Muscle car maniacs: not everyone who is shopping for your holiday gifts can afford that Holley Dominator carburetor you need for your hot rod, so why not add something a little more affordable to your list?

Something like the coffee table book Day One, from muscle car era participant Marty Schorr. For those of us who where around to experience the arrival of some of the most legendary machines in automotive history, Schorr puts us in the driver’s seat by relaying his first-hand experiences with the most incredible muscle cars.

That means not only factory machines, but also custom builds from the likes of Balwin-Motion, Yenko Chevrolet, Nickey Chevrolet, Royal Pontiac and Tasca Ford.

Day One includes cars like Pontiac’s 1962-‘63 lightweight Super-Duty 421 street car and Chevy’s ‘63 427 Mystery Motor Impala.

Ford had the 1963 1/2 427/425 Galaxie fastback, and Chrysler introduced the first 426 Street Hemi. 

These incredible rides and more populate the pages of Day One, taking us back to times many of us missed.

So here’s your chance to catch up on what it was like when these iconic muscle cars debuted and how they were to drive, thanks to a man who tested them all himself back in the day.

Day One is $45, from Motorbooks publishing.

Venerdì e sabato, dalle ore 19:00, quando entrerete nel giardini Montanelli per i concerti del Wired Next Fest troverete i controlli obbligatori “da concerto”.

Vi consigliamo vivamente di venire presto perché si potrebbero formare code e perché, raggiunta la capienza totale, chiuderanno i cancelli di tutto il parco.

Ricordate che non si potrà accedere con: valigie, trolley, borse, zaini più grandi di 15 litri di capienza; bombolette spray (inclusi antizanzare, deodoranti, creme solari), bevande alcoliche di qualsiasi gradazione, bevande contenute in lattine, bottiglie di vetro, borracce di metallo o bottiglie di plastica più grandi di 0,5 litri, bastoni per selfie e treppiedi, ombrelli e aste, penne e puntatori laser, droni e aeroplani telecomandati, strumenti musicali, apparecchiature per la registrazione audio/video, macchine fotografiche professionali o semiprofessionali, videocamere, GoPro, iPad, tablet.

Vietati anche tende e sacchi a pelo, trombette da stadio, armi, materiali esplosivi, fuochi d’artificio, fumogeni, razzi di segnalazione, pietre, catene, coltelli o altri oggetti da punta o da taglio, sostanze stupefacenti, veleni, sostanze nocive e materiale infiammabile.

What you see in the pictures wasn’t the stage effects of a costly rain machine. It was the forces of nature turning chances of rain into a biblical flood by the time guests reached the Chantilly riding course for the Christian Dior Cruise 2019 show. Here, with the equestrian hotspot’s Disney-like chateau on the horizon, Maria Grazia Chiuri’s collection looked a little homesick for the sun-drenched Mexico that had inspired it. A country dear to her heart, it provided the latest in her seemingly never-ending line of historic feminist references to fit the manifesto with which she entered Dior in 2016, immediately before Trump became president and a year before Time’s Up. Breaking glass ceilings has become a recurring a motif in Chiuri’s work as the ankle-skirted suffragette silhouette epitomised by her collections. This one’s muse: the escaramuzas of Mexico, a group of women riders, who first invaded the male-dominated Mexican charreada rodeo scene in the 1950s and did it their way. “But with pretty, feminine dress with embroidery,” Chiuri explained in a preview. “The shape is very fifties.” That, of course, tied in well with her reverence of Christian Dior’s New Look silhouette and the neo-feminist values this Roman designer has imbued it with since arriving at the house.

“In some way the message is that you can do what you want without having to lose your femininity. You don’t have to lose yourself. I find them really strong and really feminine at the same time,” she said. Clad in dresses inspired by their own tradition and created by Dior, the escaramuzas opened the show on their fluffy white ponies, braving the torrential rain (there was no roof) in an animated side-saddle performance that was ultimately quite cute. The ruffled skirts and Hispanic embroideries historically favoured by these female Mexican riders set the tone for a red-blooded, decidedly southern take on the look Chiuri has established at Dior. Those practical ankle-length skirts were more adorned than ever, most notably in Chantilly lace to fit the show’s setting, reworked into more lightweight interpretations or interweaved with leather for a tougher look. “It’s very difficult to make lace in a modern way,” she noted. The balance between the ultra-delicate femininity and the sturdy elements with which Chiuri infuses it to reach her message of female empowerment was never as apparent as in the hard, wide leather belts used to armour her delicately-dressed models at the waist, or the rubberised leather wellies that made them trot down the wooden floorboards surrounding the riding course.

For all her devotion to the 1950s, Chiuri’s work often has an East African colonial vibe about it – cf. Out of Africa – which was even more expressed in this collection’s shirts and ties and safari-coloured Japanese cotton takes on the New Look skirt-suit, or the toile de jouy to which Chiuri had added wildcats. The latter was the most outstanding element in the collection: a classic, beautiful thing quite simply made more interesting. Two years into the designer’s tenure at Dior, her creative language has been entirely cemented: the fitted top, the long skirt, the defined waist, the flats. The silhouette and its components seem like the template that starts her every collection, unfazed by predictability or repetition. “It’s very simple: I desire what I do. I’m not only a designer, I’m a woman who buys fashion. So it’s very easy. If you like fashion, sometimes it’s important to design what you really desire, not just what you think is right. That’s my not-so-big secret,” Chiuri reflected. “Women love the same things all around the world. We are all connected.”

Bikini shopping is, to be frank, a terrible activity: fraught with the insecurity that comes from wearing essentially underwear in brightly-lit changing room, or ordering endless different sizes from online retailers only to discover that none of them fit. The only way to ease the pain is by confidently knowing what you want: which style suits your taste, whether you prefer print or plain, if you like a tiny one or fuller coverage. Here are our favourites, handily divided into simple categories just in time for the bank holiday. You’re welcome.

The perfect accessory can complete one’s look and in light of this, Essie and BaublebBar joined forces to offer consumers a collection of color coordinated nail polish and earrings.

This line enables individuals to match their jewelry to their nail polish, making for a gorgeous combination that’ll help anyone look more put together. The colors selected for this line are ones which can be worn both day and night, arriving in hues of light pink, coral, gold and navy. The jewelry ranges from “dangling baubles, beaded chandler earrings to trendy tasseled styles,” offering something a little more audacious to turn some heads.

All of the available nail polish, which arrives in shades to match the jewelry, ranges from sheer to sparkling finishes.

Image credit: essie via Instagram @essie

Tired of those tiny sunglasses with pea-sized lenses that are, yes, very Instagrammable but do nothing to protect against the sun? Look to Princess Anne, a very unlikely style icon paving the way for the next big eyewear trend. Today, the 67-year-old, fresh off Saturday’s royal wedding between her nephew Prince Harry and Meghan Markle, attended the Chelsea Flower Show wearing a pert cream coat and kicky brown pumps that she coolly accessorized with a pair of sporty Adidas sunglasses. The frameless aerodynamic sunnies, which boasted mahogany red polarized lenses and are more often worn by UV-conscious athletes than an event-hopping royal, added just the right amount of contrast to the princess’s otherwise very prim look.

While Princess Anne’s choice seems a bit unorthodox—both because it is more expected for her to wear a classic Jackie O–type pair and also because they don’t resemble the current wave of Matrix sunglasses—the royal is actually right on trend. For Spring 2018, both Stella McCartney and Fenty x Puma showed some sporty incarnations on the runway—and it looks like like Princess Anne beat all of the Instagirls to the sun-deflecting punch by test-driving a pair first. What a ray of light.

As Letícia, clad in a fluttering pink bridesmaid’s dress, walked to the center of the rose garden ahead of the bride, my 7-year-old reached his hand sideways, groping for my purse. He located his camera, held it up, and began snapping photos of his beloved babysitter in this beautiful setting. “I can show her later,” he said, putting down his dinged-up old Canon with the burned-out circle in the top left of the screen. “She might want to see.”

I also have a younger son, who is 3. Anyone with multiple kids is familiar with the Law of Conservation of Object Possession: For any item of desire obtained by Kid A, an analog must also be obtained by Kid B.

So the 3-year-old got his own camera. It’s a cute little thing, with grippy side handles and a binocular-style viewfinder. But oh, the interface. You can take photos, yes. But you can also festoon them with stamps and frames and even use them to play games. The camera makes a lot of uncameralike bloopy sound effects. I had given him something that I hoped would be a heads-up experience for him, but what he had in his hands was something that, to my mind, just pulled his gaze down into his lap.

“Children go out in the world, they look, they see—and a camera is another way for them to capture that,” says Tovah P. Klein, director of the Barnard College Center for Toddler Development and author of How Toddlers Thrive. “You were putting him in the world to look around.” And the stamps and games? “Those took him out of it.” The digital add-ons are a distraction that pulls their focus (literally) away from picture-taking and into a world of silly hats and goofy effects. And developmentally, little kids are very bad at filtering out distractions. “The more simple the toy they’re given,” Klein says, “the more they discover for themselves.”

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The me who wants to just get the dishes done was secretly OK with how face-sucking this camera was. But the me who frets about the Deleterious Impact Screens Are Having On the Young won out, and I was tragically, inexplicably unable to fix the camera after it “broke” one day. He has a no-frills one now, and his dad wondered if it was too boring. He didn’t have to worry.

“We seem to feel that we have an obligation to entertain our children every second of every day. And we don’t want to give them two seconds to get bored,” says Michael Rich, director of the Center on Media and Child Health at Harvard and author of online advice column “Ask the Mediatrician.” “Boredom is where creativity is born. Boredom is not the enemy. Boredom is the friend. Boredom is what gives rise to ‘What happens when I take a picture between my fingers? What happens when I turn the camera sideways?’”

I’ll just be over here patting myself on the back. Except. As I was writing this, I scrolled through all the photos my younger son had taken. (I fixed the silly camera by, uh, flipping one of the batteries back around.) On it I found shaky pictures of our Roomba. One Blair Witch-esque selfie. Photos of tabletops.

But there was something else: shots of his older brother taking his own pictures on his own camera. For all its distractions and hot dog overlays, the bloopy camera was still a beautiful, if blurry, record of two boys, heads up, looking out at the world, taking pictures together.