Turn up the heat on vacation style with the right accessories
The right final touches can transform boring beachwear into Riviera chic in an instant.
Think breezy raffia bucket hats, silk kaftans and accents of shimmering gold jewellery for a sun-catching look.
Get The Look:
Fashion Vacation Accessories at River Island
Upgrade your vacation style with a curated sampling of holiday-ready accessories, as seen at River Island.
Irish Boutique Chic: Sun Screen:
Tortoise Shell Sunglasses, €38.95, Far Fetched Accessories.
Stave off the sun's glare with a classic tortoiseshell frame, €38.95, Far Fetched Accessories. farfetchedaccessories.ie
Pocket-friendly: Bucket List:
Striped Bucket Hat, €35.00, Roxy at Zalando.
Throw shade in a pastel-striped raffia bucket hat, €35, Roxy at Zalando.
Cape Cod:
Olivia Cape in Silk Satin, €380, Mona Swims.
After a day in the sun, slip into a silky smooth kaftan cape for a chic poolside look, €380, Mona Swims.
Monty Python:
Snakeskin Leather Thong Sandals, €129, Arket.
The flip-flop is back. This time it has extra bite, €129, Arket.
Plunge Pool:
Striped Halter Swimsuit, €45.99, Mango.
Dive into swimwear with a flattering halter-neck swimsuit, €45.99, Mango.
Roman Holiday:
Ciao Embroidered Beach Bag, €74, Lilly Loves at Wolf & Badger.
Say hello to summer's must-have beach bag, €74, Lilly Loves at Wolf & Badger.
In Stitches:
Crochet Beach Shorts, €19.99, H&M.
Serve a beachside look one stitch at a time with these cute crochet shorts, €19.99, H&M.
#ieloves: Outer Shell:
Shell Necklace, €250, Jennifer Kinnear
Shimmer in the summer sun in this season's favourite crustacean trend, €250, Jennifer Kinnear.
Floral Display:
Floral Print Scrunchie, €125, Dolce & Gabbana.
From the pool to sundown, wear your hair up in designer style, €125, Dolce & Gabbana.
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It made them want to dance. As Keane noted himself: "Everybody looks forward to the first mad belt of the bodhrán … suddenly you want to go wild. The pagan stuff breaks out in you.' 'Before 1959, when Keane introduced the bodhrán to the stage in Sive, it was only played on the Wren,' says Vallely. 'Anyone will tell you, even Mícheál Ó Súilleabháin writing about how old lads he talked to around the 1970s told him, 'You take out the bodhrán any day of the year other than the 26th of December and you're mad. It's like wearing shamrock on your lapel during the summer.' It was a total oddity. Bodhrán playing was seasonal, but obviously some people did stick with playing it.' Once the craze began to take hold in the 1960s, people turned to different methods to fashion home-made bodhráns. Vallely made his first one in 1966 – on the advice of his mother – from an old sand riddle lying around the house. In the countryside, old sieves used for cleaning soil off potatoes were repurposed; in Dublin, the folk singer Mary Jordan recalled using a page from old house deeds that were written on vellum. Pioneering Tipperary bodhrán maker Charlie Byrne (left) with player Donnchadh Gough of the band Danú in the early 2000s. Picture: Nutan In Vallely's book, he cites several regional court cases that involved rogues stealing and killing goats so their skin could be used for making bodhráns around the time of the Wren, the St Stephen's Day ritual. Especially popular in west Limerick and north Kerry, it involves bands of Wren Boys in costume going door to door, singing, dancing and playing music, requesting money 'to bury the wren' who, according to legend, betrayed St Stephen to Roman soldiers in early Christianity. 'It's surprising the bodhrán has become so popular about the country,' says Vallely. 'There's a tremendous reverence for it. If you look at your Irish passport, there's a pile of instruments towards the back of it – there's a harp, a fiddle, an accordion. There are dancing shoes, and there's a bodhrán. There are no uilleann pipes, which is astonishing. Every Irish president over the last 20-30 years has been photographed holding a bodhrán. Even dignitaries visiting Ireland are handed a bodhrán for a photo shoot. 'Half a dozen postage stamps have a bodhrán on them. The Europa stamp from 2014 – celebrating Europe – has just a bodhrán; another one has a harp. The bodhrán now competes with the harp as our national symbol, which is odd because in Irish music the harp symbolises melody. The bodhrán symbolises percussion and by far the most dominant element in Irish music is melody, not percussion. There you are – the bodhrán is fighting a corner, and obviously it's liked.' Fintan Vallely's Beating Time: The Story of the Irish Bodhrán is published by Cork University Press. See: Seán Ó Riada on the bodhrán Beating Time : The Story of the Irish Bodhran by Fintan Vallely The bodhrán is a drum measuring from 15 inches in diameter up to, say, two and a half feet in diameter. The drum head is generally of cured goat-skin, or dog skin, although sheepskin has been occasionally used. It probably goes back at least to the Bronze Age, and possibly earlier. Until fairly recently it was used in some of the more primitive parts of the country for its primary purpose, which was separating wheat from chaff. Because of this it became associated with the old pagan harvest festivals. It's also associated with that other pre-Christian festival of the winter equinox, which is now made to coincide with St Stephen's Day, when the Wren-boys, wearing straw costumes, parade playing flutes and bodhráns. The instrument is particularly suited to accompanying Irish music. The random frequencies of the skin are richer than those of even the orchestral bass drum, and thus tend to fill out and even provide the illusion of a harmonic bass for a band. It is sometimes beaten by the hand alone, but more usually a stick is used, and this is also used to beat the rim of the drum producing still another kind of sound. ll in all, the versatility of this instrument, the variety in timbre produced by playing on the rim or on the skin, by playing with a stick or with the hand, and the variety of pitch available, make it challengeable, particularly in a band, and particularly when it is supplemented by the bones. This piece reproduced in the Beating Time book was extracted from Seán Ó Riada's Our Musical Heritage radio essay series broadcast on Radio Éireann, July 7 – October 13, 1962.
