Friday, May 2, 2025
Blog Page 93

Tesla to build permanent base in Oxfordshire

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Tesla is opening its first Oxfordshire site in a technology park located south of Bicester. Albion Land’s Catalyst Park in Bicester is designed for advanced manufacturing sectors and technology, and will house Tesla’s newest outlet. With 40 stores in the UK, the Tesla store closest to Oxford up until now was in Reading. 

Tesla has already been leasing the 24,000 sq ft location, alongside a unit that will be handed over to an unnamed design and manufacturing company. The new occupants will join Evolito, an aerospace company, and Yasa, a manufacturer of electric motors owned by Mercedes Benz, at the site. There is one more building currently available and an additional two under construction, comprising a further 110,000 sq ft that will be ready to let in summer 2024. 

The business complex aims to help reduce commuting out of Bicester due to its proximity to housing, transport links and infrastructure. This would support Bicester’s population growth plans, with 10,000 new homes planned within 12 years and an increase in population from 32,000 to 50,000+ by 2031. Future planned infrastructure works are already in place to ensure the transport network will keep pace with this growth. 

Tesla had previously been expanding in Oxford, with its superchargers contributing to the opening of the Redbridge Park and Ride electric vehicle charging hub in 2022, which was claimed to be the “most powerful” in Europe. It remains one of the few supercharger stations in Oxfordshire, with 12 Tesla chargers at 250kW restricted to Tesla owners. Although the manufacture and operation of Supercharger stations do have a carbon footprint, the reduction in emissions from electric vehicles will help achieve Oxford’s proposals to move to zero emission travel in the city. 

Oxford is set to become the first UK city to introduce a zero-emission zone, an area in which only zero emission vehicles can be used without incurring a charge. The objective is to improve air quality, cut carbon emissions, and encourage the use of public transport, including Redbridge or Bicester Park and Ride. The scheme will only cover a handful of streets in the city centre, but the Oxfordshire County Council and Oxford City Council hope to grow the zone over the coming years. 

History, philosophy, and theology top the list of most popular Oxford degrees

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New data from the UCAS 2023 undergraduate application cycle show that Oxford degrees classified as historical, philosophical, and religious studies were the most popular for undergraduate study. 

Degrees in this grouping received 3,480 applications, out of a total 24,230 applications made to the University – just over 2,000 more than the number to Cambridge. 

Other highly popular subjects include physical sciences (2,610 applications), social sciences (2,575 applications), and law (2,465 applications). By contrast, the least popular were subjects involving medicine, with just 295 applications, and art/design, with 360 applications. 

There were certain subjects where Oxford attracted more applications than Cambridge and vice versa. Oxford outnumbered Cambridge in applications significantly for maths, physical sciences, history, philosophy, and religious studies. 

Conversely, subjects that were more popular at Cambridge were primarily science focused. Engineering received over double the number of applications at Cambridge compared to Oxford, with computing, geography, and psychology also all receiving more applicants.

The data, which go back to 2019, also show trends in the popularity of different subject areas. Law has seen the most growth in applications, with 580 more this year than in 2019. In contrast, the subject with the biggest drop is languages, with 275 fewer applications.

The full list of applications to Oxford is as follows:

1. Historical, philosophical, and religious studies (3,480 applications)

2. Physical sciences (2,610 applications)

3. Social sciences (2,575 applications)

4. Law (2,465 applications)

5. Mathematical sciences (2,330 applications)

6. Medicine and dentistry (1,950 applications)

7. Language and area studies (1,915 applications)

8. Biological and sports sciences (1,780 applications)

9. Engineering and technology (1,400 applications)

10. Computing (1,230 applications)

11. Business and management (770 applications)

12. Psychology (570 applications)

13. Geography, earth, and environmental studies (500 applications)

14. Design, and creative and performing arts (360 applications)

15. Subjects allied to medicine (295 applications)

All Souls College to hold open evenings targeting female, non-binary, and BAME candidates

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All Souls College, Oxford University’s most selective graduate college, is holding two Examination Fellowship open evenings at the end of term targeting women and gender minorities, an annual initiative since 2008, and ethnic minority students, introduced in 2019.

Students from these backgrounds remain underrepresented among candidates for All Souls’ highly competitive Examination Fellowships, which cover seven years of graduate tuition, research fees, and room and board for outstanding scholars in the humanities and social sciences. Typically, two Fellows are elected each year from a pool of over 150 candidates.

Out of the 33 Examination Fellows elected since 2006, twelve (36%) are female; the percentage of female candidates has significantly increased over this time, from 25.9% in 2006 to 48% in 2023. While All Souls has not historically tracked the ethnicity of candidates, four (33%) of its twelve current Fellows are from BAME backgrounds, and the proportion of BAME candidates exceeded 40% in 2023.

In recent years, All Souls has also taken steps to address its historical links to the Atlantic slave trade: Christopher Codrington, a former Fellow and a key benefactor of the College, was a prominent slaveholder in the Caribbean. The College Library, formerly known as the Codrington Library, was renamed in 2020 to All Souls College Library, with contextual plaques and displays subsequently installed around the Library, including a digital projection of enslaved people’s names onto the statue of Codrington inside the building.

The College now funds three All Souls Hugh Springer Scholarships each year, which cover full tuition and living expenses for Black Caribbean graduate students studying at any Oxford college, and contributes to the university-wide Black Academic Futures Programme and the Caribbean Oxford Initiative, which support graduate students of Black or Black Caribbean heritage. Moreover, the College provides annual grants to Codrington College, an Anglican theological college in Barbados founded by a bequest in Codrington’s will.

A queer exploration of new age romance: ‘Best of Five’ Review

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Watching ‘Best of Five’ felt like I was watching a combination of mine and my friends’ university experience playing out in front of me. We are given the protagonist Pip, a nineteen year old university student struggling to comprehend the complexities of his new emotions whilst dealing with those of the past. A queer exploration of new age romance in the era of dating apps, situationships and hookup culture, I felt ‘Best of Five’ put on a theatrical show that was essentially what you see and hear day to day as a young adult trying to navigate relationships and feelings in the 21st century. 

The set opened with a park bench downstage left, soft coloured lighting and streamers strung from the ceiling. The set was fairly minimal with a few items that were moved on and off stage, like blankets and tables, to indicate the changes of scenery. The space was utilised well, and a lot of the time actors would walk within the audience and along the upper side of the auditorium, with the lighting trailing their movement maintaining audience focus. This made the play feel dynamic and more natural, the playing with movement paying off well.

Some of the most dynamic scenes were when we were suddenly thrust into uni nightlife culture, the feelings of a night I’m sure i’ve lived a million times before immediately resurfacing; pounding music, sloppy drunks and people everywhere that you half know, or really don’t want to see. We see Pip struggle between several different people and situations, explaining it well himself in an earlier scene that he finds it difficult to read people and what they want from him. Thus we see him mess up time and time again in the search to find something that sticks. From someone he met on an app, to your average laddish fuck boy who is incredibly emotionally unavailble, to a guy he picks up in a club, and finally a musician he follows on instagram – met through a mutual friend. 

On the back of this we see the lighting and tech really shine in this piece, clearly having lots of thought having gone into its construction. We get loud sound effects of water being poured, people using the toilets and the turning on and off of lights, to name a few. These all worked succinctly with the lighting choices, using colours (particularly blue and red) to create different ambiances and settings depending on the scene and its set location.

The play emphasises the desperation that love can cause, especially for young adults trying to find what they see to be the “missing piece” that is love in their lives. Pip exemplifies the toxic attachment of being in a situationship and being desperate for love at any cost. He waits around all day, dressed and ready to go, moaning to his friends about this boy only to abandon all grievances for a text that comes too last minute to be acceptable. Proving that it often feels like to have something, even at the cost of one’s dignity, is better than having nothing at all. 

The idea of having Pip split into two actors, one as a current 19 year old Pip and the second as a younger 17 year old Pip, was effective. It took me a second to realise what was going on at first, but once I did I could appreciate the emotional depth this added to his characterisation. By allowing us as the audience to understand his past we could better understand the trajectory of the narrative. It worked well particularly in the final scene where Pip’s younger self hugs him tightly before exiting and leaving the older Pip to his final monologue. We see him comfort his younger self, telling him to enjoy the love he has while it’s happening rather than focussing on the idea of its future loss. He promises that there will be more love and greatness in his life to come, and I think we can all be comforted by that conclusion. The final line rang true, especially to me, that instead of stressing about how we we feel in the future and the type of love or relationships that we may or may not have, we should focus on the now, as Pip says: “Because I’m only 19 and how could you possibly know the grievances of an old man.”

Town vs Gown 2024

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The latest iteration of ‘Town vs Gown’, hosted by the Oxford University Amateur Boxing Club (OUABC), promised an adrenaline-fuelled night of thrills, ensconced in an atmosphere that was at fever pitch with anticipation. The main hall, usually frequented by students in vests, shorts, and trainers, was replete with a lavishly dressed crowd, eager to support friends and family.

The night dawned with two debutants, Monteith and Mallin; both boxers displayed grit and grace, but Monteith emerged victorious after landing the cleaner shots. Next came Mitchell, the OUABC’s Men’s captain, and Fagbemi. Mitchell sought to control the range in the early exchanges, but Fagbemi, looking more comfortable at the weight, came on strong in the latter stages and revealed his devastating power. Mitchell demonstrated great resilience, but it was Fagbemi who received the judges’ nod. Lukoseviciute and Cheng were next to grace the ring. In a titanic classic clash of power versus speed, exchanges were evenly shared in the first round. As the bout progressed however, Lukoseviciute’s strength and conditioning took centre stage as her thudding punches echoed around the hall, earning her a deserved victory. 

Following these hotly fought contests were three bouts between Oxford University and UCL. Meriggi, the OUABC Women’s captain,  was the first to take to the stage, delivering a clinical performance on UCL’s Shinde. Armed with a longer reach, Meriggi adeptly controlled the range, and weaved in and out of Shinde’s striking distance. After three full rounds, Meriggi’s arm was raised in the middle of the ring, attesting to her dominant display. Shortly after, the OUABC president, Seiferth, faced off against UCL’s Berre in a bout sponsored by Fabienne Tyler, in memory of her late father and honorary life president Terry Adams. As ever, Seiferth pushed the pace of the bout, applying the pressure on Berre. Both boxers landed some clean shots in a fight that was difficult to score, but ultimately, it was the arm of the UCL fighter that was raised, giving Berre the win.

Tan of Oxford versus Andrews of UCL was the next bout on the card. Despite Tan’s best efforts, Andrews managed to land some tidy counterpunching, which earned him a unanimous victory. The final fight welcomed an external boxer into the ring: Quintero of Oxford University versus Duis of Bristol University. Quintero demonstrated incredible speed and composure, landing often in the early exchanges. Crimson started to fall from the nose of Duis, and despite the best efforts of the ringside doctor, the bout was called off by the referee, confirming Quintero’s imperious victory.

Anderson and Ancil stepped up next in a bout sponsored by OUABC alumnus Peter W. Davies. Despite a valiant effort from Ancil, Anderson was able to land the cleaner, more impactful shots, ultimately leading to a referee’s stoppage. Shortly afterwards, Ryce and Peralta served up a pulsating contest sponsored by OUABC alumnus Chris Mack, with the conditioning of both contestants clear to see. Peralta offered great resistance, but the slick footwork of Paddy ‘Paddypower’ Ryce opened the opportunities to punish his opponent. Ryce was announced as the winner, a decision that was met with a huge cheer from his vocal support.

The latter stages of the night witnessed the heavier boxers take to the ring, and as the drinks continued to flow, the atmosphere swelled. Mehdi and Bruton served up the next spectacle, with the latter having brought a congregation of vociferous support along with him. Bruton was explosive from the outset, forcing a standing count for his opponent. However, Mehdi, who demonstrated his ability to come back from behind in his last bout, delivered a similar performance and seized control in the latter stages, forcing two standing counts of his own. In a bout that showed incredible courage from both boxers, Mehdi emerged victorious, notching up another win on his record. Gaztowtt and Tsvetkov, two men of large stature, climbed into the ring next. The impressive reach of the boxers made the ring look like the metaphorical ‘phone box’, often referred to in boxing. Both showed impressive speed, but after three rounds, Gaztowtt took the spoils.

The penultimate fight saw Willfort in a heavy-handed contest against Nebe. Willfort, sporting the longer reach, restricted Nebe’s opportunities to move within range, proffering sparse chances for the latter to land clean hits. Despite Nebe’s persistent determination to progress forward, Willfort was confirmed as the winner in the ring. Finally, in the heavyweight division, Field faced up to Orwell. Orwell’s endeavours were commendable, but the indomitable power of Field was palpable from ringside, earning him a quick stoppage to conclude the night.

As ever, ‘Town vs Gown’ presented a litany of storylines, atmosphere, and drama. It was clear that every boxer that entered the unforgiving squared circle had followed incredible discipline, a testament to their sacrifices. The celebrations that proceeded in St Vincent’s saw opponents, who hours before had been trying to render each other unconscious, share a drink and laugh over their ordeals – the values of boxing demonstrated at their best. 

The OUABC’s next fixture takes place on 8th March in Cambridge, where the club squares up against their long-term rival CUABC. If ‘Town vs Gown’  this year was anything to go by, Varsity should prove to be a similarly unforgettable night.

Captain’s Corner: OUCC

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Following a relaxed wintry start to the cricketing calendar, Women’s Blues Captain Hannah Davis turns her thoughts to the upcoming season.

When did you start playing cricket?

I began my cricketing journey at the age of 8, playing in the garden with my dad and brother. By the time I was around 9, I joined the boys’ team at school and my involvement in cricket continued to grow when I became a member of Tring Park CC and progressed through the boys’ age group teams up to U15. When I was 10 years old, having never really played girls cricket, I was invited to play for Buckinghamshire U11 girls’ team, and this was when my love for the game properly started. Since then, I have played for Buckinghamshire for a very enjoyable 9 seasons. I’ve formed some great friendships and had the honour of making my debut for the Women’s 1st XI at the age of 13, as well as taking on the role of captain last year. Playing for Bucks gave me exposure to a higher level of cricket, allowing me to participate in the Sunrisers academy and 2nd XI which has been a great experience to be a part of a professional environment. I am now also playing at Berkhamsted CC in their Men’s and Women’s teams. The upcoming season brings a new challenge as I am hoping to make my debut for Essex women following training with them throughout this winter.

How did varsity go last year? Are you looking forward to this one?

Last year, our T20 varsity at Lords was unfortunately rain affected, finishing as a tie under DLS (although I am sure we would have managed to win if we were able to finish the game!). Our 50 over varsity was a very close match with Ellie Micklewright scoring 50 and Victoria Bagge a career best 78 not out. After scoring 254, we put ourselves in a strong position. However, despite taking the game down to the last over, an individual score of 188 not out from the Cambridge captain proved too strong for us on the day. This season, our varsity games are at Lords (9th May) and Arundel (22nd June). We aim to dismiss the Cambridge captain early and secure victories in both games. We would greatly appreciate as much support as possible!

Who are the ones to watch in this team?

Jo Cull – Our captain from last year was one of the top run scorers and most reliable batters. It will be exciting to watch her have another successful season this year!

Niamh Lynch – Having joined the team last year relatively new to the game, it soon became apparent that Niamh had a lot of natural talent and would challenge for a place in the varsity side. Unfortunately, an injury thwarted this, but I am excited to see what Niamh can do on the pitch this season.

Evie Mayhew – Evie is new to the team as a fresher this year and after her first session in the nets, it was clear that she would be a very useful seam bowling all-rounder. Evie is certainly in strong contention to open the bowling this season, being one of our quickest, most consistent bowlers, as well as getting good shape on the ball. I am looking forward to seeing her take lots of wickets this season.

Celebrity, rhetoric, and the Oxford Union

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I’d be surprised if Dominic Cummings was the star appearance from the Oxford Union you were expecting this term. Because, from where I’m standing, it felt like the announcement of his visit came as an unhappy revelation for many of us. The fact hat a man whose only real ‘achievement’ – Brexit (a tough sell) – was overshadowed by a mid-lockdown trip to Durham and a poor dress sense is the Union’s USP for people who shelled out to join it, is majorly disappointing. Yet such an invitation is not in isolation. Rather, it is indicative of a larger trend in society, in which the boundaries between politicians or celebrities and controversialists have been blurred.

Ideally, being a celebrity should be a status conferred on someone by society in recognition of their achievements as a role model. In reality, it is not the moral credentials of an individual that get them plaudits in real life and likes on social media – it is the attention they can attract. Given the Union’s fame and notoriety amongst many students, it’s unsurprising that they should seek out such figures. Yet it points to a worrying trend that continues to be intensified in modern society, where through the combination of rhetoric and the internet, and rhetoric on the internet, people are increasingly exposed to speech which puts sensation over substance. Politics is more and more often dominated by politicians whose controversial opinions obscure any claim to substance or rigour and it is to society’s detriment that those voices drown out those of caution and moderation.

While it seems that modern culture is dominated by those who speak too much, we musn’t forget the true power of speech, politically or otherwise. For the torchbearers of the Renaissance, oratory was central to the promotion of virtue within the state, which was the most worthy and noble end of political engagement. The vision of humanists such as Thomas More was that the power of speech was to promote a universal code of values, which were applicable in any circumstance. In modern politics, speech increasingly no longer stands to promote a common morality, but rather as the cornerstone of extreme partisanship. In our age, a celebrity can beat a career politician at their own game. Trump’s 2016 victory was not the first time a celebrity president was elected, but with mass-media conspiracy theorising instead of Reagan’s folksy charm, it certainly felt different.

The dangerous effects of political articulation are not new: Hitler would not have been nearly as effective without his propagandist-in-chief, Joseph Goebbels. And Shakespeare similarly emphasises the power of speech to cause mutiny in his Roman tragedy Coriolanus. Yet in the modern age, there is a critical new dimension that dangerously intensifies that power: the internet and social media. And how could they not? When outrage is the most valuable currency on X (Twitter), it is not the learned, moderate politician who gets coverage, but the demagogue and the rabble-rouser. This idea that ‘he who speaks loudest wins’ is key to understanding the difficulty in achieving a bipartisan border deal in the United States. For, if there were a lasting solution on the Mexican border, that would be one less polemical issue for Republican lawmakers to raise hell over in the House and Senate.

It seems a sad indictment that sensational, polemical speakers are in higher demand than more subdued and moderate voices. But in truth, the Union should not be condemned too harshly for following that trend. It hardly needs mentioning that highly divisive figures such as Ben Shapiro and Katie Hopkins will attract attention, from both followers and haters, whose ability to draw crowds only benefits the Union, and gives it a tangible (if shallow) sense of relevance. The invitation of Dominic Cummings feels particularly relevant. Not only has he achieved notoriety for his Barnard Caste jaunt, but it was also he who famously created the Brexit slogan ‘Take Back Control’ in 2016.

From a linguistic perspective, this is genius marketing. But it’s not as if political slogans are anything new. We only have to look to the pleasantly innocuous “I like Ike” from Eisenhower’s 1952 campaign to realise their timelessness. Yet in conjunction with the relentless Facebook Leave campaign in the lead-up to the referendum, it symbolised a new era in which the internet has given greater influence to, more often than not, partisan political positions. An era in which false claims (including those propagated by the ‘Yes’ campaign) disseminated much faster than claims seeking moderation and balance. An era in which the ‘keyboard-warrior’ could have as much impact as the career-politician talking at a rally.

Ultimately it means that overwhelmingly in both politics and the ‘culture war’, people can gain mass attention simply by stating something controversial. And, unfortunately, this phenomenon gives rise to non-serious and jokey (though not very funny) politicians and public figures. But I suppose at a point in history of decreasing attention spans and increasing polarisation, this shouldn’t be surprising. The Union’s position in Oxford as a place for discussion is positive for students, but this must be reconciled with a new kind of speaker – far from the classical or Renaissance ideal – for whom there’s no such thing as bad publicity.  

OUO at the Sheldonian review: ‘Spectacular throughout’

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The Sheldonian Theatre was treated on Saturday of 4th week to a display by some of the University’s best musical talent. The Oxford University Orchestra (OUO) is host to some of Oxford’s most gifted classical musicians, and this concert certainly demonstrated that. Boasting a varied and challenging programme, I was excited for the performance, and the Sheldonian Theatre always feels a fittingly grand venue for such occasions.

D’un soir triste, Lili Boulanger

‘Triste’ is certainly an apt way to describe the concert’s opener. It felt a slightly odd piece to begin with, given its slow and rather depressing nature. It risked sucking the life out of the hall before the concert had even really had a chance to get going. However, given what they were working with, it was very well executed by the orchestra, who dragged out the piece’s ominous melodies to perfection. All in all, while D’un soir triste was my least favourite piece of the night, it certainly did not detract from the overall experience, in large part because the orchestra played it so beautifully. From the start they had set the standard for the night, one which they managed to successfully maintain throughout the subsequent pieces. 

Kauyumari, Gabriela Ortiz

Almost the perfect antithesis to the opener, Kauyumari is full of energy and dominated by a lively percussion section. An innovative and modern piece, it has an incredibly interesting story behind it, written mid-pandemic about the Huichol people of Mexico’s yearly pilgrimage into a hallucinogenic cactus called ‘Peyote’. The orchestra did this story justice, capturing the piece’s complex rhythms masterfully, an impressive feat which was testament in large part to the efforts of the percussion section. Seeing them scurry about between the different auxiliary instruments required to flesh Kauyumari out was almost as exciting as the piece itself, and added brilliantly to the sense of urgency present throughout. Simultaneously, the rest of the orchestra did very well to keep up with the pace set down by the percussion. As a piece that gets faster and faster as it goes on, by the end it leaves all onlookers stunned by the speed at which the orchestra  manipulated their instruments, especially because they made it look so easy. It was a refreshing uplift following the opener, and its dramatic end re-energised the audience before heading into the interval. 

Second half: An Alpine Symphony, Richard Strauss

As the highlight of the programme at a glance, I was intrigued to see how the University Orchestra would take on and handle a piece as grand and magnificent as Alpine Symphony, especially given the size constraints of both the venue and the orchestra itself. I was lucky enough to go with a friend last month to a performance of Alpine Symphony by the National Youth Orchestra at the Barbican, a natural point of comparison for the OUO concert. Of course, that concert was on a scale that dwarfs the Sheldonian, but I still had high hopes that the University Orchestra could fill the space and do Strauss’s epic justice. They did not disappoint. 

An Alpine Symphony is beautiful largely because the listener can follow its story incredibly easily. As the name suggests, it follows the ascent, and subsequent descent, of an Alpine peak. The orchestra’s performance captured the story particularly well, and I thought the sections of the peak and the descent were particularly expertly performed. As mentioned above, another key requirement of Alpine Symphony is an Orchestra’s ability to fill the space in which they are performing, and this was achieved impressively in the section where our traveller is caught in the middle of a storm. One of the crucial moments occurs when we experience the first few drops of rain following the ‘calm before the storm’, and this part was excellently carried out through the interaction of the clarinet and the piccolo. The subsequent descent was also perfect, drawing the concert as a whole to a calming close.

There were a few moments where the performance felt a tad rough around the edges, such as the section where the off-stage brass came in, which happened slightly out of time and appeared to throw off the entire orchestra for a short period. Another even more minor gripe occurred in the section where our traveller comes to a cow meadow, in which I felt the cowbells which signify the cows grazing were too loud, making them slightly jarring, and as a result a section which should be calming became slightly uncomfortable. However, both of these were relatively minor and  well-recovered from, meaning that overall, they did not detract from a performance which was spectacular throughout. Given the confines of the space and the size of the orchestra, it was a superb showing of Strauss’s masterpiece.

All in all, the concert was an incredibly impressive performance from a very talented group of young musicians. Whenever I go to an event of the likes of Saturday’s concert, I am reminded of the extraordinary level of talent we are lucky to bear witness to in Oxford. Hopefully, the university recognises this and continues to invest in improving and updating its practice and performance spaces. The new 500-seater concert venue set to be included in the new Schwarzman Centre for the Humanities is a start, but to continue to attract top talent the University needs to work tirelessly to drag its facilities into the 21st century.

Two champions join forces: A guaranteed success?

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“Ask a child to draw a car, and certainly he will draw it red.”

Enzo Ferrari’s infamous adage encapsulates just how synonymous the iconic rouge of the Ferrari brand is within the world of motor racing and Formula 1. With people left reeling after the announcement that the sport’s most successful driver, Lewis Hamilton, is moving to the Italian team for the 2025 season, remembering how iconic the Scuderia are in the sport sheds some light on the British driver’s decision. Ferrari are the pinnacle of Formula 1, the most recognisable and successful team in the sport’s history. They are the team of great champions such as Ascari, Lauda, and Schumacher, and they are the team that every driver dreams of joining. Hamilton’s social media post discussing the announcement reveals these aspirations: “the chance to fulfil another childhood dream: driving in Ferrari red.”

The romance of the move cannot be denied. And not only is Hamilton fulfilling his own dream, but also that of his idol and hero, the incredible Ayrton Senna, whose own ambitions of driving for Ferrari were shattered by his tragic death at Imola in 1994. It is also a move that strategically makes sense for Hamilton: he is still chasing that record breaking eighth world title, and aged 39, he knows that time isn’t necessarily on his side. That’s not to say that his powers are fading, but rather the fact that he doesn’t have the future ahead that he had when he jumped from McLaren to Mercedes in 2013. The Silver Arrows were knocked off their perch by Red Bull in 2021 and have since struggled to regain ground that they’ve lost on their mistaken development paths. Comparing the trajectories of Hamilton’s current and future teams, one can argue that despite it having been 16 years since their last world title, it is Ferrari who are in a period of ascendancy and look capable of mounting a challenge to Red Bull.

After copious years of experience in the sport, we can be assured that Hamilton has made his decision based on trust in the team, entrenched in belief in what he has seen from a technical standpoint.He clearly has greater faith in Ferrari’s ability to assist his title ambitions than he does in Mercedes to put him back on top. Having been on the border of retirement following his heart-wrenching loss in 2021, and frustrated with Mercedes’ stagnant development for the last two years, Hamilton’s move is driven by a renewed confidence for what these new Italian pastures may bring. It was this same confidence in the face of public uncertainty that delivered his Mercedes success post McLaren-switch, and one has a feeling that History could be repeating itself. 

For Formula 1 as a whole, this is a fantastic move. Take the most iconic team in the sport’s history and the most successful driver, and couple them up for the end of a glittering career. It is set to attract greater interest as even part-time onlookers will recognise the union of two household names and will be keen to see how the move unfolds. For those of us lucky enough to call ourselves Ferrari fans, we are delighted, and we see this as a sign that real, consistent success is just around the corner.

But what does it mean on the inside of the sport? Firstly, Mercedes have been caught off guard by this move, and will now have to look for a driver to sit alongside George Russell. Will this move send a message that Hamilton has fled from a sinking ship and dissuade other drivers? And what will become of Carlos Sainz, Ferrari’s Spanish sensation who has driven superbly alongside Charles Leclerc, but now finds himself out of a job in a year’s time? 

‘Silly season’, a period of intense rumour mill activity that comes around at the midpoint of each Formula One calendar, where drivers and principals announce or deny their movements to other teams, is set to be exceptionally silly this year. Will Russell be joined by his close friend Alex Albon, who has been a rejuvenated force in his Williams seat, or will they dip into an unproven junior talent? The talented Lando Norris has just signed a contract extension with McLaren, but could a better offer sway him before 2027? Will Sainz, gearing up for a rumoured Audi spot in 2026, take Checo Peréz’s unsteady Red Bull seat next year?

Only time will tell if Hamilton’s move pays off in terms of success for him and his future team. What is certain is that this seismic move will cause some fascinating ripple effects across the Formula 1 Grid over the next year. Maybe another year of Verstappen dominance on the track might just help us all calm down.

Poor Things – Fashion Deconstructed

Yorgous Lanthimos, the award-winning director of The Favourite and The Lobster, worked with the costume designer Holly Waddington, known for her work on The Great and theatre costume design, to concoct the beautifully complex character of Bella Baxter, both through cinematography and fashion. The ‘coming of age’ flick mesmerises via surreal visuals, that organically evolve alongside the development of the protagonist’s progress from infancy to maturity. Poor Things explores the life of Bella Baxter, played by Emma Stone, who, revived in a Frankenstinian manner, seeks out adventure beyond the home of her unorthodox creator, Dr Godwin Baxter.

The pseudo-Victorianesque setting for Bella Baxter’s eccentric life provides the perfect arena for Waddington’s beautifully bizarre costume creations. Having worked on period drama before, Holly Waddington is well-versed in the intrigue of historical costume. The absurdist parallel universe of Poor Things provides Waddington with the free reign to playfully reimagine Victorian staples. Bella’s costuming is the standout of the cast, as her eclectic styles emphasise the rapid advancement of her mental state through her experiences. The supporting cast comparatively displays more stagnant ‘uniforms’, as the heroine appears in constant flux, while they represent figures of constancy within her story.

In the ‘infancy’ of Bella’s reborn life, she is dressed by her maker and housemaid, a decison which powerfully infantilises the physically grown woman through the meticulously deconstructed costuming. Waddington aimed to mimic the ‘undressed’ state of toddlers, as Bella, like all children, is displayed missing key elements of her outfits. From voluminous blouses accompanied by bare feet to a bouncy 19th-century bustle erratically attached to a nappy-like pair of bloomers, we are encouraged to regard Bella as an innocent child. This is powerfully contrasted by Stone’s bold appearance and overgrown black hair, heightening the disconcerting otherworldliness of her character.

Waddington’s most wonderous creations appear at the core of the film, as Bella sets off on her trip with the rakish Duncan Wedderburn, indulgently portrayed by Mark Ruffalo. Here, she begins dressing herself for the first time, which reminds the audience of our own mid-teen fashion experiments. The journey mirrors that of the custom of the Grand Tour, where young gentlemen embark upon an expedition through Europe as an educational rite of passage. Bella has taken both the direction of her intellectual and physical development into her own hands, as her wildness is outwardly portrayed through her costuming. Most memorable is her Lisbon day attire, as she steps out into the street in only her knickers, which are based upon 30s style underwear. Her jacket’s organic jellyfish-like texture gives her a contrasting upper silhouette of Victorian modesty, while her boots are based on 1960s French designer Andre Courrege’s space boots. This mishmash of garments powerfully presents Bella’s bold adolescent spirit as she explores Lanthimos’ dizzying representation of Lisbon.

As maturity and a semblance of reality kicks in on the cruise chapter of Poor Things, Bella appears in one of her few ‘fully dressed’ costumes of the film. Bella is framed as a true fashionable upper-class woman, with an ivory brooch at the centre of her dress, representing a realisation of her privilege. Waddington further presents a shift in Baxter’s mentality through what she has amusingly branded the ‘condom coat’. Bella’s stint as a prostitute begins as she is clad in the awkward, slightly disconcerting-looking overcoat, which wholly embodies the more strained, yet illuminating period of her growth.

Essentially, the costume design in Poor Things is used as a centrepiece of the theme of progress throughout the film. Voluminous shapes and unique textures of the designs certainly serve as inspiration to many a fashion enthusiast, as we are seeing a similar surge in maximalist and deconstructed looks. Disturbing and spirited, Poor Things‘ unconventional story is truly supported by equally unconventional but meaningful designs.