Kylie Kelce is loving Taylor Swift‘s new album, The Life of a Showgirl — even if it is a little TMI when it comes to the podcaster’s brother-in-law, Travis Kelce.

On the latest episode of Not Gonna Lie posted Thursday (Oct. 9), Kylie praised the pop star for dropping a project full of “bangers” before listing her top tracks. “My favorites on the album are definitely ‘Wi$h Li$t,’ ‘Opalite’ and — who are we kidding — ‘Wood,'” she said.

The latter song definitely required a bit of a disclaimer from Kylie, as the buzzy lyrics are full of innuendos about Travis’ — ahem — package. On the track, Swift cheekily sings, “Forgive me, it sounds cocky/ He ‘ah-matized’ me and opened my еyes/ Redwood tree, it ain’t hard to see/ His love was thе key that opened my thighs.”

“Here’s the deal,” the former field hockey player explained. “Do I need that much detail, specifically about my brother-in-law? Probably not. But also, good job, Trav!”

“That’s it! Guys, yes, 1,000%, yes,” she continued. “That’s women supporting women. Proud of you.”

Kylie is just the latest member of the Kelce crew to react to “Wood.” On this week’s New Heights, both Travis and Jason Kelce — who is married to Kylie — shared their thoughts.

“It’s a great song,” the Kansas City Chiefs tight end said on the Wednesday (Oct. 8) episode, playing coy. “I love that girl … any song that she would reference me in that way …”

“It’s not just you,” Jason retorted at the time. “It’s an appendage. It’s a very specific thing.”

But as much as Kylie loves “Wood” and “Opalite” — which she says she’s been “bopping to” with 4-year-old daughter Ellie on the way to school — the social media personality added on Not Gonna Lie that “Wi$h Li$t” is definitely her No. 1. Joking that she relates in particular to the lyric, “Have a couple kids, got the whole block looking like you,” Kylie quipped, “The Kelce genes are strong.”

“The genes are strong, guys, I don’t know what to tell you,” continued Kylie, who shares four young daughters with Jason. “We don’t have a fighting chance. Luckily, they make very cute children. Can confirm.”

Swift’s new album comes as Jason and Kylie are preparing to welcome the 14-time Grammy winner into their family as a sister-in-law. She and Travis got engaged in August, something they announced to the world on Instagram with the caption, “Your English teacher and your gym teacher are getting married.”

But while wedding planning is on the horizon for Swift, she has said that rolling out The Life of a Showgirl is her top focus for now. Her hard work is paying off as well, with the LP selling more than 3.5 million units so far and breaking the record for biggest opening week ever in the modern era.

Watch Kylie share her thoughts on The Life of a Showgirl on Not Gonna Lie above.

Every now and then, a sneaker arrives that refuses to fit neatly into a single category. The Vans Old Skool 36 “Souvenir” is one of them — pulling direct inspiration from Chanel’s cult-classic 2015 On the Pavements Messenger (aka the Graffiti Bag), a rare piece famously worn by rappers Lil Yachty and Central Cee, to create a silhouette that exists at the crossroads of skate culture, streetwear, music, and high fashion.

Born in California’s skate scene, Vans has long been the uniform of rebels, musicians, and those who carve their own paths. Chanel, in contrast, is the epitome of Parisian refinement, structured, polished, and timeless. On paper, they are worlds apart. But in practice? The Souvenir Old Skool proves rebellion and refinement can share the same canvas.

When the bag debuted under Karl Lagerfeld in 2015, it sparked conversation. Paying thousands for a canvas messenger splashed with graffiti, enamel pins, and frayed tweed shocked luxury purists. But that was the point. It blurred the line between street and couture, between authenticity and aspiration. Fast forward ten years, and Vans has reimagined that same ethos through a skate lens, turning a once-divisive luxury statement into something both accessible and subversive.

“The main design inspiration was centered around the idea of traveling — what you’d see while traveling to certain places, what you’d wear while traveling to these destinations, and what you’d take home with you,” says designer Greg Betty. “For this shoe, I wanted to make something that signified the end of a long journey — like a stamped-up passport or a stickered-up Rimowa — but tied to something iconic and undeniable that multiple generations of fashion lovers would get right away. The Chanel On the Pavements Messenger Bag checked multiple boxes.”

The design details make that connection undeniable. The upper features a dirty-dyed, olive-toned canvas that feels lived-in from day one. The classic Vans jazz stripe trades clean leather for frayed, multicolor tweed, a direct nod to Chanel’s signature fabric. Scattered across the upper are enamel pins that flip Chanel’s smiley-face and yin-yang motifs through Vans’ own lens, while leather accents and metal hardware elevate the finish. It’s grungy, glamorous, and grounded all at once.

“Everything about the shoe was considered and custom-made,” Betty explains. “From the colors and thickness of the tweed, to the placement of the distressing and embroidered paint splatter, to the graphic motifs on each pin… It was truly a team effort to make sure the storytelling was felt.”

The result? A sneaker that doesn’t just borrow from Chanel, it converses with it. This is luxury filtered through skate sensibility, where imperfection becomes intentional and wear tells a story. The Souvenir isn’t a souvenir from a single trip, it’s one from decades of culture converging: skaters in Southern California, models in Paris, rappers in London, and musicians in New York all intersecting through design.

And people noticed. The Souvenir Old Skool sold out almost instantly, proving that when streetwear and luxury meet in the middle, the world pays attention. As Betty reflects, “The reception has been extremely overwhelming, beautiful, and affirming. Seeing the interest is amazing, but the discourse and educational moments that have been brought up because of this shoe has been a pleasure to witness. I think more than anything, people loved the intentionality and care behind the design.”

From a wearability standpoint, the sneaker holds up beyond its concept. The materials feel premium — sturdy canvas that softens with wear, tweed that frays with character, and enamel pins that add personality without gimmick. It fits true to size, though wide-footed wearers may prefer a half size up. This attention to quality makes it one of Vans’ most elevated offerings to date.

But what truly sets the Souvenir apart is what it represents. It’s more than a reworked Old Skool, it’s a cultural remix. In a moment where artists like Lil Yachty and Central Cee blur the line between streetwear and high fashion, Vans steps confidently into that same conversation, proving skate culture has always influenced the runway. The Souvenir isn’t chasing luxury, it’s redefining it through authenticity.

So, is it a Flex, Trade or Fade? For me, this one’s a Flex — no question. The storytelling, the craftsmanship, and the symbolism all line up. It’s a sneaker that proves fashion, music, and skate culture aren’t living in separate worlds anymore — they’re sharing the same stage. The Souvenir Old Skool doesn’t just celebrate that connection; it embodies it.

But what do you think? Would you Flex, Trade, or Fade the Vans Old Skool 36 Souvenir?

Taylor Swift’s record-breaking week continues as she bags No. 1 spots on the U.K.’s Official Albums Chart and Official Singles Chart following a gargantuan debut for The Life of a Showgirl (Oct. 10).

Her 12th studio album nets Swift her 14th No. 1 in the U.K. overall, while lead single “The Fate of Ophelia” earns the superstar her fifth U.K. No. 1 single.

The Life of a Showgirl gives Swift her biggest opening week ever in the U.K. with 423,00 units across physicals, streaming and downloads, surpassing 2024’s The Tortured Poets Department. The Official Charts Company reports that The Life of a Showgirl is the biggest opening week for any artist since Ed Sheeran’s 2017 album Divide (672,000) and is the largest opening week for an international album in the U.K. this century.

The LP is also named the U.K.’s fastest-selling album on vinyl this century, and the biggest one-week vinyl sale since modern Official Chart records began in 1994. On streaming, The Life of a Showgirl has notched up the most U.K. album streams over a course of a week ever. Streaming contributed 84,000 stream-equivalent sales to her total this week, eclipsing both Ed Sheeran’s Divide and her own previous studio album The Tortured Poets Department, both of which managed 79,000.

She also extends her lead with the most No. 1s on the U.K. Albums Charts for an international artist, and now ties for second overall with The Rolling Stones (14). The top spot is also currently a tie between The Beatles and Robbie Williams who both have 15 apiece; the latter playfully blamed Swift for the delay of his upcoming album Britpop, which was due to be released this week.

“The Fate of Ophelia” tops the U.K. Singles Charts, with “Elizabeth Taylor” (No. 2) and “Opalite” (No. 3) following closely behind. Swift adds to her existing four U.K. chart-toppers throughout her career: “Look What You Made Me Do” (2017), “Anti-Hero” (2022), “Is It Over Now?” (2023) and “Fortnight” (2024).

Olivia Dean loses her top spot on both charts after The Art of Loving and its single “Man I Need” earned the British star her maiden No. 1s on either chart. The LP falls two places to No. 3, while “Man I Need” closes at No. 4.

Oasis’ (What’s The Story) Morning Glory ends the week at No. 2 on the Albums Chart, and is joined by Sabrina Carpenter’s Man’s Best Friend (No. 4) and James Morrison’s Fight Another Day (No. 5).