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Dublin’s DJs Maisie Greener gives a much needed status update on Dublin’s nightlife scene, speaking to DJs Jezebel, Jenten, FKA Twitter and Sahana on their influences.

REVIEW

SPEAKING WITH

Ella Parry presents the new spot on Drury Street where you can overspend on lunch and waste study time page 10»

Sadie Loughman chats with the start-up blending acoustic music and yoga, providing a new space to bring people together page 8»

MANI

Sunflower Sessions

universitytimes.ie/radius

Volume XV, Issue 4

Monday 29th January, 2024

Ella Hussey RADIUS EDITOR

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Nell Mescal: Homesick to Headlining

udience cheering wafted around the room in Whelan’s as singer-songwriter Nell Mescal walked onto the stage.

At the second show of her tour, Mescal angelically stood with just a spotlight and her piano, as she opened her Dublin show with her hit ‘Graduating’. I spoke with the Kildare-born-and-bred singer a week before her Irish tour was set to begin. Sitting at home in Meath, Mescal joined the Zoom from the studio in London, where the singer is working on new music.

A longtime admirer of her music, I was initially nervous to speak to Mescal. Noticing that we had the same dog, as mine wandered in the background of the camera, her immediately warm presence alleviated any worries I had. It’s crazy to think that a week later, I stood watching her headline a sold-out show.

Although the pandemic was a stagnant period for most, Mescal took it as an opportunity to boost her career. Admitting that even though she started releasing music in 2020, “I feel like it has just started now, that everything before was just a warm-up”. She joked that she was grateful for the opportunity to take down her previous releases and essentially “start again”. Despite having wiped her slate clean, Mescal still holds the same loyal fanbase that eagerly anticipates her new music.

She says, “People love the songs I took down but I’m lucky that people are waiting for new music that I’m putting out”. Her fans have embraced the evolution of her sound as they sang along to all her latest releases throughout her set.

‘Homesick’, Mescal’s most popular song, grapples with the idea of longing to go home, although the singer wryly notes that “it’s about a load of different things”. I asked the 20-year-old how it feels knowing her music has been so widely related to. Singing about relationships to friendships to finding your feet, Mescal says that her music “should feel like you’ve just read something that I should have kept to myself”, quickly adding that “it is subjective that you can relate to it”. Listening to her discography, it’s clear to me that Mescal writes music to evoke emo-

CONTINUED ON PAGE 6 »

Inside:

Radius Reads page 8 »

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Your Week Ahead page 3 »

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In Our Radius: The Complete Trinity and Dublin Events Guide page 14 »

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The University Times Monday 29th January, 2024

Trinity Trend: 2024 Campus Ins and Outs Eloise Sherrard DEPUTY FASHION EDITOR

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nother year, another strut-it show on the daily around campus. As we welcome the new year, we also welcome (or in some cases suffer the sight of) everyone and their mother’s 2024 “Ins and Outs” lists. So, I thought I’d put my own spin on this by considering Trinity’s trends — which looks should we expect to see strutting past on repeat, and which should be banished through the front gates, never again to return? Just as a disclaimer before I commence, the opinions which will be expressed are not purely my own, but are based on the many varying opinions of different individuals whom I have consulted on this matter.

Scarves Can you imagine a Trinity

in which campus wasn’t clarried with scarves — long scarves, short scarves, thick scarves, ties as scarves, and of course not forgetting the Arts Block signature, the ubiquitous skinny scarf.

I’m often surprised that the iconic Campanile stands tall yet bare, not sporting a scarf like almost all those who loiter below it. And so there’s the problem, despite the jokes poked at scarves about how they are overworn and unoriginal, it is undeniable that they are a Trinity staple. Not only do they carry out their primary function of keeping one warm, but they jazz up many outfits, can be thrown over one’s head in case of a freak rain shower, or even better can be quicky flung across one’s face if one were to spot an undesirable individual walking in one’s direction, which may lead to an undesirable encounter… what a stylish disguise! Ultimatum? Scarves are in as they could simply

PHOTO VIA @SARASVALBERG ON INSTAGRAM

never be out.

Doc Martens If I were really foolhardy, I might just outright say that I believe Docs should be out, but I perhaps best bite my tongue as I can just hear the stomping rage of hundreds of pairs of lace-upblack-booted feet, as those who they carry read these very words. Yet I must ask, reader, if you yourself find yourself with a pair of these black blocks on the end of

your legs, I must ask, how do your feet feel right now?

I ask this because, of the many lace-up-black-booted cult sporters whom I have encountered, I have never heard a single one describe these romper-stompers, as my granny would call them, as “comfortable”. In fact, I have only heard opinions on the contrary. Don’t get me wrong. I think they look great, I really do. How could anyone object to the aesthetic of a good versatile

black leather boot which matches almost everything?

It’s not their aesthetic I resent but rather the many cries I have heard from their blistering wearers. But I mean, I’m one to talk, as I have never even touched a Doc Marten. But I will say that my two beloved pairs of boots by the brands “Unisa” and “Call It Spring” feel like I am walking on air when I wear them. Ultimatum? Boots will always be in, but maybe we should reconsider a more comfortable pair than the Docs.

Bags It is a rarity that you spot anyone without a bag on campus. Shoulder bags, satchels, the iconic tote bag and, if you’re really serious, the backpack. Obviously, bags are essential for us incredibly studious students (especially Arts Block students with all those heavy slab-like ornamental books). And some of these

bags go beyond just their mere functionality, as there is little I love more than eyeing up the many artistic images on many tote bags, and so they are definitely in.

However, my gripe is with backpacks… or rather more precisely, how they are sometimes worn. A backpack on one’s back is one thing — it is by no means attractive or eye-catching. Yet I’ll tell you what backpack (or perhaps it would be more appropriate to label it as a stomach-pack) is eye-catching, one which is worn on one’s front, especially when there is already one on the back. Granted, it is a rare sight to behold, but trust me when I say it is one I have beheld before, but most certainly never wish to again. Therefore, bags are in, but some of the ways in which they are worn are most definitely out.

Whether you agree or disagree, I think we can all agree that we hope 2024 is Trinity’s trendiest year yet.

Monstrorum: Natural History through an Artistic Lens Danielle Briody CONTIBUTING WRITER

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he newest exhibition in the Royal Hibernian Academy (RHA) Gallery is Dominique Crowley’s Monstrorum.

The collection sits in the Ashford Gallery — one of the first rooms visible from the entrance — and consists of several bodies of work.

Most of the pieces are set in resin and each one is explosive in colour and imagination. The concept of the collection is inspired

by Ulisse Aldrovandi’s 1642 book, Monstrorum Historia.

The book explores the history of monsters and other mythical creatures, and it is part of a larger encyclopaedia on natural history. The illustrations in it are both otherworldly and incredibly precise, and it is this relationship between myth and science that Crowley explores in her own Monst-

rorum.

Crowley’s art is better understood with the knowledge of her background.

With degrees in medicine, child health and medical toxicology, Crowley is widely versed in scientific discoveries and explanations for anomalies. After a career in public health she pursued her love of art and eventually earned a Master of Fine Arts degree in the National College of Art and Design (NCAD). Her work illustrates an intersection between the nature of scientific discovery and the inherent beauty of this accumulation of knowledge. Monstrorum tells the story of historical research and dedication towards finding more beauty and more oddities in the history of the world.

Crowley creates a fictional natural history museum in the Ashford Gallery that reflects her own personal interest in historical descriptions of the natural

world. It combines the objectivity of natural science with the subjectivity of the art and imagination that fuels it. One of the most notable pieces in her collection, and definitely a work that stands out in the room, not merely for the sheer size of it, is Hibernica Centaurus.

The painting — like most in this collection — is created on braced wood panels with oil and acrylic resin. It depicts a centaur inside a closed space of a museum exhibition. The centaur faces away from us and instead, stares at familiar species in the same predicament — different types of birds. The centaur is an entirely mythical creature but its placement alongside owls and herons brings forth Crowley’s proposition: that our knowledge of the natural world is derived from our fear and desire to learn about what we do not know. Her exhibition suggests the equal importance of mythical monsters

and real-life creatures. In placing them side-by-side, she conveys their collaboration in discovery and exploration. Her work could be perceived in the sixteenth century as an honest depiction of natural history but its presence in modern art emphasises the closeness between reality and fiction — even in the scientific world.

Other paintings in the exhibition reflect different creatures on display: basilisks encased in glass, cockatrices behind bars, fish in tanks. There are multiple works of various types of birds and the vibrancy of each painting invites and evokes interest.

The exhibition is full of contrast: between science and nature, art and reality, PHOTO VIA THEGLOSS.IE

freedom and entrapment, beauty and performance.

The use of resin emphasises each glass jar, vial, and tank used to store each animal ‘on display’ whilst also accentuating the brightness and the colourful possibility of each discovery. The work remembers the past methods of discovery with admiration, but also with cynicism and brings to light the significance and consequence of scientific findings to the natural world.

Crowley describes her style as disrupted realism.

The absence of brushstrokes underneath the resin, and the saturated vibrance of each work brings her paintings to life.

Monstrorum evokes thought and intrigue about a topic that Crowley is deeply knowledgeable about. With paintings on sale from €4,000 to €20,000, Monstrorum will be at the RHA until February 11th, and it is truly not one to miss.

The University Times Monday 29th January, 2024

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Observations

Your Week Ahead

Musings on the Past Month

Ella Hussey

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elcome back dear reader to the first Radius of the New Year (insert round of applause), I hope the holiday season was one filled with lots of rest and relaxation. For those of you who had exams throughout the break, give yourself a well-deserved pat on the back. I think that trying to muster up any strength to open your laptop during January is a task in itself. We here at Radius HQ know this struggle

all too well as we work tirelessly to get an issue full of fun articles to you!

I am extremely proud of the commitment and dedication of all the staff over the break, so this is my formal thank you.

If you want a music update, be sure to check out our front page feature, where I speak to Irish singer-songwriter Nell Mescal. If you are back on campus and no longer have the comfort of home cooking, Ella Parry has a recipe on Baked Beans and Feta Eggs, perfect for a quick weeknight meal. Our lovely Assistant Editor, Maisie Greener, dove into the Dublin

DJ scene to give us a status update on Jezebel, FKA Twitter, Jenten and Sahana.

In the fashion section, Eloise Sherrard has got all our fashion knowledge covered, as she outlines this year’s ins and outs. In an exclusive interview with Lily Walsh and Catherine Furby, Laura O’Callaghan gets a sneak preview of their upcoming debut show, Clockwork Mistakes.

We always have everything covered for you at Radius, so why are you still reading my observations? There are so many great articles waiting for you!

Our Pick of Events Around Trinity This Week MONDAY

Is ‘BookTok’ Ruining Reading?

STUDENT CINEMA UÍ CHADHAIN THEATRE, 6 PM If you fall in the minority of people who still haven’t seen Molly Manning Walker’s directorial debut, fear not, as DU Film will be screening How To Have Sex as part of their Student Cinema series. The coming-of-age drama won big at The British Independent Film Awards and Cannes Film Festival so it’s not to be missed. If this doesn’t tickle your fancy, you can find the full Student Cinema timetable on their instagram, @dufilmsociety.

Sarah Browne

TUESDAY

LITERATURE EDITOR

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n the midst of the pandemic, TikTok grew to be a phenomenon in an online field populated with various other social media platforms.

Amongst its many subcultures, comedic skits and dancing videos to name a few, ‘BookTok’ emerged as one of TikTok’s most curious forms of content. ‘BookTok’, to those unfamiliar with the term, refers to a subsection of the platform in which users discuss and recommend books to audiences watching their videos.

With 1.1 billion monthly active users globally, TikTok provides a unique opportunity for writers and publishing companies to access an enormous pool of potential readers who might otherwise be unreachable using traditional marketing techniques. Recent statistics illustrate this extensive reach with 240 billion views being recorded on ‘BookTok’ related videos, and individual videos attaining up to ten million views.

Despite many of the statistical findings being skewed towards studies in the United States, the influence BookTok has on reading activity in a larger global context is still staggering. Studies have shown that almost 50% of TikTok users have claimed to read more books than before their interactions with BookTok. BookTok has also led to tangible sales increases across many Western literary markets. However, is the natural conclusion from this that these changes are positive? The answer falls into a grey area between ‘yes’ and ‘no’.

In the wake of the explosion of e-books following the release of the Kindle in the late noughties, combined with the lingering economic effects of the pandemic, an increase in sales to keep the printed book industry afloat is a promising sign.

However, this increase has been shown to disproportionately favour

PHOTO BY SYDNEY WOLFE

chain bookshops owned by large corporations as opposed to their independent counterparts. The stock of many independent booksellers is secondhand and therefore large quantities of single titles are, in most cases, not available unlike chains that accommodate quantities in bulk.

Beyond this, independent bookshops tend to have eclectic collections, whether secondhand or not, that are largely composed of works which may be considered more ‘literary’ than the popular literature of chains.

Finally, chain bookshops such as Waterstones, who own the Hodges Figgis branch on Dawson Street, tend to tailor their merchandising precisely towards this emerging market with recommendation tables displaying the trending works of BookTok. Combined, these differences within the market extend the divide between independent bookshops and those owned by large corporations into a much larger gulf.

These changes do not begin and end with the market. They also affect which writers and genres we read. With BookTok and the larger corporate publishing industry being heavily skewed towards works of popular literature, titles that fit more neatly into binary generic categories and demonstrate the potential to be consumed by the widest possible mass audience are being prioritised.

For works that bend the rules of genre and defy popular conceptions

of narratives, their chance of finding a place within this online community is considerably reduced. The studies conducted have also pointed to the prioritising of certain demographics that most frequently engage with this subculture of TikTok — that of young women and girls interested primarily in romance novels. Writers such as Colleen Hoover, Taylor Jenkins Reid and Madeline Miller have witnessed this burgeoning firsthand. However, tailoring campaigns towards this demographic and driving sales based upon a narrow genre of recycled plotlines runs the risk of both excluding those writers and readers who do not fall within this category and cementing readers within the firmly familiar.

Literary agents and publishers alike have admitted that this drive for romance has a strong effect on the writers they choose to represent and put into print.

In a world dominated by the screen, BookTok has emerged as a positive sign of a young generation’s interest in literature. Yet with this growing influence, it’s important that we continue to interrogate what is being featured, and more importantly, what is not. Moreover, there is a world of readers who do not engage with TikTok, or any social media platform. It is vital that new releases and back titles which remain in print also reflect the widest literary community possible, not one measurable solely through views.

AMERICAN DEMOCRACY IN 2024 ROBERT EMMET THEATRE, 6 PM With the Republican primaries underway and Donald Trump’s grip on his party showing no signs of loosening, the political spotlight is on the USA. Hosting Dr. Gary Murphy, an authority in the US Politics field, TCD SOFIA promises insights into the year ahead and the future of American Democracy.

WEDNESDAY

STITCH AND BITCH ELIZ ROOM, 5-7 PM Equal parts rhyming genius and relaxation, Knit Soc’s renowned ‘Stitch and Bitch’ is scheduled for Wednesday evening. Whether you’re a garter, rib or moss stitcher (can you tell we don’t knit), Knit Soc doesn’t discriminate and all are welcome. Pick your poison (yarn) and head to the Eliz Room.

FRIDAY

DU HISTORY COFFEE HOURS THE ATRIUM, 3-7 PM You can find DU History’s coffee hours roundtable taking place in the usual spot, Atrium Room 3 on Friday afternoon. Why not round off your week with a sweet treat, a cuppa and historical discourse with like minded individuals? Drop into these coffee hours if you want to ask fellow historians for advice, meet new people, or even just for a chat!

They’re even advertising the possibility of an afters if you fancy breaking dry January.

The University Times Monday 29th January, 2024

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What Makes a Contemporary Theatrical Adaptation Work?

Laura O’Callaghan THEATRE EDITOR

GIRL ON AN ALTAR, PHOTO BY PAT REDMOND

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heatre is a divisive and polarising medium, its nature demands it to be. That being said, adaptations in theatre are subject to mass scrutiny and have the potential to inspire major hysteria in the court of public opinion. Often, these reactions tend to be more dramatic than the show being debated on in the first place, and Dublin is no exception to this rule.

Last February, Puffin faced an explosive reaction to the sensitivity revisions made to many of Roald Dahl’s stories in conjunction with Inclusive Minds. The publisher explained the purpose of these revisions as reviewing “the language to ensure that it can continue to be enjoyed by all today”. That explanation did little to placate the Irish public, and so the unique nature of adaptations poses three core questions: when is a work of art finished and should it be altered after that point, what do we gain and lose by revising and adapting narratives into theatre, and how can this transfer be achieved successfully in the Dublin theatre scene?

Both Marina Carr and Roddy Doyle’s respective plays took to the stage in Dublin last year to answer this question. Carr’s adaptation of Sophocles’ Agamemnon, entitled Girl on an Altar, first debuted at the Kiln Theatre in London on May 19th 2022.

It was revised a year later at the Abbey Theatre, with Annabelle Comyn directing. The play ran from July 8th to August 19th, and was dubbed “little short of a

masterpiece” by the Sunday Independent.

Carr made several serious revisions to the fifth century Athenian drama without foregoing any of the pathos the original tragedy explored.

Carr did not disappoint. As Nicholas Johnson, Trinity Associate Professor of Drama, has called it “theatre is for the living”, as Girl on an Altar shirks the original civic identity-defining intention of play and omits the moral didacticism that previously coloured the text. Carr decided to stray from the sunrise to sunset rule of ancient drama, in which all the events of the narrative take place within a 24 hour period. In doing so, she allows Clytemnestra, as well as the brutish Agamemnon, to dwell on their rage and betrayal for months after Agamenon returns from Troy, introducing a thematically fresh question for this play — can you forgive the unforgivable and can you humanise a monstrous decision?

The premise of the play is outlandish to the modern world, involving a daughter sacrificed in exchange for favourable winds to the plains of Troy and a husband seeking forgiveness for the act. Making this plot relatable to a 21st century Irish audience is no easy feat. Carr’s play remains firmly set in ancient Argos, but Clytemnestra has an Irish accent and uses colloquial phrasing like “I’m raging with him”. All the while, Agamemnon speaks in an English accent, implying an intentional power dynamic between the husband and wife immediately understood by the Irish audience.

Carr’s creative use of the Irish dialect to inform an audience’s investment with the characters introduces new colour and

freshness to the production.

Doyle’s reworking of J.M. Barrie’s Peter Pan had its run in the Gate Theatre from November 4th 2023 to January 14th 2024.

By sticking with an extreme closeness to the original story, Doyle’s adaptation lacks the flare of innovation a reworked text should embody.

The most stark revision in this adaptation was the decision to replace Princess Tiger Lily and the original, stereotypical, portrayal of Native Americans in the tale with a ghost coven. Tiger Lily becomes queen of ‘the undead’ in Doyle’s play, and this role is so vague that I think the production would have benefitted from omitting the subplot altogether. The revision is understandable, but the execution was so confusing and random that at one point Pan lists off at least seven different

synonyms for ‘undead’ in lieu of a proper explanation.

Changing the setting of the play to Dublin, other than informing the character’s dialects as well as the writing of the dialogue and a few gags here and there, did nothing to enhance the show as much as it seemed to be attempting to justify the production. With the premise of Peter Pan, and the impression bolstered by the Gate of an exciting, Irish reworking, it’s hard to believe there was no reference to Tír na n-Óg or other Irish mythologies. Low hanging fruit? Maybe, but it would have tasted sweeter than the nothing at all Doyle served up.

The biggest distinction between Doyle’s production and Carr’s was the care and consideration felt behind each decision made. In 2024, Dublin theatre would benefit more from thoughtful productions like Carr’s and less from the stifulling frustration Doyle’s reworking inspired. When an adaptation has put a serious nurturing hand to a piece, it translates and it is in this space that a production succeeds. But the polarising, knee-jerk reactions adaptations inspire inhibits this success completely. Storytelling has been around for over 40,000 years, the concept of total originality is like pixie dust, rare at best and a pipedream at worst. Look no further than Timothee Chalamet’s recent triumph in Wonka or Reneé Rapp’s world-changing portrayal of Regina George to see that adaptations are here to stay. You can fight the wave, or you can lean into the current and allow the pull of adaptations to create a space for creativity and originality within the structure of existing works.

Slap and Tickle on the Silver Screen Matthew Keeley STAFF WRITER

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he term ‘golden age’ is an exaggerated, cliché and often overused expression within contemporary culture. However, at the recent Golden Globes ceremony in early January, it was hard not to feel that we are witnessing something of a golden age of Irish screen actors. Cillian Murphy, Andrew Scott and Barry Keoghan were all in attendance as nominees in the ‘Best Performance by a Male Actor in Motion Picture – Drama’ category. Cillian Murphy won the award and acknowledged his fellow nominees, “Irish or not”, in his speech. It was as the camera alternated between an appreciative Murphy and an applauding Scott and Keoghan that I had a sudden realisation.

There was an aspect that was being seemingly overlooked regarding each of their nominated performances. The sex

scenes!

Cillian Murphy won the award for Best Actor for his role in Christopher Nolan’s highly acclaimed Oppenheimer, a film that nonetheless attracted some critique over its sex scenes, which Rolling Stone described as “clumsy and unintentionally funny”. In one scene, Murphy delivers Robert Oppenheimer’s famous “I am become death...” line while Florence Pugh’s character is riding him. The quote comes from the Bhagavad Gita, a sacred Hindu text, and the scene has been likened to “waging a war on the Hindu community” by members of India’s political far-right.

Andrew Scott’s intimate scenes in All of Us Strangers, by comparison, seem to have generated significantly less controversy.

On the contrary, there was considerable anticipation for the film’s sex scenes between Scott, well-known for his turn as the Hot Priest in Phoebe Waller-Bridge’s Fleabag, and Paul Mescal, possibly this country’s greatest living thirst trap.

While the film is yet to be released in

Ireland at the time of writing, such scenes are expected to be something to behold.

Of course, we must also mention Barry Keoghan in Saltburn. Emerald Fennell’s divisive and debaucherous film features Keoghan’s character engaging in a wide range of unprintable exploits, chief among them the now-infamous ‘graveyard scene’. This solo (and incomprehensibly improvised) sex scene, among others, offered up every inch of Keoghan to the audience in a manner which was in equal parts shocking and sinister.

But why is this significant? What relevance does any of this bear, you may ask, on these actors’ performances? Why should it matter that Irish actors are winning awards for films in which they feature in sex scenes? The truth is that it doesn’t, and that’s exactly why it’s so important.

For decades, Ireland struggled with an oppressive and conservative approach to sexuality. As late as the 1990s, international films were banned for featur-

ing such explicit scenes. This deeply ingrained sexual repression had an enormous impact on almost every facet of Irish life. Irish people were long discouraged from having, learning or even thinking about sex.

But now, Irish actors are portraying intimate scenes in some of the most critically acclaimed films of the past year. If anything, Irish actors are now seen as international sex symbols and heart throbs.

From early trailblazers such as Pierce Brosnan and Liam Neeson to the current roster of Paul Mescal, Colin Farrell, Jamie Dornan, Michael Fassbender as well as Cillian Murphy, Andrew Scott and, sure why not, Barry Keoghan.

The sex scenes in Oppenheimer, All of Us Strangers and Saltburn served as integral aspects of tremendous performances by incredibly talented Irish actors. The fact that these scenes are being recognised as such demonstrates the progress that has been made in on-screen expressions of Irish sexuality.

The University Times Monday 29th January, 2024

5

Speaking with The ZORA Zine Eliora Abramson SOCIETIES EDITOR

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n the midst of the haze of winter break, I sat down with second-year student Ashling Sharry to discuss the Gender and Equality Society’s (DUGES) new zine. Sharry, who is acting as the informal creative director of The ZORA, studies Political Science and Social Policy at Trinity College Dublin. The zine, named The ZORA after Zora Neale Thurston, a Black American writer who strongly influenced feminist writing and black liberation, is set to release its first issue in March.

Sharry tells me that the idea for The ZORA was conceived during Michaelmas this year, saying: “We really just wanted to create space for not just our members for everyone on campus to engage with feminist media and writing.”

Despite the strong publication culture at Trinity, DUGES wanted to create something more approachable. The ZORA is extremely open to any kind of submission, accepting essays, think pieces, critical responses, reviews, poetry,

photography, digital art and visual art. Sharry adds that this accessibility is what sets The ZORA apart, saying that while there are many political publications on campus including the Women and Gender Minorities Review, The ZORA submissions are “not a super high academic standard” and are open and inclusive to people’s skills and abilities. She explains that the zine felt important because “with feminism it’s very easy to think that we’ve reached a point where it’s fine now, but we know that’s not true. We wanted to make it known to the people that read it and submit that it has a goal, to spread the message of feminism across campus and to further the work of the gender equality society”.

Sharry also shares more about the name of The ZORA and how being named after Zora Neale Thurston informs the thesis of the zine. Sharry says “we had wanted to name it after an author, someone of importance that we thought hadn’t been given the recognition they deserve because of their gender”. She adds, “throughout history women have been ignored, and this is a place where we’re going to be publishing

people’s work. We want them to get the recognition they deserve”.

Neale, a strong feminist and activist that Sharry and the rest of the DUGES committee admire, represents what The ZORA hopes to display and add to the Trinity College Dublin campus.

This will be DUGES’ first proper publication. Sharry shares she has had past experience with publications but that for a “lot of us this is the first time creating something like this”. She reflects on the challenges The ZORA has already faced as well as anticipating future hiccups. The amount of interest is a fear for Sharry, with her saying that “you can feel that people are interested online but whether that will be actualised, whether people really submit” is a concern. Additionally, the fact that, at Trinity, there feels there is already publication for everything, causing Sharry and the rest of the DUGES committee to worry that The ZORA is a product of them just wanting to make something. Sharry says “we didn’t want to make something that we just wanted, we definitely wanted to make something for the wider campus”. The actual logistics of the zine have proved

challenging thus far. The ZORA is planned to be printed, which Sharry tells me always comes with its own set of unique ways things could go wrong. The committee is also planning to release the zine online, Sharry adding that this entire process has put the committee’s “academic and technical skills to the test”.

The ZORA has its own Instagram account where the submission deadlines are outlined along with the statement that there is “no theme but The ZORA is political”.

Sharry says that this statement is “to acknowledge the barriers that still hinder against women and other gender minorities today”.

She explains that as feminism is inherently political, you cannot separate it from “the struggle for liberation and the fight for equality”. She adds that “it’s very easy to say ‘we’re making a non-political thing’, but if it’s about people’s struggles, peoples difficulties, people’s lived experiences, then that’s going to be something political”.

It is Sharry’s and the rest of the DUGES committee’s hope for The ZORA to live on for years to come.

Sharry tells me that, “ideally it would be carried on by future

committees of DUGES and it becomes something that’s just on campus”. Adding on to that, she has aspirations that the zine will be a place where community is created, saying despite sounding cliche she wants to build a “group of people with similar interests who just want to create a piece of feminist work. That’s the goal”.

I ask Sharry how the feminists of Trinity can become involved in The ZORA, to which she replies that the best way is to simply submit a piece of work. She hopes to alleviate the worries of potential submitters who fear their work may not be good enough stressing that The ZORA will be “very much trying to stay true to the nature of the zine. It’s casual. It’s all being made by us on committee as a labour of love”. Sharry also adds that submitting to the zine is a great way to build connections with other feminists across campus and is an exciting opportunity for anyone looking to share their work to an audience of eager readers. The submission deadline for the first issue of The ZORA is February 16th and all information regarding submissions can be found on their Instagram, @thezorazine.

John Christopher Vaughan Wins Harrison Essay Prize Elly Christopher ART EDITOR

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Then, from his place of ambush, God leapt out.” The quote introducing the Sarah Cecilia Harrison Essay Prize winner is bold and powerful, like the essay itself. Although titled ‘In the Mood for God: Colour and Mysticism in the Art of Mary Swanzy’, John Christopher Vaughan’s essay is less a study of Mary Swanzy’s style, and more an attempt to introduce the reader to Swanzy’s unique self.

Sarah Cecilia Harrison was a talented artist, but her legacy comes from her social reform work. She was a suffragette and became the first female city councillor in Dublin. She ran in the same circles as Sir Hugh Lane, and the National Gallery received an archive of over 400 letters between the pair in 2019. Last year, in order to launch this archive, the Sarah Cecilia Harrison Essay Prize was established.

The prize showcases essays on the history and legacy of women in Irish visual arts. Chiara Harrison

Lambe won the prize last year with an essay on Stella Steyn, an Irish artist. The essay was descriptive of her life, and was meant to showcase the artist’s style. Although quite academic in style, well-written and researched, the form was predictable. This year, John Christopher Vaughan’s essay on Mary Swanzy takes a more creative approach, nearly modelling his writing style after Swanzy’s art.

At first, Vaughan describes being at a loss of how to encapsulate Swanzy in an essay. Initially, his desire was to make the essay difficult to read, an “attempt to develop a cubist form of writing”.

It was maximalist, then just a single word. However, then he recalls being drawn to an image of Swanzy fervently contemplating a single grain of rice. She sits at a friend’s dinner table, but is only concerned with studying the rice.

“This essay is a portrait, a close reading, an ode”, he said to the National Gallery. “It is my single grain of rice.”

In the first part of the essay, the picture Vaughan paints of Swanzy feels almost cubic indeed: details of her come in snapshots,

MARY SWANZY (1882-1978), ‘SELF-PORTRAIT WITH A CANDLE’. PHOTO NATIONAL GALLERY OF IRELAND

her physical appearance, places travelled — flashes of her life that give us the first glimpse of who she was. Considering Mary Swanzy was in her time criticised for having been influenced by too many schools and artistic movements, this approach makes sense. There is no one example of her style, and no single defining characteristic

of her, and so Vaughan describes many different examples, which when put together allow the reader to see a complete picture, uniting different artistic styles under one personality.

After describing her tendency to pack up at a moment’s notice and sweep nearby friends on adventures to new places, he

writes, “no impression is ever permanent with her, there is only the permanence of impressions.”

When understanding this, her drastic style changes seen in her artwork makes more sense. Indeed, Vaughan likens her stylistic evolution to mood changes. “Mary Swanzy had many moods, and they changed, ” he writes. “That is their nature; they go away, and, sometimes, they come back”. It is clear by the tender way Vaughan writes about Swanzy how desperate he is for the reader to understand why he is drawn to her. And indeed, by the end of the essay the reader understands Swanzy’s concentration when perusing her single grain of rice, because, as Vaughan states, “she could paint her way to earlier greens through present rot and mould”. Her sense of adventure, optimism and perseverance shine through in the essay, prompting the reader to seek out her work.

Vaughan’s essay can be read on the National Gallery website, and Swanzy’s work can be seen in several venues around Dublin, such as the RHA gallery and the Irish Museum of Modern Art.

The University Times Monday 29th January, 2024

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« CONTINUED FROM PAGE 1

tions within her listeners, which she imbues with a distinctly punk-indie vibe. Her songs blend soul-destroying lyrics with catchy and upbeat tunes.

The artist puts it perfectly: “If I put love into something then you can only hope people can connect to it … it’s the coolest thing ever”.

Although Mescal’s top hit is about leaving Ireland, she discusses how she still feels rooted in her Irishness. Anticipating beginning her Irish tour, she notes “I always get really nervous because it’s so important, but I get so excited”. “One person coming to see me in Dublin is crazy”, she continues.

As Mescal finishes her opening songs, it is clear how much a sold-out home crowd means to her, as she visibly wells up and exclaims, “I’m so emotional, this is so cool, why am I crying?” to audience cheers and whistles.

She currently lives in London, admitting that she left Ireland for the UK because of the opportunities it would offer her career, noting “there were people in the UK willing to help me”. Speaking to the widespread sentiment that “you can’t progress at home in Ireland” Mescal stresses that “you can!”. The concept of leaving is embedded in the Irish consciousness, often showcased through the artistic tradition.

“

Mescal doesn’t shy away from this, joking about having an entire song about leaving Ireland.

To anyone who might be feeling this way though, Mescal offers her advice: “If I was to say anything to anyone who is feeling lost in Ireland is that you can do it, you can leave as well and nothing is better than the other, it’s just about circumstance.”

Throughout her set, Mescal played many of her unreleased songs, my favourite of which was entitled ‘Electric Picnic’.

Speaking about her experience playing the festival last summer, the singer remembers “that was such a crazy show”.

She continues, noting “I love getting to play shows at home and stick to my roots”, aptly evidenced as she rocked a corset themed around Irish landmarks at Electric Picnic. Affirming her relationship with her homeland, Mescal continues, “I’m Irish and I love being Irish and I love talking about being Irish”. The song alludes to an experience she had at the festival with the enigmatic lyric, “I’m not going

PHOTO BY MIGUEL RUIZ

on her career, Mescal jokingly told me that this is the first tour that her parents aren’t at every show, but that she has many core moments she was able to share with them. Discussing her appearance on The Late Late Show last year, Mescal notes how “doing things like that, I often am like this is so cool for my parents and my friends that they get to see this and I got to bring them along”.

Although her grandmother recently passed away Mescal fondly recalls being able to share such a special moment with her. The singer explains,

I feel like it has just started now, that everything before was just a warm-up. to forgive you because you’re crying at a song I wrote about you” which had me and the audience wondering ‘what the hell happened at EP?’.

Discussing the influence that her family and friends have

PHOTO BY MIGUEL RUIZ

“The first person I wanted to tell was my granny, she passed away recently but she got to see me do that. That was a dream of mine come true”. The Irish collective experience is something that struck me from my conversation with Mescal, along with the importance of family in her life and career. The singer identifies this as “the beauty of being Irish”, noting “Things like that mean so much and getting to experience it all together is so lovely”.

The night in Whelan’s continued with a mix of new releases and familiar songs, as the young singer showcased incredible audience engagement and commendable stage presence. One of the bigger venues on her tour, Mescal had everyone in Whelan’s singing and dancing away.

Getting the audience to repeat lyrics of her songs like “I stayed

“

recalled feeling “imposter syndrome”, laughing as she admitted, “I was thinking there’s no reason for me to be on this red carpet right now”.

As the night came to a close, Mescal was extremely thankful to the audience for coming to the gig, as she prepared to head west to continue the rest of her tour. Back on Zoom with the singer, it felt as if no time had passed, almost like two pals catching up on FaceTime.

When I asked her what people can expect from Nell Mescal, the singer said that she was “excited for the tour” and that “new music is coming, sooner than everyone will think”. Since this interview, Mescal has released a new single entitled ‘Killing Time’, one which I got a sneak peek of at Whelan’s.

After the gig ended I couldn’t help but admire how much of

I’m Irish and I love being Irish and I love talking about being Irish.

awake for this / I stayed awake for you”, she had everyone firmly in the palm of her hand.

Despite being only 20 years old, Mescal looked as though she had been doing this all her life.

She comfortably and effortlessly performed every song to its fullest potential. It reminded me of when we discussed her recent nomination for the Rolling Stone Rising Star award, as the singer

an amazing singer Mescal is.

Every song sounded exactly as though you were listening to it on Spotify, if not better. Humble and in touch with her roots, Mescal continues to reach new levels while appreciating her fans. At the end of the concert, I was left with two pressing questions: ‘Nell, when is the EP?’ and, ‘What on earth happened at EP?’.

The University Times Monday 29th January, 2024

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Recipes

Baked Beans with Feta Eggs Ella Parry FOOD AND DRINK EDITOR

Ingredients: • Olive oil • Spices (I use smoked paprika, chili powder, cumin and a dash of cinnamon) • 1 onion • 1 clove of garlic • Tomato purée • 1 tin of butter beans • Feta • Eggs (however many your heart desires)

D

uring busy college times, it is difficult to cook elaborate meals for yourself. A lot of students resort to ready made meals from the supermarket or takeaway. Either way, not managing your meals effectively comes at a cost to your health or bank account. I know that there are times where I am guilty of both. This Baked Beans and Feta Eggs recipe is something I make when I am not feeling particularly inspired but do not want to resort to processed food. It takes under 20 minutes to make and the baked beans can be kept in the fridge for a few days. I find cooking in batches incredibly helpful and most importantly time saving.

I know I am not exactly the first person to rave about meal prepping. However, I think a lot of people are under the impression that meal prepping has to be incredibly complicated and time intensive. Making a triple portion of a meal that takes 15 minutes to prepare is meal prepping too. Not everyone can be Nara Smith — I know I am not.

Cooking is something that is often passed down through generations and can seem inaccessible for those it was not taught to. Easy recipes like these can hopefully be a gateway for those with a low natural affinity for cooking. I find that when I have a couple of portions of baked beans in my fridge, life just feels a little more manageable.

Baked Beans Baked beans are a great side or main. You can have them with toast for breakfast. Unlike those from the tin, these have no added sugars or sweeteners and are customisable in their flavour depending on which spices you use. Here’s how you can make it: 1. Toast your spices in a pan with some oil. I use smoked paprika, chili powder, cumin and a dash of cinnamon. Stir until the mixture starts to foam.

2. Finely dice an onion and a clove of garlic.

3. Add both to the pan and stir until golden. At this stage, you could add other vegetables if you wanted.

4. Add tomato purée and stir for a couple of minutes. Obviously, the more you add, the more intense the tomato taste is. I usually add a quarter of a tube.

5. Add a tin of butter beans, including the water! The starch in this enables the creamy consistency of the sauce.

6. Cook for 5 minutes (or longer if you want it to be thicker).

Feta eggs This technique makes fried eggs much more exciting and flavourful. It is very easy to make as it only requires one additional ingredient to the eggs themselves. The eggs will be left with a lovely feta crust.

1. Crumble some feta into a pan on medium heat.

2. Crack the eggs into the pan and fry to your liking .

3. Season! But go easy on the salt, as the feta is already packed with it Here, I served the Baked Beans with the Feta Eggs and added some grated Parmesan cheese and Zucchini.

How to Eat More Fibre on a Budget Ella Parry FOOD AND DRINK EDITOR

A

s students, a healthy and balanced diet is often the last thing on our minds.

With college work and the struggles of living away from home, we really do not need another tedious project to fail at.

You could spend all your energy and money on attempting to properly nourish yourself and still fall short. Needless to say, an all-or-nothing approach to food is ridiculous and divorced from reality. If you want to have a more balanced diet as a student, what you can do is start small.

One great way to do this is

to increase your fibre intake.

Research shows that adults - which, alarmingly, we are should be eating a minimum of 30 grams of fibre a day, a target that many of us fall short of during our bustling day-to-day lives.

In the realm of nutrition, there is an apparent tension between health and affordability. Who on earth can afford to get Sprout every day? Instead of breaking the bank, consider the following few ways in which you can increase your fibre intake with minimum effort. Eating well does not always have to be as inaccessible as it may seem.

Tip 1: Blend canned legumes into sauces and soups

Canned legumes are a treasured staple in my pantry. Purchased at supermarkets such as Aldi or Lidl, they are quite cheap and they keep for ages! Cans of chickpeas, beans, and lentils can be bought in bulk and used whenever necessary, making them a highly convenient source of the much-desired fibre.

Legumes such as beans and chickpeas are not only packed with fibre but they can make sauces and soups creamier. If you do not particularly enjoy their consistency, you can blend them into a pasta sauce or soup of your choice. These would be homemade in a perfectly healthy world, but I am not an idealist. After long days in the library or honestly just living,

we often lack the time and imagination to cook. Even just blending a can of butter beans into a jar of tomato sauce has the potential to improve your health.

Tip 2: Enhance your morning porridge with seeds Porridge is a lovely, easy and heartwarming breakfast. As it is highly customisable concerning its toppings and flavour, it can cater to most tastes. If you are looking to increase your fibre intake, adding various seeds to your morning porridge can be a hassle-free option.

You can buy flax seeds and chia seeds at Aldi quite cheaply.

When I make porridge or overnight oats, I always add them

for a bit of fibre. Flax seeds have 35 grams of fibre per 100 grams while chia seeds have 40 grams of fibre per 100 grams. Much like canned legumes, seeds have the advantage of keeping for ages.

Hopefully, you have found something helpful while reading this article which will enable you to have a more balanced diet whilst also being a busy, overstimulated student.

However, there is one final point I feel compelled to emphasise: when it comes to attempting to improve your eating habits, the most important thing is not to stress yourself. While some food trends come and go, one thing is certain – chronic stress is never healthy.

The University Times Monday 29th January, 2024

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Reads THE FAVOURITE

Rosemary Hennigan ORION From the very opening lines which mention our very own Trinity College, Hennigan’s second novel, The Favourite, follows the protagonist Jessie Mooney. A Trinity graduate herself, Hennigan’s protagonist is a graduate student making her way through a prestigious law and literature course at Franklin College. The protagonist’s motive for returning to university is to expose the professor, Jay Crane, as she believes he has something to do with her sister’s death.

The campus novel deals with issues of power, prestige and obsession. With critics comparing it to Donna Tartt’s The Secret History, The Favourite is perfect for fans of dark academia.

THE BEE STING

Paul Murray HAMISH HAMILTON Published in 2023 and shortlisted for the Booker Prize, Paul Murray’s The Bee Sting follows the Barnes family, as they face financial difficulty after the 2008 global financial crisis. Once a well-known, powerful and wealthy Irish family, the narration follows Dickie and his wife, Imelda. Dickie, the head of the family, inherited a car dealership but is now struggling to sell any stock and is slowly losing his grip on the business. Imelda, who is presented to be too good for the small provincial life she leads, questions whether this life with her husband is all it’s made out to be. Murray’s novel also won the An Post Irish Book of the Year Award in 2023.

BREAKDOWN

Cathy Sweeney WEIDENFIELD & NICHOLSON Set in contemporary Dublin, Cathy Sweeney’s debut novel Breakdown inducts the reader into a middle-class suburban home. The protagonist wakes up in bed with her husband beside her and her children asleep in the next room. Without hesitation she walks out the door, never to return. Although she remains anonymous throughout, the narration follows the woman as she travels through Ireland, stopping at petrol stations, bars, shopping centres and the beds of many men. Through car, train and ferry, she ends up in Wales, where she has no choice but to face her suppressed emotions, leading to her homonymous breakdown.

The Sweet Spot of Music and Movement Sadie Loughman MUSIC EDITOR

L

ive music is an experience like no other, but it comes with many trials and tribulations. All too many of us can attest to the endless pushing and shoving of a drunk crowd, leaving a concert soaked with beer — or having one too many drinks yourself so that what should be a fond memory of the night is instead a hazy blur. Sunflower Sessions is a pioneer start-up

by Dubliners Mila Gratzer and Katie (KK) Lewis, which offers an innovative approach to live music. The events, run by the two best friends, consist of a yoga session followed by an acoustic music set from some of the talented young artists Dublin has to offer.

Having graduated in May of 2023, the pair felt the “post-college blues”, a loss of the sense of community that college provided. Gratzer, a yoga teacher, and Lewis, a Dublin musician, experienced a eureka moment, deciding to combine their talents and develop “a space for creatives and people to come together to enjoy all the best parts of music and yoga”.

A regular night for Sunflower Sessions begins around 7pm with a 20-minute chat as the guests get to know one another. The yoga class, which Lewis describes as “an immediate icebreaker”, then lasts for 45 minutes. After this, the room undergoes a quick turnaround, setting the stage for the music acts, and guests are invited to sit with cushions and blankets in the small, intimate space. There are usually two or three headline acts.

In the past Sunflower Sessions have platformed Irish artists Tadhg, Dylan Harcourt, Taylor Byrne, Líath Murdiff, Larabel and Amy Michelle. The night finishes up with a “big group jam” at around 10pm.

“There’s so many great Irish musicians at the moment”, says KK Lewis, active in the Dublin music scene for the last six years and with several singles and an EP to her name. “I’ve gotten to know loads of musicians over the course of that time and there’s so many amazing musicians that I know that I want to give a platform to. I know myself it’s generally playing gigs in pubs, and you’re not really heard or talked over, so it’s so nice to give a platform to musicians that I love to actually be heard.”

The event also incorporates live music during the yoga session — a novel, dualistic approach which bolsters the two art forms.

“One of our musicians who’s headlining will play the keys or guitar, and that’s still growing in itself as we do more events, but it isn’t something

PHOTOS BY LUKE MCCORMACK

that’s usually done”, explains Gratzer.

“Yoga’s a form of creativity in itself and obviously music is creative and it’s really special to be able to share that and for a musician to build on the class while it’s happening”.

The Sunflower Sessions are alcohol-free events. There has been a recent rise in the ‘sober-curious’ movement, a term coined by author Ruby Warrington which suggests stepping back and re-evaluating one’s relationship with drinking culture.

The Sunflower Sessions TikTok page corroborates this sentiment, interviewing young people who overwhelmingly responded with their fatigue of the drinking culture and the disappointing, limited state of Dublin nightlife. What’s more, experiencing the nightlife of Dublin alongside the desire to be productive in the mornings are almost incompatible.

“Everything in Dublin kind of revolves around drinking — not that there’s anything wrong with that, we love going to the pub and meeting our friends — but there are so many times where you wish there was something else to do”, says Gratzer, “We’re both really into our health and our wellness and trying new things… but we really found that it was so hard to get that balance in life in Dublin.

Either I go out tonight and I can’t do anything tomorrow morning, or I don’t go out and I can do that tomorrow.”

Sunflower Sessions aims to offer a nighttime event that won’t leave you with a hangover, providing the opportunity to meet new people and enjoy music, balanced with the health aspects of yoga. Gratzer sums this up perfectly: “Sometimes alcohol can take away from making meaningful connections and an alcohol-free space can let people really get to know each other and have a genuine conversation.”

For those who are interested in the music element but apprehensive towards yoga, the pair highlight Sunflower Sessions as a welcoming environment to all, with the goal of fun and empowerment. “For our last event we sold music only tickets”, says Gratzer, “and every single person who I spoke to who got a music only ticket said ‘I will one hundred percent be back for the yoga’”.

Sunflower Sessions caters to everyone at different skill levels of yoga, from complete beginner to seasoned expert. The pair emphasise the events as an easy-going space to enjoy movement and music alongside other people.

Gratzer goes on to say, “For the people who love the music aspect and are afraid of the yoga aspect, what says it all to me is the people who had no interest in yoga at all and left the music saying ‘I want to be here for the full thing’. That in itself says that there’s nothing to be afraid of, the space is so open and friendly”.

The Sunflower Sessions name encompasses its ethos — an openness and warmth, as well as a sustainable outlook in their collaboration with Irish brands. In past Sunflower Sessions events Irish companies Manhattan and All About Kombucha provided snacks and alcohol-free drinks for the night. The pair also collaborate with Flowstate, Irish producers of eco-friendly yoga mats.

Sunflower Sessions plan to have a Valentine’s Day themed event, with the date to be announced soon. Sunflower Sessions can be found on Instagram, @sunflowersessions_, and you can sign up to their mailing list for early news about upcoming events.

The University Times Monday 29th January, 2024

9

Forging Fashion’s Frontier: Molly Walters and Rachel Morris me to be patient and save up for longer until I could afford items of better quality. Less is more for her, and I wanted to show that in my designs.

Clara Potts FASHION EDITOR

I

n the ever-evolving realm of fashion, at the intersection of creativity and innovation, two promising designers, Molly Walters and Rachel Morris, have emerged from the academic cocoon, poised to make an enduring impact on the industry.

Their graduate collections not only exist as a testament to their academic journeys but also foreshadow their influence on the future of fashion. Walters and Morris unveil the forces that shape their creative processes and the symbolism that is woven into every stitch.

Meet Molly Walters, River Island Bursary Winner 2023, who is materialising memories with her garments.

What inspired you to pursue a career in design, and how did your educational background contribute to your creative journey?

When I was younger, I didn’t really enjoy school or any subjects, other than art which I loved and concentrated my time and effort on. My mother is a very creative person and she always supported me with my designs when I was growing up. Having applied to NCAD but being unsuccessful, my mum encouraged me to submit a portfolio. In my first year of NCAD, I fell in love with fashion design, although I was initially studying textile design.

Can you remember the first item of clothing you ever made? Did any early experiences influence your design style?

During my first year of college, we entered the Covid-19 pandemic, and I bought vintage patterns and a mannequin online. It was my first time trying to make clothing, but I had no technical abilities as I had only started college, so it wasn’t very successful. In this moment, my passion for design was fueled as I couldn’t wait to get back to college to learn how to make functional pieces that wouldn’t simply fall off the mannequin.

In what ways (if any) does Irish Heritage influence your design aesthetic/concepts behind your creations?

Irish Heritage doesn’t directly

PHOTO BY RACHEL MORRIS

influence my designs, although it does subconsciously. My grandmother was Irish and my biggest inspiration. Although I don’t use Irish knitting techniques or specifically Irish materials, I included some Irish lace in my designs. It was a less obvious aspect of my work, but nevertheless important.

What is your design philosophy and any individuals/influences that shape your work?

Honestly, my grandmother and mother invented the design philosophy in me. They take great care of mending and preserving their clothes and are extremely sentimental and careful with what they buy and wear. For them, everything is unique, and nothing is thrown away, as every item is detailed so that we continue to cherish them.

As a recent graduate, how do you navigate the transition from academia to the professional design world? Have you encountered any challenges along the way?

It has been an exciting yet challenging transition. College is a highly supportive environment and is self-directed, but the same is not the case when working in the professional design world. It is tough to get and do work and is very competitive and financially strenuous.

Could you briefly discuss your ‘waste not, want not’ degree collection and the inspiration/ concept(s) that influenced it?

My grandmother’s sentimentality is at the forefront of all my pieces, and her favourite saying: “Buy it cheap, buy it twice.”

From a young age, she exposed me to the false economy of buying fast fashion, encouraging

Regarding changes to the fashion industry, sustainability is becoming central to discussions in and about fashion.

How important is sustainability to your designs?

As a designer I recognise that more conscious decisions need to be made. However, I don’t think any designer should say that making clothes is entirely sustainable. Equally, for consumers, buying is never sustainable. The most sustainable clothing is what you have right now in your closet. My degree collection, while using vintage lace trims, did include jersey, which isn’t sustainable, and I must be cautious of greenwashing as while there are sustainable elements to my designs, I don’t agree that it could be called sustainable in this collection especially, but in future ones, it will be.

As River Island Bursary Winner last year, could you please discuss what it entailed?

Each year NCAD collaborates with River Island in London, and they accept one student for a three- month internship and provide them with a bursary based on their first semester project in final year which is the research part of our degree project. This experience was very insightful and entailed endlessly conducting research working for a brand which utilises this in their design process as they follow trends, so it was a very insightful experience.

Please can you share any future aspirations/events/ goals you have for your design career?

I have recently moved to Sweden and am working freelance for a new brand, which I’m excited about as I have spent the previous few months working with a more prominent label that is constantly following trends, so I am excited to help a smaller brand grow and develop. My future goal is definitely to have a brand of my own. That said, at the moment I am enjoying navigating the fashion world and gaining experience so that I can use it in my own business in the future.

Meet Rachel Morris, who is weaving Irish heritage and techniques into her designs.

What was the main source of aspiration for pursuing a career in design?

I have always been drawn towards creative subjects in school and extracurricular activities.

Studying at Stillorgan College of Further Education enhanced my creativity, and it was here that planted the seed for me to pursue a degree in fashion design.

Does Irish heritage influence your design aesthetic?

Yes, events throughout Irish history are the main influence in my designs, alongside the use of Irish fabrics and wool in particular.

Can you remember any distinctive pieces of clothing you made at the beginning of your fashion journey?

Yes, I made my first garment inspired by Irish heritage when college was shut during the pandemic, using techniques such as knitting, and crochet which continue to be central to my designs.

Can you tell me a bit about the influences that shape your work?

For me, design is something that you should want to do, not something that you feel like you need to. Influences such as Irish history and heritage are central to my pieces, aiming to keep traditional techniques alive.

PHOTO BY MOLLY WALTERS

As you have recently graduated, how have you found the transition to the design world beyond college?

Having graduated in June 2022, I have found it especially challenging to navigate the industry as college is full of creativity and exploration without the pressure of consumers. Now, my personal values are challenged, with ethical contests and overconsumption at the forefront of the difficulties I have experienced thus far. However, now I am currently working in a sustainable interior design studio in London that aligns with my values as a designer, which is important.

(How) do you stay updated with the latest design trends and technologies, and (how) do you incorporate them into your pieces?

While I’m not a great lover of the term “trend”, I stay updated with fashion weeks throughout the year, which always helps me stay connected. Additionally, I follow several knit designers on Instagram and love seeing new technologies being developed.

Could you briefly discuss your ‘Sin, no sin’ collection?

My final collection stemmed from my mother’s upbringing in the 1960s and 1970s and the inevitable impact of this on my life. By examining my mother’s childhood garments in contrast to mine, I fused both dress styles to inform shape throughout my collection. Taking imagery from her 1970s religion book, I created a humorous approach to my collection whilst also addressing the harrowing influence that the Catholic church had and continues to have on Irish society.

Is sustainability a central component to your designs?

I believe sustainability should be the starting point of the design process. Most of my designs utilise second-hand, pre-loved fabrics and yarns. For me, I think that using the materials that you already own is the most sustainable way to design new clothing.

Please can you share any future aspirations you have as a designer?

Currently, I am working towards new designs, exploring different methods of print techniques, and working in the interiors sector.

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The University Times Monday 29th January, 2024

Review: MANI, 42 Drury Street Ella Parry FOOD AND DRINK EDITOR

T

he one constant in a student’s life is the ongoing quest for a new form of distraction from their work. As the dutiful Food and Drink editor that I am, but even just as a student, it is my job and my privilege to probe any new food spot in proximity to campus. My friend Phoebe and I have been anxiously anticipating the opening of MANI, watching the renovation progress from Kaph just across the street.

Disappointingly, Phoebe fled the country before she could witness the newest addition to Dublin’s culinary landscape. With

her on exchange in New York, I had to put on my big girl pants (New York slang) and brace myself for this solitary challenge.

MANI mainly sells focaccia-style pizza slices.

However, you can also buy panini, cannoli and — Italians, brace yourselves — deep-fried lasagne. Slices are a decent size and range from 6.5€ for the Margherita to 8.5€ for the Carbonara.

As a sign of my commitment to cutting-edge food journalism, I went twice.

Following a recommendation from the lovely staff, I tried the deep-fried lasagne (6.5€) with the Cacio e Pepe dip (2€) and the Carbonara slice the first time I went.

Once you order, you are given a fun little buzzer that goes off when your

food is ready. You can sit on several benches outside MANI while you are waiting and eating. My friend and I (I lied, I didn’t go alone; being alone is scary) both loved the lasagne together with the dip, agreeing that we would accept the scorn of Italians everywhere for this take. We felt differently about the Carbonara slice.

It had a very strong taste of cheese mixed with a lot of bacon and no tomato base. In my opinion, it lacked the balance of tastes I crave in food. However, if you enjoy heavy and hyper-savoury pizza, this would be the slice for you. I much preferred the Salsiccia slice (7.5€) I had the next time I went. It was a fennel sausage variation with mozzarella, parmesan

PHOTO BY ELLA PARRY FOR THE UNIVERSITY TIMES

and a drizzle of pesto — just heavenly. The second time around, we also split a Mortadella Panini (11.50€) which we both raved about.

The Paninis are a decent size so you could easily share one for lunch if you are not that hungry.

But enough about the food, I want to talk about

the optics. One thing about me is that I judge books by their covers. MANI is beautiful. I spent a good two minutes yapping to my friend about how aesthetic the font of their signs is.

Because I have the sense of humour of a three-yearold, I also giggled at their slogan “slice slice baby”.

though the interior dates back to the 17th century, it’s a comfortable place to enjoy a pint. It also doesn’t hurt that the bar staff know how to serve a good drink.

Sitting at the bar in Cat and Cage may have cemented itself as a staple in literary pubs and potentially the most enjoyable stop on the crawl.

park, Mullingar House is in a great location for postwalk pints with a friend or two. Unfortunately, while prior owners of the pub embraced its Joycean ties, its transfer to new ownership in the early noughties has given way to higher-end renovations and less focus put on historical preservation.

It’s recommended to book a table, which was helpful as food was direly necessary at this point in the crawl. To Mullingar House’s credit, both the food and the pint were delicious, but the literary vibes were simply nonexistent.

Renovation efforts have turned the pub into less of a gathering place and more of a fancy dinner venue.

Honestly, even if you like neither pizza nor focaccia, I would go for the green and pink facade. In Germany, we have the phrase “das Auge isst mit”. It roughly translates to “the eye eats too” which honestly just does not sound as good, but you get the gist.

Overall, MANI is a good spot for a quick lunch and is a welcome addition. It is a spot my Uncle Tom would describe as “very hip and cool and down with the kids”. Make of that what you will. I have a feeling I will be spending a lot of time and money there, justifying it with the following fallacy: if there is no table service, you are not eating out, you are just grabbing a bite. Of course, we all know that the latter is cheaper.

Dublin’s Literary Pub Crawl Molly Wetsch DEPUTY LITERATURE EDITOR

A

s a UNESCO City of Literature, you’d be hard-pressed to find a place to have a pint in Dublin that hasn’t been haunted by an author or two, or featured in classic Irish literature — or both.

So a journey was embarked upon, risking both social battery and bank account, to determine which of Dublin’s literary pubs will make you feel like a Joycean main character.

An attempt was made to leave out the usual haunts we all know and love (nothing against McDaids, Palace Bar or Toners!). While we all love a pint or five in the old favourites, let’s be honest, it would be nice to have a break from photo-opping tourists and Ulysses fanboys.

The following literary pub crawl is to be undertaken at your own risk, lest you be suddenly struck with the desire to write the next great Irish novel.

1. The Brian Boru (Hedigans) Leopold Bloom mentions

more than a handful of pubs in Ulysses, but only a few are still open today.

One of them is mentioned only briefly in the iconic novel, The Brian Boru, also known as Hedigans. It is the slightly more underground companion to Gravediggers of Glasnevin, only a ten-minute walk from the local favourite. This particular pub may have been chosen for the first stop due to its proximity to both Glasnevin Cemetery and Gravediggers: even the best of us cannot resist the best pint in Dublin.

The Brian Boru may not have had much more than a passing notice in Joyce’s magnum opus, but after a pint or two in the bar, you might feel like you’ve been transported to Bloom’s Dublin. Maybe it’s the ghosts of Irish past just metres away in the cemetery, but the environment of the place was even more enjoyable and lively than expected. One can imagine in the warmer months, it’s even lovelier to sit in the outdoor area.

2. Cat and Cage The Cat and Cage pub was, admittedly, a rogue choice

to an extent. The literary association with this Drumcondra pub is loose, but fascinating. Pub-lover and renowned Irish author Brendan Behan was a sign painter by trade, and undertook the task of painting Cat and Cage’s sign but did such a poor job that he only received half of his pay. The sign has since been touched up, but the legacy remains.

Author Seán O’Casey was also known to enjoy time in Cat and Cage and even mentioned the pub in his autobiography, lending a full chapter to a particularly wild night.

Upon sitting in the pub, it’s clear that it’s one of the oldest in Dublin. The bar is preserved beautifully, and

3. Mullingar House Joyce’s final work, Finnegan’s Wake, takes place largely in an unnamed pub near the Phoenix Park. Mullingar House in Chapelizod claims to be that very pub, and so this, of course, had to be verified with a visit.

Situated just steps from the PHOTO BY WILLIAM MURPHY

4. The Waterloo Bar The aforementioned author Behan was one of the most famous boozers of Dublin’s literary community and haunted several pubs, frequently accompanied by will-they-won’t-they bestie Patrick Kavanagh. Really, if you wanted to do a pub crawl solely based off of Behan’s famous favourites, you’d likely be successful. The Waterloo Bar in

Ballsbridge was preferred

by Kavanagh, though they often drank in the pub together.

Before heading into the final stop, one must stop to admire the cartoonish portrait of Kavanagh and Behan stationed proudly outside the entrance, a good omen that the pub is preserving its literary history.

The Waterloo has been remodelled since Kavanagh and Behan darkened the doorway, but the interior is still atmospheric, particularly the front bar. The perfect mix of old and new, the Waterloo maintains its status as a great place to get a drink, whether you’re looking for writing inspiration or somewhere to meet friends after a match in the Aviva.

As the crawl came to an end long past usual bedtime hours, it was time to reflect on the venues visited and beverages consumed.

While all had their merits, few maintained the atmosphere that blossoming authors may crave. However, the route undertaken gave a truly comprehensive view of literary Dublin and heading outside the norm was well worth the trek.

The University Times Monday 29th January, 2024

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Five of the Best: Dublin-Based Fashion Brands Hanna Valila ASSISTANT FASHION EDITOR

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n the time of Amazon, Shein and ASOS, it is impossible not to fall victim to cheap, unsustainable overconsumption. Not only the environment, but the integrity of fashion as a form of self-expression is endangered by the ease and convenience of mass chains, which are only able to keep prices so low through unethical production. Individuality and creativity fall behind in this mass-production dystopia. Even when we want to make an effort to support local art, it can be difficult to know where to start. Here are five Dublin-based small businesses to support, owned and led through passion, as opposed to greed. They may not sell you a shirt for €3.99, but their pieces have character and integrity.

1. Seeking Judy Have a spare hour between lectures?

Need some retail therapy after a long day at college? This free-spirited brand is incredibly accessible to Trinity students, with a physical store in George’s St. Arcade. Seeking Judy caters to all genders. Their aesthetic is difficult to box in, but can perhaps be best described as graffiti meeting nature. Cool and carefree silhouettes and textures carry patterns of flowers and eyes in earthy tones, but also bright colours. Think Patagonia on

4. Palmö

a psychedelic trip. Seeking Judy places emphasis on environmental consciousness and sustainability. Recently, as can be seen on their Instagram, the brand has been branching out towards haute couture pieces, reaching the big milestone of featuring in the 2023 Arnotts Christmas market. Their pieces will certainly be seen on both individual consumers and runways in 2024!

2. Ditsy Bits It does not get any more ‘Dublin’ than Ditsy Bits. Proud of their Irish heritage, the brand’s defining piece is a baby tee depicting a pint of Guinness and the word “Sláinte”. For those who are not Guinness drinkers, other Irish symbols can also be found on their shirts. However, they are certainly not limited to this. Handcrafted bags and accessories made from unique fabrics and patterns have also been featured in previous drops. The brand takes trendy concepts and puts their own spin on them, they are not afraid of colour or standing out.

Ditsy Bits offers practical items such as large bags and versatile tees in a unique and cute style. Each design is limited to its drop and made in small quantities to be sold through their website. Their instagram page is the best way to stay up to date on upcoming drops. Furthermore, their social media presence makes the brand feel authentic, down to earth and approachable. Their models are real people, with real bodies and real smiles.

PHOTO VIA @SEEKINGJUDY ON INSTAGRAM

A brand that feels like a part of the community is very refreshing amongst the current norm of overproduced and edited advertisements.

3. Aisling Duffy Describing themselves as “handmade slow fashion”, Aising Duffy had to get a mention on this list. Though their pieces are on the pricier end — expect to spend at least €100 — they are guaranteed to get you showered in compliments. What could be described as a 2020s take on Marie Antoinette centres around frills, the colour pink, ribbons and heart shapes. In Aisling Duffy’s designs, the hyper-feminine meets oversized silhouettes, giving it a cool edge. You will find skirts, dresses, tops, collars and accessories on sale, styled in a modern yet timeless fashion, all throughout their impressive social media presence.

Palmö is the smallest brand featured on this list, with less than 1,000 followers on Instagram and only a handful of items.

Now is the perfect time to invest in this brand, just before its inevitable blow-up to popularity. A more affordable catalogue with €23 t-shirts and €41 hoodies may not be available for long, once the word about this brand gets out. The carefree, almost child-like, cartoon designs are available on t-shirts, sweaters, hoodies, beanies and print. The bright colours and relaxed designs promote a positive mood and good vibes. Despite their relatively small following, the Instagram page has high production value bound to make you smile. Palmö’s eco-friendly packaging and 100 per cent cotton shirts are a huge plus!

5. Emporium Dublin For those looking for local streetwear and the culture surrounding it, Emporium is the answer. Their cool aesthetic goes beyond their clothes, creating a community around the brand. With a Trinity College alumnus in leadership, Emporium cater their pieces towards all genders and sizes.

Their website is password protected, and pop-ups are far and few between. However, if you keep an eye out on their Instagram page, you may catch much more than just clothes, as they have previously hosted events with local DJs, bringing together like-minded streetwear fans.

In Conversation With: Catherine Furby and Lily Walsh Laura O’Callaghan THEATRE EDITOR

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lockwork Mistakes takes on the exciting role of headliner this Hilary term during DU Players Fringe Festival. The Beckett-inspired rehearsed reading exploring loss, grief and the trappings of time is co-written by English Literature students Catherine Furby and Lily Walsh. Clockwork Mistakes follows the lives of the people living in four rooms of the same apartment complex. Each person has lost something: something initially obscure and unclear. As the play carries on, and the people become more and more intertwined, all of their losses begin to trace back to a single incident.

Speaking to The University Times, Furby described the revisions that the original concept of Clockwork Mistakes underwent to become a rehearsed reading, saying “We actually had to rewrite a lot of our scripts because it was very movement-based … The whole thing is about the connections between the characters and subtly showing that they’re all connected to this event and they all live in

the same place. So our idea was to have a rotating set so we could show each room of the individual apartment complex”.

This Hamilton-style set plan was scrapped for a more subtle approach, Furby explained. “Instead, we changed it all to be dialogue-based. We connected the characters with subtleties in the lines and we have crossover scenes”.

I asked if the two aimed to lean into, or to stray away from, the sparse writing style contemporary pieces often employ when creating the flow of dialogue for their show. Furby and Walsh went on to describe the complications a co-written piece inspires when it comes to reconciling their individual visions for the play.

They both admitted they have totally different styles of writing, but Walsh assured that “they balance each other out”.

Furby described her style as being geared towards stream-of-consciousness and internal monologue, whilst Walsh’s writing niche lies in organic, conversational dialogue. Despite their stylistic differences, the intention of a philosophical and aesthetic use of language to be maintained throughout the play was mutually shared by the two writers.

When asked whether either writer had

a favourite moment in the script that was vetoed from the play’s final structure, they both agreed that there were some hard decisions made. Walsh explained, laughing, “There were some, like, not battles, but some discussions that we had to have about certain bits. But I think we’ve kept everything that we found really important and we’ve just worked to make it flow better… We didn’t let go of anything we felt was really crucial. We just adapted it to suit what it’s become”.

Furby went on to say, “My favourite metaphor had to go though. So the play has got religious undertones because the main character is an older, religious woman. We had the phrase “Judgement Day” as a repeated image. And I loved it, it brings in the religion, it sums up the ending of the whole plot. And Lilly was like, I don’t like that. And every person that read over it was like ‘What is this?’.”

With regards to the tone of the piece, Walsh admits that it is a somewhat sombre play, “I feel like it’s kind of a low play. But we’ve spiced it up with humour, that alleviates the sorrow…we take the time to find the humour in the grief”.

Furby agreed and doubled down on this, saying: “My favourite genre ever is the

mixture of tragedy and humour where it seems light on top but is very layered”.

The writers named Samuel Beckett as an inspiration for the symbolic depth found in the combative dialogue of Clockwork Mistakes, “[It’s] like a symbolic back and forth. They’re fighting about something seemingly arbitrary, but it’s symbolic to something deeper to the play’s meaning. And we did that in a Beckett-esque way” Furby describes her favourite scene and demonstrates the show’s melding of the tragi-comedy genre with Beckett’s layered dialogue style. “It’s three boys talking, and you can tell that it’s got sad undertones but they’re kind of fighting back and forth in a way that’s funny”.

Finally, Walsh wanted people to walk away interested and Furby wished for an audience to admire their execution and handling of the play’s core ideas: “I think it’s difficult because we’re so close to it right now…we are so focused on our writing and the style of how we wrote and that’s all I can see when I look at it. I feel like people with a different perspective will take meaning out of it”.

The workshop play will run every day of Week 2 at 1 pm in the Players Theatre.

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The University Times Monday 29th January, 2024

A Status Update on Dublin’s DJs Maisie Greener ASSISTANT RADIUS EDITOR

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wrote in a previous article, cataloguing five of the best alternative nights out in Dublin, that “We are all guilty of tarring Dublin’s nightlife scene with the same tired and underwhelming brush”. Retrospectively, I would revise this to exclude DJs. The demographic’s dynamism has endured repeated financial and political blows, and it kept creative momentum through a pandemic. Time and time again Dublin’s DJs have proved their fortitude, often exploring unorthodox and grassroots channels to outmanoeuvre a government seemingly hellbent on silencing their sound.

Systemic obstruction to nightlife is unfortunately nothing new. In fact, Dublin’s DJs and dancers have been fighting for their right to party since the 90s. When acid house, ecstasy and The Asylum (an inimitable Sackville Place institution) transformed the capital’s sonicscape, the change was met with Gardaí backlash. Unwittingly and unfairly a precedent for creative repression was set.

However, if there is any sil-

ver lining to be taken from generations of DJs’ habituation to hostility, it’s that a legacy of resistance and defiance has developed.

The unparalleled Creation collective of the late 90s and early 00s, for example, persisted in seeking off-grid locations to evade being shut down. Club culture long ago left the fringes and instead keeps Dublin’s dance music heart beating.

What’s more, DJing, at its core, invites collaboration perhaps better than any other art form. It depends on it. The playing, cutting and mixing of tracks relies on existing music. The typical trajectory of a DJ entails some period of learning from others (whether that be a DUDJ class or a You-

tube tutorial), and when a DJ takes to the booth, any successful set requires a reciprocal relationship between themself and the crowd. The esprit de corps of djing could be surmised as one of collaboration.

Speaking to a selection of Dublin’s finest DJs, Jezebel (Isabel Farrington), Jenten (Jennifer Idowu), FKA Twitter (Faye Dolan) and Sahana (Sahana Sridhar), I set out to unpack what is influencing them at the moment.

Curious about the period of emulation and reproduction that precedes ingenuity as a DJ, I asked about the relationship between copying, learning and creating.

Jennifer describes her learning as like a loop. “I watch to learn, learn to create, and

JENTEN AND MÁTHAIR. PHOTO VIA @MUNYAMARKET ON INSTAGRAM

then keep refining”, she says. Sahana talked about the satisfaction that comes with trusting yourself to blend and dig in your own way. “I think you can feel it when something feels disingenuous or copycat rather than unique to you”.

With more B2Bs and collectives being advertised, and the inimitable DUDJ itself running group tutorials, it seems that collaboration is becoming increasingly central to DJing. Isabel agrees, citing local groups such as Skin & Blister and Honey Pot as instrumental in upholding female and non-binary DJS, “which for myself and many others has been a major help in an industry that ten years ago was entirely dominated by men”.

When asked how their listening habits have affected their djing, Faye found the opposite to have happened.

“I’d say DJing has actually affected my listening habits rather than the other way around. The biggest way being how I distinguish what I like listening to, what I like mixing and what I think other people would like to listen to”. Similarly, since starting djing, Jen described her brain as being on “auto-mix mode”.

Which has been both a blessing and a curse. “It’s a

balance between the joy of just listening and the itch to mix”.

After being asked ‘what is your dream lineup of Dublin DJs looking like?’, Isabel, Jennifer, Faye and Sahana produced a list that wouldn’t look out of place on a festival bill. Puzzy Wrangler, Prozac, Máthair, Ayolxi and Efa O’Neill were just a handful of the names that came up. Proof of the breadth and depth of talent boasted by the city.

Looking back, I asked about any historic Irish musical or creative ventures that inspired the DJs. Sahana praised the underground raves of the late 90s and early 2000s, “I find it so inspiring and revolutionary that in a very repressed society where electronic music wasn’t that popular, it became a subculture”. For Jennifer, being a Nigerian Irish, both Nigeria and Ireland’s music traditions have a special place in her heart.

“It’s like finding a rhythm that connects my Nigerian heritage with the rich musical history of Ireland. It’s not just beats, it’s a cultural conversation.”

Although Dublin is often overshadowed by larger cities like Berlin and London, Faye advocated for Dublin’s presence on the international circuit. “While I think

it’s probably a result of a lack of resources and infrastructure, the DIY scene is incredible here”. The number of great parties are truly a testament to the people that throw them, they say.

Jen also pointed to Irishness itself as helping to produce great music. “I feel like the Irish are masters of creating a warm, inviting atmosphere - it’s like a musical hug. I reckon the world could borrow a page from our book when it comes to creating that connection with the audience”. On the flip side, having spent time in Tallinn and Medellin, Sahana was struck by the number of people whose sole focus was on the music and having a good time.

“Irish artists can definitely take a few tips from them”. Isabel encourages a stronger reception for individuality in Dublin, saying “there are fantastic things going on outside 800 person capacity venues.

Support small.”

And if you one day fancy getting on the other side of the booth, they advise practising on club standard equipment (you can rent an hour in Pirate Studios), banishing any imposter syndrome, and embracing the mistakes in your DJing journey, as they’re the best teachers.

ensure that it can properly encompass all of the people, events and subjects that it wants to showcase.

The first publication will be released sometime after the Fashion Soc fashion show so that it can feature all of the talent displayed there.

Sharing some snippets of what can be expected from the upcoming fashion show, which is set to be an exploration through the seasons, entitled ‘Primavera’, McCluskey emphasised the importance of college students’ efforts in Ireland’s fashion scene. As she notes, “It showcases the talent in Trinity and Ireland, because the Trinity fashion show is basically the only fash-

ion show in Ireland that showcases Irish designers.

It’s not just independent designers, we also have big brands coming in, and there’s no other way they can showcase their stuff,” said McCluskey. She continued, explaining “It’s such a cool thing, but it’s also kind of sad that the only way is through college-run fashion. And I love it, it’s very professional, but they need to start making it not just a college-run thing”.

Although its name and design elements are still in development, the magazine is a new venture into Ireland’s sustainable and youth-driven fashion revolution.

FashionSoc Expand their Horizons Saskia McDonogh Mooney CONTRIBUTING WRITER

T

he fashion industry is rapidly revolutionising, and its catalyst is a young generation calling for sustainability. In college, the Trinity Fashion Society (Fashion Soc) has been committed to this mission, as well as promoting young Irish designers, models and photographers.

Holly Warren is one person who wants to develop their reach by founding a magazine to focus on Trinity’s talent.

“I am very adamant that it will be a magazine for art

instead of advertisements. I want there to be a big focus on sustainable fashion, and featuring Dublin-based designers”, said Warren, speaking to The University Times. “The magazine will emphasise that you can still achieve a really cool look while shopping second-hand”.

While Warren spearheaded the idea and will be running the magazine, Fashion Soc will be backing it and providing the project with resources and connections. “It’s obviously Holly’s idea and her vision, but it ties into the Fashion Soc as a route to make it happen and connect it to other people in Trinity and

fashion. We are able to link Holly up with our connections in Trinity and help her realise her vision”, said Juno McCluskey, the Fashion Society’s social media officer.

Warren admitted the idea came to her after watching the seminal cult classic The Devil Wears Prada but the magazine is also drawing inspiration from various sources, including Rebecca Ewenetu’s magazine yEWth. Ewenetu has incidentally also worked with Fashion Soc in the past, as she spoke on one of their recent panels. “[Ewenetu] gets loads of young people to come on and show their designs, and their style and everything,” said McCluskey. Her work

focuses on the creativity of Ireland’s youth, while Warren’s magazine will narrow this focus down to Trinity students’ talent and Dublin-based artists for a more focused nucleus.

“I think it would be really cool to include Trinity’s own models and photographers. There’s such a broad range of talent that can be utilised in this magazine,” said Warren. Until they receive the proper funding, the magazine will be online. However, as a keystone of the magazine is sustainability, this must be kept in mind if they decide to print their issues.

The magazine will also be published seasonally to

The University Times Monday 29th January, 2024

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Awards Season’s Finest Films William Reynolds CONTRIBUTING WRITER

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ill Cillian Murphy bring it home for Ireland? Could Barry Keoghan sneak in for Saltburn? Are we going to adopt another star as Irish à la Ayo Edibiri? It’s still all to play for in the lead-up to the biggest night in the film industry, with this year’s Oscars set to take place on Sunday 10th March. However, among the deluge of award shows, from the BAFTAs to the Golden Globes and the Critics’ Choice Awards, it can be hard to keep track of the latest releases. Here are some hot takes and deep dives into four films which have rapidly been snatching up nominations. Maybe some of them might even snag an award on the big night against box office goliaths Oppenheimer and Barbie.

Poor Things Yorgos Lanthimos’ uncanny characters and surreal world building returns to our screens. Poor Things is a retelling of Frankenstein based on the book of the same name by renowned Scottish writer Alasdair Gray. In this version, the female iteration of Frankenstein, Bella Baxter (Emma Stone), is brought to life by eccentric scientist Dr Godwin Baxter (William Defoe).

Dr Baxter enlists high flying student Max McCandles (Ramy Youssef) to record Bella’s astoundingly fast physical and emotional progression. He quickly falls in love with Bella and asks for her hand in marriage. However, as she matures so does her appetite for freedom and craving to explore the wider world.

Bella embarks on an adventure with the sleazy Duncan Wedderburn (Mark Ruffalo), and begins to come to terms with her identity and place in the world by grappling with her emotions and environment. The fantastical world that Lanthimos constructs holds just enough similarities to our own that it creates a hyperreality with saturated colours and pronounced societal conventions.

Bella, not familiar with these conventions, holds the intrigue of a vast array of characters as she navigates concepts from love to self determination to societal injustice. For instance, Duncan himself is taken aback by Bella’s unshackling from the imposed rules in society that govern us, from social etiquette to money to acting on sexual desire. His falling in love with her is a reflection of

the freedom he himself craves.

However, Bella acts on her own terms and what unfolds is a triumphant odyssey that skillfully amalgamates fundamental aspects of the human experience.

Lanthimos has once again succeeded in dissecting social rules in order to confront the audience with our own preconceptions.

With each passing film, he becomes more and more skilled at not just recognising the subconscious rules that govern us but forcing us to realise the implications of our human interactions and connections.

Poor Things is now showing in cinemas nationwide and on 35mm film exclusively at the Lighthouse Cinema.

The Holdovers If you’re looking for the next film to join the roster of Christmas classics, look no further than The Holdovers. An emotionally stirring and life affirming journey, The Holdovers echoes past gems like Dead Poets Society and Good Will Hunting, which feature a rebellious student navigating the difficulties of coming of age, as they are taken under the wing of an older figure.

Paul Hunham (Paul Giamatti), an unpopular teacher at elite private boarding school Barton Academy, has the responsibility of supervising the students who are unable to travel home over Christmas, the ‘holdovers’. Hunham is generally known for being strict, anti-social and ill-tempered. His views of teaching have soured over the years by witnessing the blind privilege of the wealthy students along with staff that don’t hold this philosophy of holistic teaching. The group of five students in the school is cut down to one when the father of one of the boys who arrives by helicopter agrees to bring them all on their family ski trip.

POOR THINGS (2023), DIR. YORGOS LANTHIMOS

As Angus Tully’s (Dominic Cessa) parents can’t be reached, he is forced to stay in the school with Hunham and the school cook, Mary Lamb (Da’Vine Joy Randolph) who is still coming to terms with the death of her son.

What follows is a story that strikes the balance between heartwarming and devastatingly sad but is ultimately powerfully authentic.

The Holdovers perfects the art of sincerity without falling into cliché. It achieves this via central characters who share a special bond in their feelings of otherness in a fast paced world which seems to leave behind its most vulnerable. Each character is portrayed with nuance and depth by three actors with remarkable performances – especially noteworthy is newcomer Dominic Cessa’s.

The film culminates in an ending which will leave tears rolling down your face, but with an appreciation for the rich experiences and human connections that life offers.

The Holdovers is now showing in cinemas nationwide.

All of Us Strangers A couple of our brightest Irish acting talents link up in this emotional drama which won’t leave a dry eye in the room. All of Us Strangers is a quietly devastating story that focuses on Adam (Andrew Scott), a lonely writer in London coming to terms with grief. It’s a journey which encapALL OF US STRANGERS (2024), DIR. ANDREW HAIGH

sulates the what ifs and portrays the inner turmoil that comes with leaving things unsaid in close relationships.

The film weaves between two narratives, one with Adam and his lover and another with Adam and his parents in his hometown.

Adam meets Harry (Paul Mescal), one fateful night in his apartment block. He flirts with Adam but due to Harry’s drunken state Adam rebuffs him. This is contrasted with scenes of Adam going back to his hometown to meet his mum (Claire Foy) and dad (Jamie Bell). These narratives contrast each other as Adam explores his queerness with Harry, while simultaneously being burdened by his parents’ difficulties accepting it. Each conversation Adam has is laced with sincere, hard-hitting dialogue as the viewer sees that his relationship with his parents has struck fear and uncertainty into his relationship with Harry. Adam forges a path to find catharsis from the all consuming grief that he feels.

The film skillfully navigates the melancholia that exists to varying degrees in all of us. Each character is masterfully assembled but our connections with them wouldn’t be achieved without the abilities of every actor to bring depth and authenticity to their performances. It’s a pity that Andrew Scott has been overlooked this awards season as the film couldn’t work without his powerful performance. All of Us Strangers’ surreal, semi-fictional nature encapsulates the idea that we tell ourselves stories in order to reconcile with the emotional decimation that comes from grief.

All of Us Strangers is now showing in cinemas nationwide.

The Zone of Interest Following Under the Skin’s ascension to arthouse cult classic, director Jonathan Glazer has been in hiding for nearly 10 years. The Zone of Interest looks set to follow in its footsteps and has accumulated even more silverware than Glazer’s prior film, including the Grand Prix at the prestigious Cannes Film Festival in 2023. The

film, set in Nazi Germany, is from the perspective of Nazi commander, Rudolf Höss (Christian Freidel) and his family living beside the Auschwitz Concentration Camp.

The camera observes their domestic life and familial issues such as Rudolf’s transfer to Berlin which results in tensions with his wife, Hedwig (Sandra Hüller). The film should not, however, be mistaken for a simple family drama.

Glazer illustrates the banality of cruelty by juxtaposing seemingly idyllic scenes of family life with horrifying glimpses of a concentration camp. Distant screams and chimneys billowing smoke from the gas chambers provide an ominous backdrop to their picture perfect domesticity on display. This contrast is a damning indictment of their callousness and lack of compassion. However, in his attempts to artistically and meticulously craft the past lives of this Nazi family it obfuscates any further message for the audience in the present day.

Of course a film such as this would highlight the inhumanity of the Nazis. We hear orders that hundreds of thousands of Hungarian Jews are to be gassed or forced into forced labour by Nazi soldiers. While it seems Glazer’s intention was to force present day audiences to reckon with the ease with which they ignore injustice he fails to compound his message of complacency and apathy. This is in large part due to the failure to engage in discourse of the legacy and after-effects of the Holocaust.

The best scenes of the movie come in the final ten minutes. However, these images come too late to have their intended effect as the observant nature of the whole movie has created a sense of detachment.

The emotions Glazer stirs amongst his audience are those of mourning and remorse for the past, but he fails to heed any sense of caution for the future.

Admittedly, the film has immense artistic merit with some of the best production and sound design this year. Yet, its technical accomplishments aside, it comes as a huge disappointment. It largely feels like a tedious, meandering academic exercise which fails to develop its ideas with nuance and depth. Do we really need to witness the viewpoint of Nazis in order to understand the simple idea that their inhumanity and barbarism were ingrained into their everyday lives?

The Zone of Interest is releasing in cinemas nationwide from 2nd February with preview screenings in cinemas now.

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The University Times Monday 29th January, 2024

In Our Our Pick of Trinity and Dublin’s society, art, life and culture events author of Other Words for Smoke Sarah Maria Griffin and an audience Q&A will be conducted after the conversation. The event will take place in the Blanchardstown Library on Thursday, February 1st at 7:30 pm.

Tickets are free but must be reserved in advance on Eventbrite.

THEATRE

REVIEW: KRAPP’S LAST TAPE

PHOTO BY PATRICIO CASSINONI

Ellen Duggan JUNIOR EDITOR

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or those hoping to grab a last-minute ticket to see Krapp’s Last Tape in Project Arts Centre, I can only express my sympathy as the entire run of this stellar production is sold out. Running from January 11th to February 3rd, directed by Vicky Featherstone and starring Beckett veteran Stephen Rea, the play marks the 20th anniversary of Landmark Productions’ first performance at Project Arts Centre, and is certainly more than worthy of the occasion.

Krapp’s Last Tape is one of Beckett’s best-known plays and, given its association with theatre giants of the past such as Patrick Magee, whom Beckett wrote the monologue for, the play is laden with a history of prior performances. Featherstone talked about this in a post-show discussion held on January 15th, chaired by Dr Tanya Dean, saying that she had tried to approach it as though it were a new

THEATRE SIVE THE GAIETY, JANUARY 7TH – MARCH 16TH Running the Gaiety from January 27th to March 16th, John B.Keane’s SIVE follows the story of a scheming matchmaker and a young girl forced to marry a much older man. If you’re a general fan of greed and bitterness portrayed on the stage, this could be the show for you, though maybe don’t go sharing those interests with your friends.

LITERATURE

play. Indeed, there is a freshness to the performance. Rea’s Krapp seems light and at times childlike, taking small, plodding steps as he retrieves his boxes of tapes. He lingers over “Spool! Spooool!” as though the word is foreign to him, unconvinced by his own pronunciation of it.

We see him initially respond to the plum-accented meditations of his youth with amusement. The tapes used in this production were revealed in the postshow event to have been recorded by Rea twelve years ago on the off-chance of being asked to play Krapp. When his predecessor resolves to “drink less”, he lets out a short, mocking laugh, one not so much bitter as rueful. It is only when his youthful self begins to talk about the love he has turned away from that Rea’s demeanour changes. His movements become more laboured, his voice gruffer, his face agonised. Over the course of the fifty-five-minute runtime, we watch a man age in front of us, as he reflects on a life whose choices have left him deso-

late and alone.

Set designer Jamie Vartan and lighting director Paul Keogan have created a superb space for Rea’s Krapp.

The stage is sparse, housing only a white desk and white chair, and its barrenness serves to evoke the emptiness of the life Krapp has created. As Krapp flings objects aside, beginning with banana peels and eventually the tapes he has so meticulously recorded and preserved, the items begin to gather at the side of the stage, in shadow. We are bearing witness to a life spent throwing things away. The overhanging light illuminates the white of the desk, casting a long shadow. The audience can see even the dust which rises from the comically large dictionary, which Rea drops on the desk.

Ultimately, Krapp’s Last Tape was a triumph. As the light dims and darkness collects, descending like a veil over the stage, the audience is finally confronted with Rea’s face, alone.

Drained of all energy, he is hopeless, “burning to be gone”.

HITCHED LAUNCH HODGES FIGGIS, FEBRUARY 1ST, 6PM Hodges Figgis is hosting Joseph (J.M.) Murray to discuss his new romantic comedy that has been described as “Bridesmaids meets The Hangover”. Hitched is set in Dublin and is being published on the heels of Murray’s debut Fling as well as his burgeoning TikTok fame, which began during the pandemic and he says inspired him to begin writing. Readers will appreciate Murray’s unpretentious and approachable writing style as well as his quick

humour. Murray will also be signing books during the event.

LITERATURE IN CONVERSATION WITH EMER MCLYSAGHT AND SARAH BREEN BLANCHARDSTOWN LIBRARY, FEBRUARY 1ST, 7:30PM Emer McLysaght and Sarah Breen are joining in conversation with Sarah Maria Griffin to discuss the Aisling series, their friendship and writing process as a celebration of St. Brigid’s Day. With five published Aisling books so far, McLysaght and Breen will be joined by

SOCIETIES BRIGID’S PARTY: A CELEBRATION OF SCORNED WOMEN THE SUGAR CLUB, FEBRUARY 2ND, 8.30 – 11.30PM Start your Valentine’s Day celebrations early with a night at The Sugar Club honouring St Brigid and other scorned women on February 2nd. For just €13, you can join the singalong hosted by the Craic Machine with songs from angry women. On the playlist queue are women such as Alanis Morissette, Olivia Rodgrio, Destiny’s Child, Rihanna and Taylor Swift among many others.

It is sure to be a night full of catharsis and scream singing. Tickets are available on eventbrite, but hurry as they are already running low.

FOOD & DRINK DRINK & DRAW THE GRAND SOCIAL, FEBRUARY 3RD This event is hosted by Drink and Draw Ireland, presented in partnership with Alternative Dublin as part of Bridgit: Dublin Celebrating Women, a Dublin City Council initiative. No

previous painting experience is necessary as there are instructors available who are keen to guide you through the process.

You can book one of two slots, either at 4pm or 7pm.

Tickets are priced at €25 and can be purchased on eventbrite.ie.

FASHION ST BRIGID’S DAY FAIR RICHMOND BARRACKS, FEBRUARY 3RD – 4TH, 11AM For free, you can attend a fair celebrating St Brigid, full of local female artists and makers’ pieces to browse and buy, all alongside live entertainment and great food. The perfect way to spend the weekend!

MUSIC BRIGIT RISING CONCERT ABBEY PRESBYTERIAN CHURCH, FEBRUARY 5TH, 7:30PM As part of the Brigit 2024 festival, Dublin celebrates the spirit and legacy of the Celtic goddess Brigit through music. The concert will feature Rachael Lavelle, Soda Blonde, and Laoighseach Ní Choistealbha, providing an evening of music, poetry, and performance amplifying the voices and stories of women. Tickets are available on eventbrite. ie from €12.50.

MUSIC BOWIE SILENT DISCO WHELANS UPSTAIRS, FEBRUARY 8TH, 11PM Whelan’s well-known silent disco becomes Bowie-themed as part of The

Dublin Bowie Festival, the biggest arts festival in the world dedicated to David Bowie. The night offers guests a chance to sing and dance along to Bowie classics. Admission is free.

SOCIETIES MURDER ON THE DANCEFLOOR WORKMANS CLUB, FEBRUARY 8TH Obsessed with Emerald Fennell’s new film Saltburn?

Can’t stop thinking about Barry Keoghan dancing naked in a mansion or Jacob Elordi’s big beautiful brown eyes? Live out your deepest Saltburn fantasies at Workmans with a night of “2000s nostalgia”, complete with songs that easily transport one back to the good old days – 2006. On the slate are artists like The Killers, Amy Winehouse, MGMT, and Lily Allen.

Also promised is Sophie Ellis-Bextor’s ‘Murder on the Dancefloor’. Saltburn inspired outfits are requested, so show up ready to experience the depravity of a 2000s night.

FASHION TRINITY FASHION SHOW EXAM HALL, FEBRUARY 9TH, 7PM Join Fashion Soc’s mesmerising adventure through the seasons in their exclusive ‘Primavera: changing the seasons’ show. If you manage to secure your spot among the lucky 300, you will be captivated as you embark on a journey through the essence of all four seasons. Prepare to PHOTO BY ELLA O’BRIEN

The University Times Monday 29th January, 2024

15

CULTURE

FIVE OF THE BEST: SAINT BRIGID’S DAY

Brídín Ní Fhearraigh-Joyce JUNIOR EDITOR

S

aint Brigid is many things to many people. To some, she is associated with attempting intricate patterns in secondary school but instead stinging yourself with rushes to make the perfect cross. To me, she is my name sake – mo Mham gifted me with the Irish version of the name so that I would be named after “the first feminist recorded in Irish history”.

The story goes that when the High King of Ireland tried to shut down Brigid’s island where she tended to the poor and the sick, she girlbossed him into the sun with her cuntiness. Or rather, he told her she could have as much land devoted to her charity as the size of her cloak, and then she whipped off her slay costume and performed a miracle - making the cloak enormous with a little help from God. Another lesser-known story about Brigid is that when her family tried to force her to marry, she plucked out her eye so that she wouldn’t have to wed a man. How relatable!

She was also known for sleeping in the same bed as her maid - to some scholars they were merely ‘close friends’, but the LGBTs and allies know better. Even

be captivated! Tickets are available from Saturday, January 27th, at a cool €12 each.

MUSIC THE BUG CLUB WORKMAN’S CELLAR, FEBRUARY 10TH, 8:30PM

more intriguing, the saint is said to have assisted a pregnant nun with a miracle.

That’s right, she magicked the baby away and saved her sister in Christ. For this reason, an American NGO assisting people seeking abortions has the name ‘The Brigid Alliance’. Pretty neat if you ask me! So without further ado, here are top five picks to celebrate the feminist Saint and the new(ish) Bank holiday: 1. Drinks Tasting and women’s history at the Pawn Shop This event has it all: women, free booze, and a harpist. ‘Yup The Mná’ will feature talks from women working in the drinks industry. Expect discussion about foraging, fermentation and feminism. Non-alcoholic beverages will also be served. The event takes place at 7 pm on February 1st.

2. ‘Brigit: Every Woman’ Talk Hosted by the National Women’s Council The legends down at the National Women’s Council are hosting a talk in Smithfield about the upcoming constitutional referendum and what this means for family, family care and “women in the home”. Go get yourself educated by their fantastic contributors! Booking is required.

The event is at 6 pm on the saint’s day.

Welsh band The Bug Club will be performing in The Workman’s Cellar following the release of their latest album Rare Birds: Hour of Song. Inspired by artists like Violent Femmes, Daniel Johnston and The Velvet Underground, the band

3. ‘Embodying Brigit’ Drama Class at the Gaiety Are you an art hoe? Or maybe you just want to try something new. This class promises to help you embody your modern-day Brigit through movement and poetry. The description reads, “through drama, we will embody her essence and celebrate the profound impact of female Irish poets who continue to shape the cultural and literary landscape”. Say no more!

Booking is required so get clicking fast. Get your acting chops on at 7.30 pm, February 1st.

4. Celebrating Women Parade Go for a hot girl walk, skate or bike “in a joyful tribute to the inspiring women who have come before us and those who will illuminate the future”. It’s time to take back the streets from the patriarchy! The event starts at Wolfe Tone Bridge at 4 pm, on February 5th.

5. #ReadWomen Silent Book Club For the introverts and burnouts among us, Mish Mash Café on Capel Street is hosting a silent book club focused on women authors.

Dust off your copies of Virginia Woolf and Stephanie Meyer and prepare for a soothing evening of quiet bookishness. The event starts at 5.30 pm on, Saint Brigit’s Day.

profess an unpolished, garage rock style. Tickets are available on ticketmaster.ie from €16.45.

THEATRE TRINITY MUSICAL THEATRE’S CARRIE: THE MUSICAL O’REILLY THEATRE, FEBRUARY

14TH – 17TH Trinity Musical Theatre’s production of Carrie will run from February 14th to February 17th 2024 and is the perfect way to ignore your lack of a date this Valentines day! This stage adaptation of Stephen King’s iconic novel is chockfull of the weird, the supernatural, and teenage angst.

Alongside a soundtrack of killer songs like ‘The World According to Chris’, it’s sure to be an unforgettable night.

FOOD & DRINK GALENTINE’S BOTTOMLESS BRUNCH BOTANICAL RESTAURANT, FEBRUARY 17TH, 1 – 3PM This February, you should put the plan to action and do Galentines with your dear friends. Botanical is offering a Galentines brunch with cocktails, endless prosecco and mimosas.

Get lost in great tunes with your best friends and forget about the horrors of college dating! There is nothing quite like a bottomless brunch to take your mind off things. Botanical is offering both sweet and savoury breakfast and lunch options. It is guaranteed to be a true love match for everyone! Tickets are €35 and can be purchased on eventbrite.ie.

FOOD & DRINK ASIAN KITCHEN COCKTAILS WITH OISIN DAVIS ASIA MARKET’S BALLYMOUNT STORE, FEBRUARY 17TH, 4 – 5.30PM During this masterclass, award-winning Oisin Davis will teach you how to create five different Lunar New Year inspired cocktails and mocktails. Of course, you will get to try all five creations alongside snacks.

As we all know, everybody in their early twenties needs their own signature cocktail. This is your chance to find yours! Tickets are priced at €25 and can be purchased on eventbrite.ie.

FASHION HARRY STYLISH CLUB NIGHT THE GRAND SOCIAL, FEBRUARY 19TH, 11PM Pull out your feather boas, sparkles and bright colours! This one is for the Harry Styles lovers, especially the ones who have been there since the One Direction days. The Grand

Social is presenting “late night dancing, non-stop solo hits, remixes and plenty of 1D bangers in the mix”.

This is your opportunity to live out your own take on Styles’ iconic fashion and win prizes for your outfit.

For the performers: embody your inner pop star in the lip sync battles! Tickets are €7 on Eventbrite.

LITERATURE WE GO ON AND THE DAY BEFORE LAUNCH HODGES FIGGIS, FEBRUARY 22ND, 6PM Poets Aoife Lyall and Kerry Hardie will be debuting their new poetry collections The Day Before and We Go On, respectively, published by Bloodaxe Books.

Lyall will be introduced by author Jessica Traynor and Hardie by author Michael Harding. Both Lyall and Hardie will perform their work as well as discuss their respective collections. The

Day Before is Lyall’s second collection and We Go On is Kerry Hardie’s ninth. Attendance is free.

SOCIETIES TRINITY BALL TRINITY COLLEGE DUBLIN, APRIL 12TH The long awaited announcement has finally been made. Trinity Ball will be held on campus on April 12th. Details and information is still being released, including the date of ticket sales, however the highly anticipated night is sure to live up to all of our steep expectations. Additionally, Trinity Ents will be allowing students to vote on a shortlisted lineup of fellow students, one of whom will be lucky (and brave) enough to perform in front of their peers. Stay tuned to @trinityents on Instagram, or simply keep an ear out on campus for further details regarding the ball.

PHOTO BY MICHAEL BROSILOW