Square One: Dublin Selected *288

 

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The announcement that the Web Summit is leaving Dublin and relocating to Lisbon in 2016 didn't come as a major surprise to anyone attuned to the mood music being piped out by Paddy Cosgrave over the last year. A number of obvious considerations for him and the team were a location refresh, the behind the scenes wrangling for more government support, the exorbitant rip-off price hikes by some hotels and the fact that the RDS, wifi embarrassments aside, is stretched to capacity for the aspirations of the event. Of course, the considerably cheaper cost of hosting the event in Portugal would also be a significant pull factor.

However, it is also symptomatic of a worrying return to the days of yore.

While it is slightly disingenuous to align the notions and achievements of the Web Summit with those of other creatives in the city, there are parallels. They conceived of, and created, this idea from scratch but also fell foul of some of the issues which are stymying and killing off other ideas and spaces here now.

Rental rates and the reconsideration of space usage now that there's a fresh development buck to be made has finished off spaces such as Mabos and threaten to close the likes of MART in Rathmines. Destroying the creative fabric hewn by those who stuck around to improve our lot could well see others looking further afield.

Whose wants to be starting summit? Whose gotta be starting summit this week? Michael or Stephanie?


3 1/2 Minutes, 10 Bullets

by Stephanie Kelly

Girl Band Midnight Album Launch Party

by Zara Hedderman
 

Minimum Maximum

by Aidan Kelly Murphy

Champs

by Amy O'Connor
 

March for Choice

by Amy O'Connor

Boddika

by Aidan Kelly-Murphy
 

Chekhov's First Play

by Zara Hedderman

I Am Dublin

by Stephanie Kelly
 

∞ (Broken Mirrors)

by Olen Bajarias

Older Than Ireland

by Zara Hedderman
 

Huddle Tests

by Aidan Kelly- Murphy

Life

by Stephanie Kelly
 

2ha

by Michael McDermott

Guts

by Michael McDermott
 

Photo Credit: Peter Smith

The incredibly brave and hugely inspiring Dearbhla Glynn has taken some time off from changing the world, one documentary at a time, to chat with us. Catch the world premiere of her documentary, War in Eastern Congo this Saturday in the Irish Film Institute.

When did you get into film-making?
After I left art college, I kind of became obsessed with ideas and taught myself how to use a camera and off I went… and I haven't looked back since!

How did you end up in the Eastern Congo?
I was always drawn to Congo, I see it as the belly of Africa- The more I heard about the war and what was going on there, the more I wanted to go and find out for myself. I was intrigued by the rape crisis and I really wanted to talk to the men, the perpetrators, to find out what happened to them that they were carrying out these awful violent acts.

Were you ever scared or intimidated by your experiences filming there?
I think I was more saddened then intimidated, and frustrated by the ongoing rampant killings and violence that go on and go mostly unreported.

How difficult is it for independent documentary makers to resource such important pieces of work and ensure the wider public become aware it?
It is very difficult, it's hard to get financial support and Congo is very expensive – this is the most challenging part and then it is also hard to gain access on the ground when you are there, it takes time and patience and that becomes a very costly process.

Do you find yourself drawn to conflict situations?
I have been working in active war zones since 2010, once you start it is hard to back away, the more you know and see how people are affected the more you want to work there.

What is the current situation in Eastern Congo? Is there any sense of justice, remorse or forgiveness in relation to the war and sexual violence which has been perpetrated?
Yes of course there is remorse, war is a terrible thing, the war has been going on since the 1990′s, it's generational now, the impact is huge, families and communities are broken down, education is a luxury. If a boy becomes a child soldier and is forced into violence this violence follows him into adulthood.The violence, rape and impunity is ongoing, as is the war.

Will you be revisiting this project or are there new ones you are exploring?
I am just back form Liberia, Ivory Coast and Guinea, I am making a film around the ebola crisis – I hope to be always retiring to Congo, Gaza, and Palestine.


Photo Credit:Mark McGuinness

The lovely Rosa Abbott took some time out from sourcing her impressive collection of unique vintage fashion and costume jewellery to talk to us about the impending launch of her store Vertov. Watch this space!

Can you tell us a little about your background?
I fell in love with vintage clothing as a teenager, when I would wear musty berets from charity shops, lurex blouses and pencil skirts. Ten years later, my tastes have become a little more refined (I try not to wear so much polyester, for one), but in terms of things that inspire, it's still pretty much the same – pop culture from the sixties onwards. Having worked in journalism for a few years, predominantly covering fashion and art, and done some styling work, the time felt right to begin channeling that love for vintage clothing and culture into a tangible project.

How did you first become interested in fashion?
Before anything else, my interest in fashion was stoked through music and film. It probably helps that I became a teenager just as the Internet age began to really take off – online, I'd pour over images of long-dead movie stars, film noir heroines, No Wave singers, sixties chanteuses and Warhol superstars. I got really into cutting up magazines as well – making moodboards out of images I loved, some of which I still hold on to. Initially I was drawn to a very "classic Hollywood" aesthetic, or a more sixties Mod look. Nowadays I'm mainly drawn to 1970s disco and glam, and the late eighties/early nineties heyday of the supermodel.

What would your dream find be?
I'm obsessed with 1980s Thierry Mugler and am lucky enough to have sourced a couple of pieces for VERTOV, including a really striking tan jacket with these bondage-style rings on. It's super sexy. In future though, I'm always on the lookout for oddities of design. Luxury is important, but I'm also drawn to quite eye-catching or flamboyant items. There's something very thrilling about finding a vintage piece that's wholly impractical but which you truly desire and wish to own. Party pieces, you might call them!

What kinds of threads should fashionistas expect?
The emphasis is really on quality, so there's a number of branded items by the likes of CĂ©line, Yves Saint Laurent, Mugler, Sonia Rykiel, Kenzo, etc. Other pieces are unbranded but have luxurious materials – a silk shirt, for instance, or a llama wool coat. As well as clothing, we stock vintage costume jewellery dating from the 70s, 60s and 90s, particularly chunky gold chain and door-knocker earrings. We are specialising in the latter decades of the 20th Century – 1960s to 1990s. These are the decades that inspire me the most as a vintage enthusiast!

How do you source your pieces?
So far, most of the clothing has come from France. I love classic French fashion houses like YSL so it made sense to look towards French suppliers and private sellers. The gold costume jewellery is mostly shipped from Los Angeles, where it's more common to find good quality pieces by Monet, Trifari, Givenchy and the like.

Who would your dream client be?
I love meeting clients that share my enthusiasm for vintage style and pop culture. As long as there is an appreciation for the piece and its history then I'm delighted! I love buyers that are daring and passionate, and go with pieces they love and suit their own style, as opposed to what they feel is missing from this season's wardrobe. I hope that the pieces I sell will be worn again and again for many years to come. Really, though, a dream client can be full of surprises. I love when someone picks up a piece you wouldn't expect them to. Part of the fun is the mystery of seeing whose collection a vintage item will end up in, and how it will be given new life.

Le Cool readers will receive a 10% discount at the store until October 22nd when they enter the code DADDYCOOL


Le Help

Le Cool is a free weekly magazine distributed every Thursday that features a selection of cultural events and leisure activities, revealing the things you really shouldn't miss. We filter out, among other things, the best art, film, music, and club nights, as well as a careful selection of extraordinary bars, restaurants and other fine places. Le Cool content is chosen because we believe it is worth your time and will never be traded for money.

To contact our editorial team, email Stephanie.
For marketing, advertising and other commercial type stuff, email Michael

Published by: LE COOL GROUP

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