Jess Cartner Morley on fashion: rugby shirts are key to athleisure’s preppy new makeover

No longer under the tyranny of compression fit leggings, today’s athleisure is something looser, with a wink of nostalgia

Athleisure is not to be confused with serious fitness wear. No one is running a marathon or playing a game of football in the shoes pictured above. Notice how, in a made-up noun that is a compound of athletics and leisure, the first has been shrunk to three letters. The only personal best that concerns you here is having an optimal Saturday morning.

Athleisure is fashion, not kit, so it moves with the times just as much as it moves with you. And it looks very different now than a few years ago, when every outfit was anchored by snazzy leggings. Tight legging sets with dazzling graphics were the parade uniform of the imperial age of Lycra. Under the cheerful tyranny of compression fit, starburst-pattern leggings with matching sports bras ruled the roost. These were outfits designed to be watched in a mirror with a rousing soundtrack: perky and sculpting, lingerie-like in their obsession with matching two-piece sets and with bottoms.

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Trump reportedly gifts cabinet members and White House visitors with Florsheim shoes

Some administration officials snipe about having to wear middling footwear instead of their upmarket favorites

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Sitting behind the Resolute desk, Donald Trump fixed his gaze on JD Vance’s and Marco Rubio’s feet. “Marco, JD, you guys have s—y shoes,” said the US president, consulting a catalogue and asking their shoe size. Rubio said 11.5 and Vance 13. Trump leaned back in his chair and remarked: “You can tell a lot about a man by his shoe size.”

The story is recounted in a Wall Street Journal newspaper report that tells how officials, advisers and visiting allies are quietly acquiring leather dress shoes courtesy of Trump, who presents them with the enthusiasm of a travelling salesman.

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Sali Hughes on beauty: from blusher to lipstick – and even eyeshadow – a hint of cool purple adds polish

It’s good news for those of us who aspire to a brisk, windswept British aesthetic over the bronze California beach babe

Allow me to be the first and possibly last person to tell you that mauve is fashionable.

Yes, the purply-pink hue of a 1990s mother-of-the-groom’s duster coat is now the height of chic on cheeks, lips and even eyes. It’s just euphemistically called “cool toned”, which in practice translates as traditional nude makeup tones such as dark brown, caramel, taupe, pink and beige, customised with a mild mauvey tinge to reduce their respective temperatures.

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Matthieu Blazy’s Chanel show celebrates and plays with brand’s history

New designer’s kid-in-a-candy-store enthusiasm is evident in confident colours and loosened silhouettes

A building site, but make it chic: that was the set for Chanel’s Paris fashion week show. Cranes in Meccano-bright colours towered over the catwalk, their reflection shimmering sequin-bright on an opalescent floor that was inspired by Monet, according to the designer Matthieu Blazy. (Monet has been a backstage buzzword at Dior and Chanel this week, as the two giants battle for bragging rights over French culture.)

Fashion week loves a visual metaphor. Blazy, who arrived at Chanel last year, is rebuilding the designer, and having fun with it. The invitation for the show was a tiny stainless steel tape measure on a pendant. He has immersed himself in house history – Cocology? – and after the show, greeted reporters clutching a folded print out of an interview Coco Chanel gave to Le Figaro in 1955. Bruno Pavlovsky, president of fashion and a grandee of the brand since 1990, remarked that he had never come across this interview before Blazy brought it to him. Blazy’s kid-in-a-candy-store enthusiasm is infectious, and the city’s Chanel boutiques have been packed all week. A simple cotton shirt embroidered with the Chanel name is sold out, at a price of 3,900 euros. New season bags are limited to one per customer – a policy designed, the company says, to limit resale at even higher prices.

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McQueen meets difficult moment with fatalistic glamour at Paris show

Seán McGirr inspired by modern identity and ‘London girls’ in one of strongest collections to date, as brand cuts jobs and struggles for momentum

Beneath the Paris fashion week hoopla – Chappell Roan resplendent in the front row, champagne flowing backstage – there were dark undercurrents at Alexander McQueen’s Paris fashion week show. The brand has seen a 60% decline in turnover over the past three years. Workforce cuts were made in the London headquarters last year, and a third of the brand’s 180 employees in Italy are thought to be at risk of losing their jobs. Fifteen years after the death of Lee McQueen, the brand is struggling to maintain momentum.

The founder is a hallowed name in the fashion industry, and one of the few modern designers to whose character and story the wider public feel a connection. But the generation who wore McQueen’s original bumsters have aged out of shock-value fashion, and the name has less power over younger consumers.

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