836
EDITORIAL Thursday, 4th February 2021
2
www.palatinate.org.uk/category/indigo/
FILM AND TV 3 Bridgerton: you love to hate it FEATURES 4&5 A fresher’s note on this abnormal year & A finalist finding gratitude INTERVIEW 6 “We need to invest in Durham’s art community” STAGE 7 The redefinition of theatre space MUSIC 8&9 What is the best music to study to?
FOOD AND DRINK
10 Cook your stress away... FASHION 11 A la mode: Paris Fashion Week in my pyjamas BOOKS AND VISUAL ARTS 12 & 13 Judging books by their covers TRAVEL 14 & 15 January destination of the month: Sweden CREATIVE WRITING 16 The dream sequence: ‘I’m going to die’ www.facebook.com/palindigo Follow us on Twitter and Instagram: @indigo_palatinate Have a question, comment, or an idea for a story you’d like to write? Email indigo@palatinate.org.uk Logo: Chloe Wong Cathedral Artwork: Anna Gibbs Front Cover: Adeline Zhao
As we reach the middle of the term and summative season begins to intensify, our assignments will start to consume more and more of our time. Between essays and dissertations it can feel like there is always something you should be doing and it’s hard to find time to step back from it all. The stresses and pressures of completing a degree at home or in Durham though different, are equal in the challenge they present to our academic work and mental health. So far this term, Hugo has been working from home and has experienced the full range of difficulties from lack of resources and slow wifi to changing personal circumstances. For many of us this term these have all become constant concerns in our already stressful lives. But for others who have returned to Durham, similar challenges have presented themselves. Millie has been working from her college room, adjusting to a quieter Durham and the need to book a library session four days in advance. Regardless of whether you are in Durham, at home, or somewhere in between it is crucial to remind yourself that your grades do not make up the sum of your worth and finishing your degree in a good state of physical and mental health is equally important (if not more so). Last week was Burns Night and to celebrate we decided to put a spin on the traditional measure of whiskey by treating ourselves to an Old Fashioned - simply crush a sugar cube in the bottom of a glass with two dashes of bitters, add some ice cubes, then pour over two parts bourbon. Add a twist of orange if you’re feeling decadent. For an non-alcoholic option, pour yourself a glass of ginger beer then add some pieces of lemon and orange for a fruity twist. In this edition, Features compares the first year and finalist experiences during coronavirus, Food and Drink teach us how to destress in the kitchen, Fashion takes us to an online Paris Fashion Week and Travel dream about Sweden. Hopefully this edition will provide you with a brief respite from the chaos of Epiphany term. Millicent Machell and Hugo Millard
INDIGO EDITORS Hugo Millard Millicent Machell FEATURES EDITORS Aadira Parakkat Elle Woods-Marshall Immy Higgins
CREATIVE WRITING EDITORS Jemima Gurney
STAGE EDITORS Charlie Barnett Issy Flower VISUAL ARTS EDITOR Carys Stallard Emma Tucker BOOKS EDITORS Millie Vickerstaff Sol Noya FASHION EDITORS Emily Potts Erin Waks FOOD & DRINK EDITORS Constance Lam Meghna Amin TRAVEL EDITORS Emma Johnson Gracie Linthwaite FILM & TV EDITOR Madeleine Rosie Strom Alex Rigotti MUSIC EDITORS Martha Lily Dean Katherine Pittalis INTERVIEW EDITORS Aimee Dickinson Claudia Jacob
FILM AND TV 3
Thursday, 4th February 2021
Bridgerton: you love to hate it Is the hit Netflix show really a radical take on historical dramas? Honor Douglas film@palatinate.org.uk
N
to tick all of the ‘politically correct’ boxes. A storyline of two gay men unable to share their love for each other with the world due to the rules of society is merely glossed over, and while Hamilton led the way for race-blind casting in theatre, it seems that Bridgerton will redefine the parameters for casting in television.
etflix’s hit new series ‘Bridgerton’ redefines the genre of period drama, giving the illustrious society of Regency England a modern twist. Full of the clichés and glamour of a Jane Austen novel combined with outrageous scandals of a show like ‘Gossip Girl’, worlds collide in ‘Bridgerton’. Audiences are left obsessed with this world that seems both recognisable and distant.
“Is this just a glamorised representation of the horrors of the modern reality?” The series makes our reality seem normal, to a certain extent. Firstly, the suitors go on walks with their beloveds for dates, precisely what the British public are doing now. Secondly, there is no sleeping together before marriage, which seems the likelihood of this generation considering our government’s discouragement of physical interaction. Thirdly, the men can do what they like in terms of physical interaction, while the women are publicly humiliated, the frequency of slut-shaming in society is horrific in modern times still, despite the #MeToo movement. Is this just a more glamorous representation of the horrors of the modern public’s reality? Our reality certainly had a positive effect on how many people watched
However, they certainly will not be leading the way for body positivity, with the skinny white girl getting the boy, while the Hollywood cliché of the ‘fat friend’ is dismissed by the suitors, despite being one of the most compelling characters in the series.
Bridgerton. The series came out on Christmas Day in the year that Christmas was cancelled. It is an easy, relatively pleasurable watch. The themes of scandal, betrayal and judgement are addictive; the eight hours indulged into this series go by relatively quickly, and the variety of storylines are easily followed. With a toxic relationship, an unwanted pregnancy, and desperate parents trying to ship their daughters off with ANY man, what else could viewers ask for? Within the first five minutes, viewers are awakened to the sexual nature of the show, with a sex scene to bring them into 1813 London. The sex scenes are not even the most uncomfortable part of the show, it seems to be the conversations about the events that are so cringeworthy – daughters asking their mothers how to get pregnant, and suitors offering wives advice on sexual pleasure. Even writing that is awkward, let alone seeing it play out on screen. Certainly not a family-friendly series – some have labelled it soft porn, an accusation difficult for audiences to refute. Despite being terribly raunchy, it does feel like Bridgerton is desperately trying
That said, it is refreshing to see a period drama done so differently. The music juggles different eras, with Little Mix and Taylor Swift’s hits played orchestrally at extravagant balls, and the use of language is absurd. Lines such as “It has been said that of all bitches dead or alive a scribbling woman is the most canine!” ring in the audience’s ears, as the differences between classical and modern ways of speech are blurred.
“The series is painfully loveable” The series is painfully loveable; the combination of a patriarchal society, the characters’ repressed sexuality, and the numerous graphic sex scenes seem to draw viewers. For that, I applaud Netflix but certainly do not applaud myself for actually enjoying something so monotonous . Illustration by Navya Lobo
FEATURES 4
Thursday, 4th February 2021
A fresher’s note on this abnormal year Honor Douglas tells Features about why this year has been so challenging for freshers Honor Douglas features@palatinate.org.uk
T
he year 2020 will be frequently referred to for many years to come, and it seems as though 2021 is heading in the same direction. University is supposed to be a time to party, make lifelong friendships, and delve into a subject of your choice. But this year, the priorities have changed.
“There has been much debate on which year group has it worse. “ There has been much debate on which year group has it worse. When the second and third years began at Durham University, they had no idea what was to come; at least first years had some perspective. The second and third years had some normality in their university experience, while first years have not had any yet. The debate could go back and forth. The main point is that it is difficult for everyone. University students have been let down by their government; our situation is rarely discussed in Boris Johnson’s announcements, we were blamed for increases in Covid-19 cases, and we are still set to pay the same amount for our tuition despite teaching being online. The main issue for freshers this year is how Covid-19 has affected making friends. The random assignment of students to households was a terrible choice. There
was a pressure to get on with those who happen to live nearby, and punishments if you wanted to explore friendships beyond them. Isolation was necessary and freshers had to spend an unhealthy amount of time with people we barely knew. At least second and third years to a certain extent got to choose who they were isolated with. Suddenly, pretty inedible food was being delivered, and students who were ill could not get any medicine. Different colleges had completely dissimilar attitudes towards household and
isolation rules. While in certain colleges students were only allowed to spend twenty minutes on a specific part of the college campus, other students did not have such a close-eye on them. The same is true of the rule that freshers were to spend their first few nights in college; some students could go wherever they liked, while others were questioned on their whereabouts. It felt like students in different colleges were at completely different universities, which fostered a slight hostility between those in stricter colleges and those in more lenient ones. Friendships were also affected by not having many, if any, in-person seminars
and lectures. According to second and third years, it was brilliant to meet likeminded people reading the same subject as you, and great being able to keep your work on track by checking what you were supposed to do with your peers. Over Zoom it is difficult to make friendships as it is challenging to connect with someone through a screen, and because there is not an opportunity to chat without a lecturer or tutor present. Group chats can be made, but that takes confidence to privately message someone and ask for numbers, and certainly not a confidence that I possess or anyone in my tutorials or seminars as of yet. Maybe this is not the worst thing, as texting someone is so different to hanging out in person.
“This year is not even half of what it could have been” So much of life is spent online recently, and there is more time to think than ever before. Comparison is inevitable, particularly when people mainly post content where they are enjoying themselves. Now more than ever, there is an opportunity to question whether your experience so far should have been different. It is a shame that this year has panned out the way that it has. There is a reason why so many students apply to Durham: it is a great university, but this year is not even half of what it could have been. Image credits: Honor Douglas
FEATURES Thursday, 4th February 2021
5
A finalist finding gratitude Madeleine Strom looks back at her student experience in Durham Madeleine Rosie Strom features@palatinate.org.uk
T
o say that I did not expect to finish third year under these circumstances, is an understatement. I have a feeling that my graduation robes will be swapped for my dressing gown and photos next to the Cathedral posing with my dissertation will be replaced with a screenshot of my ‘TurnitIn’ email. At least I have the most fond memories to look back onto. Cliche, I know, but it is true. Now, more than ever, I am grateful to be spending my last full term here, in the cobbled streets of Durham. I remember my first day venturing into the market square, telling myself that by the time I graduate, I want to have eaten at every restaurant the town has to offer, and sip on every hot chocolate in the cafes that sprawl the streets. Now this is no longer possible, my aims have shifted. Being in a Bailey college has meant that I have an extremely limited knowledge of the geography in Durham. I admit that it is rather embarrassing - I have been to Josephine Butler once in my first year and that was perhaps the limit. Going beyond the arches between Prebends and St Cuthbert’s and really immersing myself in the beauty of Durham has been something I have been trying to do every day. Only recently I experienced the magic of the Durham Botanical Gardens, and I implore everyone to visit. A little closer to the Viaduct perhaps, is Flass Vale which if you walk completely through, one ends up in Neville Cross. For a place so small, it amazes me how closely interlinked everything is here. On a more academic note, I have decided to truly take advantage of everyone’s favourite Tindur hotspot - the Billy B. Exam season was interrupted by the first lockdown and the revolving door
of the library revolved no more, but now, even in the second lockdown, the Billy B welcomes us with open arms and socially distanced desks. In a weird way, I have forgotten how social the library is. We can all agree that no matter where one goes in Durham, you will end up bumping into someone you know. Even if it was a vague and brief encounter within the smoking area of Jimmy’s, you will bump into someone on Level 3. Now social interaction is more sparse than ever, I am quite enjoying the small nod and smile one does to someone familiar, a reminder of what time was like before the pandemic. Who needs Klute, when you have the Bill Bryson library to be the new student hotspot? I am trying to hold onto the small parts of life which make my third year so exclusively Durham. Durham is a University town like no other, it has such a unique and individual way of life - one would not be able to replicate anywhere else. So now, when I hear the Cathedral bells ringing, (a sound I normally would have naturally muted out), I spend a few seconds appreciating the toll, knowing I will not
experience the luxury of living so close to a National Heritage site ever again. Before, I would have walked down Saddler Street, ignoring the growing line that streams out of Flat White every morning. Now, I join them, knowing that 1) supporting small businesses is an extremely important thing to do and 2) Flat White is such a Durham staple, that getting my chai tea latte will be a small morning ritual that I will greatly miss come September.
“Our time here has been irreplaceable.”
For those who are also graduating I am sure you will agree with me that our time here has been irreplaceable. For those who are still studying, hold onto Durham and what it has to offer. The balls, questionable nightlife, the historicism. It truly is magical. Image credits: Mark Norton
INTERVIEW 6
Thursday, 4th February 2021
“We need to invest in Durham’s art community” In conversation with Amana Moore, founder of DUAS new blog, ‘Loop’ Aimee Dickinson Interview Editor indigo.interview@palatinate.org.uk
I
nterview Editor, Aimee Dickinson, talks to Amana Moore, founder of Durham University Art Society’s (DUAS) new arts blog Loop. The blog aims to showcase the creative community of the North East and to provide a bridge between the student art scene and the wider Durham arts community. Created in October 2020, Amana explains that Loop was originally started in response to the Covid-19 pandemic: “we were coming back to Durham knowing that a lot of the projects we wanted to run as an arts society would be restricted, so we wanted to have something that would bring together the different creative threads of the artistic community in Durham in an accessible way”. However, Loop has grown beyond an effort to combat the difficulties of the pandemic, providing, as Amana says, an important “platform to share not only information, but the stories of students and locals involved in the arts.” The blog is divided into two editions per month, a newsletter detailing arts events within the University and more widely, and an interview with a local creative. Amana explains the most significant aim of the blog is to “celebrate the connections between these two groups in the Durham artistic community that are often viewed as separate, especially at a time when people feel quite disconnected.” As Amana has been researching for the blog, she says she has become increasingly informed about “Durham’s thriving arts scene, where there are so many local artists”. This to her highlighted the importance of creating a space like the blog to “help people find out about the local art community, because once they know about it, they can support it and it can grow”. In addition, Amana explains that Durham not having an arts school means that “there is no dedicated space for art to take place within the University”, so Loop hopes to provide a “space for discussion and community”.
Amana explains her creative inspiration for the name Loop links to the blog’s goal of “keeping people in the loop” of arts events and activities in Durham. As she says, “with everything being online, even though you have so much information, it can be so difficult to keep up with things.” The name also reflects the connection the blog hopes to reinforce within the Durham arts community between the University and local art-
“street gallery” in which “local artists put art in their windows to form an exhibition down a street”. Amana states that making personal connections with local artists has proved a great way for DUAS “get through to people who they wouldn’t normally reach”, and to “nurture a relationship between the University and the local community”. Amana also discusses some of the art projects which DUAS is running for students to get involved in during this term such as “DU Thursday sessions”, which are “designed to be accessible to all, run over Zoom with objects people have readily available in their houses”. DUAS has also been “working with the University in promoting the student art prize” and “in supporting the work the University are doing to positively utilise their large art collection, such as through the Student Art Prize Art School” which Amana recommends checking out via the collection website. Going forward, she hopes that Loop will be able to feature “more audio-visual content, maybe even a podcast”.
ists. Amana passionately believes in the importance of students recognising and working with local art projects. As she explains, “students tend to only think about Durham in terms of our temporary relationship with the city”, detailing that Loop highlights not just student but local art activity as part of its aim to “actively invest long-term in the art community in Durham”.
Finally, when asked what Durham students can be doing to support the arts, Amana offers this advice: “Invest where you are. Look into what’s going on in your local area and support it. If we spend our time consuming and supporting arts projects, this will translate into how much is invested in the industry on a larger scale.” She also hopes for a change in mindsets around consuming the arts, explaining, “we’re used to paying for Netflix, so we should accept the fact that art isn’t free. It takes time and energy and love for people to create. During the pandemic, we’re starting to realise how important the arts are, so it’s important we continue to protect them”.
An integral part of Loop’s content is its interviews with local creatives. Amana discusses some of her interviewees such as Ellie Mathews, explaining her project
To check out Loop, visit https://duartsoc.blogspot.com/ and follow @duartsoc on Instagram llustration by Adeline Zhao
STAGE Thursday, 4 February 2021
7
The redefinition of theatre space Zoom interval drinks and post-show debriefs - how is theatre space evolving? By Honor Douglas stage@palatinate.org.uk
W
hen the pandemic hit, theatres closed and people turned to TV and Film for a source of entertainment. With the introduction of online theatrical experience through the ‘National Theatre at Home’ site and other small theatres having online premieres instead of live productions, the future of live theatre is in question. Attempting to rectify this, Pitlochry Festival Theatre and the Royal Lyceum Theatre Edinburgh seek to redefine theatrical space, while staying Covid-safe.
“Eight new British theatre pieces, written by experienced playwrights” In collaboration with Naked Productions, these theatres have created ‘Sound Stage,’ which endeavours to recreate a live, immersive theatrical experience online using audio theatre. The first season of ‘Sound Stage’ will include eight new British theatre pieces written by experienced playwrights from the National Theatre, the BBC and the Edinburgh Fringe. Some of the plays are autobiographical, and they all seek to explore British culture and both highbrow and lowbrow issues. For example, the first play to be premiered explores what affects familial relationships. The audio productions are all created from the comfort of the theatre-makers’ own homes for the digital performmance space.
Elizabeth Newman, artistic director of Pitlochry Festival Theatre, noted that audio drama and online premieres alone “did not solve the problem of how much audiences and the theatre industry as a whole were missing the experience of going to the theatre itself… and so Sound Stage was born.”
Tickets for Sound Stage can be purchased before the event, as is necessary for regular live theatre, and audiences will watch the play in real-time. Prior to the premiere, the audience will ‘enter’ the theatre and be ‘ushered’ to their seats. During the interval, audience members will have the opportunity to virtually meet each other. After the production ends, there will be a chance for a post-show discussion. This salvages the elements of watching theatre that has not yet been replicated online and offers lonely people during lockdown the opportunity to interact with others and connect through a performance. Pitlochry Festival Theatre and the Royal Lyceum Theatre Edinburgh intend to put these eight plays on for a live audience when it is possible. It will be interesting to compare this online experience with the in-person experience should these productions be allowed to live under Covid-19 regulations.
“audience members will have the opportunity to virtually meet each other”
This is an innovative, intuitive and hopefully impactful use of theatre makers’ time in the midst of a pandemic which has caused a threat to numerous careers in the arts, and limited creativity. The support of such a feat will not only help to redefine theatre space as we know it, but also provide a cheaper and Covid-safe option for theatre makers to continue to develop art. Should this be successful, Pitlochry Festival Theatre and the Royal Lyceum Theatre Edinburgh could be responsible for a massive shift in the industry. This is not something that theatre-lovers should miss out on. Tickets are on sale from February 14th for the first production’s virtual theatre experience, Mark Ravenhill’s ‘Angela’ on the February 26th. It is an experience not to be missed. Illustration by Samantha Fulton
MUSIC 8
Thursday, 4th February 2021
What is the best music to study to? Madeleine Rosie Strom discusses a variety of tracks to listen for any study situation Madeleine Rosie Strom music@palatinate.org.uk
F
orget about asking if someone is a cat or a dog lover, or a winter or summer person. The most important question one can ask is ‘do you study with or without music?’. This question certainly arouses debate.You get the classic ‘I cannot concentrate with music’ reply, or the ‘I have the lofi hip hop beats to study to’ playing at all times’. There is never a clear winner. Personally, I fall onto both sides of the spectrum. In fact, whilst studying for my A Levels in 2018, my Spotify Unwrapped truly uncovered my true self. Hans Zimmer reigned supreme as my top artist from spending my days cramming for my exams listening to the Inception soundtrack. It was only at University, I got the hang of studying with lyrics playing in the background. Now, after years of trying to figure out which types of songs will motivate me to actually sit down and bang out my 3,000 word summatives, I feel like I can truly say, which songs are my go to study songs.
Study Songs for when you are doing your pre-reading for your essays and hating every single word:
Tracks for when you are trying to muster up the courage to start that summative which has a far-too-soon deadline:
When I am scrolling through JSTOR and Google Scholar, desperately trying to find an article to cite, mellow but funky lyrics help me persevere. Not loud enough to be distracting, but not too quiet to bore you even more than your reading lists - these songs will truly help stretch out your bibliography:
You are staring at a blank screen, the cursor flashing in a mocking way, begging for you to type something. Here are some intense, loud tracks which will inspire you to try and write at least 500 words in one sitting. A mix of instrumental and lyrical, no matter what you like, there will be something for you:
1. Last Girl - Soccer Mommy 2. Track X - Black Country New Road 3. 1539 N.Calvert - JPEGMAFIA 4. Deep Fried Frenz - MF DOOM 5. Czech One - King Krule 6. Glow Worms - Vashti Bunyan 7. Midnight Love - girl in red
1. Awake- Tkay Maidza 2. Mombasa - Hans Zimmer 3. Model Village - Idles 4. Play That Way - The Underachievers 5. Totally Wired - The Fall 6. Ferrari - Alice Gas 7. Money Machine - 100 Gecs
MUSIC 9
Thursday, 4th February 2021
“The most important question one can ask is ‘do you study with or without music?”
Here you are, an extremely comprehensive list filled with many genres of music, just waiting to be listened to. Now go and book your 4 hour session at the Billy B and stop putting off your deadlines.
That Feeling When You Are Halfway Through Your Summative And Realising That You Can Get The Work In Without Needing An Extension: Eating Urban Oven garlic sauce and realising your essay is not complete garbage are perhaps the two greatest feelings in the world for a Durham student. Celebrate that feeling by listening to these uplifting tunes that will make submitting your coursework the highlight of your week: 1. Hallucinate - Dua Lipa 2. Cornfield Chase - Hans Zimmer 3. Jenny - Studio Killers 4. Verbatim - Mother Mother 5. The New Workout Plan - Kanye West 6. Your Love (Deja Vu) - Glass Animals 7. Gimme More - Britney Spears
‘I only listen to soundtracks and classical music when studying’ playlist: I think one of the main reasons I succeeded in passing my A Levels was by listening to these absolute bangers. Trust me, if you cannot listen to tracks with lyrics in, these will certainly get you into a great zone for studying: 1. Ezio & Caterina - Jesper Kyd 2. Chevaliers de Sangrel - Hans Zimmer 3. Mia & Sebastian’s Theme - Justin Hurwitz 4. Hear Me Roar - Ramin Djawadi 5. 24 Preludes Op. 28 - Chopin 6. Sonata in A major for Violin and Piano - Cesar Franck 7. The Council of Elrond - Howard Shore
Illustration by Hannah Slack Images by Neale Haynes and Marie Madeleine Gérard via Wikimedia Commons
FOOD & DRINK Thursday, 4 th February 2021
10
Cook your stress away... By Sol Noya Carreno
To Sol, cooking is both a form of self-care and a love language
W
hen I was 11, my mum taught me my first recipe. It was simple – French toast – and her French toast is still miles better than mine. But ever since I learned to do it, cooking has been a form of extra therapy and a way to show the people around me how much I appreciate them. Until I moved into my student house, most of my cooking was undeniably dessert-centric. I would often spend the Sundays before school baking some treats for my brothers and I to take in our lunchboxes. When my parents travelled, and I was in my last years of school, it was me who cooked lunch for myself and my brothers. Making these lunches by the weak light of early morning showed me what a gesture of love cooking for somebody else can be.
“cooking has been a form of extra therapy” Living in Durham awards me so much independence, and one of the main areas where I play with that is when I make my own meals. I have always been fascinated by recipe books, and cooking for myself awarded me a chance to experiment and bring their pages to life. No longer am I restricted by my brothers’ distaste for curry or my dad’s sensitivity to garlic. Cooking for myself has allowed me to introduce new elements into otherwise ordinary days. This year, having had to stay at home, finding
new ways to have fun and to break out of a rut can be crucial. There’s really interesting research about the psychological benefits of cooking, and I wholeheartedly agree that cooking can be a vital form of selfcare. Cooking for myself and others has helped me with a myriad of the mental health challenges of lockdown. For example, many of us have struggled with body image issues in the past year. Choosing to honour my body’s needs and wants without judging or criticising them is something I’m still working on, but cooking for myself, at the very least, forces me to pay attention to them, and what they might say about my state of mind. To nourish yourself when you need to is one of the most loving things you can do for yourself, whether what you need is vegetable soup or a slice of homemade cake.
“to nourish yourself when you need to is one of the most loving things you can do for yourself”
While I go on a lot about cooking for myself, 2020 also gave me far more chances to cook for others. I spent spring and summer living with incredibly kind friends who let me move in with their family, and one of the ways I’ve been able to show them how grateful I am has been through cooking. In spring, with five young adults and two parents in the house, us students tried to cook one dinner a week. Researching recipes that everyone will like and be able to eat (two members of the family had allergies) and making them felt like a small way to show my appreciation of their generosity.
“2020 also gave me far more chances to cook for others” Back in my student house, one of my housemates had her birthday at the start of Michaelmas term, and we surprised her with a pancake breakfast and a homemade birthday cake. Cooking for somebody else not only helps them have more time to do other things – it’s a way to say I see you, I care about you and what you enjoy. In a year when we’ve been forced to be apart, cooking for someone else can be a form of communicating how much you wish you were together. Photography by Sol Noya Carreno and Constance Lam
FASHION Thursday, 4th February 2021
A la mode: Paris Fashion Week in my pyjamas
11
Erin Waks experiences Paris Fashion Week from the comfort of her own home Erin Waks Fashion Editor fashion@palatinate.org.uk
T
hree months after moving to Paris, the fashion capital of the world, I thought this would be a wonderful chance to get involved with one of the most iconic events in the fashion world – Paris Fashion Week: Haute Couture. This year, as we all know has been like no other, online socialising, online education, online shopping, you name it. It has been no different for events in the fashion world. Nonetheless, most years it is notoriously difficult to get a seat in even less-known brands’ shows. This year, I thought I would try my luck, banking on the hope that however the designers adapted to an online format, there would be space for budding fashion journalists to sit in.
“the world has had to rapidly adapt to online versions of everything” Cue 2 hours of me sitting at my desk, composing over 60 perfect emails in both French and English, asking ever-so-politely if I could pretty please have an invite to quite literally any event at all. You can imagine, then, my surprise and delight after receiving not only one, but two invitations! The first from designer Olivier Theyskens for Azzaro Couture, and the other from famed Russian designer Ulyana Sergeenko, showcasing an exquisite collection inspired by Vera Kholodynaya, the famous Russian silent film actress.
And that is how, on 25th January 2021, I found myself sat in my apartment, laptop open in front of me and armed with plenty of snacks, somehow watching the events of Paris Fashion Week live. Whilst not the setup I had imagined for such an event, I can say it was truly enjoyable, aesthetic and highly impressive. The thing to note about the success of Paris Fashion Week 2021 is how the brands managed not only to recreate the glamour and style of the iconic event, but to adapt their presentations and collection releases to be even more dazzling online. Instead of merely recreating a catwalk to watch from the comfort of one’s own home, far beyond what would be possible in a live fashion show, these creations demonstrated the collections in an innovative, creative and visually pleasing manner.
“it isn’t as simple as sitting back and watching” Beyond the visual, the graphic and the aesthetic, I think it’s important to note the potential social impacts of moving the shows online. Fashion, particularly Haute Couture, has been seen as something reserved purely for the wealthy, those able to afford the designs.
But is the new format, which allows more people to actually access the shows, since physical space is not limited, indicative of a shift in the fashion industry, becoming more inclusive? Whilst I don’t think this shift has occurred yet, we are perhaps heading down a path towards fashion becoming more open. After all, being able to understand and see the collections of Haute Couture brands is only the first step in making them comprehensible to all.
“highly impressive creative videos showcasing their new designs” And let’s not forget the positive environmental impact moving such an event online has. From digital invitations, all the way to drastically reducing the number of flights needed to transport everyone involved to the French capital, there is no doubt that there are clear advantages to such a presentation of global fashion brands and new collections. Is this the start of a more ethical, environmentally conscious movement in the Couture fashion industry? And that is how I, a simple Durham student on her year abroad, found myself immersed in the magic that is (Digital) Paris Fashion Week. However, the event is a huge milestone in the way the digital can be a shift in the right direction for the world, and the fashion industry.
Images by Ulyana Sergeenko and Azzaro
BOOKS & VISUAL ARTS 12
Thursday, 4th February 2021
Judging books by their covers Books and Visual Arts discuss the role that cover art plays in our reading experiences Books and Visual Arts Editors books@palatinate.org.uk visual.arts@palatinate.org.uk
M
ost of us have grown up hearing the adage “don’t judge a book by their cover”. Yet, publishing houses have whole departments dedicated to designing effective, and often beautiful, cover art. Five contributors tell us how the covers of some of their favourite books have influenced their experience of the books.
has been extremely successful.
“never judge a book by its cover” As A. Alvarez explains in his introduction to the novel, Hardy was able to suffuse such descriptions with a certain ‘luminosity’ not unlike the atmospheric glow of Turner’s late paintings. Hardy himself held a lifelong fascination with the visual arts, and wrote admiringly of Turner in his notebooks. Turner’s influence is clear to see in Hardy’s writing, and I have never before or since been so delighted to discover such harmony between book and cover, or art and literature.
“Hardy
Jasmine Cash On the cover of my copy of Thomas Hardy’s Tess of the d’Ubervilles, there is a watercolour painting: a detail from ‘Stonehenge’ by J. M. W. Turner. When I first picked up this book, I knew nothing about Tess or Hardy, only that I liked the artwork on the cover. Having read the novel multiple times, it is still the visual element that I love the most, which is present not just on the book’s cover, but also in Hardy’s writing, and especially in the vivid descriptions of his beloved Wessex landscapes. Hardy had the ability to write endlessly (and compellingly) about fields, cows, sheep, sunrises and sunsets, all with the eye of a poet and artist.
himself held a lifelong fascination with the visual arts” Honour Douglas When bookshops were the only place to buy literature, cover art had more of an impact on the likelihood of a book being read that it does currently. With a large proportion of books being read online or listened to as an audiobook, is cover art as necessary as it was in the past? Donna Tartt’s The Secret History is arguably proof that cover art is less important than a book’s content, having a minimalist cover, with the author’s name in a larger font than the book’s title, and a black background. Despite its minimalistic cover art and being Tartt’s debut novel, the book
Although the cover seems simplistic, it can be interpreted as a representation of the novel’s themes. Opening with the admission of a murder, the characters live in darkness and isolation, desperately trying to stay under the radar. A detective story at its heart, the cover art can be seen as a contribution to the novel’s intriguing nature, and its ‘can’t put down’ quality, as it gives nothing away. Judging books by their covers can limit readers, and Tartt’s brilliant novel does not need extravagant cover art to intrigue readers, as her language does it for her.
“a contribution to the novel’s intriguing nature”
BOOKS & VISUAL ARTS 13
Thursday, 4th February 2021
Rhiannon Green As the first thing the reader sees, the cover has an arguably crucial role in shaping perceptions of a particular book. It is understandable therefore, that visual
All three covers showcase the same simplistic graphic style, characterised by bold shapes and a black background. The designer has even gone to the length of colouring the edge of the pages red, adding to the overall dramatic look. It may be common to preach that books should not be judged by their covers, yet it must be acknowledged that they can make or break a book when it comes to first impressions. Tomos Wyn The cover is what initially drew me to Breasts and Eggs. Walking into the Durham Waterstones in the middle of a reading slump, I was prepared for anything to draw my attention. And there, on the shelf, sat this gorgeous cover. Stunningly simplistic, it shows a young girl below a sea of darkness. Is this young girl drowning? Why is it called Breasts and Eggs? Is that a Mary Quain bob in 2020?! All these questions drew me to this wonderfully complex novel – and I have no regrets whatsoever.
elements of a book are granted importance by publishers and readers alike. In print for over 30 years, Margaret Atwood’s dystopian novel The Handmaid’s Tale has seen a variety of different book covers. Whilst most feature the cloaked figure of an anonymous handmaid, it is the 2017 Vintage Classics edition that is the most striking. Here, the cover is used as an opportunity to showcase the key aspects of the plot, monochrome in colour except for a pop of red. Designed as part of a series by Israeli graphic designer Noma Bar, this edition was published alongside other dystopian classics, notably 1984 and Brave New World.
“covers can make or break a book when it comes to first impressions”
An expanded version of a novella of the same name, Mieko Kawakami’s Breasts and Eggs centres three women, their individual difficulties with womanhood, and the strained relationships between them. The cover displays Midoriko, the youngest of the three. She fears the natural processes of her changing body, as any uneducated 12-year old would. Furthermore, her relationship with her reluctantly-aging hostess mother becomes so strenuous that it drives Midoriko to mut-
ism. With this knowledge, it is no wonder that she is drowning in her worries, and I believe the minimalistic cover truly captures that sentiment. Carys Stallard
“a beautiful book cover is often an indicator of a beautiful book” Whoever asserted that books should not be judged by their covers clearly knew little about literary production. Book covers provide an excellent indication of a publisher’s estimation and commitment to a text. The production of a good cover comes at price; hence publishers are more likely to invest in cover art when they are confident in the text’s ability to compensate for its artistic expenses. In short, a beautiful book cover is often an indicator of an equally beautiful book. Not always, but often enough to make cover judging a beneficial practise. Perhaps this is merely an indication of my own superficiality, but I often find myself drawn to the books with the best covers. The beauty of Aino-Maija Metsola’s cover art, for instance, persuaded me to purchase my first ever Virginia Woolf novel, leading me to discover my all time favourite author. Woolf herself seems to have held cover art in high esteem, agonising over the prints her sister produced for the first editions of her published works. Metola’s covers capture the fluid and illusive nature of Woolf’s works, mirroring the abstract and atmospheric qualities in her writing. Book covers like Metola’s expound upon the blurb, communicating the qualities of a book that cannot be described in words. Consequently, book covers require careful consideration and are certainly worth judging. Image credits: Jasmine Cash, Honour Douglas, Rhiannon Green, and Tomos Wyn.
TRAVEL 14
Thursday, 4th February 2021
January Destination of the Month: Sweden Lia Windsor explores the wonders of the polar night. Lia Windsor travel@palatinate.org.uk
T
he top January destination: somewhere sunny, tropical, and ideally far away from the UK. This year, for reasons that needn’t be mentioned, such travel is impossible. The only travel destination in 2021 is our living rooms. So while we may be desperate to escape the short days, bitter cold and bad weather, this year we need to embrace the winter season. And no culture does this better than the Nordic countries, who are subject to the polar night.
“there is so much wonder to be found in the darkness” The polar night occurs from September to March, when the sun doesn’t rise above the horizon for more than 24 hours. This results in long nights, and only a couple of hours of light per day. What may come as a surprise is that the polar night is considered by the locals to be one of the loveliest times of the year. There is so much wonder to be found in the darkness. The skies turn a deep, inky midnight blue, and the snowy landscapes reflect the light of the stars above. The polar night is the perfect time to experience the magic of the Northern Lights, or the aurora borealis, which are visible on a clear night from the north of the Nordic nations. The Northern Lights occur due to a collision of energy-charged sun particles with atoms in the Earth’s magnetic field. The sky comes alive with streaks of green, pink and purple. The indigenous people of Sweden, the Sámi, believed that these lights were the souls of the dead. They wouldn’t dance or sing under them, for fear that the souls would feel disrespected, and the lights would dip
down and carry you off to the afterlife with them. The Vikings thought that the North. The Sámi live in a borderless area spanning the north of Sweden, Norway, Russia, and Finland. Their communities have always lived in harmony with the surrounding nature, most importantly the reindeer. The Sámi were historically a nomadic people who followed the reindeer from mountain to coast. What started as hunting wild reindeer evolved into a close relationship between the Sámi and the animals, as reindeer provide their food, clothing and trading. To the Sámi, the reindeer are sacred, so no part is wasted. Even the hooves and antlers are used in their artwork, which is
known as duodji. This is an important part of their tradition, as everything is always been created by hand. Whenever something was needed in daily life, the Sámi used whatever was available from nature. This sentiment was maintained for their traditional, colourful clothing, called gákti. Originally, this was made mostly from materials provided by the reindeer such as the fur, leather and tendons. Nowadays traditional materials are still widely used, alongside more modern materials such as silk or velvet. This traditional dress is still used today for formal occasions and festivals.
Examples of the gákti can be seen at the British Museum’s ‘Arctic Culture and Climate’ exhibition, showing all sorts of artwork and history from the region. There is even a lecture on the 5th of February all about National Sámi day. It is the perfect way to experience the Nordic culture from the comfort of your home. In another year, it will be possible to see such artwork and clothing at the Jokkmokk market that happens every year on the first weekend of February. Over 200 years old, the market was started by the Swedish King Karl IX, who wanted to see what kinds of goods the Sámi were trading so that they could exact more taxes. To keep things quiet and avoid unrest or disruption, the market was organized at the coldest time of the year. This didn’t deter people however, as today, the market attracts around 30,000 people, including Sámi artists who gather in festival dress to sell their crafts, socialize, and to watch the reindeer race on Lake Talvatissjön. The market is rich with folk music, food tasting, plays, parades, photography and art exhibitions. You will even be able to try reindeer.
TRAVEL 15
Thursday, 4th February 2021
alised that the four calendar seasons aren’t enough. Hence they have eight seasons, recognising the transition between seasons. Towards the end of winter, the sun returns and the day grows longer and warmer. Despite the snow and cold nights, the Sámi recognise that Spring is right around the corner.
“the sunlight is precious and every moment cherished” “despite the snow and cold nights, the Sámi recognise that Spring is right around the corner” On your future trip, you could always stay in the Ice Hotel. Built entirely from ice, the hotel features statues created by international artists each year, before it melts back into the river. You can cosy up in thermal sleeping bags for the night, with a trip to the sauna to warm you in the morning. The Sámi lived in tipis and wooden huts, and their homes were always built facing East to welcome the sun. In the polar night, the sunlight is precious and every moment cherished. This held even more importance as one of the Sámi goddesses, Beaivi, was a sun goddess. Living so close to nature, the Sámi re-
Sweden is the home of the Nordic noir genre in books, films and TV. A well-known Swedish writer is Stieg Larsson, author of the highly popular Millennium Trilogy, starting with The Girl with the Dragon Tattoo. Another famous Swedish writer is my personal favourite, Frederick Bachman. His novel Beartown, set in a small, snowy town deep within the woods during winter, is about an ice hockey team and its darker side. Bachman’s most popular novel is A Man Called Ove, which was adapted as a film in 2017 and nominated for the Oscars. The artist and YouTuber Jonna Jinton embodies the Nordic culture, her work featuring breathtaking cinematography of the Northern Lights and the forested mountains which surround her. Jinton spreads a message of living in harmony with nature, and her love of winter is infectious. You can see her artwork, photography and jewellery making at her website www.jonnajintonsweden.com.
In such difficult times, and after what feels like a long, cold month, this is something we can take away from the Sámi culture in the UK. It may still feel like the middle of Winter for us, but the evenings are growing longer, the mornings lighter, and before we know it the sun will shine and it will be warm again. In the meantime, Swedish and Sámi culture show us the wonder we can get from our own homes now, to satisfy our wanderlust. There is beauty in the night, and we can relish the opportunity to cosy up at home. And until we can go and see the Northern Lights for ourselves, there are lots of ways to experience Swedish culture from home:
“before we know it the sun will shine and it will be warm again” So let’s all embrace what Sámi culture can teach us and enjoy Nordic culture from home, until we can discover it for ourselves. Illustrations: Gracie Linthwaite
CREATIVE WRITING 16
Thursday, 4th February 2021
The Dream Sequence: “I’m Going to Die” A student is introduced to a darker side of Durham in Part One of this series Patrick O’Connell creative.writing@palatinate.org.uk
M
y name is Bill Fisher. I’m 19 years old, and I’m studying maths at Durham University, though not very well. I have no close friends, the sex life of a railway slider, and I like to draw. If life was a motorway, I was trundling along an uphill country lane on one of those Victorian bicycles with the fat wheel, headed absolutely nowhere.
Every so often he’d twist and look over his shoulder, like he was expecting to get jumped. Which, I should remind you, is rather unlikely unless there was a particularly ambitious fish with a grudge – behind him was the steep drop to the River Wear.
“if he hadn’t been following me”
I would’ve soon stopped thinking about the bizarre moment on the bridge, and would have forgotten about it completely. If he hadn’t been following me.
But this story isn’t really about me (thank Christ, right?). It’s about how the world is on the brink of ending, and there’s barely any time left to save it. The boundary between our world and theirs has shattered like sugar glass, and everyone’s too asleep to realize it. This is my way of waking you up, while I still can. Let’s start at the beginning, shall we? It was early October on Elvet bridge, and the fat man in the wig was singing Jailhouse Rock. I’d seen this impersonator before, in his silly shades and beaten-up jacket, busking his heart out, and guiltily would remember that once again, I’d forgotten to bring change for him. So, this time, like every other, I stopped to listen to him a little way up the bridge, pretending to look at the river and occasionally throwing covert glances his way. If he didn’t see me watching him, went my logic, then he wouldn’t know that I was listening to him free of charge. Elvis was wearing a harmonica around his neck on a cord, but I never once saw him pick it up to play.
“I’m going to die”
Around the time that the song’s inmates were finishing their dance, I turned to go, and immediately caught him staring directly at me. When I saw him again, he was looking down, fiddling with the cable of his microphone, and I strode quickly across to the staircase that led down to the river path, embarrassed. It’s a gorgeous little walk, that one, and so thickly greened that, at some parts, you can barely see the river through the clusters of reeds and big leafy water plants growing out of the bank. It was the beginning of autumn then, and some of those wide leaves were browning like toast at the edges. A furry caterpillar inched across one of them, getting in the grub whilst he still could.
I didn’t look behind me at all when I was walking down, only stopping occasionally to take pictures of the cathedral towering above the tree line. *** I managed to make it all the way past the mill and the little boat club shack, down some steps to a small, secluded concrete area only a couple meters wide. The perfect place for me to draw. I’d only been sitting there for about five minutes, however, sketching the imposing lines of the cathedral rising above the trees, when I once again felt the presence of Elvis. He was standing at the bottom of the steps, one foot perched a little higher than the other one so that he resembled a perched seabird looking for chips. I glanced sideways at him, and gave him that classic socially-awkward white guy upturn of the head and barely-there smile. He didn’t return it, instead tapping one finger against the outside of his pocket and looking out over the river. In the periphery of my vision, I saw him open his mouth and close it three times. Eventually, he seemed to find the courage to speak. “I’m going to die.” Continued on the Palatinate website Artwork: @yourlocalbreadman, Instagram