Hannah Marriott

Dolly Parton’s highly recognizable image—large blonde wigs, rhinestones, high heels and revealing, tightly cut clothing—was a deliberate expression of femininity, glamour and individuality rather than a superficial gimmick. Influenced by a flamboyant woman she saw growing up in rural Tennessee, Parton resisted early industry pressure to adopt a more conventional pop look. Although her appearance led some people, especially men, to underestimate her, she turned that misperception into a career and business advantage. Her self-deprecating humor, kitsch styling and visible artifice ultimately became central to her appeal, inspiring drag performances while reinforcing her authenticity and cultural influence.

Fashion retailers are cutting back on extended and plus-size clothing even as most US women still wear sizes commonly classified as plus-size. H&M discontinued 3XL and 4XL after a previous size-expansion partnership with Tess Holliday, while Mango and Anthropologie also reduced larger-size offerings. Analysts link the changes partly to growing use of GLP-1 weight-loss drugs and modest shifts in apparel demand, but say the trend is also driven by poor fit strategies, limited investment and longstanding stigma toward larger bodies. Resale platforms show the opposite pattern: demand for large and plus-size garments is growing faster than demand for smaller sizes. The retreat is particularly pronounced among affluent, trend-led retailers, potentially widening class inequalities, while Walmart and a number of specialist and inclusive brands continue to serve plus-size customers.

Secondhand fashion has grown into a projected $367bn global market, driven less by Gen Z alone than by online platforms such as Depop, ThredUp, Poshmark and the pandemic-era surge in e-commerce. The boom has increased visibility and revenue for thrift chains, resale businesses and vintage sellers, but it has also driven up prices, intensified competition and made bargains harder to find, particularly for low-income shoppers. Goodwill and other large chains attribute some increases to inflation and operating costs, while critics argue that resale-market data and corporate pricing strategies are the main drivers. The article also questions the environmental benefits of thrifting, citing research suggesting that secondhand purchases can accompany rather than replace new clothing consumption.

The growing use of semaglutide and other GLP-1 drugs is disrupting the wedding dress industry because brides may lose substantial amounts of weight between ordering and wearing their gowns. Bridal retailers are delaying purchases, revising contracts and offering fit guarantees, while smaller designers and alteration specialists face potentially ruinous costs when dresses require major reconstruction. Brides report anxiety over production timelines and changing measurements, while designers note increased demand for adjustable corsets and modifications that conceal loose skin. The drugs are also contributing to a rise in skin-tightening procedures and breast augmentation before weddings, reinforcing broader appearance pressures and the normalization of cosmetic intervention.

Jeff Bezos and Lauren Sánchez Bezos’s $10m patronage of the 2026 Met Gala has intensified criticism of big tech’s growing influence over fashion and the arts. Protesters highlighted Amazon workers’ reported labor conditions, while fashion insiders objected to the event’s normalization of billionaire wealth but felt unable to reject the exposure and funding it provides. The article argues that luxury brands’ financial struggles and Condé Nast’s commercial interests make tech billionaires increasingly difficult to exclude, even as their pursuit of cultural legitimacy provokes backlash. The Costume Institute may eventually reduce its dependence on the gala, but industry leaders appear likely to continue embracing wealthy technology figures.

The Metropolitan Museum of Art’s new 12,000-square-foot Costume Institute gallery opens with Costume Art, an exhibition pairing 200 garments and accessories with 200 works from the museum’s collection. Curator Andrew Bolton organizes the show around 13 types of bodies, including naked, abstracted, corpulent, disabled, mortal and aging bodies, challenging conventional hierarchies between fashion and fine art while emphasizing bodily diversity. The exhibition’s prominent new location reflects the popularity of fashion shows at the Met, though the accompanying Met Gala faces criticism over sponsorship by Jeff Bezos and Lauren Sánchez Bezos. Anna Wintour defends the gala’s contribution to New York’s cultural economy and local businesses.

Julia May Jonas discusses the critical and commercial success of her debut novel Vladimir and its Netflix adaptation starring Rachel Weisz and Leo Woodall. She explains the novel’s interest in desire, ageing, academic power, #MeToo, moral ambiguity and the way obsession can distort one’s perception of others. Jonas resists simplistic comparisons with Lolita and argues for engaging with morally troubling art without endorsing its viewpoints. She also reflects on generational differences in literary criticism, her transition from acting to playwriting and fiction, and her decision to avoid social-media discourse about her work. She is editing a second novel, Diana, and preparing a Lincoln Center play, A Woman Among Women.

Hannah Marriott describes how she and her friend Rosamund Dean have exchanged daily voice notes for six months, phrasing intended tasks in the past tense to create accountability. The practice has helped them complete work, exercise and mindfulness goals while strengthening their long-distance friendship by preserving everyday details they would otherwise miss.

Lily King discusses her new novel, Heart the Lover, which began as an unintended shift away from a stalled political murder mystery and follows a college love story into middle age. She explains her commitment to treating romance as serious literature, reflects on her chaotic Massachusetts childhood and large blended family, and describes how fiction can foster empathy and social connection. King also expresses deep concern about US politics, voting rights and technology companies that she believes are driving people apart, while arguing that literature can help readers resist fear and remember their shared humanity.

Sephora employees describe a growing influx of unsupervised preteens and younger children seeking expensive beauty products, often influenced by TikTok and other influencer content. Workers report children using harsh ingredients such as retinol and acids, developing skin reactions, demanding status products, shoplifting and displaying anxiety about ageing and physical appearance. Research cited in the report links children’s social-media skincare routines to dermatological risks, while experts say pervasive advertising and blurred boundaries between marketing and advice intensify pressure on families. California lawmaker Alex Lee has proposed restricting sales of certain ingredients to minors, but the bills failed after industry opposition. Sephora, Ulta Beauty and Drunk Elephant did not comment, while the beauty industry continues developing products and retail experiences aimed at tweens and teens.

Mona Awad discusses returning to the surreal world of her bestselling novel Bunny with We Love You, Bunny, a sequel narrated by the original story’s bunny characters and their hybrid creation, Aerius. She explains her interest in artistic creation, its ethical costs and the violence of turning ideas into art, while reflecting on her outsider upbringing between French Canadian, Egyptian and Muslim backgrounds. Awad describes the influence of Margaret Atwood, her struggles with education and writing, and the intense response from Bunny’s devoted fans. She also expresses concern about artificial intelligence and is jointly suing OpenAI with Paul Tremblay over the alleged use of their books in training data.

Barbara Kingsolver discusses how Demon Copperhead, her Pulitzer-winning retelling of David Copperfield set amid Virginia’s opioid crisis, inspired her to use royalties to establish Higher Ground, a recovery residence for women in Lee County. The center offers housing, transportation, education and employment support, with strong backing from local residents and readers. Kingsolver argues that Appalachian communities have been stereotyped and unfairly blamed for problems caused by corporate exploitation, including Purdue Pharma’s promotion of OxyContin. She criticizes Donald Trump’s policies and warns that proposed cuts to Medicaid, disaster preparedness and public services could devastate the region, while also condemning both US political parties for serving corporate interests. Higher Ground is expanding, including through a planned thrift shop, and Kingsolver hopes it will help reduce stigma around addiction and strengthen community support.