P.14
ANGELA HARTNETT ON RESTAURANTS, PODCASTING AND DOING HER OWN ADMIN
P.22
THE LIFE AND WORK OF LEGENDARY PHOTOGRAPHER
DENNIS MORRIS
P.48
CAROLINE BELHUMEUR OF VINCE ON FABRIC, MINIMALISM AND CALIFORNIAN LIFE
BROUGHT TO YOU BY THE HOWARD DE WALDEN ESTATE AND THE PORTMAN ESTATE
Cover: Angela Hartnett by John Carey
BROUGHT TO YOU BY THE HOWARD DE WALDEN ESTATE AND THE PORTMAN ESTATE
Published June 2025
Marylebone Journal marylebonejournal.com
Marylebone Village marylebonevillage.com
Instagram: @marylebonevillage
Twitter: @MaryleboneVllge
Portman Marylebone portmanmarylebone.com
Instagram: @portmanmarylebone
Publisher LSC Publishing lscpublishing.com
Editor Mark Riddaway mark@lscpublishing.com
Advertising sales
Donna Earrey 020 7401 2772 donna@lscpublishing.com
Contributors
Jean-Paul Aubin-Parvu
Ellie Costigan
Clare Finney
Orlando Gili
Viel Richardson
Design and art direction Em-Project Limited mike@em-project.com
Owned and supported by The Howard de Walden Estate 23 Queen Anne Street, W1G 9DL 020 7580 3163 hdwe.co.uk
annette.shiel@hdwe.co.uk
The Portman Estate 4th Floor, One Great Cumberland Place, W1H 7AL 020 7563 1400 portmanestate.co.uk rebecca.eckles@portmanestate.co.uk
Events, exhibitions, film, music, shopping, talks, theatre and walks
The owner of The Marylebone Gallery on his four-decade tenancy and his close relationship with artist s and buyers
One of the country’s best- loved chefs on the challenging climate for restaurants, her wildly popular podcast, and why she doesn’t have a PA
The life and work of legendary photographer Dennis Morris, in words and pictures
35
Ada Celebi, deputy CEO at Unfold 38 A CLOSER LOOK
Food, style, home, wellbeing a nd healthcare 38 Q&A: CLAUDE
The couple behind the new Joséphine brasserie on their contrasting childhood diets, Claude’s impul sive genius, and the great p otato dispute
48
The chief creative officer of Vince on bringing her subtle touch of Englishness to a definitively Cali fornian brand
64
Aahuti Rai on why healthcare innovation doesn’t come from adding new technology to exi sting systems
69 Wimpole Street, London W1G 8AS Tel: 020 7467 3720 www.london-dermatology-centre.co.uk
69 Wimpole Street, London W1G 8AS Tel: 020 7467 3720
www.london-dermatology-centre.co.uk
Dr Alla Altayeb is a highly skilled Consultant Dermatologist with expertise in both medical and surgical Dermatology.
She completed her Core Medical Training in South Wales, gaining full membership with the Royal College of Physicians (MRCP) and earning a Postgraduate Certificate in Clinical Education (PgCert Clinical Ed).
GMC Number: 7490535
Consultant Dermatologist
BMBS, BMedSc (Hons), PgCert Clinical Ed, MRCP (Derm)
Dr Alla Altayeb is a highly skilled Consultant Dermatologist with expertise in both medical and surgical Dermatology.
She completed her Core Medical Training in South Wales, gaining full membership with the Royal College of Physicians (MRCP) and earning a Postgraduate Certificate in Clinical Education (PgCert Clinical Ed).
Dr Altayeb then pursued her specialist Dermatology training across Edinburgh, Surrey, and Sussex, contributing to Dermatology research and publishing in high-impact journals.
Dr Altayeb specialises in diagnosing and treating a wide range of skin, hair, and nail conditions, including skin cancer, and mole assessments, and inflammatory skin diseases like psoriasis, eczema, and acne. She also offers Aesthetic Dermatology treatments, such as anti-wrinkle injections and skin boosters.
Her surgical expertise includes skin cancer excisions, mole and skin tag
GMC Number: 7490535
Consultant Dermatologist
BMBS, BMedSc (Hons), PgCert Clinical Ed, MRCP (Derm)
Dr Altayeb specialises in diagnosing and treating a wide range of skin, hair, and nail conditions, including skin cancer, and mole assessments, and inflammatory skin diseases like psoriasis, eczema, and acne. She also offers Aesthetic Dermatology treatments, such as anti-wrinkle injections and skin boosters. Her surgical expertise includes skin cancer excisions, mole and skin tag removals, skin biopsies, and cryotherapy. She is dedicated to delivering patient-centered care with the latest advancements in Dermatology.
EXHIBITIONS
FILM MUSIC SHOPPING TALKS THEATRE WALKS
TALK
18 JUNE, 7pm
A TALK WITH MAX HASTINGS
Daunt Books
83-84 Marylebone High Street, W1U 4QW dauntbooks.co.uk
In this solo talk, veteran journalist and war writer Max Hastings discusses his latest book, Sword: D-Day Trial by Battle, which tells the story of D-Day using his signature blend of compelling storytelling, painstaking analysis and human insight.
MUSIC
18 JUNE, 7.30pm THE SIXTEEN
St James’s Spanish Place 22 George Street, W1U3QY wigmore-hall.org.uk
Presented by Wigmore Hall, The Sixteen, one of the world’s leading choral ensembles, performs a programme of 16th century music by Italian composer Giovanni Pierluigi da Palestrina at Marylebone’s beautiful St James’s Spanish Place church.
1. A Talk with Max Hastings, Daunt Books
2. Edward Gardner, Royal Academy of Music
3. Between Day and Night by Tay Bak Chiang, Cube Gallery
3.
Born in Malaysia and now living in Singapore, Tay Bak Chiang is an artist whose vibrant abstract paintings respond to the natural environment of southeast Asia. This new exhibition includes works on both canvas and rice paper in a mix of pigment and acrylic.
UNTIL 21 JUNE
TAY BAK CHIANG: WRINKLES IN TIME
Cube Gallery
16 Crawford Street, W1H 1BS cube-gallery.co.uk
WORKSHOPS
29 JUNE, 11am, 12.30pm, 1pm
IKEBANA CLASSES
Japanese Knife Company
34-36 Baker Street, W1U 3EU japaneseknifecompany.com
Japanese Knife Company hosts an introduction to ‘ohara-ryu ikebana’, the refined and meditative art of Japanese flower arrangement. Guided by Master Hanako, these three intimate, hands- on workshops are perfect for both beginners and enthusiasts.
MUSIC
20 JUNE, 7.30pm
EDWARD GARDNER
CONDUCTS THE ACADEMY SYMPHONY ORCHESTRA Royal Academy of Music Marylebone Road, NW1 5HT ram.ac.uk
Edward Gardner, principal conductor of the London Philharmonic Orchestra, leads a performance of Mark-Anthony Turnage’s Refugee –extraordinary poetry set to powerful music – alongside Nielsen’s Symphony No 4. 2.
EXHIBITION
This exhibition explores the career of Mark Riboud (1923-2016), a prominent Magnum photographer of the postwar era and the first to focus his camera on people working in pursuit of peace, rather than war.
UNTIL 21 JUNE
MARK RIBOUD: PEACE IN THE MAKING Atlas Gallery 49 Dorset Street, W1U 7NF atlasgallery.com
MUSIC 16 – 22 JUNE
MARYLEBONE MUSIC FESTIVAL
Manchester Square Gardens, W1U 3PL marylebonemusicfestival.com
Set in Manchester Square Gardens and inspired by Marylebone’s rich history as a home of pleasure gardens and musical performance, this annual four-day festival – returning for its 10th year – features an eclectic programme of music.
THEATRE 19 – 22 JUNE
RODGERS & HAMMERSTEIN’S DREAM BALLETS: A TRIPLE BILL
Regent’s Park Open Air Theatre Regent’s Park, NW1 4NU openairtheatre.com
Three of the UK’s leading musical theatre choreographers re-imagine magical dream ballets from a trio of musicals – Oklahoma!, Carousel and Allegro –accompanied by the Sinfonia Smith Square orchestra.
OPERA 21 – 22 JUNE
HANDEL: TESEO
The Cockpit Gateforth Street, NW8 8EH thecockpit.org.uk
In this new minimalist production, Ensemble OrQuesta performs Handel’s operatic retelling of the story of Athenian hero Teseo (Theseus) and the dramatic consequences of his relationships with a king, a princess and the vengeful sorceress Medea.
1. The Young Girl Holding a Flower, Demonstration Against the War in Vietnam, Washington DC, 1967 by Marc Riboud, Atlas Gallery
2. Rogers & Hammerstein’s Dream Ballets, Regent’s Park Open Air Theatre
3. Ailish Tynan, Wigmore Hall
4. Rapunzel, 2024 by Dana Nechmad, Mandy Zhang Art
EXHIBITION
This new series of works by New York- based artist Dana Nechmad serves as a requiem to her late grandfather, incorporating textile works created using materials from his designer jackets, as well as delicate paintings of birds crashing against walls.
UNTIL 22 JUNE DANA NECHMAD: RIPPED Mandy Zhang Art 16 Seymour Place, W1H 7NG mandyzhang.art
MUSIC
22 JUNE, 7pm
TRIBUTE TO VAMVAKARIS, TSITSANIS & PAPAIOANNOU
The Hellenic Centre 16-18 Paddington Street, W1U 5AS helleniccentre.org
Part of the Rebetiko Carnival, this concert explores three legends of 20th century Greek music, Markos Vamvakaris, Vassilis Tsitsania and Vassilis Papaioannou, highlighting the raw emotion and timeless beauty of their songs.
MUSIC
23 JUNE, 1pm
AILISH TYNAN, MICHAEL COLLINS, MALCOLM MARTINEAU
Wigmore Hall 36 Wigmore Street, W1U 2BP wigmore-hall.org.uk
Pure melody, tonal beauty and depths of expression run through this lunchtime recital. Soprano Ailish Tynan, pianist Malcolm Martineau and clarinettist Michael Collins perform Mendelssohn, Lachner, Mozart and more.
MUSIC
26 JUNE, 7.30pm
ACADEMY MANSON
ENSEMBLE: ANNA MEREDITH
Royal Academy of Music Marylebone Road, NW1 5HT ram.ac.uk
The distinctive sounds of Scottish composer Anna Meredith, known for her fusion of classical and electronic music, are explored by the Academy Manson Ensemble in this free concert, alongside a programme of works by some of her contemporaries.
MUSIC
29 JUNE, 12pm
RESOUNDING SHORES: ‘TIS LOVE THAT HAS WARM’D US Royal Academy of Music Marylebone Road, NW1 5HT ram.ac.uk
As part of the Academy’s Resounding Shores series celebrating 17th century English masterpieces, the Academy Baroque Soloists explore Purcell’s court and theatre music, including extracts from his dramatic opera King Arthur.
EXHIBITION
18 JUNE – 4 JULY
SIMEON STAFFORD
Thompson’s Gallery
3 Seymour Place, W1H 5AZ thompsonsgallery.co.uk
This exhibition showcases a series of new paintings by Simeon Stafford, instantly recognisable for their joyful energy, vibrant colours and playful detail. His work captures the charm of everyday life, from lively city scenes to bustling beaches.
MUSIC
5 JULY, 7.30pm
BORIS GILTBURG
Wigmore Hall
36 Wigmore Street, W1U 2BP wigmore-hall.org.uk
Boris Giltburg crowns his cycle of Beethoven’s piano sonatas with works from three defining periods in the composer’s creative development: his youthful C minor sonata, the heroic Waldstein from his middle years, and Op. 111, his colossal farewell to the genre.
MUSIC
22 JULY, 7.30pm
GWENETH ANN RAND, SIMON LEPPER
Wigmore Hall
36 Wigmore Street, W1U 2BP wigmore-hall.org.uk
Wigmore Hall’s associate artist, soprano Gweneth Ann Rand, continues to shake convention with her latest recital: a programme that explores life through a female lens, culminating with Judith Weir’s song cycle about a woman’s passage from youth to old age.
THEATRE
28 JUNE – 26 JULY
NOUGHTS & CROSSES
Regent’s Park Open Air Theatre
Regent’s Park, NW1 4NU openairtheatre.com
Malorie Blackman’s best-selling novel Noughts & Crosses, a bittersweet love story about life-long friends living on separate sides of a strictly divided world, is adapted for the stage in this brand-new production directed by Tinuke Craig.
EXHIBITION
UNTIL 26 JULY
FINDING MY BLUE SKY
Lisson Gallery
27 Bell Street, NW1 5BY 67 Lisson Street, NW1 5DA lissongallery.com
Curated by the Egyptian-born writer and artist Omar Kholeif, this epic exhibition, which runs across both Lisson sites as well as courtyards, windows and adjacent street corners, brings together a cast of more than 20 artists. It is, writes Kholeif, his “love letter to London”.
MUSICAL THEATRE
The Royal Academy Musical Theatre Company presents Stephen Sondheim’s daring, funny exploration of the American Dream’s dark side – a play that weaves together the stories of notorious men and women who have attempted to assassinate a US president.
3 – 6 JULY
ROYAL ACADEMY MUSICAL
THEATRE: ASSASSINS
Royal Academy of Music
Marylebone Road, NW1 5HT ram.ac.uk
EXHIBITION
British illustrator
Molly Maine uses her bold, graphic artwork to explore the concept of ‘home’ in contemporary Japan with a series of works based on interviews with digital nomads, local communities and evacuees from last year’s devastating Noto earthquake. A portion of the proceeds will go to a charity supporting recovery efforts in the region.
4 – 13 JULY
MOLLY MAINE: NOMAD
67 York Street Gallery
67a York Street, W1H 1QB 67yorkstreetgallery.com
EXHIBITION
UNTIL 2 AUGUST
THE LAUGHING STOCK OF THE HEARTLESS STARS
The Brown Collection
1 Bentinck Mews, W1U 2AF glenn-brown.co.uk
Curated by artist Glenn Brown and his husband Edgar Laguinia, this exhibition explores humanity’s pursuit of significance in a resolutely indifferent universe. It features 70 artworks by 28 artists, spanning the past five centuries, including new pieces by Brown.
The owner of The Marylebone Gallery on his four-decade tenancy, the rebirth of his business, and his close relationship with artists and buyers
Interview: Mark Riddaway
Image: Joseph Fox
Q: You’re one of the true stalwarts of this area. How long have you been i n this space?
A: Since February 1982 – 43 years in this same building with my name on the lease. I don’t think there’s anyone in Marylebone who’s been here longer. There are old pubs and restaurants, but they’ve changed ownership, changed names. For the same business with the same person running it, this might be the longest there is.
Q: How did you end up here in the first place?
A: I started working in a photographic laboratory at 110 Marylebone High Street, straight from school. That was back in the 1970s. I left in 1981, a bit disillusioned. I was friends with a picture framer who’d always wanted to run a gallery, and I wanted to start my own business as a
photography developer. We worked out that if we took a lease on this building, the ground floor could be a gallery and the downstairs a photographic lab. That’s how we started. The photography side took off immediately, then grew and grew. My clients were some of the biggest blue-chip companies in the country, and we were working 24 hours a day. From the outside, nobody even knew the lab was here because the face of it was a gallery, but there were couriers coming in and out all the time from big companies, news organisations, picture agencies. It was chaos, but very lucrative!
Q: Back then, photo development was an extremely skilled profession. Presumably the advent of digital cameras and Photoshop rang its death knell. A: Killed it. It was gradual but
devastating. I went from 20 jobs a day to 15, to 12, to nine, then to eight for a few days. Then it was four. It died a natural death. We called it a day because no one was calling us. Everyone was our friend, everybody liked us, but it simply wasn’t a service they needed anymore. All that time, my friend had been running the gallery upstairs and acting as a receptionist for us, which was really useful. But then he became ill, and my work was slowing down. I suddenly had a choice to make: either give the lease back or try to make the gallery work in my own way. And I said: “You know what, I’ll stay. I’ve been here for decades, what else am I going to do?”
Q: How did you find the sudden transition from photo developer to gallerist?
A: When my work in the dark room was tailing off, I used to spend
time sitting up here watching what he did. He was paying his way, so I didn’t want to interfere, but I did build up a clear idea of what I’d do differently. Back then, it was all classic art, Victorian paintings, all dark and moody. I thought it needed to be more modern, more colourful. It just felt a bit stale – we all get stale after a while. So rather than walk away I gave it a try. That was probably 20 years ago. I called on some old friends who I’d known for years who I knew were familiar with some very, very credible artists. They spoke to the artists and suggested they come on board. And it just snowballed from there – all through word of mouth.
Q: What are you looking for in the art you seek to sell?
A: I take in the sort of paintings that I feel people would like to look at every day in their homes –colourful, uplifting work. My artists would rather have their paintings hanging on people’s walls than hanging in a gallery, and they price them accordingly. As we speak the most expensive painting on display is a beautiful picture of Durdle Door and that’s £4,500, so we’re not an expensive gallery. For all these artists, what they do is their passion, and if someone will choose to put it on the wall of their home and make it part of their life, that passion is fulfilled. They love that. They know it’s giving pleasure to someone.
Q: Have you developed a close relationship with the artists whose work you sell?
A: Very close. It’s about trust – they trust me and I trust them. I couldn’t work with someone I didn’t like, no matter how good their work is. Anne Songhurst is one of the finest still-life artists in Europe – she’s a Royal Academy artist – but she’s so humble, so sweet. Whenever we’ve sold a couple of her pieces, she’ll come to me with more of her work
and we’ll go for a pub meal or a curry and a pint of real ale. There’s no arty-farty-ness to her, no airs and graces. Sarah Pye is a great girl too, really good fun, very helpful. Then there’s Ian Hargreaves –he’s in Dorset. When I go and see him, we’ll always have a few gin and tonics before he puts me on the train home.
Q: Who are your customers?
A: We have quite a regular client base who’ll pop in and have a look. I’m never pressuring anyone to buy, which they appreciate. We get a lot of sociable people –there’s always somebody sitting here talking! We also get a lot of passing trade – people on their way to Harley Street to see a doctor or dentist. If someone’s going in for an operation, I always say: “I’m happy to sell you the painting on condition that you keep in contact and let me know how your recovery is going.” I’m speaking from the heart, because I genuinely want to know. It’s not about taking their money and saying goodbye, it’s about buildi ng a rapport.
Q: Sounds very different to life in a basement dark room!
A: It is. In the dark room, I couldn’t stop work for anybody. I couldn’t come upstairs, I couldn’t talk to anyone, I couldn’t sit down. It made me ill – I had to have two operations because of the lifestyle. Now I’m up here, it’s vibrant, it’s colourful, it’s cheerful. There are people to pass the time of day with – and I get to sit down occasionally. I get out and about as well. Invariably, I deliver the paintings myself, so I’ve been to York, Berwick-upon-Tweed, Harrogate, Canterbu ry, all over the place. I deliver them myself, on the trai n. I love it.
THE MARYLEBONE GALLERY
25 Devonshire Street, W1G 6PQ
@themarylebonegallery
2.
25 JULY – 2 AUGUST
THE LAKESIDE SERIES
Holme Green Regent’s Park, NW1 4NT regentsparkmusicfestival.org.uk
Hosted in a marquee beside the boating lake, the Lakeside Series presents a richly varied programme of high-quality classical, opera and musical theatre performances, culminating in the world premiere of a brass band version of The Armed Man: A Mass for Peace by Karl Jenkins.
THEATRE
28 JULY – 24 AUGUST
THE CAMDEN FRINGE 2025
The Cockpit Gateforth Street, NW8 8EH thecockpit.org.uk
The Camden Fringe offers performers from a wide range of disciplines, including drama, comedy, dance and poetry, the chance to present new material in a festival setting, without the time and money needed to take a show to Edinburgh. The Cockpit will, as always, be one of the main venues for the festival.
THEATRE
26 JULY – 30 AUGUST
A ROLE TO DIE FOR Marylebone Theatre
35 Park Road, NW1 6XT marylebonetheatre.com
It’s the eve of the biggest casting reveal in Hollywood: Deborah is set to announce the new face of a legendary spy franchise – until her perfect pick is engulfed in scandal. This new comedy by Jordan Waller explores identity, legacy and the battle between tradition and progress.
FOOD
UNTIL 31 AUGUST
A TASTE OF THE WESTERN GHATS
Trishna
15-17 Blandford Street, W1U 3DG trishnalondon.com
This summer, Trishna is celebrating the vibrant, spice rich landscapes of India’s Western Ghats, a mountain range stretching along the west coast. A special lunch and early evening menu showcases ingredients rooted in the mountains’ fertile terrain.
THEATRE
12 JULY – 31 AUGUST
ALICE IN WONDERLAND
Marylebone Theatre
35 Park Road, NW1 6XT marylebonetheatre.com
After taking Australia by storm, this retelling of Lewis Carroll’s classic children’s book, adapted by Penny Farrow and directed by Nate Bertone, arrives at the Marylebone Theatre with its ambitious stagecraft, impressive puppetry and a new soundtrack.
THEATRE
15 AUGUST – 7 SEPTEMBER
THE ENORMOUS CROCODILE
Regent’s Park Open Air Theatre
Regent’s Park, NW1 4NU openairtheatre.com
This lively musical version of Roald Dahl’s popular children’s story returns to Regent’s Park with an impressive menagerie of puppet animals and a book of songs by lyricist Suhayla El-Bushra and composer Ahmed Abdullahi Gallab.
MUSIC
12 SEPTEMBER, 7.30pm VÉRONIQUE GENS, JAMES BAILLIEU
Wigmore Hall
36 Wigmore Street, W1U 2BP wigmore-hall.org.uk
Soprano Véronique Gens and pianist James Baillieu
evoke the salons of Belle Epoque Paris through a programme steeped in poetic imagery and heartfelt emotions, including works by Canteloube, Debussy and Duparc.
EXHIBITION
Starting in the 1950s and continuing for several decades, Bill Brandt, one of Britain’s most influential photographers, took abstract shots of nude bodies on beaches, which saw them blending with the smooth rocks and dark caves or suggesting the form of beached sea creatures .
27 JUNE – 13 SEPTEMBER BILL BRANDT: BEACH NUDES Atlas Gallery
49 Dorset Street, W1U 7NF atlasgallery.com
1.
EXHIBITION
Musician, performer and national treasure
Robbie Williams has been reinventing himself as a visual artist. This exhibition brings together new artworks exploring themes of anxiety, self love and introversion with typical candour and humour.
UNTIL 24 OCTOBER
ROBBIE WILLIAMS: RADICAL HONESTY Moco Museum London
1-4 Marble Arch, W1H 7EJ mocomuseum.com
1.
2. Quartetto Indaco, Wigmore Hall
3. The Father by Paul Wright, Thompson’s Gallery
4. Myung Nam An, Cube Gallery
14 SEPTEMBER, 11.30am
QUARTETTO INDACO
Wigmore Hall
36 Wigmore Street, W1U 2BP wigmore-hall.org.uk
Quartetto Indaco, winners of the 2023 Osaka International Chamber Music Competition, make their Wigmore Hall debut with Haydn’s Bird quartet, Webern’s romantic Langsamer Satz, and the free-flowing emotions of Mendelssohn’s second Op.44 quartet.
EXHIBITION
3 – 19 SEPTEMBER PAUL WRIGHT
Thompson’s Gallery 3 Seymour Place, W1H 5AZ thompsonsgallery.co.uk
Represented by Thompson’s Gallery since the very start of his career, Paul Wright has become known for his expressive, energetic paintings whose bold brushwork and vibrant colours blur the boundaries between abstraction and representation.
THEATRE
2 AUGUST – 20 SEPTEMBER
BRIGADOON
Regent’s Park Open Air Theatre
Regent’s Park, NW1 4NU openairtheatre.com
Not seen in London for over 35 years, Lerner & Loewe’s musical classic Brigadoon tells the story of two wartime fighter pilots who crash in the Scottish Highlands and stumble upon a mysterious village while trying to find their way home. Romance and timeless songs ensue.
EXHIBITION
11 – 27 SEPTEMBER
MYUNG NAM AN Cube Gallery
16 Crawford Street, W1H 1BS cube-gallery.co.uk
Originally from South Korea, but now resident in London. Myung Nam An is a ceramicist known for her intricate, expressive, richly colourful porcelain creations, inspired by her extensive travels and direct cultural experiences. This will be her first solo exhibition at Cube Gallery.
EXHIBITION
UNTIL 26 OCTOBER
GRAYSON PERRY: DELUSIONS OF GRANDEUR
The Wallace Collection Manchester Square, W1U 3BN wallacecollection.org
For this highly ambitious exhibition, Grayson Perry tells the imagined story of Shirley Smith, a working-class woman who, after a seizure, wakes up believing herself to be the heir to The Wallace Collection and starts to make art based on her visions.
One of the country’s best- loved chefs, whose new Cafe Murano opens in Marylebone this summer, on the challenging climate for restaurants, her wildly popular podcast, and why she doesn’t have a PA
Interview: Clare Finney
Portrait: John Carey
“I think London is in a great place,” Angela Hartnett declares, with the authority of a chef and restauranteur who has been working in the capital for over 30 years and held a Michelin star for 16 of them. “Well, no – that’s a load of bollocks,” she checks herself, laughing. “I think parts of London are in a great place. But that doesn’t mean you can rest on your laurels.”
We’re speaking in Marylebone – one of the select parts of London that is, she believes, in a great place – in the site that this summer will become her latest Cafe Murano. Right now, it’s still filled with glasses and crockery from the previous owners. She’s sorting through this detritus when I arrive and as she stops to speak to me, a member of her team continues to work away. Just the night before, she was presenting the Fortnum & Mason Food and Drink Awards, for which she’s the chair of judges. The preceding week, she was recording back-to-back episodes of Dish, the wildly popular podcast she co - hosts with Nick Grimshaw. She’s cooking at Wimbledon and Venice Film Festival this summer, writing her fourth book – and of course, running her Michelin-starred restaurant Murano and the three existing Cafe Muranos. I am not sure Angela rests at any point, let alone on a pile of laurels.
And she’s right about Marylebone. Of course she is.
In February, both Lita and AngloThai received Michelin stars mere months af ter opening.
A month or so later, Claude Bosi – a good friend of hers – announced he was opening Joséphine, and in the weeks following our interview, news broke of popular Peckham - based restaurant Kudu relocating to Moxon Street. The wonder is more that Cafe Murano – her more casual Italian concept – wasn’t a lready here.
It so happens that her chosen site was once the wine bar I waitressed in many years ago while studying journalism. “Gosh, that was a long time ago,” she says, when I ask if she remembers Hardy’s, and we take a moment to admire the Georgian building: its wide, wisteria-clad windows and sunny dual aspect. The hope is to open in time for diners to enjoy eating al fresco. Which is why Angela is here today, rolling up her sleeves, working out what can be reclaimed. “As much as we can reu se, we will; I hate sending stuff to landfill.”
While this is the fourth Cafe Murano, joining Covent Garden, St James’ and Bermondsey, she’s instantly dismissive of it becoming a ‘chain’. Though as a person and cyclist she moves at speed, she firmly believes that opening a new
restaurant demands deliberation. She wants all her sites to be within a cyclable distance of her east London home and she wants them to be fully adapted to the nuances of the city’s neighbourhoods, as well as to her people-first attitude and aversion to waste. “You need your non-negotiables, to know what you stand for, and to put the right team in place – that is key,” she says. “They can all be slightly different, but they must have brilliant people and these common elements. Sometimes doing that is easy – and sometimes, Clare, it’s a bloody nightmare.”
Angela is one of the best-loved chefs in the industry thanks to her humour, wisdom and ability to cut to the chase without being unkind. She doesn’t waste a second, but she does make time for people; she’s a celebrity chef who you’re more likely to find behind the pass or cycling between her restaurants than you are on social media. During the pandemic, she was a spokesperson for the hospitality sector, helping the government understand the challenges faced by restaurants. Many survived as a result; many didn’t, and many more will close in the wake of price inflation and rising national insurance costs. “There will always be a market for going out to eat –particularly high end. I know that because Murano is full all the time.
But it’s hard,” she says, “and now it’s survival of t he fittest.”
Government support for – and indeed interest in – hospitality has seemingly disappeared. “I don’t think they care either way when restaurants close, so long as others open, which they do. I think with the Middle East, Trump and Ukraine they feel there are bigger things to worry about – and maybe they’re right. It’s ruthless, but that’s the way it is,” she continues, in the manner that suggests she’s said as much to colleagues and peers many times over. “They don’t want to hear the moaning anymore – and I don’t want to hear it either to be honest.”
She mentions the scene in the Apollo 13 film where the engineers confront the reality of fixing the filter using “nothing but that” – and point to a table bearing the only equipment available to those stuck on board. It’s an analogy she uses often. “There’s no use in thinking, what if we had this or that. The reality is we are no longer in Europe, we had the pandemic, and costs have gone and are going up. I don’t want to hear the problem, I want to hear how to fix it.”
Angela walks the walk even better than she talks it. “For example –second orders. We have a great veg supplier, Smith & Brock, and when I was chatting to him, he said our stopping second orders would save
There’s no use in thinking, what if we had this or that. The reality is we are no longer in Europe, we had the pandemic, and costs are going up. I don’t want to hear the problem, I want to hear how to fix it.
them so much money,” she says –‘second orders’ being the practice of chefs ordering one or two extra items of fruit and veg after a delivery has been made, because they’ve misjudged the amount they need. “It means the supplier driving a van across London to deliver a stick of celery, which is ridiculous! I said, done. No more second orders, unless it’s £100 value,” she says –because it’s those l ittle things that all add up, and any unnecessary costs end up being passed on. Staff retention is another thing. “No one is staying anywhere more than six months at a time – they’re all flipping around,” she says, which means the wrong people end up in the wrong jobs. “You’ve got to look after your team. Invest in them, and make su re when they do leave your restau rant they do so as bet ter people.”
The restaurant world put to rights – for now – we move on to the Dish podcast, which has made her more of a star in three years than the Michelin guide has in almost 20. It’s a gig which came about quite serendipitously: she was Nick Grimshaw’s first choice of co-host when he ran the idea for Dish by Waitrose, which sponsors it, “but everyone said he’d never get me on board, because I was too busy.” Indeed, when an invitation
to audition came through to her, Anegla didn’t read the email properly. “I thought he was interviewing me on a podcast,” she laughs. And that would have been that had the two not got on so well. “I don’t think anyone anticipated the chemistry we’d have. We basically rip the piss out of each other, and it works. People seem to enjoy it.”
This is true of the 10 million viewers and listeners who tune in every week across audio and video formats, but it’s also true of her guests. “We had Cynthia Erivo record last week and she said this was the only podcast she’d wanted to do,” Angela says, smiling. The format is simple: Nick shakes up a cocktail to start, Angela cooks a Waitrose recipe (which is the only real mention the supermarket gets), then they chat over lunch. “We were the first to actually cook and eat food on a food podcast,” she says, and eating together makes everyone open up. “We have fun,” she says simply – and the knock- on effects have been huge. “Some people used to recognise me before, but they really recognise me now. And it’s changed the demographic at Murano; it’s a much younger crowd.”
For decades, the first question Angela tended to be asked was either about Gordon Ramsay or about Michelin’s relationship with female chefs. “Now the first thing is
Dish, Dish, Dish,” she smiles. That must be nice, I proffer, to be asked about her work as a person rather than as a figurehead, or because of a famous/infamous former employer. “Oh yes,” she agrees – and the introspection ends there. She’s not one for navel- gazing, and she will never be drawn on Gordon. They’re good friends; this summer, she’s going to his daughter’s wedding, and now he and Marcus Wareing are speaking again, she’s taking them both out for their traditional Christmas lunch. “Gordon is great, and he’s still going, whether you like him or not,” she observes. “I’ve got a lot of time for Gordon.”
As for Michelin, which took a battering earlier this year when only one of 22 chefs awarded their first star was female, she is disappointed that there aren’t more woman-led restaurants with stars in the UK in 2025. But the bigger question for her is how relevant stars are to many of these young chefs, some of whom have openly declared that they’re not fussed by them. Angela is immensely proud of hers, and of her team for retaining them year after year. “But is the Michelin guide going to be relevant to everyone in 20 years’ time? That’s more the question for me,” she observes. Her wish is to embolden women in the industry to shout about themselves,
whether they’re star-chasing or otherwise. “It’s only in the last few years that I’ve felt confident charging what I charge now for work, when someone pointed out how much I was undercharging,” she says. “I think women still tend to hide their light under a bushel.”
Her mobile phone lights up, as if to emphasise her point, reminding me of the time, and of what must necessarily be my la st question. To the admiration – and occasional frustration – of colleagues and peers, Angela doesn’t have a PA. To see or speak with her, you liaise with her directly. Why does this work for her? I ask – and she laughs heartily. “I’ve even turned my readreceipts off, so no one can see if I’ve read my WhatsApps,” she says mischievously. She likes being in control of what she does and when. More pertinently, though, there are already too many people in her professional life. “My problem with PAs is people have to ask them to ask me to do something,” she says – and if there’s one thing that tries her patience, it’s convoluted communication.
“It’s happening with an event at the moment. I speak to someone who speaks to someone who speaks to the client, and I think, bloody hell! Why can’t I just get together with them in a room and we can get it done?
We have fun on Dish. Some people used to recognise me before, but they really recognise me now. And it’s changed the demographic at Murano; it’s a much younger crowd.
It drives me insane!” she exclaims, before conceding that she probably will have to employ someone soon. “I am debating it, I have to say. I just need to find the right person.”
Given how long it took us to arrange this interview, I’m minded to agree – but then, the joy of Angela operating like this is that when you do meet her, she’s fully present. There’s no lengthy email chain, no overly cautious press officer seeking copy approval, no clock-watching, no suggestion that your time matters les s than hers. At the start of our conversation, she remembers I’m getting married this year and asks how the menu planning is going – and when I leave, she checks that I’ve got my helmet, remembering that I cycle. She is the busiest, most famous, and yet most thoughtful per son I know –so no one really mind s the slight air of mystery that surrounds where she might be at any given time.
“If I’ve said I’ll do it, I’ll do it,” she says. “Claude Bosi’s another one,” she remembers. “He says, you never answer your texts. I tell him, bugger off – you’re even worse than me! And he is,” she laughs. “He knows that. So I’m looking forward to our being round the corner.”
CAFE MURANO
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Through words and images, Dennis Morris, the legendary photographer and long-time resident of Marylebone, tells the story of his career, from youthful chronicler of Bob Marley’s rise to respected documentarian of social change
Words: Vi el Richardson
Potrait: Pearl de Luna
Images: Dennis Morris
Dennis Morris is a modernday Renaissance man. A photographer, designer, artistic director, social documentarian and musician, Dennis has been immersed in British popular culture for over five decades. It is for his work as a music photographer that he is best known. U2, Oasis, the Stone Roses, Salif Keita, Youssou N’Dour, and Stevie Wonder are just some of the artists captured by his lens. But two musical icons would play pivotal roles in his stellar career: Bob Marley and the Sex Pistols.
It all began with Bob. “Growing up in the West Indian community in London, music was always of great importance, and the music everyone was raving about was Bob,” Dennis explains. “Everywhere West Indians played music, you heard it. He was a new voice coming out of Jamaica. Through his lyrics, we could hear how the people back home were doing, the struggles they faced. That’s why Bob’s music was so important.”
In 1973, while still at school, Dennis read that Bob Marley was playing in London and decided he wanted to get some pictures of him. “I heard he would be rehearsing at a place called the Speakeasy Club, so I skipped school – I was only about 16 – and, knowing nothing about music, I got there at 10am. I had to wait for hours and hours. Eventually, when the band turned
up, I walked up to him and said: ‘Can I take your picture?’ And he said: ‘Yeah, ma n, come in.’ So I went in with him.”
The pair struck up an instant rapport. “He was fascinated by me and my life experience, asking questions about what it was like to be a young Black kid in England. At the same time, I was asking him about Jamaica. Somewhere along the line, he asked me if I wanted to come along as a photographer. And I s aid: ‘Yeah.’”
Dennis, who made his home in Marylebone many years ago, had first been bitten by the photography bug one Thursday afternoon in a church in east London. “I was a choirboy, and the church had this wonderful benefactor named Donald Patterson. He was an inventor and manufacturer of photographic equipment and had started a photography club for the choirboys,” Dennis recalls. “When I was nine, I saw one of the older boys print a photograph. I remember him putting the paper in a tray of liquid and this image appearing – it felt like magic. From that moment on, I knew I wanted photogr aphy to be a major part of my life.”
Through the photography magazines given to him by Mr Patterson, Dennis discovered photojournalists like Don McCullin and Gordon Parks, whose work sparked his youthful ambition
to become a war photographer. It wasn’t long before his eye for an image began to show through. “My first ‘success’ was on a school journey to the beach at Ilfracombe,” Dennis recalls. “There was a photographic competition, and I won it with a shot of two teachers standing in the water with their trouser legs rolled up. It was a classic Engli sh scenario.”
While still a child, his first foray into paid work involved taking portraits of local people. “I asked my mum if I could use the front room as a studio and borrowed lights from the photography club. I produced handmade cards with the number of the telephone box across the road from our house. Whenever I heard the phone ring, I ran across the street and answered: ‘Dennis Morris Studio,’” he explains with a laugh. “The pictures were mainly to show families back home how people were progressing, and I built up this local reputation for being both good and cheap. I didn’t make much money, but it was a great way to develop my craft.”
That initial Bob Marley tour had collapsed after bandmembers Bunny Wailer and Peter Tosh interpreted a fall of snow that stopped them playing football as a sign from Jah to leave England and head home. In 1975, Bob returned to London and embarked on the tour that propelled him to global stardom. By this time, Dennis –
When I was nine, I saw one of the older boys print a photograph. This image appearing felt like magic. From that moment on, I knew I wanted photography to be a major part of my life.
despite still being a teenager – was old enough to travel as an official photographer.
Some of Dennis’s most iconic images – unguarded, unscripted, behind-the-scenes shots – came from the bond that grew between the pair. “I don’t think Bob ever considered me a commercial photographer. He saw me as somebody like himself, trying to do something with our lives beyond what people expected of us,” he says. “We would hang around, and if I felt a moment, I just picked up the camera and snapped a shot –the same way Bob picked up his guitar and strummed if he had an idea. I believe he saw them as the same things, but my instrument just happened to be a camera.”
Over time, a much deeper relationship developed, especially for Dennis. “It was the first time I’d been around a Black man who spoke such wi sdom. I knew I was in the presence of someone delivering a deep message. He gave me a sense of what I could achieve regardless of the limitations put on me by others. That was massively important in building my resilience. He played a really important part in my development as a man.”
Before the tour was finished, Dennis had taken the images that would launch his career – Bob Marley looking back from the front seat of a car, and the performance shot that would become the cover
of the legendary Live! album, recorded at the Lyceum Theatre. But despite this boost, it was not all plain sailing. For a young Black photographer, most doors still stubbornly refu sed to open.
Dennis’s career trajectory was changed by the sudden intervention of another musical icon, John Lydon of the Sex Pistols, a band who, at the height of their notoriety, had just signed with Richard Branson’s upstart Virgin Records label. “They got in touch with me because John, being a huge reggae fan, had seen my pictures of Bob Marley. When we met, we realised we were the same. I was one of those rare Black kids that identified with punk and had been to Pistols gigs. We grew up in the same part of London going to the same gigs, so I really understood t heir energy.”
Dennis was taken along on the infamous 1977 SPOTS tour – an acronym for ‘Sex Pistols on tour secretly’, so-called because the band had been embargoed by most local authorities. “We travelled the country, playing underground gigs before councils could find out and close the venues. Several times, gigs moved location hours before the band went on stage. There was an aggressive
The metal sleeve of Public Image Ltd’s 1979 album Metal Box, one of Dennis’s hugely influential contributions to the visual language of popular music
energy; this was angry, frustrated, disillusioned young people letting off pent-up energy.”
Following the implosion of the Sex Pistols in 1978, Dennis found himself even more intimately involved in Lydon’s next musical project. “John and I had become good friend s and talked a lot about music. The way I work is, when I hear music I see pictures. Sound for me is very visual. He said he wanted to call his new band Public Image Ltd. I turned to him and said: ‘Why don’t you call it PiL?’ because I instantly had this idea of the logo being based on an aspirin. I like to associate design with things you see in everyday life. It was simple but radical, a very different approach to the complex, manufactured designs bands used at the time.”
Dennis’s work as PiL’s de facto artistic director would influence the visual language of album art for years to come. Rather than the usual sleeve, the band’s second album was released in a round metal canister with the PiL logo stamped on the front. “We wanted to reflect PiL’s themes of alienation and mechanisation. We wanted to create an object, not just a record –something that felt like it had come from the future or been found on a
factory floor. I remembered that a factory across from my school used to make tin boxes, so I went to see what they had. When I saw the 16mm film canisters, I knew they were perfect.” Released in 1979, Metal Box has become one of the era’s most celebrated examples of sleeve desig n – original copies are a holy gr ail item for many record collectors.
This spectacular collaboration led to Dennis’s first official job as an artistic director, offered to him by Chris Blackwell, founder of Island Records. “We were talking and I still wasn’t sure, but then Chris wrote a number on a piece of paper and slid it across the table. I was a bit shocked. While I had been doing okay, this was the first time I would be earning real money – so I was in.” With Island Records, Dennis continued to work with PiL, as well as artists like Marianne Faithfull, the Slits and Linton Kwesi Johnson, directing the bands’ aesthetics as well as taking photographs.
Throughout his illustrious career in the music industry, Dennis never lost his passion for social documentation. In 2003, he travelled to Australia where he was given rare permission to photograph ceremonies of the Mowanjum community, resulting in his project Dreamtime: An Aboriginal Experience. Back in the UK, he photographed working class Londoners for This Happy
Breed, and in 2008 he travelled to China to create work for the cultural programme of the Beijing Olympics. In 2010, 10 photographs from his Growing Up Black project, completed years earlier, were bought by the Victoria & A lbert Museum.
“I see myself as an artist, and the camera is just my particular tool,” Dennis explains. The art he has produced continues to resonate with new audiences. Whether that’s creating images of Bob Marley that captured not just a musician but a movement, diving into the chaotic energy of punk, or designing album covers that redefined the form, Morris has always maintained his connection to the everyday realities that shaped him. His images represent more than just celebrities or moments in musical history. They document the cultural shifts, social realities and human connections that define each era. The optimism and strength he found in faces everywhere from Southall to Jamaica reveal what Morris describes as “a sense of optimism that you can, and will, do better”.
It’s this human dimension –beyond the famous faces and iconic designs – that make Dennis Morris not just a photographer of popular culture but a visual historian. The artists he photographed used music and lyrics. Dennis Morris uses light and time – and teaches us that a single frozen moment can hold memory, defiance, joy and truth, all at once.
‘Babylon by Van’, London, 1973
I don’t think Bob Marley ever considered me a commercial photographer. He saw me as somebody like himself, trying to do something with our lives beyond what people expected of us.
This famous shot of Bob Marley was taken by the teenage Dennis in the very early days of the Wailers’ aborted UK tour.
“The image is the moment my life changed forever. Bob had invited me to go on tour, and I packed my bag as if I was going to school, went to meet him to head to the gig, and got into the van. As we were getting ready to leave Bob turned from the front seat with an excited smile and asked me: ‘Are you
ready, Dennis’? I raised my camera and grabbed a shot. It felt like I was capturing the beginning of Bob’s remarkable journey. It was certainly the beginning of my own.”
Bob Marley, Lyceum Theatre, London, 1975
In July 1975, Dennis was with Bob Marley for his legendary Lyceum Theatre show, a performance so electric it produced one of music’s most iconic live albums.
“With the I-Threes as backing singers, Bob
believed he was on the brink of something special and seized the moment. For Bob, each gig was more than just a performance – he was delivering a message to the flock. This night at the Lyceum was packed; the audience came from everywhere, drawn to the message I’d been privileged to witness from the beginning. This photograph became not just the album cover but appeared in all the major music papers and did more than any other to launch my career.”
Sex Pistols mosh pit, 1977
The mosh pit is an icon of the punk era but very few people beyond the hardcore followers knew what it felt like to be in one. To get his Sex Pistol images, Dennis had to find out.
“To get shots of the Pistols on stage I had to throw myself into the bloody mosh pit. There was no other way. It was just a mass of bodies colliding, fists pumping, boots stomping, people jumping on your back. I had to pogo with them, get into their rhythm to keep the images from blurring, while
at the same time watching the performance. This is where my war photographer ambitions kicked in – the battlefield was right there – getting stuck in, not fearing the chaos. Other photographers shrank from the violence, but I embraced it. This was punk’s primal stage, before fashion gave their rebellion a uniform. There are no mohawks or safety pins, just ordinary kids detonating their pent-up rage. The audience wasn’t watching a performance; most of the time they were the
performance. I had to wear my parka with the hood up against the bombardment of spit – the ultimate punk salute!”
Steel Pulse, outtake from photo shoot, London, 1977
As Island’s artistic director Dennis, took this image for the cover of Ku Klux Klan, a 1978 single by the British reggae band Steel Pulse, but it was rejected by the record company for being dangerously provocative.
“The song was brutal and honest, calling out the racism
poisoning Britain. The Klan wasn’t just in America; it was right here among us. I had this vision – what if I photographed these brilliant Black British musicians wearing the hoods of Black people’s oppressors? The band got it immediately. They understood the twisted beauty of it, the way it would force people to confront ugly truths. The shot is processed so the hoods are very bright while Black people blend into the background. Are they merging into the light or being forced back into darkness? It
was a question for all of us. When the record company rejected it, I wasn’t surprised –I’d been down this road before. But this ‘dangerous’ image now hangs in the Victoria & Albert Museum, celebrated as the powerful statement it always was. Sometimes you have to capture what society isn’t ready to see, then wait for the world to catch up.”
This ‘dangerous’ image now hangs in the V&A. Sometimes you have to capture what society isn’t ready to see, then wait for the world to catch up.
John Lydon, 1978
This shot of John Lydon in the early days of Public Image Ltd shows a completely different side to the snarling punk of the Sex Pistols. In its polished, stylised aesthetic, it also shows Dennis’s evolution from someone who sought to capture spontaneous moments to someone who could create an entire visual identity from scratch.
“We needed a new look for John that completely separated him from the Pistols and you couldn’t get any
further from the spit-sodden punk than this. This portrait captures the transformation from punk’s visceral chaos to its sophisticated aftermath. Same rebellious spirit, different package.”
Marianne Faithfull, 1979
This image adorned the cover of Marianne Faithfull’s acclaimed 1979 album, Broken English. Its story offers a glimpse into how Dennis navigated the raw, unpredictable energy of a fellow artist.
“I’d just been appointed art director at Island Records, and Marianne was preparing to release her new album. Things had been bad for her recently – she’d even been homeless for a while – so there was a lot riding on its release. I got the call after several other photographers had tried and failed to get the shot. She arrived at the studio a bit drunk, then demanded we head to the pub. When we got there, she shouted: ‘I’m not just some cheap hooker, I cost!’ I realised she
was testing me, so just went along with it. We went to an Italian restaurant, where she ordered a load of food. Then, when it was all on the table, she tipped it over, swearing. We went back to the studio. By now we were both very drunk. Eventually Marianne, holding a cigarette, collapsed into the leather armchair I’d set up for the shoot hours earlier. I grabbed my camera and snapped a series of shots. When I clicked the shutter on this one, it was strange, but I just knew it was the cover.”
These images are among the hundreds of shots collected in Dennis’s new book Music + Life (Thames & Hudson), a comprehensive retrospective of his long and storied career. It is available now from both Daunt Books and Veranda Books. A major exhibition based on the book is running at The Photographers’ Gallery from 27th June to 28th September.
dennismorris.com
Marianne collapsed into the leather armchair. I grabbed my camera and snapped a series of shots. When I clicked the shutter, I knew that this was the cover.
‘The Dowry’, Southall, 1974
As well as the very public lives of famous musicians, Dennis has always been drawn to the human stories playing out in streets and houses far beyond the spotlight.
“I first came across Southall by accident and was fascinated by the cultural transformation of this place – it felt like being in India. Our West Indian communities were culturally vibrant but architecturally invisible. Here, with their distinctive temples and cinemas, the
Indian community had physically inscribed its identity onto the landscape.
I began going to local pubs and word spread about this Black guy that wanted to take pictures. That’s how I received the invitation to photograph a Sikh wedding. I love these images, capturing moments of spontaneous joy, cultural celebration and optimism. It was a day of vibrant colour, laughter, music and noise, a real cultural immersion. I even had my first authentic curry.”
Kids protesting over the closure of their squat, Hackney, 1975
This is another example of the human stories that have always drawn Dennis in.
“With the Hackney squat photographs, I was just walking the local streets with my camera when I came across these kids protesting their impending eviction with handmade signs declaring: ‘Even dogs have kennels.’ What struck me was their agency –these weren’t passive victims but young people asserting
their right to shelter. These are kids fighting for their rights, which kids are still doing today, leading the fight on larger global issues. I was always quietly doing this work. I was not being paid for it. I was just doing it because that was my love, and I think those images are of real importance.”
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Introducing the people behind central London’s vital charities and community organisations: Ada Celebi, deputy CEO at Unfold
Interview: Jean-Paul Aubin-Parvu
Images: Orlando Gili
Since being founded in 1989, Unfold has been all about bringing people together. The charity originally focussed on military families, offering befriending services to help them feel more connected and less isolated, but it evolved over the years, widening its reach to support a wide range of people in Westminster, Kensington and Chelsea. At its core, though, the work done by Unfold has always involved listening carefully to people in our communities and responding with care and purpose. And that mission remains consistent, regardless of who we’re working with.
By offering one-to-one mentoring support and peer support groups, we aim to build meaningful relationships with our participants. We’re open to everyone but mainly focus on those who face the biggest challenges. For example, in recent years we’ve developed specialised programmes for young people who’ve been excluded from mainstream education, those with experience of the care system, families living in temporary accommodation, and people seeking asylum. These groups find themselves confronted by multiple obstacles, including financial hardship, lack of confidence, isolation and problems accessing basic resources such as food. Our aim is to support them in tackling these fundamenta l challenges.
We run two one-to-one mentoring programmes. Broadening Horizons supports young people aged 10 to 25, while Mentoring for Mums is aimed at women with children aged five and above. Both programmes are grounded in a person-centred approach, drawing on positive psychology. Fundamental to this work are our highly trained, fully supervised volunteer mentors, who meet with participants for one to two hours per week, over 12 to 24 sessions. The programmes are designed with three main goals in mind. The first is to build the participants’ confidence and personal wellbeing. The second is to introduce them to at least one more group, service or activity that can provide a sense of connection beyond their time with us. And the third is to help them set and achieve specific goals that matter to them personally, allowing them to build selfbelief and autonomy.
As well as the one-to-one mentoring, we also offer support groups for both women and young people. These groups provide a safe and welcoming space where they have the opportunity to meet people in similar circumstances and make new friends and allies. They also serve as a platform for marginalised groups to access vital services that might not otherwise reach them – we might, for example, host visits from partners covering health or employment, alongside a wide range of other useful workshops. These groups play an important role in helping people build a sense of community, particularly if they aren’t yet ready for >
Every time, the mentor and mentee start out as strangers, but each relationship evolves into something quite unique and meaningful.
more intense one-to-one support, which some people can find a lit tle daunting.
We see the impact of our work every single day – and in so many different ways. A good example is a young woman called Saira, a 24-year-old asylum seeker from Lebanon who was living in temporary hotel accommodation when she was referred to us. During her initial assessment she opened up about the challenges of moving to a new country, the strain that comes from living in a hotel for a long time, and how the resulting loneliness and isolation were impacting her mental health. We matched Saira up with one of our volunteer mentors, Claudie, who worked with her to identify three goals – to improve her English, find a community, and build new skills.
Over a six-month period, the two of them met weekly and worked towards these goals. With Claudie’s support, Saira joined a youth club and began making new friends and building a support network. They worked on her CV together, carried out mock interviews and explored volunteering opportunities. After a while, Saira was able to secure a role at a local charity shop, which helped her build confidence and establish a positive routine. The mentoring sessions provided her with a space to practice her English without fear or embarrassment, and she now feels much more comfortable chatting with the new friends she made at the local youth club. By the end of the programme Saira had joined Unfold’s Youth Advisory Council, where she now uses her voice to help shape our work. Reflecting on her journey, she told us: “The most important thing I learned through mentoring is not to mask. Just be myself, be confident, and give myself grace, time a nd patience.”
To be effective, it is absolutely vital that we listen to our participants. One standout moment for us recently was a participatory evaluation led by our service users. Their analysis validated many of the positive aspects of our programmes – how they help people to work through challenges collectively, build friendships, boost confidence, strengthen social connections and access relevant services. But they didn’t only highlight what’s working well; they also helped us understand what we should be doing differently or better. That’s been incredibly valuable, and we’re now integrating their suggestions into our five-year strategy. That kind of insight coming directly from the people we serve is incredibly powerful – and it’s shaping where we go next.
We’re so grateful for the continued support of The Portman Estate, who have been contributing to our work for several years. Most recently they’ve been funding our Women’s Support Group, an essential part of our work in the community. Having reliable local partners makes a real difference to our ability to make meaningful investments in the development of
our community. It allows us to continue providing safe, supportive spaces for women and young people, and respond to their needs in a consistent way. And thanks to that commitment we’re able to stay rooted locally and reach even more people who need our support.
As well as financial support, we also welcome the generosity of people who want to lend us their time. We’re always looking for volunteer mentors who can support young people and women. Our mentors come from all walks of life, and they bring so much to the table – a wealth of experience, empathy and passion. In return, many of them say that mentoring is as transformative for them as it is for the people they support, which is my favourite thing to hear. They tell us that the work builds their own empathy, confidence and sense of connection, and gives them a renewed purpose.
When people apply to become mentors, they go through a comprehensive vetting process before we invite them for an interview. When we talk to them, we want to understand their motivation while also explaining to them in more depth what the programme is about and giving them an understanding of the commitment it requires. After that, they go through our online training modules, then attend live mentor training where they get to practice what they’ve learnt. We talk about safeguarding boundaries and address any questions they might have.
After being matched with a mentee, our mentors are required to come to monthly supervision sessions. These sessions give them the opportunity to talk about anything they might be struggling with and to learn from other mentors. There is so much experience in the room, so if a mentor is facing a specific challenge, somebody else has almost certainly been through it before. We might also invite guest speakers to talk about specific issues. Our mentors are constantly learning, a nd so are we.
What inspires me most about my job is the power of community, especially the kind that exists outside of traditional structures. I’m constantly moved by the beautiful connections that our work creates between mentor and mentee. Every time, they start out as strangers, but each relationship evolves into something quite unique and meaningful. It’s incredible to witness what happens when people are given the space to discuss their worries, share their stories and shape their own direction. I feel deeply inspired to work alongside such a thoughtful and passionate team, people who are genuinely committed to building inclusive and caring communities. It’s rare to find that level of heart in a ny workplace.
FOOD » 38
STYLE » 48
HOME » 60
WELLBEING » 62
HEALTHCARE » 64
STYLE »48
Q&A
Caroline Belhumeur of Vince on bringing her subtle touch of Englishness to a very Californian brand
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STYLE PHILOSOPHY
Zack Moscot of MOSCOT on family history, old- school manufacturing, and balancing eyecare expertise with fashion
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Aahuti Rai on why healthcare innovation doesn’t come from adding new tech to old systems
The couple behind the new Joséphine brasserie on their contrasting childhood diets, Claude’s impulsive genius, and the great potato dispute
Claude Bosi is, it’s fair to say, a man who trusts his gut. Leaving school early to apprentice as a chef in Lyon; migrating across the Channel – to Shropshire of all places – with barely a word of English; taking on multiple ‘car loans’ to fund the purchase of Hibiscus, the Ludlow restaurant that won him two Michelin stars; moving Hibiscus to London in 2007; suddenly closing his worldfamous restaurant nine years later; buying into Terence Conran’s fading Bibendum flagship and working tirelessly to secure another two stars rather than taking the low-stress consultancy role initially on offer. Every step driven by impulse. Every impulse justified by the adventures –and incredible food – t hat followed.
“I’m a bit of risktaker,” says Lucy, Claude’s wife and business partner, “but I do like a bit of time to think. This guy, suddenly you’re like: ‘Oh, we’re selling the business, are we? And buying a new one. And it’s all happening yesterday. Okay!’”
The Bosis’ newest instinctdriven venture is, if anything, even more of a passion project than those that preceded it. In Chelsea last year, Claude and Lucy opened Joséphine, the Lyonnaise bouchon of his dreams: a place of earthy food, rambunctious atmospherics and scrupulous pricing. In April, without drawing breath, they opened a second Joséphine in Marylebone, with a different menu and feel but the same stellar cooking and warm informality.
“Lucy said: ‘Wow. Do you really want to do this now, already?’” recalls Claude. “I said, ‘Yes. I think we can.’” And that, the Bosi story tells us, is really all it takes.
Q: Rather than copy and paste the formula that made your first Joséphine bouchon so successful, you’ve gone for a different vibe here in Marylebone: a brasserie Parisienne. Why not take the easy option of replicating Chelsea? Claude: The bouchon was something very special to me. I’m from Lyon,
so it’s personal, and I only wanted one. A bouchon is only nice on a small site, very crowded, very loud – and that’s what Joséphine in Chelsea is about: a bistro de quartier with great home cooking, very specialised in its origin. This restaurant, though – we were not looking for it, it found us. A friend of mine who’s got a restaurant agency said: “I’ve got a great site, Claude. I think you should have a look.” I saw it and thought: “Well, it’s amazing, the frontage is great, but this is not a bouchon. This will be a brasserie.” I always wanted to go to
Chelsea and Marylebone, where lots of French people live. I’m following the French. They’re not coming to us; we’re coming to them! Lucy: We’ve loved doing the bouchon, and people love it, but it’s nice for us to do something a bit different here. A classic Parisian brasserie serves food from all over France, so we’ve taken some of the things that people love from Chelsea, like the onion soup and the souffle, and added to them. It also means I’ve been able to satisfy my obsession with having an oyster kiosk!
“Running a two-star or a bouchon, the DNA is the same. The way I work, it’s exactly the same. We’re using different produce, and that’s why it’s a bit cheaper here, but you treat it with the same respect.”
Q: Claude, you grew up in a restaurant in Lyon. What was the setup there?
Claude: My mum was in the kitchen, my dad was on the floor. We lived on top of the restaurant. We used to open early because the people who go to work early, like the rubbish collector, they have lunch at 8am, so for breakfast we would have calves’ liver or some eggs or tripe. My mum would drop us at school in the morning, go do the shopping, come back and make the plat du jour: two starters, two main courses, a cheeseboard. The price was very low.
There was a bottle of house wine on the table, and you just help yourself. Afterwards, my dad would look at it and say: “Okay, you’ve drunk four glasses, that’s what you’re paying for.” We’re doing that here too. It was Lucy’s idea – measure the house wine with a ruler.
Q: So, were you always destined to be a chef?
Claude: No, it was the last thing on my mind. But when I was about 15 my school said to my parents: “Your son could go to the next level, but we don’t want him in class. You
need to do something with him.” My dad said to me: “What do you want to do?” I said: “I want to be a chef.” He told me: “Claude, if you start, you’re not coming out of this. This is what you’ve decided.” I tried to stop once, when I was maybe 18 and I could see my friends going out at night and having fun. My dad said: “Claude, you remember what I said to you? You start it, you finish it.” So I did.
Lucy: That’s absolutely your motto, isn’t it? Everything you do, once you’ve started, you’re giving it everything.
Q: How different was your route into the food world, Lucy? Did you grow you up eating calves’ liver for breakfast?
Lucy: Truthfully, no. I was having cornflakes; he was having brains on toast. My family were meat-and-twoveg types, very simple eaters. In the late 90s, I got a job with a wonderful woman called Karen Hanton, who set up Toptable, the reservations platform. I was one of the founding members of the team. I was the marketing assistant but really I was doing a bit of everything – it was real startup stuff, brilliant fun. One of
my first meetings was at the Atlantic Bar, and I was like: “Oh my God, this is so cool! I love it.” I loved being around service and chefs and people in the industry, I just thought they were fascinating. That’s how we met. A friend of mine told me Claude was moving from Ludlow to London and that I should check him out, he’s a great chef. We met, and t hat was that.
Q: Claude, what on earth landed you in Shropshire in the first place?
Claude: I was working for Alain Ducasse in Paris, but his head chef
sacked me. We fell out and I said some things I should have never said. Afterwards, I told my dad: “I’m done with France. I want to go to England.” I can still remember my dad, we were in the living room upstairs of the restaurant, and he said: “England? What for? They don’t know what to eat. Why do you want to do this?” I said: “To learn the language. I’ll stay six months, and after, I’ll go.” I didn’t want to work in London, because I heard it was very easy to speak French there. The recruitment agent told me there was a job in Ludlow. I had to go to the newsagent and get a map
Negar Milanian, co-owner of Seymour Kitchen, on Persian cuisine, the importance of community and the absurd volume of food at an Iranian family gathering
Interview: Ellie Costigan
Bahman and I met about 15 years ago, working in the City. I was – and still am – a credit analyst and Bahman’s background is in engineering. But Bahman grew up in a family of foodies – his dad runs restaurants in Iran, so he has always been around food and it has always been his passion. He decided to say goodbye to corporate life and start Seymour Kitchen.
It was difficult at first – I was still working full time in the City and Bahman was relying on savings. I would do a full day’s work then come to the restaurant to train our staff until 10, 11 at night. But it was so important that they understood our recipes and
of England. I arrived there on 4th November 1997.
Q: Since then, you’ve become a serial collector of Michelin stars. How much of a change is it cooking for a casual neighbourhood restaurant?
Claude: For me, running a two-star or running a bouchon, the DNA is the same. The mentality, the way I work, it’s exactly the same. Okay, we’re using different produce, and that’s why it’s a bit cheaper here, but you treat it with the same respect, the same approach. I’ve always been
ideas. After that, I created a handbook to standardise the recipes and give them something to refer to. There’s an idea that one day we might turn that into a cookbook.
Bahman is so passionate about food – and about people. I’m always asking about the balance sheet, what our costs are, what we’re taking, but he reminds me that our focus should be on giving people the right feeling when they come to our restaurant – on creating connections with people, so that when hard times hit, they won’t let us fail. He says real success is when you have the support of your community. And he is right. The support we got during Covid was immense.
a believer in: if you do it, you do it properly; if not, don’t do it. I mean, it’s the same stress for me. In fact, this place stresses me more than it stressed me to open Bibendum –there, I knew exactly what to do, I’ve been doing it for such a long time.
Q: Lucy, how have you found the transition from tech executive to restaurateur?
Lucy: I’m revelling in the joys of not working in the corporate world. This is much more freeing. We get to work with each other, we’re in charge of our own destiny, there’s
When we opened, there weren’t many restaurants serving authentic Persian food in London. There were plenty doing kebabs and the more familiar stews, but it’s a bit like when you go to an Indian and have tikka masala – it’s not what our mums and grandmas cook. When we first started, people asked a lot of questions, but we soon had queues outside.
We travel to Iran three or four times a year to meet our suppliers and source some of our key ingredients. Fresh ingredients like meat and dairy we get from the UK, but there are certain things we need from Iran to make our food taste as it should.
no red tape. It’s very liberating a nd it’s fun.
Claude: As somebody who has never worked in a corporate world, I’m the worst organised person. I need people who organise me. I can’t stand still for 20 minutes before I have to do something else or think about something else.
Lucy: It’s a challenge. I like to bring in – and it’s not always very well received – this thing called a ‘process’. Things called ‘spreadsheets’, all completely alien to Claude. We’re trying to grow our business, so I think it helps for there to be a little bit of organisation.
One of our signature dishes is tahchin. It looks like a cake, with layers of rice and aubergine or chicken. We add lots of spices – cardamom, saffron – and rose petals. Persian cuisine isn’t spicy, but it’s very aromatic.
It’s tradition, even today, when you go to an Iranian family gathering that there’s a massive amount of food. There will be at least three or four main dishes on the table. I keep telling my grandmother not to cook so much, but she refuses: “It would be disrespectful to my guests. What would people say behind my back?!” They wouldn’t say anything, of course, but that tradition has stuck.
When the weather gets warmer, our food gets lighter. In autumn and winter, we’ll serve richer stews. Now things are tangier and fresher, with lots of different salads. Something we do a lot is a frittata-like dish with spinach and fresh herbs, garnished with barberries or walnuts.
Bahman is almost always in the restaurant. He might not be there all day, but he will be there for the lunchtime rush hour and sometimes also dinner, which we started opening for last year.
Our older customers often want to pay in cash still, but sometimes they haven’t had the time to go to a cash machine. Bahman is adamant we must serve them regardless. He trusts that they will come back. And it’s never ever been a problem. He creates real bonds with people.
We have a brilliant head chef, Aurash. He’s from Gilan, a province in northern Iran famous for its healthy dishes. They use lots of fish and fresh herbs. He is so dedicated and we are so blessed to have found him. Without him, this journey would have been very difficult.
SEYMOUR KITCHEN
5a Seymour Place, W1H 5BA
seymourkitchen.com
Everything was running perfectly fine without me, I’m sure, but I’m very happy to be involved.
Q: What’s been the biggest culture shock for you?
Lucy: Do you know what, I still haven’t completely got my head out of the corporate culture of blame. It happened this morning – I messed something up. We all do, every day. But I’m still used to that reflex of: “It wasn’t me!”, because you don’t want to be blamed and lose your job. Now, instead of worrying about it, I want to be quite analytical: why did
it happen? Where did I fall down?
Claude: I’m happy to make a mistake. I do it all the time. You have to make mistakes so you know what not to do the next time.
Lucy: Would you like to know the mistake he nearly made when we opened in Chelsea?
Q: Very much so.
Lucy: We were having a tasting with the team, chatting, having a lovely time, and Claude suddenly announced that he was not going to put chips on the menu. I nearly fell on the floor. It was a furious debate
Kudu
for about three weeks, whether or not we were going to serve frites. I mean, how could you have a steak au poivre without frites? He lost. Now we have an entire menu, the ‘PDT’ section – pommes de terre. It’s like an homage to the potato, and chips are very much on there!
Q: Presumably the potatoes, like most of the ingredients, are British. Is there anything you have to import from France in order to make authentic brasserie food?
Claude: The rabbit is French because it’s farmed rabbit, and you can’t get farmed rabbit in England. The chicken is French, but we’re testing a new chicken today – an English chicken that might work. You need a certain amount of fat on the leg for some recipes, if you’re going to braise. It comes back to what I said earlier: the work that goes into every dish. You can’t just take any chicken leg from your butcher – we want the right chicken leg. All the seafood is British, apart from the French oysters. I wanted French oysters. All the lobsters, the langoustines, everything else comes from Britain. The beef is English too.
Q: So, have Claude’s Lyonnaise family reacted badly to the heresy of opening a Parisian brasserie?
Kudu, which arrives on Moxon Street later this summer, comes laden with expectation. Run by husband-and-wife duo Amy Corbin and Patrick Williams, the original Kudu restaurant opened in Peckham in 2017 to instant acclaim, offering a vibrant menu rooted in the flavours of South Africa. Two further outposts, both equally well received, opened nearby in 2021, one showcasing braai fire-cooking, the other a gallery and private dining space. The new Marylebone restaurant is set to replace these slightly scattered operations, bringing all three under one roof. Its owners certainly aren’t lacking for credentials. Patrick learnt the ropes as a chef in some of Cape Town’s top restaurants before moving to London to work alongside Robin Gill. Amy grew up steeped in the warm, familiar approach to hospitality perfected by her father Chris Corbin, half of the Corbin & King duo who birthed many of London’s most beloved restaurants, from The Wolseley and The Ivy to Fischer’s. Great food, great hospitality: a timeless mix.
KUDU
7 Moxon Street, W1U 4EP kuducollective.com
Claude: No, they’re okay actually! They’re very proud of what we’ve done, very proud. And because Joséphine is my grandma, my parents are very happy. My granddad was called Joseph and my grandma was Joséphine, and I love the name. She was an amazing cook. She used to make a fantastic tagine and couscous because they lived in Algeria, they lived in Tunisia. Some of the food she used to do, it was amazing. I was very lucky to have these g randparents. Lucy: Mine were making me Angel Delight. Nothing wrong with that either.
JOSÉPHINE
6-8 Blandford Street, W1U 4AU
Josephinebistro.com
Sebastien Guilleminault, general manager of the Florencio pizza restaurant, on why Villa Estérelle earns its place as the only rosé on his wine list
Interview: Vi el Richardson
Villa Estérelle is made at the Château du Rouët estate in Provence, southern France. At Florencio we only have a short wine list, and we put a lot of thought into it. This is the only rosé on the list, and it meets our need s perfectly.
This is a traditional Provençal rosé. It is very clean, very crisp, and very pale in colour. What sets it apart is its citrusy character. It’s that unusual acidity that makes it work so well with the flavourful dishes we serve. It allows you to enjoy each mouthful of pizza, then gently cleanses your palate so that you can enjoy your next slice without any compromise at all. The taste of the wine doesn’t linger in the mouth – it leaves you refreshed and prepares you for the next bite. For me those common over-fruity, reddish rosés with intense, lingering raspberry or strawberry flavours are not what good ro sé should be.
At Florencio, this works beautifully with our pizzas. For example, it pairs fantastically with El Cuartito, our pepperoni pizza. The rosé cleans every bite and lowers the heat from the spicy salami, while complementing our salsa verde of tarragon, mint, olive oil and parsley. I first came across
Château du Rouët several years ago when I was managing a restaurant near the Champs - Élysées. The estate has been owned by the Savatier family since 1840 and is now run by a fifth generation of winemakers.
In recent years, the family have embraced sustainable practices while still honouring the traditional methods. They try to do everything the correct way. The vintage we have at the moment, for example, was harvested overnight to preserve the freshness of the grapes. Each type of grape is vinified individually to ensure it’s at its best when pressed. There’s real precision in their approach – they closely monitor the development of the grapes and pick them at exactly the right time to achieve a consistently high - qua lity harvest.
For me, having only one rosé but an excellent one is the best solution. Villa Estérelle represents everything I value about good rosé: tradition, precision and a perfect balance of refreshment a nd character.
FLORENCIO
14 Seymour Place, W1H 7NF
florenciopizza.com
ANATOMY OF A DISH
Mariusz Polak, general manager of Ottolenghi Marylebone, on the traditional north African dish that conquered the world
Interview: Clare Finney
In a nutshell
Shakshuka is sunshine in a pan! It’s a bubbling, aromatic dish of eggs poached gently in a deeply spiced tomato and pepper sauce. We use a base of slowly softened peppers, garlic and cumin, stirred through with tomato puree and Ottolenghi’s signature pilpelchuma – a Libyan chilli-garlic paste – for warmth and depth. It’s finished with labneh or thick yoghurt and served with plenty of good bread to scoop it all up. It’s hearty, homely and comforting, but never boring.
The inspiration
This dish has travelled. Its origins lie in north Africa, but it has found its way into kitchens and onto brunch menus across the world. For Yotam, it’s a dish of memory and identity –something deeply personal, but also adaptable. The version we serve at Ottolenghi Marylebone is inspired by that classic shakshuka Yotam grew up with.
The purpose
Shakshuka is one of those rare dishes that makes sense on every menu. It’s brunch, lunch or dinner. It’s solo comfort or a dish to share. On our Marylebone menu, it sings next to roast aubergines, crunchy slaws and salads, bringing spice and warmth to the plate. And online, it’s consistently one of our most popular recipes because it’s so generous, so doable, and so satisfying. It represents everything
Ottolenghi stands for: big flavour, generous sharing and cross-cultural inspiration. It’s a dish that brings people together.
The technique
We build flavour from the ground up, softening red peppers slowly in olive oil with garlic and cumin, letting the tomato paste caramelise slightly for that deep umami kick. The pilpelchuma brings a background heat that’s not overpowering – just assertive enough to make the eggs sing. The eggs themselves are cracked into little wells in the sauce and gently poached until the whites are set and the yolks are still lusciously runny.
The secret
The secret? It’s the pilpelchuma that gives our shakshuka its soul. Unlike harissa, which is more commonly used, it’s a little smokier, a bit more mellow, and absolutely packed with flavour. When stirred into the tomato base, it adds warmth without overwhelming the other ingredients. And then there’s the labneh. A cool, tangy spoonful on top does more than just garnish – it brings contrast, cuts through the spice, and creates the most beautiful texture against the jammy yolks and silky sauce.
OTTOLENGHI
63-65 Marylebone Lane, W1U 2RA
ottolenghi.co.uk
The chief creative officer of Vince on growing up in the West Country, falling in love with LA, and bringing her subtle touch of Englishness to a definitively Californian brand
Q: Your career in fashion took off very quickly. Were you one of those rare people who know what they want to do from a very young age and then go out and do it?
A: Not at all. I was at a comprehensive school in the West Country – that’s where I grew up – and they had a careers advice centre in the school. They asked what I wanted to do, and I said: “I don’t know, maybe something arty,” because I wasn’t really very good at anything else. And the woman said: “Well, maybe you could be a cake decorator or something. A florist?” I was like: “I don’t know about that.” So, anyway – and this is like such a kid thing – I’m going through the different prospectuses for the colleges, and I come across Kingston University. It says that if you study fashion, in the third or fourth year you get a free trip to Paris. And I’m like: “Oh, okay, I’ll do f ashion then.”
Q: So, did you have any grounding at all in fashion before you went to university?
A: Well, I did, but I didn’t realise it at the time. My mum, who was raised after the war, made all our clothes. She was always dragging me to the haberdashery in Bristol, and I would look through loads of Butterick patterns while I was waiting for her. We lived in the countryside, and she was a bit of a hippy at heart, even though she didn’t look like a hippy. We would go around the fields and gather the fleece from the sheep and then come home and spin it and knit it. She also taught me weaving. But I never connected any of that with fashion until much later in life. I never realised that I’d had this amazing grounding in the basic principles of ma king clothes.
Q: Your first job was working in New York with C alvin Klein. How did that come about?
A: Calvin Klein was going around the universities in Europe, selecting
students that he would like to work with, and I was very lucky that he selected me. I had a job even before my final show. So, I fly to the US, and I think that I’m flying into New York Airport, but I’m actually flying into Newark Airport in New Jersey. I end up having to get a bus to Port Authority, which was not the best experience in the mid-80s – a lot of garbage everywhere and people doing drugs. I step out onto 42nd Street and there are cars burning on the side of the road, and I’m like: “What is this?!” But, you know, I loved it. New York was a bit rough at that time, but I loved the community. These were my people.
Q: You’ve had a long and varied career as a designer. How did you develop a sense of your own personal aesthetic and how would you define it?
A: At first, I was willing to do anything. I was doing menswear, then I was working on accessories. Even when I was working full time, I was doing freelance children’s projects. I was travelling on my own to India, China, Italy, dealing with factories, being very curious and trying everything I could. And I think that the ability to do different things and be inspired by different things has really helped me. I love architecture and interiors, I love
travel, and I think all of that has informed my aesthetic. Working with Calvin Klein early on did help shape the minimalist aesthetic that has followed me through my career, although mine has a natural Englishness to it – those English-isms are always there. It means that my minimalism doesn’t get too stark, too industrial. There’s a warmth, there’s a use of colour, there’s a constant reference to nature.
Q: You took over as creative director of Vince in 2017. What are the roots and ethos of the brand?
A: It was started in 2002 by two
“When I joined Vince, I thought what was lovely about the brand was that it summed up this beautiful narrative of West Coast aspirational coastal living: the landscapes, the weather, the beautiful warm breeze.”
partners, Christopher LaPolice and Rea Laccone. Christopher lived in New York and Rea was in LA, so Vince has always been this sort of bi-coastal brand: New York/LA. But the design studios have always been in LA – our atelier is still here, and it’s where I’m based. Back in the early 2000s there was lots of novelty going on, lots of very flashy stuff, but their idea was to build your wardrobe with beautifully made, beautifully executed pieces that could last forever, using great fabrics. Something that you feel super comfortable in, that you can put together in minutes without overthinking it, that stays in your wardrobe forever. We’ve continued to honour that intent.
Q: How have you taken to life i n California?
A: When I joined Vince, I thought what was lovely about the brand was that it summed up this beautiful narrative of West Coast aspirational coastal living: the landscapes, the weather, the beautiful warm breeze. When I arrived here, I knew that I needed to live up in the hills. I was blown away by the Mediterranean feel of the vegetation and how the houses were so architecturally interesting and individual; a lot of them were built in the 20s and 30s and into the 60s and 80s, and they drew from Mediterranean materials – stucco and that kind of thing – because of the temperature. I love it. Out here I’m surrounded by nature all the time, which is what I grew up with.
Q: Does your minimalist aesthetic lend even more importance to the materi als you use?
A: It’s so important, particularly if you have a garment without a lot of bells and whistles. That first moment when you touch something in a store, you’re making a connection with it, deciding whether you want to put it on your body. For us, enhancing that moment is like a
signature of the brand, whether it’s cashmere or buttery leathers or beautiful cottons. We use a lot of materials from Italy. Our silks come from China, but our leathers and a lot of our wools are from Italy, and we’re so grateful that we get to work with those. When you put those materials on your body, you feel so powerful and comfortable in what you’re wearing.
Q: You mentioned that Vince is about creating clothes that are made to last. How does that inform your approach to new collections? Is there a tension between maintaining the relevance of previous pieces and the drive to be creative?
A: There is! People always ask me how we come up with so many different pieces each season, and I’m like: “I don’t know how we manage to edit it down!” That’s the difficulty. As a team we’re so curious, we do a lot of vintage shopping and research, we love fashion, we’re quite nerdy about finding new shapes and proportions. There’s always so much to play with, so keeping things tight is really hard. We have to constantly think about what she’s got already in her wardrobe and how we could enhance it by bringing in that newness with proportion, shape and colour. We’re like: “Well, we know that she loves this, but she doesn’t have it in these colours, and these colours we feel are an important way for her to layer on.” I obviously own a lot of Vince and I’m always thinking about how a new design might change something I already have, maybe tucking it into a new-shaped pair of pants.
Q: You design menswear as well as womenswear. How does that shape your approach?
A: I love menswear. My show from college was menswear. I love the subtlety of it, and I think that has definitely informed how I approach womenswear. I call on a lot of menswear references for our women’s collections and then
Zack Moscot, chief design officer at MOSCOT, on family history, old-school manufacturing, and balancing eyecare expertise with fashion
Interview: Ellie Costigan
Images: Jake Magraw, Emma Rose Milligan
My great-great-grandfather emigrated to New York from eastern Europe in 1899. Trying to figure out how to make a dollar, he started selling ready-made eyeglasses from a pushcart on the Lower East Side. His son, Sol, eventually helped him set up the company. Sol, who was one of the first opticians in the state of New York, carried on the shop until my grandfather, also an optician, took over, and then my father joined the business more than 40 years ago as its first doctor. I joined 12 years ago as an eyewear designer, making me the fifth generation.
When you’re part of a family business, work and life are so intertwined. Growing up, it was all the family ever spoke about – we lived and breathed it. I worked in the shops during high school. I don’t like eyeballs,
“That first moment when you touch something in a store, you’re making a connection with it, deciding whether you want to put it on your body. For us, enhancing that moment is a signature of the brand.”
but I love product, I love design, I love creating things. So, I went to design school and when I graduated, my dad said: “Great, you’re starting tomorrow.”
Your glasses are the first thing you put on in the morning and the last thing you take off at night – yet many people only have one pair. It makes sense to have multiple pairs for different outfits, different occasions. The right eyewear can dress up an outfit, dress it down. It can change how you feel about yourself. It’s such an important part of who you are.
MOSCOT is a balance of eyecare expertise and fashion. In the past decade or so, eyeglasses and sunglasses have become the same style. We can take any design and make it either a sunglass or an eyeglass.
Despite being a global brand these days, we don’t adapt much for different markets. We bring a slice of downtown New York wherever we go. We don’t change who we are. The Lower East Side has always been a melting pot of creatives and artists and that’s the DNA of the brand. A lot of my inspiration comes from the neighbourhood.
People ask us how it is that so many celebrities came to wear our frames. But we don’t reach out, we don’t have celebrity programmes – we treat everyone the same.
My father insists that our design and marketing studio be above the shop, so that we can go down regularly and interact with customers. We’re not designing in a vacuum. We want to see what our products look like on
change them slightly with the fit and the fabrics. That’s been a constant inspiration for me. It also means that, quite naturally, the menswear and womenswear come together really well as collections.
Q: Why have you chosen Marylebone as the location for your London flagship?
A: Well, Vince isn’t a high street brand. So, we don’t want to be on Regent Street or any of those other big streets. A lot of the success of our stores in the US is about being part of a neighbourhood or a community. That’s what we’re interested in – being surrounded by
people and find out how they feel when they wear them.
Our designs tend to be quite bold and stylistically different. But people wear the frames, the frames don’t wear them.
The LEMTOSH is our core product. We’ve been making it since the late 40s and it never goes out of style. It looked just as cool on my grandfather as it does on me. We make it in four sizes and almost 30 colourways.
We’ve been using the same traditional hardware for decades. We make things the old-school way. We don’t cut corners, nothing is glued or injected, and we only buy premium materials. It’s what ensures a frame keeps its form over time. We get people coming in with the same frames for 10 years, wanting us to clean and tighten them, which of course we’ll do.
We make everything in one place then put it together here in New York. Everything’s done under our noses. This allows us to create a product that we feel is premium, but at a fair price. We want to be a luxury brand but an accessible one too.
When you come to one of our shops, we want you to feel like you’re dealing with the family, even when we’re not there. We want to be approachable,
other places of interest, beautiful restaurants and hotels, galleries, other places that she or he might want to visit. I know Marylebone from my time in London, and it’s just lovely.
Q: How do you approach store design?
A: We always try to bring our Californian aesthetic – serene and warm, clean and unfussy, a place you’d want to hang out in. But we also want to honour the neighbourhood we’re in and make it feel natural to the area. I love being involved – I can take my love of architecture and interiors
friendly and fun. To get the right glasses you need good advice from someone you can trust. I love technology, and we’ve done a lot to expand our digital presence, but there’s nothing more important to my father and me than the people we employ. We interview every single person who joins the business to make sure they reflect who the Moscots are.
During the Great Depression, we didn’t have many customers, so my greatgrandfather Sol started giving out glasses and adjusting them for free. It was the right thing to do, but he was also building relationships, knowing that when these people had a dollar in their pocket, they would come back to him. In the early 2000s, my father re-introduced the concept of giving back to the city and its people by launching the MOSCOT Mobileyes Foundation, which provides free eyecare to underprivileged communities.
Our beautiful Marylebone shop is the newest one in London. It’s a great little neighbourhood. I could totally see myself living there if I ever moved to London!
MOSCOT
68 Marylebone High Street, W1U 5JH moscot.com
and put that into the stores. Josh, who designs our stores and visual merchandising, he and I look for the vendors and artists we’d like to showcase. We quite often have customers asking where the furniture is from, where the artworks are from, because they’re inspired to decorate their places in the same way. We want to bring a little bit of that inspiration –things we’re excited by, things we’re curious about. We really love sharing that with our customers.
VINCE
87 Marylebone High Street, W1U 4QU vince.com
Studio Nicholson
Even if the name is new to you, the clothes of Studio Nicholson might be familiar from the clean lines and sharp silhouettes worn by Cate Blanchett in Tár, and just about every pair of high-waisted, straightlegged trousers recently seen on Cillian Murphy. Founded in 2010 by London-based designer Nick Wakeman, the brand is known for its high-quality Japanese and Italian fabrics, commitment to comfort and a ‘modular’ approach that encourages the gradual integration of complementary new pieces. Offering womenswear with the longevity and functionality of menswear and menswear with the elegance of womenswear, Studio Nicholson arrived on Marylebone L ane in April.
STUDIO NICHOLSON
94 Marylebone Lane, W1U 2PZ studionicholson.com
Manners maketh the man – but shoes maketh the outfit, and at no point is this more pertinent than on your wedding day. Yet with all the hullaballoo that surrounds buying the big white dress, it’s easy to forget the feet – or wonder if anyone will even notice them if you’ve already spent the equivalent of a house deposit? The answer is yes. From the walk down the aisle to the first dance, your feet are bound to make an appearance at some point –and your shoes with them. Fortunately, Marylebone is blessed with options when it comes to bridal shoes, and all within an easy stroll of each other.
LULU FLAT
EMMY LONDON, £425 emmylondon.com
Not every bride is in the market for heels, however – and for good reason, given the hours spent standing at weddings. Newly opened on New Quebec Street, Emmy offers an array of bridal flats marrying style and comfort. Their Lulu ivory is a case in point: flat, pointed, practical but still chic, handmade in Portugal and designed to complement a wide range of dresses. They can be worn from day to night – there’s even the option of adding a bejewelled shoe clip to jazz things up a little. It’s hard to imagine a pair of flat ivory shoes going out of style.
PHOEBE LEATHER MULE
TRACEY NEULS, £395 traceyneuls.com
If your wedding party (and character) is conducive to going barefoot at some point, then the Phoebe mules are perfect: backless, with a loose bow and easy to slip in and out of. They’re more casual than some options, but with no compromise on quality. As with any heeled shoe that Tracey designs, the heel is hand-turned, and the leather sole individually signed after inspection. Being all-natural as well as classic in style, Phoebe is both timeless and biodegradable. It will complement a fun wedding dress and see you through subsequent parties and summers with its cool, understated elegance.
TANGO ROSE SHARDS HEEL BOBBIES, £180 bobbies.com
It takes two to tango, so they say – so this shoe is as aptly named as it is well made. Founded in Paris, Bobbies is dedicated to social and ecological commitments, with all the shoes crafted in specialised family workshops in Portugal. The heel is high – a towering 7.5cm – but sturdy enough to offer support as well as dazzle. Good quality, environmentally friendly glitter is hard to find, but Bobbies’ version is as wellsourced as its other materials. The result is a shoe that is fabulous and finely crafted, contemporary yet classic.
David Telfer, design director of Sunspel, on a Rivieria-inspired outfit that strikes a balance between smart and effortless
This look is from our Riviera 1955 collection, which takes inspiration from the origins of our Riviera polo. Best known for being worn by Daniel Craig in Casino Royale, the Riviera polo was originally designed in the 1950s by Peter Hill, our founder’s great-grandson, for summer holidays on the French Riviera. The collection draws from that same spirit of relaxed luxury, influenced by the timeless photography of Herbert List, reimagining key styles from the era with a modern lens – from camp collar shirts to vintage stripes and easy k nitted polos.
This look combines the formality of a linen suit with the relaxed attitude of a camp collar shirt. The suit is made from extra-fine linen woven in Italy using flax fibres sustainably grown in Belgium and France. It offers the breathability you expect from linen but with a noticeably softer, cleaner touch. Its construction is lightweight, half lined and unstructured, with no build up in the shoulders, making it easy to wear while still looking sharp. The open collar shirt underneath is a new take on the camp collar, cut from an Italian mesh jersey and inspired by the mesh garments in our archive.
At Sunspel, we begin every design with the fibre – it’s about building garments from the ground up to ensure exceptional quality, softness and durability. Linen continues to resonate strongly with our customers, and while it’s often styled more formally, I love how this look reimagines the suit in a casual context, with a suede belt and classic deck shoes adding a laid-back finish. It softens the formality of tailoring, striking a balance between smart and effortless. It’s a fresh way to wear a suit without losing refinement.
SUNSPEL
13-15 Chiltern Street, W1U 7PG sunspel.com
NAAZ SUNGLASSES ACE & TATE, £125 aceandtate.com
TROPICAL SCENARIO MULTICOLOR KIMONO FARM RIO, £320 farmrio.uk
QUIBERON COTTON TOTE BAG AGNES B, £65 agnesb.com
toa.st
ADJUSTABLE HALTERNECK SWIMSUIT ME+EM, £225 meandem.com
CUFF MONICA VINADER, £450 monicavinader.com
PINK
SABAH, £175 uk.sabah.am
Anna + Nina
Founded in Amsterdam in 2012 by Anna de Lanoy Meijer and Nina Poot and newly arrived on Chiltern Street – its first dedicated boutique beyond the Netherlands and Belgium – Anna + Nina isn’t a brand that’s particularly easy to define. At first sight, there’s a bit of everything: homewares, tableware, stationery, wall art, clothing, jewellery. But despite the eclectic range, there are strong common threads that pull the collection together. There’s a bright, playful aesthetic that reflects the relaxed, bohemian character of Anna and Nina’s colourful, mazy home city, as well as their love of international travel. Every piece is made from high-quality, sustainably sourced materials, from soft eco-cotton to hand-painted ceramics. And everything has been created by skilled craftspeople,
mostly by hand. Ceramics are hand-painted by Portuguese artisans, the glass candle holders are mouth-blown by glassblowers in Egypt, the fabrics are block printed in India, and the jewellery is made by Thai goldsmiths. The brand works directly with producers, ensuring a transparent supply chain that adheres to high social and environmental standards. Alongside Anna + Nina’s own creations, you’ll find complementary items sourced from like - minded brands. Whether you’re going in for a mug or a washbag, a cushion or a cutlery set, a kimono or a friendship charm, you can be sure that what you’re getting is going to be good, in every sense.
ANNA + NINA
54 Chiltern Street, W1U 7QX anna-nina.nl
SUN BALM OH MY CREAM!, £34 ohmycream.co.uk
FACE CLEANSER BALM ANATOME, £38 anatome.co
SATIN OIL FOR BODY AND HAIR DIPTYQUE, £52 diptyqueparis.com
PROTECTIVE LIP BALM SPF30 AESOP, £17 aesop.com
THE SILK SUNSCREEN BY TATCHA SPACE NK, £65 spacenk.com
4711 ORIGINAL EAU DE COLOGNE 25ML COLOGNE & COTTON, £8 cologneandcotton.com
ROSE DEEP HYDRATION TONER TO GO FRESH, £25 fresh.com
Experience the Gentle Face of Dentistry & Facial Aesthetics in London’s Harley Street.
Est. 2001, with a worldwide client base, Dr Issy’s philosophy is based on personal attention with a strong emphasis on prevention. As featured on Sky News and Living TV, please enquire for more information. New patients always welcome.
info@drissy.co.uk
Tel: 020 7935 3668 www.drissy.co.uk
72 Harley Street, London W1G 7HG Instagram: dr.issy_face
Helping you deepen your relationship with yourself to build healthier connections.
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Specialising in antique and decorative rugs, carpets and textiles. Over 30 years experience.
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Aaron Nejad Gallery 4 Church Street Marylebone, London NW8 8ED Tel: 07976 826218
Email: anejad@talktalk.net www.aaronnejad.com
Healthcare innovation expert Aahuti Rai on why meaningful change comes from a ‘blank sheet of paper’ approach, not just adding new technology to existing systems
Interview: Vi el Richardson
Q: You work with service providers, healthtech startups and investors on innovations that aim to transform healthcare. What was it that drew you into the world of healthcare innovation?
A: It wasn’t a single thunderbolt moment, more cumulative experiences over many years. But I would say there were two defining experiences. My mother’s breast cancer journey showed me what we could achieve outside conventional healthcare pathways. Then, helping a friend navigate severe mental illness exposed me to completely different parts of the system. My career in systems innovation had taken me across many sectors, from manufacturing to banking, and healthcare systems seemed to be lagging decades behind. They were simply not designed for what we need from the NHS today, so about seven years ago I decided to focus entirely on healthcare tr ansformation.
Q: You describe yourself as a ‘systems thinker’. What does that mean?
A: Traditional solution-focused approaches identify problems in existing services, then apply technological solutions. This generally delivers incremental improvement, but not transformation. My thinking focuses on understanding the broader ecosystem and joining the dots between different components. This means considering multiple stakeholders beyond patients or doctors, such as pharma companies, the NHS, private healthcare providers, even retail organisations. Systems thinking recognises that health outcomes are determined by much more than clinical treatment. Eighty percent of health issues can be traced to societal factors: loneliness, discrimination, environmental conditions, socioeconomic status. Yet 80 percent of innovation happens in the clinical space – a space that
only contributes 20 percent to outcomes. True systems thinking addresses this fundamental misalignment of effort.
Q: How can we better address those societal factors?
A: We need to look at areas where innovation is minimal because the metrics are harder to measure and monetise. Think about social prescribing, community-based interventions or technologies that address housing, employment or social isolation. These don’t fit traditional business models but that’s exactly where the biggest health gains lie. The challenge is that clinical innovation is easier to codify and analyse. You can measure wait times, you can track appointment efficiency. But how do you measure the health impact of addressing discrimination or improving someone’s financial literacy? We need to widen our lens to examine needs across different population cohorts and look beyond people’s medical designations to their broader life needs in the real world.
Q: You have talked about taking a ‘blank sheet of paper’ approach to treatment pathway design. What does that involve?
A: We already have the technology capacity: ambient AI scribes that can take notes during consultation, facial recognition analysis software for mental health assessment, wearables monitoring vital signs. Yes, some systems still need to be cleared for medical use, but the hard work of creating them has been done. These exist individually, but we’re not yet designing ways to integrate them meaningfully. Instead of finding problems in existing services and applying solutions, imagine designing a complete mental health pathway from scratch using all the available technology without the constraints of current structures. Or take medication reviews: we know that >
patients building up multiple medications over time wouldn’t receive that same cocktail if they walked in fresh today. But the system isn’t designed to regularly challenge these accumulations. A blank sheet approach could use technology to build medication reviews as a core pathway component in an efficient manner.
Q: Your approach fosters collaboration between lots of different stakeholders. What does meaningful collaboration look like?
A: True collaboration means understanding each stakeholder’s environment as if you are in it. For example, if a clinician is expected to interact with your digital product, consider their full day: their computer systems, workflow pressures, what other papers are on their desk. If a patient shows their clinician a report from your app, how will they receive and process that information in a real-world context? You need to consider all of this. The end result might have fewer patient features but work better for everyone in the real world.
The second dimension is favouring partnership over acquisition. Gone are the days of massive technology giants building everything. True collaboration means striking winwin arrangements with partners rather than trying to own it all. Let innovative companies continue to grow and innovate while partnering on specific aspects of what they create. However, private capital funding creates challenges, with investors usually wanting to recoup their investment by the company being bought out, which can make long-term collaboration difficult.
Q: Can you share any examples of truly disruptive healthcare innovations you’ve been i nvolved with?
A: I’m cautious about using the word ‘disruptive’ in healthcare,
as this is not a technology sector where you want to ‘go fast and break things’. However, some innovations can genuinely transform entire systems. One project I was involved in was a urine test for breast cancer detection. Current screening requires expensive scanning equipment housed at specific locations, which reduces accessibility. A urine test makes screening mobile and much cheaper, enabling earlier, more frequent screening, which increases early detection rates and significantly improves outcomes.
Q: How do you balance commercial viability with the social impact and su stainability of a n innovation?
A: I always look for sustainability impact and societal outcomes in any project, not just revenue trajectories. Sustainability encompasses multiple dimensions that must work together. Technology can have environmental sustainability benefits, with less travel for patients and clinicians, more efficient processes and reduced carbon emissions, but we must be cautious of AI large language models using huge amounts of power, potentially diluting those benefits. Financial sustainability requires cost-benefit analysis for those footing the bill, both public and private, with new innovations needing to demonstrate productivity benefits and longterm affordability. Economic sustainability goes beyond financial considerations to consider broader system impact – for example, a solution benefiting GP surgeries which then pushes costs to hospitals is not economically beneficial. Social outcomes must focus on equity: is an innovation just making the ‘worried well’ healthier and broadening the health gap?
True healthcare intersects with education, life skills, financial literacy, healthy behaviours and relationship health.
“I’m cautious about using the word ‘disruptive’ in healthcare, as this is not a technology sector where you want to ‘go fast and break things’. However, some innovations can genuinely transform entire systems.”
Q: How do you ensure health innovations reduce rather than widen inequalities?
A: All design decisions must consider multiple dimensions of inclusivity. For example, I’ve seen a rheumatoid arthritis app that requires finger tapping on small keypads, which excludes people with finger mobility issues caused by the very condition the app was designed to treat. Text-based features, which are very common in apps, aren’t inclusive for those with language or sight issues; voice recording with transcription would make both of these systems much more accessible.
Visual representation matters too. I worked with an app designed to help treat serious mental illness showing only images of traditional white nuclear families, which was trying to attract diverse populations. People need to see themselves in the technology if
Under the stewardship of The Howard de Walden Estate, the Harley Street Health District is evolving into an integrated healthcare ecosystem that spans prevention, treatment and long-term care. Hale House marks a significant step in that evolution. Incorporating three different co-working spaces, with a central hub at 76 Portland Place, this development provides dynamic, flexible accommodation for healthtech startups and other innovators in the healthcare sector, offering access to the resources and networks needed to support their growth.
HALE HOUSE
76 Portland Place, W1B 1NT spacemade.co
they’re going to trust it, and trust is vital for effectiveness. The risk is that innovation happens where there’s existing data and funding, which then potentially broadens health inequalities.
Q: How do you see the role of women in healthcare innovation leadership evolving, and what structural change s are needed to accelerate progress?
A: Overall, healthcare is one of the first sectors I’ve worked in where I don’t feel like a minority as a female. But women in leadership positions remain underrepresented and women receiving funding for companies is still a struggle, though improving slowly. Studies continually prove that diverse teams deliver better outcomes. Women in decisionmaking roles ask different questions because they bring different perspectives to funding
decisions and research priorities. One solution is increased mentorship for women who haven’t found support from existing structures. I also fundamentally believe that to solve many disadvantages for women, we need to have an inclusive mindset, with men being part of the solution. We’re at a point where societal norms are shifti ng. Men also need support in playing new roles. Most of us grew up with the mother as the homemaker, even if she was working. With more women in leadership roles today, we’re seeing more men take on that role, but everyone needs societal support as those traditional roles evolve.
Q: What advice would you give to healthcare innovators who want to avoid the trap of building solutions that miss the real problems?
A: Build from personal experience but then expand beyond your own perspective. I applaud teams building from personal experience – that’s often where the best solutions start. But here’s the critical part: you must also build with other stakeholders in mind. We also often build solutions from the perspective of the end user, the patient, but they’re not going to be using it in isolation. Your solution needs to interface with their broader treatment environment: the GP, the family, the system.
One of technology’s biggest problems is smart people sitting in silos thinking of wonderful technologies, then looking for a way to sell them. That’s backwards: we should be identifying the need first, then designing the technologies to address that. Technology should exponentially expand what both patients and clinicians are capable of achieving. The key is to avoid the trap of building technology you want, then asking what you ca n do with it.
Q: What specific advantages does being in the Harley Street Health District offer for healthcare innovation?
A: The Harley Street Health District provides multiple strategic advantages, with firstclass medical companies and facilities providing access to the diverse stakeholders needed for meaningful collaboration. Hale House, where I am based, is wonderfully placed to build bridges between different parts of the healthcare ecosystem and align incentives for mutual wins. The physical building is amazing, but it’s really about the intention and resources available here to help create game - changing innovation.
AAHUTI RAI
Hale House, 76 Portland Place, W1B 1NT fourpoints.net
This interior designed three bedroom apartment located on Wimpole Street is approximately 1,295 sq ft (120 sq m). The apartment comprises of a grand entrance hall, which benefits from high ceilings. Two bedrooms also benefit from en suite bathrooms. Additionally there is a reception room, bedroom and cloakroom.
The building is on the east side of Wimpole Street, close to the junction of New Cavendish Street. Located close to the shopping facilities of Marylebone High Street. Bond Street and Oxford Circus underground stations together with access to the A40/M40 are within close proximity.
Leasehold
£2,250,000
UPPER WIMPOLE STREET, MARYLEBONE VILLAGE, LONDON W1G
The accommodation is spread over two floors with the top floor offering an extremely impressive double aspect reception room with air conditioning, the ornate original cornicing and extremely high ceilings. It has the added advantage of two original fireplaces. The separate eat in kitchen features exposed brickwork and a glass wall opening onto a large terrace.
The three large double bedrooms are situated downstairs using the wrought iron staircase with another two terraces and three en-suite bathrooms and separate cloakroom. The floor to ceiling windows and glass results in an abundance of light.
Unfurnished
£3,250 PER WEEK
Nottingham Street
London W1U
Guide price £800,000
This stylish and contemporary one bedroom flat is situated on the second floor of this period building ideally located just off Marylebone High Street.
1 bedroom • Bathroom • Reception room • Recently refurbished • Second floor
Marylebone & Regent’s Park 020 7486 8866 marylebone@carterjonas.co.uk
