Stories
We are often approached by local organisations to share their ideas and their work.
In this series we are particularly interested in how people started their enterprises and what drives them.
Here are a few of the neighbours and their working life stories.
Interview with Louis Hysa, owner Azteca.
We caught up with Louis Hysa, the owner of one of King’s Road Chelsea’s longest standing destination spots, the Mexican bar and restaurant, Azteca. Originally opened in the 90’s, Hysa has been evolving the offering since 2007.
How did you come to take over Azteca and what attracted you about the unique concept?
I took over Azteca in 2007 after falling in with the site and decided to take it over and give it a new lease of life. It is a fun concept which doesn’t take itself too seriously- very much loved by all locals and by generations alike.
What do you think is the key to its success and longevity as a destination Mexican restaurant? (I know you said you have Clapham opening too)
We welcome all walks of life and our aim is so make sure guests have a memorable and fun evening with great cocktails and some delicious home-made fresh Mexican food. We have brought Mexico to a little part of Chelsea.
Azteca was ahead of the curve in focusing on all things Mexican – according to research its now the fastest growing culinary wave in the UK – how have you developed to keep your offering unique?
The culinary experience is evolving, which is why we are now opening Azteca Battersea as a fusion of Mexican and Japanese food. It is a simple formula of great food, great cocktail, fun atmosphere and excellent service will keep your customers loyal.
Azteca is such an experiential form of restaurant going – what can customers expect from an evening at Azteca?
Tequilla, buzzing atmosphere. Great food and a memorable night! One tequila, two tequila, 3 tequila floor :)
What do you love about the Chelsea neighbourhood as a restaurant destination and the local community?
Chelsea has a village feel to it and the customer base are all locals so everyone knows everyone and always see familiar faces often becoming good friends of yours!
You also own Beaufort House opposite – how do you approach both differently? And how do the customers differentiate?
BH is a totally different offering, even though they do cross paths, Azteca is a little more relaxed whereas BH is a members club and is more a lunch/ Brunch family oriented spot with different event spaces for different celebrations and occasions.
How have you noticed the local Chelsea area change and develop since you started?
It has become a lot more international and welcoming to new shops, concepts and is ever evolving! But what hasn’t changed is the sense of community.
How do you see the future of hospitality over the next few years and what are your future plans for the restaurant brands?
The restaurant industry is evolving with a lot of new concepts coming from New York and Los Angeles. When it comes to culinary experience London is up there with the best places in the world. We hope to expand further in the next couple of years and continue to grow and enhance our ideas.
Interview with Chelsea art society artist, Louise Diggle
We caught up with ‘en plein air’ artist, Louise Diggle, who is part of the Chelsea Art Society A-Z exhibition 4th-12th November.
What’s your background as an artist and how did you come to work ‘en plein air’ – a painting technique that is having a resurgence today it seems?
I’ve always wanted to be an artist and consistently painted. I went to the City and Guilds for Foundation and CCAT for a combined arts degree. I trained as an art teacher and taught children and adults for years before becoming a full time painter over a decade ago.
About 20 years ago I was lucky enough to be a member of the Tite St Group. Julian and Serena Barrow generously let us paint in his studio in Tite St under Paul Gildea. We had 2 hours for speed painting - that was a very good discipline and set me up in good stead ever since.
My work is all about light - the way it hits and transforms places, people and objects. I’ve always worked en plein air - on the spot, rather than in my studio. It’s like a conversation going on in real time - the light, the sounds, smell; the sense of place is very important to me and there are so many magical places out there. It’s impossible for me to replicate that inside; I’m an outdoors person.
There is a definite resurgence in plein air painting - I think social media is a key changer - I didn’t realise how many people painted outside until I looked on Instagram!
You mention ‘transience of seasons,’ and ‘light’ as two of your main pre-occupations: who are some of your main references and impressionist influences?
I think to appreciate the present you need to realise that it won’t last forever. Light constantly changes and you have to be ready to pin it down - or try! So many of my works don’t make the framing stage.
I am like a magpie - I look at different artists for ideas but I chop and change - there are so many good ones today. It’s exciting to see younger painters like Max White and Christabel Forbes. However, I think it’s hard to beat Monet, Nicholson and Ken Howard and the way they handled light. I was honoured that Ken bought one of my Varanasi pastels.
You regularly paint cityscapes and landmarks around Chelsea – what draws you to the area? Talk me through your process from set up, capturing lighting to final painting? What draws you to pastels over oils?
I have lived in Chelsea since I was 11 - so many corners have special significance for me. One of the best things about working in the area where you live is that you have a chance to really scrutinise and build up a good visual memory bank.
My process is
a/ To look - stalking the subject - this can take a very long time.
b/ I set up - I have a pastel box, easel, and a stool and get working – up to 2 hours. The light will have changed completely by that point. That is one of the reasons my work is mainly small - as well as portability. One of the problems of working in the UK is that the light is never consistent day by day so you often don’t have a chance to go back without completely reworking it.
c/ I take it back to my studio and pin it on the wall and stare at it. I don’t tend to make that many changes but I might crop. A danger of working later is you can ruin the essence of the work by ‘tickling it’. I like it to feel spontaneous and vital - communicating what was so special in the first place. If it does that, then it’s done its job.
I hope in my work to show just how beautiful and interesting everyday places are. One of the best comments I have had was from a buyer who bought my pastel of the end of his street. He always thought it was dull and realised it wasn’t.
I love pastels - the glowing colours and the fragility of the medium, rather like time itself. They can be used rapidly and directly too. There is nothing between you and the surface as there is with a brush. I was very pleased to become a member of the Pastel Society last year.
As an artist focused on the ‘fragility of time.' – How does history, narrative, memory play out in your images of the Chelsea area? (For instance I saw your Carlyle Square image which used to belong to modernist writer, Osbert Sitwell, brother to famed character, Edith Sitwell)
As a long time Chelsea resident, I’m fascinated by the history of the area. I’m a member of the Chelsea Art Society, Chelsea Arts Club and Chelsea Society so jumped over triple Chelsea hurdles! I’m well aware of the pantheon of painters, poets and writers who lived here before and the distinguished artistic heritage. Fascinating - if only walls could talk.
Can you tell me a bit more about your exhibition with the Chelsea Art Society and what you were looking to evoke from A-Z of Chelsea?
I’m very proud to be a member of Chelsea Art Society and joined about 15 years ago. It’s part of the old Chelsea I identify with but it looks forward to the future with some cracking new and emerging artists. We’re extremely lucky that Sloane Stanley kindly sponsor this autumn show and award the Sloane Stanley medal. This is a members only exhibition.
Our other show, the Annual Open Exhibition, is open to all artists and selected, is at the Chelsea Old Town Hall in June.
A-Z of Chelsea is a genius theme as it gives a different alphabetical take on Chelsea. I looked for my initials - LD and spent happy hours painting in Laurence St and Draycott Place. This theme made me think of the layout of Chelsea in a way I haven’t done before.
Monet used to focus on a single subject in different lighting conditions: how does your own emotional experience play out in the reflections of changing light and shadows?
I have done many pastels and oils of Albert Bridge from Battersea Bridge at sunrise. The Thames becomes a theatre of reflection. I’m more in awe of the beauty of the natural world the more I look at it. There are two free light shows a day - sunset and sunrise - as well as everything in between. The material is endless so it does make sense to work on the same subject. I often cannot believe the colours I’m putting down - green in the sky? There is! As a teacher I spoke the oft quoted mantra ‘ draw what you see not what you think you see’ and now try to apply it to my own work. The more I work, the more I try to dissect what I see in front of me. Looking for the ‘cushion of atmosphere’ that Monet spoke about.
How do you feel your paintings have evolved over time? Artist Louise Bourgeois famously remarked that she always felt there was ‘one thing missing’ in her oeuvre – where would you like to go or capture that you haven’t yet?
I’ve always enjoyed Ken Howard’s remark that he was going to paint his best painting tomorrow… I am always striving to paint or pastel the best I possibly can so I’m constantly thinking about new ideas and techniques and challenging my practice. Painting is not the relaxing process people often think it is. I would love to go really really big in oils - and abstract - one of these days I will.
I don’t think my direction of work has necessarily changed but I would like to think that I’m more attuned to the nuances of colour and refined my craft over the years.
What future exhibitions or paintings series do you have forthcoming?
Autumn and winter are busy times in the calendar for me. Exhibition season is very much on.
16-19 November - Wimbledon Art Fair. This is my studio show (I’m in Blue 402) and you can see work by over 150 artists in the places they were created.
29 November - 8 December Small Paintings Group at Panter and Hall, Pall Mall SW1 - I’m a member of the SPG. Works are limited to 12 x 12 inches and can be in any medium. A collection of gems. (www.thesmallpaintingsgroup.co.uk)
23 January - 10 February The Pastel Society Annual Exhibition, Mall SW1
I was honoured to became a PS last year. This exhibition showcases this marvellous medium.
www.louisediggle.com
Interview with Chelsea Tour Guide Expert, Guy Fairbanks
We caught up with Chelsea Tour Guide expert, certified Blue Badge Guide and Trip Advisor Award winner, Guy Fairbanks who will be conducting a two hour tour, SW3 on Screen, during the upcoming Chelsea History Festival. He focuses on the Chelsea area as a film location, the area’s relationship with the silver screen and even authors who have created some of film’s most famous characters from their Chelsea homes: Expect plenty of anecdotes and a sprinkling of movie magic.
How did you come to be a ‘tour guide’ and specialise in the Chelsea area in particular?
I worked for John Lewis for many years, and after a career break wanted to look for new opportunities. I’ve always liked history and I’m also an amateur actor, so becoming a tour guide seemed to be the perfect job for me. It is! I used to work in Chelsea Manor Gardens and Draycott Avenue, so I got to know the area reasonably well. A booking from the Chelsea Society a few years ago brought me work in SW3 so it’s been great to return to my old patch.
SW3 on Screen focuses on Chelsea as a location for some of the most well-known films of all time from A Clockwork Orange to Blow Up, how do you go about curating your tour guide routes?
It’s a combination of walking, researching (books/internet), editing, and walking again - and fine tuning. This one was a little tricky as the locations cover a wide area, from Cadogan Square to Cheyne Walk, so putting together a workable - and walkable - route was difficult. There are a couple of important films (Skyfall, Withnail and I) that I wanted to include but I had to drop a few places. Even so I think there’s a good variety.
Can you talk me through some of the areas and blue badges you cover – and the film anecdotes/history related to them.
As a Blue Badge Guide for London I cover most of London’s ‘greatest hits’, which inevitably include places connected to a certain boy wizard, for example. West London is a magnet to film makers, probably thanks to its location near Heathrow and the draw of the river. Their film department is particularly helpful. There’s a pub, the Rutland Arms, which seems to pop up all the time, from If… to New Tricks and Sliding Doors. Since I’ve led walks along the Thames I’ve had to add in Bohemian Rhapsody and No Time to Die! This year I also qualified as an Oxford Guide, where of course it’s a lure for Harry Potter, Endeavour, Morse and Lewis fans. I’m currently on season 4 of Endeavour!
I read an essay by a writer who had visited Kubrick’s home and found boxes with hundreds of pictures of different doorways, From Kubrick to Antonioni and Mendes, an array of leading film directors have used Chelsea as a location, why do you think it appeals to such different filmmakers and aesthetics?
With Kubrick and Antonioni being from abroad I wonder if Chelsea provided their idealised view of London: pretty streets, wealthy and sophisticated people and that ‘swinging London’ scene that was so well known. If you want to depict a wealthy London area, one that movie-goers imagine exists everywhere in London, then SW3 is perfect.
With Skyfall and M’s home, Mendes chose the same house that John Barry, composer of many a Bond soundtrack, once lived in! I’m sure it wasn’t a coincidence, it’s a lovely building.
Many of its back streets are quiet, so from a practical point of view I’m sure it allows filmmakers to set up in relative peace and considerably less hassle.
35 Glebe Place SW3 is the home of Uncle Monty, the outlandish thespian in cult film, Withnail and I, - how do you think location lends itself to arc of and character narrative?
This is a difficult one as it actually doesn’t feature much in the film. Infact you hardly know it’s been used. I don’t know the reason why Bruce Robinson used that location but you can imagine it being the perfect home for the louche and lascivious Uncle Monty!
I find Antonioni’s Blow-Up film fascinating in terms of Chelsea as locations, as it defines a very particular period in British cinema: and the director’s collage style that often augments real locations to suit his needs. How do you think past and present play out through Chelsea as a film location?
Watching some of these old films gives you a wonderful opportunity to view Chelsea from fifty, sixty years ago. You can see how little has actually changed - the traffic for example! - but also lament some losses: shed a tear for the long-gone Thomas Crapper shop in The Servant and, of course, the Chelsea Drugstore in A Clockwork Orange. Customers of Peter Jones might enjoy watching The Long Arm to see how the department store looked in the fifties.
From James Bond to George Smiley (the central character in 5 of John Le Carre novels) Chelsea is associated with spy characters – why do you think the area speaks to the spy genre and what can we learn about these characters through their locations (and that of their authors)?
It’s extraordinary to think that several spies and authors chose to live in Chelsea. Perhaps its quiet streets were the perfect hideaway and allowed them to blend in. Kim Philby lived in Carlyle Square and one wonders if he felt it was the ideal place to carry on his espionage under the guise of a successful civil servant. Given the high rent his choice of locations must have raised a few eyebrows - it’s tempting to imagine the Soviets chipping in.
Ian Fleming lived in Chelsea (he wrote Casino Royale while living in Carlyle Mansions); he was familiar with the area and its residents, so a quiet square (Wellington Square) off the King’s Road could be the only place for 007. Bond came from a well-to-do family, was educated at Fettes, so many of his contemporaries may have lived in the same area. But in the Seventies how would he have coped with the punks down the road?
Similarly, George Smiley chose to live in an ordinary street (Bywater) almost opposite James Bond, an address one could easily overlook. It wouldn’t have been too far to commute into work.
A Clockwork Orange’s costume designer, Milena Canonero, drew inspiration from the youth cultures of Chelsea and the late 60’s as inspiration for the Droogs – how else does the area play into film narrative and arc?
Most notably the Chelsea Drugstore, which became the record shop where Alex browses through various LPs from such fictitious bands as Heaven 17 (it’s where the real Eighties band got their name from), then picks up two girls for a spot of “high speed ‘in and out’”. By Albert Bridge, however, he receives his comeuppance when set upon by vagrants. From Swinging London to a few swinging blows on the Embankment.
As for Alex’s look, apparently Malcolm McDowell came to the shoot one day having been playing cricket. Kubrick liked what he was wearing, so he asked McDowell to keep the sports support on.
What else can we expect from your two-hour tour as part of Chelsea History Festival?
I confess I’m a bit of a fan of cheesy horror flicks. Sadly, we won’t have time to check out the sites for Dracula AD 1972 but one of my all-times favourite films is Theatre of Blood, with Vincent Price, Diana Rigg and a host of British stars. The filmmakers used several sites in West London for Edward Lionheart’s revenges, and a couple of notable scenes involving Robert Coote, Diana Dors (a resident of Chelsea of course) and Jack Hawkins were shot in Chelsea.
At the end of the tour I’ll give out a list of films so attendees will be able to go home and do their own research!
Sadly the SW3 on Screen tour as part of the Chelsea History Festival is already sold out but you can contact the rest of the Chelsea History Festival programme here: https://chelseahistoryfestival.com/
Or you can find other tours by specialist Guy Fairbank here: guythelondonguide.com
Interview with Luxx Design founder
We caught up with Silvia, founder of Chelsea based Luxx Design - a physical store and online destination for all things Italian design.
Can you tell me about the Luxx Design concept and when you first founded the brand (store and ecomm)?
I started the shop when my children were younger as a side business to my job as a landlady. Being Italian myself made it quite easy for me to decide to concentrate on just Italian brands: Made in Italy is one of the most recognised brands in the world and it’s not even a brand. I liked the idea of being able to act as ambassador for Italian design abroad — my mother’s family have been making tableware and cookware for generations and I guess there was a part of me who wanted to reconnect with my roots.
I decided to have both a physical and an online presence from the beginning with the physical shop acting more like a window for the online one. I thought it was important for customers to know there was a physical location they could refer to when shopping online, and a Chelsea address always has a positive impact, not only with customers but also brands in Italy.
Why did you feel there was a gap in the marketplace for design solely Made In Italy in London?
Everyone loves Italian design (and food and fashion!), and there are a few online stores that do the same as us, but no physical store, especially no independent boutique. In fact, the most frequent comment from customers who enter the shop is how much they love Italian design and how there should be more stores like mine.
Another reason why I decided to concentrate solely on Made in Italy was to have a clear focus in what I was offering. There are so many interior decor shops and millions of brands to choose from. I felt concentrating on Italian brands would still provide me with a big pool of brands to choose from, while differentiating myself from other stores.
We are fans of the 70’s aesthetic reappearing a lot in design currently – in particular Gabriella Crespi who segued between many different design pieces – why do you think Italian design so stands the test of time?
Italians have a refined sense of aesthetics - this is instilled in Italians since a young age. It’s part of the culture, the upbringing and the Italian landscape. If you think of it, art, fashion, design have always been cutting-edge yet timeless. Made in Italy today is synonymous with excellence in design and production - whether it’s interiors, fashion or food. Especially since moving abroad this is something I came to appreciate more, as if I was taking it for granted while living there.
You carry many different design brands – what do you look for when buying for Luxx Design? How does the consumer interest differ between in store and online?
When choosing new brands or selecting products for Luxxdesign, I look for brands that I like and that fit my sense of aesthetic. I like contemporary design, sleek lines and functionality, products and brands that defy the normal idea of design and experiment with it, such as Qeeboo with his Rabbit chairs, Giraffe chandeliers and Turtle bookshelves, which have become some of our best sellers. I like to combine the known Made in Italy with the more unexpected.
In terms of customers, the online catalogue is much wider than what we can carry in our store, where we keep a smaller selection and carry mainly small pieces that are perfect as gifts or sell the most online. Online we reach customers worldwide, with America and Australia being our main export markets. But we also reach many corporate customers online, from hotels and restaurants to yachts, movie studios and even private Islands.
People who enter our store in Chelsea are normally captivated by what they see in the window and many times enter out of curiosity, ending up buying something in the process, whether it’s a present or something for themselves.
Why did you choose Chelsea for your store – what do you like about the area and the local shoppers?
I have lived in Chelsea for 23 years, a few months after moving to London from Milan. It is my home and it only made sense for me to open a shop here. It makes me feel integral part of the community. I like the eclectic nature of Chelsea, I meet so many different people from all walks of life and all over the world.
As interior design has become much more accessible and democratic in times of social media, how do you foresee the future of the design marketplace?
I think there is still a lot of untapped potential for the interior design market. It is not as refined as the fashion one, even though it has been developing in a similar way in the past few years, with established names trying to develop their brands in the way fashion houses do. Maybe this is also because some major fashion brands have entered the interior design world and in time the lines between the two have blurred.
At the same time, social media and e-commerce allow smaller brands to get a level of visibility and opportunities that were not possible before. There is a keen interest on artisanal brands and non-mass-produced objects (think of stores like Wolf & Badger) and something we are keen to explore ourselves.
Which interior designers and interior spaces do you currently find inspiring in style and why?
Lately I have been enjoying Marcantonio’s designs for Qeeboo and Slide. He has a playful and somehow disruptive style and yet his products are highly functional. But I also admire artists like Luisa Longo, who makes hand painted table linen and truly mixes art and design.
In terms of spaces, I always like to go to Milan and simply roam the city. It’s always a great source of inspiration and the best place to pick up the latest trends. I also find exploring London quite inspiring. Maybe even more than Milan, London always evolves and is in constant change. It is as if it contains the whole world within itself.
I notice that the blog looks at ‘Made In Italy’ in terms of a lifestyle inspiration rather just buying one off Italian design - from and what can we expect from Luxx Design in the future?
I don’t really like to share future plans until they become reality (so much can change and happen!), but as you said our blog looks at Made in Italy as a whole lifestyle inspiration, mainly for now as an informational blog, but we do have plans to expand in other sectors. What I can say is to keep following us!
Interview with Jack Trodd, founder Brushes with Greatness
We caught up with Jack Trodd, founder of Brushes With Greatness, a unique gallery and agency platform, which supports a wide network of emerging and established artists, through a diverse calendar of public exhibitions, commercial projects, community activation and private opportunities. They recently worked with KCAW to curate the Chelsea Windows as part of the K&C Art Trail Week. (Now extended until August ’23)
Can you tell me a bit about your background as an artist and how you came to form your collective, Brushes with Greatness?
I wouldn't call myself an artist, certainly not anymore! But I did enjoy practicing portrait painting and overly conceptual art whilst in school. But I loved waxing lyrical about the artists I cared about and BWG was built upon that adolescent passion meets fulfilling profession.
Whilst BWG was in its conceptual infancy (at the end of 2020) I was a freelance marketing and new biz consultant. I started doing private commercial consultancy for artists and designers. In doing so I witnessed too many of the artists I was supporting/speaking to being exploited and mistreated by galleries, commercial clients and collectors. I wanted to protect these creatives whilst also offering them opportunities. I love experiential exhibitions and felt there was a lack of curatorial commitment to EXPERIENCE on the commercial circuit. I wanted to see if I could create an artist-first, commercial and experiential arts enterprise, I don’t see in many places. The vision was to offer all artists and viewers something to enjoy, with conceptual curation and high production exhibitions at the axis. Giving emerging artists commercial experience in a safe environment is essential to helping them know their value and how they should be treated. Hopefully helping accelerate their early career gallery and commercial opportunity navigation.
Can you explain the concept of BWG – as the art world becomes increasingly democratised, what space were you trying to fill in the marketplace?
The fundamental ethos that BWG is based on is putting the artist first in all dealings and showing them how they should be treated, in a collaborative and educational manner. Through all the public and private opportunities, we bring to the artists we work with, we ensure they are consulted in all decision making. This is increased democratisation, but it puts the power in the artists hands with BWG their guide and protector, instead of leaving them at the bottom of the chain as they often seem to be.
Structurally, with BWG taking the form of BWG Gallery and BWG Agency, I wanted to focus on accessibility and the normalisation of enjoying art by all. There's too much pomp around consuming art – the agency side gives people who might not visit a gallery a great opportunity to view art in their everyday lives. Via the Gallery, the extra budget we plough into our shows to curatorially embellish the artists vision via experience (be those wild installations, supporting compositions, smell-scapes, thematic events, performances etc.) it makes the gallery space much more adventurous and welcoming to interpretation. The environments are always steer away from elitist preconceptions people have of commercial galleries.
How did the partnership with Chelsea Windows and KCAW come about? And what spoke to you about the project?
The outstanding Curator, Arts Writer and Culture PR guru Bella Bonner-Evans had done the curation for 2022 but had taken on a more serious curatorial role this year which meant she didn't have the time. As we are fond of one another's curation she kindly recommended me to KCAW leader Vestalia and here we are. Thank you Bella!
BWG Agency has and does manage a number of exhibition partnerships with wine bars, hotels, conference centres etc - including upcoming projects with Four Seasons - and find them to be brilliant locations to introduce early career artists and more attainable price points to totally new, established audiences. Being able to recreate this already successful opportunity for artist in new space - in this case with retail venues - seemed a no brainer (especially in an area like Chelsea when there is already such an established creatively loving community). Particularly when you nurture the already impassioned (it's always their idea to begin the cultural mission) venues to really integrate the promotion of their exhibited artists to their existing audiences. It's also a safe and relatively risk-free opportunity for emerging artists to experience working with commercial partners outside the usual gallery circuit and learning the ins and outs of those dealings.
Can you tell me about your starting point/process in curating the Chelsea Windows? Can you tell me about some of the concepts and painters used for the different shops – e.g Lavender Green, Knight Frank, Love My Human.
Curatorially it is all about elevating both the brand’s ideals and the artists style and work via the collaboration; one bringing out the best in the other.
Abstract nature painter Mary West, who paints vibrant abstract floral paintings, was the perfect fit. (for Lavender Green) She actually created a new series of 4 paintings for the 4 primary wall spots in the shop, which following a call with their interior and marketing team about the Summer flower display options, was a direct response to the flowers they had on show. It pulled the colour flow and flower forms to the corners of the room and compliments the space superbly.
Charlie Haydn-Taylor's paintings are featured in the local Knight Frank venue. His combined digitally printed come painted interiors - which feature beautiful interior scenes with impeccable contemporary interior design - speak to the high calibre interiors of the homes they rent and sell at the agency.
With Love My Human, the premium home for all your dog and cat needs - from the essentials to grooming and doting on your pets, Henrietta MacPhee & Selby Hi's ceramics and textile work in the window speak of the pet clientele they want in! We have a collaborative window scene of a ceramic fire hearth at the back of the display with Etta's sleeping ceramic dogs warmly sleeping around it, and Selby's renowned cat chairs and newer super characterful stoneware cat pots relaxing there too. It's as charming as it is cute.
There are also amazing connections between Alice Hartley’s abstract paintings and Benjamin Moore’s paint shop. As well as Harry Cartwright’s worldly, delicious multimedia paintings and 28-50’s dining vibe.
How do you think art can best connect with viewers public facing – such as via a shop front (rather than an exhibition)?
It's great added experience for guests/shop visitors and gives a lot of value to an already arty/groovy venue's vibe. It surprises people who might not otherwise have sought out art. It inspires people to consider art a part of the everyday and hopefully normalises the joys of seeking art for art’s sake. It breaks down barriers to entry around viewing, considering, and interpreting the artwork in a casual environment like a shop – inspiring new collectors. Plus, I hope it might even inspire some home curation ideas when they see suited pairings in places they already love.
A lot of your painters, such as Olivia Mansfield, combine ideas of divination, theology, religion, ritual, how can paint continue to explore notions of the human experience, identity and other worlds at a time of climate crisis, destruction and global uncertainty?
I personally gravitate towards this work due to my own passions for the fantastical, the mystical, the pagan and the philosophical, and what it can do to open our minds to more harmonious ways of thinking and interacting with ourselves, one another and the Earth. In a world where we are beaten down by the drudgery of modern media and a failing world the contemporary relevance of these artists is rife, particularly for younger generations. The upsurge in modern spirituality and its fluid movement between different beliefs and pagan ideals is building new global communities with positive human connection and non-capitalist motivations at the heart: care for the Earth and each other. Artists and their ways of thinking, and the work they produce is an essential key to freeing people from the pressures of modernity and we want to champion these perspectives for the change it will passively incubate in viewers. Offering new ways of thinking, inspiring belief in change, positively refocus people's attention and ultimately reconnecting people with the beautiful things that the world has to offer. As important as it is to address the troubles in the world, there's enough negativity, and we do it positively via artistic inspiration, education and discussion centred around brilliant thematic artwork.
Can you tell me some more about the artists used for Chelsea Windows – how have passer-bys engaged with the artists?
Tied back to the curatorial combos and our BWG ideals, it's about the experience of the venue being tied to the experience of the art:
At Lavender Green, whilst customers are choosing their Summer bouquets they're indulging in Mary West's rich floral painting. People enjoying their decadent cakes in the playful pastel toned Peggy Porschen are surrounded by Phoebe Boddy's light, fun and yummy paintings of cakes and treats. People exploring colour paint palettes in Little Greene's interiors store are watching German abstract landscape painter Raffael Bader's paintings, which use very complimentary colour palettes and might just inspire a decision (and the team there have also laid our colour palette combos beneath the paintings to marry this compliment). I love the idea of this artist in this space: journey out into Raffael's landscapes to find inspiration as your journey deeper into your home. Aline Gaiad's fast and richly coloured interiors paintings are impressively beautiful and inspiring places to be; their palettes are a perfect for host Castrads, who provide cast iron radiators in similar palettes to bring new class and beauty to the home. You could see the radiator and paintings fitting a wall together perfectly.
From a more practical standpoint: This enriching correlation and experience means those who really appreciate the work can follow the signposting and either follow the artists in socials or speak to the venue owners about how to enquire after the artwork and support the artists directly.
What are the future plans for BWG?
Having done over 25 pop-up exhibitions since launching just over 2 years ago, we have finally moved into our first permanent space on Soho square, so for the rest of 2023 it's time enjoy the joys of curating regular shows in this cool 3 room space. We have 4 solo exhibitions planned - the first which is currently live - between now and November and will also be using the gaps to host other emerging Curators and Arts Organisations we admire and wish to support (with three interim shows in planning). The upcoming BWG Gallery exhibitions are as follows:
6th Jul - 29th Jul | 'Natural Intermissions' | Ava Haggas | @avadodrawing
24th Aug - 17th Sep | 'Between Place & Time' | Joe Grieve | @joebennellgrieve
21st Sep - 15th Oct | 'The Spell, The Plot & The Ether' | Suhaylah H. | @suhaylah.h
19th Oct - 15th Nov | 'Tales of the City, Tales of the Sea | James Dearlove | @jamesdearlove_art
We will be launching BWG Agency exhibitions with our new aforementioned hotel partners. And lastly, I also run a residency in Scotland called the Colstoun Artist Residency, currently in its first year, which is focussed on nurturing the next generation of contemporary landscape painters. As unofficial partners by association BWG Gallery will be hosting the London leg of their annual resident touring group exhibition in late November.
www.brusheswithgreatness.co.uk
www.kcaw.co.uk/chelsea-windows
Interview with Floris Fine Art
We caught up with Floris Fine Art a collective of artists focused on floral oil paintings – the latest to work on the Chelsea Fire Station Mural project.
At Floris Fine Art you are a collective comprised of a few artists working together on projects: how did this idea and approach come about?
Currently we are three artists (Penny German, Sophie Cook, Felicity Starr) and have a guest artist (Rosemary Lewis) showing with us for this exhibition. We are aiming to grow in time as our initial thoughts were that there is not really a ‘body’ in the UK entirely devoted to floral oil painters.
The starting point for all Floris Fine Art artists is an exploration of the power of botanicals – what draws you to flowers as objects and what are you aiming to convey through them?
I think I can speak for us all when I say that we are all drawn by the delicacy and structure of flowers, finding them irresistible to paint. We hope to convey their beauty and variety by way of our different styles. There may also be an attraction to the succession of flowering: waiting patiently for a species to appear and then rushing to capture it before it’s no longer available.
Artist Georgia O Keefe famously painted large scale flowers commenting to an observer ‘you write about my flower, as I think and see what you think and see – I don’t.’ Can you tell me about the lens you see your flower stills through and what you want to communicate through this visual language?
Each of us sees flowers differently. Artist Penny German explains, ‘Personally, I’m looking at structure the whole time having had a background in illustration. I see the similarities between flowers and animate beings such as reproductive parts and the effects of aging!’
Whilst Sophie Cook adds, ‘when painting flowers I am always trying to communicate the moment and that initial feeling of excitement that I experienced when setting up the still life. There is an energy transfer which takes place between you and the flower and the challenge is to keep a sense of freshness and movement. I always stop a painting when I feel that energy start to fade. ‘
Finally, Floris Fine Artist, Felicity Starr, adds, ‘I find flowers to be full of beauty and life. I love all they symbolise and want to celebrate their presence. Without wishing to sound too morbid I often think about the end of my life and what I will have achieved? I want to somehow preserve time and leave a legacy, to make a valued contribution to society. Therefore, I paint to celebrate flowers and take solace in their relatively short but joyful life. I paint to create an image with feeling that could last the test of time.’
Observation and exploration of light seems to be a common thread amongst all four of you (Rosemary Lewis, Penny German, Sophie Cook, Felicity Starr) how do you differ in your approach to capturing and exploring the details of each botanical? And why are you all drawn to thick oil textures to convey the flowers?
German: ‘Having spent many years painting botanical watercolours, I decided to explore oils as a way of freeing up my painting. My aim now is to create a viable record and as such, like any other object, flowers are a conveyor of light and light is what makes a painting.’
Cook: ‘I tend to start my paintings quite thin and loose, keeping things moveable for as long as possible. I work from large masses to smaller shapes but always trying to keep a sense of the whole and the overall light impression. I love the seasonal effects on my work and can always tell from looking back at my work what kind of light conditions they were painted under.’
FS: ‘I paint with energy and often get lost in the flow. My impasto brush strokes happen when I am fully immersed in looking at the flowers and painting at the same time. I love the thick paint because it’s a sign to me that I fully enjoyed the moment and became bold and brave enough to make such strong marks.’
How did the Chelsea Fire Station mural project come about? What was your starting point for the murals?
Sloane Stanley have been supporting artists in a community initiative which allows them to cover the Fire Station on the Kings Road with artwork and murals. FFA were delighted to have been invited as a contributor and especially honoured for the work to be up during the Coronation and Chelsea Flower Week.
Can you talk me through the process of creating the mural project together: what were the challenges of creating the stills on a grand mural scale to provide one seamless art-work?
For me (Penny German) it meant a 400-hour roundtrip in a day to my printer who scanned my works so that they would be good enough resolution to print at this size. We worked closely with the printer who works on the fire station panels and we incorporated a QR code so that people could go straight to our insta page or website to see the work appearing.
We always knew, Cook adds, we wanted to make an impact and create an eye-catching floral mural, which would make people feel happy and celebrated after coming out of such a bleak winter. We have received comments from people who have said it has brightened their commutes and made them smile. Job done!
The mural is in place to celebrate historical events from the recent Coronation to RHS Chelsea Flower show – what elements were you looking to draw on? And how does the Flowers on Film project tie into this?
The coronation brought such a buzz to London and I have given my own nod to it in my paintings, which often incorporate coronation memorabilia (mugs) which I have collected over the years. I’m a sucker for ceramics and this collection has recently been added to with a new version. We decided on the ‘Secret Garden’ as our theme as we really feel that we are all about drawing people into the world of flowers. We have a florist working on a window for us and are excited to see what she creates.
Working with the timeless tradition of still life through these floral forms, how do you aim to continue moving the paintings forward, whilst still staying true to your original aesthetic?
PH: My work continually evolves. As I bring other elements into my works, ceramics for instance, I like to keep up with current trends and am an insatiable collector.
SC - I love experimenting with my painting: I have recently played about with digital software and pixelated photographs of my still life set ups and my paintings.
FS - I am naturally a curious and excitable person! So, if something catches my eye and stirs an emotion I’ll want to paint it! I do want to interject more narrative and symbolism into my work.
What can we expect from your gallery exhibition at The Gallery and Greenstone – this exhibition includes 60 floral paintings, which flowers/paintings remain the easiest to depict? (
As we have been working towards this since January, it will ultimately be spring flowers which is so timely given we are showing in Chelsea Flower Show and Chelsea in Bloom week. Sometimes the simplest forms can be even more difficult to depict than the intricate ones. However, we are not concerned with scientific illustration but about conveying our love of flowers through thoughtful painting.
www.florisfineart.com
You can buy tickets here: https://www.chelseaphysicgarden.co.uk/event/the-haunting-of-chelsea-physic/
We caught up with Josh Harvey and Adam Elliott, artistic directors of Wild Immersive Theatre Group. Both are seasoned, dynamic performers who have diverse experience to their names, from BBC productions, UK theatre tours and on stage in a variety of comedic roles. They have come together to form a group focusing on theatre as an experience; regularly collaborating with Chelsea Physic Garden, the latest Halloween performance is called The Witch Trial 1664 – Harvey and Elliott gave us some further insight. The show runs 24th-31st October 7pm-8pm.
How did you come to form Wild Immersive Theatre Group?
Both of us are from immersive and devised theatre backgrounds, so when we discovered the opportunity to create a theatrical experience for the Chelsea Physic Garden, back in 2019, we jumped at the chance to create something ambitious. We've produced shows every summer and Halloween season since!
What was your vision – what sort of genres did you want to focus on?
The genre can really vary for us. We love getting stuck into folk stories, historical happenings or even weird conceptual ideas that we can build on, but most importantly we focus on the audience experience and how we can take them on a journey further than just a dusty theatre seat. Give each audience member the opportunity to be the camera lens for their own personal adventure.
Why do you think Immersive theatre is now having such a renaissance?
Now more than ever, the human experience has become more valued. Audiences are becoming more excited to use all of their senses and emotions to immerse themselves, whether that be food, film or theatre. In an immersive space, we can open doors and expose devices that simply cannot be unlocked in a traditional setting.
How did The Witch Trial 1664 come to fruition – what was your prior interest in Salem, Witch Trials, dark magic?
We actually have use of beautiful and historic courtroom style space over the gardens and this inspired us to find a juicy narrative to fit here. We also have a big sweet tooth for the history of witch trials, how they existed within our daily lives just 400 years ago and how people still to this day use fear to manipulate us all.
Talk me through the process (collaborative between you) from writing the script to casting?
So we always start with an image, or a bold concept. With regards to ‘The Witch Trial of 1664’ we wanted to explore the world of witch trials but also to see how we could give the audience more agency. So during the show, our village is permitted to follow the story for themselves - in the dark!
What literary influences did you draw on in writing the script?
We scoured the internet for anything we could find on witch trials during the 1600’s and how Witch Finder Generals operated when bringing suspected 'witches' to trial. Also films like ‘The Witchfinder General’ starring Vincent Price directed by Michael Reeves and also BBC’s ‘The Witchfinder’ gave us some great inspiration.
What angle have you taken – and what elements of this time, the undercurrents of mysticism and dark magic were you looking to explore?
How women were accused and then suspected of being a witch was a way in and something we’ve explored heavily. Also, the scaremongering and language surrounding the fear of witches is something we found to be terrifyingly ridiculous but clearly powerful to the movement.
How did you come to decide on Chelsea Psychic Garden as the location? What history does Chelsea have with this epoch?
Chelsea Physic Gardens is the oldest apothecary grounds in London and that ties us in nicely to the poisonous plot that drives us through the experience. There have been all kinds of spooky theories and ghost sightings within the garden too.
What are the challenges to creating outdoor/experiential theatre?
Firstly, the garden is essentially a museum of incredible rare plants! Some of which don’t exist anywhere else in the world. So we have to be very sensitive to the kind of chaos we create within these walls. We use special smoke for example that isn’t harmful to plant life and have to find creative solutions to move audiences through delicate areas. Also we perform the shows rain or shine - which can bring challenges but also can bring an energy that can enhance a narrative. For example, a hanging during a thunderstorm would bring a certain chill.
I recently read a book by a French critic Mona Chollet called ‘In Defence of Witches’ – which re-addresses the Witch trial narrative as how the notion of independent women became corrupted in society, from centuries ago. How did you want to present The Witch Trials to suit a 21st century audience?
Great question! Women throughout history have been punished and persecuted for stepping outside of societal and cultural boundaries, and the witch trials that ran through Europe for more than 300 years building powerful and lawful momentum were no less. Intelligence, protest and physical abnormalities were feared in women and when Parliament passed the Witchcraft Act in 1542 as a crime punishable by death, you see corruption within the witchfinder generals using this narrative to silence women. We intend to present these realities with face value and truth to let the audience decide the verdict.
How do you want the audience to engage in the narrative – what do you think will surprise them in the play?
Without giving too much away, we would like audiences to question the 'reality' and 'truths' presented to them. Who knows where that might lead us….
Book here: https://www.chelseaphysicgarden.co.uk/event/the-haunting-of-chelsea-physic/
Interview with The Chelsea Theatre
We catch up with The Chelsea Theatre to hear about the innovative developments to a space that has been central to World’s End, since the 60’s, but has been given a whole new lease of life with new renovation, creative input and community minded programming. We spoke to CEO Paul Adlam and other members of the team.
Can you tell me about the origins of the Chelsea Theatre and the developments (as I know there was a recent renovation)?
Built in the 1960’s with utopian ideals, the iconic brutalist World’s End Estate provides a host of facilities including the Chelsea Theatre: a community centre with a fully functioning auditorium.
Chelsea Theatre closed after the Grenfell fire due to fire safety regulation issues, the Trustees successfully applied for and secured £2.5m worth of funding to renovate and remodel the building, making it safe and providing a suite of state-of-the-art facilities. Due to Covid, we were only able to open fully to the public on 19 July 2021. We have now been open for a year, welcoming thousands of visitors to performances, the café and other activities such as exercise classes and community groups.
There seems to have been a shift in direction that now really focuses on the theatre as part of a ‘community hub’ – can you tell me more about your creative director and how community stands at the forefront of the casting, themes etc?
The creative direction of the organisation is deliberately community led and so, we don’t have a designated creative director. The building was originally designed to offer a unique opportunity to provide the community to explore the creativity, our renovation has enabled us to fully realise those ambitions. We believe that it’s useful to view “theatre” in its original sense as a forum to demonstrate ideas which is why our programming runs from wrestling to Shakespeare via Slam Poetry to Indian dance. We are supported by RBKC to act as an essential London-based arts incubation hub. It is important to note that we welcome artists from across the globe to participate and share their productions with our community and beyond.
The Chelsea Theatre takes a multidisciplinary approach including performance, sporting activities, contemporary physical theatre and environmentalism –how do you work to integrate these into the programme of events?
While we’re an Arts Incubation Hub, we also take great pride in the community centre aspect of Chelsea Theatre. Being able to offer our community – and beyond – a 360 experience with interesting performances, art exhibitions, lovely food and exercise classes is something we’re absolutely delighted about. Everyone is welcome at Chelsea Theatre and can choose to participate in whatever interests them.
Can you tell me more about the Tree Rings Project – how this came about and how you work with Kensington & Chelsea on arts funding?
Members of the Tree Rings Project approached us and asked to collaborate on research for a new project which is currently underway. Together we successfully applied for funding from the Art’s Council and were able to introduce them to local organisations such as the Chelsea Physics Garden and schools like Ashburnham. We hope to present this project in 2023.
Each year you participate in the Kensington & Chelsea Festival to produce 18 shows – can you tell me the themes of this year’s selection and how you work with a committee to choose the plays/performances? What are the criteria?
A theme we've noticed across the performances this year is that they are either fully interactive (e.g. Macondo by Silvia Mercuriali, Slow Cooked Stories by Strange Futures, The Thatcher Rite by Jack Boal) or have interactive elements (e.g. Be My Guest by Monia Baldini, Counter by Maggie N. Razavi). We hope that our audience will find this element fresh and exciting. However, we didn’t require a particular theme for this project.
One highlight of this year’s festival is Stranger Futures' Slow Cooked Stories, where the audience and performers sit together at one large table – max 40 people. Stranger Futures will perform the stories, and offer food related to them (the food will be cooked by a professional chef from recipes provided by people interviewed).
Initial selection for the 18 Shows is made by Chelsea Theatre’s leadership team, based on production feasibility and artistic quality (production size and technical requirements are things we look at in particular). Further selection is a two- stage process: first by a curating team of Theatre professionals followed by a final selection of representatives from our community.
I particularly like your Youth Theatre event each Monday evening – can you tell me more about how children/teenagers can join this group? How does the programme work and do they get to showcase their (acting, writing, directing) at the end of the course?
The Monday evening Youth Theatre performance group operates on a drop-in basis, and open to all aged 16-24. The group is led by Steve Macauley and Flo Vortex and has expanded to include spoken word poetry performances alongside core elements of drama. The group will be presenting a showcase in the autumn. Part of our role as an Arts Incubation Hub is to be open and supportive of suggestions from anyone in our community and stakeholders, which aim to encourage and develop new talent.
How does the Youth theatre give participants a platform or even prospective future employment in the arts?
Since re-opening, we have expanded our performance areas beyond the theatre auditorium. We have a bar venue which has so far hosted live music, open mic nights and drag bingo. We have a café piano bar which, as well as evening events, hosts ad-hoc piano performances during the opening times of the café. We are about to open a community herb garden which boasts a 30-seater outdoor stage. These facilities, along with a new cinema system in the theatre and recent forays into online content and podcasting, mean we have ample opportunities to give anyone a suitable platform and a pathway to growing their audiences.
In terms of employment in the arts: we have volunteer work experiences and training opportunities across all our activities such as project management, tech experience, hospitality, front of house etc. We also partner with the Chelsea Centre for Creative Industries – Morley College, which offer pathways to formal qualifications across the creative industries.
I notice that quite a few of your plays/creative projects (such as The Escape Act and Brothers Across the Decades) take historical events, cultural movements and revisit/re-envision them for a Gen Z audience, what do you love about the history of Chelsea and the sense of community in the area?
We are proud to be situated on such a historically creative part of Chelsea Riverside and see this heritage as part of the DNA of our community. Our current public art project which is decorating World’s End Place is led by artist Maya Sanbar and incorporates art works by hundreds of local people, celebrating their ideas of the meaning of happiness.
What does the future hold and how can residents or just theatre enthusiasts support your Chelsea Theatre Community Hub?
We believe that the future for both our creative and community hubs is very bright. We have several interesting projects in the works: shortly after the Kensington and Chelsea Festival’s 18 Shows wraps, Intermission Youth (an independent charity led by Darren Raymond which helps to transform disadvantaged young people living in deprivation and experiencing high levels of anti-social behaviour, family breakdown, dependency and criminality) will present a run of performances. The best way of supporting us is to stop by and enjoy what we have to offer: have lunch at our café, purchase tickets to our shows – and spread the word! We’re always here to share our mission, and chat about how you can best help the incredible adventure that is the Chelsea Theatre.
‘Flirting with Flowers, Vegetables with Attitude’ by Victoria Polewski
Interview with artist Victoria Polewski
We catch up with artist Victoria Polewski to hear about her grand scale artworks, Vegetables with Attitude, enacted at the Chelsea Fire Station as part of the mural artwork project (to tie in with Chelsea Flower Show) and also the subject of a local gallery exhibition.
Can you tell me about your background as an artist and how you came to specialise in botany and nature paintings?
I was always interested in painting as a small child and was introduced to wild flower collecting by my father which lead to a lifetimes interest in all things botanical. After I left school i studied art in Florence and when I returned I went to Chelsea Art School. However it was in lockdown, having recently lost my husband, and with all this time alone that something else started to seep into my space - a reconnection to my childhood and to my essence. I felt liberated - I could just be alone in a room with paints and my imagination - whilst flowers have always represented 'naughtiness' to me, I wanted to give vegetables 'their day' too.
Tell me how your theme 'Vegetables with Attitude' came about at the Chelsea Fire Station mural project?
I have painted all my life but it was during the first lockdown that I began to paint on a much larger scale and the flowers and vegetables took on their magnificence - and this ties well with the forthcoming Chelsea Flower Show, a seminal date in the Chelsea community diary. I want these flowers and vegetables to pop out at you: they are not objects or still lives, they are personalities.
Can you talk me through your process - specifically your choice of flowers/vegetables, appreciation of colour, and how you want to give an everyday thing substance and new meaning?
I specifically love painting flowers and vegetables because of their shape and form and their superb colour. It’s about celebrating and appreciating things that we might take for granted
You give each object new layers of complexity - almost making the inanimate animate - what do you want a casual passerby to take from the paintings?
I want them to be engulfed by the majesty and complexity of these simple objects and to also find the humour in the paintings - maybe the next time they go to a garden or a market they will see these things with new eyes!
Why did you decide to work with the Chelsea Fire Station space - what do you love about the Chelsea area and community?
I approached Sloane Stanley when I was looking for exhibition space and they suggested that I might like to exhibit my work along the Chelsea Fire Station Wall. Having lived in and around Chelsea all my life it has never lost its sense of community, air of creativity and colourful personalities.
What future exhibitions/new work do you have coming up?
I have an exhibition coming up on 23rd May at Green and Stone and after that to just keep on painting!
vpkpaintings.co.uk
Interview with The Chelsea Antiques and Fine Art Fair
A mainstay of the Chelsea Events calendar, since 1951, The Chelsea Antiques and Fine Art Fair continues to be one of the most lauded antiques fair around the world and attracts visitors of all demographics. We caught up with the new fair director, Sophie Wood (previously of Lapada) to learn more about this year’s event and why antiques appeal more than ever to a younger generation.
Chelsea Antiques & Fine Art Fair - the longest running antiques fair in the UK - since its launch in 1951. It's such a remarkable feat; why do you think the fair has such longevity?
I think since its inception the Fair has always remained a prominent feature on both the Chelsea and antiques social calendar. A combination of its superb location, along with its reputation for high quality dealers has played an important part in its success. Compared to many other London Fairs it is relatively smaller, but I think this has played in its favour providing it with a bespoke charm whilst still offering visitors a variety of quality items amongst many disciplines. Whether an established collector or a first-time buyer, the Fair, over the decades, has always provided something to suit everyone.
Can you tell me what the original vision for the fair was and some of the ways it has evolved over the years?
The fair originated back in 1950, when Chelsea Old Town Hall’s Public Chief Librarian, Mrs Schultz was tasked with organising an Antiques Fair, as antiques were regarded as highly fashionable in London especially within the Kings Road. Due to this success, it was quickly realised what potential it had as a commercial entity, so was passed onto Josephine Graham Ballin and her husband Donald who were antique dealers and started the first fair in August/September in 1951. In 1960, due its popularity a second Fair was introduced taking place in Spring.
In 1982, Caroline Penman took over the reins where the Fair continued from strength to strength enjoying its heyday with top flight dealers selling fine art and antiques from across the world.
In many ways it is fair to say that the Fair has always remained true to its roots and more importantly remained within Kings Road at the same location, which has not been the case for many other London antique fairs. Although in recent years with the introduction of other London Antique Fairs in the Autumn, it did return to its original format of just a Spring fair.
In 2021, 2Covet bought the Fair from Caroline and in essence brought with it new life into the event and the Old Town Hall. With over 18 months of Covid and more importantly no antique fairs it was identified that there was a clear need for the reintroduction of face-to-face buying and both a Spring & Autumn Fair.
What have been some of the most unique collectibles that have appeared over the years?
Obviously, I am unable to comment pre 2021 but just in September alone we were honoured to host a unique silver fob watch that belonged to Oliver Cromwell brough to us by dealer Martyn Downer, Lord Nelson’s sword from dealer Wick Antiques and a bronze working model by Henry Moore, dating from 1978 by dealer Bowman Sculpture. That's just a variety from one fair of course!
In a time of digital media and e-commerce, why do you think the fair still has great appeal? How have you evolved the offering to suit the original loyal follower and also a new younger generation of collectors?
Due to Covid and 18 months of lockdown, digital media and e-commerce served a huge purpose and allowed business to continue. Many dealers who were reliant on their shops/galleries and fairs had to adapt their business model and approach and turn to the online arena. Collectors still wanted to collect, investors still wanted to invest, and designers still needed to design. Whilst there is and always will be a place for digital media and e-commerce we have to remember that antiques are pieces of true craftsmanship and quality. As humans we are instinctively tactile individuals and many individuals when looking to purchase such item’s they crave the desire to be interactive with the piece. Since the lifting of lockdown many fairs have been able to take place and have done successfully due to the visitor desire for face-to-face contact with dealers and their stunning items. I am very much in the belief that there is place for both fairs and online marketplaces allowing collectors the opportunity a full 360 buying experience both face to face and online 365 days of the year. This is something owners of Chelsea Antiques & Fine Art Fair, 2Covet are offering with both the fair and the 2Covet marketplace.
I feel that interior designers have certainly helped in demonstrating how antiques not only belong on old stately or more traditional homes and rather that they are in fact both sustainable and fashionable can belong in everyone’s home - which has heralded a new generations of new collectors. In an era where we are all trying to be greener and more sustainable, antiques are clearly the obvious choice demonstrating how their craftsmanship and quality have lasted the length of time and will continue to do so. The fair continues to grow its online and social media presence to reach the younger generation.
Why does the Chelsea area work so well as a location?
There is something very special about King’s Road, Chelsea. King’s Road combines the royal history of its origins with a unique status as the birthplace of the 20th Century’s most iconic cultural, fashion, creativity, art and music movements. Thus, making it the perfect location for an antiques Fair. We have seen it evolve over the years and seen much reinvention, but its core and essence has always remained the same.
You used to direct the LAPADA fair(in Central London), what curatorial ideas/experience will you bring to Chelsea Antiques Fair? In what way do you differentiate Chelsea Antiques Fair from other antique fairs on the calendar?
I think the key piece for me is playing homage to your surroundings and location. As I mentioned previously Chelsea Antiques Fair is more of a bespoke event with its own charm of taking place on the iconic Kings Road in the newly refurbished and magnificent Grade II late Victorian building. Our role is to provide the perfect backdrop in the best location and then allow our exhibitors to showcase their exquisite pieces.
What would be a surprise to regular antique fair-goers if they are to visit Chelsea Antiques Fair this March?
If nothing else the experience of visiting Chelsea Old Town Hall is something in itself. The architecture and heritage are simply breath taking. This combined with the exquisite pieces on display, the passionate and enthusiastic dealers and the fairs overall ambience, it really is something not to be missed.
From early 17th century historical British pieces, to Meiji Japanese works of art, to Roman glassworks and contemporary pottery, there is such diversity on offer. Can you tell me more about exhibitors you like to include and your curatorial approach?
All of our exhibitors are accredited by the industry’s main trade associations and all of the items within the fair are vetted by a team of specialists which allows our visitors to then buy with confidence. Being a bespoke fair, we ensure that we keep the number of each discipline balanced to provide visitors with a wider variety of choice.
www.chelseaantiquesfair.co.uk
www.2covet.com
Interview with The Fashion School founder, Caroline Gration
We caught up with Caroline Gration, founder of The Fashion School, a brilliant physical space and digital set of programmes offering kids 6 years upwards and adults lessons and workshops in all things related to fashion design and creativity with a focus on sustainability. They also create themed children's parties! The Chelsea based school opened in 2019 and has big future plans.
What was your background in fashion and how did the idea to open The Fashion School come about?
My fashion background is as a designer, illustrator, forecaster and in production management. I was also a senior fashion lecturer for 25 years covering specialist areas such as knitwear and ‘contour’. (Lingerie, sportswear, dancewear, corsetry)
I started The Fashion School 10 years ago as a response to fast fashion, young creatives not knowing how to sew, and with no sense of personal identity or any idea of the many jobs within fashion. I am firmly against any formal assessment for children in creative pursuits, such as fashion as it hampers experimentation and self expression. We enable and support - we also strongly believe that everything a child does whilst with us is wonderful!
Which year did you open the Chelsea school? How did it fit the fashion landscape at that time?
We opened at 224a King’s Road in January 2019 after a few years of successful pop ups in the area. The fashion landscape was very different back then and families struggled at first with the concept of sustainable fashion beyond organic fabric and were quite horrified by using secondhand! We’re now in 2022 and everyone recognises the importance of using what you have and all the parents and students are completely behind us. The children love the treasure troves of fabulous donated deadstock and trims. I think they are so much more creative and connected to their designs as a result.
Which classes/demographic did you start with? As awareness around the level of environmental damage caused by the fashion industry(the second largest polluter behind oil) increases, how has the school programme developed over the years?
We’ve followed a similar class formula to how we’ve ran in Brighton since opening there in 2012 (we’re 10 years old!) and knew it worked. We teach from 6 -18yrs and with adults too. As for our environmental awareness, we’ve worked with 97% deadstock since 2020: liberty fabrics are the hardest to source, their deadstock is like gold dust! The remaining 3% is because occasionally we still buy threads and some haberdashery. We’ve developed considerably as when we first started, we only bought organic or natural fabrics thinking they were sustainable at the time. We believe in teaching sustainability at grassroots, through using materials wisely and economically, as the children make their garment patterns and cut their fabrics, wasting as little as possible.
You unusually accommodate kids classes along with adults, why do you consider this important? How do you think fashion and in particular the sustainability subject is a mindset issue as much as a practical one?
We adore our Parent and Child Workshops, one of my daughters thought of the idea when she was little, we originally called it Mother and Daughter! All members of an extended family from 6 - 100 are invited. The families learn how to sew, making simple and sustainable outfits from skirts, shorts, dresses, leggings and washbags: we tend to save our precious Liberty fabrics to be used as patchwork within a garment. It's so satisfying to watch families bond whilst learning new skills.
You have a series of weekend and after school classes for kids and young children, which seem so engaging. From creating dolls costumes to designing their own upcycled streetwear. Can you talk me through the process start to finish of a Ready to Wear class?
Ready to Wear classes are for 7 -12 year olds and there is a new exciting project every term designed to challenge their creativity and develop new skills. This term they are working with the most beautiful silks, tweeds, duchesse satins and linens - not easy fabrics to master but the kids are so magnificent and the results are pure joy!
Which fabrics do you tend to focus on throughout your range of programmes? Do you focus on upcycling or educating on more responsible creative processes and using natural, biodegradable materials?
The element of surprise is always forefront as we have no idea which fabrics will be donated, only that it will be of the best quality. 'Re-use what you have' is our motto and no donated fabric is out of bounds if it means we’re stopping it going into landfill, or worse, a fabric mountain in a third world country. Keeping a fabric in use for as long as you can is the best solution as it discourages buying something new. We throw away as little as possible and pass onto schools, local colleges and an Afghan refugee women’s sewing group. We educate on more responsible creative processes from the moment they start at 6 years old designing on paper made from old plastic bottles.
I notice you teach traditional methods such as illustration and creating designs by draping fabric onto a mannequin (made me think back to Madame Gres). How do you try and incorporate educating on fashion history/eras/styles into the practical side of the classes (where fashion history has largely been overlooked in the times of fast fashion)?
We teach traditional and contemporary methods. This term we’re covering ‘specialism’ in our FashionLab careers classes. Each student investigates a specialism of interest to them. So far they’ve chosen costume, journalism, business, history of fashion, knitwear, creative pattern cutting and knitwear. They investigate their area by research, listening to our podcasts, looking at colleges and creating a garment. One student is researching into early Mod and recreating an outfit inspired by very early Mary Quant using tweeds, whilst assembling a sketchbook including research, imagery and design. Another student is focusing on investigating Icarus and creating a corset of falling and singed wings - using proper corset busks, flat steel boning and grommets! We also have a student studying fashion during La Belle Epoque.
You also have fun creative children's parties. Can you tell me some of the stand out themes, events you have come up with?
Oh my word, they are completely mad! We create the parties for 'tinies' (under 10). In the past we’ve had ‘ballgowns’ made in 3 hours with the studio awash with tulle, satin, organza and velcro and elastic instead of zips. Actually, that reminds me - we’re running a Platinum Jubilee Royal Princess Gown workshop over the Jubilee weekend for our younger customers.
You work with a range of fashion houses and independent labels on partnerships, can you tell me more?
Yes, we’re really lucky to have been involved with Preen by Thornton Bregazzi, Michael Halpern, Brogger, Cefinn and Katherine Hooker, all of whom are based within the Royal Borough of Kensington and Chelsea. Outside of the area includes Alexander McQueen, Patrick McDowell, Clinton Lotter and Rottingdean Bazaar. We also work with an amazing community interest company called Rerun clothing who repurpose old running gear( https://rerunclothing.org/) and pass on waste marathon promotional goods to us. We encourage students to think outside the box and create dynamic outfits by combining the deadstock luxury fabrics into their future forward designs.
For those who come to your workshops as a step to actually working in fashion design or setting up their own business, what advice would you give them and what in roads can you offer?
Fashion is so much more than design and there’s a place for anyone who loves fashion within it. Fashion needs accountants, lawyers, financiers, technologists, strategists, ethics and sustainability experts as much as it needs a designer. Fashion is also a lot of hardwork, so don’t even think about it if you’re not prepared to give it your best. We also run children’s fashion information podcasts using questions set by the children to interview industry experts such as Sarah Mower, Central St Martins students, Michael Halpern and so many more! https://podcasts.apple.com/gb/podcast/get-down-and-get-with-it/id1543220769.
We’re also teaming up with The Fashion Retail Academy to deliver some Fashion Business Courses as part of our Community Interest Company in the summer and will also offer Digital Fashion courses too as this is such an important market for young creatives.
What do you love about the Chelsea community and area?
There’s a real village feel with a mix of all sorts of wonderful people. I can chat with the Big Issue seller, stop to say hello to the stylish and very jolly Justin de Villeneuve, gossip with Alicia who works at St Luke’s church, spy Molly Parkin in a charity shop down at World’s End and have a joke with the builders working on the Curzon development.
What are your future plans for The Fashion School?
We are looking forward to moving into the Curzon development next year! We’re also developing our community interest work even further as sustainable fashion making should be for everyone, not just the lucky few. We work on a very tight budget and if I had a magic wand I would love to be able to provide more computers, software and industrial machinery for our community interest work.
https://www.thefashionschool-uk.com/
Interview with mural artist, Adalberto Lonardi
'A Place Called Home' is the theme for the new winter mural project by Italian born visual artist, Adalberto Lonardi - read on for how he has cleverly integrated the idea of social environment, intergenerations and King's Road community into the mural.
What attracted you to the mural project at The Chelsea Fire station?
While I was creating Together as One for KCAW in Notting Hill in January 2021, I stumbled upon the mural at the Chelsea Fire Station and I was looking at it as a possible future commission for its large scale and prime position - the (KCAW Advisory Board) referred me as the next possible artist for the winter mural and everything took off from there.
Can you tell me a bit about your background as a painter and your passion for visual communication and social environment?
I have been painting and drawing since I was a child, I liked drawing my hometown Veronese landscapes and religious iconography. Through my career, I worked in visual communication and art direction at Fabrica (research centre by Benetton) and obtained a Masters in Interior Architecture at the Royal College of Art in 2020. I have dedicated myself to the social environment with a focus on intergenerational work, since I started my thesis The United Generations which led to my community based art practice today.
How did the theme 'A Place called Home' come about - the message is twofold about the notion of 'home' but also the contemporary history of Chelsea, can you explain further?
I wanted to create something that reflected on the past year we spent at home with family and friends in most situations: a celebration of those spaces that protected and hosted us. At the same time, I wanted to create a piece that would uplift and enrich the area (especially during Christmas times) connecting it with the local shops on Kings Road. The theme of the home seemed perfect as many of them deals with different products around the house such as design, food, pets, plants/flowers…I also wanted to pay tributes to some figures that got stuck in my head while I was researching about the area like Christian the lion (paintings n.1 from the left), the 60’s residents in Chelsea and Sarah Farrugia (painting n.4). In this way, I connected the dots through the latest history of Chelsea into a contemporary painting.
Can you tell me a bit more about your actual way in and process - I know you also worked with an illustrator?
My creative process is always inspired by the design and architecture field. First, I work on tracing paper to outline different options of the design, starting from a small scale to a bigger scale. When I am happy with the result, I move to the digital world. I use Apple Pencil and Adobe Illustrator on an Ipad to draw the figures and I define shapes and colours on Illustrator afterwards. Secondly, I create a grid on the mural canvases to replicate by hand the digital drawings. With the assistance of a team formed by Jenny Boat and Linda La Ghiga and many other young and older volunteers, we painted in the shapes with Winsor & Newton acrylic paints. Thirdly, we refined the paintings to reach a crisp and sharp look and applied a triple coat of varnish to protect the artwork.
How did you best want to communicate the importance of community and social integration through your work?
My work speaks about the importance of the community and social integration both during its development and also in the final artwork. The development is a practice which aims to involve the local community into the design and production of the artwork. For A Place Called Home we had the contribution of moms, children and elders. My aim is that everybody feel included and a special part of the artwork. At the same time, the artwork itself celebrate community values and relationships. I represent people sharing moments of ordinary life all together during meal, cooking or dancing. The figures in most cases are interlaced with each other and give a sense of connectedness and unity. The shapes are fluid and colour are designed to interact harmoniously with one another. Only the architecture, which I take into consideration both in the overall design of the artwork and in the paintings themselves (the rooms) is rigorous.
Can you tell me some of the stories and narratives that feature in 'A Place called Home.’
The artwork as a whole represents a house. The architecture of the hosting building is taken in consideration to design the piece. The columns and large portal are enhanced with floral motifs and give rhythm to the four main paintings which are highlighted using bold primary colours frames (the red continues from the fire station doors). We look inside four rooms of a house, over the course of a day from dawn to night (from left to right). In the first room we see a group of people including the Aussie couple and Christian, the lion cub, conversing in a living room. The second room represents a morning when the older members of the family teach the children to cook and preserve food. This painting is inspired by the local Italian deli on the King's Road, Farm Fetch. The third space is a celebration meal at midday and is inspired by Peggy Porschen produce. The final painting, set at night time in the ballroom of the house, is a festive moment commemorating Sarah Farrugia at the centre among birds, plants and flowers from the Lavender Green shop. The mural is presented along two other paintings Fatherhood and Motherhood in the gallery space, which form part of a series on family.
You've been a strong advocate for exploring post war architecture and the reconnection of generations, how do you see this in an area like Chelsea so steeped in history - how past can continue to influence and align with generations to come?
Architecture hosts all of us, older and newer generations. It is our duty as designers and artists to adjust and enhance the spaces that can contribute to reunite generations and mix the social fabric. I believe it is essential to look at our past history and ancestors to draw new contexts and a radiant future. The past need to stay attached to its roots but evolve and improve. The past is a platform from where we can only observe and build upon to reach bigger social purposes. Only then our society will evolve into a more universal, kind and accessible space where everybody feel valuable.
What have you come to learn and love about the Chelsea community from your time working on the project?
The Chelsea community is generous and supportive. Many people, from children to parents and the older generations stopped by to encourage us throughout the development of the artwork. The young ones cheered us up “This is my birthday!” “I love the colours” “will you draw the eyes and mouth?". The mums and dads offered a deeper understanding about the meaning of the artwork: “The paintings give me peace and warmth even though there are a lot of colours and people, everything is harmonious”, “Thank you for creating such a vibrant and meaningful artwork in our neighbourhood”, “the abstraction of the faces allow each of us to imagine and decide the emotions and feelings of the figures". The elders offered us a place to stay and generous words: “Excellent, stunning job”, “These paintings make me smile”. Finally, I appreciated the kind and generous staff of Imperial College London that provided us with a smile every day we entered the building to use their facilities.
How do you want the mural to best connect and touch people who walk past?
The people who walk past decide how to best connect with the mural. Some of them told us: “I see myself in it, it represents me!”, some others take pictures in front of it as they are part of the paintings. Children love the “birthday cake” and try to touch it. For other people, looking at the painting heals them and cheered them up.
To me, the most important thing is that the paintings give a sense of belonging, harmony and happiness to the viewers.
www.adalbertolonardi.com
Interview with Lisa Todd Designs
Designer and artist, Lisa Todd, has been garnering attention with her unique homeware designs taking inspiration from processes and techniques used in her native South Africa. From her ‘Ubuntu’ collection to working alongside female African artisans, we learn more of her story - and how she will be showcasing at Peter Jones, Chelsea on Nov 1st.
You have a unique and distinct aesthetic combing colour, pattern and painting - what first drew you to design and how did your particular aesthetic come about?
As a little girl I drew houses and patterns on everything including the onion skin pages of the telephone directories. After a long stay in hospital age 11, staring at pea green walls I became determined to use my passion for colour to make the world a better place! I studied art at Hornsey College of Art and completed my degree in Interior Design at Middlesex University.
Each design begins life as an original painting. This is then reinterpreted as a digital print and reproduced on products from cushions to tableware.
Can you explain your 'paint from hand, print from technology' process? What are the advantages to this production process?
My paintings inform the collection and then each product is developed individually, whether that involves beading by hand on to enamel mugs in Durban or printing on British velvet at Glasgow School of Arts award-winning print facility.
You grew up in South Africa - what part of their culture/tradition have particularly informed you over the years?
Growing up in South Africa provided the perfect tropical canvas to develop a vibrant decorative style. Both the country and of course the people and their traditional crafts have always provided a great source of inspiration for my work. My first collection was inspired by iconic African artist Esther Mahlangu and the patterns of the Ndebele people.
You have recently created the 'Ubuntu collection' - based on the African mantra 'I am because you are' - how did you want to best express this collective thought process through your homeware?
My award winning Ubuntu Collection was created during lockdown when we were shielding with our personal health conditions on both sides of the globe. A wonderful friend and Xhosa bead artist was unable to work so she recreated one of paintings at home in beadwork and the project began. The project has grown to include a variety of talented women bead and wire artists all over Kwazulu Natal, many of whom work with the African Art Centre, a Not for Profit organisation who teach traditional skills and economic empowerment.
How did you play with new abstract patterns and how did the process differ from the other collections?
The patterns were developed from a series of tropical landscape inspired paintings.
What are the design pieces/designers that have particularly caught your eye recently?
I am a great fan of British colourist and designer Yinka Ilori and the Portuguese artist Joann Vasconcelos with her brilliant Gateway swimming pool at Jupiter Artland in Scotland.
You did a pop up recently at Peter Jones - what do you enjoy about the Kings Road/Chelsea area? The aesthetic and the community?
I have long been an ardent fan of the Kings Rd. As an interior design student I remember my first interview for a Saturday job with the legendary British designer, Nina Campbell, in her beautiful flat opposite the cinema thinking what a cool place to live!
Whilst it's been a dream to be exhibiting at Peter Jones department store: it exudes style, charm and my favourite original mosaic artwork is at the Cadogan Street entrance - we will popping up again there on 1st November with a special Christmas display.
Also another highlight was exhibiting my beaded zebra rocking horse at the fabulous Chelsea Flower Show in collaboration with Stevenson Bros.
What would you say is the Lisa Todd 'bestseller' - what future projects can we look forward to?
The current bestseller are my award winning organic British melamine plates followed closely by the hand beaded mugs.
Aside from the Peter Jones pop up we have many exciting things happening, including being stocked in the brilliant 'Museum of the Home', a feature in October's FT Spend It Design issue, and a growing number of international stockists.
www.lisatodddesigns.com
Interview with Sol De Sato
Colourful and debonnair artist, Sol De Sato, also one of the best dressed men in town, lets us in on the references and process by his latest Kings Road mural takeover: 'Rare Birds.'
1) How did you come to be involved with the KR mural project?
I walk the Kings' Road at least once a day every week. I notice what is going on and who is doing something of interest. I first noticed the mural site when the late, Sarah Farrugia initiated 'Winter Wonderland.' I loved the idea and I thought I must try and get involved. It wasn't until the a year later that I saw Antonio, another of mural collaborator, and began convincing them I had enough of an idea.
2) This summer mural incarnation is called 'Rare Birds' - what are the themes and ideas behind it? How is it best meant to represent the Chelsea area?
The initial brief was to render exotic birds - new imagery and not the usual images of Chelsea and the Kings' Road.
Initially I didn't have all the elements or know how the whole story would unfold - I just had magazine cut-outs and a 3D mockup but not a strong story. I went to work anyway.
As I got into the painting after laying the initial background onto the site - my interaction with the passing public started generating ideas. I remembered the Pre-Raphaelites used bird motifs a lot - some lived and worked in Chelsea. So I went to poetry they used as source material. Eventually I came across Tennyson's Lady of Shallot - I've always liked the paintings inspired by this poem. The challenge was how to translate this into a 30-40-meter long mural.
3) How do you go about breaking down the themes and representing them through colour and paint?
I had already painted the background green as I already knew I wanted a forest. Luckily, this is in the poem, which also includes a river and a lady in a boat. To make the whole piece exotic I changed Sir Lancelot to a forest Birdman King. The flowers were transformed from an English forest floor to a Caribbean jungle
In my story, the curse is lifted when the lady of the lake meets the Bird King and they spend the rest of their days singing to the birds which in turn feeds and restores the forest. It's ecological retailing.
4) Can you tell me about the Lady Shallot character - how you do draw upon the Tennyson poem and redefine the character in the mural narrative?
Lady Shallot tells the tragic story of Elaine of Astolat, a young noblewoman stranded in a tower up the river from Camelot. She suffers from a mysterious curse and must continually weave images on her loom, without ever looking directly out at the world. Instead, she looks into a mirror, which reflects the busy road and the people of Camelot who pass by her island.
A charmed web she weaves alway,
A curse is on her, if she stay
Her weaving, either night or day,
I placed her alone in a ghostly boat rather than weaving in this story. She is empowered. She is going to see the bird king. We meet her when she has enough courage to look at the Bird king directly. His Heart is open.
She lives with little joy or fear.
Over the water, running near,
The sheepbell tinkles in her ear.
Before her hangs a mirror clear,
In my story she is covered with a veil and has an Owl on her lap for protection.
5) Which lines of the poem have you drawn from - what do you think is universal and that we can all learn from the tale of Lady Shallot and Camelot?
On either side the river lie
Long fields of barley and of rye,
That clothe the wold and meet the sky;
I wanted to create unity of vision for the whole site. A complete world in which the painting comes alive.
The green-sheathed daffodilly
Tremble in the water chilly
The painting mixes the background and landscape into an at once abstract and real world. The water floats on top of the green and the plants puncture through the water.
Willows whiten, aspens shiver.
6) Which other stories and characters are included?
A red Flamingo is also depicted feeding from the forest and looking after it's golden eggs. This a symbolic image of the fragile planet we live on: I made a golden papier mache installation to go with the painting.
7) What do you think is a 'rare bird' in this day and age?
I took it to mean the climate crisis. I love the Pre-Raphaelites and the romantics in general for their metaphors and symbolism.
8) Tell me about your style of painting, use of colour and how the process of painting a mural differs from other portraits or artworks?
Scale and ambition are quite big issues when you want to express bold ideas on a large and public scale. In the studio I can fail and that is ok - no one is looking. On the street you fail or win at the same time. It's exciting and nerve wracking. I love both.
9) What have you come to learn and love about the Chelsea community through your time working on the mural project?
There's a lot of love here. People are generous and expect more from each other. It's a giving community; fashionable, never resting alone on its history. They have supported me immensely.
10) How do you want this mural to best connect and touch people who walk past?
Delight, Engage, Challenge - above all, be a part of their story through pictures, selfies and sharing.
Interview with David Bishop at Everyman Cinema
Everyman Chelsea is a pioneering cinema space both in design and function - how long was it from idea to execution?
Everyman Chelsea is the first of the portfolio in the West London area and the team had been in discussions about the iconic King’s Road location for several years.
There are many design/aesthetic nods to the old school movie theatres of the golden era - who is the designer and what were the main influences, design starting points?
There are so many features referencing the local culture of King’s Road – from the entrance mural of the teenager culture in the 60s, to the James Bond sign – a nod to the character himself who lived on King’s Road - to the fashion influence of Vivienne Westwood and her iconic tartan. Everyman works closely with the designers from Fusion.
How many screens are there exactly - how do each different in colour ways and styles?
There are three screening rooms in total all with their own unique style:
Screen 1 is classic reds with gold trims – a nod to the classic movie theatres.
Screen 2 is very graphic; black and white geometric shapes with a graphic print of Judy Garland on the back wall.
Screen 3 is pink and neon with a nod to the Chelsea teenage / fashion culture.
Whilst Everyman Chelsea is a cinema first - it is a lot more than just a film screening space, it has drinks areas, is open for social functions, and holds various events. What was the ethos behind it?
Everyman is redefining cinema. Bringing an innovative lifestyle approach to our venues, where you swap your soft drink for a nice glass of red wine and a slice of freshly made pizza served to your seat. We create a warm and friendly atmosphere, with an excellent food and drink selection and fantastic customer service.
Can you tell me more about the variety of events you are planning - for instance, the 'Everyman House party' - to bring new engagement into the cinema venue?
The Everyman House Party idea grew from the lockdown period as a way to engage with our members and cinema guests and bring the Everyman experience to their own living room - watching film classics together and sharing our cocktail and food recipes. When cinemas could then reopen, we wanted to keep the party going and the idea continued to welcome our guests back to the cinemas. A fun one planned for Halloween will be The Rocky Horror Picture Show; the original play was performed in the building before the cinema refurbishment here on King’s Road in Chelsea, so a special one for us.
We also host live Q&A Events, Birthday Parties, Corporate Meetings and much more.
You launched just pre-Covid, tell me the challenges and ways you have had to readapt whilst opening a public space in pandemic times?
Our opening was delayed due to the film release of the new James Bond, No Time To Die, being postponed till next year, which has made a huge impact on the industry. This then allowed us to open softly and safely within a Covid world with social distancing measures in place in the bar area and in the cinema screens.
Tell me about your screening programme: I can see everything from brilliant (foreign film) classics such as Cinema Paradiso, to Rebecca (launched on Netfflix) to independent films such as Sofia Coppola's latest release, On the Rocks.
The current film climate has really challenged the programming choices and allowed us to experiment with different styles which has been exciting.
In such franchise film driven times, is it an intention to mix in foreign language, old classics, independent films?
We will always look to diversify the film programming to meet what the customer base wants; it’s always good to try new styles and keep everything interesting.
What do you enjoy about the King’s Road area/community? What do you notice about the demographic of cinema visitors compared to other Everyman venues? Do you make your film selection accordingly?
I love the history, style, passion and elegance of the King’s Road community. I also love how this is reflected in all the small details in the Everyman Chelsea venue which honour the culture. It’s been really nice to meet a lot of the locals who are now regulars and members with us.
In a time when movies (such as Rebecca) can be Netflix originals and then arrive on a big screen, how do you see the future of movie theatres?
We are open to screening everything from small indie releases to big blockbusters. We will continue to show great content that we think our audiences will like. We also love to offer a complete, comfortable experience and atmosphere for our guests.
We are particularly excited about the new adaptation of Agatha Christie's Death on the Nile by Kenneth Branagh (release has been delayed from Oct to Dec) because she lived for 28 years and wrote most of her material in Chelsea. Why do you think her books continue to resonate? Why do they make good cinema adaptation material? What's your favourite book or screen adaptation of hers?
Everyone loves a good murder mystery/ who dunnit book/ film. I personally love the suspense of the film and all the twists and turns. My favourite from watching on TV when I was younger was , ‘Death on the Nile.’ So I’m really looking forward to seeing the film version with such a great cast.
What are the future plans for Everyman Chelsea?
We are excited to grow the business even more and share the experience with more of our guests. Upcoming Events planned over Halloween, a James Bond takeover on 14th November and I’m sure lots of fun film content over Christmas!
Interview with Peter Galiardi of The Gagliardi Gallery
You remarkably launched Gagliardi gallery on the King’s Road over 40 years ago - it was a very different landscape then. Can you tell me the vision for the gallery at that time?
40 years ago, my parents, Marie and Roberto Gagliardi, opened Gagliardi Gallery to share their passion for the arts with London. As an Italian, my father has very refined tastes and a deep love for the old Masters. My mother is from Sweden and she has a connection to avant- garde and evocative expressionist art. They knew London was where upcoming young artists thrived to be and that the city’s ever growing network meant there was a much needed platform for artists from all over the world to come together to showcase art to a global audience.
Tell me the shifts in direction you have made which take us to 2020.
We have always wanted to create a space where art can truly be celebrated and appreciated; hundreds of paintings and artists from all corners of the world. So we inaugurated the first edition of the London Art Biennale in 2013 that showcased 140 artists from 40 nations. Since then, the Biennale has become a seminal event in the art world; attended by art critics and collectors, we’ve had the honour to welcome prominent and creative people, such as Lady Sophie Windsor, who opened the Biennale in 2019. We are currently planning the 2021 London Art Biennale and it's going to be better than ever with up to 400 artists being selected. Artist applications for the Biennale are currently open and it is very exciting to receive such high-quality artworks every day from locally to as far as Malaysia - we are constantly discovering new talent.
You exhibit such an array from abstract portraiture, Tuscan landscapes to sculpture. What are the criteria you look for when you accept to showcase work from a certain artist?
We are not restricted by artistic styles or a limited theme - instead, we want to work with artists who are authentic and true to themselves. Artists who carry a large portfolio with consistently high quality artworks that reflect their individuality are exactly what we love to showcase in our gallery. Clients have to feel a natural gravitation towards an artwork when looking to buy, and in order to establish that kind of emotional depth and dynamism, artworks have to have the ability to draw in the viewer emotionally and spiritually. The only way to create that sense of connection is if the artist stays true to themselves.
Often, artists will send us new ideas and concepts for us to evaluate and a big part of what we do is to open a dialogue - we give our perspective on the work and assist the artist to find the best channel to express their inner thoughts. Nothing can be static in art - so we enjoy and are stimulated by being taken on creative journeys by our artists on a daily basis.
Alongside established names you carry upcoming, emerging artists - in a talent incubator style - what do you think are the greatest challenges for a young artist in the 21st Century/digital age that perhaps didn't exist when you first opened?
The internet can be both good and bad for artists. It gives them a platform to independently promote their work - the use of platforms such as Instagram, ArtFinder, and Etsy really gives artists the opportunity to take full control of their careers - however, it has its difficulties as the market is now much more competitive. Buying and selling art has become easily accessible for everyone located virtually anywhere. Due to online saturation, I have seen so many brilliant artists unable to reach out to potential clients simply because they cannot penetrate the market and become visible, which can be for various reasons from lack of experience in marketing, having a poor network or just simply bad luck.
The role of a gallery is important as we give support to our artists as well as a platform, thus helping them find connections to formulate a network. Infact, we do not just sell art; we help our artists establish their names internationally and over the years our gallery has organised exhibitions in the V&A, Leighton House Museum, the Chianciano Art Museum in Italy to name a few.
Whom stands out as some of the most interesting/profound/unexpected artists you have worked with along the way - perhaps that got an audience/traction you weren't expecting etc?
One of the most outstanding artists we have had the pleasure to work with in 2020 is Advait Kolarkar, the child prodigy from India. He’s been making art since he was 8 months old and won the Global Child Prodigy Award 2020 at the age of 6. We are arranging a solo exhibition for Kolarkar for the first time in 2021 at Gagliardi Gallery and we have proposed his work for the next London Art Biennale. An exciting year is ahead for him and for the gallery - it will be refreshing to have such pure talent and creative energy.
I love the gallery statement from your founder, Roberto Gagliardi, "It's easy to buy a good original painting for £1,000, but even easier to spend £10,000 on a bad one." How has your following/buyer/demographic shifted over the years (if they have) - how do your online and gallery purchases intersect?
We incorporate both online and in-person purchases. We upload photos of a lot of our artworks onto our website where clients can visit and find out the types of art we have and what artists we work with. However, artworks can come and go very quickly in our gallery and we value personal relationships with clients so we do not depend on the internet as much as others.
We also very much believe that artworks purchased for investment or passion should be viewed in person; artworks should be collected for pleasure and not just simply acquired due to their value. Paintings and sculptures contain personality and, although, they can appreciate in value, I think that it is a pity when they are treated more like a commodity than a creative wonder.
In relation to demographics, London as a whole has changed a lot over the years. It has become much more international and much wealthier. However, seasoned art buyers that are our regular clients are knowledgeable about the value of art. Therefore, we have an eclectic collection of high quality pieces that range considerably in price. Considering that value often has little relation to the actual artistic quality, it is still very much the case that an excellent artwork does not need to be expensive. In fact very high quality painting could be sold at considerably less than a mediocre artwork by a more well known artist. Our history allows us to take our time in sourcing and presenting artwork whilst maintaining an objective relationship to value and price.
You are synonymous with the Chelsea area - what do you love about the Chelsea community?
There is no doubt that Chelsea is a wonderful part of London that has the dynamic benefits of the city albeit with the charm of a small village. Although the top of the King's Road has become more mainstream, the lower side of the King's Road and areas such as Pimlico are still possibly some of the most beautiful and exquisite areas in the world, in relation to beauty and creativity, ranging from antiques and collectibles to art and design.
Chelsea is an eccentric place where an old fashioned gallery or dealer, to this day, will show hundreds of pieces gathered over decades in a fabulous cocktail of chaotic beauty. History and tradition are important in this area and is reflected in the personality of the businesses and the residents that support them.
Unfortunately, many art galleries all around the world have lost their personality, charm and energy - empty shells showcasing lifeless art.
Chelsea, on the other hand, is bubble that allows for diversity and eccentric yet warm places like our gallery.
8) As the art world becomes ever more democratic and shifted by social media and digital, how can the formal art gallery continue to inspire?
When an artwork is exhibited in a gallery, clients can view the artwork and resonate with the artist’s energy, and respond to it within a physical space. Whereas, when you look at an artwork through a digital screen, the personality and power of the artwork cannot translate effectively, not to mention many artworks appear differently digitally than they do in real life. The beauty of a formal art gallery is the connection between mind and visuals that one that cannot establish through a screen. Also, our gallery is a place where we ensure clients are purchasing the right art at the right price; we give clients advice and offer them a transparent service in which we make sure the artist is of worth and the price is what it should be - we sell art to galleries and private clients all around the world because they recognise our level of diligence.
Beyond the benefits of our expertise, art galleries in themselves are a pleasurable experience to visit and a part of the community. Artworks deserve a formal space to be presented and loved and will always have a platform.
9) What are the future plans for Gagliardi Gallery?
For now, the London Art Biennale is our future. We are very excited to showcase emerging artists and incredible artworks from all over the world in London. We hope to keep being a frontrunner in the art world; to continue to bring authenticity to the art scene keeping the love for the arts alive for many more years to come.
The future is uncertain but our gallery, possibly the oldest gallery in London, will continue for another 40 years as a place where creativity is paramount. An open door for art lovers and collectors to discover and grow their love for art.
Interview with 508 Gallery
You launched 508 Gallery on the King's Road in 2012 - it was a remarkably different landscape then. Can you tell me the vision for the Gallery at that time?
We have been running the Gallery for eight years. We can say it is quite a long time and, of course, things have changed. From the year 2012 until 2015, we were more focused on photography - although we do still have some photographers working with us now. From 2015 we started doing more solo exhibitions, artists contacted us to rent the Gallery and we hired the space. We also started to offer art classes and hosted events and we grew our art fair attendance as well. But, ultimately, we wanted to build our identity as a gallery and bring something different to the landscape. We wanted to find new art, young artists with fresh ideas - so we started doing open calls to discover those hidden talents. We are now proud to say that we have a strong art statement; we bring contemporary emerging artists to Chelsea, London and to the world to discover.
Tell me the shifts in direction you have made since which takes us to 2020.
Establishing our personality has been the focus since. Our art experts saw what was working with the gallery. They saw the potential of having our own featured artists, giving emerging artists a voice and space in London. In eight years technology has changed, and so have we. The past years we have been focusing on the online part of the business. For instance, we have a Facebook page, Instagram account and a website that we are currently redesigning to be more interactive. One has to adapt as the world changes!
You used to carry a selection of established art names, whereby now you work mainly as a platform for emerging talent across art and photography...and you have returned to doing solo shows?
We used to work with established art names at the beginning. As I said before, they contacted us to exhibit at the Gallery; they were short time exhibitions and rental mostly. We still work with one of them though, Molly Parkin. But with time we saw that was not the identity we wanted - that is why we did open calls and built the artist frame we've got now. We accept any form of art, from photography to textile, and mixed materials. We still do solo shows - mostly of our featured artists though.
Ah yes, the brilliant, Molly Parkin! What do you love about the Chelsea community / area? Why did you decide to showcase this exclusive collection of her work on acidic prints - what's the story behind this collection of pieces?
Chelsea is an area in London where art has always been present - you only have to look at the number of galleries established in the area. We are proud to say that our gallery shares a special relationship with Molly (Parkin) and she kindly partners with us for this exclusive collection. She is a legend in the UK, and she provides inspiration for our emerging talent.
You exhibit such an array of genres from abstract portraiture, landscapes to wildlife photography. What are the criteria or what are you looking for when you accept to showcase work from a certain artist?
The method we use to get to know more artists are the open calls. We accept submissions of any artworks, for example, in the last one we found an artist that works with textile. The reason we do this is that we believe any kind of art is valid, as long as the artist has transferred their feelings and passion into it.
You are almost like a talent incubator - (offering advice, guidance, special projects, even the way art can help mental health etc)- what do you think are the greatest challenges for a young artist in the 21st Century / digital age that perhaps didn't exist when you first opened?
We like the expression "talent incubator", we do offer advice to our artists as long as we promote them because we believe in them. We think one of the biggest challenges we faced during these years is that everything has gone online. The new challenge for the artists is to reach people through screens. There is a lot more information on the internet, more options, and reaching people is becoming more difficult. You can search for everything online now so they have to be creative - they have to be fresh, offer something unique. Of course, art, just like beauty, is subjective: what one hates others would love.
Who stands out as some of the most interesting / profound / unexpected artists you have worked with along the way - who perhaps got an audience / traction you weren't expecting?
Local artist Maximillian Hembrow stands out; he won our Open Call competition in 2018 having come straight from art school. We like to call him "our local Picasso" - we can see the Picasso influence, whilst he remains original. There is nothing wrong with having references: you study the greats to become more significant. And we would also like to highlight our Spanish painter, Cristobal Perez Garcia, who recently had a solo exhibition at the Gallery. He paints mostly landscapes of London and New York capturing the essence of the cities; he is capable of representing the 'vertical-ness' of New York in a horizontal format. And he has an immense talent capturing the light in his artworks. Our audience love him; they always come back to see and acquire his new works.
How has your following / buyer / demographic shifted over the years (if they have) - how do your online and Gallery purchases intersect?
Ever since 2012, the patterns have changed a lot. In the beginning, we got more passersby entering the gallery. Before the new situation in 2020 set in, we already has seen a decrease in walk-ins. We continued going to art fairs; people attend fairs because it is a one-day event and visitors can see the pieces in every art gallery scheduled. But obviously with the Covid-19 crisis, this is not possible. Galleries are going online, and people can see art in the comfort of their homes or they make the point of visiting one selected gallery physically. Right now we are upping our online offering - we can offer 3D previews of the artworks to our clients. We have a newly designed and more interactive website, we also offer personal curator advice via telephone, email and online calls. And we also partner with interior designers and supply art for their projects. Adapt or die. Covid-19 is not the end! Online fairs are happening, our social media is updated daily, and as long as we can (and following the safety measures), we will be open for people to come in.
How will you be participating in Kensington Chelsea Art Week? What do you love about being part of the Chelsea art scene and what do you think makes this event so successful in celebrating the wealth of cultural and artistic talent in the area?
We are proud to be part of the Kensington and Chelsea Art Week - the art galleries in Chelsea bring culture to the area, showing traditional art, new art, strange art. Our artists are the example of how the landscape has developed during the years - their new approaches add a new vision to the art world. Our young and emerging artists are here to stay.
What will be your exhibition during KCAW? Can you tell us more about the artist?
Our exhibition is called "Bridges" by Cristobal Perez Garcia. It is a solo exhibition of his new collection. In this exhibition, Cristobal shows a total of twenty cityscapes featuring water, bridges and light. He captures the beauty and essence of the cities he paints. In this exhibition, you will recognise everything from the avenues in New York to the Hudson River calmly flowing through the Big City. You will also recognise our beloved London but captured with the beauty of an ephemeral moment. The artist, Cristobal Perez Garcia, was born 1976 in Álora, Malaga, Spain and graduated in Fine Arts with a Major in Painting and Sculpture from the University of Granada, Spain. Cristobal links the urban landscape to human survival. He also focuses in land and sea, where he sees this theme as the core of his work. Light plays an essential part in his practise where the specs of bright whites and yellows can convey a sense of being, emotion, nature and a moment. It is a reflection of past present and future.
As the art world becomes ever more democratic and too shifted by social media and digital, how can the formal art gallery continue to inspire?
At the 508 Gallery, we think the traditional format has to be available while we adapt to new circumstances. It is true that everything, not only the art world, is going online. We provide online features such as 3D previews, close up photography, 3D views of the Gallery, etc. We try to keep our gallery welcoming, from just browsing to buying a piece for your home. However, there are some things you cannot do online: have a close view to the brushstroke, see how the light captured in a painting or how the colours look on the piece.
What are the future plans for 508 Gallery?
We plan to continue growing our online channel. We want to maintain participating in art fairs and we are now adapting to the online form of them. We are also developing new features on our website like the 3D presentations, digital models of the spaces (for Covid times). Our social media is updated every day, we show our upcoming exhibitions, detailed artworks, and our 'every day' at the gallery. We like to keep in contact with our audience, even if it has to be through a screen.
Interview with The Foundry Gallery
You launched The Foundry Gallery on Old Church Street around 2010 - it was a remarkably different landscape then. Can you tell me the vision for the gallery at that time?
In 2010 Jonathan Goode and Jason Slocombe of Le Lay Architects set up the gallery to see how working alongside artists who explore the relationships between art and architecture could help better inform their architectural practice. Their vision was for the gallery to form the foundation of the practices research into how architectural ideas are conceived and how people engage with buildings and structures.
Tell me the shifts in direction you have made to now.
In the last ten years our ethos has remained the same; to show contemporary artwork which explores the relationships found and forged between art and architecture. We now spend more time with each artist(s), up to a year, in developing their work from their initial proposal to the opening of their show. We have taken on more experimental projects that further challenge both ourselves and the viewer.
Your approach whereby you don't represent artists as such, but select three to work with over a year through application for a gallery funded exhibition is pioneering - why did you decide to format the gallery like this?
Running alongside and part of Le Lay Architects means that the selling of artwork does not have to be our main priority. As a gallery we decided early on that in order to represent artists you should have the time to fully engage with the representation process. As I work part time and run the day to day operations of the gallery’s programme on my own, I don’t have the capacity to represent artists in the way I believe they should be represented.
This way of working also allows us to show a larger number of artists and a greater range of work. It also allows us to take on more experimental projects that fully explore the links between art and architecture.
You work alongside Le Lay Architects - so there is a research element. In practice from idea to execution/exhibition - how does the architect side of things inform The Foundry etc?
The understanding of material, structure and the social impact of architecture are well understood within the practice. There is a lexicon that can be shared between architects and artists and it is in the conversation around the artist’s proposal that the architects can bring new perspective to the work or the way that it can be interpreted. On a practical level it allows artists to experiment as issues of hanging the work in non-conventional ways is supported.
There has been such a growing symbiosis and relationship between art, architecture, design across the landscape over the years - how have your own exhibitions/artists you work with evolved over the years?
From the offset we wanted to show multi-disciplinary work from a range of artists. Having studied Fine Art at art college for 5 years and having taught Fine Art on a UAL Foundation Art and Design course for 7 years I have always been interested in the inter-disciplinary nature of contemporary art.
By not having a house style we have the freedom to explore different ideas and ways of working with the artist. Over the years we have shown painting, printmaking, photography, installation, sculpture, performance and drawing; challenging the ideas we have about the relationships between art and architecture.
You are almost like a talent incubator - working with artists for a year collaboratively to give a supportive framework. What do you think are the greatest challenges for a young artist in the 21st Century / digital age that perhaps didn't exist when you first opened?
Thank you for saying we are like a talent incubator. I take great pride in supporting artists for a year before their show. It is a privilege to be involved in their working process and the part of my job that I enjoy the most. I think that the greatest challenge for a young artist is for their work to be noticed. In our image saturated society where we are continually bombarded with pictures it is increasingly difficult for your work to be seen. The pressure of social media wasn’t as great 10 years ago as it is now, artists have to be seen to continually update their feeds and gain likes in order to feel like they have gained success. Because you can see artwork or an exhibition readily via a phone or device, people have become less interested in seeing the work in person. But it is very hard to show the materiality of an artwork in a small square on a small screen.
You work a lot with artists updating ideas on spatialism, constructivism and 're-seeing things' - can you tell me more?
In two of our recent shows ‘Vanishing Points’ and ‘Interject’ the artists have played with conventional notions about space. Their site-specific installations transformed the gallery and challenged how we the gallery experience a space we know so well and how our audience and viewers interact with the artwork and the space.
Rosalind Davis and Justin Hibbs’s collaborative show ‘Vanishing Points’ bought together different aspects of their respective practices. They created a site-specific transformative and experiential installation which explored “how space can be both clearly and deceivingly bordered, walled, outlined and mirrored.” Jillian Knipe. The works were constructed site specifically, using modular elements such as steel frameworks and mirrored sculptures that both reflect and reconfigure the space, acting as an endlessly changing compositional device as the viewer navigated the space.
Tim Ralston’s ephemeral, architecturally scaled, site-responsive paintings in his show “Interject” intervened and sliced through the gallery space which they temporarily inhabited. Ralston’s artworks are concerned with our connection to the landscape, and the specious nature of landscape as seen throughout art history. The traditional understanding of landscape is turned on its head, there is no ostensible depiction of nature in the works but rather they are an abstraction of the landscape; a visual realisation of his energetic relationship and response to an environment. Viewed in the round the paintings become three-dimensional objects, challenging our perception of painting and the classic landscape genre. The context in which Ralston’s artworks are viewed is important, the viewer and the site activating them.
You offer contemporary practices - both in design but also ideas around wellbeing and sustainability - can you tell me more?
Le Lay Architects are influenced by their work on historic buildings and this experience underpins their approach to contemporary design. Their research allows them to understand the culture and tradition of built form and how it is embedded within the fabric of the building. The principles of architectural stewardship are very much contemporary issues and form the basis of our approach to sustainability.
Who stands out as some of the most interesting/profound/unexpected artists you have worked with along the way - whom perhaps got an audience/traction you weren't expecting etc?
We are very lucky to have worked with 21 interesting artists over the last ten years They are a very diverse group of people who have bought 21 noteworthy projects to us. All of their projects have helped them develop their individual artistic practice and added to the visual lexicon of the inter-disciplinary nature of art and architecture.
How has your following / buyer / demographic shifted over the years (if they have)?
We continue to gain audiences for the work that we show. Each artist brings their own audience and followers and in turn they start to follow us and the work that we do and the artists we have worked with in the past are very supportive of us. Sloane Square Magazine has always been very supportive as are a number of national and international art, design and interiors journals.
How will you be participating in Kensington Chelsea Art Week? What do you love about being part of the Chelsea art scene and what do you think makes this event so successful in celebrating the wealth of cultural and artistic talent in the area?
During KCAW our current exhibition “Intermediate Interactions” will be open from Tuesday to Thursday 11-4pm and if you can’t make our opening hours then we can open by appointment.
What will be your exhibition during KCAW? Can you tell us more about the artist - how have you gone about curating the exhibition?
‘Intermediate Interactions’ is a collaborative exhibition by Olivia Turner and William Braithwaite. The exhibition compares how the two artists view and represent very similar subjects in their artwork. Focusing on the architectural legacy of Brutalism; conceived as a utopian form that emphasised the raw nature of manufactured materials of concrete, metal and glass, Olivia and William explore the characteristics of Brutalist buildings and the plastic nature of the concrete forms the style produced they take this and integrate it into their individual and collaborative work; paintings and sculpture which have geometry and structure at their core.
As the art world becomes ever more democratic and too shifted by social media and digital, how can the formal art gallery continue to inspire?
We are very lucky to have a bricks and mortar space in which to show artwork to a growing audience. I continue to believe that the best way to view artwork is to experience it in person. The scale, colour and form of an artwork are all lost when it is seen on a small square on a screen.
What are the future plans for The Foundry Gallery?
We have an exciting exhibition programme planned for 2021 which we are working on alongside the artists that we will be showing: Katrina Russell Adams, Lisa Traxler and Jonathan McCree. Our plans for the future are to continue to showcase contemporary artwork that explore the relationships between art and architecture.
www.thefoundrygallery.org
Interview with Actress and Director, Jessica Regan
Chelsea Psychic Garden generally doesn't do theatre performances, how did this project come about?
I was invited to visit to discuss the possibility of doing a podcast about the garden and its fascinating history. I was struck not only by the beauty of the garden but how suitable it is for a socially distanced audience and promenade performance. Talk soon turned to the possibilities of the space and I resolved to stage something there as soon as possible.
Claire Dowie is known for pioneering 'Stand up theatre' - why did you choose to focus on her monologues, The Year of The Monkey?
I saw her original production where she performed all the monologues herself at the Edinburgh festival in 2001. It electrified me, the simplicity, the humour and heartbreak of it all. It never really left me and of course a series of monologues is currently the safest option to stage right now. But not the only option and we are looking ahead to the future.
The triptych is combined of three different stories - can you tell us more of each story, how you see them interweave, why you think they are relevant and resonate to audiences today?
They are stand alone pieces, each a mini-play in its own right. Dowie’s writing is simply extraordinary, at once timeless and immediate. The monologues deal with loneliness, isolation, community and connection-themes that could not be more pertinent right now.
You act and direct - is this your directorial debut? Professionally speaking, yes.
Whilst your acting portfolio includes long form plays such as Eugene O' Neill's Long Day's Journey into Night, what were the challenges to putting together these short monologues?
Honestly it’s been a joy. I’m working with tremendous actors, a brilliant text and the team at Chelsea Physic Garden has been welcoming, open-minded and supportive. The challenge is really getting people to come along in these everchanging times. But we are only interested in safe, responsible storytelling which we are ensuring through repeated performances to small, separate groups.
What could you draw on from your past catalogue of work? What was your way in both as an actor and now director?
All three of us met performing in ‘Henry V’ at Regent’s Park Theatre in 2016 so we are familiar with being at the mercy of the elements…and also how to work with an environment that’s not always in your control to elevate rather than frustrate your performance. Regarding directing there’s only so much time you can spend in rehearsal rooms and on sets without drawing your own conclusions about what works and what doesn’t work when it comes to serving the story and bringing out the best in everyone involved.
Did you cast Polly Frame and Catrin Aaron - what did you think they could bring to their respective roles?
I certainly did. As I mentioned we were in the trenches together-quite literally as the army captains in ‘Henry V’. They are both huge talents I could watch endlessly-helpful when you are rehearsing! They are also a joy offstage, backstage…in any room really. For a first time foray like this you want people that you’ve built that trust with, who understand your shorthand.
Tell me about the challenges of creating continuity and a cohesion when directing theatre of this kind?
Ask me in a week! That’s about to be discovered I reckon. But as I said to Thomas Gilliford who works at and brought me in…we’ll learn nothing about how this could and should be done by talking about it. Let’s forge ahead and learn and perfect as we go.
I believe the settings move audiences around - can you tell me the differences in directing outdoor/immersive theatre?
Each actor has a distinct designated playing space in the garden. The audience will be guided along to each performance. I think the differences are largely contingency plans that can be incorporated into the performances if the weather is against us. Actors in outdoor performances as anyone from The Globe will tell you need to be at the top of their game technically. It is whole body engagement and your voice has a lot to battle against. But it’s so invigorating…I love it.
The performances are very short - how can you bring the audiences straight in on narrative, character arc and so forth?
The show will be close to an hour which not a short time to be standing and watching in October so I think it’s brevity is a big strength. Bear in mind it is being performed 16 times in two days by the actor to enable social distancing. It’s actually a marathon! Each monologue is so beautifully constructed by Dowie I have no worries about the audience coming on each contrasting journey.
What do you want audiences to take away from these performances?
Theatre for me has always been about connection and shared humanity so primarily those experiences but also I want people to lose themselves for a bit in these stories and be entertained and transported.
What did you enjoy most about this project with the Chelsea Psychic Garden?
That we found a way. Theatre is not over. It is inherently a collaborative artform and new, innovative collaborations will ensure its future.
If this were to become a regular feature, what else would you have in mind to feature in/direct?
So many! Ideally I envision a spring / summer season that would feature a classical, a contemporary, and one new commissioned play. ‘The Herbal Bed’ by Peter Whelan immediately springs to mind as well as literary works such as ‘My Brilliant Career’…I have an idea as well of an immersive Dangerous Liaisons…Covid-friendly by using the letters from the original book and musicians stewarding the audience. I’d also love to do a Chelsea to Chelsea exchange with New York that would involve new writing, live performance and streaming to reach wider audiences…I haven’t stopped thinking about a programme since that first visit…as you can probably tell.
Interview with the Founder of Frock Me Vintage Fair
Vintage fashion has become such a vague term these days - can you tell me your starting point for pieces you source / exhibit and how has that evolved?
We don't actually source pieces ourselves - as the event organiser we curate the fair itself. We take great care in selecting the exhibitors who participate in the events - we work hard to bring together vintage dealers with diverse interests from across the UK and beyond. The fair attracts fashion design teams, costume departments, those in the vintage trade and the public who are all looking for something different so we try to ensure that there is something that will appeal to everyone.
You are a unique fair in that each of your stalls has a niche speciality - (1970s fashion, French textiles etc) - where do most of your stallholders come to Chelsea Town Hall from? How do you feel this curated format has been crucial to your longevity as a vintage fair?
There are over 60 exhibitors at each fair we hold in Chelsea (and approximately 100 when we hold events at Kensington Town Hall, (which has an extra floor of vintage and antique jewellery dealers.) The stallholders hail from across the UK, some are based in France and we occasionally have visitors from the US or other European countries whom have taken part. The common denominator amongst all the exhibitors, who are very varied, is that they are dedicated to trading in vintage clothing / textiles / accessories and they are passionate about what they do. The majority of the stallholders are regulars; some who started out at the event from the very beginning, and their participation helps to create the unique atmosphere of the shows. There's a real sense of community and those who take part in the fairs or who visit often comment on this, which marks us out from the rest, alongside being the original event in London to focus on vintage fashion back in 1997. It's also a tight knit team who work on the fairs, with many family members involved since its inception.
Can you tell me about some of the more challenging/exquisite pieces you have managed to source/sell over the years? You must have so many anecdotes!
This is a better question for our exhibitors. However, we often hear of prestigious designers buying pieces from the fair or are informed by our exhibitors of dramas / films where many of the costumes were sourced by stylists and costume directors at the event - e.g. Downton Abbey. The Dior team have also been regular visitors to the fairs in recent times.
What do you love about the Chelsea location and the community that congregate to the Town Hall events?
The King's Road has such a rich fashion history; from designers such as Mary Quant, the many boutiques of the Swinging Sixties to Vivienne Westwood and the punk scene. The area has always had a focus on design and Chelsea Old Town Hall itself was even once the venue for Ossie Clark catwalk shows. It always feels special returning to the King's Road!
How has your customer demographic and their approach to vintage buying/sourcing changed over the years?
Over the last two years, we have seen a massive shift in the customer demographic. A younger generation of shoppers have rediscovered vintage shopping and specifically buying staple / statement pieces that will last them a lifetime. The focus on sustainability and shift away from fast fashion has drawn a new crowd to the fair. Many overseas students studying in the UK travel to the event and for some it maybe their first time visiting such a vintage event. We also have a very loyal following who have been with us from the beginning - from vintage aficionados to those working in design or with their own vintage businesses.
You evolved to bring in jewellery and antiques too; why did this feel like a natural progression and how do the fairs cross pollinate?
Matthew has a separate antiques fair (Adams Antiques Fair at The Royal Horticultural Halls) which is completely independent and we don't have antiques for sale at Frock Me but we have incorporated antique jewellery over the last couple of years. At Frock Me, itself, the focus is very much vintage fashion and we actually limit the number of those who specialise in jewellery. This gave rise to the idea of a separate fair, Frock Me Jewellery Fair, which occupies the first floor at Kensington Town Hall for events. There's always been a great demand for quality jewellery and we noticed a gap in the market for a more accessible way for the public to become interested in antique jewellery from our experience of a growing number of younger shoppers specifically coming to our antiques fair looking out for antique gold or diamond keepsakes.
What has this Covid time meant for you - how do you think, if at all, the Frock Me Vintage Fairs will change when we come out of these strange times?
It has been a challenging time and we have been obliged to cancel all events since March 2020. We're looking forward to returning when it's safe to do so and at the moment anticipate this being on Sunday 4th October 2020. We're currently working on ways to make this work as best we can whilst adhering to the guidelines in place.
What is the future for Frock Me Vintage?
To continue doing what we do best; bringing together the best exhibitors in vintage fashion and textiles - to inspire design and sustainable living well into the future!
www.frockmevintagefashion.com
Interview with co-founders François and Jonathan, of Bestro.
Tell me about how you met and your background in food?
We met 7 years ago back in Dubai thanks to a mutual friend. As we became very good friends quite rapidly, we started travelling to many places together in order to discover more and more about world food along the way. In total, we have visited 11 countries and have learned hugely how to adapt our French traditions with flavours of the world. Our background is pretty straightforward; Francois’s father owned a bar and a restaurant, he started at a very early stage to help him out in the evenings and weekend, which then followed by the way of hotel school, which then turned into a career. Jonathan discovered the industry by having a short experience in a restaurant when he was 14 years old, whilst helping out a family friend. This was a life changing experience and kickstarted a passion of both food and beverage and he went to study in that direction.
How did the idea for Bestro come about - how long from idea to execution?
The idea of starting something together originated after a visit in central Europe and specifically in Prague, which combined at the time, a potential return to Europe to establish a business and becoming full owner of a location. Jonathan created a French bistro in Dubai called Bistro des arts and as the concept was working quite well, we decided to try and bring a bit more originality to what we like to call 'bistronomie' by mixing our French traditions with the multiple international experiences we have had together or even separately. After knowing what we wanted to do and finally deciding to relocate, London became a top destination for us since we do believe this is the capital of food and beverage in Europe and setting an office here would highly help the development of the brand, the company and us at the same time. To finally execute this, we managed in a 100 days to visit nearly 20 sites around London, then decided on 386 King's Road and started a full refurbishment made by the both of us without any contractors. Our unofficial opening was back on February 20th.
Be-stro is obviously a play on the traditional French bistro - can you explain the exact concept of Bestro restaurant?
The concept we wanted to bring, as you mentioned, is a take on a traditional bistro but with a touch of modernity and originality to it. First by calling it “Be-stro," which for us represents the overall real experience of bistro by the being… 'to be or not to be a bistro and be part of the Bestro experience.' After the name, we wanted to reflect both our travels and the city of London into the logo which is why we added the element of a compass. London postcodes are based on the North, West, East and South elements, which are clearly present in a compass but also represents the discovery and the expedition travellers go through while travelling. Lastly, the rooster being the main element of the logo, simply to represent the French pillar that our restaurant has been designed around.
What draws you to that type of French classic?
Because classic and old will always be good but can also be made better if worked a bit differently and with originality.
Why did you chose the King’s Road location? What do you love about the community?
King's Road as well as being a highly central location is also the heart of the biggest French community here, and while we do not intend to only cater for French people, it is also important to have them buying into the concept and being able to have beautiful French food made in a way they never had before. Additionally and with as much importance, this location is in the heart of a real community and what we love is to be able to create this special relationship with our customers that are neighbours and soon will also become an entire part of our business. We enjoy being able to be flexible with any requests; we adore the fact that people return to the restaurant, so we can create a proper personalized experience. So far, we have managed to create strong ties with many people living here for a very long time and the main feedback is always the same… A local restaurant serving quality food in a great and friendly environment is the only thing that was missing here.
Whom designed the interior concepts/layout of the restaurant?
François and myself always work really hard together and love having brainstorming sessions. Ideas come from both sides but the most important thing is that they are always discussed, modified, reviewed and approved together. It is the team work of two great friends having the ultimate dream of building a brand that answers what people are now looking for and manage to vacuum all the new market expectations.
Tell me some of the signatures and classics on the menu.
We proudly must have one of the best and most original vegetarian dishes possible on a menu. François took on a classic dessert, which is the apple tarte tatin, and turned it around with another great fruit, which is the tomato and made a wonderful dish with it by roasting the tomatoes in contact with the puff pastry and therefore recreates the same reaction as the dessert but provides an amazing starter for any vegetarian looking for something completely new to them. Added to that already beautiful tart, we have added multi layers of depth and flavours with pickled shallots, multi coloured cherry tomatoes and taggiasca sweet seedless olives.
Our seabass ceviche also became very fast a must-order item on our menu as it is a complex recipe inspired by a Peruvian concept we opened back in the Middle East. There are more than 9 ingredients involved in the preparation of this dish and each of them brings something unique and special. While many of them are traditional, François has managed once again to bring unexpected produce such as sweet potatoes and polenta to add extra layers of texture and sweetness.
I could go on for a very long time as each of our dishes has a history and is based on specific experience we either shared together or had with others. Main items are the SW chicken with crispy polenta and a south west of France vegetable mixture called basquaise, but it also includes our amazing duck magret cooked to a crispy perfection along with slowly roasted vegetables and an amazing honey sweet based spiced sauce. The Japanese salmon teriyaki is a fish lover dream while our Irih meat cuts are the best you can find.
Tell me about the day to day running of the business and how you divide up tasks?
The COVID pandemic has had a huge impact on all of us and, of course, it has changed the entire dynamic of the Bestro. We sure are in a very complicated time, which has seen us having to separate from the staff we originally hired and sees only the two of us on daily basis at the premises taking care of everything. Jonathan looks after the front of house operation and mainly the admin part while Francois looks after the back of house responsibilities including tedious(!) preparations and mise-en-place for the different service we propose.
What has been the most challenging part of setting up Bestro so far?
Without a doubt, opening a brand new restaurant in the middle of a pandemic, having to deal with the already existing pressure we were under on top of being forced to close and also having to listen to very confusing guidelines from the UK government and the world in general. It is not easy to have your own opinion to start with but what is now our biggest challenge is to be able to extend our passion to guests, that for most, are still very scared of a virus that we still don’t know much about. Our work is based on local relationship but so far, the local part of the community is what has been hurt the most by this unfortunate time in our life. Hospitality is a contact driven industry in a world that now requires being contactless. We only want to reassure all our guests that we are taking all the necessary steps to provide a fully safe experience and we are ready to adapt any requests or situation to what our lovely clientele expectations are.
Where do you source produce - and what are you looking for when you do?
We are French but we are people of the world primarily. In this day and age, we need to think globally and try and help the best way we can in having a green look at things. Therefore, we source most of our product within the UK in order to save as much carbon emission as possible - we are making sure to always have a perfect and locally sourced alternative to any produce we can. Of course some items can’t be purchased from UK economy but they are minimized to the best we possibly can and are always the last resort in our decisions. We want to help local farmers and local economy by sourcing this way. What we are looking is always the same: Quality over quantity and value over luxury, taken the best produce available, sized in a way that the end value for our guests is very strong and unique
Do you work with any collaboratives / NGO's in particular?
At the moment we are using centralized sourcing suppliers as the supply chain has been really hurt by COVID, however as soon as possible we will look to collaborate.
How do you think the Food & Beverage system needs to evolve to be part of a chain linking wellbeing, agriculture and the environment?
Operators need to divert their focus from the eternal profit driven decisions they have been taking for a very long time and change the way they are seeing things by focusing on the long term future for the coming generations. The trade needs to finds its way better between all the parts and the supply chain needs to be made easier by the people involved.
How do you see the future of Bestro - what do the next 5 years have in store for you?
Ultimately, our dream is to have a strong flagship on King's Road, that will allow us to develop more locations around London but also a different level depending on the location itself - answering different needs from each market.
386 King's Road.
Interview with the oldest news kiosk in London, Haines News
Haines is renowned as 'the oldest kiosk' in London (and still family run) but can you tell me exactly when it started and how the idea came about?
The Haines family has been trading in Sloane Square for over 128 years. We know that my great Grandad, Thomas Haines, was selling papers in the 1880s on the Square and established his own business from this.
What was the context of that time - how were newspapers/tobacco distributed back then - what do you think made Haines such a hit as a 'destination' then and still today?
Things were a little different back then as the newspapers, other than word of mouth, were the only form of news. From the late 1920s onwards radio became more commonplace and was used as a news source.
Chelsea was always quite an affluent area and this has to be considered in terms of the demographics of the population. Thomas, who was the founder of our family run business, was born in Whittaker Street some 0.1 mile (500 feet) from Sloane Square station. Sadly the old houses have now been replaced. He worked while still at school, selling both morning and evening papers from wooden crates outside the station and various Sloane Square locations; he had in excess of 6 ‘pitches’ by the end of his teens. The evening papers were extremely popular for the sporting results, only slowing down slightly with ‘Grandstand’ and ‘World of Sport’ on the TV. My mum, Sarah, can remember during her early years of helping her Dad John, selling the evening papers on a Saturday when folks would line up after the football waiting for the vans to arrive and the papers would have the classified and pools (football) and racing results printed across the bottom in red as a footnote. We only sold newspapers originally, moving on to popular magazines and over time, more titles evolved and they became more popular and affordable. Another factor of growing popularity of printed material being that In the 19th century not everyone could read well.
Tobacco in those days was sold through Tobacconists who specialised in that field. Pipe and rolling tobacco were more commonplace and affordable than tailor-made cigarettes. For Haines, tobacco and e-cigarettes is a relatively new business diversification.
Grandad (Tom) was injured badly in the First World War, however continued to work with his eldest son John joining him during the Second World War. John Haines was not allowed to join up as he was deaf, but played his part as a member of the ARP on ‘fire-watch’ at Battersea Power Station. He would often work on the news-stand all day, having opened very early in the morning and then go straight out on ‘watch’ and return to work the next day. He worked alongside his father Thomas, eventually taking over. After the war John’s brothers Harry (Royal Navy) and Peter (British Army) joined the family business. The business grew and at its peak was delivering to over 3,000 homes, businesses, and hotels in the Chelsea area, employing 11 full time family members. We provided an excellent, reliable and discreet service at both of our kiosks; one outside Sloane Square station and the other between Lloyds and Barclays Banks. In those days the banks stood side by side, and as he didn’t want to anger either of the Bank Managers, John had an account with both Banks. John always held the Managers in high regard. Bank Managers in the day were powerful people to small businesses, as the decision making was theirs and theirs alone.
We have served and still serve many famous and infamous people. They enjoy the anonymity that we provide. As a schoolgirl my mum and an Uncle had responsibility for handwriting many of the accounts out by hand, no computerised accounts in those days! We were also one of the first in our road to have a telephone as we would be called all times of day and night for stopping and starting of deliveries as our customers travelled. The reason we continue to be popular is that we have always provided a friendly and discreet service to all of our customers. For some customers it is just a ‘how are you?’ and a friendly smile, this can really make someone’s day; we often get customers staying for a chat while they have a coffee, for others sadly we may be the only conversation they get that day.
So what generation are you now running Haines? What's the most seminal piece of advice you've been passed down?
I am currently the fourth generation, working with my mum who is third generation Haines. Last year I had my first child, a wonderful daughter. She is only 16 months old but is already marching around the house with my newspaper so she definitely has Haines newsprint in her blood.
The best piece of advice my mum has given me is that in business you need to be ready to adapt and to change. This has sometimes been a challenge for me as my personality is one that likes a plan to be in place and I can sometimes struggle to deviate from the original plan. It isn’t necessarily advice but the Haines family has always appreciated being part of the Sloane Square community and it is something that we will never take for granted. We were raised with ‘old fashioned’ values and they have served myself and my brothers well.
Why was Sloane Square chosen as your location? What do you love about your local community?
Sloane Square wasn’t chosen, it was round the corner from where Grandad was born and lived. We can trace back 7 generations between my Nan and my Grandad’s families to less than 3 miles of the Square. If my Great Grandad hadn’t been delivering newspapers to Eaton Square he would never have met our Great-Nan who was a cook in one of the big houses there.
We know that our location has enabled the business to continue, enjoying the hey days in Chelsea especially of the 60s, 70s and 80s. The days of iconic fashion from Mary Quant, Vidal Sassoon and the days of the Punks to the emergence of the ‘Sloane Rangers’ and the most famous one, Lady Diana Spencer! As the generations have passed we have moved out of the Chelsea area, due to affordability. My Grandad was born in Battersea where his parents moved to as it was less money, renting a room one street away from Albert Bridge and my nan grew up in First Street, Chelsea; she often teased him for being born on the ‘poor side of the river’.
We absolutely love the area; it is like no other part of London. For me, I find there is a real village feel around Sloane Square and the King’s Road. We are enjoying new gems like Pavilion Road which has only added to the ambience and character of our ‘Village’.
You must have plenty of anecdotes from generations of customers whom have returned to Haines over time...
We have seen and served so many famous and influential customers during ours and our grandparents time in Chelsea. We try to treat all the customers that come to Haines with the same warm smile, however sometimes you can’t help notice who you are serving, actors, sports star, musicians or royalty but it was drummed into us from a very early age to just treat everyone the same and now I am old enough, I see that they appreciate that they are treated with anonymity. With my Mum its not hard, as she really doesn’t have a clue half the time that she just served the Manager of Chelsea or the star of a tv show!
Who designed the original 'box' and what was the style of it at the time?
Our ‘Stands’ as my grandparents and great grandparents called them, we now call the kiosk. Originally great Grandad had ‘boxes’. These then grew in size as the business grew. He would have a few wooden crates originally which would hold a supply of each title and when busy folks would throw in the coin and pick up the paper from the box as they rushed into the station. In the evening originally there were three main titles. Now of course, there is only one and it is a free paper. As the business grew so did the size of the wooden box, slowly as it grew in width and depth, it also gained a small roof (see picture of one outside the banks with John (2nd gen). The kiosk we now have was designed by Thomas Heatherwick (2007), who subsequently designed the London Olympics Cauldron and Flame carriers in 2012 and the new Routemaster bus.
How have you evolved over the years - what times stand out the most for being the most challenging/satisfying etc?
We have had to evolve like many businesses lasting so many years. Initially the family only sold newspapers. This soon expanded to newspapers and magazines when they became more popular and lifestyles changed. Newspaper circulations are falling year on year and we have had to diversify in order to survive. We now sell many things including coffee, cold drinks, confectionery, stationary and a variety of tobacco products.
Unfortunately, we don’t have too many photos as selfies weren’t around in the early days of the business.
We are lucky that longevity runs in the family such that we have had tales told from our grandparents that our parents have passed down to us. We have always been involved in the business, as boys (as I am one of 4!) our Mum (Sarah) has always insisted we worked in some way for the business, whether it be delivering a paper or sorting out the returns to go back, we had to work. We didn’t understand this at the time, however now we appreciate that we learnt the cycle of business without even thinking about it. The importance of Customer Service, display, stock rotation and dressing according to the weather,this is probably one of the most important as it can be bitterly cold and no fun when you are soaking wet!
Tell me more about the current design of the box by Thomas Heatherwick? Why did you choose him?
Thomas Heatherwick was already working with RBKC and the stand was designed before we became involved. Thomas had worked with another news vendor who only sold newspapers Monday to Friday. So the remit that Thomas worked to was different to how we worked – our challenge was to make the Heatherwick work for us. When we took on the kiosk it was an open shell, the interior design you see today is everchanging as our business adapts to market trends. We introduced the refrigeration, the display for the other items has grown over time. The idea for a washing line of savoury snacks came from Mum and thinking about her washing line. The need for a ‘door’ meant we created, with the help of the design studios, a box that opened to allow us access; the shelving for the magazines was a concept from the original design. It is a solid steel moulded frame with wood cladding on the inside and copper on the outside. Thomas wanted something that looks aged and would fit in with the borough. It is a bit of an icon of design!
How have you changed and developed to adapt to a digital age of publishing?
Unfortunately, we haven’t been able to adapt to the digital age of publishing. It is an area of the industry we struggle to compete with. Digital publishing is cheaper for customers however we believe that there are many people who still prefer to have a paper in their hands and we are very grateful for their custom and hope that this continues. It’s a little like an old paperback versus a Kindle or Ipad on holiday, one you can leave safely on your sunbed!
What products do you sell that readers might be most surprised about?
There are many items that we sell that customers are always surprised by, the most common being a range of stamps. There aren’t many Post Offices left in Chelsea so we were constantly being asked for them by locals. We only have to have a couple of requests for something and we will try it out as we are here for our customers and try to ensure we stock what folks want to buy from us, as long as it is practical and of course, legal.
How will you continue to evolve whilst maintaining the essence of Haines 'the oldest kiosk news kiosk in London'? How do you see the next 5 years?
We have had to evolve in order to stay in business. We still have a wonderful core of customers who want their news and entertainment in print. We have had to rely on customers informing us what they require for new product ideas and the majority of the time we will get these products in. More often than not these products stay on sale permanently. This is how we came to sell a range of e-cigarettes, phone charging cables, batteries to name only a few.
The next 5 years at the moment is anyone’s guess…we have however survived two World Wars, Spanish Flu and the Times strike in 1979 which lasted for one year. We will do whatever is necessary, one of our biggest hurdles however is our ability to get ourselves and our supplies to our place of work, which is proving increasingly difficult due to the changes and control of road usage. In an industry where much happens before the transport links wake-up and the need for carriage of heavy goods, bicycles and public transport will not be a solution for us and other small businesses in our wonderful city.
Interview with Elisha Carter, the Founder of The Cherry Moon
How did you come up with the idea for Cherry Moon - how long was it from idea to execution?
The Cherry Moon was heavily influenced by our photography background and services for emerging and independent designers, we would scour the trade shows such as London Fashion Week, where we built up relationships with UK and international designers, who were looking for a platform that would see more than just pieces that were moving with the trends but a slow fashion that was unique in representing their story, passion and connection with the consumer for the customer to want more of and discover investment, limited pieces that are of high quality and also represent designers that position themselves as affordable luxury. My Business partner Jevz built our online in 2018 and one year later we went on to open our first physical store on King’s Road Chelsea.
What was your background in fashion before opening the store?
I have worked in many fields of business, all relating to fashion, PR and the music industry. I also studied performing arts, dance and theatre studies and technical lighting, of which I had an interest to be lighting technician for theatre and film. I have always loved simplistic, classic styles of clothing from a young child.
You came about from a different angle: online to physical store - tell me about the decision to work this way round and how they seamlessly connect now?
As we were working online with designers in the luxury segment, they were looking for a physical presence to connect with the customers, who can appreciate the quality that come with the price and story of how they started and why…and that is why we were eager to have physical presence so this can be identified, leaving customers confident and happy to further shop these brands online, already knowing what to expect from quality and feel.
Your vision has always been to create a platform for emerging and independent talent - can you tell me about what you look for in a brand before stocking?
I look for designers with a raw highly aesthetic vision with passion behind their journeys and what they create, and then I go through every single piece of their collections making sure I pick the best pieces suited to our online and store. If a brand is not entirely ready but has an exceptional piece, I feel it should be exposed / discovered as soon as possible because, in my eyes, they deserve the exposure and are just as good as any other high end brand out there sometimes even better…I want brands that are more than just brands, even if they are limited they are leaving a memory and sentimental value to our customers.
Tell me about some of the brands whom you carry - are they all UK centric or worldwide?
I have a mix of international and UK brands that range from apparel, jewellery, accessories, shoes, beauty and wellness too. One of my main brands, who I work very closely with, is named Gina.p from Italy - her name is Roberta Ciceri and she is also my Creative Director, she is everything I described I want in a brand above but more and carries a special eye for interiors and creative visuals as well as designing clothing.
Are all the designers in the store also available online?
The majority are; we have one-off collections that are visible to customers and will stay available online and in store or only in store. Although I do feel it is very important for all designers who are in store to be available to shop online, even if only for the duration of their time in-store, because 9/10 the customer will look for them online to find out more or shop further of their collections
What were the challenges you faced as a female founder before launching Cherry Moon?
I have not faced any major challenges as yet, there other challenges but none so far that are anti female towards being a female founder…touch wood!
How do you think times have come on for women in the workplace? And how do you try and re-enact that with diversity of employment and opportunities?
Oh with out a doubt I feel women are definitely being taken on more seriously in business, the female boss has leaped in strength over the last couple of years, women in empowerment are standing stronger than ever and men are starting to see that we are just as great leaders as they are. (Of course there are still a lot of old fashioned mentalities out there.) At The Cherry Moon there is a place for everyone, female, male, bisexual, transgender, regardless of disability and race. The Cherry Moon supports and empowers each other.
What's the most challenging part of your day to day as a female founder / owner?
Everything! Seriously because each hour and day spent in-store, brand resourcing, meeting designers it is so important to me. They must feel inspired when they meet or leave our store – the experience is so important it is all definitely a challenge.
What's your main demographic of buyer - how do you think how they shop / what they shop has differed over time?
We have a wide range actually from, I would say, 23 to even 70’s. We try to have pieces that are relatable to most age groups, because we also have a eye for the classics with a modern twist it keeps our buyers intrigued because a lot of them do like classic or vintage inspired pieces and prints that are hard to find. I feel the older generation are embracing the modern twist and also the younger shoppers are appreciating the old school styles and looks we recreate here on King’s road
What do you love about the King’s Road community? Why did you choose Chelsea as your location?
Everything! I possibly cannot see us any where else. King’s Road, Chelsea is by far the best cultural, stylish eccentric place to be in London. King’s Road has not lost its heritage, it is a brand, within itself. I love the community they know what they want! Every designer wants to brand themselves on King’s Road, amongst the most iconic names in fashion and music.
You've segued wellness into the offering too - how do you see the future of fashion and shopping?
Beauty and wellness is a big part of our daily lives and I want to offer this innovative shopping experience with The Beauty Lounge upstairs allowing customers to discover more vegan, sustainable, beauty brands targeting different skin types with organically fresh, clean personality fragrances. I think the future of fashion and shopping needs to be more innovative and appealing - the customer experience is everything, and we all need variety. At The Cherry Moon we look forward to offering this under one roof, the away from home, but at-home feeling. What we put on our skin is equally important to how we dress.
How do you aim to incorporate issues like sustainability and ethical practice into the Cherry Moon offering?
Most of our designers have a sustainable approach and are sustainable in packaging, choice of materials etc. Even our skincare brands are plastic-free - cleaning up of the seas is something we are very passionate about and promote through our brands, even our own cherry moon bags.
Would you create your own in-house line?
Oh yes, definitely – this is in the pipeline to develop The Cherry Moon's personal signature style by branding ourselves. This will allow for more freedom to bloom personally with our signature pieces it will allow customers to understand me personally too and my style!
What shifts did you make during Covid that you will continue to implement in the future?
Pivoting into a new model, by combining beauty and fashion together and thereby offering a unique and personable boutique shopping experience. There is a lot more we can implement as we continue our journey here..
What are the plans for the next year of the store?
The plan is to continue to strive and be a 'go-to store and platform,' being only one Cherry Moon in London, King’s Road, so if you are international and you travel to London you will have to come to King’s Road to find us. With God’s grace going forward in the future we hope to start another store - but it would be international. I live and breathe my job and seeing a customer walk out with a purchase and our bag along with a satisfied smile and experience is by far the best feeling ever for me!
Interview with Antonia Timpany of Sign of The Times
Another of our favourite longstanding independent stores, Sign of the Times, based in Chelsea Green has established itself as a destination store for curated pre-loved luxury fashion for 35 years. We caught up with owner, creative director and long time expert in pre-owned and vintage fashion, Antonia Timpany.
Antonia Timpany
What have you learnt about Sign of the Times as a business and your consumer during Covid?
We have a tremendously loyal clientele. Many of them took time out of their day to text, email and call to wish us well which was tremendously encouraging.
Secondly it was always my vision to expand SOTT online but the last few months somewhat forced us to evolve more quickly. It was really great to have such a positive response from our clientele to buying and selling online. It’s not for everyone, and the store will always have a huge importance, but it’s great to add another string to our bow and cater for customers however they like to shop.
What changes did you have to implement during store closure and what will you continue with
We offered video selling appointments and complimentary selling collections UK wide which has increased our selling base enormously and will be something we are keen to continue.
Alongside this buying online via Instagram was a new concept for our Sign of the Times clients but it has been very well received. And has given us the confidence to push forward more quickly with our new online store.
We have appointed a new Director of Ecommerce who worked previously at The Outnet and Net-a-Porter. She has come on board to bring to life our vision of creating a beautiful website with perfectly curated pre-owned designer goods. We want to make the buying and selling of preloved as enjoyable as buying new and offer an alternative to online marketplaces which can require the customer to wade through a lot of stock before they find the piece they’re looking for.
This will be a new website that will build on all we have learnt from Timpanys.com which we launched 5 years ago. The timing could not be better for our Sign of the Times customers who have become more accustomed to buying online during the Covid crises. Ours is a personal business, we have valued relationships built over many years with our customers and we need to ensure we continue to provide the best service we can however it is delivered.
What's the first thing you will do when you reopen on Monday?
Breathe a sigh of relief! Secondly and most importantly we need to make sure our lovely clients know they can come and see us and that we will do all we can to keep them safe. Thirdly we need to make sure everything is wonderfully organised as there are some exceptional clothes and accessories in store that were collected during lockdown.
Sign of the Times has been open 35 years - such an achievement! What was your vision when you first started out?
The vision for the Sign of the Times store as I understand it has always been to offer a luxury experience. The customer is still buying beautiful designer pieces and deserves to have the same high-end experience as they would in a store that sells new items. We have always advocated buying less, choosing well and taking a thoughtful, tailored and edited approach to your wardrobe. The landscape has changed and evolved so greatly over the years, but it feels like a cyclical return to 'slow' fashion and pre-loved items is occurring.
I think back to when I started, our customers were ’sellers’ or ‘buyers’, but now they have merged into one customer and the cyclical process has become a way of life that is an aspect of our new and growing social conscience. The quality of the clothes in our luxury market means they maintain their value for many years. It is not new to buy for example a Hermes bag as an investment piece but now it is really a market in itself and we specialise in helping customers grow their collections.
How has the rise of ecommerce and the digital landscape shifted your business?
It is absolutely key to the future of the business to be across all platforms that the customer wants to shop. Thankfully our strong position in the ecommerce world via Timpanys has served us well over the last few months as we continued to sell online. I cannot deny that it certainly adds a level of complexity to what we do but it is one with huge growth potential. It enables us to sell our product from a London store all around the world. And enables our loyal customer base to see the newest items at the click of a button.
Can you tell me about your buying process and what designers/pieces your clientele favour online and in store?
We have such an array of clients from those who love the classic and well known designer pieces by Chanel, Louis Vuitton and such like to those who prefer something more eclectic from Egg for example. We aim to cater to everyone and personally call clients when pieces come in that we know they will like. What is important to us is to only take in pieces that are seasonal and relevant to our customer base so that they never have to rummage.
Do you source bespoke pieces for clients? What's your criteria when sourcing/buying pieces?
One of the joys of this business is that it is highly personal and there is nothing better than finding that special piece for a valued customer. We have built up a strong network of sellers so can source certain high value pieces should we be approached to do so.
However apart from classic handbags we do not buy pieces. All our stock is sold on behalf of our sellers. We know our brands well and what will sell. Generally they must be a desired designer label, be in perfect condition and be no more than a year old.
What do you most enjoy about the Chelsea community?
Who would not want a beautiful shop on Chelsea Green? I have to pinch myself everyday as I walk to the store. Chelsea is a vibrant and loyal community and SOTT is very much in the middle of this having been here for 35 years. There are so many interesting personalities and stories that keep you entertained for days.
Looking back what positives will you draw from this pause time?
Whilst it has been a really tough time and I have probably never had to work so hard in my life, it has also been invaluable in enabling me to take stock and move forward parts of the business that will hopefully propel our growth more quickly as we emerge from lockdown.
What's the future for Sign of The Times?
Our customers are the most important aspect of our business and so our future will always be about providing them with the best possible service and the best pieces at great prices. We also can see the exciting opportunity that opening up SOTT to the world via our website can provide so we will be investing in making our online business as well regarded as our store.
Sign of The Times
@sign_ofthetimes
5 Elystan Street, SW3 3NT
An Interview with Guru Greg, the owner of Wilde Ones.
As we enter a new stage of Covid times we caught up with some long running independent stores that have been pioneering bespoke and vintage pieces for decades on and around the King’s Road. Today we caught up with the team at Wilde Ones, a store featuring Native American jewellery, eclectic accessories and more as they re-open:
What have you learnt about Wilde Ones as a business and your consumer during Covid?
That if we stick together we can get through anything.
What changes did you have to implement during store closure and what will you continue with?
Hand-sanitisers, masks and single-shopper policy.
Wilde Ones has such a long and impressive history starting out in the days of markets in the 80's to Kensington Market in 1991 before securing your destination King’s Road position, what do you think will be the role and place of independent stores post Covid?
We are all about championing independent stores. Unfortunately politics and current economics seem to favour large corporate chains. But we have survived the last three decades, we have survived this pandemic, and hopefully we will keep surviving for the foreseeable future.
Your longevity is no doubt due to the fact you have remained true to your original vision - to specialise in authentic Native American jewellery and artefacts sourced from around the US and also crystal jewellery. What evolvements in buying have occurred since the start?
We try to stay close to our customer base so that we have a good idea of what they are after. We are lucky to have close exclusive connections with certain artists all over the world so the products we sell can't be found anywhere else.
What are some of the signature pieces you have in currently?
Our Native American section is huge and we have a lot of big names such as Begay, Quandelacy, Lee Charley, Waatsa, etc. We also work with a German artist named Natee whose work is exclusive to us.
Do you source bespoke pieces for clients? If so, what's been the most exciting yet challenging piece to come by?
We sometimes get Natee to set certain crystals for certain clients but they usually have more than enough choice to choose from.
What's the most popular or most requested jewellery item from your emporium?
Definitely our gold pendant and ring collection. Our huge Antique Navajo Rug collection is also doing terrific. A lot of our clients are adorning their homes with these gorgeous Navajo rugs. Each one is unique, they were woven by hand about a hundred years ago and they come in a variety of sizes.
How does store purchases differ from those online?
It's nice to see familiar faces returning time and again so there is a social aspect to that. But we also try to replicate this attitude with the online store by nurturing customer relations, taking suggestions, and by being available, personable and spontaneous.
What do you most enjoy about the Kings Road community?
The regular customers come back year after year. A lot of them started shopping at Wilde Ones when they were kids and now they are bringing their own kids.
Looking back, what positives will you draw from this pause time?
We used this time to focus on tasks we wouldn't have had time for such as repainting and decorating and filling our online store to the brim. There always is a silver lining somewhere.
What's the future for Wilde Ones?
To keep doing what we're doing. The physical store will always be there and we're now extending our philosophy to our online presence. Like everything else, we're always growing and expanding. We'll be here for as long as we can make people happy.
Bob Marley Gets Recognition in Chelsea
As music legend Bob Marley’s time in Chelsea is recognised with his English Heritage 'Blue plaque', there couldn't be a more pertinent time to engage in his 'one love' philosophy, which inspired and united nations. ‘Live for yourself, you will live in vain, live for others, and you will live again.’
Benjamin Zephaniah, pictured, says Bob Marley wrote back to him when he was a boy, encouraging him with the words: ‘Young man, Britain needs you. Keep doing what you do.’ Photograph: Graeme Robertson/The Guardian
42 Oakley Street. Place of residence: music legend Bob Marley 1977
'Open your eyes, look within. Are you satisfied with the life you are living?' was an infamous line in Marley's 'Exodus' song, the lead track from arguably his most famous album, (of the same name) which featured his biggest hits, Jammin', Waiting in Vain, and One Love.
It was, infact, one of the happiest and fruitful periods in the life of the legendary Jamaican singer songwriter whom recorded 'Exodus' - the ninth album by his reggae band, Bob Marley and the Wailers - whilst living at the Chelsea address. It was also during this period that Marley developed his music, fusing elements of blues, souls and British rock into his Jamaican reggae - not only creating one of the most distinctive sounds of popular culture for decades but transcending himself into a global cultural icon. The lyrics in 'Exodus' evolve from traditional storytelling to a discourse on themes of religious politics, change and sex.
Having arrived from his native Kingston, Jamaica - Nine Mile, a stone's throw from some of the worst slums in the Western hemisphere - where Marley had through a fragmented family upbringing formed with his childhood friends to play music, learning to play the guitar - which would become the backbone of their reggae sounds.
Marley had been the ghetto kid who dreamed of 'emancipating himself from mental slavery and oppression' (Redemptionsong). He was the rebel - but one whom had a clearly defined purpose; navigating his way through the politically partisan-ed violence abounding in Kingston, Jamaica, he implored the many divisions of his impoverished hometown society to unite through his lyrics - his concerts brought together warring political parties, united enemies and healed fragmented communities through a higher purpose: love.
Marley's time in Oakley Street, London had come after an assassination attempt in his home country, he never deviated from his purpose, but used the time in 'self imposed exile' to write Exodus (which stayed on the UK album charts for 56 weeks)and to bring awareness of his Rastafari culture - whose beliefs were the core of the Reggae music genre - to the international music scene.
Today, arguably a time of greater societal divide, political mistrust, and economic uncertainty than we have seen since, Marley's lyrics are as relevant as when he wrote them. His plaque is not only a reminder of his song-writing genius, his inimitable place on the cultural landscape but moreover how he identified oppressors and aspired to social change, while simultaneously allowing listeners to forget their troubles and dance.
An Interview with Kate Aslangul, Oakley Moore Interior Design
What best describes interior design for you?
“A well-designed interior is the good balance of many parts.”
How would you best describe the aesthetic of your design style?
Living in France for over a decade and being totally immersed in the French way of life, has had a lasting influence on my design aesthetic. We create modern timeless interiors with unexpected details that feel elegant and comfortable, and will give pleasure for years to come. I hope there is an understated distinction in my work.
To what degree are you influenced by past eras of design and where do you find that sweet spot with a contemporary space/look?
I don’t try to recreate the past but find that an image can sow the seed of a fresh idea. I have a good reference library that includes books on architects and interior designers that cover different eras and cultures. As no two projects are the same, I find that when I am putting together vision boards for my reference, different images resonate.
What's your starting point when working on a project?
At the beginning of each project, I find it important to spend time with my client to understand their lifestyle, their tastes, how they work and relax, how they might use the space now and in the future, and what possessions they own that are important to them. Often we find that the starting point for a design might come from a rug or painting that the client already owns, or from something stumbled on during our conversations. Armed with this information, I will then draw upon on my own research and inspiration – such as photos from travel, art, textures, colours etc. All sorts of information goes into the mix.
What's the greatest difference and mistake people make when working on a commercial as opposed to residential project?
While there are many overlapping areas, there are many differences such as needs and uses as well as legal requirements to consider on commercial projects.
What's your way in from first viewing of a space to execution?
When I first visit a site I take lots of photographs for future reference. To get my head around the space I find it helpful to make sketches and work out a rough furniture layout. It is important to feel the space and work out the flow of a room.
Tell me about process from idea to finished design space?
Once I have found my starting point for a design I draw and source, as one informs the other, until I have a complete scheme. It is very important to know what you are looking for so that the final design is finished to a high standard and the room is well balanced.
How do you keep challenging yourself and moving forward with your design vision?
Each new project is an exciting challenge. We are very client-led in the way we design and believe a home should reflect its owners. We don’t work to a formula so every project is different.
What's the greatest misconception about a curated 'living' space?
I think we should be very careful how we use the word curated as curated means different things to different people - I design homes to be lived in, enjoyed and that lift your spirits.
What's the greatest mistake you have made along the way which has ended up as your most valuable lesson?
I always look back over a project at the end and think what we could have done differently or better. In this job you are learning all the time.
Which part of the process do you spend the most amount of time on?
The designing and sourcing time is an obvious answer - however I think everyone is always surprised by the time we dedicate specifying to our suppliers; following through every order at each stage, right up to delivery and installation. Time spent behind the scenes ensures that all the details are in place and are key to a successful end result.
When you experience 'design block' within a project how do you find inspiration to move forward?
I tend to find that I have too many ideas. So I make sure I see new and different things to clear my mind. I might go for a walk, visit an exhibition or see friends over a weekend – I even bake or watch a film. Anything to clear my head and get myself in a different mindset. I definitely stop what I’m doing and do something else as there is no point going round in circles. Then I come back fresh and watch as the inspiration flows.
What words of wisdom would you have for potential interior designers?
Be passionate about what you do. Be very organised and be prepared to work hard.
Moving Pictures
Long before we got glimpses of forthcoming film releases from 'official' trailers or narrated clips played in commercial breaks, the film poster was the only way to entice and lure audiences to the theatre. An art form in themselves; not only did the designs give films an image and substance, invariably symbolic they could convey the feel of an entire film in one, but pioneered new and progressive (at the time) graphic design direction. From Saul Bass (the master of minimalist design) to Hans Hillmann (experimental motifs), the style of a new group of artists became as instantly recognisable as the film posters they created - think Vertigo and The Shining to cult European/foreign films Masculin Feminin and Battleship Potemkin.
Whilst the legacy and symbolism of original film posters has never entirely gone away - they are important items of social history that capture the essence of the time they were printed - arguably, today, film posters are having a renaissance with both aesthetic and commercial value. Case in point: the 1927 poster designed for Fritz Lang's classic silent film, Metropolis, of which only four are known to have survived, achieved $1.2m in 2012.
According to Kirill Kalinin, founder of AntikBar (the Original Vintage Poster store at 404 King’s Road) part of the collectible appeal is the fact they are 'in limited supply' as 'posters were supposed to be discarded and destroyed after their use on display in the streets and cinemas...luckily some of the artists and projectionists or movie theatre workers would keep them and they are now being rediscovered in old cinemas.'
Whilst period, rarity, title, subject, star, director and design are all factors in purchase, they make great quirky gifts, which can add individuality to contemporary interiors, evoke memories associated with particular films, and have aesthetic value. King’s Road is home to two original vintage poster stores: (experts also in storage, framing and restoration.)
AntikBar: 404 Kings Road
This London gallery specialises, not only in original vintage film posters, but those covering a wide variety of subjects - travel, advertising, sport, cinema, war, propaganda - from around the world. They also source for private clients, and museums as well as offer collection/consultancy services, professional linen backing and restoration services.
Limelight gallery: 313 Kings Road
A business born out of over 20 years personal collecting and film passion. Original film posters and lobby cards are their speciality including a massive collection of vintage film comedy. They offer a 'search and find consultancy' service and notably a corporate rental service for offices or businesses on request.
Kitty North Exhibition at 370 King’s Road, Chelsea
Kitty North has spent the last 18 months painting and sketching by the river, in cafés on the streets of Chelsea, capturing the landscape, architecture, and - perhaps most importantly - life.
This new collection, includes 6-foot canvases with bright acrylic paint, to en plein air watercolours, taking in the landmarks of Chelsea Old Church, the Albert Bridge and the Royal Hospital Chelsea, as well as Chelsea homes and streets. From commuters and dog walkers, to friends chatting in the park, and lovers captivated by the romance of a midnight walk along the Thames, North's paintings give an intriguing insight into the world of Chelsea’s residents and visitors.
North says: “My own Chelsea tale began in the early 80s when I lived in Tite Street and studied at Chelsea School of Art. At 17, I was dizzy with the artistic history and the inspiration to be found around every corner - heroes of mine like Turner and Whistler had lived here, Rossetti and Wilde too; not far away was the landscape of Mary Poppins as imagined by P.L. Travers.
I am enchanted anew by the magic of this beautiful corner of London. After many years of painting Yorkshire landscapes, followed by urban landscapes of the industrial areas I decided to try something new. I took a couple of commissions in Chelsea and began to spend time at 75 Flood Street. Number 75 has a wonderful roof terrace and - to quote the Disney version of Mary Poppins (with apologies to Miss Travers) - ‘On the rooftops of London / Coo, what a sight.’ I recognised the start of a new artistic chapter. The view across the city made me feel the extraordinary was not just possible but tangible. The mesmerising Thames with its history, tides and seasons. The studios of Tite Street where entire worlds were imagined and created in pencil and paint. The houses of Cheyne Row and the lives that had been lived there. I spent days sketching by the river, on the streets, in pavement cafes, drinking it all in. This is how Chelsea: River to Rooftops has evolved.”
Chelsea River to Rooftops, 370 King’s Road, London, SW3 5UZ (near Bluebird) Tuesday 5th - Sunday 17th November 2019. Open daily 10am-6pm including weekends.
From Wonderful Things to Wonderful People at Michael Hoppen Gallery
Tim Walker - Claire Foy. Fashion: Alexander Mcqueen. London 2017 @ Tim Walker Studio Courtesy Michael Hoppen Gallery
It's Tim Walker's moment in the neighbourhood for the next coming months. A stone's throw away at the Victoria and Albert Museum, Wonderful Things, the major exhibition, charting the creative process of Walker, one of the world's most celebrated photographers, is garnering rave reviews. An immersive study into the fantasy and imagination of the Walker world; one which via colour, sets, props and costumes, constantly conjures scenarios so mesmerising, that observers are, too, drawn into their own dream narrative. Whilst British born, Walker formatively is recognised as a fashion photographer, having learnt his craft under illustrious lens-men including Richard Avedon, he has eschewed mainstream fashion techniques in favour of romantic motifs and dark otherworldliness, as well as whimsical locations. His references to British folklore, social history, literature and fairytales set in country fields or old stately houses have come to define his theatrical photographs.
Down the road, at the Michael Hoppen Gallery, Wonderful People, will bring to light Tim Walker photographs and portraits in simpler settings. Aimed to contrast with the composite tableaux style of the V&A, Walker has chosen 60 portraits, shot on his favoured analogue camera, in this his very first portrait exhibition, which span his whole career. From Claire Foy, Margaret Atwood to long term muse, Tilda Swinton, the curation aims to examine how Walker's portraiture, largely set against blank backdrops, reveal nuances and subtleties of personality, all the time evoking emotion, fantasy and the idea of photographer-as-storyteller, for which he is so famed. Words by Davina Catt.
TIM WALKER WONDERFUL PEOPLE 25th October – 25th January, 2020 www.michaelhoppengallery.com
Tim Walker. Richard Quinn, floral chair and living mannequin. London 2016. @ Tim Walker Studio, Courtesy Michael Hoppen Gallery