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29th Jul 2019

22-year-old Argentinian actress and model, Camila Morrone, has been linked to 44-year-old Oscar-winning actor Leonardo DiCaprio for over a year now, but until recently hasn’t addressed their relationship in any meaningful way. The couple are exceptionally private about their relationship and are rarely photographed together. The model, who is active on social media, has never even shared an image of them together on her Instagram feed.

This all changed over the weekend when the actress posted a slideshow of beautiful photos of iconic Hollywood couple, Lauren Bacall and Humphrey Bogart, with the caption: “A love like this”.

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Bacall and Bogart famously met on the set of 1944’s To Have and Have Not when she was 19 and he was 45. Bogart was married to his third wife, actress Mayo Methot, at the time but that marriage ended quite soon after Bogart met Bacall. The To Have and Have Not co-stars then tied the knot in 1945, and stayed together until Bogart’s death in 1957 (the couple had two children together during their marriage). Morrone’s Bacall/Bogart photo montage, along with the romantic caption about a love like the iconic Hollywood couple is an unmistakable reference to her own relationship with DiCaprio.

The age gap is similar, with more than 20 years difference between Bacall and Bogart, and from all accounts, Bacall and Bogart’s relationship and marriage was very successful, with the age gap making no difference at all. Morrone clearly considers the same applies to her and DiCaprio, with their 22-year age gap not being relevant to their relationship.

However, Morrone addressing the age gap and indeed acknowledging her relationship in this way, ignited the internet with many Instagram users writing negative comments about the post. One user wrote “you only have a couple more years before he dumps you girl! Collect your bag”, while another wrote “Leo only cares about your body”. 

A number of social media users did post supportive comments and love heart emojis, but Morrone wasn’t okay with any of the negativity, and according to took to Instagram Stories to shut the haters down.

reports the 22-year-old said the following in a video message on her Instagram Story, “Good morning people and happy Friday. I just read some of the comments on my Instagram and…my God, people are so mean and full of anger with people that they know nothing about.” 

The publication reports she ended the video with an upbeat message about filling your life with positive interests and not wasting time on negativity, proving just how very mature this 22-year-old is: “I guess I just hope on this Friday that people learn to live with a little less hatred and place their time and interests elsewhere, because living without hatred feels pretty good.” 

Wedding photographer: Gaby J Photography

It was love at first sight when Barry Baltinas first laid eyes on Rebecca Elyse Frost. On just an average day when Barry was ordering his lunch at a popular Japanese restaurant in Perth, something compelled him to look up, and there stood Rebecca ordering her lunch. “Her beautiful blue eyes just mesmerised me as she stood there waiting for her takeaway lunch. I wanted to walk up to her and introduce myself but was too nervous, my heart was racing,” Barry told Vogue. It was years later when the pair crossed paths again by chance, when a mutual friend brought them together. “When the time was right the universe conspired and brought us together meeting as singles at a fashion show in 2010 and we have been inseparable ever since,” Barry adds.

Less than a year later, Barry got down on one knee in a rather romantic and sentimental way. As Barry was previously collecting charms for a bracelet that Rebecca wears, he always got a charm to symbolise a moment in their love story. “For example a bee, for when I got stung on one of our first dates and almost fell off the back of his motorcycle, a yin and yang symbol representing our love of yoga and meditation and a teapot for our love of tea,” Rebecca says. As the bracelet began to become full of charms it was one last charm that Rebecca was expecting which was a charm which represented the upcoming royal wedding of the Duke and Duchess of Cambridge – perfect for the royalist!

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One weekend the pair drove up to the beautiful Margret River in Western Australia when suddenly Barry pulled out a recognisable little white box which usually contained the charms for Rebecca’s bracelet. “When I opened the box expecting my royal charm, to my complete surprise it was not a charm but a stunning engagement ring. On one knee Barry asked me to be his wife and I said yes,” Rebecca said in excitement. (Yes, Barry also gave Rebecca the beautiful Will and Kate charm to complete her bracelet!).

Rebecca and Barry decided to wed in a rather different way – by eloping. The wedding took place in the iconic Little White Chapel in Las Vegas where the cherubs were painted on the ceiling and Elvis’s pink Cadillac was parked out the front. “We loved the fact we had only booked our ceremony at the chapel a few days before and we knew we just had to rock up. It really took all the pre-wedding pressure off,” Rebecca shared. The couple didn’t have a particular structure for the day either. “The theme of the day was really us just being ourselves, free spirited, relaxed, and bohemian all rolled together with a rockstar edge.”

The day of the wedding consisted of a calm morning of Barry and Rebecca sleeping in, enjoying breakfast and just lying by the pool. At 1pm Rebecca excitedly met her make-up artist who flew in from Australia, and the three had lunch before they got into business. At 4pm the photographer and florists arrived and then the day became real! “Once my Christian Louboutin’s were on, we were out the door. Walking through the hotel lobbies and casino to get to our car was an event in itself with people cheering and wishing us congratulations as we strolled past them, it was so lovely.”

The couple danced downed the aisle with an Elvis impersonator, and then drove into the sunset of the desert sipping champagne, where they became Mr and Mrs Baltinas.

Scroll through for the rest of Rebecca and Barry’s quintessentially Las Vegas wedding!

The bride’s engagement ring.

“Once Barry returned, he finished getting ready and helped me into my dress.” The bride wore an Ae’lkemi dress.

Rings by Tiffany & Co.

The bride wore Christian Louboutin heels.

Floral arrangements by Sara Lunn of Cultivate Goods.

The bride walking through the lobby before the wedding.

The bridal car was a 1967 Porsche 911S, supplied by Tony Mazzagatti.

The Little White Wedding Chapel.

Mrs Baltinas!

The newlyweds.

“We instantly felt we had a deep connection and it was love at first sight really,” Rebecca said.

Back detail of the bride’s dress.

The groom in the bridal car.

Just married!

The couple celebrating with champagne and watching the sunset.

“My beauty look was very natural and undone. It was very hot in Vegas at that time so nothing too heavy or high maintenance!” Make-up was by Casey Gore of The Future Mrs.

The couple tied the knot on July 11, 2018.

Sharing a quiet moment as husband and wife.

“As we eloped, the day was focused around the two of us.”

“Don’t be afraid to break convention. Enjoy every second of the experience as the day itself is over so quickly. Remember a wedding is one day; your marriage is a long road so start as you mean to continue.”

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26th Jul 2019

“Ain’t no mountain high enough!” reads the slogan on Bally’s new Peak Outlook T-shirts. The first thing that pops to mind is the Marvin Gaye and Tammi Terrell song. (You’re singing it, I know you’re singing it.) There is a serious message here though.

Peak Outlook is the Swiss luxury brand’s new eco initiative, designed to preserve extreme mountain environments. The first phase sees the brand partner with Sherpas to clean the world’s highest peak in Nepal. 

Yep, there’s garbage on Everest. The mission, led by Dawa Steven Sherpa, removed more than one tonne of waste in April and May, half of it from above 8000 metres.

So where does it all come from? Last month, international news outlets jumped on the story of “the world’s highest garbage dump” after a Nepali official told the that the first government cleanup had resulted in 11,000 kilos of trash being removed from the mountain, and flown to Kathmandu by helicopter. 

This matter-out-of-place included “empty oxygen cylinders, plastic bottles, cans, batteries, food wrappings, fecal matter and kitchen waste,” not to mention the corpses of four lost climbers. 

“It’s a double-edged sword,” says Dawa. “On the one hand, we are cleaning the mountains (and they getting cleaner) which is important, but when we say, ‘We just took all this garbage out!’ people think, ‘Oh, wow it must be such dump.’ It’s not like that. However, garbage and climate change are two major issues that are affecting my homeland.”

Image credit: Courtesy of Bally

Dawa runs Eco Everest tours to raise awareness. They began removing rubbish from the mountain in 2008. He’s given TED Talks and travels the world spreading the message. For his community, the mountains are sacred as well as their source of livelihood.

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“Climbing has changed,” he says. “In the older days there were less people, and their impact was not immediately apparent. If you left something there it would get swallowed by the glacier and you’d never see it again. But as more people came, more garbage was left. We can see that quite clearly. What’s also happened is that old garbage is starting to resurface, especially where the glaciers melt. The Himalayas are heating,” he says.

He offers the little-known example of a 1970s Italian army helicopter used to supply oxygen up to Camp 2, rather than getting climbers to carry it up. “It crashed on the mountain. They abandoned it, and it was swallowed up. About eight years ago, it started to resurface. We are finding parts of that helicopter coming out, even today. That is verifiably debris from decades ago.” 

Is there nowhere humans do not sully? Images of a trash-strewn Everest tug at the heart. One feels the same horror as when looking at pictures of isolated beaches littered with plastic water bottles and candy wrappers. 

“This garbage was taken there by people, so it can be taken off by people,” says Dawa. “What Bally is doing in supporting this project is very important. They are a brand born in the mountains [of Switzerland]. This is something they truly care about.” 

Image credit: Courtesy of Bally

He hopes the project will capture people’s imaginations and spur them to take action on behalf of the environment wherever they are. “We can reverse our negative actions. A bunch of mountaineers can’t resolve climate change; that needs action on a far larger scale. But it’s human beings who have to do it. It’s still up to us.”

Bally’s new CEO Nicolas Girotto has been a driving force behind Peak Outlook. “I see this initiative as one that represents our broader commitment to sustainability, as a tool – clearly not a commercial one – to show Bally’s commitment internally. People want to work for companies that make real commitments to positive environmental action.” 

Girotto has been making sustainability a priority since he was announced as Frédéric de Narp’s replacement in May (previously Girotto was COO; de Narp is now vice president). 

“By definition we produce durable products, and we are clearly at the opposite end of the spectrum to fast fashion, but this is not enough,” he says. “We need to be aware that our production and logistics have an environmental footprint, and we need to reduce it.” 

While he is not yet ready to talk detail about Bally’s new sustainability roadmap, he says they’ve “completed a baseline assessment of our footprint” and are establishing “concrete targets and measurable objectives for the short, medium and long-term” to be made public later in the year.

“Working on the supply chain is mandatory, but it can be difficult to communicate,” he says. “There is value in Peak Outlook doing something broader for the environment. For us, this is absolutely authentic. It’s linked with our heritage and history, and there’s more to come.”

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25th Jul 2019

“It’s not for a movie…⁣⁣” wrote Anne Hathaway alongside a black-and-white snap of herself smiling with a visible baby bump on Instagram earlier today.

But while Hathway’s announcement that she and husband Adam Shulman are expecting their second child began on a lighter note, it took an especially poignant turn at the end. “All kidding aside, for everyone going through infertility and conception hell, please know it was not a straight line to either of my pregnancies,” she continued.

Opening up for the first time publicly about the fertility struggles she and Shulman encountered while having their first child—they welcomed a son, Jonathan Rosebanks, in 2016—as well as on their most recent journey to conception, the 36-year-old actress continues to be refreshingly candid about many of the challenging facets of motherhood. Not to mention, she admirably joins stars like Chrissy Teigen, Kim Kardashian West, and Gabrielle Union in being transparent about their personal fertility hurdles.

Infertility is becoming more and more widely acknowledged as an acute health issue—according to the Centers for Disease Control and Prevention, about 12 in 100 couples in the U.S. have difficulty becoming pregnant—and Hathaway’s revelation goes a long way. She continues to be unafraid to use her platform to address issues close to her heart.

This article originally appeared on Vogue.com.

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Like most of Quentin Tarantino’s movies, his new one, “Once Upon a Time . . . in Hollywood,” is driven by cultural nostalgia. Yet, this time around, Tarantino’s nostalgia is his film’s guiding principle, its entire ideology—in particular, a nostalgia (catnip to critics) for the classic age of Hollywood movies and for the people who were responsible for it, both onscreen and behind the scenes. The movie draws a very clear line regarding the end of that classic age: it’s set in 1969, at a time when the studios were in financial crisis owing to their trouble keeping up with changing times, and its plot involves the event that’s widely cited as the end of an era, the Manson Family killings of Sharon Tate and four others at the house that she shared with her husband, Roman Polanski. The heroism of his Hollywood characters is an idea that Tarantino works out gradually until it bursts forth, in a final-act twist, with a shocking clarity. “Once Upon a Time . . . in Hollywood” has been called Tarantino’s most personal film, and that may well be true—it’s far more revealing about Tarantino than about Hollywood itself, and his vision of the times in question turns out to be obscenely regressive.

The movie is centered on a declining Western-style actor named Rick Dalton (Leonardo DiCaprio) and his stunt double, factotum, and friend Cliff Booth (Brad Pitt). Rick has had big roles in a handful of action movies (including a Second World War film in which he uses a flamethrower to incinerate a bunch of Nazis), but he’s most famous as the star of a TV Western series, “Bounty Law.” At the start of the film, Rick is mainly doing roles as a guest star in other action series—but, as a veteran agent named Marvin Schwarzs (Al Pacino) warns him, he is always cast as the villain, and audiences are being conditioned to find him unsympathetic, and therefore un-star-like.

Rick owns a house, where he and Cliff hang out and watch TV (and watch Rick on TV); right next door to Rick live a newlywed couple, Sharon Tate (Margot Robbie) and Roman Polanski (Rafal Zawierucha), whose presence sparks Rick’s dream of a role in one of the famous director’s movies. Cliff, who lives in a trailer behind a drive-in movie theatre, is described as a real-life war hero, though it’s never made clear which war he was a hero of; for that matter, almost nothing is known about his past, except that he’s trailed by nasty rumors that he killed his wife and got away with it. (Tellingly, a flashback to the deadly incident leaves it unclear whether her death was an accident or murder—lest showing the murder turn Tarantino’s hero into an anti-hero.) The movie’s action is constructed, with an audacious sense of composition, as three-days-in-the-lives-of; almost the entire two-hour-and-forty-minute span consists of a series of set pieces (adorned with brief flashbacks and visual asides) that are dated February 8 and 9, 1969, and then leap ahead six months to August 8th and 9th—the night of the Tate murders.

“Once Upon a Time . . . in Hollywood” is a star vehicle; Tarantino provides DiCaprio and Pitt with a showcase that allows them to deliver, separately and together, a series of iconic moments that leap out of the film, ready-made to be excerpted in trailers and impressed in viewers’ memory. They’re the kind of moments that DiCaprio delivers, for instance, when he lends Rick a cheesy megawatt grin during an interview, or that Pitt delivers when Cliff, preparing to smoke an LSD-laced cigarette that he has been saving for a special occasion, freezes in place and, lighting it, purrs, “And away we go.” The coolest such moment is one that Tarantino himself, with deft directorial technique, delivers thanks to a stunt or a special effect: when Cliff, preparing to repair Rick’s TV antenna, strips to the waist, straps on a tool belt, and, dispensing with a ladder, leaps from the driveway to the roof in a few easy bounds.

Tarantino does not only create such moments—his movie is a loving dramatization of the power of certain kinds of actors, in conjunction with writers-directors and, above all, an entire system of production, to deliver them. “Once Upon a Time . . . in Hollywood” is a paean to the recently lost age of the loudly lamented midrange drama for adults which is just such a movie itself. (Here, Tarantino’s obsessions intersect with modern critical sensibility—and vulnerability.) Tarantino is delivering what he considers to be a cinematic gift horse, a popular film with real artistic ambitions—and his movie’s very theme is the fruitless, counterproductive, and even misguided energy that would be wasted looking in the horse’s mouth. If only the old-line Hollywood people of the fifties and sixties had maintained their pride of place—if only the times hadn’t changed, if only the keys to the kingdom hadn’t been handed over to the freethinkers and decadents of the sixties—-then both Hollywood and the world would be a better, safer, happier place. There’s no slur delivered more bitterly by Cliff and Rick than “hippie,” and their narrow but intense experiences in the course of the film are set up to bear out the absolute aptness of their hostility.

Tarantino’s love letter to a lost cinematic age is one that, seemingly without awareness, celebrates white-male stardom (and behind-the-scenes command) at the expense of everyone else. Tarantino has a history of seeming to enjoy planting racial slurs in the mouths of his characters, and “Once Upon a Time . . . in Hollywood” is no different. In one set piece, backstage at the studio, Rick finds himself seated alongside an ultra-ambitious, ultra-professional child actor (Julia Butters), a girl who makes Rick feel somewhat ashamed of his lackadaisical approach to his craft. Rick derives inspiration from his earnest young co-star, which results in his improvising a line that the show’s director (Nicholas Hammond) greatly admires—and that features a slur against Mexicans, “beaner.” (At another moment, early in the film, in a parking lot, when Rick recognizes that his career is in decline, he begins to shed tears, and Cliff lends him a pair of sunglasses: “Don’t let the Mexicans see you crying.”) “Once Upon a Time . . . in Hollywood” is the second movie within a year to feature that slur prominently; the other, Clint Eastwood’s “The Mule,” also displays the devastating real-world oppressions that Mexicans endure as a result of white Americans’ racist attitudes. By contrast, Tarantino delivers a ridiculously white movie, complete with a nasty dose of white resentment; the only substantial character of color, Bruce Lee (Mike Moh), is played, in another set piece, as a haughty parody, and gets dramatically humiliated in a fight with Cliff.

Cliff, a real-life battle-hardened hero, finds little application for his talents in civilian life. Though he is Rick’s stunt double—someone who appears onscreen in the guise of Rick—it’s actually Rick, a faux hero, who appears onscreen as Cliff’s double, someone who pretends to do the physically courageous things that Cliff really does. “Once Upon a Time . . . in Hollywood” is a tribute to the people behind the scenes and below the line, the ones who secretly infuse movies with their practical knowledge, life experience, and athletic feats. In that regard, it’s a movie that John Ford already made: “The Wings of Eagles” (1957), the drama of Frank (Spig) Wead, a hero of naval aviation who, after being disabled in an accident, becomes a novelist and a screenwriter (including for Ford, who dramatizes himself in the movie as a director named John Dodge). Wead is played by Ford’s favorite tragic hero, John Wayne—and Ford doesn’t stint on the tragedy, the physical agony and the wreckage of family life that are central to the hero’s experience.

There’s no physical agony for the heroes in “Once Upon a Time . . . in Hollywood,” even if a scene of Cliff shirtless reveals an impressive array of scars.Tarantino’s depiction of marital domesticity is as bitter and burdensome as any macho adolescent might envision it. Cliff’s unhappy marriage isn’t depicted as a site of conflict but as his endurance of the shrill and belittling rage of a shrew. As for Rick, he eventually marries, and it’s emblematic of Tarantino’s vision of marriage that Rick’s foreign wife, Francesca (Lorenza Izzo), is another object of parody; with her fancy clothing and her truckload of luggage, her sole function in the film is to provide Rick with the burden of a dependent.

The movie’s most prominent female character, Sharon Tate (Robbie), is given even less substance; she is depicted as an ingenuous Barbie doll who ditzily admires herself onscreen. In “Once Upon a Time . . . in Hollywood,” Tarantino reserves the glory moments of actorly allure, swagger, and charisma for male actors: when Tate blithely admires herself, it’s for the role of the “klutz” who falls on her ass for Dean Martin’s amusement and titillation. There’s a peculiar sidebar, when Cliff picks up a teen-age hitchhiker who calls herself Pussycat (Margaret Qualley), who’s actually a member of the Manson Family, and drives her to the Spahn Movie Ranch (unbeknownst to him, of course, the Family’s hideout). But the emblematic moment of that sequence takes place en route, when she offers Cliff a blow job—and Cliff distinguishes himself from Hollywood predators by asking her age, demanding to see proof of it on her driver’s license, and gallantly declaring that he doesn’t intend to go to prison for “poontang.”

For all its imaginative verve—and grace notes of snappy performance, gestures, and inflections—“Once Upon a Time . . . in Hollywood” is a strangely inert movie. Tarantino has become a nudnik filmmaker, who grabs a viewer by the lapel and says—and says and says—what’s on his mind. If his central point is that he loves Hollywood, then there aren’t any facts or images that can pass through to suggest that there might be something not to love. Tarantino’s images are busy, at times even showy, yet relentlessly functional, merely decorating his doctrinal delivery, as in some bravura crane shots (such as one that carries over the screen of the drive-in to follow Cliff to his trailer) and some long-running tracking shots (such as the one in which Rick meets the child actor on a studio backlot) that display the power of the Hollywood system without its expressive energy or symbolic resonance. His movie is filled with the pop-culture iconography of the time—a soundtrack of Top Forty needle-drops, vintage radio commercials for such products as Tanya tanning oil and Heaven Sent perfume; movie marquees and posters for films of the day; and some fashions of the times. But Tarantino voids those artifacts of substance—of political protest, social conflict, any sense of changing mores.

Tarantino never suggests the existence of a world outside of Hollywood fantasy, one with ideas, desires, demands, and crises that roil the viewers of movies, if not their makers. He rigorously and systematically keeps the outside world outside of the movie’s purview until, in the final twist, his fiction intersects with history in a way that only hammers his doctrine home. “Once Upon a Time . . . in Hollywood” is about a world in which the characters, with Tarantino’s help, fabricate the sublime illusions that embody their virtues and redeem their failings—and then perform acts of real-life heroism to justify them again. Its star moments have a nearly sacred aura, in their revelation of the heroes that, he suggests, really do walk among us; his closed system of cinematic faith bears the blinkered fanaticism of a cult.

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26th Jul 2019

“Ain’t no mountain high enough!” reads the slogan on Bally’s new Peak Outlook T-shirts. The first thing that pops to mind is the Marvin Gaye and Tammi Terrell song. (You’re singing it, I know you’re singing it.) There is a serious message here though.

Peak Outlook is the Swiss luxury brand’s new eco initiative, designed to preserve extreme mountain environments. The first phase sees the brand partner with Sherpas to clean the world’s highest peak in Nepal. 

Yep, there’s garbage on Everest. The mission, led by Dawa Steven Sherpa, removed more than one tonne of waste in April and May, half of it from above 8000 metres.

So where does it all come from? Last month, international news outlets jumped on the story of “the world’s highest garbage dump” after a Nepali official told the that the first government cleanup had resulted in 11,000 kilos of trash being removed from the mountain, and flown to Kathmandu by helicopter. 

This matter-out-of-place included “empty oxygen cylinders, plastic bottles, cans, batteries, food wrappings, fecal matter and kitchen waste,” not to mention the corpses of four lost climbers. 

“It’s a double-edged sword,” says Dawa. “On the one hand, we are cleaning the mountains (and they getting cleaner) which is important, but when we say, ‘We just took all this garbage out!’ people think, ‘Oh, wow it must be such dump.’ It’s not like that. However, garbage and climate change are two major issues that are affecting my homeland.”

Image credit: Courtesy of Bally

Dawa runs Eco Everest tours to raise awareness. They began removing rubbish from the mountain in 2008. He’s given TED Talks and travels the world spreading the message. For his community, the mountains are sacred as well as their source of livelihood.

“Climbing has changed,” he says. “In the older days there were less people, and their impact was not immediately apparent. If you left something there it would get swallowed by the glacier and you’d never see it again. But as more people came, more garbage was left. We can see that quite clearly. What’s also happened is that old garbage is starting to resurface, especially where the glaciers melt. The Himalayas are heating,” he says.

He offers the little-known example of a 1970s Italian army helicopter used to supply oxygen up to Camp 2, rather than getting climbers to carry it up. “It crashed on the mountain. They abandoned it, and it was swallowed up. About eight years ago, it started to resurface. We are finding parts of that helicopter coming out, even today. That is verifiably debris from decades ago.” 

Is there nowhere humans do not sully? Images of a trash-strewn Everest tug at the heart. One feels the same horror as when looking at pictures of isolated beaches littered with plastic water bottles and candy wrappers. 

“This garbage was taken there by people, so it can be taken off by people,” says Dawa. “What Bally is doing in supporting this project is very important. They are a brand born in the mountains [of Switzerland]. This is something they truly care about.” 

Image credit: Courtesy of Bally

He hopes the project will capture people’s imaginations and spur them to take action on behalf of the environment wherever they are. “We can reverse our negative actions. A bunch of mountaineers can’t resolve climate change; that needs action on a far larger scale. But it’s human beings who have to do it. It’s still up to us.”

Bally’s new CEO Nicolas Girotto has been a driving force behind Peak Outlook. “I see this initiative as one that represents our broader commitment to sustainability, as a tool – clearly not a commercial one – to show Bally’s commitment internally. People want to work for companies that make real commitments to positive environmental action.” 

Girotto has been making sustainability a priority since he was announced as Frédéric de Narp’s replacement in May (previously Girotto was COO; de Narp is now vice president). 

“By definition we produce durable products, and we are clearly at the opposite end of the spectrum to fast fashion, but this is not enough,” he says. “We need to be aware that our production and logistics have an environmental footprint, and we need to reduce it.” 

While he is not yet ready to talk detail about Bally’s new sustainability roadmap, he says they’ve “completed a baseline assessment of our footprint” and are establishing “concrete targets and measurable objectives for the short, medium and long-term” to be made public later in the year.

“Working on the supply chain is mandatory, but it can be difficult to communicate,” he says. “There is value in Peak Outlook doing something broader for the environment. For us, this is absolutely authentic. It’s linked with our heritage and history, and there’s more to come.”

The Undone’s Sara Crampton. Image credits: supplied

Of the original fashion bloggers, Harper and Harley’s Sara Crampton (née Donaldson), is one of Australia’s best known and most followed, boasting over 562k followers on her Harper and Harley/personal Instagram account plus another 75k on her online fashion site, The Undone’s, account.

And given the engagement of her followers — a recent post announcing that she’s pregnant with her first child to husband Richard Crampton was liked and/or commented on by more than 37k people — Crampton has built the kind of social media presence the equal of only a very small handful of fashion influencers.

What’s noteworthy about this is that Crampton’s aesthetic is neutral-hued minimalist. A look maximalists and colour-lovers are not typically drawn to, but somehow, through Crampton’s social media-savvy lens, it’s universally appealing. In fact, it’s so appealing she has made a very successful business out of it through her online fashion store, The Undone, which is celebrating its third birthday this month.

Speaking to over email from her home base in Sydney, Crampton shares how fashion impacts her self-esteem, building her online fashion business, and of course, how to take engaging photos for Instagram.

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When did you first fall in love with minimalist fashion?
“I fell in love with fashion in my late teens, watching and absorbing all the show coverage via . Minimalism came much later, after being in the blogging industry and after seeing firsthand the overwhelming street style scene during one particular New York Fashion Week experience, where more was more, it solidified that that particular way of dressing wasn’t for me. 

Once I started to become more aware with how clothes made me feel, it was the classic, minimal pieces that I was drawn to. They had an incredible impact on my self-esteem as I realised I felt far more confident when I was wearing clothes that weren’t colourful and had a more timeless aesthetic.”

Please share what led you to launching The Undone.
“I launched The Undone in July of 2016 after trawling through other online stores trying to find pieces that matched my minimal style and realised there was a gap in the market for stores that catered to specific personal styles, in particular a minimal aesthetic. With my previous experience being in digital and e-commerce, and with a genuine interest in this space, launching an e-comm store wasn’t too out of my comfort zone and seemed like a natural career progression.”

How did you go about launching The Undone?
“It took about nine months to set up the business, build the site, organise logistics, internal processes and test before launch. I also had to buy two seasons of stock before launch, which was incredibly difficult, and I made a few mistakes during this period, as we had no customer data to base our buy off. If I had my time again, this is something I would have approached differently.”

What were the biggest challenges you faced launching the business and how did you overcome them?
“Firstly, not having any data to go off to assist in making the right decisions, and secondly the financial investment of this process is enormous and it was a significant portion of our starting capital.

Learning quickly what our customer wanted was critical, and within the first 18 months we had to let go of some of our initial brands because they simply weren’t converting, adjust our pricing strategy as well as key category strategies.

The seasonality of fashion retail is also incredibly challenging as you have a very small window to turn over the stock that you buy. Customers are then taught to expect newness almost weekly, and are also expecting free and fast shipping as well as a never ending flow of discounts and sales.

From the beginning, we didn’t want to be known as a sale site. We try to educate our customers that the pieces we offer are timeless, so in theory, they shouldn’t really go on sale, except for the key calendar sales. Educating our customers and building our brand story around slow and thoughtful consumption is really important to us. However, we’re in this for the long game, and investing in the repeat customer, and building trust through mutual core values is key.”

How did you go about funding The Undone?
“The Undone was started with personal savings and no outside investment. It’s been a real focus to take it slow, do it right and last the distance. I listen to a lot of podcasts and to be honest, the VC accelerated growth and A, B, C seed funding isn’t something that appeals to me. I really believe that it’s ok to grow slow, to focus on doing things right, to know your customer, to be your customer. I want The Undone to last the distance.”

Your Instagram images are always beautifully shot, can you share any tips for taking good photographs for social media?
“Natural, warm light is important when we’re creating content. They need to be engaging and real life imagery is better than over produced campaign imagery. The imagery needs to capture the imagination of the customer, so they can imagine themselves in that item and feel the need to add it to their wardrobe.”

What advice would you give to a budding fashion innovator looking to start an online fashion business?
“Take the initial set up slowly and do it right. In the beginning you can be really excited and you just want to get things started, but taking the time to think things over and doing the research and due diligence will save you a lot of stress in the long term.”

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26th Jul 2019

Are Bughead still a couple? This is the burning question on Hollywood and the internet’s minds right now as a new cover story featuring the Riverdale actors, Lili Reinhart and Cole Sprouse, together published by W Magazine has added a confusing are they?/aren’t they? twist into the rumoured split tale.

Read on as we lay out what we know about this confusing state of affairs.

The Riverdale co-stars and on-screen love interests were reported to have gotten together in 2017, meeting and falling in love on the set of their popular teen noir show. The couple’s appearance at Comic-Con in 2017 was the first time the public became aware that they were more than just co-stars.

However, since then, the couple have kept their relationship relatively private, attending the occasional red carpet event such as the 2019 Met Gala together and intermittently sharing references to each other on Instagram, but in the majority, keeping their feelings for each other and status of their relationship out of the public domain.

On Monday, July 22, various US outlets including and reported sources had revealed that the couple had called it quits. “Lili and Cole broke up earlier this summer,” reported a source revealed. 

further reported “multiple sources” had shared the news of the couple’s split with the publication and that Sprouse had been “overheard telling a pal” at 2019 Comic-Con — which was held over the weekend — that he and Reinhart had broken up.

As far as the internet knows, they did not confirm the split when the news broke. Neither actor commented until the cover interview with the couple came out on Thursday, July 25.

The interview reportedly took place back in late May, when the couple were thought to still be together. However, the journalist, David Amsden, who interviewed the couple reports they asked to be interviewed separately, and when asked if the individual interviews were related to their relationship status, Sprouse reportedly gave a very cryptic answer: “I’m so glad we’re making your job more difficult.”

Sprouse did expand on this later, saying they want to be seen as individuals with their own careers, rather than just as a package deal. “We’re acknowledging that we’re in a relationship, but it’s a small part of who we are as people. We want our own separate identities.” Sprouse said, adding, “Lili is an incredibly talented individual who speaks for herself and deserves her own voice box in every single way.”

But despite Sprouse’s explanation about the individual interviews, Amsden writes that the separate interviews seemed “a bit calculated” and his “suspicions that the separate interviews might have been connected to the two of them being uncertain about their future together,” have since been confirmed.

While Reinhart and Sprouse didn’t initially respond to the split rumours published earlier in the week, they have both responded — with fighting words — to what was written in the interview.

Reinhart posted one of the images from the article of herself and Cole together to her Instagram account with the caption: “BREAKING: A reliable source has confirmed that none of you know shit.”

 

Sprouse too posted the image to his Instagram account with the caption: “UNPRECEDENTED: Cole Sprouse and Lili Reinhart consume the flesh of ‘reliable sources’ to fuel their bacchanalian sex cult.”

 

Only Reinhart, 22, and Sprouse, 26, know for sure. But we do know neither is happy with what was written in the article and they’re not going to stay quiet about it.

Check back here, we’ll update this story with any new Bughead developments.

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26th Jul 2019

New York label Les Rêveries, which translates to “the musings”, captured the fashion set’s attention via Net-A-Porter’s emerging talent platform, The Vanguard, when it launched last year. Sisters Wayne Lee and Ai Ly have come a long way since then. Upon Net-A-Porter’s encouragement, the siblings have expanded their line of romantic floral separates – each inspired by art, poetry, music and nature – to include bridal wear. The edit of jacquard, silk and Victorian lace wedding dresses are as dreamy as the slips and camisoles that kickstarted the brand.

“We wanted to make the perfect wedding gown, which is easy to wear, travel with, affordable, unconventional and also flirty and fun,” Wayne tells Vogue of the five-month-long process of nailing the offering. “This is hard to find in the retail market at the moment.”

The eight-piece line, which is priced from approximately $1115 to $2500, was inspired by Carolyn Bessette Kennedy’s wedding dress, as well as the duo’s usual ruminations. “It was so her,” smiles Wayne. “The Les Rêveries bride knows what she likes and she’s not afraid to try to new things – she’s bold, charismatic and free.”

A look from the Les Rêveries bridal collection. Image credit: supplied by Net-A-Porter

Scanning Net-A-Porter’s virtual shelves doesn’t do the detail on the pieces justice. “One of my favourite dresses is the hand-corded lace gown with a silk charmeuse mini slip – it has a three-dimensional effect,” shares Wayne. The 100 per cent silk jacquard pieces are also custom fabrications with floral motifs sourced from far and wide but manufactured in the US.

Signing with Net-A-Porter has allowed the sister act to grow the 2018-born business under the guidance of the e-tail giant, and, according to global buying director Elizabeth von der Goltz, Les Rêveries has flourished. It was a no-brainer for her team to encourage the platform’s rising star to translate the label’s effortless silhouettes into an all-white capsule. “The collection includes options for the entire wedding party, from the cool girl bride to the bridesmaid and the guest,” she explains of the thought process. “The flutter sleeves and lace speak to our bohemian bride, while also providing a great option for summer occasion dressing.” Could it tick anymore boxes?

This story originally appeared on Vogue.co.uk.

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