MEET THE EDITORS
Happy International Women’s Day 2025
Today marks a very special issue, exclusive to this year’s International Women’s Day! It has been an incredibly fun issue to create, working with the entire team, as well as lots of societies and local artists! The aim of this issue is to celebrate the voices of women, not only across university, but in our local community and across the globe.
International Women’s Day is so important because it provides a platform to celebrate the achievements of women while raising awareness of the ongoing fight for women’s rights around the world. This issue allows you to celebrate women, while giving you the opportunity to think critically about why International Women’s Day is so important.
I hope you enjoy reading this issue and reflecting on the women who inspire you the most, for me that is my mum and my Nan. It has become more and more important to do this. While there is movement toward driving change, we still have a long way to go in terms of women’s safety, well-being, and, most importantly, equality.
As a female and future Gen Z journalist, I am constantly looking up to the impactful story telling so many female journalists achieve. For me, two strong journalists come to mind. The first is Mariana Spring, BBC Social Media Investigations Correspondent, who is best known for her work on Americast, Panorama, and her book Among the Trolls. The second journalist is Sophia Smith Galer, who currently works as a freelance journalist, content creator, and author.
Their ability to tackle complex issues and bring important stories to light has had a profound impact on the field of journalism. These two women, with their journalistic integrity and distinctive voices, inspire outstanding investigative work. It’s important to reflect on the female journalists who have shaped and influenced us. Their voices in journalism are invaluable, and seeing so many women on the journalistic frontlines is a testament to us all. Both have a fearless approach to uncovering the truth, they have sparked critical conversations and empowered others to think more deeply about the world around them.
The photo shoot for this issue took place in Alexandra Gardens, where we gathered some of our team members from design, editorial, and social media to come together —not only to celebrate the incredible talent and hard work of all the women at Quench Magazine, but also to recognize that in previous years, Quench has been founded on a strong female presence. Jamia Hussain, one of our in-house photographers, got to capture the photos you see in this issue. It also felt incredibly special reflecting on old magazines and seeing the work and development of previous female EICs. I hope that in the short time I have left in this role, I continue to carry this legacy.
Until next time, thank you to the team at Quench for fostering a supportive and creative community I am grateful to be surrounded by the most amazing women. Working on projects like this makes me feel proud of your commitments to your work as creatives!
Katie
Blonde bob, long tanned legs and pearly grinexceptionally chic wardrobe, fluent in French, Spanish and Italian … you could go on.
Emily Maitlis is not just the hard-hitting journalist and presenter who graced our screens for over a decade as lead anchor of Newsnight. Since leaving the BBC over an impartiality dispute, she has become the female face of modern journalism in a sea of unchangingly white, male media magnates, editors and execs.
Not afraid to ask the tough question - yet intimidatingly nonreactive and unfailingly cool-headed, Maitlis is not just a voice of our times but the living image of authenticity, poise and class - her work is proof that rigorous and exciting journalism as a harbinger of truth is still alive and kicking.
Never before has a single interview sent the British media into overdrive in the same way as her now infamous car crash sit down with Prince Andrew. That daily headlines are still being churned out 6 years on suggests we are still reeling from its positively nuclear fallout.
Since her resignation from the BBC, Maitlis has soared, becoming a presenter of Americast and The News Agents, both revered as among the most listened-to podcasts of any genre. A cautioner of the perils of journalistic selfcensorship, Maitlis’ whistleblowing about the threats to independent journalism resonates with increasing urgency, framing her as a kind of parable of the rising tide of rightwing populism today.
It is a living testament to the fact that you can cover the biggest and most challenging stories of our times, and look bloody good doing it; that journalism can be - and is, fashionable. Not only in terms of her dresses or her shoes, but in the suggestion that her aura of quiet confidence and demeanour of calm are key tenets to dropping the bombshell scoop of the decade. Although you have to admit, she has a damn good stylist.
This year reminds us that progress is a collective effort. Women across the world continue to shape industries, lead movements and challenge outdated narratives. But we also know that recognition is not enough, that real change demands action.
But as we celebrate, we must also confront the challenges that continue to persist. This past year has seen alarming setbacks in women’s rights worldwide. From the rolling back of reproductive freedoms in some countries, restrictions on girls’ education and increasing violence against women in conflict zones. The fight for gender equality remains urgent. Hard-won rights that once seemed secure are now under threat, reminding us that progress is never guaranteed; it must be defended.
These regressions only strengthen the need for collective action. They remind us why solidarity matters, why voices must be raised and why storytelling remains one of the most powerful tools we can utilise for change.
When reflecting on a female journalist that stands out to me, Sarah Little is a clear winner. Sarah Little has dedicated her life to amplifying the voices of young women and girls in some of the world’s most overlooked and challenging environments. In a media landscape that often silences or simplifies their experiences her platform, More to Her Story, ensures their realities are heard. Her work is more than storytelling; it’s a fight for justice, dignity and the right to be recognised. By listening and making space for those so often ignored, she reminds us that every voice matters, no matter the circumstance.
Within these pages, you’ll find stories of resilience, interviews with inspiring women in our community and fresh perspectives on what feminism means in 2025. We hope it sparks something in you; whether it’s the urge to challenge injustice, celebrate the women who inspire you, or simply take up space with confidence.
Happy International Women’s Day!
Olivia Julia
MEET THE TEAM
Olivia Griffin Deputy Editor
Katie Storrie Editor-in-Chief
Julia Bottoms Deputy Editor
Harriet Ulett Head of Design
Eleri Watts Deputy Head of Design
Molly James Head of Social Media
TEAM
Ella Simons Features
Servaise Ratnayake Features
Bhamini Khandige Culture
Charlotte Hardie-Watts Culture
Ella Collis Column
Kira Suttin Film & TV
Rhiannon James Film & TV
Jenny Algieri Music Jemima Lake Music
Sam Davies Literature Isabel Chance Literature Maya Jacob Fashion
Ellen Hollingshurst Food & Drink
Sabine Wilson-Patrick Love
Tegan Davies Copy Editor
Bo Burt Copy Editor
Isobel Blunt Page Designer
Amy Miller Page Designer
Llŷr Eirug Head of Clebar
Angelina Mable Fashion
Jessica Leigh-Fotheringham Travel
Carolina Peret Travel Poppy Adams Food & Drink
George Clark Head of Beyond
Ola Rzeszut Page Designer
Olivia Nilsen Illustrator
Thandi Nia Carklin Photographer
Jamia Hussain Photographer
Damilola Akinkunmi TikTok Manager
Alyssa Jeanes TikTok Manager
Amelia John Copy Editor/X Manager
Alfie Bennett Beyond Social Media Manager
design by: Harriet Ulett
CONTENTS
design by: Eleri Watts
An Ode to Girlhood
When I think about the term ‘girlhood’, I think of sisterhood. I think of my female friendships and fully expressing my femininity with the other women in my life. Girlhood is a sacred ground, where us girls figure out how to be women together. While also trying to preserve every ounce of carefree fun from our childhood years.
The collective experience of girlhood is one that we all recognise, but it may look different for everyone, as it is a very personal experience. To me, girlhood is screaming the lyrics to Taylor Swift songs in the car; girlhood is running on the beach to catch a sunset with your girls; girlhood is getting ready for a night out together, stealing each other’s clothes, and doing each others makeup; girlhood is telling your friends about the new guy you just went on a date with; girlhood is complimenting a girl you’ve never met in the bathroom on her outfit; girlhood is dancing in the rain with best friends on holiday; girlhood is growing up together and seeing your friends through all the different life stages.
Girlhood is home. Girlhood is magic. The female friendships I have cultivated in my life are so important to me; they trump any romantic relationship I’ve ever been in. As a teenager, I used to place so much value in romantic love and having a boyfriend. But as a young woman, I have come to realise that the platonic love I feel from my female friends majorly outweighs and is far greater than any love I have ever felt in a romantic relationship. I will cherish that forever.
Not only is girlhood the female friendships you make in life, but it is the women in your family, who you are raised with too. Coming from a family with many women in it, I feel that female familial relationships are fundamental in carving out who you are as a woman. My grandma, my mum, my aunties, my cousins and my sisters have all had significant impacts on the way I act and the way I view the world. I would not be the woman I am today without them.
The beauty and vulnerability of girlhood still astounds me. The fact that I get to experience and appreciate life with the most amazing women; I wouldn’t want to live life any other way. It is so important to have people around you, who you can confide in without judgement; girls who will celebrate
the highs of life with you, but also the lows, supporting you at your best and worst times, and doing the same for them. The concept of girlhood has become a trend on social media recently, with cute videos of girls, their friends and wholesome statements about how they love girlhood. But girlhood is not just ‘trendy’, it is a unique adventure that we as girls encounter together, something that makes life that bit more wondrous.
When I start to reminisce on the nostalgia of girlhood, it leaves me longing to be a girl again, innocent and free, not a care in the world. This international women’s day, I urge you to do something to spark your inner child, in particular your ‘inner girl’, and reconnect with your younger self. Now approaching adulthood, it’s easy to forget the simple pleasures in life. To me, girlhood is all about remembering to find joy in the everyday, allowing the girl in you to thrive unapologetically.
words by: Ella Collis design by: Olivia Griffin
In Conversation with Female Lead Voices Around Campus
The Importance of International Women’s Day:
International Women’s Day has become a global phenomenon and celebrates women’s achievements within the social, economic and cultural sphere. But beyond the celebrations, the day serves as a reminder of both the progress made and the work that still remains. International Women’s Day is rooted in the 1908 labour movement, where thousands of women marched through New York City advocating for fair wages and the right to vote. This push for equal rights shows how, throughout history, women had to fight tirelessly against systemic barriers and patriarchal structures – something that unfortunately persists today.
For example, under Taliban rule, women in Afghanistan are being silenced from society. In some extreme cases, girls are forbidden to attend school and are deprived of their education. In the U.S, over 15 states in America have banned abortion, leaving millions of women without healthcare rights. These restrictions highlight exactly why International Women’s Day is so important – it’s not just about celebrating progress being made, but also about challenging ongoing injustices.
When we look a little closer to home as students in Cardiff, on ‘Cardiff Overheard’, many students have taken to Facebook to share distressing stories of male threats against women. For example, ‘grey trench coat guy’, who has been described by one of the accounts on the Facebook page as: ‘Creeping. Following. Assaulting.’ Many others on the page tend to be sharing known locations of the man to protect other women in our area. This type of fear and aggression needs to be tackled head on, and we must make sure men and women are united in the fight to stop the war on women’s safety.
We have spoken to some of the most vocal female leads across the university to highlight the things each has achieved and further hear their opinions. Here is what they had to share with us...
1. What does International Women’s Day mean to you?
CoppaFeel, Breast Cancer Awareness Society, Cardiff University:
“On campus, we use this day to highlight the importance of health education and encourage everyone to check their chests regularly.”
TimeToActCardiffUni (unaffiliated with the University):
“International Women’s Day is a vital moment to amplify the voices of survivors of sexual violence and advocate for systemic change within universities…Ultimately, it is a call to action..”
Feminist Society, Cardiff University:”
“It is a celebration of all who identify as women. It’s an opportunity to honour women around the world, the causes they champion, and the achievements they accomplish. It serves as a reminder of the powerful women who came before us and those who will follow.”
words by: Ella
design by:
Simons & Servaise Ratnayake
Eleri Watts
2. In the fight for women’s equality, what are some milestones you have achieved within your society?
CoppaFeel, Breast Cancer Awareness Society, Cardiff University:
“We’ve created a campus culture where breast health is openly discussed and prioritised. Our ‘Boob Schools’ have reached countless students through societies and sports teams, ensuring that monthly chest checks become a normal part of selfcare.”
TimeToActCardiffUni (unaffiliated with the University):
“We were invited to participate in the White Ribbon Day event in the Senedd in which we challenged a panel of community leaders on what they were doing to hold the university to account for their support of students.”
Feminist Society, Cardiff University:”
“We work alongside fantastic groups and societies such as Time To Act, Stronger Together and UBT. This academic year, we’ve already hosted two charity fundraisers, with our biggest event yet—the IWD Showcase—coming up on March 6th. We’ve also taken part in the last two Reclaim the Night walks, advocating for women’s safety.”
3. What is something important to you that you want to achieve or challenge this year?
CoppaFeel, Breast Cancer Awareness Society, Cardiff University:
“There’s still a stigma around discussing breast health, and we want to change that… We’re working to normalise these conversations amongst students within our university community. For monthly reminders to check your chest, text ‘UBT CARDIFF’ to 82228!”
TimeToActCardiffUni (unaffiliated with the University):
We want to challenge the persistent culture of silence and inaction surrounding sexual violence within universities. We aim to push for greater transparency in reporting processes, mandatory consent education, and survivor-led policy reform. International Women’s Day is not just a day of recognition, it’s a call to dismantle institutional complacency…”
Feminist Society, Cardiff University:”
“...Our society is dedicated to creating a welcoming and safe space for women, queer people, and allies…When we acknowledge the intersections of oppression and foster a community built on respect and solidarity, the goal of equality feels much more within reach.”
So, from the mouths of some of the most vocal female voices in Cardiff, their words show the importance of International Women’s Day and why we need to always be pushing and challenging the patriarchal status quo!
A special thank you to Cardiff Uni Boob Team, TimeToAct and Cardiff Uni Feminist Society
BREAKING BARRIERS
HOW GRETA GERWIG IS REDEFINING WOMEN’S ROLES
Greta Gerwig is an acclaimed American director, recognised and celebrated as one of our generation’s most successful, creative and influential filmmakers! In an industry long dominated by men, Gerwig continues to redefine the narrative, proving how female-led films such as Little Women (2019) and Barbie (2023) can not only thrive at the box office but break numerous records and expectations. Gerwig’s commitment to portraying women as complex, resilient characters while exploring the triumphs and struggles of femininity solidifies her status as a true icon for women in film. Gerwig’s direction and visions have changed the way women in the industry are viewed. She has proved there is a space for female-dominated media.
One of Greta Gerwigs most significant and influential contributions to the industry is her adaptation of Louisa May Alcott’s Little Women (2019). While the classic novel has been adapted into a film numerous times, Gerwig’s version stands apart by staying true to the heart of the original story while infusing it with a modern feminist perspective. Through her innovative narrative structure and emphasis on female ambition, independence, and artistic expression, she redefines the timeless tale for a new generation.
The female ensemble of the film consisted of many powerful and successful actresses such as Meryl Streep, Emma Watson, Saoirse Ronan, Florence Pugh and more! The film brought together such a talented female cast which added depth, nuance and emotion to the film. The film proved rhat female-led projects can be just as commercially successful as male-driven ones. The success of the film is undeniable as it received six Academy awards, grossed over $200 worldwide and won an Academy Award for Best Costume Design.
What makes the production such a renowned success is Gerwig’s portrayal of the female characters. Jo March, for example, embodies the struggles women face in the creative industries, particularly as writers. While Jo’s romantic relationships are present, they are not the central focus of her character. Gerwig ensures that her journey towards independence and artistic fulfilment takes precedence. In contrast, Meg embraces more traditional aspirations of marriage and family, a choice that Jo initially criticises as settling. However, Gerwig’s portrayal emphasizes that Meg’s path is no less valid, reinforcing the film’s wider message, the importance of choice for women. By showcasing multiple definitions of success and fulfilment, Little Women (2019) challenges the notion of a singular feminist narrative and celebrates the diversity of women’s ambitions.
words by: Kira Sutton
Barbie (2023), directed and co-written by Greta Gerwig, was highly anticipated by a public that had grown up with the iconic doll since it was first released at the American International Toy Fair in New York City, as a creation of Mattel Inc.’s Ruth Handler. However, no one could have predicted how much of an impact the blockbuster would end up having on society. Almost overnight, it became a cultural phenomenon that touched the minds, hearts and souls of millions of people. The first live-action film about the iconic doll, Gerwig strayed the predicted path of nostalgia and transformed it into a thought-provoking exploration of gender roles, feminism, and societal expectations instead.
Through detailed and effective marketing, Barbie (2023) was presented as a fun and lighthearted film that heavily featured a stylish wardrobe and most of all, an explosion of pink. Despite this bubbly aesthetic, when the film was released in cinemas in late 2023, audiences were quick to realise that beneath its surface lay a sharp critique of gender stereotypes. The film highlights the discrimination and objectification women face, and their struggles with balancing ambition and identity with societal pressure. The film illustrates Barbie’s journey of self-growth and maturation. By deconstructing gender binaries and traditional ideas of both femininity and masculinity, Gerwig addresses and challenges the unrealistic standards women are expected to meet. Ultimately, Gerwig offers a nuanced perspective on how men can cope with their own social expectations.
By initiating this, Gerwig helped to reinvigorate conversations about feminism, gender equality and the power of storytelling. Through Margot Robbie’s portrayal of Barbie and Ryan Gosling’s portrayal of Ken, Gerwig has powerfully impacted pop culture in a way that has been felt worldwide. She also proved that female-led films could dominate the box office, further cementing her influence in Hollywood.
Gerwig has most certainly made her mark on the television and film industry! By continuing to use her growing influence and status as a director she has the ability to incite deeper meaning to entertainment and accelerate the journey to gender equality.
words by: Rhiannon James design by: Harriet Ulett
PIONEERING WOMEN IN THE MUSIC INDUSTRY
Lady Gaga is a striking force of creativity, resilience, and activism. Since the start of her career, Gaga has aimed to cultivate a safe space for her listeners, urging them to embrace every part of oneself. Gaga has always dared to be different, and this proud visibility and self-acceptance is what inspired and continues to inspire millions of people to unapologetically be themselves.
In 2012, Gaga founded the Born This Way Foundation, an initiative that aims to support young people with their mental health and well being. Not only does she constantly advocate for mental health, but she creates open conversations aimed to destigmatize mental health, told through her own experiences. Talking openly about her traumas of sexual assault, self harm, and the importance of medication to help her through these traumas, these conversations send positive messages of acceptance and hope to everyone. What makes Gaga so inspirational is her desire to constantly give back and use her platform as a source of positivity and change. From offering fans VIP tickets in exchange for volunteering with homeless youth organisations (raising more than $80,000), to raising hundreds of thousands of dollars for relief from natural disasters, Gaga champions every aspect of what it means to be an inspiration to millions. Gaga also openly aimed to raise awareness of HIV/AIDS whilst raising funds for those affected, resulting in over $160 million donated. As well as this, she has raised money for multiple LGBTQ+ charities and continues to advocate for equality for the community through her activism and through her music.
Gaga’s career emphasises that success is not just about talent but the ability to give back to those who need it the most. Both icon and inspiration, Gaga continues to be an example to millions worldwide.
words by: Jenny Algieri
design by: Eleri Watts
Known popularly by her stage name Beabadoobee, Beatrice Kristi’s music career is fizzing with sold-out shows, hit albums and global tours. Uniting and inspiring girls across the world with her music which epitomises the messily exhilarating experience of being a teenager whisked into womanhood, it is undoubtable that the roots of her career are at the core of her connection with young women . At just seventeen, the age when the world typically appears to be ruled by provisional driving licenses, drinking cheap wine in parks and squabbling over fake ID’s, Bea released her first EP Lice from her West-London attic bedroom. Her soothing acoustic-guitar based songs were softly charged with a raw honesty that could only be created by a selfreflective teen approaching the brink of girlhood – uniting the likes of many young women. Her following EP’s Patched up and Loveworm encapsulated the worries brought about by coming of age and the sickly-sweet whirlwind of first love and romance, creating a comforting space for teenagers and young women to escape to and reflect in. In songs such as Eighteen, where Bea beautifully explores the anxiety of her eighteenth birthday nearing and her childhood stretching further away, her music self-consciously holds the hand of every teenage girl stuck in that confusing and scary transitory period. Kristi voiced aspects of teenage girlhood that are stereotypically misrepresented, proving that whilst it can sometimes be a time brimming with gushes of love and excitement, it can be equally undermined by a fear of the unknown and looming responsibilities. From her bedroom, Bea created authentic music that looked into the hearts of teenage girls alike and said, ‘it’s okay, I feel it too’, proving it’s okay to be a bit messy because there’s beauty to be found in that mess.
The bedroom of a teenage girl has always been a personal space and is stereotypically characterised by unmade beds, sleepovers and desks cluttered with jewellery and lipstick stains. However, Kristi unknowingly reclaimed this space as a place of bursting female creativity and self-expression, where tales of love and discovery are carved into the walls and parts of life that are only visible through the eyes of a teenage girl lay to rest under clothes that were once strewn across the floor and behind posters that were pinned up precariously by blu-tac. From writing in this personal space, Bea proved that art doesn’t have to be made in wild or revolutionary ways, and that it doesn’t only come from untouchable places – it lives and breathes in the most familiar things and shares your pillow with you every night.
With her musical career having now sky-rocketed into the wider world, Bea has become a wonderful inspiration to young women – reminding them that the world is their oyster and that same world can be found in the four walls that they call their bedroom.
words by: Jemima Lake illustration by: Olivia Nilsen
PEN AND POWER
From gripping mysteries and fiction to raw accounts of reality, literature is shaped by the voices of influential women. Our selected trailblazers, Agatha Christie and Sylvia Plath, each have vastly different and unique styles. One as the queen of crime fiction and twists, and the other as an unapologetic confessional. Yet both have left defining voices and inspiration in literature and feminism. Agatha Christie is the mastermind behind mystery, crime, and thriller novels. She captivates readers through her gripping plots, complex characters, and enthralling twists. It can leave you on the edge of your seat or completely perplexed. Ultimately, she is one of the most influential literary women of the 20th century as she transformed the crime and mystery genre. Her ability to produce novels, plays, and short stories, as well as the many film adaptations made based on her novels, is truly inspiring!
Christie’s first novel, The Mysterious Affair at Styles (1920), marked the introduction of the infamous detective, Hercule Poirot, who continues to be at the centre of her ‘whodunit’ novels. The 66 detective novels under Christie’s name follow Hercule Poirot and Miss Jane Marple through countless murder mysteries, each with their own twist. Christie grew up in Devon and was heavily influenced by her mother to pursue writing. After her failed marriage and disappearance in 1926, she soon married the professor Max Mallowan in 1930, which saw her writing flourish even further. Dubbed as ‘the world’s longest-running play of all time’, Christie’s The Mousetrap (1952) has been a sentiment to London Theatre for many years. The continued popularity for this play emphasises how important it was, not only to other authors, but also to filmmakers and theatre companies, to highlight Christie’s unparalleled legacy in their productions
Christie’s literary achievements were highly acknowledged as she was presented with a ‘Damehood’ from Queen Elizabeth II in 1971. Her thrilling novels contributed significantly towards the film industry with many adaptations made. Most famously, Murder on the Orient Express (2017) was complemented with an all-star cast including Kenneth Branagh and Judi Dench. More recently, the adaptation of Death on the Nile (2022), follows an Egyptian vacation turned nightmare. These modern day film adaptations highlight Christie’s influential legacy and her ability to remain relevant to modern day readers. After watching both of these films myself, it brought my visions that I had in mind for the books, to life!
One of Christie’s most successful novels, And Then There Were None (1939), which sold over 100 million copies, follows a group of ten strangers entwined in a murder mystery on an exclusive island. The strangers become confused as people are murdered one by one, and it becomes a race to solve this classic ‘whodunit’. What makes this book so captivating for me is the feeling of paranoia surrounding the novel. As a reader, you are unsure of who the killer is right up until the very end, and that is what makes this book so gripping and something you cannot put down.
Agatha Christie will always remain as one of my favourite female writers of all time!
Sylvia Plath also stands as a defining figure in Literature –her writing is a testament to both power and pain, offering unapologetically raw accounts of reality. Plath was an American poet and novelist, best known for her exploration of themes of death and alienation. Her most popular works of poetry, such as Lady Lazarus and Daddy, reflect such themes in an unfiltered account, earning her credit in advancing the genre of confessional poetry. Thus, inspiring generations of women to express their feelings in writing.
CELEBRATING THE INFLUENTIAL LEGACY OF AGATHA CHRISTIE AND SYLVIA PLATH
Plath’s shaping of confessional poetry is still admired today, particularly in how it resonates with women to navigate discussions of identity, mental health, and autonomy. Her work serves as a Rosetta stone in an era where women’s voices, in politics, literature and daily life are still dismissed or underrepresented. Plath’s legacy extends beyond poetry, continuing to challenge patriarchal systems and has influenced movements of self-expression, from feminist literature to personal journaling.
Writing and literature at its core is a reflection of the self and soul, and Plath’s work embodies this, positioning her as paragon. Her challenging of stigmatisation through honesty and experience serves as a universal voice for all female experiences.
Interestingly, her most famous publication happens to be her only novel – The Bell Jar. Set in 1950s New York, the novel continues to address society’s treatment and expectation of women throughout. The contrast of the 50s post-war prosperity and boom, to Esther’s own decline and alienation throughout her adolescence reflects societal pressures on women in a time that was suited to inspire other characters, primarily male – as seen through their success, and her contrasting descent into depression.
The Bell Jar serves as a self-memoir of Plath’s own life, displayed through Esther. The novel became an enduring classic, yet Plath did not live to see its success, tragically taking her own life a month after its publication. Making reader’s connection with her narrative even more personal. We readers, see the consequence of the novel’s narrative in this self-referential format, beyond the final pages. Therefore, we sympathise with the character and her circumstances on a deeper level and in a way that no other writer has done before. In many ways, The Bell Jar is Sylvia Plath’s story. One that outlives her and carries on her legacy.
By unveiling the female experience in a patriarchally dominated society and setting, her literature, both poetry and novel, impacted second-wave feminism through this account of experience and consequence. Truly showing the power of writing and how personal experiences can inspire others.
In her own words, Sylvia once wrote:
“Being born a woman is my awful tragedy. From the moment I was conceived, I was doomed.”
Rather than reading this as a statement of despair in a literal sense, it can be understood as an acknowledgement of the systemic limitations imposed on women that Plath suggests. While her life was cut short, her work continues to reflect society and inspire.
words by: Isabel Chance and Sam Davies design by: Katie Storrie
Following her debut in 2014, American supermodel Bella Hadid has taken the fashion world by storm, modelling in campaigns for fashion’s biggest players. Versace, Fendi, Saint Laurent - you name it, she’s done it. But her influence stretches far beyond the runway. Hadid is using her platform to advocate for an array of important causes, making her an inspiration to women worldwide. Bella is renowned for using her platform to champion women’s rights, previously speaking out on the discrimination against Muslim women, whilst also raising awareness about mental health. Hadid has been transparent about her battles with anxiety and depression, taking to her Instagram in 2021 to express how her social media isn’t a true reflection of her life – breaking the stigma surrounding mental
The model and activist has used her platform to draw attention to the importance of Mental Illness Awareness Week, World Mental Health Day, National Depression Screening Day, and she even donated to women’s mental health organisation Gurls Talk for her 25th birthday. As a Palestinian-American, Hadid has been outspoken about the issues faced by her heritage and has made it her mission to raise awareness about the political and humanitarian issues affecting Palestinians in the ongoing Israel-Gaza war. Bella has consistently used her social media platforms to draw attention to the need for justice, peace, and human rights for the innocent civilians affected by the war, urging her followers to educate themselves about the situation. However, her advocacy extends beyond social media posts. Last year, Bella, alongside her sister Gigi, donated $1 million toward Palestinian relief efforts, and the model paid homage to her Palestinian heritage during 2024 Cannes Film Festival with a red Keffiyeh-inspired dress. In terms of both her fashion
words by: Maya Jacob Betsey Johnson; CFDA lifetime achievement award holder, the embodiment of whimsy and serial cart-wheeler. The woman does it all and has been doing it all since the 1960s, from creating iconic designs showcasing her playful spirit, to roughing up traditional ideals of femineity. She was one of the trailblazers in the 60s ‘youthquake’ movement, leaving a dramatic impact on pop culture and the fashion industry and worked with the likes of other key figures on the scene like Andy Warhol and Edie Sedgwick. She often designed for other labels but eventually in 1969, opened her very first boutique in New York City, Betsey Bunky Nini. Her work, though fitting with the youthful spirit of the 1960s, was always a breath of fresh air and a celebration of individuality, encouraging women to dress for themselves and break the mold. She cemented herself as a fashion and pop culture icon and constantly mixed punk and high fashion aesthetics to create her own recognisable look that remains beloved across generations. As a person she is just as timeless as her designs. Over six decades she has continued to adapt and remain relevant while remaining true to her iconic aesthetic. In the fashion and beauty industry, ageism is prevalent from models to designers to even consumers. With prioritising younger designers or even marketing to younger consumers, older people specifically women are often alienated. Betsey Johnson, however, firmly believes that her clothes are for anyone who wants to wear them, regardless of age and has kept this notion alive through her own spirit. At the age of 82, she continues to close out fashion shows with her signature cartwheel into a split, a physical manifestation of her agelessness and truly showing that fashion has no age limit.
words by: Angelina Mable design by: Eleri Watts
illustration by: Olivia Nilsen
REACHING NEW HEIGHTS WOMEN IN AVIATON
My family’s generational legacy is aviation. My father is a pilot, and so was his father. In my childhood, all I heard were stories of the height of aviation and its glamour of my grandfather’s time, and the innovation and excitement of my father. I grew up surrounded by aviators. In my 21 years and the countless years of my father’s career, I have never heard him mention a female colleague of the same rank as him. Those four stripes on their shoulders are a badge they wear with pride and a coveted achievement. I struggled to understand why I never met women aviators. As I grew older and understood the industry’s history it was clear to me why women, even in this day and age, carry twice the weight to reach the same heights as their male counterparts.
Aviation has long been male-dominated. It is a challenging world to navigate as a woman and always has been. The system was built for men with never a second thought as to who else could have ever dreamt of flying. With the rise of commercial aviation, it was seen as an improper career choice for women. Women were not provided the same opportunities as men with training and encouragement. Women were constantly barred or outright prohibited from flight schools on the basis of gender. They lacked mentorship and sponsorship. Flight school was an expensive, competitive, and constantly evolving area. Sponsors sought out candidates they deemed suitable for investment. Women were not seen as viable candidates as the independent lifestyle needed of a pilot clashed with societal expectations for women. Who would ever be willing to pay for a woman to learn how to fly if she was just going to retire in a few years to start her family and become a housewife? Many airlines even had punishments for women who got pregnant as pilots. They were discouraged from following the path to becoming pilots as it was seen, not only as a masculine role but a job only a man could do. The stamina, strength, and stability were crucial to the role; women were perceived to lack these crucial characteristics.
Blatantly untrue, however, the industry culture at the time fostered and maintained this ideal. Women who were passionate about aviation were encouraged to pursue more feminine career paths, such as air hostesses.
Misogyny ran rampant in aviation and to this day still lingers in the cockpit. Talking to my father, he recalled back in the 80s when his airline, Varig (Brazil’s old national airline), started to train and employ female pilots. Many male pilots would outright refuse to fly or train women. The microaggression jokes and sexism were a way to deter women from trying to pursue higher ranks. The men joked that women were too unstable and emotional, unfit for the pressures of flying, and better suited to the cabin positions. The men were gatekeeping their profession. To them, the possibility of a female pilot was a looming danger and threat to their position and their comfortably maledominated work culture. It was hard enough to be able to get yourself trained, licensed, and experienced as a woman in aviation, now the challenge was climbing the ranks and staying true to yourself in a world that wanted nothing more than to throw you out. Tragically, many women were pushed out by this toxic culture. One of my mother’s closest friends was one of Varig’s first female copilots. For years she attempted to climb the ranks, watching her male counterparts surpass her with the same seniority and experience. She eventually turned in her wings. Lack of fulfillment and discouragement can be the death of a dream for many people. With time and work over generations, female aviators have managed to change the playing field and break the glass ceiling.
It is an uphill battle, but the climb is worth the view at 38,000 feet. With 6% of the world’s commercial pilots being women, the industry has come far but must never stop committing to growth. Those numbers do not account for the countless women excelling in engineering, ground control, stewarding, and corporate management. Women have proven they belong in every role aviation has to offer, whether in the cockpit, the control tower, or the boardroom. My father remarks that some of his most talented, professional, l and exceptional students and copilots were women. All the characteristics that were weaponized for exclusion are what make women some of the best pilots in the world. Women in aviation have fought for every opportunity, proving time and time again that skill knows no gender. As the industry continues to evolve, it must not only acknowledge its past but actively work toward an inclusive future where the skies truly belong to everyone.
words by: Carolina Peret design by: Katie Storrie
Food & Drink
Who was the US’s first self-made female billionaire? Who dated Hannibal Lecter? And who has served more prison time than Snoop Dogg? The one and only Martha Stewart. For International Women’s Day we want to focus on two women near and dear to the culinary industry. Up first, is Martha.
Stewart has been a face of the home kitchen for over 4 decades and had a breath-taking 100 books published. Stewart is the second born to a family of six children, growing up in the working-class community of Nutley, New Jersey near New York City. The biggest shock I found researching this titan of industry is that after graduating university she worked on Wall Street as stockbroker at Monness, Williams and Sidel. It wasn’t until 1972 when Stewart moved with her family to Westport, Connecticut that cooking really took part in her life.
In the late 70s she became known as a true gourmet in her catering business, worth $1 million, serving corporate and celeb clients alike. Her writing success followed in the form of many boosk and Martha Stewart, Inc became Martha Stewart Living Omnimedia, Inc. Omnimedia grew to include magazines, TV shows, newspaper columns, radio shows and more, totalling $763 million annually.
However, what goes up, must come down. In 2002 Stewart came under investigation for selling her stock in ImClone Systems - a biopharmaceutical company - days before the FDA refused license to a new cancer drug. Had she not sold these shares, she would have lost over $45,000. In June of 2003, Stewart was indicted on multiple counts, including obstruction of justice, securities fraud, and conspiracy to make false statements to prosecutors. She was found guilty by a jury of conspiracy, obstruction of justice and two counts of making a false statement. She served 5 months in federal prison in West Virginia.
With all this behind Stewart, what has she done recently?
Well it’s probably most notable to Gen Z, myself included, that she’s besties with Snoop Dogg. She was most recently seen attending the 2024 Paris Olympic Games with him, a memorable TikTok of the two seen at the dressage together. Stewart told the Today Show, ‘Snoop called me, and he knows I love horses. He’s a little fearful’. But this did not come out of nowhere, the two met on the set of Justin Bieber’s Roast in 2015, agreeing to host a cooking show together in 2016 and multiple public appearances since.
Having researched and written about Stewart, she is not who I thought she was. My belief going in was she was probably more akin to Julia Child, a famous inspiration of hers, but a cook from the beginning, nonetheless. I think I also believed she was a more conniving person than she is, evident in the numerous interviews with her. And my last reflection is that she’s done it all. She’s not been limited to one box, one category or even one industry. As someone who is coming to the end of their degree, this comforts me greatly.
words by: Poppy Adams
An aubergine parmigiana with a bottle of rose or a spiced cauliflower and pomegranate salad with a mimosa mocktail? What would you choose. Finding it hard? I don’t blame you.
Both were made by national treasure and a chefing icon Angela Hartnett. In the rapidly growing food industry, Hartnett doesn’t display herself as a chef whom fought her way through the male dominant world - despite the fact she is just that. Training under the notoriously harsh Gordon Ramsey, she progressed to firmly place herself in the heart of London, owning Murano, a Michelin star restaurant, alongside Cafe Murano, Pastificio, and Merchant’s Tavern. Additionally earning herself an MBE and OBE -which just seamlessly runs off her name – Hartnett’s work for services to the hospitality industry and to the national health service during the pandemic has also positioned her at the heart of the community.
Besides her lengthy list of achievements - that are sparsely mentioned - Hartnett is a ‘fem-nomenon’ to the female image. Not bending to the societal standards that would make her a ‘nightie’ chef or a grandma’s friend in the kitchen. She is unequivocally true to herself, she has and is creating an industry that is opening doors for the next generation of chefs. Bashing away sexist comments about her cooking abilities is one thing but keeping true and unapologetically herself is what makes her a true female icon.
And let’s not forget her birth as one of the UK greatest podcasters. Starting DISH with Nick Grimshaw was the defining moment when she became a part of popular culture and many people’s hearts. Since then, her candid attitude, offering many sarcastic comments to her co-hosts, and her exemplary cooking has made listeners all too hungry. Did you not read about the aubergine parmigiana which wowed Shania Twain? Or hear of prawn and coconut curry for Scarlett Moffat?
She stands out as a chef who is doing the classics simply. No fuss. No trends. No Gordy garnishes. Just good food. And what’s more, many of her recipes embraces good authentic Italian food that she grew up eating - represent generations of nonnas she learnt from and restoring the order to our AmericanisedItalian food. And there’s nothing better than that.
You can’t deny this woman her place in the limelight when she claims that one of the greatest things in life’s is a crisp sandwich made of white bread, butter, and crisps.
words by: Ellen Hollingshurst deisgn by: Harriet Ulett
USA Vs. UKWOMEN IN FOOD
Sgwrs hefo Catrin Edith Parry Is-lywydd y Gymraeg Prifysgol Caerdydd
A hithau’n Ddiwrnod
Rhyngwladol y Merched, cafodd Clebar y cyfle i sgwrsio hefo Is-lywydd y Gymraeg i drafod yr hyn mae’r Undeb yn ei wneud i sicrhau bod merched Cymraeg y Brifysgol yn cael eu clywed.
Felly, Catrin, alli di gyflwyno dy hun i ddarllenwyr Quench?
Catrin Edith Parry ydw i, is-lywydd y Gymraeg yn Undeb Myfyrwyr Caerdydd. Fy swydd i ydi gweithio o fewn tîm o saith swyddog etholedig llawn amser yn yr Undeb, ond fy rôl i yn benodol ydi cefnogi a chynrychioli myfyrwyr sydd yn siarad Cymraeg a myfyrwyr o Gymru. Wrth wneud hyn dwi’n sicrhau bod hawliau a lleisiau myfyrwyr Cymraeg yn cael tegwch ac yn cael eu clywed ar draws bob elfen or Brifysgol. Pa bynnag ysgol yr ydych yn perthyn iddi, boed hynny’n Ysgol y Gymraeg neu’r Ysgol Fusnes, fy mwriad yn y swydd hon yw sicrhau bod darpariaeth Gymraeg ar gael i bob myfyriwr.
Bellach yn saith mis ers i ti ddechrau’r swydd a’r ferch gyntaf i’w chyflawni hi, sut brofiad mae wedi bod?
Mae wedi bod yn saith mis andros o ddiddorol yn y swydd! Does ‘na ddim un diwrnod ‘run fath ag un arall, dydyn ni’m yn siwr be sy’n mynd i ddod a’n taro ni bob diwrnod ond dwi’n hoff o hynna am y swydd. Yn bendant, mae’n swydd lle mae rhaid ymateb yn reit sydyn i bethau a gweithredu i sicrhau bod lleisiau myfyrwyr yn cael eu clywed. Mae bod y ferch cyntaf yn y rôl yn brofiad gwych ac yn rhywbeth i fod yn falch ohono. Er mai fi yw’r ail berson i dderbyn y rôl, mae cael bod y ferch gyntaf yn rhywbeth sbesial!
Yn amlwg i fyfyrwyr y Brifysgol, mae pob swyddog etholedig o fewn yr Undeb yn ferch. Wyt ti’n credu bod hynny yn gwneud y profiad yn un gwell?
Ni ydi’r tîm cyntaf i fod yn ferched i gyd ac mae hynny’n rhywbeth ‘dani gyd fel tîm wedi bod yn falch iawn ohono. Dwi’n meddwl bod ni gyd yn hoff o ddweud hynny wrth bobl, mai ni ydi’r tîm cyntaf i fod yn dîm o ferched yn unig. Ond hefyd mae’n medru bod yn brofiad diddorol ar adegau oherwydd hynny. Yn amlwg, mae bod yn rhan o dîm efo saith o ferched eraill yn medru achosi tensiwn. Mae’n “ffaith” bron i ddweud bod merched yn anghytuno yn amlach na bechgyn ac yn sicr wrth ystyried fy mhrofiad yn y rôl hon, gallaf ddweud bod yr anghytuno yn medru achosi tensiwn rhyngom weithiau! Ond, mae’r ffaith ein bod ni gyd yn ferched yn neis; dani’n medru cynnal sgyrsiau efo’n gilydd am bethau personol. Yn sicr, credaf ein bod wedi llwyddo i gynnal perthynas lwyddiannus fel tîm a fel ffrindiau. Byddai’n hawdd ystryied y tîm fel sisterhood
Yn dy rôl fel Is-lywydd y Gymraeg, sonia am ambell beth ti wedi’i wneud dros ferched Cymraeg y Brifysgol?
Dani fel tîm wedi cael blwyddyn reit brysur eleni. Un o’r pethau mwya ‘dani’n gweithio arno ar hyn o bryd ydi taclo unrhyw fath o aflonyddu, camymddwyn, neu drais rhywiol sydd ar gampws. Yn bendant, mae taclo’r broblem yn nod hynod bwysig i ni fel tîm, a dwi’n meddwl achos ein bod ni’n ferched i gyd, ‘dani’n rhoi lot fawr o sylw i weld y newid angenrheidiol yna. Wrth weithio ar yr ymgyrch hon, un peth dwi wedi sylwi ydi’r ffaith mai lot o’r un lleisiau ‘dani’n eu clywed ym mhob trafodaeth, a dwi wedi bod yn galw ar fwy o gyfleoedd i gyfarfod â myfyrwyr Cymraeg i sicrhau bod lleisiau Cymraeg i’w clywed pan yn trafod pynciau o’r math yma. Dwi’m yn meddwl ein bod ni’n sylweddoli faint o broblem ydi hyn.
Wrth gyfeirio at yr ymgyrch, wyt ti’n meddwl bod grŵpiau digidol fel Overheard at Cardiff University ar Facebook yn gwaethygu’r broblem?
Yn bendant! Er bod y grŵp yn dda i rannu gwybodaeth ymysg eich cyd-fyfyrwyr, rhaid cofio bod yna lot o wybodaeth anghywir yn cael ei rannu arno. Yn amlwg, mewn rhai achosion mae’n gallu helpu, ond eto mae ganddo’r gallu i greu niwed i ambell achos arall. Mae ambell wybodaeth sy’n cael ei rannu arno yn gwbl annerbyniol a dwi’n gobeithio bydd yr ymgyrch yma yn gallu sicrhau newid a fydd o les i bawb ar y campws, yn enwedig merched.
Felly, Catrin i ddathlu Diwrnod Rhyngwladol y Merched, beth ydi dy air o gyngor i ferched Prifysgol Caerdydd?
Cymrwch pob cyfle sydd yn dod i’ch cyfeiriad. Mae bod yn y swydd hon wedi agor fy llygaid i bethau dwi heb wneud o’r blaen, a’n atgoffa o brofiadau dwi’n difaru peidio’u cymryd. Felly, fy nghyngor mwya yw, peidiwch â bod ofn i gymryd cyfleoedd oherwydd eich bod chi’n ferch.
geiriau gan: Llŷr Eirug dylunio gan: Katie Storrie
Gillian Anderson Wants Us to Want
In February of 2023, actor and activist Gillian Anderson put out a call for women to send her their sexual fantasies. To tell her what they wanted. She received a multitude of open letters from women all over the world detailing their most intimate fantasies. In September of the next year, she released Want, a compilation of all these fantasies and a tome of empowerment for women everywhere.
“She wants to be desired. She wants to be craved. She wants to be consumed. She wants someone who cares about her. She wants to get railed. She wants to be in control. She wants it sweet and soft. She wants it hard. She wants to be begged. She wants it to be that good.” (Want)
These are the first words you see when you open the book. Literally, it’s on the inner cover Your eyes dart across the wall of wanting. You picked up a copy of Want at the Cheltenham Literature Festival in front of your aunt and uncle. They ask “what’s that” and you say “a book compiling women’s sexual fantasies.” You’re not shy. You talk about sex frequently Your exploits, to men who sweat in your eye, that one man that you swear to god had three testicles. You describe the details of your sex life to your GP and alternate between calling it a hoe-era and a slutdom. And yet, the radical nature of this book is not lost on you. You understand the rarity of hundreds of women detailing their sexual fantasies. The things they think about when they touch themselves. They want to have sneaky sex in the master bedroom at a house party They want to be screwed by a lesbian pirate queen who selects them for her harem. You know they do, because Gillian Anderson told you so.
“I want to hear him tell me how good I feel. I want to hear him tell me what he wants and then call me a good girl when I listen.” (Want, page 51)
Because you are a parasocial creature (aren’t we all) you always want to believe that actors are just like the characters they play on your favourite shows. The realisation that Andrew Scott is not really a sexy priest devestates you daily.
However, in the case of Gillian Anderson, you can pretend she is Dr Jean Milburn from Sex Education. She found the inspiration for Want while researching the character. Are they exactly the same? No. But they are both pro-sex, pro-pleasure and pro talking about it. Once Anderson put out the call for women’s fantasies, delivered in letters that started “Dear Gillian”, she received over 800,000 words of intimate fantasies. From there, she curated this nearly 400 page compendium of pleasure. She asked women to answer questions they are not often asked.
“What do you want when no one is watching? What do you want, when the lights are off? What do you want, when you are anonymous?” (Bloomsbury)
Your possession of Want feels revolutionary You’ve read sex before, you’ve even read fantasies. You had your Wattpad era. You even own an anthology of stories titled The Book of Desire, but those are different. They are wants cloaked in metaphor and allusions, they are chaste and restrained, or they were vulgar things crafted by men for men But this collection of letters is not attempting to hide. They are not trying to be clever or insightful or have some other purpose; it is just about what these women want.
“I’m surprised at how vulnerable women made themselves in order to write these letters. I was surprised how many women, no matter where their fantasy took them – multiple partners, strangers, bigfoot, whatever – a good number of them, at the end of the day, were interested in tenderness and being seen for who they are. If there’s freedom of sexual fantasy, then there is power in that: the freedom to choose what we want inside the confines of our heads.” (Anderson talking to British Vogue)
Gillian Anderson has gifted each woman who reads this book a wealth of incredibly rare things. You read these stories and you take comfort in the knowledge that other women fantasise about the same things you do. You feel empowered by getting pleasure from sex that was not created for the male gaze. You are fixated on these women’s stories, the naked truth of it all. And at last, you consider your own fantasies. You know what you want.
words by: Sabine Wilson-Patrick design by: Julia Bottoms
Emerging artist and student Cara Walker is as humble as they come, despite her making waves in the Cardiff visual arts scene. Walker calls this era in her life a tender one, as one decision could change everything for her. While daunting, Walker has opted to lead with curiosity. She says, ‘Lean on what you like’. Inquisitiveness has allowed Walker to find her footing in the art scene, with her making an effort to be in the studio, as things will naturally develop in that space. At such a young age, she is taking steps to better herself, through daily reading, and joining associations, all while still enrolled in university.
To avoid stereotyping and being seen merely as a Black artist, Walker has moved away from talking explicitly about race in her work, while it is still a major undertone, she feels that her motives are better achieved through a muted discussion in her art. Having been there to fill the diversity quota in the past, Walker has achieved the ability to navigate race in a new way. It is inspiring how Walker has worked around this, and can now present ‘race as a continuous and growing thing to talk about’.
In future, Walker wants Cardiff to be highlighted for its visual arts. The Cardiff music scene is very layered, Walker says, and would love for this to be replicated with the visual arts. The music scene inspires Walker and she wants people to come together through visual arts, as they do through music.
From creating murals meant to convey a message, to conducting photoshoots, Walker’s work is meant to be seen. Her creative process is detailed, and she takes her time from planning her murals, to griddingw her design, to eventually shipping it off. Throughout, Walker ensures to have fun with her work and reminisces on pieces such as her mural for House of Jollof. Moving into her photography, Walker enjoys being able to storytell through collaboration between model and photographer. This new dynamic is a welcomed change in her vocation.
In Conversation
Walker’s success is a testament to her passion. She reflects, ‘to be given opportunities to see working artists is a privilege’ and says that claims of the arts as a dying job industry are completely false.Walker conveys that aspiring creatives should, ‘lead with what you like, always’ and learn to find art in everyday things.
words by: Bhamini Khandige
Images courtesey of @carawalkerart on Instagram. No changes were made to images
design by: Julia Bottoms
Cara
with Cardiff Artist Walker
If I could describe Cara in one word after our interview, it would be passionate. She excitedly talked about her commitment to numerous organisations such as the Youth Collective, a board composed of young people in the Millenium Centre here in Cardiff. A recurring theme talked about during the interview was community. It is clear that to the student and emerging artist, the sense of community, especially Welsh, is very important in her work. She loves talking about the Youth Collective and believes it changed how she views the arts. It has given her a platform to speak and advocate for young people and gave her some insight into how things work in such a big space.
Her favourite project was the Making Spaces project, which started a few years ago; they brought in young people to help make spaces for other young people and rebrand the centre. For her, it was transformative to go from imagining the spaces to continuously working over the years with different artists and young people and now seeing the spaces come to life. Legacy is a very important topic to any artist, but especially those like Cara who have such strong messages they wish to transcribe in their art.
For her, it is crucial to leave behind something that allows other young people to be able to do what she once did and have that drive. Due to the many different organisations she is a part of, I couldn’t help but ask how they all tie into her broader artistic journey. She describes this relationship as an exchange. She takes on her experiences and creates new things in new spaces. In her case, elevating the Welsh voices matters as it’s an exchange of community and building community in Wales. She described wanting to uncover truths and tell untold stories, and it was one of her answers that struck me the most.
I finished by asking her about a workshop she directed at Blackfest last year. Cara wants her message to travel. She explained that it was nice seeing Welsh art out of Wales, and that it represented the next step for her. She ended the interview by discussing her summer plans; she will be teaching art to children in America in a non-profit camp. To end this article, I believe that gives you a sense of the committed woman and artist she is.
words by: Charlotte Hardie-Watts
Unwanted Flesh: Art, Illness, Interview 33 In Conversation with Delphi
On International Women’s Day, we recognise the artists and thinkers who use their voices to challenge perceptions of the female body, illness and identity. Through their work, they confront stigma, redefine beauty and open conversations about experiences often overlooked or dismissed.
One such powerful voice is Delphi Campbell, the artist behind Unwanted Flesh, a deeply personal body of work that explores chronic illness, medical misogyny and the lived experience of a female body in pain. Through an intimate conversation, we delve into the artistic journey that brought her exhibition to life.
Delphi Campbell, a multi-disciplinary artist based in Cardiff, specialises in soft sculpture and sewn objects. At nineteen, Delphi relocated to Cardiff and graduated with a First Class degree in Fine Art from Cardiff Metropolitan University. In 2022, Delphi earned her MFA in Fine Art from the Ruskin School of Art at Oxford University, and subsequently undertook a fellowship with the British Council among other achievements. Delphi’s practice explores self-portraiture through pink, fleshy and soft mediums, using her art to delve into personal experiences and themes related to the body.
For Delphi, the decision to translate her medical journey into an artistic form was both organic and necessary. “When I started Uni (studying Fine Art at Cardiff Met), I began receiving diagnoses for some of my conditions. As I settled into my practice, making work about being sick was a natural progression – it became a healing process.”
One of the most striking elements of Unwanted Flesh is its exploration of medically induced menopause, an experience rarely discussed in mainstream conversations about health.
“Menopause is a strange experience, especially when induced medically at a young age.”
“My body changed in ways I’m still adapting to. I began building Unwanted Flesh the same week I started menopause, so it became a natural extension of my endometriosis journey.”
Delphi’s work serves a dual purpose: self-expression and representation. “I’d still make the work even if no one saw it, but it’s great when they do. It’s hard to vocalise some
Illness, and the Female Body
Campbell
feelings, and so much of the disabled experience remains unseen. I wanted to share both the good and bad.”
The themes of identity, embodiment and illness are deeply intertwined in her work. “My illnesses have shaped my body, personality and life experience in fundamental ways. They are part of who I am, and my practice is about exploring and sharing that.”
The exhibition’s physical structure mirrors the visceral nature of endometriosis. “Endometriosis can cause tethering, where scar tissue fuses organs together. This concept was in my mind while constructing the work. I used mesh and chiffon to recreate the depth and entanglement of tissue, allowing viewers to see each ‘scar layer.’”
A powerful phrase from the exhibition, “feasting on my flesh,” encapsulates the relentless toll of chronic illness.
“Sometimes, it feels like my body is eating me alive.”
“While I avoid feeding into stereotypes of disability, I also want my work to be truthful. Disability isn’t a singular, tragic narrative – it’s a spectrum of experiences.”
“I’ve long used visual hyperbole – at one point, I ran around in a neon pink morphsuit. There’s a camp, queer element in how I caricaturize things. The exaggeration allows me to express pain and embodiment in a way that words often fail to.”
From glowing red light installations to iridescent fabrics, texture and materiality play a vital role in Unwanted Flesh “I spent months sourcing reflective, shimmering textiles to create a bodily, gut-like aesthetic. The red glow has a sexy, healing quality, while the layers of gauze replicate scar tissue depth.”
Chronic illnesses like endometriosis are often dismissed or misunderstood, a reality that Delphi is determined to challenge. “It took me ten years – the average wait time for an endometriosis diagnosis – to be taken seriously by doctors. This delay isn’t unique; it’s a systemic failure.”
Ableism and sexism intersect in medical misogyny, an issue that disproportionately affects women of colour. “We need more research, more funding and more visibility. It’s unacceptable that there is five times more research into erectile dysfunction (affecting 19% of men) than into
premenstrual syndrome (affecting 90% of women). Women’s health matters.”
For Delphi, International Women’s Day has always been a source of empowerment. “It’s a day that proves, over and over, that I can do anything. Now, it’s about fighting for women who don’t have the privileges I do.”
What does she hope audiences take from Unwanted Flesh? “More than anything, I want them to know they are not alone. If this work can inspire or validate even one person’s experience, then it’s done its job.”
As we celebrate International Women’s Day, Unwanted Flesh reminds us of the power of storytelling, the urgency of advocacy and the necessity of amplifying women’s voices –especially in spaces where they have long been ignored.
Featured images courtesy of @delphicampbell via Instagram. No changes have been made to the images.
To learn more about Delphi and her work, visit her website: https://www.delphicampbell.com/
words and design by: Olivia Griffin
Diwrnod Rhyngwladol y Merched 2025