Latest news with #DitaVonTeese
The Sun
a day ago
- Entertainment
- The Sun
I woke up looking younger than my five-year-old and it's all thanks to a £5 buy that works overnight
WE all want to keep the signs of ageing at bay for as long as possible. And one woman has found a must-have buy that instantly reversed ageing overnight. 2 2 Faith Coe, from the UK, took to social media to share the buy and its results. The brunette beauty decided to try the viral overnight Korean sheet masks to see if they really made her skin glow and firm, and she wasn't disappointed. In the clip, she showed that the facemask was moist when she put it on in the evening and had completely dried up in the morning as the product absorbed into her skin. She then removed the mask and found her skin looked more hydrated and firmer than ever before. Faith said: "I've been lied to, I've been done over. Okay. These masks. 'Glass skin?' I'll give you glass skin. Glass skin! I look younger than my five-year-old when I peeled this off this morning, okay? "I didn't think it was gonna stay on for the night, so I was baffled that it made it through, but my gosh, I have never looked more hydrated in my life." Faith was stunned by just how well the masks worked, which she got from TikTok shop. Each mask costs £5 for one or four for £20. The Narae Korean glass mask is a sheet mask infused with collagen, probiotics and hyaluronic acid to hydrate the skin and improve the texture. Dita Von Teese, 51, reveals how she's kept her skin wrinkle-free as fans are convinced she 'looks 30' It's the perfect buy for those wanting an instant boost to their skin before a big event. "It's a one step, one and done. I'm baffled, my glass skin and me," I…" Faith said finishing off the video and showing off her glowing skin. The clip went viral on her TikTok account @ faithcoe with over 344k views and 7.5k likes. People were quick to thank Faith for the recommendation. One person wrote: "Looks amazing!" How to reverse ageing in just 2 weeks, according to royal go-to nutritionist LONDON -based Gabriela Peacock, who has helped the likes of Prince Harry and Princess Eugenie prepare for their weddings. She told Fabulous: 'The science is evident that we all have the power to make simple life changing alterations to better our future selves - no matter what genetic hand we might have been dealt with. 'The reality is, we all sometimes indulge in unhealthy eating habits like processed foods, smoking cigarettes, drinking too much alcohol, inhaling city pollutants, and even drinking water from plastic bottles – none of this is good for us. 'All this does is promote the ageing process, but we all have the potential to change this.' It may be hard, but try to keep away from sugary carbohydrates, because they feed chronic inflammation, which is one of the worst enemies of reversing ageing. Now only will you end up putting on weight if you consume them regularly, but your energy and hormonal levels will be affected and this will influence how you look and feel. Whatever your age or state of health, it's never too late to reverse how quickly you are ageing and embrace the energy and vigour of a younger you. Antioxidants, such as vitamins A, C, and E, are essential in neutralising free radicals—the culprits behind premature ageing. Integrating a spectrum of colourful fruits and vegetables into your diet provides a potent source of antioxidants. Omega-3 fatty acids, abundant in fatty fish like salmon and flaxseeds, are vital for maintaining skin elasticity and hydration. Omega-3s act as nourishment for your skin, locking in moisture and diminishing fine lines and wrinkles. Collagen, a structural protein dwindling with age, can be replenished through collagen-rich foods like bone broth and lean protein sources. "Oooooo I need a nice hydrating mask," penned a third.
BBC News
5 days ago
- Entertainment
- BBC News
'It makes me feel strong': Burlesque is back - but is it empowering or degrading to women?
As burlesque queen Dita Von Teese puts on a new London show, the art form, which blends glamour, striptease and humour, is having a moment again – but the debate around it continues. Grab your nipple pasties and tip your bowler hat: burlesque is back. The art form, which blends vintage glamour, coquettish striptease, and a winking knowingness, is one that seems to blow in-and-out of fashion: it was huge in the 2000s, then faded from view. "When it's needed as a discursive form, it comes up," says Jacki Wilson, associate professor of performance and gender at the University of Leeds. And while in recent years, in the UK at least, drag has replaced burlesque as the trending cabaret act de jour, a couple of big new shows suggest burlesque might just be slinking back into the spotlight. "I think it's having a true renaissance, actually – all over the world," burlesque performer Tosca Rivola tells the BBC. She'd know: her show Diamonds and Dust, a "narrative" burlesque show starring Dita Von Teese, has just opened in London. And while Von Teese may be the enduring queen of the art form, even she benefited from the Taylor Swift effect recently, being introduced to a new audience when she starred as a fairy godmother in the video for the singer's 2022 single Bejeweled. Also about to open in the West End is Burlesque the Musical – a stage version of the Christina Aguilera and Cher-starring 2010 film, while at Edinburgh's globally-renowned Fringe Festival this summer, a new International Burlesque Festival is set to run across five venues for the whole month, in response to a "major increase in burlesque productions staged at the Fringe" last year, according to organisers. And if an ultra-glam version of burlesque has endured more in the US than the UK over the last 15 years, it's also enjoying something of a renaissance there. When a Met Gala after-party centres around a burlesque performance by Teyana Taylor and FKA Twigs, as it did this year, it's clearly more hot ticket than old hat. Or is it? Many of these offerings feel doubly retro: a throwback 20 years to the last mainstream period of an art form that was already harking back to a different era. Is the revival of interest in burlesque actually part of a broader wave of specifically millennial nostalgia? Burlesque the Musical is clearly targeting the same millennial audiences who have flocked to other movie-to-musical adaptations such as Cruel Intentions, Mean Girls, Legally Blonde and Clueless. And the fact that Von Teese is still the big draw for Diamonds and Dust suggests a looking back rather than any great leap forward. Glancing at social media, there is plenty of burlesque on Instagram and TikTok, but not too much evidence of Gen Z rediscovering or reinventing it just yet. A short history of burlesque Before we get lost in such layered timelines, here's a brief history. Burlesque's origins are in Victorian Britain: it grew out of music hall and vaudeville. When Lydia Thompson's troupe The British Blondes visited New York in 1868, their combination of parody, humour, singing, dancing and revealing costumes caused a sensation. "Burlesque is foundationally revolutionary feminist – a reclaiming of female sexuality," Kay Siebler, assistant professor at the University of Nebraska Omaha, tells the BBC. "The root, 'burle', is Italian, and means satire, and burlesque was originally created by women's suffrage performers whose whole objective was taking up public space, and not being confined by patriarchal ideas of what it means to be a woman." But from there, American burlesque developed into its own thing, the emphasis gradually moving towards striptease. There's also, it should be said, a parallel story of the art form's development across Europe, notably in the cabaret clubs of Paris and Berlin, towards the end of the 19th Century. Fast-forward to the 1990s, and neo-burlesque was born in the US. By the mid-2000s, hastened by films such as Moulin Rouge and Chicago, burlesque helped drive a wider trend for vintage glamour, and dominated the stages of cabaret clubs across the globe – as an art form made by women, for women. "Throughout the 90s, I was very much under the hetero male gaze," Dita Von Teese tells the BBC, as she reflects on a career which started in strip clubs. "But I'd say around 2002 my fan base shifted to very female… I think because [burlesque] resonated with people, and they felt like they had some kind of permission to indulge in glamour and embrace their sensuality." As an elder millennial, I remember this era well; long strings of pearls, fishnet stockings, corsets and feathery headbands still shriek mid-2000s as much as they evoke the belle epoque to me. By 2007, burlesque was mainstream enough that one of the first pieces I ever wrote for a newspaper was covering an amateur burlesque night in a small town in Wales that had faintly scandalised the locals. Because the more popular burlesque got, the more it was scrutinised, with increasing debate over whether it was a really an art form or mere titillation. Some argued: weren't women prancing around in corsets, stockings and suspenders just embodying old, patriarchal norms – stripping with pretensions? It's worth restating Von Teese's point that neo-burlesque was created and performed by women, for audiences of women and gay men; it might have been using the language of classic heterosexual desire, but it became a safe space for embodying and playing with that. And a really significant strand of neo-burlesque took that further – or rather, went back to its radical roots. There's always been this more punk version, from the likes of legendary New York performance artist Penny Arcade through to the Australian collective of women of colour Hot Brown Honey – where the work may be subversive, satiric, grotesque, experimental, or deeply political, and the performance of femininity is also a critique of how all femininity is really a performance. Is burlesque becoming more regressive? That version feels much more relevant to 2025 – in step with drag and queer culture, and in line with the broader movement towards diversity and inclusivity that we've seen in the last decade. Yet what's surprising about some of the new burlesque offerings is how old-fashioned they seem. Burlesque the Musical has not yet officially opened, so I can't speak to how writer Steve Antin has updated it. But early reports from a preview run in Manchester suggest it's retained its hetero love story and a pretty uncomplicated attitude towards the joy of shimmying in a bejewelled thong. But I have seen Diamonds and Dust – and found it to be a perplexingly retrograde offering. The dancers may be from different ethnic backgrounds, but otherwise it offers a terribly narrow range of Barbie-doll beauty: slim, leggy, busty, long-hair, lashings of pink and glitter. While they're all undeniably fantastic performers – some of the circus skills made my jaw drop – it also all feels boringly straight and sanitised, about as subversive as a Victoria's Secret show. Which is interesting, because there's certainly a broader revival in what we might term an old-fashioned form of femininity currently, notably in the Trad Wives phenomenon. More like this:• How erotic novel All Fours captured the zeitgeist• The controversial clubs that kept women out• How "dollar princesses" brought flair to the UK Siebler argues that "the original burlesque was a social commentary about what it meant to be a woman, and that is absolutely absent from this very repressive, passive and disempowered version of female sexuality". Such pretty, teasing femininity is, she suggests, "a patriarchal script that women have internalised to say, my power is my sexual power. But are we able to think about how limited this power is?" Wilson has a different perspective: she suggests that, far from just making a comeback now, burlesque has actually continued to bubble away in an underground form – within community spaces, where words like "empowering" do feel more relevant. "Burlesque has opened up now to include queer people, older women, younger men, the transgender community, working-class women," says Wilson. "It's inclusive of different people who want to reflect on what sexiness means, what these tropes and stereotypes mean." This grassroots burlesque, performed by amateurs, is of course a world away from polished, palatable commercial shows – which Wilson sees as distracting from the art form's more radical potential. "I really see the feminist value of burlesque," she says. "It's an incredibly important safe space for women to think about what their bodies mean." -- For more Culture stories from the BBC, follow us on Facebook, X and Instagram.
Perth Now
08-07-2025
- Entertainment
- Perth Now
Burlesque star Dita Von Teese bans zips from her striptease costumes
Dita Von Teese has "never considered" using a zip as part of her striptease. The 52-year-old burlesque star believes she is the "most famous stripper in the world", and as a result she doesn't want to take the easy option of ever using a costume with a zip - because Dita insists she should be doing something "more complicated than anyone else". Speaking to Harper's Bazaar magazine, she said: "I worked with a costume designer once who asked me, 'Have you ever thought of using a zip?' I said, 'No, I've never even considered it, not even once.' Instead we try and come up with maniacal ways of doing a striptease. "You can't be the most famous stripper in the world and not be doing some s**t that's more complicated than anyone else. "You want to figure out how to make it harder, how to level it up." Dita's costumes are her "biggest extravagance in life", and she even keeps a record of how easy or hard it was to get out of her incredible outfits. She said: "Costumes are my biggest extravagance in life and they have to be otherworldly. "None of the costumes in my show are things you can wear or buy on the street. "I have a little book where I keep a score: me vs the costume. "When I did Crazy Horse I wore this incredible pearl corset and it was like a Houdini trick to get out of, and that's the point. "I like to create something absurd that no one else would take on." Dita keeps in shape for her shows by doing weights, Pilates and barre classes, but she is not "obsessed" with exercise. She added: "I don't get obsessed with it. "I tell myself that my body is strong and I work out when I can. "Sometimes I choose between sleep and exercise. Doing the shows all the time keeps me at a certain physical level."
Perth Now
08-07-2025
- Entertainment
- Perth Now
Dita Von Teese wants to be 'sexualised and objectified' at times and hopes her show feels 'sexy'
Dita Von Teese "wants to be sexualised and objectified" at times. The 52-year-old burlesque star admitted it would be "nice" to be "objectified for a minute", despite it being a taboo subject, and she loves it when people who aren't familiar with her show rock up and find it "sexy and hot". Speaking on Fearne Cotton's Happy Place podcast, she said: "I know it's really taboo to say, but sometimes you're just like, 'I just want to be objectified for a minute. Wouldn't that be nice?' "I want to be sexualised and objectified sometimes. "I think I'm also so used to having a theatre full of women that are there maybe because they read my book or whatever, or they follow me and then sometimes, especially this happens in Vegas, when there's people that don't know me, they don't know what my show is about. "They are just walking into it and they're just like, 'Yeah, this is hot' and I'm like, 'Oh good. I'm glad that it's still sexy and hot too.' "I like to create a show that feels if you have never heard of me, you're still going to be like, 'That was so much fun. I've never seen anything like that in my life.' " Dita admitted the times she does feel objectified aren't when she is scantily-clad on stage. The star - who was previously married to rocker Marilyn Manson - isn't a fan of someone who sees her pose for a picture and then also asks for a snap when they don't know who she is. She explained "Interestingly, the times I feel objectified are never to do with being on stage or doing what I do. "It's always other weird things in life that you're just like, 'Oh, God, it's so weird to have somebody asking me that question,' or maybe somebody will recognise me, for instance, and they ask for a picture. "I'll pose for their picture and then somebody else will be like, they don't know who I am, they just are like, 'Why do those people want a picture?' " Dita also admitted people sometimes put their hands on her, which leaves her feeling "objectified" for the wrong reasons. She said: "And they'll be very aggressive and like, 'I want one too,' and you're just like, 'Oh.' "That's where you feel objectified when people put their hands on you or, 'I need this too,' or 'Can you do this?' "Anything like that I feel objectified."
Daily Mail
08-07-2025
- Entertainment
- Daily Mail
Dita Von Teese, 52, admits she WANTS to feel 'objectified and sexualised' and says the subject still feels 'taboo' after stunning fans with her racy Diamonds and Dust burlesque show
Dita Von Teese has revealed the moments she 'wants to feel objectified and sexualised' after stunning fans with her latest show. The burlesque star, 52, has been taking to the stage in her Diamonds And Dust show, which features 'high glamour, bold women, and dangerous games' at the Emerald Theatre in London. And speaking to Fearne Cotton on her Happy Place podcast, Dita shared that she feels there is still 'taboo' around feeling sexualised and desired, and admitted the moments she feels most objectified, haven't been when she's on stage. She said: 'Interestingly, the times I feel objectified are never to do with being on stage or doing what I do. 'It's always other weird things in life that you're just like, ''Oh, God, it's so weird to have somebody asking me that question'' or maybe somebody will recognize me for instance and they ask for a picture and I'll pose for their picture and then somebody else will be like, they don't know who I am, they just are like, ''why does those people want a picture?'' 'And they'll be very aggressive and like, ''I want one too'' and you're just like, oh, that's where you feel objectified when people put their hands on you or 'I need this too' or ''can you do this?'' Dita Von Teese has revealed the moments she 'wants to feel objectified and sexualised' after stunning fans with her latest show 'Anything like that I feel objectified. I know it's really taboo to say, but sometimes you're just like, ''I just want to be objectified for a minute. Wouldn't that be nice?'' 'I want to be sexualized and objectified sometimes. 'I think I'm also so used to having a theatre full of women that are there maybe because they read my book or whatever, or they follow me and then sometimes, especially this happens in Vegas, when there's people that don't know me, they don't know what my show is about. 'They are just walking into it and they're just like, 'yeah, this is hot' and I'm like, 'oh good I'm glad that it's still sexy and hot too'. 'I like to create a show that feels if you have never heard of me, you're still going to be like, 'that was so much fun. I've never seen anything like that in my life.' Credited with re-popularising burlesque, Dita, born Heather Renée Sweet, is an American vedette and businesswoman. A vedette is the main female artist of a show derived from cabaret and its subcategories of revue, vaudeville, music hall or burlesque. In January, Dita left Lorraine viewers swooning in a plunging gown as she revealed the 'most outrageous challenge of her life' on the hit daytime show. The model opened up to Lorraine Kelly about her time on The Masked Dancer. Dita starred on the ITV competition back in 2021 and dressed as a beetroot in a green and purple dress with a mask the shape of the vegetable. She revealed to Lorraine how she had suffered with vertigo from riding a mechanical bull and subsequently found dancing on the show difficult. Dita said: 'I had vertigo from riding my mechanical bull, I was riding my mechanical bull, swinging my head around and I triggered a vertigo thing and it was a problem for a year so I'm doing The Masked Dancer with this head and the lights on the floor were crazy, it was outrageous. 'It was one of the biggest challenges of my life but it was funny and I loved it,' the dancer added. The show was filmed during the Covid pandemic and Dita stayed at Claridges during the filming. Dita said: 'It was my favourite, besides doing the show and laughing throughout, it was right when the pandemic started and it was a full lockdown here and I was the only guest at Claridges.' She enjoyed a mostly empty hotel and 'special treatment' during her stay. 'I had it all to myself, I'd come wafting down that staircase in the mornings in my nightgown. There were like five people working there and I just had special treatment and they were like sure, you can stay there, because I'm a friend of the hotel,' Dita added.
