On a fall afternoon, Brooke Shields pops out of a black SUV, kissing her younger daughter, Grier, goodbye. As Grier continues on to her after-school activity, Brooke—N.Y.C.-mom chic in a T-shirt, buttery leather jacket, jeans (Calvins, of course), and black flats—settles into the back table of a fairly empty West Village café.
"This is so bad, but I haven’t really eaten anything today. I’ve just been running around," she says, ordering a Cobb salad and an iced green tea. "I’m so tired lately, and I haven’t had any coffee. I stopped drinking it when I went to the Ranch in Malibu with a girlfriend, and just recently, I’m starting to want that jolt again." And really, who can’t relate to needing a little extra juice?
True, Brooke has been famous her entire life (she appeared in an Ivory soap ad when she was 11 months old). And she has a résumé that would eat up all the pages in this magazine—highlights include movies (The Blue Lagoon), TV (Suddenly Susan, Lipstick Jungle, and a recent recurring role on Law & Order: SVU), Broadway (Wonderful Town), and books (her postpartum depression memoir, Down Came the Rain, and her autobiography, There Was a Little Girl). But these days, she’s also just a busy working mom trying to juggle all the balls.
What does it feel like to age so publicly, when your face and body have been on display since you were a preteen?
What’s odd is that it used to just primarily be my face, and the emphasis was never really on my body. I always had body doubles in movies, so I didn’t have any stress, because I knew I was gonna get some gorgeous-looking body to be my double. Since I’ve turned 50, there’s been more focus on my body than ever.
And you’ve never looked better, stronger, or more athletic.
Well, thanks. I have never been skinny. The thing is, I was in an industry where [being athletic] was not celebrated. I have friends who are supermodels, and I never had that body. I’ve never been asked to walk in a Versace show. I was doing the covers of the magazines while they were cruising the clothes down the runway, and then they’d bring me the clothes and I’d have to photograph them.
How did that feel?
Well, for years, stylists insisted on bringing me sample [sizes]. Insisted! And then finally one day I said to my publicist, "I want you to tell them that unless they want to make me feel bad or make me cry"—because it’s slightly limiting and you feel it’s your fault—"then stop bringing me sample sizes!" Then the next thing they say is, "Oh, don’t worry! We’ll leave it all open in the back, and we can cut it." I’m like, "That makes me feel so confident, with big clamps and things sewn into it." I’m like, maybe I can act, but I’m not a magician! I was always considered the athletic one, and that translated into big. I was the big one. Thankfully, so many more body types are accepted these days. What I’ve been trying to do, and I’m seeing more now with my girlfriends, too, is celebrate other people. A mom came into school the other day and her legs looked amazing, and I just started going, "Oh my God, will ya look at those legs? It’s ridiculous!" She was like, "Stop!" But you could tell it made her feel good. She works so hard, and she’s a mom, and I really meant it. I train with a friend of mine, and she’s super thin, and she said to me, "God, I would do anything for your butt." And I was thinking, "That’s amazing to me." Because we all say that about each other in some way: "Oh, if I could just have…." And it never ends. And I think [comparing yourself with someone else] is dangerous.
It’s tricky with girls, too—how do you talk to your daughters about healthy body image?
I will say that they both think they look fabulous, and it’s so great to watch them primp and preen and look at their bodies. The part of it I appreciate is that I never celebrated myself or my body. It felt indulgent or wrong, so there was a disconnect. I was wearing a bathing suit over the summer—I always wear bathing suits that cover everything, the bottoms in particular—and my older daughter said, "You know what? You cannot wear that bottom. It goes all the way under your butt and [makes it look] so much bigger." And I said, "I’m not gonna have my ass hanging out!" And she goes, "You know what? You are." So she finds me a new bathing suit, where that whole little shelf was out, and I was horrified, but my husband said, "That bathing suit looks great. Rowan’s right. If you show a little bit more, it’s actually more flattering." So, I had to learn from her. She said, "Mom, face it, you’ve got a great butt. I don’t know why you try to hide it." And that type of validation is a big deal for me, because in the next breath, she hates me.
How do you manage to juggle everything?
I’ve given myself a bit more of a break in that I can’t say yes to everything. I have to prioritize, and obviously it starts with your children. But I used to be much later on the list. I’ve started putting myself within a safe distance from that first priority. You just have to remind yourself to not forget about your relationship and to not forget about yourself. And it’s interesting, because I have a very fraught relationship with working out.
I’ve spent so many years dancing and being in Broadway shows that by the end of a run, I would be freakishly jacked. My skin was thin over my bones and muscles. And I was injured a lot, always. So that’s all I did. And then the show would be over, and I would do nothing, because I was so tired. It was only through injury that I found something that has actually made the biggest difference.
What did you find?
I have a trainer, and I’m not a trainer person. I don’t like the attention. I don’t like the one-on-one scrutiny. But I’ve had to enter into a very sort of rigorous rehabilitation program to avoid surgery on my back. I’ve already had four surgeries on my feet and two on my knee—all from Broadway dancing injuries. On Broadway, they don’t really rehab the dancers like they do in sports. It’s, "The show must go on." Maybe you’ll get five minutes with a physical therapist, or they’ll get someone to come in and tape you with kinesiology tape, which is what I sort of lived on for a long time.
So what’s a typical workout for you now?
The trainer is zero frills. And I have to mix it up. I started SoulCycle about 12 years ago, and I was there this morning at 7 o’clock. I’ve started Pilates, both a class and with a private teacher. But all of that, it’s expensive. I find the psychology interesting: It’s easier for me to justify doing something like going to the gym and making it a priority because it’s from an injury. If it was just because I liked it, which I do, it feels like a luxury to me. And I feel guilty about that luxury. There’s a stigma about how working out is somehow for people who don’t have a job, or it’s an indulgence.
Do you have a favorite move that’s changed your body?
I’ve just started hanging upside down in inversion boots, doing hamstring pulls and sit-ups. I’m amazed at how great it feels on my back. I’ll just hang there and then start doing a whole series of crunches and things like that. It’s really hard, but it’s really great, and I notice a difference. And balance—I never put too much into balance because I danced, and it was fine, but now they have this balance board, you know the Indo Board? And now I can do it. Six months ago, I couldn’t. And I thought to myself, "I’m so strong. Why?" And [my trainer] said, "Everything’s not firing. You’ve really got to just ignite and wake up certain little muscles."
How do you stay focused on eating healthy?
We’ve been taught, "Deny yourself pleasure." But moderation is harder because it requires really committing to balance. I find that if I say, "I’m not gonna eat ice cream" or "I’m not gonna drink,” all I want to do is drink and eat ice cream. It’s some kind of psychological battle. When I tell my trainer I had a glass of wine, he’ll say, "Liquid bread!" And I’m like, "Ugh, but it was a nice one." It’s a matter of checks and balances. And I finally found out how to set myself up to succeed. But I still need to commit to it. And everything gets exponentially harder the older you are. Fifty is a terrifying number for some people.
Was it hard for you?
No, I ended up loving it. Because I don’t feel that age. Fifty sounds like it’s for older people. I’m stuck at like 38 or 42, max.
What’s your day-to-day beauty routine?
I always put on a mask of some kind. I just found this new thing, where I could have just bought a plot of land on the water. [Laughs] It’s one of those rollers, and oh my God, I love it. It’s so crazy. It doesn’t feel like a miracle. It just opens up your pores for whatever you put on after. I like Neova cream that my doctor gave me. I’ll use a bit of Renova at night for resurfacing. I use Drunk Elephant C-Firma Day Serum ($80; dermstore.com or sephora.com). At times I need a chemical or two to make sure it really, really works. If it stings, I feel like it’s a good thing. Which is horrible, right? [Laughs]
Are you a resolution maker?
When I was younger I looked forward to making resolutions, and as I’ve gotten older I’ve realized I don’t want to make them, because it makes it such a one-off. I would pick something and I would sort of set myself up for failure. So instead of "I’m gonna lose five pounds" or "I’m gonna give up chocolate," I make this promise to keep upholding a certain quality of life throughout the year. I do like the idea of a fresh start, but it’s about trying to keep balance.
Eating- or drinking-wise, do you do anything different leading up to an event or a photo shoot?
I try to drink more water and not drink as much alcohol the night before. Notice how I said "as much?" I’m not stupid.
Styling by Stephanie Tricola for Honey Artists. Hairstyling by Tim Nolan for Serge Normant at John Frieda. Makeup by Sam Addington for Kramer + Kramer. Manicure by Liang using YSL Beauty for Honey Artists. Prop styling by CJ Dockery for Mary Howard Studio.
‘Visionary’ music producer Sophie dies aged 34
Sophie, the Grammy-nominated experimental pop musician and producer, has died aged 34 following a “sudden accident” in Athens.
The Glasgow-born artist worked with the likes of Madonna and Charli XCX.
In a statement, Sophie’s management said the musician had died at around 04:00 on Saturday in the Greek capital, where she had been living.
“Sophie was a pioneer of a new sound, one of the most influential artists in the last decade,” they said.
A further statement from Sophie’s record label Transgressive, explained how the “terrible accident” had occurred.
“True to her spirituality she had climbed up to watch the full moon and slipped and fell,” they posted online. “She will always be here with us.”
“The family thank everyone for their love and support and request privacy at this devastating time.”
Sophie was also known as a transgender icon, after affirming their identity in the 2017 video for It’s Okay To Cry.
The artist’s management said she would be remembered “not only for ingenious production and creativity but also for the message and visibility that was achieved. An icon of liberation”.
Sophie’s innovative productions drew on pop, trance and underground dance music, mixing them with warped, disorientating waveforms to create a sound that was both instantly recognisable and highly in-demand.
Madonna sought Sophie out to co-produce the 2015 single Bitch, I’m Madonna; while Charli XCX worked with the musician on her abrasive, avant-garde EP, Vroom Vroom and the hit single After The Afterparty.
Sophie’s debut album, Oil of Every Pearl’s Un-Insides, followed in 2018, exploring questions of identity, non-conformity and reinvention, while expanding her trademark sound with longer, more explorative tracks.
“Crossing boundaries of pop music and chasing transcendence, Sophie achieves the rare feat of making abstract, difficult electronic music that hits you straight in the heart,” wrote the NME in a four-star review.
The album was subsequently nominated for a Grammy for best dance/electronic album.
French pop act Héloïse Letissier, aka Christine and the Queens led the tributes to the late star, whose full name was Sophie Xeon.
Writing on Twitter, Letissier described Sophie as a “stellar producer”, “a visionary”, and “a pioneer”.
“She rebelled against the narrow, normative society by being an absolute triumph, both as an artist and as a woman” she added.
London-based Japanese singer Rina Sawayama echoed those sentiments, calling Sophie an “icon”. “The world and our community has lost a beautiful soul,” she tweeted.
Guitar hero Nile Rodgers said she was an “innovative”, “dynamic”, and “warm” person.
“Heart-breaking news,” added singer Sam Smith.
“The world has lost an angel. A true visionary and icon of our generation. Your light will continue to inspire so many for generations to come.”
After being given the Innovator gong at the Association of Independent Music (AIM) Awards in 2018, Sophie used the platform to promote trans rights.
“To be truly deserving of this award involved not only changing the sound of today’s music, but also ripping apart a deeply entrenched and deeply flawed patriarchal society,” said the producer while collecting the award.
“Creating a more diverse, inspiring and meaningful future for us and the generations whose lives our decisions affect and help shape.”
Read from source: https://www.bbc.com/news/entertainment-arts-55860938
Ralph & Russo put Dubai on the fashion map
Ralph & Russo is an international luxury fashion brand known for its designs that are described as both contemporary and timelessly elegant. The brand was created in London in 2010 by Tamara Ralph and Michael Russo. In 2014, it became the first British guest member in almost 100 years to be invited by the Chambre Syndicale de la Haute Couture to show their first runway collection as part of the Spring/Summer season.
In an inclusive interview with founders, Tamara and Michael, Euronews’ Jane Witherspoon got the lowdown on the iconic brand.
How did the brand come about, what did you want that brand to stand for?
Tamara Ralph: It really grew out of a passion for luxury and craftsmanship and design. I come from four generations of fashion and haute couture in my family. And when we had a chance meeting, it was something that we talked about, setting up a luxury brand. And we always had a vision to have a global luxury brand.
You were invited to join the Chambre Syndicale de la Haute Couture in Paris, the first British brand to showcase a Fashion Week in almost 100 years.
Tamara Ralph: It was really quite a big milestone and the first Australians ever to be invited. And you know it was always something that was very important for the brand. To be recognised by the Chambless Syndicale was an incredibly important achievement.
We had obviously, the support of Didier Grumbach, at the time who was the president and was actually responsible for discovering a lot of the big names in fashion and nurturing their careers. So it was wonderful to have the support.
How do you personally define couture?
Tamara Ralph: Couture is an art. You know, all of our clients that purchase couture, they purchase it for generations. It’s really something that’s an investment. It’s like a piece of jewellery. It’s something that you’ll pass down and keep forever. And for us, that’s really special.
How have dressmaking techniques changed over the years? How have you adopted the changes? Have you stayed traditional?
Tamara Ralph: So we have a really big atelier, actually, that specialises in the couture side. And then we have obviously craftsmen in the house that specialise in other product categories, such as ready to wear and things like that. But in the couture atelier, there’s forty-five languages spoken. There’s ages ranging from 16 all the way up until the 60s. And it’s really nice to have that mix of the old techniques get more modern applications and things like that. We like to push and constantly innovate. We run apprentice programmes in-house where we can train and develop and innovate as well. So that’s really important.
You’ve dressed many wonderful clients, like Meghan Markle. Is that a challenge? How exciting or daunting is it?
Tamara Ralph: No, I think it was very it was very exciting, obviously, you know.
I think it was such an iconic moment because obviously not just because of the two of them, but also because of her choice of piece for the day, which was, you know, a little bit different to what I think, you know, some people were expecting. And I think that’s nice. It showed her personality. It pushed the boundaries.
Do your clients have much input if you’re designing something specific and special for them, or do you come up with the idea and see it through to completion?
Tamara Ralph: Both
Michael Russo: We’ve had some really diverse celebrity moments from stage outfits for Beyonce to the costume outfits for Angelina Jolie, for Maleficent. It’s been so diverse. So the challenge is always there.
Tamara Ralph: Yeah but also I think with clients, all of our private clients, it’s a very personal experience, you know, no matter if they’re a celebrity or a private client. And, you know, we love to guide them and be part of the process and be very involved.
How hard has it been to showcase virtually?
Tamara Ralph: It was an evolution, that’s for sure. I think that it’s difficult to create the connection that you have with the physical show. I think that was something that was the hardest part to kind of keep, alive. But I loved the innovations and things.
I thought it was very interesting just to push the boundaries with digital, to play with new ideas. But, you know, I think that the traditional fashion shows are still very important and are important to get that sense of what the collection is about, So, you know, a balance of both going forward. I think one is just as important as the other.
Why did you choose to launch in Dubai?
Michael Russo: Well, I think Dubai has got such a multicultural following, and I think for us as well, it’s a product that’s well suited for the market.
It’s got a customer base that’s very akin to Ralph & Russo and well known to Ralph & Russo. For us in this region, it was definitely our first flagship in the region.
Would you say you have a different clientele in Dubai?
Michael Russo: I think in Dubai we find that there’s a lot of tourists here and those tourists are typically Ralph Russo clients already. So the products that we’re offering here are still akin to the ones that we use worldwide and I think relevant to our worldwide customer as well as the local market. So I think it’s a nice little mix of local and international clients.
Do you think that the fashion scene in Dubai is growing? How does it compare to known fashion cities like New York, Milan, London and Paris.
Tamara Ralph: Well, I think it’s definitely, you know, integral to the Gulf region. Yeah, you know, it’s really the hub of the region. It’s so incredibly international. And I think, you know, it’s a huge destination for fashion for the region. So, yeah, I think it’s incredibly important.
You’re about to become a mum for the first time, how is that going to change your work-life balance?
Tamara Ralph: Yeah, of course. I mean, it teaches you definitely to kind of find that balance, which I think I probably didn’t have before. And so, you know, I have a great team.
You know, we have an amazing support structure internally in the company. And we’ll find a way, you know, and plus it might be a chance to kind of venture into a full fledged childrenswear line. You know, well, I’m having a girl, so now we have our first model.
You’re expanding into accessories, are there beauty lines down the line?
Tamara Ralph: What’s been amazing actually through, just before Covid and also through Covid is, you know, a few different things. We were able to kind of reset our thinking, focus on what we’d like to achieve in the next couple of years. And so, you know, cosmetics and beauty is something we’re very interested in. Home and furnishings and everything connected to that sector is actually something that we’ve been slowly putting in the works for a little bit of time.
Michael Apted: TV documentary pioneer and film-maker dies aged 79
Film director Michael Apted, best known for the Up series of TV documentaries following the lives of 14 people every seven years, has died aged 79.
He also directed Coal Miner’s Daughter, Gorillas In The Mist and the 1999 Bond movie The World Is Not Enough.
The original 7 Up in 1964 set out to document the life prospects of a range of children from all walks of life.
The show was inspired by the Aristotle quote “give me a child until he is seven and I will show you the man”.
The first 7 Up show was followed by 14 Up at the start of the next decade, which interviewed the same children as teenagers – and the pattern was set right up until 63 Up in 2019.
Throughout all those intervening years ITV viewers became engrossed with the stories of private school trio Andrew, Charles and John, of Jackie who went through two divorces, of Nick who went from jobless and homeless to Liberal Democrat councillor, and of working class chatterbox Tony, whose life ambition was to become a jockey.
Apted’s shows – which won three Bafta awards – have often been described as the forerunner of modern-day reality TV series, giving its participants the time to tell their own stories on screen.
But unlike their modern counterparts, the original Up children tended to fade away from the limelight in the seven years between each chapter.
In 2008, Apted was made a companion of the Most Distinguished Order of Saint Michael and Saint George in the Queen’s Birthday Honours for services to the British film and television industries.
Thomas Schlamme, president of the Directors Guild of America, said Apted was a “fearless visionary” whose legacy would live on.
He said Apted, who was born in Aylesbury, Buckinghamshire, “saw the trajectory of things when others didn’t and we were all beneficiaries of his wisdom and lifelong dedication”.
ITV’s managing director Kevin Lygo said the director’s six-decade career was “in itself truly remarkable”.
He said the Up series “demonstrated the possibilities of television at its finest in its ambition and its capacity to hold up a mirror to society and engage with and entertain people while enriching our perspective on the human condition”.
“The influence of Michael’s contribution to film and programme-making continues to be felt and he will be sadly missed,” Lygo added.
Michael G Wilson and Barbara Broccoli, producers of the James Bond film franchise, said Apted “was a director of enormous talent” and “beloved by all those who worked with him”.
“We loved working with him on The World Is Not Enough and send our love and support to his family, friends and colleagues,” they said.
A post on the Twitter account of the band Garbage, who performed the theme for The World Is Not Enough, labelled Apted a “delightful, charming soul”.
Composer David G Arnold, who composed the Bond theme and worked with Apted on three other non-Bond movies, said he felt “lucky” to work with him.
“A more trusting, funny, friendly and, most importantly, kind, person you’d never meet. So pleased to have known him and so sad that he’s gone,” Arnold wrote on Twitter.
Read from source: https://www.bbc.com/news/uk-55597263
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