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I can’t lie. I felt famous during New York Fashion Week. With my focus oscillating between Google Maps and the cobblestone streets of Tribeca, I had no time to stop and think about the scene I would be approaching. The thing with runway shows is they never start on time. Who shows up early these days anyway? For me, someone constantly late but willingly accepting every opportunity, NYFW’s schedule worked to my advantage. Still, inklings of doubt mixed with the rush of not knowing how late would be too late – leaving me with little room for mental preparation. In the case of the Brandon Maxwell show, I anticipated an intimate setting. I was told the guests were close friends, family, and a few high-profile fashion moguls who were asked to refrain from using recording devices during the presentation. It was a trusted circle of less than one hundred. I knew there’d be paparazzi outside impatiently awaiting the elite attendees. However, I didn’t foresee the vast amount of turned heads and focused cameras crowding the corner of Walker Street and Cortlandt Alley, all readily directed at me. Suddenly, I was someone to be noticed. Through the white flashes and crisp calls for attention, I approached the threshold of the Andrew Kreps Gallery. I presented myself to be checked off a list of people deemed special enough to see inside. Camera personnel and event staff had no clue who I was or why I was there – the irony. I wasn’t Julia Fox, Anna Wintour, or Blake Lively-level distinguished or expected. But I, Kaleigh Werner, was presumed worthy of being photographed and granted access based on proximity, invitation, and seating. It was thrilling. I felt as though I’d made it. In the literal form, yes, I’d arrived at my destination and found my chair. But metaphorically, I was on the cusp of something sensational that surpassed the rush of being realised through an entirely new lens. As a reporter, someone invited to review these presentations, it’s easier to block out the A-list noise. My attention remains locked on the intricacies of each collection, and figuring out how they mirror the thoughts of a designer. Whether sitting in the front or standing in the back, I’m concentrating on how a designer’s societal impression can be contextualised in fashion, while still adhering to the temperature regulations of the season. I’m in a gallery or a museum to perceive art, not at a red carpet event. I’m not being dressed by the brand. I’m not worried about how I look. The runway demands my attention. So, my gaze is directed there. This year I attended three shows: ADEAM, Atelier Ndigo, and of course, Brandon Maxwell. For ADEAM’s spring/summer 2024 show, hosted inside a warehouse on the west side of Manhattan, creative director and CEO Hanako Maeda effectively fused her longtime love for the ballet with her desire to “juxtapose the performance art as a sport”. “I think the collection combines the romanticism and couture-like craftsmanship that you see in ballet costumes with a more modern, sporty mood. I also added a touch of rock ‘n’ roll edge with the accessories,” Maeda told The Independent. Through tulle skirts, corsetry, ribbon, sheer Ponte, mixed media knits, and tailoring, Maeda - who designed the costumes for New York City Ballet’s Fall Fashion Gala in 2015 - reconfigured ballerinas to be models replicating a facile silhouette on the street. By using the specific material and intentional shape often associated with ballet, she harnessed the “athletic prowess” a performance artist displays and weaved it into everyday wear. Atelier Ndigo played with personal inspiration by utilising vibrant colours, textured fabrics, and structured pieces. From a bumpy white two-piece to balloon short sleeves, brand founder Waina Chancy once again proved to be an architect in dainty yet outspoken fashion. The white-washed walls of Spring Studios, complete with a backdrop of block brand lettering, only made every shade of red, purple, pink, and orange louder. Back at Andrew Kreps Gallery, Brandon Maxwell strayed from the eccentricity of his past spring collections to construct an ethereal response to the power of love. To him, that response is seen through sheer and natural beauty, along with coding that only added a breath of elegance. On the catwalk, gusts of chiffon, leather, knits, and denim blew past the few guests who sat in the studio. With flourescent lights and white ambiance, it felt as thought Maxwell had called upon angels to introduce a new wave of purity and innonence. Yet, the see-through materials mixed with belted pieces reminded us of the allure of form. The Brandon Maxwell spring/summer 2024 runway presentation wasn’t just the launch of a new line, but a visceral discussion on freedom and restraint - being simutaneously aware of both independence and determinism. From the distant eye, minimalism was triumphant. But upon closer look, the details were unveiled. Spliced sleeves turned biker-esque jackets and blazers into capes; sheer layers over and under long, fitted jackets transformed signature workwear into chic formalwear; and ripped, patchwork denim paired with slouched sweaters or unbuttoned button-ups brought an air of luxury to street style. As I exited down the steps to return to the reality of a typical work day, I stuck around to see who I could spot leaving the venue. NYFW has assumed a certain social stigma and media blitz. As much as it’s known for the inspired collections crafted by the minds of upcoming and distinguished talents, the seven-day affair has been hit with criticism, as more participants and curious observers are blinded by its social scene. After an animal rights advocate and PETA supporter stormed Coach’s spring/summer 2024 runway to protest the brand’s use of leather, discussion errupted around influencers increased presence at NYFW. Famed creators like Taylor Hawkins have been quick to point out how “dead” some events can get, due to the amount of brands that prioritise seating and dressing social media stars based on their online presence. Kelly Cutrone, best-selling author and CEO of People’s Revolution, echoed these sentiments in conversation with Dear Media during NYFW in February. “It’s just like, because you’re good at marketing yourself on the internet doesn’t make you a fashion expert,” she said about influencer being invited to shows. “Don’t pretend that just ‘cause you come here for a week that you’re in the fashion business.” For industry representatives - who are devoted to furthering the conversations that are evoked in fashion collections - their experiences are entirely separate from those who are invited to sit and make content about what they saw. These professionals are behind-the-scenes, speaking with the creative directors and producing copy to candidly honour their own work. “You know what I really don’t get, and what I don’t have much time for anymore. The fact that so much of the fashion content around the show that I see, especially on Instagram with these influencers, it’s really all about them,” fashion journalist Mosha Lundstrom Halbert said on her podcast, NEWSFASH. “It’s all about the fact that they got to go to fashion week - okay, cool. The fact that they’re being dressed by the designer - great, I’m happy for you,” she went on. “No editors get dressed by the designers, that’s really just influencers. And the fact that they’re going to show you where they sat and who they’re friends with...” But, there’s an advantage to having paparazzi feed off the unpredictable swarm of A-listers and influencers, and an obvious benefit to designers who decide to fill their front row with them. At ADEAM, Lana Condor, Elsa Husk, Poppy Delevigne, Harry Shum Jr, and Anna Cathcart were among the photographed VIPs. Meanwhile, Brandon Maxwell hosted Henrik Morten Lischk, Lisa Aiken, Eva Chen, Camila Alves McConaughey, Kat Collings, and Alex Badia. From a brand perspective, visibility is everything. In order for clothes to sell, the pieces need to be represented and observed by the right people – the “Emily Ratajkowskis” who generate buzz, or the social media influencers who inspire fads. It’s worth noting that, even though the production, styling, and individual garments speak volumes to the attractiveness of a collection, desire is often born from those who are adored and admired. Designers will develop their seasonal lines in tandem with a muse or inspired concept, like ADEAM’s spring/summer 2024 being motivated by the ballet or Brandon Maxwell’s being an answer to the impasse of freedom and restraint. Then there was Dolce and Gabbana’s famed spring/summer 2023 show curated by Kim Kardashian, after both Domenico and Stefano were galvanised by the reality star’s “it girl” essence. High fashion runway can be viewed as a melting pot of celebrity image and designer conception. While the relationship between famed figures and name brands is pertinent to Fashion Week criticisms, the focus shouldn’t be on celebrity sightings or social climbings. Although I observed a clear presence of exclusivity hovering over runway presentations and after-parties, I found the purpose is not to be seen but to step inside the minds of imaginative designers and celebrate the execution of their visions. Read More London Fashion Week 2023: All the highlights from day two British Vogue appoints Chioma Nnadi as Edward Enninful’s successor London Fashion Week: Jourdan Dunn walks in emotional Richard Quinn show

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TikTok is now the most used single source of news across all platforms for teenagers in the UK, new research from Ofcom has found. The regulator’s News Consumption In The UK 2022/23 report found TikTok is the favoured single news source among 12 to 15-year-olds. TikTok is most popular with young people and used by 28 per cent of teenagers, followed by YouTube and Instagram, both at 25 per cent, according to the figures. But, taking into account all news content across its platforms, the BBC still has the highest reach of any news organisation among this age group – used by 39 per cent of teenagers. Over the last 12 months we've seen most major publishers refocus their strategy, partly as otherwise there's more risk of young people seeing unreliable news Nic Newman, Reuters Institute for the Study of Journalism It comes after the UK Government banned ministers from using TikTok, which is a Chinese-owned video-sharing app, on their work phones following a security review. The House of Commons and the Lords also cited security concerns as they decided to ban the app across the Palace of Westminster. TikTok, owned by Chinese internet company ByteDance, argues it does not share data with China. However, Beijing’s intelligence legislation requires firms to help the Communist Party when requested. Nic Newman, senior research associate at the Reuters Institute for the Study of Journalism, said there is a big shift taking place in terms of how people consume news and that more publishers have been joining TikTok. He said: “TikTok, Snapchat, Instagram, the people younger people are listening to tend to be influencers, personalities, they film for a range of reasons – in some instances you have specific news creators, in other cases it’s just personalities, comedians, talking about issues including free school meals. “In terms of the implications for the industry, one of the things we’ve really seen in the last 12 months is we have publishers who are very reluctant to go into TikTok, but over the last 12 months we’ve seen most major publishers refocus their strategy, partly as otherwise there’s more risk of young people seeing unreliable news. “That’s more challenging as there’s no business model for TikTok, so it’s very hard. “It’s just starting to build relationships with young people. “There’s been surveys that show TikTok is amongst the least trusted platforms, partly as it’s one of the newest.” He added: “During the war in Ukraine we saw young people going to traditional news brands – but not for very long, it depends what the subject is to some extent. “Covid was a big change because people were at home and people were talking about Covid on TikTok and people had a bit of time. “That’s a case of very serious news being carried on TikTok. “Passions and celebrity news, that’s a big part of what’s going on with the younger people, but there’s also serious news, that’s the wider big shift.” When considering perceptions of trust, teenagers rated traditional sources better than their online counterparts, as BBC One/Two was trusted by 82 per cent of its teenage users, compared to TikTok at 32 per cent, Instagram at 38 per cent, Facebook at 41 per cent and Snapchat at 31 per cent. Twitter was the exception, with a 50 per cent rating on trust, Ofcom found. The news topics of most interest to younger teens generally are “sports or sports personalities” (23per cent), “music news or singers” (15 per cent), “celebrities or famous people” (11 per cent), “serious things going on in the UK” (8 per cent) and news about “animals or the environment” (9). Meanwhile, those aged 16-24 are much less likely than the average adult to access news from traditional media sources, such as TV (47 per cent vs 70 per cent), radio (25 per cent vs 40 per cent) and print newspapers (16 per cent vs 26 per cent). Social media platforms dominate the top five most popular news sources among 16-24s. Instagram is the most-used single news source at 44 per cent, followed by Facebook at 33 per cent, Twitter at 31 per cent, and TikTok at 29 per cent. Coming in joint second, BBC One at 33 per cent is the only traditional media source to feature in the top five. But Ofcom said its figures show broadcast TV news maintains its position as the most popular source among adults in the UK, used by 70 per cent, which rises to 75 per cent when broadcast video on-demand news content is included. BBC One remains the most-used news single source across all platforms at 49 per cent, followed by ITV at 34 per cent – although both channels have seen gradual declines over the past five years as they are down from 62 per cent and 41 per cent respectively. Similarly, Facebook – the third most popular news source among adults – is showing signs of decline, from 33 per cent to 30 per cent over the same period. TikTok’s popularity as a source of news for adults is growing, with one in 10 adults saying they use it to keep up with the latest stories – overtaking BBC Radio 1 and Channel 5, both at 8 per cent for the first time. TikTok, at 55 per cent, along with Instagram, at 53 per cent, is particularly popular among adults for celebrity news. Twitter is the favoured destination for breaking news, with 61 per cent of adults choosing it, and political news, at 45 per cent, while Facebook is the preferred source for local news, at 59 per cent. Among users of the platforms, news sourced via social media is rated lower for trust, accuracy and impartiality than the more traditional sources of news, but is rated moderately well on “offers a range of opinions”, “helps me understand what’s going on in the world today” and being “important to me personally”. One in ten (10 per cent) 16-24s claims to consume no news – twice the figure for all adults. After a long-term decline in the use of print newspapers – with overall reach of these news brands being supplemented by their digital platforms – Ofcom’s most recent data shows print newspaper reach was consistent between 2022 and 2023. Just over a quarter of adults (26 per cent) accessed news via print newspapers, increasing to 39 per cent when including their online platforms. The Daily Mail/Mail on Sunday and The Guardian/Observer were the most widely-read print and digital news titles overall. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Talk of AI dangers has ‘run ahead of the technology’, says Nick Clegg Eurostar passengers can avoid UK passport checks by having faces scanned ‘Hostile states using organised crime gangs as proxies in the UK’

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A hilarious 2018 video of Jackie Chan has resurfaced, because the martial artist has no idea who the Kardashians are. In an interview with Access Hollywood, Chan is asked who his favourite of the famous family was, to which he simply responded: "Kardashian? What's mean Kardashian?... Is that an English?" Many fans were surprised that the Hong Kong native had managed to avoid the Kardashian hype, given that he's actively involved in Hollywood. Sign up to our new free Indy100 weekly newsletter

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