Sunday, May 18, 2025
Blog Page 1482

An ethical Hog Roast

1

“The painting was quite traumat­ic. I did it by myself in about three or four days – I just want­ed to do it, to get it done, so I was in here for fifteen hours a day, just going completely mad. Painting’s a lot harder than I thought. I got paint all over myself. It just wouldn’t come over, so I thought, well, you know, I’ll just keep it – I’ll just keep myself painted, and then I was walking around and people were looking at me a bit strangely. I realised it was because my eyebrows were white,” Magdalenite Madeleine Ellis-Peterson tells me as we sit in what is soon to become the Hog Roast, ‘Oxford’s most eco-friendly café.’

I have just cycled down Abingdon Road on a friend’s bike in whose brakes I have little faith, turning off down a side street just after Folly Bridge. “Grandpont nursery take track on past soap,” the notes I typed into my phone elusive­ly tell me.

After some deciphering, a bumpy ride down a path that is surprisingly rural for something just minutes away from the cen­tre of town, and wandering hesitantly over a rusty-looking bridge spanning the railway, I arrive in what used to be Corpus Christi’s play­ing fields. Sited in a flood plain, the fourteen acres of land were evacuated by the college a few years ago for grounds near Iffley Road and have since become Hogacre Common, an ‘eco-park.’

You can still see the spaces that were tennis grounds, and the red brick building in which we sit, despite the jars of paint and air of con­trolled chaos, was very obviously designed as a pavilion. I assume the wind turbine is a recent addition. The rent for all this? One jar of honey a year.

Ellis-Peterson tells me about her vision for the Hog Roast: “There’s actually loads of eco projects around Oxford, a really strong green movement. But I feel like it’s quite disparate in many ways. So I see [the Hog Roast] being, may­be, the link, acting as the hub, where people can come and learn about all the things that there are out there.”

I ask her how she came up with the idea. It turns out it was through a chance meeting with the manager of the common, a man called Ben Haydon: “He was talking about how under­used the pavilion was… So we thought a cafe in here would be a really great idea to get people down here, and just make the land open to peo­ple who maybe wouldn’t normally come here. So since then I’ve been working on the project, in making Oxford’s most eco-friendly cafe.”

She promises that everything will be terri­bly ethical, and locally sourced. Horse burgers, I imagine, won’t be on sale, or, if they are, the horses will very much be in favour of the idea too. In the summer the plan is to sell the Com­mon’s own produce. But Ellis-Peterson’s ethical concerns aren’t just limited to issues of sourc­ing: “We’re looking for ingenuitive ways of dealing with the waste we produce, so I’ve been reading about growing gourmet mushrooms in old coffee grounds.” She pauses, and then says, in a slightly stern tone of voice, “Which is the done thing.” It’s as if I might question her about what she means.

When I do, she explains, with a barely audi­ble chuckle, “So coffee grounds are just a really good fertiliser, apparently, so you can grow like really delicate mushrooms. So we could get these really great mushrooms.”

During our conversation I ask how she’s managing to set up a café as well as study for a degree. She doesn’t really answer the first time round; when I press her, she replies, “I wake up quite early,” and, after a long pause, “That’s re­ally the only thing I can think of.”

We then take a walk around the site. The soft tennis court has been transformed into a com­munity garden, run by a group called OxGrow There’s a greenhouse made of plastic water bottles (which is just about warm enough for growing tomatoes), lots of neatly marked out beds, and even a scarecrow. “He’s just really ter­rifying. Every time you look out of the window [of the pavilion], you think there’s a strange man standing in the garden,” Ellis-Peterson tells me, spontaneously.

Back in the town centre I arrange to meet up with a man called Andy Williamson, who runs OxGrow. He suggests the Turl Street Kitchen, home of the Oxford Hub, the coordinating or­ganisation behind a considerable amount of the student charitable work that goes on in Ox­ford; it is a place Ellis-Peterson had agreed was not dissimilar to her plans for the Hog Roast.

OxGrow was set up in Spring 2011 by four postgraduate students and one college garden­er. The idea was to establish a space in which anyone could learn to grow food and maintain a garden. They now meet twice a week, operat­ing on a ‘just turn up’ basis. The project’s af­filiation with the Oxford Hub is how the group maintains its links with the University.

“It was a political project for the people who started it,” Williamson tells me. “Certainly they had very strong environmental concerns. If you read the constitution, one of our aims is education, and by that they mean teaching people about the problems with conventional agriculture, and teaching them alternatives based on low impact organic farming, and other systems of farming that don’t involve monoculture.”

Is OxGrow still a political project? “Very much so,” he replies. “I don’t know how aware you are, but agriculture counts for about twen­ty five per cent of global carbon emissions, and it’s mainly because of the amount of fossils fu­els that are used. Lots of people talk about cows farting and things like that. It’s not really. So I wanted to look into methods of producing food that were much lower in terms of their impact on the environment – not just in terms of carbon, but generally that use less land, less water. So that was the reason I got into it.”

I suggest that globalisation may be a cause of the problems he sees in contemporary agricul­ture: “There is an anti-globalisation element to [the OxGrow project]. It depends whether you see globalisation as the cause of the problems that exist in the food system or not; most of us do, but I don’t think you necessarily have to blame globalisation for the current problems in agriculture.

He continues, “For some of us it’s more politi­cal than for others. But that doesn’t come out very much at OxGrow. I mean, only really in informal discussion, some of use might start talking about some of our ideas, and we just have a little debate about it. But as of yet there’s been no formal… acknowledgement, or there haven’t been workshops or talks or formal dis­cussion or anything like that. Just some of us weave it in to our conversations.”

When the garden begins producing, it does so abundantly, to such an extent, in fact, that the OxGrow team have spent time wandering around the local streets trying give away the food to locals on their doorsteps. Williamson tells me, however, that even if they wanted to, the group would struggle to give their pro­duced away to the homeless: “A lot of our volun­teers also volunteer with the Oxford Food Bank and we know through that they can’t even give away all the food that they’ve got. They get food from supermarkets that’s just on its sell-by date, or whatever, and they’re left over with so much stuff. It doesn’t seem like there’s actu­ally, even with all the homeless people, a big enough market for fresh food in Oxford.”

The final person I arrange to meet is in fact the very man who inspired Ellis-Peterson to set up the Hog Roast in the first place: the Com­mon manager, Ben Haydon. We both agree to wear brightly coloured (indeed mine were suede) shoes to facilitate recognition; I go for purple (perhaps too dark a shade indeed) and he chooses blue.

Haydon has been living in Oxford since he was three, and tells me about his illicit trips to Corpus’ sports grounds: “I probably shouldn’t say this but the Hogacre Common space that was in Corpus’ hands was five minutes away from my doorstep and I used to stroll over the bridge and take unsanctioned visits down there to wander around. Now I’m really pleased that they’re opening it up as a public space, and everyone who’s growing up locally can do what I did.”

And whatever happens to that rent, the an­nual jar of honey? “I believe it’s ceremoniously handed over to the president of Corpus once a year, and he has it on his toast,” Haydon ex­plains.

The Grand Opening of the Hog Roast takes place this Sunday, 9th June, noon to 5pm. From Sundays then on the café will be open 11am-4pm.

Review: Middle England

0

★★★☆☆
Three Stars

Middle England is not feel-good theatre. Two families are brought together, but also pitted against one another, when their eight-year-old daughters disappear on the same day. The show is engineered to be disturbing; it aims to shake us out of our complacency in observing other people’s tragedy. The acting was aided by clever staging and sound design, leaving me on the edge of my seat.

What didn’t work so well was the plot. It was a shame that such a great setup did not lead to a satisfying conclusion. But this is a fault that lies with the play and not the production.

The beginning was the most exciting part. The opening scene, when both couples experience the initial shock of realising their children are gone, was amazing. Both events were staged simultaneously with the four characters talking over each other, and the emotion of each dialogue magnified that of the other. This scene worked particularly well in the setting of the Burton Taylor Studio – spectators were seated facing different directions. Each member of the audience had a privileged view of one of the two families and identified with their story more readily, but at the same time understood that this bias was arbitrary as we are all equal in the face of loss.

I loved the each parent’s soliloquy, delivered while sitting amidst the audience. In fact, these were more interview than soliloquy; the characters acted as though they were answering an unseen interlocutor’s questions. We, the audience, were implicated in the interrogation.

Sheets which read, ‘MISSING: GRACE, 8 years old’ contributed to the disturbing atmosphere, as did the ever-present TV screen in the back. The sound of cameras rolling or of static noise signalled breaks between scenes; at times the space darkened, and we heard recorded interviews with the characters. The sparse production incorporated aspects of multimedia and was a credit to the stage designers.

However, what ensued was less exciting. I expected the media to play a more active role in the development of the plot; instead, it remained there as a background while the story turned into the discovery of an old affair: the play morphed into melodrama rather than media critique. It must also be noted that Ken, one of the main characters, practically disappeared towards the end. Whereas the two mothers met and formed a touching bond, the men did not really interact; it felt like Ken was left by the wayside. Nevertheless, this is a professionally produced, highly emotional, sobering show that is worth an hour of your time. 

Review: Valerie June – Pushin’ Against a Stone

0

★★★☆☆
Three Stars

Valerie June’s debut album, Pushin’ Against a Stone, has dull moments. Her sound seems unoriginal – conservative blues music lacking lyrical subtlety. Yet whenever songs become boring, June brings in something unexpected. The brass section which suddenly punctures the opening track, ‘Workin’ Woman Blues’, is a refreshing surprise. The song begins an album which veers between innovative and tediously outdated.

Having grown up in small town Tennessee, June’s influences are clear. Her album builds on the tradition of Leadbelly and Blind Willy McTell, and her arrangement build from a voice and guitar. But most songs find a way to subvert traditional blues styles. ‘Wanna Be on Your Mind’ feels like a cross between Björk and The Black Keys, with a mellow backing punctuated by constant blues riffs. At times, the album is a successful blend of old and new.

Valerie June’s life story permeates her songs. Her lyrics are about work, religion and poverty. Born into a large family in Humbault, Tennessee, June characterizes her career as a struggle to make it. It’s a narrative her agents are eager to cultivate – as the press release notes, “Pushin’ Against A Stone is so-called because that’s the story of her life.” She became known in Britain after appearing on Jools Holland in late 2012, months after signing with Rob Da Bank’s personal label Sunday Best.

June’s real selling point is her voice. She has an unusually piercing tone, which would usually obstruct the music. The strength in production is the decision to focus on her unusual vocals. In moments like ‘On My Way’, her singing is emphasised by the removal of almost all backing, except a piano and guitar. The album’s momentum is driven by the fascination of June’s voice.

Yet the focus on June’s singing is also the album’s main weakness. Despite its musical strength, there are moments when the glib sentiments of her lyrics disrupt the ballads. Songs like ‘Tennessee Time’ offer little insight, descending into a series of clichés about romance and nostalgia. She’s in territory familiar to many blues musicians, but it’s disappointing for an album which otherwise seems unique.

Between moments of musical brilliance, there are long stretches of repetition. The album is structured around more upbeat songs like ‘You Can’t Be Told’, but to reach them requires listening to those like ‘Somebody to Love’: interesting vocal harmonies quickly become tiresome, due to June’s tendency to stick with a single melody and chord progression throughout four minute tunes.

Pushin’ Against a Stone is an admirable debut, with several original ideas. But between her better melodies, the album is repetitive. Considering the best tracks have already been released as singles, it’s dreary after the first listen.

Life’s a beach in Oxford Castle

0

Oxford will soon have a beach, with 23 tonnes of sand, deck chairs and palm fronds to be deposited in Oxford Castle.

The beach is part of a new bar created by Max Mason, a former Royal Naval officer, who set out to make Oxford home to “Britain’s most literally remote beach”. The bar will be in the old prison of Oxford’s medieval castle.

Mason commented, “Oxford’s a town overrun with great green spaces, but what we always really need is a beachside area – it’s where people look their best.”

He continued, “Right in the middle of the city, in the historic Oxford Castle Quarter, we’ll be having BBQs from The Big Bang, sausage emporium, we’ll be enjoying beach parties with music from Jack FM and we’ll be having local ‘Beach Beautiful’ sessions with local boutique hairdressers Electric Oxford. It’s going to wake Oxford up a little, that’s the aim.”

The beach bar, the latest venture of Big Bang Restaurants, will open this Saturday.

The project is being staffed by Aspire Oxford, a local company which provides sub-contracting work for those “who face barriers to securing meaningful employment”, including rehabilitated criminals and formerly homeless people.

Rick Mower, Chief Executive of Aspire Oxford, explained why he wanted the charity to get involved: “Being able to get ex-offenders working within the Oxford prison walls for an entirely different purpose is a great initiative – we love being involved”

Students have welcomed the arrival of the beach to Oxford. One student commented, “This bar might be what gets me through my finals. I’ve got ninety-nine problems but a beach aint one.”

OUSU slams "aggressive and rude" President

0

OUSU’s Scrutiny Committee has criticised David J Townsend in a report expressing “serious concerns regarding the role and conduct of the President.”

The report, seen by Cherwell, reports that sabbatical officers felt Townsend had “often been aggressive and rude, and that this has caused a great deal of tension and stress for the team and for the permanent staff”. The report, chaired by Alexander Cibulskis, highlights “concerns …raised by the Sabbatical team about the way [Townsend] conducts himself”.

David J Townsend rebuffed the accusations, telling Cherwell that the report was, “not based on any rigorous gathering or examination of evidence, much less does it include any basic features of natural justice such as a right of reply.  Accordingly, it holds no weight whatsoever as a factual judgment on any contested points – nor does it claim to.”

The Committee reports that the part-time executive, composed of Oxford students in OUSU’s smaller roles, thought that, “David Townsend has done a good job, provided a good public face to OUSU, and not been too dominating in OUSU Council meetings.”

However, criticism came from OUSU’s Vice-Presidents, who are on paid sabbatical roles. The report states that “valuable time of the Sabbatical Officers has been taken up in trying to manage these tensions between both David and the team… as well as keeping these tensions from affecting the work of the Part-Time Executive.”

It continues, “It has also been raised that the Sabbatical team are unsure what outcomes and achievements David has made in his projects over the course of the year, and that a lot of his work appears to have been delegated.”

In response Townsend referred to problems of clarity in the leadership structure of OUSU. “The truth of the matter is that there has been, for several years, a lingering question over whether there is a hierarchical or flat authority structure between the President and the Vice-Presidents… I have tried to come at it from the most objective point of view possible by obeying the constitutional rules set by students; in all good conscience I wouldn’t be able to draw a salary if I didn’t obey those rules, and the only reading they admit is that there are certain exclusive powers conveyed on the President.”

He continued, “I refute absolutely the suggestion of agression and rudeness, which is in my view unfair, unevidenced and inaccurate, although I can see that my translation from Honest Australian English into Indirect British English could probably use some work!”

Townsend also noted, “If there is any doubt of the success of my term of office, I believe my record speaks for itself.”  Townsend argued that OUSU’s acheivments under his presidency – including “£100,000 extra for the Student Union”, “£300,000 saved for common rooms on Sky TV subscriptions” and “successfully campaigning to reduce the private housing stampede in Michaelmas” – demonstrated his success as President.

The Scrutiny Committee was established in Hilary 2010 to monitor the work of the OUSU Executive, and issues a termly report on OUSU’s work. Its conclusions are based on interviews with all OUSU committee members and people who have worked with them. The committee is chaired by Alexander Cibulskis, which also consisted of students James Blythe, Beth Hanson and Jack Matthews.

The scrutiny report will be presented publicly to OUSU Council tonight, when it will be read out by Cibulskis. It does not name which officers made the criticism: there are five Vice-Presidents who could have made the critical comments.

David J Townsend was elected in 2011, after defeating four rival candidates. He ran with the slogan, “real policies, real actions, real results”, with priorities including access, academic representation and rent.

In recent week OUSU has come under fire for a low turnout in the Divisional Board Representative Elections and paying its cleaner below the Living Wage that it publicly campaigns for.

Review: The Merchant of Venice

0

★★★★★
Five Stars

On first arrival, it was clear that this was going to be no average student production of Shakespeare. Worcester College looked gorgeous on a summer’s evening. A path traced out by tea-lights and fairy-lights led to a modest seating area facing a small pontoon-like stage extending a few metres over the lake, with Venetian gondolier mooring poles setting the scene, and musicians playing on a boat on the lake.

The return of the Buskins Shakespeare play on Worcester Lake is an exciting prospect in itself, as it boasts such a colourful history – in the 1949 production of The Tempest, the actor playing Ariel famously exited running across the lake (boarding was placed under the surface of the water). Entrances and exits on boats, wonderful costumes, atmospheric use of music, the professional energy of the ensemble, the wonderfully choreographed physical movement, both comedic and dramatic, culminating in a Shakespearian jig, all amounted to a delightful dramatic experience. Lucie Dawkins’s professional and creative direction shone through, and this production takes its place in an already impressive tradition.

Five stars does not necessarily mean perfection – every audience member will have their slight issues with a scene, or an actor, and first night nerves may account for the very occasional lack of spark at the beginning – but due to a universally energised and talented cast, and to the evidence of extraordinary direction, this play reaches the highest heights I’d have thought possible for a student production. Shakespeare is difficult to pull off brilliantly for untrained actors, but the majority of the cast struck a lovely balance between the heightened moments of poetry and emotion or farcical humour, and moments of subtle and naturalistic interplay.

Hannah Gliksten’s Portia is witty, charming and commanding. Barney Fishwick portrayed a bitter and abused Shylock, who both treats and is treated badly, allowing the audience to simultaneously rejoice for his defeat and sympathise with him. The relationship between Jessica (Amber Husain) and Lorenzo (Nathan Ellis) was nuanced and captivating – a great foil for the more conventional instances of Shakespearian love in the play. Richard Hill and Nick de Mulder, respectively playing the Princes of Arragon and Morocco, Portia’s horrendously unsuccessful suitors, are a comedic joy, as is Jack Sein as Launcelot Gobbo, all three idiosyncratically providing the belly laughs of the play.

Luke Howarth as Old Gobbo and later the Duke of Venice was an unexpected personal favourite, doing much with quite little – he displayed great talent in playing the old blind man with wonderful physical comedic timing and characterisation, and then similarly excelled as the Duke in the courtroom, giving the scene believable gravitas. Also, watch out for Constance Greenfield’s wordless and subtle but often hilarious reactions as she gives Nerissa wit and charisma.

There is so much more to rave about in this play, but I don’t have the space. Go and find out for yourself. There are tickets left on the door every night, so if you haven’t booked, do not despair. Do all you can not to miss this production.

We must tackle alienation in those vulnerable to extremism

0

The murder of Drummer Lee Rigby has raised a lot of uncomfortable questions over the past week or so. The perennial issue that always rears its head is the apparent failure of a significant minority of British Muslims to ‘integrate’, whatever that might mean. The trouble is that we are faced with an apparently unresolvable dichotomy. I despise the EDL. Britain has always been adept at integration; we have a long and proud history of being a nation of immigrants. The EDL message that Is­lam is intrinsically a threat to the United King­dom is anathema to our dearest liberal values. Yet at the same time, it is impossible to deny that the barbarians that murdered Rigby were devout Muslims. The understandable method in which the government and Muslim commu­nities have attempted to defuse the situation is by claiming that these men were not ‘true’ Muslims. Understandable, but wrong.

 Islam, like all faiths, has the potential to in­spire violence. I am not a theologian so I am only vaguely aware that the passages of the Hadith and the Qur’an that appear belligerent have been misconstrued. However, that inter­pretation is not clear to all, and certainly in the hands of a radical imam with an absence of scruples the Holy Book has the potential to be misused for some quite unholy purposes. The problem with saying that this attack had noth­ing to do with Islam is that it feeds the EDL’s victim complex. It encourages them to believe that the Establishment really is engaged in a conspiracy to destroy ‘Englishness’ for vague nefarious reasons.

British Muslims are not murdering British soldiers on the streets. None of them are con­tributing to Britain’s already burgeoning arms trade by manufacturing car bombs and suicide vests in their garage à la Walter White. The Mus­lims of York Mosque adopted the most perfect­ly British attitude to an inflammatory EDL rally by inviting them in for tea and biscuits so they could have a chat and sort the whole thing out. This is what is so disgusting about the EDL mes­sage. The vast majority of Muslims are integrat­ed, and certainly more British in outlook than the despicably intolerant extremist groups who want to force them to leave the country. A vast majority, however large, is not the same as all. How do we avoid the dichotomy which I set out earlier? How do we explain that the EDL is wrong in the context of how peaceful most of Britain’s Muslims are, whilst still accepting that there are some individuals who are in­spired to violence, actual or attempted, by the same ideology that drives others to peace?

An imam in Oxford has caused controversy by suggesting that it was British foreign policy that led to the atrocity in Woolwich. We shall leave aside all the problematic implications that this has for now. We can grudgingly accept that some people are motivated to terrorism because of the Iraq War. It is, after all, the ex­planation that the extremists themselves gave. However, to focus on the Iraq war as the imam did is a very dangerous move to make, even if it is a motivating factor, without further qualifi­cation. These men were Nigerian in origin, and had nothing in common with the Iraqis save their faith. If we are to argue that a Muslim from a country hundreds of miles away from Iraq can be motivated to murder based on what he perceives as an injustice done to people sim­ilar in faith only, then we basically imply that Islam is a “fifth column” — that we can never be quite sure to trust Muslims because they will always put matters of faith before their local community. The Muslims who invited the EDL for tea were certainly interested in the fate of their communities. To suspect that at any time they might be working surreptitiously to es­tablish a universal Caliphate is reprehensible.

This allows us to resolve the dilemma. Islam was a banner for these attacks, not a cause. These men fundamentally lacked an identity. Whatever preacher latched on to them, for all his moral odiousness, gave them an identity. This is really no different from the KKK in the United States preying on the socially dispos­sessed, and persuading them that their prob­lems can all be blamed on the blacks and the Jews. The difference between the Muslims that invited the EDL in for tea and the extremists who invited an increase in EDL membership is that the British Muslims have communal ties, and to be a British Muslim is meaningful. For the extremist, all they have to define them is an idea. If we all take steps towards reducing social exclusion, this would not just reduce the threat of Islamic extremism. It would also reduce the numbers of otherwise socially ex­cluded people who actually make up the ranks of the EDL.

Fashion in Film

0

Is it possible to separate characters in films from their wardrobes? Here Cherwell takes you through films with an emphasis on style, investigating the metaphorical significance of what characters wear can have, and the general portrayal of style in the film industry.

With wealth and luxury being the chief themes of The Great Gatsby, the costumes add a visible dimension to the divide between old and new money. Daisy Buchanan’s 20s style, with her cropped hairstyle, extravagant jewellery and gowns, makes patent her wealth and capacity to express her love of beautiful things. There are references to Gatsby’s ostentatious pink suits as signs that he tries hard to impress through his money. As Gatsby showers Daisy with his many shirts, it is a colourful reminder of the efforts to which he has gone to fit in and display his riches. Mrs Wilson’s gaudy costumes show a less tasteful style, mirroring what we learn of her lifestyle. The red fishnet tights and figure-hugging dresses of Buchanan’s mistress compared with his wife’s pale silks form a visual reflection of the contrast between their personalities.

In 27 Dresses the main character’s unfeasibly large collection of bridesmaids’ dresses is a metaphor for her emotional baggage. Whilst the images of her trying on all the dresses and reliving the weddings are undeniably funny, we are still reminded by the physical presence of vast amounts of silk ruffles that she has an emotional problem with moving on.

Pretty In Pink’s main character Andie Walsh’s self-expression is usually centred on her choice of outfit, and she has no fear about breaking free of the style which clamps her fellow classmates into a world of pale sweaters and big, flowing hair. She is a perfect visual contrast to her peers, and this juxtaposition mirrors her personality; the references people make when criticising her outfits for being cheap or wacky are in fact barbed insults about her family background. Andie is unperturbed, and the final scenes of her stunning homemade prom dress are a symbol of liberation.

Other films have fashion embedded in their plots. The Devil Wears Prada gives Vogue-addicted style stalkers the opportunity to indulge their passions in a sea of designer clothing. The shots of the heroine travelling to work in about twenty different outfits gives condensed inspiration to a fashion junkie, but in all the film is centred around what is appropriate and acceptable to wear. A different film exploring the boundaries of fashion is Mean Girls, where Regina George’s imposed laws – such as only being allowed to wear pink on Wednesday or a ponytail once a week – are a more light-hearted version, poking fun at rigid style diktats.

Screen style is nothing new. Les Parapluies de Cherbourg isa French film from the 1960s with Catherine Deneuve starring as Genevieve, a young girl who somehow, working as an assistant in her mother’s umbrella shop, can afford the most exquisite garments. Think pale pinks and blues, pretty shift dresses and simple yet chic hairstyles, and a beautiful beige mac which she wears with youthful insouciance as she flits around the streets of Cherbourg. The detailed paid to her fashion, along with her mother’s wardrobe, gives a finesse to the look of the film. Designed to look good, Les Parapluies demanded the most stunning array of clothes in order to achieve its goal of beauty, and costume designer Jacqueline Moreau, who worked on many films, operas and plays, crafted a simply wonderful wardrobe.

As visual media firmly connected with the zeitgeist, both following and leading trends, it is unsurprising that fashion and film are closely linked. Wardrobe choices can define characters just as much as any other aspect of production, and indeed fashion can be the greatest sphere of influence for a film, as the many blogs promising to help visitors achieve Daisy Buchanan’s style, for example, make obvious.