Sunday 22nd June 2025
Blog Page 1133

Unease at major overhaul of History and Politics course

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Plans to reform the undergraduate History syllabus are entering into their final phase, with mixed responses from the student body.

The proposed reforms will see three major changes to the existing syllabus for History and Joint Schools. There will first be a requirement for all students to take one ‘World History’ paper during their degree; the menu of British and General History papers for finalists will be reduced to make way for ‘Theme’ papers, which examine a concept over a long period of time; the British History finals paper will be assessed by three submitted essays, rather than an exam.

Dr Benjamin Thompson, Coordinator for Undergraduate History, told Cherwell that the reforms would give “more diversity, thematically and geographically”. He continued, “The study of history changes all the time, as more history is made and new generations study it, and the curriculum has to refl ect that without following fashion…cautiously and slowly.”

In his view, the challenge is to “try to get the balance between core British history, with its wonderfully diverse history and sources, and more places in the world: to give undergraduates a chance to study Ottomans, Middle East, Native Americans and so on.”

Another aim of the changes is to address a gap in Finals performance between men and women in History. Catrin Prior, co-President of the Undergraduate History Assembly (UHA), informed Cherwell that, “Men consistently outperform women in history exams, for reasons no one is sure of.” She is confident that the proposed reforms will help “rectify the gender gap”, by making the syllabus less male-orientated and bringing in coursework for the paper with the greatest disparity in performance, British History.

She noted that, “Our statistics show that men and women perform similarly in coursework and dissertations, this module will be assessed in three essays rather than in one big exam. Hopefully this will go some way in ensuring that men and women have an equal opportunity to achieve a first at Oxford.”

Both Prior and Dr Thompson stressed that the proposals reflected student sentiment expressed in surveys and the UHA. Prior explained, “The results from the UHA’s surveys, and from general points raised in our meetings, have definitely gone into the faculty’s efforts to reform the syllabus and we’re extremely happy with some of the changes.”

Some students, however, seem apprehensive about the changes. One second-year historian thought the change to coursework “seems like a wonderful way to ruin Trinity for historians”, while a joint-schools student suggested it would, come Finals exams, “penalise joint school students who already take a lot more Finals exams than the historians”. There was also worry that the new ‘World History’ and ‘Theme’ papers were broad brush strokes and may not do the topics justice.

Asked about these concerns, Dr Thompson acknowledged that the balancing of detail and breadth in a History curriculum was “always a struggle”, but insisted that “[he doesn’t] think we’re giving up on detailed papers.” Dr. Thompson also had sympathy with students troubled by the potential workload, but laughed that, “Nobody said studying History at Oxford was easy!”

These proposals come at a time when a number of History and Politics students appear unhappy with recent changes to their syllabus. From the start of last academic year, first and second-year Politics students have been required to attend statistics classes at the ‘Qstep’ statistical analysis laboratory, but some History and Politics students feel this change has left them at a disadvantage.

One second-year History and Politics student complained to Cherwell, “The feeling amongst ‘HPol’ students is that the statistics module has been hoisted upon us and requires mathematical skills that many of us simply do not have.” Another explained that “We are expected to do the same syllabus as the PPEists in spite of the fact that most of us have a humanities background, whereas most PPEists have done A-Level Maths”; the same student said, “it seems like the department has just stuck two fingers up” to History and Politics students.

Professor Andrew Eggers, Associate Professor of Quantitative Methods in Comparative Government, defended the statistical elements of the course, arguing that, “We think this is useful at Oxford but it is definitely useful in lots of careers students might be considering. At the very least we want students to not be intimidated by numbers.

“I understand that students less inclined toward stats might feel slightly more lost in our labs, but we don’t assume any background so it should be accessible for everyone. Also (and perhaps more importantly), the point of these new lectures and labs is to help students deal with quantitative material that was already being assigned for their Prelims and core Politics papers, so we hope that if anything this helps students with less stats background than their peers.”

Nonetheless, support among many History and Politics students for the statistics requirements appeared to be fading rapidly. One message on the History and Politics Facebook page reported, “I know two people who dropped Politics altogether because of it”, while another student reports “widespread resentment”, especially from History and Politics students with a background in humanities.

The Cult of the MacBook

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Illustration: Ella Baron

Every time that we sit down to work in Oxford there is one thing we are guaranteed to see. From the Bodleian Library to any of Oxford’s central coff ee shops, the gleam of a backlit-fruit-centrally-framed-within-finished-aluminium has become a norm.

Here in the Radcliffe Camera, as I write, I sit as part of a static conveyor belt of some twenty Apple Macs – all of which happen to be either 13, or 15 inch Pro models.

From base observation, most of the student Mac owners I know rarely engage in graphic design, or music production – occupations that might warrant splashing out on one of the most expensive laptops on the mainstream market.

The reality is that most of Oxford’s Mac users have spent at least twice the amount of money an adequate PC might cost, student discount included, all for the purpose of writing Word documents. I don’t think any myths are being dispelled when I say that the task being completed by a majority of students sat in Oxford’s libraries – that is periodically scrolling through social media while trying to write an essay – is in no way substantially enhanced by their Apple Mac computer. The truth is, students buy Macs because they look nice. They buy them because they are Apple products. They buy them because they can.

You might ask why the hell this is important. Some people might have saved up, right? Aren’t cheap laptops a false economy? The point is that personal computers, iPhones included, are becoming the most prevalent signifiers of material wealth and privilege among students. Buying an Apple Mac for the purpose of writing Word documents is the symbolic equivalent of inner city dwellers doing the school run in a four-wheel drive Range Rover. As an aside, if anyone is interested in seeing the largest congregation of unnecessary and profoundly ugly four-wheel drives in Oxford, just go to Magdalen College School at picking-up time – you won’t be disappointed.

This kind of consumer behaviour has very little to do with necessity, and a great deal to do with identity. At the beginning of One-Dimensional Man, Marcuse famously wrote “the people recognize themselves in their commodities; they find their soul in their automobile, hi-fi set, split-level home, kitchen equipment.”

Within hyper-consumerist, modern capitalism we are validated by what we consume – finding identity in the things we own. Clearly a vast number of Oxford’s students have found their soul in the MacBook. It is the luxury item of the modern student.

But the relationship between identity and consumer choice among many students is rarely straightforward. Sat opposite me right now for instance, I see students like me: many of them wearing fashionable second-hand jumpers to go nicely with their first-hand MacBooks. Clearly the irony passes us by. What kind of crisis of identity manifestsitself in this desire to appear fashionably insouciant about one’s clothes, but extravagant in one’s choice of technology? It is but one of the strange anxieties of modern middle-class youth identity.

There is, however, a more pernicious consequence to the cult of Apple. The omnipresence of the MacBook in Oxford can only serve to distort students’ perceptions of what ‘normal’ levels of wealth look like. Many students, and a significant proportion of the population, simply cannot afford to consume in the way society screams at them to do. In an Oxford where MacBook or iPhone ownership is normalised among the student body, the only consequence can be further alienation for those who cannot afford to buy into this warped ‘norm’.

Although it seems things are changing, it is still fairly unfashionable to talk about class on the mainstream Oxford left, which is a reflection of recent historical trends. Yet at this university, above all others, it is crucially important that students start talking and thinking more about class.

If not a prophylactic, it can at least allow us to be aware of the disease we are part of. It is the only way to understand the abnormality of Oxford, and the cult of the MacBook fully. Mike Savage, a Professor of Sociology at the LSE, identifies Oxford as ‘paramount’ in a short list of UK higher education institutions which crystallise an “increasingly cohesive social and cultural elite, whose lives and experiences are separated from the majority of the population.”

When you next sit in an Oxford library or lecture hall and are astonished – or more scarily not astonished – by the ubiquity of the MacBook, just remind yourself that you have been segregated from British society. Figures for 2014 showed that only seven pecent of British children attend fee-paying schools, but made up 43.2 percent of Oxford University undergraduates that year. In this context, the cult of the MacBook is not entirely unsurprising.

It therefore remains healthy and necessary to remind ourselves that Oxford University is anything but a ‘normal’ environment. We belong to an institution in which a large proportion of students had their parents pay for their education, with many of the rest having come from grammar schools, which disproportionately cater to the middle classes.

To believe that you sit among a student body which even hints at being representative of wider society is a joke, but a joke that becomes less and less funny, and more and more familiar, the more we become acculturated to the environment we study in.

It’s a joke that has gone so far as to make me, and many others, perceive a MacBook Pro as standard student equipment, rather than what it really is – an extravagant signifier of wealthy student identity.

RMF to protest at Oriel following Rhodes statue petition

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This article was originally published in Cherwell on Friday 06/11/15 in advance of the Rhodes Must Fall protest.

A demonstration outside Oriel College has been planned by the Rhodes Must Fall In Oxford campaign for Friday to demand the removal of the statue of Cecil Rhodes visible from the High Street.

The demonstration will take place at 12pm, and protesters plan to give the Oriel Provost, Moira Wallace, until 2pm to come out publicly and accept the petition, which over 1,000 people have already signed in support of the statue’s removal.

The campaign argues, “The veneration of a racist murderer on our campus violates the University’s own commitment to ‘fostering an inclusive culture’ for its black and minority ethnic students. It is also an overbearing, visual reminder of the colonial apologism rife in one of the world’s most esteemed educational institutions. So long as these statues are allowed to stand, we as a society can never begin the process of recognising the violence of our past.”

So far, Mansfield JCR and Christ Church MCR have both passed motions in support of the removal of the Rhodes statue, and RMF is encouraging as many student bodies as possible to follow suit. The OUSU Women’s Campaign has also announced its support, stating, “WomCam stands in solidarity with Rhodes Must Fall In Oxford and we urge all involved with our campaign to attend RMF’s protest at Oriel on Friday afternoon.”

On Sunday the Oriel Provost made an address as part of the sermon at the annual commemoration of benefactors service, where she referenced the movement, saying, “Over the coming years, I think you will see Oriel continue to use its academic strengths to host and debate issues to do with Rhodes’ era, and the topic of colonialism and its consequences.

“In other words, we will continue to be true to our mission as an academic institution that is committed to learning, to rigorous research, to the study of history, to fair access, and to committed and ethical debate about how the future should be shaped.”

Criticism has also been directed at the campaign, questioning whether a protest is an appropriate measure. Anna Wawrzonkowska, a student at Oriel said, “Even though the college has already made multiple statements that agree in spirit with what the protesters are saying, no discussion has been started, and I can’t help but feel that the direct action which should be the last resort is used here as the first.”

Asked about the decision to protest, RMF told Cherwell, “We protest because we are outraged at the continued existence of a statue that deifies someone who committed crimes against humanity, participated in colonial plunder, and implemented systems of apartheid. We don’t think this should be controversial. Further, protest is a form of debate, and we have ignited important debate and discussion both inside and outside Oxford with this action.

“Those who suffer the legacies of colonial violence should be able to decide how they wish to confront their oppression.”

There has been further criticism from members at Oriel college regarding the tone of the protest. The protest event page called on protesters to “arrive prepared to BRING THE NOISE: come armed with whistles, drums, pots, pans, wooden spoons and your loudest chanting voice.” It also explains, “We will give the Oriel College Provost until 2pm to come out and publicly accept our petition.”

Some Oriel students have expressed concerns about the threatening tone of RMF’s statement and potential noise disruption. One student commented, “What if the Oriel College Master doesn’t emerge by 2pm? Sounds like a threat”.

RMF told Cherwell in reponse to accusations of intimidation that, “We think talk of ‘intimidation’ is a scare tactic to prevent people from actually engaging with our arguments. We don’t see why making demands to an institution that itself acknowledged the controversy associated with maintaining a statue of Rhodes should be seen as ‘intimidatory’.

“Our exact aim is to expose Oxford’s apparent ambivalence to the violence of people like Rhodes. We believe it is ‘dangerous’ and ‘intimidatory’ to condone intolerable colonial violence through public monuments, and that Rhodes has now become a global emblem for this kind of colonial denialism.”

On noise complaints, RMF explained, “Quite frankly, we find the concerns about ‘noise’ laughable. The relatively minor inconvenience of having to study in a diff erent library for two hours cannot reasonably be weighed against the right to protest against serious and persistent injustice.”

However, further concerns about intimidation have been raised over statements on the event Facebook page. One comment joked, “we should just stick dynamite in the statue and blow it up. Minimum disruption, job done.” RMF, in response, reiterated that the planned protest will be peaceful. Another Oriel student responded, “You know who lives in the Rhodes building? Freshers. How dare you, even as a pathetic joke, throw threats like that around.”

Reiterating its official position of non-violence, RMF stated, “In the run-up to Friday’s demonstration, we would like to reiterate that this protest will be peaceful. RMFO condemns wholly the use of violence and we find the recent comments alluding to violence made on our page completely unacceptable, whether made jokingly or not.

“Violence runs counter to the ethos of restorative justice that motivates our actions and call to protest.”

Oriel College has taken a stance on the RMF protest in a recent press release. The document states, “Oriel is happy to engage with the Rhodes Must Fall in Oxford movement on the important issues they have raised in their campaign.

“We absolutely support their right to a peaceful protest and are making arrangements to receive the petition on Friday. The College has offered to meet a group of representatives of the campaign in the weeks following their protest and we hope that they will take up this offer.”

Cecil Rhodes was a British Imperialist who drew controversy for alleged statements such as, “I prefer land to n*****s… the natives are like children. They are just emerging from barabarism…one should kill as many n*****s as possible.” He was a student at Oriel College in 1873 and became a major benefactor leaving Oriel two per cent of his estate. His estate went towards the now Grade II listed building at Oriel, which is fronted by the controversial statue.

In its recent press release, Oriel College stated, “The College draws a clear line between acknowledging the historical fact of Rhodes’ donation and in any way condoning his political views.”

Review: Pentecost

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★★★★★

Last week director Freya Judd was aimlessly spun on a children’s merry-go-round. Despite the G-force, she managed to explain that it took nine months of preparation to create Pentecost– “the time it would take to have a child”. It was a pleasure to bear witness to the fruits of her labour: an urgent, touching and fantastically thought provoking work. This impeccably acted, masterfully constructed and all too relevantly written play needs to be seen, perhaps especially at Oxford.

The first character we see is the set; one of the best I’ve seen on a student stage. It’s the grubby wall of an abandoned church on which the fate and fortune of an anonymous eastern European culture has been inscribed. We see a people’s mural hailing ‘the great proletarian revolution’ (in Russian) painted on top of the native inscriptions of WW2 prisoners written during captivity by the Nazis. At the center of it all is the Virgin Mary and a cluster of angels, a work which our leads Oliver Davenport (Cassian Bilton) Gabriella Pecs (Maddy Walker) and Katz (Calam Lynch) believe is the original version of a famous Giotto fresco in Padova (The Scravigni Chapel in real life I think). Importantly, this is the fresco that incarnated the burgeoning humanist ideal of renaissance Europe.

Our three art experts squabble over the minor details of how to preserve and restore the work; if indeed they should. The opening half uses the uncertainty surrounding the fresco as a device to explore the relationship between the ‘universal European ideal’ and its relation to the ‘battlements of Europe’. This device is slick and very smart, it allows us to understand the complexity of dealing with the past in the post soviet east. Something to be forgotten, remembered, destroyed or even sold. Amidst this discussion, the cynical machinations of church and state emerge; both seeking to appropriate the fresco for their purposes. The educated European (Davenport) and American (Katz) are not however spared the satire as their self appointed positions as the custodians of culture are brutally denied. Davenport’s earnestly egalitarian view that anything can be art, is ridiculed by Gabriella who yearns to be part of a country with so much art that it can afford to elevate page three shots to the same level as a Michelangelo. Conversely Katz’s righteous talk of preserving the past, warts and all, is very much silenced when he is told that in this country, you (literally) eat your history to survive.

Issues over the authenticity and significance of historical iconography make Pentecost a smart play to stage in Oxford, not least due to the questions of cultural appropriation that come with it. But neither can it be denied this is the weaker half of the play, sometimes the dialogue came out garbled and it was hard to make out the direction of the conversation at times. I heard a lot f conversations during the intermission, to the effect of ‘what are they talking about?’.

The second half is where we see the power and intelligence of the piece. A group of refugees break into the church and hold the art experts hostage in exchange for new identities in Europe. Katz tries to cut a deal with the refugees, by persuading them that the fresco predates Giotto by a hundred years. This however was decided to be false on account of a pigment discovered at the end of the first half.

In the first few minutes the leader of the refugees (Yasmin, played by Daisy Hayes) chastises the experts for their arrogance in condescending to forgive the refugees for their actions. As if criminal justice were suspended in the third world, leaving the paternalist mercy of the west as the only means to redeem their sins. There is thus a brutal irony when Katz proposes that the refugees hold the painting hostage instead, for Katz effectively bargains a (fake) symbol of the European ideal in order to trick the refugees into thinking it is their ticket to living in the ideal of Europe. Is this a comment on the hypocrisy and double standard of the west? Or perhaps a comment on the fact there is no such thing as the light at the end of the tunnel? I won’t spoil how this situation resolves itself.

That the production should so eloquently pose the questions and yet retract any suggestion of an answer is to its credit. But what make it special is not just the brains, but the engrossing emotional drama that makes the questions hit home. It is a further credit that these emotions are refused any final catharsis.

The three leads were instrumental in this, each extremely likable and comical, but maintaining sufficient seriousness to prevent the dangerous descent into farce. Cassian Bilton shined in particular with his “notorious sang-froid, stiff-upper arse and consequent tight lip”. Every little detail of his performance conjured the character perfectly, from the little tug at his sleeves as he crouches to observe the fresco to his quivering at gunpoint. Calam Lynch has some excellent moments with an incredibly self-assured and controlled performance as the brash semi heroic American. The highlight however was the very subtly handled suggestion of romance between Davenport and Pecs, which owes much to an incredibly refined performance from Maddy Walker. She lets us see that it was basically going to happen without ever really saying so.

What was so impressive about the supporting cast was how well they assimilated minute details of their characters. Seamus Lavan for example, spoke a Polish dialect with an incredibly convincing Slavonic intonation. His flamenco dance was fairly on point as well. Ditto Daisy Hayes held an extraordinary presence in her outraged yet visibly vulnerable shows of anger.

This was an excellent play to put on in this town at this time – it is clear tothat it resonated heavily with the crowd. One hopes that more theatre, as challenging and bold as this, will grace the stage in the terms to come. 

A view from the Cheap Seat

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In the beginning, God created the director and his audience. But the audience was without brain and void and so the director came unto them.

And the director said: “Let there be light.” And the audience was shocked for they knew only the darkness within them and so the director gave unto them a show. And the first night opened and the show was there.

And the director said: “Let there be white t-shirts and black trousers.” And there was never seen a proper costume again upon the stage. And the director saw it was good for the budget.

And the director said: “Let there be irony.” And henceforth women were played by men and men by women. And the societal oppres- sion of women by white upper-class men was subversively criticised in metatheatrical forms through pseudo-pornographic contextualization of transformations. Yeah.

And the director said: “Let there be no more than one actor”, for he had no more than one actor. And one actor said: “Shit”, for the script was long.

And the director said: “Let there be gormless reviewers.” But they saw that the critics were wretched deceitful beings, so they agreed to give out complementary tickets. But yet, no one came for it was 9:30 on Wednesday of Fifth Week and everyone wanted to go to bed. Or Park End.

And the director said: “Let us do that trendy po-mo 90s thing. I like it.” So they used ‘For What You Dream of’, the full Renaissance mix of the Bedrock original. And the director saw it was good, for he had definitely not ripped it of Trainspotting.

And the director said: “Let there be darkness”. But there was a red light on the fucking mixing desk that didn’t go off. And the audience was amazed at this total stroke of dramatic mastery, for they saw in it a congenial metaphor for the suffocation of the arts in modern society.

And the director said: “Let us go to the theatre.” 

Review: Singin’ in the Rain

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must admit that walking into this show, I was quite surprised to notice that my three friends and I pushed the average age down by about ten years. I suppose this does make sense, seeing as the show first debuted in film format 63 years ago, making it definitely appeal to a certain demographic. As I was watching the show, however, something struck me. Although definitely evocative of a time and a place (1920sHollywoodatthemomentmovies becametalkies) it did not feel at all ‘old’ – it felt vibrant, energetic, and decidedly vital.

The songs’ performance went well beyond the usual guaranteed fun of American superficiality. The live orchestra was more than a match both for the smoothness of the melodrama and the vigour of the tap-dancing crowd. The immediacy of the live orchestra really made for an unmatchable experience, no matter how much you liked the film.

Similarly, the acting was always enticing and often breathtaking, accentuating
the
strengths of the musical. Indeed,each of the four leads, James Hyde as Don, Niall Docherty as Cosmo, Annabel Reed as Lina and Kathy Peacock as Kathy provided a different facet to the musical, each captivating the audience in a unique way. Cosmo and Lina were, no doubt about it, hilarious, both as characters in their own right, but also as brilliant counterpoints to Don and Kathy’s burgeoning love interest.

This love was played with suitable affection, particularly strong in ‘Would You?’, the leitmotif of their developing love. Lots of self-referential humour was wrung from the script, with the set-up and finale as springboards for making the musical framed as what might be called a ‘meta-musical’. All this was aided by brilliantly comic scenes owing to a great cast of support actors. 

Standing out among them were Don’s diction tutor (Xavier Peer) and Lina’s close pal who, it seems, not-so-secretly despises her. Panache with a grin accompanied the entire evening, putting across an energy which was tangible and which practically forced the audience into grinning themselves – for the entire show.

And yet director Naomi Morris Omori never lost sight of coherence, even to the smallest details: real rain on stage, flashing period costumes, lighting, and of course the music summed to create a fantastic backdrop to the plot. So my friends and I were sitting there, surrounded by people compelled to tapping along with the songs – even those who had to adjust their hearing aids for it. And they had good reason to do so.

Interview with Dian Gomes

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The Oxford Guild had the opportunity this week to host Sri Lanka’s most important and reputed entrepreneur and corporate executive Dian Gomes, who flew in especially from Sri Lanka to talk to a group of Oxford University students. As the managing director of MAS Intimates Ltd and Slimline Ltd; Gomes is the CEO of the leading suppliers of Victoria’s Secret and M&S clothing. His other involvements include professional boxing, sitting as vice-president on the national Olympics committee and co-authoring the prize-winning book ‘Costumes of Sri Lanka’.
Dian Gomes could not be any further from your typical entrepreneur. 

Known for his undisputed ‘passion for people’, and recognised as one of the first ethical-factory enforcers; meeting Gomes was indeed an extremely inspiring experience. Warm, friendly and genuinely open to talk to, he came across as wise and thoughtful to everyone who had the opportunity to be there. With thanks to the Oxford Guild, Cherwell Fashion were able to have twenty minutes of Gomes’ time to ask him a few questions on his well-known Victoria’s Secret factories in Sri Lanka.

Since 1999, and particularly in the last couple of years, Victoria’s Secret has received an enormous increase in popularity. Do you feel that you, as supplier, have played a role in this boom as a result for example, of the highly ethical working conditions of your employees? And if so, how could other suppliers learn from this?

If you want to work with the top brands of the world, you have to have ethical manufacturing because without it, the European and the US consumers put so much pressure on the brands, that if something goes wrong, if it is a sweat-shop or there is child-labour, the plan will get extremely damaged. History has shown that any brand that has taken short-cuts has always had damage done to the branding. So that is one of the reasons Victoria’s Secret has always placed their resources in places with ethical manufacturing. Sri Lanka has a very good reputation for ethical manufacturing.

 You have previously been quoted; “I don’t think any other apparel factory has so much brainpower”. Yet Victoria’s Secret is primarily concerned with exterior, sensual appearances. Why do you think it is important that your apparel factory has this level of brainpower, (some of the tricks you picked up from Harvard business school) and how does this improve standards and levels of manufacturing?

It has been my personal philosophy to recruit people who are better than me. People ask me whether I need all of this brain-power to make panties for Victoria’s Secret. Yet today we invent tech-products, items that give you the heart-rate or the fatigue-rate of the muscles when you wear the clothing; things that we’ve already released, and will continue to release, to the market.

We have guys who are scientists, and mathematicians, people who have the best brains. In a place like Sri Lanka there are not many opportunities. I have been privileged in attracting the best talent in the world. I have people from Oxford University, PHD doctorates etc. Generally in the western world there are the investment bankers, and many other of those who have highly-paid jobs; but I’ve been able to create a culture within an organisation that attracts the best talent, attracts many people, and there are many reasons for it. We have cafes, and the gym within the factory; something that is, and was even twenty five years ago, very different from the rest of the industry. We have created this; something that has given us a huge advantage over other such organisations around the world.

We can deal with any kind of requests. If we are asked for a ‘non-bouncing’ bra or some other fantastical thing, we have the talent to execute it and get it done. Take all the best brains, and put them together. Once you have done that, managing them is tough but as a leader, that is your key skill. Manage all the skills and the talent, and you will always create the most superior of products. But you must be humble enough to realise that you are not the best at everything.

You say you can’t be the best at everything. What are you the best at?

I am certainly not the best at everything. Over the years, I have realised that I am probably the best at being a motivator of people. I didn’t realise I could do this until I was into my forties. By motivate people, I mean, motivate large organisations of about seventy thousand people.

 I mastered the art, learnt with trial-and-error but today I am confident that I can inspire quite a lot, especially in my part of the world. I do practice this a lot in other parts of the world where we have plants also, such as in India, Indonesia, Bangladesh and I have realised that people all over the world have the same aspirations and feelings, same emotions and ultimately, it is about the sincerity and the humanity. If they feel that you are humble enough, that you are genuine enough; you can motivate anybody.

Ignoring international boundaries for the moment, how far ahead of your competition are you?

We are still unique. Most of the biggest apparel companies in the world are still family owned. We have moved away from this, we have moved into a much more professionally structured organisation. When I joined we were a six million dollar company, today we are a one-point-seven billion dollar company.

Victoria’s Secret were recently heavily criticised for one of their ads, which showed a gathering of extremely slim models, the slogan of which was ‘The Perfect Body’. What is your opinion on the detrimental effects that some of the Victoria’s Secret’s advertisement may have on female mental health?  For example, if women start to believe that the body of a Victoria’s Secret model is naturally ‘the perfect body’ , leading to potential eating disorders and insecurities?

I think that if you look at the manufacturing that we do for Victoria’s Secret, we do all sizes, we encompass them all; the large, the slim. Sometimes when you want to purchase a product, you don’t necessarily know what it looks like and need the advertisement to help; but that is just an advertisement. If you walk into a Victoria’s Secret store, it doesn’t only cater to slim women, you get all sizes and all kinds of people in there. So long as they all enjoy lingerie it doesn’t matter.

You are the co-author of ‘Costumes of Sri Lanka’ which looks at
the evolution of garments dating as far back as the 6th century B.C. Do you think that the clothes which you help supply now, such as those by Victoria’s Secret fits into place in this evolution of styles in Sri Lanka today as much as in Western society; and if so, what aspects of culture and society does it best represent?

Lingerie now, is so popular in Sri Lanka. Twenty five years ago a worker who would start at my plant was less worldly than the workers now. Today, eighty per cent of my work force own smart-phones. They Google-search and know the happenings of the world, of America, of the UK, even if they have never been there. The world is open now. Lingerie is a beautiful thing, all women like lingerie, men do enjoy it too. The reason why I decided to write this book was for all the western buyers who used to come to Sri Lanka and who needed to know the two-thousand-five-hundred year old history of clothing within Sri Lanka. I always wanted to make them aware that Sri Lankan history has a two thousand five hundred year old history of costumes, and I trace the way in which this was transformed from then to now. So yes, now I suppose you could say Sri Lanka is the lingerie capital.

There are reportedly huge photographs of Victoria’s Secret models in your Sri Lankan factory, the reason being so that the workers can understand where and how their work will be appreciated. You call this ‘brand reinforcement’. Why do you think that it is important that your workers have a sense of what they are making, and who the consumers are going to be?

In life, people need heroes. They need role models. They need something visual. I could tell you a hundred things but before I even leave the room, you will have forgotten half of them. Yet if I showed you images of faces, people, etc. it will strike you. So if my workers know that they are creating a bra for a beautiful woman out there in the world, that many people are looking up to to her; it inspires them.

 

With many thanks to the inspiring Dian Gomes and the Oxford Guild for allowing Cherwell Fashion to interview him. 

Review: Titus Andronicus

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Who knew that it is possible to come out of Titus Andronicus laughing? The Shakespeare play that comes with a trigger warning and opens with a flourish of burials has been rather insightfully performed at Corpus Christi with the barest of budgets and the starkest of stages. Currently studying the play in terms of its presentation of sexual violence, I went in pretty dubious about how its extremely sensitive themes would be dealt with. It takes a lot of guts to tear someone else’s out in front of a room full of people, and luckily, the imaginative and brave direction from Charlotte Ferguson kept this production walking the fine line between tragedy and gratuitous horror by focusing on its inherent absurdity.

Unfortunately, but perhaps inevitably for any college-based student production, the casting wasn’t consistent. Although perhaps more unfortunately for these guys, I’ve seen Julie Taymor’s Titus (starring Anthony Hopkins, Jessica Lange and Alan Cummings) a million times, and have come to regard their representations of the idiosyncrasies of each character as inextricable from the lines. I missed Hopkins’ quiet gravitas, and while there is nothing to be done about the obvious problem of youth in Joseph Stephenson (who played the title role), his performance lacked the nuance I needed.

Particularly, it is easy to shout most of the lines in this play – yet increasing decibels isn’t necessarily the best way to convey the terrible trauma of grief, anger and physical pain. The performance became much more layered after Titus unhinges – his ability to hit home the unsettling comedy inherent in Shakespeare’s punning about mutilation was admirable. Most admirable, though, is Mia Smith in the role of Lavinia – her caricatured, sappy demeanour initially put a dampener on my expectations, but as the play wore on, her part became extremely physically demanding and she gained exponentially in emotional resonance. The insightfulness to Mia Smith’s facial expressions paired with the naturalism of her constant high sighs rooted the play in seriousness when it veered off in the opposite direction. I am glad that, alongside the director, Smith was able to deal with such a complex role with maturity, as the presentation of a rape’s aftermath could so easily have become offensive in less capable hands.

Another notable performance came from Jessica Bailes’ Tamora, who wasn’t afraid of exploring how sexuality and motherhood are interwoven. For a play which can slip into a virgin-whore dichotomy, the mixing up of genders in the supporting cast was interesting, if a little undeveloped.

The staging and costumes were so haphazard that they became endearing – the white sheets taped down to the floor and clingfilm-wrapped seat covers acted as an almost comic forewarning of the amount of fake blood that was about to be spilled. Later on, when the symbol of food becomes integral to the plot, I really enjoyed the way that beer cans, crisp packets and microwave pasties were thrown about and torn into with gusto.

The play undoubtedly picked up after the interval, when the tone becomes more domestic and the violence is so ludicrous that no one in the room could keep a straight face. Gerard Krasnopolski’s Aaron really carried the comic undertone up until this point – the wry, swaggering mastermind behind the spiralling violence who isn’t afraid to point a finger at the absurdity of it all.

So when Titus makes his first shuddering belly chuckle and crosses over to the side of the ringleaders, the tightness of the tragedy dissipates and the audience can loosen their belts a bit. By the close, as the gravity of the initial violent acts becomes a distant memory and the bodies quite literally pile up in front of you, I defy you not to laugh too.

Keeping the British end up

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Following the critical acclaim and unprecedented success of Skyfall, perhaps the most discussed aspect of Sam Mendes’ second outing as a Bond director has been whether this film will match up to its 2012 predecessor. Fortunately, whilst it might not, Spectre stands well enough on its own as a Bond film that the audience begins not to be concerned about that but rather just enjoys it as a solid franchise entry in its own right. The dedicated fans of the series have long been divided between the preference towards the old-fashioned suave gadget-orientated films, and the new, grittier, more grounded and flawed Bond that has characterised the franchise since Daniel Craig first took the role in 2006. Spectre delivers the perfect mix of the old and the new to please both types of fans.

The new M (Ralph Fiennes) suspends Bond from his duty following an unauthorised mission in Mexico, complete with a high-octane helicopter fight sequence. But with secret help from Q (Ben Whishaw) and Miss Moneypenny (Naomie Harris) he disobeys M and travels to Rome and later Austria to investigate, where he discovers the organisation Spectre and this film’s Bond girl, Madeleine Swann (Léa Seydoux).

The returning characters from Skyfall make a solid supporting cast, with Ralph Fiennes suitably filling Judi Dench’s shoes, and a memorably strong performance from Naomie Harris, who unshackles the desk-bound character incarnation seen in older Bond films and is happier to get her hands dirty. Seydoux’s Bond girl similarly makes a pleasant change from the damsel in distress, especially with her close connection to the Spectre organisation, and her ballsy and likeable character is a strong match for Craig – their chemistry is one of the film’s notable strengths.

Spectre’s villains are perhaps among its weaker elements, not because they pose little threat, but because they are underused. Wrestler-turned-actor Dave Bautista, as the henchman Mr Hinx, allows for some of the film’s more memorable fight sequences, yet overall he succumbs to the template of a generic henchman and leaves fans yearning for something akin to his more satisfying outing in last summer’s Guardians of the Galaxy. Perhaps most hotly anticipated about Spectre is the return of legendary Bond villain Ernst Stavro Blofeld, in the form of double Oscar-winner Christoph Waltz. Unfortunately, however, Waltz is given a paltry share of screen time, and his characterisation is disappointingly bland for a supposed criminal mastermind.

The action sequences in this film make it a blast to watch, not least because of their tributes to familiar scenes from classic Bond films, such as the brutal fights aboard train journeys and speedboating down the Thames. Spectre can in many ways be seen as a celebration of the Bond franchise, both old and new, with the reintroduction of the Spectre organisation allowing for a neat unification of the plots of the preceding Daniel Craig films (with the notable exception of Quantum of Solace, which the filmmakers, like the audience, would rather pretend never happened), and whatever opinion you hold about Sam Smith’s ‘Writing’s on the Wall’, the opening title sequence is as visually spectacular as ever.

While not without its faults and possibly marginally inferior to the last film, Spectre is an indisputably enjoyable film for fans of the Bond series, particularly the classic ones, or the action genre in general. Its lengthy runtime is hardly felt owing to its strong performances and unforgettably entertaining action sequences, and it succeeds as a hugely satisfying tribute to the iconic 007 franchise.