With the premiere of season 2 of Westworld, the show’s oft-quoted Romeo and Juliet line, “These violent delights have violent ends,” was finally manifested into a reality. For decades, the hosts of the Westworld park had been subjected to human visitors’ violent delights, relentlessly. In season 1, we see the extent to which humans would lose their humanity when given a playground excused from the burdens of guilt and morality (and mortality). Humans raped, pillaged, and shot the hosts; the hosts were repaired for another day of degradation.

Then came the hosts’ eye-for-an-eye rebellion, made possible by a change in their core code that had previously prevented them from using violence against guests. At the end of season 1, the hosts stormed a dinner brandishing weapons; in the season 2 premiere, we see what they achieved. The aftermath of the hosts’ carnage was sprawled out throughout the park. Bloody, contorted bodies littered the ground near overturned tables, outside Sweetwater’s saloon, in control centres.

As if corpses being reduced to set decoration weren’t enough of a statement, we also saw multiple instances of the massacre unfurl. While Bernard (Jeffrey Wright) and Charlotte Hale (Tessa Thompson) hide out in a barn, three hosts play homage to William Tell by attempting to shoot an apple off a trembling woman’s head. When they inevitably miss — which was clearly the point of their game — Bernard and Charlotte watch her blood seep through the barn door slats. Later on, some guests waltz right into a trap and are executed by Angela (Talulah Riley).

Most memorably, however, is Dolores’ (Evan Rachel Wood) debut. In a wide-open field, a steely-eyed Dolores gallops atop a horse, pointing a gun with impressive balance. Ahead of her, three human guests dressed in tuxedos and gowns run desperately. Alas, their cardio is futile. Dolores, our hero, our buddy, our pal, shoots them in the back. Their blood splays out in a red-tinted mist with a cinematic arc.

Dolores’ violence is carried out in tune to Scott Joplin’s “The Entertainer,” a telling song if there ever was one. On last night’s episode of Westworld, violence was an essential part of the “entertainment.” Not only were the hosts, like Dolores, gleefully taking human lives — the violence itself was the narrative spine of an incredibly popular show that, for all its puzzles and games, is generally considered “fun” to watch. And yet: I was not having fun watching last night’s episode of Westworld, at all. Was this because I’m officially becoming my mother, who watches all violence through slatted fingers? Or was it because, in light of the gun violence that continues to plague our country and its schools, these scenes of slaughter just seemed too real? My feelings were echoed by other viewers on Twitter.

I’m am emotionally conflicted (really just sad and disappointed) in how #Westworld  turned some of my favs into merciless villains. The sheer mass scale of violence was something I wasn’t prepared for ☹️

— Andrea Rene (@andrearene) April 23, 2018

Huh. After all the mass shootings that happen nearly every other day, #Westworld (excuse the unintended pun) triggered me. I couldn't finish it. Anyone else out there feel sick to their stomachs? #Violence @WestworldHBO might want to rethink this series...

— Pippa Lee (@kofubutter) April 23, 2018

It felt hypocritical for me, who proudly participated in the March For Our Lives, to watch scene after scene of petrified humans facing down rifles as if it were entertainment — and not also something that occurs on the news regularly. Sure, art and reality occupy two separate spheres; we shouldn’t censor creativity. But how do depictions of violence on shows like Westworld dull our sensitivity to violence, and even our empathy?

When the violence occurs on a fictional TV show like Westworld, we’re meant to accept the violence as a means of furthering the plot, and as an ingredient in the texture of the show. Instead of greeting this violence with horror as we would in real life, we greet it with complacency – or even with thrill. As Jonathan Nolan, the co-creator of Westworld, told The Hollywood Reporter, “None of us like violence in the real world, but we're fascinated with it onscreen.”

But after the show is finished and HBO switches to Last Week Tonight, there’s a good chance you’ll hear about another school shooting (or church shooting, or concert shooting, or any matter of shooting). In these instances, guns aren’t used to establish a plot point— these guns are purchased and used to carry out senseless mass shootings that don’t tie into a larger narrative arc. The violent show and the violent news are being conveyed through the same medium — TV — and yet we're supposed to read one as entertainment, and the other as horrifying.

All that said, Westworld is not the enemy. To some degree, Westworld has tried to make point about gun violence. When given the opportunity in the park, guests would become mass shooters and rapists. By suggesting that the impulse to enact destruction was in many of us, Westworld tried to introduce us to the deplorable beast within. Given such treatment, of course the hosts are enacting a bloody form of revenge.

But after last night’s episode, I doubt whether that provocative “point” is enough to justify the elaborate scenes of carnage. For so long, I accepted gun violence as an inevitable part of the prestige TV shows I loved. Now, when I watch violent scenes play out, I can’t drown out the stories of Parkland, and Las Vegas, and the Pulse Nightclub survivors with the sound of the TV show. I can’t be so easily and complacently entertained by the same violence in fiction that horrifies me in real life.

Yet Hollywood seems to function on the hopes that audiences won't be discomfited by the stark similarities between on-screen and off-screen violence. After all, many of the same actors who sent concerned tweets after Parkland also star in blockbusters that feature AK-47s. But as guns take more American lives, I find myself understanding the sentiment of director Michael Showalter's conversation-starting 2016 tweet, which he sent in the wake of the Pulse Nightclub shooting: "Feeling angry at everyone including Hollywood movies that glorify gun violence. Liberal actors shooting guns left and right. Hypocritical." Each exciting movie shootout — including that thrilling one timed to music in Guardians of the Galaxy 2 — belies the greater hypocrisy at work in Hollywood.

That it took me this long to reflect on my relationship to violence and art is shocking — and shows just how inured I was, perhaps we all are, to its inescapable presence on our screens. Maybe it's time audiences and creators reconsider just how necessary each scene of graphic gun violence is for the ultimate aim of the show. Maybe it's time we think about what good this is doing for us.

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On Saturday, Beyoncé fulfilled her duties as the long-awaited Coachella headliner, and it’s safe to the say that the annual music and arts festival will never be the same. Fans have already signed off on the event being renamed Beychella, and her performance over the course of two weekends in the desert of Indio, California, confirmed that she is indeed the greatest living performer. However, her set — which she repeated for both weekends of Coachella, making only colour costume changes — has also been praised for thrusting facets of Black culture into the forefront. It’s the same applause that Beyoncé received in the aftermath her last album, Lemonade. Perhaps coincidentally, Coachella concluded on the eve of Lemonade’s two-year anniversary, highlighting Queen Bey’s continued insistence on prioritising the Black experience in her art and work. Beyoncé’s connection to her own identity isn’t new at all, but it sure does feel good.

Lemonade stands as the album that lifted the lid on Beyoncé’s notoriously private life and marriage to rapper and business mogul Jay-Z. Many of the songs on the album addressed the complex range of emotions the singer encountered after learning of her husband’s infidelity. In the months that followed, Jay himself would go on to confirm these allegations in interviews and with his own album, 4:44. But another strong undercurrent of Lemonade was its articulation of Black women’s experiences, especially given the fact that it was initially released as a musical film on HBO before the individual audio tracks were released.

Beyoncé narrated the experience with the words of Black feminist poet Warsan Shire. Symbolic references to the Black orisha, Oshun, pedestaled Black femininity, while the mothers of slain Eric Garner, Mike Brown, and Trayvon Martin held space for the pain that too many Black women have to endure in the face of violence against them and loved ones. Winnie Harlow, Chloe x Halle, Zendaya, and Serena Williams were just a few of the Black women in pop culture to appear in Beyoncé’s visual masterpiece. Even some of the cinematic and costume elements could be traced back to Daughters of the Dust, the first feature film in the US to be directed by a Black woman. Even the popularised “Becky with the good hair” was an acknowledgement of the battle Black women have waged against European beauty standards that seek to exclude us at every turn.

Though the public’s first dose of Bey’s “militant” Blackness came in the form of Lemonade’s first single “Formation” — a song that honours both her and her husband's physical Black features and the Southern Black culture from whence she came — it is a trend that has continued ever since. Her 2017 Grammy performance (which she executed while pregnant with twins, NBD) offered up a nod to African spirituality. She had an African-themed push party. She dressed as rapper Lil' Kim for Halloween and presented Colin Kaepernick with the Sports Illustrated Muhammad Ali Legacy Award in awe of his activism on behalf of people of colour. She even delivered the best verse on the trap bop of the summer, DJ Khaled’s “Top Off.”

And then there was Coachella. As the first Black woman to ever headline what has become the most popular music festival in the country, Beyoncé included artistic elements that were only identifiable to people familiar with the Black experience. She sang James Weldon Johnson’s “Lift Every Voice and Sing,” also known as the Black National Anthem. She paid homage to Malcolm X and Nina Simone. Instead of settling for a regular band and dancers, she assembled a Black marching band, complete with majorettes and a drumline. Their style of music and movement is one that is native to Black communities and institutionalised at HBCUs (historically Black Colleges and Universities). She fashioned some of her dancers as pledges in a Black fraternity, and all of her co-performers “Swag Surfed” in unison. Following both performances, she announced scholarships through her BeyGood foundation for students attending certain HBCUs. There should be no question as to where Bey’s loyalties lie.

Beyoncé’s Blackness should come as a surprise to no one, despite this hilarious Saturday Night Live! skit suggesting otherwise. She made major imprints on the fabric of Black music, entrepreneurship, and culture even before Lemonade. She and Jay-Z have been contributing to causes like Black Lives Matter for years. Then there’s the fact that she herself is… Black. Despite Bey’s ability to appeal to the masses, her actual heritage and background have always been there: showing up in her speaking accent, her choice of hairstyles, and her musical tastes, just to name a few things.

This latest version of Beyoncé's artistry has undeniable Blackness at the top of its list, and it's coming at a time when we need it the most. While the rest of the entertainment industry, notably film and television, seem to be embracing a colourblind form of equality that still prioritises whiteness by making itself easily digestible and ambiguous, Beyoncé's Blackness feels bold; bolder than it actually is. The white gaze — the gaze that too often dictates what is mainstream and what is not — demands an apology from Blackness, making it easy to categorise Bey's musical expression over the past two years as "unapologetic." But when the biggest pop star and greatest entertainer in the world brings attention to the culture and people that have been ignored or asked to change, it is a moment of reckoning; an opportunity to shift the way we think about Blackness and which directions such "apologies" need to be moving.

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Once upon a time (about seven years ago), I was a tiny, baby gay excitedly coming out to everyone I knew. I jumped at openings to tell people that I had a girlfriend and loaded my backpack with rainbow pins so everyone who walked by me would know that I was not straight. But, I never used the word “lesbian” to describe myself, even though it’s the most accurate descriptor.

To be clear, as a woman who’s sexually and romantically attracted solely to other women, I am a lesbian. But for some reason, “lesbian” has always felt too harsh. Even now, I find myself hesitating every time I type the word.

In these moments of hesitation, my mind often drifts back to a memory of my grandfather. I was 10 years old and sitting in the backseat of his car as we drove to a Mexican restaurant for dinner. I watched as he leaned out the car window, his face twisted in anger, and shouted “fucking dykes” at a pair of queer women who dared to hold hands on the street. It was the first time I learned that two women could love each other in the same way that my mom loved my dad, and the memory is tinged with his hatred.

While that might seem like a pretty solid root for my fear, I’m not so sure. My grandfather never connected the word “lesbian” with his anti-gay vitriol. In fact, nobody ever told me outright that being a lesbian is bad, but internalised homophobia is tricky in that way. No one has to literally say, "being gay is bad" for the message to burrow into queer people's brains.

Those messages subtly form a queer person's sense of self, and the negative thoughts that result manifest in many different ways. It can make someone deny their feelings for years. It can make them avoid being affectionate with partners in public or around family. And, as in my case, it can make them feel weird about naming their identities. (Internalized homophobia is so widespread, in fact, that the extremely open queer women and gender non-conforming folk who run the popular queer website, Autostraddle, did a whole roundtable about their experiences.)

While we traditionally think of words like “fag” or “dyke” as LGBTQ+ slurs, even “gay” is a slur when it’s said with malice.

Don't get me wrong, I have no problem with my sexuality. I haven't stopped being that excited baby gay who goes out of her way to say “my girlfriend” in conversation. But, I’m still more likely to call myself "gay" or "a queer woman" than I am to drop the "L" word.

"Gay" and "queer" might feel less controversial to me, but those words have homophobic histories as well. "Queer" was a slur long before it was a word that describes a sexual orientation, and while we traditionally think of words like “fag” or “dyke” as LGBTQ+ slurs, even “gay” is a slur when it’s said with malice. So while "gay" and "queer" feel safer than “lesbian” to me, that may be a result of successful movements to reclaim both of those words.

In 2012 GLSEN ran a series of PSAs to help young people see why it’s offensive to call something “so gay” when they really mean that it’s stupid. They were hilarious, poignant, and so popular that they were chosen to air during the 2o12 Super Bowl. That means that an estimated 111 million people heard Wanda Sykes call a pepper shaker “...16 year old boy with a cheesy moustache” during the country's most popular football game. I'm willing to bet a whole bunch of 16 year old boys were watching, and so were a bunch of gay people who were able to hear a negative framing of the word "gay" flipped on its head. Through campaigns like that, along with activists who chanted, “We’re here, we’re queer, get used to it,” the LGBTQ+ community has given new, empowering meanings to words like “gay” and “queer.” Even the slur my grandfather shouted has had its moment — lots of young queer women now proudly call themselves dykes. But, there hasn’t been any major effort to reclaim the word “lesbian.”

When it comes to lesbians, there are two stereotypical images that usually come to mind: The overly sexualised (usually thin, white, and femme) women you’ll see if you type “lesbian” into a Google image search or the unkempt and unattractive woman who’s only a lesbian because she’d supposedly never attract a man. It’s obvious to me that both of these stereotypical images benefit straight men. The overtly sexualised idea of a lesbian serves men’s sexual interests, and the frumpy, unattractive version helps men cope with the fact that some women just don’t want to sleep with them. But even though I’m aware that these images aren’t real, that didn’t stop them and other lesbian stereotypes from sinking into my brain.

Those stereotypes are part of the reason that I (and many people like me) actively avoid calling ourselves lesbians. At Slate, Christina Cauterucci writes about feeling so disassociated with the word “lesbian” that she and other lesbian friends would mock “queer women too basic for [their] tastes,” by calling them “capital-L lesbians.” At The Brag, Arca Bayburt writes Eight Reasons Why I Hate The Word “Lesbian,” including that “it’s difficult to divorce the word from its stereotypical baggage.” And at Go Magazine, Zara Barrie writes about her journey from avoiding the word at all costs to embracing it. “The word lesbian sounds so strange and eerie… It sounds like something dental,” she recalls telling a friend.

Many of these women attribute their distaste of the word “lesbian” at least partially to internalised homophobia. But, like me, they can’t quite put their finger on why the word feels so wrong. And that’s a perfect explanation of what internalised homophobia is like; it wraps itself around you so tightly that it's difficult to see where your negative thoughts start to unravel.

"When we begin to see those ties all around us, it can be a sudden and sometimes crippling blow; you are now realising that you can be more, and that the things and people and words and thoughts that surround you are not true," Kristin Russo, co-founder of the advice site Everyone Is Gay, wrote to a reader in 2015.

I'm finally starting to see my strings. Maybe if I, and other women like me, started to embrace the word, other lesbians might see their strings, too.

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“Who made my clothes?” It’s a simple question, but one which many brands are still reluctant to answer and many of us are too distracted or disengaged to ask. It’s no secret that a global demand for fast, cheap fashion has catastrophic effects on the lives of garment workers in developing countries. These effects became disturbingly evident in 2013, when Rana Plaza, an eight-storey industrial complex in Savar, Bangladesh collapsed and took with it the lives of 1,129 garment workers, many of whom were young women working in appalling conditions for abysmal pay. It was reported three years later that 38 people were charged with murder in connection with the disaster.

The tragedy served as a catalyst for Orsola de Castro and Carry Somers to found Fashion Revolution, in order to raise awareness of fast fashion’s true cost. The movement began with an inaugural Fashion Revolution Day on 24th April 2014, exactly one year after the collapse, and has continued to grow ever since. Not only have they organised countless events, talks and workshops worldwide, they have recently published their third Transparency Index and released their second fanzine filled with illustrations, articles and poetry. Their aim is simple – to break down the complex web of social and environmental issues exacerbated by the global fashion industry.

“Our mantra is 'Be curious, find out, do something about it',” explains Somers. “We don’t have all the answers, but equally we don’t want to give people all the answers. We want to encourage people to do their own research, to be curious and to be investigative – asking, ‘Who made my clothes?’ is the first step towards that.”

Crucially, these answers are often buried or ignored by mainstream media outlets. Various factory fires in the years before and after Rana Plaza have gone largely unnoticed, whereas Bangladeshi labour activists and union leaders have been arrested and persecuted for wage strikes. “It just doesn’t make the news,” laments Somers. “Most of the public haven’t heard of some of the larger tragedies like the Tazreen fires – it really took a tragedy to the scale of Rana Plaza to bring it to the attention of the mainstream media. Sadly, union leaders are constantly being jailed all over the world in places like Honduras for social and environmental issues – it’s just not going to make the news.”

Furthermore, terms like ‘sustainability’ have become embedded in the language of clickbait titles and brand marketing. These complex concepts are often reduced to buzzwords like ‘green’ or ‘eco-friendly’, leaving readers and consumers confused as to what they actually mean. “Sustainability is relevant, and it is an incredibly complex issue,” explains de Castro. “We need to celebrate that complexity. The word ‘green’ to describe an enormously complicated process is not exciting; the word ‘eco’ in describing the impact of the fashion industry onto the environment is not exciting.”

Their fanzine – available to read in its entirety on their website – provides a key tool for disentangling if clothes are low quality or well-made. The illustrated guide offers six seams, such as french, bound, flat felled and serged edges which can be used to identify a good quality garment. Other features in the zine break down exactly how you can edit your wardrobe in 8 simple steps - including letting the skeletons out, scrutinising your clothes, tackling the 'no' pile and sorting the 'yes' pile. There are also lighthearted games and quizzes that communicate the problems in an engaging, accessible way.

“The fanzine was our way of saying it like it is,” says de Castro. “We wanted to inform a young audience of the power behind their money, and how everybody’s purchases actually affect everybody else – in particular, how they affect the entire fashion supply chain. So we worked with some incredible illustrators to talk about something complicated but bring the message in an engaging way that makes people curious. The act of buying something has enormous repercussions – we vote with our money, therefore we have the power to change things with everything that we buy.”

What’s reassuring is that this pressure on brands to be more transparent actually seems to be working. Companies are increasingly publishing their factory lists, customers are more discerning than ever and legislation being introduced means that businesses are finding themselves with nowhere to hide. Put simply, we’re beginning to see a shift in mentality which means that labels must be as ethical as possible to gain our loyalty. “Clothes – whether they’re cheap, high street garments or mass-produced luxury – they’re no longer providing us with an intimate, emotional experience,” says de Castro. “It used to be, once upon a time, that being a shopaholic was a mood-altering experience for a consistent period of time. You’d buy something and you’d feel it for ages. Now, you buy something and, within five minutes, that sense of newness is gone because there is so much coming at you again and again from store after store.”

Somewhat paradoxically, it seems that increased accessibility has made consumerism less desirable – many of us would rather spend money on travel, good food or unique experiences than on throwaway fashion. De Castro also credits the rise of apps like Depop (a mobile, social shopping app) with ushering in a new way of thinking about clothing, which she wittily dubs ‘ready-to-throw'. “The new consumer is a trader,” she explains. “Kids, when they’re bored of something and need extra cash for the weekend, they’ll go on Depop and sell. There’s almost a sense of clothes being very temporary these days – everything is ready-to-throw, but people realise these things have some value so they may as well, somehow, sell them on. It’s almost like we’re renting instead of buying.”

This method of consumption is more sustainable than the alternative – the constant purchase of cheap new clothes which are often chemically treated, poorly made and destined for landfill. Clothing returns exacerbate this relentless cycle of consumption; shops can’t resell returned items, which means they’re often either thrown away or down-cycled into new fibres. The remedy to this problem is simple – buy less and buy smarter. Swap clothes with friends, buy from charity shops, rent designer pieces; these are all small ways of challenging a system which pollutes the environment and exploits vulnerable workers in developing countries.

Many see advice like ‘shop smarter’ and equate it with buying from luxury brands – the assumed logic is that the more expensive the clothing, the better paid the workers. This is not always true. “A lot of the mass-produced luxury is actually produced on exactly the same production lines in Bangladesh as the fast fashion brands,” explains Somers. “They might be paying an extra 50 cents because there might be more pocket detail or the seams are better sewn together, but it will be a marginal difference. Until you have transparency, you don’t know where those brands are producing. Just because you pay more money, the conditions aren’t necessarily any better – typically, the difference goes towards marketing.”

Crucially, when we discuss the fashion industry as though it’s divided into two neat categories – luxury and high street – we oversimplify the problem. “The fact that something costs thousands of pounds doesn’t mean that workers are being paid fairly, nor does it mean that they’re not employing chemicals in the production of the product,” agrees de Castro. “The point is that we have to treat luxury and high street in the same way and just call it fashion. This is the fashion industry – it has a problem in its sustainability and its ethical practice. We need to understand that it’s not this big divide and then understand how the whole can be more engaged.”

There is, however, a host of young design talent working sustainably without overstating the fact that they're doing so – it’s authentic, as opposed to a marketing tool. De Castro comes into daily contact with these creatives in her role as mentor at London’s prestigious Central Saint Martins art school – she cites the likes of Bethany Williams, John Alexander Skelton and Maria Sole Ferragamo as emerging designers creating innovative yet conscious collections. Supporting new brands, buying locally, learning to repair the clothes we already own – these simple tweaks to our buying habits have the potential to resonate globally.

“Everybody is finding their own unique journey and their own unique part in the conversation,” says de Castro. “People aren’t just thinking of this as, ‘Oh my god, I need to change the world tomorrow', they’re beginning to embed it into their everyday thinking.” Her words are universally applicable – the way we often discuss sustainability can make it seem unapproachable, unaffordable or impossible to tackle. It’s certainly true that the fashion industry won’t change its ways overnight, but we all have the power to reach out to local MPs, to tweet brands, to engage with the problem.

We know that garment workers are being exploited, that wasted clothing is damaging the planet, that the fibres in our clothing are frequently chemically treated – these are complex conversations in which the fashion industry must engage. Somers also points out that, somewhat shockingly, sensationalist headlines are often examples of best practice; there are stories of verbal and physical abuse as well as human rights violations which go largely undiscussed. As we all know, money is power; corporations can’t survive without consumers, these factories can’t survive without clients. The more we pressure brands to be transparent, the more they will be forced to listen. The years following the Rana Plaza tragedy have seen remarkable progress but it’s essential to keep questioning, keep researching and keep asking that simple yet all-important question: “Who made my clothes?”

Further Reading

17 Brands Working On Making Our Wardrobes More Ethical
Is There A Difference Between Ethical & Sustainable Fashion?
How To Tell If A Child Made Your Clothes

... or find everything in 'Fashion Conscience' here.

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Whether you adore a 10-step skin regime or you prefer to use one cream for everything, your beauty needs are as unique as you are. Maybe you’d give up coffee before you gave up your blow-dry, or perhaps your idea of relaxing is running a 5k rather than a mani-pedi. But when it comes to beauty, what unites us all as women is that our skin goes through an awful lot every day, whether we realise it or not. There's applying makeup, removing makeup, probably not getting as good quality sleep as men, hormonal fluctuations…the list goes on.

Which is why I wanted to put a spotlight on female creators in beauty. Women who created products to fill the gaps in their own routines; women who couldn’t find anything that spoke to them in the right way; women who needed something to make their lives easier: women just like you.

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Once upon a time, on an island far, far away, a woman kept imprisoned by a combination of sibling rivalry, her wicked mother and a dark secret, met a brooding man. And he loved her fiercely, from the very moment they met. Moll (played by Jessie Buckley) is hemmed in on all sides by the dreary suburban monotony of a windswept Jersey, and Pascal Renouf (Johnny Flynn) offers her an escape. Not only does this matted-haired, sun-scorched loner take her away from the confines of her neat, nothing-y home, but on her way to get her he’s happy to intrude on its sanitised dullness, trudging his muddy boots on the cream carpet, smoking a sweat-soaked roll-up indoors. He’s every bit as daring as she wishes she could be, and he loves her in spite of – perhaps because of – her dark secret.

The central tenet of Beast – a fairytale updated for 2018 which could, apart from the inclusion of skinny jeans, fibreglass police cars and thumping club music, be set in 1968 – is folkloric and ancient. Moll is suppressing a beast within her and only Pascal’s calloused fingers can prise her free. He is feral, scarred, smelly and beautiful, his fingernails rimmed with soil. The big problem is, that same fecund muck festers in the wounds of three young girls who’ve been kidnapped, raped and killed. Could Pascal be hunting these wide-eyed innocents with the same heartless vigour with which he poaches rabbits?

The deaths are tearing this small community apart. Twee village fetes turn into interrogation rooms, morning strolls shift into team efforts to find the bodies among the potato crops. But Moll is emboldened by the relative chaos. She comes to depend on the passion between her and Pascal, played out on beaches and cliffs, in the woods and the scrubland. The wide shots of these landscapes, set to creaky violins, are as stunning and terrifying as the relationship growing unruly before our eyes. But when the police name Pascal as a suspect in these serial murders, Moll falls apart. Not only is she confined to police stations or the tiny, functional house she moved into with Pascal, but her nightmares rage. Is Pascal exactly who he says he is? Is she the person she’s been pretending to be, the creature she gets to be with Pascal, or someone in the middle?

Just like the Jennifer Lawrence film mother!, this allegorical tale can seem at once too slow-paced and unrelentingly violent. Don’t watch if you’re fond of rabbits, either. That said, Buckley’s sincere face and considered reactions are enough to make sure the sparse script doesn’t become hysterical, and her mother Hilary (Geraldine James) is perfect frosted coolness. As for Flynn, there are points where it seems like he’s overacting, becoming more upset than the script requires. But if you consider that this is basically what guys in fairytales have been doing for decades, it begins to make sense.

Love stories, now, are required to go somewhere new, to acknowledge the pain caused by hundreds of years of stories telling women their liberation is thanks to violent male suitors, and that love at first sight is an actual thing. And Beast rises to the challenge in a very smart and subtle way, when it becomes apparent that Pascal’s armoury isn’t just a rifle and a snarl, but the love bombs he’s been raining down on Moll. All he does, he insists, is love her. Do they end up happily ever after? The best answer I can give is… It’s 2018, what do you think?

Beast is released in the UK on 27th April. Watch the trailer here...

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The world finally seems to be taking the loneliness epidemic among young people seriously. Just a fortnight ago, figures from the Office for National Statistics found that almost 10% of 16-to-24-year-olds regularly feel lonely – three times more than the proportion of over-64s who said the same.

This is a worrying trend given the damaging impact of loneliness on our health. Studies have deemed it more dangerous than smoking and obesity and health professionals have called for it to be named a public health hazard.

Now, a new study from King's College London, published in Psychological Medicine, sheds even more light on the detrimental effects of loneliness on young adults in particular. Lonely young people are more likely to experience mental health problems and more likely to be unemployed than their peers.

For the paper, titled "Lonely young adults in modern Britain: findings from an epidemiological cohort study", over 2,000 British 18-year-olds were asked questions such as ‘How often do you feel you lack companionship?’ and ‘How often do you feel left out?’ and quizzed about their mental and physical health, lifestyle habits, education and employment. Their answers paint a worrying picture of the all-encompassing repercussions of loneliness.

The loneliest young adults were more than twice as likely to have mental health problems

The loneliest young adults were more than twice as likely to have mental health problems, such as anxiety and depression, to have self-harmed or attempted suicide. They were also more likely to have been to their GP or a counsellor for mental health problems in the past year.

The impact of loneliness stretched to education and employment, too, with a fifth of the loneliest 10% of respondents not in education, employment or training (NEET), compared to a tenth of non-lonely respondents. The loneliest group were also less confident about their career prospects.

Loneliness was also linked to physical health, with the loneliest participants less likely to be physically active, more likely to smoke, and more likely to use technology compulsively, in favour of other activities and obligations.

"We are a social species by nature, and being deprived of human connection and companionship is entirely contrary to that nature," lead author Dr. Timothy Matthews, from the Institute of Psychiatry, Psychology & Neuroscience (IoPPN) at King’s College London, told Refinery29. "But it could also work the other way around – having mental health problems can itself be a very alienating experience and leave people feeling lonely and marginalised." The study is therefore not causal, he added, but a descriptive snapshot of what's going on in lonely young adults' lives.

Young adults may be particularly prone to loneliness compared to other demographics, he said, because of the changes inherent in the transition from adolescence to adult life. "Young adults are at a stage of life where they’re leaving school, moving out of the family home, possibly to a new town or university, they’re trying to make new friends and find a long-term partner, and generally find their place in the world. It’s a time of great upheaval in their social lives, and that can be a big challenge for some individuals."

Anyone can feel lonely in a crowd, but this feeling is especially common for people with social anxiety. To these people, Dr. Matthews recommends "starting small" to overcome feelings of loneliness, for instance by volunteering for charity, and having positive expectations about social encounters.

"If you approach people thinking that they're going to judge you negatively, that’s going to affect how you behave towards them. Take an optimistic approach, and the more positive feedback you get, the more that optimism will grow."

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2018 marks the 100th anniversary of the first time (some) women were legally able to vote in the UK. Leading the fight for equal voting rights was Millicent Fawcett, a suffragist who also cofounded a Cambridge University college. To celebrate the centenary, Turner Prize-winning artist Gillian Wearing is today unveiling a statue in Parliament Square of Fawcett holding a placard that reads "Courage calls to courage everywhere". It's the first statue in the square both of and designed by a woman.

Further commemorating Fawcett's message, Wearing has also collaborated with designer Bella Freud on a range of T-shirts and tote bags, with all sale proceeds going to the Fawcett Society, a group that has been campaigning for gender equality for 150 years. With sartorial choices key to political movements – whether it's the green, white and red rosettes worn by the suffragists, or the Black Lives Matter T-shirts worn by those highlighting police violence in America – the collaboration seemed like a fitting way to mark the statue's unveiling. "Fashion can be used to express ideas regarding politics and art, and that fashion can be a way to open up discussions and thoughts; someone holding a banner can do the same," Wearing says.

The line is made up of a white T-shirt and black tote bag reading 'SUFFRAGETTE CITY' in Freud's signature slogan text, plus a pin badge with a quote from the designer's great-grandfather, psychoanalyst Sigmund Freud, that says "What do women want?" The collection will be expanded this autumn, too, with a new knit, brooch and tea set. Ahead of the collection launch, live on Matches Fashion today, we caught up with Wearing and Freud to discuss what they admire about each other's work, what feminism means to them today, and who their modern-day suffragettes are.

What do you love about each other’s work?

Gillian Wearing: I love Bella's clothes; the cut, design, how she can elegantly put text into her garments, with messages that can be fun, irreverent or political. She has a unique wonderful vision.

Bella Freud: I really like the look of Gillian's work, which may seem like an obvious thing to say. I find her pictures thought-provoking, the things she chooses to show, the people holding placards with words, the girls wearing T-shirts with odd words on – they stir me up – and I like that. I think I have seen everything in the picture but I can't stop looking and I see more and more.

Why was this an important collection for you to create?

BF: I was happy that Gillian chose me to work on the collection. I love her work and wanted to create something parallel in the merchandise that people can buy into. I tuned into the feeling of women and our different ways of protesting and demanding change. When people are demonstrating it is a serious business but there is a feeling of joy and camaraderie, which is so uplifting.

What was the creative process like?

BF: The process of interpreting the feeling of an idea into an aesthetic is my favourite part of designing. The song "Suffragette City" is so visceral and reminds me of a punk rock energy which seemed like a good match for the modern suffragette.

What does feminism mean to you in 2018?

GW: The same as it has always meant, and that is equality. The word will always be around, even when true equality has been achieved, and then it will be as a reminder that others fought to get those rights.

BF: A woman who can be demanding and feminine, if she wants.

Who is a modern-day suffragette?

GW: I think there are modern-day feminists but not suffragettes; suffrage means the right to vote. Caroline Criado Perez, who started the campaign for the Millicent Fawcett statue and having a woman represented (other than the queen) on a banknote is a modern-day feminist.

BF: I think of girls like Billie JD Porter, who is using her talent to mobilise young people to vote, so they can have representatives in the government who reflect their views. And Adwoa Aboah, founder of Gurls Talk, who is doing something really courageous, grown out of her own experiences, which she is sharing with other young people. The young women of today are all the modern suffragettes, they are showing us where equality is missing, they know where change needs to happen.

Bella Freud x Gillian Wearing's Suffragette City line is available at Matches Fashion today.

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In our increasingly visual, social media-saturated culture, where minor celebs flog weight-loss teas on Instagram and women's bodies are objectified everywhere, eating disorders (ED) and body image issues are most often considered a young person's problem. However, figures suggest the problem is stubborn among middle-aged women, with 3% in their 40s and 50s saying they have an "active" ED and 15.3% having suffered from one during their lifetime. Fewer than one third (30%) of these women report seeking help, suggesting that many more could be suffering in silence.

Here, one 28-year-old woman shares her experience of growing up with a mum, now 56, with disordered eating patterns and poor body image, and reveals the long-term damage it has had on her own relationship with food and perception of her body. As told to Natalie Gil.

My mum has an unhealthy, obsessive relationship with food. During mealtimes, everything that passes her lips is considered a guilty pleasure and she will often make a religious-style confession afterwards: "...and then I even had some cheese." There always has to be food around, but only in the smallest of quantities. She snacks constantly, but only a bite or two every hour or so, and she rarely eats a normal, structured meal.

Perhaps as a result of her "guilty pleasure" mindset, she minimises eating normal food to maximise her ability to eat "bad" foods. So instead of protein and carbs at mealtimes, she’ll have a slither of white bread followed by a tiny portion of cake, sweets or chocolate.

Growing up, I always thought this was a normal attitude towards food. I thought it was part of being a woman. The boys in our household ate normally; it was just the girls who had to watch themselves. I remember always being told from a young age: "You can’t just eat what you want, have small portions. You have a body like mine." Dinners at relatives' houses were always problematic. My aunt, who is the same age as my mum, would eat normal meals – not just a series of bites of cakes – but my mum always labelled her figure "fuller" and would say things like: "She enjoys eating."

As well as her unhealthy relationship with food, my mum has body image issues. She would often ask me if her bum or thighs looked big. She’d weigh herself every morning and comment on it throughout the day. "Today I weighed 200 grams less than yesterday! Whoopee!" she’d say, or "Today I’m 200 grams heavier than yesterday. I need to watch myself."

Growing up, I always thought it was normal to think about your body this way. I’ve never been medically "overweight" and always had a healthy BMI as a child, but I became acutely aware of my body and weight at about 8 years old. Every time my dad took a photo, I'd focus on my body. How fat did I look? From the age of about 10, whenever we went clothes shopping, my mum would always tell me I needed to find clothes for my "body type" as I had "large thighs". This made clothes shopping an unpleasant experience. My body was my fault – if only I ate less.

My body was my fault – if only I ate less.

Every time we went out for a meal, I’d look for the low-calorie option. By age 11 I was consciously trying to lose weight and watching what I ate. I was always told the calorie content of food, the importance of calorie counting, and always encouraged to eat calorie-reduced foods. My mum would return from the shops saying, "I bought this for you" and present low-fat cheese and low-fat snack bars. The boys in the family never got this treatment.

My mum’s relationship with food has definitely rubbed off on me and I’ve never had a positive body image. I’m obsessive with what I eat, calorie-count perpetually and see food as a guilty pleasure. I always know what I’ve eaten and can give a pretty accurate estimate of the calories in most meals. I don’t know how to gauge my body’s hunger level; instead, I think, "Do I have the right to enjoy the next calorie fix?"

I’ve had a number of eating-related problems over the years, including purging, starving myself if I knew I was going out drinking, extreme dieting and a serious gym obsession. I’d exercise every day for at least one-and-a-half hours and "indulge" in three-hour workouts at weekends. I’d cancel social plans to go to the gym and repeat chants during my sessions: "You’ve got to pick up the pace, you’ve got to pick up the pace, you’ve got to pick up the pace – you fat bitch."

I also developed a nighttime eating disorder where I’d turn to food during periods of stress. I’d restrict my calories so severely during the day, on top of my long workouts, that I’d wake up starved in the night and binge at 3am, almost in a trancelike state. I’d feel so guilty the next day that I'd skip breakfast and lunch. I was prescribed antidepressant-based sleeping pills.

My body-image issues used to affect me in my relationships. If I wasn’t in top fitness condition, I wouldn’t allow myself to date men. I believed I didn’t deserve to be with a man unless I had a good body, which further perpetuated my gym obsession and calorie constriction. And when I did have sex, I’d expel a huge amount of mental energy worrying if my abs or bum were toned enough for the guy, taking me out of the moment.

I’m still unhappy with my appearance and am always trying to lose weight, but I now strive for a more balanced approach. My relationship with exercise is more balanced, I eat at mealtimes, and focus on whole, healthy foods. I also place a high importance on sleep, rest and not seeing food as an illicit substance that I should feel "guilty" about consuming. I also avoid these conversations with my mum now. It’s reciprocal. I think she knows it upsets me.

I don’t really like being around her for extended periods and I feel nervous eating around her.

Our relationship has suffered. Every time I visit home, inevitably there will be a crying match. If I haven’t received a comment on how I look from my mum, I will end up asking for one. Usually I’ll get "You look great, keep doing what you’re doing," or "Yes you’ve put on weight. You don’t need me to tell you this." This will be followed by hours of discussion on what my action plan should be to lose weight, and me crying. I still love seeing her but it's marred by my negative past experiences and I get nervous beforehand. I don’t really like being around her for extended periods and I feel nervous eating around her. Have I lost enough weight? How will the reviews fare this time?

It’s only as I’ve got older that I realise my mum’s behaviour was – and still is – unhealthy. The biggest turning point for me was when I went to university and saw that other girls ate normal meals. They had food on their plates, just like men – meat, potatoes, bread – and they weren’t eating only salad to allow themselves cake.

I know my mum didn’t intend this for me. She loves me terribly and I think just "wanted the best" for me. She saw her food issues as a constant battle with the scale, and without her intending, it rubbed off on me. I’ve never spoken to her about the magnitude of my issues. I think it would break her heart if she knew. If I have children one day, I hope to be able to shelter them from this warped mindset, and focus on health and balance.

If you are struggling with an eating disorder, please call Beat on 0808 801 0677. Support and information is available 365 days a year.

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Four people were killed and two were wounded early Sunday after a gunman opened fire at a Waffle House in Antioch, TN. The shooting might have been worse, if not for a good guy without a gun.

James Shaw Jr., 29, told The Tenessean he was at the restaurant in the Nashville metropolitan area with a friend when suspect Travis Reinking began firing his AR-15 rifle. They took cover behind a swinging door near the restroom area, but Shaw quickly figured out they were sitting ducks.

Then, the gunman stopped shooting for a second — presumably to reload his rifle. Shaw, who was unarmed, saw his opportunity: He sprinted towards Reinking, knocking him to the ground. They wrestled for control of the firearm, but Shaw was able to grab it and throw it over the restaurant counter.

Once Reinking found himself without his rifle, he ran away. He remained at large Monday. Authorities said he is armed and dangerous.

Authorities said Reinking was arrested by the U.S. Secret Service in July 2017 because he was in a restricted area, asking for a meeting with President Donald Trump. After his arrest, police seized his guns, including the AR-15 rifle he used at Sunday's shooting. Authorities believe the weapons were given to Reinking's father and he returned them to his son.

The victims of the shooting were identified as Taurean C. Sanderlin, Joe R. Perez, Akilah Dasilva, and DeEbony Groves. The White House has yet to issue a statement about the incident.

Shaw, who also created a GoFundMe page to help the families of the victims, has been deemed heroic by many — but he rejected the label.

“I’m not a hero. I’m just a regular person,” Shaw said in a press conference hours after the shooting, adding that he took action because he didn't want to die and leave his four-year-old daughter orphaned.

James Shaw Jr., who tackled and disarmed the Waffle House shooter: “I’m not a hero, I’m just a regular person ... I chose to react because I didn’t see any other way of me living” pic.twitter.com/564qV4mJss

— BuzzFeed News (@BuzzFeedNews) April 22, 2018

Shaw's actions also disproved a theory floated by gun rights activists during the recent uptick in mass shootings: the one where a "good guy with a gun" stops a shoote r.

After a resident engaged with a gunman who opened fire at a small church in Sutherland Springs, TX last November, many hailed the heroic man as an example of what a "good guy with a gun" can do. But the unfortunate reality is that the shooter got away with killing 26 churchgoers before the resident tried to stop him as he was leaving the church. And when a student killed his ex-girlfriend and wounded a classmate at the Great Mills High School in Maryland, it was said that he was stopped by a school resource officer — a "good guy with a gun." It turned out the shooter died by suicide.

Only 3% of gunmen are stopped by civilians using a firearm, according to an FBI report looking into active shooter incidents between 2000 and 2013. By contrast, unarmed civilians like Shaw were able to stop about 13% of shooters. (However, the majority of active shooter situations in that period ended because the gunman fled the scene, died by suicide, or stopped shooting.)

Furthermore, the Washington Post reports that it's more likely than a victim is killed in the midst of a crime than they're able to use a gun to defend themselves. According to data analysed by the Post, for every "justifiable gun homicide" in 2012 — when a firearm is used in self-defence — there were 34 criminal gun homicides, 78 gun suicides, and two accidental gun deaths.

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Westworld 's Thandie Newton isn't as enthusiastic about the recent Time's Up movement as her Hollywood peers. Back in 2013, well before #MeToo ripped through the industry, Newton spoke up about an experience she had with a director, but told News Corp ahead of the HBO show's Sunday night premiere that she wasn't popular enough for Time's Up to include her in the movement.

"I wasn’t hot enough," she told the outlet. "I wasn’t mainstream enough and I wasn’t going to be at the Oscars this year, even though I am having a renaissance in my career."

The initial faces of the movement included Reese Witherspoon, Shonda Rhimes, America Ferrera, Ashley Judd, Eva Longoria, Amber Tamblyn, Kerry Washington, Lena Waithe, Natalie Portman, Emma Stone, and other actress who dominated the 2018 award season.

The incident she mentioned allegedly occurred during a second audition when she was a teenager, she told CNN five years ago.

"The director asked me to sit with my legs apart; the camera was right positioned where it could see up my skirt" and then the director told her to "put my leg over the arm of the chair, and before I started my dialogue, think about the character I was supposed to be having the dialogue with and how it felt to be made love to by this person."

This is inappropriate on its own, but years later Newton was told that this same director showed the video at parties to entertain guests.

On Twitter, Jessica Chastain, who has been an extremely vocal part of the movement, has responded to Newton's claims.

"I invited you to the first meeting at my house Nov 27th but unfortunately you were out of town. It wasn't called #TimesUp cuz we didn't have a name," she wrote. "It was just a group of actresses coming together to see how we could support the brave women coming forward & create lasting change."

She added, "You, and so many others, were so brave to speak up & start this movement. It is my goal to make sure it will never be in vain. I will always support you and what you did."

I invited you to the first meeting at my house Nov 27th but unfortunately you were out of town. It wasn't called #TimesUp cuz we didn't have a name. It was just a group of actresses coming together to see how we could support the brave women coming forward & create lasting change

— Jessica Chastain (@jes_chastain) April 23, 2018

While the actress says it was "very painful" to be left out, she doesn't regret coming forward about the experience.

"I felt if there was one girl whose family was thinking about putting their child into show business, that would help them decide," she continued in her News Corp interview. "That was all I cared about."

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Two white police officers wrestled a Black woman to the ground at a Waffle House in Saraland, AL, exposing her breasts in the process. The men also choked her and told her they would break her arm if she didn't stop resisting arrest, according to a now-viral video of the incident early Sunday. The violent arrest has drawn comparisons to a racial-profiling incident last week where two Black men were arrested at a Starbucks in Philadelphia, PA.

The video shows Chikesia Clemons, 25, sitting in a chair and speaking with Saraland Police officers briefly before the men pull her down to the floor of the Waffle House. While the officers try to flip her over to handcuff her, she appears to be conscious of her top and tries to cover herself.

But as she struggles with the officers, her clothes come down, revealing her breasts while the rest of the patrons look on.

"What are you doing?" Clemons asked the officers. One of them responded: "I'll break your arm, that's what I'm about to do."

The video was shot by Canita Adams, a friend of Clemons. At one point, one the officers put his hands around Clemons neck, to which she yelled: "You’re choking me!"

Clemons' mother Chiquitta Clemons-Howard told AL.com that her daughter was charged with disorderly conduct and resisting arrest. According to the mother, the incident began because Clemons was told by a Waffle House employee that plastic utensils costs an additional 50 cents.

Clemons and Adams reportedly told the woman that they had not been charged additionally for the plasticware when they bought food from the same Waffle House the night before. The employee then allegedly cancelled the order and Clemons asked for the contact information of the food chain's district manager.

"They didn't even ask her to leave, she was waiting for them to give her the district manager's card so she could file a complaint on one of the waitresses," Clemons-Howard said. "When they went to go get the card, that's when the police showed up. The officer should've come in and said we need you to leave."

The Mobile chapter of the National Association for the Advancement of Coloured People, better known as the NAACP, is making sure the incident is investigated. At the national level, the organisation is also monitoring the situation.

"The violent arrest of Ms. Clemons is something that we can't let go," Ngozi Ndulue, the NAACP's senior director of Criminal Justice Programs, told Refinery29. "Often the conversation about police violence is focused on the treatment of Black men, and that's important, but we also know that Black women are at risk of police violence."

Ndulue said that it's important to talk about violent arrests like Clemons', but also of the issue of sexual assault Black women can face at the hands of police officers, like in the case of Charnesia Corley.

A spokeswoman with the Saraland Police Department announced Sunday that Clemons' arrest is being investigated.

"The Saraland Police Department is aware of the arrest at Waffle House and the accompanying video on social media," Det. Collette Little in a statement. "The situation is being thoroughly reviewed and is under active investigation right now. Our department strives for transparency and we encourage our community to be aware of current events."

But Ndulue said that an independent investigation into the arrest could be a better course of action.

"The evidence of police abuse shouldn't be investigated by the prosecutor that police works with day-to-day," she said. "There should be transparency about this. The information they're getting in their investigation should be released to the public in a timely manner."

She added that the public should know what, if any, disciplinary measures will be taken and what's the procedure around those.

"Seeing how this incident is actually handled is going to say a lot about whether the police department's investigation is serious about true accountability," she said.

Ndulue also said it's important for consumers to pay attention to the interaction between police departments and private businesses.

"This is a police problem, but also a societal problem. A lot of negative police interactions can start in the private sphere. We need to think about how businesses are showing an affirmative commitment to being places that we can go to without fear that at the slightest conflict law enforcement is going to be involved," she said. "We need to hold business owners and leaders accountable for the way they're treating us as consumers, and one of the things we have is the power of our purse. We can send the message that we're not willing to be treated as second class citizens."

The Alabama incident happened on the same day a gunman killed four people of color at a Waffle House in the Nashville metro area.

Refinery29 reached out to a Waffle House spokesperson for comment. We'll updated this story if we hear back.

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Global fashion search platform Lyst has released the latest instalment of the Lyst Index Q1, its quarterly report charting and analysing the most sought-after trends, brands and items of the season. Business of Fashion has broken down the data, revealing some interesting changes in brand popularity.

The most compelling news is that Gucci, which was the brand of 2017 according to Lyst's Year In Fashion 2017 report, has been kept in second place by the Demna Gvasalia-led Balenciaga for a third consecutive quarter. Gucci, under the creative directorship of maximalist Alessandro Michele, may be parent company Kering's multibillion-pound baby, but these statistics prove that the industry-wide impact of Balenciaga's streetwear aesthetic is only growing.

This could also signal a waning in popularity of Gucci's vintage-inspired prints-and-all look. While the brand held four of the top five products sold last year, this has now dropped to just two of 10: its consistently searched-for Pursuit Striped Rubber Slides and GG Logo Belt.

While you may have heard rumours of Vetements' downfall, sparked by HighSnobiety's March article, Lyst's data tells a different story. Climbing two positions to take third place, Gvasalia's own brand Vetements sits confidently near Balenciaga, arguably making him the most influential man in the industry today, inspiring a host of brands to take on the oversized puffer jacket and sock boot styles.

Virgil Abloh's appointment at Louis Vuitton – huge news as the French house's first African-American artistic director, and a designer with no formal training at that – has clearly had an impact on the popularity of his label Off-White. Coming in at number four, Lyst reports a 10% increase in searches for the brand on the day the news was announced in March.

Proof that streetwear reigns supreme comes in the form of Prada climbing 14 places to rank 11th. Miuccia Prada's "return to her nylon roots" has seen huge success for her feminine-athleisure mash-up aesthetic of belt bags, gabardine track pants, bucket hats and Tech-fly trainers. Consumers are also delving into pre-owned sites like Vestiaire Collective for archival pieces. According to Lyst, Louis Vuitton's classic Neverfull tote bag is the number one Q1 product – the first designer resale product to make the list and a clear indication of our lust for an 'iconic' piece.

A nice addition to the top product list is a Topshop staple that we're pretty sure every woman has owned at one time or another. The brand's high-waisted super skinny Joni Jeans may come in 18 colours now, but it's the classic black pair that ranks number nine in Lyst's top 10. Now, just to save up for some Balenciaga.

Here are the products and brands that Lyst found most popular in Q1 of 2018:

Top Products

1. Louis Vuitton Pre-Owned Neverfull Bag
2. Golden Goose Deluxe Brand Superstar Metallic Sneaker
3. Gucci Pursuit Striped Rubber Slides
4. Acne Pale Pink Clea Bomber
5. Gucci GG Logo Belt
6. Maison Margiela Paillettes Ankle Boots
7. Balenciaga Speed Trainer
8. Off-White Black Brushed Diagonal Hoodie
9. Topshop Black Joni Jeans
10. Loewe Leather Trimmed Woven Rafia Tote

Top Brands

1. Balenciaga
2. Gucci
3. Vetements
4. Off-White
5. Stone Island
6. Givenchy
7. Moncler
8. Dolce & Gabbana
9. Yeezy
10. Valentino

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More than a year after disappearing from high streets, American Apparel is relaunching in the UK as an online-only outlet.

After filing for bankruptcy and closing all 13 of its UK stores, the brand was bought by Canadian company Gildan, who relaunched it as an online outlet in the US last August.

Now, Gildan has announced that a dedicated UK online store will launch from today.

Marketing director Sabina Weber told Campaign Live: "The UK is a loved and important market for American Apparel and customer demand made it easy for us to make the decision to enter back into the market."

A new @americanappareluk Instagram feed has already been launched, with posts tapping into nostalgia for the brand's signature items.

Remember all those selfies you took in our Fisherman Pullover? #AmericanApparelUK #AmericanApparel

A post shared by American Apparel UK (@americanappareluk) on Apr 13, 2018 at 4:38am PDT

American Apparel was founded by Canadian business Dov Charney in 1989. At its peak in 2011, it had more than 250 stores worldwide.

Though the brand was praised during its heyday for making clothes in sweatshop-free facilities and paying workers a living wage, it also attracted plenty of controversy. Its overtly sexualised advertising campaigns, often featuring very young models, were widely criticised and even banned.

The brand's image was tarnished further when Charney became the subject of several sexual harassment lawsuits in the noughties. He was eventually fired as CEO in 2014.

Speaking in December, marketing director Sabina Weber said the new American Apparel wants retain its "sexy" image, but without slipping back into exploitative bad habits.

“We don’t believe in covering up,” she told Adweek. “Women feel so conflicted about being sexual right now, but we’re taking a position to still be sexy, unapologetically so, but from an empowered female perspective.”

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This morning, the first ever statue of a woman was unveiled in Parliament Square, central London, otherwise known as the heart of our democracy. Prime Minister Theresa May, the Mayor of London Sadiq Khan, and feminist and author Caroline Criado-Perez, who spearheaded the campaign, all gave speeches to mark the event, while the likes of Jeremy Corbyn and London's Night Czar Amy Lamé were also in the crowd.

It's a momentous occasion, not least because 2018 marks a century since many British women over 30 won the right to vote, but also because the bronze figure, of leading suffragist Millicent Fawcett, is the first in the square to have been designed by a woman, the Turner Prize-winning conceptual artist Gillian Wearing OBE.

When Khan announced the historic plan back in September, it marked the culmination of tireless campaigning by Criado-Perez, who also won the battle to have a woman (Jane Austen) featured on the new £10 banknote. Her change.org petition, launched two years ago, garnered 85,000 signatures and was one of the first things to land on the new Labour mayor's desk. "I wanted to see if this 'proud feminist ' was up to scratch," she told the crowd during her speech today. Indeed, he lived up to his word. Statues matter because "they're a symbol of our values," Khan told the crowd. "They remind us of some of our most important battles – against slavery, against fascism, and now gender inequality."

The statue shows Fawcett, who was just 19 when she began campaigning for women's suffrage, holding a banner that reads "Courage calls to courage everywhere", a quote taken from a speech she gave after the death of fellow campaigner Emily Wilding Davison at the 1913 Epsom Derby. The sentiment struck a chord with the young women and girls in attendance.

"It's important to recognise that there are women who have been important in history," 16-year-old student Ammarah Khan told Refinery29. "Seeing this statue at a younger age might have pushed me to realise that there are lots of successful women as well as men." American tourists Julie and Robert Erskine said that while they "just stumbled across" the unveiling, they thought it was crucial to have a woman represented in Parliament Square because "she's inspirational too". "It's a male-dominated society so we might as well pay attention to the women who paved the way for the rest of us," Julie added. Too right.

We asked people what they thought of the statue and which women they'd like to see turned into bronze next.

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The fastest way to get over someone is to get under someone else, right? Well... maybe. While it may work that way for some people, rebound sex isn't always a good idea, says Rena McDaniel, MEd, LCPC, a gender and sex therapist in Chicago. And, it's definitely not a necessary part of moving on.

Just like there's no one right way to have a relationship, there's no one right way to get through a breakup. So, the benefits of rebound sex for one person might be the exact thing that makes another feel worse. It all depends on the reasons you want to have rebound sex.

"If someone is giving themselves the space they need to feel their feels about the breakup, to process the relationship status change and loss of a partner, to communicate clearly to their rebound sex partner, and is able to use rebound sex as a way to reconnect with their body and their sexuality (with lots of great endorphins), then it can be a helpful part of the breakup process," McDaniel says. Essentially, you have to go into it with good intentions, not because you want to get back at your ex or prove to your friends that you're over the breakup. Instead, rebound sex should be about reconnecting with your sexuality outside of your ex-relationship.

On the flip side, rebound sex isn't a good idea if you're using it to escape your emotions, McDaniel says. "If someone is using breakup sex as a way to avoid processing their feelings or doing self-care, if they aren't being clear with their breakup sex partner about what the encounter is, or if they don't feel ready to have sex again, then rebound sex can feel depleting and empty," she says.

While you won't always know if you're having sex for the right reasons (we're human after all), McDaniel says listening to your body and how you feel before, during, and after sex can help you realise if you're ready. "If it feels good even after the encounter, and you're still giving yourself space to process the breakup and for self-care, you're probably on the right track," she says. "If you find that you have a negative emotional reaction after the experience, that might be a sign to take a step back and re-focus on yourself."

So be honest with yourself and check in on your feelings before you go out to have rebound sex. It absolutely can be a helpful part of your healing process, but if you're going into it for the wrong reasons, it can also make you feel worse.

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Thousands of students across the country turned out for the National School Walkout on April 20, calling for gun-safety measures like universal background checks that would help protect them at school. While it's perfectly legal for kids to exercise their first amendment rights at school, administrators do have a right to discipline them for being absent from class.

On the day of the walkout, some school districts were more supportive of the young activists than others. In some schools, just a few students walked out — at times, just one brave soul. Lindsay Henning, an 18-year-old senior at North Penn High School in Lansdale, PA, a large suburban school just north of Philadelphia, was one of three students to walk out last Friday. Her tweets got supportive responses from all over the country, as many students found themselves in the same situation. This is her experience, as told to Natalie Gontcharova.

It was in a group chat a little while back where Dakota Drake, one of the two girls who protested with me, mentioned the walkout. I was exuberant and said, “Sure, I’ll do it!” but wasn’t sure of the seriousness of the situation. I had gone downtown to Philly and joined the March for Our Lives a month ago and had also gone to other protests like the Women’s March, so this wasn’t a new thing for me.

It was at 6:56 a.m. on the day of the walkout that I got a follow-up text from Dakota saying, “Will you really do the walkout with me?” Being me, I was definitely up for it. Dakota, Brittany Crosson (the third girl), and I met in the art room that morning. Our signs were made, and we all had emailed today’s teachers, letting them know that we were not going to be in class. Some people had asked what we were doing and they told us that they might join us, but as far as we knew it was only going to be us three.

This is a nationwide protest that is blasted out on social media, which sits at the fingertips of all 3,000 kids that go to our school, so we thought maybe a few others had made arrangements like we did. At this point, the reality was that the school was going to treat it like we were cutting class. All of us respected that and were ready to face our consequences even though it was so close to both prom and graduation.

When 10 a.m. rolled around, it was time to leave. Thankfully, my teacher had no comment on the subject. But Dakota’s teacher started threatening her that she was going to write her up and said to make sure the administration knows if she leaves class. Nonetheless, we picked up our signs and headed to the front of the building. Security warned us that they would not be permitted to let us back in once we walk out those doors, but that did not scare us. Later, the security guard told us our principal said we can go back in and use the bathroom or go to class if we wanted to. I’m pretty sure it’s because they realised that we weren’t disrupting anything and we were respectful.

And so, we took a seat on the bottom step of our school’s front entrance and sat there until the end of the school day. The first half hour was brutal and we all thought, "How are we going to sit here for another four hours?" But by the end of it, we were all kind of surprised by how time flew. One of the teachers even ordered pizza for us. It was most definitely worth it.

Hey hey, ho ho, there’s only 3 people at my schools walkout today but the NRA has got to go! #NationalSchoolWalkout #neveragain pic.twitter.com/DsTGrhMJhM

— Lindsay Henning (@Niallsdaises) April 20, 2018

Each of us had our own drive to sit there in the cold that day, and we happily explained it to the many people who asked what we were doing. Dakota said to me, “A lot of people commented on how brave we are, but I don’t really see it as being brave. It’s taking a stand for what we believe in.” This wasn’t something I was shaking from the nerves of doing, and it definitely didn’t feel like I needed much outstanding courage to do so because it was what felt right in my soul. At times, especially when someone I knew to be more popular than me or someone I thought was cute walked past, I felt a small amount of anxiety, but then I remembered instantly that they are the ones not out here fighting for what they believe in and my confidence rose up again.

Brittany said, “I was thinking I’d be the only one out there. I was still determined to go.” I know many people may say that we only did this to get out of class, but that was not it at all. In fact, we all had our books out at some point, doing something or catching up on something that we missed.

We live in a small suburban town outside of Philadelphia, but our school district is pretty large. There are about 1,020 kids in our graduating class and our area is not very conservative; it's actually pretty moderate. We had a much larger walkout on March 14, where most of the school participated while we stood for 17 minutes of silence for the 17 victims at Marjory Stoneman Douglas High School in Parkland, FL. That had been approved and organised very nicely, and much more professionally, but, as Brittany said, “We organised [this one] amongst ourselves and not the teachers, [so] it didn’t get [as much] publicity.”

It is also the end of April, which means prom and graduation are right around the corner, and I know a lot of kids don’t want to have to miss one of those because of an unexcused absence, or they’re keeping their record sharp for colleges. I respect that, especially since in the beginning it was pretty much set in stone that we were going to get detentions or some other consequences for walking out. Many kids are very codependent on what their friends are doing in situations like this one, and I can’t say that if it was just me going out there that I would have done it.

A lot of people commented on how brave we are, but I don’t really see it as being brave. It’s taking a stand for what we believe in.

At this time in our lives, politics are put on the back burner because we are getting ready to start a whole new life that we haven’t experienced before, but to me, and I know for the other two girls, this is a situation that is going to affect our adult lives and we wanted to take as much action as we could.

I have felt an incredible amount of support from the staff and teachers. I know it is not only our lives that are vulnerable in these situations, it is theirs, too, and I understand that they are not permitted to leave and join us because their jobs and careers may be at risk. I also didn’t hear anything negative from the students; most of them were very supportive and stopped to talk or read our signs on the way in and out.

I feel that there needs to be more gun control in this country. I'm not saying we should ban all guns and take them away from everyone, but we need to get a grip on it because it is getting worse and worse every day. I just hope the next time I see this in the news, it is because something is changing, and not because another tragic event has occurred.

This interview has been edited and condensed.

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When news broke that producing one T-shirt requires the amount of water a person drinks in two and a half years, I think most people had a come to Jesus moment and realised that fashion is seriously straining Earth's resources. According to a report by the Ellen MacArthur Foundation, the textile industry emits more greenhouse gasses than international shipping and aviation combined. After years of being guilted into paying an extra fee to compensate for gasses when booking flights, has it become time for fashion to do the same? Should all wash instruction labels come with CO2 emissions numbers and amount of water polluted for the production of each garment? And should all consumers be charged extra for said numbers? It would certainly help consumers being more conscious in their choices which would snowball into forcing manufacturers to think twice before double dyeing a £5 top.

Or, can manufacturers and designers alike come to the realisation that the planets resources can’t be abused without consequences and come up with new ways of producing fashion?

In the spirit of Martin Margiela and his groundbreaking concept of making haute couture from only repurposed materials (as it is well documented at the exhibition Margiela/Galliera, 1989-2009, currently on display at the Palais Galliera in Paris) as the first syndicated by Fédération de la Haute Couture et de la Mode, we're featuring a string of young designers who have chosen different ways of creating less environmental impactful garments without compromising forward-thinking and trendsetting design.

First up, Benjamin Alexander Huseby and Serhat Isik, the Berlin based-duo behind the two-time LVMH Prize-nominated brand GmbH.

How did you decide to start repurposing fabrics and garments for your collections? And what is the reason behind it?
"One reason was that it was cheap, and therefore made it easy to make our first collection. But, of course, we are very conscious that fabric making is the biggest polluter in the fashion industry. Also, conceptually we love the stories behind a pre-worn garment."

Did you experiment with repurposing already in school?
"Yes we did. For instance, Serhat once made clothes for his stuffed animals from his old black velour pyjamas when he was six years old."

How does the used materials affect the designs? Do the materials inspire the design or do you find materials to match your designs?
"It’s really both, and a back and forth between the two. We always have ideas for garments we want to use, but also some materials lend themselves to specific purposes. Mostly the garments we use are the gateway to telling our stories because it brings up certain memories. The selection is very personal and only made by us — even for production."

If the latter is the case, how hard is it to find those materials?
"For reclaiming materials, we always research if it’s a kind of garment we can find enough of for production."

Does repurposing make the production chain less or more difficult?
"It makes it very artisanal, as every piece have to be hand cut and designed in our studio. The garments are never the same."

How do you quality check your garments?
"In addition to the factories test, mostly by us and friends wearing them."

How does it change the price point?
"The materials and hours to make the artisanal garments is generally very high. But recycled yarns and deadstock fabrics are generally cheaper."

Do you have any idea as to how much of your collection is currently from used materials?
"Reclaimed materials is about 10%, recycled materials is another 10 %, and then deadstock fabrics is about 40%."

Do you have plans of making your collection from 100% repurposed materials in the future?
"We're aiming to make it 100% from either reclaimed, recycled, deadstock, organic, or biodegradable materials."

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The landscape of spiritual workers and healers is wide and ranging, from tarot readers to mediums to astrologers to numerologists to empaths. These are the labels they use to define themselves, but, more often than not, they'll follow their main label up with another descriptor: "intuitive."

Most of us think of our intuition as our "gut," the instincts that kick in when we feel like something is off or a bad idea. Sure, it can keep us from going on a sketchy blind date, but our intuition doesn't usually help us commune with the other side or divine future events.

To get a better idea of what intuition means to people working in spiritual spaces, we posed the following questions to five such women: How do you define "intuition" for yourself? What aspect of your spiritual practice and work benefits from your intuitive skills?

As mystical as the professional title "intuitive" might sound, the women we spoke with described their abilities in highly sensible, practical terms. Intuition is like a muscle — you need to train it and use it regularly to maintain its strength. Intuition is best utilised if channeled through a more tangible medium, like numerology or tarot. And, most resoundingly, they also made it clear that everyone, spiritual or not, does have a sense of intuition that they can hone beyond that gut feeling. It's just up to the individual whether they choose to do so or not.

Read on to learn more about what intuition means to those who use it in their work every day.

Responses have been edited for length and clarity.

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We hear it all the time. In fact, we ask it a lot ourselves: Why is fashion so damn expensive? A lot of factors go into the cost of a garment, but what we tend to forget — at least when it comes to the high-end level of retail — is the time it takes to make each piece. (And don't even get us started on haute couture.)

At its spring 2018 show, Dior presented a slew of what the French fashion house's premiere female artistic director Maria Grazia Chiuri might deem essentials of the nouveau feminist's wardrobe: denim, workwear, and more. But there's one look that's worthy of its own headline, even a month or so after the fact: a knitted romper that took 86 hours to make.

That's right. It's possible that your go-to bodysuit, once the easiest piece in your closet, was just made complicated; all in the name of fashion, of course. Inspired by the work of feminist artist Niki de Saint Phalle, the knitted one-piece was composed of 27 motifs (see: a dinosaur, stars, a heart) and took a full week's worth of knitting to pull off. By the numbers, you're looking at 24 hours to design and conceptualise, 86 hours of knitting and embroidering, six people (including five dedicated seamstresses), and a pound or so of wool.

Though it's currently on sale for £5,000, its cost shouldn't change the fact that watching fashion come to life is something of a spectator's sport, and it may change your mind about stomaching sky-high price tags for clothes that double as art. Ever since Chiuri's takeover in 2016, sales for Dior continue to exceed 40 billion euros, with an increase in overall revenue by 12%. So hey, someone's buying it. While we continue to daydream about the magic that is high-fashion and its haute couture-like processes, watch the video below to see how the world's most elaborate romper came to life — and really, what makes fashion so cool.

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