

One style can garner a cult-like following. The trio behind new label Tio y Tia created a line of felt hats, based on American south-western styles, which have been cropping up on Instagram feeds ever since. Nicole Najafi, Johanna Peet and Australian-based, British-born photographer Lucy Laucht enlisted a milliner who once made hats for Georgia O’Keefe to craft their wool creations with a single leather chin cord. The instantly recognisable hats have made themselves at home from beach to city.

Above: Valentino ready-to-wear spring/summer 2019.

Milliners will often go to extremes to further the craft. “If I had to choose just one of my creations, it would be the 17th-century galleon or Sailing Ship hat,” says Philip Treacy. “It was inspired by a chapter in Olivier Bernier’s book Pleasure and Privilege, which describes a British admiral losing a battle to the French fleet. In celebration, women in Paris wore ships in their hair to go to the opera. The piece is satin, with the sails made from paradise feathers and the rigging from the feather shafts.”

According to Jones, Galliano’s Egyptian-inspired couture collection for Dior spring/summer ’04 remains a triumph, with Erin O’Connor opening the show in a towering metallic empress headdress. For Atkinson, outer space beckoned. “There was an incredible opportunity to create the first hat to go into orbit,” he explains. “A star was planning on performing in zero gravity wearing Piers Atkinson. It was very NASA in my studio for a few days: tough but lightweight materials, shiny things, flashing lights, no bits that could fall off and clog up a circuit. Unfortunately, the Fashion in the Firmament has been postponed for now, but I haven’t given up hope,” he says with a laugh.

As hat-o-philia grows the world over, many millinery fans are making pilgrimages to the world’s renowned makers. Stewart recalls an Australian couture customer taking the bus to his London studio in Ridley Road, Hackney, wearing a giant saucer-shaped straw. “There’s always a new hat, a new challenge,” he concludes. Hats off to that.

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

Above: Gucci ready-to-wear spring/summer 2019.

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When it was announced in May that Giambattista Valli would be the next H&M collaborator, it was clear he was going to do things differently. At a photocall at the amFAR Gala during the Cannes Film Festival, Valli appeared alongside his muses – including Kendall Jenner, Chris Lee, Chiara Ferragni and Ross Lynch dressed in Giambattista Valli x H&M, a limited-edition drop of which was made available in selected stores and online two days later, selling out in minutes. “I couldn’t believe so many people worldwide knew the brand,” he tells when we meet in Rome for an exclusive preview of the collection ahead of the full drop in November. “H&M wanted the enthusiasm of the first collaboration with Karl [Lagerfeld], so I wanted to revolutionise it from the beginning.”

After honing his skills with couturier Roberto Capucci, Valli went on to work for Fendi and then Emanuel Ungaro, before launching his eponymous brand in 2005, gaining couture status in 2011. Since then, the likes of Rihanna, Ariana Grande and Emma Stone have sent paparazzi into a frenzy in his effervescent red-carpet dresses. Now the 53-year-old is bringing a touch of that unadulterated glamour to the high street.

A very Roman holiday
Valli is such a mainstay of Paris’s show schedules you could be forgiven for forgetting he is in fact Roman. “I come from Rome, I grew up here,” he says. “The city has a very strong DNA, a kind of eccentricity, effortlessness and timeless feel. It’s part of the story of the house.” 

The H&M campaign stars Ferragni, Jenner and Lee, and was photographed Mert and Marcus in a private garden in Rome and at the Galleria Doria Pamphilj, which boasts one of the world’s most enviable art collections comprising works by Caravaggio, Raphael and Velázquez. “I wanted to show this girl who now lives in LA, Shanghai or Berlin and comes home to Rome with a group of friends, they’re staying at a palazzo and getting ready for a party,” he says of the unashamedly decadent concept behind the campaign. “I’m not a designer who dresses someone to go to work — my community is very jetset. I love this idea of people being comfortable moving from one country to another; one culture to another.” 

Hoodies embellished with rhinestone floral motifs, elaborate necklaces embroidered into the collar of marl sweatshirts, a leather bomber with a shearling collar — there’s a familiar air of a princess-gone-rogue in these contrasts between refinement and athleticism.

Clothes you wear, not clothes that wear you
With the exception of perhaps six statement party gowns — one a riot of vermillion tulle, the others a botanist’s dream (embroidered, with appliqué flowers or in pleated floral-print fabric) – the collection’s versatile separates and dresses are easily assimilated into a wardrobe. “I don’t work in fashion, I work more in style,” says Valli. “I want to give people the support they need to style clothes their own way and be comfortable; fashion can be too dictated by a ‘look’. When I design, I leave space for people to fill with their personality.”

After the limited-edition drop in May, Valli delighted in scrolling through Instagram to see how customers interpreted the clothes. “I love it when people feel in balance with themselves, it’s the most elegant thing,” he says. “I hate it when luxury houses make people feel they need to buy something, or else you aren’t cool. What I want to do in fashion is inspire people. ”

Meet the Giambattista Valli man
Valli describes his first foray into menswear as “very autobiographical”. A classic Levi’s jean jacket he wore as a child was the starting point for a denim coat with military detailing and faux sheepskin lining. Meanwhile, a portrait by an unknown Flemish artist that hangs in Valli’s Paris home was adapted into a print that features on a raincoat, scarf and duffle bag. “The menswear is for a man who goes into a woman’s wardrobe and gets dressed up — somebody who likes more androgynous clothes — normally it’s the other way around, so I thought it would be nice to do something different,” he says. “I like to remove the etiquette surrounding and , and think about creativity and freedom. I thought about who the Valli girl surrounds herself with. There is a fluidity, with the women wearing one of the men’s jackets. Everybody’s free to interpret it their own way.”

Acting as a thread of continuity with the old Dutch masters are rococo embroideries that slalom down the legs of trousers and the opening of a military tailcoat, as well as imitation pearls studded along the neckline of a black sweatshirt. “It’s funny,” he says, “pearls look so bourgeois on a little black dress. But when they’re on a man’s black sweater, they become outrageous. I always wear a string of pearls, it’s my lucky charm. I can be standing next to someone covered in tattoos and piercings, but people will look at my pearls.” Then there’s the leopard print, which until now Valli admits was “a very couture idea” to him, so he upended this notion and has used the pattern on jogging pants and T-shirts.

From haute couture to high street
Just because the clothes aren’t haute couture, Valli insists they are no less considered: “yes, the designs are in a different fabric to what I normally use and will be sold at different prices, but everything has a meaning, down to the most simple sweatshirt.” He gestures towards the model Oslo Grace who is dressed in bleached jeans, flowery socks, creepers and a marshmallow-pink hoodie. The ‘love’ motif, emblazoned on socks, a handbag and men’s T-shirts, is how Valli closes his letters, while the lip belt buckle and bag clasp are modelled on his own mouth.

“The collection is an a,b,c of what I’ve done up until now,” says the designer. “I’m couture, I’m ready-to-wear, a mix of everything. I want people to be able to wear one of my couture jackets over jeans. I like the idea of H&M in front of a Caravaggio.” This desire to create clothes that won’t dilute the DNA of a brand without beating personal style into submission is a quest for authenticity, as Valli concludes: “I don’t want Giambattista Valli x H&M to be a parody. I’m a perfectionist; I want the collection to be totally faithful and honest to the customer.”

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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.