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Je suis très fière de vous présenter ma première création Cottage" 100% maille originale. Ce cottage comprend à l'étage une pièce spacieuse, au rez-de-chaussé deux pièces dont une avec une cheminée et avec plusieurs fenêtres qui s'ouvrent au toucher comme les portes à l'étape facile.
Ces produits sont en mesh 100% originaux et ont été réalisés avec des matériaux 100% mesh full perm sur mon seconde Life.
I am very proud to present to you my first Cottage" creation, 100% original mesh. This cottage comprises a spacious room upstairs, two rooms on the ground floor, one of which has a fireplace and several windows that open to the touch like doors to easy step.
These products are 100% original mesh and were made with 100% full perm mesh materials on my second life.
Land for DEMO : maps.secondlife.com/secondlife/Enchanted%20Haven/221/100/801
Land For Picture: maps.secondlife.com/secondlife/Le%20Monde%20Perdu/195/136/37
Market: marketplace.secondlife.com/p/House-Eyla-Constructor-100-M...
A native Hakea flower showing the recently sprung styles with pollen at the tips. You can see two curved ones that have not sprung yet.
Taken at the Melbourne Botanical Gardens.
Hakea is a genus of about 150 species of plants in the Family Proteaceae and are endemic to Australia.
The flowers are usually arranged in groups in leaf axils and resemble those of other genera, especially Grevillea.
Many thanks for your visit, comments, invites and faves...it is always appreciated..
HBW
مقدم برامج الاطفال | سند حسام الدين التائب
ابن الصحفى والاعلامى الكبير حسام الدين التائب
© 2010 khairy.ms
copyrights for all these photos in this Photostream are owned by Khairy M.Shaban, These Photos shall not be or copied unless the permission is obtained from the Photographer
Photo by
خيري محمد شعبان
khairy Mohamed shaban
khairy.ms@gmail.com.
I was not sure...post or not....but you see...:-)
Try...may be is better...'Shy presenter' On Black ;-)
Wish you happy and peacful friday, my dear friends!!!!! :-)
durante una parata di carri mascherati di carnevale questo signore con il microfono presentava e descriveva i carri in arrivo
While passing through Euston recently I stopped awhile to take this photograph and listen to the music.
From a website this talented singer is Joulie Fox .Joulie is a singer, songwriter and actress. who began playing the guitar and singing at the age of 10. She wrote her first songs and started to perform at local contests and events at thirteen.
She made her professional acting debut at the age of 17 as a Tv presenter and during studies she appeared in episode roles in television series.
In 2012 she performed in the semi-final of the 33 Stage Song Contest in Wroclaw and one year later she released her debut album , Special Nothing” nominated for the WARTO award of Gazeta Wyborcza.
She is currently a leader of Chilè, electro pop band based in London. Her sultry, unique singing voice and her ability to boldly turn any material that she confronted into her own music makes her a superstar. Joulie’ s music style ranges form Pop, Rock and Indie and includes songs by Amy Winehouse, Lykke Li, Ray Charles, Britney Spears, Chet Faker, Lana del Ray, Coldplay.
Stop and listen - it's worth the effort.
« If you appreciate my work and would like to support me becoming an independent photographer, become a Patreon supporter at www.patreon.com/alexdehaas, or buy me a coffee at www.buymeacoffee.com/alexdehaas :) »
« If you appreciate my work and would like to support me becoming an independent photographer, become a Patreon supporter at www.patreon.com/alexdehaas, or buy me a coffee at www.buymeacoffee.com/alexdehaas :) »
Photo taken July 24, 2015
Please visit my website: myCDlife.com
This photo was taken during a SafeZone Training I was co-facilitating at a suburban library near the Rochester, NY area. My co-presenter and I banter and make the presentation fun and entertaining for the attendees.
It seems to be a modern phenomenon of experiencing thematic tour guides in major cities. This one is of a guide to the world of chocolatiers in Melbourne; most of whom emanate from Belgium.
TopGear 2002 Season 1 (Episode 6): Renault AVANTIME on the Cool Wall: Jeremy Clarkson places the Renault AVANTIME on the very edge of the Sub-Zero section!
TopGear 2008 Season 12 (Episode 3) a used AVANTIME was recognized by the presenters Jeremy Clarkson, Richard Hammond and James May as one of the few cars that they all three liked.
www.flickr.com/photos/halfbyte/3040409681/
This is my 2002 Renault AVANTIME 2.0 16V TURBO 'NOIR NOCTURNE' photographed on our driveway.
No other car in the world has these ingenious doors and I'm sure this feature will be one of the most remembered features of this AVANTGARDE LOOKING FUTURE CLASSIC.
Detail ingenious doors: www.autoreview.ru/new_site/year2001/n13/avantime/avant-19...
THE AVANTIME HISTORY RETOLD
Renault suffered from over-capacity at their factories, and rather than letting people off, they wanted to take over the manufacture of the hugely successful Espace. So, they made the agreement with Matra that if Matra was given the task of developing this new high-spec topmodel, Renault could bring the Espace production in-house. Since Renault don't have the knowhow and expertise to produce cars like Matra do, they had to redesign the Espace, making it the conventional steel car we see marketed as "Espace IV". Matra took on the task and they came up with a series of design-ideas, all based on the "Espace III".
The Geneva motor show in March 1999 saw the unveiling of a new Renault concept car - where it was called a "Coupéspace" - which leads the way in opening up a long forgotten niche - that of a luxurious Grand Tourer Coupé with space for four adults to relax in comfort.
Poster AVANTIME 1999: www.flickr.com/photos/m_and_jiji/6920221965/
In the 1920's and '30's Renault's main products were luxurious sports models like the 1929 eight-cylinder Reinastella and 1930 Nervastella, driven by Royalty and Europe's aristocracy. The AVANTIME takes some inspiration from these powerful Grand Tourers, built to cover large distances in great comfort and style, whilst focusing firmly on the future. The AVANTIME, illustrates in a forthright manner Renault's ability to shape the future of the motor car. The manufacturer is convinced that there is room in the market for a new breed of coupe, targeted at a customer group seeking the visual distinction, rarity and driving enjoyment of a coupe with the luxury of space and comfort found in a large car or monospace, all wrapped up in a vehicle which is technologically advanced and forward looking. Styled by Patrick Le Quément, the AVANTIME was intended to combine the space of an MPV with four-place pillarless qualities of a coupé. Regarding the styling, Thierry Metroz, design project manager, said, "We wanted someone walking around the car to be continually astonished."
You sit high up, with glass all around you. The AVANTIME has no B-pillars - one thing that certainly delayed the project was getting the pillar-less design safety-approved - which adds a roadster feel to it, with windows down.
It was named the AVANTIME, which is not pronounced fully in French, but a combination 'AVANT' as in French for "ahead" and 'TIME' pronounced in english. In other words "Ahead of its time". They are quite probably right, and it will not be the first time Matra have been ahead of their time, and have spotted a niche almost before it appeared. It is an avantgarde looking car, the target group were people (former Espace-owners) whose kids have left home, but who still prefer the style and flexibility of the Espace, spiced up with a more luxurious interior and some decent performance. Very similar to the Espace the AVANTIME uses a warm-galvanized chassis in the lower part, but with the upper structure done in aluminium, to get the centre of gravity even lower than the Espace. The bodywork is still polyester, which is bonded in place. The doors are now a (galvanized) steel construction with polyester bodypanels bonded to it, making them much stronger than standard Espace doors, which were all fibreglass, with a metal frame, and in later models (J63 and JE) a side-impact steel bar about halfway up, on the inside. The frontend design is developed from the Espace, with the air-con intake moved to above the headlights, rather than the sidemirrors. The sidemirrors, on the other hand, have moved towards the door-windows again, as on the early Espace models.
Matra's engineers have avoided the top-heaviness of a minivan or SUV by fitting a lightweight aluminum superstructure to the Espace chassis. The track has been widened, the suspension lowered, and the wheels and brakes enlarged. Careful development has produced a car that feels stable at high speed on the autobahn, steers accurately, rolls only a little when cornered hard, yet smoothes all but the roughest roads. This is an impressive achievement and makes the AVANTIME fun for the driver and calm and secure for the passengers.
Renault has enlisted the services of French fashion designer Jean-Paul Gaultier to front its first-ever cross-brand advertising campaign "Créateur d'automobiles" (a one-minute spot with music by Etienne de Crécy). The pan-European ad aims to position the French motor brand as being creative and innovative, paving the way for forthcoming launches such as the new AVANTIME GT Coupe in 2001. TV advertising, by incumbent agency Publicis, breaks on October 17 (2000) and shows Gaultier designing and producing a new dress, from sketches to the finished product on the catwalk. After the fashion show, the model sees a Renault AVANTIME and is captivated by it. The ad then shows the process by which the car was created, in reverse from the completed car back to the production line. The designer's sketch is reduced to a blank piece of paper, mirroring Gaultier's process. Eric Bernard, Renault's worldwide advertising director, said: 'We're going to cause a stir with this campaign, and we hope to surprise and interest those who only think of Renault as a brand for small and medium-sized cars. 'It will trigger awareness and help us develop the new message in preparation for the launch of our new large cars.' The TV campaign's launch is being timed to coincide with the Birmingham International Motor Show, where Renault is unveiling its production version of the AVANTIME. It is being supported by press and poster activity.
Link Renault AVANTIME spot commercial 2001: www.youtube.com/watch?v=2FS3V-akz-c
In the meantime - there was a considerable delay in launching the AVANTIME - Renault had tested their design studio VEL SATIS with the public at car-shows and put the VEL SATIS into production, and hit the marked about the same time as the Avantime was finally ready. This means that Renault had two different approaches to the high-end luxury car, one being almost entirely Renault, the other a Matra. The Renault VEL SATIS has 4 doors, which should appeal to less adventurous (or more conservative) people. The AVANTIME was a two-doors only car (well, Matra did have a prototype 4-door version, but it never made it to production), but the doors are "huge" to allow for easy access, and are novel in the way they open, as they are internally hinged, making them sort of fold when you open them. Hereby even these huge doors will only require the same parkingspace as any other car, but at the same time offering excellent access. Having the AVANTIME compete with its Renault sibling obviously was not a good thing for Matra, who must have felt that Renault had not kept their part of the deal. To add insult to injury, its no secret that Renault urged their sales-organisation to push the VEL SATIS before the AVANTIME (by offering higher bonuses to the sales-people). This caused the AVANTIME to sell suficciently poor, to drain Matra for funds, and since there were no hopes for Renault helping them out, Matra decided in december 2002 that enough was enough and in April 2003 they shut down Matra Automobile and closed the factory in Romorantin. The last AVANTIME left the Matra assembly lines 18th of April 2003.
The following production figures have been published (Source: Matra France, L.Thimonner, 2003 ):
2001 : 2067
2002 : 5097
2003 : 1286
HISTORY REPEATING
Only 8450 Renault AVANTIME's were eventually built, before its abrubt end-of-life...
In the science fiction movie 'Children of men' (released 2006), the AVANTIME prototype 4-door version was seen in the cinema, Clive Owen and Julianne Moore travel in the AVANTIME until a breathtaking action sequence disrupt the journey...
Avantime has retained its feeling of novelty!
www.google.nl/url?sa=t&rct=j&q=renault%20icons%20...
The tale of Renault's short lived but stunning coupé is brought to life using interviews with the key players in the cars development, including ex Renault Head of Design Patrick Le Quement and Matra's Phillipe Guedon. With a colourful gathering of over 200 of the iconic cars at the famous Montlhery race track, the Avantime's 10th anniversary is the centre piece of this programme. Enthusiasts and experts swap opinions about what prevented this car becoming as much of a success as it perhaps should have been. Even more of the car's story is provided by Renault Avantime insiders Thierry Metroz and Carole Hurel, while current boss of Renault design, Laurens Van Den Acker gives his verdict on what makes this unique car so special.
Official Video Renault 10 Years AVANTIME, the "Coupéspace"
www.youtube.com/watch?v=MCXHroaxg8w&feature=feedu
Explore Renault AVANTIME
French postcard by Editions Mercuri, no. 634. Spanish poster for Another Country (Marek Kanievska, 1984).
British actor Rupert Everett (1959) grew up in privileged circumstances, but the wry, sometimes arrogant intellectual was a rebel from the very beginning. He had his breakthrough in Another Country (1984) as an openly gay student at an English public school in the 1930s. He has since appeared in many other films including The Comfort of Strangers (1990), My Best Friend's Wedding (1997) and An Ideal Husband (1999).
Rupert James Hector Everett was born in Burnham Deepdale, Great Britain to Major Anthony Michael Everett and his wife Sara née Maclean. He has a brother, Simon Anthony Cunningham Everett. Everett was brought up as a Roman Catholic. From the age of seven, Everett was educated at Farleigh School, Hampshire, and from the age of thirteen was educated by Benedictine monks at Ampleforth College, Yorkshire. At this prestigious Roman Catholic public school. he trained classically on the piano. He dropped out of school at 16 and ran away to London to become an actor. In order to support himself, he worked as a male prostitute for drugs and money. After being dismissed from the Central School of Speech and Drama ((University of London) for clashing with his teachers, he travelled to Scotland and got a job at the avant-garde Citizens' Theatre in Glasgow. Everett's break came in 1981 at the Greenwich Theatre and later West End production of 'Another Country', playing a gay schoolboy opposite Kenneth Branagh. His character, Guy Bennett, is based on the double agent Guy Burgess. The play was filmed, Another Country (Marek Kanievska, 1984) with Cary Elwes and Colin Firth. Brian J. Dillard at AllMovie: “Rupert Everett and Colin Firth give strong, economical performances as the homosexual dandy and the fervent Marxist who, for different reasons, chafe at the restrictions of their society. Both characters are callow and self-absorbed, but Firth's principled thinker and Everett's ambitious romantic undergo subtle transformations that make them ultimately sympathetic.” He followed on with Dance With a Stranger (Mike Newell, 1985), based on the true story of Ruth Ellis (Portrayed by Miranda Richardson), the last woman to be executed in England. In Italy, he starred in the Gabriel Garcia Marquez adaptation Cronaca di una morte annunciata/ Chronicle of a Death Foretold (Francesco Ros, 1987i) with Ornella Muti. Everett began to develop a promising film career until he co-starred with Bob Dylan in the huge flop Hearts of Fire (Richard Marquand, 1987). Around the same time, Everett recorded and released an album of pop songs entitled Generation of Loneliness. Despite being managed by the largely successful pop svengali Simon Napier-Bell (who steered Wham! to international fame), the public didn't take to his change in direction. The shift was short-lived, and he would only return to pop indirectly by providing backing vocals for his friend Madonna on her 1999 cover of 'American Pie' and on the track 'They Can't Take That Away from Me' on Robbie Williams' 'Swing When You're Winning' in 2001. Following this flop, Everett disappeared for a while, taking up residence in Paris and writing a semi-autobiographical novel, 'Hello, Darling, Are You Working?'. He also came out as gay.
Rupert Everett returned to the screen opposite Christopher Walken and Helen Mirren in The Comfort of Strangers (Paul Schrader, 1990). He was successful as the fat and lazy Prince of Wales (the later George IV) in The Madness of King George (Nicholas Hytner, 1994), and appeared among the all star cast of Prêt-à-Porter (Robert Altman, 1994). The Italian comics character Dylan Dog, created by Tiziano Sclavi, is graphically inspired by him. Everett appeared in a film adaptation, Dellamorte Dellamore/Cemetery Man (Michele Soavi, 1994) as a killer of zombies. In 1995 he released a second novel, 'The Hairdressers of St. Tropez'. His film career was revitalized by his award-winning performance in the comedy My Best Friend's Wedding (P.J. Hogan, 1997), playing Julia Roberts's gay friend. Robert Firsching at AllMovie: “Rupert Everett is terrific as Roberts' gay confidant, and there are some surprising scenes, including a woman with her tongue stuck to an ice sculpture in a most untoward location. It was a huge hit at the box office, with enough genuine romance to satisfy purists and enough bite for those with a slightly different attitude.”Everett has since appeared in a number of high-profile film roles, including as Christopher Marlowe in Shakespeare in Love (John Madden, 1998), Lord Arthur Goring in An Ideal Husband (Oliver Parker, 1999) and Oberon in A Midsummer Night's Dream (Michael Hoffman, 1999). In 1999, he also played Madonna's best friend in The Next Best Thing (John Schlesinger. 1999), and the villainous Sanford Scolex/Dr. Claw in Disney's Inspector Gadget (David Kellogg, 1999) with Matthew Broderick.
Rupert Everett became a Vanity Fair contributing editor and wrote a film screenplay on playwright Oscar Wilde's final years. He also appeared in another film adaptation of a Wilde play, The Importance of Being Earnest (Oliver Parker, 2002) with Colin Firth. Later roles include his royal portrayals in To Kill a King (Mike Barker, 2003) and Stage Beauty (Richard Eyre, 2004), In 2006, he published a memoir, 'Red Carpets and Other Banana Skins', in which he revealed he had a six-year affair with British television presenter Paula Yates. Since then, Everett lead the 2007 Sydney Gay and Lesbian Mardi Gras, played a double role in the film St. Trinian's (Oliver Parker, Barnaby Thompson, 2007) and the sequel St Trinian's 2: The Legend of Fritton's Gold (Oliver Parker, Barnaby Thompson, 2009), and has appeared several times on TV, causing regularly some outrage. In recent years, Everett has returned to his acting roots appearing in several theatre productions; He made his Broadway debut in 2009 in the Noël Coward play 'Blithe Spirit', starring alongside Angela Lansbury. During the summer of 2010, he played in a revival of 'Pygmalion' as Professor Henry Higgins at the Chichester Festival Theatre and reprised this role in 2011, at the Garrick Theatre in London's West End, starring alongside Diana Rigg as Higgins's mother and Kara Tointon as Eliza.
Rupert Everett went on to play Oscar Wilde in 'The Judas Kiss' in 2013 and was about to play George on Broadway in 'Who's Afraid of Virginia Woolf?' when the play closed before it officially opened due to the COVID pandemic in 2020. On TV, he played the effortlessly suave Sherlock Holmes in Sherlock Holmes and the Case of the Silk Stocking (Simon Cellan Jones, 2004), the Marquis de Feron in the British series The Musketeers (2016) and Carroll Quinn in a second British series Adult Material (Dawn Shadforth, 2020). Known for his aloof handsomeness and often smug, piss-elegant characters, he engagingly portrayed a jet-setter in the contemporary film People (Fabien Onteniente, 2004); provided the voice of the unprincely Prince Charming in the animated features Shrek 2 (Andrew Adamson, Kelly Asbury, Conrad Vernon, 2004) and Shrek the Third (Chris Miller, Raman Hui, 2007); played a British defector opposite Sharon Stone in the romantic thriller A Different Loyalty (Marek Kanievska, 2004) and a millionaire playboy involved in a hit-and-run in Separate Lies (Julian Fellowes, 2005). He also has a part in the comedy film Wild Target (Jonathan Lynn, 2010), starring Bill Nighy, and the comedy Hysteria (Tanya Wexler, 2011) about the first vibrator. He appeared as King George VI (father of Queen Elizabeth) opposite Emily Watson's Queen Mum in the romantic dramedy A Royal Night Out (Julian Jarrold, 2015). He also played a monsignor in Altamira (Hugh Hudson, 2016) opposite Antonio Banderas. He wrote and directed The Happy Prince (Rupert Everett, 2018), in which he also starred as tortured gay playwright Oscar Wilde during his last days. His co-star was Colin Firth, the co-star of his film debut, Another Country. Although Rupert Everett urged in 2009 gay stars not to 'come out' and to keep their sexuality a secret as it could end their film career’, he himself is a living testament disproving the theory that a truly talented and successful romantic leading man cannot survive the career-killing stigma of being openly gay.
Sources: Brian J. Dillard (AllMovie), Gary Brumburgh (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Part of the 52 Weeks of 2018
Week 25
Theme: Environmental portrait
The aim of an environmental portrait is to show the subject in a wider setting to add context to the story.
Since I was going to be busy most of the week with my day job, I decided to ask a colleague to be my subject.
This is Danny Cox, radio presenter for BBC World Service and BBC Oxford (among others) and he was more than happy to be my subject. I captured him here in his natural habitat, the radio studio, but I also did a few shots outside for a little variation (see comments).
Thanks Danny.
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(c) Alistair Beavis 2018
IMG_6260a
As a transvestite I enjoy looking at female clothing styles, make-up techniques, hairstyles and women’s shoes. I am influenced by women who are dressed more formally in suits, tailored shirts, elegant court shoes and wear make-up more formally for their work. One such look I love is the television presenter, they always wear full make-up, have their hair styled nicely and wear elegant stylish clothing.
As I’m a man that enjoys dressing up as a woman I simply cannot resist attempting to create the appearance of such a woman. I am aware we all have our own motivations for cross-dressing. My own approach being I seek to try and pass convincingly as I can, I fail in my aspiration but I endeavour to do my best. My ambition is to be seen as female and nobody is aware I am really a man, what a thrill that would be!
I am guilty of posting a variation on this picture a few months ago but I saw it again this week and this version is a closer portrait shot. I believe that trying to look female facially is the biggest challenge we face as transvestites. It is relatively easy to get the body shape as one can employ techniques such as shaving legs, wearing breast forms and hip shapers and choosing dresses, skirts and heels that are very feminine and flattering. The face though...well, we are stuck with what we have so what can be done?
As a man I have a very dark beard shadow and my normal eyebrow shape is thick and bushy with no real shape at all. For the last ten years I have been plucking my eyebrows to be more shaped and defined and reduce the density of the number of the hairs. Nobody appears to have noticed this. In fact people I’ve not seen for a long time often say I’m somehow looking a bit younger. Never underestimate how much effect a nicely shaped eyebrow can have. I don’t like super thin eyebrows and feel a nice tidy shape is better. My current eyebrow plucking seems to work okay in both male and female modes. I may have them defined a bit more if I’m going to record a video as Helene or planning a photo-shoot.
My method for disguising the fact I’ve plucked a bit neater than usual is I let my beard grow for a few days then I pluck my eyebrows or have them waxed into a neater shape at a salon then I shave off the beard. People just assume I look tidier after the scruffy beard stubble.
I require a lot of foundation make-up to cover my beard shadow as even after an ultra close facial shave the dark shadow is present. I don’t mind wearing heavier make-up as I enjoy make-up and like the effect it has upon my confidence, I feel good and better in make-up. I have a weak looking face for a man which helps my efforts to look like a woman as I have no strong facial features and a weak looking chin. This suits me and I am grateful I’m not very masculine.
The secret to getting make-up to work is placing it wear it works. This maybe to bring out an aspect or to reduce an area so it is less noticeable. Too many people, including many real women, just put make up on without ever considering how to use it to enhance ones features. Transvestites love to put on make-up that often is too much as it all at one level leaving the features one has that would look at their best to be hidden in this dominant all over make-up approach.
One should ensure the whole face looks nice and even and softer so much effort needs to be put into applying foundation properly to achieve this. Once the foundation is complete and looks soft and smooth one should aim to enhance their best feature not go mad and try and enhance everything. In my case I have no real cheekbones to make use of, my lips are not nice being very thin and my top lip virtually non existent. For me I was left with only one facial feature I could make use of and this was my eyes. My eyes are not very nice either so I use make-up to try and rectify that and add a bit more a feminine eye shape.
A common mistake is to put eye-liner right around the whole eye. An effect on most people (Male and female) it makes their eye look smaller. The aim is to open up the eyes and make them more feminine. To this end one needs to lift the eye. As our eyes are set in position an illusion of the lift and feminine shape can be added by making the upper eye and lashes stand out more. In this picture because I don’t have feminine eyelashes I am wearing false eyelashes on my upper eye. To finish the upper eye look I have eye-liner drawn from the inner upper corner out to the edge of my eye. I have also used brown shades of eye-shadow with a lighter brown in the arch of my eyebrow to make it stand out more. I also lightly pencilled my eyebrows to give them more definition.
On my lower eye I have eye-liner drawn on from the outer edge but only two thirds of the away across. the line should be thicker at the outer edge and get very thin at the end. The effect is a more feminine, more open eye that looks softer.
As my lips are not attractive they are played down against the eyes. Soft pink lipstick with lip gloss gives them a presence but helps my eyes stand out more. A bit of softly applied blusher on my undefined cheeks adds a bit of colour and healthiness to my face.
To maintain the look I am aware that shorter wigs look better on my facial shape and so produce a result that is more convincing. I like contemporary short female hair style with the hair not just flat as the wig typically is straight out of the box. This short wig was back combed and fluffed up to add more volume and that contemporary feel. It was the liberally sprayed with hair spray to maintain its shape.
I do not have pierced ears so I chose clip on hoop ear rings which can look quite convincing but be aware, they fall off easily if your hand or hair brush catches them
To completely get into the character I was portraying I chose a fitted trouser suit. This required a genital tuck as the fit was tight, and I wore a bra in which I placed my breast forms. I thin wore a plain fitted lycra t-shirt and donned the suit jacket. I chose a pair of burgundy stiletto pointed court shoes with 4 inch heels and as a final flourish painted my nails with pink nail varnish and dabbed on some perfume.
I was finally Helene the woman! I was now ready to walk on set and do my interview.
I have no real idea if I succeeded in my efforts to create the female look, I put my all into it but when one is a middle aged bald man with a dark beard shadow one cannot quite disguise all of this. It is a delight and real thrill to be a man and dare to attempt becoming a woman. I really enjoyed filming the interview. The interview with with another T-girl and was posted on You Tube for awhile but unfortunately it had to be removed due to a change in her circumstances. It’s not always easy being a transvestite but it certainly is an amazing experience and feels fantastic.
30th September 2021 I was at the women in rail awards and managed to catch this photo of Naga Munchetty who was presenting the awards