The other day, I saw a familiar lament on Reddit r/relationships. “My husband does not brush his teeth,” a 41-year-old woman wrote, “and I’m at my wits end.” She describes his horrible breath, how she has told him she doesn’t want to kiss him, and that when she nags him enough to do something about it, he swishes mouthwash around for a second and thinks that’s enough.
According to a survey from the Academy of General Dentistry, this is more than just an anecdotal problem. American women are more likely to get preventative dental care than men, and according to a different study from the Journal of Periodontology said men were less likely to brush regularly and do things like schedule regular dental checkups. Men are also more likely to lose teeth as they age, and develop oral and throat cancer, and gum disease. However, presumably men grow up surrounded by just as many helpful toothpaste commercials and posters in Kindergarten classrooms. Yes, going to the dentist sucks, but also, we’re all adults here. And so, I ask a question I’ve asked many, many times in my 31 years on this planet: Men, what on earth is up with you?
Teeth are complicated, and things like cavities and tooth loss can be a result of genetics or not having access to resources, rather than a lack of brushing. In fact, the entire conversation around “bad teeth” is often classist, and given that many Americans don’t have dental coverage, a man not regularly going to the dentist may not be his choice. But aside from that, many of these complaints seem to be about able-bodied men who have access to dental care (and toothpaste) and choose not to take advantage of it.
One factor is mental health. Though women are more likely to be diagnosed with depression, men are more likely to die by suicide, pointing to a mental health crisis among men. And a common symptom of depression is difficulty keeping up with everyday hygiene. “When I was going through some pretty rough spots a couple years ago I wouldn’t even shower, let alone brush my teeth, for days at a time,” said Colin, 29, from Brooklyn. He is hardly alone, either. Peter, 30, who brushes 2-3 times a week, says not brushing is a “tiny act of self-harm” but also that it lets him feel like he has some control over his life. “I may spend all day following orders at work, and wrangling a toddler, and studying for classes, and I don’t really have a choice in any of that, but when it comes to whether or not I am going to brush my teeth this morning I am completely in control.”
However, most of the guys I spoke to, and the partners of these guys, said depression hasn’t been a factor for them—they just don’t do it. Sam, a 21-year-old from Maryland, says he almost never brushed his teeth until a few years ago, and still is bad about remembering. “This causes me a lot of worry and cavities but I still don’t do enough about it,” said he said in an email. Neil, not his real name, is 19 and brushes twice a week, though he was raised brushing daily. Chris, in a DM, said “I haven’t been to the dentist in 3 years and I just tend to forget to brush my teeth lol.” Colin says he’s doing fine mentally now, but still often forgets to brush for a day or two. “I think it’s just a combination of laziness, and not really being forced to change my habits for health reasons or a partner,” he says.
But is it even shocking to say bad dental hygiene can have an affect on your relationships? A woman I’ll call Sally mentioned that her boyfriend now regularly brushes his teeth only after years of her pointing it out to him. Reddit is full of girlfriends trying everything in their power to get their boyfriends to brush. “I’ve encouraged him to brush, I’ve bought him toothbrushes and have invited him to brush his teeth with me. I’ve even prompted him by suggesting we brush our teeth after heavy garlicky dinners before kisses, and no dice,” wrote one woman. She and her boyfriend have been together for four years.
Which all points to one piece of the puzzle of why men don’t brush their teeth: because they can. Maybe the important part of these studies isn’t that men are less likely to brush and visit the dentist, but that women are more likely to. And that’s because women tend to be judged more harshly for their appearances and habits. None of the men I spoke to said they’ve faced any consequences for not brushing their teeth, aside from the occasional scold from their dentist, when they decide to go. Neil has been told his breath is bad on occasion, but masks it with gum, and Peter says no one has ever noticed. Most of them have also had the luck of not developing cavities or gum disease so far. Unless there are going to be consequences for your actions, why change?
Not to bring every heterosexual relationship back to emotional labor, but men have an easier time not taking care of themselves until “forced,” as Colin said, usually by a partner. But men, if you’re doing this, the women (and probably some other men) in your life are at their wits end. McKenna, a 23-year-old woman from Atlanta, says she dumped her boyfriend after six months largely because he wouldn’t brush his teeth. “I mentioned it to him once or twice, but he reacted like I was trying to control his life,” she said, and they eventually broke up after she felt like a nag for asking him to keep up basic hygiene standards. Maybe that’s the consequence men need to face before picking up the toothbrush.
*Maniac* Isn’t as Smart as It Thinks It Is—But It’s Still a Good Time
Tiffany Haddish Has a Lot of Beard Advice for Stephen Colbert
As legendary Canadian supermodel Shalom Harlow walked the geometric printed carpets to close the Versace show, her presence blazed a trail of memories from the 1990s.
But the strongest message from her slinky floral top and semi-transparent black skirt was this: here was a 44 year-old woman smiling as she lead a trail of other women in control of their athletic bodies.
Donatella herself made the final statement, a slim figure in top and pants giving a brief wave and ducking out.
Versace’s ‘woman in control’ spirit has been present for a while – ever since she moved the show away from her own (ultra-glamorous) back yard to the Fiera di Milano – the onetime centre of the fashion shows. There the designer has shown for a few seasons her vision of female strength.
But for the Spring/Summer 2019 show, there was something different. Dare we call it maturity? And not just because Shalom Harlow, from the epicentre of the 1990s supermodel era, but unseen in fashion for years, will soon turn 45 and be officially cast as ‘middle aged’.
The Versace attitude was not about age, but focused on the confidence of women stepping out in a jacket and short skirt. Except that most of the slim, patterned skirts were knee length in colourful checks or stripes. And for those defined as ‘working women’ there were smart jackets, leather coats and trouser suits of a conventional kind. The leather dress stopping at mid-thigh was an exception.
What the designer played with was colour and pattern, with snatches from the past like screengrabs of authenticity. The prints were mostly floral, sometimes with a hippy-deluxe mix of patterns, the colours neon-bright and strong, with every designer’s favourite shade in the Milan season: orange.
A year ago, Donatella played tribute to the 20 years since her brother Gianni’s death with a gathering of the 1990s supermodels wearing shiny, metallic silver dresses. The image was powerful – another of the designer’s ‘strong women’ stories. This show was much more relaxed, even casual. It did not make any great fashion statement. But it was pretty nice.
After a successful collaboration with GP J Baker, HM has tapped another British print brand to inject some quintessential craftsmanship into its high-street offering: Morris Co.
The brand dates back to 1861, when William Morris, a trained architect-turned-print designer, embarked on a mission to improve interior design while keeping its roots in artisanal production. As he rose to become a celebrated member of the Arts and Crafts Movement, he would begin to amass a vast archive of prints that designers still call upon for inspiration today. HM is the latest in a long line of brands to have delved into the catalogue of textiles and wallpapers baring Morris’s art.
“At HM we continuously look at collaboration ideas as we strive to give our customers new and exciting experiences,” Pernilla Wohlfahrt, HM design director, told Vogue ahead of the October 4 collection launch. “William Morris once said, ‘I do not want art for a few, any more than education for a few, or freedom for a few’. This hit home for us and is exactly what we are all about.”
HM Drives Sustainability With 8th Conscious Exclusive Collection
Going through the archive was “as challenging as it was wonderful,” Wohlfahrt explained of HM’s pattern selection, which “sprung from a choice of colours and themes, such as plaids, animals and wildflowers, to make the collection as vibrant as possible, and older prints to get a sense of workmanship to shine through.” It was another Morris quote – “There is no excuse for doing anything which is not strikingly beautiful” – that drove the HM design team to ensure that the motifs were transferred onto each piece in the comprehensive ready-to-wear capsule as accurately as possible.
For Morris Co the collaboration was seamless, because the company’s patterns have “never been so popular,” Claire Valis, creative director of the decorative arts manufacturer, asserted. “The link between fashion and furnishings grows ever stronger, because great design is great design. And, as far as Morris is concerned, there is an energy within his patterns that seems to marry so well with the youthful energy of fashion.”
The emotional link between how we shop for clothing and homeware has also grown in recent years, according to Valis. “The patterns that we are comfortable surrounding ourselves in at home have the same appeal as the clothes we like to wear,” she said. “In the UK especially, Morris’s patterns are almost like a subconscious part of our design psyche – many of us grew up with his patterns without realising it.”
HM Teams Up With GP J Baker
The Pimpernel trousers are coincidentally both Wohlfahrt and Valis’s favourite piece born out of the partnership, which took one year from conception to production. “We’re conscious of our responsibility to protect the great legacy of the brand, [but] authenticity was important for HM, and there was a great synergy between teams,” Valis added of the timeline, which felt “extremely fast” for Morris Co. For HM, the collaboration is the latest in its revolving door of projects and partnerships as the Swedish giant grows stronger and stronger.
See the collection in full below, and shop the collection from October 4 at Hm.com and in select stores worldwide.
Pocas piezas de joyería en el mundo se han posicionado como lo ha hecho Juste un Clou, de Cartier. Y es que, a pesar de que la simplicidad y el utilitarismo están muy alejados del mundo de la moda, estas características son las que inspiraron e hicieron trascender a este accesorio.
La historia comenzó en 1971, cuando el diseñador Aldo Cipullo transformó un simple clavo en una codiciada pieza que ha sobrevivido al paso del tiempo, y aunque se reinvente o reinterprete, no ha perdido ni una pizca de su esencia: ¡un encanto original que todas queremos portar con estilo!
Con un corazón aventurero y rebelde, Cipullo le dio un nuevo significado a lo cotidiano, para convertirlo en el reflejo del espíritu libre, rebelde y salvaje. Su idea se gestó en los orígenes de su juventud.
Su padre, Giuseppe Cipullo atendía una joyería de fantasía en Roma, pero la pasión de Aldo siempre fue convertirse en arquitecto. Tres años después de comenzar esta carrera decidió convertirse en actor, aunque abandonaría esta ambición para transformar su vida y mudarse a Nueva York.
Y fue en la Escuela de Artes Visuales donde incursionó como diseñador de joyería freelance, para después convertirse en uno de los diseñadores in-house de Cartier.
Su primera propuesta para Cartier fue también su primer acierto monumental: el brazalete Love. Tan solo un par de años después debutó Juste un Clou, demostrando el respeto que tenía por la profesión de su padre y su pasión por la arquitectura: dos factores que lo convirtieron en un éxito indiscutible.
A lo largo del tiempo, su diseño se ha extendido a anillos, aretes, collares y mancuernillas. Actualmente, a 47 años de su concepción, el brazalete se renueva una vez más con su más reciente lanzamiento. La versión que se estrena, más delgada y flexible, reafirma su versatilidad como una joya que trasciende las tendencias de la temporada y es capaz de de adecuarse al estilo personal de quien lo porta.
Vos petites filles et petits garçons ne pourront plus se passer de ces dernières voitures radio-commandées, de Playmobils en tout genre, de poupées sonores, de déguisements insolites… Ils invitent des amis à la maison ? Préférez alors des jeux de société, comme un Monopoly ou un jeu d’énigme coopératif.
Indeed, Whoopi Goldberg is famous. Cara-Delevingne-is-a-nobody-compared-to-me-level famous. Ever since the director Mike Nichols plucked her from obscurity after seeing her one-woman show in the early eighties, she’s built a career that’s impressive from both a quality and quantity standpoint. She’s an EGOT—part of an elite, 15-person group of entertainers who have won an Emmy (outstanding host for The View), Grammy (she’s got two, including best comedy album for her 1985 self-titled stand up record), Oscar (best supporting actress, Ghost), and a Tony (for 2002′s Thoroughly Modern Millie). Incidentally, she’s also hosted the ceremonies for three of five of those awards. She’s appeared in more than 50 films, including some so universally beloved almost no one can resist watching at least a few minutes when they’re on TV: Ghost, The Color Purple, Sister Act. And in what would be a career unto itself for most people, she’s been beamed into 3 million homes daily for the past 11 years as a cohost on The View.
When we connect over the phone, a few days after an explosive exchange with Fox News host Jeanine Pirro on The View has once again made her a trending topic on Twitter, I ask her if she remembers that conversation about Delevingne. She holds firm in her conviction about what celebrity entails. “You know, you don’t always want to talk to a million people. You don’t always want to sign an autograph. You’ve gotta try to suck it up,” she says. “And if you just got here 10 minutes ago, which is kind of how I was feeling about the person we were talking about, it’s like, ‘Listen. This is the life you chose.’ You want to be an actress? This is what it entails.”
Goldberg has been famous for so long it’s difficult to make the case that, at 62, she’s in the midst of a career renaissance. (Because, uh, when exactly did she leave?) But it does feel like her place in the zeitgeist is just a little more heightened these days. Ratings of The View are at their best in years, and she’ll play Tiffany Haddish’s mom in the upcoming Tyler Perry comedy Nobody’s Fool. She’s also just kind of everywhere all of sudden too. At this most recent New York Fashion Week, she went to a slew of shows, including, perhaps most unexpectedly, Rodarte, where she wore a baggy T-shirt with “Flexin’ in My Complexion” emblazoned across the front.
It’s a move that’s quintessentially Whoopi—weird but weirdly endearing (The New York Times, in an early review of her one-woman show, asked who wouldn’t be taken by her charms?). In fact, part of the reason Whoopi Goldberg is iconic is because she does things virtually no one else could pull off. Born Caryn Elaine Johnson (the first part of her stage name is a play on Whoopee Cushion), Goldberg grew up one of two children to a single mother in a housing project in Manhattan’s Chelsea neighborhood. In the early sixties she found little by way of onscreen representation. After first seeing Nichelle Nichols aboard the starship Enterprise, Goldberg reportedly exclaimed: “There’s a black lady on television, and she ain’t no maid!” It’s a moment that still resonates. “If you look at any of the shows prior to Star Trek, we were not there,” she says. “[Nichols] was really instrumental in making me believe I could be on TV. So I did grow up having ‘a me.’”
Still, the path to making it was far from easy. After struggling with dyslexia, she dropped out of high school and had a daughter, Alex, a short time later, at just 18. By the seventies she was living off welfare in California and working odd jobs (bricklayer, mortuary cosmetologist) while participating in an experimental theater troupe Blake Street Hawkeyes. (A then unknown Courtney Love took classes from her.) A few years later Mike Nichols would discover Goldberg.
The director clearly saw in her that thing audiences have grown to love over the years: You never know what Whoopi Goldberg is going to do next. While her View cohost Joy Behar is a reliable liberal, Goldberg’s views are harder to define. She’s no fan of Trump but is also proud about having owned guns. Her many side hustles run the gamut from an ugly-holiday-sweater collection to a medical cannabis line. She never bites her tongue. When the conversation turns to her outlook on relationships, she makes it clear she’s not the codependent type. “Hey, listen, I don’t want a relationship. I just want sex and then you can go home,” she says. It’s a fact that took her three marriages plus several high-profile romances (Ted Danson, Frank Langella) to realize. “I just want a hit and run. Boom. Boom. Goodbye.”
When I ask whether she’s noticed an uptick in the Whoopi Goldberg brand of late, she concedes she has. It’s not like she’s not aware of how these things work—she’s amused by it. “I think more people are interested in me again. Careers are cyclical,” she says. “I used to make people very uncomfortable and now people are very comfortable. Maybe people know now, for real, that I don’t care.”
And maybe, when you’re as famous as Whoopi Goldberg, you really don’t have to.
Whoopi Goldberg is a cohost on The View.
This profile is part of a full week honoring iconic women. Catch up on the entire five-part series now.
Photos: Timothy Greenfield-Sanders/Corbis via Getty Images, Getty Images, Shutterstock; Art by Aimee Sy