Thursday, September 6, 2018

The world has not learned the lessons of the financial crisis

https://www.economist.com/leaders/2018/09/06/the-world-has-not-learned-the-lessons-of-the-financial-crisis



Has finance been fixed?The world has not learned the lessons of the financial crisis

Banks are safer, but too much of what has gone wrong since 2008 could happen again
WHEN historians gaze back at the early 21st century, they will identify two seismic shocks. The first was the terrorist attacks of September 11th 2001, the second the global financial crisis, which boiled over ten years ago this month with the collapse of Lehman Brothers. September 11th led to wars, Lehman’s bankruptcy to an economic and political reckoning. Just as the fighting continues, so the reckoning is far from over.
Lehman failed after losing money on toxic loans and securities linked to America’s property market. Its bankruptcy unleashed chaos. Trade fell in every country on which the World Trade Organisation reports. Credit supplied to the real economy fell, by perhaps $2trn in America alone. To limit their indebtedness, governments resorted to austerity. Having exhausted the scope to cut interest rates, central bankers turned to quantitative easing (creating money to buy bonds).
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Just as the causes of the financial crisis were many and varied, so were its consequences. It turbocharged today’s populist surge, raising questions about income inequality, job insecurity and globalisation. But it also changed the financial system (see Briefing). The question is: did it change it enough?
To splurge is human
One way—the wrong way—to judge progress would be to expect an end to financial crises. Systemic banking meltdowns are a feature of human history. The IMF has counted 124 of them between 1970 and 2007. There is no question that they will occur again, if only because good times breed complacency. Consider that the Trump administration is deregulating finance during an economic boom and that the Federal Reserve has not yet raised counter-cyclical capital requirements. Even when prudence prevails, no regulator is a perfect judge of risk.
A better test is whether the likelihood and size of crises can be reduced. On that, the news is both good and bad.
First, the good. Banks must now fund themselves with more equity and less debt. They depend less on trading to make money and on short-term wholesale borrowing to finance their activities. Even in Europe, where few banks make large profits, the system as a whole is stronger than it was. Regulators have beefed up their oversight, especially of the largest institutions that are too big to fail. On both sides of the Atlantic banks are subject to regular stress tests and must submit plans for their own orderly demise. Derivatives markets of the type that felled AIG, an insurer, are smaller and safer. Revamped pay policies should prevent a repeat of the injustice of bankers taking public money while pocketing huge pay-packets—in 2009 staff at the five biggest banks trousered $114bn.
Yet many lessons have gone unlearned. Take, for example, policymakers’ mistakes in the aftermath of the crisis. The state had no choice but to stand behind failing banks, but it took the ill-judged decision to all but abandon insolvent households. Perhaps 9m Americans lost their homes in the recession; unemployment rose by over 8m. While households paid down debt, consumer spending was ravaged.
It has taken fully ten years for the countervailing economic stimulus to restore America’s economy to health. Many of Europe’s economies still suffer from weak aggregate demand. Fiscal and monetary policy could have done more, sooner, to bring about recovery. They were held back by mostly misplaced concerns about government debt and inflation. The fact that this failing is not more widely acknowledged augurs badly for the policy response next time (see Free exchange).
Stagnation has, inevitably, fed populism. And, by looking for scapegoats and simplistic solutions that punish them, populism has made it harder to confront the real long-term problems that the crisis exposed. Three stand out: housing, offshore dollar finance and the euro.
To share divine
The precise shape of the next financial crisis is unclear—otherwise it would surely be avoided. But, in one way or another, it is likely to involve property. Rich-world governments have never properly reconciled a desire to boost home ownership with the need to avoid dangerous booms in household credit, as in the mid-2000s. In America the reluctance to confront this means that the taxpayer underwrites 70% of all new mortgage lending. Everywhere, regulations encourage banks to lend against property rather than make loans to businesses. The risk will be mitigated only when politicians embrace fundamental reforms, such as reducing household borrowing, with risk-sharing mortgages or permanent constraints on loan-to-value ratios. In America taxpayers should get out of the rotten business of guaranteeing mortgage debt. Sadly, populists are hardly likely to take on homeowners.
Next, the greenback. The crisis spread across borders because European banks ran out of the dollars they needed to pay back their dollar-denominated borrowing. The Fed acted as lender of last resort to the world, offering foreigners $1trn of liquidity. Since then, offshore dollar debts have roughly doubled. In the next crisis, America’s political system is unlikely to let the Fed act as the backstop to this vast system, even after Donald Trump leaves the White House. Finding ways to make offshore dollar finance safe, such as pooling dollar reserves among emerging-market countries, relies on international co-operation of the type that is fast falling out of fashion.
The rise of nationalism also hinders Europe from solving the euro’s structural problems. The crisis showed how a country’s banks and its government are intertwined: the state struggles to borrow enough to support the banks, which are dragged down by the falling value of government debt. This “doom loop” remains mostly intact. Until Europe shares more risks across national borders—whether through financial markets, deposit guarantees or fiscal policy—the future of the single currency will remain in doubt. A chaotic collapse of the euro would make the crisis of 2008 look like a picnic.
Policymakers have made the economy safer, but they still have plenty of lessons to learn. And fracturing geopolitics make globalised finance even harder to deal with. A decade after Lehman failed, finance has a worrying amount to fix.

Cate Blanchett, Interpreted: 9 Female Artists and Photographers

Cate Blanchett wears an Alexander McQueen dress. Beauty: Giorgio Armani Luminous Silk Foundation in Color 2.0, Neo Nude A-Line Highlight in Color 10, Neo Nude A-Line Blush in Color 50, Eye Tint in Color 23 Camel Smoke, Smooth Silk Eye Pencil in Black, Eyes To Kill Mascara in Color 1.0, High Precision Brow Pencil in Sand Blond, Rouge d’Armani Lipstick.




https://www.wmagazine.com/gallery/cate-blanchett-female-photographers-artists-cover-story?mbid=nl__daily_W_inandout&spMailingID=14202830&spUserID=MTY0ODE2MDM5NzY1S0&spJobID=1480484943&spReportId=MTQ4MDQ4NDk0MwS2


THE FEMALE GAZE

Cate Blanchett, Interpreted: 9 Female Artists and Photographers Expose the Actress's Power as a Muse in a Special Issue of W Magazine

At the Cannes Film Festival this year, 82 women, all of whom have starred in, directed, written, or otherwise worked on movies, including many that have been shown over the festival’s 72-year history, were celebrated together on the long red carpet that leads to the Grand Théâtre Lumière. It was a beautiful and profound statement that spoke directly to the #MeToo movement. Instead of commiserating about injustice, these women, from different backgrounds and countries, were proudly displaying their talent, range, and creativity. It was an active gesture of solidarity. “We need to remake the industry in a new and fresh way,” said Cate Blanchett, who was the head of the jury in Cannes and is also the guest editor of this issue of W. Our idea was to create something similar to that amazing female empowerment scene in Cannes: to show what female photographers, artists, directors, and stylists can create. This issue, spearheaded by the greatest actress of her generation (who, most recently, plays a complex witch in The House With a Clock in Its Walls, out on September 21), is an extraordinary ode to the female gaze. All of our contributors in these pages are women. For Blanchett, who was the muse for nine of these varied talents in this cover portfolio—including Alex Prager, who cast her in a murder mystery; Cass Bird, who captured Blanchett on the night of her Ocean’s 8 premiere, in Times Square; and Shirin Neshat, who envisioned her as a raven-haired chanteuse—the breadth of vision was thrilling. “I don’t like to generalize about gender,” Blanchett explained, “but, for me, the biggest question was: Why haven’t I worked with these remarkable women more?! Where have they been?” They are here. World: Take notice.
Cate Blanchett by Rineke Dijkstra
Photograph by Rineke Dijkstra. Styled by Sara Moonves. Hair by Sam McKnight for Sam McKnight Products at Premier Hair and Make-up; Makeup by Mary Greenwell for Giorgio Armani at Premier Hair and Make-up. Produced by Laura Holmes Production; Photography Assistants: Jodie Herbage, Richard Kovacs; Fashion Assistants: Allia Alliata, Angelique De Raffaele.
Cate Blanchett by Alex Prager
Photograph by Alex Prager; Styled by Sara Moonves. Hair by Sam McKnight for Sam McKnight Products at Premier Hair and Make-up; Makeup by Mary Greenwell for Giorgio Armani at Premier Hair and Make-up; Manicure by Adam Slee for Rimmel London at Streeters; Production Design by Arthur De Borman at Vision At Wizzo. Produced by Laura Holmes Production; Production Design Assistants: Nicholas Hancock, Daniel Edwards; DOP: Sam Goldie at Independent Talent; Prosthetic SFX: John Nolan; Smoke SFX: Matter SFX; Prosthetic Artist: Sunita Parmar; VFX: Jeremy Dawson; VFX Assistant: May Ziade; Fashion Assistants: Allia Alliata, Angelique De Raffaele, Izzy Temp; Tailor: Della George; Special thanks to Beth Riesgraf and Zarene Dallas.
2/19

CATE BLANCHETT BY ALEX PRAGER

Cate Blanchett wears a Victoria Beckham coat.
Cate Blanchett by Jackie Nickerson
Photograph by Jackie Nickerson; Styled by Sara Moonves. Hair by Sam McKnight for Sam McKnight Products at Premier Hair and Make-up; Makeup by Mary Greenwell for Giorgio Armani at Premier Hair and Make-up. Produced by Laura Holmes Production; Digital Technician: Jonathan Rose; Photography Assistants: Teddy Park, Richard Kovacs; Fashion Assistants: Allia Alliata, Angelique De Raffaele.
3/19

CATE BLANCHETT BY JACKIE NICKERSON

Cate Blanchett in a Martine Rose trenchcoat.
Cate Blanchett by Shirin Neshat
Photograph by Shirin Neshat; Styled by Sara Moonves. Sitting editor: Sam Walker. Hair by Robert Vetica at the Magnet Agency; Makeup by Jeanine Lobell for Giorgio Armani at Streeters; Manicure by Yuko Tsuchihashi for Giorgio Armani at Susan Price NYC. Set design by Adrian Crabbs at the Magnet Agency. Produced by Blayke Kogan at Rosco Production; Production Coordinator: May Lin Le Goff; Director’s Assistant: Giulia Theodoli; Director of Photography: Ghasem Ebrahimian; Production Assistants: Benjamin Merker, Emma Modek; 1st A/C: RoDin Hamidi; 2nd A/C: Olga Vazquez; Video Assistants: Tony Sur, JR James, Jesse Gouveia; Fashion Assistant: Emma Metz; Set Design Assistant: Evan Schaffer; Tailor: Joshua Schwartz at In-House-Atelier.
4/19

CATE BLANCHETT BY SHIRIN NESHAT

Cate Blanchett on the cover of W magazine.
CATE BLANCHETT, LONDON, JUNE 12, 2018
Photographs by Rineke Dijkstra
Photograph by Rineke Dijkstra; Styled by Sara Moonves. Hair by Sam McKnight for Sam McKnight Products at Premier Hair and Make-up; Makeup by Mary Greenwell for Giorgio Armani at Premier Hair and Make-up; Manicure by Adam Slee for Rimmel London at Streeters. Produced by Laura Holmes Production; Photography Assistants: Hans De Hartog Jager, Teddy Park; Fashion Assistants: Allia Alliata, Angelique de Raffaele, Angus McEvoy; Tailor: Della George.
5/19

CATE BLANCHETT, LONDON, JUNE 12, 2018PHOTOGRAPHS BY RINEKE DIJKSTRA

“People are complex, never one thing. I photograph them over a period of time, to see how they change. So my idea was to portray Cate just as she was when she came into the studio, with no makeup and in her own clothes. Then we dressed her up as if she was going to a major event. It’s interesting to wonder: Who is the real Cate? “
From Left: Cate Blanchett wears a Vince tank; the Row pants; her own necklace and ring. Vera Wang gown; De Beers earrings.
UNCANNY VALLEY
Photographs by Alex Prager
Photograph by Alex Prager; Styled by Sara Moonves. Hair by Sam McKnight for Sam McKnight Products at Premier Hair and Make-up; Makeup by Mary Greenwell for Giorgio Armani at Premier Hair and Make-up; Manicure by Adam Slee for Rimmel London at Streeters; Production Design by Arthur De Borman at Vision At Wizzo.Produced by Laura Holmes Production; Production Design Assistants: Nicholas Hancock, Daniel Edwards; DOP: Sam Goldie at Independent Talent; Prosthetic SFX: John Nolan; Smoke SFX: Matter SFX; Prosthetic Artist: Sunita Parmar; VFX: Jeremy Dawson; VFX Assistant: May Ziade; Fashion Assistants: Allia Alliata, Angelique De Raffaele, Izzy Temp; Tailor: Della George; Special thanks to Beth Riesgraf and Zarene Dallas
6/19

UNCANNY VALLEY PHOTOGRAPHS BY ALEX PRAGER

“I wrote a script about a scientist who creates robots in his lover’s likeness. Their plan is to help society, but it all goes wrong. The scientist decides to destroy the robots, but they kill him and her instead and take off. I’ve been reading a lot about what’s going on in the world of artificial intelligence—the title Uncanny Valley refers to the unsettling feeling elicited by humanoid objects—and it’s not such a crazy scenario.”
Clockwise from top left: Chloé top, pants, pendant necklace, and boots; Bulgari necklace. Sergio Rossi boots. Stella McCartney coat. Victoria Beckham coat. Hermès shirtdress; Sergio Rossi boots.
Photograph by Alex Prager
Photograph by Alex Prager; Styled by Sara Moonves. Hair by Sam McKnight for Sam McKnight Products at Premier Hair and Make-up; Makeup by Mary Greenwell for Giorgio Armani at Premier Hair and Make-up; Manicure by Adam Slee for Rimmel London at Streeters; Production Design by Arthur De Borman at Vision At Wizzo. Produced by Laura Holmes Production; Production Design Assistants: Nicholas Hancock, Daniel Edwards; DOP: Sam Goldie at Independent Talent; Prosthetic SFX: John Nolan; Smoke SFX: Matter SFX; Prosthetic Artist: Sunita Parmar; VFX: Jeremy Dawson; VFX Assistant: May Ziade; Fashion Assistants: Allia Alliata, Angelique De Raffaele, Izzy Temp; Tailor: Della George; Special thanks to Beth Riesgraf and Zarene Dallas
7/19

PHOTOGRAPH BY ALEX PRAGER

Chloé top, pants, pendant necklace, and boots.


8/19

FILM BY ALEX PRAGER

THE CARNIVAL IS OVER
Photographs by Shirin Neshat
Photograph by Shirin Neshat; Sittings editor: Sam Walker. Hair by Robert Vetica at the Magnet Agency; Makeup by Jeanine Lobell for Giorgio Armani at Streeters; Manicure by Yuko Tsuchihashi for Giorgio Armani at Susan Price NYC. Set design by Adrian Crabbs at the Magnet Agency. Produced by Blayke Kogan at Rosco Production; Production Coordinator: May Lin Le Goff; Director’s Assistant: Giulia Theodoli; Director of Photography: Ghasem Ebrahimian; Production Assistants: Benjamin Merker, Emma Modek; 1st A/C: RoDin Hamidi; 2nd A/C: Olga Vazquez; Video Assistants: Tony Sur, JR James, Jesse Gouveia; Fashion Assistant: Emma Metz; Set Design Assistant: Evan Schaffer; Tailor: Joshua Schwartz at In-House-Atelier.
9/19

THE CARNIVAL IS OVER PHOTOGRAPHS BY SHIRIN NESHAT

“For a long time my work has focused on women and the ways in which they defy society’s repressive codes. I was interested in how female singers are universally treated as objects of desire. At first, Cate looks gorgeous, but when she sings it’s a male’s voice. The audience heckles her, and she becomes confrontational. When the music comes back on, she does a seductive dance but her face is evil. For her final act of subversion, she takes off her hair and makeup and walks away. That part was Cate’s idea. Fuck the beauty.”


10/19

FILM BY SHIRIN NESHAT

SHE'S A NATURAL
Photographs by Jackie Nickerson
Photograph by Jackie Nickerson; Styled by Sara Moonves. Hair by Sam McKnight for Sam McKnight Products at Premier Hair and Make-up; Makeup by Mary Greenwell for Giorgio Armani at Premier Hair and Make-up. Produced by Laura Holmes Production; Digital Technician: Jonathan Rose; Photography Assistants: Teddy Park, Richard Kovacs; Fashion Assistants: Allia Alliata, Angelique De Raffaele.
11/19

SHE'S A NATURAL PHOTOGRAPHS BY JACKIE NICKERSON

“I hadn’t met Cate before the shoot, but she reminded me of women like Simone de Beauvoir, Joan Didion, and Peggy Guggenheim, all of whom were relaxed and self-confident with their body language. We shot in Cate’s own beautiful garden in the English countryside, and she was game to try every crazy idea we came up with.”
From left: Sonia Rykiel coat; Vince T-shirt. Hi-Tec sneakers; Blanchett’s own jeans.
MAVERICK
Photograph by Sam Taylor-Johnson
Photograph by Sam Taylor-Johnson; Styled by Sara Moonves. Hair by Robert Vetica at the Magnet Agency; Makeup by Lisa Storey for Charlotte Tilbury at the Wall Group; manicure by Michelle Saunders for Essie at Forward Artists. Set design by Colin Donahue at Owl and the Elephant. Produced by Dana Brockman at Viewfinders; Production Coordinator: Carolyn Bruch; Production Assistant: Spencer Tortorici; Digital Technician: DV8 Digital; Retouching by Epilogue; Photography Assistants: Jeff Gros, Henry Han, Huey Tran; Fashion Assistants: Allia Alliata, Nadia Beeman; Set Design Assistant: Mike Wanenmacher; Tailor: Isa Kriegeskotte.
12/19

MAVERICK PHOTOGRAPH BY SAM TAYLOR-JOHNSON

“My starting points for this shoot were cinematic, as they always are: Fellini’s women and Coppola’s One From the Heart. I came up with a narrative: It’s 5 a.m. and she’s atop a muscle car, then she’s furiously typing, connecting all her ideas. I was trying to create a wild spirit.”
Versace dress; David Webb gold, platinum, and diamond earrings.
Photograph by Sam Taylor-Johnson
Photograph by Sam Taylor-Johnson; Styled by Sara Moonves. Hair by Robert Vetica at the Magnet Agency; Makeup by Lisa Storey for Charlotte Tilbury at the Wall Group; manicure by Michelle Saunders for Essie at Forward Artists. Set design by Colin Donahue at Owl and the Elephant. Produced by Dana Brockman at Viewfinders; Production Coordinator: Carolyn Bruch; Production Assistant: Spencer Tortorici; Digital Technician: DV8 Digital; Retouching by Epilogue; Photography Assistants: Jeff Gros, Henry Han, Huey Tran; Fashion Assistants: Allia Alliata, Nadia Beeman; Set Design Assistant: Mike Wanenmacher; Tailor: Isa Kriegeskotte.
13/19

PHOTOGRAPH BY SAM TAYLOR-JOHNSON

Cate wearing Attico dress; Ellen Christine Couture headpiece.
DREAM GIRL
Photographs by Viviane Sassen
Photograph by Viviane Sassen. Styled by Sara Moonves. Hair by Cyndia Harvey at Streeters; makeup by Mary Greenwell for Giorgio Armani at Premier Hair and Make-up; Manicure by Morena Sanguigni for Morgan Taylor Lacquer at BTS Talent. Set design by Alice Kirkpatrick at Streeters. Produced by Laura Holmes Production; Retouching by Jan Hibma; Photography Assistants: Hanneke Van Leeuwen, Teddy Park; Fashion Assistants: Allia Alliata, Angelique De Raffaelle, Angus McEvoy; Set Design Assistant: Mariska Lowri; Tailor: Della George.
14/19

DREAM GIRL PHOTOGRAPHS BY VIVIANE SASSEN

“I started out wanting to do something quite surreal with collage, but in the end I painted on the images, which is something I did in my work years ago. I like the coolness and modernity of it.”
Cate Blanchett wears a Marine Serre dress and catsuit. Nicholas Kirkwood x Marine Serre boots; Repossi bracelet and ring. Givenchy dress.
URBAN LEGEND
Photographs by Cass Bird
Photograph by Cass Bird. Styled by Sara Moonves. Hair by Robert Vetica at The Magnet Agency; Manicure by Jin Soon Choi for JINsoon at The Home Agency. (Image on Left) Produced by Tyler Strawhecker at PRODn for Art + Commerce; Production Coordinator: Therese Mulgrew; Production Assistant: Christiana Mecca. Digital Technician: Anthony Miller; Retouching by Gloss Studios; Fashion Assistants: Allia Alliata, Michelle Pelletier; Lighting Director: Jon Heller; Photography Assistants: Clay Howard Smith, Zane Schaffer, Connor Martin, Ben Boult; Tailor: Leah Huntsinger at Christy Rilling.
15/19

URBAN LEGEND PHOTOGRAPHS BY CASS BIRD

“I’m interested in portraying my subjects in a spirited way. Thankfully, Cate is always game to explore, to play. It was she who suggested that for the first part of this shoot we run around the block for 10 minutes. There was no location van, no producer, no hair and makeup—it was so special. We reconvened at sunrise the next morning in Times Square, and shot some more. She’s interested in taking risks, as am I.”
From left: Givenchy coat and belt; Chopard earrings and ring. Alberta Ferretti blouse, pants, and belt; Vhernier earrings Proenza Schouler shoes.
HER PHOTOGRAPHS
Photographs by Sharna Osborne
Photograph by Sharna Osborne. Styled by Sara Moonves. Hair by Sam McKnight for Sam McKnight Products at Premier Hair and Make-up; Makeup by Mary Greenwell for Giorgio Armani at Premier Hair and Make-up. Produced by Laura Holmes Production; Photography Assistants: Jodie Herbage, Richard Kovacs; Fashion Assistants: Allia Alliata, Angelique De Raffaele.
16/19

HER PHOTOGRAPHS PHOTOGRAPHS BY SHARNA OSBORNE

“I come from a fine-arts background and work a lot with moving image. For this shoot, we had a studio set up in Cate’s backyard. Her daughter was chasing a dog and cat around, and I was filming her watching her, using a VHS camcorder from the ‘80s. I wanted to do something that was more real than glamorous. She caught glimpses of herself dressed in this masculine way, and she adopted a character. The fact that she trusted me with my little camera and rolled with this makes her the best person ever.”
Cate Blanchett wears a Martine Rose jacket, top, and jeans; Miu Miu boots.
A MOMENTARY GLANCE
Photographs by Dominique Issermann
Photograph by Dominique Issermann. Styled by Sara Moonves. Hair by Sam McKnight for Sam McKnight Products at Premier Hair and Make-up; Makeup by Mary Greenwell for Giorgio Armani at Premier Hair and Make-up. Produced by Anna Zantiotis; Production Manager: Helen Salen; Retouching by David Martin at DMDB; Photography Assistants: Ollivier Hersart, Vincent Gussemburger, Jordan Lee; Fashion Assistants: Allia Alliata, Angus McEvoy; Special Thanks to the Corinthia Hotel.
17/19

A MOMENTARY GLANCE PHOTOGRAPHS BY DOMINIQUE ISSERMANN

“I like pictures where the psychology is hard to understand. You don’t know who the person is, or what they’re thinking. I wanted a woman passing by, like an apparition. You catch a glimpse of her and she’s like a ray of light, too good to be true. In the film, the man spends all of his time chasing her down.”
From left: Simone Rocha dress. The Vampire’s Wife dress; Jimmy Choo shoes.
Cate Blanchett by Cass Bird
Photograph by Cass Bird. Styled by Sara Moonves. Hair by Robert Vetica at The Magnet Agency; Makeup by Dick Page at Statement Artists; Manicure by Jin Soon Choi for JINsoon at The Home Agency. Produced by Tyler Strawhecker at PRODn for Art + Commerce; Production Coordinator: Therese Mulgrew; Production Assistant: Christiana Mecca; Digital Technician: Anthony Miller; Retouching by Gloss Studios; Fashion Assistants: Allia Alliata, Michelle Pelletier; Lighting Director: Jon Heller; Photography Assistants: Clay Howard Smith, Zane Schaffer, Connor Martin, Ben Boult; Tailor: Leah Huntsinger at Christy Rilling.
18/19

CATE BLANCHETT BY CASS BIRD

Cate Blanchett wears a Vanessa Seward shirt and jeans; hat from Early Halloween, New York; Chopard earrings; Alberta Ferretti belt.


19/19

WATCH: CATE BLANCHETT TAKES W'S SCREEN TEST