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Kate may ditch go-to ‘power’ suit and wear more ‘royal-appropriate’ style for Coronation

March 19, 2023 by www.express.co.uk Leave a Comment

kate middleton coronation

Kate may ditch ‘signature style’ and wear colour that will ‘stand out’ for Coronation (Image: Getty)

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Kate, Princess of Wales is well known for her immaculate appearance and stunning outfit choices, but none will be more important than her outfit to King Charles’s Coronation on May 6. The Princess’s Coronation outfit is crucial as certain items of clothing and accessories may not be appropriate for the occasion, but one fashion expert claims the royal will likely opt for three regal colours to “harmonise with the pomp” of the day.

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Since becoming Princess of Wales , Kate’s style “has taken another turn”, according to royal and fashion expert Miranda Holder who claims that as the mum-of-three embraced her new role, her wardrobe “has also evolved to match”.

She commented: “Gone is the young Princess turning heads wearing feminine, floaty dresses in ditsy floral prints and polka dots.”

Instead, Kate has evolved into a “new, more focussed and formal Princess”, whose clothes reflect “her commitment to the many causes about which she is so passionate”.

Kate’s style has always been traditional and elegant but now more than ever she is sticking to the “royal-appropriate” outfits and avoiding statement looks and flamboyant accessories.

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Kate’s new go-to style is a soft power dressing wearing mostly trouser suits. (Image: Getty)

Princess of Wales

The Princess of Wales will likely wear one of her immaculately tailored looks, possibly in white. (Image: Getty)

For previous state occasions, the royal “has remained formal to her tried and tested fashion formula of a coat dress or skirt suit in her signature fitted silhouette, complemented with nude heels with hat and symbolic jewellery,” Miranda commented. However, Kate has a new go-to style, it seems.

“We have seen the Princess shy away from skirts recently,” the stylist said. “She has embraced soft power dressing wearing mostly trouser suits, creating a more heavyweight, businesslike image.

“Although this largely does appear to be her new signature style, I am predicting that Kate will return to her trusty fashion formula of an immaculately tailored skirt suit for the Coronation.”

Kate will therefore likely opt for a coat dress or skirt suit, nude heels and jewellery with a hidden meaning, perhaps one of Queen Elizabeth’s necklaces or chokers to honour the late monarch.

Miranda continued: “I’m sure Kate’s fashion-loving fans would love to see a new twist on the traditional, but this occasion is all about our new King, and it would be unseemly for the women to pull focus from the monarch with their wardrobe choices. Additionally, the Firm prefers to dress as classically and timelessly as possible.”

This is so that in years to come the images of these heavily photographed occasions don’t look too dated.

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Kate could return to her trusty fashion formula of an immaculately tailored skirt in red. (Image: Getty)

kate middleton coronation

The expert said Kate will likely wear blue, hich would stand out beautifully in photographs. (Image: Getty)

“Finally dressing in this ‘official uniform’ simply reinforced their already established personal brand,” she added.

Miranda predicted that the Princess of Wales will likely wear one of her immaculately tailored looks in either blue, white or red.

She explained: “With this in mind I imagine that Kate will wear a skirt suit or coat dress ensemble, most likely by Alexander McQueen.

“It will be in a colour that will harmonise with the pomp and pageantry of the day. We will be seeing a lot of royal purples.

“So my vote would be blue, followed by white or red – all of which would stand out beautifully in photographs.”

Everything we know about the Coronation

King Charles’s Coronation will take place on May 6, 2023, at Westminster Abbey in an event that will be attended by more than 2,000 people.

It is expected that members of the Royal Family, politicians, heads of state as well as European royal households and other royals from around the world will be present at the Coronation.

Although an invitation has been extended to the Duke and Duchess of Sussex, Meghan and Harry, it is still unknown if the couple will attend.

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How To Use Networking To Transform Your Career: A Conversation With Michael Melcher

March 20, 2023 by www.forbes.com Leave a Comment

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We all know networking is important, but we don’t always prioritize it. Yet we should! The strongest personal brands have rich and diverse networks. I reached out to Michael Melcher, the author of the upcoming book Your Invisible Network: How to Create, Maintain, and Leverage the Relationships That Will Transform Your Career to inspire us to give networking the attention it deserves.

William Arruda: There are lots of books on networking and relationship building. Why did you write this one, and what makes it different?

Michael Melcher : People “kind of“ know the value of relationships. But they get stuck because relationship building has a lot of nuance and can be quite complex. How do you reach out to someone you haven’t kept up with? When you ask, should you be direct or indirect? What if reciprocity seems impossible, such as when the other person is more senior or more powerful than you? How exactly are you supposed to find these mythical “sponsors” who can help you leapfrog ahead? I wanted to provide a coherent framework and set of tools that can help people move forward.

Second, a lot of networking books seem to be written by extremely extroverted, upbeat people whose message is, “Be like me.” But you’re not going to become another person. I wanted to provide a guide for being effective without thinking you have to change your personality first.

Third, for people who come to their careers as outsiders or first generation, relationships are the primary way to leapfrog ahead. Very few people realize that social capital is something you can build even if you come from very limited (or zero) financial capital. I wanted to lay out exactly how this works.

Arruda: How is relationship building different in the new world of hybrid work?

Melcher: A basic point of my book is how you move from “connections” to meaningful relationships with reciprocity and mutual understanding. In hybrid and distributed work environments, you just aren’t going to bump into people in the hallways or easily stop by their offices. The planning required for virtual meetings squeezes out a lot of random but extremely important interactions. Therefore, when you are virtual, you need to identify ways to connect more broadly and deeply, since it won’t happen by itself. And if you are in the “live” contingent, you need to find ways to connect with colleagues who might seem “invisible” to you but who really aren’t.

Arruda: What’s the biggest mistake people make when building and nurturing relationships, and how can we avoid it?

Melcher: The biggest mistake people make is that they over-qualify. They try to predict whether meeting any given person will be valuable, and they try to predict whether any given conversation will be useful. But actually, you can’t predict any of this. Some of your most valuable relationships will be unforeseen, and many people who you think will be useful won’t be. Therefore, you need a balance between being strategic and being open to serendipity, and between having an agenda in conversations and being curious about where the conversation will actually end up.

Arruda: Although we all have the best intentions for staying connected to the people we meet, it’s challenging. What’s your advice for keeping relationships strong?

Melcher: Ping power. A ping is a message you send that doesn’t require a response. “Hey, I saw this article and thought you might like it.” “I passed our favorite coffee spot yesterday and thought of you.” “I hope you’re doing well. Here’s a new adorable pic of my twins.” When you send a ping, you are reminding the person you’re alive, reminding them that they like you, and sometimes sending along useful information—without giving them the stress of an expected response. Everyone has a big pile of to-do’s they haven’t done, and people love receiving positive messages that don’t require them to do anything.

Arruda: You say there are seven types of relationships we need to nurture to achieve our career and leadership potential. What are they?

Melcher: Weak ties. Bosses and senior stakeholders. Colleagues. Clients. Mentors/Sponsors. Beneficiaries. Friends.

Arruda: Most of those are self-explanatory, but can you tell us more about weak ties and beneficiaries?

Melcher: Weak ties are people you don’t know well, or who you once knew and with whom you’ve been out of touch. There is a ton of research about how much weak ties can benefit you. Beneficiaries are people you are helping, usually without being asked. One of the points in my book is that you can be a benefactor regardless of age or standing—you already know things that are useful to others, and when you share information, connections and resources, you empower yourself and create a good balance between asking and giving.

William Arruda is a keynote speaker , co-founder of CareerBlast.TV and co-creator of the Personal Brand Power Audit – a complimentary quiz that helps you measure the strength of personal brand.

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In Harry Styles’ ‘house,’ everyone is welcome

March 21, 2023 by entertainment.inquirer.net Leave a Comment

Styles —PHOTOS BY KHALIL RAMOS

Toward the end of his performance of the pop-funk midtempo “Adore You,” Harry Styles stopped singing, turned his back to the crowd and danced as if no one was watching.

With a wailing guitar solo in the background, Harry twirled and sauntered down the runway, waving and blowing kisses every which way. And then, with a hand over his heart, he bowed down, as if in deference to the fans who helped him become the pop superstar that he is today.

After all, his ongoing series of concerts is dubbed, “Love on Tour.” And Harry made sure to express his gratitude and appreciation for the Filipino audience every chance he got—through words, gestures and music.

“Kumusta, Philippines? It’s an absolute pleasure to be here with you tonight. Thank you so so much for having us all. It has been five years since I was here last, so it has been a long time,” he told the packed crowd at the Philippine Arena last March 14. “Thank you for the warm welcome. Thank you to every single one of you.”

For one and a half hours, the British singer-songwriter made the cavernous venue feel more intimate—you could call it Harry’s House, if you will. And in this space, there were only a few simple rules: “To sing and dance” and “have as much fun as you possibly can.”

Harry’s “job,” on the other hand, was to give his “absolute best to entertain you.” He kept his end of the bargain.

The last time Harry visited the Philippines was in 2018 for his first self-titled maiden world tour. Back then, he was almost apologetic about the fact that he had only 10 original songs to his name. This time, he returned with a stronger, more comprehensive catalog—bolstered by his critically acclaimed third album, “Harry’s House,” which won album of the year at the recent Grammy Awards.

Revisiting old songs

While most of the songs in his 20-song set were culled from that album, Harry spiced things up with a sprinkling of well-loved tracks from his self-titled debut album and his second one, “Fine Line.” It was also refreshing to see that Harry—unlike other former boy band members who went solo—had no qualms revisiting material from his past career.

Sporting a sequined, gold and navy blue raglan shirt, he worked the stage with unbridled exuberance, racing around, pumping his fists and stomping his feet. Every so often, in more upbeat or hard-edged songs, like “Satellite” and “Music for a Sushi Restaurant,” Harry would lose himself in the music, dancing with his head up and arms outstretched.

He shimmied, tousled his hair and cast flirtatious glances at the feverish fans as he sang sultry midtempos, like “Cinema” and “Watermelon Sugar.” He ventured into the funky side of his discography with “Woman,” a track laced with sultry guitar licks and basslines.

Meanwhile, the bouncy beats of “Late Night Talking” and “As It Was” proved to be irresistible, prompting fans to get up from their seats, dance, sing along and let loose. And for a little kick of nostalgia, Harry delivered a rambunctious rendition of “What Makes You Beautiful,” one of the biggest hits of his former group, the 2010s pop phenom One Direction.

While his vocals were solid throughout the concert, Harry tended to shy away from the high notes by tweaking the melodies of some of the choruses and bridges. But perhaps it was only prudent that he avoided overworking his voice given the extent of his tour, which has been running since September 2021. There are 169 shows overall. And Harry has more than 30 to go.

Still, his earnest, slightly husky baritone shone in the quieter acoustic numbers, like the haunting “Little Freak” and “Matilda.” The latter is a composition that Harry holds dear to his heart, and his moving performance had not a few fans wiping away tears. He also sounded strong and confident in the sweeping, pop-rock ballad, “Sign of the Times.”

Sense of belongingness

Harry put the fans—many of whom arrived in feather boas and flamboyant outfits—at ease by bantering with them. In the occasional lulls, the charismatic singer-actor read out fan signs, including that of a woman who proposed marriage to him. “Very sneaky! But I feel like we should perhaps get to know each other first,” he quipped.

Another woman held a sign that read, “My boyfriend said he will propose if you duet with him.” And now that couple is probably—or hopefully—engaged, after Harry regaled their request and sang snippets of “Sign of the Times” with the boyfriend.

In the festive, gospel-inspired ditty “Treat People with Kindness,” Harry, a vocal supporter of the LGBTQ community, unfurled a pride flag and waved it onstage. On the floor, joyous fans draped in pride flags danced and shuffled in a conga line. In “Love of My Life,” he stressed his love for his Filipino fans, saying “Mahal ko kayo!” Deafening screams ensued.

The words “house” or “home” suggest the concept of family, a sense of belongingness. And Harry saw to it that he created an environment where everyone felt loved and welcome. “Please feel free to be whoever it is you always wanted to be in this room tonight,” said Harry, who described the opportunity to perform in the Philippines a “privilege.”

“You have been absolutely wonderful. Thank you for the warm welcome. It has been so nice here,” Harry said. “You have changed my life. It has been a privilege being with you tonight.” INQ

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CRITIC’S NOTEBOOK; Forget the Shoes, Prada’s New Store Stocks Ideas

December 16, 2001 by www.nytimes.com Leave a Comment

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THIS is a year for opening presents early. Last week, Tod Williams and Billie Tsien’s beautiful new home for the American Folk Art Museum opened its doors on West 53rd Street, next door to the Museum of Modern Art. Yesterday, Prada’s SoHo store, designed by Rem Koolhaas, opened on Broadway and Prince. Someone has been making a list of architecture fans, and checking it twice.

For a place whose opening has been delayed almost as long as Chanel’s postwar comeback, the Prada store delivers a surprising jolt. Just a few weeks ago, the store was shaping up to be a landmark of unbeatably bad timing. With all around us counseling restraint on luxury, with Prada itself the target of cackling over its troubled finances, the launching of an estimated $40 million flagship emporium — in traumatized Lower Manhattan, no less — looked headed toward a calamitous capsize.

Then you walk through the door to discover that time and space have revolved into miraculous alignment. Architecture, at least, has come through. Even if Prada were to tumble into Chapter 11 by New Year’s Eve, New Yorkers would still have had a blessed two weeks to walk through a model block of intelligent optimism about urban life. Think of this as a museum show on indefinite display. However precarious Prada’s assets, its grip on the imagination is firm. If we must shop to save America, some of us won’t mind shopping for architecture. If you’re in the market for ideas, here’s the place to stock up. Try Contemporaneity — your free gift.

Entered on the ground floor of the building where a diminished version of the Guggenheim Museum’s SoHo branch holds down what is left of the fort, the store shoots through a full block from Broadway to Mercer Street. It is not a narrow space, but the extreme length creates the quality of a vortex. On a clear day, you can see Milan.

To the left, just past an oversized pair of Statue of Liberty-green mannequins that guard the door, the eye is caught by a clear glass cylinder: the shaft for a round elevator that descends to the basement level, where much of Prada’s merchandise is located.

The cylindrical elevator is the first of many technological flourishes with which the store is garnished. Used for displaying merchandise as well as transporting shoppers, it signals the design’s extreme flexibility. Set off by a wall and ceiling of corrugated plastic, the sparkling glass shaft epitomizes the game between luxury and rawness that is everywhere played out.

The north wall is covered with wallpaper, designed by the local firm 2×4 Studios. The design will change as new collections are introduced. At the moment, the pattern evokes images of large carnivorous plants. Why don’t you . . . paper your little boy’s room with Venus flytraps? Alas, the wall of horrors is not for sale.

Space itself is the ultimate luxury at Prada; space, and the dedication of so little room to stuff you can buy. Much of the two-story interior is taken up by what Mr. Koolhaas calls the Wave. A Big Kahuna version of a visual motif that is by now virtually the logo of progressive design, this concave shape extends the full length of the store. The Wave’s trough, which dips down to the store’s basement level, is Mr. Koolhaas’s most conspicuous architectural move.

Mr. Koolhaas and Miuccia Prada are kindred spirits. Both of them have exploited the potential of their respective art forms to engage in social criticism. The irony of this ambition, particularly in the sphere of fashion, does not escape them, but is accepted as a broad condition of modern life. No arts are inherently more capable of exploring the fantasy structure of the contemporary city than architecture and fashion.

The Prada people showed up one day two years ago at Mr. Koolhaas’s Rotterdam office, ”out of the blue,” the architect says. The conversation led to commissions for stores in Los Angeles and San Francisco in addition to SoHo. (According to Mr. Koolhaas, plans for the West Coast stores are proceeding.) Along the way, the architect has ventured far beyond the boundaries of conventional store design. Technical innovations, marketing strategies, imaging concepts and social analysis have been incorporated into the program.

The opening of the Prada store is accompanied by a catalog of telephone book size. It chronicles all three American projects commissioned from Mr. Koolhaas by Prada. Gaga Napoleonism permeates the pages. Charts map the coincidence between future stores and centers of globalized capital in Europe, Asia and the United States. OMA, Mr. Koolhaas’s Rotterdam-based Office for Metropolitan Architecture, is photographed in conference with the staff of AMO, the architect’s recently formed think tank. Drawings, maquettes, computer renderings and pictures of new synthetic materials are tumbled together with polemical slogans.

On the book’s cover, red flags part to form a curtain framing a perplexed road warrior: the worker-slash-model for globalized times. Suits of the World, Get Wired! Laid out on the diagonal, the Prada logo evokes the Cyrillic typeface for Pravda: the Truth, or whatever passes for it under totalitarian rule. All this is cause for mirth. But those familiar with contemporary European styles of thought will recognize something more: an effort to reckon with the collapse of extremities in the post-cold-war period.

Several streams of cultural history feed into the Prada store, creating a context with greater depth than its immediate SoHo environs. Prada is rooted in the aesthetic of Arte Povera, an Italian art variant on minimalist art popular in the 1970’s. The term was coined by Germano Celant, the curator who now directs the Prada Foundation, which sponsors various cultural projects. (Mr. Celant is also an associate curator of contemporary art at the Guggenheim Museum.) Arte Povera was perverse. Its artists wanted to get away from the privileged aura of the museum and expensive materials. They made work from old bedding and tar-stained rope and displayed it in barren, out-of-the-way locations. But somehow you always needed a private jet to get there. You couldn’t afford to be povera at all.

This aesthetic was rooted, in turn, in the social and ethical complexities of Italian Communism, for years the preferred political affiliation of fashion designers, editors and other comrades in the upper echelons of style. Miuccia Prada is described in the company’s press material as a former communist. Fans of Antonioni and Bertolucci will see no insurmountable conflict here. Last year, there were rumors that Prada hoped to acquire Humanità, the Italian Communist Party’s defunct newspaper. Many of us who are not communists would still consider subscribing, if not defecting, to gain an aesthetic perspective on the news as well as Continental comic relief from it.

There was also a rumor that Prada might back Mr. Koolhaas as a candidate for a seat in the Italian Parliament. One notes this not as an incidental aside, but as an insight into the personality structure of the most important architect of his generation. Mr. Koolhaas is architecture’s most advanced triple-thinker, in Flaubert’s phrase — for him, art arises from a continuous negotiation between objective reality and the subjective perception of it.

This dialectic skill is handsomely illustrated in ”The Harvard Design School Guide to Shopping,” whose publication coincides with the opening of the Prada store. Prepared under Mr. Koolhaas’s supervision by students at Harvard’s Graduate School of Design, the book offers a critical reckoning with the mutation of public space in advanced capitalist society. As startlingly factual as they are ideological, the studies collected here portray a stoic acceptance of realities (advertising, shopping malls) that critics often harangue against.

Call Mr. Koolhaas perverse, or counterintuitive. In the 1970’s, when architects and planners were fighting against urban congestion, he celebrated it in his book ”Delirious New York.” Today, when convention encourages architects to oppose the privatization of public space, Mr. Koolhaas again takes the contrary point of view. If fashion historically represents a trivial pursuit in comparison to architecture, Mr. Koolhaas will inevitably be drawn to it.

He has been influenced not only by fashion’s emphasis on image, but by the technical production of fashion and even customer service. It is evident throughout the Prada store, which was designed in association with the New York firm ARO. The precise layering of materials; the integration of advanced technology with craft; the interplay between seamed and seamless spaces, finished and unfinished surfaces: these have assumed a new prominence in Mr. Koolhaas’s approach.

The sloping contours of the Wave, lined with polished zebra wood, form an arena for flexible presentations. One slope is ranked with stadium steps. By day, the steps are used to display merchandise like handbags and shoes. At night, they become seating for art events. On the slope opposite, a small platform folds down to create a cantilevered stage. A row of cast iron columns, sheathed in white at their bases, forms one side of the jewel-box theater’s porous walls. Like the rest of the store, the space is activated by the interplay between the open and the bounded, the seamless and the seamed.

In contrast to the Wave, a set of metal boxes, in sizes small, medium, and extra-large, hang from tracks mounted on the ceiling. A Surrealist inversion, they define the upended skyline of a city that has moved indoors and flipped its head. The track system enables the density of the cityscape to be variously configured. Partly enclosed by metal screens, the boxes can be used as showcases for clothes or cages for intrepid go-go dancers.

Too bad you can’t rent Prada’s dressing rooms for the night. They are as extra-large as the Hudson Hotel’s guest rooms are compact. You could move in here with the city version of the nuclear family: you and three or four of your newest best friends. Here’s where Mr. Koolhaas’s so-called ”in-store technology” gets the fullest play, starting with the glass that encloses each room. Touch the button, and the electrified material peek-a-boo’s you, toggling from transparent to opaque.

Large video panels replace the traditional three-sided mirror with live cam shots of your back and sides. A.T.M.-style screens give you access to data on size, style and availability. Other techno-features require less customer participation. Scanning antennas, copper ribbons embedded like industrial jewelry in the glass, keep track of what you take in and out of the rooms. Prada is considering using the scanners for customers to charge their purchases automatically just by carrying them out the door.

The lower level of the store is reached by a staircase, surfaced with a sandwich of wood and steel, that descends alongside the stadium seating, to a U-shaped maze of shopping departments. The walls of the maze are lined with particle board, finished in green or pink. Spackling of the seams and rivets is left deliberately exposed, and even the rough edges of the white substance appear meticulously designed. Sweaters and shirts are displayed, on shelves of open stock, housed in rolling banks adapted from library stacks.

On the west side of the lower level is a pharmacy for cosmetic products. Beyond that is a warren of specialness alcoves, a V.I.P. maze within a maze, where everyone will want to be seen trying to enter or leave without being noticed.

You will want to pay attention to flat video monitors, placed throughout the store, on which is shown a continuous montage of images chosen to project the Prada sensibility. Scenes from Antonioni’s ”Red Desert” are a typically revealing motif. An aestheticized depiction of Marxism, featuring factories whose chimneys belch tinted yellow and pink smoke, the film typifies the particular blend of high style and social consciousness that the Italians have made their own.

At the Prada store, Antonioni is recast as a shopping experience. Consumption takes the place of production in the post-industrial landscape. Miuccia Prada plays Monica Vitti to Rem Koolhaas’s Richard Harris. Anomie, anyone?

We could learn a lot now from European efforts to weave art, philosophy and politics into a more supple social fabric. These days, it takes triple thinking just to cope with life. Shop! But don’t flaunt it. Be scared! But act normal. Big Brother is lurking inside your vanity. Smile! We’re turning into Singapore. At last, a practical use for those tar-stained ropes.

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Olivia Wilde and Florence Pugh ‘avoid each other’ at pre-Oscars party amid rumoured feud

March 12, 2023 by www.mirror.co.uk Leave a Comment

Olivia Wilde and Florence Pugh ‘avoided each other’ at a pre-Oscars bash following the rumoured on-set feud between the pair.

Director Wilde, 39, reportedly clashed with actress Pugh, 27, while filming Don’t Worry Darling in a drama filled production.

The pair were both at the Creative Artists Agency’s star-studded bash at Sunset Tower Hotel in Los Angeles on Friday night but were not seen together.

According to sources, the former co-workers did not greet each other or interact.

The party had countless A-list guests including Elton John, Leonardo DiCaprio, Demi Moore, Vin Diesel and Sandra Bullock.

Olivia and Florence’s snub comes after months of rumoured bad blood between them.

Olivia Wilde celebrated her 39th birthday at the event (

Image:

Natasha Campos/Getty Images)

Florence Pugh also attended the pre-Oscars party (

Image:

Natasha Campos/Getty Images)

A source told Page Six they “definitely did not see them interact” at the pre-Oscars party.

The b ehind the scenes drama of Don’t Worry Darling became more of a talking point than the film itself.

According to Vulture, a source who worked on the film said Olivia and Florence suffered a “blowout argument” when the project was one third of the way through filming.

Florence grew frustrated by Olivia’s “frequent, unexplained absences” on set, despite her in the directing role.

Other drama surrounding the film came as allegations Olivia fired original star Shia LaBeouf, 36, and replacing him with Harry Styles .

Shia claimed he quit the project.

Olivia was in the process of splitting from fiancé and father of her two children, actor Jason Sudeikis, 47, when filming started in 2020.

The cast of drama-filled Don’t Worry Darling (

Image:

REX/Shutterstock)

Harry and Olivia stepped out as a couple in January 2021 when they attended a wedding together.

The Vulture source said: “Olivia and Harry would just disappear” – hinting the romance between Olivia and Harry which began during production could have been a source of frustration for Florence.

A source told PageSix: “I can tell you for a fact that Flo seeing Olivia and Harry all over each other on set did not go down well as Olivia was still with Jason when she first hooked up with Harry.”

Some reports have suggested the pair got together in January 2020 – while Olivia and Jason’s relationship was reported as over in November that year.

Olivia and Florence seemed to clash when footage emerged of Olivia in conversation with Shia and remarking: “I think this might be a bit of a wake-up call for Miss Flo.”

Florence then pulled out of promoting the film soon after the footage leaked – being absent from screenings at the Venice Film Festival and the New York premiere.

Olivia and Harry have called time on their relationship (

Image:

GC Images)

After an almost two-year relationship, Harry and Olivia have called it quits saying the split was a mutual decision.

Yet it has hit Olivia hard according to sources, as she was considering a move to London to be closer to the former One Direction star.

The Mirror has approached Olivia and Florence’s representatives for comment.

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