Thursday 31st July 2025
Blog Page 1158

Review: Atik

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It was the best of nights, it was the worst of nights.

On the one hand I was back in my dear Park End: the reassuringly drunk crowd queuing outside, the promoters bobbing about trying to look like they were doing enough to deserve their free entry and many complimentary drinks, the bouncers carrying a man with blood spattered across his face out a fire exit – home sweet home. However on the other hand I felt that I was in some sort of dream state whereby my brain kept making little jarring mistakes (I think it is testimony to my normal state of sobriety when in Park End that though I recognised that this or that had changed I also seriously struggled to remember what it was like beforehand), but even if the details escaped me I did know one thing – I did not like it.

All seemed well as I headed up the stairs towards the sports bar: same old carpets, same old dubious stains, but that was where the similarity ended. Wooden floor boards now stretched before me towards the bar. Gone were the worn sofas and armchairs and in was swanky executive leather seating. Gone was the practical bar aesthetic replaced by a much more chic outfit complete with a bar length shelf of bottles of Grey Goose. Slightly disorientated I decided not to linger and instead headed to the familiar thump of the R&B room. Here it seemed little had changed, though once again the new proprietors seem to have been unhappy with the flooring which has been replaced with large slate tiles.

Satisfied that there was nothing to worrying here I decided to try my luck on VIP – after all, the reporter story had worked on getting me this far without paying or queueing. SHOCK HORROR! VIP was gone! I could just walk straight in, no irascible woman or stony-faced bouncer on the door. Instead a big bald bloke gruffly welcomed me and instructed me to don an aloha flower garland. Sand blasted floor boards and a beach themed bar fully equipped with cocktail-making barmen offering free tasters opened up in front of me; for once there was no opportunity for me to try to convince the staff of why I deserved a bottle of captains’ cava despite not being on the list. Talking to the barman while he made me my £7 cocktail, I found out that the intention was to make Park End a more stylish club, devoid of cliques and open to all – I wonder how the dream will fair once it opens its doors to its first term time Wednesday night and to its attendant hordes of ties, team shirts and blazers?

All these thoughts of Wednesday nights had given me quite a thirst for the fruity flavours of the real Grey Goose of the sports team, the mighty VK. I headed to the sports bar, sure that this was one tradition that could not have been tampered with, and sure enough there were VKs: blue and yellow and- no, just blue and yellow, no ice storm delights for me. I settled for a yellow, however I couldn’t help noticing it tasted a little bitterer than normal as I duly strawpedoed it. Perhaps VK becomes more difficult to swallow when it has a £4.50 price tag.

The rest of the night passed in an enjoyable blur as I steadily approached my overdraft limit. The hip-hop floor was as good as ever and I poked my head in on the cheese floor for long enough to determine that it was also relatively unaltered.  However, at some point I can only guess that all the change got a little too much for me and I retreated from the Atik to the Cellar and its reassuringly familiar sweat and grime. To top the night off we then staggered just far enough along Broad Street to see that Hassan was not yet back from his holidays, before heading to a just-closed McDonald’s and on to a thankfully still open kebab van, where I bought chips, cheese and beans before sitting down on the steps of Univ to mull over the events of the night.

Though I am sure that a Saturday night in Brookes’ freshers week is not representative of what Atik will be in a few weeks (rumours abound of a new supplier which promises to halve the price of Wednesday night drinks), overall I am quite disappointed with the new Park End. I definitely do not think that it’s worth £8 entry on a Saturday night and if I wanted cocktails I would have gone to Kazbar. Why you would mess with what works? And I think that Atik is gravely mistaking the demands of their clientele with the push for chic – after all, all I want following a good crewdate is cheap VKs, copious straws and a nice bit of hip-hop on the side.

Review: Beach House – Depression Cherry

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★★★★☆
Four stars

Since their self-titled 2006 debut, fans of Beach House have learned what to expect from their albums, which is not necessarily a bad thing. Depression Cherry, the latest album from Victoria Legrand and Alex Scally, is a comfortable showcase of what the duo does best: silky, immersive dream-pop. They have perfected a soothing melancholy that is showcased in the album’s opening track, the lush, wistful ‘Levitation’.

Scally and Legrand move into more unfamiliar ground on ‘Sparks’, the album’s single and standout track. Overlapping murmuring gives way to a fuzz of electric guitar-lines that recall (even more than usual) the warped force of My Bloody Valentine’s ‘Loveless’. The track feels unusually visceral; with more space for noise and abrasion than the duo usually allow themselves. That soft-edged chaos is present in the song’s lyrics, which speak of urban destruction,

“We drive around this town/houses melting down”

Although it would probably be a mistake to draw real-world conclusions from Beach House’s eerie and ambiguous lines, it’s hard not to wonder if they had in mind the state of emergency that was declared earlier this year in their hometown of Baltimore.

‘Sparks’ is an outlier rather than a pattern in ‘Depression Cherry’ and the rest of the album doesn’t quite live up to its promise. Songs like ‘Beyond Love’ could fit comfortably on their previous album, 2012’s ‘Bloom’. Like that album, it’s pleasant but not particularly memorable. The unexpected sour notes in ‘Sparks’ disappear as the album progresses. That may feel initially disappointing, but by the time the minimalist rhythm of ’10:37’ kicks in, Legrand and Scally have drawn you back into their mesmeric, complex yet careful world. No song exemplifies their delicately contained sound better than the album’s closer, ‘Days of Candy’. The track begins with an intro that could be taking place inside a cathedral- no coincidence, given the band’s reliance on the organ as their instrument of choice- before giving way to a fuller, sweeter melody.

 ‘Beach House’ has always been an absurd misnomer for a band that acts as the perfect soundtrack to staying awake and driving around alone at midnight. When Legrand sings “it was late at night” at the beginning of ‘Space Song’, it feels almost unnecessary. Beach House have a knack for songcraft that mark them apart from some of their shoegazy predecessors. Rather than just making appealing vowel-sounds to complement their melody, the duo’s lyrics, and Legrand’s distinctive voice, form an integral part of their appeal. In the same song she double-tracks the refrain ‘fall back into place’ in such a way that the second voice is out of synch but not quite an echo; the result is a strange and effective sense of motion, one that suggests that the song was built around that line, rather than vice versa.

Listening to ‘Depression Cherry’, you could legitimately complain that the duo could have pushed into more ambitious territory, but when Beach House make introspection so absorbing and satisfying, it feels a little ungrateful to ask them to change.

Live Review: Mac Demarco at the Camden Roundhouse

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★★★★☆

Another One is the mischievously self-aware title of Mac Demarco’s latest release. We all know what to expect before we hear it – and sure enough he’s given us another album of laid-back rock and roll tracks. His sound hasn’t developed significantly since it reached its apotheosis in his second album, 2, but can anyone honestly say they mind?

 I’m dancing enthusiastically to ‘Ode to Viceroy’ amongst the several hundred other Mac Demarcos that make up the audience, and the answer seems to be no. Clad in denim, plaid shirts and baseball caps, we sway, smoke and sing along to this paean to nicotine addiction. It’s pretty clear that it doesn’t need to change, Mac’s sound totally hits the spot.

The set’s a bit disappointingly short, but he plays a good mix of new and old material. As you can imagine if you’ve heard anything about Mac, his stage presence is awesome, and he and his band chat a lot of pretty funny shit. The show ends with an unstoppable performance of ‘Still Together’, in the middle of which Mac goes off stage for a good five minutes while his band fire off some rock and roll guitar-solos, before coming back for one final chorus, accompanied by the shrill screams of the crowd struggling heroically to hit those high notes.

Unusually, the night continued for the writer when he unassumingly sat down for a pint with a couple of friends on a roof garden in a nearby pub, and one hour later found himself in the midst of the VIP afterparty. A couple of rounds of karaoke with Mac rounded off the evening nicely. By the end of the night it wasn’t just about the sound: the goofing off, the denim and caps, the smooth guitars, warm synths and crooning vocals, Mac Demarco is about an aesthetic. What Mac makes is a Gesamtkunstwerk, and it works for me.

There’s a problem in paradise

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Rejoicing. High fives and selfies. This was the way that 52 migrants disembarking their vessel in the town of Kardamila on the Island of Chios celebrated the attainment of one basic human right: freedom. Next, they turned to secure another one: water. ‘Water, water, please’ in broken English was the phrase repeated by many. After being crammed, for eight hours, on a tiny nine metre boat floating in off the Mediterranean coastline awaiting rescue by the hopelessly understaffed Chian coastguard, it is no wonder that they are somewhat parched.

During a weekend break on the island of Chios for a family christening, the refugee or ‘immigration’ problem that many European governments have been trying to brush under the proverbial carpet hit home, and hit very hard.

When we arrived in the afternoon at our apartment 33km north of the island’s capital, Chios, we went down to the beach. This normally a pristine beach was littered with buoyancy aids, children’s armbands, deflated boats and rubber rings.

Waking up at 9 o’clock the next morning and looking out over the sea to the Turkish coast, visible on most days, we could see six inner tyre tubes floating by. Through further enquiry, we found that they came from a group of roughly 30 refugees who had landed an hour ago 2km further up the coast. Miraculously they had all arrived safely and were being taken to Kardamila, a town of 3,000 people, 27km north of Chios.

Intrigued, my mum and I hopped in the car and started towards the town. A couple of kilometres into our journey we hit a traffic jam, very uncommon for those of you not familiar with the more obscure Greek island roads. As we came to the front of this queue we saw that the cause was the group of refugees walking in single file, carrying, wheeling and pushing bags being escorted by a lone police officer in his jeep.

The walk is further 6km and the temperature that day hovered around 36°C. Additionally walking along a road in Greece, as many will be able to testify to, is one of the most dangerous things that can be done in the western world. It should also be mentioned that at this point they have had no access to water or sanitation, since leaving Turkey more than 10 hours earlier. Physically, this journey is an exhausting task for most fully-grown men, not to mention the elderly and the children who comprise around 40% of the refugees.

After seeing this, we raced to Karthamila to pick up some crates of bottled water. However, as we came into the town, we saw another boat come in at the end of the quay. As we got closer we noticed that it was packed with even more people. We stopped the car and got out. There were 3 other people on the quayside; the only bureaucratic looking person was the harbourmaster. As the boat came ashore they scrambled to get off, giving each other high-fives and taking selfies once off it. After the final person had disembarked, fifty people stood on the quayside.

Immediately after rejoicing, they started asking for water and the toilet – neither of which was in available. The harbourmaster told them that they must remain on the quayside. Mum and I drove to the nearest shop, 500 meters away and bought twenty-four 1.5ltr bottles of water and, for the 10 or so children, some bread snacks. Whilst handing out the water some of the people initially rejected it, only accepting it after we insisted and left it for them.  

By the time we returned to where we had left the other group, they had left the main road. Going back to where we left the larger group, we found that they too had moved. By chance, we saw them walking up an old, steep road and, like the smaller group, dragging their possessions behind them. We ended our brief journey with them in the grounds of a remote church where they were being accounted for by two very informally dressed ‘authorities’. From meeting them at the port to leaving them at the church hour hours had passed. Four hours and still no prospect of a drink of water or private toilets.

Not including the ones who made it all the way to Chios town, 75 refugees made the journey over. Taking 100 per day as a conservative estimate, before the year is out, around 15,000 refugees will have arrived on Chios alone. On an island of no more than 40,000 people, clearly help is needed from the EU and other countries.

In closing, let me say this: there is no chance of the tide of refugees abating. As the summer draws to an end, there will be more urgency for those remaining in Turkey to attempt the trip over. The problem will only be exacerbated now that the summer holidays have ended and the populations of islands such as Kos and Chios more than half as Greeks return to their mainland homes and the tourists return to their respective countries.

The only form of help so far has come in the form of volunteers spending their own money on buying basic supplies; predominantly water for the refugees so that when they arrive after their 8-hour-plus journey they have another fundamental human right to add to that of freedom. A 1.5ltr bottle of water costs just €0.50 on Chios, but this quickly adds up when 100 or more refugees arrive every day. This load could easily be shared between many to make it an insignificant amount.

I’m not normally an outwardly overly compassionate person, but this is something impossible to ignore. Of course, I cannot claim to understand even an iota of what these people have been through, but one thing I do know is that they would not have made their decisions easily. These were not were not people speculatively embarking on a hazardous expedition for mere economic gain- as some in the media will have you believe- but rather a proud people wearing expressions of pure relief and gratitude at having escaped  the horrors of their home countries in the hope of living a life free from daily threats to their life. 

To donate to help the refugees’ cause go to: https://crowdfunding.justgiving.com/or-radway 

Writers on film

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There are six cinematic adaptations of Madam Bovary, but not one biopic of her creator, Gustave Flaubert. This should come as no surprise; unlike his most famous heroine, Flaubert lived a life spiced with about as much sensation as the shipping forecast. It is probably beyond even the most unscrupulous screenwriter in Hollywood to enliven the tale of a man whose most intense relationship was with his mother.

But a greater obstacle would stand in the way of such a screenwriter, and indeed in the way of any adapter of any writer’s life. It is that writers, from day to day, are usually far more boring than we would like them to be. Flaubert said that as a writer you should be ‘regular and orderly in your life, so you can be fierce and original in your work.’ Though there are many writers who would like to be thought never to do a full hour’s serious work, there are almost no great ones to which this dictum does not apply. Great literature does not result from a rapturous gaze at the stars, or walk through a meadow, followed by half an hour of frantic scribbling. It results from sitting at the desk, hour after hour, and returning to it, day after day. The problem for film makers is that sitting at a desk is not particularly interesting to watch. It cannot be hammed up, because even if the writer’s experience is dramatic, all the drama takes place in his or her head. Viewers of Amadeus, Milos Forman’s otherwise good biopic of Mozart, should snort with laughter when the Maestro actually sits down to write his music. The moment he begins to pump his fist to the beat of imaginary drums is the moment we cease to believe we are watching Mozart at work.

Of course an actor needn’t necessarily spend a minute writing to convince us their character writes most of the time. But that actor’s job, of suspending our disbelief, is made much harder if what we are to believe cannot be shown. Imagine the same dilemma in films about other trades. Imagine Whiplash with no drumming, American Sniper without any sniping.

The BBC’s recent biopic of the Bloomsbury group, Life in Squares, had to thin out thirty years of history considerably to cover them in just three hours. Stripped of all unessential detail until only the bare bones of a plot remain, this drama is not so much a miniseries as a montage. Characters meet (invariably next to expensive paintings) and a minute and a half later are love. World War One lasts twenty minutes, or, by another chronological measure, three sex scenes. Imagine if To the Lighthouse were told at the same pace as its author’s life: the second line would be ‘Well, here we are then!’ Yet the silliest omission Life in Squares makes is required not for economy but for the reasons I’ve already mentioned. Not once do we see Virginia Woolf actually working. Viewers might be forgiven for thinking that she receives her novels in the past rather than writing them herself. Instead we do often see her sister Vanessa at work on her famous portraits. The show’s creators do not shy away from showing us her more camera-friendly art because they are more interested in entertaining us than accurately portraying their characters. In theory this is the right priority. They are producing prime time television, not writing a biography. But in practice their neglect of the truth is exactly what makes Life in Squares unsatisfying as a piece of entertainment, because we are simply not convinced the skittish, mumbling, apparently workshy character before us is Virginia Woolf.

For a writer to be believable on screen, we must be aware that there is an entire dimension of their personality which cannot be expressed in the visual medium – the part of themselves which they express in their prose. This is the second major difficulty of portraying writers on screen. Short of actually presenting the viewer with blocks of prose (as Bazz Lurhmann did in his Great Gatsby) film makers are prevented by their medium from showing us the writer’s work. Paraphrased or referenced or curtailed between quotation marks, it can only be glimpsed at, like the solitary thoughts which formed it. Woody Allen’s 1997 film Deconstructing Harry makes an almost successful attempt to circumvent this problem – whenever characters refer to Harry Block’s stories, the stories themselves are dramatized, as if they were quotations within the larger text of the film. The problem with this form is that it suggests these dramatizations are themselves Harry’s stories, when really they are just verisimilitudes, translations into a foreign medium.

Two of the best portrayals of writers on film that I know of succeed because they acknowledge they cannot give us insight into their work. The first is perhaps a little obvious: The Shining, a film far more frightening in its first half, when we do not what thoughts are going through Jack Torrence’s head as he stares at his typewriter, than in its remainder. While we do not know for sure how bad his writer’s block is, and while we do not know that his insanity is printed on every page of his manuscript, Torrence is an unknown quantity to us, perhaps a murderer or perhaps just a man going through a very poorly timed and situated midlife crisis. He is like a shadow on the bedroom wall, which may or may not be that of an intruder. It is structurally convenient that Torrence writes just that one line over and over again. This line can be held up to the viewer as a symbol for the monotony of his thoughts, whereas no whole novel could be captured on camera to show us the vibrant mind that made it.

It is almost too obvious to be worth saying that the scariest films are those which play on our fear of the unknown. What makes The Shining superb is that the unknown element is not some outwardly terrifying thing, like the Grudge, ready to intrude into the protagonists’ lives. It is Torrence’s mind, already hiding in plain sight when the film begins. By making the viewer afraid of the fact they cannot fathom a writer’s mind beyond a certain depth, Kubrick celebrates this very unfathomability.

Listen Up Philip, Alex Ross Perry’s film about a moderately successful young novelist with a point to prove, is brilliant for the very reason that it refuses to congratulate Philip for being mysterious to the viewer. We hear a lot about how good Philip’s two novels are (mostly from Philip himself) but we never find out what they are actually about, or what they are trying to achieve artistically, or what insight into the human condition, if any, they convey. Perry might have exploited this blind spot in the viewer’s vision, and suggested that if only we could actually read Philip’s works we would understand him and forgive his callousness. But he does not do this. In fact his film seems always to be trying to ignore its hero, like a dinner party ruffled by a tub thumper. So often the camera doesn’t acknowledge Philip until he speaks, and when he announces to his long suffering girlfriend that he intends to spend the summer with his mentor Ike Zimmerman, the narrative does not follow him. It sticks with his girlfriend for the film’s entire middle section. These directorial conceits are brilliant because they refuse to grant Philip the mystique of the enigmatic artist, which he tries to effuse with his every sentence.

What do the The Shining and Listen Up Philip have in common? Not much, except main characters who we can believe are complicated enough to have their own thoughts to put down on paper, or at least try to. Two dimensional characters can usually pass themselves off as three dimensional. They can talk as if they had more to say, behave as if able to behave otherwise. But a two dimensional character cannot pass off as a writer. For if they cannot convince us they think, than how are we to believe they can write?

God Save the Queen?

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On a windy day in Scotland, our ageing Queen gave a speech to open the new Scottish Borders Railway. Arriving in a carriage of the antique ‘Union of South Africa’ steam train, the symbolism of her visit, on the day that she was set to become the longest reigning British monarch in history, was not lost on the teams of journalists that awaited her.  Sent to make a news headline of the Queen’s every footstep, there was a feeling that the worldwide press had once again fallen under the ‘spell’ of the British monarchy. 

The very scheduling of the Queen’s opening ceremony on this of all days was, no doubt, a well-designed attempt to portray the monarch as primarily our public servant. Her dedication to the public project of the Borders Railway on a day of supposed private success in her long reign was carefully staged to integrate ideas of the contemporary monarchy with contemporary civic society. As David Cameron put it to parliament that day, efforts were made to portray the Queen as ‘a golden thread running through three post-war generations’ – a tireless servant of the public good. In the 63 years and seven months that have witnessed the turbulence of the break-up of Britain’s empire, the decline of her industry, and the realisation that she is no longer a world power, it has been convenient to see the monarch as unchanging. The Queen has been set up as a false reminder of all that is supposedly ‘great’ in Great Britain.

The issue is that, whatever I and other students might think, this idealisation of the wise, dedicated monarch remains incredibly popular. Instead of writing the same old, tired student debates about the abolition of the monarchy, we need to ask ourselves why the Queen remains so popular, and what this means for us. We need to look beyond the clichés of the monarch and her new Elizabethans and begin to understand the gaps in contemporary British cultural experience that she is needed to fill.

One of the most common attractions of the Queen to the public is that she represents a supposed constant in British identity. The monarchy is commonly thought to be a historically stable institution from which we can take our bearings in an unsteady world. The problem with this fantasy is that, like everything else in British society over the last hundred years, the monarchy has in fact been forced to adjust to the changing needs of its public.

Historian, David Cannadine, in his 1983 essay on ‘The British Monarchy and the ‘Invention of Tradition’, c. 1820-1977’, broke intellectual ground by suggesting that, instead of analysing the monarchy in terms of timeless sociological structures, we should conceive of the rituals of the British royalty as responding to their cultural contexts. Time old traditions like the royal Christmas radio broadcast were invented to satisfy the changing needs of the monarch’s public. In terms of a ‘thick description’ of the changing layers of cultural meaning the monarchy inhabits, we understand how much changing ideas of the Queen reflect the changing aspirations of her public. Indeed, the idea of the monarchy as a link to Britain’s illustrious past is as much a reflection of the seeming lack of ‘glory’ we experience in the present. In an age of austerity, a ‘Great’ British monarchy with a ‘Great’ British pedigree is comforting to an otherwise disenfranchised public.

The royal family is, however, more than just a throwback to the past. People see the likes of Will and Kate as a pathway to a stable future. Superimposed on what could well be a normal young family is an image of the country’s regeneration. Just like Charles and Diana before them, the Duke and Duchess of Cambridge attract the media’s attention because they provide a comforting, normative view of conservative family life. The stable image of this growing young royal family, unmoved by the threats of unemployment, housing and education that normal families face, provides an outlet for escapism in the national media. Baby pictures of Prince George and Princess Charlotte in glossy magazines are a welcome diversion for parents who know their children will never get that level of privilege. The young royals’ celebrity is based on the nation’s need to fantasise, to imagine that they too could provide that kind of unobtainable life for their children.

Perhaps most of all, the monarchy’s increasing popularity reflects Britain’s continued struggle to forge a new identity out of the turmoil of the twentieth century. At the Duke and Duchess of Cambridge’s wedding, a stable image of Great Britain as a land steeped in history was served up to the world, and the world gobbled it up.

This image, however, is increasingly out of touch with the realities of modern life. As ongoing debates over our membership of the EU and Scotland’s membership of the Union continue to tear the nation apart, the illusion of stability under our long serving Queen has been shown to be just that – an illusion. As the Queen’s reign eats its way into the record books, we need to ask ourselves why we seem to need the monarchy, and what that says about us.

Review: London Emerging Designers Awards

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It’s that time of year again. The high street, eventually tired of racks of sale bikinis and kaftans, is once again replete in new collection clothing. The glossies are focusing on coats, pre-season knitwear and investment leather. I love September, with fashion week just around the corner, and excited as I am about the unveiling of the major SS16 trends, it’s also a good time of year to focus on new talent in the fashion world.

Early August saw the launch of the London Emerging Designers Awards, held not far away from fashion week’s traditional Somerset House haunt. Directed by textiles graduate Aisha Ferozee, who also founded and is now CEO of her own womenswear label, Ferozee Yung, the initiative showcases young and emerging designers in front of a panel of industry expert judges. In the same vein as London Fashion Week’s Topshop-sponsored NEWGEN event, which similarly champions up-and-coming labels, it is, as the first of its kind, not as prestigious, and armed with our press passes which were our ticket to the evening, we little knew what to expect. 

As yet an unestablished event, the front row comprised a motley collection of photographers, student journalists and beauty queens, but Ferozee’s team are to be highly commended for the organization required to pull the event together. It would be churlish to dwell on the felt-tipped VIP passes, the glitches with the sound system, the shortage of models which led to long and increasingly impatient waits between each show, and which left a slight matte on the gloss I feel Ferozee had envisaged from the evening. The response from the guests was overwhelmingly positive, many expressing admiration and echoing the sentiment that the event needed merely time to mature and acquire polish.

The twelve desingers fell into roughly two camps; those with an eye for commercialism, whose designs, although more outlandish than the high street, were certainly adaptable, and those whose collections had taken a far more artistic licence. Maurice Whittingham menswear, with its heavy Victoriana influences and a muted palette of navies and greys, was sharply tailored enough to be worn in the city, albeit minus the dockman-style boots.

The winner of the evening’s ‘Crystal Award’, House of Herrera by John Herrera, was awarded the title due the judges’ view that the dresses were  ‘accessible’, and with largely bodycon styles in black and shades of neon, the womenswear collection was certainly familiar to those accquanited with panic-Saturday-afternoon high street shopping. Despite its seemingly local origins, the collection, according to Herrera, was inspired by Philippine folklore, and the collection was particularly noteworthy for its excellent embellishment and textile effects, which lent certain garments a scaley, aquatic look. 

Not limited to mens’ and womenswear, the Awards also showcased the work of accessories label Halleluyeah. With an admirable approach to ethical business values, the label aims to reduce the environmental impact of the leather tanning process. As well as some impressively crafted slouchy backpacks, McQueen-esque headpeices dominated the catwalk, displaying intricate metalwork. A running theme of delicate gold enabled the collection to maintain an excellent level of continuity throughout.

Falling unmistakably into the artistic camp, the standout show of the evening was stolen by Joon-Sik Shin. Rising head and shoulders above the competition, his show amalgamated soundtrack, clothing and accessories in a way none of the other designers pulled off with quite the same panache. Perhaps Maison Martin Margiela- like to the point where the lines between inspiration and flat-out imitation were blurred, the models wore face-pieces which masked their features. Kimono-like gowns were constructed from layers of origami silks in varying shades of the same colour and which swirled around the models’ limbs as they walked in a manner reminiscent of waves. Reproducible on the high street? No. Would I wear it? Certainly not. Hence the judges’ decision to overlook Shin was validated with regards to his aesthetics as a womenswear designer. But as an exercise in creativity and craftsmanship, Shin has undoubtedly marked himself as a deft new talent. Indeed, the London College of Fashion graduate has not gone unnoticed since the event, having recently been selected to showcase at Fashion Scout’s One to Watch pogramme for SS16.

Fashion Week’s recent move from its regal pile at Somerset House to Brewer Street car park in Soho is part of an increasing pressure to keep London edgy, gritty and fun. Younger than its equivalents in Paris, Milan and New York, it’s exactly this kind of event, and through supporting emerging labels such as these, that we can keep London on the map as one of the world’s top fashion capitals. 

The Queen and Oxford: a 63 year relationship

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At about 5.30 on Wednesday 9th September Her Majesty the Queen became the longest serving monarch in English and British history. Surpassing her great-great grandmother Empress-Queen Victoria as the longest serving monarch, the Queen has now reigned for 63 years and seven months or 23, 226 days.

The Queen noted on this anniversary that “inevitably a long life can pass by many milestones,” and indeed her reign has seen fundamental changes envelop Oxford University. In many ways both the British monarchy and Oxford University have faced similar challenges; august institutions, steeped in tradition, confronted by modernity. The Queen’s defining achievement- the constant modernisation and refashioning of the monarchy for the late 20th and 21st century-is one shared with Oxford. As the outgoing Vice-Chancellor is fond of reminding undergraduates at matriculation ceremonies; do not be fooled by ancient surrounding of this University- it is very much a modern institution, equipped for the 21st century.

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The course of the Queen’s reign has seen the fruition of a close and at times deeply personal relationship between the monarchy and Oxford University. The Queen’s first visit to the University was in 1949 when, as Princess Elizabeth, she was given a tour of the University. On that occasion the Queen lunched at Brasenose. Clearly something about the visit captured her attention for it was to be the first of many royal trips to Oxford.

The most well-known of the royal sojourns to Oxford is possibly the 1960 visit of the Queen and Prince Philip. No less than the serving Prime Minister and Balliol alumnus Harold Macmillan accompanied the royal couple around the town. On that one visit alone the Queen was taken to Christ Church to view its latest renovations, Lady Margaret Hall to enjoy its new library, the Clarendon building and ate supper at Trinity College. Vast crowds thronged the streets and had to be forcibly restrained by police officers. Most exciting of all, during the marathon visit the Queen stepped but feet away from the Cherwell offices as she entered the Oxford Town Hall.

It is testament to the longevity of the Queen’s reign that she even outlives a handful of Oxford colleges. In fact the the royal couple certainly made their mark during the 1960 visit, the Queen personally laying the foundation stone of St Catherine’s college. The monarch and Prince Philip then met the architect, Professor Arne Jocobsen, and saw the designs. Fortunate perhaps for Jacobsen that the Queen does not appear to hold the same forthright architectural predilections as her eldest son.

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The embrace of modernity and tolerance has been the zeitgeist of the reign of Elizabeth II. Take her May 1968 meeting with Zarina Bhatia at Sommerville, the University’s first and then only black female Ugandan student. Fittingly, on this occasion the Queen was introduced to Bhatia by New Zealander Susan Moller, then a student at University college, who would go on to become a renowned feminist and campaigner for multi-cultural feminism.

Fast forward to the present day and there is barely a major landmark in Oxford which has not at one stage or another been touched by the royal presence. Be it ex-prison, refurbished church or renovated college accommodation, the Queen has most likely been-there and cut the ribbon. The Queen returned to Brasenose College again on 2ndDecember 2009 to commemorate the College’s quincentenary. Unfortunately Brasenose’s most famous current alumnus was apparently busy that day.

Royal Jubilees have been keenly celebrated by assorted Oxonians over the past few decades. Back in 2002 Oriel College, of which the Queen is visitor, commissioned the largest portrait of the monarch outside Windsor Castle for its hall. For the 2012 Diamond Jubilee the University combined old and new to pay its respects to the monarch. Oxford University sent a deputation to the Queen to make a ‘Loyal Address,’ just as had been done for Queen Victoria in 1897.

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In a reign characterised by relentless service and the promotion of communal and civic values, the Queen’s strong connection to Oxford University is indicative of her practical commitment to education, learning and renewal.

The reign of Elizabeth II has seen the hard power of empire give way to the softer hue of the collaboration and the Commonwealth;  the mighty manufacturing industries decline and a services economy rise and a Britain more internationalist abroad and multi-cultural at home. Oxford University, now a beacon of international learning and a centre in the UK’s knowledge economy, embodies this. 63 years may only be a fraction of Oxford University’s 900 year history but, like it or not, this bastion of higher education has become a lodestar of the new Elizabethan age.                                                                                

Footage of the Queen’s 1960 visit to Oxford may be viewed here: http://www.britishpathe.com/video/queen-and-duke-at-oxford

 

 

The Rise of the Right Wing Student

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Apparently we can now add ‘students’ to the list of shy Tories out there. The latter part of the twentieth century is marked by political activism, much of it led by students. The Campaign for Nuclear Disarmament was a massive political phenomenon for decades. Now the symbol is worn by hipsters out clubbing.

The biggest student riot this century has seen was in protest against the tuition fees increase. Sure, when the Conservatives claimed a second term earlier this year some angry youths got out on the streets to protest ‘Tory austerity’. Yet how does this compare to the student-led protests against the Vietnam War in 1962, a movement that was part of a worldwide struggle that persisted into the late 1970s?

Where are the stoner badge-wearing students with newspaper cut-outs and posters of Che Guvara in their rooms in hall? Who even reads Sartre or Marx anymore?

I suppose they grew up, started a proper job, and decided they wanted to keep their money. It’s like the saying goes, if you’re not a communist when you’re young, you don’t have a heart, but if you’re not Tory when you’re older, you don’t have any sense.

Perhaps this new generation of students is simply more ‘sensible’ than their predecessors?

This absence of political action could reflect a lack interest in politics among young people. Studies show that students and young people are the most likely group of people to have open political discussion, but, rather ironically, they are the least likely to vote.

Perhaps students are simply losing the urge to be rebellious as they are increasingly aware of future employability. Now everyone gets a degree, what distinguishes us from the rest of job applicants? A tame record seems to be all that we can offer.

Now that university is no longer free and we’ll be coming out with around £50,000 debt, we want to know our future salary will be worth the hassle of three years of partying, hence our rather right-wing attitude to taxing high-earners.

So what does this whole ‘right wing’ business mean?

The Oxford University Conservative Association (OUCA) claims to be the largest political student society in Western Europe, and at 1300 members, together with 12000 life members, it is certainly a realistic claim.

Are these members of right-wing university societies all upper class money-grabbing white men the radicals paint them to be? Of course not.

Jan Vaclav Nedvidek, President of OUCA, told Cherwell, “We don’t exclude anyone just because they don’t toe the party line. Turnout at Port and Policy keeps growing precisely because we get people from across the political spectrum – some of the radical left leaders used to be regulars in my first year at Oxford, and we also get LibDems and Greens.

“Coming out as a Tory was often more difficult for me than coming out as gay, and the things I was called even by people in my college after the election were borderline hate speech.”

The increased popularity in right-wing policies may also be a reflection of the current government. Right-wing students attribute the UK’s GDP growth to George Osborne and his policies, and believe that left-wing politics would just damage the economy again.

So are students really more right-wing or are the lefties just better at shouting the other side down?

As Nedvidek put it, “Students are no different from everyone else. If you believe in more state regulation, you’ll be more likely to be left wing; if you believe people and the economy are best off when left alone, you’re more likely to be right wing. The fact that you happen to be a student doesn’t change that.”

Perhaps it’s not that students are becoming more right-wing, but rather that the left is losing support from young voters. Students who may have previously come under the ‘radical left-wing’ category are now simply uninterested.

The YouGov results that supposedly demonstrate that students are more right-wing than the public could be used to prove the exact opposite. When compared with the general public, students came out as more right-wing largely on wealth and economic issues. This does not mean that students are more right-wing, but rather that they are becoming aware of the cost of their degree and the implications for their financial future. Today, for most students, left-wing ideology is unrealistic.

From oddity to absurdity

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On 26 July, footage leaked by the Sun showed Lord Sewel, a senior member of the House of Lords, spending his afternoon in a London flat in the company of sex workers and several lines of an unidentified white powder. Bare-chested, he complains about his reduced rent allowance and shares his assessment of colleagues as ‘right thieves, rogues and bastards’.  

The House of Lords, long an oddity in British politics, is becoming an absurdity. In order to bring the House up to date with reality, a major reform in 1999 removed all but 92 hereditary  peers and established the dominance of appointed life peers. Unfortunately, successive Prime Ministers have used their appointment powers in ways that were apparently not foreseen. First, they have sent ever more fellow party members rather than non-partisan experts to the House of Lords, in part to shift the balance of power there in their own favour. Second, they have established the House as a source of patronage, appealing to potential donors’ vanity with the implicit prospect of a title, even if any explicit promise is forbidden. Partly as a result, the House of Lords now counts more than 800 members, all entitled to a daily attendance fee of £300.

The latest evidence of this mechanism came on 27 August, when David Cameron elevated a further 45 persons to the Peerage. Among those selected were James Lupton, a banker who donated £2.8 million to the party, Douglas Hogg, a former MP who had to give up his seat in the parliamentary expenses scandal, and a dozen former Conservative politicians. Seven other nominations were reported to have been rejected by the House of Lords Appointment Commission – something which can only be done if there are concerns about financial improprieties.

The unsustainability of an upper chamber that is a byword for waste and nepotism is widely recognised. In the general election of May 2015, both the Labour and the Liberal Democrat manifestos called for the introduction of an elected House of Lords. Even the manifesto of the Conservatives stated that they would address ‘issues such as the size of the chamber and the retirement of peers.’

In the last Parliament, one of the coalition government’s pledges had been to ‘bring forward proposals for a wholly or mainly elected upper chamber on the basis of proportional representation’ by December 2010. However, when a bill was finally introduced in July 2012, it was scuppered by a minority of rebellious Conservative backbenchers. These same backbenchers now hold even more veto power as part of a slim parliamentary majority. With several internal divisions already emerging, notably over the referendum on Europe, David Cameron seems simply to have concluded that a further attempt at reforming the House of Lords would be a greater liability than leaving it untouched.
        
The strength of Britain’s parliamentary system is supposed to be that it fosters accountability and decisive government. The first-past-the-post system normally produces majority single-party governments that face few obstacles in shaping legislation. In theory, this should make it easier for the public to evaluate the actions of individual parties while in office, and compare them against those proposed by their competitors. The fact that, in practice, the current government is protecting a wildly unpopular House of Lords therefore highlights some of the system’s vulnerabilities.

First, the failure of House of Lords reform is an extreme example of the problem traditionally associated with first-past-the-post systems, namely, inefficient representation. The iniquity of the Conservatives’ gaining a seat majority on the basis of a vote share of 37 per cent is well known. However, there is the further issue of factions within that majority exerting disproportionate power. In effect, because the opposition almost always votes against a divided government, a determined group of backbenchers can hold up changes to the status quo. As it happens, the number of Conservative parliamentarians who opposed reform to House of Lords in 2012 was 91. Forming less than 15 per cent of the House of Commons, they managed to block a reform supported, according to a contemporary Ipsos poll, by 79 per cent of Britons.

Furthermore, the fact that the Prime Minister felt confident enough this August to engage in overt cronyism points to the downside of weak outside checks on his power. Normally, the absence in Britain of strong procedures enforcing transparency is supposed to be compensated by the existence of an effective opposition. However, the Conservative Party are in a position where much of the parliamentary resistance has simply melted away. The Liberal Democrats are still reeling from their election defeat and have only eight seats left. Labour, meanwhile, has just elected Jeremy Corbyn, sparking conflict within its parliamentary delegation and potentially ruining its ability to hold the government to account. In any case, both the Liberal Democrats and Labour have scarcely opposed the Prime Minister’s manoeuvre, in which they gained 11 and 8 Peerages of their own. This lends credence to outsider parties such as UKIP, the Greens and the SNP, who accuse them all of forming a self-serving cartel.

Ultimately, it is the legitimacy of the House of Lords that continues to be eroded. There is speculation that the appointment by David Cameron of so many dubious figures was intended to serve that purpose. The Conservatives are currently in a minority in the House of Lords, with 215 peers against the combined number of 313 for Labour and the Liberal Democrats. Although the House of Lords by convention does not reject legislation that is part of an election manifesto, it does frequently propose amendments to bills, which delays their passage and encourages reports in the press. Some of the Conservatives’ legislative proposals, most notably the scrapping of the Human Rights Act, are likely to incur its criticism. Unable to scrap or reform it, the government at the very least lacks the incentive to help the House of Lords fulfil its constitutional role.

This summer, much media attention was devoted to the lewdness of Lord Sewel. The great scandal of British politics, however, is not the conduct of individual members of the House of Lords. It is not even the £93.1 million the institution costs taxpayers annually. Rather, it is the contempt for Britain’s citizens shown by their elected politicians.