I am resigned to sitting at home, marinating in my own ineptitude, stuffing my face with obscene quantities of black forest gateau and pickled onion monster munch, accompanied by my ever-expanding big fat tub of lard arse, weeping at repeats of The Bachelor, whilst reminiscing over what could have been if only my inside leg measurement wasn’t 36 inches long.
As an adult, I have travelled on only two occasions with friends. Our relationships were built on such solid foundations that when we returned home, we subsequently fell out with one another.
“My former priest told me he doubted my commitment to God because I was ‘too reserved and unenthusiastic’. I serve God, and I do it well but his stupidity was so off-putting that I left the church to channel my faith in other ways; without the judgement.”
A heavily manipulated image which projects an exaggerated sense of reality represents the distinctive signature style of Chinese fashion photographer Chen Man.
The services of Sigmund Freud serves as a fitting space to showcase the work of Louise Bourgeois whose exhibition The Return of the Repressed explores her thirty years of ambivalent attachment to psychoanalysis.
Initially gaining recognition for a collaboration with Dior in 1980, subsequent campaigns for Yves Saint-Laurent and Valentino and covers for Vogue and Vogue Italia have earned Italian photographer Paolo Roversi, a place within fashion’s aristocracy.
The Metropolitan Museum of Arts Costume Institute’s new exhibition focuses on two icons of classic design separated by disparate eras: The late Elsa Schiaparelli, creator of the ‘Tear’ dress and associate of the Surrealist movement, and Muiccia Prada, a politics graduate whose coveted Postmodernist creations are made for women’s brains – not their bodies.