Interviews – Page 39

August 24, 2021

Isle Of Dogs: University Of Sunderland In London expands beyond Marsh Wall

Lynsey Bendon talks space at Harbour Exchange as growth follows increased student demand

Image shows the University Of Sunderland In London's Lynsey Bendon — The University Of Sunderland In London’s Lynsey Bendon

“We were shown a lot of different places, but this is where we want to be – it’s perfect – it works for us and it works for our students,” said Lynsey Bendon.

There’s excitement in the voice of the assistant director of operations and student experience at the University Of Sunderland In London as she talks about its expansion at Harbour Exchange on the Isle Of Dogs – a move that will allow it to keep up with demand for places while retaining the links it’s built in the area since its creation in 2012.

“It’s on the opposite side of the DLR tracks to our Marsh Wall site, so it’s very close by,” said Lynsey. “We’ve been able to start with a blank canvas to design what we need as a teaching space.

“It has flexible rooms and it’s a lovely environment in terms of group and study areas. We’ve listened to what our students need and want – everything down to having a kitchen that’s really accessible where they can make their own food but also meet with staff. We’re thrilled.

“It’s also really nice to be able to grow from where we are because the students love our location next to Canary Wharf and our connections to local businesses but also the food, culture and shopping.”

The expansion of the campus, which will see the university taking a whole floor at Harbour Exchange, has been driven by significant demand.

More than 4,400 students attended courses at its Marsh Wall base over the past year, with 2,794 joining across four intakes since March 2020.

While about 10% are international – reflecting perhaps the university’s outward-looking stance, having opened a Hong Kong campus in 2017 – about 50% are drawn from nearby London boroughs.

“Our students are what we call in the industry ‘non-traditional’,” said Lynsey. ”The average age is 36 and we have 60-40 female to male split.

“Our motto is that we’re a life-changing university and we like to think that our people don’t necessarily come to us straight from school, but with a measured decision that they want their lives to change, which we hope to facilitate.

“We quickly realised there was a demand here in London and we tailor our courses to our students – we don’t expect them to be 18, straight out of school.

“We expect them to have experience that they can talk about and build on. When we started, some of the courses were targeted that way, but we’ve rewritten them and developed them through talking to our students to meet their needs.

“Ultimately we want them to progress, we want them to do the best they can for themselves and to fulfil their potential.

“You can’t just teach something – you have to build it around them. Our students are very vocal, which is extremely helpful when you work in the role I do, because you need ongoing conversations. We want to be there, supporting them, to help them succeed.”

Lynsey, who joined the University Of Sunderland In London in January 2020, is well placed to have those conversations, having left school after her A-Levels.

She said: “I was then unemployed for a short time before going into the workforce. I worked in banking in London in the 1990s, which was a very interesting time. When I came to have my children, I realised that it wasn’t a career I could stay in, so I left the workforce for a bit.

“Then I went back as a part-time member of staff on the help desk at the University Of East London. After a few years I specialised as an international student adviser before joining London Metropolitan University as compliance and immigration manager in 2014.

“That was challenging and taught me a lot – but I realised that I wasn’t going to progress further in my career without higher qualifications and at that point I was very lucky to be able to participate in a postgraduate certificate through my employer at that time, with the University Of Nottingham.

“So I was there, at 39, looking at a blank sheet of paper, never having done a first degree, absolutely out of my depth, and I can completely relate to our students, when they get to that point.

“But it gave me so much, some fantastic experiences and it taught me so much academically – both how to write reports and also all those things you don’t necessarily associate with academic learning. It also gave me so much confidence that I could do these things.

“I always say the tears were worth it, but I had such a good time, it outweighed any difficulties and it enabled me to go into management.

“So, after becoming the international immigration manager at London Met, I became head of student services and, in January, came here. Then lockdown happened in March, so it’s been quite a year. I had to learn quickly because I’m also the Covid lead for the London campus.

“Fortunately, it’s a really vibrant place, and a really great community, so people were very forgiving when I asked the same question for the sixth or seventh time, because I didn’t quite understand what went where.

“Our student growth over the years has been pretty consistent so I don’t think our current figures are down to people looking for a new direction just as a result of Covid.

“In our admissions process, we speak to each student individually and help them to make sure they are taking the right decision for them.

“The pandemic has shown us aspects of strength in our teaching and other areas where we’ve been forced to introduce things that we’re going to keep. We’re lucky that we get lots of people coming to us through word-of-mouth – Mr X may come to sign up with us in September and then Mrs X will follow in April – and you only really get that if you’re giving people what they want and the best tools for success.”

The University Of Sunderland in London offers courses across four main areas – business and finance; tourism, hospitality and events; nursing and health and engineering at both undergraduate and postgraduate level. The campus also offers Master Of Business Administration degrees – MBAs.

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July 30, 2021September 8, 2021

Canary Wharf: Feeding Black opens at Museum of London Docklands

Exhibition at the London Sugar And Slavery Gallery examines the role played by food in black identity

Aleema Gray is community history curator at Museum Of London Docklands

Walk over the floating green bridge from Canary Wharf to West India Quay, turn left and, just behind a now vacant pedestal, you’ll find the Museum Of London Docklands.

Head up to its London, Sugar And Slavery gallery and, provided you visit before July 17 next year, you’ll find a bright orange corner dedicated to Feeding Black.

The display, which opened to the public this month, examines the role played by food in black entrepreneurship and identity in south-east London.

Focusing on four businesses – Livity Plant Based Cuisine in Croydon, Zeret Kitchen in Camberwell plus Junior’s Caribbean Stall and African Cash And Carry, both in Woolwich – it explores how they act as much more than suppliers of goods and services to their customers, as spaces to talk and express politics, culture and heritage.

Community history curator Aleema Gray said: “One of the things I’m really interested in is looking at alternative knowledge – what it means to represent in terms of curatorial displays, and that was the motivation behind this exhibition.

“It’s about alternative ways of knowing. For instance, we’ve recently had an upswell of looking at black British history. But, when you go into the community, there’s oral history, the things that are left outside academic textbooks. Curators are typically seen as people who conserve this kind of academic knowledge.

“What’s interesting about this project is looking at the ways alternative knowledge can be used to make certain interventions in the role of curator – it sounds wishy-washy, but it is essentially asking how we can include multiple different perspectives and narrative experiences in our displays? I put a call out, basically asking: ‘What are contemporary black experiences?’. Some people said, ‘my kitchen’ or ‘the barber shop’ and one person put forward an idea she had, which she referred to as the ‘black economy’.

“She’d been looking at black-owned food businesses as part of her research, focussed on African Cash And Carry – interviewing people that came in – and discovered these spaces were about more than just commercial gain. They were for politics, culture, sending money back home and buying food. There was even a little restaurant – a multi-dimensional space.

“I wanted to explore that a little bit further, so I took that and thought about what the next step was for this kind of research and put forward a proposal for Feeding Black – which takes the element of looking at not only community spaces, but also interrogating power, because a lot of the conversations when we did the initial oral histories were talking about what it means to be in London today, to survive and thrive, to start a business, the challenges, the setbacks, but also stories about being part of a diaspora.

Junior’s Caribbean Stall in Woolwich features in the exhibition

“Apart from one, all the people featured in the displays were born outside London – one in Ethiopia, one in Jamaica, one in the Congo, one in the Cameroons, so a lot of this is entangled with questions of migration and so on.

“That’s how the initial idea came about, but the area I work in, Curating London is very much a participatory project – we place a particular emphasis on being on the ground – visible outside the museum – and asking what a museum wall is.

“We had to re-jig things a bit because of the restrictions around the pandemic, but essentially the main exhibition deals with four black-owned food businesses, their oral histories and the objects that they put forward reflecting their place. It also looks at different themes of food including health, the different objects you find in kitchens as a place of work but also the nutritional value of ingredients and dishes and we’ve got a recipe wall as well.”

In her role, Aleema has a particular responsibility for the London Sugar And Slavery Gallery in which the exhibition sits.

She said: “Since the gallery opened it has been shelved a little bit, so my responsibility is to try to re-mobilise certain conversations, make some interventions to think about how we develop, and take that gallery a little bit further.

“Feeding Black sits in the wider gallery, because I wanted to do something in response to the ways in which Docklands has been developed as a direct result of the plantation economy.

“For me, food acted as a perfect segue to think about London, Sugar And Slavery, not only in terms of the content of the exhibition, but also the visual design.

“This exhibition is very much about the process as well as the content, as is the wider gallery.

“Feeding Black was about using that space as a vehicle for community engagement.

“It’s also not necessarily a chronological history – it draws on certain themes and it puts forward not necessarily answers, but asks questions about the legacy of this history and how we are all implicated in it. Feeding Black tries to speak to that.

“In the crates under the wall display, for example, you have certain questions, such as: ‘Where does our food come from?’

“It’s very subtle, but it helps people to think about the legacies of migration, enforced or otherwise.”

Aleema, who is currently finishing a PhD on the documentation of a community engaged in the Rastafarian movement in Britain, said it was weird to talk about herself as a curator.

She said: “I didn’t go to museums as a young person because I didn’t see myself or my history reflected in these spaces but something I’m really passionate about is curating history from below – the silent histories, the hidden archives – I’m a historian.

“There’s this idea of what history is in schools – the Romans and the Tudors, for example. I feel there’s a need to show that history is dynamic, it’s a verb, and that started my work to see how we can bridge this gap. This is what I’m doing as a curator and an academic – situating myself as the outsider within.

“The Museum Of London and museums in general are making a strong effort. There’s a lot more work to do but we’re definitely on the right path.”

The museum is free to visit and is currently open from 10am-5pm Wednesday to Sunday.

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July 30, 2021September 20, 2021

Isle Of Dogs: How east London author’s work introduces banking to children

Nithya Sridharan – writing as PecuniArt – has published her first book, titled The Magic Box

Isle Of Dogs author Nithya Sridharan – image Matt Grayson

“My grandparents were exceptionally good storytellers,” said Nithya Sridharan. “I grew up in a joint house in Bangalore, where they lived with me and my parents. Every night me and my sister would be packed off to them for a while and they would tell us stories.

“My grandmother was a mathematician and they would weave complex topics such as algebra and geometry into the stories, which were often about the village where they grew up. As city-bred girls, me and my sister were completely enchanted by them.”

The Isle Of Dogs-based writer recently published her first book – The Magic Box – a story that similarly seeks to educate as well as entertain, although drawing on Nithya’s wealth of experience working in the financial services industry in Canary Wharf, rather than maths.

“The story, which is aimed at children aged seven to 11, came from starting to think about how I could weave some key financial concepts into a fun, magical tale, which is also south Asian, because I wanted to bring that flavour into books,” she said.

“A lot of it comes from living and learning in that part of the world. The story is set in a tropical town called Lokpuram and it follows three children who are trying to solve a problem that involves money. There’s a magical character in the mix as well.

“Within the story there are a lot of concepts that are blended together, which makes it easier for kids intuitively to understand key financial ideas, such as how a bank works, what one is and how it has money.

“There’s one part of the book which I personally enjoyed writing, that is about central reserve banking. I don’t use the words, but the concept is there and it’s woven into the story.

“We start with the idea of a bank and how borrowers and lenders can come to such an institution – a place that connects them – and shows how the basic business of banking works.

“I also talk about interest rates as a fee, which you pay on top of what you borrow. If you think about the origins of banking, the idea has been around a long time, but not in the forms we see today.

“The word ‘bank’ comes from the word ‘panca’ in Italian, which means ‘bench’. It started with people sitting down and trying to put borrowers and lenders together.

“They used to have IOU notes, which later evolved into the money and currency that we know today.

“So these concepts have been around a long time and people intuitively understand them, even if they haven’t heard of the terms before.”

Writing under the name PecuniArt – a portmanteau of the Latin word for money and art – Nithya was driven to write her book to help boost people’s knowledge of the financial world.

“I wrote the book because financial literacy is key to the world we live in – everybody uses money,” she said. “Recently there was a study which was done by the Pensions Institute, where they found that, if you look at the population of young adults, one third of them did not understand concepts like interest rates and inflation.

“I suspect lots of adults don’t understand either, even though these terms are constantly in the news.

“Research has shown children and young adults who are basically financially literate have an easier time in their lives – they’re better able to access low-cost loans, have better credit scores and less debt delinquency.

“I feel that with the world that we live in, if you know how to interact with money, what these concepts mean and what the economy is, then you’ll engage with it better, not just in terms of borrowing and lending, but also in terms of your own personal wealth and wellbeing. You’ll know what to do and what it means when the interest rates go down – you won’t get caught out by high interest payday lenders.

“The book is meant to be read as an introductory view of what a bank is, rather than as a detailed analysis of what the world is today.

“There is a section in the book – titled the concept check – where I talk about whether what happens in the story is real. I didn’t want to go into greater detail in terms of what you get from banks, or the stock market today, because I think that’s more advanced.

“The whole point of the book is to introduce these concepts and, obviously, it’s a magical story, so it’s not intended to be taken literally.”

Nithya, who has lived on the Island for six years, said she hoped to foster a sense of inquisitiveness about the financial system in the minds of her young readers.

“I want them to understand the concepts, but also for them to be something kids are curious about,” she said.

“I’ve had some feedback from children who have read the book, and it’s interesting that some hadn’t thought about these ideas previously – they asked a lot of questions about how it all works.

“I also hope the story gives them enough information on what these concepts are, so that they can ask and engage with adults on all those questions, and find out more about them – that it makes them curious. The feedback I’ve had has been that the kids are very engaged with the magical aspects of The Magic Box.

“The very young ones are disappointed that this part isn’t real. What was very encouraging though, was that even young readers were interested in the subject after they had read the book. You might think that banking, economics and finance sound very technical and not easily accessible, but I’m pleasantly surprised people actually find them interesting – I was hoping for that outcome.

“This is definitely an area schools should be focusing more on. An element of financial literacy should be open to all.

“There are a lot of resources out there already – the Bank Of England, for example, has a financial education portal. While some schools are doing good work, I certainly believe there should be greater involvement from them in providing financial education.

“A study by the Organisation For Economic Co-operation And Development looked at financial literacy for kids across the globe in 22 countries and found that, in certain states, policy intervention was needed to increase those levels.”

While The Magic Box – available in paperback via Amazon priced at £9.99 and at selected bookshops in London – is PecuniArt’s first title, Nithya is already thinking about another book.

“For the next one I will think about how to break down a very complex concept, like the economy,” she said.

In the meantime Nithya will continue sharing posts about money and art for both adults and kids via her Instagram account – @pecuniart.

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July 28, 2021September 8, 2021

Canary Wharf: Summer Lights work by Liz West is perfectly placed at Cabot Square

Hymn To The Big Wheel fuses Spice Girls and Massive Attack just across from Boisdale

Artist Liz West at Greenwich Peninsula - image Charles Emerson — Artist Liz West at Greenwich Peninsula – image Charles Emerson

You’d struggle to find a more appropriately placed artwork in London than Liz West’s Hymn To The Big Wheel. Installed in Canary Wharf as part of its Summer Lights festival, featuring 11 works placed across the estate until August 21, the walk-in structure at Wren Landing is composed of vertical, deeply coloured panels for visitors to interact with.

While the work is visual in nature, it’s sound that links it by coincidence to Cabot Square, just south of its location – where restaurant and live music venue Boisdale Of Canary Wharf has played host to both pop sensation Mel C and, more regularly, reggae powerhouse Horace Andy.

“If you Google me you’ll find out I’m the Guinness World Record holder for the biggest collection of Spice Girls memorabilia in existence,” said Liz.

“I hired out my collection to museums when I graduated and that’s how I managed to become an artist full-time, so every piece of my work owes something to that.

“There’s also the idea of every piece being a self portrait, that the colours are borrowed from my obsession with music videos in the 1990s, that garish, Britpop palette.

“I’d always liked strong female artists and, in 1996, I was 11 – the target age. I remember watching Top Of The Pops one day – they came on and I was like: ‘These are for me’. I heard the first few lines of Wannabe and I thought, this is exactly representing me – they were all individuals, loud, girls-next-door and not necessarily wealthy.

“To a girl from Barnsley who wanted to strive for more, when seeing that I felt that if I worked hard enough and was passionate enough, I could achieve what I wanted to.”

Visitors can enter Hymn To The Big Wheel - image Matt Grayson — Visitors can enter Hymn To The Big Wheel – image Matt Grayson

Before cueing up a Spotify playlist packed with Spice Girls hits for your visit to Summer Lights, Liz’s contribution actually takes inspiration from another 1990s source.

“I love music and dancing, and I grew up with music around me,” she said. “I always try to find a bit of a double meaning to give more substance to my titles, so this one is a reference to Massive Attack’s Hymn Of The Big Wheel from Blue Lines, and if you listen to the lyrics in that song, it talks about the Earth spinning on its axis and how we all go by, day by day.

“I thought that was a wonderful sentiment, because this is a piece of work aiming to be a sundial, and that’s caused by the Earth revolving, and the ‘Big Wheel’ being the planetary system, with our planet going round its star – ‘hymn’ shows this work is also an homage to the Sun.

“I would love people to walk into the work with the sound of Massive Attack playing – they might start dancing and become performers within it as they move around it.”

And that’s especially appropriate for its location as fellow trip-hop nerds will know the lead voice on that track is Horace Andy, whose quavering, high-pitched tones, as mentioned, have regularly blasted out from Boisdale’s stage, prompting audience members to get to their feet, just a few hundred metres away.

As for the work itself, Hymn To The Big Wheel has been a long time coming – an opportunity for Liz to revisit an idea originally conceived for a completely different place.

“It’s two concentric octagons – a piece I’ve had in the back of my head for a long, long time,” she said.

“When I was first invited to submit a proposal for Spinningfields, Allied London’s property in Manchester in 2015, I had this drawing for an octagon pavilion which had coloured clear walls, just transparent block colours, not stripy in the way that it is now. That drawing was proposed and developed into something that was affordable at the time. It was my first piece of outdoor, public art, and, working with fabricators for the first time in my life, it was a big milestone for me in terms of my practice.

“The piece ended up going from being an octagon, to a tunnel to a prism structure, and that was due mainly to structural issues, like snow-loading and wind-loading in a Manchester winter.

“When I was asked to propose a piece for Summer Lights I didn’t know what I was going to do so went through all my drawings and stumbled across one I’d made six years ago.

“I asked myself how I could bring that up to date and I was listening to that Massive Attack track at the time and it all kind of slotted into place in a really nice way.

Inside Liz West's Hymn To The Big Wheel - image Matt Grayson — Inside Liz West’s Hymn To The Big Wheel – image Matt Grayson

“Then it was about placing one colour overlapping another to get visible colour mixing happening in front of people’s eyes.

“All my work is about the theory of how light behaves – in this case a sundial – and how colour behaves.

“I get lots of samples of the exact material, and I layer them over each other in a very methodical way – starting with the reds and putting every single colour over them, then the oranges and so on.

“At the back of my head is the thought that there are a number of panels in the installation, so I need that number of colour mixes. Then it becomes a matter of detraction – taking away colours that I don’t feel are working together. There’s an element of instinct within that as well.

“This world is full of grey granite, silver metal and reflective glass – that’s how most buildings are being made. I guess I have Seasonal Affective Disorder, that’s important to say, and randomly – choosing to live in grey, northern cities and towns – Barnsley, where I grew up, Manchester, where I live now and Glasgow, where I studied – my antidote to living in these wet, grey, northern cities is to self-remedy by creating these really vivid works.

“The feeling I want people to have when they encounter my work is meditative, for it to be about them. I don’t want to describe to people how they should feel. Everyone speaks the language of colour, no matter what your race, sex, age or background – it’s universal.”

Find out more about Liz’s art here.

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July 28, 2021September 8, 2021

Greenwich: How Greenwich + Docklands International Festival is filled with hope

Artistic director Bradley Hemmings talks healing, unity and highlights across the River Thames

GDIF artistic director Bradley Hemmings – image Matt Grayson

There’s something very reassuring about the return of the Greenwich + Docklands International Festival (GDIF). Now in its 26th year, it’s set to run from August 27 to September 11, promising its usual rich collection of performances and installations running the full spectrum from the sublime to the ridiculous.

Bradley Hemmings founded the festival in 1996 and has been at the helm as artistic director for more than a quarter of a century.

“This is a very wonderful and important year for us, because it follows on from what we did in 2020,” he said. “Last summer we were able to deliver the festival in the middle of the pandemic, safely and in a completely re-imagined way – bringing performances to people, rather than the traditional focus on encouraging everyone to come to town centres.

“We’ve taken some of that learning from last year and mixed in a bit of both – town-centre fun and conviviality, that sense of occasion, but also taking doorstep performances out to neighbourhoods.

“One of those that I’m very excited about is called Mystery Bird, which features a processional giant birdcage with images of birds projected on it and a beautiful soundscape all around, that will move through places in the dusk and early evening.

“At certain points it stops, birds are released, and, by the miracles of technology and sound, they fly everywhere – onto houses and into trees. It’s a wonderful experience of release and all the things we’re looking forward to.”

Balsam is set to take place in Woolwich as part of the festival

From his base at the Old Royal Naval College in Greenwich, Bradley and his team have been working to come up with the finished programme, which has just been released and includes the fruits of a two-year partnership with the Diplomatic Representation Of Flanders to the UK.

Central to that arrangement will be a production of Dennis Potter’s Blue Remembered Hills at a site in Thamesmead that’s been closed to the public for more than 100 years, created by Flemish company De Roovers in response to its setting. It’s set to take place from September 7-11 and will cost £15 per person.

“It’s one of the projects we’d hoped to present in 2020, but the situation with international travel made that quite difficult,” said Bradley.

“We’ve always been committed to it, because the play, which was originally written as a TV film, has a wonderful connection to the site we’re taking it to.

“When Thamesmead was created, this area was used for the spoil, which came when they were draining the land so it’s created this landscape of hills and woodlands where nobody is allowed to walk.

“Potter’s story features adults playing children and it takes place in wartime in the idyllic Forest Of Dean. But, like Lord Of The Flies, things aren’t quite so idyllic.

“We look through rose-tinted glasses, but the reality of it was actually rather more brutal – children and their games, which go seriously wrong, who are very much the victims of war, just as much as their parents are.

“The setting, where still in the 1960s and 1970s there were stories of kids who would explore this remarkable landscape on summer adventure schemes, is part of the psycho-geography of Thamesmead and we’re playing with that by bringing this production here.”

GREENWICH AND WOOLWICH DIARY DATES

Balsam
Building 41, 
Woolwich
Sept 7-11 (£15)
Potions and elixirs are created to heal and calm in this theatrical adventure

Family Tree
Charlton House And Gardens
Aug 27-30 (£15)
Discover this new play exploring exploitation and ethics in healthcare

Dance By Design
Greenwich 
Peninsula
Aug 28-29 (free)
Check out The Lost Opera, Finale and Dandyism at this free pop-up in North Greenwich

Another key part of the programme is the return of Greenwich Fair on August 29. This collection of circus, dance and theatre performances, complete with street games, owes its lineage to a regular historic festival that brought travelling shows and attractions to the town until 1852 and was much loved by Charles Dickens.

Flying high over that spectacle will be We Are Watching, in place at the Old Royal Naval College from August 27-30 – Swiss artist Dan Acher’s monumental 10-storey high flag depicting a giant eye made up of digital portraits from people in 190 countries across the globe.

Bradley said: “The idea of it is that all those people are expressing the fact that they are watching what is about to happen later this year at climate change conference COP26 in November.

“It’s a provocation, if you like, to all of us – to the festival audiences, to think seriously about what this all means and how they might be able to contribute to that, but also to the global leaders who are going to assemble in Glasgow.

“The other work we have featured from Dan is called Borealis and there has been a huge amount of interest in that already.

“It is an extraordinary recreation of the Northern Lights, which are certainly on my bucket list.”

Dandyism will be part of Dance By Design on Greenwich Peninsula

The installation promises to create the experience of seeing the Aurora Borealis at two locations in south-east London.

Like the vast majority of the festival, it is free to attend and will be in place from August 27-September 5 at the Old Royal Naval College and from September 9-11 in Woolwich.

Closing things out, on September 10 and 11, will be Healing Together – a programme of street arts, installations and performances focused on the environment and taking place at both Royal Victoria Gardens in Royal Docks and Woolwich town centre.

“The first year of the festival was 1996 when you could only go from the Isle Of Dogs to Greenwich via the foot tunnel – there wasn’t even the DLR,” said Bradley. “Not everyone was in love with the idea of a cross-river festival. The way this area of London has transformed is part of our story.

“With Healing Together we’re supporting another cross-river relationship that isn’t new – North Woolwich, Woolwich and Silvertown used to be part of the Borough Of Woolwich but were separated in the 1960s, so we thought we’d bring them back together.

“There will be gardens of light and fire to explore, a cross-river street theatre programme and a finale moment you can experience on both sides of the river on September 11 that, by the miracle of light and fire will unite both Woolwiches.”

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July 26, 2021September 8, 2021

Royal Docks: Cyrus Todiwala’s Cafe Spice Namaste set to open at Royal Albert Wharf

Relocation of Prescot Street restaurant after 25 years sees east London welcome chef to quayside

Cyrus and Pervin are set to open Cafe Spice Namaste in August – image James Perrin

Aldgate’s loss is the Royal Docks’ gain. After more than a quarter of a century operating in Prescot Street, Cafe Spice Namaste – the flagship restaurant in Pervin and Cyrus Todiwala’s family business – has been forced to relocate, after losing its lease to a new landlord with an eye on redeveloping the venerable red brick building it occupied, as offices.

With the pandemic biting and hospitality reeling, the couple initially looked at opening on Commercial Street in nearby Shoreditch before a former employee, living in east London, got in touch.

“She said: ‘Why don’t you come to Royal Albert Wharf? It would be nice for a little cafe’,” said chef patron Cyrus. “So we looked at it and decided in the end to establish a wider business.

“There are lots of plans in my brain, which gradually we will put into action and, fingers crossed, we will succeed.”

At the heart of everything will be a fresh incarnation of Cafe Spice Namaste, set to open in August and located on Lower Dock Walk, less than 10 minutes on foot from Gallions Reach DLR.

While the setting – overlooking the waters of Royal Albert Dock towards the University Of East London, Excel and London City Airport – provides the backdrop, there’s little doubt that the food will be the most potent draw.

It would be easy to fill the remaining space on this spread by simply listing Cyrus and Pervin’s many achievements – not least holding a Michelin Bib Gourmand for nearly two decades, which would make the new restaurant the farthest east in the capital (by some distance) to trouble the guide, should it be similarly recognised.

But rather than cover the same ground as a recent episode of BBC Radio 4’s The Food Programme – which has already done a great job of distilling and presenting the background to the Todiwalas’ current situation (including their notice to quit their old premises, Cyrus’ successful battle with cancer and the story of Bombay Duck) – we’re going to focus on the future.

Cyrus intends to start things off with a few informal evenings for those signed up online to his Greedy Pigs Club before opening the venue officially.

He said: “We always had a splash of colour and I think that will come here too. This space is a lot more modern, with big windows, so it will feel different, but we want to bring back as much of the feel of the original Cafe Spice Namaste as we can. The food is a variety of Indian cuisine, not stuck to any one region or area, though we do have an emphasis on my own style of cooking which is Parsee and we do a lot of Goan food because of my background working there for several years. We try to bring in as much of the sub-continent as possible. At the new restaurant, the classics that our regulars will be familiar with will remain – the rest will evolve.

“We will do specials around seasonal British produce and we’re also thinking that, in this area, it may be easier for people to have more shared plates, which will be small plates so we can present a bigger variety and bring more choice to the menu. We’ll also hold supper-club style events once a month that people can register for online.”

Cyrus has many ideas he hopes to develop in Royal Docks – image James Perrin

Without the goodwill and support of its loyal group of regulars, it’s likely Cafe Spice Namaste wouldn’t be coming to the Royal Docks or anywhere else, for that matter.

It was hit especially hard by the pandemic because of its location in the City – losing almost all passing trade – and never having focused much on takeaways, so a group of three customers led a funding drive, raising nearly £50,000 to help with the move.

Cyrus said: “That felt really amazing – where else would you have customers willing to put money in and help you relocate and re-establish yourselves?

“That money gave us a big stepping stone. Hospitality has been decimated and we were certainly not alone in many of the difficulties we faced, but we had other problems and issues as well. We weren’t able to benefit from local sales as the City was deserted.”

His other restaurants, based in Hilton hotels, including Mr Todiwala’s on the Isle Of Dogs and one near Heathrow, remain closed too, victims of business models upset by Covid-19. In the short-term, then, it’s up to Cafe Spice Namaste to be the lead in the charge for recovery.

During the photoshoot for this piece, a service boat was visiting Royal Docks, loading up on fresh water to supply a recently arrived superyacht in central London. Having not used the craft in a while, its crew were allowing the excess to gush through the system and down into the depths below to Cyrus’ visible discomfort. The spectacle of so much water apparently going to waste was a tough watch for a man from Bombay – a visible sign of one of the key ingredients in his makeup.

Perhaps one of the reasons the Todiwalas were able to find support in the community is that Cyrus has been persistently outward looking, keen to get deeply involved with the creation of the produce he uses and to ensure as light a touch as possible on the planet.

“I grew up in an area with acute water shortages and no electricity for most of the day,” he said. “I wish I could get more people to see how the culture here is so wasteful – nobody considers what happens to things once they’ve been put in the bin.

“We started recycling bottles in 1992 – nobody had heard of it then and nobody wanted to do it, but I just couldn’t bear the thought of throwing them away.”

He’s also run farms producing pigs and poultry as well as agricultural plantations of pineapples, coconuts, cashews and mangos. More recently, he was the first chef ambassador for the Rare Breeds Survival Trust, presenting Mudchute Park And Farm on the Isle Of Dogs with its approved status in 2017 and in June took over from the late Albert Roux as group chef ambassador with The Clink Charity, which delivers training to inmates in British prisons. He’s also in talks with a farm project in Greenwich to supply Cafe Spice Namaste with seasonal vegetables to minimise food miles.

As part of his latest venture he is also hoping to establish an academy to train young people at Royal Albert Wharf.

“We will start with one-off classes for four hours and it will grow slowly,” said Cyrus. “But some people will want to do a week and, if there’s interest and demand then we’ll build that in.

“As the restaurant opens it will be a stressful time – it’s always difficult to find your feet, but we’ve been at this for many, many years and so we’re prepared, compared to the newer operators.

“I want this to be a place that the community accepts, that draws people to us, supplying their needs at different levels.

“One gentleman living across the water has already asked us to supply a week’s menu to him every seven days, so we’re doing that, and other people may want the same. If people sign up to our newsletter then they’ll get all the information about what we’re doing, what we’re developing. There are loads of ideas that are brewing and, when we are established, we can start to implement them.

“I’ve had a great life and a good career so far. It’s been hard, but that’s because I take on extra things, thinking about how I can help the community and what I can do for young people. But if I’d done it differently I probably wouldn’t have learned as much as I have.”

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July 6, 2021September 8, 2021

Blackwall: Why Sweet Nothing Bakehouse at Republic offers more than just cake

Founder Beth Cardy has opened her brand’s first bricks and mortar premises in east London

Sweet Nothing Bakehouse founder Beth Cardy – image Matt Grayson

Readers in thrall to the tyranny of the sweet tooth take note, there’s a new player in town. Baker and entrepreneur Beth Cardy recently opened the doors to her first bricks and mortar premises at Republic.

Located just over the Aspen Way foorbridge from East India DLR station, Sweet Nothing Bakehouse serves up coffee from all-female Deptford-based roastery Lomond alongside an extensive array of cakes, tarts and pastries, plus milkshakes and soft-serve ice cream from Brick Lane’s own Dappa.

Decked out in pale pinks, subtle greens and blonde wood, pepped up with pot plants and dark metalwork it’s a light, inviting interior connected to a foliage-framed outdoor space via full-height plate glass windows. It all serves as a backdrop to the punchy aesthetic of Beth’s cakes which luxuriate under curls of buttercream icing, slices of dried fruit and the glamour of glitter-spritzed cherries.

Little surprise perhaps, that she began her career in the world of fashion before making her way into the kitchen.

“Sweet Nothing started in Hackney, in my flat with my flatmates doing bespoke cakes,” said Beth, who runs the company as managing director.

“After school I went to Sheffield Hallam University and did a fashion degree. I wanted to do design – that was my dream. I moved to London to get into the industry, and realised that it wasn’t what I wanted at all.

“At university, you’re wrapped in cotton wool, you never have the real experience, so I moved into the production side of the industry and started baking on the side.

“My mum’s actually a baker, working in the catering industry and, even when we were kids, she would just bake with us for fun.

“I found that I really enjoyed it, and I really liked cake as well, so that helped. So, I did a bit of research and enrolled on a one-day a week patisserie course.”

A selection of cakes on offer at the bakehouse – image Matt Grayson

Beth continued working in fashion while she trained, eventually leaving the industry to join Euphorium Bakery in Islington, which enabled her to gain the experience necessary to become qualified as a baker.

She said: “That was really hard work, getting up at half-three in the morning for a 5am start. I did that for three months – you don’t see anyone, you get up in the dark and it was not very sociable.

“I couldn’t go out at the weekends or see friends but it didn’t really put me off, I just wanted to work for myself and set my own hours. So that’s when I started Sweet Nothing in 2015, baking bespoke cakes from home.”

Working other jobs while she nurtured her brand, she made the move into events, buying and kitting out a former horse-box trailer to make the business mobile in 2016, going on to serve her products at corporate gigs for the likes of Microsoft, Paco Rabanne and Warner Brothers Studios.

“In 2017 I started looking for premises, because that’s where I always knew I wanted to go,” she said. “I didn’t always want to be in this trailer working at events, I wanted a bakery.

“It’s taken three years from finding something to actually opening because you need the right location and the right branding.

“A few places fell through, and then finally we decided to come to Republic. The unit we have is close to the DLR and gets the foot traffic in and out of the development.

“We finally got it in March 2020 and opened on April 1 – that took 12 months because of the pandemic, which interrupted a lot of our plans, but we are here now and we want people to know we are open.”

The bakehouse serves Lomond coffee – image Matt Grayson

Sweet Nothing is constantly evolving and, as the business establishes itself, Beth is already looking to the future, near and far.

“We are a bakery and we have a bespoke cake service, which is a big part of the company – something we’ll probably end up expanding to be our main source of income,” she said. “As a female-led business we want to promote other small firms and our ethos is very much working with independent suppliers such as Dappa and Lomond.

“We don’t use any plastic and all of our cups are biodegradable. Or cutlery is disposable or wooden.

“Any plastic we do have is made from plants, so it doesn’t take 300 years to decompose, but 30 days instead.

“That was a big thing, because opening a bakery, we might have been adding to landfill – all those cups, those lids. Even before Covid a lot of people were getting into sustainability. Think how many restaurants and cafes and take-aways there are in the world and it’s unbelievable how much rubbish they generate.

“We have a food waste bin, so anything in the kitchen which is scrap goes in the bin and is then disposed of properly.

“We’re also working with a company called Too Good To Go, which is basically an app, that offers magic bags – we fill them up with any pastries we can’t sell at the end of the day and they go out to customers. They don’t get to choose what’s in the bag, but it means we make our costs back on the pastries and we’re not generating wasted food.

“At Republic we have plans to start a brunch service, although we’re still finalising the menu.

“It’s likely to include pancakes, avocado on toast, poached eggs, waffles and the Croissant Benny, which is Eggs Benedict in a croissant.

“It will be very Australian-inspired and we’re hoping that will come together before the end of June.

“Eventually, I want to expand to other sites then maybe to start a franchise eventually, but that’s a few years away.”

Outdoor space at Sweet Nothing Bakehouse – image Matt Grayson

For now, there are plenty of attractions for customers already in place, not least a range of newly launched loaf cakes.

“They have a filling inside, which is a bit of a surprise with lots of nice textures,” said Beth.

“Overall, Sweet Nothing is very pink, Instagrammable but still classic – over the top but not too much – our products just look mouthwatering.

“My favourite thing to do is actually the bespoke cakes, which start at £36 for a five-inch one.

“A customer will come to us and say they want pastels or stencilling and that’s the best thing, when you get to be creative and they are happy with the result.

“Running your own business is almost more stressful than working for other people, but in a good way.

“Eventually I want to step away from the everyday responsibilities of the business and start to expand it. I didn’t think I’d ever have the opportunity to have something like the bakery I’ve opened at Republic, to be honest.

“When I go home and have some time to myself, I think: ‘I did all that,’ and I’m so proud. Obviously it doesn’t happen overnight, but it is incredible.

“I maybe thought I’d have a little place in a village, so to have this as my first premises is amazing and we can’t wait for more businesses to open here, which is good for all of us.”

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July 6, 2021September 8, 2021

Greenwich: How the Art Of Zero Living brings sustainable products to shoppers

Store in Greenwich Market stocks more than 400 eco-friendly lines with no plastic packaging

Art Of Zero Living founders Justas Kanapeckas and Vita Viskackaite — Art Of Zero Living’s *Justas Kanapeckas* and Vita Viskackaite – image Matt Grayson

Vita Viskackaite and Justas Kanapeckas would love you to bring your own containers when you visit their shop in Greenwich Market. But if you don’t it’s no bother. The Art Of Zero Living is as ready to serve curious passers-by just as any convenience store would. But it does it without resorting to single-use plastic.

Opened two months ago, the shop carries more than 400 product lines – all carefully selected by the couple to meet their exacting environmental standards – including 240 kinds of food with 85% certified as organic.

how did you come to start the Art Of Zero Living?

Vita: It was born during the pandemic, when we were at home for eight months doing nothing, and we couldn’t shop zero waste, because there was nothing around, so we decided it was the perfect time to start something.

I was working at Itsu in the logistics department as a supply chain coordinator.

Justas: I’d been working in a restaurant as a manager for the last 10 years, so I’m from a retail and hospitality background and Vita knew about supply and logistics, but retail was new for us.

One morning over coffee – we’d already watched a lot of Netflix – and we said, as we were locked at home, we should use the time for something.

The storefront in Greenwich Market – image Matt Grayson

where did you find inspiration?

Justas: We’d read a book by Bea Johnson, who coined the term Zero Waste. We’d always been into nature and, because we have a daughter, we thought it was important to work on that area.

Vita: Bea gave me a kick up the arse. Her ideas had already pushed me to make changes – we refused to buy food in single-use plastic packaging, but during the pandemic we were forced to go back and buy it, because we didn’t have anywhere to buy it locally in Greenwich. When you’re purchasing this stuff every day, you don’t realise – you think it’s normal.

But when you start living a different lifestyle and then you have to go back, you realise that it isn’t at all.

Food products ready to be dispensed into containers – image Matt Grayson

what will people find in the shop?

Vita: High quality, natural, sustainable food and other products – absolutely nothing that has chemicals in it.

It’s all about being able to trace each product from the beginning to the end of the supply chain. We can provide all the information customers need and we believe in organic food and use all the products ourselves. I’m happy to stand by every single one – if we didn’t like it, we wouldn’t sell it.

Justas: We’ve done eight months of homework and we’re still doing it if we decide to bring in a new line.

Customers can buy as much or as little as they like because the things we sell are mostly not pre-packed. We try to eliminate as much packaging as possible.

Of course, for first-time buyers we provide paper bags and containers free of charge. We live this lifestyle so we know how to encourage people.

The shop also sells many non-food products – image Matt Grayson

how does it work?

Vita: We explain that to everyone who comes through the door for the first time. Either people go back home and get their jars and containers, or use our bags.

I remember my first time shopping in such a store – it’s very strange if you’re used to a supermarket. You’re afraid to drop the beans or that you might put something in the wrong place, because it’s complete freedom for you to help yourself.

But nobody should worry – we’re always there to advise customers that it’s fine, that they can make a mess and it’s normal. The shop is designed for this. Then they laugh and we make them feel welcome. We want Greenwich to know that we exist, because we are affordable. We said that we were not going to be expensive, even though we are organic. People should be able to afford this food and bring their own containers.

Justas: We’ve had Australians come to our shop – many of them – and they’ve said shops like this are on every corner in their country and wonder why it’s not like that in the UK. We are the first shop like this in Greenwich.

how would you like to develop the brand in future?

Vita: Business is getting better and better – we knew that at the beginning it was going to be very hard.

No-one made a shop work in two or three months, it takes time – one year, maybe two – we don’t know. But this is our idea, it’s our lifestyle and it comes from the bottom of our hearts, so we’re going to fight for it.

Justas: One of the good things is that everyone can buy from us, because they are not forced to buy a lot. We have literally had people spending 83p on nuts or some pasta.

I hope this shop will bring us more attention in general, and maybe we’ll start a bigger project, perhaps open a few more or maybe teach kids in schools – that would be nice. It’s not only business, it’s spreading a message.

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July 2, 2021September 8, 2021

Property: Why Alex Neil believes estate agency must be international and local

Matteo Congedo, regional manager for Canary Wharf and Docklands, talks service, sales and lets

Alex Neil regional manager Matteo Congedo – image Matt Grayson

First established in 1984, when much of Docklands was still a derelict industrial wasteland, estate agency Alex Neil has stood the test of time, embracing the challenges of regeneration while growing and nimbly evolving to serve its ever-changing market.

Walk through the doors of its Canary Wharf and Docklands branch on Westferry Road and beneath the grey and copper of its branding you’ll find a business marketing properties in 65 different countries via 94 online portals – the kind of reach that would have been impossible 37 years ago.

“When we represent a vendor or a landlord, we do the very best we can to make sure they get maximum visibility in terms of marketing,” said regional manager Matteo Congedo.

“Because of Brexit and the fluctuations in the value of the pound, people overseas have seen that as an opportunity to invest in London and Canary Wharf is seen as one of the best places to be, so we’ve invested heavily in marketing all the properties we have internationally. That’s not something many agents can offer in London.

“But we also like to have a local presence – for example, we send out 300,000 printed supplements in the areas we cover as well and that reaches a different audience.

“We’re a modern agency, but that means using a range of different methods to make sure we cover as wide a demographic as possible.

“One of the mistakes agencies make in terms of marketing is that they think one thing is going to work and they invest all their time and effort in that – social media, for instance. But what about people who don’t look at those platforms?

“What we’ve seen with video tours of properties during the pandemic, for example, is that because people are potentially committing themselves to a home for 30 years, they’re not going to do that if they only see it on a screen.

“It’s not like buying something on Amazon where if you don’t like it you can send it back. So during the pandemic we made sure we could continue physical viewings, equipping our staff with PPE, minimising time wasted.”

Operating from three locations in addition to Canary Wharf – Chiselhurst And Bromley, Bow And Bethnal Green and Rotherhithe And Bermondsey – the company covers Docklands, Kent, Essex and east and south-east London, marketing properties both to buy and rent.

Matteo said: “The sales market is very interesting at the moment because the only two things people were thinking about a couple of months ago were buying a place and working from home.

“At that time, because of the restrictions, buyers didn’t really have much opportunity to do anything else. With the easing, we’ve seen a bit of a drop in terms of viewings but a rise in terms of the quality of applicants – more serious buyers.

“Before we had people who were just looking around because there wasn’t much else to do.

“Now, as society opens up to other things – you can see family or friends you haven’t seen in a long time – those people who weren’t seriously committed to buying are doing those activities instead, rather than searching for a property.

“That’s good for owners, because the time between putting a property on the market and getting an offer has fallen as a result.

“The way I see it, the average age of Canary Wharf residents is likely to drop.

“Over the past year, families have started to be more open to other areas. This area is great to live in but potentially doesn’t offer as much in terms of schools as some others. That’s what’s driven a lot of families to move to the outskirts of London.

“But, if you want to live in a cool place, walking distance to the office and the amenities of Canary Wharf and you want to be able to do lots of activities then it’s the place to be.

“I’m a true believer that Canary Wharf won’t struggle. Yes, over the past 15 months we’ve been through a lot and we’ll need a bit of time to adjust, but what Docklands offers is unparalleled compared to any other place in London.

“People don’t want a long commute, especially if they’re working in financial services or for a big company where they’re doing very long hours in the office.

“The last thing you want to do after that is to go on a depressing journey on the Tube. It’s dark and dingy, especially in winter – an increasing number of people want to live close to work.

“Also, what the buildings here offer in terms of facilities is very attractive – you have cinema rooms, swimming pools, concierge services and business hubs. The lifestyle here is completely different to how it was 20 years ago.

“In terms of what’s popular, the older developments are really holding their ground because they offer a very large floorplan and that’s what people want. Then there are a lot of youngsters attracted by the new developments.”

Matteo says the rental market will book in September – image Matt Grayson

Matteo said the rental market locally had been through a rollercoaster of a year with the pandemic initially seeing tenants leaving the area but predicted a recovery would follow widespread return to offices.

He said: “We’ve seen Canary Wharf Group move into the build-to-rent market – a prime example being the Newfoundland building, which is just across the road from our office – that’s evidence of the demand for package deals where those renting pay a fixed price with bills included.

“We’re dealing with the Circus Apartments at Canary Riverside, which is another build-to-rent scheme of 46 apartments, all offering luxury living because that fits with the calibre of people the area is attracing at the moment.

“When people were not allowed in the offices, we did see a migration away but things are picking up and I think we’re going to have a boom around September when a large proportion of Canary Wharf workers are expected back in the office.

“That’s what we’re preparing our team for. It’s reassuring because there’s a huge buy-to-let market locally with many investors putting money in from abroad.”

Matteo was also keen to stress that, while Alex Neil is very much a company that looks outward, its heart is firmly in the communities it operates in, donating a percentage of its fees to a chosen charity each year and welcoming collaboration with local organisations.

He said: “Estate agency is a people business. The agent should be someone embedded in the community – it’s very important that every viewing we do, every person we speak to, we give the best possible level of customer service because you never know who you’re dealing with.

“The tenant of today could be the buyer or the landlord of tomorrow. Because we’ve been here such a long time, we have people who perhaps began renting through us but are now looking to buy and are looking only through us because they have an expectation – they know we’re going to do the best we can.

“In the industry, you see a lot of pop-up shops, businesses that start up and then close down after a couple of years because they don’t really offer a service. We’ve been established since 1984 and that says a lot.

“This year both me and the firm’s director David Hatch will be running the London Marathon to raise money for Guy’s And St Thomas’ Kidney Patients Association. We’d love to raise as much money as possible. As a company we try to do as much for charity as we can.

“An estate agency should be part of its community – a point of contact if you need anything.

“For example, we just bought a greenhouse for a girls school in Chiselhurst so they can grow plants. It’s about giving something back to people locally.”

Call 020 7537 9859 or go to alexneil.com for more information about properties in the area or to pledge your support for Matteo and David’s efforts in the forthcoming London Marathon

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July 1, 2021September 7, 2021

Fish Island: How Rewritten rewrote the rules on sustainable bridesmaids’ dresses

Katie Arnott and Fran Cookson started their brand, which now offers a bridal collection too

Rewritten founders Fran and Katie — Rewritten founders Fran, left, and Katie – image Matt Grayson

The story of Rewritten has, at its heart, a friendship. Katie Arnott had been working at then emerging jewellery brand Astley Clarke for about four years when she was assigned as a buddy to incoming head of communications Fran Cookson.

Despite being in different teams, the pair worked closely, becoming good friends over the next four years when one night, over several glasses of wine, inspiration struck.

“We were both getting married and we couldn’t find nice, cool, contemporary bridesmaids’ dresses for adults,” said Fran.

“We’d asked our friends where they’d been shopping for them and were told there were only traditional, old-fashioned shops – we saw this gap in the market and decided to launch a bridesmaid’s dress brand.

“We always knew we wanted to do our own thing and between us we thought we had the right skill set. Katie understood retail and operations and I had a background in fashion design as well as marketing.

“We put a business plan together and approached Virgin for a business startup loan in 2016 and that’s how we founded Rewritten.”

startup

“We’ve nearly finished paying back that loan,” said Katie. “Applying for it was really good for us because we had no idea what we were doing at all.

“We’d never started a business so we didn’t have a clue how to write a plan for one. Doing that really forced us to sit down and look at so many different aspects of the company.

“We put this huge document together, applied and got accepted straight away. Virgin has been very supportive over the years. We have often gone back and done talks there because they have lots of entrepreneurs and startups going though their programme.”

Rewritten Bridesmaid — Brookyln Dress in Olive Green, £140

styles

“We started with four colours and four styles, and now we have around 14 colours and 10-12 styles,” said Fran who designs Rewritten’s products.

“We’ve grown quite a lot as a brand and we have a wholesale channel as well, so we have stockists around the UK and internationally.

“We sell mainly through our showroom appointments and we’re fully booked until August as well as selling a lot online.

“We’re quite a disruptive brand, in that we were really the first ones to do a wide range of colours and sizes and styles available digitally, which wasn’t really a thing before in this market.

“The bridal industry is very old fashioned although it is changing. Traditionally bridesmaids’ dresses would be very generic and really expensive – £300 per dress – that’s a huge amount of money if you have eight to buy.

“Many were prom-style – it was almost a joke category and that’s what we wanted to change.

“The question we ask is: ‘Why can’t you wear a really cool dress or a jumpsuit as a bridesmaid – something that you could potentially wear again?’. We call it sustainable bridesmaid-wear – the idea is that this no longer a ‘single use’ industry.

“Women’s fashion is one of the biggest environmental offenders and bridesmaids’ dresses are a big part of that – they’re relegated to the back of the wardrobe and we wanted to change that, making pieces you want to buy and wear, whether that’s different styles in the same colour or the same dress in a wide range of sizes.

“When we started, this approach didn’t even exist and people really enjoyed that autonomy rather than being told they had to wear a horrible dress.”

Rewritten Bridesmaids — Rewritten can provide different dresses in identical colours

showroom

Having originally opened its doors in Tottenham, the brand has relocated to Fish Island in Hackney Wick, with premises that cater for its shipping operations and, crucially, customers who want to try dresses on.

“We make the whole thing really special with private fitting appointments and we open at the weekends too,” said Fran.

“People can come in as a group, have a glass of Prosecco and it’s a really lovely experience.

“It’s our clients with their mates having a trying on session – and our frosted glass makes it very private. Hackney Wick is such a cool area, with all the bars and restaurants around here – we have a blog on our website that tells visitors where the best places to go for brunch or a drink are and people really make a day of it.”

sustainability

Katie said: “We’re trying to change the preconception that weddings are about single-use fashion. Our brand is about rewriting the rules.

“We had to apply for our space at The Trampery in Fish Island – they were looking for sustainable fashion brands and we are one of the six founder members here.

“We’re not saying we’re perfect but we’re really striving to make a lot of changes, using recycled fabrics and making a lot of the collection in London as well as only making dresses when people order them which is a sustainable way of manufacturing.”

Rewritten Bridal — Rewritten’s bridal collection includes Simone Dress, £575

spreading

Rewritten recently launched its first bridal collection, made entirely from organic and recycled fabrics in response to demand from fans of the pieces in its core collection.

“We’re quite a London-centric brand at present so we’d like to become a lot bigger in the UK,” said Fran. “We’ve been looking at Manchester and we also have a lot of Irish brides, so Dublin could be an option too.

“In terms of sustainability we want to have the whole collection made in recycled fabrics by the beginning of 2023 and that’s partly about changing people’s mindsets about what that means, educating our customers. Our bridal collection really shows that – it’s affordable and the dresses could really be worn again.”

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