Your 15-inch laptop display is feeling cramped, and you work in one place mostly. For

Every so often, when I’m in the grips of extreme procrastination, I scroll back through the old photo albums on my near-dormant Facebook account. Their titles are a mix of forgotten teenage in-jokes and once-beloved song lyrics (no doubt a hangover from the Myspace era, before Zuckerberg). The pictures, captured on the digital camera that accompanied me on every night out, look a little fuzzy now, compared to the ultra-high resolution of an iPhone. But they’re still sharp enough that you can make out all the hallmarks of Noughties fashion in every group shot. There are battered pairs of ballet flats. String upon string of fake pearls. Slouchy off-brand Ugg boots. Hi-shine, high-waisted disco pants, reflecting back the flash of my Canon. More waistbelts than the average episode of Gok’s Fashion Fix. I can practically smell the frazzled scent of burning hair, straightened to a crisp. All very nostalgic, all very cringe, all now thankfully relegated to the big Topshop in the sky. Or so I’d naively thought. Fashion’s relentless trend cycle comes for us all in the end and this year, it seems, the nostalgia pendulum has come to rest somewhere around 2007. Bella Hadid and Emily Ratajkowski have been papped strolling through New York City in beige Uggs. A waistcoat is acceptable – even chic on a night out – no longer the sole sartorial preserve of Steve Arnott from Line of Duty. Its more practical cousin, the gilet, is also back, ready and waiting to keep your torso warm and your arms cold. Kylie Jenner is wearing disco pants, paired with going-out tops of indeterminate length. Most triggering of all? The discovery that beloved Scandi brand Ganni is now selling a high-fashion version of the sole-destroying ballet flats that teenage me wore until they fell apart (typically after about two months of continuous use). It was inevitable that the trends of my adolescence would get re-tooled for a new generation somewhere down the line – that’s just how fashion works. But I certainly wasn’t expecting it to happen quite so quickly, or to induce such a stomach-flipping sense of vertigo. It’s only been exacerbated by a clutch of that era’s cultural figures re-entering the public consciousness. Pete(r) Doherty, once the poet laureate of try-hard indie teens, is cropping up everywhere (“ARE YOU WATCHING PETE AND LOUIS THEROUX????” my lifelong best friend urgently WhatsApped me the other night, reminding me of my teenage Libertines obsession). Waistbelt-wearing, bodycon-loving pop legends Girls Aloud may or may not be reuniting (please make it so!) and, erm, Call-Me-Dave Cameron is making a return to frontline politics. It’s enough to make you feel like a portal to the past has somehow opened up, Doctor Who-style (naturally David Tennant, who played the Doctor in the latter half of the Noughties, is reprising that role later this year). Noughties fashion is having a moment on screen, too. Emerald Fennell’s new film Saltburn stars Barry Keoghan as Oliver, a working-class student at Oxford who is befriended by the aristocratic Felix, played by Jacob Elordi; Felix later invites his new pal to spend the summer at his family pile. It takes place between 2006 and 2007, and these fictional freshers dress in authentic period finery: the three “Js” – Jane Norman, Juicy Couture and Jack Wills – superfluous beaded necklaces and daffodil yellow LiveStrong charity wristbands. The latter, of course, were a rubbery tribute to now-disgraced cyclist Lance Armstrong, which, for some unfathomable reason, became a must-have. When they sold out online, we’d go to bizarre lengths to source one. I distinctly remember sending an envelope covered in first class stamps to a friend of a friend of a friend, then receiving a rubbery bracelet in the post about a month later. I had only a vague idea of exactly who Armstrong was, really, but I liked the pop of colour against my white “Make Poverty History” band. To nail this very specific period look, Saltburn costume designer Sophie Canale made “mood boards mainly of my friends drunk on Facebook as inspiration”, she recently told Women’s Wear Daily. She sounds like a woman after my own heart. And just like my friends and I, Fennell’s characters love a good pair of Uggs – or at least, Ugg-adjacent copycats. So devoted was I to my tan knock-off versions that 16-year-old me carried on wearing them almost immediately after undergoing a knee arthroscopy (fake Uggs and crutches – a real fashion statement). My physiotherapist was horrified – and for good reason. In 2010, the British College of Osteopathic Medicine put out a statement imploring teenage girls like me to ditch their poorly-made imitation boots, warning that the lack of foot support could eventually lead to wear and tear on the ankles, knees and hips. “Just because something becomes a trend or fashionable doesn’t mean it’s good or right,” the organisation’s then-head Dr Ian Drysdale warned. Wise words indeed – but if I’d heard them at the time, I’d probably have rolled my eyes and gone back to trying to find the perfect footless tights to pair with my fleecy shoes. Ballet flats, with their similar absence of support, were pretty terrible for your podiatric health too, but it was a sacrifice we were willing to make in order to look a bit like Kate Moss. Looking good could be painful: after attending one friend’s 16th-birthday meal, I had to go home and lie down in agony thanks to waist belt-induced indigestion. Of course, Mossy, the patron saint of Noughties style, was on Canale’s radar when it came to dressing Saltburn’s students. The costume designer tracked down styles from the model’s first fashion collection for Topshop, which would have been seriously hot property around the period in which the film is set. More than 15 years on, I still have near-perfect recall of almost every piece, because I wanted them so much: the silvery halter-neck gown, the red skinny jeans, the patterned shorts crying out to be layered over a pair of 60 denier opaque tights. I’m pretty sure those designs are probably seared onto my poor, long-suffering mum’s memory, too. Like some sort of mini Miranda Priestly, I sent her trawling round all the Topshops in the Liverpool City Region to try and find the sell-out pansy print tea dress from Kate’s line. Why didn’t I do it myself? Too busy stomping around Snowdonia, attempting to get a bronze Duke of Edinburgh award, having been gaslighted into believing that this would prompt paroxysms of admiration from university admissions staff. She never did find the dress, but I managed to get hold of one years later, when Moss re-released some of her greatest hits to mark her final Topshop collection. It shrunk to unwearable dimensions after a few washes, but I still have it hanging in my wardrobe like a tiny floral trophy. Perhaps one day I’ll sell it on Vinted to a Gen-Zer who can’t remember the Noughties but likes the retro aesthetic (I’d have to label it “worn, with minor fake tan stains”, though). But most likely I’ll keep hold of it. The clothes we wear when we don’t quite know who we are or what we’re doing with our lives are a bit cringe-worthy, yes, but they’re also strangely endearing. Much as the rational part of my brain might be horrified by its baffling silhouettes and bizarre accessories, I’ll always have a soft spot for Noughties fashion – just don’t expect to see me in a waistcoat any time soon. Read More Chris Pine defends his short shorts Balenciaga divides with release of ‘absurd’ $925 bath towel skirt Women’s scarves and crocheted ties - what is Robert Peston wearing now?

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Red Bull advisor Helmut Marko was critical of an “enthusiastic” section of Mexican fans who booed Max Verstappen after Sunday’s United States Grand Prix. Race winner Verstappen, who saw off a late challenge from Lewis Hamilton though the Brit was later disqualified alongside Charles Leclerc, was jeered as he walked onto the podium in Austin. Then chants of “Checo” for Verstappen’s team-mate Sergio Perez were audible during the Dutch national anthem. Verstappen and Perez have endured a topsy-turvy relationship as team-mates, most notably clashing in Brazil last year when the Dutchman rebuked a team order to let the Mexican pass. F1 returns to Mexico City this weekend and Marko, who has previously apologised after referring to Perez’s ethnicity as a reason for his struggles this season, suggested it was only a particularly keen group of fans who were jeering. “We are in contact with a lot of Mexicans,” said Marko. “The majority are very friendly and fair, but there are always some let’s say enthusiastic people who don’t maintain the fair sporting standard. “But we have no concerns and are happy to go to Mexico.” Red Bull boss Christian Horner added: "I don’t think Max is going to get the warmest reception in Mexico! “But that’s water off a duck’s back. One year you are the villain, the next year you are the hero." Verstappen himself was unfazed by the boos, telling Dutch media: “In the end, I’m the one who takes the silverware home, so all fine by me.” Following Hamilton’s disqualification, Perez now has a 39-point lead over the Brit in the battle for second place in the world championship with four races to go. Read More Logan Sargeant earns first F1 point in bizarre circumstances Lewis Hamilton and Mercedes react to shock disqualification from United States GP Chaos as Lewis Hamilton disqualified four hours after finishing second in US GP

ORLANDO, Fla.--(BUSINESS WIRE)--Aug 1, 2023--

The week leading up to Formula One’s Las Vegas Grand Prix, on Nov. 18, will include all the

In 1948, an all-white corps de ballet was the norm in a place like Theatro Municipal, then the most-esteemed performing arts theater in Rio de Janeiro. Getting accepted into its company was all Mercedes Baptista wanted. While she had taken classes in the theatro’s ballet school, Baptista knew her chances were slim — especially as a Black ballerina. The last Black dancer who tried to join the company in 1945 wasn’t even allowed to register for the audition.

Some of the world’s most celebrated wines – and the historic cultures of the communities which produce them – are under threat, scientists have warned. The harvesting of grapes on steep slopes is known as “heroic” viticulture – named so for the difficulty in producing fruitful harvests on such challenging terrain, typically without the use of mechanised tools, and many such vineyards across Europe have been designated Unesco world heritage sites. But researchers have warned that farmers and scientists must work together to protect this centuries-old tradition in the likes of Italy, Spain and Portugal, where climate change is threatening to disrupt the delicate equilibrium cultivated and maintained for generations. Scientists set out their concerns in a paper last month published in the journal iScience, warning that soil degradation and drought – such as those which devastated swathes of Europe last year – are the most worrying risks posed by climate change. Furthermore, the researchers from the University of Padova warned of a simultaneous threat posed by the “rural exodus and a gradual abandonment of mountain landscapes” which have “characterised” the past 50 years. “The new generation is not attracted to continue working under extreme conditions if economic benefits are insignificant,” they wrote, and warned that the technological modernisation of society is “degrading” the rural cultural background of previous generations. “The risk is not only losing an agricultural product or seeing a landscape change, negatively impacting the local economy,” said lead author Dr Paolo Tarolli and his co-writers. “The risk is losing entire communities’ history and their cultural roots.” Vineyards are considered “heroic viticulture” sites if they have a slope steeper than 30 percent, are located on small islands or at an altitude higher than 500 metres above sea level, or if they incorporate vines grown on terraces – conditions key to developing the wines’ prized flavours. Some of the most famous examples include the Prosecco Hills of Conegliano and Valdobbiadene, Portugal’s Alto Douro region, and the Spanish Canary Islands. The increased frequency of weather extremes driven by climate change accelerates soil degradation, the researchers warned, pointing to the ability of intense rainfall to “quickly trigger slope failures” without optimum water conservation processes. Meanwhile, prolonged droughts can threaten already difficult and costly irrigation processes on such slopes. “The key to success lies in combining the traditional knowledge of winemakers with innovation and scientific rigor,” the researchers said. “In this way, farms can work closely with scientists to optimise investments for a more functional, sustainable, and safe agricultural landscape – a winning alliance to face these diverse natural and anthropogenic challenges.” The warning came just days after researchers at the University of East Anglia and London School of Economics suggested that climate change is likely to increase the potential for UK wine production over the next two decades. Wine growing conditions in parts of the UK could grow to resemble those in famous growing regions of France and Germany, they suggested, with new areas in England and Wales finding they are able to grow varieties rarely found at present, including still pinot noir, sauvignon blanc and riesling. But, the study published in the journal OENO One also warned that British weather will remain unpredictable, and that producers will therefore need to remain “agile”. Read More Why climate change could be good news for UK wine ‘A new way of looking at whisky’: The rise of English distilleries Independent Wine Club fair weather friends: Wines for summer sipping Follow your tastebuds to find the hidden Algarve, a foodie’s paradise far from the madding crowd