Fashion
Wednesday’s Workwear Report: Juliet Cardigan
This post may contain affiliate links and Corporette® may earn commissions for purchases made through links in this post. As an Amazon Associate, I earn from qualifying purchases.
Our daily workwear reports suggest one piece of work-appropriate attire in a range of prices.
I received this Anthropologie cardigan in my most recent Nuuly and I think it may have to become part of my permanent wardrobe. The cashmere is SO soft and even though it came from a clothing rental company, it doesn’t look like it’s pilling, which is a good sign.
I’m a long-waisted gal, and this hits me right at the top of my hip, so I’ve been wearing it with high-waisted pants and skirts. The chocolate brown color is perfect for fall, but I may have to grab one of the striped colorways just for fun.
The sweater is $158 at Anthropologie and comes in sizes XS-XL, XXSP-XLP, and 1X-3X. There are 22 colorways available, but the petite and plus ranges are more limited.
Psst – we’ve rounded up clothing rental services in the past. What are your favorites right now?
Psstx2 – Based on the comments I remembered that we rounded up ways to tell if a cardigan is frumpy! – Kat
Sales of note for 9/25:
- Boden – Up to 50% off sale + extra 15% off (I’m trying to figure out which color(s) of this sweater I should order…)
- Ann Taylor – 25% off the weekend collection and extra 50% off sale section
- Anthropologie – Extra 50% off sale!
- Athleta – Lots marked down to 40% off; with an Athleta card you get an extra 20% off.
- AYR – Archive sale, up to 60% off
- CVS – Epic beauty sale
- J.Crew – Fall styles start at $39
- J.Crew Factory – 40% off new arrivals, extra 20% off orders $125+
- Nordstrom – over 9800 new markdowns
- M.M.LaFleur – Labor Day Sale Event, save sitewide! (Try code CORPORETTE15 for 15% off on other items)
- Nordstrom Rack – Extra 40% off select clearance
- Talbots – 40% off one item, 30% off everything else
- Theory – End of season sale is on!
Article by: Fashanista
There is a particular kind of British fashion figure who never quite retires, who simply keeps turning up at the right shows in the right decades, quietly reshaping what “cool” means for a new generation while everyone else assumes she’s tending roses in Shropshire. Celia Birtwell, 85, is exactly that figure. And this autumn she is having, improbably, one of the biggest moments of her career.
A new exhibition, Ossie Clark + Celia Birtwell, opens at London’s Fashion and Textile Museum, revisiting the partnership that made her and her late former husband the defining design duo of Britain’s psychedelic late 1960s and early 1970s. At the same time, Birtwell has just co-designed Burberry’s entire London Fashion Week collection with creative director Daniel Lee — a collaboration she mentioned to a journalist almost as an afterthought, tucked between talk of her grandchildren and her ongoing battle with fine hair and unforgiving hot rollers.
That mismatch between how Birtwell describes her own life and what she is actually still doing is, in a way, the whole story. She has never traded on the mythology of her past the way the fashion industry might expect her to. Yet that mythology is extraordinary, and it is worth remembering exactly why.
In the years between Mary Quant’s miniskirt and the arrival of punk, Birtwell and Clark were London’s most fashionable couple, full stop. She drew the botanical, dreamlike prints — chiffon patterned with loose, romantic doodles that somehow captured the entire loosening of manners and morals happening around them. He cut those fabrics into bias-cut dresses that blended old Hollywood glamour with rock’n’roll recklessness. Together they ran Quorum, the Chelsea boutique where Talitha Getty, Marianne Faithfull and Anita Pallenberg came to shop and to be seen. Two Beatles, Cecil Beaton and Brigitte Bardot once sat in the audience at one of Clark’s shows. He later designed stage costumes for Mick Jagger and toured with the Rolling Stones. David Hockney’s 1970-71 portrait of the couple, Mr and Mrs Clark and Percy — painted while Birtwell was pregnant with their second child — didn’t just capture a marriage; it canonised an era.
The romance behind the clothes was, by Birtwell’s own account, a mixed blessing. She met Clark as an art student in Manchester, introduced by a friend eager to show her “a really mad boy.” He was, in her recollection, dazzling in those early years — turning up from Portobello Road with vases and fabric scraps he thought she’d love, bringing home a new record every week. “The first two or three years were very nice,” she says now, with the understatement of someone who has had five decades to make peace with what came after. Clark left her at home, pregnant, the day after their wedding to honeymoon alone in Barbados. He was openly bisexual, prodigiously gifted, and, in Birtwell’s words, ultimately more interested in partying than in almost anything else. Fame only accelerated that. The marriage ended in 1974, and Clark’s later years brought addiction, bankruptcy and, eventually, his murder at 54 by a former boyfriend.
It would be easy for an exhibition built around that history to lean into tragedy, or into nostalgia for its own sake. But what makes this particular fashion moment interesting is how directly the past is being folded into the present rather than simply displayed behind glass. Birtwell isn’t just the subject of a retrospective; she’s an active collaborator on a major luxury house’s current collection. That is a genuinely unusual position for a designer whose signature prints are more than half a century old, and it says something about where fashion is looking right now.
The industry has spent the past several seasons in a prolonged flirtation with 1970s bohemia — sheer fabrics, romantic floral prints, loose bias cuts, a general softness in silhouette that owes an obvious debt to exactly the aesthetic Birtwell and Clark pioneered. Daniel Lee’s decision to bring her in directly, rather than simply gesturing at the era through a moodboard, is a tacit acknowledgment that the real thing still has more to say than any pastiche of it. There’s a lesson there for an industry often accused of recycling its own history without crediting the originators: sometimes the originator is still very much alive, still has ideas, and would rather be asked than referenced.
For Birtwell, the renewed attention seems to sit lightly. She talks about Pattie Boyd’s figure and Ossie’s talent with the same warmth she brings to complaints about Carmen rollers scorching her hair. That ease is its own kind of style — a refusal to perform either grief or triumph on demand, even while both are clearly present. She has, by all accounts, spoken with real sorrow elsewhere about losing David Hockney, her friend and one-time chronicler, whose portrait of her and Clark remains perhaps the single image most responsible for keeping their story alive in the public imagination.
What the Fashion and Textile Museum show and the Burberry collaboration together suggest is that Birtwell’s real legacy was never just the prints, or even the marriage that generated so much period gossip. It’s a way of working — instinctive, unhurried, personal — that the current fashion cycle, for all its algorithms and trend forecasting, still can’t quite manufacture on its own. Sixty years on, that apparently remains in short supply, and increasingly valuable.
Fashion
Moving to a New City as a Creative? How to Build a Routine, Community, and Life That Feels Like You
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At Torishéju, the room felt like an opera awaiting its first note. Chandeliers flickered above red velvet and gold-trimmed chairs, while a circle of sand cut through the grandeur. Classical music played beneath whispered conversations in French and English.
Torishéju Dumi met that ghostly setting with clothes that were anything but shy. Miniskirts showed their pockets; dresses bared the back. Leopard print paired with pinstripes, jackets bristled with nail-like embellishments, and a strapless dress revealed the unmistakable shape of unbuttoned trousers from behind. A red-and-white striped dress finished with an oversized bow brought a flash of playfulness.
Lace, tulle, checks and sharp tailoring moved between hourglass minis and sweeping lengths. Double-brimmed hats, scarf-draped headwear and sheer knee socks added to the collection’s delicious unease. The towering heels proved precarious when one model fell, but the clothes left a clear impression: seductive, strange and entirely Torishéju.
Following the show, Fashion Bomb Daily caught up with Edward Buchanan, who in 1995 became Bottega Veneta’s first design director at just 26 years old, straight out of Parsons School of Design. Buchanan built the foundation for the house’s ready-to-wear line and led its first-ever runway show, work that went largely uncredited for decades until Bottega Veneta honored him in its 50th anniversary campaign. Today he runs the knitwear label Sansovino 6, serves as Fashion Director at Perfect Magazine Milan, and is preparing to launch The Situation, a creative space in Milan supporting emerging design talent.
Buchanan shared his thoughts on Torishéju Dumi’s collection and gave us a first look at what’s coming next with The Situation.
https://youtube.com/shorts/nf5-d4yVWl8?is=4uptdq00xyqj1pRpWhat do you think?Photo credit: It’s Bruno Again
There is a particular kind of power that comes from making an entire runway wait. Designers plan for months, editors clear their calendars, and photographers line up before dawn to capture a show that might last twelve minutes. And then, occasionally, all of it pauses for one person to walk in. On the opening night of Paris Fashion Week, that person was Rihanna.
The singer-turned-mogul arrived at the Matières Fécales spring 2027 show a full hour after it was scheduled to begin, delaying the presentation for the assembled crowd of editors, buyers, and fellow celebrities. Rather than being treated as a breach of etiquette, the delay played out as the evening’s real event. By the time Rihanna took her front-row seat, the show itself had almost become a formality — the true spectacle had already happened in the doorway.
It is a dynamic fashion insiders know well: the bigger the star, the longer the room will wait, and the less anyone seems to mind. Rihanna, who has spent the better part of two decades cultivating a reputation as one of the industry’s most reliably late and most reliably worth-the-wait guests, leaned into the moment fully, treating her tardiness less as an inconvenience than as an entrance cue.
And what an entrance it was. Rihanna arrived in a shimmering gold tinsel two-piece that seemed engineered for maximum movement — long dramatic sleeves, a peplum waist, and a plunging neckline that revealed a sheer black bra beneath. The ankle-length matching skirt caught the light with every step, transforming her into what onlookers described as the most glamorous pom-pom to ever grace a front row. It was maximalist, unapologetic, and precisely the kind of look built to dominate a sea of photographers’ flashes.
Where the outfit shouted, the accessories whispered a sly joke. Her black Christian Louboutin pumps looked, from the front, like a perfectly classic pointed-toe heel — demure, even. It was only from behind that the shoe revealed a softly curved, sculptural heel, a small design twist that rewarded a second look. She paired the shoes with a patent-leather handbag and a single gold necklace, keeping the rest of the styling restrained so the tinsel ensemble could do the talking. Her makeup carried the same red thread through to her fingertips, with a bold red lower lash line matched to her manicure.
The look, and the lateness, together underscore something fashion month regulars have long understood: at Paris Fashion Week, the clothes on the runway are only half the show. The other half plays out on the sidewalk outside the venue and in the front row, where celebrities like Rihanna wield real cultural gravity — enough to reset a schedule and still walk away as the story of the night.
As Paris Fashion Week continues, designers and brands will keep courting exactly this kind of moment, knowing that a single arrival can generate more coverage than the runway itself. For now, though, the takeaway is simple: nobody does a grand, gilded, gloriously late entrance quite like Rihanna.
Fashion
Jennifer Lawrence’s Baby-Blue Moment Signals the Return of Quiet Glamour to the Dior Front Row
Paris Fashion Week has never been short on spectacle, but sometimes the quietest look in the room says the most. At the Dior Spring/Summer 2027 ready-to-wear show, Jennifer Lawrence arrived front row in a draping baby-blue slip dress that traded the season’s usual maximalism for something softer, and in doing so reminded the industry why understated style still holds real power on the world’s biggest fashion stage.
The Oscar winner, a longtime ambassador for the French house since 2012, slipped into a lingerie-inspired sheath in a cloudy, pastel blue, trimmed with delicate white lace along the hems. Held up by whisper-thin spaghetti straps, the backless dress fell loosely across her frame, gathering in soft folds pinned at the hip for shape. She paired it with a matching mini Lady Dior bag, icy-blue mules, and oversized black sunglasses, a combination that felt less like a red-carpet statement and more like an off-duty daydream translated into couture.
What makes the appearance notable isn’t just the dress itself, but the contrast it offers to Lawrence’s recent style choices. Over the past few months, she has been experimenting with bolder color, stepping out in a highlighter-yellow book tote, bright orange trousers, and a scarlet Adidas track jacket. Against that backdrop, the pastel restraint of her Dior look reads as a deliberate pivot, proof that a wardrobe built around a signature house doesn’t have to repeat the same trick twice. It can flex between electric and ethereal and still feel unmistakably like the same person.
That flexibility is part of what has made Lawrence such an enduring fixture of the Dior universe. She isn’t a constant presence at fashion week; her front-row sightings are relatively rare, which only heightens the anticipation each time she does show up. She was there for the January Haute Couture presentation, and again for the Spring/Summer 2026 ready-to-wear show last October. Each appearance has functioned less like routine press duty and more like a reaffirmation of a relationship that has now spanned well over a decade, one of the longest-running actress-to-house partnerships in contemporary fashion.
The slip dress itself also fits into a broader style conversation playing out this season. Lingerie-inspired silhouettes, once relegated to red-carpet risk-taking, have increasingly become daytime and front-row staples, prized for how effortlessly they photograph and how easily they can be dressed up or down. Lawrence’s version leaned into softness rather than sensuality, using pale color, lace trim, and a relaxed drape to keep the look feeling more romantic than provocative, a distinction that matters in an era when audiences are quick to parse the difference between a fashion moment and a mere shock tactic.
Under creative director Jonathan Anderson, Dior’s ready-to-wear shows have leaned into precisely this kind of tension between structure and ease, tailoring and undress. Having one of the house’s most recognizable muses model that tension from the front row, rather than the runway, is its own quiet endorsement of the direction Anderson is taking the brand. It suggests that even the label’s most established ambassadors are eager to be photographed in pieces that feel current rather than merely iconic.
Front-row style at fashion week often gets dismissed as background noise to the real spectacle happening on the catwalk, but moments like this one complicate that framing. Lawrence wasn’t walking for Dior; she was simply sitting and watching, dressed by the house she represents. Yet the resulting photographs are likely to circulate as widely as anything from the show itself, a reminder that in the attention economy of modern fashion week, who shows up and what they’re wearing can carry as much weight as what walks the runway.
As Paris Fashion Week continues, with more celebrities, editors, and buyers filing into the front rows of the city’s grand old houses, Lawrence’s baby-blue appearance offers an early contender for the season’s most talked-about non-runway look, proof that sometimes the softest color and the simplest silhouette can still stop a room.
This post may contain affiliate links and Corporette® may earn commissions for purchases made through links in this post. As an Amazon Associate, I earn from qualifying purchases.
Last year, when we rounded up extremely comfortable business casual shoes that readers liked, a number of readers said they loved Boden’s flats… and true to form, the store has a TON of cute ones at the moment.
My favorite, I think, are these pointy-toed flats… the seam down the middle of the vamp gave me pause, but ultimately I think I like it as an interesting feature. I also like the way the leather texture changes at a similar seam at the back of the heel.
(I also like these ruched Mary Jane ballet flats and these “flexi” loafers.)
The Nigella flats are available in sizes 36-42 in four colors; they’re $190 but you can take 10% off today with code.
Sales of note for 9/25:
- Boden – Up to 50% off sale + extra 15% off (I’m trying to figure out which color(s) of this sweater I should order…)
- Ann Taylor – 25% off the weekend collection and extra 50% off sale section
- Anthropologie – Extra 50% off sale!
- Athleta – Lots marked down to 40% off; with an Athleta card you get an extra 20% off.
- AYR – Archive sale, up to 60% off
- CVS – Epic beauty sale
- J.Crew – Fall styles start at $39
- J.Crew Factory – 40% off new arrivals, extra 20% off orders $125+
- Nordstrom – over 9800 new markdowns
- M.M.LaFleur – Labor Day Sale Event, save sitewide! (Try code CORPORETTE15 for 15% off on other items)
- Nordstrom Rack – Extra 40% off select clearance
- Talbots – 40% off one item, 30% off everything else
- Theory – End of season sale is on!
The Prince and Princess of Wales visited the home of the Leeds Rhinos rugby team today.
The event was at Headingley Stadium in West Yorkshire. Below, the couple as they were given a tour of the facility by Jamie Jones Buchanan MBE, CEO of the Leeds Rhinos. 
The royals were there to learn how the club and the Leeds Rhinos Foundation are changing lives through the power of sport. 
They were also there to honor the legacy of Rob Burrow, CBE, a legendary Leeds player who died in 2024. Hello reports, “The former rugby star passed away in June 2024, aged just 41. He was diagnosed with the degenerative disease in 2019, launching an inspirational campaign to raise awareness.” The Prince presented Rob Burrow with his Commander of the British Empire honors for raising awareness of Motor Neuron Disease in January 2024. 
In November of last year, Prince William officially opened the Rob Burrow Center for Motor Neuron Disease at Seacroft Hospital in Leeds.
Below is the couple on the pitch in Leeds today.
On the right in the photo above, I believe you see Danny McGuire, who works with the club’s Foundation and leads the Rugby League Development Plan.
A news release notes that the program, “…grows and strengthens Rugby League by increasing participation, improving player retention, expanding opportunities for women and girls, developing coaches, and creating inclusive environments where everyone can access, enjoy and thrive in the game.” Below, the royals with young people taking part in the program. 
The Princess and Princess watching practice drills. 
The Prince and Princess then traveled about a half-hour south to Wakefield and DIY Kitchens Stadium, home to the Wakefield Trinity Rugby League Club. Their visit was a surprise, timed to congratulate Sir Kevin Sinfield as he finished his third ultramarathon in three days, as seen in the photo below.
We learn more from Matt Wilkinson’s story in The Sun.
PRINCESS Kate and Prince William surprised fundraising hero Sir Kevin Sinfield at the finish line of his ultramarathon in memory of Rob Burrow.
The rugby league legend, who was knighted for his fundraising efforts for Motor Neurone Disease, was met by the royals as he ended day three of the challenge at DIY Kitchens Stadium – the home of Wakefield Trinity.
Sinfield, 46, waved to the crowd as he entered the stadium but then had a shocked look on his face as he spotted Kate and Wills at the finish line.
But he soon broke into a beaming smile as he greeted the royals after the big surprise.
Emily Ferguson of The Express shared a video of him entering the stadium and wrapping up his run.
NEW: The Prince and Princess of Wales surprised Sir Kevin Sinfield as he completed the third day of his final 7 in 7 endurance challenge to raise money for motor neurone disease (MND) charities.
Catherine told him: “Well done you… what you are doing is so inspiring” pic.twitter.com/X1XXSHFW3i
— Emily Ferguson (@emilyinpalace) September 29, 2026
The Sun article offers details.
Sir Kevin was knighted in the summer, for services to rugby league and the MND community, after being inspired by his friend and raising more than £10 million for MND charities.
He has completed a series of gruelling fundraising challenges, since Burrow’s death in 2024, and is midway through his final effort, seven ultramarathons in seven days.
Chatting to the tired fundraising hero, Kate asked: “How did you find today?”
Sir Kevin replied: “It’s been the hardest day so far.”
And from The Telegraph’s coverage.
As Sir Kevin took to the microphone to thank his team, MND charity supporters and fans at the DIY Kitchens Stadium, the home of Rugby League club Wakefield Trinity, he briefly became tearful before delivering a three-minute speech without notes.
He told the Prince and Princess: “To have you here today is incredible and brings real credibility and awareness to the MND community.”
A group photo memorializing today’s visit. 
While at Wakefield, the Prince and Princess also spent time with people impacted by motor neuron diseases.
Another view of the Princess. 
Now for our look at what Kate wore for today’s engagement. 
We begin with the Ralph Lauren Collection ‘Camden’ Cashmere Jacket in Dark Racing Green (past-season color, shown here in navy). We first saw the jacket this August when the Wales family attended the Commonwealth Games in Glasgow. It is a tailored, double-breasted design in 100% cashmere, with a slim fit. The blazer has peaked lapels, shoulder pads, waist darts, flap pockets, and a welted breast pocket. 
From what I could see, it appeared that the Princess brought back her Roland Mouret wide-legged ‘Axon’ trousers. 
The black top is yet to be identified, although Middleton Maven suggests the Princess could be wearing the Joseph Silk Blend Tank Top ($345). She has worn the design in ivory. 
Initially, I thought the Princess might have accessorized with her Russell and Bromley ‘100 Point Blade Heel’ Court Leather Shoes. 
Middleton Maven suggests the Princess may be wearing a new pair of boots, noting the heel is thinner on the Princess than the Blade shown here. I don’t think we’ll know the style for sure because the trousers cover so much of the shoe.
She repeated the Empress earrings in white gold and diamonds by Mappin and Webb. 
Here is one more photo from today. 
VIDEOS:
The MND Association posted this video about the Wakefield events.
What a way to end the day! 👑🧡
Their Royal Highnesses, The Prince and Princess of Wales, joined us at Wakefield Trinity for a very special event ahead of cheering on our patron, Sir Kevin Sinfield, and his incredible team as they completed Day 3 of their final 7 in 7 Challenge.… pic.twitter.com/YfsByZlpXi
— MND Association (@mndassoc) September 29, 2026
The Daily Mirror’s 40-second video from today.
Prince William and Princess Catherine have always shared a love for sports, and the work of Kevin Sinfield and the late Rob Burrows pic.twitter.com/JjFhCsQTKN
— The Mirror (@DailyMirror) September 29, 2026
This post may contain affiliate links and Corporette® may earn commissions for purchases made through links in this post. As an Amazon Associate, I earn from qualifying purchases.
Our daily workwear reports suggest one piece of work-appropriate attire in a range of prices.
The return of the peplum might be a little tough for anyone who was in the business casual world in the early 2010s, but if it’s any consolation, I think the 2026 version is an improvement. This cardigan from Boden looks like it has a softer, less rigid flare than its predecessors, and this time the chunky belt is optional.
I would wear this cardigan with a flowy midi skirt, rather than a squeeze-you-in pencil skirt, for a look that’s more of-the-moment.
The sweater is $199 at Boden and comes in sizes 0-20/22. It also comes in sea moss, pink, and ivory.
Sales of note for 9/25:
- Boden – Up to 50% off sale + extra 15% off (I’m trying to figure out which color(s) of this sweater I should order…)
- Ann Taylor – 25% off the weekend collection and extra 50% off sale section
- Anthropologie – Extra 50% off sale!
- Athleta – Lots marked down to 40% off; with an Athleta card you get an extra 20% off.
- AYR – Archive sale, up to 60% off
- CVS – Epic beauty sale
- J.Crew – Fall styles start at $39
- J.Crew Factory – 40% off new arrivals, extra 20% off orders $125+
- Nordstrom – over 9800 new markdowns
- M.M.LaFleur – Labor Day Sale Event, save sitewide! (Try code CORPORETTE15 for 15% off on other items)
- Nordstrom Rack – Extra 40% off select clearance
- Talbots – 40% off one item, 30% off everything else
- Theory – End of season sale is on!
You’ve bought the ticket, you’ve borrowed a tent, and now you’re staring at a pile of stuff wondering how much of it actually needs to come. Festival camping is its own thing. You’re sleeping in a field for three or four days, the weather does whatever it wants, and the nearest mirror is the front camera on your phone. Getting ready in that setting takes a bit of planning, so here’s how to sort your hair and skin without a bathroom to hide in.
Lighten up
Pack for a festival, not an expedition. You are carrying everything from the car park to a patch of grass that could be a solid fifteen-minute walk away, often twice if you forget something. One bag of toiletries you can actually lift beats three you can’t.
Work out what you use every day and bring only that. The full skincare shelf stays home. You want the two or three things you’d genuinely miss, not the ones you own out of guilt. And if it lives in a jar the size of your fist, decant a bit into something smaller.
The no-shower reality
There’s a real chance you won’t shower properly the whole weekend, and if you do, the queue will cost you a set you wanted to see. Plan around that instead of pretending it won’t happen.
Baby wipes are the workhorse. A big resealable pack does the job of a shower, cleans your hands before food and wipes the dust off your face after a hot afternoon down the front. Dry shampoo does the same trick for your hair, buying you a couple of extra days before it starts looking like you slept in a field, which you did. Beyond that, a toothbrush, a bit of travel toothpaste, deodorant, a small hand sanitiser and a fast-drying towel cover the basics. That’s genuinely the whole kit.
Sun and skin come first
More people get wrecked by the sun at a festival than by anything else. You’re outside all day with no shade, often facing a stage that happens to be pointed straight at the afternoon sun, and you don’t notice the burn until it’s done.
Two things do the heavy lifting: sun-cream and moisturiser. Put the sunscreen on first thing, before you leave the tent, and top it up after lunch because you will forget otherwise. A hat and sunglasses do half the work for you and save your face from squinting all day. Moisturiser matters more than you’d think. Wind and dust and dry nights leave your skin tight and flaky by day two, and a bit at night sorts it out. Lip balm with SPF is small and easy to lose, so bring two.
Drink water between all of this. Most of what people blame on the sun is really just being dehydrated in the sun, and it shows on your skin as much as anywhere.
Getting ready with no power point
A campground has no mirrors, no bathroom bench and, crucially, no power point, so anything that plugs into the wall stays home. That rules out a normal straightener or hairdryer. It’s why cordless styling tools built for travel have become the workaround for festival campers. The one I keep going back to is ghd’s Unplugged, mostly because it holds enough charge for a full look before it needs a top-up, which is really all you’re asking of it in a tent.
If a flat, frizz-free finish is part of your festival look, the only realistic option in a tent is a battery-powered straightener that works without an outlet, charged up before you leave and topped off from a power bank between sets. It runs about twenty minutes on a full charge. That’s plenty for one proper going-over rather than fiddling with your whole head, and it charges over USB-C from the same power bank you’re using for your phone. There’s a battery indicator on the side so you’re not guessing how much you’ve got left, and it comes with a heat-resistant case, which matters when you’re throwing it back in a bag that’s about to get sat on.
A couple of things to know. Twenty minutes is not endless, so do the front sections that actually show and leave the back alone. And keep it topped up. A dead straightener in a field earns you nothing but the weight of carrying it. Charge it the night before you drive out, bring a decent power bank, and it’ll see you through.
If straightening isn’t your thing, don’t force it. A field is a great excuse to let your hair do what it wants. Plaits, a bandana, a bucket hat, tying it back, all of it looks right at a festival and needs zero charge. Have a plan you can actually pull off in a tent, whatever that plan turns out to be.
Find your tent again
This isn’t grooming, but it’ll save your weekend. Campsites are a sea of identical two-second tents, and at 2am after a headliner they all look the same. Tie something to yours you’ll recognise from a distance. A flag works. So does a balloon, or a bit of bright fabric on a pole. Anything that lets you spot yours across a crowd beats wandering rows of strangers’ tents in the dark.
While you’re at it, note a fixed landmark near your spot: the food stalls, a big tree, the number on the nearest toilet block. The flag helps up close, but the landmark points you to the right corner of the field before you’ve even started looking.
Pack it the night before
Do all of this the evening before you leave, not the morning of. Lay the toiletries out, decant what needs decanting, charge everything that takes a charge, then pack the bag you can carry. Morning-of packing is how you end up at the gate realising the sunscreen’s still on the kitchen bench.
Get the hair and skin sorted and stay ahead of the sun, and the rest of the weekend is just the music you came for.
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Wednesday’s Workwear Report: Juliet Cardigan
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