Saturday 16th August 2025
Blog Page 1139

Lewis amongst the best

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Lewis Hamilton may divide opinion, but there can be no doubt that he is one of the Formula One greats after his third World Championship. Some might point to the dominance of the Mercedes package the last two years, but his car has been no more dominant than Vettel’s Red Bull, Schumacher’s Ferrari or even Ayrton Senna’s McLaren and Williams. The only thing missing from his CV, perhaps, is that he has not had a teammate who has been his equal, winning the first of his championships with Heikki Kovalainen, the McLaren number two, and his last two championships with Nico Rosberg in his mirrors.

Last season appeared closer than it was owing to the large share of Mercedes bad luck going Hamilton’s way, but this year a relentless Hamilton has made it look easy, and the pressure has been reversed. The Hamilton of last year would have released his anger after the Mercedes pit-stop strategy failure in Monaco; this year, he contained his emotions, saying only that he “will come back and try to be a bit stronger”. And that has been the theme of the year. The struggles of last year appear to have brought out the very best in Hamilton, so that virtually from race one in Melbourne, there has been no doubt about where the championship has been heading, even as early media coverage hoped to make the most of the Mercedes rivalry. Rosberg’s refusal to congratulate Hamilton on the Austin podium won’t have off ended him; if anything, it just underlines the extent to which Hamilton has beaten Rosberg both on and off the track.

To his detriment, at times Hamilton wears his heart on his sleeve. In always telling it how it is, he gives us an insight into the emotions of a Formula 1 race driver. This makes him easy to relate to at times, but also incredibly frustrating. It’s also refreshing to see genuine emotion in a sport that often gets called boring because “it’s just about who has the quickest car”. In 2007, it was arguably the pressure of leading the world championship that caused his bid to crumble in the closing stages of the season. Over his five barren years at McLaren, the frustration often showed.

One wonders how he would have felt if he had stayed at McLaren and had to endure this year. Certainly there wouldn’t have been the humility and patience that Jenson Button has shown. Formula 1 never has been the most action-packed version of motorsport on track, but Hamilton has carved out a niche in being as much a celebrity personality as he is a racing driver.

Although it’s been a relatively comfortable third title for Hamilton, Vettel’s Ferrari has been closing the gap all season and Singapore showed that, on a circuit where power matters less, the chassis on both the Red Bull and Ferrari cars are more than a match for the Mercedes. It’s fair to say that Formula 1’s oldest and most successful constructor is due a world title – and who better to lead the charge than the other triple champion on the current grid? A dormant Fernando Alonso, considered by many to be the strongest driver, could also produce a challenge and he would only need half a chance to seize his third world championship. Hamilton may say that his aim has always been to match Senna’s three world titles, but I have no doubt that his eyes are already on Vettel’s four and perhaps even Schumacher’s seven.

Hamilton is no longer the boy who launched onto the scene in 2007 with bundles of talent but a hot head. He now knows what it takes to win a world championship and he will be straight out of the blocks in Melbourne next year. 

Oxford students ‘kettled’ at protest

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Two first-year undergraduates from Balliol college were allegedly kettled by police at the student march against the government’s cuts to grants on Wednesday. Around 50 to 70 students from Oxford went to the demonstration, with transport funded by Oxford University Student Union (OUSU).

Oxford students Beth Cadwalladr and Pria Bourne, both from Balliol, claim to have found themselves kettled on St James’ Street. This group was escorted by police to Charing Cross Station. As a result, Cadwalladr and Bourne missed the OUSU coach back to Oxford, but Cherwell understands that OUSU will reimburse them for the journey home.

‘Kettling’ is a controversial antiriot tactic which has been used in the past by the Metropolitan Police. It involves surrounding protesters and prevent them from leaving an area for an extended period of time.

Cadwalladr and Bourne were separated from the other protesters when the protest escalated after a stand-off outside the Department for Business, Innovation and Skills (BIS), a particular object of the protesters’ anger.

This year, the department will spend £1.6bn on poorer students, but the Treasury has announced that this support will be cut, and replaced with loans.

The demonstration, which marched from Student Central through the centre of London, passing Trafalgar Square and the Houses of Parliament, consisted of thousands of students chanting, “What do we want? Free education”.

James Elliott, one of the lead stewards of the National Campaign against Fees and Cuts – the organisation which arranged the protest – and student at St Edmund Hall, told Cherwell, “I think the demonstration was a great success and showed once again that the government need to listen to students on tuition fees and living grants.

“Their cut to maintenance grants is going to leave the poorest students graduating with the most debt – in what sense is that making the system fairer? I hope to see much more of these demonstrations until the government backtracks.”

The protest remained peaceful until paint and coloured smoke bombs were thrown outside BIS. One eyewitness reported that the police’s robust response triggered the more frenetic episodes of the demonstration, which saw students running through the streets around Westminster, with police in pursuit. Outside BIS, where the demonstration was due to end, smoke bombs hid some of the action from view, as police ran towards the building in increased numbers.

At the scene, police liaison offi cers could be heard alleging that criminal damage had been done, though Cherwell’s reporter could see no evidence of this. An errant smoke bomb did strike a police offi cer, however, as did paint thrown by protesters.

In response to the escalation, police split the protest in two, preventing those protesting just outside BIS from joining other protesters attempting to continue down Victoria Street. Some grew angry at this point, believing they were being kettled.

On this occasion, protesters were free to leave the area the way they had come, but many were keen to join the other group further down Victoria Street, and broke through the line of police in order to try and reconnect.

The pace of the demonstration then increased considerably, as students attempted to outrun attempts by police to cordon them off again. As some students ran, the protest dispersed, and some groups of protesters found themselves separated from the main body.

According to those attending, police asked protestors to get out of the road and onto the pavement and although most people did, there was not enough room and the police began pushing some of the protestors, one of whom was knocked unconscious after a police offi cer pushed her. Despite protesters shouting that they could not breathe, police allegedly told them there was nothing they could do and shortly after formed another kettle. 12 arrests were made, according to the Metropolitan Police.

Bourne told Cherwell, “The fi rst part of the protest was really fun, everyone was excited to go to stand up for such an important cause but I was disgusted by the police violence – it was so so bad! Despite this, it was defi nitely worth going; I am just hoping something will come of it. I am really glad I went, despite the police at the end, and I will still be going next year.”

Xavier Cohen, a third-year PPEist also at Balliol, who proposed the OUSU motion to fund transport for students attending the demonstration, commented, “I feel the demo was really important because cutting maintenance grants is a clear attack on the poorest – money people would have received for free will now become debt. The Tories have a clear aim to further marketise education and take the cap off tuition fees – it’s so important that we as students demonstrate that this is totally unacceptable and that we will fi ght these horrible policies at every step.”

Oxford University Conservative Association (OUCA) President, Jan Nedvídek, told Cherwell, “We are fortunate enough to live in a country governed by laws, not violence. If you dislike a particular policy, fair enough: organise a debate, stand for Parliament, persuade people to vote for you and change that policy! Wearing balaclavas, destroying public property and shouting abusive things at people doesn’t get you very far in a civilised country. What I fi nd particularly disappointing is that the Shadow Chancellor encourages this sort of violent behaviour.”

Shortly before the march, Shadow Chancellor John McDonnell delivered a speech.

McDonnell told protestors, “Your generation has been betrayed by this Government in increases to tuition fees, in scrapping the education maintenance allowance and cuts in education. Education is a gift from one generation to another, it is not a commodity to be bought and sold.” Green Party leader Natalie Bennett was also in attendance.

Despite the violence, Lucy Delaney, Vice President for Women at OUSU who helped to lead the Oxford trip, commented, “There was fantastic energy and it was really affi rming – as someone who works to represent and support students and their interests – to see people so fi ercely dedicated to getting their voices heard on crucial issues – the right to a free education, maintenance grants, decolonising education, ending racial profi ling, supporting those on low incomes, and supporting refugees and fi ghting against their incarceration and deportation.

“The police tactics, however, were despicable and needlessly violent. Many students, some of whom were attending their fi rst protest, were walled in and kettled with unnecessary force by lines of police – I narrowly avoided this myself. The police numbers were utterly superfl uous and clearly a scare tactic, and many of them were carrying guns. Several Oxford students were kettled, a few sustained injuries from police offi cers, and two freshers were walled in for hours. Luckily everyone made it home safe, and this display of police brutality, whilst frightening, has spurred many activists on to keep protesting and with renewed vigour.”

Kettling has been criticized in the past for its indiscriminate nature, detaining peaceful protesters along with violent ones. Critics also claim that kettling is occasionally used to deliberately encourage disorder, so as to shift the focus of public debate.

Cherwell understands that representatives of legal fi rm Green and Black Cross were giving out their contact details to protestors. The Metropolitan Police confi rmed 12 arrests were made but would not off er Cherwell further comment.

OUAC Freshers face Varsity

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For most Varsity sports at Oxford, the Varsity match is at least eight weeks into term, if not more, giving old and new members of the clubs the chance to prepare to face their long-standing rivals. For members of Oxford University’s Athletics Club, the year always begins with high-level competition: the Freshers’ Varsity match. Seemingly subscribing to the ‘trial by combat’ philosophy, the newest additions to the OUAC will have their merit tested in a match against Cambridge. The competition is considered by many members of the club to be the early highlight of the season.

As fun as competitions always are, especially going into the dead season of winter training as a precursor to indoor track, the Fresher’s Varsity match carries a little more weight than just any early-season track meet. Although the competition itself strives to maintain a friendly and relaxed atmosphere, it also provides the club with the opportunity to see who out of its new recruits is likely to become a strong competitor during the indoor and spring seasons.

Last year, two of the OUAC’s most influential athletes, including the team captain, graduated and left the roster with two very significant places to fill. Sam Trigg, 2014 captain, broke a field event record that had stood for 27 years, while Adam McBraida earned a record four straight victories in the hurdles at the Varsity match. Captaincy changeovers, especially after the loss of such significant contributors to the team, always leave an imbalance in the roster in their wake, and the same is true for graduating seniors who leave behind new records.

Although obviously none of the freshers are expected to put on those kind of showstopping performances during their first year as club competitors, being thrown into competition early does give the captain and president a solid picture of for what the additions might be able to do. In addition, it gives them the opportunity to place talented junior members in events that they might not necessarily have run in school competitions or focused on in practice. For example, one of 2014’s junior international members, Louis Rawlings, earned a dramatic victory in the 800 metres at the Fresher’s Varsity match. However, it was his victory straight out of left field in the 400 metres over Cambridge’s very over-hyped 400 star that really cemented his status shift from a Varsity team prospect to a Varsity team member. Therefore, the Fresher’s Varsity match allows for a fair, unbiased, competition- based trial system to see who might be the next 27-year record holder.

But the Fresher’s Varsity match doesn’t just provide early-season competition for the team members; it’s also one of the earliest competitions to attend for all members of the University. It’s a chance for all first years to see their friends compete in a high-energy, rivalry-fuelled match, and promises to be an exciting, goal-driven competition for spectators and athletes alike. 

Rhodes Must Fall in Oxford: Live Blog

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12.33 After some technical difficulties, we’re back online! Organisers are reading out a statement of solidapurity from RMF in South Africa.

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11.59 University security car arriving shortly before the protest.

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11.53 We’re just heading over to Oriel Square now to follow the protest. After a statue of infamous colonialist Cecil Rhodes was removed from the university of Cape Town earlier this year, the Rhodes Must Fall campaign has reached Oxford, and nearly 2,000 people have signed a petition demanding that Oriel take down what they perceive to be a glorification of an architect of apartheid.

Our crisis of home ownership

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According to an April 2015 report of the Office for National Statistics, the average UK house price last year was £267, 000 – the average salary was around £26, 500. The pursuit of ‘affordable housing’ has become a political football because an uncontrolled housing market is denying our generation the chance to become homeowners. Here in Oxford the problem is even worse, when last year Lloyds bank found the average cost of a house in the city to be £341,000.  We need to be aware that this is an issue on our very doorstep, in what has been described as the UK’s most expensive city. The asking price of homes has risen on average 28.3 per cent since the beginning of 2008 and it is us, the property-less, that have lost out.

Central to the Tories’ May electoral victory was the belief that a Conservative government could ease the affordable housing crisis and, this week, discussion of a Housing and Planning Bill has been its first step to achieving this aim. In an echo of Thatcherite policy, the Tories see the sale of housing association property at a discounted rate as a mechanism for transferring state resources into private capital- the status of home ownership into the hands of the individual. The government further plans to use the cash raised from these sales to extend programmes for the creation of 200, 000 supposedly affordable ‘starter homes.’

One of the major problems with the act is that in the short term it threatens to leave the most vulnerable exposed more than ever to the threat of homelessness. Since the 1980s a transition from the rhetoric of ‘social housing’ to the ‘affordable homes’ we are now promised has masked a transition in the state’s role in safeguarding the property interests of the least well-off. The move from state owned ‘social housing’ to a mixed patchwork of state subsidised and controlled ‘affordable housing’ masks a dramatic decrease in available support for council tenants. Whereas before, discounts of around 50 per cent on rates were not uncommon, moves towards the sale or rent of affordable housing at a discount of 20 per cent have significantly undermined the neediest. If the government seriously considers ‘starter homes’ in London at a price of £450,000 affordable, how will it relieve the housing problems of many low-waged Britons?

The issue of where these new affordable home will be built raises more problems with the act. The Treasury’s July publication, Fixing the Foundation: creating a more prosperous nation, stressed the role of eased planning laws for the construction of affordable houses on often post-industrial brownfield sites. The sale of social housing in central locations will push poorer tenants out of our city centres. From nurses to firemen, as we threaten to drive key low wage workers out into affordable houses on the peripheral brownfield sites of our towns and cities, we threaten to dislocate vital public services. Indeed, a report published by the London Chamber of Commerce (LCC) last week mentioned explicitly that a lack of central affordable housing was threatening the city’s global economic competitiveness.

Most significantly, the proposed act goes little way to stemming the major structural issues with our property market. Only last week UBS published a report stating that London was the most overvalued property market in the world- government intervention in the release of more property onto the market is unlikely to stop this. In fact, the government’s previous Help to Buy scheme has been accused of only further fuelling the property bubble in London and the South. Rather than helping to make property more affordable, government plans to sell off existing stock without guarantee of more central affordable housing risk making the status of homeowner even less attainable.

The real victims of continued change in the property market are our communities. As much as the government may be helping those rich enough to afford participation in its schemes, lots of people our age are having to wake up to a new reality: a future without home ownership.

Whereas before housing associations helped to underpin property standards for society’s most vulnerable, the new age of ‘affordable housing’ looks to perpetuate the breakdown of socially mixed communities. At present, the property market shows no signs that it will accommodate the government’s model of change for the housing market. In cities like Oxford in particular it is becoming harder and harder for us students to imagine owning our own properties.  Within our communities, the day of the truly ‘affordable’ home seems to have passed.

Debate: Should we remember the fifth of November?

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YES

Neha Shah

Thursday evening saw us celebrate Bonfire Night and remember the actions of Guy Fawkes, the despondent war veteran, angry about the promises the government had broken. Fawkes, along with a number of other men, was ready to take extreme action by blowing up 36 barrels of gunpowder underneath the Houses of Parliament.

The plan failed, however, and the veteran was seized and dragged before the king. He was tortured in order to produce confessions, and after a show trial, was taken to the yard outside Parliament where the politicians could all watch as the protagonists were hanged by the neck, cut down while still alive, castrated, disembowelled, and cut into pieces.

Despite injuries so bad that he could barely sign his own confession, Guy Fawkes was brave enough to jump from the scaffold before the executioner could stop him, breaking his own neck and saving himself the additional agony that the State wanted to visit upon him.

Imagine that a despondent war veteran was found today, with a bomb, underneath the Houses of Parliament. Many might identify with that veteran’s concerns. He might be frustrated that taxpayers have to pay for MPs on an annual salary of £74,000 to have an additional home, and that these MPs are receiving a ten per cent pay rise from a salary committee that they themselves set up. He might be angry that all of this happens while the government tell the terminally ill to get up and work, cut junior doctors’ basic pay and take away independent living allowances from the most vulnerable in society.

Given that we may well identify with the concerns of such an individual, why do we still celebrate the capture, torture and death of Guy Fawkes, instead of remembering his heroism, his strong anti-establishment stance and his refusal to accept the status-quo? After all, imagine what we’d do to that modern-day veteran if he was caught red-handed with his bomb under Parliament, and how it would compare to what we would do if he turned out to be a Muslim.

It is for all of these reasons, and so many more, that in today’s political climate, celebrating Guy Fawkes is arguably more relevant than ever. Although the Fifth of November was instituted as a holiday to commemorate the failure of the Gunpowder Plot and an opportunity to stir up anti-Catholic prejudices, contemporary celebrations have focused on his recast role an anti-authoritarian hero.

At the start of the twentieth century, he was the protagonist of children’s stories; by the end, he was the face of Alan Moore’s protagonist in V for Vendetta. His face has entered the popular consciousness as a prompt for questions about civil liberties and the relationship between citizen and state. Upon the release of the V for Vendetta film in 2006, David Lloyd, the artist who worked with Moore on the film, said that Fawkes “has now Moore on the film, said that Fawkes “has now become a common brand and a convenient become a common brand and a convenient placard to use in protest against tyranny.”

Two years later, in January 2008, hacktivist group Anonymous launched “Project Chanology” – a coordinated attack on the Church of Scientology’s website which they deemed to be censoring information. Rule 17 of Anonymous’s code of conduct, circulated to protesters before its “first real life public demonstration” states: “Cover your face. This will prevent your identification from videos taken by hostiles.” The Guy Fawkes mask, and its status as an icon for the law being taken into the hands of the people, provided just the consciousness” cover that Anonymous needed. Since then, the image of Guy Fawkes has been adopted by the Occupy movement, and Julian Assange, the founder of WikiLeaks, has also donned a Fawkes mask. It has become a regular feature of many protests. The unbreakable spirit of Fawkes, in many regards, lives on. Surely that is worth celebrating.

But the occasion is also worth celebrating for those who do not view him as an anti-authoritarian hero, but instead as a Catholic for those who do not view him as an anti- authoritarian hero, but instead as a Catholic terrorist. Not, of course, in order to toast the death of Catholics, or even to view the burning an effigy of Guy Fawkes in good taste, but in far broader terms; it averted a national disaster.

For if the plot had succeeded in destroying Parliament, and slaughtering the entire English ruling class, the consequences for the British Isles would have been devastating, most particularly (ironically enough) for English Catholics themselves. There would probably have been civil war across England, with the Catholic minority being targeted more harshly than ever, perhaps even being exterminated as a reprisal for regicide. Even retaining the importance of the religious identity of the Guy Fawkes story, we can see an ongoing relevance, because the failure of the Catholic Church to re-establish itself in Great Britain was a small but crucial step to ending the Papacy’s status as a world power.

For me, Bonfire Night is certainly still relevant, not just in remembering the date, but what it stands for; the importance of our political processes, and the prevention of people from hijacking them through public apathy. Whilst on the rack, Fawkes famously said “a desperate disease requires a dangerous remedy,” and it is worth channeling some of this sentiment when thinking about contemporary political reform.

 

NO

We don’t really remember the fifth of November, do we? When the Comment Editors approached me with this question, I couldn’t remember the last time I’d heard it labelled ‘Guy Fawkes Night’ since I left primary school. Nowadays, it’s always ‘Bonfire Night.’ It’s the time of year when British people gather round at the back of a neighbour’s house and argue about how to light small missiles before setting fire to their garden shed. At least that’s how it was when I was younger. Even then, it was always ‘Bonfire Night,’ and often you don’t even see bonfires anymore.

For most, it used to be an occasion where we would celebrate some foiled plot to blow up Parliament, four hundred years ago. Where five-year-olds would wander the streets and knock on strangers’ doors asking for pennies in return for burning the effigy of a Catholic terrorist on a fire. Nowadays if a five-year-old wants to pretend to kill a terrorist without parental supervision, they’ve got Call of Duty; and Call of Duty won’t involve burning down half the neighbourhood with it. We have moved on from a society that celebrates mindless violence in the streets.

Instead, what’s left of ‘Guy Fawkes Night’ is bigger, and more soulless events, normally with an even larger and more soul-destroying cost. Groups of people gather at the local rugby or football club for ‘Fireworks Night’ where local ‘celebrities’ make guest appearances and local parents wish a rocket would strike them instead. There’s no link to the past anymore. As part of our growing process of disenchantment with the past the event means less and less. The displays are much more events to celebrate the lives of communities, than the history of the Gunpowder Plot. It seems Guy Fawkes has fallen out of vogue, and there doesn’t seem to be much reason to resuscitate him. It’s as if we have got to keep the festival, but not the troubling connotations that go along with it.

For starters, there are numerous other events that are hugely more important than an arguably minor plot that failed. Instead of a failure that helped provide a rallying point for anti-Catholic fervour for much of the centuries that followed, why don’t we have a national holiday like the Americans? They fire the defence budget of a small European country in the air on the 4th of July to celebrate their independence, their foundation of a nation against tyranny.

If you were to ask Britons the significance of 1st May, the Act of Union, or 15th June, the signing of Magna Carta, they’d most likely have no idea, and these dates are far more significant.

Compared to the national holidays of other countries, there is no positive message that comes from the Gunpowder Plot. The story of Guy Fawkes tells us about religious violence, our suspicion of foreigners, and outdated models of government; in short, nothing that you would want your children to aspire to.

If we really remembered what we celebrate on the fifth of November, it’d be the torture and execution of a rag-tag mob of failures. I’m not going to argue that celebrating torture and execution of traitors is wrong; many others will argue that. The Gunpowder Plot has just become rather insignificant. In the wider course of British history, Guy Fawkes and his fellow conspirators made no difference. Their attempts to overturn the Protestant establishment failed and, if anything, they made life even worse for Catholics. We shouldn’t remember the plot because, essentially, it characterised a period of religious bigotry and intolerance that we want to forget. We have moved on from persecuting Catholics – maybe we should move on from celebrating 5th November on these terms too. After all, fears of popery and wooden shoes are very 1688, and given the widespread distrust in Parliament, it wouldn’t surprise me if there’s a handful of strange people wishing the plot succeeded.

The Plot is not particularly relevant to the modern nation we live in. In an age of iPhones and the internet, the slow pace of the narrative about Guy Fawkes struggles to hold our attention. Against the threat of modern terrorism, we are desensitised to quaint tales of seventeenth-century conspiracy. The fact it has become ‘Fireworks Night’ is perhaps a testimony to that. Terrorists are such a pervasive threat nowadays, not just to our institutions, or our politicians, but to our citizens as well. However much information Theresa May might want to store about your internet habits, she’s not threatening to exhume your corpse and posthumously decapitate it for ‘liking’ Pope Francis on Facebook. We are in some ways more civilised these days. Burning a dummy ISIS leader once a year isn’t going to have much effect beyond the nation’s jingoists. We just can’t really identify with the same world view as seventeenth-century Englanders.

I really don’t want to be a killjoy, and I enjoy traditions like Guy Fawkes Night, for all their ills. But, it’s just not relevant anymore, and you can’t force it to be so. It has already morphed into something different as ‘Bonfire,’ or the somewhat anaemically titled, ‘Fireworks Night.’ Thrown into competition with Halloween, it just becomes another consumerist celebration.

Perhaps in this, it has found its niche and will continue to be an event, albeit one separated from its original meaning. Whether we should or shouldn’t, I think we will remember Guy Fawkes in the back of our minds even if his links to ‘Fireworks Night’ all but disappear completely. Nowadays, we celebrate the fifth of November more as an excuse to make loud noises, rather than to celebrate quashing treasonous papists.

TDS Shoot

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Designers: TDS (The Design Studio Hawarden)

Photographer: Richard Wakefield

Artistic Director/Stylist: Emmanuelle Soffe

Producer: Emily Pritchard

Assisstants: Michael Lucero, Laura Grace Simpkins 

Models: Jem Bosatta, Niluka Kavanagh, Amber Barton, Katie Burns, Libby Erica, Alex Newton, Sam Treon, Aly Gilbert

 

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Patterns in the barkcloth

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The rich tradition of barkcloth clothing stretches back to over 5,000 years ago in the islands of the Pacific. It is a highly distinctive cultural vernacular that has manifested in distinctive forms from Rapa Nui (Easter Island) to the east of New Guinea. The inner bark of the mulberry trees are painted with beautiful patterns and depictions of stories and fables unique to each island.

Exhibiting seventy-seven artifacts from the British Museum’s Oceania collection, visitors are invited to see a range of objects from barkcloth poncho-style garments known as tiputa, to dance costumes for hula groups. This is the British Museum’s first ever exhibition focusing on barkcloth and comprises objects dating from the 18th century to last year. The pieces chosen also chart the history of the peoples of the Pacific, with the nineteenth-century tiputas being adopted as a mark of conversion to Christianity popularized by missionaries because they covered the upper body. The myriad cut-out designs, ornate fringing and painted symbols springing from this new influence therefore mirror the socio-cultural climate in fascinating ways.

While the introduction of machine-made cloth to the Pacific had differing impacts to the production of barkcloth, its continued importance is validated by pieces such as the hula group clothing that dates to 2011. Such objects illustrate the continued use of barkcloth due to its strength and flexibility making it well suited to dance. The barkcloth masking traditions of Papua New Guinea also feature in the Baining mask made in the 1970s and worn in day and night dances. A stunning custom-made wedding dress created by Samoan designer Paula Chan Cheuk in 2014 incorporates plaited coconut fibre into the patterned barkcloth. Such pieces illustrate the continued centrality of barkcloth in both everyday use and ceremonial occasions. Chan Cheuk is the first to use coconut fibre in this method, furthering the innovative possibilities for the material. It is also heartening to see the British Museum funding the commission of such objects with sponsorship from the New Zealand Society UK and donations as it augments the respect, care and protection such objects require. 

During the preparation for the exhibition, curator Natasha McKinney also discovered some unexpected clues relating to the production
of the barkcloths. Two red patterned Hawaiian barkcloths dating to the late 1700s were analysed and found to have a high level of protein on their surfaces. McKinney suggests that according to contemporaneous references, this could be the use of spiders and hens eggs as a way of sealing
colours, which are preserved beautifully. In addition to mulberry, banyan and breadfruit trees are beaten to spread the fi bres which itself leaves a beautiful pattern. The cloth is then painted with a wide variety of stars, fish, figures and even seaweed impressions. Many are understood to enhance the power of the barkcloth to mediate the wearer’s transition from one life stage to another.The exhibition truly is a must-see for anyone interested in pattern-making and fabrics but, more importantly, how often does one get the chance to see such beautifully made barkcloth?

Interview: The Design Studio

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Cherwell Fashion has been delighted and honoured to work with the up and-coming fashion label TDS (The Design Studio, Hawarden) who came especially down to Oxford to shoot with us (check out the incredible pictures in this week’s fashion photoshoot) this Autumn. TDS was launched online just over a year ago and is run by the mother-daughter duo Sally and Lettie Pattinson, based in the small village of Hawarden, just outside of Chester. Their trade-mark faux-fur bomber jackets are each uniquely designed by media graduate Lettie and textile lecturer Sally, who then skilfully hand-make every single one of them individually at their home studio. One of the first TDS label bomber jackets sold last year was purchased by model-turned actress Suki Waterhouse who eagerly turned to Instagram to boast about the latest addition to her wardrobe. Since then, their clients have included British actress Ellie Bamber, model Joanna Halpin, fashion blogger Aimee-Rose Francis and Topshop model Emma Knight. Although originally only available to purchase exclusively through Instagram, TDS have now expanded online and to stores in Belgium, including the luxurious Atelier d’Anvers, Pixie Market in New York, and soon, Selfridges in London. Their success doesn’t stop here, however. Their latest collection sold out online in less than ten minutes. Last month their Instagram account, run by intelligent and media-savvy Lettie, not only reached twenty thousand followers, but was also on the ‘Top 15 Instagrams To Follow’ worldwide. Their jackets have been featured in America’s Teen Vogue, and they received a rush of online media-attention, including with Elle and ASOS magazine; not to mention interest from Kanye West.

So who are the people behind TDS and what is their story? After twenty years of lecturing in textiles, Sally Pattinson decided to open a small TDS store in her local village Hawarden, selling an interesting array of antique objects, including satchel bags made up of old books. Not long after, Sally, along with daughter Lettie, decided to close their Hawarden store and launch their brand on Instagram. The rest, as they say, is history. Lettie, who graduated this year, and who wrote her dissertation on social media and Instagram, gives her followers a special insight into the behind-the-scenes of TDS studio. Their photos reveal glimpses of preliminary sketches, fabrics and textiles, with a beautiful array of colours on soft beige backdrops. There is a distinctly personal touch that many other Instagram fashion pages lack, as the inner workings of the studio are revealed and snapshots of both Lettie and Sally at work make the occasional appearance.

Talking with Lettie makes me realise just how well she understands the importance and the influence of Instagram on their increasing success. “Without social media we’d be nothing”, she tells me modestly. And certainly, social media may have helped them gain universal recognition at such a fast pace, but the quality and beauty of their work would certainly not have gone on unnoticed for long. “The demand in the UK is huge,” Lettie says, “We’ve recently had offers to mass-produce from China.” But the idea of mass production does not fi t well with the ethos of TDS brand, which prides itself on its unique, individual, homemade designs. I ask Lettie what she envisions for the future of TDS and she shrugs optimistically; “To keep doing what we’re doing”, she replies. She briefly mentions the possibility of moving on to other items of clothing or accessories, but admits that the success of the bomber jacket doesn’t seem to be going anywhere. “We thought the hype would die down over the summer as the weather improves. But it didn’t at all. We even had clients ordering from Dubai!”

At the start of the summer, Cherwell Fashion were in contact with TDS about the possibility of an autumn shoot in Oxford. Almost four months down the line, after intensive preparations, model selections, masses of photographer portfolios, location collaboration and two entire new ranges of jackets designed especially for the shoot, the images are finally here! TDS’ Instagram can be found at @thedesignstudiohawarden

Sharing Poetry Pie with Roger McGough

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With praise such as “the patron saint of poetry” and “Liverpool’s poet laureate,” I was nervous about speaking with the poet Roger McGough, whose uproariously funny and moving poetry has been part of my life for as long as I can remember. This only increased when McGough told me he’d recently turned down a request to complete a festival tour to Singapore and Bahrain, because he didn’t feel like travelling. “I now get to be pickier in what I do,” he smiles, “and I need to make space for writing – I’ll publish work only when I’m ready.” But it’s alright: it seems he’s given himself time to talk to me.

Roger McGough is an integral part of Britain’s poetry scene. Moving from initial involvement in the so-called ‘Merseybeat’ to international prominence, and contributor of the famed The Mersey Sound poetry collection that propelled his work to the world’s stage, he’s done things as diverse as form part of musical trio The Scaff old to regularly hosting Radio 4’s Poetry Please programme; not to mention a plethora of highly-praised children’s and adult’s poetry collections. Whilst discussing his new collection, Poetry Pie, McGough stresses how the poetry is for both adults and children. “I’m not deliberately trying to be accessible – it’s the only way I can write.” Somewhat poetically, it
wasn’t his education but whilst as a teacher in Liverpool that McGough found his inspiration for writing: only after receiving encouragement from his pupils when he was reading his poetry did McGough began to consider becoming a poet. “I felt the need to write, so I did,” he tells me. When asked whether it took years to perfect, he informs me that there’s nothing intentionally difficult about writing poetry: “everybody should try it, it’s for everyone. So I
always write for everyone.”

Unfortunately, others haven’t always agreed with McGough. He is unhappy at being pigeonholed as an ‘upbeat poet,’ sometimes being sidelined as writing for the masses. “It’s too easy to be labelled”, McGough says. When called a ‘pop poet,’ people immediately link him to Pop Art whilst in reality, his poems can be used in any context. One only needs to look at the use of his work in his band The Scaffold to see that. “In the past being a ‘Liverpool poet’ was a put down, you were not to be trusted”, McGough says. He admits he’s enjoyed helping to put Liverpool on the map through his distinctive work, “though it always spoke for itself.” So surely that worry of being put down has diminished after all this time? The fellow of the Royal Society of Literature and President of the Poetry Society chuckles. “What people think always matters.” When we talk about the reasons for his most recent book, McGough’s voice becomes more animated.

It’s really important to keep writing for children, he says. There is worryingly little money in poetry books for publishers, especially ones for the younger generation, meaning fewer are published. McGough’s new book Poetry Pie is an attempt to rectify this, “it’s vital to inspire young poets as well as to entertain others.” McGough wants to use his poetry to make people laugh, and to reassure people around him: “poetry can be a hug.” And what about bigger global issues? McGough hasn’t written anything about Syria or migration yet. He doesn’t see it as his place to write ‘worried poems’ as he wants to be more positive about the world, a view which he suggests may stem from his strong Catholic faith. “I don’t want to spread my perception and create lots of mini McGoughs – we’re all individuals.” 

But does this mean McGough fi nds it difficult to write serious poetry? McGough has admitted it took time for this to happen, meaning his later work is more personal. Now, with age, his work can be “more focused on darkness,” spending longer on poems and wanting to keep them for longer before publishing. This style change, like his humorous, ingenious take on the everyday world, has in his words “just happened.” McGough believes our attitude to the world shapes our own unique voices, using different forms and shaping new types of poetry. This can clearly be seen in his collection Everyday Eclipses, which focuses in on everyday events. “More people should take up this outlook,” I’m told, as it forces introspection. And this focus on the details of writing is important. Despite his versatile and commanding stage presence, McGough doesn’t like looking at himself performing. The words keep him grounded in an art where the writing is always more important than the performing. “Some poets want to be songwriters. Not me.”

Despite his wide span of work, and the fame this has brought him, Roger McGough sees himself simply as a poet. “I live in a world of poetry, so I see it everywhere.” And the wry humour and sideways look on life he is known for is still as active as ever. When asked whether he wanted to be remembered as part of the trail of great poets, he responds “depending who the others are, of course!” Despite never going out searching for glory, McGough lets himself enjoy the luxuries it brings. “I get to do more work, I can pick which commissions I want. I just love the intensity of writing the poems!” This enthusiasm for creation perhaps sums up McGough’s sparkling work. He does not want to be defined as any particular type of writer just a poet that makes us smile. “Of course, I’m not looking forward to being a ‘late poet,’” he laughs. I unconsciously grin. McGough has that effect on people.