Haircut, weight, clothes, personal appearance … your boss is watching you

How much they sleep, what they weigh and how long your hair is – a survey of Britain's bosses has found that they are monitoring almost all aspects of their own lives, as well as some of the personal habits of their staff.

Researchers asked 1,000 chief executives and managing directors of companies of all sizes what aspects of their home and office life they kept track of. Almost six out of 10 said they kept tabs on their employees' timekeeping and punctuality, while a similar number watched how tidy they were around the workplace. A third (31%) were checking what employees wore to work, and 27% said personal grooming, including hair length, was on their radar. This was watched more carefully by bosses in service sector providers such as retail and catering, but even in farming 14% of heads were monitoring workers' appearance. Hours spent on the internet and cigarette and toilet breaks were tracked by more than one in 10 managers.

The monitoring of staff may be unsurprising, but the survey results also suggested that some bosses are unable to switch off when they get home. Not content with just tracking their outgoings, energy use and budgets – which the majority said they did in one form or other – some said they kept detailed records of their sleeping patterns. Of those questioned, 48 said they kept a written record of how they had slept, while 69 used an app to keep track of their dozing and 46 said they had a spreadsheet of their time under the duvet. Weight and exercise were recorded in a spreadsheet by 81 company heads, while 174 used an app and 143 kept written records.

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Energy firm E.ON which commissioned the research, said more than three-quarters of those questioned were revealed to be "highly engaged personal trackers of workplace performance", while 70% of respondents said tracking behaviour permeated their home lives. More than a third said it was "in their nature" to do so.

Anthony Ainsworth, E.ON's business energy director, said: "Through our research we identified some key character traits when it comes to tracking business data, ranging from the obsessive to the nonchalant.

"We found more than three-quarters of bosses are highly engaged in performance monitoring in their workplaces, either personally or by delegating to others."

Many of those surveyed said they thought their success – both at work and at home – was linked to their ability to stay on top of daily details. More than half said it helped them feel more in control and more than a quarter said they felt calmer as a result.

Professor Cary Cooper, professor of organisational psychology and health at Lancaster University Management School, said he wasn't surprised by the findings. "CEO's do tend to be very concerned about the stress of their job and what impact it will have on their health," he said. "You can understand why they would want to monitor things like how much exercise they've had, what they've eaten."

Cooper said he expected there to have been more monitoring in the workplace since the financial crisis. "A lot of companies are leaner and bosses will be keen to make sure that they've got the right people doing the right jobs. They will also be looking to see 'do they appear stressed', 'are they coping well'."

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The 21 Fashion Mistakes You've Got To Stop Making

Dressing too small, trying to be someone you're not or stepping out with a camel toe, we've all been subject to these fashion blunders at least once and if you haven't, you're lying. Whether you've gone as mad as Miley or have just ventured into experimental dressing, know that's it's OK to make mistakes. It's how you learn from them that really counts. Oh yeah, we got deep.

1. Crocs

"Wow, that's a nice pair of crocs," said no one ever. Point made?

2. Exposed underwear

Where to start on underwear? It doesn't matter if it's a pair of peeking panties or a black bra strap, showing the world your négligée kinda defeats the object of it being underwear. And whilst we're on the subject, clear bra straps... WTF.

3. Showing too much

Assets. We've all got them but that doesn't mean they have to be on full display all of the time. A cleavage that winds up under you chin is going to attract all of the wrong kinds of attention and if you get your legs out as well? More fool you.

4. The VPL

You don't have to be Bridget Jones to have suffered with VPL syndrome. That's a visible panty line if you're wondering. It occurs when one's cheeks are intersected by the tight elastic of one's panties. Big knickers, Spanx, briefs... show them a tight trouser and they are the ultimate enemy. Our advice? Always check out your rear view before leaving the house and invest in a thong. Failing that you can always let your lady garden breathe for the day and go commando. Are you brave enough?

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5. Harem pants

There's nothing sexy about like looking like Aladdin in a nappy. Why oh why do we do it to ourselves?

6. The wrong underwear

Remember when a black bra under a white top was fashionable? Yeah, that never actually happened - we 90s kids just thought it did. Accept it and move on.

7. Style icon obsession

You know when you take a picture of a celebrity's hair into the salon and the stylist is looking at you as if to say, ain't no way I can make you look like that, well the same thing goes for fashion. Don't base your style on someone else, and definitely avoid all style advice from Pharrell. Jees.

8. Ankle swingers

If the boy you're seeing is too small for you when you're in heels do you just carrying on dating him? No. You get a new one. Same rule applies with your trousers. If they're swinging up by your ankles someone will throw something at you. For sure.

9. See through leggings

Oh does that say denier? I thought it said derrière and now you can see my butt. Don’t do it to yourself. And more importantly don’t do it to us because then we have to go through that whole, ‘Do we tell her you can see her bum cheeks or not?' dilemma? Toes. Curling.

10. Wearing your gym kit everywhere

We don’t care how hot your butt looks in your tight yoga pants, lycra is not every day attire. Unless you're Jen Selter.

11. Sweans

What do you get when you combine sweat pants (shudder) with jeans? Sweans. We might have known Miley Cyrus had something to do with this cross breeding garb. Dry your hair with them, dry your dog with them just don't go wearing them.

12. Pulling your trews up too far

This one's a delicate subject and it makes our eyes water just thinking about it. It's the dreaded camel toe. As much as we can vouch for pulling your trousers up to hold in your love handles, it can't be at the expense of your nether regions. In Khloe Kardashian's words CTC: Cover the camel.

13. The curtain print

Every girl loves a floral print but go too fussy and you run the risk of looking like granny's best uphostery. Not a good look. Unless you're auditioning for Mrs Doubtfire 2.

14. Fabric, so much fabric

If there's a sure fire way to get fashion fat it's with folds and folds of fabric. Big Fat Gypsy Wedding eat your heart out.

15. Soggy bottom

Is it just us or has everyone got a pair of jeans that give you a saggy, soggy bottom? Wear them more than once. Soggy bottom. Wash them. Soggy bottom. If only they kept their shape like they said they would... sigh.

16. Monochrome

Ok, so it's not the worst fashion crime to commit but next time you're wearing head to toe black and white just make sure you're not carrying a note pad and a wine glass. Waitress alert.

17. Cut out

Showing a little bit of skin isn't going to make headlines but when cut out becomes cut away that's when you've got serious problems on your hands. Like, grooming your private parts kinda problems. No one wants to see that!

18. Oversized

Sure, Victoria Beckham can pull off the oversized thing but for us mere mortals you run the risk of looking like human tent. Buying clothes that hang off you is just as bad as stuffing yourself into a smaller size.

19. Too small

As hard as it is to stop trying to squeeze into your sentimental favourites, if you have to lie down on the bed to do up your top button, then it's time to move on to an appropriately-sized wardrobe. Sniff sniff.

20. Immobility

That shiny PVC skirt you bought because you saw Kim Kardashian wearing it. Yeah. You can’t walk in it. You need five people to help you sit down, everyone can hear you squeaking down the corridor. And stairs? Don't even think about it.

21. Ill fitting shoes

If they're too big, too small, too painful - here's a clue - don't buy them. It's simple really. But still we'd rather walk round doing this just to keep those boots...

Miss Dior Has You Covered

This week, Dior will inaugurate an exhibition in tribute to the brand’s original, groundbreaking perfume, Miss Dior, at the Grand Palais, in Paris. Launched by Christian Dior in 1947, Miss Dior was named for his beloved sister, Catherine, and its green chypre blend was a bold break from the powdery fragrances of the day—a gambit, like the New Look, that became an instant hit. For the Miss Dior exhibition, the house gave carte blanche to fifteen female designers from all horizons, whose challenge it was to reinterpret the spirit of the fragrance. In an exclusive preview, spoke with Ionna Vautrin, who took the iconic Dior silk glove and spun it into an architectural feat called Gloriette.

You’ve won two Wallpaper awards (in 2009 and 2011), as well as a prize from the City of Paris, for your creations. Is that why Dior reached out to you for this project?

I don’t think it was because of any one piece. I think it was probably more of a whole. My work is rather feminine and maternal, and I’m guessing that that is what brought me to their attention.

How did the collaboration come together?

It all took shape very simply. When I met with Dior, they presented to me the history of Miss Dior and its codes—the bow, the houndstooth, the dresses, et cetera. Gloves, of course, were a part of the story. I was intrigued by the idea of diverting that shape into a more decorative element that evokes an iconic fragrance.

How did you go about creating Gloriette?

That part wasn’t necessarily so simple! I finally came up with the idea of creating a kind of “micro-architecture” that was somewhere between couture and architecture. I found a very silky technical fabric and had it made into thousands of gloves. Gloriette speaks to a lot of the house codes at once: The layers of gloves that make up the roof create a kind of rosette, or flower; it also suggests a tutu or a dress or a fan, but at the same time, there’s also kind of an animal appeal—it could be feathers on a rare bird. In the end, Gloriette is a giant kiosk, a bit like the luxurious Follies Dior designed to present his perfumes, but in an XXL version.

What does it say about the perfume?

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The roof picks up the Miss Dior color codes of black, white, and pink, of course. But what I find even more compelling is that it stimulates the imagination around the creation of perfume: It is something you pass through. You can linger or not, but it is something that you can use and spend time with. Where this fits in with my work is that you can look at it and see many things at once. Lots of different impressions come together whether you are looking at it from the inside—which is like standing under a crinoline—or viewing it from the outside. That said, I am a designer; I don’t consider myself an artist.

For you, what’s the difference between art and design?

The difference for me is that, as a designer, I am in the habit of creating things that should be useful and functional: A chair should be useful every day. I look at design as sitting at the intersection of what is practical and utilitarian—and technical in terms of production—but also sculptural, because an object should spark desire. I think there’s an earthy quality to design. I love telling a story, but I’m not looking to make a political statement. An object’s first purpose is to be functional.

How does design differ from fashion?

For me, fashion is a separate art. It’s a bit like sculpture. When you look at what Christian Dior was doing, it was very sculptural. Creating silhouettes demands know-how, good taste, precision, and sophistication. You have to have a keen sense of detail. It’s really a very special, specific profession. It really demands that you dedicate your life to it, and it’s reinvented constantly.

Did Miss Dior alter anything about how you see design?

This was a chance for me to have a project that was just a little bit zany. I think I am more known for designing small, domestic objects, and Miss Dior allowed me to explore new territory on a few levels. Because the show is designed to travel, it presented a specific set of challenges. Everything has to disassemble and reassemble easily, like Legos. It made me want to explore scenography and micro-architectures.

How familiar were you with Miss Dior before this project?

Obviously, I knew the bottle, because it’s an icon. Beyond that, funnily enough, years ago I got my start working in a design studio that only did perfume bottles! So I knew Miss Dior’s shape, fragrance, and a bit of its history. It’s amusing to have gone from a time in my life when I was designing perfume bottles—not for Dior, mind you—to finding myself on the flip side, telling a story about a perfume through a decorative piece. For me, Miss Dior is a classic, like any other emblematic object. It’s a reference. And there’s also the fact that, in its day, Miss Dior was renegade. It’s the radical side that I find the most touching.

Michael Angel is Fit to Print

After taking a break from the backbreaking seasonal cycle for the past year and a half, Michael Angel is reentering the fashion conversation with a new capsule collection for Moda Operandi, which launches Monday. Known best for his innovative digital prints (that’s right, even before the likes of Mary Katrantzou and Peter Pilotto made photo-realistic patterns a must-have), Angel “felt stuck before taking the break. There was so much digital print around me, and I thought, Am I going to go nuts or am I going to evolve the medium?” he told Style. “I’ve been able to reexamine why I started designing in the first place, and that reason was to showcase my art, or print. Now I can focus on the prints—which can go on anything, not just clothes, really—and be more adventurous with them. I’m finally doing it for myself, the way I want to do it.”

Angel worked closely with Moda Operandi’s director of ready-to-wear, Indre Rockefeller (she also consulted with several other labels that will be rolling out trunk shows on the site later in the week, including Stella Jean, Del Toro, and La Petite Caravane), to get a sense of the M.O. customer. The new prints were inspired by the human-rights movements of the sixties and seventies, so Angel introduced a vibrant tartan check to capture the rebellious spirit, and mashed it up with kaleidoscopic florals, stained-glass windows, and a ruffle motif that had three-dimensional appeal. The patterns are showcased on straightforward silhouettes such as cap-sleeve shift dresses, curve-hugging pencil skirts, and on-trend strapless crop tops. The unexpected standout was a stark white column gown that was actually lined with one of the prints so it had a subtle opacity to it—just a hint of pattern. While the ready-to-wear will sell at a designer price point ($595 to $2,200), Angel is also debuting a line of printed T-shirts and scarves that will go for less than $250.

But what Angel is perhaps most excited about is an animated film he created in collaboration with Emrah Gonulkirmaz (above), who the designer stumbled upon while surfing Vimeo. “I wanted to reintroduce myself and take my medium to the next level. I’ve always wanted to see the prints move, and felt like Emrah really understood my message,” he said. Angel wants to keep exploring different opportunities with his prints, and hinted that he’d love to work with fashion houses on their patterns, and even transition into the fine-art world. “I am really into giant installation pieces. How cool would it be to wrap them in my prints?” With this new chapter in Angel’s career, anything is possible.

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He Wears Short Shorts. . . Introducing the Mofty Boys

Now I have a treat for you. I can’t claim I actually crashed earlier in the year when I stuck my neck out and wrote to you about British men and beards—but let’s put it this way: Surprise, surprise, bearded boys proved to be rather popular with girls. So here’s a sequel. Ever in pursuit of pleasing news from this side of the pond, I bring you an in-depth report on the latest runaway British male trend of summer 2013. Allow me to introduce the Mofty: pretty young London boys who are taking to the streets, clubs and festivals wearing a startling array of pretty shorts (which are getting shorter by the week) with pretty shirts, in all sorts of colorful prints.

Mofty? I don’t know what it means, either (any ideas, please let us know). I have to thank my daughter Maisie for alerting me to the terminology. I’d just come home from a long tube journey one sunny evening and noticed—eyes on stalks —that crowds of boys kept getting on and off wearing slim, knee-length shorts in many colors and patterns: pink, baby blue, yellow, red, striped, polka-dotted. All of them were wearing them nonchalantly rolled up at the hem—a uniform turn-up of about three-quarters of an inch. When a teenager lolloped on wearing a blue denim pair covered in pink chintzy roses and proceeded to canoodle with his girlfriend, well, I had to call my 20-year-old spy in the field the minute I got home.

“Oh yes, Mummy!” she sighed patiently. “We call them Mofties. They’ve all got those haircuts short at the side and long on top? And shirts and T-shirts with, like, little flowers or birds on them? And old-school Air Max Nike trainers in all these bright colors. Some have leopard-spot bits on them too.” And then she texted me a picture of the shorts the boy she shares her flat with had just bought. There he was, resplendent in beige chino-shorts trimmed with pink-and-blue Liberty print turn-ups. “Gosh,” I replied. “And what does Mofty stand for?” “Dunno,” came the response. “It’s just what everyone started calling them after Hideout in Croatia [a festival earlier this summer]. And now they’re starting to wear them shorter and shorter.”

The closest to an explanation I’ve received comes from Jeremy Langmead, editor at Mr Porter, Net-a-Porter’s brother site. “Could it be Man of the Year?” he hazarded. “But I don’t know, either.” These teenagers! A study of Mr Porter’s inventory shows, sure enough, however, that there are quite a few Mofty-looking shorts going on there. Micro-polka dotted ones. A pair prettily decorated with minute embroidered flowers.

Checking around, I hit on the men’s department of the British high street store River Island. Peruse that website and you will see the very definition of Mofty style as it’s been worn by young, skinny boys everywhere here.

I called Andy Grant, River Island’s head of menswear buying. He hadn’t heard the Mofty-word either, but he was sounding like a very happy man, because, sure enough, sales in boy-fashion are soaring over here. “I can’t remember a time when British menswear has been as exciting as this. They love color and prints.” But who started it, Andy, who’s leading it? “I can’t really say it’s coming from any one thing. I think it’s partly Harry Styles and that whole boy-band thing.”

“It started out smart and preppy,” he continued. “But then we noticed boys at festivals this summer starting to wear printed swim-shorts as shorts with all kinds of tight colorful tops. And it’s gone really fast from there.” I clicked over to J.Crew menswear for a Stateside comparison. Sure enough, the home of American young-preppy style is moving along the same vector. Brightly hued, color-blocked, slim-fit shorts are there aplenty, and I notice another key refinement going on: hemline choice—from a knee-grazing eleven inches all the way up to a minishort five.

Well, I’ve learned a lot this week. One thing I should point out is that Mofties in no way intersect with Men with Beards. Mofty boys don’t grow beards because . . . they’re too young and far too pretty. But that doesn’t stop English girls going absolutely wild over them. Can’t you see why?

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The V&A’s Gone Clubbing

“The eighties were about being yourself,” said Kate Bethune when asked about the looks in the Victoria and Albert Museum’s latest show, Club to Catwalk. Open from today, the exhibition explores the explosion of ostentatious creativity that rose out of London’s eighties club scene, and how these underground fashions manifested themselves on the catwalk. Throughout the decade, designers and characters such as John Galliano, Jean Paul Gaultier, Boy George, and the king of the club era—performance artist Leigh Bowery

would create DIY ensembles, dress to the nines, and take on larger-than-life personas in iconic haunts such as Blitz, Kinky Gerlinky, and Taboo. One such character was milliner Stephen Jones, who has two hats featured in the show. “People didn’t really use the word style before 1982,” Jones told Style.com. “But suddenly, your style made it seem as if you were actively concerned about your appearance. It was more personal than fashion,” explained Jones, who described his own nightlife look as “a big dollop of Fellini, hats, French Left Bank, and a little bit of fifties thrown in for good measure.” Naturally, if you weren’t dressed your best, clubs would turn you away at the door. “The Blitz was the most difficult one to get into,” offered Jones. “The guy on the door was Trojan, and he had a little mirror in his pocket, and he’d famously hold it up and say, ‘Would you let you in?’” Jones didn’t have that problem, but sadly none of his own top-to-toe costumes survived. “Our outfits were only made to last one night. They’d sort of dissolve,” he said, adding, “If you wore something from a department store, or designer fashion, it would have been the kiss of death. Terminally uncool.”

High fashion, however, was unquestionably inspired by what was seen on the dance floor. Designers—both those who clubbed and those who didn’t—looked to style tribes of the time like Fetish, Goth, Rave, High Camp, and New Romantics. Vivienne Westwood was a champion and a pioneer of the latter (she has an entire case dedicated to her eighties wares in the show), and John Galliano (who’s Fallen Angel suit is above), Katharine Hamnett, and more wove club styles and sentiments into their collections. “Back in the eighties, John Galliano said that the clubs inspired so many designers, Central Saint Martins’ classrooms would be dead on Thursdays and Fridays because everyone was at home making their outfits for the weekend,” said Bethune.

The exhibition documents the club years via more than eighty-five looks displayed on two floors—one of which is dedicated to the catwalk, the other a re-creation of an actual eighties hot spot. “I hope people get the sense of how fun and liberating and eclectic it was,” said Bethune. “Literally anything went. And you could be a different person every night. You just had to change your dress.

Club to Catwalk is on view at London’s Victoria and Albert Museum through February 16, 2014.