by Jess Howard
While some may see it as a separate entity altogether, fashion is unquestionably a form of art. From the creative process that designers progress through to create high fashion pieces, to the advertising campaigns used to sell them, fashion design influences the masses. But this is where the industry often encounters conflict: thousands of people are being diagnosed with eating disorders each year, and many are pointing their fingers at the fashion industry, for its insinuation that thinness represents the epitome of beauty.
In an attempt to combat this, France recently passed a bill stating that fashion models must prove they are healthy weight in order to appear on runways and in advertising campaigns. Failure to comply with this new ruling could lead to up to 6 months in prison and a £54,000 fine. Further more, magazines and advertising campaigns will now be required to make it clear to consumers that their images have been retouched. The purpose of this bill is to attempt to dramatically decrease the percentage of people in the country who develop anorexia, but is this going to work?Continue Reading
Borderlines is a collection of thought pieces, some creative, some direct accounts, some memoirs, all true. Borderlines collects stories from people who are not fleeing from one country to another, but rather chose to move, or were made to do so by a series of non-threatening circumstances. In these stories there is anger, hope, disappointment, joy, fear, optimism. They are all different, and yet all striking in their approach to the subject matter.
Borderlines aims to show the reality of migration, and how we are all, in our own way, migrants.Continue Reading
by Faizal Nor Izham
In my last article, I looked at Theresa May’s recent plans to further crack down on immigration by banning international students from working in the UK before, as well as after, graduation. This is to be achieved through various visa controls, as part of the Conservatives’ plan to cut net migration to “tens of thousands” by 2020 – despite the fact that the UK continues to suffer from skills shortages in many industries.Continue Reading
by Rowan Van Tromp
The past few weeks have seen waves of literature surrounding the issue of food waste by supermarkets, following the French parliament’s decision to pass legislation compelling retailers with 4,305 square feet of store space to donate any unsold, but still edible, food, to charity or for use as animal feed or farming compost. All stores which fall under this criterion are obliged to sign agreements with charities to facilitate the redistribution of such food by 2016, or could face penalties of up to €75,000.
Calls have since been made for the UK to follow suit, and no wonder given that the UK far and away wastes the most food out of any European country — amounting to 15bn tonnes a year according to the government backed organisation WRAP, although just over 1% of this comes from stores. Continue Reading
by Carmina Masoliver
Girlhood, or Bande de Filles, is a French film directed by Céline Sciamma, centring on the character of Marieme, played by Karidja Touré. Taking place in a suburb of Paris, Marieme undergoes several transformations throughout the film, shown through her name change to ‘Vic – for Victory’, as well as through her appearance, sexuality, increasing misdemeanour behaviour, and relationships with family and friends. The film was humorous with Marieme’s knowing smile being a feature throughout, yet it also provided important social commentary.
The fact that seeing a French film with young black girls at the centre is so unusual, let alone it being shown in Odeon Cinemas (and not merely restricted to independent screens), plus the women playing the group of girls all being found through theatre classes and high schools as opposed to agencies, shows that there is a need for more film like this.Continue Reading
by Jack Brindelli
In the fallout of the Charlie Hebdo shootings, there are so many avenues of investigation that require a spectrum of analysis – and in due course the tragedy will no doubt be discussed from every angle, and in excruciating detail. Over the past week, there has been comparatively little debate on the idea supposedly central to the Parisian publication itself though – satire. In an age of seemingly perpetual outrage, offensive material is routinely accepted because it dresses in the clothes of ‘satire’. But in the wake of Charlie Hebdo, somebody needs to ask the question “what exactly is satire, and who should it serve?”