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Anita Lal, founder of Good Earth, began her skincare journey as many others do: with a disaster. A woman at a counter made a comment that was not well timed, and she bought a cream that she probably shouldn’t have. She was in her mid-30s when she was told by a beauty adviser at Selfridges that she was “already acquiring wrinkles”. Lal purchased the cream, which cost PS200 at that time. “This is what we go through, the panic,” says Lal. She spent almost a year without using anything on her skin after her skin had reacted badly a few days later. She read Absolute Beauty, by Pratima Raiichur, at her home in the hills. This book pushed her to look beyond what beauty counters offered. She began to make her own preparations, using rosewater, pure oils and simple ubtans. It began as a way for Lal to recuperate, but soon became something she returned to, both for herself and for family and friends who wanted to do the same. ITI by Good Earth was the public face of the private practice Lal carried for many years. It expands the sensory vocabulary of Good Earth, which has been defined for years: scent, color, texture, and an emphasis on material quality. She says, “I live for my senses.” This time, the same sensibility is applied to the skin. Lal is blunt: “The place’s full.” Lal says that the overabundance of information is not about products but rather about information. The sheer amount of advice, routines, and supposed fixes have made skincare feel more complicated, even burdensome. Her response is to step back, not reject, but to stop the urgency that often comes with it. She says to stop thinking about magic bullets. Do it for the long-term. This long-term view has shaped how ITI was built. Lal’s characteristic practicality justifies the choice to launch the line as a complete system, rather than a set of tightly edited hero products. She points out that skin is not uniform. It changes with age, environmental factors, and sensitivity. Any attempt to reduce this to a few products feels incomplete. “There are so many different skin types that I can’t have just four products,” she says.

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This week I finally asked Kate the question directly. She replied, in denial, “I wasn’t scary at all, was I?” “I was a task-rabbit. I was a task rabbit. I did everything: coffee, lunches, dry cleanings, shopping, party planning for kids, logistics, book, ran down to fetch people to meetings. She made herself seem much lower than she really was: “I smoked in cool editors’ offices while Anna wasn’t in the office to figure out how I could be more like her. I was second for a year. Leslie was the first assistant and Lauren was the second.” (As is shown in both the book and movie, there is an actual hierarchy of assistants.) Leslie? Leslie Fremar was a person of great interest. I remembered her as a beautiful brunette who was stern and stern. Amy Astley in 2003Photographed By Abbey Drucker Teen Vogue, February/March 2002I immediately emailed fellow former Voguette Amy Taran Astley who was beauty director at the time I was there and is now editor-in chief of Architectural Digest. “I swear by my extensive Manolo collection from the 1990s that I never thought you could be Emily,” said she. I was relieved–momentarily–until she continued: “You might have developed some outfits that had cocktail-party vibes. You could have gone from low maintenance to high maintenance in the blink of an lash extension. You and Emily share a posh, brunette accent and are both sharp and clever. Okay, there’s a little bit of Plum in Emily.”

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Zendaya has attended the Met Gala seven times, so she is no stranger to the famous red carpet. One could say that the fashion stakes for the star are higher at the annual star studded affair. If anyone is up to the challenge of delivering an unforgettable fashion look on the Met’s steps, it’s this star. Since her first Met in 2015, the Euphoria star has always worn outfits that are both eye-catching and on theme. One outstanding example? In 2018, the actor wore a Versace look with armour as a tribute to Joan of Arc. It was an excellent choice for the “Heavenly Bodies” theme, which explored fashion and Catholicism. Zendaya nailed thematic dress for the 2019 “Camp: Notes on Fashion’ gala when she wore a Cinderella like Tommy Hilfiger gown with stylist Law Roach dressed as her fairy godmother, complete with wand. In 2024, Zendaya embraced the “Garden of Time’ dress code by wearing a blue-black-green Margiela creation which evoked a magical forest. Her gown featured faux-grapes, a bird perched on top of her head, long feathers in her hair and a veil to add drama. It was all brought together by striking, theatrical makeup. She didn’t stop at that. Zendaya appeared again that evening, this time in vintage Givenchy haute-couture: a black off-the shoulder gown with a structured body and a voluminous skirt flowing into an extravagant train. She wore it with an Alexander McQueen floral crown. Zendaya is known to put on a show on the Met carpet. At the 2025 Met Gala “Superfine: Tailoring Black Style”, Zendaya, styled by Law Roach, wore a custom Louis Vuitton designed by Pharrell Willams. Her crisp white suit was a nod to the legacy of the black dandyism zoot, with its high-waist, tight-cuff shapes, and sharply tailored lines. The single-breasted suit, waistcoat and silk shirt with tie, as well as the subtly flared pants, felt clean, controlled, and modern. The look was also a nod to the power dressing era of the 1970s and 1980s, drawing inspiration from women like Grace Jones and Gladys Bentley who redefined suiting in their own way. This story originally appeared on Vogue.com.

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Venetian glass beadworkers have been working with beads since the 12th Century. By the 16th Century, the craft was so refined that traders used the beads as currency. The beads traveled from Europe to Africa via maritime routes and then reached India via Gujarati cotton traders. Unbound by Beads, Migration, Memory & Material, a forthcoming exhibition at London Craft Week, is inspired by this journey. The exhibition, curated by MOI Fine Jewellery – the contemporary offshoot founded by husband and wife duo Puja & Kunal Shah – in collaboration with Princess Diya Kumari Foundation Artisan Collective – traces how these global traded beads became a part of matrilineal tradition within the Meghwal Community of Barmer in Rajasthan. Photo: Naveli ChhoyalFor Puja & Kunal, the idea began with a question about what defines a collectable Kunal says that he spoke to a lot of people over the past decade and found that few could identify a collectible they had acquired within the last decade. “That raised the question of what makes an item truly collectible.” Their research led them to beadworking tradition shaped by Venetian glass beads that were brought from Europe to India. They were struck by how these beads, over time, had become part of wedding traditions in some parts of India. In remote communities in western India, women make beaded items with their mothers and female relatives during the years before marriage, and then carry them into their marital homes. Photo: MOI Fine Jewelry

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Nita Ambani, who attended the TIME100 Summit held in New York wore a Swadesh jamdani sari that was woven by Padma Shree recipient Biren Kumar Basak. The sari does not focus on the pallu, but instead spreads the figurative motif across the entire drape. Riders, animals, trees, and human forms appear from border to body. The motifs are highlighted in pink, soft blue and green, which allows your eyes to follow along the stories that the drape tells. The pallu has a linear layout with stripes and a denser patterning, which contrasts the spread of motifs on the rest of the sari. The weave is as detailed up close as the larger figures. This is what holds the composition. She paired it with pearl strands and emerald earrings, a diamond bracelet, and bracelets that picked out the green in weave. The beauty choices were also measured: centre-parted, loosely shaved hair, lightly smoked eyelids, a nude lips, and a green bindi to tie in with the sari. The sari is embroidered with muted multicolour stories in threadwork, so the blouse has a subtle look but still looks rich because of its beadwork. You can make this look your own by choosing a crop top in lace or sheer organza that doesn’t detract from the overall look. Match this with solitaire or small pearl earrings,” says Divya Balikrishnan of Vogue India.