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Gender Clinic

Gender reconstruction surgery (GRS) (also known as gender reassignment surgery, gender confirmation surgery, sex realignment surgery or, colloquially a sex change) is the surgical procedure (or procedures) by which a transgender person’s physical appearance and function of their existing sexual characteristics are altered to resemble that of their identified gender. It is part of a treatment for gender dysphoria in transgender people.

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Gender Reassignment Clinic, Brighton, England, UK

Warren Rd , Brighton , England , BN2 6DX - Get Directions

Business Overview

Gender Reassignment Clinic Brighton, England, United Kingdom

The Gender Reassignment Clinic is led by one of the countries leading Consultant Urologists, Mr. Phil Thomas FRCS (Urol), who specializes in Reconstructive Urological Surgery and Gender Reassignment Surgery out of private Nuffield Hospital.

Mr. Thomas is first and foremost a Consultant Urological Surgeon in the NHS, practicing at Brighton and Sussex Universities Hospitals Trust. Where he is Clinical Director of the Cancer Directorate and specializes in the provision and training of Reconstructive Urological Surgery. Mr. Thomas also has a private practice. Patients considering surgery can seek his expert opinion and, if and when the time is right, gender reassignment surgery.

At the Gender Reassignment Clinic, you can expect to find an accepting and understanding welcome from all our staff. Including a considerate, caring, and professional consultant-led service from your very first consultation through to your final discharge. We know from experience how Transexual and Gender Dysphoria patients can suffer from a lifetime of frustration living with their original gender. The surgery can bring relief to some, allowing them to enjoy a healthy future as a member of the opposite sex.

As you will probably already know if you read this website, seeking help to live a fulfilled life in a new gender can be a long and often emotionally arduous journey. However, making the ultimate decision to alter your external genitalia permanently can only come after you have demonstrated your wish. Including the ability to live in your chosen gender role for a significant time (typically 2-3 years) and after in-depth psychiatric evaluation to ensure this step is the right and best action for you!

Contact Details

• Dr Phil Thomas
• Gender Reassignment
• Reassignment Treatment
• Sussex Universities Hospitals

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Uterine transplantation in transgender women

Affiliations.

• 1 West London Gynaecological Cancer Centre, Hammersmith Hospital, Imperial College NHS Trust, London, UK.
• 2 Department of Surgery and Cancer, Imperial College London, London, UK.
• 3 Department of Politics, Philosophy and Religion, Lancaster University, Lancaster, UK.
• 4 Lister Fertility Clinic, The Lister Hospital, London, UK.
• 5 The Oxford Transplant Centre, The Churchill Hospital, Oxford University Hospitals NHS Trust, Oxford, UK.
• 6 Brighton Gender Clinic, Nuffield Health Hospital, Brighton, UK.
• PMID: 30125449
• PMCID: PMC6492192
• DOI: 10.1111/1471-0528.15438
• Anastomosis, Surgical / methods
• Gender Identity
• Sex Reassignment Surgery / ethics
• Sex Reassignment Surgery / methods*
• Transgender Persons*
• Uterus / transplantation*

Grants and funding

• WT_/Wellcome Trust/United Kingdom
• 097897/Z/11/Z/WT_/Wellcome Trust/United Kingdom

Beyond fairness: the biology of inclusion for transgender and intersex athletes

• University of Brighton
• Centre for Regenerative Medicine and Devices

Research output : Contribution to journal › Article › peer-review

Bibliographical note

Access to document.

• 10.1249/JSR.0000000000000314 Licence: Unspecified
• Beyond fairness- the biology of inclusion for transgender and intersex athletes.pdf Accepted author manuscript, 155 KB Licence: Unspecified
• http://journals.lww.com/acsm-csmr/pages/default.aspx Licence: Unspecified

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• fairness Social Sciences 100%
• athlete Social Sciences 95%
• biology Social Sciences 90%
• inclusion Social Sciences 72%
• social recognition Social Sciences 70%
• surgery Social Sciences 55%
• opposition Social Sciences 42%
• lack Social Sciences 27%

T1 - Beyond fairness: the biology of inclusion for transgender and intersex athletes

AU - Pitsiladis, Yannis

AU - Harper, Joanna

AU - Betancurt, Jonathan Ospina

AU - Patiño, María-José Martínez

AU - Parisi, Attilio

AU - Wang, Guan

AU - Pigozzi, Fabio

N1 - This is a non-final version of an article published in final form in Beyond Fairness: The Biology of Inclusion for Transgender and Intersex Athletes by Pitsiladis, Yannis; Harper, Joanna; Betancurt, Jonathan Ospina; Martinez-Patino, Maria-Jose; Parisi, Attilio; Wang, Guan; Pigozzi, Fabio in Current Sport Medicine Reports, November/December 2016, Vol. 15, Issue 6 doi: 10.1249/JSR.0000000000000314

PY - 2016/10/1

Y1 - 2016/10/1

N2 - In November 2015, the International Olympic Committee (IOC) reached a consensus on “Sex Reassignment and Hyperandrogenism” allowing transgender athletes to compete after one year of hormone replacement therapy (HRT) and without sex reassignment surgery (SRS). These recommendations have been applauded by some who argue that these guidelines are supported by the limited scientific data and are in line with current social and legal recognition on transgender issues. There are however, many who oppose allowing transgender women to compete against cisgender women under any conditions, especially in those cases where gonadectomy has not been performed. While much of this opposition is based on a lack of understanding of the transformative nature of HRT, there are also those who have legitimate concerns over the paucity of scientific studies to support the new IOC guidelines.

AB - In November 2015, the International Olympic Committee (IOC) reached a consensus on “Sex Reassignment and Hyperandrogenism” allowing transgender athletes to compete after one year of hormone replacement therapy (HRT) and without sex reassignment surgery (SRS). These recommendations have been applauded by some who argue that these guidelines are supported by the limited scientific data and are in line with current social and legal recognition on transgender issues. There are however, many who oppose allowing transgender women to compete against cisgender women under any conditions, especially in those cases where gonadectomy has not been performed. While much of this opposition is based on a lack of understanding of the transformative nature of HRT, there are also those who have legitimate concerns over the paucity of scientific studies to support the new IOC guidelines.

U2 - 10.1249/JSR.0000000000000314

DO - 10.1249/JSR.0000000000000314

M3 - Article

SN - 1537-890X

JO - Current Sports Medicine Reports

JF - Current Sports Medicine Reports

‘Anora’ wins Palme d’Or award at Cannes — and more festival highlights

An American film director was the toast of the French film festival, while “All We Imagine as Light” and “Emilia Peréz” also nabbed prizes.

CANNES, France — Throughout the 77th Cannes Film Festival, there had been a sense of bracing for conflict. France’s #MeToo reckoning threatened to engulf unspecified male directors whose films were playing. When exposed, would they have to leave the competition? And what was with all the armed soldiers, whose presence increased daily, marching up and down the Croisette? What had they heard about Gaza protests, or perhaps the threat of a terrorist attack?

By and large, though, the most exciting news at Cannes was happening inside the hallowed theaters, where beauty and fertile imaginations won out — as they should.

The Style section

The final day of the festival was a good one for cinema. On Saturday, the competition jury led by Greta Gerwig — the highest grossing female director in history — alongside members such as Lily Gladstone, Eva Green, Japanese director Hirokazu Kore-eda and French actor Omar Sy (“Lupin”), gave all three top prizes to films about women.

“Anora,” a touching, high-octane comedy about a sex worker from American director Sean Baker (who shot his 2015 film “Tangerine” on an iPhone), won the Palme d’Or.

Grand Prix went to “All We Imagine as Light,” a delicate, poetic story of sisterhood among single women in Mumbai that is the first Indian film in competition in 30 years, from female director Payal Kapadia.

And “Emilia Peréz,” director Jacques Audiard’s genre-bending musical about a Mexican cartel boss transitioning to become a woman, won not just the third-place Jury Prize, but a rare ensemble best actress award for Selena Gomez, Zoe Saldaña and lead Karla Sofia Gascón, a telenovela star who is now the first trans actress to win at Cannes.

At a news conference, Gerwig said the jury had operated like a family: “I’m forever changed as a filmmaker because of this experience.”

Here are The Washington Post’s own awards for the boldest, and in some cases, most disturbing or baffling, things we were lucky enough to experience over the last 10 days.

Most portentous household appliance: “All We Imagine as Light”

One of the many things that makes the Grand Prix winner so special is just how universal it feels, as a tale of a found family in a big city, while also being incredibly specific to the lives of three nurses of different generations in Mumbai.

And the most delightful of those specific details comes in the form of a fancy red German rice cooker, which arrives at the home of the central character Prabha (Kani Kusruti) like a missive from a ghost. For over a year, we learn, she’s been waiting for word from her husband, who left for a short stint to work at a factory in Germany soon after they wed in an arranged match.

Is the rice cooker a sign that he’s coming back, ready to upend her life and the budding connection she has with a doctor who writes her poems, or is it an insulting parting gift from a man who’s stolen so much from her and doesn’t even have the decency to set her free?

Boldest self-commentary: Demi Moore in “The Substance”

Back when Demi Moore was partnered with Ashton Kutcher, the tabloids swirled with vicious reports of her insecurity over being 15 years his senior. For Moore to make her “comeback” with “The Substance,” an outrageous body-horror flick about the terror of being an aging woman in Hollywood, shows a level of self-awareness and bravery that could have her getting kudos all the way to the Academy Awards.

In the feminist film from French director Coralie Fargeat — which won the best screenplay prize — Moore plays Elizabeth Sparkle, host of an ’80s-style exercise show who starts injecting a new drug that allows her to essentially “birth” a younger, better version of herself (Margaret Qualley). The only catch is that every other week, the older and younger selves have to switch off. Moore is so fully committed, so willing to skewer the industry and herself, so up for the gore and the guts, it could be the best thing she’s ever done.

Best love letter to Coney Island and Brighton Beach: “Anora”

The Palme d’Or winner is, like many of Baker’s films, a funny, joyful look at the life of a sex worker. This time, Baker follows 23-year-old Ani (Mikey Madison in a breakthrough performance) as she lets herself follow a delusion that the bratty Russian kid who’s paying her to be his girlfriend (Mark Eydelshteyn) is the one. That is, until his oligarch parents send their goons to break them up.

“We felt that we were invited to be in this world and be on this journey with them,” Gerwig said at the awards. Specifically, the film invited them to a beachside very different from the Cannes Croisette — the strip clubs and gaudy mega-mansions of Brooklyn’s Russian immigrant enclaves in Brighton Beach and Coney Island.

Baker dedicated the win to sex workers “past, present and future. This is for you,” he said.

Best performance for an audience of one: Donald Trump’s lawyers

On Friday, news leaked that Donald Trump’s lawyers had sent a cease-and-desist letter to the filmmakers of “The Apprentice,” a docudrama starring Sebastian Stan about the future president’s rise to power as a New York real estate mogul in the ’80s. According to the three-page letter obtained by The Post, the film isn’t just defamatory but also a “foreign funded and directed hit piece masquerading as a movie” — essentially accusing Iranian-Danish director Ali Abbasi of interfering in the 2024 election .

Trump’s lawyer, David A. Warrington of Dhillon Law Group, also argues that screenwriter Gabriel Sherman (a Vanity Fair political reporter) has “Trump Derangement Syndrome,” charging him with making “racist, Marxist, and otherwise disparaging statements against President Trump in 2018.” It reads like a letter designed not for intimidation but to curry favor with the man who probably ordered its authorship. And in the end, it might just have the opposite of the desired effect and entice more people to watch the film.

Best surprise opera: “Emilia Pérez”

From its description in the Cannes program, you’d think “Emilia Pérez” is a deadly serious trip into the underbelly of Mexican drug cartels — which it is, sort of. But it’s also a soaring, sometimes ridiculous, Spanish-language operatic telenovela about trans identity, too, with two massive American stars, Gomez and Saldaña. Nothing about this movie, from daring 72-year-old French auteur Audiard, should work. But it does, with the audience bursting into delighted applause the moment Saldaña started singing and dancing through a Mexican market. Ultimately, the film belongs to Gascón, playing a cartel boss who undergoes gender reassignment surgery. She just became the first trans woman to win best actress at Cannes, in an ensemble award for all three leads. “We’ve been insulted, denigrated, subjected to a lot of violence without even knowing why,” she said. “I think this award is so much more than anyone could imagine.”

Most harrowing journey to Cannes: Mohammad Rasoulof

That Mohammad Rasoulof made it to the premiere of his film , “The Seed of the Sacred Fig,” was itself a political statement. The day before the festival began, representatives for the director — an outspoken critic of the Iranian regime — announced that he’d fled Iran and had made it to a German safe house after being sentenced to eight years in prison, plus flogging and confiscation of property, for “security” violations. He’d had to complete his film in secret, and his journey took 28 days, ultimately ending in a clandestine border crossing by foot.

The film he showed is a thriller about an inspector judge whose family falls into a web of mistrust and paranoia, mirroring the broader effects of the regime’s oppressive tactics. At the premiere, Rasoulof held aloft the photos of two of the movie’s stars, who were unable to leave Iran — one of whom is under arrest. The jury gave the film a special award. “We wanted to be able to honor that in a way that felt particular to that sacrifice for cinema,” said Gerwig.

In his speech, Rasoulof made an appeal: “Do not allow the Islamic Republic to treat Iranians like this … an entire people is hostage to the Islamic Republic.”

Most likely to inspire an SNL sketch: The Microsoft artificial intelligence activation

Cannes isn’t just a showcase for films; it’s also a marketplace and a networking event for film professionals. Branded suites are everywhere, from the Nespresso beach club where every surface was covered in orange to the red-tinted Campari lounge at the top of the Palais. But the company that seemed to have poured the most money into branding activation was Microsoft.

Its huge, AI-themed beachside lounge was open to the public, serving free-flowing alcohol, detox juice and delicate canapés. The “we come in peace” vibes seemed like a response to industry concerns about AI during the Hollywood strikes last year. Walls and screens carried exhortations like, “AI is not creative. You are.” And “AI can’t schmooze. You can.” The lingo sounded just like the Coneheads on SNL trying to sound like they’re not from space. So please do not be alarmed, humanoid filmmakers, AI is NOT coming for your jobs.

Samantha Chery in Washington contributed to this report.

A previous version of this article said that director Sean Baker filmed "The Florida Project" on an iPhone. It was his earlier movie, 2015's "Tangerine," that was shot on an iPhone. In addition, director Ali Abbasi is Iranian-Danish, not Iranian-Dutch. The article has been corrected.

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