expected was that, in my final year of university, I would become Editor-in-chief. However, I instantly feel in love with the magazine, and knew I had to become a part of it.
I quickly became a contributor, joining the race to pick up pitches each month (don’t worry, I know the struggle!). Then, I applied to be the literature section editor, and was fortunate to be selected, and had an incredible time leading the section in my second year. I took the jump, and I applied to be EIC, and I have never looked with the amazing opportunities it has given me.
It has given me unforgettable memories and inspired me to keep going, even in moments of failure. There have been many moments of illness, burnout, and late nights in the media office. However, every late night has been worth it for all the love, support, and success we have achieved as a collective this year. I am proud to say that I have seen the magazine through one of its most successful years.
Thank you for your patience, your eagerness to learn, and your willingness to put yourself out there to grow both personally and professionally.
Creating a magazine can only be achieved through collaboration, and as a result of our collaboration we have achieved so much this year. We have won seven regional awards, been nominated for six national awards, and even taken home one at SPANC 2025 in Exeter. We have revamped and reintroduced sections, interviewed local societies, artists and bands, grown our social media presence, kept in touch with our alumni through the Beyond section, and even helped launch a new literary magazine that is now expanding across Wales. The list could go on and on! In addition of course, I cannot forget all our pitch meetings, photo-shoots, and socials. It has been so rewarding to see so many of your initial ideas turn into something big!
everything you have achieved. A special thank you to Julia and Olivia, it has been an absolute privilege leading the magazine with you. We remain one of the largest student media communities at Cardiff, and it was especially meaningful to celebrate all your hard work at the CSM Awards earlier this month.
Quench is special to me as it allows me to dream big, try new things, and create unforgettable memories, something I know all of you resonate with. That’s why Dreaming felt like a perfect theme to close this incredible year. I know you will agree that Quench sometimes feels like a fever dream, but more importantly, it is clear that it serves as a foundation for achieving our own future dreams, whatever they may be.
This issue invites you to reflect on everything you’ve achieved, and everything you will achieve. My advice? Join that club or society, try that new sport, or write a blog. One thing will always lead to another and you will always be learning. You will become inspired, and you will push yourself further to achieve your dreams.
Thank you to everyone on the Quench team 2024/25! You have made this an unforgettable year.
I will always look back at Quench as a love letter to my student days, just as I know so many of you will.
Lots of love, always,
Whether you remember it or not, you dream every night; it’s a nightly universal experience, experienced by even our pets. Yet, despite humanity’s perennial quest to understand why we dream since the beginning of time, researchers still remain unsure of the meaning of our dreams, or the purpose they serve, if any
Daydreams, nightmares, fantasies, lucid visions - what do these subconscious musings tell us about ourselves? It’s commonly accepted that dreams can hold up a mirror to our fears and desires.
Like many others, it’s the end of my time at Cardiff - and I for one, am brimming with both fear and desire. Fear for what this next chapter holds for me - the uncertainty of moving cities and worry of losing touch with relationships. Yet this is disorientatingly interlaced with a powerful desire - for fulfilment and success, for belonging and connection, and for meaning.
There’s something about this time of year that feels so dreamlike. Exams are over, the evenings are longer, and time seems to stretch and slow. We’re suspended in that soft space between endings and beginnings—everything feels touched by possibility, and nothing has quite settled yet.
This issue is a celebration of that dreamy, drifting in-between. Our theme, Dreaming, invited writers to explore the surreal, the nostalgic and the idealistic. What do we dream of? Where does our mind wander when the world quiets down? From gentle reflections to bold imaginings, this issue holds work that feels both deeply personal and quietly universal.
This issue explores these themes in depth, reflecting on all the different kinds of dreaming we experience as human beings, and what we can perhaps extract and learn from
Visions of a life yet to be lived, the possibilities of reinvention and inspiration - and how they can be used to guide our reality and construct our waking lives.
Dreaming marks my final issue with Quench - and what a journey it’s been! I want to say thank you to Katie, Olivia and the rest of the Quench team for making the publication the most enjoyable aspect of my university experienceand fostering memories I will cherish for the rest of my life.
As we put the final touches to these pages, there’s a collective sense of reflection among the team. For many of us, this is our last issue: a goodbye to Cardiff, to student life and to the magazine we’ve poured so much into. Editing this edition has felt like closing a chapter with care, and a lot of love.
It has truly been an honour to lead Quench this year alongside Katie and Julia; two of the most talented, generous and hard-working people I know. To the wider Quench team: thank you. It’s been a joy to work with such a creative, kind and committed group. I’ve grown so much, both personally and professionally, and learned from each and every one of you. I feel so proud to call you my friends.
And finally, thank you to Oliver; my boyfriend, the source of all of my inspiration. He appears throughout this issue not just as a subject, but as a symbol of all we’ve dreamed together—and all that still lies ahead.
May this issue be a gentle reminder to hold onto that sense of wonder, to keep dreaming even when the path isn’t clear.
Thank you for joining us on this journey.
MEET THE TEAM
Olivia Griffin Deputy Editor
Katie Storrie Editor-in-Chief
Julia Bottoms Deputy Editor
Harriet Ulett Head of Design
Eleri Watts Deputy Head of Design
Molly James Head of Social Media
TEAM
Ella Simons Features
Servaise Ratnayake Features
Bhamini Khandige Culture
Charlotte Hardie-Watts Culture
Ella Collis Column
Kira Sutton Film & TV
Rhiannon James Film & TV
Jenny Algieri Music
Jemima Lake Music
Sam Davies Literature
Isabel Chance Literature
Maya Jacob Fashion
Ellen Hollingshurst Food & Drink
Sabine Wilson-Patrick Love
Tegan Davies Copy Editor
Bo Burt Copy Editor
Isobel Blunt Page Designer
Amy Miller Page Designer
Llŷr Eirug Head of Clebar
Angelina Mable Fashion
Jessica Leigh-Fotheringham Travel
Carolina Peret Travel Poppy Adams Food & Drink
George Clark Head of Beyond
Ola Rzeszut Page Designer
Olivia Nilsen Illustrator
Thandi Nia Carklin Photographer
Jamia Hussain Photographer
Damilola Akinkunmi TikTok Manager
Alyssa Jeanes TikTok Manager
Amelia John Copy Editor/X Manager
Alfie Bennett Beyond Social Media Manager
design by: Harriet Ulett
Thandi Carklin & Jamia Hussain
When I came to university, I had low expectations. Although I had spent the past year doing 10-hour shifts covered in ketchup and was desperate to leave my hometown, the thought of going to university filled me with dread.
What if it wasn’t what I expected? What if I didn’t make any new friends? What if I spent the next three years miserable? These nerves were only amplified when I saw my accommodation through the car window whilst sitting uncomfortably in a car, full to the brim with random home
Among these fears, I had dreams of creating a new life for myself. New friends, new experiences and the freedom to stagger home drunk without having to worry about waking my family up. Getting there was difficult; I found putting
However, through forcing myself out of my comfort zone, I was able to meet my incredible friends and have the ‘uni experience’ that in those first few weeks, I never thought I’d
Whether it was through putting myself out there, or getting lucky I’ll never know, but my experience at Cardiff is one I’ll treasure, and is everything and more that I dreamt of.
words by: Amelia John
As almost anyone in third year would say, university goes by in the blink of an eye.
The expectations that build up when you are thrown into a new city and forced to make friends can be quite intimidating. When you first arrive at university the people you end up spending large portions of your time with tend to be down to dumb luck. However, university changed my life in so many ways and much of this is due to the wonderful people I am honored to be surrounded by.
Cardiff has a well earned reputation of being a good night out. Don’t get me wrong the wild nights are great but what I am really going to miss is everyone bundling into a bedroom the next morning and giggling about the night before. This is a part of university that unfortunately doesn’t come with us into adulthood.
So yes, university has provided me with a million amazing experiences and lots of funny stories. However, the best part was being able to laugh about them with the people they had happened with, which is something I won’t take for granted in these last few months.
words by: Poppy Gregory-Phelps
When I left sixth form, I said it was the end of the beginning, and I’m certainly experiencing a similar feeling now after three brilliant years at university. At 18-yearsold, I moved from a small town in Northern Ireland to Cardiff, basing my choice off a few google searches and TikTok videos. Thankfully the city had everything I wanted. However, I hadn’t the slightest idea of how much I would grow as a person.
I came to Cardiff unsure and scared of the future, and while I still feel those things three years later, it’s different. One thing this expereince has taught me is to revel in the unknown. The friends I’ve made have ultimately changed my perspective on life. They’ve reminded me about the importance of appreciating the little things in life like movie nights, walks around Roath Park, coffees from Rhostio and Wagamama dates.
I may not be the same girl that I was at 18, but nonetheless Cardiff has pushed me to become more of the person I want to be. It does feel like I am waking up from the most exciting dream; but, regardless of what the future has in store, I will always love Cardiff and treasure the memories I will have forever.
words by: Alaia Oscoz design by: Katie Storrie
WHAT IF WE DON’T MAKE IT?
As university students, we know all too well, the fear of failing. The fear of not achieving our goals, dreams, aspirations. We are here on the backs of our past successes and continuing that momentum is integral to this idea of ambition and anxiety being so intertwined with the student experience.
Ambition and passion, the motivation and our unwavering desire to achieve, succeed and beat the odds are built into our nature. Being on top, beating a personal best, achieving a lifelong or short term dream is built into our day to day lives. But what happens when it is not all fun and games? What happens when something goes wrong? What happens when pieces of the plan start to crumble?
As university students we are under this internal pressure to have it all figured out. To have the next big thing planned and also being put into action, everything just moves at a hundred miles an hour and we are expected to do this alongside running a thriving social life? This, as we know, is hard to maintain. Arguably, it is not sustainable and the pressure can be suffocating. These usually positive traits and feelings of wanting to succeed, the joy of having BIG dreams can truly become an antithesis of their original meaning, and instead of building our confidence, our dreams begin to tear us down as we cannot keep up with everything we want to achieve, it is just too overwhelming.
First, we dreamt we would get into university but now what is next for us? Is it that placement you want? Is it that job you are putting every effort into achieving? You may have been the smartest in year three, in year eight, in year twelve - but this is a whole new ball game, everyone is fighting to be the best, everyone is dreaming big… How do we keep up?
Achieving so much so quickly can make us scared of failure. The pressure of achieving weighs us down, and we long to be that eight-year-old who teachers praised and placed on a pedestal. But now, here we are, everywhere!
The pressures that come with the fear of failing and the thought of not achieving our dreams can be debilitating, during exam season, placement hunting and especially for you third year students, the stress can be just oozing out of you. So, how do we cope?
The overwhelming uncertainty of the future can be daunting. An unhealthy and relentless push to constantly achieve everything you set out to do can create toxic behaviours. This is how we are wired: to constantly take big strides to meet the expectations set out for our path; the expectations set by our younger selves and the dreams our loved ones have for us. Regardless of all we have achieved, one tiny failure makes us feel we are not enough.
Something has to change...
Working through anxiety is key to accepting yourself and your achievements, and to feeling good about what you have accomplished rather than focusing on what you haven’t. Dreams can become reality, but they require hard work, patience, sacrifice, and the belief that they are worth striving for.
Managing your goals so that they are realistic and practical is key. Taking manageable steps that you can put into action will help you work toward your dreams, goals, or aspirations. Focus on progress, not perfection. Celebrate and acknowledge the milestones you’ve already worked so hard to accomplish, no matter their size, big or small. This will help boost your confidence and motivate you to reset and try again.
Always remember that rejection is just redirection and that you are not in control of the outcome of a grade, or a job interview or whatever it is you are aiming for, but you can control how you react and respond and how you take this and move forward.
A great quote in academic and professional spheres is that “ambition without action is just anxiety”. Use this, be the change you want to see within yourself. Accept you cannot win it all. Get back up and work even harder.
Don’t be afraid to fail, it only makes us better.
words by: Ella Simons design by: Katie Storrie
Navigating the fear of achieving your dreams...
When I was a little girl, around 3 or 4-years-old, I dreamed of either being a fairy, who had magical powers and had wings and could fly, or of being a princess who lived in an enormous castle in a magical kingdom far far away. Pretty standard dreams for a young girl, unrealistic and mere fantasies but dreams that were still very important to me at the time.
As I grew older, my dreams became influenced by my hobbies and one that I enjoyed very much and considered pursuing as a career was dancing. I would admiringly watch the older girls at my dance school beautifully and elegantly expressing themselves by moving their body to music. They symbolised everything I thought I wanted to be when I grew up. But, I quickly learned that the dance world is cruel and tough, you have to have thick skin if you want to make it, dance has to be your whole world and you have to be prepared that you most likely don’t have the right body shape to become a dancer. So, that dream swiftly went into my rearview, which made way for new dreams, dreams inspired by my family.
My grandma has always had a talent for making and creating things, whether that be through baking, baking all of her grandchildren’s birthday cakes most years, accepting our requests, making anything from Barbie cakes to number cakes; or through sewing, she has made baby clothes, dolls clothes, dressing up costumes, dresses, costumes for schools plays and curtains, all for me. Another skill she had was kitting, which she taught me and my sister to do when she would look after us in the school holidays, though I did not have the patience or skill to actually continue with it. She has knitted each grandchild a blanket, unique to them, as well as several items of baby clothes, some going to her grandchildren, but in more recent years, she has knitted many a baby cardigan specifically to be donated to the NICU at the hospital she used to work at as a nurse and midwife.
The skill that did stick with me, and I was interested in was sewing. Hand-sewing, cross stitch and embroidery was so calming and therapeutic to me. When I was a teenager and I started having textiles lessons at school, was when my interest peaked, getting to use the fancy sewing machines and learn how they work was highly enjoyable for me, sparking my creative brain, allowing me to feel more connected to my grandma. Going over to my grandma’s at weekends and playing around with her sewing machine, along with doing a GCSE in textiles, forged my dream of becoming a fashion designer. Fashion has always been a big part of my life, the clothes I wear are a physical manifestation of my personality and sense of self; my mum always likes to tell the story that when I was 3 I would refuse to wear the outfits she would put me in, and demanded to dress myself.
This love of fashion, plus my skill for sewing opened up a whole new world for me. I had big dreams of going to fashion school, creating my own fashion brand, designing my own clothes. However, studying textiles, having to spend extra hours after school working on projects and perfecting my skills stressed me out. Trying to come up with new creative ideas, while also making them personal to me and unique, made me hate the subject, and killed my dream. They always say, studying something that you love will make you hate it, and in this case that is true. However, not all my dreams were crushed, there are so many other careers in fashion which, combined with my other talents, were dream careers.
As a child, I was fascinated by magazines, particularly fashion magazines, so when I decided I no longer wanted to be a fashion designer, the idea of being a fashion journalist, working for a magazine like Vogue, sounded like the perfect career for me. It combined my love of fashion, with my love of writing, which I have always been good at; I have always preferred written communication over spoken communication. Though, when I pondered on it some more, there was something in my brain that told me I wanted whatever my career was to make a difference in this world, and to me, fashion journalism felt like a superficial and self-serving job. Whilst researching careers as an older teenager, I came across the job profile of an investigative journalist, which turned out to be my ultimate, dream job. It aligns with personal values of utilising my skills and talents to make a difference in this world, giving a voice to the voiceless.
Eventually, the journalist childhood dream led me to be a part of Quench Magazine at university, and for that I am forever grateful. Although my dreams have changed throughout my childhood and into my adulthood, along with me figuring out my identity, one dream has always been present, the dream to be a mum. I think being surrounded by children my whole life, having several cousins, nephews and a niece has heavily impacted my desire to have children, I couldn’t imagine any other life for myself. It just goes to show, some childhood dreams are not silly or unrealistic, some of them pave the way for how you want to live your life, in your adulthood.
words by: Ella Collis design by: Katie Storrie
films to fall
As someone who generally struggles to wind down during the night, I find myself drawn to simple, peaceful films such as any Studio Ghibli production with their cozy art design and simple story telling. The lack of lingered, almost feeling as though something was still watching.
films to keep you up.
Set It Up
The movie Set It Up, and more specifically Zoe Deutch’s character, Harper, inspired me to follow my dreams of becoming a writer, and gave me some of the best, much needed, advice I have ever heard. Towards the end of the movie, Harper’s roommate tells her that she won’t ever write anything good if she never writes anything at all, which spurs her on to write the article she has been procrastinating writing. Harper gains enough courage to give her article to her boss, who is high up in a publishing company, and gets her article published. Watching this movie and hearing those words spoken aloud reminded me that success comes with previous failures, and those words have now become a mantra for me whenever I sit down to do some creative writing. In addition, Harper’s enthusiasm and interest in the ‘Gerilympics’ (the Olympics but for older adults) taught me that there is an article in everything and that nothing is too small or too silly to write about. While Harper was wary at first about giving her boss her work, in doing so she opened a new door to a multitude of possibilities. Set It Up inspired me to chase my dream and to chase it unapologetically and to be ambitious. Finally, but not at all importantly, to not settle for anyone other than Glen Powell.
words by Jessica Fotheringham
Gilmore Girls
Since that first intro of ‘There She Goes’ by ‘The La’s’ played, I was hooked.
Being a young girl from a small town, the girl with her face glued to the pages of that week’s book of choice and the girl who grew up with a single mum, I saw myself reflected through the character of Rory Gilmore.
Like Rory,“I live in two worlds. One is a world of books... It’s a rewarding world, but my second one is by far superior. My second one is populated with characters slightly less eccentric, but supremely real, made of flesh and bone, full of love, who are my ultimate inspiration for everything”.
I connected to this quote from the show instantly because like Rory, home is what drives me to push myself to reach my dreams, because of the unfailing support they surround me with. Rory’s dreams and her relentless drive and ambition to become someone, to be heard, to be known is something me and her both know all too well. Her journey, similar to mine, is built of challenges, but her unwavering desire to create and write pushes her ahead. Through her big dreams to work in the journalism and media industry, she taught me that rejection is not the end of the world (as much as it can feel that way), but merely is just redirection. Through this, she embodies how true dreams cannot be
Watching her achieve her goals and end up in Yale (RIP Harvard), pushed me to take that gamble and apply for Journalism. Her strength of character encouraged me to nurture my passions, even if it’s daunting at first.
The show (in the least dramatic way possible) has helped shape the person I am today. It inspired me and showed me that with resilience, compassion and the belief that dreams ARE worth chasing, that dreams can be more than just dreams… but in fact a reality worth fighting for.
words by: Ella Simons design by: Julia Bottoms
The Velvet Underground
When discussing innovation and pioneering new sounds and styles of music, it shouldn’t take long before The Velvet Underground are mentioned. Formed in mid-sixties New York, they are often credited with lighting the fire of alternative (whatever that means) and indie rock music, as well as the punk movement that would later emerge during the seventies.
With a musical palette made up of classic rock n roll guitars from Sterling Morrisson, simple yet unconventional drumming from Maureen Tucker, and avant garde piano and viola from Wales’ own John Cale, The Velvet Underground were a sonic explosion unlike anything heard before. This ear-catching instrumentation, which often made use of unorthodox tunings and mesmerising drones, was paired with lyrics about sex, death, and drugs by the legendary Lou Reed, and became the soundtrack to a chaotic and now quintessential queer space in Andy Warhol’s silver factory studio.
artists that were ahead of their time
Now, over sixty years since their inception, the Velvets’ impact remains strong and significant in both underground and mainstream contexts. Recently, Charli XCX, a hyper-pop pioneer in her own write, referred to the band’s work as “influential”, “ground-breaking”, and “the apex of fine art and DIY culture colliding”.
words by: Thomas Pilkington
Prince was a ground-breaking artist who challenged and redefined gender norms in pop culture. Rising to fame in the late 1970s and dominating the 1980s, his evident love for music was combined further with his unique fashion sense that blurred the lines between masculinity and femininity. With high heels, eyeliner, lace, and crop tops, Prince presented himself with a bold androgyny that defied traditional gender expectations, all while exuding confidence and charisma.
At a time when mainstream music often reinforced rigid gender roles, Prince embraced fluidity. His lyrics and performances celebrated sexuality and identity without limits, creating space for self-expression in a way that was radical and liberating. He proved that strength and sensitivity, masculinity and femininity, could coexist in an artist and be celebrated.
Prince’s fearless approach paved the way for future artists like Harry Styles, Lil Nas X and Sam Smith who continue to explore gender and identity in their work. He made it possible for queerness and non-conformity to exist visibly in popular music. More than just a style icon, Prince used his platform to shift cultural conversations. His legacy isn’t just musical but is also personal and political. Prince wasn’t just ahead of his time; he helped change it.
words by: Eleanor Rayleigh-Strutt
visions of the future
Prince
As It Is Pop-punk band As It Is broke boundaries with the release of their third studio album, The Great Depression, back in 2018. Before the likes of Ethel Cain got big, concept albums had slowly sunk into irrelevancy, and music focusing on topics such as mental health was few and far between. The band strove to destroy the taboo surrounding the subject, specifically focusing on men’s mental health through singles like The Stigma (Boys Don’t Cry) – many within the scene who had been past listeners of the band turned away from the group as they felt the themes within the album were too ambitious, or too much for the group to handle. The theatrical way in which the band transformed themselves into a dark quartet not far from the likes of Revenge-era My Chemical Romance was enough to send fans packing, following claims that the band had ‘gotten too weird’ or ‘gone emo’. Fast forward to today, where the likes of Ghost has gained a larger fanbase, the caricature-like display artists put on to project their music is increasingly popular – PRESIDENT sold out all merchandise and tickets to a debut show before their first single had even been released.
Still, upon dropping The Great Depression, As It Is proved that no concept was too big for them to tackle, successfully paving the way for the following decade’s wave of musicians who followed suit in speaking up about mental health. An album split into parts: Denial; Anger; Bargaining; Acceptance – the issues raised remind listeners that mental health is a topic that we need to draw more attention to. As leading single The Wounded World says, “I know this isn’t something you’re going to like to hear, which is exactly why you need to hear this.”
words by: Tegan Davies design by: Julia Bottoms
This week I spoke to three students faced with the impending cuts to the Cardiff University School of Music. Sioned Averina Ryan (Final year BMus Music), Eva Morris (First Year BMus Music), and Sophia Szczegolski-Jacobs (Final Year BA French and Music) all expressed to me how the potential loss of the music school would not only be a loss to music students, but also to the wider community, and society as a whole.
So far, these students have felt an ‘impending sense of doom’ looming in the school. Pessimism has become part of their everyday experiences. From learning about the news through the media while sat in lectures or in a seminar with staff that knew little more than them to now awaiting the final judgement, these students have persevered through a strenuous year. Lecturers missing meetings to write counterproposals and marking coming back late are just two examples of how these cuts have impacted students even before taking full effect. Yet, Sophia noted to me that it has amplified the music school’s community – banding students together under a common cause. Though, a cause they should not have to think about alongside academic pressures.
All three of these students believe that their Music degrees in Cardiff are essential to their future endeavours. First year student Eva explained that thus far her degree has widened her scope on the world and improved her communication, teamwork and problem solving. Sophia recognises that she is lucky in her chosen career path of becoming a teacher in that there are more pathways available to her yet expressed that her experience studying music at Cardiff has allowed her to learn from the best. She feels much more confident in her future having analysed the methods her lecturers used on her. Sioned is aiming for a portfolio career, hopefully playing music in the Church, and emphasised that the music school has taught her exactly what she needs to know to get there.
All three students expressed to me that the education they receive at Cardiff is unique. It is not just about performance. Students at the Cardiff School of Music are taught academic foundations just as other humanities students are. Ethnomusicology, Sioned added, is the study of how music has impacted society. Music at Cardiff is interdisciplinary. Sophia explained that students can study performance and composition, but they could also learn about music production, or the business of music which demonstrates just how many pathways these students can take from their music degrees. If the Music course at Cardiff were to be cut, students would lose so much of what is offered to them now. Eva feared that building and instrument maintenance would fall to the backburner, and certain modules would not be offered to students. Sioned expressed to me the importance and impact of research-led teaching at Cardiff and told me of the time a piece of music discovered by one of her lecturers –Dr. Peter Leech – was performed for the first time in 200 years by students. Without the Cardiff school of music, so much history would never be discovered, and countless songs would be lost forever.
In terms of the wider impact of losing the music school in Cardiff, all three students expressed how Wales – the socalled Land of Song – would then only have one academic music course in Bangor. While the Royal Welsh College is just as good of an institution, all three explained how they were entirely different music educations.
For the community, the Cardiff School of Music provides so much – they help with student theatre productions, they are involved in outreach programmes for local youth and also allow students from other schools in Cardiff University to take-part too. Sophia made clear to me how much music has impacted her mental health, often being a respite from the plights of academia. Strikingly, Cardiff University itself uses its music students for opening ceremonies and events, as Eva explained. If the music school is cut, the university loses out too.
These students believe that their degree isn’t being respected by the university. They think that because they don’t have a quantifiable impact on society, that they are not worthwhile. But this is not true. Sioned believes that the arts and humanities are being ‘demonised’ in a world where we are obsessed with ‘numbers going up’, but music and the enjoyment it brings is immeasurable. Without the Cardiff school of music, so many opportunities for future musicians would perish. Not only would students lose viable career pathways, but society would lose so much culture.
If you would like to help the Cardiff School of Music in their attempts at surviving the university’s cuts there is a petition on Change.Org. The students would like to remind everyone that continuing to talk about the issue will make sure it continues to be debated. Write or talk about your experiences in the school, join the student-run protests and organised concerts and address the structural issues that come with the university viewing the arts as unviable.
words by: Ava Hicks design by: Julia Bottoms
Literature 24
As this academic year comes to a close, I’m not rushing to have everything planned out. Instead, I’m leaning into that space that literature often opens up - a space to dream, wonder and imagine. Beginnings and ends feel somewhat synonymous, the nerves of joining a new flat and meeting the people you will live with for the next year, and leaving the academic year, unknowing of what comes next, but feeling excited about this new chapter. From Talybont accommodation and meeting new people for the first time, to living with your best friends in Cathays and ultimately throwing your graduation cap, each person throughout Cardiff lives within a different chapter - a different novel, genre or plotline.
Within Sally Rooney’s Normal People, Connell Waldron’s journey deeply resonated with me. The anxieties and uncertainty of the future, after living within your own comforts for so long, became overwhelming. Yet the sense of hope that appears within Normal Peoplwe’s concluding chapter can bring comfort to us all, there may not be this grand conclusion, but there is a universal understanding that all good thingws may come to an end, making space for a new chapter to begin and although everything may not work out perfectly and just like you had planned, that’s okay, there’s a sense of hope within uncertainty, room to succeed, stumble, fail and then dream.
As we prepare to close this chapter and create a new blank page, whether that be another year in Cardiff, continuing the familiarity of deadlines, lectures and trips to the Woody on a Friday night, or travelling the world with the amazing friends you’ve made in Cardiff, or moving back home to figure out your next step- the possibilities that come with the end of this era are just as exciting as the era you’ve just lived through.
words by: Deryn Whitehouse
There is something so grandiose but limited about the end of another academic year–most plainly, a purgatory. The wide expanse of the future, whether it be recuperation after exams, a new opportunity or even the first step into the real world, stretches endlessly in a nature both frightening and extraordinary. At least, this is where I find myself.
My mind trapped in the future, my body in the present, my mind has been most compelled to the wisdom of a book from my childhood: Le Petit Prince. For those unfamiliar, this French children’s book follows an encounter between a crash-landed pilot and a little boy from a planet. I urge you to read it as I think everyone will take something different from its pages.
Recently, I’ve been struck by chapter 15, or the geographer chapter. Here, the little prince recounts his meeting with a geographer whom he plies with questions about his study. They eventually get to the topic of what is included in maps and the geographer rules out flowers, or anything ephemeral: “what is threatened with near disappearance”.
Going back to this chapter, I’ve been struck by my own negligence of the ephemeral. There are so many moments that pass me by, and like the little prince, I’m afraid of losing them. From teatime chats with housemates to facetime calls with my parents to spontaneous walks in Bute Park–I fear that whatever today brings will be just a haze tomorrow. Perhaps, in a decade, a mere blip.
As everyone gets caught in the whirlwind of exam season, I know I will be spat out on the other side a little emptier, a little nostalgic, and a little regretful. Reflecting on the Little Prince, yet, gives me some hope–if not a dose of wistfulness. The articulation that, besides the mountains, everything is passing and ephemeral is both a sadness and a relief. There is value in the mundane and temporary; I anticipate everything I have yet to lose.
words by: Lydia R. Byrne design by: Julia Bottoms
Daydreaming: How Literature Inspires us to Dream Big
Utopian fiction dates back to the fourteenth century, when Thomas More published the novel Utopia. Since then, a rich and longstanding tradition has been born, and hundreds of utopian fictions have been published since then. Political theorists have questioned the feasibility of proposed utopian societies; some have argued that inside every utopia, there is a dystopia. Some utopian novels have glaring inequalities, and some seem perfect beyond imagination; the utopian genre can be dividing for readers, especially for those arguing the efficacy of these societal structures.
One novel stands out for its ability to divide audiences: Herland, authored by Charlotte Perkins Gilman. She proposes an idealistic community of exclusively women who live in harmony with one another, they can reproduce through parthenogenesis. For hundreds of years, their community has existed without invasion from any outsiders. The plot follows three male explorers as they discover this community and are integrated into it. They have curated what seems to be a perfect society. Everyone lives in homes together; everyone shares with one another and does not feel a need to express selfishness. Education is of the utmost importance to all women, and they all feel a need to contribute to their communities. All children are raised communally and are taught only through play. They live in an idyllic landscape that has been cultivated for hundreds of years to produce a fantastic range of vegetation. Everyone is in perfect health, having a strong build, amazing intelligence, and striking beauty. Every woman feels an extraordinary sense of duty to their communities and aims to serve the entirety of Herland. Their community seems unquestionably idyllic, every aspect seems perfectly considered and harmonious. The landscape is depicted as beautiful and well-maintained, and every woman seems joyful and contented. There is a strong sense of community.
However, flaws are revealed partly through Gilman’s personal views; she was an ardent eugenicist, and these views were expressed in the text. There is the question of those who committed crimes in this community, and they apparently were bred out of the genes for crime. There is no mention of those who are disabled, elderly (specifically past the point of physical activity), those who experience severe injuries, or how the terminally ill are dealt with. It is quite striking, as a reader, to come across such inequalities as one is led to believe that this society is quite perfect and that everyone is happily cared for. As an individual who has dedicated their life to the study of utopian and dystopian fiction, it is clear that rarely is any society perfect. To many women, including myself, the society displayed in Herland seemed almost indisputably perfect until I realised these glaring flaws. Every so-called utopian novel, even those that seem incalculably perfect, has flaws. In every novel, some groups are underprivileged, overlooked, or unconsidered. A story that exemplifies this complex is The Ones That Walk Away From Omelas. Everything in this society is harmonious without question, but a child must suffer in order for peace to be maintained. Every society, no matter how idyllic or perfect it may seem, will be flawed. There is no way to make every individual happy because every individual has their own idea of perfection. Whether that be through political resolve, environmental balance, or social harmony, we all have a picture of utopia, and we are all entitled to fight for a better future. Despite every novel having flaws, some utopias show more equality than others; yet the genre gives us something to aspire to, a future for us to hope for.
words by Olivia Nilsen design by Julia Bottoms
In couture, fantasy isn’t an afterthought; it’s the foundation. Whether it’s a glittering mermaid tale, a pillow-soft reverie, or an awakening bathed in velvet light, couture increasingly immerses audiences in worlds where reality dissolves and dreams take centre stage. These three couture shows mirror a sleep cycle: Dior eases us into a soft, imaginative haze; Victor & Rolf encaptures us into the stillness of deep sleep; and Givenchy gently wakes us into a world that still feels surreal. This is fashion’s version of REM—vivid, immersive, and just beyond reach.
Like the gentle drift of a daydream, Dior’s Fall/Winter 2020–21 collection unfolded in a world just slightly removed from reality. During the COVID-19 lockdowns, they released Le Mythe Dior as a short film directed by Matteo Garrone. The collection was shown on miniature mannequins in a tiny baroque palace, echoing the post-war Théâtre de la Mode, where scaled-down couture offered hope in difficult times. The film created a full fantasy. Each scene was lit with a golden glow, making time feel slower, like a hazy daydream. Colours moved between muted tones and soft metallics, and the background was filled with mythical figures like mermaids and forest spirits, giving each garment a narrative. However, it was the music that anchored the mood. The delicate sound of a celesta, known for its dreamlike sounds, drifted through the background alongside gentle strings. This wasn’t only about beauty; with no live audience, Dior used fantasy to hold onto the emotional weight of couture. The show invited viewers to pause, imagine, and daydream—even in isolation. It proved that fashion doesn’t just respond to the world around us. It also creates new ones.
If Dior’s show was a daydream, then Viktor & Rolf’s Fall audience into the depths of slumber. The runway transformed duvets, shirts adorned with broderie anglaise trim, and to this surreal atmosphere was Tori Amos, who performed biblical Song of Solomon filled the room, with the lyrics of the collection’s theme. Further, dim amber lighting of sleep. This encouraged the audience to embrace the metaphorical sense.
Fall 2005 collection, titled Bedtime Story, descended the transformed into a surreal sleepwalk: coats padded like and oversized headpieces that looked like pillows. Adding performed live at the centre of the stage. The echo of the lyrics ‘I sleep but my heart waketh,’ reminding the audience created a sense of warmth, enhancing the atmosphere the show’s concept of ‘beauty sleep,’ both in a literal and
In contrast, John Galliano’s Spring 1996 couture debut for Givenchy marked a dramatic awakening. It opened with a striking tableau: models perched on towering stacks of mattresses, reminiscent of The Princess and the Pea. As heavy curtains parted to reveal blue spotlights, the transition from night to morning played out visually on stage. The show’s soundtrack mirrored this arc, beginning with Whitney Houston’s tender I Will Always Love You, and rising into Maria Nayler and Sasha’s Be As One. Galliano’s designs, ranging from 19th-century silhouettes to flapper-era glamour, were not just garments, but cinematic flashbacks as a nod towards old Hollywood glamour. The interplay of sleep and spectacle, of private dreams and public performance, allowed his couture to embody not just the idea of a dream, but the moment one wakes and remembers it. In this way, the production didn’t merely support the collection—it completed it.
Staging, music, and lighting in couture productions are undoubtedly important. Clothing alone can’t fully transport an audience—fantasy needs atmosphere. In Le Mythe Dior, the celesta’s delicate sound, paired with scenes of crystal waters and forests, brought the dreamlike vision to life. In Bedtime Story, Amos’s performance added emotional depth. Bedding-inspired garments, warm amber lighting, and lullabylike music didn’t just reference sleep—they made the audience feel it. Galliano used music to chart a journey from night to day, shifting from Whitney Houston’s tenderness to the pulse of Maria Nayler and Sasha. His tableau placed the awakening centre stage. Together, these elements create couture’s version of REM sleep: a cycle of vivid daydreams, deep rest, and surreal awakenings. These productions ask us to slow down and imagine. In doing so, they show that couture’s magic lies in its power to build something fleeting, fantastical, and fundamentally human.
words by Samira Abbey design by Julia Bottoms
Molded Muses: A Study in Shape
My dream theme ‘Molded Muses: A Study in Shape’ would be inspired by sculpture, and encourage designers to experiment with molding materials into three-dimensional works of art. Inspired by the drapery of classic Greco-Roman statues and the ability for solid materials to be carved into curved forms, this theme is rooted in classic and abstract fine art. Visual arts and fashion design go hand in hand, and this theme would celebrate and explore the dimensions this can go to.
The dress code would transform the carpet into a walking gallery, from gowns that defy gravity, use of materials that hold shape, or even sharp silhouettes. Designers and stylists would be invited to play with shape and let their imaginations run wild. The exhibition itself would be curated to explore the ways designers of different cultures and decades have used structural design from corsets to body armour.
On the carpet, some designers that must be showcased are Gaurav Gupta, Schiaparelli, and Iris van Herpen. All of their work has threedimensional qualities, with Gupta’s mind-bending use of voluminous pleats, Schiaparelli’s celestial headpieces, and van Herpen’s intricate futuristic printing.
‘Molded Muses’ is more than just form, it is about taking up space and making ones presence known. My visual arts background introduced me to the world of the abstract, and I was always drawn to the medium of sculpture because of how freeing it can be. This theme truly incorporates how fashion should never be boring and should always push boundaries (even those of physics).
words by Angelina Mable
Intergalactic Glamour
If I were to dream up the next Met Gala theme, I would love for it to spotlight one of my favourite designers, the one and only Vivienne Westwood. Yet, instead of having a dedicated Met Gala just to Westwood herself, like there was for Karl Lagerfeld in 2023, I think it would be more interesting to focus on the Saturn-esque logo of the brand, where the space motif is the star of the night.
The theme could be taken in any direction, as some may want to perceive it in a camp way and be literal with the space theme (e.g. aliens, planets, UFO’s), but I could also envision some designers subtly incorporating intergalactic elements through colours, textures and shapes of garments. Vivienne Westwood’s style of dress-making can be integrated with the space theme seamlessly, as the structured nature of her signature corsets along with the ruffled and draped materials can be combined to create some really fascinating shapes and movements with the fabric, making it look as if the clothes are moving on their own.
Space and the galaxy can be used to create captivating pieces that make people question reality and the ordinary of planet Earth. This theme would be one of the most creatively stimulating themes the Met Gala has ever had. I believe ‘Intergalactic Glamour’ would push individuals and designers out of their comfort zone and look beyond for inspiration, so there would be no excuses for boring garments.
words by Ola Rzeszut
if we curated
I’m not a fashion girl by any means, but I am a theatre kid so my first thought for a theme would be ‘Curtain Call: Theatrics in Fashion’. A celebration of performance, transformation, and the drama of how we present ourselves to the world.
In theatre, costuwme isn’t just about appearance, it’s about intention. Stepping into a role means stepping into a feeling, a version of yourself you didn’t know you had. And in a way, we all do that every day. We get dressed not just to cover ourselves, but to say something; it’s subtle, but it’s powerful. However, for this theme I would want the exhibition to include archival theatre costumes, with the carpet paying homage to Broadway costumes and theatrics. It would encourage designers to be inspired by the powerful medium of costume in stage media and put on a show through garments.
the Met Gala...
From the Indus to AI: Civilisation Reimagined
‘From the Indus to AI: Civilisation Reimagined’ bridges the ancient and elements of the futuristic by incorporating the aesthetic, philosophical, and technological contributions of the Indus Valley and projecting them into a speculative and futuristic world consisting of AI and computer-aided design features. A title and theme inspired by my South Asian heritage, and an ode to the Asian inspiration behind many recent fashion trends. This theme encapsulates what it means to honour tradition whilst celebrating innovation in clothing.
Metallic drapes, urban silhouettes with Mohenjo-Daro patterns, Harappan script-inspired embroidery, and AIgenerated mandalas are all possible design directions for designers and stylists. Key motifs of the Indus, such as animal iconography, clay seals, and brickwork patterns, can be futuristically interpreted using AI-generated motifs that reimagine ancient scripts into wearable visuals. Ancient drapes and fabrics can also be combined with dynamic silhouettes, jewellery, and accessories.
Iris van Herpen’s tech-forward silhouettes, Rahul Mishra’s use of colour, and Rahul Mishra’s storytelling couture can be used for creative design inspiration. Mughal jewellery and South Indian temple jewellery can be translated into kinetic pieces, which are inspired by the futuristic but built on the traditional. South Asian designers are integral to this theme, and they should be highlighted, possibly through Sabyasachi’s archival Royal Bengal pieces and Rohit Bal’s early 2000s ‘India Couture Week’ collection.
This theme embodies the current fashion trends of the world, through a glimpse into the past and the future. A rich tapestry of heritage-inspired futurism and boundary-pushing couture will lead this Met gala theme to success and popularity.
words by Bhamini Khandige design by Julia Bottoms
Catching ‘Zzz’ While Catching Flights Sleep Tourism
Have you ever found yourself crawling through an airport or bus terminal, eyes half closed, hair a mess, and near nausea due to sleep deprivation? Because same. Nobody wants to explore a new city or travel through an unfamiliar setting when they are not feeling their best. As someone who has grown up as an expat, I have had my fair share of long-haul flights and overnight trips.
Apart from the obvious of closing your window blind, putting your seat as far back as an economy plane seat will go, and leaning against the window if you are lucky enough to be seated next to one, I find it extremely helpful to travel with a set of earplugs and an eye mask. I always laughed at the idea of sleeping with an eye mask before I experienced the untroubled darkness an eye mask gives you, especially if you are trying to fall asleep before the cabin lights are turned off. The same can be said for earplugs. I always question the amount of sound they manage to block out but trust me, they make a difference. However, I always recommend travelling with headphones and earplugs, as earplugs tend to fall out. A simple neck pillow can also go a long way when travelling on a plane or bus. For those with shorter legs, I recommend putting your tray table down, putting your pillow on the table, and then leaning forward to rest your head.
Comfort goes a long way when it comes to sleeping while travelling. The chances of you falling asleep in jeans are nowhere near the chances of falling asleep in sweatpants. In addition, I can remain comfortable by packing deodorant and a small toothbrush and toothpaste in my carry-on, as sticking to a routine can also be of immense help when trying to catch some shut-eye. On a similar note, while exploring unfamiliar places and experiencing new ways of travelling is extremely exciting, try maintaining a regular sleep schedule and practising healthy habits, like not going on your phone before bed, the same way you would at home. Reading a book before bed is a standard tip to help you fall asleep, and I couldn’t agree more. Long-haul flights can get quite cold
Paris moves like jazz – unpredictable, elegant, and achingly familiar. The first time I wandered her streets in summer, it felt like stepping into a memory I hadn’t made yet. The sun spilled over Haussmann rooftops, and the cobblestone beneath Montmartre carried the rhythm of saxophones and strangers dancing beneath Sacre-Coeur. I’ve returned since, each time uncovering a new tempo. Paris isn’t just a place – it’s a feeling, a tempo that slows you down. In the rain or the sun, she never rushes. She simply exists. Beautifully. Unapologetically. Dreamlike. My earliest memory of the city is golden. Paris shimmered under a summer sky, and I was learning how to be in love–with him, the city, and the sheer aliveness of it all. We stayed near Montmartre, where the streets curve like a melody. One evening, a saxophone’s cry filled the air as dancers gathered beneath the Sacre Coeur. Their laughter echoed off the cobblestones, wine bottles clinked gently at their feet, and everything felt suspended, as if Paris had paused just for us. I stood still, the music weaving through me, and I remember thinking: this isn’t a city; it’s a song. We ate duck confit at a bouillon while the evening softened outside, watching locals arrive, unwinding over wine. Their ease with each other, their presence – it felt enviable. It’s not performative or rushed, just real. That night, Paris wasn’t picturesque. She was alive, moving, breathing –pulling us into her rhythm.
When I returned to Paris, the city greeted me with the same warmth, but something had shifted. This time, I wandered without an agenda, letting the streets carry me. I roamed along the Seine, where the light danced on the water like brushed gold, and time felt suspended between pages of a book I carried from bench to bench. I lingered longer in cafes, taking hours to drink espresso and let myself belong to the moment–to the street sounds, the scent of bread rising behind boulangerie doors, the weightless glide of boats under bridges. It wasn’t about discovering something new but recognising what I’d already begun to know: Paris rewards stillness. Not everything has to be chased. Some
cities demand to be seen; Paris asks only to be felt.
My latest visit was in March. Quieter skies, soft rain, and a gentler version of the city – like seeing a lover on a Sunday morning, still beautiful but different. I found myself drawn to jazz bars tucked away from the boulevards, where music unfolded in whispers rather than bursts. There were no phones and no distractions. Just people moving together in low light, swaying like the music lived in their bones. Outside, the pavements glistened.
My ballet flats tapped gently on the cobbled streets, an unintentional percussion as I passed shuttered bouquinistes and half-bloomed gardens. I carried a book with me, not for reading but for comfort – its unread pages were somehow part of the ritual. Paris in March felt personal, like a city no longer performing. I didn’t need her to dazzle me anymore. It was enough to be among her rhythms.
Paris is never quite the same, and yet she always knows me. In her music, her shadows, her light, I’ve found pieces of myself – in love, solitude, and becoming. She moves through time like jazz – changing tempo, repeating themes, surprising me with familiar notes.
Some cities you visit. Paris, you return to. And each time, she meets you where you are, then leads you somewhere else entirely.
words by: Wiktoria Alicja Gabara design by: Julia Bottoms
DREAMS DO
Dreamy Chocolate Molten Lava Cake
The culinary world offers an infinite array of decadent desserts, but when it comes to satisfying the universal chocolate craving, there is just something undeniably indulgent, and even dreamily delicious, about a warm molten lava cake.
One rainy afternoon, I was dreaming of a dessert with velvety oozing chocolate. Whilst there are countless lava cake recipes, none seemed to capture what I was longing for: simplicity, a balanced richness, and the perfect molten middle that would feel like a hug in a ramekin. Then, I came across a recipe from Turkuaz Kitchen: it was everything I envisioned and more. Whether you are surrendering to a late-night craving or treating yourself after a long week, this lava cake is the answer to all your chocolate dreams.
Instructions:
Preheat the oven to 230°C.
Preparing the ramekins:
In a small bowl, combine the flour and cacao powder. Grease 4 ramekins with butter, then dust with the flour mixture.
Preparing the lava cake:
In a medium bowl, mix the flour, salt and instant coffee. Set aside.
In another medium bowl, combine the chocolate and butter. Microwave until melted, then stir until smooth. Set aside.
In a large bowl, beat the eggs and sugar using an electric mixer for 3-4 minutes, until pale and fluffy. Add vanilla extract.
Gradually pour the warm chocolate mixture into the egg mixture, stirring until combined.
Add the dry ingredients and fold until it’s just combined.
Evenly divide the batter among the prepared ramekins.
Bake at 230°C 5 minutes, then reduce oven temperature to 200°C and bake for an additional 4-5 minutes. Remove from the oven immediately once done.
words by: Thea Dury (@theadury7)
Ingredients:
170g dark chocolate, chopped
85g butter
2 eggs
2 egg yolks
4 tbsp sugar
1/2 tsp vanilla extract
2 tbsp flour
The Classic Vanilla
I finally made the cake I dream about, last week for my birthday in chocolate or red velvet or anything too fancy like that - vanilla I want to cause a shortage of vanilla because there’s so much don’t like traditional buttercream. It’s grainy and too sweet. Not that’s a hot take, but I said what I said and there’s no taking it back other than online sensation
Ingredients:
Cake:
· 2 eggs
1 tsp instant coffee (optional)
For ramekin dust:
2 tbsp flour
1/2 tbsp cacao powder
Serving:
Using a kitchen cloth or oven mitts, invert each cake onto small plates. The cakes should be firm on the outside but soft, jiggly, and delightfully molten in the centre.
Dust with powdered sugar. Serve with fresh berries and
·175g caster sugar
·2 tsp vanilla extract
·1/2 tsp fine salt
·100g greek yoghurt
·90g sunflower oil
·50g milk
·150g plain flour
·1/2 tsp bicarbonate of soda
·1/2 tsp baking powder
Mascarpone Whipped Cream:
·226g mascarpone
·80g caster sugar
·2 tsp vanilla extract
·1/2 teaspoon fine salt
·350ml double cream
Vanilla Milk Soak:
·80g caster sugar
·150ml milk
·2 tsp vanilla extract or vanilla bean paste
Assembly:
Slice the cake into 2 layers.
Brush with the vanilla milk soak.
Spread the frosting on the first layer generously.
w Flip the top layer back over and place it soak side down onto the frosting layer.
Scoop the remaining frosting onto the top of the cake.
Once layered, place the fridge in the cake for at least an hour to let it firm up so that it can be sliced.
design & Illustration by:
Charlotte Hardie-Watts
COME TRUE
Vanilla Sponge
birthday to be specific. Now when I want a cake I’m not so interested vanilla is what I want. I need this cake to be vanilla in every aspect, in the cake that I’m eating. I also have another requirement - I Not for me thank you. But I love a cream cheese frosting, maybe back now. I finally found the recipe that does just that, from none sensation RedCurrantBakery.
Instructions:
Cake:
Preheat the oven to 175ºC Fan.
Buttery Bliss in a Blondie
Sometimes a cookie isn’t enough. They never seen to have enough depth to actually possess a chewy centre, with the ratio of crispy edges to gooey centre always weighting heavier on the former. Don’t get me wrong, there is a time and a place for them, but I desire more of a fudgy texture in my bakes. And while a tray-bake cookie is a possible alternative, I often find they become far too dry during the baking process and just don’t satisfy that monstrous craving in the pit of my belly.
In a medium bowl, whisk together the eggs, sugar, salt, yogurt, milk, and vanilla extract until smooth.
Pour in the oil and whisk again.
Lastly, add in the flour, baking soda and baking powder, whisk again until smooth.
Pour into a lined 7” pan and bake for 35 minutes
Allow to cool.
Whipped Cream:
Add in the cold mascarpone, sugar, salt, and vanilla extract to a bowl and beat until smooth
Pour in double cream and beat until soft peaks form.
Set aside.
Vanilla Bean Milk Soak:
In a medium pot, add in the sugar, milk, and vanilla.
Place over medium low heat and whisk until the sugar has dissolved.
Remove from the heat - and set aside for later
words by: Poppy Adams (@_poppyelizabeth)
Hence, I find myself turning to the buttery brother of a brownie: the blondie. With a nutty, caramel like flavour profile, a dense middle characteristic of a brownie, and crispy edges you’d expect from a cookie – the blondie seems to solve 99 of my problems. Hopefully it can do the same for you.
Ingredients:
75g unsalted butter
150g caster sugar
1 egg
1 tsp vanilla extract
120g plain flour
½ tsp baking powder
100g white chocolate, chopped
Instructions:
Preheat your oven to 180°C fan, or 200°C bake.
Melt the butter and sugar together in a medium sized saucepan over a low heat until all the sugar has dissolved. If the sugar starts to crystalise on the edges of teh pan, brush the sides with a bit of water and continue to heat.
Once melted, turn up the heat and bring the mixture from a simmer to a boil, then remove from the heat. Allow to cool until touchable (roughly 30 minutes).
Add the egg and vanilla to the butter mixture and beat into the mixture until incorporated (it may look curdled but don’t worry – the flour will soon solve this).
Add the flour and baking powder and stir until combined – try not over mix here to avoid a cakey bake.
Add the white chocolate and stir to mix through.
Pour into a lined baking tin and bake for 25-30 minutes, until the edges are set when you touch then, but the middle is still a little gooey The top should have a classic shiny, crackled top and should start to look golden brown.
Allow to cool completely in the tin, then pop into the fridge overnight before cutting up and devouring.
words by: Ellen Hollingshurst (@a_bakingmess)
It is a truth universally acknowledged that eating
Misfits really the way forward? As someone who write as I have very little cheese eating experience to talk about - but for scientific purposes only, I took it upon myself to eat a cheeseboard (with my friends) for dinner so I had first-hand knowledge of this issue. Does cheese before bed cause nightmares?
I have a very vivid memory of my grandma saying that she wouldn’t eat cheese at around 8pm because of this very myth but how true is this, and have cheese eaters been scared of something that wasn’t true. The theory behind this is that because cheese is full of an amino acid called tryptophan which stimulates the brain, our brains become more active while we sleep, added to the richness of cheese making the stomach hyperactive. This all makes your body confused and uncomfortable. Before this scientific theory was proposed the popular cause of this belief is thought to have been Charles Dickens’ A Christmas Carol where Scrooge associates uneaten cheese with the ghosts who visit him, the pinnacle of a trustworthy source.
The good news is that no direct link between your cheesy chips and nightmares has been found. A study conducted by the British Cheese Board in 2015 found that the opposite could be true - eating cheese before bed might actually help you sleep better - but they would say that wouldn’t they? The truth is that tryptophan, an amino acid found in cheese, is actually one of the base acids used by the body to make serotonin (the feel good hormone) and melatonin (the sleep regulator hormone), so maybe cheese could be good for you in this department.
A far more credible theory for cheese and nightmares is that they can correlate with each other, and are not causal. Cheese if often seen as a comfort food for many people, and typically we seek out our comfort foods in times of stress. So really, the nightmares you’re having after eating cheese are dissertation-related.
I have never been someone to stick up for cheese, but you heard it here first - there is no science linking cheese to nightmares. So, the cheesy chips and gravy are safe for the time being.
words by Poppy Adams design by Julia Bottoms
My Dream Boy/Girl
My dream guy is most often tall and brunette, not to fall into the tall, dark, and handsome stereotype, with a nice smile. The type of smile that says, ‘I buy my mother flowers’ and ‘after you.’ He has a firm handshake when he shakes my father’s hand, and arms that wrap around me and shelter me when I need it. His hands are big enough to hold mine and guide me through a crowd, and soft to the touch when assuring me and caressing my back. My dream guy has jokes that make me laugh without ridiculing others, and a laugh that makes me laugh even harder and gives me butterflies. I love my guy dressed, sadly, in a posh-looking quarter zip and blue jeans; not skater boy baggy jeans, but straight leg jeans. He is polite, caring, friendly, and above all, is the type of boy who treats me like a queen. My dream guy notices the little things, makes me a cuppa in the morning when he leaves, helps me into bed after a long day, and kisses my forehead as I drift off to sleep. And yes, I can tell all this just from looking at him.
words by Jessica Fotheringham
It’s all about the first impression, isn’t it? I’ve heard this saying a couple of times: guys put you in the dateable, hookup, or friend box within seconds of meeting you. Honestly, I reckon everyone can act that way at times. 20 seconds is all it takes to get a first impression. When I see a guy that catches my eye, there are certain things I notice that tell me a little about who they are: how they carry themselves, how they dress, and their mannerisms, to name a couple. These little things often help me decide if they’re someone I want to know better. In the first five seconds, I notice their demeanour, mood, and attitude. Are they arrogant? Reserved? Outgoing? Shy? I tend to lean (whether for better or worse) more toward an outgoing type of guy The next ten seconds are about examining a little further: what does their appearance say about who they are? Do they make an effort in their appearance? Or is it the last thing on their mind? I value my self-care, and I would hope my partner does too. To round it out, the last five seconds are the “meet-cute”. When approached, are they polite? Dismissive? Rude? For me, it’s respect above all else; a dirty pickup line will get you nowhere. A first impression can be proven wrong, but it is, in truth, what opens the door.
words by: Carolina Peret
It’s no secret that I’m fussy when it comes to attraction. It’s not something I even understand myself on why someone is or isn’t attractive to me. I’m more interested in personality than anything else. I know that sounds cliché, but it’s true. Someone emotionally intelligent is a must. They don’t need to read my mind, but they do need to have empathy and be willing to listen and communicate. But that’s not something I can learn from a Bumble bio or a glance across the pub. Shared interests are a green flag — if it’s not something I already do, it should be something I’d love to try. Hiking, travelling, things I don’t do too often, but would love to do with the right person. Pictures can say a lot, especially if they’re surrounded by culture and not the typical beach resorts or gym selfies. I’m also drawn to those who are curious and love learning. Red flags? Plenty. But I find we “sell” ourselves best when we focus on what we love and are looking for. A bio filled only with dislikes is an immediate swipe left. I’m here for connection, not a checklist. If I had to settle on one absolute green flag, though, it would be a man who loves cats.
words by: Megan Ingram-Jones
We’ve all dreamt up the ideal partner while lying in bed, creating fake scenarios to fall asleep to, but in the real world, the ideal mate can be difficult to find. I always knew I had high standards, as I’ve been told many times, but I see that as a good thing, as all my relationships (platonic or romantic) have always been very important and valuable in my life. So, before I got into my first romantic relationship, these are a few of the things that I’ve considered:
Communication - Clear and thorough communication has always been of the utmost importance for me, as feeling heard and listened to is one of the most intimate parts of a relationship, and so creates stronger connections with each other
Respect - This is a no-brainer, but it’s the foundation to any long-lasting relationship, as being respectful of each other’s boundaries allows for a more trusting relationship
Goofiness - Being able to have serious and deep conversations is all well and good, but being able to joke and laugh at the little things is priceless, and makes the simplest of moments the best fun you’ve ever had
words by:Ola Rzeszut design by :Isobel Blunt
first coined by Guillaume Apollinaire, who is now deemed one of the forefathers of the artistic movement. Surreal art is defined by the dreamlike and nonsensical details that it captures; it explores scenes that can be eerie, unusual, or whimsical. Many Surrealist artists aimed to investigate the unconscious mind through art, whether that be through painting, photography, cinema, theatre, comedy, or any other form of media. It is meant to divert expectations and encourage the viewer to look within oneself.
You may know of the many famous surrealist artists like Frida Kahlo, Salvador Dalí, Max Ernest, and Leonor Fini. However, few know the name Zdzisław Beksinski, he is known for his nightmarish paintings, unusual sculptures, and surreal photography. He was born in 1929 in Sanok, Poland. He grew up through the rising tensions leading up to World War II, then subsequently, the Cold War. His early career was an unusual path to artistic expression; he studied Architecture at Kraków Polytechnic. After which he worked as a construction site supervisor. He struggled to find enjoyment in this work, so he decided to pour his efforts into more creative avenues, pouring his talents into artistic endeavours. Though he had no formal training, his paintings, sculptures, and photography are, arguably, some of the most thought-provoking art of the 20th century.
He once stated: “I wish to paint in such a manner as if I were photographing dreams.” All his art takes on a kind of nightmarish haze, often being disorienting and thought-provoking experiences. Throughout his lifetime, he created 708 unique pieces, much of them housed in a permanent exhibition in the Historical Museum in Sanok. Much of his art was left untitled; not only does much of his work speak for itself, but the nameless status of his art spoke to the political tensions caused by the Soviet government. His use of composition and practical editing skills makes for striking photography. He made
Arguably, his most recognised artistic endeavours were his paintings, created largely throughout the 1970s and 1980s, which capture this unsettling feeling. Much of the art features human-like figures, often obscured and disfigured, leaving one to question the nature of the subject or eerie architectural scenes that develop an unease in the viewer. Many of these images take on a warm haze that implies a war-ridden area with only the remnants of society left behind. It is left to the viewer to imagine the intentions behind the painting and derive their meaning. Some seem to harken back to his experiences growing up in Nazi and subsequently Soviet era Poland, despite his claims, otherwise many critics find it hard to separate his work from this context. Often, they feature dark or upsetting imagery that evoke a profound feeling of discomfort and unease.
As technology progressed, he began to explore digitised editing, allowing him to get closer to his vision of being the photographer of dreamscapes. He called it ‘photomontage’. Beksinski would combine a series of images and utilise a range of digital editing techniques, creating some of his most unusual and visually captivating works. Photomontage enabled him to create images that combine a surrealist vision with natural elements.
Beksinski had an incredible journey as an artist and pushed the bounds of surrealist art; his artistic vision was compelling and invokes awe of a world many of us would hope never to know. Unfortunately, Beksinski’s life was cut short by a tragic incident. In 2005, he was stabbed by a teenager over money, which totalled about $100 USD. He left behind his final creation, a work that captures the harrowing atmosphere that defined his career.
words by Olivia Nilsen design by Ola Rzeszut
Home was the rustling of the coconut trees, the peacock’s early morning cries, and the honks of the passing by rickshaws. Displacement is welcomed in the pursuit of success, a different life, and a better place to grow your family. The immigrant and diaspora community has dreams of identity, home, and the well-being of their future generations. The Western world brings about promises of a higher quality of life, a less rigorous education system and a better work-life balance, and thus commences the journey to the diaspora’s promised land, or the Western world.
The idea of finding and building a home away from home is the story of every immigrant. The courage to leave everything they know behind in search of a nameless and faceless dream is immeasurable, yet their sacrifices often go underappreciated. The journey to a new world leaves immigrants vulnerable as they begin life from scratch, and to dream in diaspora is to open yourself up to an avalanche of new experiences. Lives are packed up in cardboard boxes labelled ‘this way up’, and ‘fragile’, as people migrate across lands. Families make their way between countries in search of good opportunities, and this displacement becomes the norm.
Growing up as the child of first-generation immigrants can be a confusing feeling where you are torn apart by the possibilities of life. Your thought process constantly flits between being grateful for your parents leaving the land of your ancestors and then reminiscing on what could have been if they had stayed. Air miles separate you from your extended family, and the physical distance creates an emotional distance.
After all, how close can you be with family that you see once in a blue moon? Was the immigrant dream worth it? The disconnect between family is a harsh consequence of dreaming of a better life, as you are forever known as the cousins who live abroad and rarely visit. Your parents experience internal conflict as to how to raise you - to be “too ethnic” means being singled out in school, and being “too westernised” means feeling out of place in your own culture. The line between tradition and modernity is not explicit and often causes a painful self tyranny. Your parents pass on your mother tongue with a heavy heart, knowing that they have had to learn a new language to survive in a new country and workplace. It’s bittersweet to think about why your parents chose to leave your home country, whether it was due to political conflict or out of personal choice, what made them journey into a new place with no connections? It’s common to feel annoyed at your parents for leaving, as that one decision adds a layer to your upbringing which begs to be unpacked as you grow up. But how much can you resent your parents for dreaming a dream? After all, they made a decision with the best intentions and did their best in a foreign land, with foreign customs and foreign languages.
A place where they are pointed out as the odd ones out, whether it is in their workplace, or their neighbourhood, our parents stuck out and managed to hold their own to achieve their dreams and the dreams that they envisioned for their children. We hear our parents talk about their greatest aspirations and what they would love to see us accomplish. Borders are crossed in hopes of the American Dream, with the white picket fence and the suburban house. Through their pursuit of the diasporic dream, immigrants are often subjected to a life of discomfort, racism, and displacement. Is it a curse to dream? Does dreaming in diaspora keep people going, or does it bring about generational trauma?
Children of immigrants will always consider what was missing from their parents’ lives, which caused them to leave and start anew. So much gets left behind in the search for a new dreamlike reality, but does this actually come true? Is the immigrant dream achievable, or do immigrants go generation to generation in search of the missing piece that may never be found? A single decision can lead to lifetimes full of questions, and this is the reality of dreaming in diaspora.
words by: Bhamini Khandige design by: Isobel Blunt
Ian Wafula
Freelance Journalist. Ex-Africa Security Correspondent, BBC In conversation with
You have said you had that innate, burning feeling to become a journalist. So, in your first article at the age of 12, do you remember what it was about? And were there any prominent figures that particularly inspired you?
I just had this feeling inside me of wanting to become a journalist, and when I talk about the first article I wrote I think it because I was a member of the drama club at the time so I was writing about my experience with that. I was part of the team and we were a very young team of guys who came together to launch the first school magazine. I remember really really pushing to have an article that I’d written there being published and I honestly wish I’d kept a copy. I can actually never remember my story but I just remember the joy of being published and that was great because I feel like that was the very first time I kind of got my work out there in terms of being a journalist. At the time I don’t remember who I admired back then, but there was one person; John Allan Namu. He is one of Kenya’s top investigative journalists and also someone who kind of mentored me when I joined KTN.
Your first post was as an intern in KTN after university. How was this experience going into your first paid employment?
I first volunteered because in my studies for undergrad, part of the requirement was pain of three months experience. At the time, KTN had this internship programme where they would take at least two people every two months to kind of just volunteer. The only thing they gave you at the time was a very very like insignificant stipend.
It was just like 7000 Kenya shillings which if we just calculate that to dollars was like $54.00 so at the time something like £35 a month, you know just to kind of help you in your meals and stuff but for me money was not the thing. I just wanted to get out there tell stories and I remember I learned one phrase from one of my senior editors at the time. His name is Joe Agayo, he said you know journalism is a career where passion is the currency ‘cause if you really want to make money this is definitely not the field, that made sense at the time and even still now you know. Yes, KTN was just a stepping stone for me and what made me gain the confidence of my editors was when I covered the Westgate terror attack where 67 people were killed. It was quite horrific and I remember doing my first live phone call, I remember going to one of the hospitals and doing live coverage whilst those injured and bodies were being brought to MP Shah hospital. I remember just giving that live coverage and thankfully the editor said lets give him more of that. I remember that day having 4 or 5 live calls which was really big, I remember I had this thrill for covering security and conflict stories and that’s how I found myself into investigative journalism.
One key story when you worked at KTN was the horrific Garissa University attack. How did covering such a tragic and traumatic event shape your approach to investigative journalism?
I remember on that fateful morning in April 2015, and you know my editor called and said you need to go to Garissa. I didn’t know what I was getting myself into. It took us 3 hours from Nairobi to Garissa and when we got their, policeman and the terrorists were still exchanging fire. I found those people being shot, bodies being removed from the scene, it was very chaotic. We continued interviewing young people as the events were happening, and it took 2/3 days before the situation was calm.
Beyond 50
After your first post you decided to take a break from work to do your master’s here at Cardiff university. How was it going from working as a journalist in Nairobi, Kenya to becoming a Cardiff university student?
It was my first time to Cardiff, and that was the first time id lived out of Kenya. It was amazing, education in the UK is different as most come straight from undergrad to postgrad, lots were quite a lot younger than me, and many couldn’t understand why I had left the BBC. In Kenya its very common for people to go to work after undergrad and then go do a masters. Cardiff was amazing, I came in right after covid restrictions, I did 11 days of quarantine in slough in London. I got to Cardiff, people were friendly, and the professors were just amazing, they didn’t treat me differently due to the BBC experience. I had to mast myself to become a student again and once I did this I was able to enjoy the course and Cardiff, going out, live lounge, and hikes. The hiking club was pretty cool.
How did the Chevening scholarship impact your journey to Cardiff University?
I needed a career break and there was the opportunity to get onto the Chevening scholarship that helps students come to the UK for studies from developing countries. That Education in the UK is more expensive than Kenya and Chevening covers that and a monthly stipend that helped me to ease into it. I still had obligations at home, so Chevening really came through for me in that sense.
From your master’s degree, what were some of the most valuable skills you learned, and how did this time help your journey to becoming an internationally renowned journalist?
The international journalism course lets you decide whether you want to go into broadcasting, multimedia, or documentary making. Having worked as a journalist I felt I had enough experience in broadcasting and multimedia, I wasn’t so well informed with documentary making. For the first time I was working behind the camera and am applying those skills right now since moving to freelance. All the documentary styles I learned I am now trying to use and it gave me the confidence to go freelance as I’m now interested in doing stuff away from regular news.
Your time as an Africa security correspondent for the BBC must have been incredibly interesting. What has been your most challenging story, or one that affected you the most, and how did you navigate this?
I remember it’s going to the DRC for the first time. Goma the city I visited which is now in the hands of the rebels, it was, let me say close to apocalyptic when I visited the displacement camps. It was like nothing I had ever seen before.
I almost had a panic attack, I’d never seen as much suffering as id seen, it was maybe a hundred children just following us, open wounds, hunger, and you have this curiosity of what is going on and wanting to be in a position to help them get out of that situation. It was to a point where I realised the peace and calm we have in Kenya compared to other African countries is crazy, and I was so close to the kind of devastation that conflict causes. That will never escape me.
For aspiring journalists and correspondents, what would be your best advice for those trying to get into the industry, achieve their dreams, and follow in your footsteps?
I think compared to when I was starting, I think the industry has changed a lot, there’s need to move away from relying on legacy media and realise that everyone nowadays has a phone and everyone can be their own journalist. The media space is shrinking itself, funding has become a problem, media houses are finding ways to use the digital space, if you maintain the same ethics and credibility of what you’re learning in school you’ll be able to channel stories. It might take time but it’s something that could grow, that’s why we should appreciate the digital space. Legacy still has its place though, as there’s so much room for misinformation and there’s need for governments and leaders to be held accountable, that’s where legacy media is key. But if you’re a student looking to start out your career, start out on your own and tell yourself what stories you want to make, start form your home and it could reach as far as who knows! Once you build a profile then legacy media comes to you, young people want to do it the other way around as that’s the way things are done. That’s what I did, and I understand it but there’s need to be open minded.
Having recently exited the BBC and now being an international freelance journalist, what is next for Ian Wafula? Is there anything particular you would like to work on in the future?
I’m at a point where there’s the need to move from negative news and people are more looking into solutions based journalism. So I’m finding myself between that. I want to maintain my original style but want to do solutions based journalism. Many young people don’t consume the news just because they think its too negative, that’s what we as journalists have been taught in school. We’ve been taught if it bleeds, it leads right. So maybe it’s time we review that, I’m having this internal rebuttal in terms of what’s next. But right now I’m working right on a story with CNN on femicide in Kenya, and I’m still doing stuff with the BBC and at the same time I’m working on my own documentary. Really I just want to produce high impact documentaries.
