East London – Page 12

April 6, 2023April 6, 2023

Stratford: How Alexa Ryan-Mills’s garden is set to celebrate Sadler’s Wells East

East London-based designer is preparing for her first RHS Chelsea Flower Show this May

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I‘m just looking out at the rain and wondering when it’s going to start warming up,” said Alexa Ryan-Mills.

While idle talk of the weather is ubiquitous in the UK, for the Walthamstow-based garden designer – and all those in her profession – precipitation and temperature are a constant preoccupation.

That’s especially true when there’s a deadline looming and, for Alexa, the 10 days leading up to May 23-27 are fast approaching.

That’s when she and her team will create her first garden at RHS Chelsea Flower Show – arguably the biggest stage in British horticulture.

What exactly appears in that garden will, to some extent, be dependent on the weather – although Alexa said she was confident the nurseries she’s working with would have sufficient stock to provide backup options, should the mercury fail to rise to the desired level.

While Wharf Life covers neither Chelsea nor Walthamstow, the reason we are interested in this garden is twofold.

Firstly, Alexa’s design is inspired by the forthcoming opening of Sadler’s Wells East – the fourth venue in the Sadler’s Wells family, which is set to open overlooking Stratford’s Queen Elizabeth Olympic Park in 2024.

But that is still a building site at present, so secondly, there’s a more immediate link – all the plants and materials used in the creation of the garden will be donated to Sadler’s Wells associate institution School 21 in Stratford, where they will be used to improve its outdoor spaces.

“School 21 has been planning and fundraising to do this for a while,” said Alexa.

“I found out about that and we’ve now spent some time going round and identifying areas where we can put the plants after the show.

“There are lots of different play spaces, which at the moment are quite bare, and we can get the kids involved in planting those up.

“The school also has a great design and technology department that will be able to re-use the materials too.

“For the garden we also recently decided to work with Brixton-based artist Benjamin Wachenje, who will be creating a hip hop-themed mural as a backdrop and School 21 will be able to use this as well.”

An artist’s impression of Alexa’s RHS Chelsea Flower Show garden

Before that happens, though, the garden itself must be created and shown – a project that has its genesis in Alexa’s change of direction from a career in PR and communications.

“I felt like I’d had enough of that industry and I was thinking about what to do next,” she said.

“Around the same time I met a garden designer, having just bought a house in Walthamstow.

“She designed my garden and I really enjoyed the process and thought I’d like to know a bit more about it. Before I did anything crazy and quit my job, I did some initial training.

“That went really well and so I decided to invest more in training and that’s how I wound up starting to build a business in east London.”

Having worked mostly designing private residential gardens in the likes of Waltham Forest, Hackney and Newham, Alexa specialised increasingly in planting design, studying for a diploma in the field and collaborating with landscape architects and other designers on a freelance basis.

“While I was studying at the London College Of Garden Design, I knew I wanted to create a garden for a cultural hub and I used Sadler’s Wells as my imaginary client,” she said.

“I found out Sadler’s Wells East was set to open in Stratford, so I created a design that was related to dance – choosing plants that might have an interesting shape or ones that would self seed and move around the garden like that.

“Then I saw a call out from an organisation called Project Giving Back – a grant making charity that provides funding for gardens for good causes at the RHS Chelsea Flower Show.

“I realised I had an idea and all I had to do was persuade Sadler’s Wells. They said: ‘Go for it’, so I applied and after various rounds, got the funding.

“Then I had to apply to the RHS because you get the funding, but still have to be chosen for a place at the show itself.”

Alexa says she was inspired by the planting at the Queen Elizabeth Olympic Park in Stratford

She was successful and is now set to lay out a six-by-eight metre space under cover in the All About Plants category of the show’s main pavilion.

Featured plants will include the nodding blooms of salvia nutans and three trees, namely hionanthus retusus, styrax obassia and acer monspessulanum.

“I really wanted to make the plants the performers – the dancers – and put them centre stage,” said Alexa.

“It’s all about visitors being able to see the planting and the shapes and enjoy them from different places to sit and walk through.

“There’s a pipe-like sculpture inspired by the saw-toothed roof of Sadler’s Wells East – itself a reference to the manufacturing and industrial heritage of Stratford – that frames different views.

“I’ve chosen plants that have interesting shapes with lots of purples and limes as well as oranges. I want it to feel energetic. It’s about dance.

“There has been a fashion at Chelsea for lots of calm, muted planting, but this design is not like that at all.”

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

April 6, 2023April 6, 2023

Canary Wharf: How personal training at Third Space delivers the right results

Eliter personal trainer Tim Hart talks focus, science and goals as he puts our writer through his paces

Third Space Canary Wharf elite personal trainer Tim Hart

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SESSION TEST

Imagine driving your expensive car to a garage, paying a fee and then being let loose on the tools to fettle and prod at your vehicle in the name of maintenance.

Unless you already have a fairly decent body of knowledge, it’s unlikely such activity will yield positive results except in the most basic of jobs.

Now consider how different that is to taking your body – a vehicle you’re born into and will ride in your whole life – to the gym.

Sure, there’s plenty of equipment there, but how well do you really know how to use it? Crucially, will you be doing more harm than good? The logical step is to seek help.

Members at Third Space in Canary Wharf, in addition to an induction session with a trainer, essentially have two avenues to explore in this regard.

There’s an extensive timetable of group classes.

But for those really looking for something bespoke, there are the personal trainers offering one-on-one sessions.

An hour-long session with elite personal trainer Tim Hart was enough to convince me of the benefits of such sessions.

Trained in nutrition and health science, he has a wealth of experience in helping people to reach their goals, tackle physical weaknesses and prepare for intense expeditions.

Consequently, when I told him I wanted to address a bit of knee pain on the right hand side, he was well-qualified to suggest some relevant rehab exercises to improve strength and stability around the joint.

Following a few mobility drills, he soon had me skipping up and down the gym’s track, then leaping sideways from foot to foot, struggling to hold my balance while he watched for signs of instability.

From there, we went to work the core, chest and arms by using moves on a cable machine to ensure all of my body was involved in the exercise.

Then came a series of side-to-side squats with a bar and single leg deadlifts.

During every exercise Tim was constantly keeping an eye on my form, offering corrections and encouragement to ensure I was learning the right movement.

He also explored the range of motion to identify exactly where any discomfort in my knee was occurring – a process that enabled both the modification of the exercises and a far greater awareness of my capabilities than before.

At the end of the session, I left with an arsenal of moves designed to work the affected area without damaging it – a programme that has since seen a big reduction in pain and a great increase in confidence.

That focus, really, is the power of personal training.

It allows, more than any other form of exercise, an ability to address specific issues or goals in detail with the effects multiplied by subsequent, dedicated sessions.

Personal training sessions are charged as extra to membership.

Third Space Canary Wharf is very well-equipped, but how best to use its facilities?

FULL FOCUS – TIM’S THOUGHTS

>> For Tim, who has more than a decade of experience in the health and fitness world, the key to good personal training is putting his clients’ goals front and centre:

>> “From my perspective it’s to provide some science and solid theory behind the process,” he said.

“Your goals will always be your targets, and there may be some worry that a personal trainer is going to hijack what you’re looking for and all of a sudden you’ll be doing exercises you’re not interested in.

“My advice is to find a good personal trainer to start with in an establishment that will have a high calibre of individuals and professionals working in it.

“A client’s aims should always remain the focus and as a customer, you should look for an efficient scientific method being used by the trainer that you feel streamlines the process of really getting to where you want to be.

“For example, if it’s a knee injury and you want to lose weight, then the theory will combine quite nicely by finding exercises that will facilitate a reduction in pain and aid recovery, but will also get you to lose body fat as well.

“Your trainer should not be putting their own goals on you, but be using science and theory to optimise your own goals and help you achieve those results.”

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

March 23, 2023March 23, 2023

Bromley-By-Bow: How the House Mill aims to get its waterwheels spinning again

The world’s largest surviving tidal mill is ongoing as it targets the production of electricity from the Lea

The House Mill at Three Mills in Bromley-By-Bow

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“I just think this plucky building really deserves to survive – it’s been through so much,” said Beverley Charters.

We’ve just ascended an ageing wooden staircase and squeezed through a small wooden portal to pop out onto the roof of the House Mill, a Grade I listed structure that straddles the River Lea in Bromley-By-Bow.

To stand on the duckboards in the v-shaped channel that runs between the roof of the building’s twin peaks is a rare privilege.

It’s not on the official tour for various health and safety reasons, but it does provide a place to locate this extraordinary hub of historic industry in east London.

Beverley points out all the areas and activities that the mill would once have supported, including a vast pig farm with the animals fed on waste products from the site.

Today it’s a sea of regeneration with Sugar House Island and many others, all set to bring new homes and businesses to the area as progress marches on.

Under our feet, however, some 247 years of history await.

Today two mills remain standing at Three Mills although the site has a history of tidal milling that dates back to the Domesday Book in 1086 – the earliest recorded examples of such activity.

Originally Three Mills produced flour, notably for the celebrated bakers of Stratford-Atte-Bowe, with the number of mills dropping to two in the 16th century.

The site later pivoted to grind grain that was used to distil alcohol and the area became a major player in the production of London gin.

Today the House Mill, built in 1776 on foundations dating to 1380, and the Clock Mill, rebuilt in the early 19th century, still stand.

While the latter currently houses the Harris Science Academy East London, the former continues on a journey of restoration and preservation that started in the 1970s when this glorious building nearly became a flat expanse of tarmac.

The House Mill’s Beverley Charters, a trustee, and Geoff Cosson, a volunteer

“It could have been destroyed by bombs during the Second World War like the neighbouring Miller’s House or flattened by developers who wanted to turn it into a car park – but it wasn’t,” said Beverley – a trustee of the House Mill Trust, which looks after the building and who – alongside volunteer Geoff Cosson – shows me round.

“What we ultimately want is a working building that offers all manner of opportunities to educate people so they can see the wheels turning again.

“This is the world’s largest tidal mill, it’s an extraordinary building and it’s our dream to make it fully functioning and sustainable – a place with real purpose.”

Even without the waters of the Lea turning the wheels, the building is remarkable.

Filtering down through its levels – following the route that would have been taken by the grains on their way to the grinding stones and the sacks waiting for the flour on the ground floor – Beverley and Geoff release a steady flow of anecdotes and facts about our surroundings.

Mostly constructed from wood, the place is a baffling maze of hoppers, stores and production floors where the grain would have been sorted, cleaned and fed into the whirling stones whenever the tide was providing the power, day or night.

That force was provided by four massive iron waterwheels, harnessing the green energy of the Lea and distributing it through the building via huge drive shafts.

The overall plan is to restore the House Mill to some degree of working order with the waterwheels spinning once more with the tide, although these will be used to generate electricity to power the building and give it an income, rather than to grind grain.

With much work done internally in the 1990s, including the rebuilding of the bombed out Miller’s House as a cafe, visitor and education centre, a substantial amount of work has already been achieved.

Wooden blanks in the mill for making metal machine parts

But the trust faces big bills to keep operating and fundraising for a challenging project to dam the river, so work can be done on the wheels to bring them back into use.

It’s also having to contend with increasingly frequent flooding of the mill’s ground floor, possibly as a consequence of measures upstream to control the level of the waterways in the Queen Elizabeth Olympic Park, which prevents the incoming tide flowing as far up the river.

Nevertheless, there’s a sense of fight and optimism, with the next project aimed at weatherproofing and protecting the rear of the building to match the recently renovated facade. We wanted to complete it pre-lockdown, but it’s finished now and we think it looks rather fabulous,” said Beverley.

“Now we’re somehow going to fundraise for the back and repair some storm damage we’ve had to the roof before returning to the main project of getting the building working again. We hope it will be possible and we think we can do it.”

But why bother expending all this effort to conserve and celebrate a historic building at all?

“I just think buildings like this are fantastic,” said Geoff, a former teacher who became involved with the project after moving back to the Isle Of Dogs from Cyprus and visiting the House Mill with his wife.

“There’s also a degree of connection because both my grandparents were from this area – my grandmother lived in Nairn Street just down the river and got married on Christmas Day at the registrar’s office in Bromley-By-Bow, which is still there.

“I wanted to be involved with something that wasn’t just about ogling things, where there was a bit of history.”

The mill contains examples of machinery used in its operation

Alongside that link to the history of the area, there’s also a major part that the mill can play in east London’s ongoing story.

“We have been in a period of recovery following the pandemic, but we were busy pre-lockdown with weddings, quiz nights, gin tastings and other events,” said Beverley.

“They might not relate to the history of the mill directly but once people are here we smuggle the heritage in.

“What we’ve found is that once people come through the door and see the size of the machinery they just love it and we have lots of stories we can tell them.”

The House Mill Trust is currently seeking funding and volunteers to continue its work.

The building will be open on Sundays in summer for guided tours costing £10 (including a guide book and a hot drink).

The House Mill’s next project is to refurbish its rear wooden facade

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

March 23, 2023March 23, 2023

Isle Of Dogs: How Dovetailed London makes vibrant clothes at Craft Central

Owner Adaku Parker on the African wax print fabric business she created after leaving her legal career

Dovetailed London owner Adaku Parker is a former barrister

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Walk into Adaku Parker’s studio at Craft Central on the Isle Of Dogs and it’s impossible to miss the core element of business.

Everywhere there are metal shelves piled high with vibrant African wax print fabrics.

Every glance takes in a rainbow of bright, iridescent hues.

Then there’s Adaku herself, eyes glowing and dressed in a blue and yellow Camille dress from her new ready-to-wear range, set to launch later this year.

Colour is Dovetailed London’s business – an operation with many strands to it.

Adaku imports and sells the fabrics she uses, with pieces available from as little as £3.50, with scrap bags and charm packs also available to minimise waste.

For those inspired to sew for themselves, she produces patterns for crafters to recreate her creations and offers monthly subscription boxes so customers can build their collection of fabrics, thread and haberdashery.

A sequel to her first book Sewing With African Wax Print Fabric is due out in the autumn and she also runs weekend and Monday night workshops, where participants can learn to work with the brightly coloured materials and make some of her designs.

She imports, sells and makes clothes from African wax print fabric

It’s a business that has grown from a chance encounter with an episode of The Great British Sewing Bee in 2016.

“I’d wanted to be a barrister since I was 14 – I went to a school where we were encouraged to aim quite high,” said Adaku.

“Being brought up in a Nigerian home, I was expected to be either a barrister, a doctor, an engineer or an accountant – to enter a profession which was safe, secure, where you were guaranteed an income and you could look after yourself and your family.

“So I started on that route. I went to university to read law, went to law school, entered pupillage and was taken on as a criminal barrister and practised for about 15 years.

“I did a lot of white-collar crime – fraud, confiscation, money-laundering – and I really enjoyed that, because the numbers can never really lie, I liked the certainty in that.

“I have no background in sewing or fashion, but when I went on maternity leave in 2016, I just knew that I wanted to try something new.

“I was channel hopping and there was The Great Pottery Throw Down, but that wasn’t for me, so I kept on going and saw what was literally the final of the Sewing Bee.

“I liked that there were professionals on it – people who worked with their creativity and that was really attractive to me.

“I thought that if they could be interested in sewing, then maybe I might be too.”

So Adaku began dipping her toe into the fashion and textile world, taking courses and experimenting.

She also sells sewing patterns and subscription boxes

“I did about 20 different classes – tailoring, garment alteration and decorative techniques – and I would always take along African wax print fabric.

“I could see the tutors thinking: ‘Oh no,’ because pattern matching and things like that can be quite tricky.

“But I took to sewing really quickly and it didn’t take me long to get quite good at making things I liked – bags and skirts, for example.

“It gave me a real boost. I feel passionately about the fact that a human being can do many different things even though we often narrow ourselves and go down certain paths.

“Many skills are transferable, and I’d always felt that deep down, but I’d never experienced it, even though I knew it to be true.”

Dovetailed as a business emerged incrementally from those beginnings.

“I was making for myself, but then family and friends wanted things, too, and they were commissioning projects and items that they could buy from me,” said Adaku.

“Then I had the idea to take some to a small market to see what would happen.

“It felt amazing and so affirming, that somebody would part with cash for something I’d made by hand.

“I hadn’t grown up in that environment, I’d just bought things in shops never really thinking about who had made it.

“I’d never sewn on a button before I did that first workshop.

“Then in 2018 I was on maternity leave for the second time and was really thinking about doing something other than the law – that’s when I committed to really running the business.

“Now sometimes I have to pinch myself – I do really big fabric shows around the country in London, Birmingham and Surrey.

She designs and makes ready-to-wear clothes as well as bespoke pieces

“I’ve been on shopping television and Dovetailed was featured on Kirstie’s Handmade Christmas with Kirstie Allsopp.

“I sell online through my website and I’ve been featured in magazines – it’s really been amazing.

“Appearing on shopping television and telling the story of African fabric was that seminal moment for me – Dovetailed was no longer a hobby.

“Navigating the journey to becoming a business that pays for my lifestyle and employees is exciting and I’m having a great time doing it.

“Dovetailed curates a range of African wax print fabrics that are produced using a very specific process – a mechanised form of batik.

“I buy them from Ghana, Nigeria and Holland with a focus on quality.

“You can get very inexpensive African fabrics but they will look and feel cheap, so I prefer to import and sell really good quality material.

“There’s a density and a weight to it and it looks very different – people just love it.

“The designs make colour very wearable, it’s about finding what suits you and matching the right fabric to the project.

“My designs just come to me. Although I haven’t had a background in fashion, I’ve always been quite fashionable and I love colour and dressing up – I’ve never really stopped.

“Even when I was a barrister I loved passing on what I know.

“I really enjoy encouraging and inspiring people – writing the books is part of demystifying the craft of sewing.”

Adaku also runs weekend and weeknight workshops from her base at Craft Central on the Isle Of Dogs

To that end, Dovetailed is set to launch a series of six-week workshops on Monday evenings, starting on April 10, running until May 15.

Participants can choose from a selection of projects including dresses, tops, trousers and pinafores. See prices online.

As for the future, Adaku has big ambitions for her brand.

“My ultimate dream would be to have my ready-to-wear garments on sale in Selfridge’s,” she said.

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

March 22, 2023March 22, 2023

Canary Wharf: How The Qube is delivering a quiet revolution with Wood Wharf studios

Co-founder Amin Hamzianpour on creating a membership model for creative content creators

The Qube is set to open 24 studio spaces at Wood Wharf

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The ever increasing numbers of people strolling though Wood Wharf will likely remain mostly unaware that a revolution is taking place on the first floor of a Park Drive office block.

It’s not that Canary Wharf hasn’t welcomed creative endeavours in the past.

It hosted a TV station in the 1990s – Live TV, complete with eponymous show Canary Wharf, a sort of soap opera-meets X-Files affair with a woeful budget and acting to match.

It’s served as a backdrop to numerous films including both 28 Days Later and 28 Weeks Later as well as Welcome To The Punch with James McAvoy and Mark Strong facing off as a grizzled detective with a gammy knee and a notorious, violent criminal respectively.

Its Tube station stood in for the Death Star in Rogue One: A Star Wars Story, with Adams Plaza popping up again in TV show Andor as part of an evil Imperial base.

With the exception of the odd media company, however, what Canary Wharf has never had is a series of spaces dedicated to creative content generation.

Enter Amin Hamzianpour – musician, music producer and former Morgan Stanley analyst, who is bringing The Qube to the estate.

In a nutshell, it offers flexible, plug-and-play studios for rehearsal and recording 24 hours a day. But it’s also much more than that and here’s how it happened.

“I have a bit of an eclectic background,” said Amin.

“I did a degree in human sciences at Oxford and then, encouraged by my parents, I went to work in investment banking at Morgan Stanley, ironically in Canary Wharf.

“I didn’t like it at all. I liked being around hard-working, ambitious, intelligent people, but the work wasn’t what I wanted to do.

“I’d always created things – I was a musician, I played, wrote songs and also made animations when I was young.

“Working in banking felt as though I wasn’t making anything, so I eventually quit to pursue a career as a songwriter.

Qube East offers fully equipped facilities including rehearsal studios

“My parents knew how hard-working I was, so they were very supportive.

“With finance, if you wait around long enough, the money gets so good that it’s difficult to leave and I could see that happening to me.

“I thought that because I was working such long hours in banking, that, if I applied that effort to music, I might get 50% less money, but I would have a much more fulfilling life.

“I was quite naive about how difficult it was to build a career in the music industry.

“I rented a basement room from a friend and tried to soundproof it, but it was a bit of a disaster.

“Still, I started making music every day, emailed every single blogger and every single label, trying to get my name out there.

“After about six months someone very well connected on the blogging scene miraculously reached out and said they really liked my stuff.

“So I met with him, made one house record, he sent it out to the blogs and we made the alias quite anonymous.

Qube East also boasts a bar area, open to non-members on Thursday, Friday and Saturday nights

“ The blogs picked it up and it exploded online, and the next thing I knew, I was getting offers from every major record label.

“It went from one day when nobody knew who I was to me having meetings with Universal, Sony, Warner, which was the dream.

“Having now had a career in music for five or six years, I now realise how ridiculously improbable that was, and it was a probably a bad thing, because at the time I thought that was just how easy it was.

“I signed to Spinnin’ Records – a Dutch label – and Polydor picked it up and put it online.

“It got something like a million plays, which at the time was quite good. So I built my career thereafter and became a house artist when electronic music was really flying.

“I released quite a few singles on different labels – Ministry Of Sound, Universal, Polydor – and while nothing was majorly successful, I was making a living.

“Then I started writing and producing for loads of different artists.”

It was at this point Amin discovered how difficult it was to find good studio space at an affordable price with the only offerings seemingly £1,000 a month contracts for a year or substandard dingy basement rooms with non-existent soundproofing.

Then he met co-founder of The Qube, Nick Sonuga, who was building studio spaces that would fill up immediately due to demand.

The studio spaces are plug and play with equipment in place ready to go

“Initially, I thought that if I did one or two studios with him, I could make a base salary and then continue making music,” said Amin.

“One of the most frustrating things about being a musician is the variability in income, which could be 300% either way, with no way of predicting it.

“That was difficult as I was starting to get older.

“So I started talking to Nick about finding solutions to these problems.

“How could we come up with a space that provides everything creative people need, that is affordable, flexible and provides a community?”

The pair came up with the blueprint for The Qube, found a warehouse in west London and put down their joint life savings as a deposit before going out to investors to raise £2million.

Launched in 2020, it houses 40 studios designed for everything from creating music to podcasts and photography.

The spaces come fully furnished with equipment with members paying between £75 and £2,000 a month for varied levels of credits that are translated into studio time.

“It’s open 24 hours a day and it did really well – miraculously it turned a profit within six months, which was quite staggering,” said Amin.

“I think it was a testament to how much people want this product and there’s no-one really doing this apart from us.

“While it is challenging to serve all the different markets – the podcasters, vloggers and musicians – we have a team of really experienced people from all walks of life to look after them.

“Every startup is an experiment. Everyone involved with The Qube is creative and we’re developing products that we would want to use.

“We’re trying to stay true to that. We think there’s a huge opportunity here – already if you’re a YouTuber, a podcaster or a music producer your parents will more likely be telling you to go for it than laughing at you.

“These people will need places to go and create work and wherever they want to do that there should be a Qube in their nearest city.”

On that path to global domination, Amin and Nick selected Canary Wharf as their second site due to the ease of travel in and out and the safety of its environment.

Amin said: “The obvious choice would have been Hackney or Shoreditch but we wanted to give people the best experience possible.

“What we noticed about Canary Wharf is how unbelievably well connected it is, and that makes a huge difference, because people from all over London can get here quite easily.

“We also like the fact that we’re so different to other businesses here and can be an oasis within a totally different culture.

Qube East is open 24 hours a day for content creators to come and go

“Canary Wharf Group has been unbelievable in helping us get to the point where we can offer affordable pricing and build our dream as we wanted.

“While people love our west London warehouse because it feels organic, we’ve spoken to our creators – many of whom are women – and we are aware they can feel genuinely uncomfortable accessing some spaces, especially at night.

“It’s a huge problem, but here it’s so safe.

“A lot of our members are using these facilities at night, starting at 9pm and leaving at 4am.”

It’s perhaps because community is so central to The Qube’s model that this is one of the driving factors in its decision to open in Canary Wharf.

“We are a members club and we curate every single application that comes in,” said Amin.

“At the moment we reject around 70% and we take people purely on the basis of talent – whether we think they have high potential and are creating high quality content.

“It has nothing to do with how many social media followers someone has and it is somewhat subjective – would you be happy being stuck in an airport lounge with them for an hour – but that means membership isn’t just about the value of the studios, it’s about every other person you meet and knowing that they’re going to be doing something really cool.

“We’re trying to filter out all that pretentiousness and bravado in the industry – we hate that.

“It also means our bar will be a great place to be and we’ll be opening that to non-members on Thursday, Friday and Saturday nights until 11pm, with an open deck policy on Thursdays and a resident DJ on Fridays.”

Applications for memberships at The Qube are open now.

Qube East is set to launch on March 24.

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

March 9, 2023March 11, 2023

Blackwall: How The Gun pub is helping customers discover its wine list

Venue plans regular monthly tastings dubbed The Grape Escape hosted by deputy manager Fabio Scarpa

The Coldharbour pub is set to host more monthly wine tastings

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The Gun is a pub that has long been about bringing people together.

That might be the illicit meetings of Lord Horatio Nelson and Lady Emma Hamilton (whose trysts remain immortalised with their names on the toilet doors), rugby fans indulging in pints while watching the game or locals catching up around the fire or out on the terrace in the warmer months.

Recently it’s been experimenting with wine tastings – refining and ageing its formula ahead of the launch of a regular series on the last Friday of the month, set to kick off in earnest on March 31, 2023.

Having recently attended one of the warm-up events, I’m happy to confirm that The Grape Escape features no uncomfortable tunnelling beneath the Thames or Steve McQueen impressions.

Rather, it was a snug evening in the company of fellow wine enthusiasts, heated by an open fire and set to the gravelly tones of deputy manager Fabio Scarpa, whose rich drawl proved as deep and rewarding as the notes in a well-aged Cabernet Sauvignon.

We tasted seven wines, nibbled on cheese and took turns to tour the pub from top to bottom – enjoying its views, nooks and cellar to get an appreciation of the place’s history and continuing appeal.

Fabio Scarpa hosts the The Grape Escape at The Gun

Perhaps the most striking thing about the evening, however, was its role as a catalyst for interaction – bringing long standing local residents together with east London newbies, to much merriment.

Lubricated by three reds, three whites and a fizz, the atmosphere was open and welcoming as a diverse group of attendees talked about the wines, themselves and a certain amount of nonsense (me) in good cheer.

Having come through two years where talking freely to strangers was pretty much an impossibility, it was refreshing to see how easily and enjoyably the world has returned to normal.

Looking around at smiling faces, with fast friendships formed, it was also a moment to reflect that people have been enjoying such pleasant evenings at the venue since the 1700s.

With a lazy fire smouldering in the grate and the scent of wood smoke in the nostrils, perhaps some things don’t change so very much.

The final format (and price) of the forthcoming tastings is still in production but will be announced on the venue’s website and social media channels in due course.

WHARF LIFE’S PICK OF THE WINES

Meerlust Cabernet Sauvignon / Merlot, £65

Stellenbosch, South Africa

This wonderful, rich companion should be drunk in leather armchairs by an open fire in fine company.

Eins Zwei Dry (Best Buy)

Riesling, £41

Rheingau, Germany

Crisp and refreshing with a pun in the name, this was the wine of the night as well as being the most modestly priced

Bolney Estate

Bubbly Brut, £50

West Sussex, England

This fizz is a true delight on the tongue and a wonderful way to start an evening. Refreshing and approachable

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

March 9, 2023March 9, 2023

Canary Wharf: How Sixt now offers car rental deep beneath Wharfers’ feet

Worldwide brand expands to Canada Place’s Level -3 car park, offering a range of vehicles for hire

Sixt is located on Level -3 in Canada Place car park, Canary Wharf

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Those who don’t drive to Canary Wharf are unlikely to have made it to the glamorously named Level -3 of Canada Place’s car park.

But Wharfers who have recently descended so far via the lifts to the right of Waitrose may have been surprised to find a vibrant splash of orange in the deep.

Car rental firm Sixt has joined UFO Drive in offering vehicles for hire on the estate – and it’s created a glossy, disco ball of a space, all vibrant colour and shining LEDs.

In celebration of its arrival the company offered to lend Wharf Life a car for a couple of days to demonstrate the process. So I accepted.

Stepping through the glass doors of the brand’s richly kitted out unit – complete with bright orange desks, a sliver of bustling flatscreen and smiling staff – it was easy to forget I was in a car park.

Everything inside was clean, shiny and new.

Inside Sixt’s latest opening at Canary Wharf

Due to poor organisational skills, I’d managed to turn up a month early for my booking, but the patient staff simply made a few calls and sorted things out with minimal fuss.

I’d been expecting a lucky dip economy car – a VW Polo or similar – but was also offered an upgrade to Tesla’s long range Model Y.

A chunky all-wheel drive electric, it’s capable of zipping to 60mph in less than four seconds from a standing start.

The staff took me through the rudiments of the vehicle which, after some jerky pulling away, I managed to pilot gingerly out of the car park avoiding any bumps.

My plan was simple. First, survive the journey home. Then decide on a destination out of the smoke to find some winter fresh air – nothing fancy, just a jaunt.

Both went entirely to plan. The Tesla turned out to be almost too easy to drive.

Its lack of dials was a little peculiar at first, with a large touchscreen in the centre of the car handling all necessary read-outs.

Bristling with cameras to aid manoeuvring and a curious video game-like graphic of the position of other motorists, cyclists, traffic lights and traffic cones, it was a vision of the self-drive future yet-to-come.

Indeed, there was a sense of the car already becoming self-aware.

I felt it intervene at least once while driving on the motorway to prevent us wandering into another lane.

No bad thing, perhaps, but the wheel moving independently was a little disconcerting.

I opted to travel to Warley Place Nature Reserve as a fair test of a run just beyond the M25.

The Tesla – firm of ride – managed the country bumps well enough and I found myself rapidly delivered to a place less than an hour from London, but also worlds away.

Run by a voluntary, charitable trust, the reserve comprised the remains of the gardens attached to the long ruined house, the family home of Edwardian horticulturist Ellen Willmott.

It was a beautiful spot in the February sunshine, liberally coated in daffodils, snowdrops and crocuses.

While not completely impossible to access via public transport, the only alternative to a car would be to catch a train to Brentwood and arrange taxis to and from its location.

The Essex Wildlife Trust proved a welcoming bunch, albeit a little over sensitive on the health and safety front.

Cheery warnings were imparted as I walked through the gate about keeping to the path lest terrible peril befall the unwary.

This proved to be very much the theme of my visit as fresh terrors were regularly depicted by scary yellow signs flagging deep and dangerous water in every pond, unstable walls and the ever-present threat of CCTV surveillance.

A view towards London from Warley Place Nature Reserve

But despite a flash of hailstones and the fearful cacophony of the warnings, I was charmed by the place.

Clearly loved by its volunteer army, who keep its ramshackle beauty in good order – enough to attract a multitude of birds and other wildlife.

It was the ideal antidote to the formality of the city, although a view of a distant Canary Wharf did pop up from one vantage point.

As for the car itself, it was more or less effortless to drive after getting used to its curious lack of forward crawl.

Unlike standard automatics the Model Y doesn’t creep forward when the brake is released but waits until its accelerator is pressed.

It also brakes when it is released, more akin to a manual petrol car and a feature that essentially lends itself to one-pedal driving.

This was my first experience of renting an electric and proved seamless enough with a full battery supplied on collection.

The only minor faff was having to ensure an 80% charge on return of the vehicle, which took about 15 minutes on one of Canary Wharf’s Level -3 Tesla Superchargers.

Then it was simple to park up, drop the key in the slot and go about my morning.

Sixt also rents petrol cars and hybrids – still its main area of business – with prices for the same length of hire starting at £32.66 per day for an entry level vehicle.

FACT FILE – TESLA MODEL Y LONG RANGE

Cost: £74.66 per day (from Sixt)

Minimum hire: 3 days (from Sixt)

Range: 331 miles

0-60mph: 3.5 seconds

Top Speed: 135mph

Equipment: 15” Touchscreen

Seating: 5 Adults

Hire from UFO Drive of a Tesla Model Y Long Range was £102 per day at the time of writing

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

March 8, 2023March 9, 2023

Fish Island: How Wolf Rayet makes clothes for wild festival dancing and gym workouts

Laura-Louise Erasmus’ side hustle is a tour de force of catsuits, colour and creativity in Hackney Wick

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“Anyone and everyone can wear Lycra,” said Laura-Louise Erasmus, founder of Wolf Rayet.

She creates catsuits, swimsuits, leggings, meggins (for gents), Yoga shorts, playsuits and sports tops – manufacturing the garments from her workshop at The Trampery Fish Island Village in Hackney Wick.

“I make super-jazzy festival wear which also can also be worn for the gym,” she said.

“These clothes are something to be silly in – to dance around in, have a great time and look incredible.

“Anyone can wear these clothes.

“I’ve taken them to hen parties, and made everyone put them on – whatever their size – and, at the end of the night, everyone just loves them.”

She also designs a new print each year in time for Christmas, and makes pieces for her entire family to wear, ready for a festive walk through the countryside.

Laura-Louise Erasmus, founder of Wolf Rayet in her workshop – image Jon Massey

“My parents are my biggest fans – they live in Blakeney and, when they go out walking in Wolf Rayet, other people in North Norfolk people are like: ‘Why aren’t you wearing normal clothes?’,” said Laura-Louise.

“But my designs are like costumes – they completely change people’s personalities in a really nice way.

“That’s especially true for people who would never normally wear this kind of thing – they put a catsuit on and feel great.

“I’ve been going to festivals since I was 16 – I love it, especially the dressing up. I think it’s a British thing.

“I’ve been to festivals in other countries where I’ve been really dressed up and no-one else is.

“Clothes make you feel more confident – basically I make big elastic bands that people can dance, have a lot of fun and be free in.

“After a few drinks you can usually get people into some Lycra.”

Laura-Louise first came to London as a student to study fashion at Central Saint Martins but, following a mugging and a series of negative experiences decided to transfer to Bristol to study instead.

She then returned to the capital as an intern in the fashion industry, quickly falling out of love with the idea after spending a year unpaid, while making ends meet by working in a bar at night.

“We were treated really badly and I didn’t want to be part of that, so I thought I would make my own way and do my own thing,” she said.

“That’s when I started doing screen-printing, then I tried jewellery with a grant from The Prince’s Trust.

“From those experiences I realised I had a love of print design, catsuits and jazzy festival outfits.

“At the time there were not many people making these, so I decided to create my own, outfits that people could go crazy in.

“That’s where it all started – officially in 2016.

“Friends started wearing them and then more and more people.

“Covid completely changed my business, because people were online all the time and they wanted to look cool on their Zoom calls, so my sales went from normal to crazy.

“With the pandemic receding I started doing gym wear as well.”

In addition to selling her pieces online, Laura-Louise has a stall at Wilderness Festival and is hoping to be at Glastonbury this year.

Having originally made her pieces from her warehouse home in Hackney Wick, she also recently took the plunge and moved into a unit at The Trampery in anticipation of further growth, sharing the space with other local makers.

She also plans to use the sizeable space for her main profession – a separate creative endeavour.

“Wolf Rayet has always been a side hustle for me – the main thing I’ve done in recent years has been set design for TV, film, advertising and live events,” she said.

“I’ve lived in Hackney Wick for 12 years – in warehouses – and many of the people here are musicians, often making music videos, so I got involved.

“Although fashion is creative, set design is even more so because you get to build so many wild things.

Glitch and Pink Animal Catsuits, £105 each

“Say you want some giant soup bowl to sit in with a load of life-size noodles – that’s the type of challenge that I want to do.

“From doing that kind of thing – making all these weird and wonderful pieces – I started assisting people and getting more work.

“With Covid, I got a lucky break – a few people knew I did sets, so they gave me their entire projects to design and that’s now my main job.

“It’s an amazing thing to do, really exciting and every day is different.

“I worked as the art director on a film called In Too Deep, for example, looking after every aspect of the set on a boat in Cornwall and making sure that every single thing is in the right place.

“I get quite seasick on boats, so it was quite challenging.

“But it’s fun, it’s creative and I love being able to do Wolf Rayet as well.”

Inspiration for her prints comes from all around with Animal, for instance, actually based on the iron casting on top of a storm drain in London.

“I started by seeing the water and the ripples, then put loads of colour in to completely change it from the original,” said Laura-Louise.

“I draw out the design, bring it into Photoshop or Illustrator and then send it to be printed at a factory in Manchester.

“I use two different fabrics that are like Lycra, but made from recycled bottle tops and plastic waste.”

Wolf Rayet is named for a kind of massive star that burns brighter than our sun – a little like Laura-Louise’s clients in their catsuits on the dance floor.

But make no mistake – her brand is not about making throwaway clothes for a single moment of radiance.

Black Confetti Leggings, £62 and Sports Top, £40

Fiercely environmentally conscious, her pieces are high-quality hand-made garments for repeated wear, designed to stand up to the rigours of dance and exercise.

“I want to be as sustainable as possible,” she said.

“I try to make everything to order, so there’s very little waste and the offcuts are kept and turned into bum bags, bikinis and so on.

“I do make some stock for the shops at festivals, also so people can come and see pieces in Hackney Wick and try them on. Having this space is great.

“But if people don’t feel they fit in my size range, they can easily give me their measurements so we can make a custom order.

“People can also have any of the prints mixed and matched – whatever they want.”

Future plans include looser fitting pieces featuring Wolf Rayet prints and the steady growth of the business, as Laura-Louise continues making clothes and building sets in east London.

Block Melt Catsuits, £105 each from Wolf Rayet

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

March 8, 2023March 9, 2023

Canary Wharf: How Russell And Bromley blends history with cutting edge retail

Canada Place store acts as ideal modern backdrop to the 140-year-old brand’s high end products

Russell & Bromley recently opened its latest store in Canary Wharf

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Russell & Bromley pulls off a neat trick.

The latest retailer to arrive in Canary Wharf is both a brand with decades of history while also shining out of its new store in Canada Place with a cool blast of chic modernity.

Even before officially opening its doors, the footwear and handbag shop’s wall-size visual display was drawing attention in the mall.

But step into the pale wood, brass and bronze interior and the atmosphere has a subtle flavour of the brand’s pedigree to it, with golden metal and minimal displays showing off the products to luxurious effect.

“We have a 140-year-old family owned business that looks to entertain its customers with a modern shopping experience and offers a wide range of products for men and women manufactured in Italy, Spain, Portugal and Northern Europe,” said Andrew Bromley, CEO of Russell & Bromley.

“We blend modern styling with longevity and quality through long-term partnerships with factories, including some that my grandfather worked with.

“I knew him well – he was around for a long time. I’ve taken over from my father, having apprenticed with him 25 years ago and he took over from his.

“My brother’s now doing what my uncle did, and he did what his uncle did.

“Originally the Russells and the Bromleys were both shoe purveying families.

“The Russells were manufacturers and the Bromleys were in sales

“George Russell got together with Julia Bromley, and George Bromley got together with Liz Russell.

“There’s a huge thread that runs through it all.

“Today my brother, my cousin and I are now all working in the business and the wider family are sill linked in too – especially with what the brand is doing and where we are going.

“For us, it’s about balancing that heritage with modernity and the passion we bring to the business.”

Family business: Russell & Bromley CEO Andrew Bromley – image Jon Massey

In 2023, Russell & Bromley is very much a forward-looking, high end retailer focused on building and continuing to develop and market products under its own brand.

Its 1,300sq ft Canary Wharf store sees the brand operating in more than 33 stores worldwide including a recent opening in Dublin.

“The Canada Place shop is a new concept, which we’ve built to further engage customers,” said Andrew.

“We’re data-led as a business so we see how customers interact with our stores and what they require. It’s the balance of online and in-store shopping.

“People like to try shoes on in person. There’s nothing like walking out of a shop with a pair you know will fit.

“Buying online works too and that’s a big part of our business – customer satisfaction is about wearing fashion that’s comfortable, modern, puts a smile on your face and gives you confidence.

“Shopping in a store is a different experience, but still incredibly relevant.

“When customers come in to see us they will find a team with great expertise, knowledge of the trends we’re offering and the outfits they can be worn with.

“We love people to feel welcome and that comes from the environment we’ve created, the skills of the team and the general ambience.

“The most exciting thing for us is to see a customer’s face when they walk out of the shop happy.

“We aim to create a family environment in our stores and in the company as a whole.

“That binds us together and adds an element of the personalities of all those involved in the journey.

The Canary Wharf store features plush upholstery and plenty of brass

“The store team in Canary Wharf will add their piece to the story while also having the knowledge passed down from the buying and marketing teams, so they know what fits with what our customers are after.”

While Andrew and the team are unquestionably focused on the business side of the brand’s operation, there’s a real sense of enjoyment at the prospect of engaging with customers on the Wharf – a place that’s long been on the firm’s radar as a possible location.

“Black is, of course, one of the main colours, but coming out of the pandemic we’re seeing people really wanting some colour,” said Andrew.

“One of the big things we look for when selecting products is that glint in the eye – shoes where the customer can have a bit of fun trying them on, then going out for dinner or heading out to meet friends.

“We have really important relationships with our manufacturers – we don’t own a factory ourselves, but work with different suppliers.

“What people see in the stores is a very carefully considered, curated edit.

“The customer is always in our minds and the data we have from them is central to the whole process. It’s about presenting people with what we feel they need.

“I could easily say that it’s the opening of the Elizabeth Line that has led us to Canary Wharf, but there’s been a constant increase in interest over a much longer time.

“We had success at Westfield White City and we always felt our brand would do well in Canary Wharf.

“It’s a huge community which has developed beyond just office spaces.

“There’s a lot of lifestyle options here, a lot of residents and a lot of hospitality businesses.

“People are living their lives in Canary Wharf in a way that perhaps they didn’t before, so we felt now was the right time.”

As for the future, the brand’s latest store is right at the forefront of its increasing integration of digtal and traditional retail.

“We’ve got a big project to enhance customer experience – joining up online and in-store to make things seamless,” said Andrew.

“It’s bringing the storytelling of what we do and why we’re doing it to both places.

“About 80% of customer journeys start online, and yet nearly 70% of our business is in-store.

“There’s always going to be a need – a lot of brands that started online are now seeking physical space. Our message is that wherever you want to buy, we’re here for you.”

THE WHARF LIFE EDIT

Six styles picked out from the brand’s current range for Wharfers to consider:

CLEOPATRA, £275

R&B says: “Cleopatra is a contemporary reimagining of our bestselling loafer.

“Crafted from smooth nappa leather in a bold pink hue and set on a lightweight contrast sole, this style has been adorned with a chunky gold three-ring chain trim, structured piping detail and a subtle plaited welt, offering chic finish to a cult classic.”

SLINGPOINT, £245

R&B says: “Bringing back the Y2K kitten heel, Slingpoint is a comfortable way to wear the heeled slingback trend.

“Crafted in Italy from metallic pink leather, this chic pump has been set on a vintage-inspired kickback flared heel wrapped in matching pink metallic leather.”

TOPFORM, £245

R&B says: “Evoke 70s styling with the Topform sandal.

“Crafted from criss-crossing straps of smooth lilac suede, this style has been detailed with a flattering ankle strap and buckle fastening.

“Set on a chunky platform sole and comfortable block heel, effortlessly ease back into occasion-wear in style.”

QUILTBOX, £295

R&B says: “Refined elegance is optimised with Quiltbox, our timeless quilted shoulder bag. It’s crafted in Italy to a rectangular silhouette.

“Wear it day and night, casually or to finish off evening looks.”

ORIEL, £275

R&B says: “Add the preppy refinement of collegiate style to your outfits with Oriel.

“Crafted from butter-soft tan-brown suede to a round-toed frame that contrasted with sleek leather panels, piping and tassels, and set on comfy gum soles, they’re the perfect week to weekend shoe.”

HOVE M, £245

R&B says: “Hove M is a luxurious yet laid-back lace-up derby designed to walk you through the everyday.

“Crafted from rich double-faced calf leather in a glossy brown hue, this style boasts a buttery soft, sumptuous feel from top to toe, whilst a statement square toe detail has been accentuated by enlarged piping and intricate stitchwork.

“Finished on a translucent, leisure-inspired gum sole creating a clean elevation, Hove M offers both style and durability with each step.”

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

March 8, 2023March 8, 2023

Wapping: How artist Ed J Bucknall captures snapshots of London in his creative work

Architect turned painter sells work in person at Wapping Docklands Market + Canada Water Market

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“You can never run out of things to paint in London,” said Ed J Bucknall.

While he doesn’t say so explicitly during our interview, it’s clear the Wapping-based artist has a deep passion for the city around him – a deep connection to and endless fascination with the very fabric of the place.

“A lot of the inspiration for me is derived from the Thames – the changing light and the changing skyline – because London’s being constantly reconfigured,” he said.

“My works are almost snapshots to record this decade of London expanding.

“I always carry a sketchbook with me, so I’m often seen locally, sketching and drawing in pubs in winter and outdoors in summer.

“I do as much of my work as I can on location, including painting.

“I work in pen and ink, watercolour, acrylic and oils on paper, canvas and even marble.

“I’m self-taught and the nice thing is that I haven’t been moulded to a particular style or technique. I paint what I want to paint and people either like it or not.

“Over time, I’ve learnt techniques that work for me and I take inspiration from generations of amazing artists.”

Detail from Canary Wharf In Mist by Ed J Bucknall

Originally Ed trained as an architect in Leeds, before moving to London in 2011 and continuing to practise his chosen profession.

While drawing was one of the things that first attracted him to architecture, he increasingly found the digital side of his work less satisfying, which prompted a change in direction with the arrival of the pandemic.

“From an early age I’d always painted and drawn for pleasure,” he said.

“When I started as an architect, it was all rooms full of drawing boards, but with computer aided design, you hardly see anything like that now.

“I was having some success with gallery shows and selling art alongside my career as an architect and the lockdowns were the catalyst for me to move into making art full-time.

“I started selling paintings at Wapping Docklands Market at Brussels Wharf in 2021 on Saturdays and then, last year, at Canada Water Market in Deal Porter Square on Sundays.

“I was the first non-food trader at the former and that’s now brought in a lot more crafts, which have been very popular.

Detail from Great Jubilee Wharf by Ed J Bucknall

“At the same time, I exhibit full time at Skylark Galleries on the South Bank.

“Between those three, it’s been great for exposure and I’ve had a lot of success with ongoing commissions including pub signs and bespoke cards for Greene King to sell in their pubs.

“I’ve also had some of my images appear in worldwide publications.

“Art has always been my passion, but I never thought I would make ends meet as an artist.

“One of the things that has surprised and encouraged me since going full time is that it’s possible to make a living making art in London.

“Fortunately for me, my work strikes a chord with a whole range of different people – locals who have lived in the area for many years and are delighted to see an artist draw and paint what they see and experience, people moving into the area, some moving out and tourists visiting.

“I think what appeals is that my pieces are quite traditional but they are not just photos. They are my take on whatever I see inspired by a particular view or the light.”

While Ed’s work often features familiar landmarks, he’s always looking to bring a fresh perspective to the places he draws and paints.

Detail from Shadwell Basin, Wapping by Ed J Bucknall

“Low vantage points always inspire me,” he said.

“When the tide goes out and you’re down on the Thames foreshore, you see buildings and the whole of London in a different way.

“I used to kayak on the Thames, so I was privileged to see unusual views, and that’s part of my mindset. It’s escapism from the hustle and bustle of the city.

“You can be in central London, or in Wapping, just down by the water and it gives you a sense of tranquillity – although you have to be aware of the tides of course, which can also change the view as boats rise and fall.

“The sketches I do on location are much better than photographs, which can distort things – so they are my crib-sheet for working on the finished pieces in the studio.

“I find the paintings just happen – some are happy accidents and some come through skills that I’ve picked up by trial and error.

“Some of my pieces are painted on reclaimed marble, which is quite unusual.

“They look almost three dimensional and have a connection to the history of London.

“Some of the marble I use is recycled Thames ballast that would have been dumped in the river in the 18th and 19th centuries after ships had taken on cargo.

“It has natural patterning and colouration from its time in the river and that’s something I work with.”

A sketch by Ed of the interior of The Grapes pub in Limehouse

As a registered mudlark, Ed has a physical link to both the subject of his paintings and, with the marble, the medium he works with.

“I don’t dig or scrape on the foreshore, I just pick things up from the surface,” he said.

“Anything of archaeological significance is recorded and reported to the Museum Of London.

“The Thames is like a washing machine – items just get churned up and uncovered.”

Trading at the market is another point of connection, where visitors can browse his works or chat with their creator.

“It’s been a steep learning curve but one that I’ve really enjoyed,” he said. “It’s lovely to meet both fellow traders and the general public.

Detail from Ed’s painting of Canary Wharf on reclaimed marble

“I think it’s important that people have an opportunity to speak to artists and I’ve had lovely stories of young people being inspired by my work.”

As for the future, Ed intends to continue balancing the work he wants to paint with commissions from commercial clients and individuals.

Ed’s work is available to buy online with an extensive range of signed prints from £35 and greetings cards and postcards also available. Prices for the latter start at £2.

Readers can also find Ed at Wapping Docklands Market, which runs at Brussels Wharf from 10am-4pm on Saturdays and at Canada Water Market at Deal Porter Square on Sundays at the same times.

Detail from Ed’s painting of St Paul’s on reclaimed marble

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com