The Boar Magazine

Hi everyone! We are excited to bring you The Boar Magazine, a project that features a range of interviews celebrating student-run societies and their events, keeping up with campus culture, alongside an effort to showcase student talent. For the design, we wanted to make each piece a feature and find different styles that complement the articles to reflect the diversity of student talent.

Warwick’s alpaca visits: Wellbeing wonder or publicity stunt?

Writer...........................Abhay Venkitaraman (he/him)

Editor.................................Abigail Mableson (she/her)

Sub-Editor.................................Katie Bevan (she/her)

Designer.....................................Jesse Hitt (she/her)

Beyond the runway: LINE’s decade of fashioning community

Writer.......................................Yusra Babar (she/her)

Editor........................................Katie Bevan (she/her)

Sub-Editor.................................Katie Bevan (she/her)

Designer...............................Sophia Walters (she/her)

A celebration of art in all its form: How the revival of the Warwick Student Arts Festival brought a summer of joy to campus

Writer..................................Abigail Mableson (she/her)

Editor.....................................Naomi Pandey (she/her)

Sub-Editor.................................Katie Bevan (she/her)

Designer........................................Jesse Hitt (she/her)

Thank you to everyone who sent in their submissions. We appreciated them all and struggled to shortlist so many great pieces. Keep being creative and sharing your work!

Poet........................................Archi Adhikari (she/her)

Collage Artist.........................Jack Thompson (he/him)

Photographer...........................Angus Harker (he/him)

Poet...........................................Katie Bevan (she/her)

Designer......................................Zak O’Brien (he/him)

Three generations of Warwick: How the University has changed (or not)

Writer...................................Ellen Bray Koss (she/her)

Editor..........................................Ben Tanguy (he/him)

Sub-Editor.................................Katie Bevan (she/her)

Designer......................................Jesse Hitt (she/her)

Warwick in 2085: What does the future hold?

Writer............................................Martin Day (he/him)

Editor.............................................Tom Ryan (he/him)

Sub-Editor.................................Katie Bevan (she/her)

Designer...........................João Ruy Faustino (he/him)

Event showcase: Warwick Thai Boxing’s Fight Night

Writer...................................Gabrielle Welch (she/her)

Editor.............................Abhay Venkitaraman (he/him)

Sub-Editor.................................Katie Bevan (she/her)

Designer......................................Zak O’Brien (he/him)

Interview with Sophia Hollingworth, show coordinator on CMD’s Kaleidoscope

Writer.....................................Hannah Keane (she/her)

Editor.........................................Odette Dyer (she/her)

Sub-Editor....................................Ben Tanguy (he/him)

Designer...........................João Ruy Faustino (he/him)

Lights, Camera, Sparkle: Latin and Ballroom present Warwick Does Strictly!

Writer...................................Anna Bickerton (she/her)

Editor........................................Katie Bevan (she/her)

Sub-Editor......................................Tom Ryan (he/him)

Designer......................................Zak O’Brien (he/him)

The value of creativity at Warwick, according to Sequoia Zine

Writer....................................Annalise Smith (she/her)

Editor..........................................Anya Mittal (she/her)

Sub-Editor.....................Abhay Venkitaraman (he/him)

Designer...............................Sophia Walters (she/her)

The evolution of Warwick Art Society: an interview with the President

Writer...................................Zahra Jazmina (she/her)

Editor........................................Rachel Gore (she/her)

Sub-Editor.....................Abhay Venkitaraman (he/him)

Designer...............................Sophia Walters (she/her)

Is gossip a force for good? A conversation with Warwick Tea

Writer...................................Gabrielle Welch (she/her)

Editor.............................Abhay Venkitaraman (he/him)

Sub-Editor.................................Katie Bevan (she/her)

Designer.......................................Jesse Hitt (she/her)

Are you the ultimate gossip at Warwick?

The Art of the ‘House’ Party: An interview with Diskotheca’s Leopold Rupf

Writer...................................Sebastian Smith (he/him)

Editor........................................Archie Clarke (he/him)

Sub-Editor.................................Katie Bevan (she/her)

Designer......................................Zak O’Brien (he/him)

‘We probably don’t see Warwick campus as a culture, but it is’: Warwick Clothes Circuit on What’s Warwick wearing

Writer.........................................Katie Bevan (she/her)

Editor..............................................Tom Ryan (he/him)

Sub-Editor..................................Ben Tanguy (he/him)

Designer.......................................Jesse Hitt (she/her)

Warwick’s

alpaca visits: Wellbeing wonder or “publicity stunt”?

“...working on mental health and wellbeing doesn’t always have to be serious and formal.”

Abhay

Venkitaraman

If there’s any animal that could be described as objectively adorable, it’s an alpaca.

Adorned with oodles of bushy fur and large, lustrous eyes – there’s lots to love.

Britain’s universities have caught on. Edinburgh, Glasgow, and yes, Warwick have all recently hosted alpaca visits, where students and staff have the opportunity to meet them up close. A smattering of them occurred on campus this year and last, being hosted by everyone from WMG to the History department.

These visits are couched as efforts to improve wellbeing, sometimes even being branded as “alpaca therapy”. Suffice to say, not all students have responded positively. In an article published by The Tab, a student described them as a “publicity stunt” glossing over the root causes of poor wellbeing at universities. James, a final-year Warwick student, argued that they reflected an approach that “prioritises appearances over student welfare”. Students aren’t the only ones worried. After Warwick posted about one of its alpaca visits on X, it was slammed by branches of the UCU – a union representing university staff. Strathclyde UCU argued: “Your staff don’t want to pet an alpaca… they want safe jobs, fair pay… and their pension to be safe.”

However, it would be wrong to say the response to the alpaca visits has been all negative – even on the wellbeing front. Abigail, another final-year Warwick student, attended the visit hosted by the History department two years ago. Noting that it was “admittedly [her] favourite day in first year”, she argued they “offer a more modern alternative method of encouraging mental health conversations and emphasise that working on mental health and wellbeing doesn’t always have to be serious and formal.”

So, are alpaca visits a wellbeing wonder or a publicity stunt? I’ll leave that to you to decide. It’s almost certain, however, that with these visits popping up at universities time and again, there’ll be more debate to come.

Beyond the Runway

LINE’s decade of fashioning community

LINE Fashion has become a cornerstone of creative expression and collaboration at the University, marking its 10th anniversary with a vibrant and continually evolving legacy. To give you an insight into what makes this society so unique, I speak to three key voices: Anastasia Gandzha, who joined the society during its transformative years and played a pivotal role in shaping LINE’s recent direction, Krisztina Keresztes, the current co-president of the society, and Sofia Drake-Perello, a model who experienced its thrill firsthand. All three members narrate an idyllic and unblemished spirit behind the inner workings of the society.

Could you tell us about your role and how you have contributed to LINE’s growth?

Anastasia: “I joined LINE because I wanted to challenge myself. I had no prior experience in fashion or event management, but I quickly found my place. Last year, I was responsible for curating the entire show. My proposal of the ‘Seven Deadly Sins’ theme reshaped how we worked as a team.

Previously, designers and models operated independently, but I wanted to make it more collaborative. From the outset, I encouraged models to share their ideas and designers to incorporate those inspirations. It’s this shared creativity that’s defined the last two years”

Kriszti: “I started as a Marketing Executive three years ago. When I began, I was a Canva warrior using basic templates, but the team believed in my passion for creativity. What struck me most was how LINE encouraged every idea, no matter how unconventional. Now, as Co-President my mission is to provide a platform for creatives and fashion enthusiasts. We’re all about bringing innovative ideas to life and connecting people through shared creativity.”

Sofia’s experience as a model echoes this shift toward inclusivity and collaboration.

Sofia: “I wasn’t initially part of the society but a friend on the exec convinced me to try out as a model. I’ve

Yusra Babar

never considered myself a conventional model, so I thought: ‘Why not?’ The whole process – from fittings to rehearsals – was out of my comfort zone. I didn’t think I had a chance, but the moment I met my designer, it felt like magic; a place where I belong.”

What do you think when you look back to the start of LINE, how has the society evolved over the past 10 years?

Anastasia: “It started as a small group of friends treating it as a fun project. Over time, LINE grew into a thriving creative hub, with professional-level shows.”

Kristi: “It’s been an incredible journey! What started as a small society has transformed dramatically. Our Instagram feed tells the story of our growth! In just the past three years, we’ve expanded our reach significantly. One of my proudest moments was participating in organising a fashion show where students not only modelled but also designed and crafted every detail from the tiniest details of decorations.”

The members emphasize how the society moves from a designer-led process to one where models play an active role for a seamless production.

LINE’s events take a lot of careful preparation. How would you best explain the creative process behind the fashion shows?

Kristi: “Our ‘Once in a Time’ show was a perfect example of collaborative creativity. Each department plays a crucial role: Fashion show sets the theme, Social creates decorations and plans the after-party, Marketing designs promotional materials, Editorial produces promo videos, and our Blog provides deeper insights into designers’ inspirations. It’s like assembling a complex puzzle!”

Anastasia: “We started incorporating the models’ ideas and inspirations. It made the designs more personal and authentic. Being the Head of the Fashion Show, organizing an event of this scale was daunting, but it taught me so much about leadership and creativity. Seeing everything come together was beyond rewarding.”

Sofia describes how her relationship with her designer went beyond fittings.

Another hallmark of LINE is its infamous house parties. These events, meticulously organized by the exec team, balance fun with safety.

As we draw this interview to a close, I must ask about an event which is exclusive to the society and its culture. Would you like to tell our readers about the themed house parties thrown by LINE exec?

Sofia: “We worked together. I shared my ideas and inspirations, and she really took them on board. It wasn’t just about wearing a dress – my body became part of its creation.”

This collaborative ethos extends past rehearsals and performances. Sofia recounts her experience as Snow White in ‘Once in a Time’.

Sofia: “This experience made me realize that creativity and self-expression aren’t limited by how you look or what you’ve done before. I’ve never considered modelling as a career, I believe I don’t have the conventional body type, but neither did most of the other models. LINE showed me that creativity isn’t about fitting a mould. It made me feel confident and capable.”

Anastasia: “Whether backstage or during rehearsals, the sense of family was undeniable. It wasn’t just a fashion show; it was a shared creative journey.”

As LINE celebrates its 10th anniversary, the question arises: what lies ahead?

Where do you see your society in 60 years?

Anastasia: “The possibilities are endless. I see LINE becoming an international society, hosting shows that attract global audiences. With technology evolving, the shows will only become more innovative and immersive.”

Anastasia: “They’re an extension of the community spirit – a place where creativity and camaraderie thrive.”

Kristi: “From ‘Time Travel’ where everyone dresses in their favourite decade, to ‘Naughty or Nice’, the themes are endless. While we do offer unlimited alcohol, safety is everyone’s top priority, and we ensure to have conversations with all the execs who handle the bar to keep this in mind. We’re careful about monitoring consumption and ensuring everyone feels comfortable and has fun. In the past, our events have featured Jello shots, temporary tattoos, rhinestone makeup, hair accessories, and many other surprises! We also love adding fun, silly games, like our door game, where people receive cards and must find their matching pair – it’s a great way to help people connect outside their usual friend groups.”

Sofia: “My first one was right after I got cast, and even though I didn’t know many people, it never felt cliquey. Everyone was so welcoming. They’re intimate and much more personal than club nights, and yes, the unlimited drinks make the ticket price worth it!”

Sofia: “In 60 years, I see LINE hosting fashion shows above the Warwick Piazza. Models hologrammed onto the stage with drones hovering overhead. Something straight out of The Hunger Games – but glamorous and fabulous, of course!”

Kristi: “I hope that we’ll continue to provide a platform for collaborations and friendships, maintaining the magic of in-person experiences. While AI might advance, I believe there’s something irreplaceable about live fashion shows and human creativity. I’m so excited to see what LINE will create with future fashion trends and artistic inspirations. If we keep growing at this pace, the possibilities are truly limitless. I can’t wait to see it all unfold and make sure to follow their future steps!”

LINE Fashion, with its blend of creativity, collaboration, and community, stands as a beacon of what a student society can achieve. As it continues to grow, it carries the promise of inspiring generations to come. If you’re interested in fashion, creative expression, and inclusivity,

LINE is the place to be.

A celebration of art in all its form: How the

revival

of the Warwick Student Arts Festival (WSAF) brought a summer of joy to campus

The presence of the Warwick Student Arts Festival has become a mystical fable throughout the drama and tech crew communities of the University of Warwick. From whispered rumours of its initial existence between 2004 to 2015, to discussions on Tech Crew group chats, the current cohorts of drama students saw this elusive festival as something that needed a modern revival.

After scheduling, various administrative crises, and work equivalent to a ‘”full time job”, WSAF found its resurgence in the Summer of 2024. From original plays, documentaries, arts, and crafts to even folk music playing into the sunset, the beauty of WSAF’s return found inspiration in myriad art forms.

In the interview, Maximus reminisced about the exhilarating joy of WSAF’s return, retelling the story of a friend and fellow performer. Having brought his original music to the festival, Maximus states that his “friend brings a lucky beer bottle from his WSAF performance to every gig he has performed going forward”, hoping that this memento will bring the luck he once found at WSAF to every show he performs in the future. These memories encapsulate the liveliness of WSAF, both past and present, with Alex finding enjoyment in remembering with alumni about how inspiring the original form of the festival once was, and how exciting the future will be.

Maximus Kaius Leighton and Adam Skrzymowski were some of the pioneers behind this decision, seeing the Warwick Student Arts Festival (WSAF) return to various stages throughout campus in the Summer of 2024. Not just that, but with a modern edge seen to mirror the likes of the Edinburgh Fringe Festival, with all its dramatic charm.

Adam, a member of the Warwick Tech Crew scene, initially saw mentions of WSAF in the early 2000s from various group chats, where the roster of talent created a tempting desire for a revival. After WSAF disappeared into the ether of Warwick’s past, Adam worried that they could “not match the energy of the original project” and spent hours upon hours wondering why this festival had never returned.

There was a need to find great talent, great events and also great spaces throughout campus. With that, also a need to organise a fully functioning festival that would draw arts enthusiasts from the slump of exams into the FAB to join in on these festivities. “We wanted to make it the biggest event of the third term”, remarked Maximus, and somehow “reinvent the wheel” of how performances were displayed throughout the university.

When asked how WSAF would look in 60 years’ time, adam and Maximus looked at each other with uncertainty. Whilst unsure whether the festival will exist in the perhaps dystopian world of 2085, they hoped that “in 60 years, everyone will be excited for the festival, and all the arts and music that will be performed”.

“I hope that WSAF runs through the fibres of campus, starting parades of music that draw people out of their seminars and into the Piazza”, Maximus confided, overjoyed at the prospect of the new form of the festival to exist so far into the future. Both Maximus and Alex stated that anyone with an experimental desire to display their art, in whatever form it takes, would be welcome to take part, hoping to embed this community spirit into the world of arts at Warwick.

Exclusive to The Boar Magazine, the Warwick Student Arts Festival will be returning to Warwick in June 2025, with all the excitement and love of the arts that the festival has brought throughout its history.

Image: Josh Heng

Creative Submissions

Ma

I am writing a poem that you'll never read

That you never can read

Your eyes will skip over these words

The uncomfortable contours of a second language

Like stumbling legs on a rocky terrain

Ma, I love you even though I'm not sure I like you all the time I love you even though I'm not sure if I'm like you

People say they see it in our eyes, the resemblance

In our mouths - you see it one moment, and then it's gone

When my lips utter some filthy swear word

One you could never fathom

Ma, I put on this skirt the other day, ending six inches

Above my knees

What would you say if you saw me in this?

Would you be ashamed? Would I be an oshobhho meye

A shameless girl? The kind you averted your eyes from On the street, when we walked together?

Ma, when we walked together, you held my hand in yours

Clasping it tight when we crossed the street without a signal I followed you blindly then

Now, on our diverted paths, going opposite ways I cross the street when I'm not supposed to And I think of you.

by Archi Adhikari

Playing Cards

Sitting in the kitchen

Playing cards, Kings and Queens with their Coronas

Caught in a rapid fire round.

“Are you still with your boyfriend?”

“Did you finish your essay?”

“Hey, it’s your turn!”

“For graduation, I’m thinking…”

You’ve been holding all the aces On the dawn of a new round

Cards are dealt, the path set

And you think back to the faces Of jokers, smiling In that sticky kitchen

Where you were just playing cards.

by Katie Bevan

Simple Collage - Jack Thompson

The View from The Uffizi, Florence. - Angus Harker

Warwick Third Gen.

Three generations of Warwick:

How the University has changed (or not)

Just two years after Warwick University was founded in 1965, my grandfather joined as an undergraduate. Here, he met, married, and had a baby with my grandmother (yep, all in their third year). Then, that baby, who grew up to be my mother, was the second of my family to enrol in 1989. She too met the father of her children here, and now I am the third generation of my family to be a student at Warwick, potentially one of the first ever third generation students at this university.

There were similar pull factors for all of us when choosing to come here. Both now and in the 1960s, Warwick University was a new and exciting place, not just for academic research and development, but for growing student activism. My grandmother was present for the sit-ins in the early 1970s, which opposed the University’s prioritisation of marketisation and industry over the rights of its staff and students. My mother spent hours protesting outside the Barclays branch in the former Students’ Union, protesting the bank’s financing of apartheid in South Africa. For just the one term that I have been here, I have been lucky enough to witness the Warwick Stands with Palestine movement making their voice heard on campus. The culture of empowerment here has therefore persisted throughout decades of social change.

Warwick university was a new and exciting thing

My dad’s room cost only £19 a week

Other things have stayed the same since the ‘90s: the Cannon Park Tesco is the same one my parents used to shop in – trolley theft was much more easily forgiven back then. The men’s hockey and rugby clubs, although previously more contained to the Westwood area before the increased regulation of circling, have the same less-than-holy reputation. But the part of Warwick that has stood the ultimate test of time? Rootes. Rootes was the very first purpose-built accommodation on campus, where my grandmother and both my parents lived – albeit my dad’s room cost only £19 a week, compared to today’s £123.

Overall, that seems to be the trend. While I am the one to see Warwick at its most sleek and aesthetically pleasing (see: the Faculty of Arts Building), both my parents argue that so much of the University’s heart could be found in its cheapness. The Union, they say, was the ultimate hub of the university. As the only place to get food and drink on campus, while also being home to multiple bars and pubs, people spent more time there than they did off-campus, which is definitely a lot less common now. My mum describes how, in the equivalent of what would be today’s Copper Rooms, everyone’s sweat would vaporize and drip down from the ceiling as the night went on. While I could certainly live without cold sweaty ceilings, there is something appealing about a night out costing only £5.

Whether it’s because tuition fees have been hiked up and so students demand more bang for their buck, or because off-campus socialising has become more common in adjacent towns such as Leamington Spa, there is definitely an argument to be made that there was charm in the simplicity of 1960s and 1990s Warwick. As Warwick becomes more polished over time, perhaps it’s up to the students to keep the heart of previous decades beating. Until then, I’ve got to start looking for my future husband.

Ellen Bray Koss

Students demand more bang for their buck

Warwick in 2085

What does the future hold?

As the University celebrates its 60th anniversary, its future is now in focus.

To predict the future is hard: none of us would claim to be Nostradamus. Most Warwick students, in fact, tend to live in a sort of temporal haze, the notion of what lies after university existing only as an abstract concept paid lip-service to by the occasional internship rejection.

Asking Warwick students to imagine what the University might look like another sixty years from now would be hopeless; imagine asking a fish to visualise running a half-marathon. Yet, having approached some two dozen faculty members, all of whom had worked at the University for over 30 years, it is apparent that this scenario stumps them too, having apparently been institutionalised by decades of life in academic limbo. The onus thus falls, as always, on The Boar to speculate what Warwick will look like for the class of 2085.

What buildings will our students be studying in? One would hope, certainly, that these haven’t yet been constructed.

The University does have much-vaunted plans for an ambitious new Science and Engineering Precinct to be completed by 2033, to replace the current Science blocks which were built all the way back in 1965. The fact that these 60-year-old facilities are still very much in use today does imply we won’t have seen the backs of the FAB, only opened in 2022, nor the Oculus, completed in 2016, by the 2080s.

In the case of both the FAB and the Science Precinct, space was made for these expansions by axing old car parks, so any new facilities will probably wind up being built on the sites of the current multi-storeys opposite Junction or Claycroft. It also remains to be seen what Warwick does with the site of the Humanities Building once longstanding plans to put the RAAC-riddled prison block out of its misery are finally executed in the indeterminate future.

What will Warwick stand for? Strategy 2030, unveiled last year, gives a

suggestion – although it isn’t particularlysurprising. Innovation, inclusivity, and global influence: as it was, so shall it be. Like all British universities of late, Warwick has been battling increasingly severe financial headwinds as student enrolment numbers fall and inflationary costs remain high. The response by higher education has been to invest heavily in the lucrative business of attracting international students, who come bearing far higher tuition fees than their UK counterparts. Any universities which do manage to survive until 2085 will likely be international in nature. Global institutions, rather than just ‘British’.

But will that really affect the future Warwick’s students? Having reported student concerns for over fifty years now, The Boar knows better than anyone that it is the same issues over and over again that drive conversation on campus: complaints about accommodation fees, complaints over the prices of SU outlets, complaints with public transport. If predicting the future 60 years from now is entirely guesswork, the one thing that can be said with total conviction is that students will always find a reason to have a moan. The accommodations may look different (Rootes, no doubt, will remain completely unchanged), the SU might be completely vegan, and the buses might even fly – but no doubt, all three will remain as derided as ever.

Martin Day

Warwick Thai Boxing’s Fight Night

Whether you’re new to combat sports or a Thai boxing veteran, Fight Night offers an exciting event with community at its heart.

Warwick Thai Boxing is poised to thrill spectators yet again at its sixth annual Fight Night, slated for 22 February at The Assembly in Leamington. Last year’s event sold over 530 tickets, combining explosive fights with commendable charity efforts. This year’s edition is set to be even better than the last.

In 2024, Fight Night showcased 28 non-decision fights, hailing competitors from five universities across the UK. Under the previous Thai Boxing President, Zoe, the event incorporated a charity element, raising over £2,000 for the Coventry Rape and Sexual Abuse Centre (CRASAC). Current President, Shiela, has set her sights on even higher fundraising goals, aiming to “hit the previous target and above”.

Shiela explains that Fight Night consists of two main parts: “The first part of the day is where general members of the Thai Boxing club fight and compete against other universities. Usually, this is in the form of non-decision fights, leading up to decision fights at the end of the first half.” In Thai boxing – also called Muay Thai – a decision fight is when a winner is determined by a judge. Non-decision fights are often a stepping-stone to decision fights, generally seen as less intense as no definitive winner is announced.

The second half of Fight Night is the charity element. “We recruited people from different societies who had no past experience in Thai boxing and trained them up for their first decision fight, representing their society while raising money for charity.” 11 societies and sports clubs are taking part this

year, including Politics, Dodgeball, and Homeless Action. Even the SU’s Sports VP has taken on a fight!

Featuring competitors with little to no Muay Thai experience, charity fights mark the culmination of an intense training journey. Charity competitors gain access to Boot Camp and Fight Camp, two six-week training camps offered by the society. Fighters learn basics in Boot Camp before becoming comfortable with sparring during Fight Camp.

Women’s Officer and Captain, Tegan, unpacks the physical and mental journey fighters undergo to get to the ring: “The most important thing is building up confidence and letting the fighter know that they will be in a safe environment. It’s not just about skill, but about being brave.” Fighters become familiar with combination drills and pad work before swiftly moving on to sparring. “We aim to get people sparring as soon as we can. We need to teach people that it’s ok to be hit. Nothing bad is going to happen – it’s safe,” Tegan explains. She also emphasises the importance of fitness to build stamina in the ring, encouraging fighters to go on runs in addition to attending a minimum of three training sessions per week.

Having previously competed at Fight Night, both Tegan and Shiela described fights as “nerve-wracking” yet “intensely rewarding”. They fondly recall the support of friends, the rush of adrenaline, and the pride that comes from accomplishing something new. Tegan shares: “[I]t’s an incredible feeling stepping into the ring and feeling unsure, later coming out of it with something you’ve never done before.” Reflecting on her second role as a mentor in the corner of the ring, she describes the “amazingly rewarding” experience of “watching people conquer their fears and develop a new passion for a sport”, noting that

many charity fighters continue with the sport long after the event.

Last year, Warwick Thai Boxing won the SU’s ‘Reshaping Sport’ award for its efforts to increase female representation. The club has come a long way. Tegan shared that when she first joined Thai Boxing three years ago: “there were about two-to-three women in a class of 30. For years I wouldn’t go to an advanced class, afraid I would get beaten up by some guy.” Since then, Thai Boxing has greatly increased female participation in the male-dominated sport. Every Sunday, the club hosts a women’s and non-binary session led by a female coach. To cultivate an inclusive community, the executive committee organizes socials, manages a dedicated group chat, and provides women and non-binary members with priority access to all training sessions.

For Fight Night, Shiela is aiming to further the club’s impact by increasing the number of female fighters and donations to CRASAC. The charity supports women and individuals affected by sexual violence through counselling and other specialist services – an admirable cause for a male-dominated combat sport to champion. Funds will be raised through ticket sales, donations, and a food stand at the event.

Fight Night is tentatively set to run from noon until 10pm, with charity fights taking place in the evening, starting around 7pm. Tickets will be available on the SU website around the end of January to early February. Best to act quick – while cash payments at the door are an option, Shiela recommends purchasing tickets in advance to secure your spot.

Gabrielle Welch

KALEIDOSCOPE INTERVIEW WITH SOPHIE HOLLINGWORTH

Hannah Keane

On 17 November, Classical and Modern Dance Society (CMD) held their Term 1 show, Kaleidoscope. I spoke to Sophia Hollingworth, the show’s coordinator, about the show, CMD, and how the society contributes to student life here at the University of Warwick.

CMD is one of the biggest dance societies on campus with over 135 members. Sophia explained that they “offer a variety of dance styles with different skill levels”, catering for beginner, intermediate, and advanced dancers. They also offer classes in commercial, pointe, contemporary, and more.

Sophia told me that CMD is “a very inclusive society where everyone can join” and “everyone really has a chance to shine, no matter if you’ve danced your whole life, or if you’ve just never danced before coming to university”. She added: “If you decide to try it out, then we really celebrate that.”

CMD host two dance shows every year in Term 1and Term 2. As the show’s coordinator, Sophia was tasked with creating the whole concept. She decided on the name Kaleidoscope as she felt it fully encompassed the diversity of the dances and dancers within the society. She loved the idea of a kaleidoscope “as

a sort of object where you can see all these different, beautiful shapes and colours”, suggesting that “they’re all unique, but everyone is gorgeous in their own individuality”.

The event was completely student-run, with all participants given the opportunity to decide which dances they wanted to perform in. Sophia explained: “All the dance classes that you go to, you have the chance, if you would like, to sign up and be in the show. So, people at Warwick really get to choose how many dances they’d like to be in and in what style.” This illustrates how collaborative the show truly was.

As previously mentioned, Kaleidoscope was filled with a variety of dances. These dances were not only from CMD but in collaboration with societies such as Hip Hop Dance: EQHO and Latin and Ballroom. When asked what her favourite dance was, Sophia struggled to choose as “every single dance in that show was brilliant”. Although, she noted that both the advanced jazz dance ‘Runway’ and Act Two contemporary opener ‘Running with the Wolves’ particularly stood out.

Putting on such a big show was no doubt a challenge. Kaleidoscope featured a variety of dances, with around 110 dancers participating.

When asked how she managed to organise the event alongside her studies, Sophia revealed: “I spent the entire summer timetabling what my Term One would look like. Every week, I had certain tasks I had to do by the end of the week including sending out certain forms, emailing the Arts Centre, and making sure a teacher had their music sent to me.” This highlights the amount of dedication and work that it took to create the show.

Sophia also drew attention to how much support she has received from other members of the company during her time at CMD. She said: “We are a society that really loves each other, and we are a massive community. We really like spending time with each other. With big events, charity events or just general socials, lots of people turn up and are really excited because it is such a welcoming society.”

Sophie Hollingworth experimenting with ‘the great thinning’

Image: Instagram

There is no doubt that the key values of CMD include not only community but also charity. On 29 November, they hosted a dance competition between all the sports societies for Sport Relief. Sophia added: “In Term 2, we have Pink Week, which is our Charity Week, where we raise money for breast cancer awareness. The entire week is filled with different charity events, and we hold the CMD ball at the end of the week. The ball is a really big one for us because we get to raise even more money for a cause that we really care about.”

As a university, Warwick is constantly adapting and changing, and societies have to adapt alongside it. When asked what she thinks the society will look like in 60 years, Sophia said that she hopes that it remains the same fun, enjoyable, and close-knit community. She also added: “I’d like it to just keep expanding. Every year we’ve managed to get more involved in the community and expand our outreach. I I hope that shows keep going and that people still get to perform.”

Thank you again to Sophia for letting me talk to her about Kaleidoscope and all things CMD.

Get ready for an explosion of sequins, swirling skirts, and fancy footwork! Warwick Latin and Ballroom (LnB) is set to ignite the Copper Rooms floor on 24 January with their annual ‘Warwick Does Strictly’ event. Inspired by the BBC’s hit Saturday night entertainment show, this year’s dazzling display promises an evening of glitz and glamour.

“We would be lying if we said it wasn’t stressful at times, especially around partnering!” admits Clementine, one of LnB’s Events Officers alongside Alice. “Making sure everyone is happy in their partnerships is crucial and we want everyone to have a great time throughout this whole process.” This year’s crop of ‘celebrities’ come from a wide range of clubs and societies, including

Mixed Netball, Swimming and Water Polo, Trampolining, and Musical Theatre Warwick, with 11 student dancers – the competition’s ‘pros’ – ready to guide them.

Despite the pressures, the organisational team is clearly driven by their passion for Latin and Ballroom and the spirit of the show. “Alice and I love all things LnB, and as you can probably guess, we are huge fans of the show! We really want to do it justice and represent our sport as best we can,” Clementine shares. The journey has also been deeply rewarding, providing an exciting creative freedom alongside other valuable experiences for the pair. “While it has been eventful, we’ve thoroughly enjoyed the process. Having complete creative freedom and the chance to organise such a major event is an experience we’re both incredibly grateful for.”

For Charlotte, one of the ‘pros’, the experience holds a deeply personal significance. Sharing her passion with partner TJ has been a joy. “I am loving teaching someone about something I love so much, it is an absolute pleasure.” She has also found the creative aspect of the challenge particularly invigorating: “I’ve never choreographed a dance before, and getting free reign with the steps is really exciting.”

As the performance approaches, anticipation among the contestants is mounting: “I’m so excited to be sitting backstage with TJ, I’m excited for the buzz, hearing the audience, and giving him a massive hug once we smash it!” Charlotte shares. Looking back on her time as last year’s organiser, she reflects: “I was inspired by how much fun everyone had dancing last year, and the long-lasting friendships that were formed – I just had to get involved.”

From coupling and costumes to the cha-cha-cha and Charleston, the competition has a rich history. Alice notes: “We have references to Warwick Does Strictly going as far back as 2007. We cannot say for certain how it started, but we suspect an enthusiastic Strictly fan suggested the idea and it stuck!”

This year’s event also partners with disability charity icandance: “At Warwick Latin and Ballroom, we believe

everyone should have the freedom to express themselves through dance. This is why we are raising money for icandance… [It’s] a wonderful charity that empowers disabled children and young people to express them selves through dance and perfor mance.” In addition to tickest sales, students will be able to support their favourite couples through donations.

For anyone inspired by the dazzling performances this year, the club encourages anyone interested in taking part next year to reach out via Instagram and join the waiting list for Warwick Does Strictly 2026!

So, mark your calendars for 24 January, and follow @warwicklnb on Instagram for couple reveals and more as tickets for Warwick Does Strictly are set to hit the SU website soon. Bring along your flatmates and friends, including that one friend who claims they can dance but actually has two left feet, from 7pm to LnB’s sequined takeover of Copper Rooms 1! And if you can’t make it in person, you can still watch the event by tuning in to the livestream on Warwick LnB’s YouTube channel.

Looking ahead, Events Officer Alice is excited about the future of Warwick LnB as the University approaches its 60th anniversary in 2025, envisioning continued growth for the society: “Warwick Latin and Ballroom has expanded year on year, and in another 60 years, we hope to have even more enthusiastic dancers than we do now. We also expect our hugely successful home competition, Warwick Varsity, to grow even bigger and better.” Finally, she affirms: “And, of course, we’ll still be running our fabulous Warwick Does Strictly!”

Anna Bickerton

The Value of Creativity at Warwick,

according to

Sequoia Zine was launched as a project to showcase East Asian and Southeast Asian creatives. Founded by Marguerite Pan, the project started with a small group of creative Warwick students and an Instagram page. Since Sequoia began in January 2024, they have created an incredible online zine, putting together a large executive team that has run workshops and photoshoots.

The first edition of the Sequoia Zine included submissions such as song lyrics, paintings, and poems, which were then carefully curated into a magazine using Canva. To launch and celebrate the magazine, Sequoia Zine hosted a party which included a workshop run by Malaysian actress and writer Vera Chok. Marguerite described the launch party as a “satisfying culmination of everyone’s efforts”.

Despite university work often occupying most of our time, Marguerite and Sequoia’s President, Kelli Wu, have highlighted the importance of persisting with creative activities. Particularly as Warwick is such a prestigious university, students face a lot of pressure to achieve, so Sequoia provides a creative escape from academia, Marguerite says. As the only East and South-East Asian society on campus, Kelli hopes that Sequoia Zine can promote this heritage and bring people out of their shells.

Sequoia hopes that in 60 years society will print physical magazines and hold creative events with more variety. It will be a well-known society, so that when new students arrive, they can immediately turn to Sequoia and find comfort amongst other creatives. Regardless of what you study or how imaginative you think you are, creativity is so valuable at Warwick, serving as an outlet to express yourself and collaborate with friends, Kelli says.

Sequoia plans for more events and another magazine edition, so keep your eyes peeled for new announcements!

Annalise Smith

THE EVOLUTION OF WARWICK ART SOCIETY

Warwick Art Society is a shining example of creativity and inclusivity on campus. As one of the many vibrant societies on offer, its mission to inspire and support students is truly remarkable. While talking to the current President, Anjali Mehta, she remembers a memorable clay workshop where, despite being fully booked, students filled the floor to try a new craft and immerse themselves within the society. Anjali explains: “When someone comes to our events, we don’t want to send them back.” This warm spirit has been a hallmark of the society since its humble beginnings as a small group with an even smaller team.

Though the society faced challenges early on, such as a lack of communication and events, Anjali credits the 2022 team with revitalising Art Society through regular events and outreach efforts to engage new students. Despite this growth, the core mission remains unchanged: bridging the gap between new and seasoned artists by offering a wide array of accessible and affordable events.

Anjali emphasises that artistic skill is never a barrier to joining the society: “With Art Soc, you

An interview with the president

Zahra Jazmina

don’t need to know how to draw. You can come if you can draw a stickman.” This open-minded approach has made Art Society a welcoming space for all, regardless of experience. Although Art Soc is still considered relatively ‘new’ by the team, its ambitions for the future are anything but limited. In the next 60 years they hope to experiment and push the boundaries of digital art, fostering more creative experimentation. Reflecting on the society’s remarkable journey, Anjali proudly says: “If it lasts over 60 years, then I know I’ll [have been] part of something great.” Warwick Art Society’s growth and enduring commitment to nurturing creativity are a testament to the power of community and imagination.

Is gossip a force for good?

A conversation with Warwick Tea

“I HATE GOSSIP”

is written in black sharpie across her front.

Balancing three pints – two in-hand, one between her teeth – she manoeuvres through a lively crowd of students, heading toward a group clad in matching, graffitied t-shirts. Joining them, she notices her chosen message is far from original. It’s a white lies-themed circle and four others arrive sporting variations of the same phrase.

In truth, everyone loves gossip. Nothing matches the thrill of unleashing a bombshell of new information among friends.

In truth, everyone loves gossip. Nothing matches the thrill of unleashing a bombshell of new information among friends. A mutual you vaguely know has done something outrageous? The perfect conversation-starter. Gossip fulfils the human need to feel connected to a larger community, assuring us that we’re part of a greater whole.

In her book Gossip and Organisations, psychologist Kathryn Waddington describes gossip as a form of social network building whose purpose is to “…entertain, supply social information, and establish, change or maintain group membership.” Besides providing entertainment and belonging, Waddington also describes the role of gossip as to maintain group power structures or norms.

Gossip presents the opportunity to make a moral judgement and sets standards of behaviour between the gossipers. In condemning the same act or person, gossip establishes common values and builds trust. The act functions as an unwritten social contract and bonds people together. Despite its benefits, gossip remains widely condemned. The idea that gossip is ‘bad’ largely stems from sexist attitudes discriminating against the ways in which women communicate.

In Western culture, women and gossip have been closely linked throughout history. ‘Gossip’ was originally coined in the sixteenth century to refer to someone who assisted the midwife.

‘A Gossip’ was responsible for spreading the news when a child was born. The stigmatisation of gossip speaks to a cultural distrust of female agency, particularly when women are out of sight of men.

Digital Scholar Inger Mewburn describes how women, among other groups, have commonly employed

gossip to curb the powerful without direct confrontation. In the same way that gossip creates valuable, trusted networks, it also wields the power to dismantle them. “Information is power and gossip is one way of hoarding and leveraging non-positional power over those in positions of authority.” Undermining traditional hierarchies, gossip makes people less willing to blindly cooperate.

Schools and universities create the perfect environment for gossip to thrive. In competitive academic environments, power struggles are dynamic and intense. A campus university like Warwick offers abundant opportunities for gossip, providing the perfect ‘Goldilocks effect’ — it’s small enough for people to be connected to gossip in some way, large enough to ensure there’s always something worth gossiping about.

Online submission pages have transported university gossip into the digital age. Nearly every university in the UK has an online gossip page - accounts that publicise anonymous submissions from students to a wider network of followers. Warwick Tea is the latest account to join the scene, carrying the torch passed from last year’s Warwick Grapevine. Posting to an audience of over 2.5k followers, submissions range from the political to the scandalous to the mundane, all bearing the slogan “gossipum est bonum.” In an interview with The Boar Magazine, Warwick Tea stays true to their brand and responds anonymously. Speaking on gossip’s role in university life, Tea maintains that gossip serves a greater purpose, “not just at Uni but in life in general” and preaches the “fun and distinctly human” act of “chatting about tea with your mates.”

Students scroll through Warwick Tea driven by the urge to see if any posts feature themselves or simply to snoop on the lives of others. The page primarily functions to publicise inside jokes among friends. Despite not knowing the identities of those featured, our human curiosity persists. The sources of online gossip are never verified, and there’s no process to screen those permitted to submit gossip. Consequently, while online gossip is abundant and easy to participate in, it is often wrought with misinformation and hate. Warwick Tea doesn’t deny the negative impact, “technology makes it easier to spread gossip anonymously which often leads to increased toxicity,” though insists that technology has allowed the account to “have fun with gossip, creating a brand and fun captions everyday is always good fun.”

Gabrielle Welch

Anonymity is key to the pages’ appeal— gossip accounts receive outrageous submissions and maintain popularity for the guarantee that the author’s identity will be concealed. Like many other gossip platforms, Warwick Tea takes a fairly informal approach to moderating submissions: “originally, we didn’t moderate the submissions beyond initialising certain submissions and choosing not to post a couple pieces of blatant, racist hate speech.” Though recently, the account decided to remove additional “specifying details” such as “people’s degrees, in cases of particularly serious and negative allegations.”

The line between hate speech and gossip is one that can be difficult to draw, the moderators behind Tea finding it “difficult sometimes to determine the difference and to work out what to post,” discussing how to moderate against “extremely serious allegations”.

During last May when an on-campus screening of the Eurovision song contest was cancelled due to pro-Palestine protests, many took to Warwick Grapevine to vent their frustrations. Both protestors and Eurovision fans were aggravated, posting strongly-worded comments on the page. Grapevine took a stand, uploading a statement which expressed their “dismay at the decision to cancel,” criticising the “division and hatred” the protestors brought to campus. Citing Grapevine’s disclosed bias, comments challenged the account’s true intentions. A post following the statement gathered comments from both sides condemning the other, underscoring the role of gossip pages in fostering polarisation. Under the veil of anonymity, individuals feel emboldened to spread hate.

To avoid ‘toxic gossip’, Tea advises students to contribute “funny, less serious” submissions.

Naturally, if empathy was at the heart of gossip sites, they simply wouldn’t be nearly as exciting, or exist at all.

To avoid ‘toxic gossip’, Tea advises students to contribute “funny, less serious” submissions. “Hearing ridiculous stories and accusations, combined with some particularly creative and unique wording is always a joy for us to read and post”. Gossip can function as a natural and healthy part of life but, like anything, it has its limits. With the rise of technology, these limits are increasingly tested. But why are we taking this all so seriously? After all, isn’t it just a bit of fun?

ultimate gossip

at Warwick? Are you the

Are you the first person to talk

yes no

Do you mainly talk about your work?

See last page

Do you read Warwick Tea?

Are you the first in your friendship group to update others on new drama?

Do you follow more than two Warwick gossip pages on Instagram?

Are you a STEM student who studies in the FAB?

Do you submit to any of them?

Well done, you’re a great student

Great work, you must be really focused on your degree

Have any of your submissions caused a stir in your friendship group?

Do you still talk to your first year friends?

Have you had to lie about your submissions to your friends?

Do you talk about what you’ve overheard in the FAB with your friends socially?

Damn, you’re a finalist

Do you cause drama in smokers?

Yay, you’re a nice person - probably

Do you know what a BNOC is?

Do you go out of your way to talk to BNOCs?

Did you put yourself forward for any BNOC Competitions?

Congratulations, you’re the reason pages like Warwick Tea stay alive!

The Art of the ‘House’ Party

An interview with Diskotheca’s Leopold Rupf

Sebastian Smith

For those in the Leamington know, Leo Rupf’s Diskotheca collective is the one-stop shop for a good house party in either sense of the word. From my time in second year, I can personally attest: easy music, easy company, never a bad time. Now, Diskotheca events are pulling in crowds of hundreds in Hong Kong.

It was nice to sit down and chat with him again. In what was – and I truly mean this in the most endearing way possible—typical Leo fashion, we warmed ourselves up by chatting about Leo’s recent excursions hopping around China. Apparently, the Beijing underground scene is “fire,” but, as someone who self-purportedly lives at night, he told me he couldn’t judge Shanghai properly without having seen its bars and clubs. Alright then!

It was then I was reminded of the personality responsible for the local nightlife staple turned miraculous international hit. Leo isn’t the least bit

shy about himself or what he wants. The man is always on the move and sports a sense of personal agency to marvel at. Our 45-minute conversation has been edited for brevity. I began with:

How did Diskotheca start? What’s the story here?

“So, I really like house music.” Shocker, though I suppose it seemed like a solid basis to begin with. But Leo wanted to take us way back.

“It’s 2020, lockdown, and essentially, I drop out of school – I’m doing the IB, hate the IB – and I’m like, let me be a DJ. I float around from random gig to random gig in London, sleeping from 9am to 6pm. I guess that’s where that seed of nightlife germinated in me.”

When he figured out he should probably go to university, he arrived and found little in the way of house music. He did a bit of work for Access in his

Images: Violette de Boncourt

second year, but up came Moko and Toolbox, and the Leamington music scene was a tad fragmented. Leo, like me, was also a little tired of our weekly Altoria trips.

“I still to this day prefer house parties to club parties. You’re not paying out your arse for drinks, you’re with your friends, you’re not going to get in a fight, and for girls, there’re less creepy men.” Solid points.

He knew the house-at-home idea could work when he did his birthday party on 21 November 2023. I was there sporting my Hawaiian shirt and cargos in the 2-degree weather. Boys ‘n Bikinis, he called it. Anyway, after he mixed at a German Society house party the following January, he was basically set. He had, by this point, amassed a small band of “Italian hype men,” as he called it – but he quickly stopped himself: “Actually one’s Finnish, he just hangs out with Italians.” Such is life at Warwick. Huge praise was also sung for Violette, his photographer. “Diskotheca would be nothing without them.”

He then got his girlfriend, Clara, on board, who is a mean graphic designer. Through a new Instagram account (@diskotheca), they advertised for their first party, which was held on

23 February 2024. Their later parties followed a winningly neat formula of intimate venues (student houses), low or zero entry fees, BYOB, and largely weekday-only dates. If it ain’t broke, right?

The rest of the questions we banged out rather quickly.

Were you nervous for the first event?

“Yes. But you gotta f-cking want it. You gotta have the balls to go and get it.”

How did you set up in Hong Kong?

“A guy I knew from Access had thrown a party there, and he gave me the name of the club. I got in touch with the club, spoke to the guy, and he gave me a minimum spend that wasn’t too crazy.”

It’s important to note that before this, Leo was gauging interest through massive abroader WhatsApp communities. He sent out announcements and made his own chats. He timed the first party early.

“If you want to get in people’s heads, you have to do it right at the beginning. I’m looking at when the student parties are, which I know will be sh-t, but people will go anyway. But fresher’s week, people want to go out. They’re not going to give a sh-t what the party is – they just need a party.”

The party also had to be on a weekday. “Loyalty to the brand.” This was all organised before he even touched Hong Kong soil.

Aside from WhatsApp, the marketing strategy was clear. “In terms of selling, word of mouth is far more powerful. Selling to their face is counterintuitive.” As you’ll find, if someone has to pitch you the event, something has gone wrong.

What was your ‘monumental’ moment with Diskotheca?

“When we opened the ticket sale for our Halloween event in Hong Kong and sold 200 tickets in about 15 minutes.”

That event’s total turnout was near 450 people. He also cited the first party as pivotal. Offering free tickets, he was legitimately nervous people wouldn’t turn up. “Like, even I’d get a free ticket anyway, even if I think I’m not going to go. The more expensive a ticket, the more likely someone is to show up. So, I was definitely nervous. But people showed up and showed out.”

What are the biggest challenges?

“Managing the crowd. They want a lot. And they’re easily unhappy. Quick to critique, slow to praise.”

How does Diskotheca exist within the student life here at Warwick? What is its purpose?

“Great. House. Parties. We are dedicated to the brand of the house party.”

And lastly, what do you think Diskotheca will look like in 60 years?

“I want to take Diskotheca with me. I want it to be f-cking big. But once I become a politician, I’ll probably have to stop.”

‘We probably don’t see Warwick campus as a

Katie Bevan

Armed with a smartphone, tiny mic, and a keen eye for second-hand style, the exec of Warwick Clothes Circuit have taken on the guise of the modern-day hunter: the street-interviewer.

Inspired by the YouTuber, Not So Blonde, and her series What Are People Wearing in Paris?, Haneefah, Circuit’s Head of Social Media, saw an opportunity to showcase Warwick’s own sharp and sustainable dressers.

“You really get a taste for somewhere, a destination, and a lot of inspiration and vulnerable bits of humanity, which would seep through into their fashion interviews,” Haneefah remarked. “I wanted to do this in and around uni, inspired by the people I generally saw walking around or from the bus stop.”

And so, What’s Warwick Wearing (WWW) was born. Hailed on their Instagram as the “perfect way to convey what the environmentally conscious baddies (all inclusive) are wearing on campus”, Circuit have taken to promoting their sustainable, ethical, and circular message through the art of the street interview montage on Instagram Reels.

“For finding and approaching people, it’s really a trial-and-er-

Warwick Clothes Circuit

on What’s Warwick

ror process,” said Orla Watson, Co-President of Warwick Clothes Circuit. “When you’ve been charity shopping for a while, it’s easy to identify someone who is wearing something that may be thrifted.

“Sustainability is definitely at the forefront though. The first questions we ask are ‘what are you wearing?’ and ‘is anything sustainable today?’. It does get increasingly difficult with a lot of retail brands making vintage designs, and it’s also difficult getting people to understand that. If you look at a lot of fast fashion now, like Jaded London, it rips off a lot of small and sustainably sourced brands. When people think it’s the ASOS Vintage line, it’s like, it’s not vintage, it’s still contributing to environmental degradation.”

And that ‘environmental degradation’ is a key concern for the Circuit team. Launched four years ago, during Covid, by a group of friends who were as equally environmentally conscious as they were fashion-focused, Circuit was originally a way for people to enjoy second-hand fashion in lockdown, swapping clothes whilst social distancing. Since then, Circuit has grown to occupy the cross-section of creative and green societies on campus, creating its very own Warwick-centric fashion community that champions the environment.

“When I think about Circuit and what it’s promoting,” said Orla, “it’s primarily circular fashion and sustainability. It’s about not contributing any more to how many clothes we currently have in the world, because we have more than enough already.

culture, but it is’: Circuit

Warwick Wearing

“But where a paradox comes in [between the environment and fashion] is, I’m very passionate about creative fields and would hate to see the end of new fashion ideas just because we want to keep things circular.”

Therefore, a series like WWW could not be timelier or more important. In showcasing montages of the very best sustainable fashion on campus, Circuit are proving that striking the balance between pushing the stylistic boundaries whilst respecting environmental ones is an easier feat than expected.

“Haneefah said that for her, and I think a lot of the other Circuit girls would agree, that some sort of DIY aspect is important [when looking for outfits to include in WWW]. If you can tell someone has really changed a piece to suit them, maybe they’ve added a lacey hem or some crochet, or just shown some thought, then that is really nice.

“For me personally, I really notice when people pay attention to the quality of an item and longevity. It doesn’t necessarily have to be super out there, but just something that suits them and is functional. So many styles go around, like Cottagecore and the Mob Wife aesthetic, but if we think about it people used to wear these things because they did live in a cottage or have that ‘Old Money’ Italian lifestyle. Whilst choosing and experimenting with a creative identity is good, so is choosing something that suits your life. It’s important when people engage in their culture – if you listen to rock music, reflect that in your style and go for it. “We probably don’t see Warwick campus as a culture, but it is. It does have its own distinct culture. And in being able to see individuals [in WWW], it can shine a light on all the individuals that we have at Warwick as well as promoting our sustainable outlook.”

Receptiveness to the series may have been somewhat split, with some – mainly girls – being excited by the prospect of showing off their outfits, whilst others – mostly men – have declined Circuit’s requests. However, it is undeniable that Circuit’s presence on campus continues to grow. “We’ve been trying to think bigger,” said Watson, “and we’ve been doing a good job of it. People are up for engaging in a creative, social space because, unfortunately, it is lacking a little at Warwick. [Fashion] is great in cities – it is so much more accessible, which is why I think it’s important at Warwick because people don’t necessarily have a fashion scene on campus. It’s good for people to be able to express themselves, and to be given the outlets to do so.”

As for, say, 60 years into the future: “I think we’ll need the Circuit message even more, making sure that we keep working in a circular community to keep people mindful about consumption. I think with the way the environment’s going and the way capitalism is reaching this peak, we’ll reach a point in 60 years’ time where there will be a rejection of consumption. Hopefully in 60 years, Circuit will be bigger. It will feel natural to join the society as opposed to a statement.” Indeed, What’s Warwick Wearing may be just the series to propel Circuit, and their sustainable message, to that status.

So, on campus, keep an eye out for the well-dressed exec of Warwick Clothes Circuit in their street interview ammo. They may just be on the lookout for you and your sustainable wardrobe.