Hedi Slimane’s Departure from Celine: a Musical Chairs of Creative Directors

Rose Ssemakula on 29 October 2024

On October 2nd, it was announced that the French photographer-turned-designer Hedi Slimane would leave Celine after almost seven years as Creative Director. This came as no surprise to those in the industry—there had been speculation for months prior to Slimane’s departure.

A Creative Director stepping down is neither new nor unusual, but in recent years, the switch-around has become a game of musical chairs. All within the last year: Sean McGuire took over from Sarah Burton at McQueen, Adrian Appiolaza moved to Moschino, Virginie Viard stepped down from Chanel, Kim Jones left Fendi, Alessandro Michele, from Gucci, is now at Valentino, and now, of course, Hedi Slimane has left Celine. There is a concern that the rate of departures is linkedto the ever-quickening pace of the trend cycle. After all, the purpose of a new Creative Director is to breathe new life and creativity into a brand—crucial for survival and beneficial for marketing. Fashion houses now face greater pressure to entice buyers. They are more than overlords of what is trending, they also operate as a trickle-down economy, as famously explained by Miranda Priestly in The Devil Wears Prada. They report to shareholders and fight against increasing costs, competition, and media coverage—there is no room for mistakes.

As a Creative Director, the job is not only designing seasonal collections but also spearheading the brand’s entire creative vision. It is a role that requires garment-making abilities, a great imagination, and business knowledge. A Creative Director can influence everything from the design of the clothes down to the runway. For instance, Matthieu Blazy of Bottega Veneta recently assigned animal-shaped beanbags to guests at Veneta’s Spring/Summer 2025 show, continuinghis playful vision through the collection, each animal supposedly matching each guest’s “vibe”. Alongside this, a Creative Director must also consider a fashion house’s values and heritage, which sometimes conflicts with their ideas for the brand.

Slimane has a history of making fashion houses his own. While Creative Director of YSL in 2012, he removed the ‘Yves’ from the brand name. Even at Celine, originally styled as Céline, Slimane dropped the accent over the ‘E’ before of his first show. This caused an uproar, with Slimane accused of erasing the brand’s French heritage. Though it may seem fickle, in fashion, the devil is in the details. To understand its significance, imagine someone removing a letter from your name or changing the pronunciation—suddenly, you feel like a new person with a new identity.

Heidi Slimane leaves Celine after seven years as Creative Director/Photo Credits: Dominique Charriau via Gettyimages.com

Creating his own distinct Celine is quite an accomplishment, especially since his predecessor was the industry favorite, Pheobe Philo. Philo was renowned for empowering women in a way that freed them from sexualization. Celine has always catered to women, initially dedicated to luxe sportswear, but Philo modernized the brand with unmatched elegance, pioneering ‘quiet luxury’. Today, brands like The Row, owned by the Olsen twins, emulate this style, while lesser brands like Molly Mae’s Maebe, attempt to replicate it. Philo has always been and continues to be, about timelessness and practicality, designing for women in a way that reflects her values as both a business owner and mother.

Slimane presented a contrast to Philo’s aesthetic at Celine. His designs took a cheekier approach. His ‘working women’ were still professional but younger and more tech-savvy. Slimane showed more feathers and sparkles—less work, more play. Like Philo, Slimane also achieved commercial success; LVMH, Celine’s parent company, reported a record year in sales under Slimane, making clear his departure wasn’t due to a lack of success. Business of Fashion reported that it was ultimately boardroom disagreement that led to his exit, with Slimane demanding “A historically high salary” and “Royalties on all manner of creative outputs”.

Given his vision and needs, it may be time for the French designer to start his brand, following in the footsteps of Phoebe Philo, who has launched her label since Celine. Slimane is not short of talent and is skilled at styling, design, and photography. He also has experience at various fashion houses. But there are suggestions he might move to another French legacy brand, possibly Chanel, which has yet to announce Virginie Viard’s replacement. Karl Lagerfeld, Chanel’s previous Creative Director, is said to have admired Slimane.

As for the future of Celine, Michael Rider, previously Creative Director at Polo Ralph Lauren, has been chosen to replace Slimane. It will be interesting where Rider takes Celine’s working women next. For those who dismiss or don’t understand the constant switching of Creative Directors, it is comparable to the movement of football players, or betteryet, managers. Just like fans might wonder if Thomas Tuchel, the new manager after Gareth Southgate’s resignation, can “finally bring it home”, those in fashion watch to see if a Creative Director will excel in a new fashion house. One wonders if it will respect a brand’s heritage while taking it to new heights. Will Rider succeed in following the legacies of Philo and Slimane at Celine? And where will Heidi Slimane go next? 

Halloween in Leeds: Nostalgia Meets Street Style

Christelle Al Abbasi on 28 October 2024

As temperatures drop and October settles in, the anticipation begins—Halloween is just around the corner, offering the perfect opportunity to embrace creative costumes alongside the best of Leeds’ autumnal fashion.

Leeds, renowned for its distinctive street style, finds itself once again at the centre of something much bigger—where fashion converges with cultural nostalgia and personal expression. This Halloween is shaping up to be a moment where the city’s flair for creativity and individuality shines, blending old school classics with fresh, modern twists. From the resurgence of animal prints to the revival of classic film costumes, here’s what’s shaping Leeds’ Halloween style this year—and how to make the most of it.

The Return of Animal Prints

Animal prints are making a bold comeback, a stylish nod to the Y2K era that’s back in full swing. Leopard, zebra, and snake patterns, once the hallmarks of early 2000s fashion, are effortlessly weaving their way into this year’s costumes. But what’s driving this revival? It’s the perfect blend of nostalgia and accessibility—these prints not only channel fashion history but are also incredibly easy and budget-friendly to thrift or shop for.

Across campus, Hyde Park, and Headingly, animal prints are everywhere—from leopard-print Sambas to thrifted tube tops and Free People cardigans. Expect to see leopards, deer, and other animal-inspired costumes, with makeup taking these looks to the next level. A sleek cat-eye, headbands, or subtle animal face paint can refine and elevate the look. The beauty of animal prints is in their versatility; they’re just as relevant for a night out as they are for Halloween, fitting perfectly into a student’s wardrobe year-round.

Animal print make-up and costume ideas/Photos from Pinterest.com

The Return of the Fur

Over the past two years, fur jackets—both real and faux—have reclaimed their place as an autumn wardrobe essential. Whether it’s a nod to the glamor of the 70s or a revival of Y2K fashion, fur has become the ultimate layering piece, offering both warmth and sophistication as the weather cools. When it comes to Halloween, fur jackets add a sense of drama to any costume, transforming a simple outfit into a striking ensemble.

Take Cruella de Vil, for example—a fur jacket is the cornerstone of this iconic look, instantly evoking her unapologetic flair. But Cruella isn’t the only character or era you can channel with fur. Think of the classic Hollywood allure of Marilyn Monroe, draped in fur for a glamorous, old-school starlet vibe. Whether you’re embracing a villain or a screen icon, fur jackets elevate Halloween costumes, adding texture and visual interest to your look.

BDG Maxi Faux Fur Coat from Urban Outfitters/Photo from Urbanoutfitters.com

Cinematic Influence

Cinema has always been a driving force behind Halloween costumes, and last year’s wave of Barbie, Pearl, and Oppenheimer looks proved just how much influence the big screen holds. This year is no different, with films that once again set the tone for autumn style. From cult classics like Beetlejuice and Wicked to darker, moodier releases such as Saltburn, Smile, and The Substance, this season’s movies offer endless inspiration for Halloween costumes that blend film influence with individual style.

Classic film characters like The Bride from Kill Bill, Patrick Bateman, and the Joker remain Halloween favourites year after year. What keeps them fresh is their adaptability through street style. Rather than full replicas, it’s about reimagining them with statement pieces. For Beetlejuice, all you need is a black and-white striped top paired with modern tailoring. For the Joker, it’s bold makeup and green hair, paired with a statement jacket or thrifted suit. High boots or cowboy boots could even be made into the look of an Indiana Jones moment—these iconic looks are easily recognised but can be subtly elevated through everyday fashion.

Couples and Group Costumes

No Halloween is complete without the tradition of couples and group costumes, and this year is no exception. These looks are a staple of university life, offering a fun, cohesive way to celebrate as a flat or group of friends. From playful ideas like Dirty Martini and Espresso Martini to pop culture nods like Barbie and Ken, there’s plenty of room for creativity.

Expect to see groups dressing up as characters from iconic films and TV shows. Imagine Ratatouille for food lovers or Wanda and Cosmo for something light-hearted. Other popular ideas include Little Red Riding Hood and the Big Bad Wolf, Queen of Hearts and the White Rabbit, and even timeless pairs like Beauty and the Beast. For those who love a laugh, costumes like Kiss, Marry, Kill or Magic Mike can bring out the humour, while group themes like Peaky Blinders, Alvin and the Chipmunks, or Avatar ensure everyone gets in on the fun.

These costumes aren’t just fun; they’re a chance to showcase the creativity and camaraderie that come with uni culture. Whether you’re coordinating as a couple or going all out as a group, these looks ensure that Halloween remains one of the most exciting nights of the year for Leeds students.

Photos from Pinterest.com

Wunderhorse Live In Leeds: Raucous Rain & Sweaty Singalongs

Millie Cain on 28 October 2024

I feel like I’ve been waiting for a band like Wunderhorse for quite some time. That’s not to say we’re short of new, and very talented outfits rising through the ranks of the indie rock genre – in fact the opposite. Among a sea of similarity Jacob Slater reared his head (albeit with 2 fingers down his throat) and has steadily chipped away at the stereotypes easily associated with such bands. 

For, after all, what are Wunderhorse giving us that hasn’t already been done? Indie sleaze is dead and buried, despite how hard some bands may be gagging for its second coming. Post Punk has hit great heights and let’s face it; everyone’s favourite band Fontaines DC are mainstream artists now. Where is the crack to slip through? What fissure can bands root their fingertips into and grasp the light of a new opportunity? Perhaps the Victorian doctors were right and Slater’s restbite taking in the Devon coastal air imbued him with life after his notorious run with Dead Pretties and now Wunderhorse are giving us a live sound that beats out the streaming services by a country mile. 

Leeds was the first city to sell out this tour – even surpassing the band’s London home show. Not surprising, the Leeds music scene is a relentless one and its fans are never ones to let a good gig slide by. Just before the support walked out, the queue was rammed down the side of Leeds Beckett Union – and a game of ‘spot the mullet’ kept us entertained (imagine an opposite Where’s Wally? situation). Fans all down the line bonded over a shared issue – forgotten physical tickets. A once unimaginable situation and a nightmarish one at that. Thankfully, the Beckett box office were working overtime and got everyone packed in drinking very flat, overpriced Amstel and buying up the particularly nice merch that isnt dissimilar to the legions of quality band tees I’ve taxed from my dad’s wardrobe. 

Chatter filled the audience awaiting Wunderhorse’s arrival onto stage, it felt like a gig of a decade ago, notably one without blue screen light illuminating faces during conversations. The hum in the air was slowly building as an eccentric playlist prolonged the wait, until the white sheet fell, Wunderhorse’s moniker rose and I couldn’t hear myself think over the roar of the crowd as Staples, Woodin, Fowler and Slater stomped onto stage and straight into titular album track ‘Midas’. 

As much as I adore my Marshalls, and am so rarely seen without them, I would’ve cast them aside in an instant to capture the quality and tight sound of the band live. What Spotify could never grant me is the crackling in the air from the riffs and the hoarse intimacy of Slater’s voice cutting through the crowd. I had the luck to chat to drummer Staples this summer, and after learning that his favourite way to play was a. barefoot and b. noisy as all hell, he certainly delivered. There were moments we were stilled to silence, a crowd of gazing eyes and grinning smiles – we were enchanted by ‘Butterflies’ and nodding in unison to ‘Emily’. Stark to me was the word-perfect singalongs, perhaps they had a secret karaoke machine onstage I was not privy to, or perhaps we’d all just really rinsed the album on repeat but the crowd was the 5th member of Wunderhorse this evening. From reminiscing on long lost loves to the time wasted chasing them, ‘Cathedrals’ was a standout and a very exciting moment to hear live. With ‘Rain’ serving as a reminder of their capabilities as a rock outfit, however the air quite literally being thick with the moisture of sweat. With a set punctuated by Slater’s chatting about the songs, and with a bit of back and forth with the crowd, almost climbing into it himself during fan favourite ‘Purple’. There’s a reason he’s so successful no matter where he goes, he’s a captivating front man, always busy and engaging and had all eyes trained on him at once. But under this pressure and the blinding lights he does not buckle. With a band at his back that match his talent and return it twicefold he has no reason to fear his potential but only to push forth. 

‘Superman’ had the whole room holding its breath at once. A longer number that felt like it lasted an age and demonstrated the different levels that Wunderhorse can reach. They hold a sincerity that is rarely found within bands of this genre and it only works in their favour to be more vulnerable.  Following an encore, they returned to play ‘Teal’, accompanied by a bizarre slow motion mosh pit that quickly ceased to exist and instead the crowd locked arms to match Slater word for word. Finally closing on ‘July’ it felt like no time had passed at all, and Wunderhorse for me, solidified their importance and their growing cult-following will ensure this will only continue and into bigger spaces. 

Words by Millie Cain.

Why I sacrificed a goat for Charli XCX on Thursday: The BRAT Remix Review

Kyle Galloway on 27 October 2024

Sometimes I’m not sure how much I know about myself. In our age the self is punctured again and again by identity politics, late-stage capitalism, the cradle-to-casket conveyor belt we ride. Some nights I snap out of a haze and find myself staring into the steam-gauzed frame of my bathroom mirror. What am I looking for? I don’t know. Maybe a remix album. Because if there is one thing that is pinballing around in my ears as I’m stood, tears streaming down my face, looking for a reflection in the mist, it is this: I am a slut for a remix.

It’s true. At midnight on Thursday, 10th of October, Charli XCX’s long-considered-mythical, feverishly anticipated Brat and it’s completely different but also still brat dropped on streaming platforms, constituting the latest in a chain of acid green dominoes that have been falling since early June. Boasting an array of left-field features including Ariana Grande, Julian Casablancas, and Bladee, the 9 long months between the original BRAT drop and the remix album seem to have settled a receptive sweet spot online, with equal parts cynicism and diva worship infecting everything from Headrow House to presidential campaigns. 

Power lies in a remix. And let me clarify, by remix I do not mean Cardi B’s verse on Despechá (foul) nor Ice Spice’s… noises …on Karma (wheelie bin on fire). Power lies in the risk of an artist taking their own record, shattering it on the ground and reassembling it with chewing gum and reverbed air horns. If I’m listening to a remix album, I’m expecting more than a rap verse. I want record-scratching, screaming, disharmony, jangliness, broken glass, animal noises, clashing melodies, hype tracks refigured as piano ballads and piano ballads as nu jungle. In all honesty, part of me gave into fear, holed up in my house for days with my door barricaded and my windows boarded up to avoid the leaks that any outdoor time might risk me hearing. But how silly I was! Rejoice! Brat and it’s completely different but also still brat is really weird. My heart sings. 

From the first new track, “Club classics” with Spanish enemy of the people Bb trickz, the listener gets a sense of the space Charli is creating with this remix album. The track takes more from “365” than “Club classics”, painstakingly stacking sounds one-by-one until you’re smacked with the crescendo of a speed-increased, echoing verse which functions more as an accessory to the pace and rhythm than a Madonna-style “look! I am global!” token Spanish-language feature. But this is an album of dichotomies: in violent contract, “I might say something stupid featuring the 1975 and jon hopkins” takes shape as a subtle piano ballad that builds into a glitching, atmospheric thumper, an ode to loneliness that evolves the original record’s diary-style lyricism into layered, vulnerable curation. Matty Healy’s ‘I eat alone like a fly’ is pitted against Caroline Polachek’s ‘free bleeding in the autumn rain’ on a newly verdant and spooky “Everything is romantic”, against Casablancas’ ‘one for the abandonment’ on a risky, vocoder-heavy retune of “Mean girls”, and so on. The record unravels before you in a performance so erratically and perfectly brat that it’s difficult not to roll your eyes.

One thing which stands out in the remix record is the uncompromising and sometimes uncomfortable union of offensively experimental production choices and heartbreaking, cutting existentialism. In this sense, as far as I’m concerned, the remix record has only doubled down on the BRAT modus operandi. The self-abasement, the dirtiness, the anxiety, the intertextualism, the facade of languor distorting a sourdough starter of squirrelling creative restlessness, everything is amplified in a way where the testing the boundaries of ‘good taste’ that the original record represented is mutated into line-crossing, spasmodic creative freedom. 

It’s easy not to have faith in this type of music. The BRAT methodology, being the composition of sparse sonic elements strung thinly together like a scavenged tarp over a rainforest shelter, does not inspire a wealth of passion when its recalibration is announced. But listening to BAICDBSB, the sense of satisfaction I felt was sublime; my expectations were met and exceeded. Charli has taken the spaces between those sonic elements, cut, pasted, and dressed them up, and unloaded a record that, true to form, says exactly what it is. Completely different but still brat. The self-awareness is what makes it.

And truthfully, the backlash we immediately saw bubbling up in reception to this record is what defines it, too. BRAT was always about being uncomfortable, uncompromising, artificial. The lyrics face-value and the production scratchy and aching. A Bon Iver remake languishing in the face of time passing against a choral background and a brief, eardrum-raking reincarnation of what was once the album’s cinematic, voyaging closer “365” was the only way Charli could keep her claws in the wriggling, mercurial, sardonic caricature she’s carved for herself in the pop landscape. This remix album was never made for the fans, nor the public – it was made to elicit groans and criticism, to underwhelm, to offend. Charli XCX’s celebrity profile is one that cannot be sustained without the enfant terrible approach that manifests her. A nicotine-fuelled, rag-wearing, ephemeral djinn smirking from your peripheral in the corner of the club as you jerk to the music, to satisfy would be to desecrate what she represents. To dissatisfy, for her, is to please. 

If I could write a letter of thanks to this woman for this record, I would. I would fill an envelope with the blood of a sacrifical goat, and in the blood would be a Club Shy condom, and in the Club Shy condom would be a copy of Sartre’s Nausea I stole from my dead great aunt’s Bolton terrace, and on the contents page of Nausea would be a splodge of McDonald’s sweet chilli dip, and when you wiped away the dip there would be a shooting star and when Charli wished upon the star the entire world would dissolve into spacy metallic clanging and bisected guitar strings and whatever the fuck Henry Adams was writing about in The Dynamo and the Virgin (1900) and we would all learn what it means to love again. 

BAICDBASB is beauty. BAICDBASB is grace. And if one of you bastard trust fund baby DJs in Hyde Park don’t bump this at a house party this winter I will accidentally pour a pint over your Hercules Inpulse 300 and I will drunk shit in your ensuite. Take heed.

Words by Kyle Galloway.

CRASH celebrate 1 Year of The Next Big Thing

Eszter Vida on 27 October 2024

Bored of the monotony of today’s big names in music, leaving you looking for the next big thing? Well, look no further than what’s on your doorstep. The team at Crash Records have been way ahead of you in spotlighting the best emerging talent, every week across their platforms and offering them free/donation based gigs in store. What was once a place of just buying black PVC has now turned into an eventful artistic showcase, squeezing drum kits, congas and tripping over wires in the clutter of musical memorabilia. 

A 1st birthday calls for a party, so how should we celebrate? Evacuate the shop floor and put on a sold-out show. The 1 year anniversary gig at Oporto not only commemorates the running of this honourable title bestowed on almost 100 artists, but has a rich line-up composed from their roster of Next Big Thingers. Names like Coal Mob, Private Reg and Eva Kiss all brought their individuality, with some pounding their tunes into your ears while they selfishly wore massive ear muffs, while others chose to bring more of an unplugged, intimate vibe. Some were swinging off the Oporto’s mirrorball… not quite, but we were almost pouring into the rest of the bar from the quaint gig room. Surely, this is a statement on our close-knit music scene.

Speaking to the creator Matthew himself, he stresses for both local artists and avid music fans to get involved. ‘It’s really important to support local talent. This opportunity brings them into a community of really supportive artists who help each other out. Without community all these people wouldn’t be here’ as he refers to the sell-out gig. Follow Crash and get involved!

Words by Eszter Vida

The Warehouse Project’s Repercussion: A Joie De Vrie of Jungle

Millie Cain on 27 October 2024

You’re spinning. Slowly and sort of to the beat to the vaguely distant pounding that emanates deep within the cavernous walls. Depot Mayfield. Bodies bathed in burnt orange lights press against your hot skin and then push away into the masses. There is not even a blur of faces; as you can only see your own gazing reflection in their shining wraparound sunglasses – similar to the ones your dad wore when he tried out cycling a few years ago. You love them, they love you, hold their hands, hold their hair back. Shine alongside them and swallow all that is around you, before the dark tendrils of The Warehouse Project sink into your soul. 

Not a bad fate actually, if you have an ear for good music at all you won’t be able to deny the insane levels of talent that grace the Depot’s halls. Whilst I am being a tad melodramatic (yes the toilets are shit but they won’t actually eat you), it is, in the best way, absolutely a place you will get lost. No matter if you have a ‘great sense of direction’ or whatever the chronically in the loop crowd always says. You can’t fight it – just enjoy it, drown in the lights and the genuinely friendly, albeit sweaty, crowds and listen. For Repercussion, the night was dominated by Jungle, a giant band amongst dance music tycoons – beautiful in their art form, and unexpectedly even better live than they sound through my crackling Marshalls. Don’t believe me? Tough. You probably won’t if you weren’t there. Which begs the real question – why weren’t you? 

The Warehouse Project seems to exist as a cosmos that is altogether separate from the North’s infamous clubbing nightlife, and its avid music scene. Potentially a purgatory that feels exclusive to reach – with names like Berlioz, Honey Dijon and Bonobo, it seems almost too good to be true. It also exists to give everyone else a sense of FOMO – expertly engineered to agitate your reflex to believe that every TikTok is actually factual – at an age where critical thinking appears to be almost mythical. It’s elusive, yet everywhere. Growing up from catching the last x43 home from Piccadilly Gardens so I could catch just one more song in 42s – two-stepping blindly in a venue I would say rivals London’s revered raves. Who needs to when WHP is gnawing on our doorstep? Romanticise it all you like – at the end of the day it’s class music that you breathlessly try to hold a tune to (and we all know Tom McFarland’s dulcet tones are not ones that can be replicated). 

With a spotlight on excellent female artists, led by Honey Djion and Jayda G –  I was glad Repercussion ran from day into night. To catch Mancunian neo-soul duo Children of Zeus, and Manchester/Berlin-based experimentalists Space Afrika. With 7 stages there was still always something to see, another corridor to get lost into, and another stage to discover yet another ray of talent amongst a sky of such.

Rave New World – The Vibrant Pulse of Cosmic Slop: A Celebration of Diversity in Leeds?

Maya Bhogal on 27 October 2024

Maya Bhogal explores Leeds’ rave culture through a queer, poc lens.

I heard about Cosmic Slop a few months back, when a few friends of mine had first found out about this almost exclusively allusive club night. The name alone, ‘Cosmic Slop’, instilled me with a certain intrigue that no other club in Leeds has, however when the concept was explained to me, I needed to get my hands on a ticket.

As explained to me, Cosmic Slop is a diverse club space, intended to make the marginalised groups of Leeds feel more included in the nightlife scene. Great! – I thought, thinking that Leeds was in desperate need of a more diverse and inclusive space for people of colour and the queer community. Months passed and I finally got my hands on a ticket for the end of freshers week and was mentally preparing to venture back into the nightlife of Leeds. We bought tickets on the door, which meant we had to queue for a while (which is honestly a great indicator that things are great inside).

On arrival to the club, I initially noticed a disparity between the image in my head and the reality before me. Understandably, I was under the presumption that Cosmic Slop was a diverse, queer space yet the crowd was majority white and majority male. To be fair, I wasn’t necessarily expecting to be greeted with dhol drums and pride flags, yet this wasn’t the inclusive space I and some of my friends were promised. However, it didn’t derive from the energy and atmosphere of the night, which is the only thing that matters when searching for a good club night. Overall, I would recommend Cosmic Slop – but don’t go in expecting a reformed Leeds nightlife, but instead go in with open minds and enjoy the tunes!

Words by Maya Bhogal

Failing Threequel’s: Will Paddington in Peru suffer the ‘third movie fate’?

Hannah Crouch on 27 October 2024

On the 8th of November, our well-known friend in his big blue coat and red hat will return to our screens. Paddington in Peru will be the third instalment of the Paddington universe and will follow the Brown family navigating their way through Peru to find Aunt Lucy. I can only imagine how ridiculous this adventure will be, and I can’t wait.

However, this new adventure brings a plethora of high expectations. Paddington currently has a 97% score on Rotten Tomatoes, and Paddington 2 reaches even further to 99%, so fans are hoping that this threequel does not disappoint. 

Despite this, one thing that is almost always guaranteed from a Paddington film is that the overall casting will be incredible. I’ve had full faith in the casting directors ever since hearing Ben Whishaw as the voice of our favourite bear; the awkward bumbling British accent could not be produced by anyone better. Look at the actors in the previous casts: Peter Capaldi, Hugh Bonneville, Hugh Grant, and Jim Broadbent – accompanied by actresses like Nicole Kidman and Julie Walters. The casting of Paddington has delivered every time. Paddington in Peru has been no exception to this rule. Introducing Olivia Colman to the Paddington universe as The Reverend Mother is something I never knew I needed.

There has been some question as to why Sally Hawkins will not be returning to the franchise. She told Variety that “It has felt the right time to hand the reins over to another” and called the new Mrs Brown, Emily Mortimer, “extraordinarily special” – but to this we will just have to wait and see. Still, it has made some fans feel a little uneasy since Sally Hawkins embodied the role so well. It reminds me of the outrageous casting change of Rodrick in the Diary of a Wimpy kid series (but I don’t think any casting change can ever be as disappointing as that one).

Another interesting detail of the third film is the change of directors, with Dougal Wilson taking over from Paul King. King has been responsible for bringing Paddington to life for the first two films, yet it is Wilson who will take the reins on the third – something I’m weary of. King understood the character of Paddington so well that it’s disappointing he won’t have the opportunity to showcase this once more. Although, ever since I discovered that Dougal Wilson is the man responsible for directing those John Lewis Christmas Adverts, the only thing I’m worried about is how many tissues I’ll need to bring to the cinema.

With Paddington’s clumsy, kind-hearted persona and an already devoted fan base, it would be hard to create a film that disappoints. It would be more of a challenge to create a bad film instead of a good one. Perhaps all these cast and production changes is the refreshment Paddington needs to keep him relevant – bearing in mind, he is 62 years old. 

This adventure seems to be in safe hands, but can anything ever really exceed Hugh Grant singing Rain on the Roof wearing a pink prison uniform with full choreography? No, it can’t. But I’ll let them try.Paddington’s new adventure arrives in cinemas on the 8th of November, so just under a month to wait for our favourite bear. In the meantime you can watch the full trailer here and see what you think for yourself:

https://www.youtube.com/watch?v=lKgitu25ZAg

Words by Hannah Crouch