
Vogue Williams on marrying Brian McFadden: 'On the day, I remember thinking it doesn't feel right'
Vogue Williams has lifted the lid on anti-ageing injectables as she approaches turning 40 – saying she wants to grow old 'disgracefully' and will be doing Botox 'forever'.
The Irish presenter and podcaster says: 'By the time I'm 55, I'll be going up and up. As the years get higher I'll be doing more and more [Botox] and I won't be apologetic about it.
'I kind of kept all that stuff under wraps. I didn't really confirm or deny it for so long.'
But now, the 39-year-old reveals: 'I just feel like, if anyone wants to do something to make themselves feel better about themselves, who cares? You can either grow old gracefully or disgracefully.
The host of My Therapist Ghosted Me with comedian Joanne McNally, and Vogue and Amber, a podcast with her sister, now has three children with former Made In Chelsea star husband Spencer Matthews.
'Years ago I would have been dreading [turning 40 in October]. But I feel more secure in my life… I've heard your 40s are your best years.'
In her new memoir, Big Mouth, Williams reflects back to her wedding day with her first husband, Westlife star Brian McFadden (although unnamed in the book) who she married in 2012.
'On the day, I just remember thinking it doesn't feel right. I didn't feel like ecstatically happy. I just felt like there were a lot of things had been going wrong, and I felt like this isn't really the right move.
'I just knew. I just had a feeling,' says the TV personality, who rose to fame on Irish reality show Fade Street, later appearing on Dancing With The Stars and Bear Grylls: Mission Survive in 2015, which she won.
Williams and McFadden parted ways after three years. 'It was a nice relationships at times,' she says, 'but it certainly wasn't a stable relationship.' She 'wasn't mature enough' for marriage at 26, she adds. 'I don't think I was ready for it.'
Moving from one long-term relationship to another most of her life, Williams says the period of eight to 12 months of being single after her marriage broke down was 'very important'.
She says: 'I'm the relationship girl. I was always going out with somebody or, in that case, married to somebody. I don't seek it out. It has kind of always just happened to me.'
So she found being single difficult to begin with.
'I was like, I don't like this. I don't want to be single, I don't like being on my own. But towards the end, I really enjoyed my own company, I was able to just feel really comfortable in myself and on my own.
'I had to just learn, learn to be single, renting a place on my own, doing my own shopping, being my own responsibility, and not looking after anyone else. So it was actually quite empowering, I think, to be single.
'It was nice to just rely on yourself.'
Williams grew up in Howth, a seaside town in County Dublin, one of three children. Her parents separated when she was five, with her mum, Sandra, remarrying and going on to have a fourth child.
'When we were with Dad, we spent a lot of time in the pub', she writes in the book. 'My dad would always say, 'This is my last drink', but it never was'.
Her dad, Freddie, died in 2010 after having a stroke following an operation to remove an aneurysm.
'He died of fun,' Williams says though, 'he died at 68 and, in fairness, it wasn't a bad age for him to get to with the life he led. He certainly had a good time.'
A light bulb moment in therapy was when she realised she was 'drawn to men with alcohol-related issues or bad depression and anxiety who need help, help I think I can give them', she writes.
Vogue Williams and Spencer Matthews. Picture: Ian West/PA
It was a similarly familiar story when she met her now-husband Matthews on the ITV ski jumping reality show, The Jump in 2017. But, 'One of the biggest problems Spen and I have encountered in our marriage have been because of booze,' she notes. 'It nearly ended our marriage on a couple of occasions.'
'A therapist was making me figure out why I was ending up in the same kind of situation as I always had,' she says. Spencer quit drinking in 2018, which Williams says changed their marriage for the better.
'He has such passion and drive now, and he just didn't have that when he was drinking.'
The pair have three young children Theodore, Gigi, and Otto, and they are contemplating a fourth – 'If it happens, it happens, but if it doesn't, it doesn't.'
Williams says: 'I've always had a maternal instinct… I kind of love the responsibility and how you can just love something so much, and you're never going to come first again in your whole life. And that's totally fine with me.'
Women, can't win though, she notes.
'Women are made feel like, you're not really a good mum if you're working, and if you're not working, you're just a mum. But I think being a stay-at-home mum, it's more than a full-time job!
'Weekends I take off work as much as I can, and by Sunday night, honestly, I'm crawling into bed at 7pm – it's so tough.'
Balancing work, parenting and time to be herself outside of those two worlds is tough though. 'I'd say the balance is off all the time. I don't think you can ever get the balance right.
'I don't think that you can ever not feel some kind of guilt in some kind of way, whether it be about work, [or] about how much time you're spending with the kids.'
Her career may have been built in the scrutiny of the public eye but she says it helps that she doesn't take herself too seriously – aside from work and parenting – 'I probably have had too much of a good time, all the time. I'm lucky that I laugh a lot everyday. I just think life is about having fun when you can and enjoying yourself when you can – and I like to do a lot of that.'
Big Mouth by Vogue Williams is published in hardback by HarperCollins. Available May 22.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


The Irish Sun
an hour ago
- The Irish Sun
Love Island's Dejon denies being a nepo baby despite famous footballer dad and show legend best mate
ONE of the new Love Island hunks denied being a nepo baby, despite his premier league footballer dad and TV star friend. Advertisement 4 Dejon Noel-Williams will star in the upcoming season of Love Island Credit: Shutterstock Editorial 4 His dad is the famous footballer Gifton Noel-Williams Credit: Getty 4 But Dejon denied being a nepo baby Credit: Instagram/@dejonnoelwilliams In a roundtable chat with media, Dejon spoke about his dad, 45, a professional footballer who had played for Stoke City, Watford and Burnley. The personal trainer and semi-professional footballer in his own right said his dad was proud of his "football journey."and has already worked with a string of big name sportswear brands. When asked about what he thought of being labelled a "nepo baby," a modern term for someone whose success has been on the back of nepotism, Dejon admitted he'd never heard the term. "Now that I've been called a nepo baby, I don't know how to react," he said. Advertisement love island The accusations of being a nepo baby were also put to Dejon over his "I've known him since we were kids, like babies," Dejon said, adding, "my dad and his dad played for the same team and they were best friends." "As we got older, we had similar interests. We played for the same teams and we played against each other at football." As for his own footballing career, Dejon currently plays for Bedford Town having previously featured for Oxford United, Wealdstone, Guadalajara and the Grenada national team. Advertisement Most read in TV Exclusive "I was the first in my family to represent our family name internationally. I played international football," Dejon told The Sun. Recently, Second new Love Island hunk questioned by cops after being accused of stealing woman's phone during night out He told The Sun: 'I was never arrested. 'I voluntarily spoke to the police to clarify the truth about what happened in this incident, with no further action taken. Advertisement "To stress, my intentions here were entirely honourable and it is very upsetting to read claims that suggest otherwise.' ITV was aware of the incident with Dejon when he secured his place on the show, a spokesman confirmed. This year's series has already seen a shake-up with Love Island prospect, Love Island 2025 start date Advertisement As usual, the show starts on ITV2 the week following the Late May Bank Holiday — a Love Island tradition. 4 Dejon is also friends with former Love Islander Tyrique Hyde Credit: Instagram/@dejonnoelwilliams


RTÉ News
2 hours ago
- RTÉ News
Support, don't star: rethinking the Arts Council's role
Theatremaker Dan Colley asks: Has the Arts Council of Ireland taken on too much 'main character energy'? I would like to propose a gear shift with the appointment of the next Director of the Council. The next Director should reorient the Arts Council into the role of supporting character in the story of the arts. It will take a really adept leader not to try and fix everything that's wrong with the organisation from within, but instead to follow. From the outset I want to acknowledge the many dedicated public servants who work at the Arts Council - people who care deeply about the arts and have served tirelessly through periods of huge change. Not least among them Maureen Kennelly, the outgoing Director of the Arts Council, who enjoys widespread support and respect among the community. Her commitment to artists, particularly during the pandemic, has been felt and appreciated. The Arts Council is the national agency for funding, developing and promoting the arts in Ireland. The money it gets from Government to fulfil that mandate has gone from €75 million in 2019, to €140 million in 2025. An 86.5% increase in six years. It's a credit to the people at the Arts Council, and to the volunteer advocates at the National Campaign for the Arts, that they have helped bring greater public and political understanding of the arts—not just as an economic or reputational asset, but as an essential part of Irish life and a foundation of a healthy society. So why, when the Arts Council has more money than ever before, does it feel harder than ever to make theatre? I'm a theatre maker, and that question brought a group of my peers together last year - trying to make sense of an increasingly precarious sector. Theatre funding has effectively stagnated - rising only 5.8% since 2008 - an increase that's been outstripped by inflation. And yet the Arts Council more than doubled its staff since 2020. While additional capacity at the Arts Council may have been necessary, the lack of parallel investment in their clients has created a gulf between the people who produce art and the agency that manages the funding. No theatre has doubled its staff. No plays have doubled its cast. Over 800 artists signed an open letter calling for emergency investment in the sector which was delivered in December 2024. The feeling was widespread: theatre in Ireland is struggling, not because there's no funding, but because of how it's being distributed. The problem is not about people. It's about systems. The Arts Council is a public body with a wide remit, serving everything from festivals to literature, music, venues, visual art, as well as the more nebulous idea of 'promoting the arts in Ireland'. But its most essential function - getting funding to artists and the people who connect art with the public - is not working. If the Arts Council were truly attuned to the interests of artists, it would see the current delays in funding decisions as an organisational crisis. Radical measures would be considered - like redeploying staff or drastically simplifying processes - to get investment to artists in time. If it were more attuned to artists' interests, the fact that only 15% of eligible theatre applications are funded wouldn't be brushed off as "the competitive context." It would be treated as an emergency. The next Director should make the Arts Council a supporting character - one that enables, rather than directs. If it were aligned with artists' interests', the Council's budget submission to Government would not be built around what it thinks it can get, or what looks tidy on paper, but on the real cost of funding all the applications it has already judged to be worthy. They would base it on the real demand, no matter how big that number is. These are questions I've been asking, along with many others, not out of hostility, but out of necessity. These failures are not moral ones. They are systemic. Systems respond to power and, as it stands, the Arts Council responds most clearly to the pressures it is most exposed to - be they departmental, political, or bureaucratic. The artist's voice is still too faint in that chorus. That's why I've been part of a group that formed the Theatre Artists Assembly - an attempt to give the arts practitioners a unified, democratic voice. Not to shout louder, but to speak more clearly and together about what we need to do our work. I would like to see assemblies like this being integrated into Arts Council decision-making processes. I would like to see artist and practitioner-led groups taking power and responsibility over the decisions that affect them. Yes, even the difficult and unpopular decisions. We have seen in citizens' assemblies how groups of people can come together and, when provided with the facts, expertise, and time to digest them and come to a conclusion, they do so with remarkable civility and clarity. I think this could be an experiment in co-creation of state policy. This could be a way of making institutions work in ways that reflect the interests of its stakeholders. It could be something we so acutely need; a form of democracy that happens between elections. This approach could strengthen and renew the principle of the Arts Council's 'arms-length' from Government. This is the principle, established in the Arts Art, that keeps decisions about what kind of art to produce and who to fund to do it, out of the realm of party politics. This could be a way of affirming that distance from the political system, while establishing community-voice and democratic responsibility. The next Director should make the Arts Council a supporting character - one that enables, rather than directs. They should build models for democratic decision-making - not merely "consultation" but real decision-making power. It will take a deft leader to resist the urge to fix everything from within, and instead recognise that real leadership often means creating space for others to shape the path. In short, they should lead by following.


Irish Independent
3 hours ago
- Irish Independent
Kerry woman has triggered great interest in Irish dancing at elite English university
A Tralee woman has sparked great interest in Irish dancing in the unlikely surroundings of an elite English university.