Let it stylishly hang loose: Untucked shirts are all the rage right now
If fashion would have it, every day would be a dress-down Friday. Shirts are hanging out and proud, and we're not just talking polos, but crisp office shirts and even formal tuxedo ones.
It's a deliberate departure from stiff, formal traditions, allowing shirttails fly free as a kind of modern nonchalance.
It's fashion's way of saying, 'I'm not obsessed with fashion, but I am effortlessly aware.'
It's a calculatedly casual way to look hip, cool and unbothered.
This undone, off-duty trend carries an undercurrent of rebellion, which accords the wearer a certain rakishness.
While this style may be relaxed, it does take some thought.
The shirt has to be the right length, the fabric intentional, and the rest of the outfit, whether tailored trousers or casual denim, needs to balance the ease.
Read more: Why toes are taking over: Fashion's growing obsession with feet-first style
It's a look that requires a sense of fashion, perhaps a little swagger too, or you might end up looking sloppy than stylish.
This Japanese label gives the trend a modern spin with a simple half-tuck that makes the undone look feel sharply styled. Photo: Instagram/Sacai The style can be seen in the Spring/Summer 2026 Louis Vuitton menswear collection where a traditionally formal pairing comprising beige trousers and white shirt complete with necktie is layered with a buttoned-up pink sweater.
At first glance, nothing appears out of the ordinary.
But the white shirt is worn untucked, its hem peeking out beneath the sweater, lending the outfit a quietly rebellious edge.
Over at the much-awaited Spring/Summer 2026 Dior menswear collection, new Dior designer, Jonathan Anderson, champions a similarly untucked spirit.
A light blue and white pinstripe shirt is not only left untucked, but its cuffs are left undone.
Even the necktie is rendered inside out, which is a deliberate design quirk rather than a wardrobe blunder.
Tailored, with a fun and casual twist!
Japanese label Sacai's take on the trend is half-tucked, and we're here for it.
A pair of black, baggy trousers is styled with a white shirt that is tucked in on one side, left to hang loose on the other.
Read more: Slim, sequinned, silky: Scarves and neckerchiefs steal the fashion spotlight
Turning up the drama is Kenzo, where an evening suit, coat and all, gets a cheeky remix where a white tuxedo shirt is tucked out, and the bow tie? Untied, of course.
Call it bold or playful, it's a fresh take on evening wear.
Chinese actor Deng Wei joins in with a brown Moschino suit, his crisp white shirt left untucked for just the right touch of ease.
Then there's Prada, its striped short-sleeve shirt that is tucked in at the front, but hanging out slightly at the back. A little undone, but in a cool way. Dashing but not too neat.
Now that's what you call a tuck with attitude.
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The Star
9 hours ago
- The Star
The claw grip is trending, and it says a lot about women's fashion woes
Everywhere you look, women have their hands full. They are clutching water bottles, phones, cups of matcha and wallets. Now that it's summer, sunglasses dangle off the pinkies of already stuffed hands. Never mind that women's handbags, where these items could theoretically live, make up an entire industry and that bigger bags, in particular, are having a moment. The phenomenon, in which women are gripping their necessities without the aid of pockets or bags, is called the claw grip, and on social media, it has been crowned as a secret superpower. In one video on TikTok, a woman challenged herself to carry as many items as possible in one hand. She managed 15, including a lip balm, a pen, a bottle of hand sanitiser, a Kindle, a notebook, a wallet, a power bank, a comb and three water bottles. Read more: Why toes are taking over: Fashion's growing obsession with feet-first style An Instagram account dedicated to girls carrying things (which uses a profane synonym for 'things' and sometimes goes by GCS) posts images submitted by users of their hands full of various bric-a-brac. 'I have seen my grandma do the claw grip all her life,' comedian Atsuko Okatsuka said in an email. 'Every grandma of every culture and race always has, like, a napkin or a piece of trash that they've been carrying around for a long time, maybe years. 'I have taken on the passed-down tradition of claw hands myself,' she added. 'Whether it's mayonnaise packets, or napkins or my cellphone, I am always holding stuff.' For Halle Robbe, personal experience with this tradition prompted her to create the GCS account on Instagram. In 2021, Robbe had run out to a nearby bodega. 'I just brought my keys, my wallet and my AirPods with me, and then I was going to get a Red Bull,' she said, noting that she did not bring a bag. 'I had it all in my hand so I took a photo and put it on my personal Instagram with some silly caption that was some version of, like, 'After hundreds of years of evolution, this is what I can do.'' Her friends responded to her post almost immediately, saying they do the same thing. Robbe created the GCS account that same day. She initially solicited photos from friends and co-workers, and now she receives more than 100 submissions a day. 'I think we've all been there when we have just, like, an assortment of stuff and we're running out the door,' said Abby Cox, 29, a fashion historian and a YouTube content creator. 'I need to make sure I have my glasses. I need my water bottle. Do I need to bring a snack? 'And so you're going out the door with your purse,' she added, 'And then the stuff that should be in your purse.' A popular theory around the origins of the claw grip is that it is a reaction to the fashion industry's refusal to provide women with the functional pockets that are standard in men's clothing. It was not always this way. As far back as the Regency and Victorian eras, women had pockets in the form of bags that were tied around their waists underneath their big, flouncy skirts, Cox said. Their dresses had slits through which women could access these pockets, which could be as big or small as necessary. Cox added: 'They would have pockets in the hems of skirts or they would have what we call butt pockets, because in the back pleats of gowns, you could hide a deep pocket.' In one of her YouTube videos, in which she is dressed in Victorian clothing, she put an entire bottle of prosecco in such a pocket. In the late 20th century, as female clothing shifted toward narrower silhouettes and lighter textiles, substantial pockets became difficult to incorporate, so they were sized down or erased from garments altogether, she said. In February 2024, Hailey Bieber's brand, Rhode, released a phone case with a built-in lip gloss holder that generated a wait list of more than 200,000 interested customers. Now the case and the lip gloss have become immediately recognisable, partly because of how many times they're seen peeking through women's hands – or particularly, Bieber's hands. This month, Glossier – which from its earliest days had packaged items in pink transparent reusable pouches – released a pair of terry-cloth shorts with a sliver of a pocket that fit only lip balms. There are also side pockets, which could fit a phone, and a single belt loop, potentially for key rings. There are also theories that the claw grip reflects the chaos of the minds of women who are thinking through to-do lists and mentally writing text messages and running errands all at the same time. 'I think holding things in our hands actually is our need to keep something in control,' Okatsuka said. 'I started getting submissions that were like, 'Oh, I'm carrying XYZ and the weight of the world' or something metaphorical like that,' Robbe said. The claw grip, she added, could be seen as 'an extension of or in parallel with the mental and emotional and spiritual burdens that women carry'. Read more: From kopitiam to cool: How the white tank top became a style staple for men It is an idea that artist Maira Kalman started to explore three years ago. 'One day at a farmers market, I saw a woman carrying an absolutely gigantic cabbage,' Kalman said in a 2023 TED Talk. 'It made me think of all the things women hold, literally and metaphorically.' Yes, they hold cabbages, balloons, phones. But also, in her own words, "the home and the family and the children and the food". "The friendships, the work, the work of the world and the work of being human. The memories and the troubles and the sorrows and the triumphs and the love. Men do as well, but not quite in the same way,' she added. She turned her observations into a book of paintings. It is called Women Holding Things. – ©2025 The New York Times Company This article originally appeared in The New York Times.
The Star
13 hours ago
- The Star
Let it stylishly hang loose: Untucked shirts are all the rage right now
Somewhat unkempt, yet considered, this short-sleeve shirt is tucked in at the front, but hanging out slightly at the back. Photo: Instagram/Prada If fashion would have it, every day would be a dress-down Friday. Shirts are hanging out and proud, and we're not just talking polos, but crisp office shirts and even formal tuxedo ones. It's a deliberate departure from stiff, formal traditions, allowing shirttails fly free as a kind of modern nonchalance. It's fashion's way of saying, 'I'm not obsessed with fashion, but I am effortlessly aware.' It's a calculatedly casual way to look hip, cool and unbothered. This undone, off-duty trend carries an undercurrent of rebellion, which accords the wearer a certain rakishness. While this style may be relaxed, it does take some thought. The shirt has to be the right length, the fabric intentional, and the rest of the outfit, whether tailored trousers or casual denim, needs to balance the ease. Read more: Why toes are taking over: Fashion's growing obsession with feet-first style It's a look that requires a sense of fashion, perhaps a little swagger too, or you might end up looking sloppy than stylish. This Japanese label gives the trend a modern spin with a simple half-tuck that makes the undone look feel sharply styled. Photo: Instagram/Sacai The style can be seen in the Spring/Summer 2026 Louis Vuitton menswear collection where a traditionally formal pairing comprising beige trousers and white shirt complete with necktie is layered with a buttoned-up pink sweater. At first glance, nothing appears out of the ordinary. But the white shirt is worn untucked, its hem peeking out beneath the sweater, lending the outfit a quietly rebellious edge. Over at the much-awaited Spring/Summer 2026 Dior menswear collection, new Dior designer, Jonathan Anderson, champions a similarly untucked spirit. A light blue and white pinstripe shirt is not only left untucked, but its cuffs are left undone. Even the necktie is rendered inside out, which is a deliberate design quirk rather than a wardrobe blunder. Tailored, with a fun and casual twist! Japanese label Sacai's take on the trend is half-tucked, and we're here for it. A pair of black, baggy trousers is styled with a white shirt that is tucked in on one side, left to hang loose on the other. Read more: Slim, sequinned, silky: Scarves and neckerchiefs steal the fashion spotlight Turning up the drama is Kenzo, where an evening suit, coat and all, gets a cheeky remix where a white tuxedo shirt is tucked out, and the bow tie? Untied, of course. Call it bold or playful, it's a fresh take on evening wear. Chinese actor Deng Wei joins in with a brown Moschino suit, his crisp white shirt left untucked for just the right touch of ease. Then there's Prada, its striped short-sleeve shirt that is tucked in at the front, but hanging out slightly at the back. A little undone, but in a cool way. Dashing but not too neat. Now that's what you call a tuck with attitude.
The Star
15 hours ago
- The Star
At 70, Godzilla keeps on smashing expectations and buildings.
Steve Ryfle remembers scouring the TV Guide each week to find the monster movies and Universal horror films he loved. 'You had to make an appointment with yourself to be by the TV, so it was really special,' recalls Ryfle, an author and co-writer of the Emmy-winning documentary Miracle On 42nd Street. 'The Japanese films always appealed to me the most. 'They were intriguing because they took place in a world that was unfamiliar, a culture that was unfamiliar.' Godzilla, he says, was especially captivating to a dinosaur-loving kid. 'Of course, when you're younger, you're into dinosaurs,' he says. 'Godzilla seemed like the greatest dinosaur I'd ever seen, and it did all these crazy things, and I just loved it.' A statue of the Godzilla inside the Toho Studio head office building in Tokyo, Japan. — AKIO KON/Bloomberg But back then, beyond a few fanzines or horror magazines, it wasn't as easy as it is now to find information about less mainstream interests or connect with like-minded fans. 'There really wasn't anything to read about these films in any detail. And I remember as a child asking a bookstore clerk if there were books on Godzilla, and he actually laughed at me and asked why I would ever want to read anything like that,' says Ryfle. 'That stuck in my brain.' Clearly. Along with Ed Godziszewski – with whom he co-wrote 2017's Ishiro Honda: A Life In Film – Ryfle is the co-author of the massive new book Godzilla: The First 70 Years , a 432-page, 2kg book filled with stories, interviews, breakout boxes, and more than 900 photos of one of cinema's most enduring figures. The writing duo will be appearing as part of an overall Godzilla onslaught at this year's San Diego Comic-Con. 'Godzilla, at its very heart, is a monster rooted in trauma,' says author Ryfle. — Famous Monsters/Instagram Reflection of the times The book, which features introductions by Halloween and The Thing directing legend John Carpenter and recurring Godzilla actress Megumi Odaka, is the culmination of an effort by the publisher and Toho Studios to mark the anniversary with the ultimate English-language book examining the narrative and visual history of the films, says Ryfle. 'Dating back to 1954, Godzilla has, of course, gone through all of these different iterations and evolutions and changes and its motivation and its personality and the way it's depicted on screen, and even the techniques that are used to bring it to life,' says Ryfle, who points to the recent box office success and critical respect for 2023's Godzilla Minus One . 'I mean, who would have thought 70 years ago that a Godzilla movie made in Japan would win an Academy Award? It would have been impossible, and yet here we are.' 'It's a real evolution from the time when these movies were sort of misunderstood and just relegated to the scrap heap of low-budget cinema they were assumed to be.' 'Obviously, there are interesting stories to tell about these movies and the people who made them,' he says. 'It's really kind of a celebration of the people and the culture that they come from. The people who made these movies were proud of the work that they did, because they were basically, by and large, handmade films.' History of Godzilla is looked into extensively in a massive new book titled Godzilla: The First 70 Years. — TNS Rooted in trauma Unlike other schlocky mid- century genre movies, the original Godzilla films reflected Japan's experience during and after World War II. The films were a response not only to the devastation caused by the United States detonating atomic bombs over Hiroshima and Nagasaki, but also to the firebombing of Tokyo in which nearly 300 US planes dropped 1665 tonnes of napalm on the city, creating a firestorm and killing 100,000 people in what the Truman Library Institute called 'the most devastating aerial bombardment in history'. 'Godzilla, at its very heart from the very beginning, is a monster rooted in trauma,' says Ryfle. 'It's also really about that collective experience of the war and the struggle and the hardships that people went through – and also the collective experience of the post-war period when the economy was in shambles and there were food shortages and political unrest and unemployment and deprivation of extreme magnitude.' There are images in the original film that directly correspond to wartime destruction, says Ryfle. 'When I'm giving talks about the first Godzilla film, I'll show stills of Tokyo on fire,' says Ryfle, referring to actual photos taken during wartime bombing raids. 'I'll put up these two pictures side by side ... it's almost like a mirror image.' As well as exploring the film's inspirations – such as the original King Kong, which had been a huge success upon re-release just a few years before the initial Godzilla film – Ryfle and Godziszewski did interviews and scoured archives for fresh insights – and found things that surprised them despite having decades of experience writing about the films. 'Ed and I've been writing together for a number of years and working on a lot of different projects. We actually met 30 years ago at the very first Godzilla convention that they had in Chicago,' says Ryfle, praising his writing partner Godziszewski as 'a legend' when it comes to knowing the topic and where to dig up information. Not only did they discover the audio elements of the iconic Godzilla roar – many of the monster cries were made with different musical instruments, says Ryfle – but they also learned something surprising about the changing face of Godzilla over the years. 'From 1954 to, say, 1975, the suit looks different pretty much in almost every film, and I always thought that was on purpose. 'But no, they actually made the suits, at least for about the first 15 years, from the same mould. They just came out differently every time,' says Ryfle, who credits the actor inside the suit, Haruo Nakajima, both for his artistry and his superhuman stamina. 'The very first suit was almost unusable. It weighed so much and the interior of it was almost inflexible ... the guy tried to walk in it and just tipped over.' 'It was impossible to be inside without suffocating if you were in it for more than a few minutes ... it was almost a death sentence to do this stuff,' says Ryfle, adding that Nakajima would sweat out dozens of pounds during filming. 'They would have to pour the sweat out of the suit every day, and then dry out the interior for the next day, because it was just a sauna in there. Though the 'man-in-the-suit' aspect could sometimes be viewed as comical, Ryfle says Nakajima's work was instrumental in the creature's evolution and popularity. 'I attribute a large part of the success of those movies to Haruo Nakajima, who played Godzilla for roughly the first 18 years of the first cycle of Godzilla films,' says Ryfle, while also praising the original film's special effects wizard, director and cast. 'He was just a wonderful man who died a couple of years ago. 'He loved his work, and he's largely responsible for the personality that starts to come through.' 'He turns Godzilla from a walking nuclear bomb into a character over a period of time,' says Ryfle. In the beginning, original King Kong films served as an inspiration for Godzilla movies. Presently, the two gigantic creatures have appeared together in Hollywood films. — Handout Lasting power While we discussed a range of topics and there's much more in the book, Ryfle summed up the project as we were concluding the conversation. 'Someone asked me, like, what was your goal at the start of it?' he says. 'We wanted to make the best Godzilla book for the widest possible audience. 'I've always felt from the beginning that (the films) were unfairly maligned and misunderstood, and that maybe I could help, especially after I started meeting the creators and realising what passion they had for their work, and starting to understand how culturally specific these films are.' But he also understands another reason for Godzilla's lasting power. 'On a gut level, no matter what's going on in the film and how quote-unquote 'serious' it is as a movie,' says Ryfle, 'people really want to see the spectacle of Godzilla destroying things.' – The Orange County Register/Tribune News Service
