Latest news with #Cléo
Scottish Sun
11-05-2025
- Health
- Scottish Sun
I spent £75k to turn myself into a ‘yummy mummy' – not only am I now more confident in a bikini, but a better parent too
The Brazilian stunner insists she 'never did it because of pressure' SIMPLY THE BREAST I spent £75k to turn myself into a 'yummy mummy' – not only am I now more confident in a bikini, but a better parent too A MUM has spent £75,000 to become a 'yummy mummy' and claims she did it all for herself. After giving birth to her only daughter, Cléo Souza decided to invest in a series of surgeries and non-invasive treatments to address the changes to her body. Advertisement 5 The mum went under the knife very soon after her little girl, Alma, arrived Credit: Jam Press/@cleosouza_z/CO Assessoria 5 Cléo also turned to collagen bio-stimulators for her face and buttocks Credit: Jam Press/@cleosouza_z/CO Assessoria 5 The Brazilian beauty is also undergoing micro-focused ultrasounds for muscle tightening. Credit: Jam Press/@cleosouza_z/CO Assessoria The mum went under the knife very soon after her little girl, Alma, arrived – starting by undergoing a breast implant replacement due to increased volume during breastfeeding. Not long after that, she had a mini-abdominoplasty to correct an umbilical hernia. 'The aesthetics of my abdomen were bothering me and the surgery fixed everything,' Cléo told NeedToKnow. 'I went through some very intense changes in my body after pregnancy. Advertisement ''Even though I lost the weight quickly, I still didn't quite recognise myself. 'Every decision was made autonomously and responsibly. 'I never did it because of pressure. 'It was always for me. Advertisement 'Before, I was grateful for my body – it had just brought life into the world – but I also felt discomfort in certain areas, like the sagging skin or my protruding belly button. 'After the procedures, I feel more confident and at peace with my reflection. I lost 3 stone in 2 months on fat jabs but a horrific side effect forced me to stop - now I'm planning a gastric bypass 'I feel lighter, more aligned inside and out.' Cléo also turned to collagen bio-stimulators for her face and buttocks, as well as Botox and hyaluronic acid injections at strategic points on her face. Advertisement She is also undergoing micro-focused ultrasounds for muscle tightening. She said: 'I added skin boosters into my routine – procedures that deeply hydrate the skin without adding volume, especially around the lips. 'I also had PDO threads applied, both the smooth kind, which stimulate collagen, and lifting threads, which work like a mini facelift.' The mum said: 'It is one of the most productive in terms of self-care, the experience was carried out under medical supervision, with a focus on natural results and minimally invasive techniques. Advertisement Molly-Mae's glow-down from 'glamour model' to 'yummy mummy' Celebrity PR Expert, Ed Hopkins told Fabulous: 'I believe Molly-Mae Hague's new look is more than just a style change but a powerful statement of who she is becoming. 'It underscores her journey towards authenticity, maturity, and sophistication and is likely to enhance her success and influence in the years to come.' Brand and Culture Expert Nick Ede agreed, and told Fabulous: 'Molly-Mae has transformed herself into a yummy mummy who has ditched the glamour model style for a more relaxed and natural look. 'She's becoming more down to earth and relatable to people and cleverly showing a softer side which will win her legions more fans in the process.' According to Ed Hopkins, Molly-Mae's chic new look could be 'highly lucrative' for the star. Ed told Fabulous: 'Molly-Mae Hague's transformation towards a more natural, chic look seems to be a testament to her personal growth and evolving style. 'This change, which has become more pronounced since she became a mother, appears to reflect her journey towards embracing authenticity and sophistication. 'It's possible that this new image could be highly lucrative for Molly-Mae. 'Her chic, understated style might appeal to a wider audience, including more mature demographics and high-end brands, potentially opening up lucrative endorsement deals and partnerships. 'By adopting a more elegant look, she seems to align herself with premium and luxury brands that favour natural beauty and sophistication, which could lead to higher-paying collaborations. 'Additionally, with consumers increasingly valuing authenticity and natural beauty, her new image could be both timely and marketable.' Nick Ede agreed and told Fabulous: 'She has started to promote some really great luxury brands including the cosmetics brand Tatcha and with her laid back look she will make a lot of money from brands looking to align with her.' Ed also noted that Molly-Mae's transformation may be a sign that she is looking to step away from her reality show past. He continued: 'Molly-Mae's transformation also seems to symbolise her desire even more so to well and truly step out of the shadow of her Love Island persona. 'The shift to a more mature and unique style appears to demonstrate her growth and her wish to be seen as an individual beyond her reality TV beginnings. 'By shedding the bold, flashy look associated with her time on Love Island, she might be rebranding herself as a serious businesswoman and influencer who is carving out her own identity. 'This new look helps her stand out in the crowded influencer market, showcasing her as a trendsetter with a distinctive, refined aesthetic.' Nick agreed and claimed: 'Shedding the flash looks she previously went for, she's also detaching herself from the Love Island stereotype and stepping out as her own person with a cool look that's not flashy but totally on trend. 'Gone are the 'look at me' posts and in are family style posts and trend led fashion statements.' 'I love seeing my face respond to the treatments. 'They're subtle changes, but they make all the difference.' Emotionally, Cléo feels as if she has re-claimed her identity. She said: 'Motherhood has changed me deeply but I needed to reconnect with the woman I've always been. Advertisement 'Taking care of my body is my way of honouring that woman. 'Today, I feel happier, more comfortable in my clothes, in my choices, and most importantly, in my own skin.' Her family have also been super supportive of her decisions. Cléo, who hails from Brazil, added: 'I was very open about each step and everything was done with proper medical supervision. Advertisement 'What matters most to them is seeing me healthy and happy. 'I know my daughter will grow up seeing her mother strong, confident and in control of her own story. 'The procedures were a way to reconnect with who I am, to look in the mirror and see a stronger, more cared-for version of myself. 'It was never about going back to who I was before but about stepping into this new phase with confidence.' Advertisement 5 The mum, pictured with her daughter, has also had Botox and hyaluronic acid injections at strategic points on her face Credit: Jam Press/@cleosouza_z/CO Assessoria
The Irish Sun
11-05-2025
- Health
- The Irish Sun
I spent £75k to turn myself into a ‘yummy mummy' – not only am I now more confident in a bikini, but a better parent too
A MUM has spent £75,000 to become a 'yummy mummy' and claims she did it all for herself. After giving birth to her only daughter, Cléo Souza decided to invest in a series of surgeries and 5 The mum went under the knife very soon after her little girl, Alma, arrived Credit: Jam Press/@cleosouza_z/CO Assessoria 5 Cléo also turned to collagen bio-stimulators for her face and buttocks Credit: Jam Press/@cleosouza_z/CO Assessoria 5 The Brazilian beauty is also undergoing micro-focused ultrasounds for muscle tightening. Credit: Jam Press/@cleosouza_z/CO Assessoria The mum went under the knife very soon after her little girl, Alma, arrived – starting by undergoing a Not long after that, she had a mini-abdominoplasty to correct an umbilical hernia. 'The aesthetics of my abdomen were bothering me and the surgery fixed everything,' Cléo told NeedToKnow. 'I went through some very intense changes in my body after pregnancy. READ MORE ON BEAUTY ''Even though I lost the weight quickly, I still didn't quite recognise myself. 'Every decision was made autonomously and responsibly. 'I never did it because of pressure. 'It was always for me. Most read in Fabulous 'Before, I was grateful for my body – it had just brought life into the world – but I also felt discomfort in certain areas, like the 'After the procedures, I feel more confident and at peace with my reflection. I lost 3 stone in 2 months on fat jabs but a horrific side effect forced me to stop - now I'm planning a gastric bypass 'I feel lighter, more aligned inside and out.' Cléo also turned to She is also undergoing micro-focused ultrasounds for muscle tightening. She said: 'I added skin boosters into my routine – procedures that deeply hydrate the skin without adding volume, especially around the lips. 'I also had PDO threads applied, both the smooth kind, which stimulate collagen, and lifting threads, which work like a mini The mum said: 'It is one of the most productive in terms of Molly-Mae's glow-down from 'glamour model' to 'yummy mummy' Celebrity PR Expert, Ed Hopkins told Fabulous: 'I believe 'It underscores her journey towards authenticity, maturity, and sophistication and is likely to enhance her success and influence in the years to come.' Brand and Culture Expert Nick Ede agreed, and told Fabulous: 'Molly-Mae has transformed herself into a yummy mummy who has ditched the glamour model style for a more relaxed and natural look. 'She's becoming more down to earth and relatable to people and cleverly showing a softer side which will win her legions more fans in the process.' According to Ed Hopkins, Molly-Mae's chic new look could be 'highly lucrative' for the star. Ed told Fabulous: 'Molly-Mae Hague's transformation towards a more natural, chic look seems to be a testament to her personal growth and evolving style. 'This change, which has become more pronounced since she became a mother, appears to reflect her journey towards embracing authenticity and sophistication. 'It's possible that this new image could be highly lucrative for Molly-Mae. 'Her chic, understated style might appeal to a wider audience, including more mature demographics and high-end brands, potentially opening up lucrative endorsement deals and partnerships. 'By adopting a more elegant look, she seems to align herself with premium and luxury brands that favour natural beauty and sophistication, which could lead to higher-paying collaborations. 'Additionally, with consumers increasingly valuing authenticity and natural beauty, her new image could be both timely and marketable.' Nick Ede agreed and told Fabulous: 'She has started to promote some really great luxury brands including the cosmetics brand Tatcha and with her laid back look she will make a lot of money from brands looking to align with her.' Ed also noted that Molly-Mae's transformation may be a sign that she is looking to step away from her reality show past. He continued: 'Molly-Mae's transformation also seems to symbolise her desire even more so to well and truly step out of the shadow of her Love Island persona. 'The shift to a more mature and unique style appears to demonstrate her growth and her wish to be seen as an individual beyond her reality TV beginnings. 'By shedding the bold, flashy look associated with her time on Love Island, she might be rebranding herself as a serious businesswoman and influencer who is carving out her own identity. 'This new look helps her stand out in the crowded influencer market, showcasing her as a trendsetter with a distinctive, refined aesthetic.' Nick agreed and claimed: 'Shedding the flash looks she previously went for, she's also detaching herself from the Love Island stereotype and stepping out as her own person with a cool look that's not flashy but totally on trend. 'Gone are the 'look at me' posts and in are family style posts and trend led fashion statements.' 'I love seeing my face respond to the treatments. 'They're subtle changes, but they make all the difference.' Emotionally, Cléo feels as if she has re-claimed her identity. She said: 'Motherhood has changed me deeply but I needed to reconnect with the woman I've always been. 'Taking care of my body is my way of honouring that woman. 'Today, I feel happier, more comfortable in my clothes, in my choices, and most importantly, in my own skin.' Her family have also been super supportive of her decisions. Cléo, who hails from Brazil, added: 'I was very open about each step and everything was done with proper medical supervision. 'What matters most to them is seeing me healthy and happy. 'I know my daughter will grow up seeing her mother strong, confident and in control of her own story. 'The procedures were a way to reconnect with who I am, to look in the mirror and see a stronger, more cared-for version of myself. 'It was never about going back to who I was before but about stepping into this new phase with confidence.' 5 The mum, pictured with her daughter, has also had Botox and hyaluronic acid injections at strategic points on her face Credit: Jam Press/@cleosouza_z/CO Assessoria 5 The Brazilian stunner insists she 'never did it because of pressure' Credit: Jam Press/@cleosouza_z/CO Assessoria
The Guardian
11-04-2025
- Entertainment
- The Guardian
‘Too original for just one medium': Agnès Varda's Paris photographs go on show
The French cinéaste Agnès Varda, who died in 2019 at the age of 90, had many lives. Initially a photographer, she broke through as a film-maker with Cléo from 5 to 7 in 1962, and then reinvented herself in her late 70s with art installations that toured the world's most prestigious contemporary exhibition spaces, from the Venice Biennale to the Los Angeles Museum. Her last film documentaries such as the autobiographical Les plages d'Agnès (2008) and Visages, Villages (2017) reaped awards worldwide. The elf-looking gamine with her eternal short bob and soft melodious voice showed through her life a formidable determination, imposing herself in a man's world. Today, Varda is a French monument. So much so that her work is now exhibited for the first time in one of Paris's most iconic and historic museums, the Musée Carnavalet, dedicated to the history of the French capital. Agnès Varda's Paris, Here and There, which has just opened, focuses on her first profession, that of 'artisan photographer'. This small but perfectly formed exhibition displays for the first time Varda's early photography work and invites the viewer into her Parisian home, a temple to art and friendship. For Varda, photography and Paris were intimately linked. Perhaps because she never left the impasse at 86 Rue Daguerre near Montparnasse, where she lived for almost 70 years. Made of two derelict shops joined by a courtyard alley, Varda transformed this islet of a place into a studio, a playground and a home where clients, family, friends, fellow artists and lovers would constantly cross paths. On first visiting the place in 1951, her father asked if she really wanted to live and work in this ramshackle barn with only a squat toilet in the courtyard. She answered, 'I'll make it work somehow.' And she did. Her Greek father and French mother had fled the German invasion in June 1940 and settled with their five children in the seaside resort of Sète in Languedoc. After Germany occupied the whole of France in late 1942, the family moved to Paris. No more southern light and warmth: 'Paris was cold and sad. Germans were everywhere', she recalled. However, as Paris was liberated in August 1944, a new spirit, one of freedom and unadulterated joy, galvanised the whole country and especially its youth. The 16-year-old Varda enrolled at the Louvre art school and chose to become a photographer. She also legally changed her first name in an act of emancipation: born Arlette, she chose to be known as Agnès. Officially registered with the photographers' guild at the age of 18, she first lived in Montmartre with her lover, the sculptor Valentine Schlegel, who became one of her first models. The two young women then moved to 86 Rue Daguerre in the 14th arrondissement, after Agnès's father agreed to help her buy these strange, interconnected boutiques in ruin. Through Valentine, Varda met the maverick theatre director Jean Vilar. This encounter propelled Varda into the world of avant garde theatre and films. Vilar, who was Valentine's brother-in-law, was France's star theatre director whose productions of classics such as Corneille's Le Cid with heartthrob Gérard Philippe in the title-role attracted the crowds. Vilar believed in popular theatre and, thanks to a deliberate policy of affordable tickets, brought the magic of classics to a working-class public. Served by the most talented young actors from the Paris drama school known as Le Conservatoire, Vilar believed that the working class deserved the best; it was a perfect French case of elitism for all, and it worked. Varda became Vilar's official photographer, taking portraits of all the actors, and documenting rehearsals and the life of the theatre company, in Paris and on tour. Alongside her professional work, Varda developed her own style, inspired by surrealism. In one of her personal works, she superimposed two negatives, one of the Seine River, another of the sculpted profile of a man, thus creating a strange and unsettling composition called The Drowned Man. She would cultivate this eerily otherness all her life. In her 'studio-courtyard' as she called it, she started receiving many young actors looking for a new kind of professional portrait, in natural light, far from the old studio effects of light and shadows, sophisticated poses and makeup. This thirst for spontaneity, naturalness and improvisation permeated all arts in the 1950s. In photography, her colleague Sabine Weiss, but also Willy Ronis and Robert Doisneau, made their mark for their ability to catch life and people in movement. Varda, although not a member of a photographers' agency like Magnum, shared the same passion for people and freedom. Unlike photo-reporters who went on assignments anywhere in the world, Varda mostly photographed Parisians or visiting artists. In 1954, she dragged Federico Fellini, in Paris to promote his film La Strada, to a demolition site near her, and took pictures of him, half-hidden in trenches of stone debris. He didn't seem to mind. 'He was calm, smiling and patient,' she recalled. She also had the American artist and sculptor Alexander Calder crossing the street opposite her studio all afternoon carrying his huge mobiles while laughing. News magazines started commissioning her work. She managed to impose both her stories and her vision, for instance when she followed a girl she had dressed as an angel through the streets of Paris, catching people's reactions, half-surprised, half suspicious. She used Paris as decor, and sometimes as a character. At the time, the city was dark, its buildings covered with centuries-old grime and soot, and its people, for a large part, of modest origin. In 1957, Varda chose to document the life of Rue Mouffetard in the 5th arrondissement, one of Paris's oldest streets, snaking down from the Panthéon. Its inhabitants were mostly poor or destitute, living at the fringes of society. Varda shot closeups of their faces, their eyes telling dramatic if not simply sad stories. Her photography inevitably led her to cinema which, in the mid-1950s, stood at a crossroads. Her first long feature film, La Pointe Courte, was filmed in Sète in the summer of 1954, on a shoestring budget, thanks to the generosity of friends such as Alain Resnais, who edited the film for her and Vilar's actors Philippe Noiret and Sylvia Monfort, who worked for free. Four years before the official birth of the French New Wave, La Pointe Courte announced the changes to come, although very few credited her for it. When her new partner, the film director Jacques Demy, moved in with her at 86 Rue Daguerre in 1959, movies and photography became the two most important things in her life, alongside her daughter Rosalie, born in 1958. Varda was always too original and too curious about life to choose just one medium in which to express herself. Her notebooks, letters, news reports, extracts of her films and home videos, and her photography demonstrate her irresistible enthusiasm for all things eccentric and wondrous. As she said it herself: 'I enjoy going here and there. I enjoy saying one thing and its opposite. I feel less trapped that way, because I do not choose just one version of life.' Le Paris d'Agnès Varda is at Musée Carnavalet, Paris, until 24 August
