Saturday 12th July 2025
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The obsession with meritocracy in university admissions is misguided: here’s why

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There is an almost routine, certainly mundane argument that is launched against any and all forms of affirmative action policies adopted by universities – whether it be quotas, preferential or favourable admissions methodologies that are cognizant of the prospective students’ academic environments, or more subtle methods of rectifying and combating historical injustice. The argument is centred around the opaque notion of meritocracy, couched in the terms of stressing the importance of meritocracy, and meritocracy alone, as the selection criteria that universities should adopt. If it is true that universities must solely be meritocratic in admissions, all forms of affirmative action policies are unjustifiably distortionary, and must hence be rejected.

This is a fallacious argument. It falls, not just for the obvious reason that university admissions do not solely have the obligation of selecting based on merit, but because affirmative action – if anything – facilitates a better and more genuine attainment of meritocracy in admissions.

Recognise that the ‘differences in quality’ in the first place are often far less significant than some polemics like to believe. Quotas are often implemented in a manner that render the admitted individual, at most, marginally worse than the non-admitted individual in their initial attainment and skill. This makes sense from a practical point of view – university administrators have little to no incentives in devising quota systems that admit substantially academically weaker students, who are unlikely to benefit from or find conducive the particular environments afforded to them. Students with vastly inferior academic capabilities would also be unlikely to imagine themselves thriving in such environments in the first place. Thus, the ‘difference in merit’, to begin with, is unlikely to be significant.

Even if there exists some disparity in initial attainment, the meritocracy-obsessed argument neglects the fact that merit and ability are dynamic; they evolve in response to coaching, support, teaching, and peer-based positive reinforcements. The initial attainment gap between the admitted student and the non-admitted student can be easily closed over time. Thus, in retrospect, it is not clear why the admitted student is any less deserving than the student who is allegedly ‘displaced’.

The dynamicity of merit also lies in its ambiguous definition, which is important for two reasons. The first reason is that it is not clear why merit must only map onto so-called ‘objective’, academic attainment and results. Surely, the ability to work hard, the ability to think beyond the curriculum, the enriched appreciation of the real-life implications of curricular content are all equally valid alternative metrics of merit. It is deeply unclear why someone with 1 or 2 more A*s is necessarily, if at all, also superior in all of these other aspects. If affirmative action policies enable the recognition of a hardworking student over a student with 1 more A*, who is to say this isn’t merely meritocracy with an alternative yet equally valid metric?

The second reason is that metrics of merit are often constructed – explicitly or implicitly – by dominant social pressures and forces. Elites often pick and choose metrics as bases of apparent ‘merit’, so as to favour group closure and a continued monopoly of access to privilege (see Weber or James Coleman for more on this). For example, the deliberate decision of including Latin knowledge in admissions to certain private schools and, up until a few decades ago, certain Oxford degrees, or the tendency for certain corporations to feature interview stages that heavily test for so-called ‘cultural capital’ etc. are all examples of where the metric of merit is designed and enforced arbitrarily and selectively. It is not clear why the state-designed curriculum in examinations is the ultimate or most accurate arbitrator of merit. It is even less clear why obscurantist tests, acting as effective hurdles for disadvantaged individuals, should be accorded much weighting or recognition as objective measures of ability.

The upshot of all of the above is that affirmative action policies are not intrinsically opposed to meritocracy. Yet a further argument is that they actively facilitate the promotion and cultivation of merit in individuals. Firstly, the certainty of quotas affords disadvantaged individuals a much-needed glimmer of hope and mental boost (against potentially discouraging teachers, HE advisors, and even parents) that motivate them to both aspire towards and apply for admissions into universities, if not more traditionally competitive ones. Secondly, affirmative action policies also provide school administrators in underprivileged areas with the bargaining capital to campaign for more resources, or a more efficient allocation of resources, in supporting one or more of their students in applying for competitive universities. Thirdly, affirmative action policies ensure that in face of bigotry and exclusion, students from minority backgrounds can collectivise and find solace in each other’s support. Above all, affirmative action taps into the undiscovered or underdiscovered merit in individuals – such as the African-American who would never have applied to an Ivy League school (due to their Impostor Syndrome) had it not been for the positive nudge, or the young woman who grows up being told by misogynistic teachers that STEM subjects are not the right choice for her. These are all reasons why affirmative action in fact bolsters meritocracy, as opposed to detracting from it.

Yet even if an admission decision is indeed un-meritocratic, and even if none of the above refutations apply or hold, it still remains highly unclear as to why university admissions must only care about meritocracy. Public facilities, infrastructure, or even consumer goods are rarely rationed on the basis of merit; in particular, access to public facilities and welfare is often rationed on the basis of need or aggregate social utility. Why should the case of universities be any different? If offering an ethnic minority member from a historically oppressed community a place at university means that their community acquires a new role model, their family gains a stable source of income, and the academic discourse at the university benefits much from their presence, is it not profoundly evident that the university has a strong reason to forego selecting purely based on merit, in exchange for an outcome that is both socially advantageous and desirable?

Here, one may object and argue that universities ought not instrumentalise the lives of individuals so as to achieve some broader social objectives. Whilst this argument against instrumentalisation may well be true in a vacuum, it misses the point raised above. The point is not that universities should instrumentalise their students in a vacuum – but that given the limited number of university spaces available, universities have the right, and with good reason, to introduce considerations beyond mere narrow meritocracy as bases for selections. Furthermore, this charge of instrumentalisation becomes less relevant when it can be pointed out that the students, admitted through affirmative action, also have much to gain through the academic experience.

Universities are more than merely merit-obsessed, mechanical institutions that robotically take in solely the most ‘meritorious’. Even if they are concerned with merit in general, there exist plenty of reasons as to why meritocracy is better attained in the presence of affirmative action, especially when the ideal of meritocracy is built on grounds that are far more flimsy and arbitrary than critics of affirmative action would have one believe. The obsession with meritocracy in university admissions is therefore not only misguided, but also deeply damaging to the pursuit of both excellence and equality (not mutually exclusive!) across universities.

Bop ’til you drop!

Bops are one of Oxford’s most universally loved events. They are essentially large college parties that resemble cheesy school discos, only with copious amounts of alcohol.
Every college does them differently, though typically they’re held a handful of times each term to celebrate major occasions (like Freshers’ Week, Halloween, Christmas). These cheap, no-frills “nights in” come with the comfort that you’ll always know someone in the room.

Drinks

Central to the success of bops are college’s freshly made bop juices. These magical concoctions are typically spirits combined with an assortment of fruit juices to produce a delicious, lukewarm sickly-sweet mixture all served up in a plastic cup. They may not be rooftop Cosmopolitans, but they’ll definitely do the job. With free or very cheap entry, and with bop juices costing as little as 50p a cup, you’ll be struggling to spend more than a tenner all night.

Costumes

Bops are invariably fancy dress, though the themes vary dramatically from the ordinary to the plain bizarre. People make an art out of foraging, recycling, and mashing together outfits from anything and everything they can lay their hands on. Don’t be afraid to release your inner primary school child and get messy with cereal boxes and PVA glue.

Venues

Bops are traditionally held in college bars or function rooms. This means that you can experience all the chaos of a night out with only a short stagger back to your bedroom. There’s also no need to risk hypothermia queuing for entry in the sub-zero January temperatures. Some colleges do hold their bops at external venues however (smaller clubs like Fever or Plush). While these don’t have the same locality, the perks of a proper dance floor and better stocked bar should not be understated. So whether you’re a veteran clubber, or a newbie to the dance floor, bops have something for everyone. They’re a fun and safe environment to let loose from the academic pressures of Oxford life without the expense, effort, and exhaustion of a night out on the town.

How to manage your work

You’re not alone!

The main thing to note is that being stressed is completely normal and everyone will have tough points in their Oxford life. If you’re finding something difficult then someone else almost certainly is too.

Don’t let it get out of hand

Make sure you’re aware of how stressed you are and don’t let it get the best of you. If you have any worries about work, there are lots of people to whom you can speak in college or at the University, from Welfare Reps to Student Union Officers and Nightline. College Parents or subject peers can also help with content, notes, or if you need something explaining.

Perspective

Remember that improvement is a gradual process. The work that you do in first year doesn’t usually counts towards your final grade, it’s more about building a base for you in your second and third year. Don’t stress if you feel like you’re not getting anywhere immediately.

Non-academic pursuits

Make sure that you are doing activities away from your degree. Not only do library breaks boost overall productivity, but doing an activity that you enjoy, whether this is sport, music or any other hobby, is important to take your mind off work.

If you’re looking to balance work in particular, plus your other commitments, consider exploring remote customer service roles that offer the flexibility to fit your schedule.

Managing work-related stress is crucial, especially when juggling a heavy workload or feeling overwhelmed. While it’s important to seek support from college resources, such as Welfare Reps or peers, it’s equally essential to find a job that suits your lifestyle and helps reduce stress. If you’re looking for Salesforce developer remote jobs, there are plenty of opportunities that allow you to work from home, offering flexibility and a healthier work-life balance.

Be realistic with your time

A caveat to this is making sure that you don’t take on too much. Your tutors will probably remind you that you are ultimately at Oxford to do your degree and that this should not be sidelined. If you are finding that you are not leaving enough time to do that work, then it might be necessary to drop one of your extra activities.

Plan ahead

Plan your work ahead so that you can find the balance between setting aside enough time for your degree, as well as taking time away from it. Putting your deadlines and commitments into an online or paper planner and then working backwards from deadlines, slotting in enough library time, is a good way to do this.

Formals: The truth behind the tradition

College formal dinners or formal halls are a key part of being at Oxford. Their format can vary significantly by college but they generally involve a three course served meal in the college’s fancy hall. Some colleges hold them only once a week; other twice a week, perhaps Tuesday and Thursday; whilst others like St. Catherine’s and Oriel hold them every night. The dress code also ranges significantly with some not having a dress code at all and others requiring smart clothes with a gown, so do make sure to check beforehand. A highlight of formals is the Latin grace at the start- Univ claim their grace is the longest but others have challenged this.

I’d really recommend trying to go to formals as many different colleges as possible as they’ve each got a different vibe and are a great chance to look round other colleges. The best way to go to a formal at another college is by getting your friends at other colleges, such as those doing the same course as you, to invite you, as you almost always need to be a member of the college to book a formal there.

However, Oxford Raise and Give (www. facebook.com/oxfordrag) also run Formal Hall Surfing which gives you a chance to buy a tickets for formals at different colleges so look out for that! Fun formals to visit include St. Benet’s Hall where every guest is introduced by their host, St. Catherine’s for the biggest hall, and Mansfield where formals take place in the chapel.

In full: Union term card released for Michaelmas

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Yanis Varoufakis, Russell Brand, and Alexa Chung are among the speakers listed on the Oxford Union’s Michaelmas term card, Cherwell can report.

The society will also play host to a large array of world leaders – including a panel hosting 5 of the Central Asian ‘Silk Road’ countries for the first time – with a term card possessing a clear political focus.

Union President Stephen Horvath told Cherwell: “My vision for the Union is simple: we should offer members the chance to engage directly with premier speakers on important topics.

“I was first drawn to the Union as a debater, and I wanted to ensure our line-up this term captured a range of viewpoints and brought them into conversation on seven controversial topics. The War on Terror debate, for example, includes diplomats, politicians, military leaders, and policing and security experts from three different countries – it is through the breadth of speakers in any one debate that members can really challenge their starting assumptions.”

Diversity

The Union’s speaker events, debates, and panels planned for the term ahead feature a range of actors, world leaders, sportspeople, and thinkers – just over 35% of whom identify as women*. Around 9% of total invited speakers openly identify as LGBTQ+.

Little Mix, an award-winning British pop group well known for their hit ‘Shout Out to My Ex’, account for four of the total 15 women* scheduled to present at speaker events next term.

Despite a drop in the amount of international speakers from last term, there is a more global focus than in previous years. International speakers make up approximately 43% of the total.

Union President Stephen Horvath told Cherwell: “Building on our progress in the last few terms, I am pleased that we once again are organising panels and head-to-head debates to offer deeper engagement, on topics ranging from modern slavery to the future of the Euro. I am also pleased that over a third of our speakers are female and that around a quarter are from BME backgrounds. ”

Debates

The Union will host seven debates on Thursday evenings from first week to seventh week. At each event, there will be an emergency debate at 19:45 followed by the main debate at 20:30.

Topics to be debated include retributive justice, private schools, the war on terror, as well the perennial No Confidence debate in Her Majesty’s Government. Debate speakers include Universities Minister Sam Gyimah, Dominic Grieve MP, and US Ambassador Gerald Feierstein.

In addition to three panels, the Union will also host a range of special events, including the The Grand Final of the Union’s internal debating competition and a Euro Head to Head debate, which will take place the evening before a major European Council meeting.

The Union’s Silk Road Panel, co-hosted with the Oxford Silk Road Society, will be the first time ambassadors from the Republics of Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan and Uzbekistan sit on a panel together.

Founding president of the Silk Road Society and event organiser, Marcello Fantoni, told Cherwell: “Our society is dedicated to the study of the culture, history, geography, and politics of the Silk Road, both ancient and modern. The event is officially entitled ‘Central Asia into the 2020s and Beyond’.

“Given the ongoing instability in the region, our aim as a society is to ensure the perspectives of these nations are not overlooked. Too often, Central Asia has been seen as the backyard of China or Russia, without proper consideration given to its perspectives and ambitions.”

The full term card can be found here. [https://www.oxford-union.org/term_card]

1. 11th October

“This House Has No Confidence in Her Majesty’s Government”

Proposition
Nia Griffiths MP
Chris Bryant MP

Opposition
Sam Gyimah MP
Brandon Lewis MP

2. 18th October

“This House Believes Science Alone Can Never Answer Our Biggest Questions”

Proposition
Dr Denis Alexander
Professor Richard Swinburne

Opposition
Professor Ijeoma Uchegbu
Professor Peter Atkins
Professor Frank Tipler

3. 25th October

“This House Believes the War on Terror Has Been Its Own Worst Enemy”

Proposition
Sir Ivor Roberts
David Pratt PC, KStG
Congresswoman Jane Harman

Opposition
Sir Mark Rowley QPM
Ambassador Gerald Feierstein
Elaine Duke
General Graeme Lamb KBE, CMG, DSO

4. 1st November

“This House Believes that Retributive Justice is Obsolete”

Proposition
Frances Crook OBE
Ard van der Steur
Dominic Grieve QC MP

Opposition
Peter Hitchens
Peter Dawson

5. 8th November

“This House Believes We Have Not Remembered Them”

Proposition
Professor Catriona Pennell
Dr Jenny Macleod

Opposition
Simon Jenkins
Surgeon Commander Andrew Morrison MP
Major General Nicholas Caplin CB

6. 15th November

“This House Believes Private Schools are a Public Disaster”

Proposition
Brett Wigdortz
Karin Smyth MP

Opposition
Barnaby Lenon
William Wragg MP
Sir Graham Brady MP

7. 22nd November

“This House Believes Ireland is Ready for Reunification”

Proposition
Colum Eastwood MLA
Micheal Martin TD
Joan Burton TD

Opposition
Mike Nesbitt MLA
Claire Sugden


 

Thinkers
Peter Higgs; 30 October, 20:00
Slavoj Žižek; 9 November, 20:00
Yanis Varoufakis; 14 November, 20:00

World leaders
Prime Minister Ranil Wickremesinghe (Sri Lanka); 8 October, 20:00
President Rumen Radev (Bulgaria); 18 October, 17:00
Pr Minister Tony Abbott (Australia); 5 October, 20:00
Former President Hassan Sheikh Mohamud (Somalia); 12 October, 17:00
Former President Ian Khama (Botswana); 12 October, 19:00
Former President Tarja Halonen (Finland); 10 October, 20:00

Media and Entertainment
Jude Law; 14 October, 17:00
Little Mix; 19 November, 17:00
Margarita Simonyan; 10 October, 17:00
Russell Brand; 22 October, 17:00
Sonia Friedman; 30 November, 16:00

Business
Jo Malone; 11 October, 17:00
Sir Paul Smith; 17 October, 14:00
Alexa Chung; 21 November 17:00

Sport
Nigel Owens; 24 October, 17:00
Ding Junhui; 20 November, 20:00

Cherwell video team is recruiting for Michaelmas 2018!

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Cherwell is looking for new team members to help us produce quality video content in Michaelmas term, 2018. Experienced or not, if you’ve always wanted to get involved in broadcast media find us at the Freshers’ Fair and come and have a chat or shoot us an email at [email protected]

Oxford launch new sexual harassment and violence service

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Oxford University have today opened the new Sexual Harassment and Violence Support Service to offer “a safe place for students to be heard”.

The service, the opening of which was revealed by Cherwell in February, will provide “independent advice and guidance” from trained specialist advisors as part of the service, the University have announced.

Oxford staff will now also be given training and advice on how to respond to sexual harassment and violence cases.

The launch of the service will form part of the Oxford Against Sexual Violence Campaign, which is jointly run by the University and Oxford SU. This collaborative project between colleges and the University will be delivered in association with Oxfordshire Sexual Abuse & Rape Crisis Centre.

The service comes following recommendations from the University’s working group into sexual harassment and violence at the University, chaired by Baroness Helena Kennedy QC, former Principal of Mansfield College.

The service, which will offer “professional and confidential support and advice”, states on its website that it will support students regardless of the time or place the sexual harassment or violence took place. This support and advice will be available in a setting that is “independent” of students’ college or department.

The website offers a definition and examples of sexual harassment and violence, as well as information telling students how they should contact the service to speak to an advisor.

Oxford University’s Pro-Vice Chancellor for Education, Professor Martin Williams, said: “At Oxford, we are committed to preventing and responding to all incidents of sexual harassment and violence.

“It is never acceptable, and we take a zero tolerance approach. We already have a range of measures in place to tackle sexual harassment and violence, and this new service is another step forward in tackling the issue.”

Vice-President for Welfare and Equal Opportunities at Oxford SU, Ellie Macdonald, said: “Oxford SU is pleased to be working alongside the University to support the work that the new Sexual Violence and Harassment Support Service will be doing.

“This has been one of the first projects that we’ve been working on as sabbatical officers, and it is fantastic to see the University take a clear zero-tolerance approach to sexual violence.

“We also hope that the new support service will enable more students to have confidence in the University when an incident occurs.”

A promotional campaign has been launched for the service, aimed at new and continuing students.

The campaign includes a video featuring staff and students from across the University, including Professor Williams, Oxford college heads, professionals from the Support Service, and Student Union representatives.

Principal of St. Hugh’s College, Dame Elish Angiolini, who appears in the video, said: “Colleges are committed to tackling sexual harassment and violence and we are clear that zero tolerance applies to everyone.

“If a student experiences sexual harassment or violence, we know that getting the right support and independent advice early is crucial.

The new Support Service is joint initiative between the Colleges and the University and an important improvement in the way that we respond to allegations of sexual harassment.”

Coming to Oxford: Shy FX

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As Andre Williams left the SOUR Records building, he was not to know that his career as the DJ, Shy FX, was about to rapidly escalate. He told DJ Target in an August 2018 interview for the BBC, “I left the gangsta track there… and they called me back and said they wanted to sign me as an artist.” That ‘Gangsta’ track was to become ‘Original Nuttah’, released in 1994, which featured the MC, UK Apache. The plan was always fairly simple, “I was making tunes just to hear a DJ play my tune on Kool FM,” he told DJ Target. The legendary pirate radio station was his aim, and ‘Original Nuttah’ was his first notable success to be aired on the illegal airwaves. The song is now a universal hit whether it’s played in clubs, at festivals, carnivals or simply in the car. But Williams’ career path had been set long before this point.

Williams was born in 1976, and he grew up in a family brimming with music. His Jamaican grandfather owned a reggae shop, where he often spent time as a child. He has said how bassline reverberated through his home, and how he would often come downstairs to see his parents dancing in perhaps a more intimate way than a small child would want to witness. In a career spanning 24 years, Williams has spawned a cosmos of hits and dipped his toes into reggae, drum and bass, jungle and mainstream chart music. This has propelled his career further than that five-year-old boy toddling around a reggae shop could ever imagine.

When the birth of TechStep came around in the late 1990s and early 2000s, there was a move to dark basslines. Williams lays testimony to, the atmosphere in the clubs becoming more sinister, with the male to female ratio being more heavily male dominated. Ed Rush, a TechStep artist in his prime during this period, bluntly declared “I want to hurt people with my beats”. “When dark things are happening,” Williams said, “I make the most happy tunes just to get my head out of that space.”

The ‘happy tune’ he decided to make was ‘Shake Ur Body’, released in 2001 in collaboration with T-Power. The song went number 7 in the UK Hit Singles Chart. It is not difficult to see why: the song’s Latin-style opening is audacious for what is ostensibly a drum and bass track. As the bassline kicks in, the song takes on a slightly heavier form, but not so heavy as to isolate from mainstream dance tunes. The vocals, provided by R&B vocalist Di, are not the standout feature of the song, but instead they support the beat laid down by Williams. However, the most surprising thing about the song is that it never appeared as though Williams was ‘selling out’. He said that he “just wanted to hear some good, feel good music”. The relative fame that comes with making a top 10 track never tempted him to remain in the mainstream charts, and the next epoch for Shy FX was to again be as different as the last.

T-Power and Shy FX, off the back of the success of ‘Shake Ur Body’, together released the album Set it Off in 2002. Set if Off is host to a menagerie of feature artists, including the aforementioned Di, as well as Coree Richards, Charmaine and many others. This diversity in features matches the diversity of flavours available on the album. The main hit is ‘Don’t Wanna Know’. It will be known to any football fan that was between the ages of six and fourteen between 2008-2012 as the backing track to SoccerAM’s ‘Skill Skool’. If the song were merely an instrumental, it would be a happy hardcore frenzy of salsa and bassline, however, Di’s rich vocal turns the song into a definite crowd pleaser. The superb ‘Calling You’, with vocals supplied by Sharlene Hector, could almost be a bassline Bond theme. The song ‘Nature’ takes Williams back to his dancehall past, and you can see how Shy’s grandparents’ influence pervades through the track. The album, whilst containing some individually successful songs, did not achieve outstanding reviews. It was too broad-ranging, with too many different styles and no central theme. This is perhaps one instance where Williams’ tendency to try everything let him down.

It took until 2014 for Williams to launch another album. In explaining why this was, he said that the tendency with albums is that you make the project and then tour the project. That’s not what he wants to be doing, because he enjoys how his “sets are so eclectic”. He stresses that freedom to do what he wants, and to not stick to one style, is a “blessing”.

The song ‘Who Knows’ was perhaps the moment to which the entirety of Williams’ career had been leading up; his first major single with its roots firmly entrenched in reggae. “It was something I wanted to do from a yute”, he said in 2018, but “I didn’t want to do it until I was able to do it properly.” He certainly did it properly. ‘Who Knows’ was the first official single from Protoje’s number one Reggae album, Ancient Future; a song not shy to the radio. Shy FX lay the song down and branded it with his indelible drum and bass stamp. The remix opens in almost the same manner as the original, but then the backing track is transformed from a mid-speed, reggae-style beat to a tempo more suited to the Fever rave that Shy FX first played in the 90s than to a scene like Reggae Sumfest in Jamaica. It is safe to describe the song as a ‘hit’; up there with ‘Shake Ur Body’ as one of Williams’ best works. Three million plays on YouTube and eight million plays on Spotify emphasise its popularity. It is no wonder Williams is so proud of the effort.

Williams’ newest release, ‘Badboy Business’, in classic Shy FX fashion, bridges genres and throws up the unexpected. The lush, soulful sounds of Kate Stewart are interrupted by a dancefloor madness, with lyrics provided by Mr Williams. The song went down in the same way at Notting Hill as it will when Williams comes to Oxford, at the O2 Arena on Friday 23rd of November.

Throughout his career, Williams has never been afraid to propel himself into any galaxy of genre. It has never once felt as though Williams was undertaking any task for money or for celebrity. It is perhaps down to this honesty that he has become a household name and a beloved figure in so many different regions, genres and countries. In his own words, “ultimately, the tunes [are] for me and the mandem.”

The return of Rodarte

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“It was raining buckets but WOW was it worth it,” wrote Eva Chen, fashion director at Instagram. At Rodarte’s first New York Fashion Week show in two years, designers Laura and Kate Mulleavy unveiled an explosive kind of softness. In a cemetery on East 2nd Street in the pouring rain, guests were shown a stream of tulle and frothy lace. Odille Gilbert’s flowers were woven into the hair of each model, and every piece was punctuated by the label’s signature ruffles. In their return to the live performance of fashion, Rodarte seemed to be preoccupied with ideas of transience: the fresh flowers, the graveyard setting, and the girlishness that informed the collection. Indeed, the pieces were noticeably more delicate than those of SS17, the label’s last collection shown at NYFW, which was dominated by leather, metal studs and safety pins exposing the rude mechanics of clothes production.

However, Rodarte’s ethereal softness for SS19 is not to be confused with fragility. Fantasy and romance were at the centre of the designers’ vision, but the performance of these themes acted to assert the power of childish femininity. Ruffles were created from tough leather, and tulle dresses were made in audacious fuchsia as well as pastel colours. Traditional expectations of fabric and colour were gently subverted in order to ensure that there was little vulnerability to the house’s celebration of girlhood. Ballooning sleeves and skirts also meant that the Mulleavy sisters’ designs also took up huge amounts of physical space, making it difficult for Rodarte’s women to be overlooked.

Every element of the show was self-consciously theatrical. Even away from live performance, the house has always drawn attention to the fact that it is putting on a show. Rodarte’s AW18 collection was revealed through a series of photographic portraits by Autumn de Wilde, who used a visibly artificial painted backdrop in each picture. In drawing attention to the mechanics of what Leandra Medine has called “the fanfare and mystery and fantasy of getting dressed,” the brand lends a further irony to this girlish kind of dressing. Now that Rodarte has returned to live Fashion Week shows, we should look forward to them using setting to create knowingly artificial performances, with overtly cinematic and atmospheric settings, within which clichés can be subverted.

Critics of the show focused on how the Mulleavy sisters had placed escapism and idealism centrally within the identity of Rodarte, and couture as a whole. Leah Chernikoff at Elle felt reminded that “fashion is about selling a fantasy, just as much as it is about selling clothes.” However, in an age of irony, Rodarte’s fantasy cannot be totally transparent. The way in which these hyper-feminine silhouettes towered on the runway suggests that Rodarte’s fantasy is in fact one of female power. The house’s pieces for SS19 seem to allude to fairy stories in their ethereal quality, narratives within which delicacy often renders women vulnerable. However, the pieces also seem to show how this delicacy can be channelled into strength.

Rodarte is not the only house centring this subversive brand of femininity in its identity. Obvious parallels exist with London-based Molly Goddard, who has almost become synonymous with frenetic tailoring and excitable colour palettes. Although Goddard’s most recent collection was admittedly slightly more muted, ruffles still took centre stage. Her signature huge tulle dresses perform a daring kind of ultra-femininity, and have been worn by Adwoa Aboah, Edie Campbell and Rihanna. Molly Goddard’s celebration of girlhood is so glaring it almost feels aggressive, but joyfully so. The parallels between the work of Goddard, Rodarte, and other designers across the industry, implies a shift towards a more nuanced presentation of femininity within fashion: one that celebrates classically female textures and fabrics without sacrificing toughness.

This boundary between female fragility and muscularity is also blurred by the ways in which we style the garments of Rodarte or Goddard to bring out their implicit irony. Perhaps this is best expressed in Rihanna’s outfit at the Women’s March last January. She wore a pastel pink tulle dress by Molly Goddard. For anyone doubting the way in which such a garment could present a challenge to a misogynistic status quo, look to the slogan on the sweatshirt Rihanna had paired with the dress. “This Pussy Grabs Back.” The feminine dressing that has been considered to render women the most fragile can, in fact, be a powerful tool.

 

Crazy Rich Asians review — a rom-com deserving of the big-screen

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Think of a recent rom-com you’ve liked, and the chances are you saw it on Netflix. To All The Boys I’ve Loved Before and Set It Up, for instance, are the kind of films that thrive on streaming services even while many studios seem to believe that rom-coms hold no profit potential next to the sequels, reboots and comic-book movies that currently dominate your local multiplex. Even critically-adored rom-coms that do get a cinematic release tend to be financed by streaming services – see the Amazon-produced Oscar darling The Big Sick from last year.

This is pertinent because when Netflix got wind of Crazy Rich Asians, they actually offered boatloads of cash and complete artistic control to the filmmakers if they sold the film to them instead of theatrically releasing the film with Warner Bros. The director, Jon M. Chu, decided to stick with the Warners deal, a financial gamble that could have lost them a lot of money, but would hopefully turn the film (with its all-Asian ensemble cast) into more of a pop-cultural event by virtue of its cinematic release.

It’s a gamble that’s certainly paid off financially, but it’s also produced one of the most instantly loveable rom-coms in years. Like Black Panther earlier this year, Crazy Rich Asians is so rooted in its cultural specificity that it manages to overcome the conventions of the genre even if it occasionally lapses into some worn-out cliches of its genre.

The story follows Rachel (Constance Wu), a young Chinese-American woman who, after dating her boyfriend Nick (Henry Golding) for a year, accompanies him to Singapore for the first time for his best friend’s wedding. At the same time, she meets his family and finds that they are unexpectedly crazy-rich, forming the basis for a classic culture-clash as she navigates through the ways of the ultra-wealthy and a culture that’s more alien to her than she could have anticipated.

Even in that brief synopsis you can sense that Chu might have taken a bingo card of rom-com staples and used them as a storytelling manual, but sometimes the cliches stack on top of each other so overtly that it feels almost inspired. There’s a soundtrack which heavily relies on pop songs, a mouthy best friend AND a gay best friend, but the moment the film ensures that the gay best friend runs our heroine through an obligatory makeover montage while “Material Girl” plays over the top, you can’t help but laugh at the sheer audacity of the filmmakers in their commitment to cliches.

But the broader mechanics of a romantic comedy must be predictable, because if even a minor element is changed then the film ceases to be a romantic comedy. The relative success or failure of a rom-com instead comes from the details of the characters, the scenarios and, indeed, the romantic and comedic elements themselves. 

This is where the film truly shines. Each individual element, even the cliches, are often executed so proficiently or boldly that they manage to feel far fresher than they are. For instance, the mouthy best friend is played by Awkwafina (already a break-out presence in Oceans 8 a few months ago) who might be the film’s comic secret weapon. And the poppy soundtrack is made up of Mandarin-language covers of familiar songs – Katherine Ho’s cover of Coldplay’s “Yellow” which plays over the closing reel, is a particular highlight.

It’s hard to believe that one of the year’s best mainstream films comes from the director of Now You See Me 2, but Chu infuses the film with a buzzy visual energy (especially during an early texting montage, which are always deceptively tricky to render cinematic) and draws great performances out of his ensemble cast.

The characters themselves are genuinely delightful to spend time with. Wu and Golding are instantly believable and likeable as the central couple – not only because they’re both gorgeous and lovely, but also because their relationship feels rooted in empathy and mutual respect, which is rarer than you might think in a mainstream romantic comedy.

Gemma Chan is worth singling out as she contributes a devastating supporting turn to a side-story that adds a welcome poignancy to the proceedings, but it’s Michelle Yeoh’s performances as Nick’s mother that truly grounds the film. The story is rooted in Chinese and Asian cultural ideas of family, filial devotion and sacrifice, and Yeoh’s character provides the film’s emotional and thematic through-line in a way that never feels on-the-nose or preachy. While she often butts heads with the ever-reasonable and measured Rachel, you always have a clear understanding of her motivations, and none of the film’s conflicts feel contrived at all.

While a slightly rushed ending and a (thankfully brief) cameo from Ken Jeong threaten to mar the proceedings, this is unquestionably one of the most delightful films of the year. Take everyone you know and love to see it, and remember to thank the filmmakers for ensuring that the film received a proper cinema release so that this joyful ray of celluloid sunshine can close out the summer as it deserves to.