Archive October 20, 2025

Helen Skelton hit the Pride of Britain Awards red carpet in a black velvet cut out dress from Self Portrait – and it’s currently got 50% off and still in stock in all

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The Pride of Britain Awards are underway in London tonight, and a whole host of stars have been hitting the red carpet, including Helen Skelton, who nailed effortless classic glamour in a black velvet maxi dress. The exact dress Helen wore was Self Portrait’s Strapless Cutout Velvet Peplum Maxi Dress, which is usually priced at £480.

Although this is still reasonably priced for a red carpet-ready gown, it’s quite the splurge for most of us to spend on a dress. However if you’re coveting her dress for a black tie event or an upcoming Christmas party then you’re in luck, because it’s now got 50% off, slashing it to £240.

READ MORE: Amy Dowden wears £42 high street sparkly heels for Pride of Britain red carpet

READ MORE: Helen Skelton’s waterproof trainers ‘help with plantar fasciitis’ and keep feet ‘100% dry’

The Self Portrait dress is the perfect pick if you have a formal even on the horizon, but could just as easily be worn for everything from a Christmas party to a black tie wedding, so although it’s still a little pricey, it’s a dress you’ll get plenty of wear out of for events. The black velvet material gives it a luxurious edge, and it has cut out details that bare some skin whilst still looking elegant and classy.

Its fitted bodice helps define your shape, whilst the peplum detail around the waist creates some added drama and fun. The Strapless Cutout Velvet Peplum Maxi Dress also features a column skirt which balances out the exaggerated ruffle around the waist, creating a slimming look that’s flattering and comfortable to wear.

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Helen’s dress is the perfect example of how to do a modern twist on classic Hollywood-style glamour, and she kept the rest of her outfit simple to allow the dress to shine. Although you can’t see which shoes she picked, Helen also added a statement glittering necklace and carried what looks to be the Inrouche Suede Ruched Clutch Bag from Daniel.

You can pick up the exact bag for £149, and although Helen picked the beige suede version, you can also shop it in chocolate brown suede or black leather. If you want to copy Helen’s look on a little more of a budget, there’s also some slightly more affordable picks to shop.

At Club L the Sarifa Black Velvet Strapless Corset Midi Dress with Ruffle Peplum is £150 and has a similar silhouette to Helen’s Self Portrait dress, with a fitted bodice with a sweetheart neckline and peplum ruffle around the waist. However instead of a floor length hemline, the Club L dress is a midi length which makes it a little more wearable for events off the red carpet.

Meanwhile the ASOS DESIGN Embroidered Bust Cut Out Velvet Maxi Dress is £95 and has a slightly more streamlined silhouette that still retains the essence of Helen’s dress. There’s no peplum ruffle, but it does feature cut out details and a floor length silhouette, with fringe corsage details on the bust.

In a black velvet cut-out dress from Self Portrait, Heidi Skelton walked on the red carpet at the Pride of Britain Awards, which is currently 50% off and still available in all sizes.

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A host of celebrities have been appearing on the red carpet recently for the Pride of Britain Awards in London, including Helen Skelton, who effortlessly delivered classic glamour in a black velvet maxi dress. Self Portrait’s Strapless Cutout Velvet Peplum Maxi Dress, which retails for around £480, was the dress Helen wore.

Although this is still reasonably priced for a red carpet-ready gown, it’s quite the splurge for most of us to spend on a dress. However if you’re coveting her dress for a black tie event or an upcoming Christmas party then you’re in luck, because it’s now got 50% off, slashing it to £240.

READ MORE: Amy Dowden graces the Pride of Britain red carpet wearing £42 high street sparkly heels.

READ MORE: Helen Skelton’s waterproof trainers prevent plantar fasciitis and keep feet “100% dry.”

The Self Portrait dress is the ideal option if a formal event is already in store for you. It can also be worn for anything, including a black tie wedding and a Christmas party. It has some skin-bared details that are still elegant and classy thanks to the luxurious material and the black velvet material.

Its fitted bodice aids in shaping your body, and the peplum detail around the waist adds drama and fun. A column skirt balances out the exaggerated ruffle around the waist in the strapless cutout velvet peplum max dress, giving it a slimming and comfortable appearance.

View 2 Images

Helen’s dress is a perfect illustration of how to add a contemporary twist to a classic Hollywood-style glamour, and she kept the rest of her outfit simple so that the dress could shine. Helen also wore what appears to be the Daniel Inrouche Suede Ruched Clutch Bag, which you can’t see where she went with, as well as a statement glittering necklace.

The exact bag retails for £149, and Helen prefers to purchase it in chocolate brown or black leather. There are also some slightly more affordable options to shop if you want to copy Helen’s style on a smaller budget.

The Sarifa Black Velvet Strapless Corset Midi Dress with Ruffle Peplum, priced at £150, features a fitted bodice, sweetheart neckline, and peplum ruffles around the waist, and is comparable to Helen’s Self Portrait dress from Club L. The Club L dress has a midi length, which makes it a little more wearable for events off the red carpet, as opposed to a floor-length hemline.

The ASOS DESIGN Embroidered Bust Cut Out Velvet Maxi Dress, which costs $95, has a slightly more streamlined silhouette that still retains Helen’s style. Although there is no peplum ruffle, the bust has fringe corsage details and cut out details that run the length of the silhouette.

Noel Gallagher is no longer a great songwriter, according to Robbie Williams, for whatever reason.

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Robbie Williams has given a backhanded compliment to Noel Gallagher – saying his songwriting “magic had gone” after the first few Oasis albums.

Robbie and the Oasis brothers Liam and Noel were embroiled in one of the longest ever pop feuds after Noel branded him the “fat dancer from Take That ” and Robbie ended up challenging Liam to a £100,000 prize fight at the 2000 BRIT Awards.

After Definitely Maybe and (What’s The Story) Morning Glory, songwriter Noel has since lost his magic touch for hits, despite recent thawing between the trio. came out .

Robbie said on the Heretics podcast, “It’s very interesting about how, why, and when the magic leaves, and who gets the magic the longest.

“Like Noel Gallagher, right? ” Like the best on earth at the time, a three-year, extremely hot streak. And, you know, B-sides that everyone else would prefer to play on the last day of their lives instead of touring on their own.

“And he completely destroyed them,” he said. It was just gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, The third album was still incredibly impressive, for whatever reason, you can see. That would be wonderful. But then, you’ll know, with respect, because he’s still a fantastic songwriter, magic, and gone.

When did Paul McCartney experience that ethereal quality, the magic, the magic, the magic? He seemed to have it for, you know, the longest period of time. Nobody, in my opinion, can ever be forever stuck in the pocket.

Noel might agree with Robbie’s assertion that only one song from the band’s fifth album, Heathen Chemistry, from the Oasis Live ’25 tour, which came out after 1997 and was included in the setlist, Little By Little, 2002.

Before their massive falling out, Robbie, 51, met Oasis at the 1995 Glastonbury Festival, and despite decades of feuding, he still admits he had a crush on rival Liam rather than form a boy band with Gary Barlow.

He said, “I’m like, I’m this,” when that euphoria of guitar music re-enters into the charts in 1994, 1995, and 1996.”

“I loved Oasis and I loved Pulp, and I loved Supergrass, and I loved Radiohead. I was like, ‘I don’t want to be Gary Barlow’s backing dancer. I want to sing like Tom Yorke and strut around like Liam Gallagher.’ “So I shook my fist at it and attempted it. And on that album, there was Let Me Entertain You and Angels, but there is, like you say, Lazy Days, South of the Border, and Life Through a Lens. Fortunately for me it worked.”

Robbie admits to having a similar writer’s block, and that’s why he tried to tackle it on his upcoming new album BRITPOP in 1995.

He said, “The creative process is this, in my opinion. I perused the first five or six albums, like a pool player reaching for the impossible table. and merely easing. I was completely unrestrained. It was exactly the same as next, next, next, next, next, next, next, next, next, next, next, next, etc.

I then released the album Rude Box in 2006. And that album is the one that I, a 14-year-old, would have wanted to create and be very proud of.

I knew a daft song was coming from me. I’m a rapper now, so I wasn’t sort of going. I was just going, “Wahey, I’m Freddie Starr and I’m rhyming s**t,” when I initially assumed I was grime or something. Simply put, it was enjoyable.

The record kind of skipped at that point. As someone who has a lot of anxiety, for me, in general. After that, I had to consider everything I had done.

Then it kind of resembles diminishing returns. On a roller coaster, you can only go this far before the loop to loop begins. I’ve been overly musical with everything, just sort of.

When I wrote those first five or six albums, there was no fear. And then, I guess I should have said, “Let’s just go back to the beginning with this new album.” It’s 1995, I’ve just left Take That. What album would I create knowing what I already know?

That’s what I did with this album, exactly. And because I have stopped pursuing the hit in general, it is very liberating and liberating.

Noel Gallagher is no longer a great songwriter, according to Robbie Williams, for whatever reason.

View Image

Robbie Williams has given a backhanded compliment to Noel Gallagher – saying his songwriting “magic had gone” after the first few Oasis albums.

Robbie and the Oasis brothers Liam and Noel were embroiled in one of the longest ever pop feuds after Noel branded him the “fat dancer from Take That ” and Robbie ended up challenging Liam to a £100,000 prize fight at the 2000 BRIT Awards.

After Definitely Maybe and (What’s The Story) Morning Glory, songwriter Noel has since lost his magic touch for hits, despite recent thawing between the trio. came out .

Robbie said on the Heretics podcast, “It’s very interesting about how, why, and when the magic leaves, and who gets the magic the longest.

“Like Noel Gallagher, right? ” Like the best on earth at the time, a three-year, extremely hot streak. And, you know, B-sides that everyone else would prefer to play on the last day of their lives instead of touring on their own.

“And he completely destroyed them,” he said. It was just gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, The third album was still incredibly impressive, for whatever reason, you can see. That would be wonderful. But then, you’ll know, with respect, because he’s still a fantastic songwriter, magic, and gone.

When did Paul McCartney experience that ethereal quality, the magic, the magic, the magic? He seemed to have it for, you know, the longest period of time. Nobody, in my opinion, can ever be forever stuck in the pocket.

Noel might agree with Robbie’s assertion that only one song from the band’s fifth album, Heathen Chemistry, from the Oasis Live ’25 tour, which came out after 1997 and was included in the setlist, Little By Little, 2002.

Before their massive falling out, Robbie, 51, met Oasis at the 1995 Glastonbury Festival, and despite decades of feuding, he still admits he had a crush on rival Liam rather than form a boy band with Gary Barlow.

He said, “I’m like, I’m this,” when that euphoria of guitar music re-enters into the charts in 1994, 1995, and 1996.”

“I loved Oasis and I loved Pulp, and I loved Supergrass, and I loved Radiohead. I was like, ‘I don’t want to be Gary Barlow’s backing dancer. I want to sing like Tom Yorke and strut around like Liam Gallagher.’ “So I shook my fist at it and attempted it. And on that album, there was Let Me Entertain You and Angels, but there is, like you say, Lazy Days, South of the Border, and Life Through a Lens. Fortunately for me it worked.”

Robbie admits to having a similar writer’s block, and that’s why he tried to tackle it on his upcoming new album BRITPOP in 1995.

He said, “The creative process is this, in my opinion. I perused the first five or six albums, like a pool player reaching for the impossible table. and merely easing. I was completely unrestrained. It was exactly the same as next, next, next, next, next, next, next, next, next, next, next, next, etc.

I then released the album Rude Box in 2006. And that album is the one that I, a 14-year-old, would have wanted to create and be very proud of.

I knew a daft song was coming from me. I’m a rapper now, so I wasn’t sort of going. I was just going, “Wahey, I’m Freddie Starr and I’m rhyming s**t,” when I initially assumed I was grime or something. Simply put, it was enjoyable.

The record kind of skipped at that point. As someone who has a lot of anxiety, for me, in general. After that, I had to consider everything I had done.

Then it kind of resembles diminishing returns. On a roller coaster, you can only go this far before the loop to loop begins. I’ve been overly musical with everything, just sort of.

When I wrote those first five or six albums, there was no fear. And then, I guess I should have said, “Let’s just go back to the beginning with this new album.” It’s 1995, I’ve just left Take That. What album would I create knowing what I already know?

That’s what I did with this album, exactly. And because I have stopped pursuing the hit in general, it is very liberating and liberating.