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Chloe Madeley strips topless and looks incredible in blue bikini bottoms as she sunbathes on holiday

Chloe Madeley strips topless and looks incredible in blue bikini bottoms as she sunbathes on holiday

The Sun2 days ago
CHLOE Madeley thrilled fans when she went topless and wore just a pair of blue bikini bottoms, as she sunbathed on holiday.
The daughter of TV presenters Richard Madeley and Judy Finnigan sizzled in the sun as she enjoyed a much needed break.
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Chloe, 38, is currently enjoying an idyllic vacation in France with her friend.
Known for gym-honed body, the fitness influencer showed off all hard work in a skimpy blue bikini before whipping off the top while standing in a swimming pool.
Feeling happy and relaxed, Chloe could then be seen with her arms in the air and her back turned to the camera to protect her modesty.
The personal trainer is enjoying her French escape with her friend Julia and daughter Bodhi, two, who she shares with ex-husband James Haskell, 40.
The trio looked like they were having a great time on their holiday as they enjoyed the idyllic pool.
Chloe's breakaway comes after her ex James revealed the real reason for their split nearly two years ago.
The pair shocked fans when they separated in October 2023, after five years of marriage.
Their daughter Bodhi was just one at the time.
In June, James admitted that his love of drinking contributed to the end of the relationship, describing their final year together as a "difficult period".
He told the Daily Mail at the time: "If I put more time into my marriage than I did Guinness, then I wouldn't be divorced now.
I'm a Celeb star James Haskell's debt hits £1.5MILLION after split from Chloe Madeley
'It's one of those things in life where some things don't work out, but I have so much love for my daughter and Chloe,' he said. 'It's team work.'
'What we all forget is when you have children and a marriage finishes, it's all about the kids.
'Chloe and I are amazing co-parents. Our priority is always Bodhi.'
James also revealed he's now single, having dated advertising executive Helen Barclay and Big Brother star Sara McLean, 35, earlier this year.
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The sportsman said he's not currently on the search for his next partner, insisting his priority is "being the best dad in the best order".
James split from Sara in March - two days after going public with their relationship.
The pair were seen enjoying a day at the races after attending the second day of Cheltenham together, but sources later said they were 'on the rocks'.
A pal said: 'James isn't really in the settling-down stage just yet.
'He wasn't really ready to go public with Sara, to be honest.
'They'd had a couple of drinks, got touchy-feely, and then got photographed holding hands, which James wasn't thrilled about.'
They said the snap caused a rift, which poured cold water on the new romance.
Our source explained: 'They had a bit of a lovers' tiff and, right now, it's fair to say they're not officially boyfriend and girlfriend.'
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A brand of one's own: how Denmark's women are redrawing fashion's rules
A brand of one's own: how Denmark's women are redrawing fashion's rules

The Guardian

time2 minutes ago

  • The Guardian

A brand of one's own: how Denmark's women are redrawing fashion's rules

Football fans will be familiar with the manager musical chairs, but fashion has been strangely similar over the last year. Since mid-2024 there have been 17 new designers appointed to head up houses including Gucci and Dior. But, in an industry fuelled by womenswear, just four of these appointments have been women. And there are other depressing statistics. Of the top 30 luxury brands in the Vogue Business Index, a mere five creative directors are women. At Kering, the luxury conglomerate that owns Balenciaga and Valentino, there is just one: Louise Trotter at Bottega Veneta. At LVMH, the fashion behemoth that counts Loewe and Dior among its brands, again, just one label is helmed by a woman – Sarah Burton at Givenchy. There's more. In February, research by 1Granary found that 74% of students at top fashion programmes are female, yet 88% of fashion's top designer roles are held by men. The last time a woman won designer of the year at the Fashion awards was in 2012. And it's not just designers. The majority of those in positions of power at brands, such as CEOs and executives, are also male. There is an anomaly, though. This week, the 19th iteration of Copenhagen fashion week (CPHFW), known in the industry as the fifth fashion week, is being held in the Danish capital. Of the 42 brands participating, 26 are founded and led by females. Stine Goya – who now sells her eponymous label in over 30 countries, with the US being its second-biggest market outside Denmark – describes men's continual domination of the fashion industry as 'outdated'. Denmark's structural approach to equality, she says, has become a key instigator of change, with policies aimed at improving wage equality and schemes to encourage women to return to work after having children. 'Copenhagen has become an ecosystem for independent female-led brands,' she told me. 'There is a spirit of collaboration here, and a willingness to do things differently. It has allowed women to take up space and build businesses on their own terms.' Stephanie Gundelach co-founded OpéraSport, a brand that specialises in creating contemporary wardrobe staples from upcycled materials, with Awa Malina Stelter in 2019. Gundelach says much of their motivation comes from the desire to overcome this type of gender inequality. 'There is an unspoken bias in the fashion industry where often women have to work twice as hard to be seen as equally visionary. In Copenhagen, there is a shift happening. Women are building their own platforms rather than waiting for a seat at someone else's table.' Fashion's idea of what a woman should look like impacts everything, from the models who appear on the catwalks to the design of the clothes. In 2024, for instance, 1.4% of models on the catwalks at CPHFW were plus-size while in New York, London, Milan and Paris just 0.8% of models were plus-size. Cecilie Bahnsen, who popularised the idea of wearing intricate and romantic dresses with practical trainers, says that as a woman designing for other women her ethos is based around comfort. 'There is an ease to my pieces. They don't outshine you.' 'A lot of women want to wear something different to what male designers suggest they should wear,' says Anne Sofie Madsen, who this week relaunched her namesake brand with a new co-creative director, the stylist Caroline Clante. 'We look at clothing with a female gaze. Our customers are not only dressing to be desired or admired, but also to be themselves.' This season's collection included a pair of 'evening jeans', as well as meme-able 'rat bags'. While the creative jobs at the top of the fashion industry have become synonymous with burnout, Danish designers take a more holistic approach to work-life balance, in line with Danish work culture generally. 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Sign up to Fashion Statement Style, with substance: what's really trending this week, a roundup of the best fashion journalism and your wardrobe dilemmas solved after newsletter promotion Bahnsen, who started showing in Paris in 2022, has kept her atelier based in Copenhagen, describing it as 'her bubble'. She allows her team of 26 women and four men to work flexible hours and discourages working at weekends. Gundelach and Stelter will often finish work at 3pm in order to spend time with their families, and Bahnsen's five-year-old son is a regular sight in her atelier. Livia Schück, co-founder of Rave Review – who this season showed delicate boho-inspired dresses and skirts made from deadstock – took her post-show bow while holding her five-month-old daughter. 'We don't have a culture where you need to stay until five or six because that's not workable when you have small kids,' says Stelter. 'Our workers know what we expect of them, but they have the freedom to work flexibly. 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Eight Postcards from Utopia review – found-footage fever dream of post-Ceauşescu Romania
Eight Postcards from Utopia review – found-footage fever dream of post-Ceauşescu Romania

The Guardian

time2 minutes ago

  • The Guardian

Eight Postcards from Utopia review – found-footage fever dream of post-Ceauşescu Romania

Part of cinema's Romanian wave has been a shrewd, satirically surreal use of archive clips as a way of remembering the strangeness of the country's communist and pre-communist past. In 2010, Andrei Ujică's three-hour The Autobiography of Nicolae Ceauşescu was a film footage collage of his dictatorial life and times; and in 2020 Radu Jude's The Exit of the Trains used official archive material to shed light on wartime antisemitism. Jude, with co-director Christian Ferencz-Flatz, has now curated a found-footage fever dream of Romania's post-Ceauşescu passion for capitalism. It is a mosaic of moments from TV ads in the 1990s, frantically flogging everything: soft drinks, sausages, laxatives, a new Dracula-based theme park, shares in Thatcher-style government privatisation schemes and mobile phones. One rather witty ad has Ceauşescu making a speech being interrupted by a phone – the tagline promises 'free speech'. Romanian legends like Ilie Năstase and Nadia Comăneci appear, while the clips are broadly divided into chapter-headings; one tranche of ads displaying gender stereotypes is introduced with the Godardian intertitle 'Masculine Feminine'. Sometimes Jude and Ferencz-Flatz take out the audio entirely so we can just focus on the eerie garish images in silence. Freeze-frames show us the quasi-porn ecstatic closing of eyes at the moment of taste. Ads for actual porn phone lines show us something similar. In one 'cutting room floor' moment, we see multiple takes of an unhappy actor in an ad for financial services stumbling over the line 'We all strive to multiply your money' over and over again. It's an amusing collection – a glimpse of the id of Romania's new psyche – but perhaps the same thing could be done and the same point made with TV ads from anywhere in the world. (In our online social media world, these expensively crafted vignettes themselves look a little antique.) I wonder if there is moreover a touch of naivety in a prestigious movie director treating ads as crude, almost unauthored primitive material to be ironically edited and juxtaposed by a higher artistic mind. Many advertising directors, after all, go on to make brilliant films – including the great Romanian auteur Cristian Mungiu who, before he was an arthouse film-maker of note, made a series of amusing TV ads for mobile phones featuring the yet-to-be-discovered actor Vlad Ivanov. At any rate, this is a diverting addition to Jude's filmography. Eight Postcards from Utopia is on Mubi from 8 August.

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