Soft armour, pert nipples: how London design team made Kim Kardashian’s Met Gala breastplate

Whitaker Malem worked with pop art sculptor Allen Jones, visual artist Nadia Lee Cohen and a car bodyshop in Kent

At Monday’s Met Gala, it inevitably fell to Kim Kardashian to deliver the evening’s biggest jolt. One of the few celebrities to straightforwardly interpret the “fashion is art” dress code – which focused on how the dressed and undressed human body is the through-line in most works of art – she decided to forgo her usual role as a walking billboard for a major fashion house and instead arrived in an orange fibreglass breastplate created by a small east London art duo and a car bodyshop in Kent.

“Good art should start conversation, and Kim did exactly that,” says 61-year-old Patrick Whitaker, half of the design practice Whitaker Malem, who made the breastplate just weeks before the gala. “She was very clear on wanting a breastplate, very clear on the car body finish. And I think she was nervous really. She understands the competition.”

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Why is Silicon Valley suddenly obsessed with being tasteful?

Whether it’s Palantir selling a $239 chore coat, Anthropic taking over a coffee shop or executives walking the red carpet at the Met Gala, tech’s biggest players are pivoting to fashion to sell their brands – and attempt to appear cooler in the process

Last week, the US spy tech and data firm Palantir launched its latest “merch drop”, including a denim chore coat. “Rugged utility, enduring style” reads the website’s description of the $239 (£175) jacket, which is branded with the company’s logo on the chest pocket and comes in blue or black.

Eliano Younes, the head of strategic engagement at Palantir, told the New York Times that it was part of the company’s commitment to “re-industrializing America” – the jacket is made in Montana and recalls workwear of a previous era. “It’s not political,” he added. “It’s about people who love Palantir and are aligned with our mission.”

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Jess Cartner-Morley on fashion: missed Love Story? It’s not too late to embrace 90s minimalism

The key lesson from Carolyn Bessette Kennedy’s style is to keep the messaging simple

Carolyn Bessette Kennedy has been an insider style icon for ever, but this year she has flipped from under-the-radar reference to global phenomenon. Ryan Murphy’s Love Story, a glossy dramatisation of her doomed romance with JFK Jr, gave us nine delicious hours of lingering closeups of her white tank tops and jeans, her simple black dresses, perfect black oval sunglasses and tortoiseshell headbands. If you didn’t know you wanted to dress like CBK before you started watching, you did by the end.

Carole Radziwill, who was friends with Carolyn, has pointed out that copying CBK’s style is pretty much the least CBK thing you could do. Her friend, she told the Deuxmoi podcast, “pulled her hair back in a headband because she didn’t want to wash it every day. She did what felt natural to her and she dressed in things that made her feel comfortable and most like herself. Mostly jeans and button-downs and T-shirts. The takeaway is not to mimic her style, but to do and wear what feels most authentic to you. Be yourself. She was very much herself.”

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Is Jeff Bezos the real villain of The Devil Wears Prada 2?

The film’s villain is a conniving tech oligarch seeking to buy his way into fashion’s inner circle. Sound familiar?

In The Devil Wears Prada 2, we’re introduced to a very different Miranda Priestly. There was a time where the all-powerful queen of fashion – who is played by Meryl Streep and based on Vogue’s longest-serving editor, Anna Wintour – could end careers with a glance. But this time, she spends most of the movie taking orders herself. First, we see her at the behest of advertisers, then publishing magnate Irv Ravitz and his irritating nepo baby son. And it isn’t long before Benji Barnes, an eccentric billionaire, shows up and threatens to dismantle the excellence she has spent her entire career championing.

In the film, Benji is played – scarily well, I should add – by Justin Theroux. After a high-profile divorce, he has had a “glow-up”, which loosely translates to losing weight and boasting a deep mahogany tan. Post-divorce, he is now in a relationship with Emily – Miranda’s acerbic former assistant, played by the scene-stealing Emily Blunt, who is described as “every girl who ignored him in high school”. Benji’s inclusion in the story feels representative of the wider media landscape, where the whims of billionaires decide which parts of the old, pre-social media world get to survive. And for Emily, she’s learning that being associated with someone so powerful has the potential to help her finally step out of Miranda’s shadow. The romance between these diametric opposites – Type A fashion queen and a nerd who grew up to become one of the world’s richest men – provides a stream of comic relief. But beyond the laughs are a deeper – and bleaker – statement about how people with enough money can buy cultural power.

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Gaga, Dior and $24 tweezers: how The Devil Wears Prada 2 turns rags to riches

From celebrity cameos to lucrative brand partnerships, The Devil Wears Prada 2’s approach to maximising revenue is worthy of Runway’s finest

For a film that serves as a commentary on the perilous economics of today’s media landscape, it’s fitting that promotion for The Devil Wears Prada 2 has been so frank about its finances.

Speaking ahead of the New York premiere, Meryl Streep revealed she initially turned down the role of withering fashion magazine editor Miranda Priestly in the 2006 original in a bid to extract more money from its producers.

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