Tate Dining Room collaborates with LMO Freshly Baked this month for modern Chinese flavours
Known for her East-meets-West approach, Lau has created an exclusive menu for LMO Freshly Baked that's rooted in Chinese heritage but framed through modern techniques and presentation. Four time-limited grab-and-go dishes will be available until August 31, featuring chef Lau's take on the chicken scallion oil rice with the shredded chicken and scallion focaccia sandwich ($78), and a Hong Kong-style sour and spicy borscht soup ($48).
Vegetarian friends are well catered for with the yuzu Sichuan pepper mushroom salad ($78), and there's also a sweet taste of Hong Kong with the exotic manga sago drink ($48), an upgraded version of the classic local dessert enhanced with pineapples, bananas, and passion fruit.
Curated by chef Richard Ekkebus of Mandarin Oriental The Landmark, Hong Kong, this Tastemaker Series pulls together some of the most influential names in our city's culinary landscape, and has them reinterpret their signature flavours for a new, casual concept. Previous collaborations have included Yardbird, Bar Leone, The Chairman, and Little Bao, and we're excited to see what's next in the months to come.
Find LMO Freshly Baked and these exclusive casual dishes from Tate Dining Room at Shop 233-234, 2/F, Landmark Atrium, 15 Queen's Road Central.
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Time Out
an hour ago
- Time Out
This is the best attraction in NYC right now, according to Time Out
New Yorkers are spoiled for choice when it comes to things to do. From massive museums to quirkier options, you'd have to visit a different cultural institution every weekend to scratch the surface. But here at Time Out, it's our job as professional culture vultures to visit every single one to discover what's new and what's outstanding. We've journeyed across the five boroughs to bring you our list of New York City's best attractions, freshly updated for August 2025. And we're coming at you with a brand-new number one that you must add to your list. Right now, the top attraction in New York City is The Frick Collection, which houses an awe-inspiring assemblage of art from the 1400s to the 1800s. It's the only NYC attraction where you can see an impressive collection of Renaissance art inside the palatial home of the art collector, and that alone would earn it the top spot—but it also houses a five-star restaurant. This opulent Upper East Side mansion-turned-museum had been closed for five years, and it reopened this spring with the addition of 10 new galleries inside the formerly off-limits second story. Before it was a museum, the entire mansion was home to the family of Henry Clay Frick, a steel magnate from Pittsburgh. Even after Frick bequeathed the building and his vast art collection to the public, the second floor of the building remained closed. This area, which previously served as the family's private quarters, included bedrooms, a breakfast room and several sitting rooms. Now, you can pretend to live like a Frick as you wander from room to room imagining what it was like to live in this resplendent home. Despite the incredible wealth that practically drips from floor to ceiling, the mansion doesn't feel stuffy. Instead, the space feels warm and inviting—like you're visiting a benevolent, rich uncle's house. On the second floor, don't miss two period rooms designed to look as they did in 1935. There's the Boucher Room, a fancy sitting room with decorative wall panels and a grand fireplace. Also visit the Breakfast Room, adorned with blue wallpaper and filled with Barbizon-style art said to remind Frick of his Southwestern Pennsylvania roots. In addition to opening up the second floor, the renovation restored existing galleries on the first floor as well. You'll find pieces by world-class artists, including Rembrandt, Vermeer, Renoir, Monet, Manet, Degas and so many more. Sculptural pieces dot each room as well, along with ornate furniture. The ground floor is home to a reflecting pool, which draws crowds for photos. It's the only place in the museum where photography is allowed. Also don't miss dining at Westmoreland, which is less of a museum cafe and more of a full-scale restaurant in a museum. Our restaurant reviewer gave it five stars, calling it 'precisely the elevated, straightforward spot you need to rest after a day spent among the art.' Be sure to make a reservation. When I visited The Frick Collection recently on a pay-what-you-wish afternoon, a line snaked around the front entrance, and the energy inside was buzzy. We New Yorkers and tourists may have never gotten an invite to a ball at the Frick's mansion, but shuffling through the home's hallways is the next best thing. And right now, it's the best thing to do in NYC. Hours and pricing The Frick Collection is open Monday, Wednesday, Thursday, Saturday and Sunday from 10:30am to 5:30pm. It'' also open on Fridays with extended hours from 10:30am to 8:30pm. Adult tickets cost $30 per person. Pay-what-you-wish admission is available on Wednesdays from 1:30 to 5:30pm. No matter when you visit, you'll need to book tickets in advance. Time Out tips Remember when we said that visiting is kind of like dropping by an rich uncle's house? Well, that comes with rules—a lot of them. It's best to know the rules in advance, so there are no surprises. Here are a few things that aren't allowed: kids under age 10; food and drinks; carrying coats (you must wear or check your coat); and the use of pens or colored pencils. Most difficult in this day and age: no photography. The only place you can take photos is in the Garden Court and other public spaces outside of the galleries.
Telegraph
4 hours ago
- Telegraph
Carrie Bradshaw dressed for herself, not men, and gave us licence to follow suit
Overdocumented as they might be now, the Nineties were a strange and lonely decade to be a fashion-lover. Fashion was a niche interest, like bone or stamp collecting. All information was strictly channelled through the pages of monthly magazines such as Vogue, Elle, The Face or i-D, bar the occasional style page in a newspaper. Interviewed for my first job as fashion editor of a national broadsheet, the editor asked, 'So, do you like clothes?' One wonders whether he asked the sport editor whether he liked football. It's hard to remember a time when people didn't post videos of their weird shoes, designer hauls, salacious handbag unboxings, bargain charity shop finds and #OOTDs on social media. In 2025, having a unique sense of style can make you rich and famous. In 1995, it was more likely to have you bullied or ostracised. Into this barren wasteland in 1998 tripped Carrie, Charlotte, Samantha and Miranda, four New York women who loved sex, shopping, cocktails and men, though never as much as they loved each other. Based on a newspaper column of the same name by Candace Bushnell (published in the New York Observer between 1994 and 1996), Sex and the City (SATC) revolutionised fashion: how it was perceived, how it was documented and how it was consumed. It legitimised fashion – not because naysayers suddenly realised the allure of a Fendi Baguette bag, but because the show's popularity proved that clothes, shoes and accessories had mainstream appeal, and deserved to be given space beyond the pages of a glossy magazine. You might think that the vast exposure inherent to being featured on a TV show would be catnip to fashion designers, whose only recourse to publicity was via print and billboard advertising, magazine editorial or catwalk shows. Not so. Rather than seeing it as an opportunity, many designers were reluctant to place their brand in an environment where they would be unable to control the narrative. 'It was difficult to borrow clothes, as everyone heard the name 'Sex And The City' and thought 'what is this?'' remembers costume designer Molly Rogers. 'I guess it sounded pretty racy. No one loaned to TV shows then, as I remember – that world was strictly for editorial.' She cites Chanel, Dior and Christian Lacroix as early supporters of the show. Rogers worked on SATC from 1998 to 2002, and served as costume designer on the 2008 and 2010 films, as well as all three seasons of And Just Like That, the divisive sequel. She witnessed first hand the genius of Patricia Field, the show's formidable New York stylist and costume designer whose eclectic, exuberant tastes ensured that Carrie would never fall into the dreary trap of wearing ' quiet luxury '. Without Field, there would be no oversized floral corsages, diamanté skull caps or ballgowns as daywear. Nor would there be what many consider to be Carrie's most iconic look, a tiered white tutu teamed with a pale pink vest top and strappy sandals, as immortalised in the show's opening sequence. Field later revealed that she'd sourced the tutu from a thrift store bargain bin and bought it for $5 – a common practice for stylists and costume designers today, but an unusual one in 1998, an era when luxury brands would pull their advertising if a glossy magazine had the temerity to feature their expensive wares next to items that might threaten to devalue them. Field's 'high-low' approach of mixing designer and vintage together was hugely influential, although it wasn't until the beginning of season three that designers wanted in on the action. 'The show exploded then,' Field said in an interview, adding that costume design 'isn't about selling clothes, it's about telling a story. That's something I learned along the way.' Now 84, Field is still telling stories through clothes, most recently as the costume designer for Emily in Paris (Netflix), the fifth season of which is due to air later this year. Before Sex and the City, the idea of 'fashion' as a main character in any TV show was virtually unheard of. While clothes had an important role in shows such as Dynasty, Friends or Beverly Hills 90210, they existed as costume, and were rarely, if ever, discussed by the characters themselves. They certainly weren't an integral part of the plot: characters didn't utter pithy lines like 'I like my money right where I can see it – hanging in my closet.' SATC made fashion a fundamental part of each character's identity – literally, in the case of Sarah Jessica Parker's 'Carrie' necklace. Here were four women with very different aspirations: Carrie a hopeless romantic, Miranda a driven career woman, Charlotte keen to settle down and Samantha happy to play the field. Their wardrobes were a visual shorthand for their aspirations. From the beginning, the clothes were given as much consideration as the acting and the script. 'At the very start [of filming], Pat [Field] had an extensive conversation with [producer and writer] Darren Starr, where he gave her so much background information on each of the actresses that it really aided in building their costume DNA,' remembers Rogers. 'Charlotte was 'Upper East Side', Miranda was 'corporate', Carrie was 'eclectic and downtown' and Samantha spoke for gay men. Pat always said three things: that SATC was a moving fashion magazine, that we aren't making a documentary therefore I don't care where she gets these clothes, and finally, that we should never repeat an outfit – they don't repeat scripts.' This idea of SATC as 'a moving fashion magazine' is spot-on. Like many viewers, I might not always have loved the wilder reaches of Carrie's style, but I loved what she stood for. Thanks to a writing and production team powered largely by women and gay men – co-creator and writer Michael Patrick King, producer and writer Darren Star, with Parker co-producing from 1999 onwards – viewers were served a heroine who wasn't traditionally beautiful (straight men almost universally seem to think SJP is unattractive, and probably wouldn't have cast her in a lead role), who unabashedly loved clothes, smoked cigarettes, enjoyed sex and had an enviable career as a writer. Who said women couldn't have it all? Well, heterosexual men, for a start. 'I despised Candace Bushnell's vile cultural monster as a book and as a TV series,' one male critic opined in 2008. 'They represented a vacuous, trivialising, anti-feminist act of self-sabotage on the part of women. What amazed me was that women, even quite smart women, seized on this frivolous, vain confection as an emblem of sisterhood and empowerment.' It shouldn't need saying that women can be clever and stylish, or debate geopolitics with the same expertise that they discuss Phoebe Philo 's latest drop. Yet there still exist people who seek to diminish anyone whose interests they deem less serious or worthy than their own. Rather than being a 'vain confection', it was a joy to see Carrie – and in a different way, Samantha – dress for themselves, seemingly unconcerned with any other gaze than the one that greeted them in the mirror. 'Carrie made me bolder,' says Alison Cragg, a 50-something fan who works in HR. 'I remember having a boyfriend in the early 2000s who had a habit of laughing at some of the wilder clothes I wore. I've still got most of the clothes, but I don't have the boyfriend.' In the absence of a fulfilling relationship, a good pair of shoes is a decent consolation prize. Most fans would agree that friendship, not fashion, was the beating heart of SATC. Flawed as the sequel was, when Michael Patrick King announced earlier this month that its third and current season would be its last (the final episode airs on Aug 14), longstanding fans of Carrie, Charlotte, Miranda and Samantha took to social media to share their sadness. 'Carrie Bradshaw is the most important character that has ever graced television, and arguably, she is up there with the likes of Odysseus, Hamlet and even Jesus,' said one user, perhaps only half-joking. While their fashion prowess will live on through re-runs and Instagram fan accounts such as @everyoutfitonsexandthecity, their honest representation of female friendship will die with them. I'll miss their finery, but more than that, I'll miss their flaws. As someone who grew up with them, I'd have happily watched these women navigate life, love and Loewe into old age. 'I'd have loved the actresses to make it to 'Golden Girl' status and create their own commune,' Rogers admits. 'But I always thought Carrie should have a certain ending, and when I read the last script of season three, I knew the final cosmopolitan had been drunk. I have not processed what it means – though superficially, it means no more stoops, no more closet scenes and no more shoe shots. It was the most incredible experience of my life. 'I saw the world and learnt from Pat and Sarah Jessica how to achieve visual success. The key to that is to be detail-oriented to a fault, make everyone around you nuts because you demand perfection – and never, ever, settle or compromise on an outfit.' Carrie couldn't have said it better.
Daily Mail
5 hours ago
- Daily Mail
Myleene Klass shows off her toned figure in a mesh top and bold blue cargos as she arrives at Smooth Radio amid feud with Frankie Bridge and Rochelle Humes
Myleene Klass turned heads as she arrived at the Smooth Radio studios on Thursday. The former Hear'Say singer, 47, showed off her toned figure in a black mesh top, while flaunting her unique sense of style in bright blue cargo trousers. To accessorise, the radio presenter wore a bright blue Sketchers cap which she paired with gold chains and hoop earrings. Opting for comfort for her outing, she slipped into a pair of bright orange Sketchers running trainers. Adding a hint of glamour to her look, the brunette beauty toted around her belongings in a black leather Chanel bag. Myleene is said to be feuding with Frankie Bridge and her The Saturdays bandmate Rochelle Humes - both former clients of her bodyguard ex-husband. The former Hear'Say singer flaunted her unique sense of style as she paired her loose-fitting trousers with a fitted black sheer top According to new claims, ITV have been forced to step in to help smooth things in the decade-long feud, which is just now coming to light. The trio all used to hang out together, with Loose Women hosts Myleene and Frankie attending Rochelle's hen do in 2012. Yet the following year, Myleene is said to have believed she was being 'blanked' by Frankie and confronted her at the 2013 Glamour Women of the Year awards - which is when the pair requested not to work together. Meanwhile Myleene's feud with Rochelle is said to have been sparked after The Saturdays star recently shared a picture of herself on holiday in Ibiza with husband Marvin and Myleene's ex-husband Graham Quinn. Graham used to work as JLS' tour manager and earlier this month Myleene accused him of cheating on her with an unknown star. According to insiders close to the situation, Rochelle sharing the photo on Instagram the same week she made the revelation was 'game over' for Myleene. It's the latest twist as it's been reported that there has been an underlying conflict between Myleene, Rochelle and Frankie, who all work at ITV. This week, Frankie sparked frenzied speculation by posting a cryptic video, saying somebody was 'dead to me', with fans wondering if she was talking about Rochelle. It was claimed they snubbed each other when attending Wimbledon last month. A source told The Sun: 'They don't seem to be getting on and that's making things more complicated for bookers who are keen to keep everyone happy. 'They've been competing since they were 12 when they joined S Club Juniors and now it appears they're competing for top jobs on ITV. While Rochelle rose in the ranks to present This Morning, her appearances have become few and far between since other famous faces have been brought in. 'Meanwhile Frankie has been a regular panellist on Loose Women since 2020 and has the ear of ITV producers who she's become close friends with. Now ITV bosses do everything they can to avoid awkward run-ins. If Rochelle is on This Morning and has to pass over to Frankie on Loose Women, it's kept as brief as possible.' The former bandmates became friends in childhood, both finding fame in S Club Juniors before joining Rochelle Humes, Una Healy, Mollie King and Vanessa White in The Saturdays. Yet in recent months, their relationship is said to have soured, with the pair reportedly snubbing each other when they attended Wimbledon last month. The pair were both pictured enjoying the hospitality at the tennis tournament but it is said they kept their interactions to a minimum. An onlooker claimed: 'It was clear the women were keeping their distance. They sat on opposite sides of the suite and kept to themselves.' They added to The Sun: 'While Frankie posed for pictures with S Club's Rachel Stevens, Rochelle took selfies with her husband Marvin and his I'm A Celebrity campmate Sam Thompson. 'Even though they were pleasant to each other when they did brush shoulders, they didn't spend any extra time together than they had to, in between being amicable while passing each other en route to watch the tennis.' Speculation of a feud then went into overdrive when Frankie shared a TikTok video about holding a grudge - with fans speculating that she was referring to Rochelle because it followed reports that they had snubbed one another at Wimbledon last month Frankie's representatives have told Daily Mail that there is 'absolutely no feud' between the pair, while those close to Rochelle insist there is 'no feud'. Myleene's representative declined to comment on the situation when the Daily Mail previously reached out for comment. Yet that didn't stop Frankie posting a cryptic social media post on Monday that was captioned: 'You're so quiet… Thanks, you said something five years ago and I've just realised you're actually dead to me.' The TikTok video showed Frankie sipping on a glass of wine and was set to the music of Avril Lavigne's What The Hell. Frankie then added below: 'Takes me a while, but once you're dead you're dead.' She didn't specify who or what incident she was talking about in the post. While Frankie and Rochelle found fame as singers they have since both turned their hand to the world of TV - with Frankie a regular panelist on Loose Women, while Rochelle is a stand-in presenter for This Morning. As for Myleene, she hit headlines last week when she publicly addressed ex-husband Graham's cheating scandal. Graham, 47, started dating Myleene in 2001, having met when he worked as security guard for her pop group Hear'Say. The couple went on to welcome daughters Ava, 17, and Hero, 14, and tied the knot in 2011 after a decade together - only to separate six months later. Speaking on Paul Brunson's We Need To Talk podcast, the mother-of- three, who is also a mother to son Apollo, five, said: 'I walked in on him with a famous person on my birthday on a balcony.' Turning her thoughts towards the other woman, Myleene said: 'I've made peace with that situation now, but for a long time, it was very difficult to see their life. 'My life literally just broke apart very, very publicly and their life, they've managed to continue building a family brand on it. I have to take some accountability. 'Look, you know, first and foremost to my children. My children have asked enough questions and it's never been a case of laying out my stall now. 'It's got to be as and when. But here's the funny thing - school mums, people who just want to gossip, will go to your children before anybody else.' Speaking on Paul Brunson's We Need To Talk podcast, the mother-of-two said: 'I walked in on him with a famous person on my birthday on a balcony' According to the TV presenter, the pair tried to claim that it wasn't what it looked like and she continued: 'I'm in my house, it's my party. They weren't having sex, but they were unzipping each other. 'It's not what you think'. But I'm like, 'It is what I think'. 'It's the first thing they both said. I kicked everyone out of the party, including his mum and dad. They went back to Ireland and his dad said: 'He doesn't get it from me'. 'I remember thinking that was quite a weird thing to say,' she told the love expert. Graham tried to blame the affair on being drunk. Myleene admitted the whole ordeal was a 'pretty big red flag' but still went through with their wedding in October 2011.
