Heidi Klum looks incredible as she models an array of satin bikinis after ringing in her 52nd birthday
The German supermodel, who is working with Calzedonia for the launch of its summer collection, showed off her figure in a selection of satin swimwear.
Heidi posed by the pool in a rust coloured triangle set, that featured tie side bottoms, before changing.
In another stunning snap, she slipped into a powder blue bikini and laid on her side against the skyline.
The new photoshoot dropped on the model's 52nd birthday, which she celebrated with her close friends and family.
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In an update to her Instagram Story, Heidi wore a figure-hugging mesh dress with a pair of quirky sunglasses while enjoying dinner outside.
She posed for a loved-up photo with her husband Tom Kaulitz, before joining Sofia Vergara for a glass of wine.
The new photoshoot comes after her model daughter Leni, 20, hit back at trolls who criticized their joint risqué lingerie ads in her cover story with Glamour Germany.
The mother-daughter duo made headlines last year when they appeared in a sexy ad for Italian lingerie brand Intimissimi.
But Leni said she is blocking out the haters and focusing on her career and life in New York City.
She told Glamour: 'I always try to remember that no matter what you do, there will always be someone who doesn't like it.
'You simply have no control over it and you can't focus too much on the negative. That can easily happen, especially if you spend a lot of time on social media. But there are so many more positive reactions.
'Oh, and: Most of the comments are in German, and I don't really understand many of them. That helps too, of course!'
Heidi shares her oldest, Leni, with the Italian businessman Flavio Briatore, whom she split from while still pregnant.
She began a relationship with the singer Seal shortly afterward, and the two tied the knot in 2005, four years before he adopted Leni at the age of five.
Heidi and the singer went on to share three biological children: sons Henry, 19, and Johan, 17, as well as daughter Lou, 15.
She wed Tokio Hotel guitarist Tom Kaulitz in December 2018.
Last October fans were vocal about how disturbing they found the photos of both Heidi and Leni showing off their bodies in lingerie while arm in arm.
Commenters on Intimissimi's Instagram post were largely positive, but several vocal users were concerned or disturbed by the mother–daughter display.
'Dude that's your mom,' one person put it bluntly.
Another person wondered, 'Which normal mom would pose together with her daughter in lingerie?'
'You simply have no control over it and you can't focus too much on the negative. That can easily happen, especially if you spend a lot of time on social media,' Leni told Glamour
'Family business it must be continued!' replied one user.
'What normal mom would pose together with her daughter in lingerie?' one concerned fan shared on social media.
'There's something wrong there,' added another person in agreement.
Heidi blocked comments on her post.
In her photos and video, Heidi showcased her toned abs in a lacy burgundy set as she posed next to Leni, who had on a black bra and panties.
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The Independent
23 minutes ago
- The Independent
Milan's historic La Scala cracks down on tourist dress code
A historic opera house in Milan has cracked down on patrons and tourists entering the prestigious venue wearing summer attire such as shorts, tank tops and flip flops, warning they will be turned away if not dressed appropriately. The opera was seen as a symbol of wealth and exclusivity in 19th-century high society, and the bourgeois elite of this time period would have been expected to turn up in tailcoats, cravats and long evening dresses. While this opulent attire is not expected of patrons nowadays, Milan 's Teatro alla Scala opera house, commonly known as La Scala, has recently reinforced its smart dress code in the wake of opera-goers turning up in casual summer fashion. 'The public is kindly requested to dress in keeping with the decorum of the theatre, out of respect for the theatre and for other viewers,' La Scala 's policy warns. 'People wearing shorts or sleeveless T-shirts will not be allowed inside the auditorium; in this case, tickets will not be reimbursed.' The venue also has signs around the foyer and on tickets stating the same message, warning patrons that they will not get a refund if they turn up wearing clothes not in keeping with the 'decorum'. The rules over informal clothing were first introduced in 2015 when the summer season coincided with the World Expo in Milan, as a way to deter the influx of tourists turning up in summer wear. 'There are no special dress code requirements at La Scala,' a spokesperson at the theatre told The Independent. 'We are delighted that some of our audience members consider an evening at La Scala to be a special occasion and dress accordingly, but our priority is to welcome everyone and make sure they feel comfortable. 'This is precisely why, in 2015, we introduced restrictions on clothing that could cause discomfort to other audience members who have to share the often limited space of an 18th-century theatre. 'With the return of summer (an especially hot one), we reminded the audience of these rules, which have remained unchanged for ten years. 'It would not be right to tell spectators how to dress, but it is necessary that they do dress, as not to cause discomfort to other people,' the spokesperson added. Until now, dress codes at La Scala have not been strictly enforced, partly due to its former French director Dominique Meyer, who said he would rather have less smartly dressed operagoers than a theatre full of empty seats. Opera houses across the world have been creating initiatives to try to get younger people invested in this historic performance art, as well as making operas feel more welcoming and accessible to all, not just the upper classes. However, the venue has not pointed towards younger people for being the cause of the dress downgrade; instead, it is the increase of tourists in Milan. La Scala's spokesman added that there had been a 'change in behaviour led by visitors who do not follow opera but see La Scala as a landmark'. A recent article in La Scala's in-house magazine says that 'adapting one's attire to the occasion should be a conditioned reflex' and that 'common sense' should prevail in how to dress and behave in the theatre. 'And so it seems obvious to dress a little more elegantly for premieres than for repeat performances, and for evening performances than for afternoon ones', the La Scala 'Survival Manual' article added. 'Putting on a jacket and tying a tie, after all, aren't particularly demanding, or even painful, tasks.'
The Guardian
27 minutes ago
- The Guardian
Kenneth Colley obituary
Kenneth Colley, who has died aged 87, after suffering from Covid and pneumonia, was a character actor widely admired by both the press and public for his screen roles over 60 years, from the Imperial officer Admiral Piett in two of the original Star Wars films and Jesus in Monty Python's Life of Brian to historical figures such as Nelson and Napoleon, and two Adolfs, Hitler and Eichmann. He described his parts as 'mad and bad', while critics variously commented that the sad-eyed actor had 'a defeated look if ever there was one' and he could 'make your spine tingle with pleasure'. He is embedded in the minds of sci-fi film fans as Firmus Piett, a role he landed after Irvin Kershner, director of The Empire Strikes Back (1980), the second in the first Star Wars trilogy, said he was 'looking for someone that would frighten Hitler'. Piett was the commander of Executor, Darth Vader's flagship super star destroyer employed in the Empire's quest for galactic control. George Lucas, the Star Wars creator and producer, had not intended to feature an Imperial officer twice in the first trilogy, but Colley made the character of Piett human – 'You can't just play a uniform,' he said – and Star Wars fans wrote in demanding to see him again. So Lucas brought him back for Return of the Jedi (1983), adding scenes to the original script. But Colley's run ended there, with Piett commanding the entire Imperial fleet at the Battle of Endor and perishing when a Rebel starfighter destroys the Executor's command bridge. He remained a firm fan favourite at Star Wars conventions over the following decades. Colley also gained cult status as Jesus delivering the Sermon on the Mount in the 1979 film Monty Python's Life of Brian. He had previously appeared with individual members of the Monty Python team in the movie Jabberwocky and on TV in Ripping Yarns (both in 1977). He was also much admired by Ken Russell and was part of the flamboyant director's unofficial repertory company for 22 years. Colley started as Hitler in Dance of the Seven Veils (1970), a BBC musical biopic that outraged Richard Strauss's family with its sex scenes and depiction of the composer as a Nazi sympathiser. Then came film parts as Modest, Tchaikovsky's younger brother, in The Music Lovers; Legrand in The Devils, brilliantly cinematic, but controversial – and censored – for its tale of a philandering 17th-century French Catholic priest, witchcraft, nudity and sexually repressed nuns; and a bearded king for a fantasy sequence in The Boy Friend (all 1971). In further Russell musical biopics, Colley was Krenek, a journalist posing challenging questions, in Mahler (1974) and Frédéric Chopin in Lisztomania (1975). He played the dour teacher Mr Brunt in Russell's film version of The Rainbow (1989) before returning to TV as Alfred Dreyfus, a wrongly jailed 19th-century French officer, in Prisoner of Honor (1991) and the composer John Ireland in The Secret Life of Arnold Bax (1992). Colley was born in Manchester, to Jessie (nee Hughes) and Ernest Colley, a labourer. When he was 14, a teacher at South Hulme secondary modern school asked him about his career ambitions, and he said he wanted to act. On leaving school, he went through jobs as a commercial art assistant, bus conductor and warehouse operative, but his dream never faded. 'One day, I told myself that I was 23 and I had to stop wasting my time,' Colley recalled. In 1961, he headed for London and knocked on theatrical agents' doors, but failed to impress. Nevertheless, he landed his first theatre job as an assistant stage manager with Bromley repertory company, where he started acting. He also made his screen debut, as a corpse, in the BBC sci-fi series A for Andromeda (1961) in the middle of an actors' strike that meant most Equity members were not available for work. Moving on, he joined the newly formed Living Theatre company in an old school building in Leicester (1961-63), alongside actors such as Jill Gascoine. His performance as Jimmy Porter in John Osborne's anti-establishment play Look Back in Anger led one critic to write: 'Kenneth Colley burns with sardonic rage.' While television quickly recognised his talents as a character actor, with appearances in dramas such as The Avengers (1963), as well as the role of a fellow steel worker playing pranks on Dennis Tanner in Coronation Street (1964), Colley continued on stage with the company at the Unity, a London East End venue with roots in the workers' theatre movement. He played Wick there in another 'angry young man' play, Little Malcolm and His Struggle Against the Eunuchs (1965), written by David Halliwell and directed by Mike Leigh. He reprised the role at that year's Dublin theatre festival and in the West End of London the following year at the Garrick, before taking small parts with the National Theatre company at the Old Vic in 1968. Later stage roles included Cleet in Cromwell (Royal Court, 1973) and Benedick on tour with the Royal Shakespeare Company in Much Ado About Nothing (1979). In films, he played Michael Crawford's chauffeur in The Jokers (1967) and a Soviet colonel in Firefox (1982), alongside Clint Eastwood. He first played Hitler on television in Jean Benedetti's BBC play These Men Are Dangerous (1969). His other small-screen parts included Charles I in Revolution: Cromwell (1970), the 'accordion man' in Pennies from Heaven (1978), an SS officer in the 1983 TV movie The Scarlet and the Black, starring Gregory Peck, Eichmann in Wallenberg: A Hero's Story (1985), and the title roles in I Remember Nelson (1982) and Napoleon's Last Battle (1990). Colley also gave a standout performance as the manipulating Duke of Vienna in the 1979 BBC Shakespeare production Measure for Measure and enjoyed a starring role as Ken Uttley, owner of a removals firm, in the comedy-drama Moving Story (1994-95). In 2016, he played the doomed mob boss Vicente Changretta in Peaky Blinders. In 1962, Colley married Mary Dunne; she died in 2018. Kenneth Colley, actor, born 7 December 1937; died 30 June 2025
Times
an hour ago
- Times
Damien Hirst ‘stole live fly artwork idea' from course mate
Damien Hirst has been accused of stealing the idea of using live flies for what became his breakthrough work from a fellow artist who went to his early grave unhappy at the acclaim his rival received. Hamad Butt created Fly-Piece, consisting of live flies in a vitrine and described as one of the 'earliest works of bio-art in the UK' when it was put on display at his degree show in June 1990. One month later Hirst, who was still an unknown artist and who had been studying with Butt at Goldsmiths in south London, unveiled A Thousand Years, which featured a colony of flies feeding on a cow's head. Charles Saatchi, the renowned collector who became the leading patron of the Young British Artists (YBA) movement, had reportedly been blown away by the exhibition and shortly afterwards bought A Thousand Years. Hirst then spent much of the decade producing bio-art including his Natural History series and, perhaps most famously, The Physical Impossibility of Death in the Mind of Someone Living, featuring a 14ft tiger shark preserved in formaldehyde. Butt, meanwhile, died in 1994, aged 32, after developing Aids. In the catalogue for a new exhibition of Butt's work at the Whitechapel Gallery in east London, the curator Dominic Johnson wrote that A Thousand Years 'appears to have directly appropriated from Butt'. • Damien Hirst at 60: My plan to make art for 200 years after I die 'Friends and family recall Butt felt this was the case and that he was unhappy when Hirst's sculpture received greater acclaim,' Johnson, a professor of performance and visual culture at Queen Mary University, London, added. Johnson said that Hirst 'likely encountered Butt's piece first-hand in its development' adding that Butt had produced a prototype in his studio in 1989. Their time as students at Goldsmiths overlapped for two years. 'Whether the appropriation was direct or not, Butt chose to withdraw the Fly-Piece from his subsequent installation [in November 1990],' Johnson said. 'The original vitrine is now lost'. Hirst held two exhibitions in 1990: Modern Medicine, which opened in March and closed in May, followed by Gambler, which opened in July. A number of observers, including Hans Ulrich Obrist, the artistic director of Serpentine Galleries, have stated A Thousand Years was at the later Gambler exhibition. • The forgotten genius who taught Damien Hirst and inspired Britart Hirst's representatives said the artwork may also have appeared in the earlier Modern Medicine exhibition, held before Butt unveiled his Fly-Piece. However, this was still after Butt had developed his prototype while studying at Goldsmiths alongside Hirst. Hirst declined to comment on the 'appropriation' claim. Hirst, the wealthiest and arguably most influential living British artist, is no stranger to plagiarism claims. He has previously made a 'goodwill payment' to a designer and faced damages claims in American courts for alleged copying. Hirst said in an interview with his fellow artist Peter Blake in 2018 that he had been taught 'to steal' while at Goldsmiths. He told Blake: 'They said: 'Don't borrow ideas, steal them',' adding that 'you can't get copyright on butterflies' in reference to his renowned Butterflies series of artworks. All my ideas are stolen.' For the new exhibition of Butt's work at Whitechapel Gallery called Apprehensions, the artist's 'Fly-Piece' work has been reconstructed, which involved inserting fly pupae into a mound of compost at the foot of the vitrine. The pupae then hatch into flies and feed upon sheets of sugar paper printed with texts, lay eggs and then die. While the 1990 exhibitions were the key stepping stones for Hirst's entry to the British artworld which he would dominate for the next two decades, Butt failed to break through. The artist, who moved to Britain from Pakistan with his family aged two, had channelled his experiences — as a gay Muslim in the late 1980s with parents who tore his paintings down hoping he would choose a career in science — into his art. A 1992 show of his work was mounted in John Hansard Gallery in Southampton by Stephen Foster, its curator, who described Butt as the 'closest thing I've met to a genius in my life'. Two years ago Tate Britain gave space to Butt's Transmission work — whose original manifestation included Fly-Piece — in a display which critics said repositioned the artwork as a 'lynchpin in British contemporary art'. Gilane Tawadros, the director of Whitechapel Gallery, said Hirst 'seamlessly weaves popular culture, scientific knowledge, artistic understanding and social and cultural insights into works which are poetic and edgy, and completely unlike any others made by his contemporaries at the time'.
