Chappell Roan, Sabrina Carpenter and Dave Grohl memorabilia sold at LA wildfire charity auction
Chappell Roan, Sabrina Carpenter and Dave Grohl are among celebrities who have donated memorabilia to help raise money for those affected by the Los Angeles wildfires.
Nearly 80 outfits, instruments and other pieces of popular culture were auctioned off as part of the Give A Frock campaign, which also organised a charity concert at the beginning of the month.
Outfits donated by Roan alone, one of which included a sequined marching band unitard she wore in the music video for her hit single Hot To Go, sold for a total of $117,475 (£92,439).
The polka-dot outfit worn by Carpenter in the music video of Taste and blue velvet mini dress seen in Please Please Please also went under the hammer, fetching $22,225 (£17,000) and $34,925 (£26,000) respectively.
An Epiphone DG-335 Pelham Blue Signature Model electric guitar signed by Foo Fighter's frontman Grohl also sold for $50,800 (£39,000).
Other notable pieces that were up for auction included ear clips worn by Billie Eilish, a custom Gucci tracksuit made for Charli XCX for her Sweat tour, a dress worn by Shirley Manson in the music video for Garbage's I Think I'm Paranoid back in 1998 and personalised Adidas tracksuits worn on stage by the Beastie Boys during their 2004 tour.
All the money raised by the auction will go to charities including One Voice, Altadena Girls, Pasadena Humane and Friends in Deed, which all support those affected by the wildfires back in January.
Huge parts of LA were affected at the beginning of the year as fires ripped through Pacific Palisades, Malibu, Pasadena and Altadena.
The blazes caused an estimated economic loss of $250bn (£197bn) - with real estate losses from the Palisades and Eaton fires predicted to potentially top $30bn (£23bn), according to analysis by the Los Angeles Times.
More than 16,200 structures were destroyed and at least 29 people died.
"We are thrilled with today's wildly successful auction and beyond grateful and overwhelmed by the support of all of the stars, who unified together to give us their most iconic frocks and pieces to rock for a good cause," Martin Nolan, executive director and co-founder of Julien's Auctions, said.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Telegraph
8 hours ago
- Telegraph
Celebrity nudity has gone too far
Am I the only one bored of nipples? From red carpets to album covers, baring it all seems to be all the rage. Over the years hems have gotten shorter, fabrics sheerer and underwear swapped for stick-on patches. At this point, what would really shock on a red carpet is long sleeves and a covered ankle. Sex sells – a story as old as time. So perhaps it's unsurprising how much nudity and sexuality is on display from movie stars and pop singers. But the response to what kind of nakedness is appropriate is interesting. Just a matter of years ago, female sexual nudity was not just condemned by priests and prudes but by feminist preachers, too. Magazines may have stopped publishing Page 3 girls, but now they're covered in semi-nude celebrities, while social media is awash with them. Last week, Sabrina Carpenter covered Rolling Stone naked, long hair covering her modesty, in tandem with a controversial cover for her forthcoming album Man's Best Friend which appears to show her on all fours at a man's feet, like a dog, with his hand pulling her hair. Meanwhile Liz Hurley celebrated her 60th birthday by posting pictures 'in her birthday suit' – as Gwyneth Paltrow did when turning 50. Kanye West's wife, Australian fashion designer Bianca Censori, attended the 2025 Grammys wearing a completely see-through mini dress without any underwear at all. This year the Cannes Film Festival went as far as to ban the 'naked dress' from the red carpet for 'decency reasons', in reaction to the number of celebrities attending the festival in little more than a g-string and some taffeta, with their breasts fully exposed. Women such as Rose MacGowan have called this kind of dressing an act of 'empowerment', while Carpenter supporters have praised her for 'subverting the male gaze' by reflecting it so brazenly. But are these powerful feminist statements or have we lost all sense of public decency? What's more, when it comes to celebrity nudity, the double standards are glaring. Who doesn't remember the picture of Kim Kardashian's bottom balancing a glass of champagne for a Paper Magazine cover that reportedly 'broke the internet'? What was so shocking about that episode wasn't that we were gazing at yet another picture of one of the Kardashians' backsides, but the fact that Labour MP and queen of the feminist morality police, Harriet Harman, praised it on breakfast television. In an interview with Good Morning Britain, Harman said the Kardashian women possess 'a kind of bravery and a pioneering… spirit to them'. But what about all those years of arguing that sexualised women should be banned from the shelves of corner shops and that the pornification of women was a disgrace worthy of legal action? In her argument, Harman seemed to suggest that Page 3 girls, in their working-class ignorance, had no idea what they were doing or why they were doing it. But the Kardashians, one of the world's richest celebrity families, 'are in control of their own agenda'. The middle-class war on working-class women's bodies was yet again evidenced in 2018, when 'walk-on girls' Charlotte Wood and Daniella Allfree were axed by darts bosses after pressure to end the 'sexist' practice of glamorous women at events. In a now infamous episode of This Morning, feminist writer Sally Howard told Allfree and Wood that they were 'demeaning' to women, and should be prevented from glamour modelling for the feminist cause. Perhaps the flak she got for her condescending nonsense hurt enough to make her think twice, but a cursory google shows that Howard has yet to comment on any of the other public appearances of sexualised women. The message is clear: some boobs are 'demeaning', and some are 'empowering'. These days, the darts girls look demure in comparison to what goes on. Tight dresses and high heels were about as racy as they got – in comparison to female celebrities today who seem to be allergic to bras and knickers. The fashion world might have been unsettled when organisers at the Cannes film festival banned the 'naked' dress, but perhaps punters were simply sick of seeing Bella Hadid's nipples? A celebration of female sexuality is one thing – Marilyn Monroe was a beautiful woman who knew how to dress to impress. But there is something a little bleak about seeing image after image of half-starved models with their nether regions on show. Despite it all screaming sex, none of it seems very sexy. Perhaps the best example of this de-sexing of nudity is Censori. Her nude stunts – seemingly controlled by an increasingly unhinged West – aren't shocking because she is in her birthday suit, but because she looks so pained while doing it. There is no fun or celebration to this sexualisation. In fact, some have raised suspicions about how consensual it all is. But while Censori might be the extreme end of the nudity wars, she represents the hollowing out of sex in the public eye. All these barely-there women seem bored with their own nudity. The problem with this 'nudity as empowerment' narrative is that it gets murky very quickly. The other week, Sydney Sweeney went viral for her Dr Squatch soap, which, the male grooming brand claimed, contained droplets of Sweeney's actual used bathwater. The savvy campaign capitalised, with winking irony, their Sweeney ad from the previous year, which saw the star lying in a foaming bath tub, telling 'dirty little boys' to clean up. The comments section was full of, among other things, men requesting Sweeney's bathwater, while many women criticised her for encouraging male objectification. The week the new ad dropped, Sweeney spoke to the Sunday Times about sometimes struggling to be taken seriously in the boardroom and behind-the-scenes of her production company – particularly by other women. 'A woman's body is beyond empowering and beautiful and sexy and all the things,' she said. 'And I think that one day I will be able to have control of the narrative of my body. I'll take the power.' Is it really so anti-feminist to suggest she would have more luck being taken seriously in the boardroom if she didn't sell her used bathwater to horny young men? I've never been a fan of telling women to cover up. While I might dislike most of her politics, I rallied to Angela Rayner's defence when the Right went into meltdown over her legs being on show during Prime Minister's Questions. Telling women what to wear is never a good idea – from conservatives with their knickers in a twist to finger-wagging feminists. But we should ask ourselves, are we having a good time with all this nudity? Sabrina Carpenter's album cover might be a two-fingered salute to decorum, but is it radical if we had already lost it years ago? If there are no more nipples left to free, perhaps it might be more shocking to start tucking them away.
The Guardian
12 hours ago
- The Guardian
When did ‘feminist critique' of celebrities become nothing more than a snide telling-off?
Sabrina Carpenter was accused of dragging women back into an unenlightened past last week, as the controversial cover for her new album was met with (apparently) feminist furore. It's ironic, then, that the past is precisely where Carpenter's most outspoken critics could do with looking. It's clear that the general consensus is lurching grimly to the right when it comes to gender, and a new generation of young, female critics should be wary of falling into step. The debate about how we look at women, and what they want, risks limply missing the point. In the past few weeks, Sydney Sweeney has been chastised for selling sexy soap, and Addison Rae scolded for dancing in her underwear on stage. It's odd that the backlash has been so immense, given the celebration of Halina Reijn's Babygirl film just a few months ago. The SheEO Nicole Kidman slurping milk out of a saucer? Hot. Sweeney's dirty bathwater? Degrading and vapid. Seemingly, Kidman's age made the former radically feminist, and by extension, permissible in the eyes of the kink police. It is relevant that these debates now take place on online platforms. At their best, these spaces could provide a rare forum for popular culture to be taken seriously. From uses of the 'sexy virgin' trope to golden-age glam fantasies of whiteness, to the transformative influence of a queer audience, there are so many interesting things to say about women such as Carpenter, Sweeney and Rae, and how we are encouraged to read them. Instead, the conversation is dictated by sexist algorithms, financially rewarding those with the most extreme views. Liberation no longer brings clicks, and so to open TikTok is to fall headfirst into a sea of diatribes so puritanical they'd bring a tear to Oliver Cromwell's eye. None of this is to say that to criticise the pop girlies is blasphemy, but vitriolic chastisement is no substitute for meaningful critique. One TikTok user, priding herself on inspiring tellings of 'Herstory', asserts: 'Sabrina knows nothing … [she is] a disgrace to every woman that has ever lived.' Oddly, accounts like this have a fetishistic preference for girlbosses centuries dead, happy to build a brand around celebrating 'first' women (authors, chemists, queens, you name it), while throwing abuse at those making headlines today. If only, the inference usually seems to be, young women such as Carpenter could be as good at feminism as Jane Austen or Anne Boleyn. In fact, the real lessons are to be learned from histories a little more recent. These critiques seem largely ignorant of the 'sex wars' of the 1970s, which saw militant feminists such as Andrea Dworkin argue that whatever the context, pornographic imagery was hateful, exploitative and male. Against her were sex-positive feminists such as Angela Carter, attempting to think generously and with complexity about desire and domination in women's lives. If anyone could be bothered to dig it out, Carter's 1978 book The Sadeian Woman might turn the argument about Carpenter on its head. There, she historicises the 'good bad girl', 'blonde, buxom' with a 'childlike charm', suggesting the impossibility of writing about power and sex without writing about capitalism too. For Carter, pornographic imagery, playing on domination and subordination, wasn't to be straightforwardly judged or disregarded, but might instead be seen as 'a critique of current relations'. For all that the sex wars were aggressively fought, they were also full of rich argument, breadth and a long-lost awareness of economic forces. One thing Dworkin did get right was pornography's grim realities when constrained to a ruthless commercial sphere. When it comes to the multibillion-pound porn industry and the world of pop, those with the real power, much like the anonymous, suited man on the cover of Carpenter's album, rarely appear in frame. It's ironic, then, that in January, no less than the record producer Pete Waterman singled out Carpenter as a small blond symbol of sexism. She was, he claimed, setting women's rights back years, adding: 'If you're asking to be respected, don't come on in a G-string.' I'm not sure Carpenter needs to beg for respect from those cooped up in the retirement home for pop producers presumably still profiting from Kylie's hotpants, but those comments serve to remind us that little has changed when it comes to raking in the cash. That latter-day Pete Watermans are still those benefiting, in this case from charged debates about violence against women, is what socialist-feminists would have been pointing out decades ago, and precisely what we should be talking about today. If images of sexual subordination make some feminists uncomfortable, we should talk about that too. Instead, we're reverting to ironically paternalistic tellings off. Of course, it should come as little surprise to find the parameters of feminine sexuality being policed under the patronising pretence of concern for women's safety. It's precisely this logic that has been weaponised against transgender women for years. The result? A feminism that packs women into smaller and smaller boxes with every convenient transgression that comes along. We might ask questions about the unhappy marriage of capitalism and kink, but suggesting that women who want to experiment consensually with images of domination should in some way take the blame for male violence is dangerous, distracting and ignorant of history. Decades of work (against, for instance, the so-called 'rough sex defence') have been spent protecting women's right to express themselves sexually without fear of harm – it isn't 'choice feminism' to try to hold that ground. 'I can't escape your history,' sings Carpenter on a 2022 track. If only those attacking her felt the same way about the feminism they invoke, they might see what's really going on here. It's not so much a return to sexy pop that is restricting women as the censorious criticisms that pop's profit-driven branding seems perfectly calculated to provoke. Jennifer Jasmine White is a writer and academic
Metro
a day ago
- Metro
Sabrina Carpenter breaks British icon's album chart record amid controversy
Sabrina Carpenter has left a forever mark on the UK charts, breaking the record for the longest consecutive streak in the top five album chart. Her hit album, Short N' Sweet, has now spent a massive 43 consecutive weeks at the top, according to the Official Charts Company. The 26-year-old singer's achievement officially topples Ed Sheeran from the top spot. Sheeran's 2021 album, =, had a record-setting 42-week stay in the top five, a claim which he managed to hold onto until Sabrina's album came along. Oasis have stormed back into the UK albums chart, climbing to number two with their greatest hits collection Time Flies… 1994–2009, as anticipation builds for their upcoming Oasis Live '25 reunion tour. The Britpop icons, who disbanded in 2009, officially confirmed their return in August 2024. The long-awaited tour kicks off in Cardiff this July, with major shows lined up in Manchester, London, Edinburgh, and Dublin. Topping the UK albums chart for the first time this week is musician James Marriott, whose debut album Don't Tell The Dog takes the number one spot. The news comes just days after Sabrina revealed the cover for her upcoming album Man's Best Friend, which sparked enormous backlash. The image, which depicts Carpenter on her knees, in a short black dress and heels, holding the leg of a suited man as he yanks her hair, is shocking many fans. On Instagram, @edersoaresx wrote, 'Lol this cover art is so disgusting. As a fan I don't like it :(.' Reddit user Potential-Friend-133 said, 'The first image is very triggering for me. I hate this. A LOT.' More Trending Others have argued that the album cover is satirical or even a moment of political commentary. On the singles chart, Alex Warren reclaims the top spot with Ordinary landing at number one, followed by Sabrina Carpenter's latest hit Manchild in second place. Ravyn Lenae's Love Me Not holds steady at number three, while Chappell Roan's Pink Pony Club remains firmly at number four. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: Sabrina Carpenter warns fans won't be happy with new concert rule she's considering MORE: Sabrina Carpenter hits back at criticism of racy album cover with sassy remark MORE: Ed Sheeran's copyright lawsuit might actually be over after a decade
