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Their struggle is shunned away from the light, a light that shines instead on questions such as where to put the memorial statue, really just because it is so hard to talk about the former. This is an essential watch. ATM is a visual arts festival across Manchester showcasing film and art with the theme of Asia. Directed by the then year-old amateur filmmaker Tsukamoto Shinya, Tetsuo: The Iron Man is both a thrilling and horrifying film. The opening scenes set the tone with visibly suffering people consumed in some kind of metallic hellscape.
It is a vaguely familiar factory setting, but made unfamiliar through unusual camera angles. Throughout the film are recurrent themes of the meshing of man and machine, usually in particularly graphic ways. The special effects are exceedingly realistic and become increasingly torturous as the film progresses. This metallic infection corrupts people to produce something neither man nor machine, but a grotesque amalgamation of the two. The protagonist in one sequence is chased down by a metal-ridden woman in a train station and the unique cinematography is perfect at capturing his sheer fear and desperation.
This is created by shaky handheld tracking, upside-down panning and constant shifting between close-ups and wide shots. Accompanying much of this was an imposing soundtrack composed almost entirely of factory-like sounds. The clanging, scrapes and thrashing of metal provide the ideal backdrop for the disturbing world created. They were, however, challenged to an extreme. In a dream sequence our man is raped by a devilish version of his girlfriend wearing a massive metallic snake, no doubt highlighting his subconscious fears.
In waking, only the next scene, his penis transforms into a giant drill. This is only the first part of his metamorphosis. Throughout the film I felt constantly on edge — quiet scenes are invariably sandwiched between those filled with blood and screams. The acting is certainly horrifying, although at times is quite exaggerated. I felt that all the emotions expressed in this film could be generalised into either anguish, fear or rage. The last third of the film lost some of the thrill with protracted, gore-filled battle scenes between people who just seemed to keep coming back to life.
Tetsuo: The Iron Man was and is a ground-breaking Japanese film, not least for its power to instil a deep sense of unease in the viewer. It remains largely obscure except for fans of the body-horror genre, but I would recommend it to anyone as a disturbing, raw and impressive piece of film.
It is a difficult scene to watch, with shaky camerawork and jarring editing — which, admittedly, was initially lost on me but as it progressed it became clear what effect this was trying to achieve. No detail is spared in the depiction of the shooting — nothing is left to the imagination. Whilst some might say this is unnecessary, I would argue the opposite.
For us to truly confront the barbarity of what happened we must face it in its totality, and see what people can be capable of. After a fast-paced start, 22 July slows down entirely and becomes a slow burn drama of sorts. The rest of the film follows the aftermath, including Vilijar Hanssen Jonas Strand Gravli recovering after multiple surgeries and battling the inner turmoil and trauma of what happened.
We witness with Hanssen the most painful emotions on-screen, in stark contrast to the vacant stares and cold emptiness of Breivik. By the end of the film a solitary, hollow and defeated Breivik is signing papers with his lawyer. Greengrass manages to transcend the absolute misery that Breivik inflicted on an entire nation, and end an incredibly tragic film on a note of optimism and celebration of multiculturalism.
We cannot be complacent with so much on the line, because when it goes wrong it does so in unthinkable ways. Director and writer Paul Greengrass knew how big the margin of error was when creating this film. It could have been a triggering recollection of what happened, giving Anders Behring Breivik hauntingly played by Anders Danielsen Lie the attention he wanted: a platform for his abhorrent political ideology and rabid hatred.
Greengrass skilfully avoids this because 22 July in its entirety concerns so much more than the terrorist attack. He takes the events of a day full of despair, an indictment on humanity and its seemingly endless violence, and by the end makes it hopeful. Greengrass shows us the dichotomy of what it means to be human in this film.
All year long, but this month especially, we want everyone to celebrate Black culture and achievements, and to get educated about Black history. We will also offer safe spaces for students to discuss the issues they face as ethnic minorities in education. Set in a society divided against itself, Milkman explores the insidious forms oppression can take in everyday life. Burns was born in Belfast and lives in East Sussex.
Milkman draws on her experience of living in Northern Ireland during the Troubles. While the context of the Troubles is key to the novel, it is actually set in an unnamed city and filled with unnamed characters. It lost power and atmosphere and turned into a lesser — or perhaps just different — book. The narrative would become heavy and lifeless and refuse to move on until I took them out again. While it is set in the past, Milkman is particularly timely in the era of MeToo as it focuses on a young woman who is sexually harassed by a powerful man.
It is definitely worth it because the view is terrific when you get to the top. Bailey Cornfield reflects on the muriel sparks celebration at the manchester literature festival Last Tuesday, the Manchester Literature Festival welcomed guest speakers Alan Taylor and Jackie Kay to the Martin Harris Centre for Music, to celebrate the life and literature of Scottish author, Muriel Spark. And what a celebration it was — while of course Spark could not be there in person she died in at the age of 88 , Taylor and Kay ensured that she was most certainly there in spirit.
Like many other women writers, Spark had a late breakthrough in her career, publishing her first novel, The Comforters, when she was The book follows writer Caroline Rose who, after a recent conversion to Catholicism, becomes aware that she is a character in a book. And she, along with her boyfriend-turned-detective, Laurence, and his potentially diamond-smuggling grandmother, Louisa, are just some of the wonderfully wacky voices that make this story so wildly original, and terribly funny.
But this is a novel as much about reality as it is about fiction. Prompted by Kay, and later, questions from the intrigued audience, Taylor detailed how he first came to meet Spark when he was invited to her home in Arezzo, Italy, to interview her. This particular anecdote gave an insight into how her writing style reflected her own dry humour and attention to detail.
Taylor described how he become the interviewee when Spark quizzed him about whether his hair was dyed — she claimed that her own flame-red locks were natural. His further anecdotes about her disinterest in domestic life and other relationships, were all met by what became knowing sighs and giggles from an audience who clearly felt that, over the course of the evening, they had managed to chip away a small part of the mystery surrounding the enigmatic author.
I went to the event a little concerned that it would be highbrow and intellectual. She was not just a novelist, but a short story writer, poet and essayist. But instead, it was more like witnessing a nostalgic conversation between friends. Together with her comedy partner Kerry Leigh Leigh , the two were personable and hilarious from start to finish. Bringing a really enjoyable informal and friendly atmosphere to the show.
Held at Gullivers Northern Quarter , the venue was intimate and packed. The audience were constantly immersed in the performances, as the burlesque dancers sashayed past us to the stage. Entering dressed as ironic nuns with balloon breasts , Toots and Leigh had the audience laughing from the start as they stripped to reveal their vampire inspired lingerie.
Toots was sporting a bedazzled strap-on penis on which she kept getting her mic cord caught on and both women were unapologetically messing around on stage with obvious zest and chemistry. Is it something sexually empowering, owned by the performers or another embodiment of a patriarchal society that perpetuates the objectification of women? Theatre in late Victorian Manchester Rosa Uijtewaal looks at the world of 19th century theatrical Manchester Photo: Mikey Flickr Photo: Titters and Tassels Burlesque and Comedy show Millie Dollar was the first act, evoking the glamour of Old Hollywood as she appeared adorned in green feathers and sequins.
She was powerful and mesmerising and showed off her dynamic moves that would have been at home at Notting Hill Carnival. The focus of her devilish performance was the use of a pair of fans trailing black and red fabric. They rippled with expert precision, creating an intense sense of strength and power.
Just when you thought the show had reached its outrageous and entertaining quota, Velma Von Bon Bon entered. Dressed as a skunk, she shimmied past the audience, tickling us with her black and white tail. Theatre and performance played an important part in cultural and social life in Europe throughout the second half of the 19th century.
Theatre was inclusive and accessible to all social classes. In fact, opera houses were the first to open their doors to the general public, allowing in everyone who could afford a ticket. Still, in the midth century going to theatre was still a activity dominated by the aristocracy who considered it to be a social activity. The noise of their chatter quite often overpowered the text or songs of the actors, which infuriated many visitors. The upper-class Mancunians were appalled by the abundance of noisy drunkards, prostitution and riots that often occurred around the theatres.
The labouring class lived close to the city centre and the factories, as opposed to the middle class with their suburbs further away from the city. This moment underlined the brazen display of female sexuality which ran throughout the performance. Toots and Leigh undertook as many costume changes as the burlesque artists, at one point arriving in skeleton leotards paired with trainers, then changing into fluffy dressing gowns.
Her intense sensuality and platinum blonde hair certainly evoked Marilyn Monroe. She finished the act skipping whilst still balancing on the unicycle! The audience was persistently involved in the show - there were birthday shoutouts, pass the pumpkin trick-or-treat games and the constant hilarity of Toots and Leigh.
This show made us fall in love with the combination of burlesque and its comedic hosts. In Victorian Manchester, theatre got more and more affordable for the labouring and middle class. Theatres and music halls sprung up around Peter and Oxford Street after , such as the St. James Theatre in and the Alexandra Music Hall in , the latter created out of an old chapel. These new theatres compared to the 18th century buildings were commercial and built for large audiences, entering the age of popular culture.
The proposed plan to build the new Manchester Palace of Varieties in now Palace Theatre led to a heated debate in the newspapers about morality, as it was viewed by some as a threat to decency and the moral welfare of citizens. Theatre became increasingly a way of transferring political ideas — a role that would soon be partly overtaken by film, which created the need for theatre to re-invent itself.
Making art that actually reaches people is to say something that people listen to. For the women on the panel, art in the context of the Syrian revolution was a way for Syrians to speak up, especially women, against an oppressive regime. Graphic designer and curator, Sana Yazigi, of creativememory. Being represented like this was hugely important. If you venture onto creativememory. Though the weapon is lit, underneath we can see roots growing from it.
Upon watching her film during the panel, which focused on deaf Syrian story-telling, it was clear that Al-Naib was established in her own right. Al-Naib explained that anything from the red water representing blood in the fountain in Damascus to the viral image of an old woman holding up a sign stating she still hoped for the life of her son was art.
It was clear, listening to the voices in the room who introduced themselves and stated where they were from, that the talk had attracted many Syrian women. Both old and young, university students and mothers, they were all here in Manchester, and eager to share their own personal revolutions. One woman stood up and said she always wondered what art was for. It never meant anything to me. The panel sort to prove that art has the power to say: I will still hope for better, even when right now may feel so hopeless.
Art has the power to make a fountain bleed in the middle of the street. Spoiler alert: Michael Gove did not listen and nor did the wider Government policy. Over the course of the debate it became clear that the panel believed creative subjects were a key factor in economic success.
Given the statistics they were citing, it was hard not to agree. Whilst this debate could sound exclusionary, the panellists did a good job of reaffirming that everybody has creative talents and it is the responsibility of schools to nurture these. What was really being discussed was the need to foster the skills that everybody has. Given the ubiquity of creativity in all workforces, and its status as a key-skill for employers, this debate began to sound much more common-sense.
A key sticking-point of the debate was the question of accessibility, a point underlined by Lou Cordwell OBE. This rings true with the aims of the Design Manchester festival, which seeks to promote creativity, specifically targeting schools.
To read the full article, head to mancunion. We all know it as a swanky hotel, however, this has not always been the case. Alfred Waterhouse was put in charge of the design, and the building was constructed between As th e Ins tag ram p age sits at 11, fol low ers , and 76 ,00 0 lik es on Fa cebook, with a cl ear c ult fol lo win g of t he brand.
As I spo ke to C ono r, we discussed the fut ure of the br and , i ts creative inspiratio ns ,a nd th e tri als i t has faced. On e thing Peak ed Ap pa rel r eco gni ses is the need for harmo ny an d d iv ersi ty wi thi n the alternative fa shi on ma rke t. It c oul d be argued that in th e ag e of s oci al m edia , it has become easi er t han ev er to d is cove r new styles and a num ber of ind epe nde nt labels, so peop le ha ve the cha nce to be m ore open and exp eri men tal.
Bra nds like Peaked Appare l ha ve r esp onde d to this booming sub-c ult ure , i nco rpo rating a measure of jov ial ity to tr adit io nall y Gothic templates. Another importan t thi ng a bou t Pe ake d is the communication be twe en t hei r staff and customers. The ir F ace boo k pag e is incredibly active, both in terms of frequent Jack Sedgwick Chats to the founder of the fashion brand founder about his brand, style and aesthetic u p d a t e s an d pro mot ion s, bu t wi thi n the com ment s se cti on.
Co llab ora tio ns ar e on e of the way s in whi ch P eak ed A ppa rel st ays ahe ad o f the curv e, p ion eer ing pr oje cts w ith p eop le d irec tly i nvo lve d in ot her me dia. Dureshahwar Qureshi gives her tips for the best products from the cruelty-free brand Wi th an immi nen t a nd exc itin g l aun ch, we t n wil d is se t to hit the UK h igh str eet la ter th is Octo ber wi th an o nli ne and subsequent in- sto re la unc h at B oots.
Th ey have always bee n tren d-d riv en an d wer e int eres ti ngl y the first brand to i ntr odu ce blac k na il var nis h in to dru gst ores! It co mes in 20 sha des , wh ic h for a dr ugs tor e f oun dat ion is qu ite com pr ehe nsiv e. Enter Yottam Ottolenghi: one of the most popular rising chefs in the past few years. Ottolenghi has played a vital role in this movement towards vegetarian diets because of his unbiased attitude towards food. An Israeli-British chef with an Italian father and a German mother, his food celebrates multiple cultures.
This results in incredible fusion food and unique blends of flavours, but also a mixture of plant based and meat based dishes, with no favour toward either. He is responsible for so many recent food trends. However, I see his influence on vegetarianism as the most important change he has made to British diets.
This attitude is what will bring more people to the way of flexitarian or vegetarian diets. I encourage you to try some of his recipes especially the vegetarian ones and see how full and wholly enjoyable they can be. With Ottolenghi, you always discover new techniques, ingredients, and flavours, with incredible meals as the outcome. It sees Ottolenghi interview guests such as Michael Palin or Nadiya Hussain about their relationship to food over a delicious meal made from recipes from his new cookbook.
Is it overpriced or worth the splurge? Firstly, the decor was not what I had expected. In waking, only the next scene, his penis transforms into a giant drill. This is only the first part of his metamorphosis. Throughout the film I felt constantly on edge — quiet scenes are invariably sandwiched between those filled with blood and screams. The acting is certainly horrifying, although at times is quite exaggerated. I felt that all the emotions expressed in this film could be generalised into either anguish, fear or rage.
The last third of the film lost some of the thrill with protracted, gore-filled battle scenes between people who just seemed to keep coming back to life. Tetsuo: The Iron Man was and is a ground-breaking Japanese film, not least for its power to instil a deep sense of unease in the viewer. It remains largely obscure except for fans of the body-horror genre, but I would recommend it to anyone as a disturbing, raw and impressive piece of film.
It is a difficult scene to watch, with shaky camerawork and jarring editing — which, admittedly, was initially lost on me but as it progressed it became clear what effect this was trying to achieve. No detail is spared in the depiction of the shooting — nothing is left to the imagination. Whilst some might say this is unnecessary, I would argue the opposite.
For us to truly confront the barbarity of what happened we must face it in its totality, and see what people can be capable of. After a fast-paced start, 22 July slows down entirely and becomes a slow burn drama of sorts. The rest of the film follows the aftermath, including Vilijar Hanssen Jonas Strand Gravli recovering after multiple surgeries and battling the inner turmoil and trauma of what happened.
We witness with Hanssen the most painful emotions on-screen, in stark contrast to the vacant stares and cold emptiness of Breivik. By the end of the film a solitary, hollow and defeated Breivik is signing papers with his lawyer.
Greengrass manages to transcend the absolute misery that Breivik inflicted on an entire nation, and end an incredibly tragic film on a note of optimism and celebration of multiculturalism. We cannot be complacent with so much on the line, because when it goes wrong it does so in unthinkable ways.
Director and writer Paul Greengrass knew how big the margin of error was when creating this film. It could have been a triggering recollection of what happened, giving Anders Behring Breivik hauntingly played by Anders Danielsen Lie the attention he wanted: a platform for his abhorrent political ideology and rabid hatred.
Greengrass skilfully avoids this because 22 July in its entirety concerns so much more than the terrorist attack. He takes the events of a day full of despair, an indictment on humanity and its seemingly endless violence, and by the end makes it hopeful.
Greengrass shows us the dichotomy of what it means to be human in this film. All year long, but this month especially, we want everyone to celebrate Black culture and achievements, and to get educated about Black history.
We will also offer safe spaces for students to discuss the issues they face as ethnic minorities in education. Set in a society divided against itself, Milkman explores the insidious forms oppression can take in everyday life. Burns was born in Belfast and lives in East Sussex. Milkman draws on her experience of living in Northern Ireland during the Troubles. While the context of the Troubles is key to the novel, it is actually set in an unnamed city and filled with unnamed characters.
It lost power and atmosphere and turned into a lesser — or perhaps just different — book. The narrative would become heavy and lifeless and refuse to move on until I took them out again. While it is set in the past, Milkman is particularly timely in the era of MeToo as it focuses on a young woman who is sexually harassed by a powerful man. It is definitely worth it because the view is terrific when you get to the top. Bailey Cornfield reflects on the muriel sparks celebration at the manchester literature festival Last Tuesday, the Manchester Literature Festival welcomed guest speakers Alan Taylor and Jackie Kay to the Martin Harris Centre for Music, to celebrate the life and literature of Scottish author, Muriel Spark.
And what a celebration it was — while of course Spark could not be there in person she died in at the age of 88 , Taylor and Kay ensured that she was most certainly there in spirit. Like many other women writers, Spark had a late breakthrough in her career, publishing her first novel, The Comforters, when she was The book follows writer Caroline Rose who, after a recent conversion to Catholicism, becomes aware that she is a character in a book.
And she, along with her boyfriend-turned-detective, Laurence, and his potentially diamond-smuggling grandmother, Louisa, are just some of the wonderfully wacky voices that make this story so wildly original, and terribly funny. But this is a novel as much about reality as it is about fiction. Prompted by Kay, and later, questions from the intrigued audience, Taylor detailed how he first came to meet Spark when he was invited to her home in Arezzo, Italy, to interview her.
This particular anecdote gave an insight into how her writing style reflected her own dry humour and attention to detail. Taylor described how he become the interviewee when Spark quizzed him about whether his hair was dyed — she claimed that her own flame-red locks were natural. His further anecdotes about her disinterest in domestic life and other relationships, were all met by what became knowing sighs and giggles from an audience who clearly felt that, over the course of the evening, they had managed to chip away a small part of the mystery surrounding the enigmatic author.
I went to the event a little concerned that it would be highbrow and intellectual. She was not just a novelist, but a short story writer, poet and essayist. But instead, it was more like witnessing a nostalgic conversation between friends. Together with her comedy partner Kerry Leigh Leigh , the two were personable and hilarious from start to finish. Bringing a really enjoyable informal and friendly atmosphere to the show. Held at Gullivers Northern Quarter , the venue was intimate and packed.
The audience were constantly immersed in the performances, as the burlesque dancers sashayed past us to the stage. Entering dressed as ironic nuns with balloon breasts , Toots and Leigh had the audience laughing from the start as they stripped to reveal their vampire inspired lingerie. Toots was sporting a bedazzled strap-on penis on which she kept getting her mic cord caught on and both women were unapologetically messing around on stage with obvious zest and chemistry.
Is it something sexually empowering, owned by the performers or another embodiment of a patriarchal society that perpetuates the objectification of women? Theatre in late Victorian Manchester Rosa Uijtewaal looks at the world of 19th century theatrical Manchester Photo: Mikey Flickr Photo: Titters and Tassels Burlesque and Comedy show Millie Dollar was the first act, evoking the glamour of Old Hollywood as she appeared adorned in green feathers and sequins. She was powerful and mesmerising and showed off her dynamic moves that would have been at home at Notting Hill Carnival.
The focus of her devilish performance was the use of a pair of fans trailing black and red fabric. They rippled with expert precision, creating an intense sense of strength and power. Just when you thought the show had reached its outrageous and entertaining quota, Velma Von Bon Bon entered. Dressed as a skunk, she shimmied past the audience, tickling us with her black and white tail.
Theatre and performance played an important part in cultural and social life in Europe throughout the second half of the 19th century. Theatre was inclusive and accessible to all social classes. In fact, opera houses were the first to open their doors to the general public, allowing in everyone who could afford a ticket. Still, in the midth century going to theatre was still a activity dominated by the aristocracy who considered it to be a social activity.
The noise of their chatter quite often overpowered the text or songs of the actors, which infuriated many visitors. The upper-class Mancunians were appalled by the abundance of noisy drunkards, prostitution and riots that often occurred around the theatres.
The labouring class lived close to the city centre and the factories, as opposed to the middle class with their suburbs further away from the city. This moment underlined the brazen display of female sexuality which ran throughout the performance.
Toots and Leigh undertook as many costume changes as the burlesque artists, at one point arriving in skeleton leotards paired with trainers, then changing into fluffy dressing gowns. Her intense sensuality and platinum blonde hair certainly evoked Marilyn Monroe. She finished the act skipping whilst still balancing on the unicycle! The audience was persistently involved in the show - there were birthday shoutouts, pass the pumpkin trick-or-treat games and the constant hilarity of Toots and Leigh.
This show made us fall in love with the combination of burlesque and its comedic hosts. In Victorian Manchester, theatre got more and more affordable for the labouring and middle class. Theatres and music halls sprung up around Peter and Oxford Street after , such as the St.
James Theatre in and the Alexandra Music Hall in , the latter created out of an old chapel. These new theatres compared to the 18th century buildings were commercial and built for large audiences, entering the age of popular culture. The proposed plan to build the new Manchester Palace of Varieties in now Palace Theatre led to a heated debate in the newspapers about morality, as it was viewed by some as a threat to decency and the moral welfare of citizens.
Theatre became increasingly a way of transferring political ideas — a role that would soon be partly overtaken by film, which created the need for theatre to re-invent itself. Making art that actually reaches people is to say something that people listen to. For the women on the panel, art in the context of the Syrian revolution was a way for Syrians to speak up, especially women, against an oppressive regime.
Graphic designer and curator, Sana Yazigi, of creativememory. Being represented like this was hugely important. If you venture onto creativememory. Though the weapon is lit, underneath we can see roots growing from it. Upon watching her film during the panel, which focused on deaf Syrian story-telling, it was clear that Al-Naib was established in her own right. Al-Naib explained that anything from the red water representing blood in the fountain in Damascus to the viral image of an old woman holding up a sign stating she still hoped for the life of her son was art.
It was clear, listening to the voices in the room who introduced themselves and stated where they were from, that the talk had attracted many Syrian women. Both old and young, university students and mothers, they were all here in Manchester, and eager to share their own personal revolutions. One woman stood up and said she always wondered what art was for. It never meant anything to me. The panel sort to prove that art has the power to say: I will still hope for better, even when right now may feel so hopeless.
Art has the power to make a fountain bleed in the middle of the street. Spoiler alert: Michael Gove did not listen and nor did the wider Government policy. Over the course of the debate it became clear that the panel believed creative subjects were a key factor in economic success. Given the statistics they were citing, it was hard not to agree. Whilst this debate could sound exclusionary, the panellists did a good job of reaffirming that everybody has creative talents and it is the responsibility of schools to nurture these.
What was really being discussed was the need to foster the skills that everybody has. Given the ubiquity of creativity in all workforces, and its status as a key-skill for employers, this debate began to sound much more common-sense.
A key sticking-point of the debate was the question of accessibility, a point underlined by Lou Cordwell OBE. This rings true with the aims of the Design Manchester festival, which seeks to promote creativity, specifically targeting schools. To read the full article, head to mancunion. We all know it as a swanky hotel, however, this has not always been the case.
Alfred Waterhouse was put in charge of the design, and the building was constructed between As th e Ins tag ram p age sits at 11, fol low ers , and 76 ,00 0 lik es on Fa cebook, with a cl ear c ult fol lo win g of t he brand. As I spo ke to C ono r, we discussed the fut ure of the br and , i ts creative inspiratio ns ,a nd th e tri als i t has faced. On e thing Peak ed Ap pa rel r eco gni ses is the need for harmo ny an d d iv ersi ty wi thi n the alternative fa shi on ma rke t.
It c oul d be argued that in th e ag e of s oci al m edia , it has become easi er t han ev er to d is cove r new styles and a num ber of ind epe nde nt labels, so peop le ha ve the cha nce to be m ore open and exp eri men tal. Bra nds like Peaked Appare l ha ve r esp onde d to this booming sub-c ult ure , i nco rpo rating a measure of jov ial ity to tr adit io nall y Gothic templates.
Another importan t thi ng a bou t Pe ake d is the communication be twe en t hei r staff and customers. The ir F ace boo k pag e is incredibly active, both in terms of frequent Jack Sedgwick Chats to the founder of the fashion brand founder about his brand, style and aesthetic u p d a t e s an d pro mot ion s, bu t wi thi n the com ment s se cti on.
Co llab ora tio ns ar e on e of the way s in whi ch P eak ed A ppa rel st ays ahe ad o f the curv e, p ion eer ing pr oje cts w ith p eop le d irec tly i nvo lve d in ot her me dia. Dureshahwar Qureshi gives her tips for the best products from the cruelty-free brand Wi th an immi nen t a nd exc itin g l aun ch, we t n wil d is se t to hit the UK h igh str eet la ter th is Octo ber wi th an o nli ne and subsequent in- sto re la unc h at B oots.
Th ey have always bee n tren d-d riv en an d wer e int eres ti ngl y the first brand to i ntr odu ce blac k na il var nis h in to dru gst ores! It co mes in 20 sha des , wh ic h for a dr ugs tor e f oun dat ion is qu ite com pr ehe nsiv e.
Enter Yottam Ottolenghi: one of the most popular rising chefs in the past few years. Ottolenghi has played a vital role in this movement towards vegetarian diets because of his unbiased attitude towards food. An Israeli-British chef with an Italian father and a German mother, his food celebrates multiple cultures. This results in incredible fusion food and unique blends of flavours, but also a mixture of plant based and meat based dishes, with no favour toward either.
He is responsible for so many recent food trends. However, I see his influence on vegetarianism as the most important change he has made to British diets. This attitude is what will bring more people to the way of flexitarian or vegetarian diets. I encourage you to try some of his recipes especially the vegetarian ones and see how full and wholly enjoyable they can be. With Ottolenghi, you always discover new techniques, ingredients, and flavours, with incredible meals as the outcome. It sees Ottolenghi interview guests such as Michael Palin or Nadiya Hussain about their relationship to food over a delicious meal made from recipes from his new cookbook.
Is it overpriced or worth the splurge? Firstly, the decor was not what I had expected. This was not what we got, however; my three girlfriends and I arrived to a lurid green and yellow room that frankly looked like a daycare nursery Choosing from burgers, hot-dogs, club sandwiches, and mac and cheese, the familiar feeling my veggie friends had of limited choice and dejection at the lack of imaginative, varied food was long gone.
The fries were glorious, saturated in buffalo-ranch goodness. My first bite of the hot-dog was even better, a herby, well-seasoned sausage with the perfect combo of avocado, coriander, and jalapeno. Most of the dishes were focused around a mock-meat of some kind, which, to a meat-eater was sub-par and to a vegan was unnecessarily trying to resemble something they chose to not eat anyway.
My veggie friend commented that perhaps they would be better focusing less around imitating meat and focusing more on well-cooked and seasoned alternatives to meat, like pulses or mushrooms. Cara Thompson talks about how we can configure afro-textured hair into this beauty narrative. Hair politics is a term not often used, but it is a point of discussion integral to racial identity issues.
I asked Cara about her hair journey, as she has recently decided to wear it naturally for the first time in years. Feeling like her hair defined her is one of the main reasons why Cara decided to remove her braids. I became known for my hair. Cara believes that a contributing factor to this is a lack of representation. According to Cara, the normalisation of afros is key to making women feel comfortable with their natural hair.
The belief that European hair is more acceptable is so strong that it infiltrates all cultures. Speaking about her mother, Cara explains how she influenced her position on hair politics.
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