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K2: Marco Confortola verso il C1

August 28, 2019 | News | No Comments

Marco Confortola insieme all’alpinista americano e ai portatori d’alta quota che lo accompagnano sta scendendo verso il Campo 1 a 5900m.

La notizia (delle 17:00 K2-time) arriva direttamente da Marco Confortola che si è messo in comunicazione con il fratello Luigi e quindi con Agostino Da Polenza: Confortola dopo aver superato il Camino Bill posto subito sotto il Campo 2 si è detto intenzionato a proseguire verso il Campo 1 a 5900m.

Confortola, che lamenta “dolori ai piedi” ed è naturalmente provato da questi ultimi 4 giorni davvero difficilissimi, sta scendendo insieme all’alpinista americano (di cui non si conosce ancora il nome) che con un portatore d’alta quota pakistano è salito ieri al Campo 1 e quindi questa mattina al Campo 2 per portare soccorso all’alpinista valtellinese. Inoltre con Confortola dovrebbero esserci gli altri due portatori d’alta quota che l’hanno accompagnato nella dura discesa dal Campo 4. E’ chiaro che ogni metro guadagnato verso il basso e verso le tende del campo 1 è prezioso. E attendiamo tutti fiduciosi che questa bruttissima avventura possa finire presto, almeno per Marco, con l’arrivo al Campo base e poi, il più velocemente possibile, a Skardu.

Continua a restare, invece, ancora del tutto indefinita e come ripetiamo da giorni “sospesa” la situazione dei dispersi e delle vittime. Questi giorni hanno dimostrato ancora una volta quanto sia difficile, anche con tutta la buona volontà e l’importante opera di chi in questo momento è al campo base, avere informazioni certe e sicure dalla montagna.

Satellitari, radio e quant’altro ancora una volta non hanno evitato che le notizie rimanessero frammentarie, vaghe e che fossero costellate di lunghi blackout come quello che ha accompagnato Confortola per quasi tutta la giornata di ieri. Per tutti gli alpinisti questa non è una novità: questo è il mondo degli Ottomila! E questo è l’immenso, difficile, pericoloso e sempre estremo K2!

Basti dire che solo oggi s’è appreso (da www.desnivel.es) che il basco Alberto Zeraín venerdì scorso partendo dal campo 3 è stato il primo a raggiungere la vetta del K2. Erano le 15.00 (K2-time) e Zeraín sotto di sé vedeva ancora dipanarsi la lunga coda di alpinisti che aveva superato al Collo di bottiglia e che ancora salivano. Iniziata la discesa Zeraín ha poi raggiunto il Campo 3 dove ha sostato anche sabato per far ritorno ieri al Campo base.

In tutto questo va ancora rimarcato l’impegno e il sacrificio di tutti gli alpinisti e, tra loro, in primis gli sherpa e i portatori d’alta quota che si sono prodigati (è bene sottolinearlo, rischiando la propria vita) per portare soccorso a chi era in difficoltà. Come va detto di quanti al Campo base stanno facendo tutto il possibile per portare aiuto logistico e di appoggio.

Va detto che ancora adesso è difficile comprendere quanto è successo e dare un nome a tutti i dispersi e a tutte le vittime. E ancora adesso non si sa nulla di preciso sulla situazione nella parte alta della montagna.

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Supercam – Metolius

August 28, 2019 | News | No Comments

Nel nostro Lab presentiamo i Supercam Metolius, gli “amici” indispensabili per chi scala in montagna su vie con protezioni da integrare o da proteggere completamente. Un test del Gruppo Ragni della Grignetta.

Fuori-misura è un’accoppiata di parole che mi sta simpatica, ma che in parete è sempre piuttosto indigesta. Soprattutto quando sei al limite, boccheggi, e mai una volta che il Friend giusto è dalla parte della mano che sei riuscito, faticosamente, a liberare dalla presa. Ci vorrebbero dei Friend che ne hai uno e lo metti ovunque, pensavo su una via sull’Anciesieu, tre anni fa, quando ero a corto di tutto ed ero appena a metà tiro…

Lab Supercam Metolius

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27th Aug 2019

Since a representative for Miley Cyrus confirmed she had split from her husband, Liam Hemsworth, in early August this year and another report surfaced that soon after the split had been made public, Hemsworth had reportedly filed for divorce, Cyrus hasn’t made any public appearances.

The singer did post a candid essay to Twitter addressing rumours about the reason for the split, but she has stayed off the red carpet and hasn’t performed since the news of the split first broke.

However, the singer and actress has now stepped out for the first time in public, performing her new song, Slide Away, at the 2019 MTV Video Music Awards.

The song is rumoured to be her break-up song about her decade-long relationship and life with Hemsworth, which she said in her Twitter essay, she had to make the “healthy” decision to leave behind. “I had to make a healthy decision for myself to leave a previous life behind. I am the healthiest and happiest I have been in a long time,” Cyrus, 26, wrote on Twitter. 

The lyrics to Cyrus’s song Slide Away certainly give credence to the rumour that it was inspired by her split, with lines like, “But it’s time to let it go… Move on, we’re not 17. I’m not who I used to be. You say that everything changed. You’re right, we’re grown now”.

Like many music artists, writing about what’s happening in their lives is a way to put down on paper what they’re feeling and process it, so it would make sense that Slide Away would be about this major moment in Cyrus’s life. And, it seems fitting that she would perform the newly-released song for the first time on television during her first public appearance since the split.

Cyrus’s performance of the song was emotional and heartfelt, but from the footage of her performance, she seems to have kept any tears in check and is very in control of her voice and the performance. It was a subdued MTV VMAs performance from the star, who made headlines for her controversial 2013 performance at the show.

According to , Kaitlynn Carter, who Cyrus has recently been spotted spending time with and was reportedly photographed kissing on a recent girls’ trip to Italy, watched Cyrus rehearse for her VMAs performance. Carter was also reportedly spotted backstage with Cyrus before her performance of Slide Away at the VMAs.

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It’s that time of year, again – the time when Forbes releases its data on celebrity earnings, and not coincidentally, the same time of year when our bank account balances start to feel a little light in comparison.

Following the crowning of cosmetics mogul Kylie Jenner as the youngest self-made billionaire back in March, the publication has revealed its listings for 2019’s highest-paid actresses, together with the highest-paid women in music.

Ranking females at the fore of their own fields in a financial context, the yearly earnings of the 10 top-earning actresses and female musicians in their individual industries have this year seen staggering figures of US$56 million (approx. AU$83 million) and US$185 million (approx. AU$273 million), respectively. However it is worth noting that as impressive as these incomes are, there still exists an ever-apparent gender pay gap—particularly in Hollywood—with the seven top ranking actors from this year’s list out-earning the top ranking actress in her own listing.

Ranging from Marvel stars, to currently trending songstresses, to seasoned industry figures, this year’s listings feature repeated Forbes ranking appearances, as well as newcomers and some completely unexpected names.

Reportedly compiling the data with resources including Nielsen, box office data, as well as interviews with handlers, industry experts and many of the stars themselves, the stars’ pre-tax income is the final figure which determined their ranking. It’s also worth noting that the incomes published don’t take into account additional industry expenses, including agent fees, but with the combined income of just over US$962 million (approx. AU$1.4 billion), these top-earning figures are nothing to be sniffed at, gross numbers or not.

Here, we rank the 20 highest-paid female celebrities of 2019. Scroll on to find out who took out the top spot.

20. Ellen Pompeo, US$22 million (approx. AU$32.5 million)

19. Charlize Theron, US$23 million (approx. AU$34 million)

18. Margot Robbie, US$23.5 million (approx. AU$34.7 million)

17. Elisabeth Moss, US$24 million (approx. AU$35.5 million)

16. Kaley Cuoco, US$25 million (approx. AU$37 million)

15. Jennifer Aniston, US$28 million (approx. AU$41.4 million)

14. Nicole Kidman, US$34 million (approx. AU$50.3 million)

13. Shakira, US$35 million (approx. AU$51.7 million)

12. Reese Witherspoon, US$35 million (approx. AU$51.7 million)

11. Celine Dion, US$37.5 million (approx. AU$55.4 million)

10. Lady Gaga, US$39.5 million (approx. AU$58.4 million)

9. Jennifer Lopez, US$43 million (approx. AU$63.6 million)

8. Sofia Vergara, US$44.1 million (approx. AU$65.2 million)

7. Ariana Grande, US$48 million (approx. AU$71 million)

6. Scarlett Johansson, US$56 million (approx. AU$82.8 million)

5. P!nk, US$57 million (approx. AU$84.3 million)

4. Katy Perry, US$57.5 million (approx. AU$85 million)

3. Rihanna, $62 million (approx. AU$91.7 million)

2. Beyoncé, $81 million (approx. AU$120 million)

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The Calile Hotel, Fortitude Valley, Queensland.

“It feels like a hotel,” can be an insult in interior design parlance. The phrase often conjures images of bland white walls, cheap cookie-cutter art and generic décor without regard for local culture.

But that’s quickly changing, evidenced by this year’s finalists for Australia’s 2019 Eat Drink Design Awards which have been chosen for their architectural excellence and innovation. They span the east coast from Tasmania to Queensland, showcasing intelligent and captivating design in the hospitality sector. From the upbeat salmon-pink rooftop of The Calile in Brisbane city, to the reverent wooden cathedrals of Krakani Lumi in the wilds of Tasmania, this year’s finalists are diverse and reflective of the talented design community that call Australia home.

This is only the second time the category of Best Hotel Design has been included in the awards and the competition is tough. The establishments that have made the shortlist are at least as beautiful and unique as last year’s entrants (if not more so) and every hotel has given its location great consideration – including one in Wukalina Mount William National Park, which was developed in conjunction with the Aboriginal Land Council of Tasmania.

Krakani Lumi, Wukalina Mount William National Park, Tasmania.

Serious style is a must-have if a hotel is going to find itself on this list. Judges of the Eat Drink Design Awards are industry leaders in hospitality and design. This year they include architects Graham Charbonneau and Phillip Schemnitz, as well as Besha Rodell, a restaurant critic for the New York Times, Nathan Toleman, founder of The Mulberry Group hospitality company, and Cassie Hansen, editor of the interior architecture and design magazine, Artichoke. 

“Australia’s reputation as a drinking and dining destination has been helped by the great design happening here,” says Hansen. “This shortlist is a survey of the exceptional quality and diversity in the design of our region’s hospitality industry.” 

The award for Best Hotel Design will be announced in Melbourne on November 12 by chef and restaurateur Matt Moran. Scroll down for the full list of the finalists and start planning your next escape.

Denison Rivulet by Taylor and Hinds Architects (Denison Rivulet, TAS). Photography by Adam Gibson.

Drifthouse by Multiplicity (Port Fairy, VIC). Photography by Martina Gemmola.

Stillwater Seven by Cumulus Studio (Launceston, TAS). Photography by Anjie Blair.

United Places Botanic Gardens by Carr (South Yarra, VIC). Photography by Sharyn Cairns.

The Calile Hotel by Richards and Spence (Fortitude Valley, QLD). Photography by Sean Fennessy.

Krakani Lumi by Taylor and Hinds Architects with Aboriginal Land Council of Tasmania (Wukalina Mount William National Park, TAS). Photography by Adam Gibson.

Visit: eat-drink-design.com

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For those contemplating a wardrobe overhaul come September, look no further than Vogue’s pick of throwback film style icons. Will you match Maggie Cheung’s hothouse florals in In the Mood for Love, or adopt the leather-trouser trend inspired by Grace Jones in A View to a Kill? Here are the top eight films to watch for a dose of autumn/winter ’19/’20 fashion inspiration.

Diana Ross, as Tracy Chambers, in Mahogany (1975)
As design student Tracy Chambers in Berry Gordy’s 1975 melodrama Mahogany (above), Diana Ross is completely in her element. She struts down the streets of Chicago in knee-high boots, rejects potential suitors and moves to Rome to model. Her runway looks are wildly experimental—all purple turbans and kimono-sleeved gowns—but it’s her off-duty style that chimes with autumn/winter ’19/’20’s penchant for luxe minimalism, as seen at Lemaire and Jil Sander. Her uniform consists of tailored separates, low-brimmed hats, silk scarves and delicate funnel-neck tops à la The Row.

Moira Shearer, as Victoria Page, in The Red Shoes (1948)
Simone Rocha is the latest designer to have fallen under the spell of Michael Powell and Emeric Pressburger’s 1948 interpretation of Hans Christian Andersen’s fairy tale, The Red Shoes. Moira Shearer stars as Victoria Page, an aspiring ballerina torn between dancing and love, who gives the performance of a lifetime wearing red pointe shoes. The film’s influence is visible everywhere, from the balletic silhouettes, transparent organza and detailed embroidery of Rocha’s dresses, right down to her bejewelled footwear. Elsewhere in London, lashings of tulle were on the agenda at Molly Goddard and Peter Pilotto, leaving aspiring ballerinas spoilt for choice.

Ali MacGraw, as Jennifer Cavalleri, in Love Story (1970)
When it comes to cosy knitwear, few can compete with Jennifer Cavalleri, the Radcliffe College bohemian who falls in love at first sight in this 1970 tearjerker. Playing the part that cemented her status as America’s sweetheart, Ali MacGraw dashes around campus in crisp button-down shirts, plaid skirts and cashmere turtlenecks. Her preppy aesthetic harks back to the early years of Ralph Lauren and Tommy Hilfiger, while her plush camel coats could give Max Mara’s 8 throwback movie muses who are totally on-trend for autumn/winter ’19/’20 iterations a run for their money.

Sean Young, as Rachael, in Blade Runner (1982)
How to prepare for an imminent apocalypse? Take your style cues from Blade Runner replicant Rachael, a femme fatale who knows the power of a shoulder-padded skirt suit. Olivier Theyskens did, dedicating his autumn/winter ’19/’20 collection to retro-futurism and adding plenty of nods to Ridley Scott’s 1982 sci-fi classic. At Theyskens’ show, he played the film’s soundtrack backwards and referenced Rachael’s wasp-waisted tailoring via sculpted coats and suiting. Those dressing for dystopia can also look to Saint Laurent and Alexa Chung, where the jackets were part Rachael, part The Terminator.

Jane Fonda, as Bree Daniels, in Klute (1971)
Suede minis, knee-high boots and billowing sleeves are the cornerstones of Jane Fonda’s wardrobe in Alan J Pakula’s 1971 neo-noir crime thriller. She plays call girl Bree Daniels, who becomes embroiled in a murder mystery and is determined to lie low—difficult considering her eye-catching jewellery, fringed bags and shaggy mullet. Copy the hairstyle, as seen on the autumn/winter ’19/’20 catwalks at Proenza Schouler and Gucci, and find modern takes on Fonda’s louche knits and flouncy blouses at Tory Burch.

Maggie Cheung, as Su Li-zhen, in In the Mood for Love (2000)
Roses reigned on the autumn/winter ’19/’20 runways, splashed across sheath dresses at Dries Van Noten, hanging from pencil skirts at Prada and dominating the sculptural gowns at Alexander McQueen. The way to wear them now? Banish ditzy prints in favour of bold hothouse florals and take inspiration from Su Li-zhen, the heroine of Wong Kar-wai’s 2000 romantic drama, In the Mood for Love. Costume designer William Chang had his work cut out, handpicking 23 cheongsams for Maggie Cheung’s beloved character. Swirling with hypnotic petals, each is more spectacular than the last.

Sofia Coppola, as Mary Corleone, in The Godfather Part III (1990)
Mob heiress Mary Corleone’s wardrobe is just one of the reasons to watch the third film in Francis Ford Coppola’s genre-defining trilogy. Although his real-life daughter Sofia’s performance was panned by critics, she rarely puts a foot wrong when it comes to her style. There are extravagant chandelier earrings, taffeta skirts and gala-ready ballgowns, all the better to romance Vincent (Andy García) with. Emilia Wickstead was so enamoured with the character that she made Mary her autumn/winter ’19/’20 muse, creating velvet frocks, top-handle bags and elbow-length gloves worthy of a New York debutante.

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Grace Jones, as May Day, in A View to a Kill (1985)
Leather trousers made a welcome return to the autumn/winter ’19/’20 runways at Bottega Veneta and Hermès. Make like Grace Jones’s villainous 1985 Bond girl, May Day, by pairing them with stilettos, oversized jackets and a bright red lip. Then there’s the haute hood, a crucial component of May Day’s Azzedine Alaïa-designed ensembles, which has seen a revival at Saks Potts, Missoni and Giorgio Armani. Both trends confirm what we’ve always suspected: Jones was a style icon, way ahead of her time.

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Contrary to the popular belief that fashion is fickle, the clothes you choose to outfit yourself in say a lot about who you are, what you stand for and how you would like people to perceive you.

And, while it is totally understandable to want to dress up on occasion (weddings, birthdays, special events), and sport tracksuits or sneakers in our downtime (think weekends and days off), in matters of chasing after the job you want, you have to dress the part.

In the eyes of the employer, your choice of outfit will indicate to prospective coworkers how seriously you want the job and, though this is a delicate balance, give a sense of your own personality. There are personal upsides to dressing the part, too. Choosing your interview outfit wisely will help to build your confidence on the day, alter the way you carry yourself and make sure you feel not only comfortable, but presentable too. 

So if you’ve worn your best outfit already, congratulations, it worked. Now comes the hard part: the task of finding what to wear on your second and third round interviews. 

To give an air of professionalism, avoid ill-fitting clothing that might evoke a sense of sloppiness or untidiness. Flashy, bright coloured pieces or logos are also ill-advised – you shouldn’t call excessive attention to yourself – and keep make-up and accessories minimal. Your choice of clothing should present your personality, yes, but it shouldn’t overwhelm you or distract from why you’re there.

Below, take cues from the on-duty styles of the fashion set and heed their sartorial know-how to make an impression and solidify your suitability for the job. 

Image credit: Soren Jepsen

Black is best

Remember that in the case of a job interview, you want to be remembered for what you said, not for what you wore, so keep it simple. Sticking to black or navy blue is a foolproof solution. Consider an elegant black dress, or match a pair of wool trousers to a blazer or black turtleneck. 

Image credit: Jonathan Daniel Pryce  

Skirt the issue

An alternative to the pencil skirt, which can often feel binding or appear ill-fitted, opt for a maxi skirt that pairs well with a blouse or button-up shirt. This versatile work wardrobe staple is a welcome change from trousers or a dress, so if you’ve worn either of these for your first interview and still want to look professional yet feel comfortable, elect for this flattering switch-up instead. 

Image credit: Jonathan Daniel Pryce  

Neutrals

If you set out to make a bold impression on your first interview, consider a muted palette for the second or third round. Tans, beiges, camels and desert sands are chic without being too fashion-forward, and will pair well with black and white. 

Image credit: Jonathan Daniel Pryce  

Case of the blues

Whether your employer is tuned in to the powers of colour subconsciously or not, the colour blue in particular emanates the qualities of trust, stability, confidence, truth and security, making it an excellent choice to wear on your second or third round interviews. Red, on the other hand, can signify aggression, whereas white provokes a sensibility that is clean, precise and simple, so pair accordingly. 

Image credit: Jonathan Daniel Pryce  

Suit up

A sense of power and assertion radiates from a boxy blazer, which can look simultaneously professional and stylish. Consider a clean silhouette (no embellishments, minimal buttons, no piping) in a grey tone, to give off an air of calm, intelligence and a willingness to compromise. This job’s in the bag. 

Image credit: Jonathan Daniel Pryce  

Can’t beat the classics

Come time to interview for the second or third round, a minimalist approach to your outfit is key. A good pair of trousers and a classic button-up shirt are difficult to look past, and will be appreciated by your employer for the cleanliness and streamlined sensibility they evoke.

Image credit: Jonathan Daniel Pryce  

The bold type

Should you want to wear a pattern or print, keep it to no more than one part of your outfit. For example, a statement trouser (make sure it is tailored perfectly to you!) need not be paired with a statement blouse. Instead, turn to a ribbed knit turtleneck or a button-up shirt in a neutral colour palette so as not to call too much attention to your clothes. 

Image credit: Soren Jepsen

Dress the part 

As much as you’d like to show off your personality, now is not the time to show off all of your style cards. Rather, consider the kinds of clothing your employer or future coworkers wear to work and mimic their sensibility. There’s reason the cliche ‘dress for the job you want’ has stuck. 

Image credit: Jonathan Daniel Pryce

Accessorise, but not too much

To make sure you feel like yourself – which is key in any interview process – infuse your outfit with your personality by way of your accessories. Consider those that are born out of outfit necessity, for example, a belt to cinch the waist and give your ensemble form or a bag to house your things. Less is more, so hero one set thing and leave the rest (bracelets, necklaces, embellished earrings) at home. 

Image credit: Jonathan Daniel Pryce

Comfort is king 

Leave your heels at home, period. Under the circumstances, you will likely be nervous and breaking a sweat ahead of your interview already, so avoid the blistery discomfort of high-heeled shoes. The key to emanating confidence is feeling comfortable, so keep to kitten heels, ballet flats or loafers. 

Image credit: Soren Jepsen

The next generation of skincare is here

August 26, 2019 | News | No Comments

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26th Aug 2019

Technology is moving faster than a Tesla Roadster. And more breakthroughs mean significant benefits to skin. Take the latest innovations from anti-ageing pioneers, L’Oréal Paris. The inventive beauty house have long been at the forefront of research and development into skin ageing, treating signs like fine lines, wrinkles, uneven tone and texture, for decades. And their latest offering, the Revitalift Laser X3 range, continues to push the boundaries of what can be possible from a humble jar of face cream.

The concept of Revitalift Laser X3 is pretty simple. Potent hyaluronic acid hydrates skin, providing plumpness, radiance and firmness. While the high-tech sounding Pro-Xylane helps improve cellular turnover and stimulate collagen production. So skin appears more resilient, and fine lines are softened. It’s the proven results from this advanced formula that make it so exciting. L’Oréal labs demonstrated that application of the Revitalift Laser X3 could deliver a similar visible improvement in skin as that from a session of laser* in a dermatologist’s office.  

For anyone who has ever submitted to a laser treatment, this is big news. Aside from the experience itself, there is also the down-time to contend with. The notion of a no-pain, no-time, alternative to a laser session warrants further exploration. So here are the finer details. The Revitalift Laser x3 range consists of a serum, eye cream, two day creams (one which includes an added sun protection factor of 15) and night cream.

L'Oreal Paris Revitalift Laser X3 Night Cream

 

For anyone who has ever submitted to a laser treatment, this is big news. Aside from the experience itself, there is also the down-time to contend with. The notion of a no-pain, no-time, alternative to a laser session warrants further exploration. So here are the finer details. The Revitalift Laser x3 range consists of a serum, eye cream, two day creams (one which includes an added sun protection factor of 15) and night cream.

Loaded with active ingredients that refine the look of skin and improve the appearance of pores, the Revitalift Laser X3 Serum is the first step in this powerful age-fighting routine. It absorbs quickly and leaves skin feeling lifted. The Eye Cream should be the next step, to optimise efficacy. It contains caffeine to help reduce puffiness and firm up sagging skin.    

The breakout star of the Revitalift Laser X3 range is undoubtedly the Day Cream. With a rich, luxurious texture, applying it feels like an indulgence. The plumping effect is instant. It smooths over lines to reduce their depth and promotes a more uniform texture. That, in turn, improves how flawlessly make-up glides on and how long the feeling lasts over the course of the day.

L'Oreal Paris Revitalift Laser X3 Day Cream

 

The Revitalift Laser X3 Night Cream rounds out the daily routine. Like the Day Cream, the Night Cream also contains the power duo of Hyaluronic Acid and Pro-Xylane. Plus, the skin reparative Centella Asiatica, which is a powerful soothing ingredient which works while you sleep.

For an even more intense treatment, the Revitalift Laser X3 collection has been recently enhanced, with the addition of the Glycolic Peel Pads. These innovative perfectly-dosed exfoliating peel pads contain 9.6% Glycolic Complex (which is gentle enough to use regularly, and powerful enough to transform the texture of skin). They’re a daily at-home, minimal-effort version of the kind of peel you might receive by making an appointment with a skin professional. And they’re designed to whisk away the dull outer layer of skin, without the risk of irritation that can come from manual scrubs. An improved skin texture has more than just a superficial benefit – a more even complexion means anything applied after goes on more easily.

*Single session of CO2 fractioned laser vs use of Laser X3 Day Cream for four weeks.

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On Laura Carmichael’s first day back on set as her character Lady Edith Crawley, she wasn’t at the magnificent Highclere Castle, the estate in Hampshire, England, which is based on, but rather at a studio in London.

“They had recreated the kitchens and the bedrooms there,” she remembers of her first scene, which she shared with her on-screen sister, Michelle Dockery (Lady Mary). “It was a lot of the old gang and the new gang in the crew. We were very excited to see everyone become their character again and to see the house and the costumes.”

For British-born Carmichael, becoming her character meant having her blonde hair styled into Lady Edith’s perfectly coiffed bob and dressing in an immaculately beaded gold silk chiffon gown. Carmichael had played the second daughter to the aristocratic Crawleys, known as Lord and Lady Grantham, from 2010 to 2015, but it was now September 2018 and she’d been out of the practice of wearing period costumes. “You feel so responsible, as you should, walking around in these dresses that have taken months to design and make. On the first day, first morning, first hour of filming, I put my heel through a bit of chiffon in my dress,” she says, laughing. “But that’s the thing with filming this movie: we just had to start and get back into it.”

The long-awaited film picks up where the award-winning television show left off. Season six followed the Crawley family and their staff during 1925 as they lived out their lives in Downton, until the final episode aired at the end of 2015. A testament to the show’s incredible popularity, the very last episode screened on Christmas Day and 9.6 million people across Britain still tuned in to watch it. The glamorous, high-society drama was so well loved across the globe that rumours of a potential movie were underway before the final season had even aired.

“It had been talked about since filming finished for the series,” Carmichael tells . “It really felt like any time any of us were promoting [the show] we were also promoting a film that we didn’t know was going to happen. It was a relief when we got the agents saying: ‘Right, it’s happening, here’s the script.’” The show’s creator, Julian Fellowes, finally gave the project the green light in 2017 and filming began at the end of last year. “It felt like a real celebration, having two and a half months together again. It was very nostalgic but also it felt like no time had passed at all.”

For the cast, it may have felt like they’d never left, but for the characters it’s two years later and time has marched on. Fans of the show will remember Lady Edith finally had her happy ending, marrying Bertie Pelham, the 7th Marquess of Hexham, at the end of the season. Carmichael’s character has undergone the biggest transformation – it’s the first time audiences will see her as a marchioness, living at the lavish Brancaster Castle. “On the first day, Gareth Neame, our executive producer, ran to me and said: ‘Now remember, Laura [Lady Edith] is now more important than anyone. She outranks them all,’” Carmichael says. “We’re now seeing Edith immersed in her new role. That’s a new challenge and it’s completely different from the life she led at Downton.”

Lady Edith later returns to the historic abbey, which is preparing for the arrival of King George V and Queen Mary to their Yorkshire country house. A host of favourites are also back, including the Earl and Countess of Grantham, played by Hugh Bonneville and Elizabeth McGovern, as well as Dame Maggie Smith as the scene-stealing Dowager Countess. There’s also a slew of new characters, including Simon Jones and Geraldine James, who play the king and queen, and the BAFTA-winning actor Imelda Staunton, of fame, who plays a brand-new character within the Crawley family circle. Her real-life spouse, Jim Carter, makes an unexpected return as Carson the butler.

Michelle Dockery also reprises her role as Lady Mary, who is still married to Henry Talbot and has taken a more active role in the running of Downton. “We see Mary in this full managerial role of trying to keep Downton Abbey going and we see the pressure on her,” says Carmichael. “She has this responsibility to the house and it’s a role that she’s actually very good at and it suits her. I think in that way they’ve both found a place to be which is good for them, because living together and squabbling over boys and dresses wasn’t very good for Edith and Mary.”

Although the sisters might have both found peace, there are still some quintessentially moments of sibling rivalry to look forward to. “For, Michelle and I it was really fun to get back into that dynamic and see if they’ve matured a bit.”

Capturing these changes within the characters took meticulous costume work by the show’s costume designer, Anna Robbins. “On the series I have nine episodes for each series, with five or six story days within each episode,” Robbins explains. “That’s hundreds of costumes to tell a story. When you move onto the film, I had far fewer costumes with which to tell the same stories.”

For Robbins, who joined the series in season five, the challenge was in the way the clothes had to reflect the impending arrival of the 1930s. “I had to find a balance between moving on in the decades, pushing towards that slight turning point into the 30s. But I couldn’t take it too far because I didn’t want to lose the really iconic recognisable characterisation that I’d established in the series. It was about finding pieces that felt classically Lady Mary or Lady Edith or Cora [Crawley], but at the same time, looking at the micro trends from 1927 and making sure it felt fresh.”

In the case of Lady Edith, her wardrobe also had to reflect her newfound self-assuredness. “She’s found her signature in terms of style,” says Robbins. “I always like to make sure there’s exquisite craftsmanship within her wardrobe – so that might be embroidery, beading, lacework or beautiful prints. There’s a fluidity to her wardrobe in contrast to a slightly more structured, tailored look for Lady Mary. I like to look at the dichotomy between the two sisters and work that. While they’re not always at war, there’s usually a style contrast between the two of them, because they’re such different women.”

To achieve historical accuracy, Robbins used an even split of original and custom-designed pieces for the film. She called on her large network of vintage traders and visited monthly vintage fashion fairs in London. Some pieces were called in from the US, while fabric was sourced from France. If she couldn’t find a specific piece, she worked with a model-maker to recreate it. “On the series I set the bar high, so to elevate it up to the big screen was a huge challenge, but one that we really relished. We went to great lengths to make sure it was authentic and accurate and that the quality was there.”

Robbins was scrupulous with every detail, working with the show’s historical advisor, Alastair Bruce, to ensure every piece was period-appropriate. The king’s outfit alone had 52 elements to it and required its own spreadsheet. “I’ve always prided myself on the authenticity of the costumes on – so the attention to detail is there –and that’s when it’s an abstract, fictional piece. When you throw in real-life characters there’s a huge responsibility to get that right.” Then there were the tiaras, worn during a ball in one of the film’s final scenes. While some were real tiaras borrowed from London jeweller Bentley & Skinner, others were to-scale replicas using Swarovski crystals that Robbins commissioned. “There are absolutely some real diamonds glittering away in our dinner and ball scenes. If I’ve done my job correctly it will be difficult to spot.”

Robbins also encouraged the actors to wear period-correct undergarments and footwear, a trick she used in the series which helps actors achieve the correct shape and posture. “The women have come out of corsetry, but there’s still underwear at play that is used to augment the female form,” she explains. “I’m not saying that during a long dining room scene they haven’t taken their shoes off under the table, but Maggie Smith would wear her shoes with her costume, as I say, because it completes the costume.

“I don’t think they ever feel particularly relaxed, because they know that they’re wearing valuable, one-off pieces. I’m sure that somewhere in the back of their minds they know that they’ve got to be careful when they’re walking up the drive or sitting at the dining room table that they don’t put a heel to a hem.”

And even if, like Carmichael, they do just that, it’s part of the whimsy of that the audience will never know any better. “I think there’s a comfort with , that the team around it are so wonderful,” says Carmichael. “They’ve really been crafting what they think is going to be the best story to tell. I think it’s going to be a treat.”

Downton Abbey

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