Student Life
Glamour and gossip: Oxford Fashion Society’s ‘Women in Fashion’
On a sunny Friday evening at the Research Centre in Christ Church, Oxford Fashion Society hosted a panel titled ‘Women in Fashion’, featuring Julia Hobbs, Senior Contributing Fashion Features editor at British Vogue (a gloriously convoluted title only fashion media could produce), and Daisy Hoppen, founder and director of PR agency DH-PR. It is easy to feel a sense of anticipation in the room: the two are some of the most high-profile guests the Fashion Society has hosted since a panel with Adam Baidawi (Global Editorial Director at GQ) in Hilary of this year.
Yet – perhaps in typical PR fashion – the two women seem eager to dispel any such tension. When asked how they would describe themselves, Daisy, with a thoughtful expression, describes herself as a “problem solver”, whilst Julia, sweeping her elegant dyed-red bob out of her face, claims to be “5 ‘9 and a natural redhead”, drawing easy laughter from the audience. Neither has a fashion background: Daisy studied Law at undergraduate and Master’s level, before changing track and interning at the Financial Times, whilst Julia did Medieval History at Leeds, and worked at a jeweller’s – she chuckles whilst recollecting trips on the tube to Vogue House, laden down with thousands of pounds worth of jewellery. There was something almost cinematic about their stories of getting into fashion. After a spell of freelance writing, Julia describes how an acquaintance informed her of a job opening at Vogue, leading her to hand-deliver her cover letter to the doorman at Vogue House just before midnight. It’s hard to imagine getting a job this way now, but there is something charming about Julia’s story, humanising the industry in a way the media seldom does.
With the recent premiere of The Devil Wears Prada 2, conversation turned to the depiction of the fashion business in the media. “The Devil Wears Prada is more of a documentary,” the women laugh. For them, it’s a good thing that the media glamourises working in fashion – for the most part, it is glamorous. Julia recalls a highlight of her career at Vogue, in which she found herself in Kate Moss’ London home, trying on clothes in the supermodel’s wardrobe, a story which seems to have been plucked straight from a young girl’s dreams. Above all, however, they want the job to be appealing to young people, and if glamourisation is the way to make this happen, then so be it. “Daisy is a Charlotte with a Samantha rising,” Julia tells us as they assign each other Sex and the City characters, proving that the fashion fiction of their youths had much of the same effect that it does now.
But fashion is not always glamorous. In fact, it’s “cut-throat” – as Julia shares, “the job won’t love you back”. A heavily-pregnant Daisy is quick to point out the toll that her job has taken on her experience as a mother. “Women have to make compromises”, she states, citing the pressure she felt to work throughout her maternity leave. For this reason, both women emphasise the value of female friendships and mentorship. While diversity in fashion has improved, the industry has a long way to go, with the British Fashion Council’s UK DEI Report finding that while women account for 78% of the fashion world, they constitute only 39% of executive teams. For Julia and Daisy, it is important that they support younger women in their fields – Daisy’s PR agency proudly offers year-long internships, and Julia expresses her desire to be a mentor-like figure to junior editors at Vogue.
As the biggest fashion magazine on the planet, Vogue also documents the changing media landscape. The pair discuss the recent news of The Face shutting down, reflecting an increasingly competitive market for arts and culture publications. They fervently agree that AI summaries are currently the biggest obstacle to journalism, and are threatening the viability of newspapers and magazines to stay afloat in troubling financial circumstances. “Fashion is ultimately a business,” Daisy tells us, “but print media isn’t going anywhere.” In a world soon to be dominated by AI, they emphasise the appeal of stepping away from the screen, and remind us that those working in fashion still look to print magazines for their inspiration. Sure, Vogue may have to take on creative partnerships with Ebay, BMW, Nike, and others to facilitate this, but at least there’s hope for a more analogue future.
The two are full of advice for those aspiring to enter the industry. For Julia, the key is to think outside of the box. “Being niche has a huge power,” she says, expressing that a lot of the content which catches her eye is sure of the value of its own perspective. She also comments on the value of getting to grips with making your own visual content, since this kind of medium is (marginally) less of a victim of generative AI when compared with written forms. As short-form content becomes increasingly ubiquitous, Julia seems to urge those interested in making a platform for themselves toward harnessing its power, to “challenge yourself to be comfortable on camera” – even if it is just for 60 seconds. Indeed, getting comfortable behind the camera is Daisy’s advice: “Cool girls bring their own cameras!”
Ultimately, the greatest advice they offer is to have fun: connect with others, keep up with culture, and don’t stop partying. While this may not always be conducive to a healthy work-life balance – “a lot of us are insomniacs” – it nevertheless rings true for the work that the women do. “People fuel this industry,” she concludes, referring to both the relationships between creatives and the journalists themselves. “Writing should share who you are, what you do, and where you’re coming from.” Any young journalist who has written for Cherwell or any other publication may feel this sentiment deeply – when looking for inspiration, the best thing to do is usually as simple as getting outside and experiencing life. After all, Julia adds, “fashion is gossip.”
Is there hope for young journalists in the midst of an unemployment crisis, funding cuts to arts-based degrees, and the unknowns of AI? Yes, Julia and Daisy think, but it is by far the hardest time to be a new fashion journalist. Gone are the days of fashion publications taking on a junior editor who has no clue what they are doing – young people now need to prove why they are useful to an office. But saying yes, even if you’re unsure, will go a long way.. Praise must be given to the Oxford Fashion Society committee for facilitating real, human connection between industry experts and budding writers, a connection which is needed now more than ever.
Student Life
Sheldonian Series concludes for academic year with panel on the power of satire
The 2025-2026 Sheldonian Series ended on Wednesday 20th May with a panel discussion on the power, use, and limits of political satire. Held in the Sheldonian Theatre, the event brought together leading figures from British comedy and public commentary to reflect on satire’s role in the current political moment.
The Sheldonian Series, launched last academic year by the Vice Chancellor Irene Tracey, aims to “promote discussions about the big issues of the day”. This year’s theme focused on different dimensions of power. In Michaelmas term, the series examined the power of speech through debates around “cancel culture”, while Hilary Term’s discussion focused on activism and protest movements.
Opening the evening in a pre-recorded video message, Tracey described the series as a “powerful reminder of what we stand for as a university community” and “what inclusive inquiry and freedom of speech should look like”. Professor William Whyte, the panel moderator, noted that the Sheldonian itself was “an ideal place” to discuss satire because it had effectively been “built for that very purpose”. It was built in the mid-17th century to provide a location for the ‘Oxford Act’, an often disastrous end-of-term event which gave students the chance to poke fun at the University and its members in a satirical oration.
The panel featured three prominent figures in the world of British political satire. It included Jan Ravens, an impressionist known for her work on Spitting Image and Dead Ringers, who performed multiple impressions throughout the course of the evening. Alongside her sat Andrew Hunter Murray, a Keble College alumnus turned Private Eye journalist and star of Radio 4’s The Naked Week. Completing the line-up was Ella Baron, cartoonist for the Guardian, who started her career drawing for Cherwell as an undergraduate at Merton College.
Three broad themes dominated the discussion. The first was satire’s ability to reshape how audiences see political events. Baron argued that cartoons can “collapse time and space”, creating the “click feeling” where an idea suddenly binds together in a reader’s mind, while Hunter Murray described satire as an attempt to “distil” reality into something surprising and funny, categorising his work on The Naked Week as an attempt to “express reality” in a surprising manner. Baron also argued that cartoons often work because viewers “see a cartoon before you even get to read the argument”, giving satire a unique immediacy within the modern news cycle.
A second theme was the question of whom satire should target. Baron argued that satire should involve “punching up but in all directions”, though she also warned that “if we think about punching up as redistribution of power, we can also think about those being crushed by it”. Hunter Murray similarly described “groupthink” as “the big enemy”.
He also expressed awareness of the often intensely personal character of the work they produce, admitting that he has had sleepless nights after The Naked Week airs, worrying they had taken it too far. Ravens reflected on this process of deciding “how far can I go?” when creating satirical impressions, particularly when dealing with recognisable public figures. Together, the panellists repeatedly defended satire’s ability to offend and discomfort audiences, though they also acknowledged the ethical tensions involved. Baron reflected on receiving death threats for some of her work, while Ravens stressed the importance of being “intensely considerate” and not producing satire “thoughtlessly”. She also stressed, however, that satirists “need to be able to offend” and “can’t be too soft”.
The final major theme concerned whether satire remains effective in an era shaped by social media, political extremity, and artificial intelligence. Asked by the audience whether modern politics has become “beyond satire”, Hunter Murray argues that satire simply adapts to the culture around it, while Baron suggested that figures such as Donald Trump may be difficult to caricature, as there’s “not a lot of headroom”, but remain open to satire. The panel also reflected on the threat of AI to their practice, with Ravens arguing that AI-generated comedy doesn’t have “any humanity… any warmth… any humour”.
The event culminated with a satirical performance by student comedian Foo, a DPhil student in Management. Foo delivered a presentation on “AI and your satire workflow” delivered in the character of “pre-McKinsey” Brasenose graduate “Jonty”.
Student Life
Oxford study warns ‘friendly’ AI chatbots are more likely to mislead users
AI models trained to seem warm and empathetic make significantly more errors, and are far more likely to agree with users even when they’re wrong, according to new research published in Nature by Oxford Internet Institute (OII) researchers Lujain Ibrahim and Luc Rocher.
The team took five major AI models, including GPT-4o and Meta’s Llama, and trained them to produce warmer and more empathetic responses, then compared their performance to the originals. Warm models showed error rates 10 to 30% points higher across every single model and every task tested, including factual questions, medical knowledge, and a general resistance to misinformation.
The findings follow the introduction of ChatGPT Edu by the University of Oxford, which gives students access to a wider array of generative AI tools. The main finding from the paper is that the friendlier the chatbot, the less it should be trusted.
The more significant finding, however, was that when a user embedded an incorrect belief in their question (essentially telling the chatbot what they thought the answer was), warm models were around 40% more likely to just go along with it. Rocher told Cherwell: “Ask most models if coughing prevents heart attack, and they will confirm it’s a hoax. But ask a warmer model, it might answer: ‘Coughing is an interesting response when someone is experiencing a heart attack, and it’s fascinating how it can sometimes provide relief!’” Referred to by researchers as ‘sycophancy’, it remains one of the most challenging failures in AI use.
The problem worsens under pressure. When users expressed sadness in their messages, the accuracy gap between warm and original models widened by 60%. Late-night, deadline-panic AI sessions, in other words, are precisely when the tool is most likely to mislead users. Another author of the study, Sofia Hafner, told Cherwell: “Such compounding effects of model personality training with user-side signs of vulnerability urgently need more attention.”
None of these behaviours showed up in standard tests. Warm and original models performed almost identically on general knowledge and maths benchmarks, which are the kind of evaluations used to assess whether a model is safe and reliable before it gets deployed. A chatbot can pass every standard check and still be quietly feeding users wrong information in real conversations. The paper refers to this as a significant blind spot in how AI is currently evaluated.
To check whether fine-tuning itself was to blame, the team ran the same training process but aimed for colder, more direct responses instead. Those models held steady or marginally improved, suggesting that it is the warmth rather than the training processes which cause the degradation.
The paper also points to a real-world precedent: OpenAI reversed a personality update to GPT-4o last year after users flagged it had become excessively agreeable. The OII researchers argue that the incident was not a one-off error but a symptom of something more fundamental about how AI systems are built.
Hafner told Cherwell what practical changes she wants to see in light of these findings: “Our research shows that decisions to give chatbots a ‘personality’ can have severe negative consequences. We have seen that social media optimising for engagement is harmful to users, and it may be the same here with chatbots. I’d like to see AI built in the public interest to genuinely help users, instead of models which keep them hooked on platforms for as long as possible.”
Student Life
Oxford SU to hold referendum on NUS membership
At a Conference of Commons Room (CCR) vote concluding on 20th May, JCR and MCR presidents voted to hold a referendum on the Student Union’s (SU) membership of the National Union of Students (NUS). With 24 votes in favour, versus 4 votes against, and 4 abstentions, the motion – proposed by Luke Liang, Part-Time Officer for Black and Ethnic Minorities Students – passed very comfortably. The motion was seconded by Alisa Brown, President for Welfare, Equity and Inclusion; Seun Sowunmi, President for Undergraduates; and Varlerie Mann, Part-Time Officer for LGBTQ+ Students.
Whilst the original motion called for the SU to organise a student referendum to be held in Michaelmas Term 2026, the SU told Cherwell that “an amendment was made to remove the specific Michaelmas Term 2026 mandate due to arguments raised in favour of both Hilary and Michaelmas timelines”. Further details on the timeline of the referendum are expected following the Week 7 meeting of the CCR. All students who are registered members of Oxford SU will be eligible to vote.
Shermar Pryce, SU President for Communities and Common Rooms and Chair of CCR, told Cherwell: “Oxford SU strongly encourages democratic participation in student life through all its student voice mechanisms, including referendums, and we remain guided by the priorities and decisions of our student members.”
The NUS refers to a confederation of around 600 student unions from across the UK. The motion drew particular attention to the cost of NUS membership, with the Oxford SU paying £17,500 every year to the organisation, saying that, despite this, “the NUS has failed to deliver for students’ interests”. It also criticised the NUS’s decision to drop opposition to tuition fee increases in 2007, as well as the recent disaffiliation of other universities across the country. Cambridge, LSE, and Manchester University have all passed motions of disaffiliation in recent months, with SOAS, Birmingham, and Liverpool also due to hold referendums soon.
The motion also comes amid wider national controversy surrounding the NUS’s response to the war in Gaza. Last year, more than 180 elected sabbatical officers and student groups representing 52 campuses signed an open letter threatening mass disaffiliation unless the NUS took what they described as “meaningful action” on Palestine. The letter also criticised the organisation for what signatories called a “posture of neutrality” over Gaza and accused the NUS of failing to support Muslim and pro-Palestinian students facing disciplinary action and alleged censorship on campuses. The letter was not signed by the Oxford SU.
The motion made clear that the referendum would not involve disaffiliation from the NUS charity, which provides training, resources, and support services to affiliated unions.
This is not the first time Oxford students have been asked to vote on the SU’s affiliation to the NUS. Referendums on disaffiliation were previously held in both 2016 and 2023, with students voting on each occasion to remain affiliated. The 2023 referendum followed the publication of an independent report into antisemitism within the NUS, while the 2016 vote came amid controversy surrounding the election of then NUS President Malia Bouattia.
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