Aussies rushing to buy $99 Uniqlo jacket as an affordable dupe to designer Barbour coat
Don't get me wrong, I love designer brands as much as the next person.
But instead of splashing cash, I'm busy hunting down the best dupes, made from high-quality materials that will last for seasons to come.
That's when I discovered the Utility Short Blouson, buried deep into the men's section of Uniqlo, that looked incredibly similar to the best-selling jackets at British Heritage brand Barbour (minus the hefty price tags).
Known for countryside wax coats loved by the royal family, Barbour's signature shapes have grown in popularity, especially as we head into the colder months, with hundreds of shoppers adding the recognisible collared jacket back into their wardrobe.
Rather that forking out a few hundred dollars for the real deal, the similar Uniqlo style ticks all the boxes, without the triple digits.
Complete with a corduroy collar, cuff details, multiple pockets and a checked lining, the Utility jacket comes in three different colours; black, brown or olive, and is the perfect length and shape to wear with a pair of jeans.
The jacket has now gone viral on TikTok, with shoppers showcasing the endless way to wear it.
So if you're in the market for a versatile jacket to wear from the office to evening drinks, consider it found.
Best fashion deals of the week
Click Frenzy Mayhem may be over, but there's still plenty of sales to shop across our favourite fashion brands, and we've been keeping an eye out for the best deals to shop.
From May 21, New Balance is hosting an epic end of year sale with up to 40 per cent off select styles across its lifestyle and performance collections, making it the perfect opportunity to stock up on active essentials.
Those on the hunt for a designer pair of sunnies without the hefty price tag, Sunglass Hut are offering up to 50 per cent off selected sunglasses, across popular brands like RayBan. Simply head into store between May 22 - June 17 to score a steal.
The Iconic -
The Outnet - Up to 65 per cent off Ganni.
Uniqlo -
Sportscraft - 25 per cent off jackets, denim and pants.
Saba - 25 per cent off coats, jackets and knits.
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Garland was quite prescient with last year's Civil War, a film he wrote and directed, with a message that felt just a few weeks ago, as citizens of Los Angeles had the National Guard called on them by their President, like it was a crystal ball into a likely future. In their first zombie film, England has been ground zero for an infection called Rage, passed on by bodily fluids - a sneeze, the saliva of a bite, a drop of blood - that turns its victims almost immediately into fast-moving killing machines that aren't zombies so much as carriers of an aggressive human form of distemper. We learn as the film opens that the rest of the world has written England off to keep the infection under control, the entire island a quarantine zone that no remaining human is allowed to leave, which is fairly Brexit-coded. Twelve-year-old Spike (Alfie Williams) lives with dad Jamie (Aaron Taylor-Johnson), grandfather Sam (Christopher Fulford) and ma Isla (Jodie Comer) in a community of survivalists thriving on an island just off the Scottish coast. Jamie is taking his son for one of the community's rites of passage, a hunting trip to mainland Scotland to make his first kill of the infected, which in 28 years have evolved into two species, one a slow slug-like eater of worms, and one athletic and sentient. Isla is bedridden by a mystery ailment that has her rambling and feels like it might scarily turn into the Rage virus at any moment, and full of his own success at having survived his mainland killing trip, Spike takes his mother with him back to the mainland on the trail of a rumoured doctor who might heal her. They find this doctor, Kelson (Ralph Fiennes), but he has tragic observations to share about Isla, but also about the evolving nature of the infected. Like Garland did with his Civil War screenplay, there's been some dramatic upheavals in real-life that allow him to make some keen observations about us as a society with this script, knowing his audience have already survived their own infectious pandemic. He must have had a bunch of insights to share, because 28 Years Later is actually the first in a planned trilogy, the final instalment filmed back-to-back with this film and due out in cinemas just after Christmas. The performances are very strong and sometimes against type, like Jodie Comer's non-action film tragic figure, or Aaron Taylor-Johnson's very action-film approach. Danny Boyle and his crew do some fairly amazing technical work, including filming with an array of iPhones that give gorgeous crisp visuals and are carried in a lightweight frame specially designed to allow cinematographer Anthony Dod Mantle to follow his cast into tight spaces or up ladders and hills at a matching speed. It really amps up the film's pull-your-legs-up-onto-the-seat-with-you terror. Danny Boyle is back at the helm, not quite 28 years later, for the second sequel to his brilliant 2002 zombie movie 28 Days Later, a film that breathed new life into that particular horror genre. Here he delivers a film experience that feels just as fresh as the first. In fact, this film feels closer in tone to Boyle's breakout hit film Trainspotting, in terms of pace, of editing, of music use, of grimy visual spectacle. Boyle's original film's stars are nowhere to be seen, but there are visual touches that throw us back, and I felt nostalgic at a character stepping over a derelict billboard for the British soft drink Tango. Both Boyle and his screenwriter collaborator Alex Garland are at the top of their game, all these years later, with Boyle's mantlepiece home to a best director Oscar for Slumdog Millionaire. Garland was quite prescient with last year's Civil War, a film he wrote and directed, with a message that felt just a few weeks ago, as citizens of Los Angeles had the National Guard called on them by their President, like it was a crystal ball into a likely future. In their first zombie film, England has been ground zero for an infection called Rage, passed on by bodily fluids - a sneeze, the saliva of a bite, a drop of blood - that turns its victims almost immediately into fast-moving killing machines that aren't zombies so much as carriers of an aggressive human form of distemper. We learn as the film opens that the rest of the world has written England off to keep the infection under control, the entire island a quarantine zone that no remaining human is allowed to leave, which is fairly Brexit-coded. Twelve-year-old Spike (Alfie Williams) lives with dad Jamie (Aaron Taylor-Johnson), grandfather Sam (Christopher Fulford) and ma Isla (Jodie Comer) in a community of survivalists thriving on an island just off the Scottish coast. Jamie is taking his son for one of the community's rites of passage, a hunting trip to mainland Scotland to make his first kill of the infected, which in 28 years have evolved into two species, one a slow slug-like eater of worms, and one athletic and sentient. Isla is bedridden by a mystery ailment that has her rambling and feels like it might scarily turn into the Rage virus at any moment, and full of his own success at having survived his mainland killing trip, Spike takes his mother with him back to the mainland on the trail of a rumoured doctor who might heal her. They find this doctor, Kelson (Ralph Fiennes), but he has tragic observations to share about Isla, but also about the evolving nature of the infected. Like Garland did with his Civil War screenplay, there's been some dramatic upheavals in real-life that allow him to make some keen observations about us as a society with this script, knowing his audience have already survived their own infectious pandemic. He must have had a bunch of insights to share, because 28 Years Later is actually the first in a planned trilogy, the final instalment filmed back-to-back with this film and due out in cinemas just after Christmas. The performances are very strong and sometimes against type, like Jodie Comer's non-action film tragic figure, or Aaron Taylor-Johnson's very action-film approach. Danny Boyle and his crew do some fairly amazing technical work, including filming with an array of iPhones that give gorgeous crisp visuals and are carried in a lightweight frame specially designed to allow cinematographer Anthony Dod Mantle to follow his cast into tight spaces or up ladders and hills at a matching speed. It really amps up the film's pull-your-legs-up-onto-the-seat-with-you terror.
