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#The Financial Times
achungarchive · 1 year
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Alexa Chung on the unpolished appeal of Indie Sleaze for Financial Times Fashion (2023)
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fashionlandscapeblog · 8 months
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Beauise Ferwerda photographed by Tess Ayano for The Financial Times - HTSI Magazine July 2023
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newestcool · 6 months
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Beauise Ferwerda for The Financial Times July 2023 ''Alaïa's Heir Apparel'' Editor-in-Chief Jo Ellison Photographer Tess Ayano Fashion Editor/Stylist Isabelle Kountoure Makeup Artist Tiziana Raimondo Hair Stylist Takayuki Shibata Newest Cool
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vyorei · 3 months
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Updates from the last half hour, nice to see Barry Andrews spittin facts
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invisibleicewands · 22 days
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Michael Sheen is electrifying in NHS origin story Nye — theatre review
It will be, says Michael Sheen’s Nye Bevan, eyes blazing, as he steps to the front of the National Theatre’s huge Olivier stage, “the most civilised step this country has ever taken”. He’s talking about the National Health Service, about the great, humanitarian principle of a health service free at the point of delivery, about an institution that remains cherished above all others by the British people. And in Tim Price’s epic new play about the Welsh Labour politician Aneurin “Nye” Bevan, he’s speaking across the decades to the present day, when the beleaguered NHS lies on its own sickbed, delivering an account of how and why the health service was born and the radical impulse behind it. A mighty, moving and sometimes messy piece of theatre, it’s really, at heart, a state-of-the-nation play. And like Dear England and Standing at the Sky’s Edge before it, Nye (a co-production with the Wales Millennium Centre) seizes this venue’s great potential as a national public forum to frame critical questions about who we are and who we want to be.
It’s also a drama that picks up Bevan’s audacity and runs with it, shrugging off sober realism for a swirling fantasia. Here Bevan, who as secretary of state for health spearheaded the creation of the NHS in 1948, lies dying in one of his own hospitals, his life swimming before him as he drifts in morphine-inflected dreams. He actually died at home, but that poetic licence is part and parcel of this show’s ethos, which bundles up the political fight to launch the NHS with a private reckoning with conscience. So, as Bevan’s wife, MP Jennie Lee, and life-long friend Archie Lush (Roger Evans) sit by his sickbed, we dart with his troubled mind around key moments that have brought him to this point: a classroom rebellion against a teacher caning the young Nye for stammering; an epiphany in a public library when he realises how a wider vocabulary can help him; buccaneering moments as a union rep for miners; parliamentary showdowns; a key wartime exchange with Churchill that makes the firebrand young politician see the point of political compromise. At the centre of it all is his sense of guilt and impotence at his father’s terrible death from pneumoconiosis, which Price sees as a key psychological factor in his determination to establish healthcare accessible to all.
Director Rufus Norris stages all this with wit and drive, using Vicki Mortimer’s canny set design of sliding hospital curtains to send scenes tumbling over one another as they do in dreams. At one point the screens stack up in rows, like benches in the House of Commons; at another, several hospital beds — and their startled occupants — are tipped on their sides to form the tables for a committee meeting. Like a Greek chorus, an ever-busy cast plays patients, politicians, miners, doctors — and, in one memorably moving scene, a crowd of desperate ordinary people importuning Bevan on behalf of their sick relatives. There are casualties to this approach. There’s a tendency to reach for stereotypes and to push political points that don’t need pushing. There’s also so much going on that we don’t get enough of an up-close study of Bevan the man, or of the critical period when the postwar Labour party heaved the welfare state into being. The play is often at its best when it focuses on personal exchanges, particularly between Nye and Jennie — a remarkable politician in her own right, played here with fiery wit by Sharon Small.
But this is, unashamedly, a play about principle, passion and compassion, driven by a fantastic ensemble and an electrifying performance from Sheen. Even in his pink pyjamas, his Bevan has a stature that throws down a gauntlet to today’s politicians across the river Thames.
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bisexualannaewers · 1 year
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“The Revelations of Cate Blanchett”
Cate Blanchett by Julia Noni for The Financial Times HTSI, November 2022
Styling: Isabelle Kountoure Hair: Sam McKnight Makeup: Mary Greenwell
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celebratingwomen · 10 months
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Emma Watson for The Financial Times
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tweetingukpolitics · 1 year
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youtube
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black-is-no-colour · 1 year
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Maryel Uchida, photographed by Priscillia Saada for How To Spend It February 2023
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justzawe · 2 years
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Maryland receives 4/5 stars from The Financial Times
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https://www.ft.com/content/36bb5952-7939-47f2-96ea-42f598038fd9
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exprmtn · 1 year
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Cara Taylor by James Brodribb for The Financial Times
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achungarchive · 1 year
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Alexa Chung on the unpolished appeal of Indie Sleaze for Financial Times Fashion (2023)
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fashionlandscapeblog · 9 months
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Beauise Ferwerda photographed by Tess Ayano for The Financial Times - HTSI Magazine July 2023
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newestcool · 4 months
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Muna Mahamed & Beauise Ferwerda for The Financial Times July 2023 ''Alaïa's Heir Apparel'' Editor Jo Ellison Photographer Tess Ayano Fashion Editor/Stylist Isabelle Kountoure Makeup Artist Tiziana Raimondo Hair Stylist Takayuki Shibata
Newest Cool
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anastasiachailipliner · 4 months
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inkskinned · 9 months
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at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"
like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.
"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."
... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.
and i'd still keep writing.
i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.
i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley
"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"
and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.
it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.
you create because you're greedy.
#every time someones like ''AI will replace u" im like. u will have to fucking KILL ME#there is no replacement here bc i am not filling a position. i am just writing#and the writing is what i need to be doing#writeblr#this probably doesn't make sense bc its sooo frustrating i rarely speak it the way i want to#edited for the typo wrote it and then was late to a meeting lol#i love u people who mention my typos genuinely bc i don't always catch them!!!! :) it is doing me a genuine favor!!!#my friend says i should tell you ''thank you beta editors'' but i don't know what that means#i made her promise it isn't a wolf fanfiction thing. so if it IS a wolf thing she is DEAD to me (just kidding i love her)#hey PS PS PS ??? if ur reading this thinking what it's saying is ''i am financially capable of losing this'' ur reading it wrong#i write for free. i always have. i have worked 5-7 jobs at once to make ends meet.#i did not grow up with access or money. i did not grow up with connections or like some kind of excuse#i grew up and worked my fucking ASS OFF. and i STILL!!! wrote!!! on the side!!! because i didn't know how not to!!!#i do not write for money!!!! i write because i fuckken NEED TO#i could be in the fucking desert i could be in the fuckken tundra i could be in total darkness#and i would still be writing pretentious angsty poetry about it#im not in any way saying it's a good thing. i'm not in any way implying that they're NOT tryna kill us#i'm saying. you could take away our jobs and we could go hungry and we could suffer#and from that suffering (if i know us) we'd still fuckin make art.#i would LOVE to be able to make money doing this! i never have been able to. but i don't NEED to. i will find a way to make my life work#even if it means being miserable#but i will not give up this thing. for the whole world.
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