EXCLUSIVE The VERY humble life of the 'head of Fashion Week': After waltzing up runways and living large at The Langham, we reveal the photos diva stylist Jamie Azzopardi DOESN'T want you to see
With those eight words, celebrity stylist and self-described 'nomadic gypsy' Jamie Azzopardi burst onto the scene as one of the biggest personalities in Australian fashion.
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Daily Mail
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AFL WAG Rebecca Judd confesses to ANOTHER cosmetic procedure - and reveals how she avoided stretch marks during her pregnancy with twins
Rebecca Judd is slowly confessing that she's given her looks a helping hand thanks to some cosmetic tweaks. The AFL WAG recently opened up about having cosmetic procedures done after years of denying any work - and on Monday, shared one more secret from her beauty routine with her Instagram followers. The 42-year-old opened her Instagram Stories to questions from her fans, with one asking how to handle eye bags - and Bec revealed she has previously had filler. 'I've done under eye filler and it was awful. I had to get it all dissolved,' Bec confessed in her reply. 'Then I had to fix the hollowness, stretched skin and eye bags that were left behind. It wasn't an easy fix,' she added. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the . Another fan asked Bec how she deals with stretch marks and cellulite, and the designer shared her secrets. 'Good lighting!' she joked, before adding, 'Even skinny girls get cellulite.' Bec then recommended: 'The stretch mark cream I swear by is Stratamark. I didn't get a single stretch mark with the twins. 'A lot of people say it must be genetic, but my mum has stretch marks and I actually have stretch marks on other parts of my body, just not my belly. I used Stratamark every day from 16 weeks on.' Stratamark gel, which retails for around $95, is a topical stretch mark cream available from chemists. It comes after Bec revealed that she has undergone a salmon sperm facial to maintain her smooth complexion. Bec told Stellar magazine that she wants to be 'completely transparent' as she discusses beauty in her new podcast, called Vain-ish, alongside best friend Jess Roberts. 'I'm 42, and I don't have a line on my face. I'm telling you it's not because I get eight hours' sleep a night, all right?' she confessed. Another fan asked Bec how she deals with stretch marks and cellulite, and the designer shared her secrets.'The stretch mark cream I swear by is Stratamark. I didn't get a single stretch mark with the twins,' she said. Pictured during her pregnancy with her twin sons She went on to say that 2025 is the year we 'stop gaslighting' women by lying about the procedures we've had done. 'You get to a certain age where it's like, come on, let's be a bit more honest. This is the year where we stop bullsh***ing everyone and we fess up,' she added. Rebecca said 'everyone should be a little honest and have better conversations around beauty, aesthetics and wellness.' In the first episode of her podcast, Bec opened up about her own personal journey with cosmetic surgeries and enhancements, admitting to trying treatments such as the Kim Kardashian-approved salmon sperm facial. 'So I've had this treatment twice with my injector Claire McGuinness for, you know, thinning skin around the eyes,' she revealed. Bec added that it was a 'next generation' cosmetic enhancement, coining it as a 'biostimulatory injectable'. For years, the Jaggad founder has denied having any plastic surgery or cosmetic procedures done, instead pointing to healthy living and expensive skincare as her saving grace. However, more recently Bec has been incrementally dropping more hints about the non-invasive procedures she uses to maintain her age-defying visage. In June, Bec paid a visit to aesthetic nurse and former clinical specialist Claire, who offers a 'conservative approach to facial rejuvenation' using radio frequency microneedling, LED therapies, and injectables. 'Give me Kris Jenner's neck without the surgery,' Bec captioned a snapshot of her neck after what appears to be an 'Exion' treatment. The media personality showed off three rows of distinct red and swollen bumps peppered across her neck after her appointment. Exion, a type of radio-frequency microneedling, creates controlled micro-injuries and applies heat to the skin, which can cause temporary redness, swelling, and bumps as the skin responds and repairs itself.
The Guardian
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Jamie George full of pride in Lions return despite ‘midweek massive' role
There are plenty of reasons to question the British & Irish Lions' clash with a First Nations & Pasifika XV on Tuesday. To wonder what the point of it is, sandwiched between the first two Tests. That the Lions have shipped in five players specifically to keep their frontline stars wrapped in cotton wool suggests it is little more than an inconvenience to the tourists. Then you listen to Jamie George explain what it means to him to represent the Lions again and it immediately changes your perception. Bin juice has never tasted so good. It took George 47 hours to make the journey from San Juan, not far from the Andes in Argentina, where he was preparing to represent England against the Pumas, to Brisbane to join up with the Lions before the first Test. Devastated at missing out on the initial squad, George jumped at the chance to come in as cover for Luke Cowan-Dickie, who is still recovering from concussion. A flight to Buenos Aires was followed by another to Rio de Janeiro, another to Dubai and then on to Brisbane. 'I gave the world a good lap,' he says, explaining that the gangster series Mobland and 'some pretty horrific moves' including the Kevin Costner golf classic Tin Cup kept him busy while sticking to a strict sleep regime prescribed by the Lions. George Jamie Osborne – cover for Garry Ringrose – as well as Thomas Clarkson, Darcy Graham, Ewan Ashman, Gregor Brown and Rory Sutherland all make the squad for Tuesday's fixture, along with Blair Kinghorn who returns after a knee injury. Andy Farrell insists he is keeping an open mind when it comes to selection for the second Test but in reality only Kinghorn and Ringrose, who is on the bench, have a realistic shot at making the XV. Owen Farrell is captain and he could conceivably make the 23, as could George. On the whole, however, those selected are the dirt-trackers, the bin juice or the midweek massive. For his part, George is determined to make the most of his second chance on his third Lions tour. A cancelled flight delayed the arrival of his father, Ian, whose presence in Melbourne gives the fixture extra meaning to George. He lost his mother, Jane, to cancer last year and George cites having his parents on the 2017 tour of New Zealand as one of his happiest memories. 'My old man is on the way,' said George. 'Obviously it's sad that my mum is not going to be able to be here but being able to do stuff like this for people like my old man, giving him the opportunity to travel around Australia, to watch his son play for the Lions. That's the special bit about what I do and it's my biggest motivation about why I do what I do. 'It's emotional to be back out there because I never thought this opportunity was going to come, however many weeks ago the squad was announced and I was heartbroken and now I've got the opportunity to pull the jersey on again and it might be the last time, it might not be. But I'll try to put my best foot forward and play like it's the last time and when I do it like that I want to make people proud, I want to do the jersey proud and do everything I possibly can to win in a Lions jersey because I think international selection is one thing but winning as a Lions is different so that's what I'm here to do. 'It's absolutely about gathering momentum for the boys in the Test team and giving them confidence in terms of what they see from us. Of course it's an amazing opportunity to put your name forward for Test selection. That's the way that people have got to see it.' Sign up to The Breakdown The latest rugby union news and analysis, plus all the week's action reviewed after newsletter promotion George is a huge cricket fan and so the significance of the Lions playing the second Test at the MCG is not lost on him. The 34-year-old hooker admits that attending a Boxing Day Test is 'bucket list' and did not rule out leading a 'sprinkler' celebration, as Graeme Swann did when England retained the Ashes in the 2010-11 contest in Melbourne. 'What a great shout that is,' he added. 'I see myself as a sort of Graeme Swann figure. Similar characters, both talented blokes. It could happen, yeah, who knows. Bucket list stuff for me is watching the Boxing Day Test there. I'd be getting stuck in once I've retired. In the Barmy Army, 100%, I'd be in the mix, shirt off, I'd have anywhere between 15 and 20 pints. A tattoo of Joe Root on one arm, Ben Stokes on the other. 'How good is it going to be? 100,000 people at the MCG. I thought the atmosphere was good at the weekend but from experience it just goes like that [upwards] in the second and third Tests.'
The Guardian
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From ‘unpublishable' to acclaim and starry adaptations: Max Porter's Grief is the Thing With Feathers at 10
The final words of Max Porter's Grief is the Thing With Feathers are 'Unfinished. Beautiful. Everything'. So it has been for the slender novella, about a father and his sons grieving the loss of their wife and mother. Somewhat improbably for an experimental hybrid of poem and prose featuring a giant talking crow, Porter's debut has not only been a massive success, but has continued to evolve. Since it was published a decade ago, it's been translated into 36 languages and adapted for stage and screen, including a theatre show starring Oscar winner Cillian Murphy and a film starring Benedict Cumberbatch, due for release later this year. The book's latest evolution is an Australian stage adaptation, premiering at Sydney's Belvoir St Theatre this month. There have already been five stage productions, and a dance adaptation and Slovenian puppet version are on the way; an opera is in development. All this seems remarkable to Porter. 'You know, Grief was not even a publishable proposition to most people that looked at it first,' he says. Porter was more aware than most debut writers of the odds stacked against his novel: he was working in publishing when he wrote it, and keenly aware how his book's fragmentary narrative and experimental prose – which the Guardian described at the time as 'a freewheeling hybrid of novella, poem, essay and play-for-voices' – was risky. Then there's its dense threading of literary references and allusions – and the anthropomorphic crow, inspired by Ted Hughes' 1970 poem cycle Crow. Porter wrote Grief in the gaps of a busy life working in publishing and fathering two young boys, inspired by his experience of losing his father as a child and by his relationship with his brother. In the story, a writer and his two young sons grappling with fresh grief are visited by a human-sized talking crow, who takes up residence in their flat and assumes the role of therapist and babysitter – or as Porter has described him, 'Lady in Black and Mary Poppins, analyst and vandal'. The story chimed with readers, finding an audience as much through personal recommendations as through rave reviews and awards (including the £30,000 International Dylan Thomas prize). Dua Lipa, introducing the novel to her book club audience in April, described it as a 'lyrical, surreal meditation on loss' that simultaneously broke her heart and made her laugh. Reflecting on the enduring appeal and many adaptations, Porter says: 'I guess the imaginary crow and, you know, the everlasting conundrum of human grief, is enough for people to want to play around with still.' Most authors are happy to leave adaptations to others, approving the parameters of the project and then stepping away. Not Porter: he likes to muck in. 'I'm 98% collaboration,' he says – perhaps surprisingly, given he's published four books in the last decade, and just finished his fifth. 'Like, occasionally I will find myself on my own, needing to get some work done, but generally I want to be working with others.' Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning He sat in on early workshops of the Irish stage version with Cillian Murphy and director Enda Walsh, attended a work-in-progress showing of the dance version premiering in Birmingham next year, and has had several chats with the Belvoir team over the show's long gestation. That's not to say he's proscriptive about adaptations: 'I always say this: the book is yours. It's supposed to be fluid and pull-apart-able,' he says. 'It's a book with lots of white space so that the reader can do that work, anyway. You know, it's your flat, it's your sibling relationship. It's your crow.' Sign up to Saved for Later Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips after newsletter promotion But for Porter – a 43-year-old who converses with the enthusiasm of a preteen boy – discussing his work with other artists and storytellers is energising. 'I had a Zoom chat with [Australian director Simon Phillips] the other day, and it was like, right into the belly of the thing – right into the syntax of it, and the meaning behind some of Crow's language and some of the dad's material. And I was like, this is right back to being interesting again for me,' he says. The Belvoir production, co-adapted by Phillips with lighting and set designer Nick Schlieper and actor Toby Schmitz, will feature video, illustrations and a live cellist on stage. Schmitz, playing both Dad and Crow, says the production is infused with the make-believe spirit of theatre and child's play. 'Sleight of hand, misdirection, all the old theatre magic tricks come into play. Can a blanket be not just a blanket? What can a feather be? … There's something incredible about the suspension of disbelief in theatre.' Schmitz, who also works part-time in his family's bookstore in Newtown, heard about Porter's novel from customers long before he read it: 'People are always asking for it,' he says. 'The book is so magnificent, the text is so unique and delicious … I think it lends itself wonderfully – quite effortlessly – to performance.' He relates to the character of Dad, a 'literary boffin type figure', as both an author (his novel The Empress Murders was published in May) and a father – at time of speaking, juggling rehearsals with the whirlwind of school holidays. Crow is something more mysterious, however – 'full of infinite possibility,' he says. 'I've been swinging from Mary Poppins to Tom Hardy thuggery.' Porter, who will visit Sydney for the play's opening, says he's excited to see what the Australian team have made of his novel. 'I think I find something different every time,' he says of the story's various iterations. 'It's still interesting – it's not like a piece of dead, old, early work. For me, it feels like a living, breathing proposition still, that keeps moving.' Grief is the Thing with Feathers is on at Belvoir St Theatre, Sydney, 26 July to 24 August
