#Star Bazaar UK

[michaleideas]

Shop the Best Indian & Asian Groceries Online in the UK at Star Bazaar

Introduction to Star Bazaar: Your Go-To Online Grocery Store

Looking for an online grocery store that brings authentic Indian groceries and Asian groceries straight to your door? Look no further than Star Bazaar – the leading online grocery store in the UK. Whether you’re craving familiar flavors from home or exploring new tastes, we offer a wide selection of groceries, spices, and essential ingredients to enhance your cooking experience.

Why Choose Star Bazaar for Your Online Grocery Shopping in the UK?

At Star Bazaar, we offer more than just an online grocery shopping experience – we bring a wide variety of premium Indian groceries online and Asian grocery essentials to cater to all your culinary needs. Here’s why you should choose us:

1. Wide Range of Indian & Asian Groceries

We understand the importance of variety when it comes to grocery shopping. That’s why we stock everything from fresh produce to pantry staples like lentils, rice, spices, and organic options. Whether you’re preparing traditional Indian dishes or experimenting with Asian cuisine, Star Bazaar is your go-to online grocery store for all things Indian and Asian.

2. Fresh, High-Quality Products Delivered to Your Door

At Star Bazaar, we source the finest ingredients from trusted suppliers to ensure that you receive only the freshest and highest-quality products. From seasonal fruits and vegetables to dry goods and packaged products, our Indian grocery online UK store guarantees a reliable, quality shopping experience every time.

3. Shop for Groceries Anytime, Anywhere

One of the major benefits of shopping at Star Bazaar is the convenience of online grocery shopping. Forget long queues and crowded aisles. With our online store, you can browse and order your groceries from the comfort of your home, at any time. Simply place your order, and we’ll take care of the rest with fast delivery across the UK.

4. Affordable Prices on Indian & Asian Groceries

Enjoy competitive pricing on your favorite Indian groceries online and Asian food essentials. At Star Bazaar, we believe in offering great value for your money. Whether you’re stocking up on pantry items or shopping for specialty products, you’ll find affordable prices across our entire selection.

5. Free Delivery Across the UK

We offer free delivery on orders over £40 during weekdays and £70 on weekends across the UK. This means you can shop for your favorite Asian and Indian groceries online and get them delivered to your doorstep without any extra cost!

Explore Our Selection of Indian and Asian Groceries Online

When you shop with Star Bazaar, you’ll have access to a vast array of groceries that are perfect for your everyday meals or special celebrations. Here’s a glimpse of what you’ll find:

Indian Grocery Essentials

We offer an extensive collection of Indian pantry staples to make your cooking easier. From rice and lentils to spices and herbs, you’ll find everything you need to make your favorite dishes. We also stock organic options for those who prefer a healthier lifestyle.

Fresh Produce

Get access to the freshest fruits and vegetables, carefully selected for their taste and quality. We deliver fresh, high-quality produce straight to your door, so you can enjoy the best ingredients for your meals.

Asian Cooking Ingredients

If you love Asian cuisine, our online store offers a wide range of Asian grocery essentials. From soy sauce to noodles, spices, and unique ingredients, we’ve got everything to help you recreate authentic dishes in your own kitchen.

Pooja Supplies

We understand that spirituality is important to many of our customers. That’s why we offer a selection of Pooja supplies to make your spiritual practices easy and meaningful. Shop for Pooja flowers and other religious essentials with convenience and ease.

Star Bazaar: Your Trusted Online Grocery Store

With over 10,000+ products and delivery to 70+ cities across the UK, Star Bazaar is a one-stop destination for all your Indian groceries online and Asian groceries. Our website is designed to make your shopping experience smooth and hassle-free.

Whether you’re looking for Indian groceries or Asian pantry essentials, we’ve got you covered. Our customer-focused approach, fast delivery, and vast selection ensure that you’ll find everything you need to complete your grocery shopping in one place.

Order Today and Enjoy Fast Delivery Across the UK!

Ready to experience the convenience of shopping for Indian groceries online and Asian food products? Visit Star Bazaar: https://starbazaar.co.uk/ today, and place your order for fresh, high-quality groceries delivered right to your door!

[jananabananawithnopeel]

The CBS mornings Extended interview and the Harper's Bazaar UK interview from Nicola Coughlan are really getting me feral. Listening to her, talking about her struggles, the things she likes and how she prepare for roles, fills me with joy and admiration.

Her attention to details and her need to go through the characters she plays in an almost macro level is inspiring.

She is so passionate about her work and the people she works with ! I watched a lot of interview from her and it's baffling how nice and kind she is. She is always talking about someone else, praising their work, congratulating them, hyping and pushing them up. And it's not only co-stars, it's people she admires, it's crew member, it's the people fitting her, it's the way she talks to her fans when she meet them and acknowledging the ones from the internet (and the content they create).

Always very gracious and funny. And witty. A storyteller too. People seem so much at ease and relaxed around her. I wait to see an interview where I don't see a smile from her or the person in front (or beside her).

She is also incredibly talented ! (Big Mood is a fucking huge slap on the face. Try it if you can.) And a fashion icon.

It's refreshing and stimulating to see someone being so proud about themselves and their work unapologetically.

She has me in a chokehold so powerful it's ridiculous. The way she stands, how confidence and comfortable with herself. How utterly beautiful she is. It goes way beyond just her pleasing face, her eyes or how she looks. She is just a gorgeous being with a deep mind. She is smart and wise.

I mean just look at her. She is shining !

There is a sense of belonging when I watch her. Maybe it's because she doesn't realise that she is that famous and appreciated but stays down to earth. She feels so real.

The woman is a force of nature. And I aspire to be more like Nicola Coughlan.

[brian-in-finance]

Photo: Oliver Holms / EE BAFTA Film Awards • Charles Finch & Chanel Pre-BAFTA Party • 17 February 2024 / Found on Twitter

Video 📹 from Instagram

Harper’s Bazaar UK • May 2024

FLASH! We join Lon­don’s glit­terati at Chanel and Charles Finch’s an­nual star-stud­ded pre-Baf­tas bash

Dramatic skies poured outside on the eve of the Baftas, but the intimate corners and warming fireplaces of 5 Hertford Street drew in Britain’s best-loved talents and Hollywood stars for the annual Charles Finch and Chanel party. Emily Blunt and Tom Ford kissed hello, before collecting glasses of champagne and going over to greet Gwendoline Christie and Giles Deacon. As the mariachi band played a lively set, Gugu Mbatha-Raw, George MacKay and Minnie Driver chatted together, while Bel Powley and Douglas Booth unwound after a busy day, having first attended a birthday lunch for Powley’s mother, before the Simone Rocha A/W 24 fashion show, declaring with intent: ‘Now we can relax!’

Bob Geldof and Mariella Frostrup linked arms to lead the charge down to dinner, followed by Isla Fisher, who was admiring the interiors. Once everyone was seated, Charles Finch addressed the room: ‘It has been an incredible year for cinema,’ he said, also paying homage to his co-host Chanel and its historic affinity with film – creating haute-couture outfits for productions such as the New Wave Last Year at Marienbad, and countless memorable red-carpet looks. Over lobster salad and poussin, conversation and wine flowed: the nominees Margot Robbie and Greta Gerwig were deep in conversation, and Richard E Grant caught up with his Saltburn director Emerald Fennell. Last year’s winner Emma Mackey was all smiles in anticipation of presenting the Rising Star Award, saying, ‘It’s quite mad, I’ve no idea who will get it, so I hope I don’t mess it up.’ It was almost midnight when guests began to descend on the dancefloor, where the party was only just beginning.

Page 170

60 SECONDS WITH…

CAITRÍONA BALFE

Who would play you in a film of your life?

‘Saoirse Ronan – she would make me very fabulous.’

Your all-time favourite soundtrack

‘Le Mépris. It’s so evocative and takes you somewhere incredible.’

The movie that changed your life

‘Dead Poets Society. It showed me the power of storytelling and solidified the fact that I wanted to be an actor.’

A silver-screen icon you’d like to meet

‘Gena Rowlands is my absolute idol – I’m holding out hope.’

Page 174

Remember… the people I find beautiful are the people who inspire me. I love unusual beauty like Peggy Guggenheim, who had incredible style and taste. Gina Rowlands is also someone I think of as beautiful. I like women like that. I like men like that. It's not all necessarily about the Best Body or the Best Hair. I think it's much more important to do incredible things with your life. — Caitríona Balfe, Cara (magazine), August 2016

[turneradora]

NEW ABOUT RIVALS 💯💯💯💯

New article in the Harper's Bazaar UK, October Issue, to promote "Rivals"!

Amazing photoshoot !

Here is the article of the Harper's Bazaar Uk magazine !!

Thanks to Emma Jones for the written transcription ! 🙏👍🌺

Harpers Bazaar - October 2024

BEST OF ENEMIES

Bazaar recreates the fictional county of Rutshire to meet the cast of Rivals, a new TV adaptation of Jilly Cooper’s racy 1980s blockbuster

As Jilly Cooper’s Rivals leaps rambunctiously to our screens, we meet the cast of the saucy new show

It’s 1986 and, high over the Atlantic, a London-bound Concorde is about to break the sound barrier. Most passengers continue smoking, flicking through magazines and ordering martinis, while the rattling WC door indicates that two are currently joining the mile-high club. Moments later, an unruffled, glamorous couple emerge triumphantly from the loo and the tannoy announces that supersonic speed has been reached: everyone whoops; glasses are clinked; and the thumping chorus of ‘You might as well face it/you’re addicted to love’ is amped up. This is the opening scene of Rivals, the much-anticipated new television adaptation of Jilly Cooper’s bestselling novel, and it’s so unsubtle that, even alone in a dark screening bunker below the streets of Soho, it makes me splutter with laughter. It is also irresistible.

The 1988 book is a classic of the Cooper canon and part of the Rutshire Chronicles, a series based in a fictional Cotswolds county that follows the lives and loves of the affluent elite – an area the team behind its new, and first, on-screen adaptation are well-versed in bringing to life. Produced by A Very English Scandal ’s Dominic Treadwell-Collins and written by Laura Wade, who was behind The Riot Club, Disney+’s eight-part drama is also executivelyproduced by both Cooper and her literary agent Felicity Blunt. It is largely faithful to the novel but, as that has 700 pages and 79 characters listed by name and personality trait in an A-Z at the front, the show necessarily homes in on the central plot lines.

The two main protagonists are Rupert Campbell-Black (played by Alex Hassell), a former Olympic-gold show jumper turned Conservative MP (and, incidentally, the ‘best-looking man in England’); and Declan O’Hara (Aidan Turner), an Irish broadcasting star who leaves the BBC to move to Rutshire with his actress wife Maud and children Taggie, Caitlin and Patrick. Declan’s new employer, Corinium Television, is run by David Tennant’s vile Lord Tony Baddingham and his sidekick Cameron Cook, an American producer he has lured over from New York, depicted by the US native Nafessa Williams. They are joined by a large supporting cast that includes Danny Dyer and Emily Atack.

The titular rivalries are many and varied, primarily centred on the struggle to win the local TV franchise; simultaneously, characters lock horns over love, money, class, pets, politics and property, while presenting chat shows, throwing parties and playing nude tennis. The resulting viewing experience is both a period drama that seems set on another planet and a series exploring themes that still resonate today.

Cooper – who, at 87, is still in full ownership of her signature cloud of coiffed hair, inimitable charisma and a hundred-mile-an hour conversation – loved working on the project. ‘It’s terribly exciting,’ she tells me, with an amazed shake of the head. ‘Other books of mine have been televised and it was awful – but with this, we took casting very seriously and I can’t fault any of them.’

During a break on Bazaar ’s shoot, Turner tells me how Cooper gave a cocktail party for the cast in her garden, and what a ball they all had filming in the West Country last summer. (The latter is clear: he’s delighted to see his co-stars, including the mongrel Pontie, who plays Gertrude, the O’Hara family dog, and some of her canine colleagues brought along for a day in front of the camera.)

The series appealed to the Poldark star immediately. ‘I thought the scripts were really, really funny – line-wise, I have some crackers,’ he says. Turner’s Declan is a big-hearted if self involved journalist, wrestling to reconcile his bosses’ desire to monetise his charm, his own dream of writing a Yeats documentary and the need to bread-win for his profligate family. Although this push and pull between being commercial and creative, between the professional and the personal, plays out in a larger-than-life fashion, it still somehow feels familiar to a modern viewer. ‘That’s the sign of really good television, isn’t it, when it holds the mirror up to our present,’ says the actor. ‘What have we thrown in the trash? What still needs to change?’

The ways in which prejudices have evolved in the past 40 years are thrown into quite harsh relief in the show. Casting a Black actress to play Cameron Cook, the damaged but resilient hot-shot American producer, gives the series an opportunity to delicately include a glimpse of the regularity of what we’d now recognise as racist micro aggressions. Equally, Cameron’s strength is joyful to witness. ‘Such a spicy, smart character – especially a Black woman, who can carry her own and get her way in the male-dominated world of that time – I wanted to sink my teeth into that,’ Williams says. ‘I also love the glamour: the red lip, the red nails.’ (The cast have embraced the scarlet-stiletto emoji – a replica of the original image on the classic book cover – as their unofficial series motif when posting on social media.)

The changing dynamics between men and women are portrayed with a light touch. Victoria Smurfit read Cooper as a teenager, and has now adored playing Declan’s wife Maud O’Hara – an insecure, attentionseeking former actress, the kind of mother who arrives at her son’s New Year’s Eve 21st-birthday party in the Cotswolds on a camel. ‘There are aspects of Rivals that make you think, “Oh my Lord, can you believe they got away with this back then?”’ the Irish actress says. ‘But in the show, it’s delivered in such a clear, fun, gentle, appalled way that a 2024 audience can digest it very easily.’ When I suggest the series has made more of the women and ensured they have three dimensions, perhaps to modernise the story a little, she makes a good point: that Cooper’s male characters – be it the rakish Rupert Campbell-Black or the angelic Lysander Hawkley of The Man Who Made Husbands Jealous – may seem the most famous because it was mostly women reading the books, and the author had designed her heroes – or antiheroes – to be ‘their perfect man’. ‘But look closely, and the women are not less than the men,’ she says. ‘Essentially, every character wants something they don’t have – usually love and safety – whether from their partners, animals or colleagues. Women in this world are entering the era of “having it all” and are learning to be open about what they want – and, by the same token, we are starting to see a softer side to the men.’

This is embodied perfectly in Bella Maclean’s Taggie O’Hara, the delightful, very dyslexic cook and daughter of Declan and Maud: on screen, she has slightly more twinkle in her eye than in the book – a good decision, as otherwise Taggie could be seen as almost too virtuous to be true to a modern audience. ‘But it’s so nice playing someone with a really strong backbone – it slightly rubs off on you,’ says the actress, who appeared in the latest Sex Education series and has just shone as the lead at the National Theatre’s London Tide. ‘Among all the silliness, the shoulder pads and mad hairdos, there’s always an undercurrent of something thought-provoking,’ she says of the show that could prove to be her career’s turning point. ‘There’s a love story that blossoms out of something really unpleasant. There’s light and shade.’

But the figure with perhaps the most chiaroscuro is Rupert Campbell-Black, Cooper’s number-one character, into whose shoes Alex Hassell is amazed to be stepping. Hassell is a seasoned RSC actor, with turns in The Miniaturist and His Dark Materials, whose theatre company The Factory counts Mark Rylance and Emma Thompson among its patrons. ‘I’m also from Essex, with dark features,’ he points out wryly, in reference to the white-blond locks and blue eyes of his new alter-ego, both of which are oft-alluded to in the books, and about which many young women dreamed in the 1980s and 90s. (Cooper was initially appalled.) ‘Rupert exudes privilege and confidence, so I had to learn a loucheness. It was helpful that everyone was told to treat me as if I was extremely attractive,’ he continues, laughing. ‘When you walk into a room of supporting artists who’ve been briefed to fall over themselves looking at you, smouldering becomes a lot easier. They imbued me with a certain power.’

In the Rivals prequel Riders, there are some pretty unpalatable aspects of Rupert’s personality – particularly the way he treats women and animals – that haven’t aged well. ‘We never explicitly had this conversation, but for my portrayal of Rupert, we’ve kept some parts of that history and taken out others. In our version, there’s a loneliness to him: he is a shit, but he has a kindness.’

However, there are two elements of Cooper’s storytelling to which the show stays steadfastly loyal: the abundance of sex and wordplay. Rupert’s dialogue is riddled with quips – some very clever, some very… Eighties. Hassell’s favourite is delivered just as Rupert is getting down to it, and involves a pun that combines Tories and the clitoris. ‘It was a hard sell,’ he says, laughing.

His character and storyline – which takes Rupert on, dare I say, a journey – are key to the show’s charm, pace, plot and sociopolitical signposting. What would Hassell like viewers to make of the series? ‘I hope people enjoy it, have conversations about the knottier topics it raises, and maybe have sex later,’ he says. ‘I say that jokingly, but – and maybe this is high hopes – perhaps for people who don’t talk to one another that much, as the series goes on, watching it with someone else might allow certain things to come to light.’

Cooper is delighted by this possibility. ‘Well, we’re philanthropists, aren’t we? I keep reading that the birth rate is going down like mad. Putting Rivals on the telly may help,’ she says, with the enthusiasm of a writer who has long had one foot in showbusiness: in her forties, she appeared in her capacity as a celebrity columnist on the BBC game show What’s My Line, and wrote a sitcom about a four-girl flat-share with Joanna Lumley in the lead role.

Revisiting the world she created – and partially lived in herself – 40 years ago has been bittersweet: it made her miss the era (‘it was much more naughty’), but also her late husband (‘there’s a lot of darling Leo and his jokes in the book’). Indeed, what today’s viewers may not clock is the real people Cooper drew on to shape several fictional figures, namely the ‘glamorous aristocratic types who were floating about when I, middle-class Jilly, moved to the country in ’82’. Rupert Campbell-Black, for example, is a patchwork of Andrew Parker Bowles, the late Earl of Suffolk and the fashion designer Rupert Lycett-Green. Her ‘beloved’ Taggie is entirely made up, but the scruffy Lizzie Vereker – a novelist whose husband cheats on her – is, she admits, based on herself: ‘She is nicer than me, though. I love her – that’s terribly narcissistic to say, but I do.’

Like her conversation, Cooper herself still rattles along at a good clip – last year, she released a bonkbuster about football inevitably titled Tackle!; this May, the King presented her with a damehood for services to charity and literature, and she’ll be tapping away at her typewriter on various secret projects right up to the very moment she is dragged out of rural Gloucestershire to the premiere of Rivals.

To all these endeavours, Dame Jilly continues to bring the same philosophies she always has: a disregard for snobbery (like many great minds, she rereads Proust and loves Helen Fielding) and a straightforward goal of contributing to the gaiety of the nation. ‘Maybe one day I’ll write something serious,’ she says. ‘But, at the moment, there’s some terrible sadness and loneliness, isn’t there? So, more than ever, and more than anything, I’d like to cheer people up.’

‘Rivals’ is released on Disney+ in October.

[kellyvela]

Sophie Turner receives the 2024 Harper's Bazaar UK Performer of the Year Award from her HAVEN co-star Archie Madekwe.

[via Harris Reed]

[imsovoguesblog]

The legendary singer wore a @dior couture look for the occasion, specially designed for her by Maria Grazia Chiuri. The white silk georgette gown was fully embroidered with sequins and more than 500 metres of fringing, studded with thousands of silver beads which shimmered under the spotlight.

The dress was precisely made-to-measure for the star with meticulous attention to detail, requiring over a thousand hours of work.

📷; Bazaar UK

[bloodbuzz-ohio]

What set abuse allegations did Rachel Bilson brush off?

Here's a rough timeline... sorry I went maybe deeper into detail than you were expecting

Mischa to E! on May 14, 2021: "[...] sort of general bullying from some of the men on set that kind of felt really shitty. But, you know, I also loved the show and had to build up my own walls and ways of getting around dealing with that and the fame that was thrust specifically at me. Just dealing with like the amount of invasion I was having in my personal life, I just felt very unprotected, I guess is the best way to put it.”

Within I want to say a week or two, Rachel and Melinda are asked about Mischa's interview on their podcast (or Danny Pellegrino's, it really doesn't matter, it was uploaded as part of the show podcast for 106) and they both say they never saw bullying on set. And they both extend an invitation to MB to come on their pod to explain herself? It's maddening.

RB says, trying to be funny, "I mean come on, clearly she was having fun. I mean, this episode she’s just making out with Ben McKenzie. What could be so wrong? And listening to Rooney.”

And because we know now that Ben and Mischa dated during s1, that's extra salt in the wound. Rachel of all people was aware of their saga, even if it was 20 years ago. As if dating someone and listening to live music..... means there was no mistreatment?

So then the show's mysterious entities speak to Page Six on June 2, 2021, probably mad that Mischa's interview is now costing them money because the podcast purports the show experience to be sunshine and rainbows and that Mischa herself was the problem, not them.

Their set source (I repeat, this is a 20 year old show with a random set source talking to Page Six) says, “So now she wants to go say that she was bullied,” the source continued. “It wasn’t that she was bullied. People didn’t appreciate waiting for hours for her to show up.”

The source also added that Barton — who played Marissa Cooper until she exited the series in Season 3 — had a momager who was “annoying.”

“It was a mess,” the source sniffed.

And that's its own POS mess. They also try to throw MB's mother under the bus in the book by saying she...... advocated for her daughter? By working as her manager and being on set? Nuala is on my shit list for a 1000 reasons and none of them are because she was on set advocating for her child/client. They really thought they did something with this Page Six hit job.

But Mischa responded to it with this kickass statement, "There was a lot going on. Whether I was late or not doesn’t excuse certain behavior from individuals in powerful positions. Everyone experiences things differently and where I acknowledge some of my past behavior may not have been helpful in certain instances, I will tell my truth when I feel ready.”

Then on June 11, 2021, Mischa published this op-ed in Harper's Bazaar UK.

There's radio silence on the issue until Adam Brody appears on the podcast for 126 in November 2021 and the pod women tell him (poorly, I may add) about the E interview from May. He says he didn't see any bullying but that he rarely worked with MB. Says he feels good about his own behavior with her. He does say that set is not a protective environment and several other nice things about her that put him in my good books forever.

Then there's true radio silence until Mischa finally agrees to be on the podcast during a weekend fandom convention she attends with Melinda and Tate in August 2022. They film the pod ep in December 2022 and it's posted in January 2023. None of the bullying allegations are discussed.

The allegations are also never mentioned in the celebratory book that is published in November 2023.

MB is asked about on-set bullying on CHD in February this year and in her answer mentions backtalk with some people behind the scenes, and brings up friction with guest stars.

Since then, Mischa has posted photos on IG that Rachel has commented on and Mischa replied to one of them in kind so I'd say things between them are... decent.

[runawaywhorses]

Oppenheimer star Emily Blunt in Harper’s Bazaar UK August 2023 issue.

[fiabex]

Dreamwidth Roundup

Nominations are now closed, and our closing posts are up! We have final clarification posts, and we have the post about tag set clean up!

Mods will be going through the tagset, but we also welcome your input! If you see an issue with tags already in the tagset, please comment on the tagset cleanup post, but if you think that a tag you nominated didn't make it into the tag set, please send that comment to clarification post 4!

More details about the fandoms that are parts of the clarification posts below the cut:

Nominations Clarification Post 3

Nominations Clarification Post 4

Tagset Cleanup

Nominations Clarification post 3:

Fandoms with Queries

+Anima (Manga)

Crossover Fandom

DCU (Comics)

Dimension 20 (Web Series)

Dredge (Video Game)

Dungeons and Dragons (Cartoon)

Elden Ring (Video Game)

Fairy Tail

Gary and His Demons (Cartoon)

Gundam 00

Imperial Radch Series - Ann Leckie

Magic Kaito

Nantucket Trilogy - S.M. Stirling

Original Work

Pocket Monsters | Pokemon (Main Video Game Series)

QSMP | Quackity SMP

Red Dwarf (UK TV)

Ride Kamens (Video Game)

Shadow and Bone (TV)

Star Wars: The Clone Wars (2008) - All Media Types

Transformers Generation One

Westworld (TV)

Xenoblade Chronicles (Video Game)

Xenoblade Chronicles 3 (Video Game)

少年白马醉春风 | Dashing Youth (Live Action TV)

Fandoms with Rejections

A Date With Death (Visual Novel)

Crossover Fandom

Disco Elysium (Video Game)

Dungeons and Dragons (Cartoon)

Earth Girls are Easy (1988)

Exordia - Seth Dickinson

Gothic (1986)

Hazbin Hotel (Cartoon)

Persona 4

Pocket Monsters | Pokemon (Main Video Game Series)

Pokemon Mystery Dungeon

Warframe

방탄소년단 | Bangtan Boys | BTS

人渣反派自救系统 - 墨香铜臭 | The Scum Villain's Self-Saving System - Mòxiāng Tóngxiù

少年白马醉春风 | Dashing Youth (Live Action TV)

Additionally, we have some updates about In-Universe tags and the umbrella tags that reference them (example: "Medium Opt-In: Any - Any Nominated In-Universe Medium")!

Nominations Clarification post 4:

Fandoms with Queries

Barely Lethal (2015)

Batman Beyond

Benjamin January Mysteries - Barbara Hambly

Books of the Raksura - Martha Wells

Chicago Fire

Crossover Fandom

Digimon Adventure Zero Two | Digimon Adventure 02

Doctor Strange (Movies)

Fallen London | Echo Bazaar

Fire & Blood - George R. R. Martin

Harry Potter - J. K. Rowling

In Nomine

Mapp & Lucia Series - E. F. Benson

Monster Prom (Video Games)

Murdoch Mysteries

Original Work

QSMP | Quackity SMP

Sanders Sides (Web Series)

Schmigadoon! (TV)

Stellar Firma (Podcast)

Stellaris (Video Game)

The Ballad of Songbirds and Snakes - Suzanne Collins

Thor (Movies)

What If...? (Cartoon 2021)

僕のヒーローアカデミア | Boku no Hero Academia | My Hero Academia (Manga)

英雄伝説 閃の軌跡 | Sen no Kiseki | The Legend of Heroes: Trails of Cold Steel Series (Video Games)

龍が如く | Ryuu ga Gotoku | Yakuza (Video Games)

Fandoms with Rejections

A Song of Ice and Fire - George R. R. Martin

Biggles Series - W. E. Johns

Chicago Fire

Chicago Med

Children of Time Series - Adrian Tchaikovsky

Compilation of Final Fantasy VII

Crossover Fandom

Digimon Adventure Zero Two | Digimon Adventure 02

Fallen London | Echo Bazaar

Friends at the Table (Podcast)

John Wick (Movies)

Ladyhawke (1985)

Original Work

Stranger Things (TV 2016)

The Expanse Series - James S. A. Corey

The Fall of the House of Usher (TV 2023)

The Long Earth Series - Terry Pratchett & Stephen Baxter

The Saint of Steel - T. Kingfisher

Voltron: Legendary Defender

Welcome to Night Vale

[lcndonboysstuff]

yorgos' bugonia film has started filming

https://www.screendaily.com/news/yorgos-lanthimos-bugonia-starring-emma-stone-begins-filming-in-uk/5195585.article

that harper's bazaar article has been on my mind ever since and i'm still wondering if that part was just a mistake and the writer was just uninformed or was it something that was mentioned when they were interviewing the costume designer? do articles like that don't go through editing and confirmation?

i think they meant jesse and not him tbh. hasn’t it said no one of note is gonna join the cast?

[bookmaven]

FANCIES AND GOODNIGHTS: Tales Unlike Other Tales by John Collier. (New York: Doubleday, 1951) Cover by Margot Tomes.

"Bottle Party" from PRESENTING MOONSHINE (1939)

"De Mortuis" (The New Yorker 1942)

"Evening Primrose" from PRESENTING MOONSHINE (1941)

"Witch's Money" (The New Yorker 1939)

"Are You Too Late or Was I Too Early?" (The New Yorker 1951)

"Fallen Star"

"The Touch of Nutmeg Makes It" (The New Yorker 1941)

"Three Bears Cottage"

"Pictures in the Fire"

"Wet Saturday" (The New Yorker 1938)

"Squirrels Have Bright Eyes" from PRESENTING MOONSHINE (1941)

"Halfway to Hell" from THE DEVIL AND ALL (1934)

"The Lady on the Grey" (The New Yorker 1951)

"Incident on a Lake" (The New Yorker 1941)

"Over Insurance" [… cont’d]

(New York: Bantam, 1953) Cover by Charles Binger. • (New York: Bantam, 1957) Cover uncredited.

"Old Acquaintance" from PRESENTING MOONSHINE (1941)

"The Frog Prince" from PRESENTING MOONSHINE (1941)

"Season of Mists"

"Great Possibilities"

"Without Benefit of Galsworthy" (The New Yorker 1939)

"The Devil, George, and Rosie" from THE DEVIL AND ALL (1934)

"Ah the University" (The New Yorker 1939)

"Back for Christmas" (The New Yorker 1939)

"Another American Tragedy" (The New Yorker 1940)

"Collaboration" from PRESENTING MOONSHINE (1941)

"Midnight Blue" (The New Yorker 1938)

"Gavin O'Leary" [chapbook, 1945]

"If Youth Knew, If Age Could" from PRESENTING MOONSHINE (1941)

"Thus I Refute Beelzy" (Atlantic Monthly 1940)

"Special Delivery" from PRESENTING MOONSHINE (1941)

"Rope Enough" (The New Yorker 1939)

"Little Memento" (The New Yorker 1938)

"Green Thoughts" (Harper's Magazine 1931)

"Romance Lingers Adventure Lives"

"Bird of Prey" from PRESENTING MOONSHINE (1941) [… cont’d]

(New York: Time, 1965) Cover by Seymour Chywast.

"Variation on a Theme" [chapbook 1935]

"Night! Youth! Paris! and the Moon!" (The New Yorker 1938)

"The Steel Cat" from LILIPUT (1941)

"Sleeping Beauty" (Harper’s Bazaar (UK edition) 1938)

"Interpretation of a Dream" (The New Yorker 1951)

"Mary" (Harper’s Bazaar 1939)

"Hell Hath No Fury" from THE DEVIL AND ALL (1934)

"In the Cards"

"The Invisible Dove Dancer of Strathpheen Island" from PRESENTING MOONSHINE (1941)

"The Right Side" from THE DEVIL AND ALL (1934)

"Spring Fever"

"Youth from Vienna"

"Possession of Angela Bradshaw" from THE DEVIL AND ALL (1934)

"Cancel All I Said"

"The Chaser" (The New Yorker 1940)

source

[savage-kult-of-gorthaur]

"PHOTOGRAPHED AGAINST A CANDY PINK BACKGROUND IN A SCALLOP-EDGED POLKA DOT DRESS..."

PIC INFO: Part 1 of 2 -- Spotlight on then teen American actress/model Dakota Fanning photographed by Juergen Teller for the 2011 Marc Jacobs fragrance Oh, Lola!, with notes of raspberry, pear, peony, magnolia, fresh cyclamen, and base notes of vanilla and sandalwood.

Resolution at 1536x2040 & 1440x1806.

OVERVIEW: "Never one to shy away from controversy Marc Jacobs has been stirring things up with this cheeky campaign for new fragrance Oh Lola. Featuring 17-year-old "Twilight" star Dakota Fanning, the shot by Jacobs long-term collaborator Juergen Teller, is a modern day homage to Nabokov's "Lolita."

Photographed against a candy pink background in a scallop-edged polka dot dress, Fanning holds the suggestively placed bottle of scent while staring intently at the camera. And even Jacobs admits the choice of model plays with perceptions of the teen star: I knew she could be seductive yet sweet like the fragrance itself.

With the same vanilla and tonka bean note of its big sister Lola, the little sister edition is lighter with fresh raspberry, frais des bois and pretty peony. And with little sisters like Pippa Middleton, Georgia May Jagger and Dakota's own younger sibling Elle making headlines of their own, Oh Lola! is a surefire winner."

-- HARPER'S BAZAAR, "Oh Lola, Dakota!, The teen-star strikes a pose for Marc Jacobs," by Harper's Bazaar, published June 14, 2011

Sources: https://www.harpersbazaar.com/uk/fashion/fashion-news/news/a5149/oh-lola-dakota, Fashion Magazine, & Vogue.

[confessionsfromthesecondrow]

Notes on “Diversity”.

Following the brutal murder of George Floyd in 2020 – a spark that ignited riots in protest of police brutality and, in turn, the inequality that Black people face on a daily basis – fashion was forced to reckon with its own shortcomings, as an industry that has long neglected people of colour across the board. 

Amid a sea of black squares – allegedly posted in solidarity with Black people, though you’d struggle to find one to corroborate this – brands and publications scrambled to atone, not knowing whether to apologise for the existence of systemic racism or fashion’s part in upholding it (see: here, here, and here). All the while, promises were made for a better, more inclusive future.

Yet, almost three years later, all is quiet on the fashion front with diversity and inclusion seemingly no longer a priority – the industry’s short attention span quickly moving on now it’s no longer en vogue. 

Last June, The British Fashion Council released its ‘Diversity and Inclusion in the Fashion Industry’ report, revealing that only half (51 per cent) of the 100 companies interviewed had implemented D&I initiatives, with even fewer dedicating budget towards those efforts. It’s disappointing, even more so to learn that those hired to implement D&I strategies often leave their roles swiftly as has been the case at Gucci and Nike. 

The report is reflective of fashion’s attitude towards diversity – with mostly white voices echoing familiar platitudes around ‘learning’ and ‘growing’, reluctant in committing to tangible targets. While quantifying representation isn’t necessarily helpful in moving towards genuine diversity and inclusion, fashion’s longstanding ability to champion exclusivity and use ‘taste’ and networking culture as gatekeeping tools warrants numerical evidence to highlight its abysmal efforts. 

Though, even this in itself is a troublesome task as the New York Times found in its own 2021 report on Black representation in fashion, with several European companies citing legislation such as GDPR as an obstruction for gathering and sharing data on their failings. As the BFC found, even after 2020’s demand for diversity, people of colour currently make up only 5 per cent of employees at a direct report level – hindering any growth in representation in leadership roles. 

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Until now, Black creatives have had to go it alone, relying on their excellence to be noticed – shining so bright, it’s impossible to dim. The door, now slightly ajar, has made way for a number of rising stars, more often than not ‘firsts’ in their roles or achieving feats that previously weren’t attainable for people of colour. 

From Gabriella Karefa-Johnson (the first and only Black woman to style a Vogue cover) to Tyler Mitchell (the first Black photographer to shoot a Vogue cover), others include Elle UK’s Kenya Hunt, The Cut’s Lindsay Peoples, Harper’s Bazaar’s Samira Nasr, and Rafael Pavarotti. 

Ib Kamara best exemplifies this calibre of creative – a talent so in-demand, it’s a wonder when he sleeps, juggling roles as Dazed’s editor-in-chief, Off-White’s art and image director, as well as working as a freelance stylist for Chanel, Vogue, and H&M. 

While working twice as hard to get half as far is a familiar mantra for people of colour, the current makeup of the industry sets the bar for them at an almost inhuman level, demanding the very, very best out of them simply to be seen – forgoing the mediocrity sometimes afforded to our white peers. In failing to nurture and recognise talents beyond the brightest and best – i.e. people who were always destined for success on their own volition – brands and publications alike posture as pioneers after simultaneously (read: lazily) box-ticking relevance and representation with such hires. 

Yet in some instances, ‘excellence’ isn’t even enough. Pharrell Williams’ recent appointment as Louis Vuitton’s Men’s creative director – succeeding Virgil Abloh (another first) – came as something of a surprise, quelling speculation that the role might instead go to designers such as Martine Rose, Grace Wales Bonner, or Bianca Saunders. 

The decision makes sense given the evolving role of a creative director today, with Williams likely chosen for his celebrity status and proximity to the community that Abloh fostered during his tenure, but it’s easy to see why it’s a contentious one. Particularly so, in the case of Wales Bonner, the winner of the LVMH Prize in 2016 – receiving not only a grant of €300,000 to support her business, but more importantly, mentoring from LVMH executives. If not to induct a new generation of designers into the fold, what longevity does the LVMH Prize hope to offer its winners? 

Let’s say you’re one of the driven Black creatives who has broken through the proverbial glass ceiling. Surely now, all obstacles limiting your success have been eliminated? 

Apparently not. 

In the past month, Law Roach shocked the industry with a (now-deleted) announcement of his retirement on Instagram. Arguably the leading celebrity stylist at the height of his career – counting Hunter Schafer, Megan Thee Stallion, and Anne Hathaway among his regular clients, as well as solidifying Zendaya as a fashion icon – netizens speculated that the decision was a cry for attention, prompted by a seating mishap at Louis Vuitton’s Autumn/Winter 2023 show. 

Clarifying in an interview with The Cut, the stylist reflected on the industry’s gatekeepers and the hoops he’s still made to jump through 14 years into his career. Even in his candour, it felt as if something was being left unsaid, alluding to the complexity people of colour have in trying to justify the racism they experience to people who will never understand its complexities. 

Similarly, Hood By Air co-founder Shayne Oliver recently opened up for the first time about his experience as Helmut Lang’s guest designer in an interview with 032c’s Brenda Weischer. Reflecting on his celebrated single season following the brand’s revival in 2017, Oliver shared his encounters with the brand’s executives. “It was the biggest show they’ve had in 10 years, and the very next day I get notified that I’m not welcome in the showroom in Paris,” he explained.  

In examining these somewhat inconspicuous decision-makers more closely, it becomes clearer how people of colour in seemingly senior positions can still find their voices unheard. “The collective intelligence that comes from diverse points of view and the richness of different experiences are crucial to the future of our organisation,” asserted Kering chairman and CEO François-Henri Pinault in June 2020 after Emma Watson, Jean Liu, and Tidjane Thiam were announced as new Board members for the conglomerate. Liu has since resigned and Thiam’s contract completes at the end of 2023, bringing the number of people of colour on the Board back down to zero. 

The same is true at LVMH [Louis Vuitton, Christian Dior, Fendi, Givenchy, Stella McCartney, Loewe, Marc Jacobs, Kenzo, Celine, Off-White], OTB [Diesel, DSquared2, Maison Margiela, MM6, Marni], and Puig [Paco Rabanne, Jean Paul Gaultier, Dries Van Noten, Nina Ricci] while Richemont [Azzedine Alaïa, Chloé, Dunhill] and the Prada group [Prada, Miu Miu] have a single person of colour on their boards, both hired after June 2020. As it stands, none of the above brands have people of colour in the role of CEO. 

In 2020, WWD reported on the three Black CEOs in fashion: Virgil Abloh, Jide Zeitlin at Tapestry [Coach, Kate Spade, Stuart Weitzman], and Sean John’s Jeff Tweedy. In the three years since, this number has dropped to zero, following the passing of Abloh, while Zeitlin resigned for a misconduct allegation and Tweedy has left fashion entirely. Interestingly, Chanel is currently the only major house with a person of colour as CEO, after hiring Leena Nair in January 2022. 

As the only voice in the room, people of colour often struggle to bring about the radical change needed for true diversity and representation. As Stella Jean found with Camera Nazionale della Moda Italiana, despite her continued efforts to bring diversity to Milan Fashion Week’s overwhelmingly white schedule, the arduous battle ended with alleged sabotage and a hunger strike. In response, the CNMI argued their efforts were only possible because of “extraordinary fundings, due to the COVID pandemic”, once again highlighting the reticence to dedicate resources towards D&I and the lack of effort without it.  

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2020’s focus on diversity also saw an immediate uptick in Black content – from i-D’s Up + Rising campaign to Hearst’s Black Culture Summit – inviting new writers, photographers, stylists, and more to contribute to titles previously out of reach, though little has changed within most of the teams themselves. 

Currently, there are (at least) 16 fashion publications across the UK and US with all-white editorial mastheads – excluding ‘at large’ roles, which people of colour seem more likely to hold since 2020. Extend this to publications with only a single person of colour, often, but not always in the most junior position, and the figure almost doubles. 

Unsurprisingly on the flip side, publications with people of colour in the editor-in-chief role – in the UK, British Vogue, Dazed, Elle, Perfect, and Wonderland –  translates into more broadly diverse teams inclusive of intersectional identities. 

Meanwhile, POC-led publications like Justsmile and Boy.Brother.Friend are stunted in their growth, with both titles appearing to only receive brand support from Burberry during Riccardo Tisci’s tenure as chief creative officer. Though not exclusively a fashion magazine, gal-dem’s recent announcement that it would be shuttering after eight years further highlights the difficulties in creating and maintaining spaces specifically for people of colour. 

With limited opportunities in-house and all-white mastheads only commissioning Black freelancers for stories that have a proximity to Blackness – though in some cases, not even then – they’re simultaneously pigeonholed while fighting for the same jobs. A friend, who was recently commissioned and ghosted for a Highsnobiety cover opportunity later found out that (at least) two other women of colour were hired for the same story, the two unsuccessful parties only finding out upon publishing. While this can often be part and parcel of the job, it’s hard to ignore the impact it has on people of colour in instances like this when they’re specifically being hired because of their race due to the nature of the story. 

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With the power to bring about change in spaces we rarely occupy out of our hands, it’s up to those in positions of power to go above and beyond in order to rectify previous wrongs. 

Amid 2020’s reckoning, Vogue editor-in-chief Anna Wintour apologised via an internal memo in which she admitted her own shortcomings. “I want to say plainly that I know Vogue has not found enough ways to elevate and give space to Black editors, writers, photographers, designers and other creators,” it read in part. While some speculated that this longstanding oversight would signal the end of her 32-year tenure at the helm of the magazine, six months later she was promoted to become Condé Nast’s global chief content editor. 

If we’re to see Vogue as the industry standard, Wintour’s efforts since should be heavily scrutinised, a sentiment she agrees with. “I will take full responsibility if the next time you and I speak, there isn't a sense that change has come or is being accomplished, or at least it is moving forward,” she explained to the Washington Post’s Robin Givhan. So, what has been accomplished in the three years since then? 

In September 2020, Yashica Olden was hired as Condé Nast’s first global chief diversity and inclusion officer – overseeing a roadmap towards an inclusive future at the group’s various publications [Vogue, Allure, Glamour, GQ, Vanity Fair, etc]. However, a closer look at the three annual Diversity and Inclusion reports for 2020, 2021, and 2022 reveals that the initial marginal growth – +4 per cent total people of colour from 2020-2021 – has since stagnated.

For Black editorial staff specifically, there was an increase of 2 per cent from 2020-2021 with no increase after that, while representation among senior staff has remained the same. In fact, the only constant growth (+5 per cent 2020-2021, +4 per cent 2021-2022) has been for people of colour in the editor-in-chief role, though former Teen Vogue editor (note: not editor-in-chief) Elaine Welteroth shared in her memoir More Than Enough her thorny experiences – alleging her role had different parameters to her white predecessor and that the promotion came with an insulting, non-negotiable pay rise delivered by Wintour herself. 

In Condé Nast’s initial D&I report, a commitment was also made to “support diversity among freelancers and contributors, including photographers”, and while there has been a concerted effort since 2020 to bring in new Black photographers who haven’t previously contributed to the publication – names such as Campbell Addy, Joshua Woods, Myles Loftin, and John Edmonds – Asian photographers are still severely overlooked and for almost all, this has been a one-time opportunity. 

The same is true for the publication’s hallowed cover. Besides Tyler Mitchell – who was the first Black photographer to achieve the honour in Vogue’s 126-year history – the others who have since joined the hall of fame can be counted on a single hand. That goes for stylists too, other than Gabriella Karefa-Johnson who has since become the title’s global contributing fashion editor-at-large. Comparably, Annie Leibovitz has nine additional covers under her belt, five of which feature Black talent – despite ongoing criticisms of her inability to capture their beauty. At the time of publishing, Vogue has released four issues in 2023, none of which have covers photographed by a person of colour. 

In addition to diversifying content, publications have doubled down on their coverage of racism – though it’s difficult to ignore the hypocrisy around the selectiveness of this. While Vogue is not alone, its response to Kanye West’s YZYS9 show best illustrates this. 

Initially commissioning Raven Smith to (rightfully) call out the ‘White Lives Matter’ t-shirts, there were also rumours of a face-to-face interaction with West and Karefa-Johnson – following his tirade against the stylist on Instagram – filmed by Baz Luhrman. Later, Wintour and Vogue officially cut ties with him, following his anti-Semitic comments, though it remains to be seen if he will be given the same grace as John Galliano in years to come. 

Meanwhile, Dolce & Gabbana continues to dodge cancel culture and is still reviewed each season and given prominent real estate space at the publication – its most recent cover in December 2021, worn by Sarah Jessica Parker. A friendly reminder that the brand’s racism isn’t just limited to a questionable campaign which led to the cancellation of its Shanghai show in 2018. There are also racist DMs, ‘Slave’ sandals (2016), posing with partygoers dressed as minstrels at a ‘Disco Africa’ party (2013), and a Spring/Summer 2013 collection filled with Mammy iconography and zero Black models (2012). 

With publications and celebrities continuing to support the brand despite this, the consequences are twofold. For people of colour, it highlights that money will always speak louder than their condemnations. More worryingly, for those who should be fearful of the impact of being ‘cancelled’ – seemingly the only way to police these kinds of transgressions – they can simply avoid accountability by writing a cheque. 

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Now, three years on from 2020’s reckoning, there is an uncomfortable feeling among Black creatives working in fashion that after coming to a shuddering halt, the movement is now regressing – not that you’d be able to tell from your Instagram feed. 

While there is little research specifically investigating this – though Quartz says it’s also regressing – scrolling back through various brands’ and publications’ feeds to find the aforementioned 2020 apologies, there appears to be a blanket of Black faces giving the impression of diversity. It’s a technique often implemented on the runway too. TheFashionSpot stopped publishing its seasonal report, but the Autumn/Winter 2022 shows revealed the smallest increase from the previous season since June 2020 – at only 0.6 per cent. 

As diversity among models appears to regress, the work available for them becomes even more limited too. Levi’s was recently criticised for its use of AI models to create “a more personal and inclusive shopping experience” instead of simply hiring existing people of colour. Meanwhile, ‘digital supermodels’ like Shudu Gram – created by white photographer Cameron-James Wilson – are tapped for advertorials with brands including Ferragamo and Christian Louboutin. 

There’s also something to be said about the way in which Blackness is represented in the imagery we consume. Now, fashion editorials that feature Black models have become homogenised, a combination of brightly coloured backdrops with the saturation dialled up to 100 to highlight their glossy complexion – seemingly taking cue from Rafael Pavarotti. Yet, when there are no discernible differences between images that we perceive as being associated with Black creatives and images that emulate the same aesthetic without including any, we must carefully scrutinise the blind spots that give a false sense of progress. 

For Black people, this disparity becomes harder and harder to ignore post-2020. At the recent Autumn/Winter 2023 shows, Gucci’s interim collection was, for the most part, praised by my peers in attendance who lauded the Ford-Michele mash-up of covetable clothes. Admittedly, they were, but days later all I could think about is the fact that when the design team appeared to take their bow (11:38), everybody was white. In contrast, at Sunnei – presented on the same day, hours later – the collection was modelled by its own team, revealing (at least) 3 Black people working at the brand. 

When I interviewed Serhat Işık and Benjamin A. Huseby about their Trussardi debut for AnOther, they told me that this lack of representation is sadly commonplace. “We had a visit to the headquarters to meet everyone who worked there,” Huseby recalled, “and we didn’t see a Brown person until the end of the day when the cleaners were coming into the building, which is very typical for a lot of fashion houses – especially in Europe.” Their short stint, reportedly because of budget constraints, is a blow both to POC designers hoping to make their mark at a fashion house – “Five years ago, we probably wouldn't have been appointed to this position,” Işık admitted – but also for any people of colour they opened the door for during their tenure. 

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The magnifying lens fashion found itself under in the midst of its reckoning gave me the rare opportunity to directly discuss the lack of diversity at the company I was working for at the time, as well as within the British Fashion Council – a timeline of the latter’s ‘achievements’ since can be viewed here. However, much like the efforts towards the inclusive future that we were promised at the time, the openness towards these conversations seems to have also regressed. 

The discussions I had with other people of colour in the lead up to writing and publishing this essay made two things very clear. First, that very little, if anything, has been achieved in moving the dial forward. Perhaps more worryingly, is that people of colour are hesitant, if not afraid, of speaking up about the continuing impacts of systemic racism within fashion for fear of retribution. If you’re a writer, photographer, stylist, graphic designer, publicist, make-up artist, influencer – it doesn’t matter – the ramifications are as pervasive as ever. 

Despite this, even now I don’t believe the responsibility of forging the path forward should be squarely on the shoulders of people of colour. If any progress is to be made, we need more white advocates who are willing to listen, support, and use their own voices to amplify this issue – especially when there aren’t any people of colour in the room. 

Since 2020, I’ve been repeating the same phrase: ‘Everyone wants to change the world, instead of changing things in their own lane.’ To me this means a few things: What unconscious biases do I have that need investigating? How can I address diversity (or a lack thereof) in my workplace? How can I help amplify the concerns of people of colour? What power do I have to give people of colour (more) opportunities? What opportunities have been offered to me that can be passed on? It’s this line of thinking that has allowed me to investigate and work towards rectifying my own blind spots. 

Throughout, I have specifically focused on the way in which Black people, and more widely people of colour, are impacted, but this could just as easily apply to other marginalised groups – people who are trans or gender non-conforming, working class, or disabled etc. Perhaps even more so, given that the absence of these identities within the industry is rarely highlighted in the same way. 

Though my optimism in 2020 was sadly short-lived, the sooner we improve representation from the top-down, the sooner we can begin dismantling the systemic issues I’ve outlined, which in turn, will help from the bottom-up by removing obstacles that stop people of colour from pursuing careers in fashion in the first place – an issue I investigated for Dazed back in 2017. 

Simply put, if the past three years have taught us anything, it’s that we don’t need more apologies or half-baked promises, we need action. 

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While there is still a long, long way to go, I want to end on a positive note, reflecting on the unique perspective that Black creatives can bring to fashion when they’re given both the means and opportunity to thrive. 

At a time where we’re constantly bombarded with images, Imruh Asha – stylist and Dazed’s fashion director – manages to cut through the noise with work that is joyous, vibrant, and never fails to bring a smile to my face. 

Elsewhere, Lindsay Peoples’ editorial direction for The Cut has transformed an astute platform into one that embodies everything I love about fashion – a balance of playful frivolity and intelligent scrutiny. 

Finally, the lasting impact of Virgil Abloh is as pertinent as ever. Though I only had a single opportunity to interview him before his untimely passing, in the time since, I have come across more and more Black talents who have shared their stories of his kindness, compassion, and ardent support of them and others who look like them. While he is no longer here to guide us, his legacy remains, as well as his proposed roadmap to the diverse, inclusive future that we all deserve. 

In his words: “I am so proud to have a platform that allows me to target, hire, and work with diverse teams of some of the most talented artists and thinkers to fuel every step of the creative process. We cannot reach an equitable future without first looking critically at how our own ecosystems help or hinder that growth.”

[hbcsource]

HELENA BONHAM CARTER'S MINI-INTERVIEW FOR HARPER'S BAZAAR UK, FEBRUARY 2023 ‘I love playing people who are complex,’ says the Bafta-winning actress of her latest role as the soap star Noele Gordon in the ITVX mini-series Nolly. Since making her screen debut at the age of 17, Bonham Carter has given many memorable performances, including as Princess Margaret in The Crown and as Bellatrix Lestrange in the Harry Potter films. A motto you live by ‘I like Mary Oliver’s instructions for living a life – “Pay attention. Be astonished. Tell about it.”’ Self-care is… ‘taking a snooze during the day without the guilt – and with a hot-water bottle.’ What are you looking forward to in 2023? ‘I’m feeling a bit apprehensive about it. As I’m not working on any big jobs at the moment, I’ve resolved to focus on the little things, the domestic stuff. I mustn’t postpone the things that I enjoy.’ A woman who motivates you ‘Julia Samuel.’ The best song to start your day with ‘“Don’t Rain on my Parade”.’

[kellyvela]

So cool that both Sophie and Kit won Woman/Man of the Year!!! I wonder if Kit will attend the event? It's so nice to see Sophie having a friendly relationship with her co-workers Frank and Archie. Although I found it odd that it wasn't Frank presenting the award to Sophie, since it's an award for Joan. And I hope that Kit and Sophie will please us at least a little with the photos

Co-Stars of The Year!!!!!!!!!!

＼(^o^)／

---

We will have to wait and see if Kit attends the award ceremony. It's a 4h 11m flight from Cornwall to London . . . .

---

Yes, I also suspected it was Frank until the first pictures of the awards ceremony started to appear and Archie was there but Frank not, then I remembered that Archie re-posted Sophie's Harper's Bazaar UK Women of the Year cover on Instagram. So it had to be him.

Maybe Frank had other commintments that day, I have no idea really.

---

I wish Harper's Bazaar UK posts Archie & Sophie's full speeches!

[imsovoguesblog]

New Cover Alert

Star of the hit series "Emily In Paris" and other starring roles like "Beef" and "MeanGirls"the musical, Ashley Park graces the Summer Digital Covers of Bazaar UK 2024

📷: Josh Shinner

👗: Rosie Arkell- Palmer