It was a moment for all of West Cork when Carbery defeated Muskerry in the McCarthy Insurance Group Premier SFC Divisions/Colleges seeded section final at Páirc Uí Rinn and claimed the Derry Gowen Cup. The divisional side was made up of clubs stretched across the region, and it was O’Donovan Rossa’s Gene O’Donovan who put all the pieces together and got the win on a sun soaked evening. Carbery had to do it the hard way, as their semi-final appearance involved a thrilling victory over Duhallow on a night decided by St. Mary’s Olan Corcoran fisting over the bar in the dying seconds. Muskerry proved to be a more straight forward affair, as O’Donovan’s players’ outscored their near rivals 2-23 to 2-15 with nine different purple and yellow jerseys finding the target. Their reward is a place in the preliminary quarter finals of the Cork Premier Senior Football Championship in August, with University College Cork lined up for the West Cork divisional side. O’Donovan isn’t thinking that far ahead. He is simply celebrating what has already been achieved by Carbery in 2026, the coach tells Dylan O’Connell.

“I’m feeling good…. I’m feeling very good,” Gene O’Donovan says.

“Look, the boys, the boys, we didn’t challenge them. They challenged themselves. I say very little in the dressing room. I just thank them for coming and things like that.

“You know, Haulie O’Sullivan does a lot of the work. Haulie does a lot of the work there with the coaching side of things.

“Normally I just coach, but this is a manager’s job I took on this year when I was asked. I was with Carbery just pre-COVID. There’s just too much history in Carbery not to want to be in this job.

“I had been in with Tim Buckley a few years ago and Tim kind of persuaded me. I’m involved with a lot of teams as well but I love this bunch.”

Carbery is a special operation, as the divisional team pulls in players from across the West Cork and the goal is to build a winning team in a very short window. The complete unit only plays a handful of games a year, with the goal to qualify for the knockout stages of the Cork Premier Senior Football Championship where there is a chance to win the Andy Scannell Cup.

The stakes of their operation get bigger and bigger with every game, and there’s absolutely no room for error.

Divisional sides’ recent record in football is a testament to that as Duhallow from North Cork in 2019 are the last team of its kind to reach the final, and Carbery were the last to claim the county champions title after a victory over Bishopstown in 2004.

O’Donovan knows full well what goes into running and managing a divisional team, the hardest part of the job is the balancing act as they try to fit in training and matches around club activity.

Fortunately for Carbery, they have a coach in charge that knows exactly what to do those situations.

“It just comes together,” O’Donovan explained.

“Believe it or not, there are no phone calls. There is none, and people won’t believe that.

“The first thing we said when we spoke to the clubs was that we’re not bringing the lads in to flah them out, for the simple reason that they’re doing enough strength and conditioning and fitness in their own clubs.

“And you can see they are a fit group, you know, and we put that challenge to the clubs to keep them fit so that they’d be playing at the higher level as, you know, a lot of these players are coming from Junior A and Intermediate, like, so this is senior A level as far as I’m concerned. The next one would be, you’re going up to senior premier if you beat UCC.

“So yeah, there is not a lot of organising. WhatsApp, text them. Are you available? If they say yes, you bring them out. Give us 25 players and we’ll put a team together.”

The star attraction in their run to lift the Derry Gowen Cup was Bantry Blues and Cork star Ruairi Deane, who featured in the Duhallow game just days after losing to Mayo in the All-Ireland Senior Football Championship quarter finals at Croke Park.

The 35-year-old appeared and almost ran the show at Páirc Uí Rinn against Duhallow, he even got a much needed goal for Carbery to give the divisional side a 3-16 to 0-16 advantage in the 54th minute.

The 10-year veteran of intercounty football repeated this against Muskerry, on a night where his team stormed in front and comfortable held their northern rivals at arm’s length.

To O’Donovan, Deane is a model professional that has plenty left to offer for his club, division, and county.

“That only took one message,” he explained and smiled.

“That only took one message to Ruairi from one of our selectors, John Dineen, and Ruairi did not turn us down. John was a bit confused about it and he asked him, was he coming with his gear? And he said ‘yes, I am playing.’ 

“It only took one message, to see was Ruairi okay for the Muskerry game. ‘Yeah, I’ll be there’ That’s it, and that’s the man he is. He’s in great shape. Do you know what I mean? After a long season with Cork, I think there’s another couple of days left in Ruairi Deane.”

O’Donovan, Deane, and Carbery are now preparing to play UCC in the preliminary quarter finals of the Cork Premier Senior Football Championship.

That’s their next objective as a group, and it is well known around the panel and West Cork clubs.

Anything can happen now, with the championship in full swing and games coming thick and fast as summer turns to autumn.

Whatever comes their way, Carbery are winners with a trophy to show for it and that’s the most important thing.

August is one of the most rewarding months in the gardening calendar, with borders, containers and vegetable plots all reaching their peak. This year, we have experienced some of the warmest weather on record over the past few weeks, making careful attention to watering more important than ever.

Water thoroughly and regularly during prolonged dry spells, aiming to water early in the morning or later in the evening when temperatures are cooler. Avoid watering during the hottest part of the day, as much of the moisture will simply evaporate before reaching the roots. Direct water to the base of plants rather than onto flowers and foliage, helping to reduce the risk of disease while ensuring the moisture reaches where it is needed most.

Plants growing in containers dry out particularly quickly during warm weather and should continue to receive regular liquid feeds throughout the month. An organic seaweed-based fertiliser is an excellent choice, promoting healthy growth, strong root development and prolonged flowering.

Regular deadheading remains one of the most important summer maintenance jobs. Removing faded flowers keeps plants looking tidy and encourages them to direct their energy into producing fresh blooms, ensuring colourful displays continue well into the autumn.

Dahlias are undoubtedly among the stars of the August garden. With regular watering, feeding and deadheading they will continue producing magnificent flowers until the arrival of the first autumn frosts. Few plants can rival dahlias for the sheer diversity of colour, flower shape and size available.

Gardeners can choose from elegant single-flowered varieties as well as richly double blooms, while the different groups include dinner plate, cactus, pompon, decorative and bedding dahlias. One particularly outstanding variety is ‘Bishop of Llandaff’, whose rich copper-coloured foliage provides a striking contrast to its vivid scarlet-red flowers.

Birds: During prolonged periods of hot, dry weather it is essential to provide birds with an adequate supply of fresh, clean water for both drinking and bathing. Refill bird baths regularly to ensure the water remains cool and hygienic.

Roses: Rambling roses should be pruned immediately after flowering to encourage healthy new growth for next season. Continue deadheading repeat-flowering roses throughout the garden and remove unwanted side shoots as soon as they appear. Container-grown roses benefit greatly from a weekly liquid feed, while recently planted roses should receive generous watering during dry spells. As with all plants, keep water away from the flowers and foliage wherever possible.

Take cuttings: August is an excellent month for propagating many tender perennials. Healthy cuttings can be taken from pelargoniums, fuchsias, salvias and lemon verbena to provide beautiful plants for next year’s garden. Keep the young plants in a frost-free greenhouse throughout the winter and inspect them regularly for signs of pest damage.

Collect seed: Many annuals and perennials will now be producing ripening seed. Collect seed from your favourite plants while it is fully mature and dry, storing it in clearly labelled packets or containers with waterproof labels for future sowing.

Fruit garden: Plant new strawberry runners into clean ground that has not recently grown strawberries, helping to minimise the build-up of soil-borne pests and diseases. Complete the summer pruning of apples and pears during the month to maintain healthy trees and encourage quality fruit production.

Weeding: Keeping on top of weeds is essential throughout August. Weeds compete with ornamental and edible plants for both moisture and nutrients at a time when water is already in short supply. Hoeing remains one of the most effective methods of control, particularly during long periods of settled weather. Choose a warm, dry day – ideally with a drying breeze – and hoe early in the morning, allowing uprooted weeds every opportunity to wither in the sunshine.

Bulbs for autumn planting and spring colour: Autumn is not far away, making this the perfect time to begin planning next spring’s displays. Autumn and spring flowering cyclamen, together with colchicums, should be planted without delay as bulbs left unplanted for too long can begin to shrivel.

Garden centres will soon be well stocked with spring-flowering bulbs including dwarf iris, narcissi, crocus, hyacinths, anemones, fritillarias and ornamental alliums.

Hyacinths can also be planted now for colourful Christmas displays indoors. For the most effective results, plant a single variety and colour in each container, placing the bulbs close together, almost shoulder to shoulder. Where containers lack drainage holes, use bulb fibre, which provides excellent drainage while keeping the growing medium fresh and healthy. Other excellent bulbs for early indoor colour include amaryllis, freesias and fragrant narcissi such as ‘Paperwhite’ and ‘Grand Soleil d’Or’.

Tulip bulbs will also begin appearing in garden centres this month. It is well worth choosing your favourites early while the widest selection is available. However, tulips are best planted later, during November or December, so store them in a cool, dry place in wooden slatted trays until planting time.

Wisteria can be pruned during August to keep vigorous growth under control and encourage better flowering next spring.

Vegetable garden: Sweetcorn should be harvested as the cobs ripen, while courgettes are at their very best when picked young at around 15 centimetres in length. Allowing them to become oversized reduces both flavour and tenderness.

Continue harvesting cabbage, cauliflower, broccoli and kohlrabi as they mature. Keep a careful watch for caterpillar damage and treat promptly where necessary. Rabbits and pigeons can also cause considerable damage, particularly to brassicas, so effective protection should remain in place.

Providing colour now: August gardens can be filled with colour from an outstanding range of reliable flowering plants.

Cosmos produces masses of delicate flowers in shades of white and pink above attractive feathery foliage and continues flowering for many weeks.

Osteospermum is an excellent sun-loving perennial, thriving in warm, well-drained positions and performing particularly well in coastal gardens.

Hydrangeas continue flowering from late summer into autumn. During prolonged dry weather they require deep, thorough watering followed by a generous mulch to help conserve soil moisture.

Begonias provide continuous displays of vibrant flowers well into autumn and are particularly valuable in containers and bedding displays.

Penstemon ‘Garnet’ remains one of the finest penstemons available, combining exceptional flowering with excellent winter hardiness.

Salvias are available in an impressive range of colours and flower continuously into autumn, performing equally well in borders and containers.

Sweet peas remain one of the garden’s finest cut flowers, offering a wonderful fragrance together with a remarkable range of colours. Regular cutting encourages continuous flowering throughout the season. Weekly feeding with a seaweed-based liquid fertiliser will help maintain vigorous growth and abundant blooms.

‘Euryops pectinatus’ is a cheerful, sun-loving half-hardy perennial producing bright yellow daisy flowers almost continuously from April until November. It is especially well suited to coastal gardens.

Fuchsias are invaluable for beds and borders, often flowering from May until late November. Continue monitoring plants for signs of rust and downy mildew throughout the season.

Pelargoniums, often referred to as geraniums, also provide a remarkably long flowering season. Gardeners looking for something a little different should consider the beautiful rosebud varieties.

Verbena offers attractive shades of pink, red, white and lavender, making it one of the finest choices for containers and hanging baskets, with flowers continuing well into autumn.

With regular maintenance, careful watering and timely feeding, August rewards gardeners with some of the finest displays of the entire gardening year while also providing the opportunity to prepare for the seasons ahead.

by Liz O’Mahony

The question of whether or not dogs feel guilt is a very interesting premise and one that has been researched at length by many people including a 2009 study by dog cognition expert, Dr Alexandra Horowitz. All have concluded – probably not!

“Not true,” I hear you say. “If I come home to find something torn to shreds, my dog looks really guilty!” Let me refute this argument. Dogs live in the moment. They get excited or frenetic while tearing something apart and enjoy the adrenalin rush that it generates. Once that arousal is over, they forget the action including the pleasure, and possibly curl up and go to sleep. The point is that dogs don’t actually relate to past historic actions unless that history is repeated or they imagine it could be replicated – such as the horror of an aggressive dog attacking them. That fear or feeling the need to retaliate manifests itself each time they encounter a strange dog or the culprit reappears to threaten their personal space. But, that is something entirely different.

So why does my dog look so guilty when I return to find the results of his destruction laid before me you ask? It’s not guilt. It’s because your dog is reading your body language, your face, even your thoughts. You return home to find a cloud of stuffing, paper, whatever, littered across the room from a canine riot! On being faced with this disaster, your body language changes immediately. Your face registers surprise, shock, horror, swiftly followed by anger and consternation. Your whole body stiffens with outrage. Your normal soft vocal tones are replaced by shouting, possibly even expletives!

These are all natural reactions to the situation. However, your dog registers all of this but has no idea why. He doesn’t connect your reaction to his earlier errant behaviour. All he notes is that you’ve turned into a monster who must be appeased. And appeasement is what you interpret as guilt for his actions. So he makes himself as small as possible to indicate that he’s no threat. You interpret this as him cowering with remorse for his misdemeanour under the might of your wrath. His ears flatten on his head; his head lowers, and he avoids eye contact. All of these actions are submissive and an act of appeasement to counteract your anger. It’s easy to interpret that as the human emotion of guilt.

However, you need to take a reality check here. First of all, as already explained, you need to understand that there’s absolutely no point in scolding your dog for a past action because he’s no idea why you’re irate. All you are doing is making your dog nervous around you fearing you might explode at any time in the future. Therefore, you’re undermining any trust that might have been building in your relationship with him.

Here are a few positive pointers to better manage this situation:

If your dog is destructive by nature, use a crate for the times that you are absent. Or place him behind a child gate in a room that has nothing ‘chewable’ except for his own toys but these should be indestructible. Think of it as “avoiding the occasion of sin!” If he can’t get access to items that can be destroyed, he may simply grow out of or forget this unwanted behaviour.

Only intervene if your dog is actually making a beeline to chew something he shouldn’t. But that obviously means you have to be present to do this. And ensure you preempt his actions rather than attempting to stop him when his adrenalin is aroused, as he’ll be less inclined to listen to you.

Remember to reward all good behaviour with praise and treats. Dogs get to enjoy those words of praise from you. They’re a guideline that you’re happy with what they are doing. Therefore, your silence when your dog starts doing something bold will speak volumes.

If you do come home to destruction, take a deep breath and try to stay calm. It’s important for you to control your emotions as an example to your dog. But again, maintaining silence and ignoring your dog will help get the right message across that you’re not impressed with his behaviour. Ranting and raving in front of your dog teaches him nothing except that you’re scary! And as dogs copy our behaviour, you don’t want him mirroring your lack of self control in canine terms.

If your dog persists in destructive behaviour despite your best efforts in training, you may need to call in an expert who can give you advice and methods as to how to deal with this.

Some breeds of dogs are more inclined to chew than others. But, if you start teaching them from the moment they come to live with you, you will have success.

This month Natalie Webb is showing us how to make a rocking boat.

Materials: 

•  Four different coloured pieces of card – I used red, yellow, black and blue.

•  Scissors  •  Glue  •  Marker  

•  Googly eye (optional)

Choose a colour that you want your boat to be (I chose red) and draw a circle approx 17cm diameter on it (I drew around a saucer). Cut out your circle, then fold it in half and you will have your rocking shape.

With a different colour card (I used yellow) draw out a rectangle 4cm x 10cm. Cut it out and put glue along the edge before sticking it onto the top of your rocking shape.

Now cut out another rectangle from the same colour card as your main rocking shape, glue along the edge and stick it behind your first rectangle so that the top edge is showing.

Cut out three black circles and stick them onto the larger rectangle.

With the same colour card as the large rectangle, cut out a small circle approx 5cm diameter. Then cut a circle in the middle to make a ring. 

With the same card cut out two funnel shapes 1cm wide, with one slightly taller than the other.

Stick the ring on the bottom left of the boat and glue the funnels on the back of the boat, at the top so that they are sticking up.

Using a red marker draw stripes on your funnels and lines on your rubber ring.

To finish off I thought it would be fun to stick a little fish on, so with your last colour card draw and cut out a little fish. Draw on scales and if you have a googly eye, stick it on… you can also draw on an eye. Glue your fish on to your boat and there you have it, a cute little boat that rocks. Now make a few more in different colours!

Early last November, a beautiful black woman named Xania Monet made world history. Sort of. Her song, ‘How Was I Supposed to Know?’ entered the US Adult R&B Airplay chart at no. 30 and also charted no. 20 on Hot R&B Songs, which ranks the 25 most popular contemporary R&B tracks. It came with relatable live action videos. Scenes of love, neglect and romantic heartbreak playing out across various generations. A drunken father. An abusive boyfriend. And a poignant lyric, written from the point of view of a daughter who is remarkably perceptive when it comes to understanding her own unresolved trauma. “Mama did her best but she can’t teach/What it feels like when a father speaks/So I took every “I love you” too deep/Even when they meant it only for a week. […] Unpacking daddy wounds from every kiss.”

Xania’s voice sounds soulful but also…overly smooth. No wonder. Monet’s claim to fame is that she was the first AI being to enter a US radio chart. Listeners accepted her as a real person. She has a ‘creator’, the poet Telisha Jones, who writes Xania’s lyrics, generates her music, and sees her as an avatar. She got a multi-million contract but also a lot of pushback from human artists and sections of the music industry, which consider this to be an ominous milestone. 

AI has since made inroads into many genres. Up to and including the traditional Appalachian music. AI itself describes it as, “raw, historical, deeply rooted … a rich, living blend of Anglo-Celtic folk ballads, African American blues, and West African rhythms that evolved organically on front porches and in the coal camps of the American mountains”. But maybe it is simply blind to the human factor. 

The latter will be strongly represented “in the flesh” at DeBarra’s Folk Club on September 16, the first night of the Clonakilty International Guitar Festival, when the remarkable Leah Song, “Appalachian storyteller, song-catcher, and cultural bridge-builder” will take to the stage. Best known as one of the frontwomen, alongside her sister, Chloe Smith, of ‘Rising Appalachia’. Not the only ensemble from that slightly mystical region with women in the driving seat, whether as instrumentalists, or singers, or both. There were the iconic Coon Creek Girls, an all-girl bluegrass string band which was rather famous in the 1930s and 1940s and hailed from the Appalachian foothills of Eastern Kentucky. (Appalachia stretches across 13 US states and is roughly 6.3 times larger than Ireland). Contemporary women’s bands with Appalachian roots include the Grammy-nominated outfit Della Mae (formed in Boston), the sedately-dressed Sister Sadie (formed in Nashville, a non-Appalachian part of Tennessee), and the Grammy-winning Aoife O’Donovan, whose father grew up in Ardfield near Clonakilty before emigrating to Boston. Her shows in West Cork are mostly sold out. In the US, she’s part of the trio ‘I’m With Her’. It was formed at the Telluride Bluegrass Festival in Colorado in 2014 but is not on the twangy, hard-nosed, lonesome side of the bluegrass vocal landscape. Neither is Rising Appalachia. The band’s harmonies are wonderful, vulnerable, sweet, sometimes soaring to great multidimensional heights. 

Now an internationally touring folk ensemble, it started on the sisters’ back porch in Atlanta (Georgia), where they grew up. They also spent seven years in New Orleans where they deliberately moved a year after Hurricane Katrina pounced to help rebuild community. “Both are fabulous, wonderful, diverse, wild Southern cultural hubs,” explains Leah Song. They love busking on urban streets but always seem to have at least one foot in nature. As they write on their website: “In Appalachia, farmers still practice the ancestral tradition of companion planting. Corn grows tall as a trellis, beans climb the corn, and squash provides the ground cover. Rising Appalachia cultivates a similar symbiosis in their music, where Southern folk traditions, New Orleans swamp culture, and Atlanta’s street spirit strengthen each other.” 

Leah does the interview from her cabin near Asheville, North Carolina, “right behind a protected 43-acre forest. I’m only here part-time as my life is pretty global. It’s a place that is very rooted in traditional culture, music, craft, and song so I go here to refill my cup. I’m standing underneath a huge oak tree right now. Southern Appalachia is one of the most biologically diverse temperate regions on Earth. You get a whole lot of wildlife. Bears, owls, foxes. Yes, it’s under threat from the current administration; everything is. Two years ago it was devastated by Hurricane Helene, the second-deadliest US hurricane of the last 50 years. We lost about a hundred thousand trees and there were some very scary fatalities. Although there was a silver lining. It did encourage the community to get more self-reliant and interconnected. It now has very strong grassroots underground education and advocacy groups.” 

Born to a sculptor (father) and fiddler (mother), the sisters have always been fully immersed in music and other art forms. “The gospel music of our mother, the folklore of our father. All steeped in Southern Appalachian culture. However, our mother started learning the Irish fiddle when we were five years old. She brought us over to Ireland often, to study the fiddle traditions but only found out she had Irish lineage 10 years ago. As an Irish fiddler pointed out to her, there really is a close kinship; you can trace the Appalachian song lines directly to different counties and regions in the Celtic Isles. One of my first trips back to Ireland after many years was when we were still in recovery from storm Helene. I decided that I really needed to be in community with folks who have a long history of survival and of art and music being the tools of handling hardship.” 

Before alighting on the guitar festival, where she will sing and play claw-hammer banjo, bodhrán, and guitar alongside fellow Rising Appalachian star David Brown, Leah Song will embark on an extraordinary 11-day journey across East Clare and West Cork, curated by Wild Routes Ireland (Tara De Róiste and Chris Gambatesa). It includes visits to Ballydehob (Kilcoe Studios, Levis Corner House), heritage foods with Max Jones (somewhere in West Cork), somatics and songs with Leah Song. Plus storytelling, coracle weaving, strawcraft and other crafts taught by different experts. It is connected to the slow music movement (see her Tedx Talk). “It is about building longer, slower relationships. Going slow and then fast again. This tour is a homecoming of sorts. A rooted experience where music is just one part of the exchanges between culture and story and place.”

www.leahsongmusic.com

www.clonguitarfest.com

In my early twenties I developed a compositional structure which I consider to be a visual equivalent to a musical fugue. As a structure it is modular and capable, theoretically at least, of infinite extension. The temptation was then (and still is) to see how long I could make it. What I discovered in doing so was that anything more than a 3:1 ratio (length to height) is too much for the human gaze to take in at once. My largest fugue painting – conceived in egg tempera as an abstract icon – is 4 x 1.5 metres (length by height), which sits well upon the eye. As a corollary to this I have also created fugue sequences in print, and produced them as concertina books. The longest of these is 200 x 11 cm; in ratio terms this equals 18:1, length by height. It is not meant to be seen all at once, though it can be, and such is the case of the great friezes–essentially story boards – conceived throughout history, variously in marble, mosaic, textile and fresco.

One of these, the Bayeux Tapestry, is now on show in the British Museum, and measures 7000 x 50 cm (70 m x 0.5 m), a ratio of 140:1. It is an extraordinary feat of embroidery, of storytelling through coloured woollen yarn. Despite its name it is not a woven tapestry at all, but nine, joined, embroidered lengths of linen, depicting the Norman conquest of England, itself culminating in the Battle of Hastings in 1066.

Most likely commissioned by Bishop Odo of Bayeux for his half-brother, William the Conqueror, the work is thought to have been undertaken in Canterbury, England, in the 1070s by women needleworkers, who were famed throughout Europe, their fine needlework known as ‘Opus Anglicanum’ (English work).

Embroidered in eight or more colours, with a dominant indigo and red ochre palette, the tapestry reflects the dominant dyes in use at the time of its creation: madder for the reds, weld for the yellows and woad for the blues. In addition, un-dyed wools were used for whites and tans, whilst for dark browns and blacks organic materials like oak galls (ball-like growths on oak trees) would have been utilised (just as for oak gall ink).

One can imagine those fine craftswomen at work, embroidering the Norman ships en route to England on a wavy linen sea, or again, stitching into being the Norman knights on horseback, spears raised, cutting through the stitched Anglo Saxon resistance. Such fine, delicate work, employed to record the brutal violence of male conquest! One can imagine the silence of the workshop, a senior needleworker squinting in the light, being ribbed by another; or a visit, perhaps, from the Archbishop of Canterbury, or the abbot of St Augustine’s Abbey, both postulated as possible composers of the work. A smile as the abbot looks down, the hands of a young needleworker momentarily stilled by his gaze. He moves on and her hands resume stitching an outline, perhaps of a horse, using wool dyed in madder. She is employing stem stitch (or back stitch), whilst beside her an older needleworker (let’s call her Gisela) is couching–laying thread side by side–before securing the thread with a fine perpendicular stitch; this to fill the form of a horse in grey-blue. Underneath the finely stitched hooves, Gisela has embroidered a slain soldier, his head separated from his body.

There is a slim register above the horse’s heads, where the younger craftswoman (let’s call her Marian) has outlined a bird, also in madder-dyed wool. This register is populated by many symbolic animals in a style reminiscent of Anglo-Saxon book illumination, which anyone familiar with the Book of Kells will recognise. Perhaps our Marian knew similar illuminated manuscripts? Certainly the composer of the tapestry did (the abbot of St. Augustine’s at the time had previously headed a scriptorium).

How long did it take these craftswomen to fulfil this commission from their conquerors? It is impossible to say, however seventy metres and fifty-eight scenes later the embroidered tapestry left their careful hands to travel over the channel, presumably to Bayeux Cathedral in Normandy, where it is first recorded in an inventory of 1476. Scholars have since suggested that it was made to fit the south, west and north arcades of the nave, which, if true, would make some sense. In such a setting the faithful could follow the story of the conquest around the church, much as they would follow the story of Christ through the Stations of the Cross.

Great friezes – storyboards in essence – have been, since ancient times, one of the primary means of myth-building, of forging and controlling the narrative of nations, kingdoms, empires. The compositions of such, unless compartmentalised into ‘stories’ (such as with Giotto’s fresco cycle in the Basilica of St. Francis) are often subordinate to the flow of the narrative. It is impossible to take in such an image at a glance. Instead one follows it, walks a symbolic pilgrimage from scene to scene. Such is the case with this marvel from Bayeux.

I am thinking once more about my fugues, those infernal, ghostlike repetitions which rise and fall in my consciousness. Perhaps it is time to return to them, perhaps a four metre concertina book, doubling my previous effort? Or a cycle of paintings, which flow unbroken on the walls, around a room, a secular chapel of colour? I can feel it, a continuous exposition, like a Gregorian chant, seductive in its soft and unifying rhythm. The Bayeux Tapestry, by contrast, is jagged and graphic, a portrayal of carnage. Its figures disturb the silence, haunt the centuries, and will for as long as its fibres last.

James will be giving a seminar on the work of the contemporary Italian painter, Roberto Ferri, on Thursday, August 6, 7:30-8:30pm. Limited spaces. Bookings via: www.clonarts.ie

In May this year, I had a really enjoyable time attending the British Association for Counselling and Psychotherapy’s (BACP) 32nd Annual BACP International Research Conference, which was titled ‘Collaboration for a just society – Multidisciplinary research in counselling and mental health’. The conference took place in London and ran across a few days. I was also very grateful to have had the opportunity to present my published research at the conference. To stand on stage and present my work to an audience of peers was very invigorating but also somewhat nerve-wracking, naturally enough. I was presenting my research along with some people who I have been inspired by over the years, so in many ways it felt like I was standing on the shoulders of giants.

The presentation itself was recorded, which I recently had time to watch. I watched it from a position of reflexivity, with the intention of seeing myself through as much of an objective lens as possible. I always find it somewhat unsettling to watch myself but also very helpful. In this case I used a simple and effective framework called The Johari Window to take notes, which provided me the ability to bring different aspects of my experience into my awareness, including things I had not been aware of previously. 

The Johari Window is one of many models for understanding ourselves in relation to our self, others and the world around us. Developed by psychologists Joseph Luft and Harrington Ingham in 1955, it offers a framework for exploring self-awareness, communication and interpersonal relationships. The principles of its use are very relevant to psychotherapy because they invite curiosity about what is known, hidden, misunderstood and yet to be discovered within our experience. As Luft wrote in his book ‘Of Human Interaction’ in 1969, “There are things known to us and known to others, things unknown to us but known to others, things known to us but not to others, and things unknown both to us and to others.” This simple idea reflects the complexity of being human.

The model consists of four quadrants within an overall square. The ‘Open Area’ represents aspects of ourselves that are known both to us and to others. The ‘Hidden Area’ contains experiences, thoughts and feelings that we know but choose not to disclose. The ‘Blind Area’ consists of qualities that others perceive but that remain outside of our own awareness. Finally, the ‘Unknown Area’ represents untapped potential and unconscious processes or experiences that neither we nor others have yet to recognise. Rather than viewing these quadrants as fixed categories, the Johari Window encourages us to see them as fluid. This is very reflective of how we grow and develop over time.

Our understanding of ourselves is shaped through interaction with other people, and equally, our relationships are influenced by what we reveal, conceal, ignore and discover. This idea echoes Carl Rogers’ – an American Psychologist and one of the founders of Humanistic Psychology, assertion, in his 1954 book titled ‘On Becoming A Person’ – that “The curious paradox is that when I accept myself just as I am, then I can change.” Acceptance more often than not creates the conditions for greater openness, both intra-personally, in relation to one’s self, and interpersonally, in relation to others. Within the Johari Window, this can be understood as gradually enlarging the ‘Open Area’ through honest self-reflection and authenticity. 

The ‘Open Area’ is perhaps the space most associated with psychological wellbeing. When people are able to express thoughts, emotions and needs authentically, relationships tend to become characterised by greater transparency and mutual understanding. This does not imply indiscriminate self-disclosure. More-so, it suggests developing the confidence to communicate in ways that feel safe and appropriate. When I was watching the recording of myself, I noticed a striving for authenticity throughout, as I shared my thoughts and emotions and my behaviour aligned with that. It led to a feeling of ease in the moment and this reinforces to me to continue striving for authenticity at all times, even in the nerve-wracking presentation moments! In therapy, the relationship itself often becomes a place where this process can unfold or even be experienced for the first time. A person attending therapy can begin to feel psychologically safe, frequently disclose experiences that have remained hidden for years and, as a result, allow those experiences to be witnessed, understood and integrated.

The Hidden Area refers to the fact that everyone carries parts of themselves that remain private. When I was rewatching my presentation, I noticed that I appeared quite calm, I even received feedback from some people in the audience afterwards that I came across very well. Yet, that didn’t quite match what was happening privately for me at certain moments. I experienced moments of stress and even anxiousness during the presentation and, using this framework, I can see now that was hidden. It was hidden, as it was not relevant to what was happening, but it may have been useful for me to recognise those things in the moment, even privately, as they would have not felt so intense if I did.

Sometimes what we keep in the ‘Hidden Area’ are simply personal preferences or memories, while at other times they reflect shame, fear or experiences of trauma. Many people arrive in therapy having spent years protecting these hidden aspects of themselves, often because disclosure once carried significant emotional or relational risk. These protective strategies are understandable attempts to remain safe. Therapy, therefore, does not seek to eliminate the ‘Hidden Area’, the endeavour can be more about creating sufficient safety for clients to decide whether keeping something hidden continues to serve them.

The ‘Blind Area’ highlights another important dimension of therapeutic work. While watching myself talk and joke on the stage, I realised that I do not see myself clearly at all. I watched myself moving about the stage and translating my research into easy-to-understand concepts linked to what therapists experience in their practices every day. In more simple terms, I don’t give myself enough grace and recognise my strengths…which are hard to ignore when they are on a recording! This was a blind spot, in the ‘Blind Area’, for me, which was useful to see and recognise for myself and my own development and growth. Whereas, when people say these things to me as feedback, I usually don’t fully believe them or give the feedback much weight.

Objective non-judgemental feedback, for lack of a better word, can be an essential mechanism for growth. Within therapy, such feedback is offered with empathy, congruence and unconditional positive regard, reducing the likelihood that it will be experienced as criticism. What emerges between therapist and client may illuminate relational patterns that exist outside the therapy room that can be curiously and gently addressed offering clients the opportunity to reflect upon themselves.

The ‘Unknown Area’ captures the greatest sense of hope within the Johari Window. It acknowledges that every person possesses capacities and possibilities that have yet to emerge. In many cases, for clients coming to therapy, those capabilities may have been buried deeply under life experiences and a bit of excavating can reveal them. When I watched the recording of the conference, I noticed that for the first couple of minutes I was staring at my slides while speaking but I then naturally moved into looking at the audience. I wasn’t aware of this but now I have had time to reflect, I see how that was part of me moving from feeling safe into becoming comfortable in that experience. Useful information for myself moving forward that I would not have known otherwise, and nobody else has ever commented on to date, which will serve me in future. The beauty of The Johari Window, and therapy, is having a chance to look at oneself without judgement and potentially grow into the fullest version of one’s self as result, and what a gift that truly is.

Universally renowned meditation teacher Jon Kabat Zinn wrote a book called ‘Wherever you go, there you are,’ a revealing title for many of us, because even though our bodies might be lying on a sunny beach in Allihies, our mind may have taken us off into the future or back to the past. To learn to bring our mind home to where our physical body is can be such a useful skill, in moments of joy, social awkwardness, indeed any moment at all. Even saying to yourself ‘I am here now’ helps to come back from old stories or thought spirals. My own mindfulness practices these days have a strong focus on taking in the good, and soaking up these bright, spacious days that seem to have no end. And a practice of gratitude, gratitude, gratitude for all the blessings of the past year.

I love the real wholesome goodness and simplicity of this remote place and my growing appreciation of the life that is developing here for me. There is no price to be put on peace of mind and that is precisely what these spacious and wise landscapes support. Reflecting on last summer, how different it feels to this moment, as I was only beginning then to piece the broken shell of myself together.  This looking back can help us as we make our way forward, as we learn to shoulder our grief, and manage the other associated, layered, often unspoken or unexpected losses. Reflecting back is helpful now and then, it doesn’t mean we need to languish in the past, rather, to reflect helps us make sense of what’s happening now. It can be so encouraging to look back and see how far we’ve come.  

A beautiful friend came to visit recently; it was so lovely to spend a few days with her and her lovely doggie. I was surprised, but loved it so much, when she casually asked me, “How is your grief?” The integrity, directness, presence and care of the question was quite unusual but so very welcome, like a cooling glass of water on a hot day. I could take a breath, feel my way towards an answer, no rush, she was waiting and would listen. She had opened the door, given me permission.  How rare and precious that is. This friend knows deep grief and loss too and maybe you need to reach those depths in yourself before you can hold space for another, I don’t know.  

I love when everything in my life is positive, who doesn’t? But that is not the reality of life for most of us. So, I prefer to practice being with what’s real instead of constant, almost forced, positivity, and that is precisely what mindfulness meditation teaches us, to deal with what is happening in the present moment, no matter what it is. We are encouraged to turn towards it, whether it is a joyful feeling, a sad or a critical one, or a feeling of gratitude. Reality is truth and constant positivity does not open the space to ask, “how is your grief?” Because when you ask a question like that you need the capacity and the grace to hear the answer. The opening it offered and conversation that followed was in the moment, it didn’t take from our weekend in any way, in fact it enriched it, with so many feelings co-existing side by side. My kind friend asking a simple but brave question made the world of difference to me, asking those hard questions is an act of love and shows you care enough in this busy life to wait for and hear an answer.

Mindfulness meditation by the sea in the Sarah Walker Gallery, Castletownbere as part of Festival of the Sea on August 1, 11am -12pm and 1-2pm.

Please keep in touch: 087 2700572 or email: susanoreganmindfulness@gmail.com 

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I hope, given all the exceptionally good weather we have had this summer, that you have all had a chance to relax and reap its benefits. The glorious sunshine should really set up our vitamin D stores for the coming winter. 

But what if you are finding that despite the long sunny days you are finding yourself unable to relax? That much as you might appreciate the sunshine, something in you won’t or can’t relax and let go? And you notice you can’t enjoy it as much as you might wish to, perhaps you feel a bit emotionally flat or somewhat agitated and unable to focus. 

If depression has been ruled out by a medical or mental health professional, then consider that your symptoms could be stemming from burnout.

Burnout is defined by the WHO as energy depletion and chronic dysregulation of the stress response systems. It is a disruption of the HPA axis (Hypothalamic, adrenal, pituitary axis) which is responsible for controlling your cortisol energy circulation, which in turn regulates your sleep/wake cycle and your capacity to recover from normal stresses. 

When the HPA axis becomes compromised our blood sugar becomes unstable and we lose our ability to generate energy efficiently. Our immune system may become compromised, our cognitive functioning may be challenged and our cardiovascular system may begin to show signs of chronic stress.

Burnout is not something that happens overnight and largely stems from tiny, repeated poor behaviours and habits that we will address here.

It is not an excess of the stress hormone, cortisol, that causes burnout, though you might be forgiven for thinking that this is the case. We need cortisol, as by triggering our Fight/Flight nervous system response, it has ensured our survival as a species. 

The issue is not that this hormone floods the system, but that a phenomenon known as ‘cortisol rhythm collapse’ occurs. Our cortisol is not too high; the problem is that it is flat and does not fluctuate in a natural daily rhythm. 

We should ideally have high levels in the morning to help us wake up and get up, and declining levels in the evening so melatonin levels can rise and we can switch off and sleep with varying oscillations throughout the day as normal stresses and challenges arise. 

‘Flat’ levels of cortisol, with no real rise or fall means your body cannot distinguish between wakefulness and sleepiness, stress and rest, action and recovery and this is where we feel both ‘wired and tired’. 

When we are in burnout, we are constantly ‘borrowing’ energy from external stimulants rather than utilising and replenishing our own resources. So, we use caffeine to wake up, sugar for energy, alcohol to relax, screens for dopamine and so on and so forth. 

We are stimulating ourselves into being and there is very little we will not use as an outsource to function if our system is dysregulated. We are, after all, very inventive creatures, wired to survive. 

The problem is the more you borrow from the outside, the greater the internal debt, and the more you borrow, the more you need to borrow, just to feel normal.

Signs we might be experiencing burnout are: emotional flatness, agitation or inability to focus, feeling tired but unable to relax, reliance on stimulants, blood sugar crashes, always feeling switched on, feeling tired despite sleep, feeling disconnected from enjoyable experiences. 

Those with heavy workloads, those experiencing stressful life events and women in perimenopause/menopause are particularly vulnerable to burnout. 

So how can we mitigate against these symptoms of burnout? Well, just as small regular poor habits or patterns lead to burnout so small regular good habits can help restore our balance and wellbeing.

It is important that we take the time to gently recalibrate, it is small actions that make the difference and not major resets or extreme measures.

Simple rules

Do not skip meals: When blood sugar drops, cortisol will spike to compensate in the short term, which is why we can get ‘hangry’ and while this is tolerable for someone with a healthy HPA axis where cortisol naturally oscillates, it is not advisable for those of us with burnout. 

It is for this reason that Intermittent Fasting is not always advisable for menopausal women or people with burnout. 

A good idea is to ensure you eat protein with your first meal of the day, whether that’s eating eggs for breakfast or popping nuts and seeds and Greek yogurt on your porridge. Make sure you don’t load your system with sugary choices or simple carbohydrates in the morning so you can start your day with good blood sugar stability. 

Try to reduce the reliance on caffeine in all its myriad forms and eliminate alcohol if you are using it to relax.

Regulate sleep: Sleeping and waking at the same time daily is associated with longevity and it is vital in managing the symptoms of burnout. 

Get out of bed in the same 40-minute window of waking every day, and get light within an hour of waking to help set up your circadian rhythm. Avoid all screens for an hour prior to sleep. 

I’m an advocate for practising a gentle stretching routine followed by meditation before bedtime – it’s a great way to wind down.

Gentle exercise after eating: Going for a short walk after eating (within 10-20 minutes of eating) is a great way to regulate blood sugar so we can offset insulin spikes. 

Regular movement breaks also during your day are recommended whether it’s a bit of jumping up and down and shaking, or dancing, or a specific exercise routine.

Burnout doesn’t resolve overnight and, as exhausted as we may feel, making radical change is rarely what our system needs, tempting though it may be. What restores us is consistency and compassion — small, steady habits that gradually rebuild our internal rhythm and remind the body how to feel safe, rested, and energised again. 

The three tenets of health — sleep, movement, and nourishment — are our anchors. By supporting your blood sugar, honouring your sleep-wake cycle, and moving gently and regularly, you begin to repay that internal energy debt and reconnect with yourself. 

These small acts of self-care signal to your system that it can finally exhale. With time, patience, and simple daily practices, the ‘wired and tired’ feeling softens, and your natural vitality has space to return. 

Innovation in beauty isn’t always about the latest trend, it’s often found in thoughtful formulations, well-researched ingredients and products designed to solve real concerns. This month’s Beauty Edit showcases a selection of exciting new launches, including some Irish brands, spanning skincare, haircare, bodycare and makeup, each offering something a little different.

EYRA Hair Ritual Set Fine Hair (€70): Created by internationally recognised hairstylist Aidan Darcy, EYRA is an Irish haircare brand born from more than 15 years of experience in editorial, celebrity and luxury bridal styling. Rather than taking a one-size-fits-all approach, the range is thoughtfully formulated around hair density – fine, medium and thick, making it easier to choose products that truly suit your hair’s needs. The Fine Hair Ritual Set pairs the lightweight Awaken Shampoo with the nourishing Restore Conditioner to cleanse, hydrate and enhance natural volume without weighing hair down. The formulas combine ingredients including hydrolysed keratin, hydrolysed wheat protein, provitamin B5, aloe vera and nettle, along with nourishing jojoba and castor seed oils to help support healthy-looking hair, softness and shine. While beautifully presented as a ritual set, each product can also be purchased individually €38), giving you the flexibility to tailor your routine. The range is also available in dedicated collections for medium and thick hair, making EYRA a thoughtful, personalised approach to everyday haircare. Available online from eyrahair.com

Yon-Ka Retinol-Like Serum (€129): Retinoids remain one of the most researched ingredients in skincare for improving the appearance of fine lines, uneven texture and loss of firmness, but they aren’t always suitable for everyone. The new Retinol-Like Serum from Yon-Ka offers a gentle alternative, using naturally derived actives designed to deliver many of the visible benefits associated with retinol while remaining comfortable, even on sensitive skin.

Its lightweight dual-phase formula combines Yon-Ka’s exclusive [RE]NEW Technology with naturally derived retinol-like ingredients to help support skin renewal, soften the appearance of fine lines and wrinkles, refine the look of pores and improve overall skin texture. With 99.8% ingredients of natural origin and a fast-absorbing texture, it’s an excellent option for anyone looking to introduce age-supporting skincare into their routine, particularly if they’ve found traditional retinol difficult to tolerate. As always, consistency is key, and don’t forget to apply a broad-spectrum SPF every morning when using any product designed to support skin renewal. Available online from yonka.ie Yon-Ka stockists nationwide.

Hildun Peptide Lip Balms (€26): Founded by Irish makeup artist Suzy Griffin, Hildun Beauty has teamed up with renowned makeup artist Hannah Martin to launch a beautiful new collection of Peptide Lip Balms. Two years in the making, the formula has been carefully developed to deliver the perfect balance of lip care and colour in one easy step. Enriched with peptides, shea butter and vitamin E, the ultra-smooth balm helps nourish and condition the lips while providing long-lasting hydration and a comfortable, non-sticky shine. Delicate light-reflecting micro pearls create a soft, multidimensional shimmer, and each celestial-inspired shade offers a flattering wash of colour. Choose from Starr, a rich brown shimmer, Lyra, a soft pink shimmer, or Astrid, a beautiful peachy shimmer. Available individually (€26) or as a trio for €73, these versatile balms are perfect worn alone or layered over your favourite lip liner and lipstick. They are sure to become your makeup bag staple. Available online from hildunbeauty.com and Hildun Beauty stockists nationwide. 

Skinician Multi-Peptide Ceramide Complex Sheet Mask & Serum (5 Pack, €75): This innovative treatment from Skinician is much more than a traditional sheet mask. Combining an intensive peptide and ceramide-infused sheet mask with a companion serum, it has been designed as a dual-phase treatment to deliver both immediate results and continued support for the skin long after the mask has been removed.

Rather than providing a one-off boost of hydration, it’s designed to support the skin’s natural repair processes while helping to maintain hydration and strengthen the skin barrier over time. Alongside advanced peptides and ceramides to help lock in moisture, the formula also features niacinamide, allantoin and beta-glucan to help soothe the skin, reduce visible redness and support a healthier-looking complexion. Once the mask is removed, the remaining serum continues to nourish the skin, helping to reinforce the skin barrier and maintain hydration. Ideal for skin that feels dry, compromised or in need of a boost, it’s a thoughtful treatment that goes beyond a quick fix. Available from skinician.com and Skinician stockists nationwide.

AVEENO Skin Renewal Range (from €11.99): If you struggle with rough, bumpy “strawberry skin” or uneven skin texture, the Aveeno Skin Renewal Range offers a gentle approach to smoother, healthier-looking skin. Suitable for sensitive skin, the collection includes a Gentle Body Scrub, Smoothing Cream and Firming Lotion, designed to work together as part of an effective body care routine. Formulated with naturally derived polyhydroxy acid (PHA) to gently exfoliate, nourishing oat to help support the skin barrier and niacinamide to help brighten the appearance of uneven skin tone, the range combines gentle exfoliation with long-lasting hydration. The Firming Lotion also contains blackberry leaf extract to help improve the appearance of skin firmness and elasticity and is clinically proven to deliver noticeably firmer-looking skin in just one week. Together, the range helps leave skin feeling softer, smoother and more comfortable. Available in pharmacies and grocery retailers nationwide.

To make an appointment for one of my Advanced Facial Treatments | Medical Microneedling | Byonik Laser | Dermalux LED Light Therapy |Slimyonik Body Airstyler | Teen Facials book online at www.shernamalone.ie 

by Galyna Zaitseva

When I first met Saeeda, I was struck by her quiet presence. She speaks softly, listens carefully and has no natural desire to be the centre of attention. At first, she seems shy and reserved. Yet the more time you spend with her, the more clearly you begin to notice the strength beneath that gentleness. I saw the same quiet strength in her studio.

I had imagined a busy creative space filled with fabrics, threads, patterns and unfinished ideas. Instead, everything was carefully organised in containers, with every object in its place. Only the sewing machine and a painting still in progress revealed that this was an artist’s workspace.

Then Saeeda began opening the containers.

One by one, she brought out dresses, blouses, jewellery and embroidered fabrics. She showed me the details she had made by hand and explained the techniques behind them. With each new piece, another part of her creative world appeared.

I had come to select outfits for the photoshoot, but very quickly I stopped choosing and simply began admiring her work. Every garment felt different. Some pieces were delicate and understated, while others were full of colour, embroidery and painted detail. Choosing only three looks was far more difficult than I had expected. I wanted to show everything.

For Saeeda, fashion has always been closely connected to art.

“As an artist, I have always dreamed of seeing people wear my art,” she says. “I love working with my hands, exploring crafts, textures and traditional techniques. Fashion has given me a beautiful way to turn my creativity into something people can wear and enjoy in their everyday lives.”

Saeeda has lived in Clonakilty since June 2024, having come directly to West Cork from Pakistan with her four children. Arriving in Ireland meant leaving behind her home, familiar surroundings and the life she had built.

At a time when almost everything around her was already changing, she also faced breast cancer, surgery and treatment.

“My battle with breast cancer came at a time when my whole life had already changed,” she says. “Facing cancer, surgery and treatment in a new country, largely on my own, was one of the biggest challenges of my life.”

She speaks about this period openly, but without allowing it to become the only story she tells about herself. During our conversation, her thoughts continually returned to the future: to fabrics she would like to try, techniques she wants to explore and ideas she hopes to develop.

“I have never believed in giving up,” she says. “I try not to spend too much time mourning what I have lost or what has been left behind. Instead, I think about what I can create, improve and build next.”

That way of thinking seems to shape both her life and her work.

Today, Saeeda creates clothing under the name S.fusion. The brand reflects her desire to bring different ideas, cultures, artistic traditions and styles together, while keeping comfort and individuality at the heart of every design.

“It is about creating a fusion while keeping comfort and individuality at the centre of everything I do,” she explains.

She currently works mainly with 100 per cent cotton and traditional hand block-printing techniques. Her next step is to explore eco-printing on cotton, and she hopes to work more with organic materials and handwoven textiles in the future.

For Saeeda, the way clothing feels is just as important as the way it looks.

“My purpose is not only to create beautiful and stylish clothing,” she says. “I want to think about people’s comfort and wellbeing too. Clothes can be artistic and stylish while still being breathable, comfortable and kind to the skin.”

What she loves most is beginning with a simple piece of fabric and gradually giving it a character of its own.

“For me, fashion is another form of art. I love taking a simple piece of fabric and giving it its own story. My dream is to let people wear that art.”

Saeeda does not believe personal style should be shaped by every passing trend. For her, clothing is a way of expressing personality, confidence and even mood.

She is especially passionate about reminding women that style does not disappear with age. Bodies change and the clothes that once felt right may no longer suit who we have become. Saeeda sees this not as a reason to withdraw from fashion, but as an opportunity to discover something new.

“Never believe that beauty or style has an age limit. We should never stop expressing ourselves or taking care of how we feel.”

Her advice is to look beyond perfection and pay attention to the way clothes make us feel.

Experimentation is an important part of Saeeda’s own work. She enjoys bringing traditional techniques into modern, uncomplicated silhouettes and exploring unfamiliar combinations of colour and texture.

“Sometimes stepping outside your comfort zone can help you discover a completely new and beautiful side of yourself,” she says.

The photoshoot asked Saeeda to step outside her own comfort zone. For most of her creative life, she had worked behind the scenes, designing clothes and creating looks. This time, she was the one wearing the designs and standing in front of the camera.

“I am quite camera-shy, so it was something completely new for me,” she says. “The photographer made me feel very comfortable, and wearing my own designs gave me a new connection with my work.”

At the beginning of the shoot, Saeeda was understandably reserved. She was more accustomed to adjusting a garment or considering how a look should be presented than thinking about her own position in front of the lens.

Gradually, she began to relax.

“I was very tired by the end and definitely realised that modelling is not as easy as it looks,” she says with humour. “But overall, it was a really beautiful and positive experience.”

During the day, she also experienced a quieter and more personal realisation.

“I suddenly realised that I had almost forgotten to smile. It reminded me that I need to find my smile again.” Those words stayed with me.

By the end of the shoot, Saeeda was no longer thinking so carefully about the camera. She was laughing freely and naturally, surrounded by the clothes she had designed and made with her own hands.

The photoshoot did not turn her into somebody new. It allowed her to see herself – and her work – from another side. For a little while, she was not only the artist behind the clothes, but also the woman wearing them, enjoying them and allowing herself to be seen.

“Cancer changed many things in my life, but it did not take away my creativity or my desire to move forward,” she says. “I am still creating, learning and building new dreams for myself and my children.”

Look One

This look brings together soft shades of green, natural texture and detailed handwork.

Relaxed olive-green trousers create an uncomplicated foundation, while the pistachio-green top, made from artisan-woven natural fabric, introduces texture and delicate hand embroidery. Its easy silhouette allows the beauty of the material to remain visible without making the outfit feel formal.

The long handmade overlayer is the focal point of the look. It has been carefully tailored and embroidered, while the back features a hand-painted floral design. This painted detail makes the garment unmistakably individual – a piece shaped not only by technique, but also by Saeeda’s hand as an artist.

The floral elements on the top and overlayer create a gentle connection between the pieces. They do not match exactly, but they seem to belong to the same story.

Minimal jewellery allows the woven fabric, embroidery and painting to remain at the centre of the outfit. The finished look feels calm and considered, with each handmade detail given space to be noticed.

Stylist’s tip: When wearing a detailed handcrafted piece, pair it with simple shapes and restrained accessories. Let the embroidery, texture or painted detail become the part of the outfit that draws the eye.

Look Two

The second look is light, joyful and full of summer colour.

At its centre is a yellow dress made from natural fabric and decorated with a traditional hand-block print. The warm shade brings brightness and energy, while the relaxed shape keeps the look comfortable and easy to wear.

Underneath, Saeeda wears a powder-blue blouse with full sleeves, hand embroidery at the shoulder and decorative inserts running along the arms. These details give the blouse its own identity rather than allowing it to disappear beneath the dress.

The combination of yellow and pale blue feels fresh and slightly unexpected. Small yellow elements within the embroidery connect the blouse to the dress, making the layering feel natural and balanced.

A caramel-toned handbag adds warmth and complements the earthy quality of the printed cotton. Together, the colours create an outfit that feels expressive without becoming overwhelming.

Stylist’s tip: When layering two contrasting garments, look for one small detail that connects them. A repeated colour in embroidery, print or trim can bring the whole outfit together.

Look Three

The third look is built around shades of blue and a gentle contrast between delicate fabrics and relaxed denim.

The flowing handmade overlayer moves lightly around the body, while fine bead embroidery catches the light with each step. Beneath it, a handmade blouse finished with lace adds another layer of softness and detail.

Wide-leg pale-blue jeans give the outfit a more grounded, contemporary feeling. Their simple structure provides an effective contrast to the sheer fabric, lace and beadwork above.

Because the colours remain within the same family, the different textures become the most interesting part of the look. Denim, transparency, lace and small areas of shimmer each contribute something different while preserving the calmness of the blue palette.

The result is relaxed but distinctive – an outfit that allows handcrafted pieces to become part of everyday dressing rather than reserving them only for special occasions.

Stylist’s tip: A monochromatic outfit becomes more interesting when you combine different fabrics. Denim, lace, sheer layers and beadwork can add depth and movement even when the colours are closely related.

For enquiries or commissions contact Saeeda through instagram (saeedamakeupartist) or Facebook (Saeeda Naeem)

Interestingly, in Spanish you can both be sad (Soy triste) and be in a state of sadness (Estoy triste). The former is something you are born with – you are a sad person; the latter is due to events outside of you like failing an exam. Two other words that only exist in Irish and which really reflect the Irish spirit are ‘craic’ (good times in good company) and ‘meitheal’ (coming together as a team to achieve a common goal). In fact, a good ‘meitheal’ is great ‘craic’! The fact that there is no way to say “Yes “or “No” in Irish is a clue into why the Irish can seem a bit cagey. You can’t definitively say that you will be going out on Friday if you have no word for yes/no. And then there is ‘an modh coinníollach’, a whole verb tense to conjugate what might, maybe happen depending on the circumstances. It is the most unspecific of verb tenses.

Many languages have words that don’t have an English translation and I love discovering them. I am lucky to speak Spanish, and French, which makes Italian easy to understand but somehow shuts out both Greek and Portuguese, two languages that totally escape me. Here are a few of my favourite untranslatable words. Each one is a little peek into that culture’s soul.

‘Sobremesa’ is a lovely word in Spanish, which conjures up all my childhood summers. It is the time after you’ve finished a meal when you stay chatting at the table. It can last from an hour to all afternoon if the meal is lunch. Another great Spanish word is ‘estenar,’ which means to wear something new for the first time. It’s showing off in the most blatant way and goes a long way to understanding a certain arrogant confidence that some might accuse my ancestors of having. I love the verb for riding a horse ‘caballgar,’ which literally translates into “to horse” from caballo (horse). Spanish is great on verbs. ‘Madrugar’ is to get up at dawn, while ‘merendar’, is to eat ‘merienda’ (afternoon tea). Another lovely verb is ‘despedirse’, which describes saying goodbye.

French has some good words as well. ‘Amuse bouche’ is something you might find on a fancy restaurant menu, but it literally means amuse mouth. It is something bite size, that is both tasty and surprising. French can be very specific like that. Take ‘defenestrer,’ which is the verb that describes throwing someone out a window.

One of my favourite French verbs is ‘flaner’, which means to stroll with no particular purpose and no particular destination. It is more fluid and aimless than the Italian ‘passeggiata’. The Spanish ‘putivuelta’ is a stroll around the town to see what’s happening and where’s the best ‘ambiente’, ambience, ‘atmosphera’. The Irish equivalent is to take a walk to see where’s the craic? If you bump into friends along the way, you have had a ‘retrouvaille’, a word which means to meet again in French and implies that both parties are pleased about it. To be ‘depayser’ translates literally as to be de-countried. Nothing is familiar. Everything is different from your country. It’s Dorothy turning to Toto and saying, “I have a feeling we’re not in Kansas anymore.” It’s not homesickness as much as an awareness of being totally not where you are used to being.

I had a look at words that only exist in English and discovered a few of my favourites. ‘Serendipity’ is a wonderful word, which means a happy accident. We should all have a bit of serendipity in our lives. Another word which I use a lot and which I did not realise was exclusive to English is ‘flabbergasted’. It means overwhelming surprise- a sort of “I didn’t see that coming” moment. Lastly is ‘bungalow’, a solid simple word that is truly suited to its meaning.