Docklands Archives - Wharf Life

November 2, 2025November 2, 2025

Gemba offers an invisible banking solution for fintechs from Level39

Created by entrepreneur Alexander Legoshin, the Canary Wharf based company offers regulated payments services to speed up firm’s journeys

Founder and CEO at Gemba, Alexander Legoshin - image by Jon Massey / Wharf Life — Founder and CEO at Gemba, Alexander Legoshin – image by Jon Massey / Wharf Life

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Alexander Legoshin’s entrepreneurial journey officially began at the age of nine, selling newspapers and then groceries.

By 10 he’d already decided he’d like to build his own bank – “something significant, something that would help people”.

He said: “Business was something I was always interested in.

“It was easy to do after school and my parents didn’t earn a lot, so it was helpful for me and the family.

“I’ve always been an entrepreneur – I’ve never worked for a company except my own.

“Maybe it’s good to be employed by an organisation, but it just didn’t happen – I don’t have that track record.”

What Alexander does have, however, is a consistent history of creating companies.

Born in Russia, he finished school before going on to study at the Moscow State Institute Of Radio Engineer, Electronics And Automation.

always an entrepreneur

“The first company I started was in my first year of university and it just went on from there,” he said.

“I’m an IT person by education and my project for graduation was to develop a content management system.

“That ended up being too big for one person and became my first business.

“I managed to grow that company over six years before moving into marketing.

“That business dealt with media strategy and media buying and had a lot of high profile clients such as HSBC when they started operating in Russia.”

Further change came in 2014, when Alexander decided to leave the country of his birth, moving to Latvia.

In 2015 he sold his Russian business and launched a consultancy firm, working in corporate information and investment, with spells spent living in the Netherlands and the USA before embarking on his latest venture.

“In 2017 I had an idea to build a financial services company which I’m managing right now,” said Alexander.

“It was a long journey because we decided to get our own licence and build a product, which took about four and a half years.

“The first version wasn’t as successful as we wanted, but last year it turned into a successful business.

“We grew significantly in terms of customer turnover and revenue.”

Based at Canary Wharf’s tech community, Level39 in One Canada Square, Gemba takes its name from a Japanese term for a place where value is created in a business – the factory, a construction site or the sales floor, for example.

It’s where the real work happens.

“A good definition of what we do is that we act as an invisible bank,” said Alexander.

“We’re regulated by the Financial Conduct Authority as an authorised payment institution and we offer companies banking and payments services so that they can serve their customers.

“If you have an idea for a fintech business, for example, there are delays. To operate, you need to be regulated, to build the product and so on – there’s a wait to get a licence.

“What we offer is a way for companies to implement their ideas quickly without having to wait.

“They can use our white label solution – our infrastructure – to operate their business under their brand and retain their customers.

“We take care of delivering the services and all of the compliance and regulation in the background.

“Clients pay either a fixed fee to Gemba for those services or a percentage of payments.

“It literally takes seven minutes for a firm to start – everything is automatic.

“We offer secure payments, seamless accounting integration and fully integrated management solutions that fit an organisation’s workflow.

“Clients can create accounts for their companies and customers, design and issue cards with their own logo and either use our ready-made banking app or build their own using Gemba’s technology.

“We’re not technically a bank but we offer a full banking solution.

“Payments are the bloodstream of businesses – you don’t get the service unless you pay for it.

“At present, our licence doesn’t allow us to take deposits or make loans but we can do everything in terms of payments.

“Hopefully, we’ll be introducing deposits quite soon.”

basing Gemba in London

With a target market of fintech firms and accountancy businesses, Alexander decided to base the business in London.

He said: “Initially it was a decision about where to go for a licence – Luxembourg or London. We chose to apply to the British regulator because London is one of the financial capitals of the world and the market is huge.

“Initially, when we started building the product, I didn’t live here but I moved to the city about three years ago.

“My wife and I like London – it’s convenient because it’s located between Europe and the USA, which is great.

“We now have around 40 employees, with about half based at Level39 working in banking from Canary Wharf.

“Other staff work remotely under contract – they’re comfortable living in their own countries, so we don’t bring them to the UK unless they want to come.

“Level39 isn’t just an office space – it’s a community of like-minded people that acts as an accelerator for those who are trying to do something good in this world.

“They run a lot of events and it’s a really lovely place to be.

“Kudos to Amy French, its director and her team.

“The cost of the office space is comparable to other locations and perhaps a bit less than the City, but it’s a nice place to work.”

building a network

Gemba has made much of being part of the community, engaging with the likes of Barclays in the past.

The company was also selected earlier this year to participate in the JPMorgan Chase Fintech Forward Programme, a 12-week accelerator developed in collaboration with EY.

The scheme intends to support early stage fintech businesses, aiming to shape the future of financial services through innovation and technology.

Alexander said: “Being selected for the programme is an exciting opportunity for Gemba to collaborate with global leaders in financial services.

“It will help us accelerate our mission to deliver more efficient, accessible, and innovative financial solutions for businesses worldwide.

“Our full-stack platform and profitable revenue-share model are already built for high-speed, compliant growth—and this partnership will dramatically enhance our ability to empower the next generation of fintechs.”

looking ahead

In the future, the company plans to continue growing its customer base targeting financial startups as well as accountants and communities wanting to offer banking services.

Alexander said accountancy was a natural partner for his firm as Gemba was able to offer a “friction-free” experience for a practice’s clients thanks to information sharing to satisfy compliance request.

He also said that communities wishing to handle money could use Gemba to handle their own customers with a pilot scheme already in operation in London to explore opportunities.

“As a 10-year-old in Russia, I wasn’t thinking of Canary Wharf, of course, when I was imagining building a bank,” he said.

“But I was thinking about having my company’s name on a building.

“Perhaps we’ll get to that point.

“I wouldn’t say it’s a plan to do that – more like a dream – but by working step-by-step we may get to the point where the dream comes true.

“Right now, it’s great to be based at One Canada Square – it’s a landmark building and absolutely tourist material.

“People know Tower Bridge, The Gherkin and this building in Canary Wharf.”

key details: Gemba

You can find out more about Gemba’s services for businesses on the company’s website here.

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October 31, 2025October 31, 2025

The Pear Tree to expand to Canada Water with a third venue

The Village Tree is set to open on the ground floor of The Founding – British Land’s flagship residential building right outside the station

An artist's impression of The Village Tree, which is set to open in Canada Water - image by Black Ivy Design — An artist’s impression of The Village Tree, which is set to open in Canada Water – image by Black Ivy Design

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Chefs Matt Lloyd and Tze-May Ng first met at the Shangri-La hotel in Sydney.

“I was working downstairs in the brasserie at the time and she was cooking at Altitude restaurant on the 36th floor,” said Matt.

“Their chefs would come down and steal all our equipment.

“It was pretty annoying until I also moved up to Altitude and then, somehow, it was fine.”

Having forged a bond at a venue overlooking Sydney Harbour and the billowing white sails of the city’s opera house, the couple resolved to move to London in 2007.

“It was all about the food,” said Matt.

“If you look back at that time it was the place to be. You had The Fat Duck and Gordon Ramsay still in the kitchen.

“If you wanted to learn about food, it was where you needed to go.”

Food has been something of a constant in Matt’s life. Born in Queensland, he spent his teenage years in Brisbane before winding up in Sydney.

“I always enjoyed cooking from a very young age and knew it was something I wanted to do,” he said.

“School wasn’t so good for me – I left at quite a young age, having arranged with the local council to do my apprenticeship and then it was straight into the kitchen.

“I was 21 when we moved to London and I worked in various restaurants around the city.”

Spells with the likes of Gary Rhodes and Michael Wignall followed, with both Matt and Tze-May cooking at the latter’s Michelin-starred Latymer in Pennyhill Park.

Matt then went on to join ETM Group, known at the time for its food-focused gastropubs, where he worked in a number of venues including running the kitchen at The Botanist in Sloane Square.

Chef Matt Lloyd - image by Jon Massey / Wharf Life — Chef Matt Lloyd – image by Jon Massey / Wharf Life

opening The Pear Tree

“A lot of chefs who have spent their time cooking eventually want to have their own place and I was the same,” said Matt.

“My dad had his own business when I was growing up – it was the main grocery store in the town.”

Having moved to the area around 2010, the couple saw an opportunity to bring a bit of Australia to south-east London.

“There were high street options like some good little cafés locally, but there were no all-day brunch restaurants, so I knew the area needed something,” said Matt.

“First we looked around Canada Water station, but the rents were a bit outrageous.

“I’d met the landowner of Greenland Place a few years earlier – we got along well and I liked her vision for the development.

“Then we had to decide what we wanted to open and, in 2016, the result was The Pear Tree.

“I really liked the idea of an Australian-inspired venue because nothing is out of place on the menu.

“We didn’t want to get stuck just doing modern British.

“Instead, we can have nice classic French dishes, Italian pasta or flavours from Polynesia or Asia.

“It’s a nice approach for a restaurant, where people can come for a full-on breakfast or a pastry with coffee or a juice.

“We’re quite lucky to have a varied audience here – some people come down with their laptops to do work.

“Younger mums visit throughout the day to socialise.

“We offer a very approachable all-day brunch menu and a wine list put together by our friends at Davy’s.

“We always have different things happening including wine nights and steak nights as well as a really popular Sunday roast.

“Then, at the front, we have a deli where we try to support smaller producers and stock a great selection of wines.”

Steak at The Pear Tree - image by A Dash And A Splash — Steak at The Pear Tree – image by A Dash And A Splash

expanding to Surrey Docks Farm

Over the pandemic the couple also started operating a venue at Surrey Docks Farm, initially as a deli and grocery and then as a full-blown café.

“If you go down to The Barn, you’ll find toasted foccacia sandwiches, which we make at The Pear Tree and deliver fresh every morning,” said Matt.

““Then there are lots of cakes, brownies and sausage rolls.

“We do many different specials throughout the week there too, depending on what’s in season.”

Now the story is set to continue, with Matt and Tze-May expanding once more to a new site.

The Village Tree is expected to open in early 2026 at the base of British Land’s flagship residential tower, The Founding.

The building is in the vanguard of the developer’s extensive regeneration of the wider Canada Water area and is located just outside the station.

“I guess you could say The Village Tree will be a mash up between our other two venues,” said Matt.

“We’re trying to give it its own identity, although visitors will find amazing fresh sandwiches, cakes and coffee, and other home-baked goods.

“We’re still working on a few different ideas for the food menu itself. We won’t have a full hot kitchen there, but we will be offering a very good selection.

“It’s not certain yet, but one of our ideas is to have pancakes or possibly waffles.

“We recently had a great trip to Belgium and we think nobody has brought that quality of waffle over here yet, so it would be wonderful to do that.”

The new venue at Canada Water will take elements from both The Pear Tree and The Barn - image by Black Ivy Design — The new venue at Canada Water will take elements from both The Pear Tree and The Barn – image by Black Ivy Design

a varied menu

What’s clear, when talking to Matt for any length of time, is that the passion he developed for food as a youngster is still the thing that drives him.

The Pear Tree’s menu is diverse, with potent dishes like Kimchi Eggs, Nasi Goreng and Dan Dan Noodles sitting next to roast grouse, smashed avocado on sourdough and steak with peppercorn sauce.

“Personally, I love the breakfast pancakes we serve until 5pm,” said Matt.

“They are my favourites, especially the top three options – Blueberry And Bacon with maple syrup, blueberry compote and fresh blueberries.

“Then there’s the Fried Chicken option with maple syrup or a really nice autumnal option with Apple And Walnut, which comes with a salted caramel sauce and a cinnamon crumble.”

Apple And Walnut pancakes with a salted caramel sauce and a cinnamon crumble - image by A Dash And A Splash

key details: The Pear Tree, The Barn and The Village Tree

Matt and Tze-May currently run The Pear Tree at Greenland Place in Yeoman Street and The Barn at Surrey Docks Farm.

The Village Tree is set to open in early 2026 at The Founding in Canada Water.

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October 30, 2025October 31, 2025

Rhiain Lefton set to exhibit landscape images at Three Colt Gallery

Limehouse showcase will feature the photographer’s work from her ongoing project to capture the textures and wildlife of the Thèze Valley

An example of Rhiain's work - image by Rhiain Lefton — An example of Rhiain’s work – image by Rhiain Lefton

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Rhiain Lefton’s landscapes might, at first glance, seem flat – images of trees and foliage that become almost abstract through her decision to limit perspective and sky in the frames.

However, there’s depth of a different kind behind each creation.

The artist and photographer is set to take over Limehouse’s Three Colt Gallery with a solo exhibition of her work from November 6.

She will be coming to London to hang her images and also to host a talk on her practice and its fruits on November 9, 2025.

“I’m from an artistic family, so I grew up looking at the world in that way and have been interested in photography from my teenage years,” she said.

“We moved to the Lot Valley in France when I was 11.

“I went back to the UK for university, to study social anthropology and a masters in critical theory.

“But I also took evening classes in analogue photography and started developing my work. I then returned to France about 10 years ago.

“I switched to digital cameras and started to become a professional photographer, developing an interest in tone and colour.

“When I came back to rural France I began working as a landscape photographer in a small valley nearby and have done that for nearly 10 years.

“The valley has a long and rich history from pre-historic times to the agricultural policies over the last few hundred years.

“You see so much change in that time in terms of man-made impact as well as nature.

“The constant changing of the landscape is interesting to me. I also think about deep time – the billions of years before humans existed.

“Change always seems very fast, but put in that context, we’ve only been here for the blink of an eye.”

Landscape photographer Rhiain Lefton - image by Rhiain Lefton — Landscape photographer Rhiain Lefton – image by Rhiain Lefton

Rhiain Lefton: immersed in the landscape

Rhiain has spent almost a decade immersing herself in trees and cliffs of the Thèze Valley and capturing them.

“I live close by, so I keep an eye on weather, climate and season,” she said.

“The times I go out can be quite random and vary during the year.

“Because it’s a narrow valley, it takes a while for the sun to come over.

“Late morning is when you get interesting compositions of light.

“Sometimes I might go out every day for a week, then I might not for a couple of weeks – it’s unpredictable, but that’s the case with landscape photography generally.

“There’s a lot of patience involved and you get to know a place and how it looks at different times of the year.

“That’s why I’ve titled my latest project Cellular Intimacy, because it is intimate – you get a real sense of the place and a knowledge of it.

“That’s an important part of it because, while there’s an enormous amount of planning in landscape photography, you also have to allow for a sense of wonder – the feeling that this is the right moment.

“Connecting with the landscape is vital, although a lack of knowledge plays its part too – it’s both things working together.”

Rhiain has spent more than a decade capturing the textures and shapes of the area near her home in France - image by Rhiain Lefton — Rhiain has spent more than a decade capturing the textures and shapes of the area near her home in France – image by Rhiain Lefton

to texture and abstraction

While traditional landscape photography often involves epic vistas and the interplay between sky, land and water, Rhiain takes a different approach.

“As I developed my practice, I noticed I was going into the landscape more and more – there isn’t much sky in my images,” she said.

“I focus on the plant life itself and I’m interested in compositions there – seeing beauty or mystery within a smaller space.

“I had an interesting discussion with someone at the last exhibition I did about whether you’d call what I do landscape photography, nature photography or plant photography.

“I’m also interested in texture and the relationship between the different elements in a composition, almost going towards a kind of abstraction that is also linked to the intimacy I have with the valley and also to the barrier between humans and nature.

“While my images don’t obviously have anything made by people in them, the reason the trees are there is partly due to human intervention.

“I did a lot of research about the valley, looking at archives, and the area has changed so much over the last few hundred years – even in the last 50.

“To give an example, there’s a river that runs through it and the farmers used to farm right up to the edge of the water.

“But then there was a European directive that stated they had to pull back six metres to avoid contaminating the water with pesticides.

“Now all these trees – the alders and willows that like water – have grown up all along its banks and they look natural but they’re only here because of a human policy.

“People often think I’ve manipulated the images but where I have edited them it’s been minimal.

“The light here is unique and because the valley runs south-east to north-west you get areas of high contrast as the sun passes over.”

Rhiain said she was looking forward to showing her work in London.

“This is the second exhibition I’ve done at Three Colt Gallery,” she said.

“One of the things I really enjoy is the intellectual side of my images, discussing the ecological aspect to them and discovering different people’s views.

“Some respond to them immediately in the way they relate to them or feel drawn to them.

“Others really don’t. What people like or don’t like is a great mystery.

“However people respond is interesting.

“You’re inviting them to look at the world in a particular way and when they understand that it’s rewarding.

“If they don’t, it makes you think about what you’re doing.

“I’m interested in representation and truth so we’ll be talking about that in my talk and discussion in London.

“I’ll be asking whether we’re creating an archive of something that might not exist in the future.

“I also want to talk about Socratic truth and literal representation and how that fits into notions of documentary.

“Is there a clear line between artistic and documentary approaches?”

Rhiain will also be hosting a talk at the gallery on November 9 - image by Rhiain Lefton — Rhiain will also be hosting a talk at the gallery on November 9 – image by Rhiain Lefton

key details: Rhiain Lefton at Three Colt Gallery

Rhiain Lefton’s work will be on show at Three Colt Gallery in Limehouse from November 6-21, 2025.

The artist will be hosting a talk and discussion there on November 9 at 4pm.

The gallery is free to visit and opens from 10am-6pm most days. It is closed on Mondays.

Find out more about the gallery here

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October 30, 2025October 30, 2025

Artship set to join Theatreship on the Isle Of Dogs in cultural flotilla

How a 1938 diesel coaster is being reborn in Kent as a venue for the arts in east London’s docks

Inigo Lapwood, founding director of Artship and Theatreship - image by Artship — Inigo Lapwood, founding director of Artship and Theatreship – image by Artship

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“What’s incredible here is just how the guys view steel – as something completely fluid,” said Inigo Lapwood.

“When we brought the boat in, they just cut the two stairways we use for access off the pontoon and welded them back on in the right position.”

We’re sat atop the crusty, rusted panels of a vast barge looking out over the River Medway at Stick-Mig Welding in Chatham Docks, Kent.

Above us, resting on the steel – her keel snugly held in place by sacrificial lumps of wood – rise the curves of Artship.

The yard is rich in oxidised metal, but this is no scrapheap.

As we walk through, the searing white light of fabrication and the pop and hiss of melting steel cut the air.

This is a place where things are made and repaired, where function is preserved and created.

Artship herself is in for repairs on her way to the next chapter of her life afloat.

She’s set to join up with Theatreship on the Isle Of Dogs to form a multi-vessel floating arts centre.

But before she can carry a cargo of culture, she needs a bit of work doing – spearheaded by Inigo as founding director of the project.

Artship is currently out of the water in Kent - image by Jon Massey / Wharf Life — Artship is currently out of the water in Kent – image by Jon Massey / Wharf Life

creating Artship in a piece of maritime history

“We’re finishing all the structural work necessary in dry dock,” he said.

“This is actually one of the last places where you can get this kind of work done.

“Historically, Chatham was where all of the great sailing ships were built in the 1800s and we’re really lucky that those skills have been handed down.

“With Artship, we’ve had to cut sections out of the hull and replate them, we’ve had to make repairs to the rest of the machinery onboard and we’re making her suitable for public access.

“Unsurprisingly, a ship designed to carry 500 tonnes of coal isn’t immediately suitable for welcoming hundreds of people.

“However, we want to keep her as honest as possible with the fabric of the ship present and on-show.

“Inside, we have a big space that isn’t really on a human scale so we’re really excited that it presents us with an opportunity for large installations, exhibitions and music events.

“We can do a lot of really interesting things.”

Artship’s keel was laid in 1938.

She’s one of the first diesel coasters – a type of vessel that came to dominate short-sea shipping around Europe through the Second World War and the first half of the 20th century.

There are only a handful left intact.

At the peak of their popularity, there were more than 1,000 similar vessels in use and the class would once have been a familiar sight in the Thames and across Docklands.

Her hold is big enough for a vast, flexible arts space - image by Jon Massey / Wharf Life — Her hold is big enough for a vast, flexible arts space – image by Jon Massey / Wharf Life

a cargo of culture

“We’re going to be filled with a cargo of arts when we arrive at West India Docks,” said Inigo.

“It’s really building on what we’ve been doing with Theatreship. Just as goods once came to the area from all over the world, our ships can provide somewhere for artists to deliver and unload their ideas today.

“Just before the very first skyscrapers went up in Canary Wharf, the last cargo ships left the docks. Now we’re bringing a second one back.”

Artship’s journey to get to east London has already been an eventful one.

Inigo said: “We found her on the wrong side of Germany, so we had to take her around the Baltic, along the Kiel Canal and across the North Sea.

“We brought her over in July last year and it was quite an undertaking – to get a 90-year-old boat with original machinery working well enough to undertake that kind of trip safely.

“In the end, it took us about two weeks to sail over and we ran into a couple of issues along the way.

“We were about 30 hours into the North Sea, it was around 4am and our second engineer woke me up to tell me he thought the oil pressure was a bit high, but that everything was fine.

“It wasn’t. We actually had a leak in the engine that meant the coolant water was getting into the bottom of the oil sump, producing what amounted to a horrible vinaigrette.

“In that situation, the bearings get starved of oil and, if you don’t spot it, everything overheats.

“Fortunately, we’d had a similar problem with the engine and noticed what was happening so we took a sharp turn and headed for shore as fast as we could.

“However, we ran out of time and had to drop anchor and try and repair the engine at sea.

“It’s a lovely old piece of machinery probably dating from the 1950s and our plan was always to keep it going as long as possible.

“The repair took me almost 36 hours and it nearly killed me – I’m not very good when I don’t get enough sleep and, by around hour 30, I’d forgotten the word for bolt.

“We were working against the clock too because we knew there was a force seven gale blowing in.

“If that had hit us, unballasted and with no power in the engine, the anchors would not have held and we might well have ended up on a beach in northern Europe somewhere – not at all the planned location for a new arts centre.

“We were very lucky to have a brilliant skipper on board, however, who was really experienced.

“After we stopped the engine to repair it, he went straight off for a nap, which was wise because at hour 30 there was someone just waking up fresh to steer the boat.”

Work takes place to replate Artship's hull - image by Artship — Work takes place to replate Artship’s hull – image by Artship

bringing Artship to east London

Fortunately, Inigo and the crew had prepared well, including custom-making tools to service the ageing engine – a piece of foresight that made their North Sea repair possible.

The plan is now to complete works down in Kent, before sailing Artship up the Thames to her new home.

“I hope to bring her to Canary Wharf by December and I’ll be a happy man if I can have my Christmas dinner on the ship,” said Inigo, who typically lives on board the ships he’s restoring.

“There will be stuff to do, but we want to get her back into the docks, even as a living artefact.

“It will be the first time for 50 years that a cargo ship like this has been in the docks that were built for them.

“Then we want to open up the space as quickly as possible.

“We’re working on a really exciting programme to get people on board.

“I’m really pleased with how Theatreship has been received.

“It’s a difficult time for independent venues – we’re a not-for-profit organisation, completely independent and are not supported by investors.

“A third of independent music venues have shut in the last three years, so we’re perpetually grateful that we are able to be open.

“We also do a lot of our events completely free because we believe audiences shouldn’t always have to bear the cost of culture.

“We’ll always try to get funding to make sure we’re not excluding people financially.

“The result of that has been the creation of a really rich community – it’s done what we hoped in bringing people together from all over the place.

“We’ve had multiple film seasons in partnership with the BFI and all sorts of musical events.

“One of the things we love doing with our cinema events is having an interval so people have the opportunity to talk to one another.

“You can end up seeing a work differently as a result of those interactions and that’s creating a greater work of art.

“Our bar is open whether we have a show on or not and we encourage people to use it as a social space.

“One of the reasons east London is as interesting as it is stems from individuals and families coming here from all over the world, staying and sharing the city.

“Amazing things emerge from that.”

She's expected to come to east London by Christmas - image by Artship — She’s expected to come to east London by Christmas – image by Artship

key details: Artship

Artship will hopefully arrive in east London later this year with opening expected in 2026.

Full details of Theatreship’s programme can be found here.

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October 20, 2025October 19, 2025

Fame Factory at Excel London immerses guests in celebrity

Hour-long show invites ticket holders to experience the highs and lows of being famous as Immerse LDN welcomes its latest attraction

Guests participate in a chat show at Fame Factory - image by Fame Factory — Guests participate in a chat show at Fame Factory – image by Fame Factory

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…as I sink into the soft, supple leather of the private jet’s seat I reflect on my journey to becoming famous. In all honesty, it hasn’t been that long.

A few seconds actually, just enough time to walk up the steps into the aircraft.

But already I’m being treated as though I’m a bona fide celeb.

From here, it’s a whirlwind of photoshoots, screen tests (I am, after all, a noted movie star with a reputation for playing evil villains), agent meetings and hedonism.

Just another day as an A-lister until the machine inevitably spits me out the other end…

Fame Factory at Excel London, the latest immersive experience to open at the venue’s waterside quintet of spaces, Immerse LDN, turns out to be a sophisticated bombardment of a celebrity simulator.

Ticket holders pick their character, sip a glass of fizz (optional) in the Entourage bar, then head off to board their flights to guaranteed renown.

From there, its up to an extensive cast of actors to create and reinforce that fantasy over the course of an hour as a blizzard of scenes unfold.

The attraction itself has been created by live events and broadcast outfit Done+Dusted, with one of the production company’s partners, Hamish Hamilton, at the helm.

It’s fair to say he’s a man who knows the reality of fame.

The experience begins with a flight on a private jet - image by Fame Factory — The experience begins with a flight on a private jet – image by Fame Factory

the pedigree of Fame Factory

“My background is as a television director specialising in live events,” he said.

“Over the years I’ve directed the Oscars, Superbowl events, the Brits and the Emmys – I’ve been immersed in this world of celebrity and red carpets.

“One day, when I was on a red carpet, I realised it was a surreal experience – I never thought I would be doing this when I was growing up in Blackpool.

“I also thought it would be great to give everyone the experience of being famous for 15 minutes.

“Simply put, that was the genesis of Fame Factory, although that 15 minutes has now become an hour.

“I love immersive theatre – the best show I’ve ever been to was You Me Bum Bum Train, which was a life-changing experience for me.

“I saw the first one in east London and I just loved the immersion.

“It got me thinking about how we could create something that would be a lot of fun and which would bring people together – something universal.

“Everybody understands fame, likes attention, likes to feel special, likes being fussed over, and that’s what this Fame Factory is all about.

“It’s really simple – you come down and have an hour of fun, feel great and get to be everything you’ve always wanted to be.

“It’s a series of scenes you experience on sets with actors.

“Some rooms fairly passive – where information comes at you and others are less so.

“You might be asked questions or have the opportunity to participate by posing for a photoshoot or making a video.

“People might think that’s not for them, but everyone who has come through has said it’s been amazing – the actors are really kind and you see some of the quietest people just come alive.”

Hamish Hamilton of Done+Dusted - image by Done+Dusted — Hamish Hamilton of Done+Dusted – image by Done+Dusted

the highs and the lows…

While there’s plenty of glitz and glam, the experience is far from a straight puff piece for the world of celebrity.

“We definitely poke fun at fame and its characteristics, and at those who perhaps place too much emphasis on it,” said Hamish.

“The experience is not a wafer-thin glorification of fame – there’s a lot of humour and stupidity, and you’re asked to laugh at yourself, at the situations and at the banality of it.

“In the bar are many assets with captions attached to them which illuminate some bizarre celebrity mishaps that I’ve been adjacent to over the years.

“We also include downfalls, because there’s definitely a darker side to celebrity and we explore that. In the end, fame is entirely constructed.

“Some of the characters you meet in the experience are part of this construct.

“There are many people who are famous because they are magnificently talented.

“Some put those talents to good use while others maybe not so.

“But being famous is also a talent in itself – you don’t need to be as talented as you are famous.

“There are gifted artists and there are celebrities – they’re not the same thing.”

A lot rests on the technical side of the show, which runs in parallel with the experience.

Guests are filmed and snapped as they progress through the scenes with that content used to decorate and enrich the story.

Celebrities get to walk the red carpet as part of the experience - image by Fame Factory — Celebrities get to walk the red carpet as part of the experience – image by Fame Factory

content created at Fame Factory

“My favourite part is actually when people see what we’ve done with what we’ve shot, using all the production values you’d expect – collating it, blending it and layering it with music to create a narrative,” said Hamish.

“People often sit there going ‘OMG’. Then they’re asking how we did what we did.

“Quite often the shows I’m involved with directing are ‘one and done’.

“Those have budget constraints, time constraints and commercial imperatives.

“They’re very stressful but, once you put them out into the world, that’s it.

“With Fame Factory it’s amazing to sit in the bar and hear how groups coming through the experience felt – which scenes they liked and why.

“This is a living, breathing organism – every show you do is different.

“It’s genuinely immersive, genuinely interactive, and there are an infinite number of permutations to the show.

“The guests might pick a character to play but they set the scene and direct their own role so it’s never the same twice.

“In the end, it’s not my show or Done+Dusted’s.

“We’ve laid the groundwork but people weave their own narratives through the storylines and the sets.”

The experience ends with a dedicated awards ceremony for each group in the Entourage bar where participants can also access free and paid-for content created during the show.

An extensive range of merchandise is also available for those who like to wear their celebrity on their sleeves.

Throughout the Fame Factory, content is being created and fed back into the show - image by Fame Factory — Throughout the Fame Factory, content is being created and fed back into the show – image by Fame Factory

key details: Fame Factory

Tickets for Fame Factory at Immerse LDN start at £17.50 with the experience booking into November at Excel.

Find our more about the experience here

Visitors take part in a series of scenes as they make their way along the Fame Factory journey - image by Fame Factory — Visitors take part in a series of scenes as they make their way along the Fame Factory journey – image by Fame Factory

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October 19, 2025October 19, 2025

Olivia Black celebrates connection with Serendipity collection

Bermondsey-based designer’s recent show during London Fashion Week takes inspiration from magpies and honours her Nana’s influence

Model Sian Hedger walks in Olivia Black's Serendipity show - image by Francesca Stuart-Jones / @francesca_sj — Model Sian Hedger walks in Olivia Black’s Serendipity show – image by Francesca Stuart-Jones / @francesca_sj

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BY JESS MADDISON

Serendipity is the title of Olivia Black’s new collection.

Shown during London Fashion Week at The Dixon in Southwark, the Bermondsey-based designer’s latest creations take their inspiration from classic tailoring and the contrasting colours in a magpie’s wing.

But the name of her Spring/Summer 2026 offering speaks to something deeper – the chance meetings and influences that are woven through the story of her eponymous brand, all neatly held together by a safety pin motif.

“I’m from Salford in Manchester originally and I’m a twin,” said Olivia.

“Our Nana – my dad’s mum – was a main inspiration for both me and my brother.

“We were both creative growing up – always into crafts and anything art-related from a very young age.

“Nana was a bit of an artist, and had a crystal shop in Afflecks, an indoor market in the city, but she was also a seamstress and had lived and worked in London when she was younger.

“She was part of the reason I chose to study textiles at GCSE level in school.

“I fell in love with it on my own accord, but also chose it in a bid to feel closer to her, because she’d passed away when I was nine.

“My brother also kept the creativity going and has become a graphic designer.

“It’s funny how such a short period of our lives has impacted what we’ve done as adults.”

Designer Olivia Black - image by Jon Massey / Wharf Life — Designer Olivia Black – image by Jon Massey / Wharf Life

from making clothes to designing them

Olivia’s passion for making clothes saw her buying patterns from the likes of Abakhan, enjoying the “meditative process of building something from scratch”.

She went on to study Fashion Design at De Montfort University in Leicester, before moving to London for a Masters at the Jimmy Choo Academy in Mayfair in Entrepreneurship With Business Innovation And Fashion.

“I was in a class of only six students, so we got a lot of attention and that was an incredible experience,” said Olivia

“They asked questions like: ‘Where do we want to be in the market? Who do we want to be as designers? What is it that you really believe in?’.

“For me, the answer lay in sustainability and gender fluidity – all these kind of activist political statements are very much a part of who I am.

“At the end of the course you graduate with a six-piece collection, which is intended to act as the launch of your brand.

“Mine was all about textile waste and reducing what gets thrown away.

“There was lots of hand painting and use of deadstock fabrics – it was very messy and rural-feeling.

“Growing up working class and shopping in charity shops I’d always enjoyed the process of finding something old and bringing it back to life.

“We always sort of treated it like a game when we did it – who could find the best thing, the designer piece that nobody’s realised is designer.

“One of my best finds ever was a Vivienne Westwood necklace.

“It was £10, they didn’t realise it was real and I have it to this day.

“I don’t wear it because it’s too good, it’s just a nice statement piece on my jewellery stand.

“So finding fabric in that way felt natural to me at university too.

“I had all these projects using bedsheets or curtains – materials that already exist – then mixed and matched them all up.”

An image from Olivia Black's Serendipity lookbook - image supplied by Olivia Black — An image from Olivia Black’s Serendipity lookbook – image – image by Francesca Stuart-Jones / @francesca_sj

Olivia Black, building a brand

After graduation, Olivia got a job at the Jimmy Choo Academy in the marketing team before moving on to lecture at The London College Of Contemporary Arts (LCCA), all while saving money to fund her own brand.

Keen to keep the momentum going, she decided to take her collection from six pieces to 20, sticking with the same theme and adding new pieces every couple of months over two years, finding as many ways to exhibit them as possible.

“I did a lot of shows including Wimbledon Sustainable Fashion Week, I Love Fashion, a few small, local London shows,” said Olivia.

“I was offered a sponsored spot on the Fashion Life Tour where I got to show all 20 of the looks, which was incredible.

“That got people’s attention and then I had a few people ask me to make pieces for them for special occasions.

“I dressed one guest at London Fashion Week then made the same client an outfit for the premiere of Mufasa: The Lion King.

“That did really well online and I got more red carpet requests from other customers.

“Then I kept doing high profile events on the regular.

“I actually used those pieces from my original collection so many times, which was great and that allowed me to show them on different bodies in various sizes, styled in multiple ways.

The proceeds and Olivia’s work in education enabled her to fund the creation of her latest collection, Serendipity.

“It had to be called that, because it’s dedicated to all the people who helped me stay on the right path,” she said.

“There were so many times when I thought: ‘It’s over, it’s never going to happen’.

“Then someone would offer their services as a makeup artist, turn out to own a factory I could use or tell me about somewhere I could get deadstock in London.

“That’s how the entire show came together.

“Everything has been collaborative. Obviously, there was a lot that needed to be paid for as well, but there was so much help from friends.

“It’s natural my brand has become about keeping the community together.

“That’s where the safety pin comes in. It’s symbolic of connecting people and keeping them together.”

Model Sienna Daniels walks in Olivia's Serendipity show - image by Francesca Stuart-Jones / @francesca_sj — Model Sienna Daniels walks in Olivia’s Serendipity show – image by Francesca Stuart-Jones / @francesca_sj

echoing down the generations

With the motif also celebrating the way her Nana’s creativity has echoed down the generations, Serendipity also brings Olivia’s varied influences together such as the silhouette of traditional dress and blazer shapes, all given a twist.

“The reason I went for an all black and white palette is because, for me, it symbolised the idea of starting fresh,” she said.

“I made my last collection last for two years, which was great but it was a graduate collection.

“It wasn’t really what I would say is my brand. I wanted to start with the clarity of black and white, to say: ‘This is who I am’.

“Also, I’ve always been inspired by birds and for this collection I looked at magpies a lot because they like to find shiny things and that related a lot to the theme of serendipity.

“Their feathers inspired the ruffles and glossy nature of the materials used in some of the pieces.

“For me, one of the highlights is the signature Maglen Dress with the Gildpin Belt featuring wool suiting and silk machine embroidery to create a pinstripe from my brand’s logo. You only see it when you look really closely.

“That was inspired by ideas of camouflage that also came from birds and the way their feathers enable them to blend in.

“Pinstripe is also very traditional and I thought: ‘What would my twist on that be?’.”

Also wrapped into the theme of serendipity, was the way Olivia connected with the factory in Stratford where her clothes are made.

She said: “When I was teaching at LCCA, one of my students turned out to be a manufacturer who owned a facility in east London.

“Even though he was already very successful, he’d been determined to return to education to get his degree.

“One of the reasons Olivia Black is a luxury brand is that we make everything in the UK. The price point is higher, but what matters to me is that my seamstresses get paid a very fair wage.

“For me, the most exciting part of being a designer is seeing my work go from a flat sketch that started life in my head to an actual physical piece. That’s the magic.”

Model Dash walks in Olivia's show - image by image by Francesca Stuart-Jones / @francesca_sj — Model Dash walks in Olivia’s show – image by Francesca Stuart-Jones / @francesca_sj

inspiration in the skyline

Olivia works from her studio in an 11th floor flat in Bermondsey that she shares with her partner, taking inspiration from its views.

The couple had their first date in Greenwich Park before setting up home in Maze Hill.

“When we moved to Bermondsey, we wanted to find somewhere with similar views,” said Olivia.

“We overlooked Canary Wharf and the Isle Of Dogs and, when we’ve had low points, because we’re at the start of our careers, we’ve been able to look out over London and realise there’s so much out there.

“It gives you faith that something is going to come, that we’ll get the jobs we need, that we’ll meet the person we need to connect with and that we’ll stay optimistic.

“We’ve found having that skyline has really kept us both going – it’s a privilege to be able to look out over it and think: ‘It’s all out there, I just need to find it’.”

Model Sian Hedger wears Olivia's signature Maglen Dress with the Gildpin Belt - image by Francesca Stuart-Jones / @francesca_sj — Model Sian Hedger wears Olivia’s signature Maglen Dress with the Gildpin Belt – image by Francesca Stuart-Jones / @francesca_sj

key details: Olivia Black

Olivia Black’s pieces are available to buy online.

To find out more about the brand or to place an order, visit the designer’s website here.

Model Nico Suarez of Vauhaus Agency wears denim in the show - image by Francesca Stuart-Jones / @francesca_sj — Model Nico Suarez of Vauhaus Agency wears denim in the show – image by Francesca Stuart-Jones / @francesca_sj

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October 19, 2025October 19, 2025

The Clement Attlee honours Limehouse heritage with £3.95 pint

The Craft Beer Co has refurbished and rebranded its east London establishment, naming it for the Labour prime minister while delivering a packed events schedule to attract the punters

The Clement Attlee is located next to Limehouse station - image by Craft Beer Co — The Clement Attlee is located next to Limehouse station – image by Craft Beer Co

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When Clement Attlee was prime minister, a pint of beer in London cost roughly 7d.

Factoring in conversion to new pence and inflation, that’s equivalent to about £2.65 today.

Given vastly increased costs across the hospitality sector these days, most people approaching a bar in east London don’t expect to come away with much change from £7.

Consequently, buying a pint of The Clem Pale at recently refreshed pub The Clement Attlee beside Limehouse Station for £3.95, does feel a little like time travel.

The Craft Beer Co has renamed the establishment in honour of the Labour leader, who was MP for Limehouse from 1935 to 1955 and has taken its exterior back to an aesthetic aimed at recalling its 1939 livery as The Railway Tavern.

That name is also immortalised in the tiled floor of the establishment following its glow-up.

The Clem inside, however is sleek and modern – polished wooden tables and a bar to match, replete with plenty of warm lighting and worn copper.

“This is the result of a staggered rebrand as we remained open throughout,” said Jon Huddart, marketing operations manager.

“We’d been trading as the Craft Beer Co at the site since 2016 and thought it was time for a name change, some new signs and maybe a lick of paint.

“But that project spiralled into new chairs and tables, a new bar and the installation of TV screens so we can show sport or films in different parts of the pub.

“We’re still very much part of the Craft Beer Co, but we wanted to take the place back to how it looked outside in 1939.

“Clement Attlee was Labour prime minister from 1945 until 1951, succeeding Winston Churchill, and his constituency was Limehouse, so it felt like a fitting name and not one represented by a pub locally.

“Whatever your politics, there’s no denying he was a great man and implemented some amazing things, like the introduction of the NHS.

“Shortened to The Clem, it’s got a nice ring to it.”

Founded by school friends Martin Hayes and Peter Slezak, the Craft Beer Co has grown from its origins in Clerkenwell to run seven sites in London.

Jon Huddart, marketing operations manager at Craft Beer Co - image by Jon Massey / Wharf Life — Jon Huddart, marketing operations manager at Craft Beer Co – image by Jon Massey / Wharf Life

an independent venue showcasing independent beers

“We’re fully independent – there’s no outside investment,” said Jon, who began his career with the business as general manager in the Clerkenwell venue.

“A lot of the craft beer brands weren’t around back then, so the founders took over a pub and started selling independently brewed beers and importing products from America, Germany and Belgium – it grew from there.

“Today we still stand for brilliant pubs with great atmosphere, drinks and service.

“We only serve beer from small, independent producers – even the crisps on the bar come from small farms.

“For example, we don’t serve Guinness but we have a really strong alternative called London Black, brewed by Anspach And Hobday based in Bermondsey.

“Jack Hobday was actually one of our managers and you’ll find their beers across our sites.

“Our stance is that we’ll deal with any brewery which is independent, as long as their beer’s good and they’re nice people.

“The minute they get sold to a giant company, we cut ties, because that’s not what our customers expect us to serve.”

There has been much consolidation in the market – Camden Hells, Beavertown and Meantime, all going to big multinationals, for instance – but Jon is confident in the enduring appeal of small operations pouring maximum effort into their brews.

The Clem Pale is currently available for £3.95 per pint at The Clement Attlee - image by Craft Beer Co — The Clem Pale is currently available for £3.95 per pint at The Clement Attlee – image by Craft Beer Co

high quality products at The Clement Attlee

“Most of the breweries we deal with have fewer than 10 people working for them,” he said.

“It might be a father and son outfit or a couple of brothers – perhaps a few guys in packing and a couple of brewers.

“There are still a heck of a lot of breweries in London, with new ones opening.

“Craft beer – technically less than six million barrels a year – is a premium product.

“A lot of time and effort has gone into it, which does come with a price tag.”

Cask beers currently on offer include the likes of Mum’s The Word by Siren and Manchester Bitter by Manchester Marble Brew with Pilsner by Flensberg and Sloop Juice by Bianca Road in kegs.

While the pub rotates options to ensure a range of flavours for drinkers to explore, The Clem Pale from Kent Brewery is always on for £3.95 a pint.

These days, there’s also a bit more to the place than just the beer.

Spread over two floors, including a secluded first-floor terrace complete with strings of lights and vintage signs, the pub is a broad church.

The Clem hosts a range of events and also screens sport - image by Craft Beer Co — The Clem hosts a range of events and also screens sport – image by Craft Beer Co

drinking, dining and events

“It’s not enough these days just to open the doors and hope people will come in, despite us being right opposite the station,” said Jon.

“We wanted to make it a hub for all sorts of different things going on with weekly and monthly events.

“We host a quiz on Tuesdays and short film nights every month.

“These often feature question and answer sessions with directors on the Wednesdays they take place.

“Then, on the first Thursday of the month we host a comedy night with a rotating line-up of comedians.

“There’ll be four of five acts – at least one will usually have done some TV or been on Live At The Apollo.

“Every Friday, from 8pm, we have live music and then on Sunday we have folk – it’s a really nice vibe.

“Our chef, Arturo Camacho, is originally from Ecuador and has worked under Gordon Ramsay at the Savoy Grill and London House and at Bancone in Covent Garden.

“It was great timing that we found each other and we were able to franchise out the kitchen to him.

Tacos at The Clem - image by Craft Beer Co — Tacos at The Clem – image by Craft Beer Co

“He and his team serve a mixture of English pub grub – burgers, fish and chips and Sunday roasts – alongside South American flavours.

“I’m biased, but his tacos are really good.

“One American guest who had tried tacos all over the world said they were the best he’d had outside Texas.

“The food here is something that’s really growing and we’re seeing more and more diners week-on-week.

“The events we run are all loosely based around drinking and that’s key because one of the most important things to us is our relationship with the small breweries that supply us.

“Take Siren in Reading, for example. We were the first pub in London to sell its beer after they started up in 2015.

“It’s a really good relationship, and when they celebrated their tenth anniversary, they chose the pub I used to run in Clerkenwell as their venue for the party.

“That’s what we’re all about. The reason we don’t work with brands that have been taken over by big brewers is that even if they keep the name the beer never tastes quite the same.

“They’ll cut costs, tweak the recipe and it won’t be the same as when they were independent.

“But there’s plenty out there. We’ve got 21 keg beers and six cask ales – 15 of the kegs are on rotation.

“Personally, I love pale ales, which is the most popular style, but we always have a mixture of options on.”

The pub has outdoor space and a secluded first-floor terrace - image by Craft Beer Co — The pub has outdoor space and a secluded first-floor terrace – image by Craft Beer Co

key details: The Clement Attlee

The Clement Attlee is located on the corner of Bekesbourne Street and Commercial Road next to Limehouse Station.

The pub is open daily from 5pm Monday-Thursday, from 3pm on Fridays and from noon at weekends.

Full event listings for the venue can be found here.

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October 17, 2025October 17, 2025

London Dock releases discount homes for Tower Hamlets locals

St George and Tower Hamlets Council are set to showcase a collection of 16 properties at Saffron Wharf in the former’s Wapping development

An artist's impression of Saffron Wharf at London Dock in Wapping - image supplied by St George — An artist’s impression of Saffron Wharf at London Dock in Wapping – image supplied by St George

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St George is set to showcase 16 properties at its London Dock development over two weekends this month.

The one and two-bedroom apartments are located in the scheme’s Saffron Wharf block close to Gauging Square and are being made available at a below market value discount to qualifying locals.

St George, part of Berkeley Group, is working in partnership with Tower Hamlets Council to offer the properties to borough residents and workers who are looking to buy their first home.

To be eligible, households must earn less than £90,000 with buyers allocated available properties based on their circumstances.

Under the scheme the apartments are jointly owned with the council which retains an equity stake in the property although charges no rent on its holding and this can be bought out.

Owners seeking to sell in the future must first market their property through the authority for a time before they can offer it more widely.

The apartments at Saffron Wharf feature open-plan design - image supplied by St George — The apartments at Saffron Wharf feature open-plan design – image supplied by St George

inside the apartments

The apartments all feature open-plan layouts with floor-to-ceiling windows and electric underfloor heating.

Many also feature private balconies or terraces. Interior features include fitted kitchens with graphite-coloured units and white marble-effect worktops plus bathrooms with bespoke wall-mounted basins in mirrored vanity units, black fixtures and fittings and Crittall-style shower screens on the baths.

Saffron Wharf rises to nine storeys at the heart of the development with buyers able to access a host of residents’ amenities.

These include access to The Club with its gym, squash court, virtual golf suite and swimming pool.

There’s also a jacuzzi, steam room, sauna and treatment room as well as a private screening room and a 24-hour concierge service.

The development’s Mauretania Lounge includes a double-height floor-to-ceiling aquarium, spaces to relax, co-working facilities and a private dining room.

The properties come with fully fitted kitchens and integrated appliances - image supplied by St George — The properties come with fully fitted kitchens and integrated appliances – image supplied by St George

getting on the ladder

Gordon Readman bought his first home at London Dock through the discount market sale scheme.

He said: “When I first started looking to buy, I’d stopped considering new builds because they always seemed out of reach, the prices were either ‘on application’ or ‘to be confirmed’, and never affordable.

“But at London Dock, the discount market sale option made buying possible.

“It’s surprising how quiet and peaceful it can be despite being just minutes from Tower Bridge and the City. I walk to work in Liverpool Street – the location is incredible.”

St George said these final homes at Saffron Wharf were currently available below the current stamp duty threshold and that Rightmove’s figures showed a first-time buyer in London could potentially save £240 per month when taking out a mortgage in comparison to last year at “a positive time for those looking to get on the property ladder”.

London Dock – a development built on a site formerly occupied by the offices of The Times, the News Of the World and The Sun newspapers – is already home to a community of more than 2,000 residents.

The area has also seen businesses open locally including Urban Baristas, Wapping Sourdough Bakery, Motherdough pizzeria and fizz-focused wine bar Champagne Route.

For health and wellbeing there’s E1 Crossfit, Club Pilates and City Dock Pharmacy.

London Dock is well located for public transport with Tower Hill, Wapping, Aldgate East and Shadwell stations within walking distance offering access to the DLR, Tube and Overground services.

Tower Pier – a short stroll through St Katharine Docks past Tower Bridge and the Tower Of London also offers residents the option of travelling by river bus via Uber Boat By Thames Clippers’ vessels.

To be eligible for the discounted apartments, Tower Hamlets residents must have lived in the borough for 12 months or more.

Those working locally must be employed in the borough or have accepted a job there.

One and two-bedroom apartments are available through the scheme - image supplied by St George — One and two-bedroom apartments are available through the scheme – image supplied by St George

key details: discount apartments at Saffron Wharf

Prices at Saffron Wharf start at £255,000 for a one-bedroom apartment.

Eligibility criteria apply to all of the 16 properties on offer.

Those wishing to attend one of St George’s open weekends on October 18-19 and October 25-26 should book their place online, call 020 3966 6164 or email sales@londondock.co.uk to secure a spot.

Find out more about the events here

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October 17, 2025October 28, 2025

Crate opens second branch with bar and pizzeria at Wood Wharf

Hackney Wick brand expands to Canary Wharf by launching a new meeting point filled with craft beer, pizza and music opposite a sculpture of a whale

Crate Bar And Pizzeria has opened at Wood Wharf - image by Jon Massey / Wharf Life — Crate Bar And Pizzeria has opened at Wood Wharf – image by Jon Massey / Wharf Life

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For 13 years, the beer, buzz, beats and pizza on paper at the White Building have shaped the heart of Hackney Wick in east London.

Now, the ripples of Crate have made their way down the canal from that neighbourhood to find a new space to reverberate through, opposite the whale at Wood Wharf.

The company has opened its second site, a new bar and pizzeria, in the unit formerly known as Fish Game – a lamented closure given the strength of its cooking under Matt Colk, but perhaps a foregone conclusion due to the owner’s insistent focus on serving primarily beasts whipped from the water or blasted in the hedgerows.

Since then, a rapid miracle has been pulled off, with the old restaurant’s maximalist fripperies stripped out to leave a spare industrial aesthetic more in keeping with Crate’s warehouse home in the Wick.

That’s not to say, however, the place that opened earlier this month isn’t warm. On the contrary, the simple design is merely a frame for its core functions.

Crate co-founder Tom Seaton - image by Jon Massey / Wharf Life — Crate co-founder Tom Seaton – image by Jon Massey / Wharf Life

from Hackney Wick to the Wharf..

“What we’re trying to create here is a translated version of what Crate is in Hackney Wick – a meeting point close to a station,” said Tom Seaton, who co-founded the business with his sister, Jess Seaton, and their friend, Neil Hinchley.

“It’s a place where people can call in on their way home or on their way out – somewhere where everyone knows what they’re letting themselves in for.

“It’s not very expensive or exclusive – it’s for everyone.

“Bring your friends – 30 if you like. We’re not going to turn you away.

“If you can get through the door, you’re welcome.

“We want people to make friends and perhaps find their life partner – that happens a lot. There’s at least 20 marriages we know of.

“One couple, who had their first date at Crate in Hackney Wick flew our customer service guru Jerome to Scotland for their wedding because he’d made that evening so special for them.

“That’s what it’s all about – people coming together.

“At Wood Wharf we want people to stop by and choose to have a drink with us as part of their plans.”

Crate’s story began when siblings Tom and Jess opened The Counter Cafe in Hackney Wick in 2008.

Having grown up in New Zealand amid a scene that was embracing decent coffee and brunch, they decided to start a business in an abandoned warehouse during a financial crisis, but made a go of things amid the economic turmoil.

Having created that foundation, they went on to team up with BBC radio producer Neil – who’d just completed a brewing course – one day after agreeing to take on the White Building as part of the delivery of the 2012 Olympics just across the canal.

Opening initially as a microbrewery, bar and pizzeria, Crate expanded in Hackney Wick and “a huge amount of things happened”.

First the business opened a proper brewery next door to give it sufficient tank space to keep up with demand.

Then there was the kombucha business and a nightclub.

With increasing competition in the market and tiny margins, by 2020 the brewing business had become unsustainable, however, and Crate had some tough decisions to make.

“It was a horrible thing to have to go through but we realised that the only way we were going to put ourselves back in a secure position was to close everything besides the White Building,” said Tom.

“We had to protect the root stock. Since then, Jess, Neil and I have taken on more operational roles and we have a managing director who looks after the corporate stuff.

“That allows us to get on with getting stuff done on the ground.”

The venue's extensive bar has been built from reclaimed railway sleepers - image by Jon Massey / Wharf Life — The venue’s extensive bar has been built from reclaimed railway sleepers – image by Jon Massey / Wharf Life

the offering at Crate

Crate now makes its beers at Purity Brewing close to Birmingham with its range also stocked at its bars.

Wharfers can expect a pale ale, a lager, a session IPA, and IPA and a cider alongside guest beverages.

The expansion to Wood Wharf feels a little like the start of a new chapter.

Fresh pints pulled and placed on newly hewn wooden tables ready to fuel talk of ideas and future adventures.

Tom said: “The White Building is going strong and we’re in a simpler and clearer situation. We’re now looking at how we grow the business.

“We’ve always wanted to expand, to open more Crate experiences, but we needed to find somewhere we could put our stamp on.

“The test is whether we can make a place feel like we, our friends and our family are in Crate. Wood Wharf feels great.

“We’ve only just opened, but there are encouraging early signs.

“We don’t really do big shouty launches – we’re going to be here for a long time and, for the moment, it’s just nice to have people come in and discover us.

“Canary Wharf has a really nice community and we’ve had a couple of launch nights where we’ve been able to see people at every table which is awesome – the space is just how we imagined it with guests laughing, smiling and talking to each other.

“The music element is also really important for us.

“We run a festival called Flamingo Pier in New Zealand and we’ll be having DJs at Wood Wharf on busier days just as we do in Hackney Wick.

“It’ll probably be more a listening bar than a rowdy day rave, but there will be the same kind of music and feeling.

“We just want to play stuff that makes people smile and chat – if you’re after dark techno you’ll probably have to go elsewhere.”

What Wharfers can expect from the new venue is plenty of pizza, stone baked and served on sheets of paper.

Flavours include a classic Margherita, Spicy Salami, Sage And Truffle, Sweet Potato With Stilton And Walnut and Middle Eastern Lamb.

In addition to Crate’s own beers, the bar will be serving guest brews, wines and its range of canned cocktails.

Expect to pay around £7 a pint for a beer and about £13 for a pizza, although cheaper options are available.

key details: Crate at Wood Wharf

Crate is now open at the junction of Water Street and Park Drive in Canary Wharf’s Wood Wharf.

The bar and pizzeria is open from noon until 11pm Sunday to Thursday and from noon until 1am on Fridays and Saturdays.

Find out more about the new opening here

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here

October 16, 2025October 16, 2025

Omnifix and Omniss set to open second site in Canary Wharf

Brand’s coming to 8 Harbord Square in Wood Wharf will care for, repair and create fashion in the neighbourhood

Omniss and Omnifix are set to open their second site at Wood Wharf - image by Omniss — Omniss and Omnifix are set to open their second site at Wood Wharf – image by Omniss

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ADVERTISEMENT FEATURE

While Canary Wharf’s malls are replete with stores selling all kinds of fashion, only English Tailoring makes and sells garments in the neighbourhood.

Soon though the veteran tailoring business, which has spent the last 28 years clothing Wharfers from its base on South Colonnade, will be joined by a new arrival to the area.

As part of Canary Wharf Group and Tower Hamlets Council’s collaborative project to provide affordable space for local businesses, 8 Harbord Square in Wood Wharf is set to welcome Asya Ter-Hovakimyan’s two brands – Omnifix and Omniss.

The former offers repairs, alterations, tailoring and customisation, while the latter is the creative label she co-founded in 2016 with Francisco Zhou while the pair were studying at the London College Of Fashion.

Omniss became established at Poplar Works in east London in 2020 as a base of operations, while the genesis of Omnifix came shortly after the pandemic arrived when Asya spotted a gap in the market.

Omnifix founder and Omniss co-founder, Asya Ter-Hovakimyan – image by Jon Massey / Wharf Life

a high-end solution

She said: “In the UK, alterations and repairs to clothes are generally handled through dry cleaning businesses.

“In London you also have high-level seamstresses and tailors who do work making garments for fashion labels, but don’t tend to get involved with that sector.

“When lockdown happened, we had customers getting in touch with us for help with designer garments – repairs and alterations.

“I realised that, through my work with Omniss, I was in between these two groups and had all the resources to handle complex services like sympathetically re-sizing pieces as well as simpler tasks.

“Initially, this side of the business didn’t have its own name, but it grew so busy through word-of-mouth that I had to work out what to do with it.

“I founded Omnifix with the aim of treating fashion in a different way.

“I wanted customers to be able to bring pieces they loved to us to work on to bring new life to them.

“In December 2022 we’d moved to a bigger space in Hackney Wick at The Trampery and, by March, we were fully booked.

“We had to hire staff specifically to work on repairs and processing new orders and, by this time, we were getting business from all round the UK.

“I’d always seen us needing more space and I’m quite local to Canary Wharf.

“I know the type of people who are here and I think we have something to offer them.

“While we have an online presence, I believe it’s important that clothes exist in the physical world – people want to try things on and it’s important to be able to see them face-to-face.

“Customers can bring us garments where they know something is wrong and we’ll fix it – we’ll listen to them.

“It’s a bit like going to the doctor with your symptoms. We’re here to be empathetic.

“It’s about trust and there’s a sense of community around that as well.

“I always envisioned that we would have multiple hubs to drop off clothes and get advice, but they’ll also be a retail element at Wood Wharf, selling quality fashion in that neighbourhood.

“Some clothes for Omniss will also be made there – that’s important too, because people can be disconnected from how their clothes are manufactured.

“If what someone is wearing takes special machinery and many hours of making to create but they’re only paying £10, then there’s a problem with that model.”

Asya hard at work on a collection for Omniss at the brand’s Hackney Wick Studio. Together with Omnifix, the label will be expanding to Canary Wharf’s Wood Wharf – image by Mike Chaney

creating Omniss

Asya has been immersed in fashion from a young age, first learning embroidery in her native Armenia at her mother’s instigation before starting to make clothes aged 10.

She said: “She saw I really loved doing it, but she didn’t really do it herself – she had a conviction that everybody should know how to sew on a button.

“As a girl I learnt about the best fashion schools in the world from her magazines and they were all in the UK. I made it my dream to study in one of those places.

“It was quite a journey to put together a portfolio and apply, because I didn’t know about the system here.

“I did lots of drawings back home and then I got an offer from Central Saint Martins to study a foundation year in art and design.”

From that base, she won a place on the Fashion Design Technology: Womenswear course at the London College Of Fashion, where she met Francisco and started Omniss.

Wave Sheer Blouse, £175 and Wave Suit Trouser, £450, both by Omniss - image by Omniss — Wave Sheer Blouse, £175 and Wave Suit Trouser, £450, both by Omniss – image by Omniss

a foundation in technique

“It was a very technical degree,” said Asya.

“At first I was a bit upset because I was a lot more into the product and I wanted to do more artistic stuff.

“But I came to the conclusion that, if you don’t have the practical skills to bring your ideas to life, it might be easy for someone else to tell you they are impractical.

“If you know how to do it, it’s easier for you to get pieces made the way that you imagined.

“After I met Francisco, we started doing catwalk shows in west London venues such as Mayfair members clubs.

“We were just two students who barely knew anything – finding people to model for us in the tall jeans section of Topshop on Oxford Street.

“Some were tourists who were excited to be involved with fashion students – some even ended up buying our clothes.

“That’s when we realised that, if people liked what we were doing, we should make it into a proper brand and Omniss was born.

“We create collections, taking inspiration from what’s being discussed and what’s going on in the world around us.

“In 2019 it was about how AI would take over the job market – we imagined Omniss as a robot factory.

“Then there was a collection about the sea, when climate change was being neglected.

“One thing I’m very passionate about is making something sustainable, while ticking all the other boxes that fashion is supposed to be.

“Fashion should be empowering and make you feel good. You also need to like it aesthetically.

“Fashion needs to be organic and ethically made by people who are paid fairly. These are the basics.

“The trick is still to make it desirable – that sustainability isn’t the main reason why someone buys something.

“We always try to produce things that are really wearable.

“Running businesses is definitely a lot more hard work than I imagined, but we really care about every product and customer.

“When we get a five-star review we do a little happy dance.”

Omnifix and Omniss will join an ever-growing collection of new arrivals to Wood Wharf including The Flower Club, Wayne Hairdresser Salon, Cafe Seek, Ong Lai Kopitaim, The Island, Awe London, Signorelli and Pawsome Pet Grooming And Spa.

Several more businesses are set to open soon including Supershakes, The Lockdown Room, Nora and Mama Li.

Omniss' Broken Heart Jackets, £475 - image by Ominiss — Omniss’ Broken Heart Jackets, £475 – image by Ominiss

key details: Omnifix and Omniss

Omnifix and Omniss are set to open on the ground floor of Wood Wharf’s 8 Harbord Square in the coming weeks.

Details of the former’s services can be found here

Details of the latter’s collections can be found here

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here