A Greater Manchester school’s reported removal of more than 130 books is not just a row over one title. It is a wider warning about who gets to decide what young people are allowed to read and what happens when fear, bias, and overreach take over.

A new report from Index on Censorship has put a far more serious spotlight on school book removals in the UK, and it goes well beyond one title being quietly taken off a shelf. According to its investigation, a secondary school in Greater Manchester removed or targeted more than 130 books from its library in late 2025, with nearly 200 affected if individual graphic novel issues are counted. Among the titles listed were Girl, Woman, Other, We Should All Be Feminists, Men Who Hate Women and Why I’m No Longer Talking to White People About Race.

That alone would be alarming. What makes the story more troubling is the reported treatment of the librarian at the centre of it. Speaking anonymously, she said she was threatened with disciplinary action, labelled a safeguarding risk and ultimately resigned under severe stress. According to the report, the situation began after the headteacher objected to Men Who Hate Women, which had been ordered for older students following safeguarding training on incel culture. From there, the issue appears to have escalated into a much wider removal of books across the library.

This is where the story shifts. It stops looking like a disagreement over age-appropriate reading and starts looking far more uncontrolled. Index reports that books were removed under vague criteria, including whether they were “not written for children”, had themes that “could be upsetting”, or were considered “inappropriate or a safeguarding risk”, with no clear definition of what “inappropriate” actually meant. That left everything from identity-led titles to biographies, classics and graphic novels open to removal.

One title, Twilight, was reportedly flagged for “mature romantic themes, sexual tension, and violence involving vampires and werewolves”, a detail that would almost be laughable if the wider implications were not so serious.

Because this is the real issue, once broad, undefined standards start driving decisions, almost anything can be framed as unsuitable. Books about racism become a problem because they discuss race, while books that reflect different identities become suspect simply for acknowledging lived realities. At that point, it stops being safeguarding and starts becoming censorship dressed up in school language.

The report also raises a concerning point about how some of these decisions were made. In one document seen by Index, the school reportedly admitted that certain book categorisations had been generated using AI and then treated as “broadly accurate”. That should give pause. Librarians are trained to think carefully about context, readership and access, and replacing that judgement with automated categorisation is not just a shortcut; it risks removing nuance entirely.

What also stands out is who is affected first. Not the people making the decisions, but the students who rely on the library. According to the librarian’s account, many of those students were neurodivergent and LGBTQ+, using the space as somewhere consistent and supportive. When the library was temporarily closed as a “safeguarding measure”, that space was removed from them.

The inclusion of Girl, Woman, Other is especially telling. This is a Booker Prize-winning novel by Bernardine Evaristo, one of Britain’s most respected authors, which shows just how wide the net was cast. At that point, the question is no longer whether books are being reviewed carefully, but what perspective is driving those decisions.

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Index on Censorship has described the case as an unprecedented attack on the freedom to read in a UK school setting. Based on what has been reported, that concern is difficult to dismiss. The issue is not just what has happened in one school, but what could follow if this becomes normalised. Librarians may begin to self-censor, schools without clear policies may default to risk avoidance, and students will not stop seeking information; they will simply find it elsewhere, often without context or guidance. That is where the real concern sits, not just in what has happened, but in what it signals going forward.

Restricting access to books does not remove difficult topics from young people’s lives. It removes structured, thoughtful ways for them to understand them, and the world does not become safer because a library becomes emptier; it just becomes less honest.

Looking at the books being removed, a pattern begins to emerge, and it’s not random. Titles like Girl, Woman, Other, Why I’m No Longer Talking to White People About Race and Men Who Hate Women don’t just tell stories; they question systems, name inequality, and centre lived experience in a way that is direct rather than softened.

The issue isn’t simply that books are being removed. It’s which voices are being labelled as “too much”. Women writing with clarity about race, identity and power are more likely to be framed as inappropriate, not because their work lacks value, but because it challenges comfort. Once that line starts to blur, safeguarding risks becomes a catch-all, one that can quietly filter out the very perspectives young people may need most.

If a book keeps being challenged, it’s usually not because it lacks value. It’s because it says something people aren’t comfortable hearing. That alone makes it worth paying attention to and worth reading for yourself.

Explore these titles and more through the FROW Book Club on Bookshop.org, and decide for yourself what they have to say.

A new sex-based public harassment offence is now in force in England and Wales, with offenders facing up to two years in prison. But for women who have spent years navigating this behaviour, the real question is whether anything meaningfully shifts. Public sexual harassment isn’t new. The law recognising it more clearly is.

For years, it has existed in that space between being widely experienced and quietly dismissed, reduced to something women are expected to tolerate, work around or ignore. The comments, the following, the blocking of paths, the invasion of space, and the moments that force women to calculate risk in real time and adjust accordingly. This is behaviour that many women have adapted their lives around long before it was clearly recognised in law.

From 1 April 2026, a new offence has come into force in England and Wales targeting harassment carried out because of a person’s sex or presumed sex. Introduced through the Protection from Sex-based Harassment in Public Act 2023, it inserts a new section into the Public Order Act 1986, allowing for stronger charges and a potential sentence of up to two years in prison. This is not a completely new category of behaviour being criminalised. It is behaviour that has always existed, now being more clearly defined, and that distinction matters.

The offence applies to intentional conduct that causes harassment, alarm or distress in public spaces, including streets, public transport, shops and venues, and in some cases, online environments where the behaviour meets the same threshold. It also moves beyond the narrow way these conversations are often framed. This is not just about isolated comments shouted in passing. It includes persistent sexual remarks or gestures, obstructing someone’s movement, deliberately invading personal space, unwanted touching, and behaviour that creates a sense of threat.

What actually counts as public sexual harassment?

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For many women, none of this will feel unfamiliar. Data continues to show that women, particularly younger women, are disproportionately affected by sexual harassment, much of it taking place in public. The behaviour this law addresses is not exceptional. It is routine, and that is exactly why this change carries weight. Not because it suddenly solves the issue, but because it removes some of the ambiguity that has allowed it to be minimised for so long. It creates a clearer route for police and prosecutors to recognise sex-based harassment as a serious offence, rather than something that sits just below the threshold of action.

There are, however, realities that sit alongside that progress. The offence still requires proof. It must be shown that the behaviour was intentional, that it caused distress, and that it was driven by the victim’s sex or presumed sex. The impact on the victim is central, not assumed, which means enforcement will define everything. How police interpret the law, how consistently cases are handled, whether victims feel believed, and whether reports lead to action will determine whether this change has any real-world effect.

Guidance suggests victims should be referred to support services quickly and that officers should take a more joined-up approach when handling cases. On paper, that is progress. In practice, it will depend entirely on whether those standards are met. The offence also sits within a wider legal framework, meaning other charges such as stalking or harassment may still apply depending on the circumstances. The system has not been simplified. It has been extended.

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For organisations like Our Streets Now, this moment has been years in the making. The campaign group has spent the past seven years pushing for public sexual harassment to be recognised in law, building momentum through petitions, public pressure and sustained advocacy. Their work has consistently focused on the everyday reality of harassment in public spaces and the impact it has on how women and girls move through the world. This change is not sudden. It is the result of that pressure finally being acknowledged.

Public sexual harassment has never been only a legal issue. It is a cultural one. It exists in what is dismissed as harmless, what is excused as normal, and what people are told not to make a fuss about. It exists in the gap between what women experience and what others are willing to acknowledge. This change begins to close that gap legally. It does not close it socially.

That reality has not changed overnight. The law has changed. Whether behaviour follows will decide whether this is progress, or simply recognition that came years too late.

In partnership with KIKO MILANO.

Beauty counters come and go in Birmingham, but when a brand chooses to reinvest, it usually means something has shifted. That’s exactly what KIKO MILANO is doing, reopening its Bullring store on the 26th March following a full refresh.

It’s not just about the space, though. The reopening arrives with something new in tow: Love Fusion, the brand’s latest complexion range and a clear move towards formulas that prioritise skin just as much as coverage. Performance-led makeup that doesn’t sit heavily or mask what’s underneath.

Fronted by Emily Ratajkowski, the collection leans into hydration, longevity and that “put together without trying too hard” finish. At the centre of it is the Love Fusion 24H Moisture Radiant Foundation (£21.99), designed to deliver 24-hour hydration and skin barrier protection, with up to 16-hour wear in a lightweight, breathable formula.

With 49 shades available, the range leans into inclusivity in a way that finally feels expected, not exceptional. The formula itself is powered by KIKO’s LOVE COMPLEX, combining hyaluronic acid, rose extract and organic barley water to support hydration while helping to maintain the skin barrier. The finish sits in that sweet spot: coverage where you want it but still letting real skin come through more “your skin, but better” than full glam.

Alongside the foundation, the collection includes a matching concealer and highlighter. The Love Fusion 24H Moisture Radiant Concealer (£11.49) focuses on brightening and hydration, with 24 shades available, while the Love Fusion Gleam Dream Highlighter (£11.49) delivers a soft-focus glow with a cushion-like texture that melts into the skin rather than sitting on top of it. Together, they form a routine designed to carry you from morning through to evening without needing constant touch-ups.

The updated Birmingham store will house the full collection alongside KIKO’s wider offering, giving customers the chance to explore everything in a redesigned space. For a brand known for combining Italian beauty trends with accessible pricing, this feels less like a simple reopening and more like a reset.

And if opening day needed any more incentive, the first 100 customers through the doors will receive an exclusive prize. KIKO MILANO Birmingham Bullring, Ground Floor, Moor Street Queensway, Birmingham B5 4BU. Reopening: 26th March 2026 at 11am. For Birmingham beauty fans, it’s one to arrive early for.

The manosphere isn’t just digital noise, it’s shaping how women are spoken about, understood and treated in real life.

The internet has always had its corners, spaces where ideas grow, evolve and sometimes spiral. But right now, one corner is getting louder and harder to ignore. Louis Theroux’s Inside the Manosphere pulls that space into focus, not as a niche subculture sitting on the fringes, but as something far more embedded in everyday online life. Through conversations with creators and communities within this world, the documentary shows how these ideas are being packaged, shared and crucially normalised.

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What presents itself as a response to changing gender dynamics, shifting roles, evolving expectations and a sense of frustration quickly becomes something more fixed. Conversations around masculinity, dating and power are often framed in absolutes, leaving little room for nuance and even less for growth. And for women, the impact isn’t theoretical. Much of the language explored centres around how women are defined, reduced to ideas of value, desirability and usefulness. Not in isolated forums, but across platforms designed to amplify and distribute. What was once contained is now circulating widely, shaping how women are discussed in real time.

This content doesn’t always present as extreme. It’s often conversational, entertaining and easy to engage with, which is exactly why it travels. What’s positioned as advice in one space can land as judgement in another, and women are left navigating both. At the same time, the documentary doesn’t flatten everything into one narrative. There are moments of vulnerability, confusion and men trying to make sense of identity, belonging and expectation. That complexity matters, but it exists alongside ideologies that feel increasingly rigid and, at times, deeply reductive.

At the same time, not everyone watching the documentary is walking away with the same conclusion. Across social media, some viewers have pushed the conversation further, pointing to what sits underneath the surface. In one response, creator @yourmoneymatesarah highlights the vulnerability shown by some of the men featured, but questions whether the frustration being directed at women is misplaced. Instead, she frames it as a reaction to wider systems, capitalism, patriarchy and the pressure to perform, provide and succeed within them. It’s a perspective that shifts the focus entirely. Because if that’s the case, what’s playing out online isn’t just about gender, it’s about displacement. Frustration that doesn’t quite know where to land, and ends up being directed at the most visible target. That doesn’t excuse the rhetoric. But it does complicate it.

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The tension sits in how those realities coexist. As these conversations grow, so does the gap between how they are experienced. What feels like guidance or self-improvement in one context can feel like criticism or dismissal in another, and that disconnect doesn’t stay online. It shows up in dating, in workplaces and in everyday interactions.

Fashion, beauty and media don’t exist in isolation. They reflect what’s happening beneath the surface. The way women are spoken about online inevitably shapes how they are represented, marketed to and engaged with across industries. It influences narratives around confidence, identity and worth, often subtly but with lasting impact. The industry doesn’t sit outside culture. It mirrors it, sometimes more than it challenges it.

The conversation isn’t new. The difference now is how widely it’s being seen, and how normalised it’s becoming. The question isn’t just what these spaces are saying, but what happens in response. From platforms deciding what they amplify, to brands considering where they align, to audiences choosing what they engage with, the next phase of this conversation will be shaped by action, not just awareness.

Theroux’s documentary doesn’t offer neat answers, and it doesn’t try to. What it does is open up a conversation that feels increasingly difficult to ignore. It asks viewers to sit with what they’re seeing, question what’s being presented and recognise how quickly these narratives are evolving. Because the manosphere isn’t just about men. It’s about how gender, power and perception are being renegotiated in real time, and who gets to define the terms.

Fashion month has once again reignited debate around size inclusivity on the runway. While conversations about representation have grown louder in recent years, the presence of curve models on catwalks still appears to fluctuate from season to season.

Every fashion month promises a glimpse into the future of style. Designers unveil their latest collections, creative directions emerge and the runway offers a snapshot of where fashion believes it’s heading next. But alongside the excitement of the shows, a familiar question keeps returning: where are the plus-size models?

It’s a conversation that has followed fashion month for years. Despite ongoing industry discussions about inclusivity and representation, the visibility of curve models on the runway still appears inconsistent, rising in some seasons and falling in others.

Recent tracking from model and inclusivity advocate Felicity Hayward has added further context to the discussion. Through her ongoing #IncludingTheCurve Report, Hayward has been monitoring the presence of plus-size models across the major fashion weeks including New York, London, Milan and Paris, offering a clearer picture of how representation shifts from season to season.

Her latest observations around London Fashion Week suggest that while the number of curve models was slightly lower than the previous season, the overall figures remained relatively close to last year’s totals. The data highlights how even small shifts in casting across a schedule of dozens of shows can noticeably affect representation across the wider fashion month landscape.

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Her findings suggest that while there have been moments of progress, the trajectory hasn’t been linear. Instead, representation often moves in waves, improving in one season, only to decline again in the next.

Representation shouldn’t be a trend that comes and goes with the seasons.

When Inclusivity Is Part Of The Vision

Despite the wider fluctuations seen across fashion month, some designers have demonstrated that consistent size-inclusive casting is entirely possible when it is embedded into the creative vision of a brand.

Christian Siriano has long been recognised for presenting a diverse range of body types on his runway. Curve models regularly appear in his shows as part of the overall narrative of the collection rather than as symbolic additions. The result is a runway that feels natural and considered, where different body shapes are presented as part of fashion’s landscape rather than treated as exceptions.

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A similar approach can be seen in the work of London-based designer Karoline Vitto, whose label has built a reputation for celebrating a range of body shapes on the runway. Rather than adapting traditional designs for different bodies, Vitto’s collections are developed with those bodies in mind from the outset. Her shows consistently feature models across a broad size spectrum, presenting garments designed to move with, and celebrate those forms.

In these moments, representation feels intentional rather than performative.

The Industry’s Ongoing Tension

Fashion has always reflected the wider cultural conversations happening beyond the runway. As body positivity and inclusivity became more prominent in mainstream culture, the industry began responding with more diverse campaigns and casting. But maintaining that momentum has proven more complex.

The runway remains one of fashion’s most visible stages. It signals which bodies the industry chooses to centre, celebrate and present as part of its vision of beauty and style. When representation appears one season and fades the next, it raises questions about whether inclusivity is being treated as a long-term shift or a temporary response to cultural pressure.

That doesn’t mean progress hasn’t happened. Compared to previous decades, the presence of curve models on runways has undeniably improved. Yet the fluctuations from season to season show that the conversation is far from settled.

While the industry has made visible strides in recent years, critics often point out that representation on the runway still lags behind the diversity seen in the real world. Fashion campaigns, social media and e-commerce platforms have increasingly embraced a wider range of body types, yet the runway, often considered the industry’s most influential stage, continues to reflect a narrower vision of beauty. For many observers, this disconnect highlights the gap between fashion’s public messaging around inclusivity and the pace of structural change within the industry itself.

Designers like Siriano and Vitto demonstrate that size-inclusive casting can feel authentic and integrated into the creative direction of a show. The question now is whether that approach will become standard across the industry or remain the exception.

Until then, the debate around representation on the runway is likely to return every fashion month. After all, the future of fashion isn’t only about what appears on the runway, it’s also about who gets to walk it.

Primark has launched its first capsule denim collection made using reclaimed materials, with each piece containing at least 20% recycled denim. It’s a small range, just five pieces across womenswear and menswear but it signals a shift in how the brand is approaching sustainability at a price point most people can actually afford.

Because let’s be honest, sustainable fashion often comes with a price tag that pushes people out. Primark is clearly trying to close that gap, with this collection sitting between £18 and £24 while still tapping into circular design. That means less stretch, fewer mixed materials, and trims that can actually be recycled, all things most shoppers wouldn’t usually think about, but that matter when it comes to what happens after you’re done wearing something.

The denim itself is made using discarded textiles that have been broken down and turned back into cotton fibre, combined with cotton sourced through Primark’s own supply programme. In simple terms, it’s about reusing what already exists instead of constantly producing new.

What’s interesting is that this isn’t being positioned as a one-off “sustainable drop.” It ties into a wider push from Primark to keep clothes in use for longer, from durability testing to in-store repair workshops that show customers how to fix pieces instead of throwing them away.

Whether shoppers are thinking about circular fashion or just looking for a decent pair of jeans under £25, this sits in a space that feels more realistic than aspirational. It’s not perfect, and it’s not pretending to be but it’s a step that feels accessible, which is where most high street brands struggle. Available now in selected stores and through Click & Collect.

The Suede isn’t just a sneaker, it’s a story that’s been written across decades. It’s the breakdance battles of the Bronx. The skateparks of London. The terrace crowds outside football grounds in the 80s, where Suedes were laced up as uniform. The early grime scene, where you’d catch them under oversized denim and puffa jackets. It’s one of those shoes that shapeshifts with whoever wears it. Since ’68, it’s been part of culture without even asking permission.

Now Priya Ahluwalia’s stepped in and she hasn’t kept it polite. Her version comes in black and silver, with a midsole that shifts like metal under streetlights. The curves are sharper, the overlays mean business, and it looks like a Suede that’s learned a few new tricks. Recognisable, but not predictable. The kind of trainer that makes you look twice when someone walks past.

The campaign refuses to play fantasy. Instead it pulls focus onto real people and the small wins in their everyday grind, the silver linings that actually matter. And while most collabs would tick the box and cash the cheque, Priya’s pushed it further. She’s using this moment to bring others in, launching a mentorship scheme for the next wave of talent. Filmmakers, designers, storytellers aged 18 to 25. Young creatives who are usually left knocking on the door. She’s cracking it wide open.

Priya said it best, the Suede has already carried whole cultures. Her job was to respect that, while putting her own language on it. And that’s exactly what she’s done. There’s even a triple-white friends-and-family version if you’re close enough to the circle.

The PUMA x Ahluwalia Suede lands today (October 4), at select PUMA retailers and online.

Controversial influencer Andrew Tate will face no criminal charges in the UK over allegations made by multiple women, the Crown Prosecution Service confirmed that the legal test to prosecute hadn’t been met. The same women are now pursuing a civil case through the High Court.

Tate walked out of court with what many headlines are calling a legal “win.” For his followers, it’s fuel to the fire. For women, it’s another reminder that innocence in a courtroom doesn’t always erase the cultural damage already done.

In his own words, Tate called the ruling “another step closer to complete exoneration.” But while the courts debate absolutes, women are left grappling with the cultural fallout, and that’s a much harder win to measure.

The reality is that Tate’s words and ideology stretch far beyond a courtroom. His reach has already shaped the way too many young men view women, and the way women move through digital and real-life spaces. Even with this outcome, the culture doesn’t just reset.

Tate’s sit-down with Piers Morgan only added to that tension. Broadcast as a debate, it became another arena for him to frame himself as misunderstood, strategic, even victorious. For his supporters, it was validation. For women, it was another reminder of how easily the media mistakes provocation for perspective and how power always finds a platform.

After the interview, historian and commentator Tessa Dunlop and Triggered host Samara Gill joined Piers to discuss the backlash. Dunlop voiced discomfort with Tate being given airtime at all, while Gill questioned whether someone who hasn’t been convicted should be denied the right to speak. Their exchange summed up the wider divide between those who see this as dangerous platforming and those who call it due process.

We’re already seeing the ripple effect. Teachers are reporting classrooms where boys parrot his language back at girls. Social media is flooded with clips that strip his messages of context but keep the misogyny intact. Even in gaming spaces and group chats, Tate’s soundbites have become shorthand for power. So while the court hands down a ruling, women and girls are still left navigating an environment that feels stacked against them.

But here’s where the nuance matters. FROW has always been clear: women are our forefront, and we’ll always believe a woman first. Yet we also can’t ignore that false accusations exist and they ruin lives too. A recent video by content creator Bouncer showed a woman openly admitting she wanted to falsely accuse a man of rape simply because she no longer liked him. There’s nothing empowering about that. It’s messy, it’s cruel, and it drags all of us down.

False claims don’t just damage the men they target, they damage women too. Every lie fuels scepticism, making it harder for genuine survivors to be heard, believed, and protected. It chips away at the progress women have fought for, handing ammunition to those who already dismiss our voices.

This is where the conversation has to evolve. Believing women doesn’t mean silencing men. Supporting due process doesn’t mean dismissing women’s stories. Both can and must exist at once.

The courts will debate legality. But culture? That’s on us. It’s on the platforms, the parents, the schools, the conversations at the dinner table. It’s on whether we teach boys that respect isn’t optional, and whether we create a space where girls know their voices hold weight.

So yes, Tate might celebrate his “win.” But the bigger question is whether women feel like we’ve won anything in this. The answer, as always, is more complicated. And that’s why FROW exists to hold space for the grey areas that headlines alone can’t cover.

The advent calendar has outgrown its chocolate roots. Today it’s a ritual, a luxury, and sometimes a flex. Beauty still dominates, filled with serums, lipsticks and creams that could fuel your routine well into next year but 2025’s offering is broader than ever. From fine jewellery to stationery, socks, tea and even gourmet marshmallows, there’s something here for every type of woman and every kind of December.

The Beauty Heavyweights 💄💎

This is where the calendars get serious. Luxury names, high-value edits and the kind of full-size treasures that make December feel like beauty’s biggest month.

Space NK Beauty Advent Calendar - £260 (worth £1,150+)

Space NK’s advent calendar is one of the first to sell out each year, and this time it’s better than ever. There are 35 products tucked inside, 26 of them full-size, spanning skincare, makeup and haircare. You’ll find big hitters like Drunk Elephant’s brightening formulas, Rare Beauty’s cult mascara, and Augustinus Bader’s much-lauded moisturiser, alongside insider favourites that keep the discovery factor alive. The drawer-style packaging is sleek enough to double as a storage box afterwards. This is the calendar for the woman who wants it all: prestige names, trending brands, and serious value, more than four times the price you’ll pay.

Liberty Beauty Advent Calendar - £275 (worth £1,245+)

Liberty’s beauty hall is already legendary, and their advent calendar has become just as iconic. The 2025 edition holds 30 luxury products, with 20 full-size gems. Inside you’ll uncover Rose Inc lipsticks, Sunday Riley serums, Votary oils, Aromatherapy Associates bath treats and more, all wrapped up in Liberty’s signature printed drawers. The packaging is as coveted as the contents, doubling as a keepsake storage box you’ll use long after December ends. This one is for women who see beauty as part of their style DNA: curated, timeless, and indulgent. It’s also a guaranteed sell-out, Liberty’s advent is known to disappear within days of launch.

Fortnum & Mason Beauty Advent Calendar - £265 (worth £1,149+)

For a touch of old-world glamour, Fortnum’s calendar delivers. There are 26 products inside, 23 full-size, featuring luxury staples like Aromatherapy Associates oils, Chantecaille skincare and Cult51 serums. Fortnum’s signature drawer-style packaging makes the unboxing feel as refined as their tea service, more jewellery chest than advent box. It’s the perfect fit for women who prefer elegance and exclusivity over trend-led hype, and who want every door to feel like a five-star treat.

LookFantastic Advent Calendars from £105

LookFantastic knows how to cater to different tastes. The Iconic Beauty Calendar (£105) brings over £500 worth of skincare, body and hair treats, making it one of the best value options around. For fragrance fans, the Fragrance Calendar delivers mini perfumes from designer houses, a different scent for almost every day of December. Both editions feel polished and gift-ready, making them ideal for women who want variety without splurging £250+.

Sisley Paris x Luke Edward Hall Advent Calendar (£640)

At £640, this is pure indulgence. The Sisley calendar holds 25 surprises across skincare, fragrance, makeup and haircare, anchored by icons like the Black Rose Cream Mask. The packaging, designed by British artist Luke Edward Hall, is a “festive theatre” illustration that turns the box into an art piece. Each compartment can be reused, making it as sustainable as it is stylish. For the woman who treats her skincare like couture, this is the only advent worth unwrapping.

Charlotte Tilbury Beauty Treasure Chest Advent Calendar (£175)

Charlotte Tilbury doesn’t just sell makeup; she sells a lifestyle of glamour, and her advent chest is no exception. Inside are 12 essentials, from Pillow Talk lipsticks to Magic Cream and Wonderglow primer. Every item is a proven hit, so there’s no filler, just pure Tilbury allure. Housed in a glossy, drawer-style chest, it’s chic enough to keep on your vanity long after Christmas. For the woman who loves drama, sparkle and results, this is the calendar that delivers.

Benefit Cosmetics ‘All I Want Advent Calendar’ (£135)

Benefit’s calendar is the definition of playful. It’s stuffed with 24 minis, covering the brand’s cult bestsellers: Roller Lash mascara, Hoola bronzer, Gimme Brow+ and more. The pink, punchy packaging screams fun, making it the ultimate pick for younger beauty fans or anyone who wants a daily dose of makeup joy. If skincare isn’t your thing but brows, lashes and cheeks are, Benefit has you covered.

Cult Beauty Advent Calendars - Classic Curation & Limited Edition Curation

Cult Beauty has gone big this year with two calendars. The Classic Curation (£240, worth over £1,100) includes 34 products, with 20 full-size icons, 8 of 2025’s key launches, and 3 Cult Beauty exclusives. Inside are names like Saie, Patrick Ta, Medik8, Charlotte Tilbury and KraveBeauty, with five separate gifts waiting on day 25.

The Limited Edition Curation (£240, worth over £1,200) stretches to 40+ products, including 12 new launches. Several doors hide surprise swaps such as fragrances from Creed, KAYALI and Kilian, alongside major makeup and skincare releases. Its finale delivers eight gifts behind the last door.

Both versions come with extra layers: three Golden Tickets worth £1,000 each, a £60,000 charity donation from sales, and packaging designed by Quentin Jones, whose collage artwork brings a bold, fashion-led finish. The only question: are you a Classic girl or a Limited-Edition one?

Jewellery Luxe ✨💍

Advent doesn’t have to stop at serums and lipsticks. Missoma proves jewellery can be the ultimate countdown flex.

Missoma Jewellery Advent Calendars from £465

Missoma proves advent calendars don’t have to stop at beauty. Back for 2025 in three editions; Gold (£495), Silver (£465) and 14ct Solid Gold (£1,395), each one is filled with exclusive jewellery pieces. The gold edition includes 11 designs worth £928, including bestsellers like the Molten Ear Cuff and new limited-edition tennis chain styles. The silver edition caters to cool-tone lovers, with black onyx pieces and a £50 gift card. At the top end, the solid gold edition features five brand-new 14ct pieces worth £1,853, plus a £150 gift card, all housed in a velvet jewellery box. This is the ultimate advent flex: timeless, wearable luxury that outlasts the season.

Mid-Range Treats & Niche Finds 🌸🧴

Not every calendar has to cost £250+. These mid-tier picks and niche creations bring fresh energy from haircare heroes to nail powders without losing the indulgence factor.

TreasureTress 12 Days of Christmas - £81 (pre-order)

TreasureTress puts textured hair at the heart of advent. This 12-day calendar focuses on bigger product drops rather than 24 smaller samples. Expect styling staples, hydrating treatments and accessories that genuinely add value to your routine. It’s a smart edit for women who want practical luxury rooted in community, not just another skincare-heavy countdown.

Sephora Favourites Advent Calendar - £225 (worth £1,025+)

Sephora’s biggest advent to date and one of the most exclusive on the market. Inside are 41 products, including 24 full-size treats, worth over £1,025. The line-up pulls from beauty’s hottest names; Glow Recipe, Rare Beauty, Merit, Tarte, Sol de Janeiro, Tower 28, Drunk Elephant, Tatcha and more, with 31 products you won’t find anywhere else but Sephora. Beyond the product drop, Sephora has hidden golden tickets in selected calendars: prizes range from Caudalie spa treatments to hampers and even bottles of wine. It’s playful, prestige and stacked with value, the kind of calendar that makes December feel like beauty’s biggest party. Available for pre-order now, and already tipped to sell out like it has three years running.

Ted Baker ‘24 Days of Treats’ £46.00 (Boots)

Ted Baker’s calendar proves style doesn’t have to cost a fortune. Inside are body sprays, lotions and bath treats in the brand’s signature scents. At just over £40, it’s an affordable, polished gift for a friend, colleague or yourself. The packaging is playful yet chic, making it one of the best high-street picks of the season.

Avant Skincare Advent Calendar - £99 (worth £935)

Avant’s 12 Days of Beauty x Wonders is designed for women who take their skincare seriously but still want December to feel indulgent. Inside are 12 award-winning formulas from rejuvenating serums to nourishing creams and masks, each crafted with sustainably sourced botanicals. The line-up is worth an incredible £935, yet the calendar retails for just £99, making it one of the best-value luxury buys this year. What truly sets it apart is innovation: for the first time, you can scan the box with your phone to unlock an augmented reality experience. A fairy harvesting ingredients comes to life, turning this into more than skincare, it’s a sensorial countdown that blends nature, science and a little festive magic.

Dipped UK 24-Day Dip Powder Nail Calendar (£120)

Nails finally get their own spotlight. This 24-day calendar is packed with dip powders in a spectrum of shades, allowing for endless mani looks throughout December. It’s niche, yes, but also genius, a beauty calendar that goes beyond the usual skin and makeup to give nail lovers something just for them.

Non-Beauty Surprises 🍫🧦📚

Because beauty doesn’t own December. From stationery to socks, tea and marshmallows, these calendars prove the countdown can be practical, playful or just plain sweet.

SockShop 25 Pair Advent Calendar (£95)

One pair of bamboo socks a day, for 25 days. It’s quirky, practical and secretly one of the smartest calendars on the market. Designs range from festive fun to everyday staples, making it the gift that keeps on giving well into January.

Papier Stationery Advent Calendar (£140)

Papier’s second-ever advent calendar follows a sold-out debut last year. Inside are 24 desk treats: personalised notebooks, chic pens, stickers and exclusive new designs. Presented in bold, drawer-style packaging, it doubles as a reusable organiser. For the stationery lover who wants their desk to feel as curated as their wardrobe, this is the one.

Martha Brook 24 Days of Stationery (£109)

Martha Brook’s calendar has cult status. Pretty pens, notepads and feminine desk accessories fill each door, but it’s already sold out for 2025. The waiting list is open and if past years are anything to go by, it’s worth signing up for.

Bird & Blend Tea ‘Matcha Latte Magic Whisk Advent Calendar Experience’ (£144)

Tea calendars are trending, and Bird & Blend’s matcha edition is the most stylish of the bunch. Alongside 24 blends, the box includes a whisk to make each cup feel like a ritual. It’s for the woman who wants her mornings calm, cosy and caffeine-powered.

The Marshmallow Co. Advent Calendar (£32.87)

Handmade marshmallows in festive flavours, presented in pretty packaging made for Instagram. It’s indulgent, sweet and slightly unexpected, a fun pick for women who want December to taste as good as it looks.

FROW Verdict 🧡

Beauty is still queen, and calendars like Liberty, Space NK, Fortnum’s and Cult Beauty prove why: huge value, prestige names and packaging to treasure. Charlotte Tilbury and Benefit bring makeup-first energy, while Sisley rules the ultra-luxury skincare tier. Missoma rewrites the rules with jewellery, Papier and Martha Brook keep stationery chic, and socks, tea and marshmallows prove that advent can be practical, mindful or just plain fun.

NikeSKIMS has finally landed and this debut isn’t here to play. The first drop delivers a full-on wardrobe for women who want to move, sweat, flex and still look fire doing it.

The launch film Bodies at Work, directed by Janicza Bravo, sets the pace. No mannequins, no static poses, just athletes in motion, showing off strength as artistry. Serena Williams, Sha’Carri Richardson, Jordan Chiles, Chloe Kim and more than 50 women put the pieces through their paces, with Kim Kardashian stepping into the spotlight as both co-founder and muse.

Across seven collections and 58 silhouettes, NikeSKIMS covers every move. Matte staples use Nike’s Dri-FIT tech for sweat-wicking comfort with subtle sculpting. Shine brings a slick sheen built for heavy training days. Airy is all breathable mesh and layering that feels more streetwear than studio. Seasonal capsules add the flex, from vintage-inspired seamless knits to oversize nylon pants that demand to be seen outside the gym.

And the athletes are backing it. Jordan Chiles calls the fit a game-changer. Sha’Carri Richardson says it makes her feel fierce. Serena Williams summed it up best: unstoppable.

NikeSKIMS doesn’t read like a compromise between performance and fashion, it feels like a new standard. Functional, flattering, and designed with women at the centre, it’s sport and style finally speaking the same language. The first collection drops 26th September at nike.com, skims.com and select flagships in New York and Los Angeles. Blink and it’ll be gone.

Hey guys,

It’s Fashion Month, and every scroll right now is full of runway seats, backstage moments, and after parties. For me, I haven’t been at the shows, truth is, most years I haven’t had the budget to be there. This year is no different. Budgets are tight, and I’ve had to choose where mine goes. But that choice doesn’t stop the FOMO creeping in when I scroll.

And here’s the thing: it does sting sometimes. Fashion has been my world for over a decade, and not being in those rooms can feel like missing a beat. But balance means not every season can be an “on” season.

Earlier this week I read a Substack by Charlotte, a writer who’s always been so supportive of FROW. She was talking about FOMO in her own life, swapping six gym sessions a week for summer weddings, nights out and memories with friends. Reading her honesty reminded me that we all feel that same tug: the guilt of not doing enough, the panic of falling behind, even when we’re exactly where we need to be.

It made me stop and remind myself of something important: saying no isn’t the same as falling behind. It’s choosing where the yes goes. And right now, my yes belongs to projects that take longer to bloom but matter more in the long run.

FOMO will tell you you’re not enough, not doing enough, not present enough. But balance whispers something quieter: you’re still building. You’re still moving. And sometimes the best move is to step back so you can step forward with more strength.

Here’s what I’m holding onto this week: hope doesn’t live in being everywhere at once, it lives in trusting that the steps I’m taking now are still leading me where I need to go.

The Unfiltered Drop #16 🎧

This is the part I didn’t want to write down; it needed to be said out loud.
Because some truths hit different when you hear them, not just read them.

The Unfiltered Drop #16

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Leanna Recommends 💜

This Big By Definition Mascara from Sephora Collecion is definitely up there as one of my favourites. I’ll never forget the first time I tried it, I was blown away, and honestly, I didn’t expect to be. It’s Sephora’s own brand, which not many people even know about. They’ve now made a waterproof version too, which I’m going to have to try. If you’ve tried it, let me know what you think.

Journal Prompt 📝

Where is FOMO driving my decisions right now? And what would change if I gave myself permission to step back without guilt?

See you next Wednesday,

Leanna 💜