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THE I MAN
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_hotel-room-no-xxx-10-when-i-share-a-room-with-part-1.webp "THE I MAN")
_meet-the-makers-the-sheffield-womenswear-designer-with-fashion-in-her-blood.webp "Our choice of clothes helps to define how we think of ourselves and how we think of others.<br/>An outfit can suggest social status, political beliefs, a certain taste in music and even our mood on any given day - there’s always story<br/>behind the clothes we wear.<br/>It’s one of the reasons Harriet Eccleston, whose clothing brand goes by the same name, felt compelled to continue in a family tradition of tailors, drapers and milliners stretching back generations.<br/>“It’s quite a personal thing,” she said. “The garments that you wear are one of the first things that people see about you and I guess (they) interpret your characteristics or your personality through your choice of clothing and that has always interested me - the emotion, the personality that clothes can bring out.”<br/>Working out of her one room workshop in the Albyn Works, a former<br/>factory building in Sheffield’s Kelham Island, Harriet creates<br/>womenswear with sustainability and heritage at its core.<br/>From ideation and fabric cutting all the way through to hand stitching buttons and packaging items, Harriet’s head, heart and hands are behind it all.<br/>The finest British cottons and wools are taken and combined with a soft colour palette to create elegant garments with a classic versatility.<br/>Yet the reason Harriet’s creations stand out is beyond their aesthetic.<br/>Examine them more closely and you find storytelling and tradition woven into every piece.<br/>The influence of Harriet’s ancestry is evident throughout her business.<br/>“Fashion is in my blood, their stories are in my heart,” reads her website.<br/>Scattered amid the fabric swatches and sketches on the work surfaces and pin boards of her workshop are black and white photos of a moustachioed man immaculately turned out regardless of the scene he appears in.<br/>The man’s name is E.D. Soulsby and he’s Harriet’s great great<br/>Grandfather. <br/>In the late 1800s and early 1900s, Soulsby, owned and ran a menswear shop in the industrial heartlands of Northumbria.<br/>“It was in the family for generations - everybody mucked in and was part of it.<br/>“My granny spent a lot of time there until she was married and she told me a lot of stories. <br/>“They specialised in quality menswear clothing and the idea was they were pieces that would last.”")
_stepmom-alone-in-the-bedroomminas-dream.webp "mina‘s dream")
_ghostly-kisses-there39s-no-more-space-live-at-carter-hall.webp "Ghostly Kisses - There's No More Space (Live at Carter Hall)<br/><br/>Subscribe! つ(๑ _๑)つ → https://bit.ly/2AWUc2T<br/><br/>Video<br/>Director: Nicolas Brassard<br/>Assistant Director: Louis-Étienne Santais <br/>Director of Photography: Nicolas Brassard <br/>Producer: Marie Côté <br/>1st Assistant Camera: Cezar Valois<br/>Key Grip: Marc-Antoine Legault <br/>Gaffer: Étienne Hébert-Vincent <br/>Best-boy: Gabriel Boutin <br/>Composition: Louis-Étienne Santais, Margaux Sauvé<br/>String arrangements: Gabriel Desjardins<br/>Violin I: Caroline Béchard<br/>Violin II: Mélanie Charlebois<br/>Viola: Marie-Claude Perron<br/>Cello: Marie-Pier Gagné<br/>Sound & Mixing Engineer: Jérémy Cornellier<br/>Video Editing: Louis-Étienne Santais, Jérémy Cornellier, Thomas Cornellier<br/>Color Grading: Thomas Cornellier<br/><br/>Label (ex. Canada): Akira Records<br/><br/>Ghostly Kisses - There's No More Space (Lyrics)<br/><br/>I never want to be awake<br/>Every day is always the same<br/>The relentless march of time only awaits<br/>I might just face my fate<br/><br/>There is no more space in-between you and me, only shades of blue<br/>There is no more time in-between every dream brings me back to you<br/><br/>I'm so bored when I’m awake<br/>I'd rather live through yesterday<br/>Cause there is no more time to make it okay<br/>You're too far away<br/><br/>There is no more space in-between you and me, only shades of blue<br/>There is no more time in-between every dream brings me back to you<br/>Your light is all I knew<br/>You know where I'll be<br/>Only back to sleep<br/><br/>Should I forgive you after all?<br/>The clock is ticking, that's for sure<br/>Would you still care for me at all?<br/>Even if we were always at odds<br/>Would you forgive me after all?<br/>I never thought you would be gone for so long<br/><br/>There is no more space in-between you and me, only shades of blue<br/>There is no more time in-between every dream brings me back to you<br/>Your light is all I knew<br/>You know where I'll be<br/>Only back to sleep<br/><br/>There is no more space in-between you and me, only shades of blue<br/>There is no more time in-between every dream brings me back to you<br/>Your light is all I knew<br/>If you were here with me…<br/>You’d take me back to sleep")
_the-mayfly-and-the-frog-1966-part-1.webp "When a young woman has her scooter damaged by a flashy Rolls Royce, she furiously tracks down the owner to his fancy apartment in order to get payment for the damages. Frustrated, she decides to break in, only to come face to face with the owner, the wealthy Gabriel Quantara. He has no intention of paying, but he finds that getting rid of her is not as easy as he thinks. And as the evening goes on the unapologetic capitalist and the free spirited ideaologist find themselves developing an unlikely bond...<br/><br/>Starring John Gielgud, Felicity Kendal, David Stoll, Isa Miranda and Jeremy Rowe, with Timothy Bateson as the voice of the unseen door attendant Barnet. This was broadcast as one of The Wednesday Plays on December 21st 1966, and was one of Felicity Kendal's earliest screen appearances. She and Gielgud make for engaging sparring partners, and it is one of only a few surviving Wednesday Plays around, due to the BBC's habit of wiping tapes. This is not one of my own videos, I have to say, but one I had fortune to save to watch later from the Youtube channel \")
_the-mayfly-and-the-frog-1966-part-2.webp "When a young woman has her scooter damaged by a flashy Rolls Royce, she furiously tracks down the owner to his fancy apartment in order to get payment for the damages. Frustrated, she decides to break in, only to come face to face with the owner, the wealthy Gabriel Quantara. He has no intention of paying, but he finds that getting rid of her is not as easy as he thinks. And as the evening goes on the unapologetic capitalist and the free spirited ideaologist find themselves developing an unlikely bond...<br/><br/>Starring John Gielgud, Felicity Kendal, David Stoll, Isa Miranda and Jeremy Rowe, with Timothy Bateson as the voice of the unseen door attendant Barnet. This was broadcast as one of The Wednesday Plays on December 21st 1966, and was one of Felicity Kendal's earliest screen appearances. She and Gielgud make for engaging sparring partners, and it is one of only a few surviving Wednesday Plays around, due to the BBC's habit of wiping tapes. This is not one of my own videos, I have to say, but one I had fortune to save to watch later from the Youtube channel \")
_stepmother-used-stepson-to-do-chores-while-husband-was-at-work-124-authors-review-of-the-movie.webp "Mr. Narrator")
_son-met-his-mom-after-a-long-time.webp "FabulousTVShow")
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