COLM KEEGAN

BREATHING CORPSES

MACBETH // JAMES KELLY

CHIC/EEK \\ GALLIANO // MBV

college tribune entertainment supplement12.2.13

EPNRSH12.2.13 12

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Music EditorCiaran Breslin

Arts Editor

@conorfoxor

Conor Fox (aka Foxy

)

Fashion EditorRoisin Sweeney

It’s 5 o’clock in the morning. And I’m fast asleep in my bed even though I forgot to send my editors two of my articles. I can just imagine them now,

going a bit demented and cursing my name. So I’d like to dedicate this blurb to my wonderful editors; Cathal O’Gara and James Grannell. They haven’t fired

me yet! Out of pity no doubt (I have no where else to go...).Also, I’d like to mention our Art Director Cheryl Flood. She wasn’t around last production weekend and I was lost without her. Welcome back Cheryl! Never

leave me again.Oh and read the Arts section! It has the ‘Foxy Cleopatra’ seal of approval!

This week’s section has everything artsy from poetry to animation, with great interviews with slam poet champion Colm Keegan and director James Kelly.

Keep up-to-date with all the latest happenings with our ‘don’t miss this’ column.

Finally, Lisa Caroll is putting on a production of Laura Wade’s ‘Breathing Corpses’ which is a certain to be one of the highlights of Dramsoc’s calendar

this semester.

Stay artsy UCD!

Live music events will be returning to campus this week with the much anticipated return of the Student Bar. In my time in UCD, it has seen Deadmau5, LMFAO, The Wolfe Tones,

The Coronas, Boize Noize, 5ive and longer ago, even Calvin Harris grace the stage. Now however, to celebrate the overdue return of the place we spent so much of the last number of years, it’s going to cost €8 to see Ents DJs and one of the lads from Smash Hits. Which

I reckon is complete madness.

The sudden entrance price is apparently necessitated by the bar being rented off UCD by the SU at the strange price structure of 5 euro per student, obviously begging the question, why are we paying 8 euro so? Accepting for a moment that they couldn’t make enough money from drink, the most common conciliation or defence for the entrance fee

seems to be the suggestion that having to pay into the bar is better than having no bar at all, but, for me anyway, that completely misses the point. It wasn’t for the love of the venue itself that everyone went, it was for what the venue represented. It represented

somewhere where you were guaranteed to know loads of people. It represented a casual middle ground between pre-drinking in a bar or at home. It represented somewhere to relax and kill time, eat lunch or play pool. It represented three euro pints of Beamish.

Even for gigs (which this barely qualifies as), it was always something a bit different than actually going out, something a bit more localised and laid back. “Are you going out? Nah, I’m just gonna head to the student bar.” It really is a pity because UCD is so much worse

off without the bar.

As it stands though, it feels like they’re trading on nostalgia, and we’re getting ripped off.

The world looks better in black and white, photos of nights out certainly look better in black and white. There is an incredibly appealing graphicness to monochrome, as shown

in the shots of Edie Sedgwick in our Style Icon section. Marc Jacobs’ collection for Spring/Summer was an exercise in restraint and simplicity, the first look was a t-shirt with short-shorts, the only decoration was a few vertical black lines, stark against the crisp white top. The collection was one of the most visually striking of the season. Niya Morrissey makes a

full assessment of the trend in the fashion section this week.Monochrome clothing appeals to us on a basic level, our eyes look for contrast and patterns. Think of things or people who need to be seen; a ringmaster in a circus, a

prisoner in case of escape, a referee, or the black and white chequered flag that signals the start of a race. Simple monochrome prints were chosen because the eye is drawn to them.

I’ve been thinking about the root of Jacobs collection, of course it was 60’s inspired, Edie inspired, but the designer is also a huge fan of Miuccia Prada. He sat front row at

her Spring/Summer 2013 Miu Miu show, and consistently professes his love for her designs. When I first saw Jacobs’ collection, I instantly though of Prada’s Spring Summer

2011 show, another hugely simple, boldly striped affair. It’s very interesting, in a sea of mediocre designers, to see these two influencing each other and swapping and developing

ideas. Many consider Prada and Jacobs to be the two most important designers of our time, and I hope they will continue this conversation of collections, far above the realm of

many other designers.

I EE IST L M U S I C 03 The Siren’s Guide to.. Music guide to the Erasmus 04 Happy My Bloody Valentines Day The 20 year wait is over

05 13 Songs... That made the movies memorable

A R T S 06 Breathing Corpses Latest show to hit UCD The Book Nook Best books for the year ahead

07 Poetic Provenance Colm Keegan interview

08 60 Second Society UCD Dancesoc

09 Don’t Miss This LatestDublinculturalofferings

F A S H I O N 10 Stripe for the picking Bold prints are back 11 Style Icon Edie Sedgwick Chic/Eek Galiano to Nemo

CONTRIBUTORS

Kathryn ToolanPeter SweeneyAoife ByrneTheresa MartusElaine McDonaldSinéad SlatteryLisa GorryDarragh O’ConnorNiya MorrisseyLauren TraceyAnninka E. BarryAmanda OuelletteChris Becton

THE SIRENScan the QR code to visit the college

tribune website for more culture

content

3

Foals like to keep it old school. They haven’t re-leased an album since

2010, so their third album has been greatly anticipated to say the least. If you’re feeling slightly neglected, fear not – Holy Fire will ease your pain. Your three years of emails, tweets, flowers and haikus worked, it’s here and it is good.

If it ain’t broke, don’t fix it. So they haven’t. Rhythm gui-tar, check. Lyrics that speak to your soul, check. Moments of pure unadulterated rock-magic performed by bearded geniuses, check and check. The first single released from the album, “In-haler” is like a welcoming hi-5

Cage the Elephant- Aberdeen

Europe is scary, full of funny languages and foreigners, so if you’re like me and hate anything new and don’t want to bother with all that cultural nonsense then the British Isle is the place for you. For those lucky enough to be selected to attend the University of Aber-deen will enjoy all of the heavenly delights that Scotland has to offer, if battered Mar bars and bottles of Buckfast in a disused industrial es-tate are your thing.

And you thought the Fri-day wailings of Ark Mu-sic Factory’s Rebecca

Black was bad? Wait until you hear Russell Crowe screech his way through “Javert’s Suicide” sounding like a castrated pit bull. It’s all nasal and flounder-ing vocals. One of things Tom Hooper’s film of the now-classic musical Les Misérables claims to be a virtue is that the block-busting cast reportedly sang everything live, rather than opt-ing for the crude mugging that miming and dubbing will always result in.

Its a musical oddity, but one that turns this soundtrack into

from the boys, “we’re back,” they’re saying (in my head). Rhythm and bass form the foundation of this track and them bam, an explosion of electric powered rock magic and Yannis screaming “space.” This is followed swiftly by “My Number,” a standout track on the album. It truly is a classic Foals song. Forget coffee – this song will get you out of bed and out the door better than any bean based substance, guitar work that can only be described as invigorating. “Bad Habits” centres on a throbbing bass. “Late Night” slows down slightly, it is the third single due to be released off the al-bum. Effortless, heart wrenching lyrics and a rare guitar solo from Yannis. Things start to slow down as the album draws to a close and what a conclusion it is. The final track is “Moon.” A surreal, goose bump-inducing lullaby.

An album that was definitely worth the wait. They have man-aged to create the freshest of mate-rial while at the same time remain-ing true to their sound. Available to buy/download from the 11th of February, you’d be “Foalish” not to indulge. Get it? Eh?

an incomplete and quite dislo-cated experience.

The much-loved tunes have become actors’ songs rather than singers’ songs. They’re robbed from their filmic won-der and thrown into a seemingly one-dimensional album.

However, that’s not a prob-lem for every cast member. Much has already been made of Russell Crowe’s on-screen in-adequacy as the maniacally de-termined and corrupted Javert, and at close quarters it’s even more noticeable.

Other cast members fare far better. Hugh Jackman is a charged and committed Jean Valjean on record and weath-ers the transition to audio-only well; Anne Hathaway’s brit-tle and quite bonkers version of Fantine’s demise channels Sinead O’Connor and sounds wonderfully intense; and Eddie Redmayne’s winsome tenor is a splendid surprise as his Marius Pontmercy becomes more and more the dominant male.

And special mention must go to “Samantha Barks” (a veteran By Stephen WestBy Kathryn Toolan

By Chiris Becton

Album Reviewsmusic@collegetribune.ie12.2.13

Les Misérables - Motion Picture SoundtrackFoals – Holy Fire

Vampire Weekend- Oxford Comma

Oxford, often seen as a shin-ing example for third level educa-tion, snobbery, jousting, boating and putting away Heinekens by the crate, is next to receive my appre-ciation for lack of cultural explora-tion reasons. I often like to think all students do there is wear cravats, moccasins and those ¾ length trousers, roll hula-hoops with sticks (because that’s a thing) and play bowls. Or in other words, live out my stereotyped fantasy of life.

Beirut- Postcards from Italy

Italy is a big place, with lots of people and one language, so if you chose to go to Rome, Pisa or any other university in this cultural melting pot then you have my ad-miration. Highlights include the infinite Renaissance constructions, the Apennine Mountains and the Alps, which means you better like mountains because 85% of Italy is one. Another cultural hotspot is Florence, famous for the Piazza del Duomo and where they shot a sea-son of MTV’s Jersey Shore.

Editors- Munich

“Yes, I want to study in Munich to better understand the Bavarian people, and their…err…Culture.” They have drink in Munich, quite a bit of which floats about at Okto-berfest, and if you’re not drinking in Munich then you’re not cultur-ing… by logic it is therefore okay to drink yourself into a coma here, in the name of soaking up the culture of course.

You may be one of those second years who have handed in the last of the Erasmus applications, or merely an elder statesperson of UCD, longing for the heady days of yesteryear (possibly just the one year of yester). The days when you were off catching mystery illnesses and trying to describe your symptoms to a doctor with a shaky grasp of the language of your chosen country. Either way, The Siren are here to provide you with more continental cultural goodness than any “aimless wandering” around Amsterdam will ever do.

The Siren’s definitive guide to… Erasmus

Jay-Z & Kanye West- Paris

Like a junkie needs their fix, a tortured soul needs Paris. Or pos-sibly Prague, they’re not too picky. Seen as the cultural capital of the world, the Louvre, Museé D’Orsay and of course who can forget the lead up to the Sacre Coeur, with hundreds of steps and the perpen-dicular Boulevard de Clichy, where men with far too few teeth and hair misplaced around their heads ush-er you into shady and dingy clubs to view ladies removing their close. A true hit for the possible voyeur in all of us.

of the stage show), giving the tragic Eponine full service in a soaring, bucolic reading of On My Own.

Simply put, you can’t keep a good tune down – and thanks to Claude-Michel Schönberg’s bewilderingly tuneful songs that keep the plot in check, there’s much to enjoy in al-most any passable recording of Les Misérables.

Bring Him Home, Red and Black, One Day More and the inescapable “I Dreamed a Dream” will be familiar to anyone with a passing knowl-edge of modern musicals. But the versions on the album make for a potentially diffi-cult listen, especially for any-one who doesn’t have the film playing in their head.

A partial victory then, and one buoyed by some outstanding surprise turns. But ultimately it’s the songs themselves that make this re-cording something more than a mere obligation.

music@collegetribune.ie

412.2.13 music@collegetribune.ie

Music, as we know it now, is a uniquely young art form. In contrast to painting or prose or poetry, which have been evolving and sprawling for hundreds of years, the art-

istry of music as it is now has probably had its history squeezed into the last seven or eight decades. Dictated by technological advancement, this is underlined by the concept of the album, which is the modern paradigm of music-as-art. Where historical artist’s career trajectory and stylistic progression is marked by plays or novels or completed works, the mythology of modern musicians is defined by albums. The appeal of modern music then, in a way unmatched by other art forms, lies not only in it’s accessibility and universality but equally in it’s fresh-ness; in the exhilaration of novelty and modernity, the genuine sense of boundless potential that it carries when we think of it on that plain. It all makes for a curious blend of music being both a careless and unthinking part of everybody’s life while at the same time, becoming vary-ing degrees of deeply personal and rewarding. As the ben-eficiaries of this unique time, it is an incredible exciting concept to embrace. And it really only becomes apparent at certain times, like when My Bloody Valentine release a follow up to Loveless.

The story arc is part of it, of course. Everyone loves to buy into artists as much for their lifestyle and charisma as their art; for John Keats dead at 25, see Jimi Hendrix dead at 27. The romance and the melodrama makes the actual substance all the more appealing. My Bloody Val-entine released Loveless in 1991, a rare album that can genuinely be termed as seminal in it’s originality and in-fluence. After the album, Kevin Shields, the Irish master-mind behind the project, went through various stages of creative meltdown in his attempts to craft a follow up, á la Brian Wilson, or even when J.D. Salinger retired at 32 years old after writing A Cather in the Rye. Those events have been historically book ended, retrospectively assigned the requisite pathos and interest but ultimately remaining a finished thing. In mbv however, we are offered the chance to get involved in musical myth at the ground floor.

As with many more challenging art forms, My Bloody Valen-tine’s music comes complete with their own critical lexicon. It inevitably contains words like “fuzzy”, “noise-rock” and “drone”, and it really doesn’t do justice to the band in the same way that one might reductively refer to The Beatles as “psychedelic”. To try to isolate component parts of the overall effect almost feels sacrilegious. Part of My Bloody Valentines unique magnetism is in how difficult they are to define, in how opaque and discon-nected the music fells, both emotionally and sonically while re-maining so compelling. Like no other band I’ve listened to have

I found myself as immersed in pure aural aesthetic textures. If everyone has some albums that you put on and zone out, Love-less always seemed to function more like zoning in, becoming un-thinkingly attuned to the haze. It was admittedly bewildering and difficult to penetrate at first (no discernible “singles” in the tra-ditional sense, unfamiliar in it’s relentless use of feedback), but represents a huge reward in contrast to investment.

So the first thing to acknowledge, is that the new album is al-ready going to be part of musical folklore, either as the spectacu-lar failure that ruined the legacy, or the long overdue validation, the celebration, the salvation. And thankfully, it’s the second one

there. Wonderfully, despite the twenty odd years that have elapsed since it’s predecessor, mbv sounds like it was made the week after Loveless, by the same wracked instinctual genius. Layers of guitar feedback, variously screeching and rumbling are soothed by the familiar low milky vocals of Shields and bassist Debbie Googe. Like Loveless, the album doesn’t lend itself well to being picked apart for critical rationalization: both are albums about cohesion and instinct and feeling as opposed to vi-cissitudes. Mbv sounds equally as ethereal and mysteri-ous, the tip of some unimaginable depth of sound and sentiment and it’s a reminder that My Bloody Valentine genuinely invented this form of music, and as such have the lightest and most assured grasp of it.

In terms of highlights, New You perhaps sounds the most immediately pleasant track, where a shimmering melody and more conventional drum beat are allowed to be sparkle above the bassy feedback. Googe’s delicate vocals sound every inch as beautiful as on Loveless’ To Here Knows When. Only Tomorrow meanwhile exhibits the familiar contrast between jagged and relentless gui-tar noise and the woozy, slightly breathless vocals, tense and unsure as to what is being expressed, but sure how to

express it. Occasionally sheer opaqueness threatens to overtake the thrill of the album, but really all that results in is a desire to listen again and again, sensing that there’s more substance to be gleaned from the unfamiliarity. It is, predictably, difficult to pin down and dissect, particularly so soon after it’s release, but I guarantee it’s compulsion and magnificence.

Really this might be my first time listening to a new album with a degree of trepidation, meeting a new release as an equal. I im-agine this must be how they felt when Highway 61 Revisited came out, or when everyone was waiting for Second Coming. Those events divided and delighted in equal measure but after a week with mbv, feeling like a small part of musical history, I am left grateful, exhilarated and most importantly, extremely satisfied.

Happy My Bloody Valentines Day

To try to isolate component parts of the overall effect

almost feels sacrilegious. Part of

My Bloody Valentines unique magnetism is in how difficult they are

to define

Ciaran Breslin and Peter Sweeney celebrate the end of a twenty year wait for My Bloody Valentine’s new album

5arts@collegetribune.ie12.2.13

1. Simple Minds “Don’t You Forget About Me” - The Breakfast ClubThat earring. That hair. That fist pump. No, this is not a description of a Jersey Shore cast member. It is the

final scene of the 1985 classic film, The Breakfast Club. Leaving the best until the very last moment, well played John Hughes, well played.

2. The Shins “New Slang” - Garden StateThe Indie band from Albuquerque hit the jackpot when they started getting Natalie Portman to do their PR.

Her character Sam hands a headset playing “New Slang” to leading man Zach Braff, “It’ll change your life; I swear.”

3. Survivor “Eye of the Tiger” - Rocky 3It’s too late, it’s popped up on shuffle. You’re only four chords in and you’re already feeling guilty, the

sweating face of Sly Stallone is now staring at you whilst you guiltily chew your chicken roll.

4. Eminem “Lose Yourself” - 8 MileMarshall scooped up an Oscar for Best Original Song in 2002 for this gem, along with five Grammy

nominations. It starts it’s life as a disjointed series of rhymes in the head of “Jimmy”, the main character of 8 Mile, detailing the background story of his character, eventually building itself up and becoming one of the greatest hip hop tracks ever written.

5. Roy Orbison “In Dreams” - Blue VelvetOrbison claimed the inspiration for this song came from a dream he had. A beautiful story, innocent. And

then came David Lynch. In the scene in question, the song is lip synced to perfection, whilst Frank Booth (Denis Hopper) stares intensely at the performer. Booth enjoys the performance intensely, and shows his appreciation by beating him to a pulp.

6. Righteous Brothers “Unchained Melody” - GhostIt’s almost Valentines Day, why not re-enact this beautifully sensual scene from Ghost, all you need is a dollop

of Play-doh, a partner and this unforgettable track. To top off your eighties inspired love fest, stick on “Time of Your Life” from Dirty Dancing and “Take My Breath Away” from Top Gun. Foolproof... Said nobody, ever.

7. Q Lazzarus “Goodbye Horses” - The Silence of the LambsA feel good movie, with strong themes of family and wellbeing, with an emphasis on healthy eating. Buffalo

Bill may not have grasped the whole, don’t make clothes out of human skin thing yet, but it can’t be denied – the man can dance.

8. Chuck Berry “You Can Never Tell” - Pulp FictionThe shoes are off and the piano starts playing. John Travolta and

Uma Thurman join forces with Chuck to produce one of the most iconic cinematic moments ever, becoming an essential part of the narrative as a whole.

9. Luke Kelly “Raglan Road” - In BrugesIf Brendan Gleeson is going to die, he is going to do so in an honourable/

dramatic fashion with an immense tune to accompany. In a film that is full of laugh out loud moments, this scene breaks the comedic rhythm. Gleeson, Kelly and the words of Patrick Kavanagh – the ultimate death scene.

10. Kenny Rogers “Just Dropped In” - The Big LebowskiThis classic features in what can only be called, the Greatest Dream/

Drug scene ever made. Human bowling pins, Vikings, Jeff Bridges and this song - what else could a dream scene need? Originally penned by American songwriter Mickey Newbury, it was written to warn of the dangers of LSD.

11. Simon & Garfunkel “The Sound of Silence” - The GraduateThis song perfectly captures the despair and inner turmoil of Dustin

Hoffman’s character in The Graduate. A young man of quiet disposition, faced with circumstances beyond his wildest dreams – he is torn up with emotion. Simon & Garfunkel’s soundtrack for this film is some of their best work, not forgetting the great “Mrs. Robinson.”

12. George Baker “Little Green Bag” - Reservoir DogsHe does it again, Tarantino. This film was his cult classic, propelling

him into the spotlight as a groundbreaking director. This scene features the main characters of the film and himself, walking slowly towards their cars. It is utterly simplistic - guys in suits, slow mo and a cracking song. But it’s effortless, memorable and brilliant.

13. Huey Lewis & the News “Hip to be Square” - American Psycho

Are you’re psychotic murder rampages lacking something? Hacking a fellow colleague to bits with an axe not hitting the spot anymore? Fear not. You’re simply missing the correct musical accompaniment. As Patrick Bateman will explain (in one of the best music monologues ever given), “Hip to be Square” is from the band’s 1987 album Fore. It’s “a song so catchy, most people probably don’t listen to the lyrics. But they should, because it’s not just about the pleasures of conformity, and the importance of trends, it’s also a personal statement about the band itself.” A perfect addition to your late night axe murders. Cheers Pat.

Kathryn Toolan digs through the illustrious archives to find those songs that truly capture the essence of the movie

Tarantino recently unleashed his latest creation, Django Unchained. It stars Christoph Waltz, Jamie Foxx and Leonardo DiCaprio. If you haven’t heard of it, how’s things under that rock of yours? As a director, Quentin has always used music to set his films apart from the rest. As a self-confessed film nerd, his love

and passion for film is always evident as you watch his movies. Django is no different. It is an epic Western, with a soundtrack to match. The film starts with a track similar to the theme song of Bonanza, the score con-tinues along this trail until bam, “100 Black Coffins” by Rick Ross. Sometimes a song is all you need to make a movie moment memorable, so here’s some more.

13 Songs that ... Make Movie Moments Memorable

arts@collegetribune.ie

6

B R E AT H I N G

C O R P S E S

Cathal O’ Gara catches up with Lisa Carroll as she prepares for the opening night of Laura Wade’s ‘Breathing Corpses.’

“Amy’s found another body in a hotel bed-room There’s a funny smell coming from one of Jim’s storage units. And Kate’s los-

ing it after spending all day with the police. There’s no going back after what they’ve seen. Breathing Corpses was first performed at the Royal Court Jerwood Thea-tre Upstairs in February 2005.”As a production, Breathing Corpses was an easy choice for Lisa, who is due credit for directing such an innovative and dark play for UCDDramsoc. “This play stayed with me for days after I first read it. It’s unbelievably well written, poetic, terrifying and deep-ly moving. I read this play and knew that I needed to see it realised on the stage, and in doing so have been constantly surprised and awed by Wade’s deeply psy-chological and subtle drama.”

Laura Wade’s 2006 play projects what at first seems like disparate and unconnected tales that all

feature, at some point (non-spoiler alert), a corpse – but as the drama unfolds we re-alise that we are watching events that are deeply and tragically connected. Each dramatic vignette is delivered achronologically in terms of the play’s timeline. This disparity of locations hasn’t been a challenge for Carroll. “With the scenes so dispa-rate as they are in terms of locations, this is a re-ally exciting opportunity to use our imaginations and try something different. As such we have tried to create a more abstract and metaphorical set that contributes to the meaning of the play while using the fantastic new theatre space in the Student Centre to its full theatrical potential.”

“Breathing Corpses is an incredibly exciting piece for actors to tackle - a real ensemble piece. The dialogue is dry, witty, there is nothing extra-neous, the performances are muted and pared

back; this audience participate in this play as much as the actors do in trying to understand what has happened to them and why making it a wholly col-laborative experience,” Carroll added.

Breathing Corpses will be Carroll’s final show in UCD, after a successful production of Terminus last semester. “This is my final fling in directing for dramsoc after four years with the society, a place which has been instrumental in my development as a theatre practitioner as well as thoroughly enjoy-able to be a part of. I really look forward to creating a piece of work that stays with people, makes them see differently, lets them imagine and, most importantly, offers an evening of great entertainment.”

DRAMSOC Theatre // \\ 18 - 22 feb€3// €4 //€5

Fowler’s biographical novel centres on southern aristocrat Zelda Fitzgerald, best known as the wife of prolific author F. Scott Fitzgerald and popularly known as the first American celebrity flapper (a title given to her by her husband).

Z is set in the glamorous era of the Jazz Age and the Roaring Twenties, in the most opulent settings of Hollywood, the Parisian salons and the south of France. The lav-ish locations throw into sharp relief the well docu-mented lifestyle that made the couple’s tumultuous relationship notorious.

The novel distinguishes itself in its challenging of widespread conceptions and speculations of Zelda Fitzgerald as an extremely difficult and emotionally erratic alcoholic. Therese Anne Fowler follows Zel-da’s struggle for both artistic and personal identities independent of her famous husband. The novel con-tinually surprises in its touching account of Zelda’s obsession with ballet and painting in order to devel-op a creative talent to rival her husband’s. As the au-thor explores the renowned literary circles of F. Scott Fitzgerald, Gertrude Stein, and Ernest Hemingway, she nonetheless manages to set a scene where Zelda’s talent and struggles are always given centre stage.

Set for release in bookshops in April, its publica-tion coincides with the upcoming big budget film re-lease of The Great Gatsby, starring Carey Mulligan as Daisy Buchanan, and Leonardo DiCaprio as Jay Gatsby.

Pull up a chair and grab one of Aoife Byrne’s top picks for year ahead

TheBookNook Graham Masterton’s

Cork-based serial killer novel is an ambitious at-tempt to rival the current trend for Scandinavian crime fiction, setting the gritty drama within an Irish backdrop.

White Bones is the sec-ond of Masterton’s crime novel series, and fol-lows Detective Superintendent Katie Maguire’s attempts to uncover a serial killer that appears to have been in operating in rural Ireland for over eighty years. Contemporary Scandinavian crime literatures, for instance Stieg Larsson’s The Girl with the Dragon Tattoo, Henning Mankell’s Wal-lander series, and Jo Nesbø’s The Phantom, are all strong influences on the novel.

Graham Masterton’s years as a bestselling hor-ror writer have also influenced White Bones, as the more grisly parts of the novel demonstrate. What’s interesting here is the way in which Masterton at-tempts to re-explore the Irish national past; he uses the uncovering of the fictional murders as a tool through which Katie Maguire can uncover perhaps more unsettling truths about the seem-ingly picturesque and outwardly tranquil milieu of rural Ireland.

White Bones will be released for publication in March, and is also available for pre-order.

Lavanya Sankaran’s debut novel The Hope Factory is a witty, poign-ant and inspiring explo-ration of life in modern India. Like her critically acclaimed 2006 short story collection, The Red Carpet, the novel is set in the city of Bangalore, India’s ‘Silicon Valley’, and provides a fresh, rich and balanced perception of how people of very different backgrounds inter-actin the centre of India’s third most populous city.

The Hope Factory is set around the focalising characters Anand, a wealthy Bangalore business-man with a young family, and Kamala, a maid in Anand’s family home. The novel encapsulates the instability of lives of the main characters and their families as they attempt to adapt to the demands of a newly industrialised and ever ex-panding city. Exploring both the possibilities and the problems of life in the fast paced Bangalore, Lavanya Sankaran is nuanced in her examina-tion of how the industrial city influences Anand and Kamala’s very different lives, objectives and backgrounds.

The Hope Factory will be released in April, and it is available for pre-order in both hardback and Kindle e-book edition.

Z - Therese Anne Fowler WHITE BONES - Graham Masterson

The Hope Factory-Lanvanya Sankaran

7arts@collegetribune.ie12.2.13

When and why did you first start writing? Did you start off writing poetry or was it something you came to later?

The experiences you’re writing about aren’t ones that are represented a lot – would you say you are a kind of voice for kids growing up in places like this?

The collection is intensely personal – what does it feel like to have so much of yourself out there?

In the collection, there are both very dark and bleak moments as well light and hope, and all of it is inextricably linked to Dublin – how would you describe your relationship with the city today?

During which period were the poems in “Don’t go there” written? Did the change in atmosphere that came with the recession influence your writing?

Contemporary poetry often has a hard time being noticed – what do you think poetry can do that other forms can not? Where do you see its relevance?

Since you also do slam poetry, how important is the performance?

The people in your poems, the kids in the tracksuits hanging out in the street, likely don’t read a lot of poetry. How do you think they can be engaged?

I’vealwayswritten,sortof.IwasareaderfirstIsuppose.Ispentalotoftimeinthelibrarygrowing up, that was a big part of my life. I started writing short stories in my late 20s – I never set out to be a poet as such but I always wanted to be creative. Every so often I would feeltheurgetowrite,stuffwouldjustpourontothepage,andthenItookamoreprofes-sional approach in my late 20s.

Growing up where I did, there was this feeling, an element of shame with being from a certain area, you know, they say ‘this is a bad area’, ‘this is a good area.’ People shouldn’t really say that but they do. Other people’s misconceptions … becomes another obstacle to overcome. So I’m happy enough to be a voice that says that, somebody to show others “he’s done it, so I can do it”. If you work hard, you can do it. I’m happy to be a voice from those areas but I’m not that area’s voice. I see my responsibility as passing the good that comes of writing on to others. Today, I spend a lot of time talking to school kids about creativity. I tell them the main thing is truth. The integrity of their voice is everything, undistorted by outside or internal factors.

All poetry is personal. I’m not interested in poetry if it’s not personal because then there’s no risk involved. Without personality in it, it’s only conversation. Poetry, all literature re-ally, sticks to the part that we can’t share, that we can’t deal with openly. That’s not to say it’sjustmyblurtedover-shares.In‘Don’tGoThere’it’spersonalbutremade,eitherinthewords themselves or in the context. Like, in the poem ‘Burn It Smash It’ it’s a younger me, an old version of me with experiences I’ve had and others I’ve made my own. I didn’t realize this when I wrote the book but a lot of poems return to versions of myself that I have lost or have grown out of.

It’s still an ongoing relationship; I’m still upset at Dublin, I still get angry at Dublin. It’s important to have a proper relationship with the city: you have to lay all the problems with it outaswellasthepositives.IwouldhaveaverydifferentrelationshipwithDublinnowthanwhen I was younger though. When you’re younger there aren’t as many doors open, you feel rejectedandwhenyou’refromcertainareasevenmoreso.Butalotofthatjustgoesaway.I’m more comfortable now - more proud of Dublin.

The earliest poems in the book were written a good few years ago; I started writing seriously in the early 2000s. The poems were written in the last ten years. It’s not really a recession book. What the recession did was change the landscape, and op-portunitiesforpoetsweresuddenlyverydifferent.Anindependentartscenesprungto life, all kinds of new venues and nights seemed to be starting up, like Nighthawks, the Glor sessions, Brownbread Mixtape. The recession has been good for art in that way, although I think it’s clear now that it’s going to be going for longer and tougher than we ever thought. The book didn’t change with the recession, but it might not have happened without the recession, without the scene.

Ifindithardtosegregatepoetryinthatway,tosaywhatmakesitdifferenttootherforms.Ifindpoetryineverything,ingreatmoviedialogue,inlyrics.Ithinkallartisafterthesamething.Beautymaybe,somemadwaytohighfivethecosmos.Topassonthechimeswefeelwithinsometimes.Isupposewhatpoetrydoesdifferentlyisthatitdoesitsoeffectively…sosimply.Asforitsrelevance,poetryissoavailable,sopervasivethat it’s almost a cliché. Everybody knows how to write a poem, knows how to rhyme. But there’s power in that ubiquity. It means most people at some key point in their life can stumble across the perfect poem: the thing that says everything to them or for them.

The performance is secondary to the poetry. Someone said to me once ‘I don’t care whatyoudo,youcouldbeshootingfireoutofyourass,butitcountsfornothingifthepoemisn’tanygood!’Performanceismoreimportanttodaybecausepeopleenjoybeingvisuallyengagedaswellaslistening.Theyenjoygettingmorethanjustthepoemonthe page. And the voice, it can accentuate the emotion, and the passion in the voice. It’s important today because it stops you from being boring but there’s a limit to the scale of things you can do performance-wise because of your awareness of the audience. I always try to avoid writing ‘for’ an audience. If you’re writing in insulation you tend to digdeeper,bemorediffcult and challenging..

I think you let them do what they do, you don’t want to be this weird guy telling eve-rybody what to do. There’s a more important question which is how do you save them from the bullshit, how do you stop them from being the victims of the media and get them to wake up to the system. You do that with good education, good teachers, good parents, you give them a good mind. Make them aware - politically and socially - of where they are, of why they are where they are. Some parts of the city are like reserva-tions,peoplejustdon’tgetoutside.GrowingupIdidn’trealizehowcomplexthecitywas, how much was actually available to any individual. You need to get kids to be aware of culture, make them shape it for themselves. Everybody is a consumer and ought to be a producer. You can sit and play PlayStation for 20 hours and not be engaged. You’re not going anywhere. The world should belong to each person as an individual. Not to say that anybody’s being controlled as such, we’re all complicit in this age of conveni-ence. The ideal is that the little kid in the tracksuit needs to be made aware of his own potential. Maybe not with poetry, some people don’t like poetry, but creativity should be part of it. You shouldn’t be trying to sell poetry. It’s there for people looking for it, andwhentheyfindittheyfindit.

A true Dublin native, playwright, author and slam poetry champion Colm Keegan spent large parts of his childhood and youth in Clondalkin and has lived in many other parts since. Now, in his debut poetry collection ‘Don’t Got There’, he brings to life his city: In powerful, smart and concise language he tells his readers about concrete blocks and graffiti, dealers and deadbeat dads, kids in trainers looking for anything at all, and the love and spark of hope that lives inside it all. He talks to Theresa Martus about inspiration, the relevance of poetry and his relationship with Dublin today.

Poetic Provenance

Colm Keegan

Colm Keegan’s collection of poetry ‘Don’t Go There’ is out now

arts@collegetribune.ie

812.2.13

Two Elaines for the price of one: Elaine McDonald chats dance-offs,

open relationships and a serious lack of rhythm with UCD DanceSoc’s

auditor Elaine.

So, what has the society been doing this year? Anything new or is first semester just initiating the newbies?

We’ve had a very busy first semester and an even busier second semester! We start-ed off the year with a Pub Crawl around Dublin with 70 not-so-sober dancers, fol-lowed by a meet & greet with pizza. We then launched into our weekly classes and auditions for our three crews! We’re also just back from a trip to Liverpool that went really well!

UCD is lucky enough to be hosting Inter-Varsities this year, who’s your biggest competition and should we be expecting ‘Step Up’ style dance-offs?

I think the competition varies depending on the category. Some universities hold their strong point in hip hop and others jazz. We focus more on trying to get our routines as clean and polished as we can. I don’t know about any ‘Step Up’ type dance-offs but the competition does get pretty heated; the hip hop category in par-ticular has some serious attitude. We want to encourage dancers and non-dancers alike to come and watch the competition on Feb. 26th!

Inter-varsities aside, are you plan-ning any other events or will this be the biggest competition of the se-mester?

Inters 2013 is definitely our main focus of Semester 2. We’ve been working towards it since last summer and we’re all getting really excited now that it’s almost here. Af-ter Inters, we’ll continue to run our regu-lar events and we’ve got a few surprises up our sleeve!

You’re a very open society: highlight-ing that all dance styles are catered for but what if someone without any rhythm wants to join DanceSoc? So bad, that Copper’s won’t even let them on the dance-floor?

Well, if even Copper’s won’t let them dance... We really try to encourage any-one and everyone to come and try. That is why we run four classes a week on campus aimed at beginners or people looking to get back into dancing.

Finally, and most importantly, your Facebook says you’re in an open re-lationship with MusicalSoc. Why not commit yourselves fully? Does DramSoc catch your eye?

MusicalSoc is a great society, but kind of needy... The founding committee actually came from within the Musical Society and we also share an office. We work with a number of societies on campus and have good relationships with them all: we just want to dance!

Lena is hipper than the pelvic bones of the hipsters that are extras on GIRLS. Her character in GIRLS, Hannah, says “I think that I may be the voice of my generation—or, at least, a

voice of a generation”. Durham stars in a huge television show that she also writes, executively produces and directs. She and the show have received widespread acclaim, from critics and viewers. She recently got a book deal worth $3.7 MILLION dollars. You’ve got to give her kudos for that.

Durham has received criticism from the all consuming America media for not being conventionally pretty. Speaking on The Late Show with David Letterman, Lena stated that she read that Howard Stern said “Congrats to her, it’s so hard for little fat chicks to get anything going these days.” She laughed and said she wanted to get it on her gravestone – to me this shows how truly and honestly confident and comfortable she is within herself. That kind of contentedness can be hard to find in people, especially ones that work in an industry like hers.

On her Vimeo page, you’ll find her made-for-the-internet series Delusional Downtown Divas, where each episode averages seven minutes of mocking the New York art world and the people that want to be in it for money or fame rather than creative fulfillment. It’s great. It’s funny and it shows that you should put your films /music/writing/art out there, because someone might take notice.

GIRLS is the HBO show that has made her name. Centred around four females in New York, it was inevitable that it was going to get comparisons to Sex & The City – particularly as the

She’s the superstar actor/writer/producer/director that has people either begging at her pedestal or tipping it over. Having recently won the Golden Globe f o r

Best Actress in a Comedy Series, and Best TV Comedy, for her brainchild “Girls” I thought maybe it w a s appropriate to address the hype.

Now don’t get me wrong; I kinda like Dunham. I think she’s a quirky, if slightly too hipster, independent female who is carving her way in what has predominantly been a very male-dominated area of expertise: after all, women “aren’t funny” right? And I watch her show; the acclaimed “Girls”, HBO’s hipster baby, which again has polarised opinion. I started watching it because I wanted to seem hip. I continued to watch it because I didn’t want to feel left out. Because it seems that everyone is talking about “Girls”.

But why, I ask? Having done my research, it seems that the majority of “Girls” fans love it because it’s “real” and “close to life” and “like reading their own diary”. I’m sorry, but what? If you read my old diaries, you read about school, or how my sister’s “soooo annoying” (direct quote) or what I had for lunch on any given day.

You most definitely aren’t reading about warehouse parties or my gay ex who’s now living with me, or my college friend who’s gone off and married some millionaire. Real for me would be a show where the main character meanders through life, barely makes it to her one class a day, and whose main daily concern is what she’s having for dinner. Bitch please, I live that life, I don’t want to have to watch it.

It seems that the biggest criticism of Lena’s ladies is that they’re unlikeable - that’s because they are. They’re spoilt, selfish, completely self-obsessed and seem to have a total inability to put their varied

6 0 S e c o n dS o c i e t y

Let’s Talkcharacters were influenced by the show to move to the city with the dream of getting Carried away. Being a columnist and freelance writer allowed Carrie have a great apartment, wear Manolos like socks and down expensive cocktails to her heart’s content.

Thankfully, GIRLS is a little more realistic. It features legit Brooklyn locations, such as the warehouse where Shoshanna smoked crack and Café Grumpy where Hannah works. Will they start running Sex & The City style tours to these places? Nah. Durham has said that if a perfume line bearing her name ever comes out, check her pulse: she’s dead. There has been an opinion in the press of late that she’s almost less worthy of praise somehow, because her parents are already kind-of-famous artists (Carroll Dunham and Laurie Simmons). If she did get a leg-up in the industry, there’s no way she would have been given so much attention if she didn’t have something to offer. GIRLS has come up against controversy for not having non-Caucasian races featured, but season two opens with Hannah having a black boyfriend, the ever-funny Donald Glover from Community. Lena writes in the here and now. Young people trying to make it in a big city – yeah, we’ve heard that part before, but it’s the dialogue that makes it so fresh. Drugs, awkward sex, the internet – it’s all included in Girls. The writing is RELEVANT. To say it’s not is like saying that Love/Hate isn’t relevant to someone living in an affluent part of Galway. The people in GIRLS aren’t perfect and neither is Lena – but she’s willing to (and does) embrace the weird and imperfect things about herself - and television is all the better for it.

first-world problems into perspective. However, I’m pretty sure that if you looked among your own group of friends, you’d find maybe one or two who fit the same description. We all have that one friend who just can’t seem to realise that just because all the clothes in the Topshop sale

are too small for her, does not mean that the world is going to end. The argument is that these girls, again, are “real”, the word

bandied about like some hipster mantra, apparently making it okay for these girls to be so unlikeable, and to excuse

them for their lack of social conscience.However, it’s not that these girls are unlikeable that

bugs me the most about Dunham’s depiction of a group of young women trying to make it in the world: everyone

enjoys a good love/hate relationship with some characters. It’s the fact that they flaunt it; that they almost enjoy being

“true” to themselves, while screwing everyone else around them. What could have been construed

as a positive step in the representation of an honest female in the media has been somewhat warped by the fact that they don’t seem to give a damn about each other, so why should we? They’re problems

aren’t “real” and true to life: they’re hipster and glorified.

This can also be seen in Lena’s movie directorial debut, Tiny Furniture. It seems that,

unfortunately, not only are these characters gripped with first-world problem fever, it’s rich girl

first-world problem fever, and given the current economic position

around the world, it seems a bit disproportionate for someone as clever as Dunham to be portraying characters who, despite their I-wish-I-lived-out-of-a-thrift-shop dynamic, have in fact a steadfast economically sound

safety net, one which they choose to ignore for the sake of bohemianism.

I’ll still watch “Girls”, if only to see an episode where Adam keeps his shirt on. But as for the hype? I wouldn’t believe it. Not until I’ve seen something really “real”.

Girls

xo Lisa

xo Sinead

Lena who? Lisa Gorry and Sinéad Slattery

examine New York’s Lena Durham to see if she’s worth the hype. Which one has a girl crush and

who wants her to get real... like, really real?

“Something wicked this way comes...”

arts@collegetribune.ie

912.2.13

T he recent production of Shakespeare’s Macbeth at the Mill Theatre is simply a must see.

Geoff O’Keefe’s fresh and visceral production of the bard’s play will leave you stunned with a gleeful awe. The timeless themes of ambition, fate, deception and treachery are brought to life with all the necessary love and passion while managing to remain faithful to the original text.

The plot of this famously short and concerned tragedy is familiar to most: noble Macbeth is corrupted and gives into temptation to fulfil his lust for power. Three witches predict that he will one day become king - upon hearing this Macbeth literally kills all who stand in his way. The crown passes to Macbeth as he becomes more and more a tyrant.

The characters are in capable hands with Bob Kelly in the title role and Hilda Fay (Fair City) as the malicious Lady Macbeth. Kelly’s acting choice is a perfect

fit, filled with the gravitas and unsettling pace that make the words of Shakespeare come to life. The supporting cast too are wonderful; from the prologue an unsettling atmosphere is set for the viewing audience. The “evil” imprint that surrounds this play was masterfully incorporated into the production. Kate Canning must be credited for her portrayal of Lady Macduff: a hard role

to capture as it is the emotional climax of the play; and yet

is given a small amount of time to establish an emotional connection with the audience.

Shakespeare can be a daunting prospect

for many however with strong performances

and a fresh and eerie approach this world becomes highly accessible to all.

‘There are many voices that need be heard, many stories which need be told. Film can transform the world around us’ - this is the ethos at Fennish productions.

This independent production company has produced a wealth of material with a heavy focus on the art of cinema and storytelling.

James Kelly has been seeking these stories out and making films to entertain and illuminate since 2000. With a background rooted in the arts, there is a distinct visual style to his documentaries.

“What I like about the documentary style is that you get to be inquisitive...you get to look at how people live their lives. And then, you have to come back with a story that is interesting for a wider audience.” Kelly continues, “there are a lot of interesting stories out there. I want to focus on stories that aren’t told yet.”

One of these films is the touching documentary, Fionnuala: Small Puppet on a Big Journey. This 25 minute piece follows Fionnuala, a small wooden puppet, and her makers (the Galway based puppetry group Branar) on a journey from Barna, Co. Galway to Cologne for a performance of their Irish language version of The Children of Lir. Fionnuala is a touching exploration of the art of puppetry and the skill and craftsmanship that goes into a show.

This piece will be shown later in the year on TG4, but has uniquely

made the jump to the big screen, “TG4 are more open with the way

the stories are told, they realise the challenge that is involved with telling a

story through Irish, and they give you free reign.”

Starlight Express

Bill Kenwright presents one of the best loved and longest running musicals in theatrical history, with Andrew Lloyd Webber’s sen-

sational Starlight Express.

€20-60, 6.30 pm, All this week,Bord Gáis Energy Theatre.

Love In A Glass Jar / Ribbon

A double bill of short plays as part of The Abbey’s Short Play Season: Love In A Glass Jar (by Nancy Harris) and Ribbon (by Elaine Murphy). Directed by Oonagh

Murphy.

€10, 6pm, Wednesday 13th, Peacock Theatre.

The Glass Menageris

By Tennesse Williams. A play dealing beautifully with the rift between the world as one would like to see it and the world as it

actually is.

€10, 8.30 pm, Thursday, Mill-bank Theatre.

James Joyce’s Dubliners: A Mini Adventure

Dubliners A Mini Adventure - is a self-guided audio-walking tour on headphones that invites you to walk the streets and historic build-ings in which Joyce set four of his

classic stories

€6, 10am, Friday 15th, North Great George’s Street.

Monster/Clock: A Play on Time

While Toby the monster and ap-prentice watchmaker may be aimed at pre-teens, ever since the show’s sold-out run in Trinnerz we can’t stay away. Probably owing to Geoffrey from Game of Thrones,

original cast member.

€15, 7.30pm, Civic Theatre.

New Music Night:

Whelans Tuesdays will now see the upstairs venue play host to a series of the best of new music this country has to offer. The Siren’s one to watch is Half State playing

this Tuesday the 12th.

€5, 8pm, Whelans.

Don’t M i s s

ThisKelly explained that are many stories waiting to be told in from the

arts in Ireland, and that he was drawn to this one in particular.” This is a story about the experience of the little puppet herself, Fionnuala, [and] this was a chance to tell the story from her perspective.”

In terms of the film, “we took her around Cologne and filmed it. We wanted to show Fionnuala having her own tourist experience as an aside to the show itself.” He discussed the interesting title of the film, “it is a big journey for her and for Branar. In a way, Fionnuala’s success is their success. She really brings the many narrative strands together in the film.”

Kelly spoke about his hopes for the Jameson Film Festival and for the film’s life in other festivals. “It is great that we are

a part of this year’s line up. A lot of stuff that is made for television doesn’t get screened anywhere else.

We hope that this will be also seen in a few festivals around the world. That will deem

it a success for us.” Finally he added that, “it is a niche film, but I am surprised that Irish is not used in more films. It provides a certain interest factor.”

Fionnuala: Small Puppet on a Big Journey showing in the Cineworld

cinema on Saturday 23rd February 2013 at 13:00. Director James Kelly

will attend the screening. The Jameson Dublin International Film Festival runs from 14th - 24th February 2013. There is a 10% discount for Students, Unwaged and OAPs.

“Something wicked this way comes...”Darragh O’Connor checks out the recent Mill Production of Shakespeare’s MacBeth

Darragh O’Connor catches up with director James Kelly of Fennish Productions to talk about his Jameson Dublin International Film Festival offering Fionnuala: Small Puppet on a Big Journey

Animation Ardor

once held high upon the gilded pedestal of the fashion world, is seeking to make a comeback. Who is the helping hand in his time of need? None other than the fashion legend that is Oscar de la Renta.

Having been let go from fash-ion power house Dior for drunken outbursts and anti-semetic re-marks, John Galliano looks set to return, albeit briefly, to assist in de la Renta’s studio leading up to his NY Fashion Week show. In an in-terview with Women’s Wear Daily, Galliano expressed his sincerest gratitude to Oscar de la Renta, and described his condition at the height of his downfall as a “descent into madness,” He told the press “I said and did things which hurt oth-ers, especially members of the Jew-ish community. I have expressed my sorrow privately and publicly for the pain which I caused, and I continue to do so.”

It is rumoured that this partnership came about due to a little push in the right direction by fashion’s most powerful woman, Anna Wintour. Wintour met with Galliano in the Ritz’s L’Espadon restaurant in July, she also has a close personal friendship with de la Renta, who has said “John and I have known each other for many years and I am a great admirer

fashion@collegetribune.ie

1012.2.13

For weeks only a whisper, a hushed question, a quiet thought amongst click clack-

ing heels, and the swish of elegant and extraordinary fabric’s adorn-ing the fashion world’s elite. Now, as all preparations have swiftly gotten under way for the what is one of the biggest fashion events of the year, New York Fashion week; that whisper, has become an announcement. Galliano has returned.

After a rather shocking departure from D i o r in March 2011, it seems the man who was

Monochrome cloth-ing and prints have always been there - on the red car-

pets, in edgy movies circa 1970’s, in ready-to-wear, in haute couture collections, in fashion blogs. Most designers have used edgy, mono-chrome prints in their collections at some point in their career. Black and white, Breton and sailor stripes, Mickey Mouse, Kenzo prints, these are winning combinations with a touch of French chic, and they are easily available to the masses.Monochrome is a huge trend this season. Big names such as Marc Jacobs and Gucci introduced it on their runways. Jacobs’ 2013 Ready to wear collection was full of mono-chromatic t-shirts, coats, skirts and suits. The clothes were evocative of the 60’s, full of the retro nostalgia, yet simple and modern. The Jacobs team paid a lot of attention to make up too, with retro linear eyebrows

and a lot of eyeliner used to com-plete the looks. There were some interesting, kooky prints involved in the collection as well - Mickey Mouse and leopard, which fit in perfectly with the collection, in a typical effortless Marc Jacobs fash-ion. Chloe Sevigny’s Opening Cer-emony Pre-fall collection brought us back to a 70’s we’d want to spend in a saddle - wonderful, simple and rather interestingly cut black and white colour blocked garments, that were finished with equestrian detailing. Louis Vuitton’s Spring Ready to wear collection was all about pop, checks and yet again, reminiscence of the 60’s. Marc Jacobs made it look colourful, fearless and easy. Giant white and yellow checks, mini, midi, maxi lengths - It seems like the whole collection was about making a visual impact. Many ce-lebrities such as Miranda Kerr and

Chloe Sevigny were spotted wear-ing LV’s coveted checked dresses. Coco Chanel, whose lega-cy is now carried by Karl Lagerfeld, was the woman who brought us the Sailor stripes. The Breton stripe was a symbol of Bourgeois back-ground that was worn in a location such as St Tropez. Nowadays it’s still very popular in high fashion and on high street alike. Kate Moss,

of his talent. He has worked long and hard on his recovery and I am happy to give him the opportunity to re-immerse himself in the world of fashion and re-acclimate in an environment where he has been so creative.”

It is as of yet still unclear what exactly Galliano will be doing with de la Renta, but one can certainly hope for a big surprise, particu-larly considering the opportunity is supposed to be one where the designer can stretch his wings and accustom himself to the fashion world once again. Rumours have even been circulating that Galliano may take the end of show bow with de la Renta.

This whole incident however has caused many to stop and think about the ever changing nature of the fashion industry, and those who work within it. Once viewed as a rigid hierarchi-cal society where a fall from grace meant one was all but obliviated from memory, it seems that now more than ever the industry is a more flexible and welcoming en-vironment. Perhaps considering the high profile death of one of the most talented designers of mod-ern times, Alexander McQueen, who had suffered from addiction and drug abuse which could have

N i y a M o r r i s s e y s a y s y e s t o s t a r k , b o l d p r i n t s t h i s s e a s o n . Anninka E . Barry

led to his suicide, those amongst fashion royalty have decided to extend the hand of kindness and embrace these tortured souls, as opposed to meeting them with a cold and unwelcome shoulder.

This new approach toward Gal-liano is an interesting one, but considering the designers innate talent and flair for design, this comeback will certainly be one to watch.

Alexa Chung, Edie Sedgwick – they all wore it with a certain louche-ness and sophistication. The Bre-ton stripe was used for collection in fashion houses such as Balmain, Jean Paul Gaultier and Givenchy, and has been phenomenally popu-lar ever since. This season Michael Kors was the designer that used it most. The collection can be de-scribed as simplistic with a touch

Lau r e n Tr a c e y c o n s i d e r s a r e t u r n t o f a s h i o n b y t h e c o n t r o v e r s i a l a n d t a l e n t e d d e s i g n e r , J o h n Ga l l i a n o .

The Oscar goes to Galliano

Stripe for the picking

of a typical New York poise that he always brings to his fans. Vertical and horizontal stripes in every col-our- what more could a girl want? Bold colours, stripes, prints, interesting lengths and ap-proaches to the simplicity of those aforementioned definitely looks like they’re going to be a big hit on high street and on catwalks this season.

Niya Morrissey says yes to stark, bold prints this season.

fashion@collegetribune.ie

1112.2.13

Chic

EEK

Storm Nemo It’s way more fun to look

at NY fashion week street style photos when the

glitterati are cold and wet.

DanceThe second issue of Carine Roitfeld’s ‘CR Fashion Book’ is dedicated to ballet. She also managed to scoop an interview with long-dead dancer, Nijinsky. What can’t she do?

Diet CokeThe company have named

Marc Jacobs as their new creative director for

their 30th anniversary campaign. Looking

forward to seeing it!

Grammy Awards Dress Code

“Please be sure the genital region is adequately

covered so that there is no visible ‘puffy’ bare skin

exposure” This seems so unnecessary and strange.

New York Shows (So Far)While New York fashion week is never the most creative of fashion month, the shows seem a little more dull than usual. At least we have Calvin Klein and Marc Jacobs to look forward to.

David BeckhamUsed an ass-double in his new H & M underwear campaign. Mathew Terry, the hot guy from the Calvin Klein underwear super bowl add did not need an anything double.

Sexy Su rv i vor

Style Icon: Edie Sedgwick

Bombshell. Very Sexy. Incredible. Victoria’s Se-cret has created endless styles of bras catering to every which need for women while still mak-

ing a sexy fashion statement. What is next for this lin-gerie empire? In the year 2013, there is an estimate of 232,340 new cases of breast cancer amongst wom-en in the United States alone. For an overwhelming amount of cases, women undergo the surgical proce-dure of a mastectomy. The surgery entails removal of all breast tissue from a breast as a way to treat or pre-vent breast cancer. These wom-en have already been through enough years of suffering and fighting, yet the battle to find the right bra still prevails. For one particular woman, she felt it was time to take action. 21 years after surgery and cancer free, Debbie Barrett is left struggling with body image issues. Shop-ping for bras that should secure her confidence has been a chore instead of a luxurious shopping experience. Stores that have special merchandise are out of reach, and the “cute” or elegant bras worn before the procedure are simply not fitting. In light of Debbie’s strength, her daughter, Allana Maiden, created a Change.org petition to re-quest that Victoria’s Secret start a line of “survivor” bras for women who have undergone mastectomies. Maiden says, “An important part of recovery is being able to feel beautiful again. Victoria’s Secret is known for helping women feel beautiful, and I hope they’ll take this opportunity to help women who need it

most: breast-cancer survivors like my mom.” With extreme popularity, the petition went viral and re-ceived over 120,000 signatures within the first few weeks of the launch. Victoria’s Secret caught wind and was inspired.

Excited about the idea, the VP of external com-munications of Limited Brands, Tammy Roberts Myers got in touch with the mother daughter team. Myers informed them that Victoria’s Secret had already begun research on a design for the mas-

tectomy bra. To further discuss details, the two were flown out to headquarters in Columbus, Ohio for a meeting with the ex-ecutives. Arriving to the meet-ing with six pink striped shop-ping bags full of signatures and comments, the duo was able to show Victoria’s Secret in per-son the realities of breast can-cer survivor’s struggles. One comment read, “I cried when I threw away thousands of dol-lars of Victoria’s Secret bras I can never wear again.”

Victoria’s Secret has always been a corporation that sup-ports cancer research as they donate millions of dollars eve-

ry year. Presented with this opportunity, they now have a chance to directly influence these women’s everyday lives. Maiden told the New York Daily News, “She was driving an hour and a half to go to the closest store that sold specialty bras.” With Victoria’s Secret 1,000 plus store reach, they will be able to exponentially cut down travel.

Amanda Ouel le t te d i scusses Victor ia ’ s Secret ’ s dec i s ion to create mastectomy bras , and the women who made i t happen .

A n n i n k a E . B a r r y d i s c u s s e s t h i s w e e k ’ s s t y l e i c o n , E d i e S e d g w i c k .

By Roisin Sweeney

Edith “Edie” Sedgwick was born in 1943, and al-though her life was short lived (she was a mere 28 when she died), she left behind a style legacy

encapsulated in Andy Warhol’s “factory films”. She was the original it girl and the dramatic events which her life comprised of fascinated people and left them with a hunger to want to know more about this so-cialite. Edie was best known for being a Warhol star but she also charmed many others, such as Bob Dylan, with her artistic energy and free spirited way. Her style was guided by the darkness which she carried with her from her past, drug addiction, eating disor-ders and a troubled childhood.

She is remembered not only by her angelic features but also by her extrawvagant and rebellious traits. Her signature look included dark kohl eyeliner and chan-delier earrings combined with her blonde pixie hair-style. She often simply wore a leotard and tights with a fur coat thrown on. This, matched with her chandelier

earrings and soft pink frosted lipstick made her style the epitome of 60’s glamour. This style originated from her passion for ballet as often he would throw on a fur coat over her leotard after class before mak-ing her way to Warhol’s factory. Her fashion choices were as alluring as her herself. Her troubled soul en-raptured all those around her as she streaked across the 60s cosmos. She became designer Betsy Johnson’s first fitting model and although she modelled in Vogue during her lifetime, eventually her drug addiction caught up with her inhibiting Vogue from backing her later in her life. Her love-infested but plutonic rela-tionship with Warhol ended and the darkness which had followed her entire life caught her and she died in 1971. Although her chaotic and eccentric ways won over the hearts of so many, it has been said that no one every truly knew the mystery that was Edie Sedgwick and that all anyone saw was a very small portion of a girl whose life was full of tragedy and misfortune.