The article discusses how the fashion brand Jacquemus, led by founder and designer Simon Porte, has excelled in engaging with its audience on Instagram during the global quarantine. With a personal touch and savvy social media strategy, Simon has turned Jacquemus into more than just a fashion label, creating cult classics and involving customers in creative campaigns like #JacquemusAtHome. The brand's success is attributed to Simon's direct management of the Instagram account, his relatable personality, and the seamless integration of his designs into a lifestyle that resonates with his followers. Jacquemus has become a benchmark for aspiring designers looking to build a modern brand with high consumer engagement.

Everything5pounds, a UK-based retailer, claims to recycle deadstock from big brands, selling it at low prices and promoting a circular economy. However, the company's business model, which relies on overproduction, is criticized for not being truly sustainable. The UK is a significant producer of textile waste, and the fashion industry's overproduction has severe environmental impacts, including high CO2 emissions. Sustainability activist Aja Barber questions the profitability of selling garments at such low prices and the implications for garment workers. The article suggests that Everything5pounds' approach may be a form of greenwashing, as it does not address the root causes of waste in the fashion industry.

The article discusses the dire conditions faced by garment workers in India and Bangladesh, exacerbated by the Covid-19 pandemic. It references a report by Global Labor Justice highlighting the majority female composition of the garment workforce in Asia and instances of gender-based violence. The article details the sudden closure of Gokaldas Exports, a major garment manufacturer in Karnataka, India, which left 1300 workers unemployed due to cancelled orders from brands like GAP, H&M, Reebok, and Adidas. It also touches on the issue of brands pressuring factories to reopen without adequate health and safety measures. The piece criticizes the fashion industry's approach to sustainability and greenwashing, exemplified by H&M's claim of transparency despite not fully meeting the targets set by the Fashion Revolution. The article calls for companies to recognize their responsibility towards garment workers and for consumers to be aware of the exploitation in the fashion industry.

The article discusses the urgent need for sustainability in the fashion industry, which has been magnified during the lockdown period. The British Fashion Council and the Council of Fashion Designers of America have urged the industry to slow down production and use the pandemic as a chance to reset. The article highlights the environmental and social issues caused by fast fashion, including massive textile waste, air pollution, and poor working conditions. The United Nations has recognized fashion as an environmental and social emergency, with the industry being a significant contributor to global wastewater and carbon emissions. The concept of slow fashion is gaining traction, advocating for fewer purchases of higher quality or second-hand items. Despite this, even designer brands are not immune to unethical practices. The article also touches on the trend of dropshipping and the carbon footprint of international fashion shows. Some brands and individuals, like Gucci and supermodel Edie Campbell, are making efforts to reduce their environmental impact, signaling a shift towards more sustainable practices in the fashion industry.

The article discusses the rise of sustainable fashion and the growing trend of renting designer clothes as a way to indulge in fashion while being environmentally conscious. It highlights the increase in internet searches for sustainability in fashion and mentions brands like Levi Strauss & Co. and Cecilie Bahnsen that are creating collections for a conscious market. The article also talks about the success of Rent the Runway and other rental startups. It features Designer 24, a Dubai-based rental service, and By Rotation, a peer-to-peer fashion rental app founded by Eshita Kabra-Davies after witnessing textile waste in India. The article suggests that while consumers are unlikely to rent their entire wardrobe, fashion rental services offer a sustainable way to enjoy designer fashion without the full cost or environmental impact.

The article is a reflective piece on the impact of the TV adaptation of Sally Rooney's book 'Normal People', particularly focusing on its portrayal of sex, consent, and emotional vulnerability. The author shares personal insights on how the show's depiction of sex scenes, which emphasize consent and the complexity of sexual relationships, resonated with their own experiences. The show is praised for its realistic and tender approach to sex, which is not often seen on screen. The author applauds the show for its raw portrayal of different types of sexual encounters and the emotional depth between the characters Connell and Marianne, played by actors Daisy Edgar-Jones and Paul Mescal. The article argues that dismissing the show's sex scenes overlooks the quality of the acting and writing, which provides a meaningful exploration of sexuality and relationships.

The article discusses the UK government's rejection of a proposed levy on the fast fashion industry, which is known for producing significant clothing waste. The Environmental Audit Committee's report highlighted the UK's high consumption of new clothing compared to other European countries. Despite this, ministers voted against a 1p garment levy that could have funded recycling initiatives. The article criticizes fast fashion brands like Boohoo, Missguided, Pretty Little Thing, and Primark for their role in environmental damage and worker exploitation, citing examples such as Missguided's £1 bikini and Boohoo's low-priced sustainable collection. It also mentions the role of influencers in promoting fast fashion and suggests alternatives like second-hand shopping through eBay, Depop, and charity shops as more sustainable options.

The article reflects on the personal connection the author feels with the character Claire from the BBC series 'Fleabag'. The author compares their own life and relationship with their sister to that of Claire and Fleabag, particularly focusing on the themes of love, success, and sibling relationships. The author discusses how they, like Claire, have prioritized their career and often use their success to push their sister, which they recognize as a form of tough love. The article explores the idea that success is subjective and that sometimes letting a sibling make their own choices is the best form of support. The author concludes by acknowledging the importance of sibling love and the impact of seeing their own relationship dynamics reflected in the show.

The article discusses the challenges faced by young workers in the gig economy, highlighting the prevalence of low wages and the lack of basic employment protections. It points out that a significant portion of gig economy workers are young and often highly educated, yet they are employed on precarious zero-hour contracts. The gig economy, represented by companies like Deliveroo and Uber, is criticized for exploiting the 'self-employed' status of its workers to avoid providing fair wages and benefits. The government's response, including a promise to ensure sick and holiday pay and a consultation to review the legal status of 'self-employed' workers, is questioned in terms of its effectiveness. The article also mentions the high costs associated with challenging employment status in court, which is prohibitive for many gig economy workers. The case of Deliveroo, which won a court case against providing minimum wage or holiday pay, is used to illustrate the lack of enforcement of workers' rights.

The Labour Party's National Executive Committee (NEC) has reformed the voting process for electing the NEC Youth Representative, a key position within Young Labour. The previous system, which allocated a third of the votes to Labour Students, was criticized for being undemocratic due to their disproportionate influence compared to their membership size. The new system splits the votes equally between a One Member One Vote (OMOV) ballot of Young Labour members and young trade unionists. This change has been met with opposition from party moderates but is seen by others as a move towards a more democratic and member-led process.

Frankie Leach, a 20-year-old student from Whalley Range, discusses with journalist Claire Donnelly the challenges that working-class graduates face in the UK. Leach highlights the lack of social mobility and the widening gap between classes, making it difficult for individuals from working-class backgrounds to progress, especially with the current system of unpaid internships. She expresses frustration over the minimum wage not keeping up with living costs and the barriers to gaining necessary work experience due to financial constraints. The article is part of the 'Road to Wigan Pier 2017' project, which retraces George Orwell's journey and focuses on modern stories of poverty and the impact of welfare cuts.

The article discusses the skepticism surrounding male contraceptives, highlighting the reluctance of men to deal with side effects similar to those experienced by women using hormonal contraception. It questions whether men can be trusted with the responsibility of taking a contraceptive pill, referencing a survey where 50% of women expressed distrust in men's reliability in this matter. The author, a self-identified feminist, argues that while sharing contraceptive responsibility would be ideal, societal attitudes and behaviors suggest we are not ready for male contraceptives.

Frankie Leach, a 19-year-old student and Labour Party activist from Manchester, recounts her experience of being cyberbullied and body-shamed online after being targeted by a blog post. She describes the emotional toll it took on her, including feeling ashamed and considering quitting her political activities. Leach criticizes the sexism within the Labour Party and emphasizes her right to take charge of her sexuality without judgment. She ends by encouraging other women to never apologize for their sexuality or successes and to stand strong against such attacks.