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28 October 2017


I got into the spirit of Halloween for this look and took inspiration from the third season of American Horror Story, Coven. I love an all black outfit, especially one with some witchy vibes going on. Plus I am here for any excuse to break out the wide brimmed fedora. 

I'm a sucker for a good high waisted and crop top combo and these two pieces have certainly done me well this summer but I don't have the heart to leave them behind as the seasons change. I think incorporating some chunky knits and some good layering will help me to continue styling these Nobody's Child pieces way into the new year.

Hat: Zara
Top: Nobody's Child
Culottes: Nobody's Child
Shoes: Zara

22 October 2017

Winter Frills

Winter is definitely arriving in the midlands and I can finally bring out the millions of jumpers that I packed with me from home. As much as I like the sun, I'm a cold weather gal at heart and I love a good winter coat and scarf combo.

I shot this look just before I moved back to uni, knowing that I would need some sort of winter-dressing-inspo for when the cold weather rolled around. I've been loving playing with layers at the moment as I've got some pieces recently that I don't want to be hiding under a big coat just yet. 

This pearl-embroidered jumper from Zara is such a great piece. It's quite baggy in shape so it's great for tucking in to high waisted jeans or for synching in at the waist with a belt, like I've done here. It's also not too thick so it's perfect for pairing with a turtle neck underneath. I went for one of my favourites with the frilly sleeves.

Hat: Asos
Turtle Neck: Asos
Jumper: Zara
Culottes: Urban Outfitters
Bag: Oasis
Earrings: Mango
Boots: Zara
Sunglasses: H&M

3 October 2017

‘Mother!’: Bold, horrific and utterly brilliant - Review

Darren Aronofsky’s much anticipated new psychological thriller, Mother!, has certainly been met with a whirlwind of controversy. Tearing film critics and audiences alike apart, the film has attracted reviews that have simultaneously called it one of the best and worst films ever made. But is it really as insane (and brilliant) as everyone is saying?

Depicting a story of love, devotion and sacrifice, Mother! is rife with allegorical imagery that is set to have you discussing it for hours after viewing. Starring Jennifer Lawrence, simply characterised in the film as ‘Mother’, the film presents itself as a tale of domestic bliss with Lawrence’s character desperately and delicately restoring a house, which was once her husband’s family home, before a fire destroyed it. She is married to the much older character, ‘Him’, played by Javier Bardem, a poet tortured by an intense bout of writer’s block which forms cracks in the foundation of their marriage and soon, their home.

It is after the arrival of Ed Harris’s character, ‘Man’, and shortly afterwards, his wife (Michelle Pfeiffer), that the once tranquil house turns into a site of chaos. Aronofsky’s Mother! is an assault on the senses, beginning quietly with just an underlying feeling of unease before it builds up to its crescendo of mania and horror. The last thirty minutes of the film will have you reeling and writhing in your seat, at once covering your eyes to prevent yourself from seeing the terrifying events before you, whilst simultaneously paralysed with curiosity. It’s like a car crash; you just can’t look away.

In the lead up to the film’s release, the marketing made extensive efforts to keep as much ambiguity as possible surrounding the plot. The film’s first theatrical poster saw an angelic illustration of Lawrence, the devoted wife, holding out her own heart that she had seemingly ripped from her chest, hauntingly smiling with pleading eyes. Bardem’s poster was equally enigmatic and saw him surrounded by fire.

Anyone hoping for more of an explanation concerning the nature of the film were hard done by when the first trailer rolled around. It was an intense succession of noises and visuals; screaming, shouting, the sound of destruction overlaid with a ghostly Lawrence as she paces around the house. It was a film that garnered an incredible amount of attention and intense debate before it had even been released. Critics, the press and audiences demanded answers, constantly speculating, the human lust for knowledge being challenged by Aronofsky who remained smugly tight-lipped.

It’s that inherent self-righteousness that humans possess which is at the forefront of Mother!. A film about the destructiveness of human nature and our ability to harm something so kindly gifted to us in the first place. An astounding reflection on the treatment of the earth depicted almost simplistically through a domestic setting.

In my opinion, Darren Aronofsky’s film is utterly brilliant. That isn’t to say that Mother! did not have a tendency to become too obvious in its use of allegory, because it did. The use of symbolism to represent Biblical interpretations and environmental issues was undoubtable clever, however they soon became predictable and, after a while, handed the deeper readings to you on a plate. At points, it felt self-indulgent in its cleverness and insanity to the point that it became slightly cliché and try-hard; further self-indulgence stemmed from the fact that you could literally place Aronofsky in Bardem’s place to create a story about the struggles of art.

Regardless, I cannot remember the last time I came out of the cinema so affected by a film I had just seen. I was left both speechless and desperate for discussion all at once – a definite sign of a good film.