Instagram is a rare app in one specific way: Just about every update results in significant hype beyond the tech community, something that other apps (even ones that also have millions of users) aren't always able to achieve.

The latest update, Instagram Stories' Type mode, which added four new font options — strong, modern, neon, and typewriter — was no different when it debuted last week. Users were quick to take to Twitter hailing the arrival, furiously questioning when they would get the update if they hadn't already, and noting how certain fonts, like the cursive script of "neon", added character to their Stories. "Instagram's new font features make my fangirling look real aesthetic," one woman tweeted. Others called attention to the Supreme-ish vibe of the "strong" style. (Though if you're going to make that comparison, it's important to recognise artist Barbara Kruger, too.)

Compared with flashy animations and graphic filters, it can be easy to forget that something as seemingly basic as typeface really does make a huge difference. Fonts have long affected the way messages are conveyed and perceived in realms beyond social media, from advertising to resume-writing. Some fonts look ridiculous when used in certain scenarios (you would never use Lucida Calligraphy to write a cover letter), while others, such as comic sans, are just universally mocked.

"Type is incredibly powerful in helping to convey a message in the right tone," professional type designer Jessica Hische, told Refinery29 over email. "You wouldn't use the same type style to post about a death in your family as you would to post about an epic night of drinking for a friend's thirtieth birthday. 'Tone deaf' posts and prompts on social media networks are a real issue, so anything that lets you share with the right voice is a step in the right direction."

Curious to know what Hische and other typography experts made of Instagram's font choices? Ahead, we asked four professionals to weigh in with their thoughts and what they'd like to see in future updates.

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You're three weeks into a new relationship, and then suddenly it's Valentine's Day. What do you do? Try to ignore it and run away? Or make a huge romantic gesture? After all, everyone else is making grand declarations of love, so why not join in?

There's another option to consider — one that's somewhere in between ice cold and burning hot. Let's call it lukewarm. Or as Kate Stewart, a counsellor and dating coach in Seattle, says, "scale your Valentine's Day from zero to medium."

That's dependent on where you are in the relationship, of course. If you're three dates in, maybe it's best to ignore the holiday altogether. (Might we suggest celebrating Galentine's Day with your best pals instead?) But if you're a month in and have had "the talk" — you know, the one where you decide you actually are in a relationship and not just hooking up — then something small and meaningful could be in order.

Still not sure what that small and meaningful thing could be? We talked to Stewart and two other dating experts — Joy Harden Bradford, PhD, a licensed psychologist and owner of Therapy For Black Girls, and Frankie Bashan, PsyD, a professional matchmaker for queer women — for some suggestions. Read on for their complete guide to Valentine's Day for you and your brand-new bae.

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While it's undeniable that South Korea has spent the past few years perfectly positioned at the forefront of all things cutting-edge yet affordable in beauty, let us not forget that before we had snail mucus and ostrich-egg yolk, we had Shiseido, SK-II, and Koh Gen Do. Japan's sizeable contributions to beauty, particularly skin care, are not to be underestimated — and without the country's influence on Western culture overall, we wouldn't have ramen or sushi, either... and then what would New Yorkers eat? (Spicy tuna rolls, it's worth noting, are an American invention — if the heavy-handed use of mayo wasn't enough of a dead giveaway.)

But Korea and Japan share more than just a continent, particularly when it comes to their traditional beauty routines: Both cultures prioritise lightweight layers of moisture over slathering on rich, heavy creams, which means you'll see lots of toners, essences, emulsions, serums, and lotions in skin-care lineups. And one of Japan's best-known — and best-loved — drugstore stalwarts, the Hada Labo Goku-jyun, is best described simply as a liquid, meant to be dispensed into the palm of your hand and patted into the skin using the proprietary Hada Labo "patting technique."

Maybe it's the weightless, easily-absorbed consistency that makes it a pleasure to apply, or the three different types of famously skin-plumping hyaluronic acid (hydrolyzed hyaluronic acid, sodium acetylated hyaluronate, and sodium hyaluronate) each bottle contains to help pull moisture in like a sponge — whatever it is, the Goku-jyun formula has received rave reviews across the board, from all over the world. And beyond those rave reviews, you won't find much information about the products themselves. The packaging is printed exclusively in Japanese, and while the company has made some products available in the U.S. under the brand name Hada Labo Tokyo, the formulas are hardly comparable.

It's the word-of-mouth cred on Amazon, Reddit, and other communities that has made the Goku-jyun an international cult favourite, a feat that no amount of simple marketing could accomplish — and considering how little English-language information is offered on shopping pages unless you really dig, and the fact that you can only purchase it through third-party sellers on Amazon (a risk we don't endorse) or from Japanese health-care company Mentholatum 's stateside warehouse, investing in your first bottle of Hada Labo Goku-jyun is the skin-care equivalent of a trust fall. With a little bit of faith, perhaps you, too, can have the dewy, glowing, youthful skin that has led so many fans to claim it as their Holy Grail.

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When you think of at-home hair colour kits, what do you think of first? Is it the ridiculous boxes that feature the same woman on each packet in an unconvincing photoshopped shade? Is it the time you botched your DIY job and had to wear a hat for five weeks? Or is it the numerous occasions you've trailed aimlessly up and down aisles in Boots or Superdrug, trying desperately to work out which colour will suit you? If any of the above sound all too familiar, internationally acclaimed hair maestro and expert colourist, Josh Wood, is here to revolutionise at-home hair colouring.

Available from this week at Boots and Josh Wood's atelier, the Josh Wood Colour System offers a new, salon-inspired approach to home hair colour, offering every woman, no matter her hair type, the colour she deserves. Josh has curated a comprehensive system – the only range of its kind created by an expert colourist – that includes permanent colour with 100% grey coverage, a toolkit of root concealers, and a colour-preserving care range including a mask and gloss that will boost hair health and shine.

Often referred to as ‘the king of colour’ and the man behind the immaculate manes of Elle Macpherson and Laura Bailey, Josh has spent his 30-year career understanding what makes a woman love her hair colour. “Look, I love grey," Josh asserts. "I’m the first person to encourage someone to go grey if the maintenance is too much for them but it’s a choice; if you never want to see another grey hair on your head, I can help.”

Building on three decades of unrivalled experience in shaping the global hair colour landscape, Josh is now using digital as a platform to share his expertise around the world. Josh Wood Colour offers honest advice, education and inspiration every step of the way, for home hair colourers and salon visitors alike. In just a few quick clicks you can start an online consultation where you will be advised on the products you need and how to use them. The foolproof colour-matched system then makes finding the right shade and toolkit to maintain colour very simple, and clear numbering runs through every single product, meaning the system is easy to navigate.

The Permanent Box Colour, £10, available in 12 shades including unique half shades for the best colour match, from Darkest Brown (2.0) to Lightest Blonde (9.0), has been formulated by Josh to nourish the hair while giving a perfect colour finish and total grey coverage. PPD (paraphenylenediamine) and ammonia-free, the product includes hydrolysed quinoa to aid shine, colour retention and hydration.

The Josh Wood Colour Blending Brush, £15 (20ml), available in three shades – from darker brown (for 2.0, 3.0, 4.0), lighter brown (for shades 5.0, 5.5, 6.0) to darker blonde (for shades 6.5, 7.0, 7.5) – confidently conceals greys in a stroke with the easy brush-on temporary colour, which gives coverage for up to three washes.

A tinted dry shampoo, £10, quickly refreshes your colour, reviving flagging roots and covers greys with natural-looking colour, while the throw-in-your-handbag colour pigment crayon quickly and expertly colours over stray greys (even on brows). Welcome to the future of haircare and colour.

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This month, we mark the long-awaited centenary of women’s partial suffrage: 100 years since some, but not all, British women were first granted the right to vote under the Representation of the People Act 1918. The anniversary (as well as scoring us the first statue of a woman in Parliament Square, of Millicent Fawcett, designed by Gillian Wearing) will provide a moment of retrospection, to look at just how far we’ve come in terms of women’s rights in Britain and to stop and offer gratitude to our feminist ancestors. But it’s also a time to look back at groups like the suffragettes more critically, and ask ourselves: Were they really as great as they’re cracked up to be?

Contact any historian about the suffragettes and they’ll first point out that these women were not the only people who fought for women’s right to vote, although they might be the most notorious. “Suffrage movement” or “suffragists” describe the broader, nationwide campaign for a women’s vote, which included men and encouraged peaceful campaigning. The “suffragettes” were a specific women-only group which engaged in militant and sometimes violent forms of protest. Millicent Fawcett was best described as a suffragist, while the women of the Pankhurst family – mother Emmeline, and daughters Christabel and Sylvia – were among the suffragettes’ leaders.

The suffragettes were and remain controversial: they went on hunger strikes, smashed up public property, and one woman – Emily Davison – even died for the vote, running onto the racetrack at Epsom Derby in 1913 (although her exact intentions are unclear). According to historian Katherine Connelly, these extreme tactics should be viewed in context: “I think the British state had never granted a reform without feeling very afraid; what the militant suffragettes realised was that they were going to have to force the government to give women the vote.” Connelly believes that one of the biggest problems with the suffragettes, however, was letting this governmental pressure compromise their politics and tactics over time, to “accept the idea of something more conservative, like a vote for a smaller group of women.”

In the early days, she explains, when the women of the Pankhurst family formed the Women’s Social and Political Union (WSPU) in 1903, their politics were socialist-leaning: “Emmeline and her husband Richard Pankhurst were involved in the Labour Party and identified with the socialist movement,” says the historian. “Yet, over time, Emmeline and Christabel moved away from wanting to include working class women towards a more elitist ethos. They dismissed working class women as the weakest in society and the least educated, while realising that enlisting middle class women [to perform militant acts] got them more press coverage, made a bigger splash.” In other words, they gave in to the inequalities of Edwardian society.

Sylvia Pankhurst, meanwhile, disagreed with her mother and sister, resulting in her being expelled from the WSPU in 1914. Connelly’s biography of Sylvia explains how she wanted working class women like the famous suffragette Annie Kenney to be at the forefront of the movement. “Sylvia placed a great importance on self-emancipation and wanted working class women to have influence over their own lives,” Connelly explains. “She wanted women getting the vote to be a moment when far-reaching social change would be realised and thought that would not happen if the vote was given to just a small portion of the population.”

Sylvia Pankhurst’s methods differed from those of her mother and sister, too: she wanted to achieve the vote by linking women’s suffrage up to the other causes of the time, like the labour movement, trade unions and those in the factories fighting for better conditions and pay. “Emmeline and Christabel, however, wanted women’s suffrage to be a single-issue campaign,” says Connelly, who believes that Emmeline and Christabel’s compromises produced a “crisis in the suffragette movement”, whereby they were “relying on smaller groups of women for greater acts of sacrifice” while persecution from the state was getting worse.

From Sylvia’s viewpoint, and her campaign tactics, you could argue that she was a more intersectional feminist by today’s standards; she didn’t see feminism in isolation from class. The historian Dr. Sumita Mukherjee, an expert on the British Empire and the Indian subcontinent, working at Bristol University, raises concerns about the suffragettes' general approach to women of colour, however. When the film Suffragette was released in 2015, members of the activist group Sisters Uncut publicly denounced its lack of inclusion of women of colour, and Sumita says the original movement was not particularly inclusive either.

“It was not a very diverse movement at all,” Sumita explains over the phone. “It’s unclear whether there is just not much documentation, but more likely that there weren’t many women of colour involved.” We have to place this in context, she adds: “There were fewer women of colour in the UK than, say, America at that time, and the British public was not having the same dialogue we have today around ideas of citizenship; a lot of suffragettes wouldn't have thought of the population of women of colour as British citizens.” So who were the women of colour in the movement?

“Specifically not really any women of African descent, although some Indian women living in the UK were involved.” Sumita points to a famous photo of a suffragette-organised procession featuring Indian women in saris on 17th June 1911. “It was almost like they were parading these women, to demonstrate the influence they [the suffragettes] wanted to have over empire,” says the historian, before pointing to another Indian woman involved in the movement, princess Sophia Duleep Singh, a close ally of Emmeline whose “race was never really mentioned, probably because she was wealthy and from an aristocratic background,” according to Sumita.

In terms of attitudes to race and colonialism, on the whole, says Sumita, there was not much discussion at that time of wanting to dissolve empire. Some suffragists and suffragettes stated that they wanted the vote so that they could have influence over what happened across the British Empire, or expressed outrage that women of colour in other countries were granted the vote before white women in Britain (Maori women in New Zealand, for example, had the right to vote from 1893). Sumita concludes that the biggest issue is that white British suffrage campaigners were just not really thinking about women of colour and including them as equals within the movement. "It just didn’t occur to many of them," she says.

Julie Gottlieb, who teaches the history of women’s suffrage and feminism at the University of Sheffield and has written several books on women and 20th century British politics, came to study the suffragettes in an unusual way, one which highlights the lesser known political trajectory of some of the women involved in the suffragette movement. When she was writing her book on women and British fascism, she uncovered that three of the women involved in Oswald Mosley's fascist movement had been active militant suffragettes. “It was not the norm – that needs to be stressed – but somehow these women took a route from feminist militancy to fascism by the 1930s,” says Julie.

One of these women was Mary Richardson or “Slasher Mary”, the suffragette who committed one of the group’s most sensational acts when she went into the National Gallery in 1914 and slashed Velázquez's "Rokeby Venus" in protest at Emmeline Pankhurst’s recent arrest. The second was Norah Elam, who lasted much longer in the fascist movement than Richardson; “because of this she was interned under the Defence Regulations in the Second World War and sent back to Holloway Prison, where she’d been sent for her militant acts during the suffragette movement,” says Julie. The last was Mary Allen, who as a suffragette had thrown stones at the Home Office. She joined Mosley's movement in 1940.

“What they said that they saw in the fascist movement was the same spirit, militancy and revolutionary spirit that they had experienced in the suffragette movement under the leadership of Emmeline Pankhurst, who was a charismatic authoritarian leader,” Julie explains, emphasising that “people assume being a radical feminist means you’re on the left but we need to look at women on the right too because they were not completely absent.” While Sylvia went on to become more left-wing after 1918, Julie says the war provided a catalyst for Emmeline and Christabel’s move to the right: “They became nationalists in supporting the war effort, which was not the majority position among suffragettes, many of whom took a pacifistic position.” At the end of her life, Emmeline stood as a Conservative candidate, but she died before the election in 1929.

All in all then, it seems the suffragettes were a broad church of people uniting under one common goal, and at times struggling to agree on how it ought to be achieved. Julie admits that 100 years after the movement, historians and feminists remain just as divided about the suffragettes’ legacy as the suffragettes themselves were: “They are heroic figures but like with any group, look closely and you realise that flaws exist; no heroine is a perfect heroine.”

Sumita meanwhile reminds us that their failure to include working class women and women of colour in the movement has parallels to more contemporary feminist movements, and serves as a reminder of how, “when thinking about gender, we also need to think about the challenges of race, class, and sexuality too.”

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With all due respect to Love Island and Big Brother, no British reality TV show gives better insight into human behaviour than Channel 4's The Secret Life of 5-Year-Olds. Turns out, the interior lives of baby-faced guinea pigs thrust into various social experiments make for oddly compelling telly. Sometimes their uncensored reactions are adorable; sometimes they're alarming. Either way, it's always fascinating.

Now there's one more reason to tune in. Today the series will be airing a special all-girls episode to mark 100 years of women's suffrage. The challenge: To see how 2018 kiddos view traditional gender constructs, interact in a no-boys-allowed environment, and assert themselves when faced with inequality. Will it be all girl power and sister solidarity, or tantrums and tears?

Honestly, it's a little bit of both. As viewers will see tonight, the episode's biggest conflicts stem less from personality clashes between the self-described "tomboys" and "girly girls"; they're more triggered by social scenarios that result in an overwhelming sense of injustice, betrayal, and unfairness. (Ladies, we feel your pain. Just wait 'til you learn about the BBC pay scandal.)

Much of the show is devoted to confronting gender stereotypes. When the girls are invited to play in a toy beauty salon, most of them make a beeline for the plastic hair straighteners. Two girls object, however: proud tomboy Jet, and independent-minded Adunni. They break from the salon crowd and turn their attention to a Stretch Armstrong doll. As resident clinical psychologist Dr. Elizabeth Kilbey notes, they're alienated because of their lack of interest in stereotypically "girly" activities. Jet admits that she struggles to make friends with girls, and she and Adunni bellow in unison: “We like boys more than girls!"

But the first major meltdown doesn't occur until the voting experiment. To give them a taste of the pre-suffrage restrictions women were subjected to, the show's teachers let only half the group cast a vote for which game they'll play next. A girl who's been left out is stricken, and begins sobbing. Not surprisingly, it doesn't feel nice to be excluded. (By contrast, Eva, a fan favourite from past shows for her feminist views, gives a shockingly sound lecture on the last general election, then starts to cry because she doesn't want to vote. Election fatigue happens to the best of us.)

Tears also flow when a marble game is introduced; the girls are each given a jar of coloured marbles and are invited to share them, all the while being reminded that only the girl with the most marbles will win the game. Almost instantly, two girls who had just declared themselves brand-new best friends are now at each other's throats because one won't share. It feels like a scene out of Mean Girls, but also raises a lot of interesting points about how women are conditioned to play nice and not rock the boat; when we don't, or express ambition or a competitive streak, we're called out.

The situation also illustrates just how emotionally taxing inequality can be, whether it's equal marbles or equal pay. It's striking how aware these young girls — not long out of learning their ABCs — are of power imbalances. Saoirse remarks that men have had the vote since "before Christ", while Eva dreams of being a superhero who could "change the fact that men are paid more than women".

There is hope. By episode's end, the girls — who have been dazzled by a female space scientist — are sporting superhero costumes and talking about one day becoming vets, inventors and paramedics. They've also found common ground. Tomboy Jet, outfitted in a police officer's uniform, is enlisted to "have a date" with Miylah, a curly-haired moppet with a romantic streak. Darcy, who attributes girlhood to "wearing unicorns and fairy clothes" is happily running around a pirate ship playscape.

Ultimately, the special is evidence that little girls wrestle with many of the same societal pressures that big girls do: how to subvert gendered stereotypes, how to be defined by your individuality rather than your sex, how to toe the lines between people-pleaser and pushover and power player and pariah, and how to keep pushing for progress.

To quote little Darcy, "it's difficult being a girl". It certainly is — but maybe dialogues like this will help make it easier?

The Secret Life of 5-Year-Olds: All Girls airs this Tuesday on Channel 4 at 8pm.

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Wander into London’s Parliament Square today and you’ll be greeted by 11 towering statues: all hugely well-respected figures; all men. Later this year, however, a woman will join Churchill, Mandela, Gandhi et al: Millicent Fawcett, the women’s suffrage pioneer.

Today we celebrate the 100th anniversary of the Representation of the People Act 1918, which granted voting rights to women for the first ever time (as long as they were over the age of 30 and met a property qualification, of course). The new statue is just one way the capital plans to commemorate this landmark year.

Ever since Sadiq Khan became mayor of London in 2016, he has supported Caroline Criado-Perez’s campaign to get a statue of a woman in Parliament Square. A self-proclaimed feminist, when Refinery29 meets him at an intimate roundtable in City Hall, he is loudly enthusiastic about #BehindEveryGreatCity, the yearlong campaign to mark the centenary and drive forward gender equality across London today.

“The point that I feel strongly about is that if you’re a girl or a young woman going around our city and you see all these statues of these brilliant people and they happen to be blokes all the time – what does that do to your sense of aspiration, achievement and sense of accomplishment?” he asks. “And there must be a reason that we have statues – because they have impact, celebrating great victories and progress made but also an impact on attitudes.”

Designed by the artist Gillian Wearing, she found it difficult to represent an entire movement with just one person. And so it was decided that the statue would also display etchings of 59 other people (including four men) who were instrumental in achieving women’s suffrage. Khan is keen to highlight how diverse the people featured are.

“They are from all different backgrounds from across the country – different socio-economic backgrounds, different ethnicities – who were involved in the campaign,” he says. Alongside the famous names such as Emmeline Pankhurst and Emily Wilding Davison, there are lesser-known heroes such as Sophia Duleep Singh, a campaigner from a prominent Indian family, and Laurence Housman, a founding member of the Men's League for Women's Suffrage.

Khan is particularly taken by the story of Jessie Craigen, a working class campaigner, of whom no photograph exists. “It tells you a lot about how history captures certain characters and not others,” he notes.

As part of the celebrations, today there will also be a public exhibition in Trafalgar Square featuring life-sized images of the figures that appear on Wearing’s statue before it moves on to new venues, including the Museum of London. Khan suggests it should make for a fun, interactive and educational display. “Go along to Trafalgar Square and take a selfie with these amazing people,” he smiles. On 10th June there will also be simultaneous processions in London, Cardiff, Edinburgh and Belfast to celebrate the centenary, and we'll be treated to Art on the Underground’s first-ever yearlong programme of works by exclusively women artists.

When asked how he plans to use the anniversary to shine a spotlight on other issues such as the pay gap and sexual assault in the capital, Khan points out that he has been the first mayor who has ever published a gender pay audit at City Hall and published an action plan to reduce the 5% gap that it revealed (by April 2018 all companies with more than 250 employees must reveal their gender pay gap). He is concerned that the pay gap in London today is 14.6% when 20 years ago it was 15.1%. But he leads by example.

As for sexual assault, he remains committed to a campaign encouraging women to report being sexually harassed and assaulted on the Tube, which has resulted in more prosecutions. But he knows that there is still much work to do. “For the first time there is a movement against gender equality. We’ve seen the rise of narrow populist movements, that’s why men have to be allies to women in the fight for gender equality.”

Khan has been a huge champion for women, even installing them to head up both the Metropolitan Police and London Fire Brigade for the first time ("on merit", he is quick to add). But which living woman would he most like to see a statue of in Parliament Square?

“Somebody I adore is Doreen Lawrence… I think she is a modern day hero,” he says. “Statues clearly matter. Otherwise we wouldn’t have them and that’s why it’s important we try and balance them.”

Find out more about London's #BehindEveryGreatCity campaign here.

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There are some trends that veer just a little too close to the blurred line between fashion and fancy dress, and this season's Western focus is one of them. That isn't to say it should be avoided; on the contrary. There are many ways to incorporate rodeo-inspired style without looking like Woody from Toy Story.

We're looking to SS18's catwalk collections for inspiration, then toning the looks down slightly for a more workwear and weekend-appropriate Western. The trick is not to wear more than two pieces at a time, or to stick to accessories if it's too out-there for you.

First up, Calvin Klein. Two-tone silky shirts were paired with matching trousers and white cowboy boots fit for Clint Eastwood. While we'll be stealing the layering style tip – wear the shirt over a rollneck – we're donning our made-for-walkin' boots with floral dresses instead.

Last summer's gingham takes on a new lease of life this season, looking less Dorothy and more Westworld at Francesca Liberatore and Marques'Almeida. Update with an oversized denim shirt and wear both over your trusty jeans until the weather heats up.

With frilled prairie dresses, dark denim, badlands-inspired bandanas, and faux-cowhide filling both high street and high end offerings this season, there's a plethora of ways to tackle the trend, from the merest of nods to all-out dosey doe.

Click through to find our favourite Western pieces.

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Little palette, MAJOR🔥🔥🔥. Get ready to create looks that are flat-out-fire with Naked Petite Heat 😍🌶🙌 With 5 matte shades plus one demi-matte highlighting shade, you have everything you need to create endless sizzling eye looks. Check out our IG stories to see when Naked Petite Heat is coming to you! #UrbanDecay

A post shared by Urban Decay Cosmetics (@urbandecaycosmetics) on Feb 5, 2018 at 7:38am PST

We'll always be able to find a little more space in our makeup bags for a new palette, especially when it's as red-hot as the latest offering from Urban Decay. Yesterday, the brand adored for its sellout 12-shade neutral eyeshadow palettes teased a new addition to the family. Introducing Urban Decay's Naked Petite Heat palette, a travel-friendly, compact update of the Heat palette that dropped last June. Featuring six shades, the new miniature palette includes five matte pigments and one shimmery highlight. 'Inhale' is a cream demi-matte, 'Vibrate' offers a soft nude matte, 'Hot Spell' is a terracotta matte, 'Wild Thing' is a scorched orange matte, 'Heist' is a rich cayenne matte and 'Strike' is a rich reddish brown matte.

The model shot for our Petite Heat campaign featuring @nicolerichie!

A post shared by Wende Zomnir (@udwende) on Feb 5, 2018 at 7:37am PST

The Naked Petite Heat palette won't be available until 22nd March for £26 at urbandecay.co.uk and nationwide but Nicole Richie is already a fan. Urban Decay's founder Wende Zomnir shared a picture of the designer and style star, who is the face of the campaign, rocking the reddish tones and we can't wait to recreate the look.

Urban Decay also took to Instagram to share the exciting news, posting the first picture of the palette to their near-10 million followers with the caption: "Little palette, MAJOR🔥🔥🔥. Get ready to create looks that are flat-out-fire with Naked Petite Heat 😍🌶🙌 With 5 matte shades plus one demi-matte highlighting shade, you have everything you need to create endless sizzling eye looks. Check out our IG stories to see when Naked Petite Heat is coming to you!"

The cult beauty brand also shared swatches of the shades as well as images of three different models of varying skin tones, wearing eye looks from the palette. It may be almost freezing outside but this handbag-sized palette is about to add some serious heat for spring.

Hot off the press 😱🙌🔥 Naked Petite Heat #UrbanDecay

A post shared by Urban Decay Cosmetics (@urbandecaycosmetics) on Feb 5, 2018 at 9:31am PST

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A young British woman who was told she would die from cancer has been given the all-clear after Kate Winslet and Leonardo DiCaprio helped to raise money to fund her lifesaving treatment.

The Oscar-winning duo auctioned off three private dinners with "Jack and Rose" to help 29-year-old Gemma Nuttall, from Lancashire, who was pregnant when she was diagnosed with an aggressive form of ovarian cancer.

Nuttall turned down potentially lifesaving drugs on the NHS because it would have meant ending the pregnancy. When her daughter Penelope was born at 26 weeks, doctors told her the cancer had spread to her cervix and there was nothing they could do. She was given as little as six months to live and put on palliative care.

But Nuttall and her mother Helen launched a GoFundMe campaign to raise £300,000 for specialist cancer treatment in Germany. In a happy twist of fate, Winslet heard about the initiative and threw her weight behind the fundraiser, auctioning off three private dinners with "Jack and Rose".

The dinners were snapped up during an auction in July held for DiCaprio's conservation foundation in St Tropez, helping Nuttall to reach her target.

Nuttall finished the treatment five months ago and has since received the all-clear, MailOnline reported. During an appearance on ITV's This Morning yesterday, she thanked Winslet over the phone: "Thank you so much for all your hard work [and] me being able to have my treatment that I really did need. You saved my life."

Cancer survivor Gemma gets a surprise phone call from Kate Winslet, who joined forces with @LeoDiCaprio to raise money for the costly treatment that saved her life... pic.twitter.com/e8S1WtE9PG

— This Morning (@thismorning) February 5, 2018

Winslet said she was inspired to get involved by her mother. “I just thought ‘I can’t have this happen. My own mother was very, very unwell, and I just thought my mum would be incredibly proud if I could do this for somebody else, for another young mum.”

Speaking of her efforts with DiCaprio, she said: “It was just amazing. We got close to £200,000 ($280,000) and at that point I thought, ‘Right, it’s time to call my friend Leo’... I phoned Leo and I said, ‘Do you think we could do a charity dinner or something?’ And he said, ‘Let’s go one better. Come with me to St. Tropez, to my big fundraiser for the Leonardo DiCaprio Foundation, and we will auction off a dinner with Jack and Rose.’”

The pair raised $1.35 million (around £967,000), which was split between Nuttall's treatment, the Leonardo DiCaprio Foundation and a new foundation that's being launched to help other cancer sufferers. “I am now able to set up another foundation — which Gemma is going to help me run and be involved with — another foundation which will specifically help individuals who are in exactly the position that Gemma has been in," added Winslet. "So, so much good has come out of this remarkable moment."

Winslet said Nuttall's story was "utterly incredible" and that she felt "so blessed" to have been able to help. "It actually really did work. We raised the money and the treatment has worked and I think that's the real headline here, is that things can be done when there's a poor prognosis, such a devastating prognosis, like the one you had."

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Today, 6th February 2018, marks 100 years of some (but not all) British women gaining the right to vote. The Representation of the People Act, introduced in 1918, enabled select women over the age of 30, who owned property or were graduates voting in a university constituency to have a say in elections for the first time. Eight and a half million women were added to the electoral roll as a result.

It was the first in a series of milestones towards achieving democratic equality for women in the UK. The women's suffrage movement continued its work and by 1928, all women over 21 were eligible to vote. Following the 2017 general election, there were 208 elected female MPs (out of 650 seats) in parliament.

To celebrate the centenary, we've asked women from every decade over the last 100 years to share their experiences of voting for the first time and how they feel about this landmark occasion.

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There comes a time in life when you start to give a fuck about what you put on your walls. In your student years, a partially ripped Pulp Fiction or American Beauty poster (cringe) did the job but now most of us are looking for something a little cooler than a photo on canvas of a sunset.

Unfortunately, this desire is not supported by an income that allows us to casually wander into Victoria Miro gallery and pick up a Grayson Perry, so we've searched high and low for the best places to buy affordable art.

Where do you go to find something genuine, meaningful and aesthetically pleasing that you could potentially love forever? Click through to discover some good places to start.

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With spring well, springing up on us (okay, maybe not yet, but it's a-coming), it's time to start taking stock of what a new season will bring for our wardrobes. Once we're finally able to shed our thick winter layers, this time around we'll be looking towards more simple looks that are just as fresh as the season we're in. And H&M's spring 2018 Studio collection is providing just that, with an array of tailored pieces made for every woman.

For its latest collection, the H&M Studio design team took a minimalist page from their journey to Japan. Inspired by the meeting point of Kyoto's utilitarian simplicity and the unique urbanity of Tokyo's style scene, the retailer sought out to create new silhouettes that are equal parts fluid yet crisp. But turning towards populated parts of Japan for style inspiration didn't result in a line of been-there-done-that kimonos (you will, however, find subtle kimono sleeves and wrap details here and there) nor the intense streetwear trends coming from Japan's urban districts. Instead, the designers set their eye on a creating a poetic ode to the country's architectural aesthetic that results in a beautiful collection of workwear-inspired pieces that have us reconsidering what workwear even means.

Pernilla Wohlfahrt, head of design and creative Director for H&M, emphasises the new direction, saying: "This collection celebrates the vivacity of women. From the primary colours to the easy-going movement of the fabrics and silhouettes to the strong prints, there’s definitely an affinity for urban settings with a hint of glam. And yet, there’s also a longing for nature, an unpretentious way of life. We can have both, of course — that’s the beauty of modern life."

Per past releases of H&M's special seasonal collection, expect prices to run a bit higher than its average price point. The collection, which features highlights like a contrast stitch trench and an oversized colour splattered knit, will show during Paris Fashion Week (at the Musée des Arts Décoratifs) as a 'see now, buy now' format, meaning the clothing will be available to shop online on February 28th and in select global stores beginning March 1st.

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Today will be filled with images of suffragettes smiling and marching, sashes flung across their bodies, defying their high society expectations and happily being frogmarched to cells. The 1918 Representation of the People Act gave the vote to around eight million British women (though not all, it’s important to remember), beginning a conversation about entitlement that would span decades. One hundred years later and it’s a point worth making again: that vote was the beginning of a conversation. It would lead to a diverse range of societal needs, from the affordability of the morning-after pill to the threat of deportation, pay gaps, and hate crimes.

In 2018, we must see this conversation as one that is still happening – that any woman treated like a second-class citizen today is part of the same resistance that tore through 1918. Now a shifting population and a modernised culture mean that women’s issues are diverse and nuanced – and the voices not always heard. Just 32% of MPs are women, while a report published last year by the Fawcett Society's Local Government Commission reveals that many female BAME councillors in England experience discrimination, and that only 4% of local councils have a maternity, paternity or parental leave policy for councillors.

The challenge to overturn the lack of representation in government comes courtesy of the Centenary Action Group, a collective which aims to highlight and challenge the disparity with the hashtag #stillmarching, to reinforce the fact that there is still work to be done. Edinburgh-based Talat Yaqoob is the director of Equate Scotland and chair of Women 50:50, which advocates for "at least 50% representation of women in our parliament, in our councils and on public boards" – which seems fair, given that the UK population is just over 50% female. Yaqoob says that radical action is crucial for change to happen.

“I think there's a misconception about quotas and targets,” she says. “I think people seem to think that equality will happen by itself. Simply doing some training or some confidence building for women is not actually going to do anything about the cultures in politics or the labour market, or wherever it might be."

So advocating for a shift in diverse political representation is a start, as the obvious logic dictates that having more women (and BAME women) in parliament might see women's needs move higher up the political agenda. But what are those needs and what are the most pressing issues that need tackling via policy?

Charlotte Kneer is a campaigner for women’s refuges and domestic abuse survivor, and highlights the specific need for her work on the ground. “Part of our ethos is to fight for women’s refuges everywhere,” she says. “Theresa May has said that the violence against women and girls agenda is a priority for her and I’d really like to see her really do something about protecting refuges in the long term. What is happening at the moment is really contrary to that statement about her personal priority by putting us in a position where our funding is even less stable than it was."

Refuges are not the only area where central government cuts could have dire consequences. Many fear that the rise in food banks (between April and September last year, the Trussell Trust, the UK's biggest food bank network, handed out 586,907 emergency boxes, up 13% on the same period the year before) disproportionately affects women in need, who particularly struggle to access sanitary hygiene products (campaigners are also challenging the cost of the morning-after pill). The prohibitive cost of things like tampons hits marginalised groups of homeless women in hostels or on the streets, refugees and low-income single parents hardest, and demonstrates that the UK really does have a ‘period poverty’ problem.

Many vulnerable women in the UK who feel unsupported by the Home Office are reliant on activist groups like Sisters Uncut to help challenge the reports of sexual and gender-based violence in such places as Yarl’s Wood detention centre. Outside these walls, increasingly insecure status means that women are unlikely to report things like domestic violence for fear of deportation, which is why bodies like the Migrants' Rights Network exist, to try and combat these inequalities.

For all the discussions about inequality in the labour market regarding maternity leave and insecure hours, the biggest point of contention for activism is the gender pay gap but little is discussed about the ethnic pay gap, which disproportionately affects Pakistani and Bangladeshi women at 26%, while black African women experience the largest full-time gender pay gap at 19.6%, according to the Fawcett Society. Meanwhile, recent statistics reveal that hate crime disproportionately affects Muslim women and members of the LGBT community in Britain (police data showed a 48% rise in school-related hate crime flagged as race-related and a 167% increase in transgender-related hate crime).

Eradicating institutionalised barriers in marginalised groups is, of course, a long road. It will require a combination of solidarity, applied pressure and collective activism to shift change for women on the ground.

For activists like Yaqoob, making the crucial point that all issues are women's issues is paramount: “We need to have a really serious conversation about the labour market and the fact that women are often locked into undervalued and unpaid work, hugely unrepresented women in STEM, where a huge number of jobs in the future will be, and create justice systems that believe women victims and sexual violence.”

There have been many landmark moments. Kimberlé Crenshaw's TED talk about intersectional feminism was the beginning of a conversation that would change the way we look at the intersections of class, ethnicity and sexual orientation privilege and preoccupations. And let's not forget abortion laws, the advent of the pill and, of course, women's suffrage, which we commemorate today.

Making these issues universal is the next step to continue the activism that galvanised a movement 100 years ago to achieve real change. The power now is in diversity of voices, access to information and a real sense that women's issues are everyone's issues. The work to be done must happen from the ground up, just like in 1918. One foot in front of the other, slowly gaining ground.

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Justin Trudeau is often hailed as one of the world's most feminist national leaders, but he has come in for criticism after a video emerged of him calling out a woman for using the word "mankind" instead of "peoplekind."

The Canadian prime minister was taking questions during a Q&A at MacEwan University in Edmonton, Canada when a young woman told him her charitable religious group was having trouble navigating the country's volunteering regulations.

After asking him to look into the policies further, she said: "Maternal love is the love that's going to change the future of mankind." To which Trudeau replied: "We like to say peoplekind, not necessarily mankind 'cause it's more inclusive."

The woman responded in good faith saying, "There you go!" as the audience broke into applause. Trudeau added: "We can all learn from each other."

The Canadian prime minister is known for his gender-equal cabinet, vocal support of feminism and for encouraging men to do more to challenge the sexism they face. But critics have previously questioned his commitment to gender equality, asking whether he is a "fake feminist", and now he is being roundly mocked on Twitter for "mansplaining feminism" and making up a word, rather than using "humankind".

Here's what people are saying...

Justin Trudeau lands on the moon: “That’s one small step for people, one giant leap for #peoplekind.”

— J.J. McCullough (@JJ_McCullough) February 5, 2018

For the sake of 'peoplekind', please learn these new politically correct terms so Justin Trudeau doesn't scold you #cdnpoli pic.twitter.com/SKXfEas1lz

— Ontario Proud (@ontarioisproud) February 6, 2018

TFW a man tells you you're the wrong type of feminist https://t.co/wQ8CkmXwa5

— Robyn Urback (@RobynUrback) February 5, 2018

Or you know, humankind... if you're going to burn someone at least sound intelligent. Who is the "we" he is referring to? I'm pretty confident no one has ever used the word "peoplekind".

— Michelle Buissé (@mbuisse) February 6, 2018

In the age of #peoplekind which has been ushered in by our feminist PM, Justin Trudeau:

Woman = Wopeople
Menopause = Peoplepause
Manicure = Peoplecure
Menstruate = Peoplestruate

Get it right, bigots.

— Danielle (@HerbMajesty) February 6, 2018

Is Trudeau mansplaining feminism? 🤔 pic.twitter.com/CX3U83FJ8o

— I,Hypocrite (@lporiginalg) February 5, 2018

Watch Trudeau chasten a teen girl for saying “mankind,” as he prefers the more inclusive “peoplekind”

He is one sanctimonious git pic.twitter.com/O66W8rT5kK

— Chet Cannon (@Chet_Cannon) February 5, 2018

I grant you that it's a tough call, but I think it's wrong to focus on the irony of Trudeau interrupting a woman to tell her "mankind" is improper. I think it's *more* amazing that he invented a new word. (I checked; it's not in https://t.co/CaNIt3Kdvs) https://t.co/dJvzVzfd9M

— Robert P. Murphy (@BobMurphyEcon) February 6, 2018

Predictably, many others claimed the more inclusive word "peoplekind" was evidence of "political correctness gone mad".

Get your words correct in
Canada's Trudeau
Because PC is out of control
in 🇨🇦

Canada is doomed. #Trudeau is a worthless p*ssy#TrudeauMustGo#TuesdayThoughts
Justin Trudeau corrects woman saying "mankind", it's "PEOPLEKIND" https://t.co/Gw76AMCaWR via @YouTube

— BK🇺🇸The Storm Is Here🇺🇸 (@BK_Trump) February 6, 2018

Speaker: "Maternal love is the love that's going to change the future of mankind."@JustinTrudeau reels back, appalled at her exclusivity & interrupts to make the correction: "We like to say peoplekind. It's more inclusive."

2018 is a George Orwell novelhttps://t.co/MItLwW2RDq

— Julia (@PCisNewspeak) February 6, 2018

The clip emerged less than a week after Canadian senators passed legislation to make the country's national anthem gender neutral, changing the line from “in all thy sons command” to “in all of us command”.

Speaking of the change, which campaigners have been backing for 30 years, senator Frances Lankin said: “This may be small – it’s about two words – but it’s huge in terms of one of our major national symbols. It’s inclusivity and I’m proud.”

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A post shared by A S H L E Y G R A H A M (@theashleygraham) on Feb 5, 2018 at 7:49am PST

Model Ashley Graham is known for her body-positive attitude and promotion of inclusivity in fashion, frequently posting about her "cellulite" on social media and describing the term "plus size" as "divisive to women".

Given her determination to keep fighting the good fight for women, then, Graham's latest modelling campaign may come as no surprise. The US model has enlisted her mother to pose alongside her to promote her latest collection with the inclusive swimwear brand Swimsuits For All.

Graham shared a selection of campaign images of the pair, who look radiant wearing a range of swimsuits and two-pieces in a Moroccan desert, and a video clip with her 6.1m Instagram followers. Her mother, Linda Graham, also shared various snapshots photos and clips of the duo from the shoot – and it looked like they were having a pretty good time.

Mom in my latest string bikini is making me feel ways

A post shared by A S H L E Y G R A H A M (@theashleygraham) on Feb 5, 2018 at 7:44pm PST

The shoot for the campaign, entitled "Power of the Journey", was the first time the 53-year-old Linda Graham ever worn a string bikini. Graham told US Vogue that her taste had always been more modest, adding: “Here I am at 53 years old and in a hot pink string bikini, but I was kind of in love with that swimsuit!”

Thanks to my @themamagraham for showing me how to be the strong woman I am today. Link in bio to shop my new @swimsuitsforall collection.

A post shared by A S H L E Y G R A H A M (@theashleygraham) on Feb 6, 2018 at 9:03am PST

The younger Graham hoped the images, shot by photographer Ben Watts, would help to boost her mother's confidence and encourage other women over 50 to wear swimsuits and similarly embrace their bodies.

“What I want is for women my mother’s age to feel empowered and to know that they too can look just as hot in a one-piece, a two-piece, or string bikini,” she told Vogue. “I believe that beauty is beyond, age, race, or size, and it’s not a trend—at every stage of your life, you can feel beautiful.”

👯‍♀️👙

A post shared by Linda Graham (@themamagraham) on Feb 5, 2018 at 5:01pm PST

Damn straight.

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The day I celebrated my first anniversary of life after spine surgery — 13th December — I found out I was going broke. Well, not broke broke, but running out of cash fast. And over the past year and a half, I had been burning through it hard and without a second thought. It’s not that I had been careless: I’ve made a good amount of money as an adult, and I’ve saved and invested wisely. But 2017 turned out to be a year marked by breakdowns. Not just politically, although that would be an obvious reason to feel unhinged; I had a lot happening personally as well.

For me it was a financial, physical, emotional shit show (and after 2016, that’s really saying something). So by the time the year was up, I wasn’t just almost broke, I was broken. Because when shit happens, no one necessarily tells you shit can get seriously expensive, too.

Said breakdowns officially began in December 2016. Although I was financially secure at the time, I was untethered to a job and had been since the year before, when Love, Lust or Run ended. That year was always intended to be a kind of sabbatical. But by the end of it, it was clear that after four years of chronic back pain, staved off with steroid shots, I was going to need surgery. And not just any surgery, very expensive spinal surgery. My doctor had to go in and fuse vertebrae that were loose because they were grinding against each other, effectively turning my discs to powder. This is a pretty common surgery, apparently. I was told the recovery time would be about six weeks. I thought, I can handle six weeks. Especially if it would end my chronic pain and set me up for a successful 2017. But the best laid plans don’t always work out. If I’d known then what I know now, I wouldn’t have made any plans at all.

The truth is, I didn’t understand the extent to which back surgery would cripple me — emotionally and physically. The time in the hospital alone included some of the most agonising moments I’ve ever had: There was the pain from the operation itself, the extreme nausea from the painkillers, and, lest I forget, the warm prune juice I drank to help me poop. (Not to get too graphic, but imagine trying to BEND a healing spine over to vomit while having explosive diarrhoea. Yep, I got too graphic. I went there.)

Going in, I didn’t know I would be on such heavy medication even after I left the hospital, or that I wouldn’t remember when I had last eaten or had water or who might have come to visit me. I had different nurses, but they were a blur of faces I wrote cheques to in amounts I can’t recall either. I underestimated the extent to which my cognition would be compromised. Everything was foggy, like I was underwater. And even as the brain fog began to lift, I was still in pain and always tired. I couldn’t even think about work let alone consider tackling any of it.

Which is when I realised I wasn’t just untethered from a job, I was untethered from a purpose. I had nothing to hold onto. And, honestly, I just wasn’t thinking about my finances. In fact, I would have thrown money at anything — material or procedural — to make the recovery process easier.

The problem was that while I had planned financially for the first year off, I hadn’t planned for the second. I felt secure enough not to panic right away — I just had to get through six weeks, right? But it became obvious that six weeks was just the start of my recovery, including the first follow-up visit to my surgeon post-surgery (which I am still paying off). I wasn’t even allowed to start physical therapy yet — only venture outside wearing a brace the size of a jet pack.

Without a job to go to, and with a good enough excuse not to, I started to spend money almost mindlessly: I ordered in food twice a day (mostly Bareburger and mostly with the Caviar app). I bought toys for my dog Dora — toys I could barely pick up. I paid for my housekeeper and a full-time driver I couldn’t take anywhere. And after you’ve binged every available Netflix, Hulu, and Amazon series (old AND new), the next logical activity? Online shopping, of course! (Well, for me anyway.) As a result, my phone is now home to every brand and retail app on the planet, each at the ready for swiping and shopping-cart-filling aplenty. This sounds almost ridiculous as I type it. I consider myself to be a smart person. Smart people don’t spend money recklessly. There are very few things I consider hard to admit, but this is one of them. Always being independent and being on my own has been a point of pride for me. And like eating too many sweets when you’re on a strict diet, there is a deep shame in spending this way. I’m a grown-up, but surgery, sadness, and immobility had me acting like a child: stomping my feet like Veruca Salt. I want what I want when I want it, dammit!

I imagined parties and places I’d go, the people I’d be with, and when I bought this one last dress, shoe, bag, or necklace, my image in these imaginary scenarios would somehow be complete...or whole. I realise now it was just a fantasy future, to distract me from an agonising present.

Shopping provided me with a very interesting version of magical thinking at this time. I imagined parties and places I’d go, the people I’d be with, and when I bought this one last dress, shoe, bag, or necklace, my image in these imaginary scenarios would somehow be complete...or whole. I realise now it was just a fantasy future, to distract me from an agonising present. And it was easy to fool myself. I’ve been in fashion for a long time; having smart, relevant style has always been a part of my job. But those giant vintage sterling chandelier earrings by some fancy Italian designer that were so heavy my lobes literally rejected them?

No.

Some time after the eight-week mark, I started to feel…well, weird. Paranoid in a way I’ve never experienced before. I didn’t want to go outside because my anxiety of slipping or someone bumping into me was too much to bear. I was so anxious it was impossible to sleep; I’d have uncontrollable fits of crying. I didn’t feel sad exactly, I just felt sick. Like something was eating me alive. As it turns out, what I had been feeling was clinical depression (who knew?), which I later discovered is quite common with surgeries involving the spine, brain, and heart. The body is traumatised on a deep, subconscious level. My guess is the body feels like it’s dying. It’s scary. And no one really explained this to me.

You know what is a great salve for depression? Pretending you don’t have it. More fantasies. More shopping. There just wasn’t much else I could actually do to escape what I was feeling physically and emotionally. A kind of hell, really. I begged my surgeon to let me start physical therapy a bit early, which made a difference. In fact, having appointments gave structure to my days and a way to chart my healing. But then...

By the end of February 2017, while I was still wearing a brace, my boyfriend asked for a break. In some sense, I think he thought I would heal more quickly than I did. It’s fair to say that care-taking wasn’t natural to him (a fact he confirmed), and a surgery like mine just doesn’t heal in two months. During that two-week break, I agonised even more — this time, about losing him, not just my grip on my own life. I worried that I couldn’t control the paranoia, the anger, and that ultimately, I was driving him away. I kept thinking that if I could just be cheerier, like my old self, we would get through it.

But as with most of the events that preceded this, things didn’t quite come back together again. When we sat down after those two weeks, he wanted to break up. I have to admit, I didn’t think that’s what he would say. At this point, I was trying to heal two broken things: my spine and my relationship. I managed to convince him we could make it through. So he went to therapy. And I went to therapy. I paid for my chiropractic care, all the while paying for my physical therapy, as many times a week as my surgeon would let me go.

Plus, I still wasn’t working.

By July, I was free from a back brace and getting stronger, so we decided to go on a trip. Despite the ups and downs with my mood, and the fragile state of our relationship, like always, I thought an extravagant vacation could fix things. We planned to go to Copenhagen, Amsterdam, Bruges, and Mallorca. Although he never asked me to, I paid for all the fancy hotel rooms. Because I like fancy hotels. I like suites with views. I like really nice restaurants. And in Amsterdam, I rented a private boat to tour the city. We also wanted to take photographs — not touristy ones but arty ones. And to do that, I naturally had to find all kinds of “dope” clothing and accessories for just that purpose. God forbid I should take anything I already owned. I brought so much “photo wardrobe” it required its own suitcase.

We did see some great art. We did eat at nice restaurants. We did take pretty pictures. But I don’t think either of us was having fun. In Amsterdam, we made the decision to stay there a few extra days and not go to Bruges. I didn’t just lose the deposit for that hotel, I lost the whole fee. That is the first time I ever remember saying to him (and myself) that maybe I was spending too much money, that I had to watch my budget. It was the first time I suddenly felt aware of my pattern of behaviour since the surgery. When we landed in Mallorca, that first night, a friend texted me to ask how the trip was going. We had a week left and I told her the truth: I hadn’t felt that lonely in a long time. The following morning I said it out loud: It wasn’t working. He didn’t disagree. When I left, he stayed behind.

When I got back to Brooklyn, I stayed in bed for two days and that was it. I got up and out and it was over. He knew in February what I couldn’t admit to until July: that we were over a long time ago.

About six weeks after the vacation/breakup, I had what was, I believe, the eighth major flood in my apartment. I had to move with Dora to my parents' house (another kind of humiliation in and of itself) while whole floors in my home were torn up and walls were cut open from top to bottom at no small expense. I started to feel like everything about me and about my life was being unceremoniously dismantled, one floorboard at a time.

I just didn’t think it could get worse.

It was the Tuesday morning the week I was staying with my family that I got a text from a dear college friend to call her. When I did, her voice was shaking and she said I should sit down. Another dear friend of ours from college, whom I dated and lived with for almost three years and had loved very much, had taken his own life the day before. I have never known that particular feeling: a mixture of loss and shock and sadness and pain and anger and emptiness.

I even started looking at country houses upstate and apartments in Manhattan...to BUY!

If I wasn’t completely broken before, I was now. Life has barely made sense since then. I doubled up on physical therapy sessions. I hired a trainer. I bought oodles of vintage bags and more Zara coats. I even started looking at country houses upstate and apartments in Manhattan... to BUY! Because I was determined to live. I was determined to have a life that made me happy. Why I thought material items had that much to do with it, I can only attribute to wanting things that stay. Because heartbreakingly, people can’t always do that.

That brings me to the morning of 13th December, in my accountant’s office, when I got the sobering news: I am not, in any way, as solvent as I thought I was.

Happy anniversary to me!

It took that one meeting to wake me the fuck up. And, like a woman who might actually be going broke, I started purging my house and my closet of everything unnecessary for a mighty big fire sale on the horizon. I suppose the good news is now I know why it’s called a fire sale — because I need to burn this past year to the ground.

Today, though, there is a new year ahead of me. And I am very conscious of my mistakes and my need to rectify them, not just to stay afloat but to banish this serious knock to my own sense of self-esteem. A lot broke last year. And from all that brokenness, there is no other choice but to affirm life. It means picking up the pieces of mine off the floor. There are so many shards, sometimes I feel like it will be impossible to put them all back together. Being broken doesn’t presuppose you can put yourself back together just as you were. It means there will be cracks and wounds, battlecries of a life lived and mistakes made. We move forward, and everything changes. Nothing is static, including me. I don’t know if this new year will be better than the last one. Everyone keeps telling me not to worry. How could things get worse? I honestly don’t want to know the answer to that.

What I want now is some glue. And hope is very sticky, indeed.

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For anyone who came of age in the '70s or '90s, mood rings were more than a colourful accessory — they were supposed to reveal the wearer's true emotions with the help of a simple, colour-coded key. And they were really, really popular.

Most mood rings work in the same way: The stone itself is made up of thermotropic liquid crystals, which move and bend in response to changes in temperature. When these crystals move, the colour that they express changes. According to mood ring lore, each colour represents a different emotion or feeling.

I certainly wore my share of mood rings as a kid, but never without a vague sense of distrust. How could a single colour accurately depict the complex emotions I was feeling at any given moment? I doubt anyone has ever had total faith in mood rings, but the very idea that their manufacturers would make such a lofty claim needled at me. (Yes, I was kind of a weird kid.) Plus, these things have been around for over 40 years. If they have had such staying power, doesn't that mean that at least some people find them illuminating?

So, in the name of Science (and in order to get more in touch with my emotions, I guess), I embarked on a week-long experiment to see if mood rings could really sense actual human emotions.

The parameters of my test were straightforward: I would wear a mood ring for as much of the day as was reasonable and record any changes in the stone's colour. For my ring, the colour and mood correspondences were: black for stress, reddish-magenta for nervous, orange for unsettled, green for active, turquoise for relaxed, blue for lovable, and purple for romantic. Before the experiment even began, I was skeptical, since I don't think anyone has ever described their mood as "lovable," but sure, okay.

How could a single colour accurately depict the complex emotions I was feeling at any given moment?

A few things were clear within the first few days of the experiment: In a normal day of desk-bound work, the ring didn't change colour too frequently. Instead, it usually hovered within the turquoise-blue (relaxed-lovable) range — most consistently during my morning coffee, when my hands were notably warm.

Certain activities did cause the colour to change, though with varying accuracy. Conducting a phone interview turned the ring magenta (suggesting I was nervous), which isn't completely off-base; and it was usually orange (unsettled) while I was rushing into the office (again, not untrue). But the ring turned green (to reflect activity) when I had to put in eyedrops, though, in my mind, eyedrop application is not a very "active" endeavour. And the only way I could get it to register "stress" and turn black was by running it under freezing cold water — even at my most stressed, the ring didn't seem to notice.

Toward the end of the experiment, I was growing weary of playing the ring's game, considering I only mildly agreed with even its most "accurate" readings. And, on a superficial note, the ring wasn't really my taste, so I was sick of wearing it.

When the experiment ended, I still didn't know what it meant to feel "lovable," but I was sure of one thing: My ring definitely responded to dramatic temperature changes, but it fell very short when it came to reading more nuanced shifts in my mood. According to Tara Emrani, PhD, psychologist at NYU Langone Health, this is about as well as we should expect mood rings to work, since they don't take enough physiological factors into account for their readings to ever be close to 100% accurate. What a mood ring will always read correctly, Dr. Emrani says, is the temperature of your finger — and that's about it.

Nevertheless, the basic science behind mood rings remains true. As Dr. Emrani puts it: "Cognition can affect bodily sensations, and vice versa. So yes, mood rings are undoubtedly reflecting real-life changes in your body temperature, which can occur in response to your emotions, but they're never going to tell you something about your emotions that you don't already know.

If you really want to get more in touch with your feelings, Dr. Emrani recommends practicing mindfulness (in which you stay present, take note of changes in your mood as they come, and reflect on what caused your mood to change), instead of wearing a mood ring. That said, if anyone would like a free mood ring, I have one up for grabs. Just swing by my desk.

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The beginning of 2018 highlighted yet another area of the entertainment industry that's suffering from some vast gender inequality: music. While the dominance of female pop stars like Beyoncé or Ariana Grande might make it seem as though women run the music world, in comparison to men, the big picture numbers are shockingly low. A recent USC study revealed that only 16% of chart-topping artists over the past six years were women, and behind the scenes, the gender ratio of male producers to female producers is 49 to 1. Then there's the Grammys, which the study found had 90% male nominees over the past five years, and only featured one woman, Alessia Cara, accepting her own award at this year's televised show.

Unfortunately, things only got worse after the Grammys, when Recording Academy President Neil Portnow said in an interview that to solve this disparity, "women who have the creativity in their hearts and souls, who want to be musicians, who want to be engineers, producers, and want to be part of the industry on the executive level” need to “step up.” The outrage was swift from women and music fans who pointed out that there is no lack of women trying to get in the door; the problem is, the door rarely opens for them. Yesterday, several high-ranking female music executives from Universal, Atlantic, Epic, Sony, and Roc Nation signed a pointed letter addressed to the Recording Academy's Board of Trustees declaring that Portnow's comments weren't just "inarticulate," but emblematic of "the broader set of inclusion issues across all demographics."

Amidst all of this discussion about music's most pressing problem, one question still remains: What actionable steps can the industry take to change this problematic dynamic? So we reached out to female executives in the music industry to hear their perspective of what it's really like for women in music — plus how the business can be more inclusive of the women who have been already been "stepping up" for years.

It's become increasingly clear that the music industry has a major gender inequality problem, both in front of and behind the scenes. Have you felt that through the years? Are there a lot of women on the industry side — from assistants to executives — working at record labels?

Ethiopia Habtemariam, president of Motown Records: "You know, it's interesting, because I think there are a good amount of women in the music industry in marketing and publicity roles. I think what I've noticed as I've come up is that we're missing a lot of women — of colour, specifically — in creative roles like A&R [the division of a record label that scouts talent]. When I was first coming into the game, I remember there being women of colour running A&R departments, but that's decreased. And that's a problem, because those roles have the real influence on who gets signed, from artists to songwriters to producers."

Gail Mitchell, senior editor at Billboard Magazine: "Those USC study findings are depressing. But they're also inspiring as far as showing us exactly what needs to be done and making sure our male executive colleagues know that yes, we're here, but there could be way more of us. Honestly, I was surprised when I saw the numbers, because recently I was at the She Rocks Awards put on by the Women's International Music Network, and I learned about so many incredible women who are running the show, from artists to the folks in charge of merchandising. But just because they exist doesn't mean we don't need many, many more."

Caron Veazey, GM of Pharrell Williams' multi-media collective I Am Other: "Starting out myself, I used to see a lot of women staffers at the labels I worked at. But now, I'm at the studio almost every day with Pharrell, and on the production side, it's overwhelmingly male. And Pharrell Williams is a proponent of gender equality — he has been for a long time, before it was 'fashionable.' So the fact that even working with him, a person that makes a real effort to surround himself with women, we still only see mostly men in production and in the studio, well that's saying something."

Jacqueline Saturn, co-general manager of Harvest Records: "One thing that I'm 100% known for is hiring women. I've had almost entire staffs that are female, and I've seen people that start as my assistant go on to grow to senior positions or running things in artist development. I've made it my business since early in my career to surround myself with and hire women, while also making sure they were the best people for the job. But I've seen and heard firsthand that that just isn't a common practice in this business. And it should be."

For any women out there who are looking to break into music — whether it's as an artist or a producer or a publicist — what's your advice on where they should begin?
Habtemariam: "As an artist, the opportunities are limitless for talent. If you're creating amazing music, it's about how you connect and network with your peers, which obviously these days is happening a lot on social media. I think that it all comes down to your ambition and how badly you want it, but at a certain point no matter how great your music is, someone has to give you a shot, and what we need is more people willing to give non-cookie cutter formatted artists a shot. So if you really want it, you have to have an incredible work ethic and ambition, because the odds are against you, unfortunately. It's the same thing when you're trying to get behind the scenes. A lot of people get into the music industry because they see the glitz and glam of hanging with artists and going to parties, but there's so much hard work that goes into it. So you have to be willing to sacrifice and be let down sometimes and just really work hard. You could be working for one year and discover an artist that suddenly blows up, and all of a sudden you're a sought after manager. I've seen that happen a lot recently. But you could also work in this business for years and never get a real shot. You have to be prepared for that too. And be prepared, especially right now, for this business to change by the minute. Because it is changing drastically every moment."

Mitchell: "First off you gotta do some research. Back in my day you didn't have Google, so take advantage of that! Use your resources. And be prepared that it's not going to come easy. A friend of my daughter, she's 24 and trying to break in as a singer. So she's been applying for part time jobs and internships at music associated companies like BMI to be able to learn about publishing and songwriting percentages, in addition to creating music and sharing it via social media. I think if you really want to succeed in your industry, in addition to talent and it being who you know, you also want to educate yourself. Find seminars, internships, in Los Angeles there's the Music Business Institute, go to panels during Grammy week. In fact, the Recording Academy hosts Grammy U during Grammy Week for college students which has lots of resources. It's not easy — a slog a lot of the times, and as we've seen by the numbers, the odds are against you if you're a woman — but if you really want it, your passion will keep you going."

Veazey: "I think it's important to identify a mentor. A female mentor. Someone you can turn to when you need advice and who can guide you and look out for you when there are opportunities. Even if you haven't met that person yet, don't be afraid to find someone and ask them to coffee, because most of the time, women truly do want to help women. In fact, this conversation has inspired me to make a commitment to do more mentoring and really support the young women coming up."

Saturn: "Don't be shy. Be passionate and be vocal. Because you never know who might somehow get you connected. It could be a parents' friend who's a piano teacher or the guy taking your order at a restaurant. I myself started out as a receptionist, and I was fine with answering phones, but in between I was telling anyone who would listen what I wanted to do."

Recording Academy President Neil Portnow has since clarified that he was inarticulate and his statement was "taken out of context." But what was your initial reaction when you heard that he said the solution to getting more women in music is that they need to "step up? "
Habtemariam: "I thought that was so crazy! I'm blown away by that, because we step up every day. Women are the crux of the music industry, we live and breathe music and dictate the culture. Even the male artists that I work with — the first person they're calling to come into the studio for their opinion on something isn't their manager or their boys, but their girlfriends or wives or female assistants. There are a lot of women who touch and influence the music industry and never even get credit for it."

Mitchell: "Neil did come back and say he had been misquoted. It was a misstep, but he apologised, so I think we all need to move forward. I think we'll get detoured from the goal if we're divided rather than united. Like Janelle Monae said during the show, we're here, and we mean business."

So, that leaves us with the big question: What can and should the music industry be doing to be more inclusive and welcoming toward women?
Habtemariam: "I think there has to be a real active effort for people like myself who are in positions of power to find people that have interests in the creative areas like talent scouting and artist development, and help bring them up. We need to focus on that area, because if it's only men in charge of discovering artists, of course their lens is going to be specific. So the entire industry needs to focus on that and fixing the disconnect between assistants with these interests and the senior level executives. We need to help them grow into those roles and be prepared with the right tools. I recently told two assistants that I noticed stay quiet in big meetings with executives that I want them to speak up more. They were fearful because they didn't think anyone wanted their voices to be heard. So I'm putting it on women like myself in senior roles to remind those coming up: Your voices need to be heard."

Mitchell: "At our Billboard Women In Music Awards this year, American Express announced that in April, they'll be launching the Women In Music Leadership Academy, a three to five day training to give leadership and management skills to 48 women in senior positions in music. I think programs like that are integral in helping us see real change, so any companies out there that might be reading this: We need more of them. The solution lies in anyone with power doing what they can to raise up the next generation of changemakers. The time has come!"

Saturn: "I want to encourage people in charge to pay attention to intern programs. Speak to college students and junior level employees, ask their their interests and perspectives, participate in panels, put yourself out there so that you have a bigger pool to pull from. I love when I interview an intern at my company and ask them a question and love their answer so much that I hire them on the spot. It's a great feeling to help out someone who's hungry and can make a real difference."

Veazey: "It feels a bit like, wow it's 2018, and we're having to ask this question? I do think that at the moment we are in a renaissance period as it relates to Black excellence and gender inequality. One day we'll look in the rearview mirror and reflect on this being an exciting time. I think this past week has been a call to action to everyone in the business: Hire more women. Hire more producers, take more time to find female artists — and female artists of colour, specifically — talk to students, start scholarship programs, remind your employees that they need to go the extra mile....I'm so excited for the day when the only female producer names people know aren't just Missy Elliott and Alicia Keys."

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Update: Recently, PepsiCo received major criticism on social media after the company's CEO Indra Nooyi was interviewed on the Freakonomics Podcast and stated that men and women eat Doritos differently. Nooyi also brought up the concept of snacks designed and packaged specifically for women. The interview caused social media to erupt with tweets and videos about the so-called "lady-friendly Doritos," and the reactions have ranged in tone from mocking to outranged.

Because of all the attention this interview got on social media, many consumers believed that Doritos was really planning to launch lady-friendly Doritos, however, that has not actually been confirmed. We reached out to PepsiCo for comment on the controversy, and the company is calling fake news. PepsiCo's official comment on the matter is as follows: "The reporting on a specific Doritos product for female consumers is inaccurate. We already have Doritos for women — they’re called Doritos, and they’re enjoyed by millions of people every day. At the same time, we know needs and preferences continue to evolve and we’re always looking for new ways to engage and delight our consumers."

Even if PepsiCo was never planning to release Doritos made specifically for women, the last sentence leads us to believe the company may be working on products designed and marketed specifically with women in mind. One of Nooyi's statements during her interview on Freakonomics supports that hunch. She told host Stephen Dubner, "It’s not a male and female as much as 'are there snacks for women that can be designed and packaged differently?' And yes, we are looking at it, and we’re getting ready to launch a bunch of them soon." While this doesn't necessarily mean Doritos for women are coming, it does seem like PepsiCo did have something up its sleeve.

This story was originally published on February 5, 2018.

Whenever big brands launch unnecessarily gendered products – with the women's version naturally costing more – they are roundly ridiculed online, so it's a wonder that companies are still at it, bringing out pointless women-only versions of popular products. Did the BIC pens for Her debacle back in 2012 pass them by?

The latest brand facing the ire of women online? Doritos, owned by food and drinks giant PepsiCo, which announced it is to launch new "lady friendly" crisps that don't crunch as loudly or make as much of a mess as the regular version, and can fit in women's dainty little handbags.

In an interview with Freakonomics, the company's CEO, Indra Nooyi, said it will soon be launching "a bunch" of so-called women-friendly snacks, "because women love to carry a snack in their purse" but they consider Doritos' current offering unladylike, which is news to us.

Nooyi said male Doritos-eaters were happy to "lick their fingers with great glee" and "pour the little broken pieces into their mouth [when they reach the bottom of the bag], because they don’t want to lose that taste of the flavour, and the broken chips in the bottom."

Women, however, are apparently too scared to eat crisps in public. "Women would love to do the same, but they don’t. They don’t like to crunch too loudly in public. And they don’t lick their fingers," Nooyi claimed. "It’s not a male and female as much as 'are there snacks for women that can be designed and packaged differently?"

The new gendered snacks will offer a "low-crunch, the full taste profile," but "not have so much of the flavour stick on their fingers."

A spokesperson from the Women’s Equality Party said the crisps were a classic example of a company perpetuating "tired gender stereotypes" and giving women a raw deal. “No doubt some male consumers will welcome the chance to have a bigger package. But the idea of shrinking products for women, no doubt for the same price, is as old as the Ad Men making these decisions.”

No surprises for guessing how news of the female-friendly crisps went down on social media, either. Even worse than a lead balloon.

Doritos for ladies. I see 2018 is picking up where 2017 left off in the ridiculousness stakes.

— Hannah Boyd (@johannahboyd) February 5, 2018

Oh lord...

Doritos, for ladies, who like to do ladies things.

Between me and my wife, I'm the one who's reticent to lick fingers, crunch, or empty crumbs into my gob in public...

What a ridiculous thing. https://t.co/V7SvVxfDqp

— Cam Bunton (@CamBunton) February 5, 2018

But doesn't this worsen the gender crunch gap? Does anyone like loud crunching? https://t.co/6dOxGDHKP9

— emilie (@emilieprattico) February 5, 2018

Initially I thought this was fake news, just to wind up my Monday morning. Utterly ridiculous! I will eat my crisps however I damn well please, thank you. AND they will no longer be #Doritos https://t.co/BR8zjUo2ie via @telegraphnews

— Elizabeth M. Hurst (@LizHurstAuthor) February 5, 2018

HOW CAN YOU GENDER TYPE CRISPS https://t.co/oSTRB1JKtK

— Jade Blinkhorn (@jadeblinkhorn) February 5, 2018

Doritos looking to launch 'lady-friendly' crisps. Could this be the new Bic lady pen? #Doritos https://t.co/wmN8uQiBw3

— Emma Weinbren (@EmmaWeinbren) February 5, 2018

WHAT FRESH HELL IS THIS https://t.co/dNCmxEv3aJ

— HungryCityHippy (@HungryCityHippy) February 5, 2018

Whatever next.

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