Fashion

 Brooklyn Shall I have my sister’s skin peeled off for display after she dies? Specifically, the tattooed bits — the swatches on either forearm adorned with foliate designs by her favourite artist, and the patch on her wrist inked in her own handwriting with transliterated Hebrew. I’ve always liked them, and not just because they annoy Mother. Should they be separated from her mortal remains, preserved through the wonders of mortuary science, and mounted in a shadow box to grace my bookshelf in her memory? I ran the idea by her the other day while lounging in her Brooklyn garden. Without looking up from the barbecue where she was grilling

‘Let’s play a game. Yohji or Burkini?’ a friend and fellow fashion writer in Paris lazily suggested. We were sitting by Paris Plage, on deckchairs on the edge of the river Seine. Tourists, families, screaming infants and the usual Paris bobos, clad, this year, in impeccably chic austerity, with hardly a square centimetre of skin revealed, all mingle. Our conclusion was that it’s hard to tell the difference between conceptual designer Yohji Yamamoto’s latest outfits and the modest styles worn for religious reasons. The burkini, designed in 2003 in Australia but barely known in France until recently, could also easily be worn by both fashion divas or the devout. Yet it has now become a subject of

Men don’t look good in black tie. They might think that they look like Sean Connery in Dr No, but they end up looking like David Brent at the Wernham-Hogg annual Christmas do. Black tie doesn’t lend parties glamour; it just makes them depressing. The one good thing about black tie is that it is an invariably reliable pointer to a terrible evening. Agonising teenage balls, with adolescents clashing braces in dark corners? Black tie. Boorish sports club dinners at university? Black tie. Prize-giving evenings in cavernous hotel ballrooms? Black tie. Business conventions with an after-dinner speech by Jeffrey Archer? Black tie. The words ‘black tie’ on an invitation hope

Not only are today’s young girls having to work hard on their abs, butts and glutes, now the likes of Gwyneth Paltrow and Kim Kardashian are instructing the poor lambs in the art of keeping their ‘lady garden’ in mint condition. Subject to the approval of their best mates, apparently, the formerly taboo subject of ‘down south’ is now open for discussion. Some celebs now cultivate, manicure and moisturise the ‘no-fly zone’ with as much effort as they put into their faces. Whatever next? Will Ryan Gosling and Brad Pitt suddenly inform all studs how to take care of their gentleman’s gentleman? I’ve been on Twitter for four years now

Spring is here and the air is alive with the sound of sweaty manmade materials rubbing together, as middle-aged cyclists fill every road, dressed head to toe in Lycra. They whizz along, jumping red lights, weaving in and out of the path of trucks, screaming at pedestrians and taxi drivers; barely evading death three times a morning. Lycra isn’t just a fabric; it’s a state of mind. At work, these often portly, always angry, red-faced individuals might be mild-mannered middle managers who work in marketing. But in their cycling kit they are superheroes who happen to swear a lot. The double Olympic champion Laura Trott was once asked to help

Last time I went to Thailand, there’d been something of a misunderstanding about accommodation, and my friend and I ended up in a dive on Khao San Road. In a grim room with stained mattresses and peeling paint, the thud of beats from the disco made everything vibrate gently. Stalls outside offered fake IDs, tatty souvenirs and novelty edible insects. I’m not averse to eating crickets, but these ones needed embalming fluid, not cooking oil. So we took a tuk-tuk across town to the Grand Palace, just seeking a break from sunburned students in short shorts drawling about full-moon parties. Instead, what happened next was one of the highlights of

The V&A have defended their decision to turn down the offer of Margaret Thatcher’s wardrobe on the basis that it only collects items of ‘outstanding aesthetic or technical quality’ rather than those with ‘intrinsic social historical value’. Yet in the same statement, they also suggest that the museum is responsible for ‘chronicling fashionable dress’. I’m not entirely sure how the V&A believes it can fillet out the ‘social historical value’ from their aim of ‘chronicling fashionable dress’. I’m also not sure I believe them. Thatcher is a divisive figure, and many people – some of them, presumably curators at the V&A, dislike her intensely. I do not know whether Martin Roth, the German