Boisdale Of Canary Wharf

Alto 19 opens its doors atop Locke London Canary Wharf

The restaurant and bar on the 19th floor of the hotel with panoramic views across the Thames to The O2 and of the surrounding area

Alto 19 head chef Chris Dargavel hard at work - image by Jon Massey / Wharf Life
Alto 19 head chef Chris Dargavel hard at work – image by Jon Massey / Wharf Life

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It’s a paradox that, in an area which boasts London’s largest concentration of tall buildings, there are few places that the public can access to go aloft and enjoy the view.

Only restaurant and bar Bokan on the Isle Of Dogs offers significant altitude and its views across the London skyline to The Shard, are soon to be reduced by the rise of a residential block on its western side. 

Now though, there’s a new player in town.

Alto 19 is located on the top floor of Locke London Canary Wharf, overlooking Blackwall Basin, Wood Wharf, Billingsgate and even boasting views towards One Canada Square from its wrap-around windows.

While 19 storeys isn’t especially high for the locality, the hotel’s position on the edge of the dock at some distance from any of its neighbours, means guests enjoy an almost uninterrupted panorama over much of its surroundings.

The geography also means nothing is likely to get built right next door any time soon.

The 19th floor restaurant and bar features views over the Thames and The O2 - image by Milo Hutchings
The 19th floor restaurant and bar features views over the Thames and The O2 – image by Milo Hutchings

designed for fun

“This restaurant has been designed as a really fun place,” said Chris Miller, CEO of White Rabbit Projects, which works with hospitality brands such as Lina Stores and Kricket. 

“Alto 19 came from a partnership we’ve had with Locke Hotels for a number of years.

“For example, a couple of years ago we opened a restaurant with them in Lisbon – Santa Joana with chef Nuno Mendes – which has been a fantastic site for us and recently hosted former US president, Barack Obama.

“Locke told us they were opening a hotel in Canary Wharf and asked whether we would be interested in creating something there. 

“We asked ourselves what we could bring to Canary Wharf that would make it a destination to match the views. 

“From the success of the Lisbon restaurant and other venues we’ve worked on, we thought about something focussed on Mediterranean cooking.

“There are lots of places doing this well in London, but what we’re lacking in the capital is some fun.

“The intention for Alto 19 is that it should deliver that.

“We’ve got a DJ booth in the bar area, sexy lighting and a head chef  in Chris Dargavel who cooks fantastic food made from great ingredients.

“He absolutely blew us away with his ideas and his career across some of the best restaurants in London is a testament to his huge talent.”

Chris Miller, CEO of White Rabbit Projects - image by Jon Massey / Wharf Life
Chris Miller, CEO of White Rabbit Projects – image by Jon Massey / Wharf Life

Mediterranean cuisine at Alto 19

Dargavel does have an impressive CV – he’s worked at the likes of Daphne’s, J Sheekey, Scott’s, Roux At Parliament Square and Le Caprice.

He’s also a man who clearly delights in his job while largely letting the dishes he cooks do the talking.

“When I first saw the vision that Chris had for the venue, I thought I had to work with these guys,” said Dargavel, who moved to London at the age of 17.

“To drag me away from Caprice Holdings after 22 years, it had to sit right with me.

“Jamie Oliver is partly responsible for my career.

“I watched his Naked Chef programme when I was 16, thought it was cool and it got me into cooking at home. 

“At Alto 19, I just want to showcase Mediterranean ingredients at their best.

“There’s a Sicilian Red Prawn Risotto for two to share on the menu and, for me, it epitomises how great produce can be. It’s really fresh, light and flavoursome.

“I don’t want to mess with the ingredients too much – just well-seasoned, well-cooked and enjoyable to eat.

“Similarly, as a starter we have Prosciutto Di Parma, ham that’s aged for 24 months with Ligurian honey melon, which is the best in Italy. 

“Both are fantastic products that you don’t need to mess with. You don’t need anything else to make that dish great.”

The lounge area at Alto 19 - image by Milto Hutchings
The lounge area at Alto 19 – image by Milto Hutchings

sleek design for wide appeal

With an interior by designer Holloway Li that fuses the futurism of a grand 1960s airport lounge from the jet set age with the rich red velvets of a nightclub, Alto 19 has capacity for 100 covers. 

In addition to the bar and restaurant there’s a 10-person private dining room at the north-east corner, with views over Blackwall Basin and down towards Billingsgate. 

But both Miller and Dargavel are clear that the venue is pitched for broad appeal.

“We wanted it to be accessible to everyone,” said Dargavel.

“When people finish work in Canary Wharf they can come here for a bowl of pasta and a drink on their way home.

“Guests don’t have to spend lots of money.”

Miller added: “It is very relaxed. Of course you can come here for a big sharing steak and we’ve got 300 wines on the list.

“You absolutely can go big and have a celebration.

“But you can also have a glass of wine and something smaller all while surrounded by the stunning views over the London skyline.

“Then, in the lounge area on selected nights we’ll have sunset sessions with DJs and we’ll have a livelier later night offering too.

“Because of its position, this is going to be the place to be on New Year’s Eve or even for fireworks night.

“But we also want this to become a regular place, especially for people working on the Wharf as well as a destination for people coming from across London for the views and the food.

“That’s why the menu has crowd-pleasers alongside special dishes that you might normally associate with dining on a beach somewhere in Italy.”

Sicilian Red Prawn Risotto for two at Alto 19 - image by Jon Massey / Wharf Life
Sicilian Red Prawn Risotto for two at Alto 19 – image by Jon Massey / Wharf Life

talking on the plate

One of those showstoppers is the Branzino Baked In Salt And Rosemary, a whole sea bass cooked, flavoured with fennel, tomatoes and olive oil.

“That’s a great centrepiece for the table,” said Dargavel. “It’s a kilo of fish and we break the crust, then serve it with the dressing.

“We want dining here to be a sociable event.

“It’s all about sharing courses, getting messy and food all over the tablecloth, so people can try all the flavours.”

There are sweet treats on offer too, with Miller picking out the Chocolate Mousse and a “really boozy” Tiramisu as two of his favourites.

He said: “We’ve also done a lot with the drinks.

“The bartender we’ve brought in ran his own bar for about nine years and he’s a Willie Wonka of cocktails.

“There are loads of bizarre and interesting flavours and the amount of research he’s done into ingredients from across the Med, is phenomenal.

“We did a tasting with 10 people the other day and they split the room. Some will love them and others will find them challenging.

“But we want to be a place where people can try new things.”

Dargavel added: “The food is driven by what’s in season – simple with elevated flavours. 

“I want to see a full dining room with people enjoying themselves and having a good time – you can’t put a price on that.

“I’ve got a great team behind me, so it’s go, go, go. I’m looking forward to what the future holds.” 

Prosciutto Di Parma at Alto 19 - image by Jon Massey / Wharf Life
Prosciutto Di Parma at Alto 19 – image by Jon Massey / Wharf Life

key details: Alto 19

Alto 19 is located at Locke London Canary Wharf off Cartier Circle.

The restaurant is currently open for dinner from 6pm-10pm, Tuesday to Sunday. Starters range from £11-£18 and mains from £18-£44. Pasta dishes are around £23.

You can find out more about the restaurant here

The interior of the restaurant and bar has been created by Holloway Li - image by Milo Hutchings
The interior of the restaurant and bar has been created by Holloway Li – image by Milo Hutchings

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East End Community Foundation launches Winter Appeal 2026

Grant making charity marks 20 years of campaign in its ongoing battle to fight poverty in Tower Hamlets, Newham and Hackney

Tracey Betts, chief executive of the East End Community Foundation - image by Jon Massey / Wharf Life
Tracey Betts, chief executive of the East End Community Foundation – image by Jon Massey / Wharf Life

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In 2006, the East End Community Foundation distributed 100 care bags, filled with essential supplies to support older residents in Tower Hamlets, Newham and Hackney through its first Winter Appeal.

Two decades on and the grant-making charity and philanthropy advisor that’s based on the Isle Of Dogs, has set itself a target of raising enough money to send out 2,000.

To do that, it’s aiming to generate £100,000. 

“There are about 20,000 older people defined as living below the poverty line in this area,” said Tracey Betts, chief executive of the EECF.

“The appeal first came about through listening to the people and organisations we work with.

“The 2,000 bags we distribute will all be going to people identified by the charities we work with, so we know they’ll be going to those in need.

“The contents of the bag alone cost about £30 and we tailor what’s inside depending on a person’s situation.

“For example, bags for residents in care homes don’t need so much food in them, but instead have things to help keep people occupied. 

“They also contain essentials like blankets, hot water bottles and cupboard staples for those living independently – tea, soup, biscuits, chocolate and Christmas pudding. 

“Some of the people we deliver to don’t see anyone from week to week – no family or carers. It’s also an opportunity for a conversation and perhaps a cup of tea.  

“The appeal is part of the work we do to tackle pensioner poverty in east London.”

For the past 20 years, the charity has delivered care packages to elderly residents - image supplied by EECF
For the past 20 years, the charity has delivered care packages to elderly residents – image supplied by EECF

fighting poverty across three boroughs

Isolation, fear and, to some extent, pride, are all challenges the EECF works to overcome in its efforts to improve the lives of older people locally. 

With the three boroughs it operates in suffering some of the highest levels of income deprivation for the elderly in the country, the charity also uses its appeal as a point of contact to introduce them to local services and help them claim any benefits they’re entitled to.

“Some are frightened things will be taken away from them as there are a lot of personal questions during an application,” said Tracey.

“Others don’t want to admit they need it, you have to tackle that element of pride.

“But this is money people are entitled to and, with pension credit, once you’ve been approved it’s there for life unless there’s a really major change to your circumstances.”

Tracey is appealing to businesses and individuals to support this year’s appeal and is well placed to speak on these matters.

Having grown up on the Isle Of Dogs and attended George Green’s School, she’s spent pretty much her whole career fighting poverty locally.

After working for the London Docklands Development Corporation, notably in the application of its grants programme, she became the director of the Isle Of Dogs Community Foundation in 1998, which became the EECF in 2012. 

The charity distributes cash via grants from its own endowment fund and donations it receives to support local organisations. 

It also advises corporations, helping them manage their own philanthropy effectively and efficiently. 

Its comprehensive knowledge of the area, and the charities operating within it, means it has a granular level of expertise and a real appreciation of the size of the challenges faced by residents.

This year EECF plans to gift 2,000 bags through its Winter Appeal - image supplied by EECF
This year EECF plans to gift 2,000 bags through its Winter Appeal – image supplied by EECF

working to give people chances in life

“One of the issues we face increasingly here are the working poor – people who have two or even three jobs but are still under pressure to make ends meet,” said Tracey.

“Some are struggling to feed their children.

“We do a lot of work with schools to identify families and offer holistic packages to help address their issues.

“Right now it does seem as though times are getting tougher, but there are things we can do. Our Digital Inclusion project has been transformational.

“That’s all about getting kids connected so they have the technology and the ability to access the internet and do homework.

“But their families also use the facilities for job searches and to help with their mental health. The impact is much wider.” 

Tracey is calling on businesses and organisations to work with the EECF to maximise that impact. 

“Our remit is to tackle poverty,” she said. “What we say to corporates is that we know they have the money and we can help get it to the right place to make a difference.

“Companies can have as much or as little control as they like and can be fully engaged or anonymous and we’ll do all the evaluation and monitoring for grants made or projects undertaken.

“We can also match funding for certain projects.

“We’ve been doing this for 35 years – it’s not easy, but organisations can trust us to make the biggest impact possible.

“Through our Life Chances campaign we work with businesses to invest in young people in east London and to support older people too by funding charities that do good work over multiple years. 

“With us working collectively in this way to sustain these organisations, they’re able to focus on the brilliant work they do.”

Those receiving gifts are identified by the charities EECF works with - image supplied by EECF
Those receiving gifts are identified by the charities EECF works with – image supplied by EECF

key details: East End Community Foundation’s Winter Appeal

The East End Community Foundation’s Winter Appeal is now accepting donations.

You can find out more about it and other ways to contribute to the charity’s work on its website here.

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Balloon Museum presents Euphoria – Art Is In The Air at Excel

Pop art: Exhibition and conference centre’s Immerse LDN in Royal Docks is set to welcome inflatable installations designed to delight

Martin Creed’s Work No. 3883: Half The Air In A Given Space - image supplied by Balloon Museum
Martin Creed’s Work No. 3883: Half The Air In A Given Space – image supplied by Balloon Museum

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Immerse LDN in Royal Docks is set to welcome its latest attraction.

Launching on October 24, 2026, Balloon Museum will present Euphoria – Art Is In The Air at Excel London’s waterfront entertainment venue.

The exhibition brings together large-scale inflatable installations by artists AA Murakami, Alex Schweder, Camille Walala, Cyril Lancelin, Hyperstudio, Karina Smigla-Bobinski, Martin Creed, Rub Kandy and Spy for visitors to explore.

“We live in an age in which inflatable art has become a familiar presence, at the intersection of entertainment, design, and architecture,” said Valentino Catricalà, curator of Euphoria for Balloon Museum.

“Through this exhibition, it is reinterpreted in a new light, as a form of visual art that offers a critical perspective on a society undergoing profound transformation.”

Balloon Museum itself was founded in Italy, with its shows produced by Lux Entertainment.

It is currently operating exhibitions in Chicago and New York with plans for two more in the pipeline as well as the London show.

Since its creation in 2021, the project has collaborated with more than 60 artists to commission and co-develop works for display.

It’s not new to London, having hosted EmotionAir at Old Bilingsgate from December 2023 to 2024.

Hyperstudio’s Invisible Ballet - image supplied by Balloon Museum
Hyperstudio’s Invisible Ballet – image supplied by Balloon Museum

creative energy

“Bringing Euphoria to London marks a new chapter in the journey of Balloon Museum,” said Roberto Fantauzzi, CEO and Founder of Lux Entertainment.

“It is a project that reflects the evolution of our vision, creating an increasingly direct dialogue between art, space and the public. 

“With its extraordinary cultural and creative energy, London is the ideal place for this next step and to offer audiences an experience that brings together international artists, different languages and new perspectives.”

The Royal Docks exhibition promises pieces that explore “air as both artistic material and language, placing participation, perception and the relationship between audience, artwork and space at its centre”.

There are several highlights to look out for including work by Camille Walala, well known for her decoration of Adams Plaza Bridge in Canary Wharf.

Another installation by Hyperstudio - image supplied by Balloon Museum
Another installation by Hyperstudio – image supplied by Balloon Museum

highlights to discover at the latest Balloon Museum exhibition

Martin Creed presents Work No. 3883: Half The Air In A Given Space, which fills a room with hundreds of balloons with the intention of challenging visitors’ perception of scale, movement and their surroundings.

AA Murakamai has created New Spring, intended as a dreamlike scene inspired by the fleeting pleasure of cherry blossom, while Karina Smigla-Bobinski’s Ada allows visitors to set a hellium-filled sculpture in motion to leave charcoal marks on surrounding surfaces – all inspired by Ada Lovelace.

Most prolific among the creative contributors is Hyperstudio, a multidisciplinary collective that has contributed four installations to Euphoria.

Kinetic piece 10 Agosto is inspired by Italy’s Night Of San Lorenzo, inviting visitors into a landscape of light and movement inspired by meteor showers. 

Invisible Ballet transforms a swirling vortex of balloons into an unexpected dance, while HAHArena turns inflatable letters into an exploration of language and form.

The studio’s fourth piece promises an ever-changing spatial landscape.

Karina Smigla-Bobinski’s Ada - image supplied by Balloon Museum
Karina Smigla-Bobinski’s Ada – image supplied by Balloon Museum

key details: Euphoria – Art Is In The Air by Balloon Museum

Euphoria – Art Is In The Air by Ballon Museum opens at Immerse LDN on Saturday, October 24, 2026, and will be available to visit from 11am on weekdays and from 10am on Sundays.

There will be adults only sessions on Wednesdays and Fridays from 5pm and 7pm respectively.

Adult tickets start at £27.50 for adults and £21.50 for children.

Dates are currently bookable up until August 22, 2027.

Find out more about the attraction here

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Kitchen Jam on how to play the riff to Fleetwood Mac’s Oh Well

Music school offering guitar and bass lessons in Canary Wharf and Stratford on mastering the driving riff created by east Londoner Peter Green

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In the second in our series of regular collaborations with Canary Wharf’s guitar school, Kitchen Jam, we take a look at the history of a track with a local link and deliver some tips on how to play it

  • Kitchen Jam founder Darryl Powis has created a video tutorial to help Wharfers get their fingers around the riff that drives Oh Well. Find it above or follow this link to get playing
  • To play the whole track you’ll need the chords below:
All the chords you’ll need to play Oh Well by Fleetwood Mac – image by Wharf Life

looking back on the history of the track and its link to Docklands

BY ZAINAB HASSAN

Ask most people about Fleetwood Mac, and they’ll likely think of the five-piece unit behind landmark album Rumours.

But the group began in London as something else, a blues band built around Peter Green – a guitarist BB King said gave him ‘cold sweats’. 

Born Peter Allen Greenbaum in 1946, the youngest of four children in a Jewish family in Bethnal Green, Green grew up miles away from the Mississippi Delta that inspired his playing. 

Green’s older brother showed him a few chords and he cut his teeth playing professionally around east London as a bassist or guitarist in various bands. 

In one group, Green met a young Mick Fleetwood and the pair later worked together in the influential blues-rock band John Mayall And The Bluesbreakers, then going on to form Fleetwood Mac.

Like many young British players of his generation, he learned blues licks from Muddy Waters, BB King, Freddie King and John Lee Hooker, but he channelled that inspiration in a different way to his peers. 

 Green played with measured restraint and a distinct, pained vocal colour, writing songs such as Black Magic Woman, Albatross and Oh Well. 

At the height of the band’s early success in 1970, he walked away, but his playing remained ingrained in the band’s DNA.

Peter Green was born in Bethnal Green - image by Nick Contador
Peter Green was born in Bethnal Green – image by Nick Contador

the unsung hero

Green’s contributions to Fleetwood Mac don’t always get the same attention as the band’s later recordings, but his influence is undeniable. 

Santana’s 1970 cover of Black Magic Woman, originally written by Green in 1968, became one of their biggest hits and a staple in their set list. 

Green’s influence even reached The Beatles with George Harrison admitting that Sun King on Abbey Road was inspired by Fleetwood Mac’s reverb-soaked sound on Albatross.

a well of inspiration

Oh Well was a Green-penned hit and its heady blues-rock riff is one of our favourites to play at Kitchen Jam. 

Comprising two parts it’s a mini-epic in E minor.

At just over two minutes, part one ricochets with breakneck riffs, then simmers into the melancholic E Minor and D-chord chimes that signal part two, a passage of folk and classical-inspired music in stark contrast.

Once you get the main riff under your fingers, you’ll find plenty of inspiration from Green’s fusion of American blues with east London grit to infuse into your own playing. 

key details: Kitchen Jam


Kitchen Jam offers guitar lessons rooted in musical connection and community from its studios in Canary Wharf and Stratford.

Follow this link to find out how to book a free trial session 

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Why a move to education can support the future of construction

Saad Farooq of the London Design And Engineering University Technical College in Royal Docks talks opportunity, pathways and links to industry

Students in one of the London Design And Engineering UTC's workshops - image supplied by LDEUTC
Students in one of the London Design And Engineering UTC’s workshops – image supplied by LDEUTC

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“Emotionally it’s very rewarding,” said Saad Farooq, subject lead and teacher at the London Design And Engineering University Technical College (UTC) in Royal Docks.

“Here you are treated as a professional, the pay is great and you’re in a space where your skills are appreciated – it’s a good balance.

“I wrote my masters thesis on bringing young people into the construction industry and my research showed companies don’t always have people from the next generation working for them.

“If we don’t teach them now, there won’t be a workforce in the future – that’s one of the reasons the Government is making a push to recruit more teachers from the industry.”

That’s exactly the context of our conversation.

The Department For Education’s (DfE) latest figures have identified a shortfall of just over 36,000 workers needed in construction each year if the industry’s forecast growth comes to fruition. 

It has pledged to train 60,000 by 2029 in a bid to help it achieve its target of building 1.5million homes by the end of the Parliament.

Analysis by the Building Cost Information Service last month found that, so far, 437,900 homes had been delivered and that the Government would fall short of its aim by more than 500,000 at the current rate of construction.

One of many issues facing the industry is that figures from May showed construction, planning and the built environment had the second highest level of vacancies for teaching positions in the further education sector. 

Responding to this need, the DfE’s Train Others In Further Education campaign is looking to address this by attracting established construction workers to these roles.

It offers on-the-job training, full-time, part-time and flexible contracts with an emphasis on practical experience being especially sought-after and teaching and academic qualifications not necessarily a prerequisite for employment.

Mindful of the shortfall, the Government is also set to introduce a new Construction GCSE in 2029, designed to encourage more young people to pursue qualifications and careers in the sector.

Saad Farooq, subject lead and teacher at the London Design And Engineering University Technical College - image by Jon Massey / Wharf Life
Saad Farooq, subject lead and teacher at the London Design And Engineering University Technical College – image by Jon Massey / Wharf Life

a new pathway into construction

“I think this is one of the best things the Government has done,” said Saad.

“Students play games and scroll because they want to do things with their hands – they want to tinker, to build things and this provides an alternative to the screens.

“The shortage of workers in industries such as construction is concerning and providing a clear route into the sector at a younger age is a really good idea.

“There’s been a change in what employers expect when their employees come to them – they are now favouring those with skills rather than academic backgrounds.”

You don’t have to spend long at the London Design And Engineering UTC to realise it’s an institution that very much puts the teaching of those skills at the heart of what it does. 

Consistently over-subscribed and having recently been judged exceptional in five of the seven categories rated by Ofsted, the college’s two buildings on the edge of Royal Albert Dock buzz with activity. 

Sponsored by the University Of East London, it’s also a place deeply connected to industry – its walls are coated with corporate logos that tell of partnerships, collaborations and, crucially, routes to employment.

Its workshops, classrooms and facilities are filled with the industrial-grade kit necessary for its students to gain relevant experience as they progress through its courses starting at either 13 or 16 and studying for the likes of GCSEs, A-Levels, T-Levels and Diplomas that lead to apprenticeships or direct employment in the industry.

Saad, who grew up in Newham, was a student himself when the college welcomed its first intake in 2016, pursuing a passion for architecture in both academia and in industry before returning to teach the next generation.

The college is located at UEL's Docklands campus in Royal Docks - image supplied by LDEUTC
The college is located at UEL’s Docklands campus in Royal Docks – image supplied by LDEUTC

returning to London Design And Engineering UTC

“Originally I wanted to go back on site after my masters,” he said.

“But I came back, did a trial and I loved it. It was brilliant seeing the students in front of me all wanting to learn my specialism.

“I get to share my love of buildings with them.

“It’s wonderful to be able to provide this support to learners and it’s something people in industry should definitely consider doing.

“The UTC is different to a traditional school, the students are very much hands-on, technical people.

“To teach young people you have to really know and love your subject and be able to communicate that.

“When you’re working in industry, you see things, touch things, smell things – it’s all about passing on those experiences and that passion to the students.

“If you can’t help them visualise it, they’re going to get bored so we need people who can do these subjects justice and also who can bring connections that can help them gain experience and opportunities.”   

The college's second block - image by Jon Massey / Wharf Life
The college’s second block – image by Jon Massey / Wharf Life

key details: Train Others In Further Education and the UTC

You can find out more about the work of London Design And Engineering UTC and the DfE’s Train Others In Further Education campaign via these links.

The UTC in Royal Docks.

The campaign.

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Dickson Mbi brings Tellus to Stratford’s Sadler’s Wells East

Choreographer, dancer, musician and composer, born in Cameroon and raised in London unveils his latest work at East Bank

Sadler's Wells East is the venue for Tellus' premiere - image by RULA
Sadler’s Wells East is the venue for Tellus’ premiere – image by RULA

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Dickson Mbi has a strong hat game.

When he answers the zoom call from his north London home, he’s wearing a red beret similar to those of Public Enemy’s S1W security force, known for their stern, imposing presence.

The dancer, choreographer, musician and composer beneath, however, fizzes with fun, energy, enthusiasm and introspection as we talk about his latest work – Tellus – a piece that’s set to get its première at Sadler’s Wells East from October 21-24, 2026.

 Internationally successful, his piece Enowate by Sadler’s Wells and Barbican won him an Olivier Award in 2023 for Outstanding Achievements In Dance and he’s had a storied career on stage and screen, working with the likes of Robbie Williams, Corrine Bailey-Rae and the Black Eyed Peas among many others.

In many ways, however, Tellus is something of a full circle moment for Dickson – a show that explores his origins and childhood tales, staged in the very place where his own journey into dance began.

Born in Cameroon, he learnt English at boarding school before a move to east London, aged 12.

“It was a bit different – I was standing up to ask questions, which puzzled the other students here,” said Dickson.

“But boarding school was great for me, it gave me strong resilience and taught me a lot about life and independence – how to take care of myself on my own – and I’m grateful for that.”

After football at West Ham didn’t work out, Dickson got his first job at McDonald’s before embarking on an apprenticeship to become an IT technician.

However, while out in Stratford, a chance meeting set him ultimately on a different path.

Dancer, choreographer, musician and composer, Dickson Mbi - image by Foteini Christofilopoulou
Dancer, choreographer, musician and composer, Dickson Mbi – image by Foteini Christofilopoulou

discovering dance

“In African culture, dance is not considered a viable source of income or a career to follow,” said Dickson.

“You should be a doctor or a lawyer – something with high status.

“I was 18 or 19 and I met a girl who was dressed unusually, with her hair up in a particular way.

“I asked her why and she said she was going to a dance class at Stratford Circus. She invited me to come.

“I was going because I liked her. At the class, I met a lot of people into all sorts of dance and I thought it was amazing. 

“Then I had to do an improvisation, a freestyle. I’d grown up watching Michael Jackson so I though I could do something like that.

“I was just joking around, trying to impress that girl, but the teacher invited me to another class at Pineapple Studios. 

“At first I said no, then I found out the girl was going to be there, so I signed up. It was a Saturday, my first time on the Central line on my own. 

“I grew up in Manor Park and Forest Gate – you go to Stratford or maybe Hackney, you don’t go anywhere else.

“Being in Covent Garden was different for me. 

“We went in to do the class. There were lots of routines I couldn’t pick up – I didn’t want to look stupid in front of the girl or the teacher, so I pretended I needed the toilet and left.

“But just outside there was a group of guys body popping.

“Their performance drew me in. I wanted to know how people could move their muscles like that, how they could have control of their bodies to that degree.

“I stopped thinking about the girl and started to ask them about the dance.

“They told me what it was called, how it was started in the late 1960s, early 1970s, via James Brown.

“I didn’t know this music.

“All I knew was hip-hop from the 1990s, r’n’b, nothing else. I had heard a bit of jazz and classical music, but nothing like this.

“That was my introduction to dance.”

Dickson has worked extensively with the dancers to choreograph the piece - image by RULA
Dickson has worked extensively with the dancers to choreograph the piece – image by RULA

steps to learning

Dickson pursued his passion in his spare time, dancing with friends around London and in Newham, entering and winning competitions.

But it was meeting Stuart Thomas during a class in Graham Technique at Danceworks that proved fateful.

“He said that I had talent, but it needed to be nurtured and that I should go to school to learn how to look after my body,” said Dickson.

“That coming twice a week to his class wasn’t going to cut it.

“I said no – I was African, I couldn’t imagine what my parents would say, but Stuart was quite cunning.

“Without my knowledge, he filled out an application for Lewisham College and he told me I should go down there to try a class that was being taught by his friend.

“He said I’d fit right in. I went and there were some people I knew but something was weird – everyone had numbers on.

“It turned out to be an audition.

“The only reason I didn’t walk out was because, having won some competitions, I’d built up some street cred and, at 22, I didn’t want the younger dancers who were there to say I’d chickened out.

“For the ballet, I just copied the girl next to me – it was the first time I’d ever had a class.

“But then I did some contemporary and jazz, which was just like street dance. It was my thing and, at the end, I was given a full-time place.”

Dickson's latest work was inspired by his childhood and becoming a father - image by RULA
Dickson’s latest work was inspired by his childhood and becoming a father – image by RULA

a door opens

Supported by his future wife, the dancer, Julia Chen, Dickson made the tough decision to quit his job and study. Then another moment of good fortune struck.

“I went on to study for a BA and, while I was a student, I performed an improvisation at Sadler’s Wells and the choreographer, Russell Maliphant, saw me and offered me a job,” said Dickson.

“Upon hearing who it was, the principal of the school I was at said I should take the opportunity because people trained from the age of 10 to get that chance.

“I spent eight years dancing with Russell and I really got my choreographic education from him.

“He taught me how to stand in the lights, how to use dancers in an organic way, so it doesn’t feel jarring to the body, or look weird when you see it.

“He’s worked in so many genres of dance, so I also learnt to bring those different worlds together – he’s my biggest influence in dance.” 

For Tellus, Dickson is back at Sadler’s Wells – this time at its Stratford venue – to present a work that touches on his own childhood and his experience of becoming a father.

“It’s really nice to be able to show this work in east London,” he said. “Tellus means Mother Earth in Latin. In 2023 my son was one and I was putting him to bed.

“The year was very hot, with lots of forest fires happening, lots of droughts in Somalia, for example – my brain was full of all this information. I was wondering what I could do to soothe him and put him to bed.

“Then I remembered a story my parents used to tell me about the goddess of water, and that’s when the whole idea for Tellus started to come up.

“Different melodies started to come into my brain – songs I knew as a child – and I thought this was a starting point. I was thinking about how I could bring a kid up in this world right now.

“When you become a dad, you start thinking about all these crazy things – it’s not just about you any more.

“So you have all these questions about how we connect to our bigger mother, the earth. 

“If Enowate was more about my own biography, my African-ness and my East End-ness, this new piece is about how I see the world, what we’re doing and how we can create space for the next generation.

“I think Tellus is one of the best things I’ve done.

“It has live music, which I’ve composed – I’ve always wanted to bring my music and dance together in exactly the way I want it.

“The melodies come from spending time with my son, but there are also elements of grief in the mix too.

“Having the opportunity to present this in Stratford is one of those emotional moments for me and I’m really proud to be doing it.

“I’m not dancing in it personally and it’s really hard to build a piece like this.

“Not everybody has my background, my training and my body. It’s a long process, it’s not been easy and there have been several iterations with different performers, but it’s been so rewarding.

“The group we have are amazing artists and they do what I need them to way better than I could have done it.

“What I hope, when people come to see it is not that they understand the work, but that they feel it. 

“I want them to feel connected to the story and what I’m trying to express.

“This is my first time back in Stratford and it feels like I’m coming home and it’s great to be back.”

Tellus will be performed at Sadler's Wells East this October - image by Luc Lodder
Tellus will be performed at Sadler’s Wells East this October – image by Luc Lodder

key details: Tellus by Dickson Mbi

Tellus by Dickson Mbi is set to run at Sadler’s Wells East in Stratford from October 21-24, 2026.

Performances will take place at 7.30pm and tickets start at £19.

Find out more about the production here

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Black Limehouse Lives exhibition explores St Anne’s history

East London Hawksmoor church’s Care For St Anne’s charity invites visitors to step back in time with help from Northeastern University London

Detail from the christening records at St Anne's Limehouse showing a 17-year-old 'black servant' received a blessing at the church on April 19, 1730 - image supplied by Care For St Anne's
Detail from the christening records at St Anne’s Limehouse showing a 17-year-old ‘black servant’ received a blessing at the church on April 19, 1734 – image supplied by Care For St Anne’s

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Information, inspiration and connection is what Black Limehouse Lives promises when it opens in east London later this month.

The exhibition is set to go on display at St Anne’s Limehouse from October 17, 2026, until February 20, with visitors invited to discover the lives of black people living in the area during the 18th and early 19th centuries. 

Care For St Anne’s – the charity committed to restoring the Hawksmoor-designed church and opening it up to wider community use – has teamed up with Northeastern University London in St Katharine Docks to help research and create the displays during Black History Month.

“I started volunteering at St Anne’s four years ago – I live partly in France and I’d been scaling down my work in the wine world and wanted to meet new people,” said Wink Lorch, who has led the Black Limehouse Lives project for Care For St Anne’s as co-curator.

“I’d lived in sight of the tower for 20 years, but I’m not a church-goer and the doors were always closed.

“When I had more time on my hands, I saw the charity was looking for volunteers and I thought it might be interesting.

“At first it was just keeping the doors open, but I can write and edit, which is how I was thrown into the first Limehouse Lives project in 2023 – an exhibition inspired by a talk that Queen Mary University did here based on research they’d done on people buried in the crypt at St Anne’s.

“It included some we know had links to slavery and we got London Museum Docklands to write a panel for us to help put that in context.

“I publish my own books and know about project management, so helping curate the exhibition was something I really enjoyed doing.

“I discovered the Mapping Black London project at Northeastern University on a visit to St George-In-The-East, the Hawksmoor church in Shadwell.

“I went there on an open day and Professor Olly Ayers who leads it was there with one of his post-grad students.

“I learnt about their project, which contributed to a wonderful exhibition at St George’s in April, and thought we might be able to link a revival of Limehouse Lives with similar research at St Anne’s.”

Wink Lorch, co-curator of Black Limehouse Lives - image by Jon Massey / Wharf Life
Wink Lorch, co-curator of Black Limehouse Lives – image by Jon Massey / Wharf Life

from the past to the present

Scouring baptism and burial records, Black Limehouse Lives focuses on people who lived, worked, worshipped or were laid to rest in the parish between 1730 and 1830.

Olly said: “The Mapping Black London project has been going for nearly five years – we’ve researched the presence of black people in the city before 1948, prior to Windrush.

“We’re challenging the misconception that there was no black presence in the capital before that date.

“If you map something, you put people in times and places, and this helps history to come alive and make sense.

“We have a team of PhD students who are doing research on this and the scholarly dimension goes hand-in-hand with our public work.

“We found out early that there’s an appetite for thinking seriously about London’s black history. 

“We’re now in Black History Month, but there are loads of examples where this is often not about history at all but about contemporary black culture or civil rights figures in the USA such as Rosa Parks and Martin Luther King.

“We can do a bit better and think about black history in Britain.

“This will be the third exhibition we’ve done with local partners.

“The principle is that if you show people that black history is not an abstract thing but that it concerns people in your church, in your neighbourhood and you can pinpoint that on a map, then it brings it alive in a meaningful way.

“We started off looking at Ignatius Sancho, the most important black Briton of the 18th century who was a prolific letter-writer and quite famous for speaking out against slavery.

“We wanted to look at the neighbourhood he lived in – he was a Westminster figure, with a shop not 100m from Downing Street and he married an East Ender called Anne Osborne of West Indian heritage.

“That got us thinking about the rest of the city and how these black communities were forming.

“If you’ve got the time to look in all the records to find these people, you can.”

A drawing of St Anne's Limehouse from 1780 - image supplied by Care For St Anne's
A drawing of St Anne’s Limehouse from 1780 – image supplied by Care For St Anne’s

context and connection

The exhibition seeks to place people – those who were baptised or buried by the church – in a wider context and to explore their stories.

While details of the individual lives of the people recorded in the parish records are scarce, it’s still possible to get a sense of some of the reasons they might have come to the church.

“For example, we found in the records that three people identified as black were baptised on the same day and all were adults,” said Wink.

“One was from New York, one from America and one from Bermuda.

“While we haven’t been able to find out anything about them, it’s likely they would have fought with the British in the American Revolutionary War.

“Black people who did that were promised freedom and a passage to England.

“We can also figure out how things might have been for them in London at that time.”

Professor Olly Ayers of Northeastern University London - image by Jon Massey / Wharf Life
Professor Olly Ayers of Northeastern University London – image by Jon Massey / Wharf Life

building out the stories

Olly added: “With this kind of work, you don’t just stop when you hit a dead end. 

“We’re not likely to find a black person’s diaries or personal letter collection but, if we stop there, it’s history from the perspective of the guys in the crypt.

“We know there’s a bigger black presence in London so we don’t let that stop us. 

“Putting people in a geographical location is important.

“The three people who got baptised on the same day, for example, were in a port city, so they might have been fresh off a boat and new in town.

“The first thing they would have done was to get baptised – there’s a whole question about what that means, but the short version is that they did this to emphasise their free status.

“Then we can talk about other things, such as whether they stayed in the area.

“There certainly were black people who were getting homes and building lives here.

“We can also look at the criminal justice records of the Old Bailey – what’s interesting there is that, over the records of several hundred years, there’s more than 600 black people we can identify in the transcripts, including people from the Limehouse area.

“What’s interesting is that they’re not just listed as the perpetrators of crime, sometimes they’re victims and sometimes they’re witnesses.

“That gives you a social life dimension to the lives of black people in the capital.

“London society in the 18th century was very discriminatory – money, race, ethnicity, religion and rabid anti-Catholicism, which is often forgotten.

“Adult baptisms can also be seen in the context that it was a practical fact that the church was responsible for distributing relief and charity, because the state didn’t want to get involved.

“So anyone wanting to benefit had to prove their residence in that parish – it was called gaining a settlement – and being baptised was a way of doing that.”

The cover of the book containing St Anne's christening records from 1730 onwards - image supplied by Care For St Anne's
The cover of the book containing St Anne’s christening records from 1730 onwards – image supplied by Care For St Anne’s

bringing everything together

The exhibition aims to place the lives of black Londoners in context by revealing the effects slavery, empire, migration and maritime trade.

Wink said: “Gradually the exhibition took the form of four parts – the black lives, the beginning of St Anne’s, a revival of the previous exhibition and an extension of that where we talk about burials in our crypt and churchyard, identifying more people.

“We’ve conducted this research because not everybody buried here was identifiable, so we’ve tried to do that.

“We also want to show how we did it – visiting the City Of London Archives, for example – and to show people that they can do it too and research their own ancestry.”

Olly said: “Ultimately, I want people to come away saying: ‘I didn’t know that’.

“That may prompt other things.

“From other exhibitions, we’ve had quite moving testimonies – that it’s changed someone’s understanding of history, their understanding of themselves and their place in the city.

“Ideas such as the past shaping the present can sound rather abstract.

“But this project has certainly changed me as I walk around these streets and think about what it means to be a Londoner in the present day.”

key details: Black Limehouse Lives

Black Limehouse Lives is set to open at St Anne’s Limehouse on October 17, 2026, and will be on display at the church until February 20, 2027.

Free to view, the exhibition will be open to the public on Thursday to Saturday from 10am-4pm.

Find out more about the exhibition

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Third Space spotlights impact of strength work in Canary Wharf

Master trainer of strength and conditioning for group exercise at Third Space, Will Pate, on why he’ll always recommend resistance exercises

Third Space master trainer of strength and conditioning for group exercise, Will Pate - image by Jon Massey / Wharf Life
Third Space master trainer of strength and conditioning for group exercise, Will Pate – image by Jon Massey / Wharf Life

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“Regardless of your favourite way to train, the one thing nobody disagrees on is the importance of strength and conditioning work,” said Will Pate.

“There are just so many benefits. People want to move their bodies and feel strong. 

“It’s the reason I’ll always recommend strength work whatever level you’re at and whatever your reason for training.”

There’s a real note of excitement in Will’s voice as we’re talking – a sense that his area of expertise, as Third Space’s master trainer of strength and conditioning for group exercise, is deservedly having its moment.

“There’s such demand for it,” he said. “We know what’s being used in our gyms and it’s the squat racks and cable machines.

“I think it’s because people recognise the benefits and they know it’s not about becoming a body builder.

“It’s about functionality and longevity. It’s all about the bigger picture.

“Personally, I don’t train for aesthetics, but so that my body feels good.

“As I get older, that will still be the case.

“In the past there was this idea that, particularly for women, training with weights would make you bulky.

“That’s obviously not the case and if you look at what women are searching for online, strong is now a more popular search than skinny.

“I think there’s a greater appreciation that everyone’s on their own journey and will have their own goals.

“More and more, our members are focused on how they are looking after themselves to stay strong and injury free.”

Third Space's Canary Wharf and Wood Wharf clubs have extensive facilities for resistance training - image by Jon Massey / Wharf Life
Third Space’s Canary Wharf and Wood Wharf clubs have extensive facilities for resistance training – image by Jon Massey / Wharf Life

two clubs, one membership

Third Space offers access to its Canary Wharf and Wood Wharf clubs under a single membership package, both offering an extensive array of equipment for resistance training. 

Members can also take advantage of a packed timetable of classes designed to help them take their first steps into weightlifting, hone their skills or challenge themselves.

“Whatever people’s goals are, we want to give them the building blocks to achieve them,” said Will.

“For example, we now run our Lift classes on four-week cycles so that there’s progression built in for people who are going regularly.

“We’re always encouraging people to challenge themselves with the weight they are working with when it’s safe to do so.

“We also offer smaller classes such as Yard Weightlifting, which is up to 10 people.

“It’s inspired by Olympic Weightlifting to help people learn the correct techniques for the clean and jerk and the snatch.

“These classes run in six-week cycles and are in smaller groups to make sure we’re delivering the right standard of training in a completely safe way.

“These are complex movements. You’re moving from the floor to overhead in less than a second, so you have to be able to break that down, to understand the challenge that each member is facing.

“Having a small group allows you to do that.

“One of the challenges I have managing our group exercise coaches is making sure that, whatever class they’re teaching, members are getting the right advice, encouragement and correction when they need it.

“It’s our job to ensure they feel that they’re making progress.

“Whatever level someone is at, we can help move them forward.

“In the same class I might have someone who’s qualified for a weightlifting championship and someone else who has never touched a barbell before. 

“We always want people to feel that they’re learning, that they can go away and practise the skills and enjoy training.

“It doesn’t matter what level you’re at, skills are always coachable.

“Members are still coming to classes for a reason and, for everyone, it’s up to us to understand what that is and help them get what they need.”

Will loads up a bar on one of the club's squat racks - image by Jon Massey / Wharf Life
Will loads up a bar on one of the club’s squat racks – image by Jon Massey / Wharf Life

a wealth of facilities

Both Canary Wharf and Wood Wharf have extensive resistance training areas which are constantly assessed to ensure members have all the equipment they could want.

Will himself is passionate about curating classes to help members get the most out of the club whether that’s alone or in a group setting.

Football obsessed as a kid, he had an ambition to become a PE teacher before moving to London and embarking on a career in the fitness industry.

Initially working with Gymbox, he made the switch to Third Space alongside fellow master trainer Clare Walters and has spent the last eight years honing his skills.

“I did do some internships with some lively groups of kids when I was at university and decided it would be easier to teach adults,” he said.

“It was never the plan to take this path but I’m so grateful because I really love it.

“I always call our Canary Wharf club the mothership because it’s so extensive.

“If you can’t find a way to train that you enjoy here, then I don’t think it exists. 

“I look after all the strength and conditioning classes in our studios and one of the other big assets we have is The Yard, which was inspired by the boom of crossfit-style training.

“In there you’re looking at weightlifting, lots of platforms followed by gymnastic work and the callisthenic crowd.

“I always say that if you’re looking to get stronger, Canary Wharf has everything you could want.

“Yard Strong is a really fun class we offer.

“Born of the popularity of strongman events, it offers people the chance to do lots of things they might not normally try.

“People find it really enjoyable, but it’s also carefully put together.

“We base it around primary lifts and supplementary lifts to ensure the training is effective. 

“That’s so important because seeing the benefits and when they click for a member is just great. 

“Our bodies weren’t designed to sit the way so many people do – I think more are aware of that now and we’re giving them action they can take to address it.” 

Will says Third Space offers resistance training at all levels - image by Jon Massey / Wharf Life
Will says Third Space offers resistance training at all levels – image by Jon Massey / Wharf Life

key details: Third Space

Third Space The Wharf membership includes full access to its Wood Wharf and Canary Wharf clubs and costs £257 per month plus a £100 joining fee.

This covers full access to both sites and all classes on the timetable.

Find our more about joining here

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Festival Of Print 2026 set to welcome visitors in Mile End

East London Printmakers’ annual showcase at The Art Pavilion will run for 10 days and features work by more than 100 creatives

Detail from Newydd-November by Ivy Smith Plas - image by Ivy Smith Plas
Detail from Newydd-November by Ivy Smith Plas – image by Ivy Smith Plas

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Sometimes making a house a home is about the things you choose to put into it.

Taking inspiration from the local area can be a good place to start for those just moving in or a way of updating and refreshing an interior for those who’ve lived in east London and the Docklands for a while. 

East London Printmakers (ELP), a creative collective that operates out of Acme’s Copperfield Road studios in Mile End, is getting ready to host its Festival Of Print 2026.

The event will showcase work by more than 100 artists in a free exhibition that serves as an opportunity to discover and acquire locally made pieces.

Celebrating the breadth and depth of ELP’s output, the group’s latest show will feature print produced with techniques including woodblock, screen print, etching and relief.

“Our goal for this show is to explore how different perspectives interact within a shared space,” said ELP member and festival organiser, Inga Eičaitė.

“Every piece tells a unique story, and I encourage visitors to take their time – to start conversations and to really connect with the work.”

Detail from You Can’t Give What You Never Had by Maurice Citron - image by Maurice Citron
Detail from You Can’t Give What You Never Had by Maurice Citron – image by Maurice Citron

an exhibition and a live happening

The showcase is set to take over The Art Pavilion in Mile End Park from October 2-11, 2026.

Free to visit, the exhibition will be open daily from 11am-5pm. 

The event will include Box Set, a collection of 40 limited edition prints created by ELP members.

The festival will, this year, also feature The Dreaming Of Butterflies – an evening of performances on October 8 aimed at exploring how printmaking intersects with dance and music. 

The event will end with a collaborative collage led by ELP artist duo Jairo Zaldua and Nicola Jane Green.

The evening is free to attend and runs from 7pm. 

The Art Pavilion is located a short walk from Mile End Tube and can be reached easily from Canary Wharf via the 277 bus.

Detail from Moonstone, Sapphire And Saffron by Lydie Gallais - image by Lydie Gallais
Detail from Moonstone, Sapphire And Saffron by Lydie Gallais – image by Lydie Gallais

key details: Festival Of Print 2026

East London Printmakers’ Festival Of Print 2026 is set to take place at The Art Pavilion in Mile End Park from October 2-11, 2026.

Entry is free and the exhibition will be open from 11am-5pm daily.

Find out more here

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Maria Alexander Spa Boat delivers tranquility and privacy on the water

Ingrid Eriksson and Corvin Roman’s floating destination at Limehouse Marina is ideal for couples or friends seeking indulgence in east London

The Maria Alexander Spa Boat offers a tranquil escape from the city - image by Jon Massey / Wharf Life
The Maria Alexander Spa Boat offers a tranquil escape from the city – image by Jon Massey / Wharf Life

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Life on the water has its own pace.

This is sometimes true for businesses as much as for those who make their home afloat.

The story of the Maria Alexander Spa Boat began around three years ago. 

Built and fitted-out to exacting specifications, the vessel has a treatment room for two and an open-plan spa space for up to four guests. 

This features a sauna and a hot tub that manage to feel connected to the water outside, despite being in near seclusion.

While the boat has spent around two years cruising the canals of London, its offering constantly refined and its location changing, the couple behind the venture have now found their curated craft a more permanent home at Limehouse Marina. 

It’s been a lengthy voyage, but there’s a sense that this is the dawn of a new chapter for the spa, which offers an experience like no other on the capital’s waterways.

The boat is a joint venture between Ingrid Eriksson and Corvin Roman. 

The former has an extensive background in spas and the latter in insurance, teaming up on the foundation of their burgeoning relationship to create a floating haven of relaxation.

The facility accommodates up to four guests and offers multiple options, but the most popular package is the two-hour Private Floating Spa Treatment for two including a 30-minute massage. 

The Maria Alexander Spa Boat is now moored at Limehouse Marina in east London - image by Jon Massey / Wharf Life
The Maria Alexander Spa Boat is now moored at Limehouse Marina in east London – image by Jon Massey / Wharf Life

stepping on board

“We greet customers at the entrance to the marina, take them to the boat and then show them around the spa,” said Ingrid. 

“Then they have a little foot soak, some organic herbal tea and simply relax for a while. 

“When they’re ready, we show our guests through to the massage room where we deliver a half-hour masage that’s focussed on relaxation. 

“Afterwards, our guests are free to use the spa facilities, take a sauna and enjoy the hot tub. They can even open the doors at the front of the boat to see out while they’re soaking.”

The purpose-built spaces are designed for privacy so guests feel as though they have the whole boat to themselves – however, Corvin, Ingrid or staff can be summoned via small brass hand bells should anything be needed.

“We created something that we thought we’d enjoy ourselves,” said Corvin, who along with his partner helps deliver treatments on the Maria Alexander Spa Boat.

“At the start, I didn’t want to get involved with a business I didn’t properly understand, so I studied massage at the City Lit. 

The boat includes a treatment room for two - image by Jon Massey / Wharf Life
The boat includes a treatment room for two – image by Jon Massey / Wharf Life

“Part of what we’re offering is that the vibe here is different to other spas.

“When we did our research, we couldn’t find anything else like it.

“This isn’t a space where you’ll find people who are just hired therapists. 

“Ideally we always want at least one of us to be here – we want to be talking to customers but also making sure they have space to relax. It’s about looking after people.

“Visiting a spa is about slowing down – put it on the water and you have the best of both worlds.

“We might now be in a marina, but you still feel the movement of the water, you hear the rain on the roof and the calls of the birds. 

“You can hear the bells of St Anne’s Limehouse, but once you’re inside you can close yourself off from the world.”

Ingrid added: “We’ve curated the whole experience.

“Spas can be quite impersonal but here we wanted to create something more romantic, a calmer offering.

“We tested it with friends and people in the industry to make sure we were getting the spa journey right and we believe we’ve now done that.”

Maria Alexander Spa Boat co-owner Ingrid Eriksson - image by Jon Massey / Wharf Life
Maria Alexander Spa Boat co-owner Ingrid Eriksson – image by Jon Massey / Wharf Life

developing the offering

Built in Liverpool and craned into the water at Watford, the Maria Alexander was fitted out in Tottenham before travelling along the canals of the capital.

The vessel’s sauna is wood-fired to a toasty 90ºC and its hot tub features powerful jets for various kinds of massage. 

Guests are supplied with oatmeal-coloured robes, matching towels and small batch UK-made cleansing products.

Typical refreshments provided include tea and dried fruit, although the couple have plans to widen this offering in the future.

“We’re looking into offering afternoon teas and other catering options such as light meals, depending on the package,” said Corvin.

“We have the facilities on board to do this.

“We usually ask groups of more than two to contact us directly to discuss their requirements so we can tell them what’s possible.

Maria Alexander Spa Boat co-owner Corvin Roman - image by Jon Massey / Wharf Life
Maria Alexander Spa Boat co-owner Corvin Roman – image by Jon Massey / Wharf Life

“Usually our bookings are for couples or two friends, but we do have three or four people sometimes.

“While we don’t allow children on board, we can accommodate babies by arrangement if needed.”

Ingrid added: “It’s a complete experience focussed on relaxation.

“It’s perfect for couples or friends. One of the things we wanted to make sure of was that there’s no waiting around.

“Sometimes when you visit a spa there can be a long period of time before they’re ready to offer your treatment.

“Here, because guests have the boat to themselves, we don’t have that issue.”

There's a private wood-fired sauna on board - image by Jon Massey / Wharf Life
There’s a private wood-fired sauna on board – image by Jon Massey / Wharf Life

refinement and evolution

While the core offering remains, the couple are constantly working to refine and evolve the experience, tweaking the interior design and adding extra shine to proceedings.

Plans for the future include potentially partnering with local hotels and developing other spa boats to deliver different treatments.

Corvin said that while running a floating spa presented a range of challenges not faced by land-based businesses, it also had many advantages and it was a pleasure to offer guests something unique.

He said: “People who have been to other spas are often not sure what to expect, so it’s amazing when they tell us it’s spectacular and unlike anything they’ve tried before.”  

The Maria Alexander Spa Boat features a hot tub for up to four people - image by Jon Massey / Wharf Life
The Maria Alexander Spa Boat features a hot tub for up to four people – image by Jon Massey / Wharf Life

tired + tested: Maria Alexander Spa Boat

It’s clear from the moment of arrival at the Maria Alexander Spa Boat that this is something different.

There are floating saunas in London, perhaps even boats offering spa treatments, but nothing as considered as this vessel’s offering.

After slipping shoes off, enjoying a quick tour of the facilities (including an incinerating toilet), we change into our swimwear, don our robes and indulge in a foot purifying foot soak with plenty of time to sip cool water and relax.

When we’re ready, we go through to the calm, relaxing treatment room where there’s just room for a massage for two.

Snuggled under towels, Corvin and Ingrid come through and deliver a slow relaxing massage which leaves a warm, lingering tingle.

The pressure is subtle rather than intense, enough to get the nerves firing without stressing the muscles too much.

Then it’s back to the spa and we’re left on our own to enjoy the offering.

After an intense burst in the sauna, with scented water to boost the humidity, it’s time for a cold shower and then a lengthy soak in the hot tub, our bodies soothed by the potent jets as we relax.

Gazing out at the other boats while gently bobbing along and then looking up to the clouds through the vessel’s skylight is a rare pleasure.

At £200 for two people, the quality and attention to detail here makes the experience a steal.

The boat has been finished to a very high standard – akin to the best spas one might find in high-end hotels. 

The fact you can find such an experience on a boat in Limehouse simply adds to the charm of the offering.

Jon Massey 

***** (5/5)

Guests are invited to don the robes supplied - image by Jon Massey / Wharf Life
Guests are invited to don the robes supplied – image by Jon Massey / Wharf Life

key details: Maria Alexander Spa Boat

The Maria Alexander Spa Boat is located in Limehouse Marina, a few minutes on foot from Limehouse DLR and is within walking distance of Canary Wharf. 

The spa is only open by appointment with pre-booking essential.

Find out more about the offering here

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