This year’s Great Yorkshire Show Fashion Pavilion declared Yorkshire the world leaders in fashion design, manufacturing and retailing.

First day audiences at the show were treated to a stunning catwalk show featuring globally renowned labels alongside the county’s up-and-coming talent.

14/7/15 Fashions by Phase Eight on the catwalk in one of fashions shows at the Great Yorkshire Show in Harrogate..(GL gystues17).

Prestigious High Street womenswear label Hobbs, whose fans include the Duchess of Cambridge and her sister Pippa Middleton, chose the show to preview its all-important autumn/winter 2015 collection, which features fabrics from Clissold’s, based in Bradford, and Abraham Moon, based in Guiseley, plus designs in a stunning Harris Tweed check cloth, also used for a natty bespoke tailored three-piece suit by Yorkshire menswear outfitters Brook Taverner.

Hobbs head of marketing Anna Braithwaite said the show provided an opportunity for the brand to showcase its best of British heritage range made working with Yorkshire mills, adding “In our Yorkshire stores, we’ve got a really strong local following too and it’s important for us to be a part of that.”

British womenswear retailer Phase Eight made its Great Yorkshire Show debut with a sensational collection of evening wear featuring exquisite embellishment and applique detail. Regional manager Bobby Denobrega said: “It’s great to see that we have such a strong presence in Yorkshire and to see all the brands here.”

Leeds-based designer James Steward showcased a standout collection of red carpet silk dresses and cool, contemporary menswear, with special occasion women’s pieces finished with headwear by milliner Beth Hirst, his neighbour at his Farsley based workshop. North Yorkshire designer Charlotte Lucy also drew gasps with her beautiful autumn/winter range of tailored and linen pieces inspired by the moors she lives and works among,

Fashion is a major part of the Great Yorkshire show mix, and provides a vital platform for up-and-coming students and graduates to the pavilion, where four runway shows a day play to packed audiences.

This intriguing story of the disappearance in the 1930s of Agatha Christie, who turned up in Harrogate, provided the inspiration for a fashion project by Hull College of Art and Design, whose students created a collection of stunning silk satin 1930s-style evening dresses in rich, muted tones. Sheffield Hallam University and Batley College both showed collections that underlined the sheer creative talent of the county’s fashion students

The show was co-ordinated by Morton Gledhill – The Fashion Team, co-ordinated by Bernadette Gledhill, with hair and makeup by Bradford College. There are four shows a day at the Fashion Pavilion.

Lebanese designer Rani Zakhem’s fall-winter 2015-2016 collection was created with the fashion-conscious women in mind. Simple yet elegant, the timeless designs are glamorous and luxurious.

Zakhem’s collection, which he showcased Saturday at Rome’s Palazzo delle Esposizioni, featured contemporary silhouettes rendered luxurious through the use of embellishments and detailing.

The designer played with fabrics and textures, and relied heavily on sheer paneling. Black, red and nude were the winter collection’s three dominant colors.

Zakhem’s latest frocks are effortlessly chic as he strives to provide the modern woman with smart and sophisticated looks that celebrate and accentuate their bodies.

His creations cater to feminine, elegant, modern silhouettes with superior savoir faire. The luxurious fabrics evoke a sense of glamour and understated elegance.

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Born in Lebanon and raised in Kenya, Rani Zakhem says he draws inspiration from the aesthetics of his surroundings. A faithful Vogue and Vanity Fair reader, Zakhem has always sought a career in design and fashion.

In 1992, the young designer moved back to Lebanon to pursue his education, and in 2005 he earned a bachelor’s of science in interior design from the Lebanese American University. He then got accepted at New York’s prestigious Parsons School of Design, where he earned a degree in fashion design.

Before launching his own brand, Zakhem worked with big names such as Yigal Azrouel, Carlos Miele, Patricia Underwood and Zuhair Murad to name a few. In 2009, he decided to venture out with his own eponymous label. Since then, the Rani Zakhem brand has diversified into several lines to include ready to wear, couture and exquisite bridal gowns.

The couture collections for fall are debuting in Paris this week, but we have already declared ourselves deceased after day one: Atelier Versace giving itself over to the festival fashion ideal and dropping straight Coachella bombs on the runway, complete with flower crowns.

Of course you can’t imagine anyone actually wearing diaphanous couture to a music festival—or can you? Here’s Alexa Chung in Chloé, here’s Katy Perry in Moschino, here’s Rihanna inMarques’Almeida, and the Tumblr “Socialites Wearing Impractical Designer Clothing at Music Festivals” does not yet exist (I searched) but if you want to make it, I will gladly become a patron.

As I have previously remarked, this style of festival fashion is an elaborate ruse to get us to buy into fantastical, context-scrubbed ideals of Woodstock and Laurel Canyon, this confounding post-hippie notion that going to expensive festivals somehow requires nubuck fringe in vest form. Or, in the case of Versace, midsummer night’s groovy goddesses, gliding down the runway in some fuglioso ensembles created to the high standards of the Fédération française de la couture.

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It’s odd to think about, from a capitalist perspective, this glorified notion of a time and place that can never be recaptured—so specific was the convergence of people, sociological and political climates—being recreated by the use of signifiers, as thought the imagery was more important than the ideals. The concept (and impracticality) of mimicking these looks to go to festival in the desert with the admission price of nearly $1000 (cause if you’re wearing Chloé, you’re definitely going VIP) is more absurd every year, and it’s absurd that it made an impression on a storied (and loud!) a brand as Versace.

But of course, I’m not their target audience for this, though I generally like the brand and what it represents (PS: should I cop?). It will also be interesting to see some of these looks out of the runway context, and styled better—miss me with those platform boots—on a red carpet or a gala. Just don’t take any of this to Burning Man.

Who’s yellow, starring in their first feature film, and now “covering” British Vogue?

None other than the adorable minions who starred in Despicable Me and its sequel.

British Vogue launched “VOGUE Video” today on their YouTube channel. The first short film, titled “It’s Official - Minions to Grace Cover of British Vogue,” features interviews with fashion designers and Vogue editors, discussing the “influence” the Minions have had on the fashion industry.

"What's the most famous name in fashion? Well, Vogue of course. There is just one other name that every fashionista knows and loves: the Minions,” Suzy Menkes, Vogue's International Editor, starts off the satirical video with.

Designers Domenico Dolce and Stefano Gabbana of Dolce & Gabbana and Lanvin's Creative Director Alber Elbaz are just some of the many fashion gurus talking about the impact the Minions have had on them personally. "I hate yellow. They made me love yellow," Elbaz explained.

Designer Rupert Sanderson admitted that the minions were the inspiration behind his entire collection, while hat designer Stephen Jones described their fashion success, "When they say yes, I know the fashion world will say yes."

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Vogue's Editor-In-Chief took to the camera to explain the team's cover choice, "Fashion loves nothing more than the bad boy and these guys are probably the baddest of them all."

The Minions have their own distinct language, but this wasn't an issue for their collaborators. "We make no sense together," Stephen Webster said.

The video ends with all of the designers agreeing that there has never been a bigger influence on fashion than the minions.

To run alongside the shoot, photographed by Patrick Demarchelier for the July issue, Delevingne gave a candid interview to the publication.

Cara Delevingne stars in the July issue of American Vogue photographed by Patrick DemarchelierAhead of the release of her first major film - Paper Towns, the 22-year-old sat down with the magazine to discuss making the move from fashion to acting.

"I admit I was terrified to leave. I mean, the bubble gives you a kind of dysfunctional family. When you’re in it, you get it. And the second you’re out of it, you’re like, What the hell just happened?” she said.

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"The thrill of acting is making a character real. Modelling is the opposite of real. It’s being fake in front of the camera."

Delevingne, who grew up a privileged member of the London upper class (her father is a property developer and her mother a former it-girl), did not have an easy childhood with her mother struggling with an addiction to heroin.

She opened up about the effect it's had on her life and how it's still an ongoing battle for the family.

“You grow up too quickly because you’re parenting your parents. My mother’s an amazingly strong person with a huge heart, and I adore her. But it’s not something you get better from, I don’t think.

"I know there are people who have stopped and are fine now, but not in my circumstance. She’s still struggling.”

Cara Delevingne stars in the July issue of American Vogue photographed by Patrick DemarchelierDelevingne also for the first time confessed to having struggled with depression herself.

"All of a sudden I was hit with a massive wave of depression and anxiety and self-hatred, where the feelings were so painful that I would slam my head against a tree to try to knock myself out," she told Vogue.

She also discusses falling into such a depression that briefly she considered suicide.

"I was packing my bags, and suddenly I just wanted to end it. I had a way, and it was right there in front of me. And I was like, I need to decide whether I love myself as much as I love the idea of death."