All posts by Kirk Truman

Eclectics

Eclectics


Words Kirk Truman

Photography Etienne Gilfillan


“We formed a collective in order to reach our fullest potential and keep our craft fresh.”

In the private gardens of the Bedford Estates, a strikingly beautiful young girl steps forward. She slips into a heavy REMADE Schneetarn Anorak by English fashion designer, Christopher Raeburn. First, she begins to shimmy from side to side, then to flex her body, the fabric following her limbs in their every move. Her face wears an elusive smile as she begins to dance. She is immersed in her passion: her name is Valerie Ebuwa.

I’ll come clean: dance is something of a riddle to me, simply because I can’t do it to save my life. Which only increases my admiration for the profound commitment and sheer passion for performance that this group of young artists share. Valerie and her team of urban contemporary dancers captivate me, so I’m fascinated to learn more about the origins of their Eclectics dance and performance group and hear about their relationship with the Bloomsbury area.

Valerie tells me that Eclectics was something she and her colleagues had always foreseen. The group is made up of a trio of close friends who met during dance training at Bloomsbury’s The Place, a powerhouse for dance development that leads the way in training, creation and performance. Though they all received frequent individual offers of work from a variety of different events and agencies, their shared interests in dance, music, and fashion led them to take their passion to the next level by becoming a group. “Having a variety of multidisciplinary skills, we formed a collective that performs, choreographs and teaches in order to reach our fullest potential and keep our craft fresh,” explains Valerie, “and having many different backgrounds within the group we often teach each other too – so it’s a constant, ever-growing collective.” The group comprises London-born Valerie Ebuwa and Ryan Munroe, and Claire Shaw from Wales. Together, they manage bookings, events, rehearsals and choreography, collaborating with a mix of independent businesses, venues and brands, including some international names such as Nike.

As individuals, the members of Eclectics naturally have their own personal ambitions, but as a collective their aim is to promote contemporary dance to new audiences who may not know much about this particular world; it’s a way to both inform and inspire others. “The contemporary dance world has a niche, elitist audience – usually contemporary dancers, their friends and families. It’s our aim to educate people about what exactly contemporary dance is whilst also changing the face of contemporary dance. Not too long ago, dance degrees could only be obtained by those whose families could support vocational training. As a result, contemporary dance companies have often been made up of people from similar backgrounds and ethnic origins,” says Valerie. “These people often do similar work because they have all been trained in the same way. Eclectics aims to have mixed ensembles of talented individuals from all backgrounds in order to change the perception of contemporary dance for good.”

The group spent three years in training at the London Contemporary Dance School (aka The Place), the UK’s number one school for contemporary dance. As the school is located on Bloomsbury’s Duke’s Road, the three then-students spent much of their time in and around the neighbourhood for the duration of the course. “Having spent three years here, we as a collective realised that Bloomsbury residents were still unaware of how the area plays such a huge role in the future of contemporary dance,” says Valerie. Once they’d graduated, they decided to make their keep their base in the area, choreographing site-specific works that would both educate people about contemporary dance and also pay homage to the area that had nurtured them and so many other UK dance artists.

When I asked Valerie to explain what makes Eclectics different from other contemporary dance groups, she emphasised just how multidisciplinary the collective is and how it lives up to the promise of its name. “We not only choreograph and train in contemporary dance, but we regularly perform hip hop, dancehall, samba, commercial, African and jazz choreographies. We integrate all of our different styles together, rather than just contemporary dance. We often travel to different countries to enhance our understanding of different dance styles and genres and also use other movement art forms such as yoga, capoeira, kung fu and other martial arts to enhance and inform our work,” she says. Eclectics also design all of their own sets, costumes and lighting: “So all the work comes from us.”

This is an exciting time for the group, who have plenty of plans for the future. “We are be looking to expand our connections with local residents and this year’s graduates of London Contemporary Dance School in order to keep the promotion of contemporary dance within the area alive and fresh. We hope to bring contemporary dance to the foreground in Bloomsbury, and get it out of its current somewhat backyard existence,” says Valerie. The group are also in talks for many more events, shows and residencies, as well as music video performances. As I watch Valerie, Ryan and Claire improvising together, I try and define what it is that makes their performance so captivating. It’s a matter of personality and spirit, of sheer love of dance, but of something else too. As they dance, jump and stretch, I notice that their eyes meet as they constantly observe and react to one another: and it’s clear that what makes Eclectics special is that they are three friends who share a close, courageous creative bond.

 

Louise Russell

Louise Russell


Words Kirk Truman

Photography Etienne Gilfillan


 

“Bloomsbury is a centre of culture, joining together education, history and diversity at every turn…”

We have left behind the leafy street corners of Bloomsbury and find ourselves in the green fields of Woburn, Bedfordshire. Through the country lanes full of ferns that lean toward the roadside, we make the approach to the 13,000-acre estate of Woburn Abbey. Although it is 50 miles from London, this is the home of a family that has been integral in helping develop Bloomsbury into the place we know and love today. As we walk through the corridors of the Abbey, soaking up the sense of history and admiring the many portraits that line the walls, a lady approaches with a small dog in tow. Her Grace, Louise Russell, The Duchess of Bedford, lives at the Abbey with her husband Andrew, the 15th Duke of Bedford, and their two children. Though it is 50 miles from London, this is the home of a family that has been integral in helping develop Bloomsbury into the place we know and love today. It soon becomes clear, as Louise talks about Bloomsbury’s Bedford Estates and her role as Patron of the upcoming Bloomsbury Festival, that this is very much an ongoing relationship.

The Russell family has been part of the fabric of the Bloomsbury neighbourhood for over 300 years. When William, Lord Russell, married Lady Rachel Wriothesley in 1669, the Bloomsbury Estate came into the ownership of the Russell family. Rachel had inherited the estate upon the death of her father, the 4th Earl of Southampton, two years earlier. He had died leaving three daughters but no male heir, thus his estates were divided equally between his children. William, Lord Russell, was the eldest surviving son of the 5th Earl of Bedford. He became implicated in the Rye House Plot of 1683 and was executed for treason. The family was later pardoned, and the Dukedom was created in 1694. The couple had lived at Southampton House in Bloomsbury with their children, including the future 2nd Duke of Bedford. Southampton House became the primary ducal London residence and was renamed Bedford House in 1734 and later demolished in 1800, facilitating the creation of Russell Square. Much of the landscape and architecture of Bloomsbury is the work of past Dukes and Duchesses of Bedford. It was the formidable Duchess Gertrude, widow of the 4th Duke, who created the much admired Bedford Square and Gower Street, while Tavistock Square takes its name from the courtesy title given to the eldest sons of the Dukes of Bedford: the Marquess of Tavistock.

Louise has a passion for Bloomsbury, describing its notable architecture, fine Georgian squares and rich history as captivating and unmatched in Central London. “I hate the term up-and-coming, though there is something really quite unique about Bloomsbury that defines it as different from nearby neighbourhoods such as Fitzrovia, Soho and Marylebone,” she says. “Bloomsbury is a centre of culture, joining together education, history and diversity at every turn. Iconic literary and intellectual figures throughout history have made Bloomsbury their home, from Charles Dickens to Virginia Woolf. The Bedford Estates is proud of this heritage.”

Since it was established in 2006, The Bloomsbury Festival has become a focal point of the neighbourhood calendar. Celebrating its 10th anniversary this year, the festival is a creative explosion of arts, science, literature, culture and fun. It’s a unique event, representative of the neighbourhood’s spirit, bringing together over 100 world-leading institutions, from drama, dance and visual art colleges to creative businesses, theatres, cinemas, ground-breaking scientists, thinkers, and publishing houses. Led by festival director Kate Anderson, the 2016 Festival takes place over five days from 19th to 23rd October, with a schedule of about 150 events in venues across the neighbourhood – streets, parks, museums, galleries and public and private buildings are all involved. For 2016, the theme of the festival is language, marking the Centenary of SOAS and also reflecting the rich diversity of the neighbourhood’s population. The interpretation of the theme is broad, promising a varied programme that will bring it to life: expect street parties celebrating the language of dance, debates on the language of social change, poets battling it out against technology, a sound installation of endangered languages, and many more wide-ranging creative projects and performances throughout the festival’s duration. Throughout the weekend of the festival, Store Street’s unique independent shops and restaurants will remain open later than usual and will each house a different art or music experience.

The Bedford Estates is one of the lead partners of this year’s Bloomsbury Festival, and has supported the event for many years, with Louise acting as Patron. The Duchess is an ambassador for the entirety of the programme, meeting with the festival chair and director throughout the year to discuss strategic plans, development and fundraising. Louise takes an active role in all of these capacities, hosting a number of receptions to help raise the festival’s profile and support its fundraising drive. The Duchess is a particular advocate for work that involves the community at all levels, especially the Step Out Store Street event, which this year takes place on Friday 21st October. “I would love to encourage as many people to come as possible – it’s really worth coming along! It’s a happy, vibrant and relaxed atmosphere, which captures the essence of the neighbourhood. If this corner of London is accessible to you, it would be a shame to miss it. Last year’s event on Store Street was a huge success,” she says. “It was attended by some 3,000 people, and the street was lined with fire sculptures inspired by 2015’s theme of light.”

The 10th Bloomsbury Festival is set to both captivate and represent the neighbourhood over its five days, and it’s one way in which the Bedford Estates maintains its historical links with the neighbourhood and continues its work here in modern day Bloomsbury, working closely with various stakeholders and the local London Borough of Camden to enhance the public realm and celebrate the cultural heritage of the area.

Cathal McAteer

Cathal McAteer


Words & Photography Kirk Truman


“I fell in love with clothes, the idea and process of making the best clothes that I could…”

Folk is a word that can refer both to a sense of tradition and to the ordinary people who sustain it. Making your way along Lambs Conduit Street, it’s also a word you’ll see adorning two shop-fronts: one at No 49, and another at No 53. Here, on one of Bloomsbury’s premier streets for both independent shops and bigger high-street names, Scotsman Cathal McAteer, founder of Folk Clothing, has established a brand that is now a name for refined style and quality.

Folk offers elegance enriched by subtle details to its products for both men and women. In essence, it’s about style without the drama. Detail is key to the brand: from the stitching and buttons to the fabrics themselves, there are no shortcuts or half-measures.

“We don’t try to be mainstream. We’re niche – it’s all about the small things” says Cathal. “We don’t go to the button shop. We take care of every single detail ourselves: we never compromise. The thing we come back to quite a lot is to have more than you show. We like things to be instantly recognisable, without a label or a brand on them. Everything is in the details – and in the hidden details, the textures and fabrics too. Some people might say we care way too much, or waste too much time doing these things, but we think this finishes pieces off in a way that makes us satisfied with the garment. It just happens to be how I like to do things, you know?”

Cathal founded Folk in 2002, and has since navigated between streetwear and the architect-designer aesthetic, helping create a scene for well-made casual clothing with a modern British edge. Cathal grew up in Glasgow, where he started out working in shops from an early age. “I’ve been working in fashion since I was about 17. I’m not from a design background, I started out working in shops and then later on ended up working as a buyer,” he explains. “My friend told me I should call it Folk, so I did. Sometime later he wanted to call his brand Folk, but I was already too far gone!” he laughs. “I basically always knew it was going to happen. It was a natural progression from what I was doing before. I’d been in Japan with a friend of mine, and these guys had asked me when I was going to start my own brand. Some people offered to pay for their orders in advance, which helped me get things started. For about five years I’ve always had another business that helped to fund Folk. The profits went into the brand, until we began working with a selling agency further down the line. It kind of started organically, and from there it went on to become what it is now. I fell in love with clothes, the idea and process of making the best clothes that I could, and making them as accessible as possible to consumers.”

Beginning as a menswear line, Folk has since gone on to expand into footwear, accessories, furniture and womenswear. Bloomsbury has long been the backdrop for the brand, with the first store having opened on Lambs Conduit Street more than a decade ago and its head office based just round the corner on Emerald Street. “I guess I’ve always been a bit of a hippy at heart,” says Cathal. ”Our customer is really into clothes. They recognise quality and craft in products – they posses a real vanity for covering up vanity.” Looking back, he admits “the first few collections were truly shit. But as time went on we found our way. A friend of mine asked to meet me for a pint on Lambs Conduit Street way back. He told me if I was ever going to have a shop, I should have it here.” It turned out to be a wise decision. “Back then, there was nothing here compared to what there is today. To me, it’s a great position in London – it’s set perfectly in the middle of town. I’ve worked all over, but this is as perfect as it gets.” In the future, Cathal intends to evolve Folk and keep it embedded here in London, mentioning the possibility of a potential third store on Lambs Conduit Street in the near future. Whatever lies ahead for the brand, Folk’s roots will remain right here in Bloomsbury where it all started.

 

Grant Museum of Zoology

Grant Museum of Zoology


Words & Photography Kirk Truman


“He was a biologist 30 years before Charles Darwin ever published. He taught Darwin evolution. Grant was his mentor…”

One of the great pleasures of living in Bloomsbury is its constant ability to surprise, to give up a new secret, to reveal another hidden gem. I’m almost ashamed to admit that it was only a couple of years ago that I discovered one such secret, a wonderful cabinet of curiosities that had hitherto gone under my radar. I speak of Bloomsbury’s Grant Museum of Zoology on University Street. I met Jack Ashby of the University College London Public and Cultural Engagement Department to learn something of the history of this remarkable collection.

Jack tells to me that the museum’s name derives from Professor Robert Edmond Grant (1793-1874), who established the Museum of Zoology and Comparative Anatomy in 1827 to serve as a teaching collection at the then newly founded University of London (what you and I now know as University College London). Born in Edinburgh, Grant studied medicine at the University of Edinburgh and became best known for his work on marine invertebrates, in particular sponges, sea pens and molluscs. “Nobody has ever heard of him. He’s not in any way famous, though he should be. He was one of the earliest evolutionary biologists. He was a biologist 30 years before Charles Darwin ever published. He taught Darwin evolution – Grant was his mentor,” says Jack. Grant was the first Professor of Zoology and Comparative Anatomy in England, and upon arrival at London University found there were no teaching materials with which to conduct his courses – so he immediately began to amass specimens, material for dissection, diagrams and lecture notes. On his deathbed, he was persuaded by colleague William Sharpey (1802-1880) to leave his considerable collection of books, academic papers and natural history specimens to the college. This ensured that successive generations of students would have access to his knowledge. While, sadly, Grant’s personal papers have never been found, his collection forms the basis of the museum today.

The collection has grown organically over time up, getting considerably larger between the early 1980s and early 2000s when other colleges and universities throughout London began to donate their own collections to the Grant museum. “They had decided they no longer required any sort of collection of zoology,” says Jack. “Animal biology had begun to go out of fashion, with people just teaching molecular biology and genetics. Today many universities in London have realised that you can’t teach a student what a tiger looks like by looking at its genes – you actually need some whole animal bits too!”

In absorbing a whole variety of collections, the museum has effectively become a museum of museums. Today, it houses a collection from the Gordon Museum – a collection of animal brains from the comparative anatomy collections at King’s College London – and Imperial College London’s entire fossil, skeletal and spirit specimen collection, which was transferred to UCL in the 1980s. Soon after, in the 1990s, primatology and fossil hominid materials were donated from the Napier Collection, along with subsequent donations from a variety of other sources throughout the city. A large majority of the specimens in the collection originate from the Victorian era, with many others having been on display for over 180 years. Among them you’ll find one of the rarest skeletons in the world, that of the extinct quagga, an unusual half-striped zebra from South Africa. It’s the only mounted quagga skeleton in the UK, and no more than seven quagga skeletons survive globally. The museum also boasts a number of wax models used in teaching and around 20,000 microscope slides, many of which are displayed on a giant vertical light box – which makes for interesting viewing, to say the least.

Having been traditionally only made available to students, the collection was fully opened to the public in 1997 for two afternoons a week; today, teaching takes place every day in term time and the Grant Museum is open to visitors six days a week. In over 170 years much has befallen the museum. In 1884, a ceiling collapse destroyed a number of specimens; there were further ceiling collapses and flooding in the 1890s; and by the 1970s the roof was completely missing. During the dark days of the Second World War the entire collection was evacuated to Bangor, and in subsequent decades it faced numerous threats of closure. In recent years, however, the museum has gone from strength to strength.

The museum itself has relocated many times. When it was opened to the public in 1997, the collection moved to the UCL Darwin Building. In March 2011, the museum was moved again, this time to the wonderful Rockefeller Building on University Street, which was formally the Medical School Library. The museum continues to be used as a teaching collection, just as it was in Professor Grant’s day. Today, it is fully accessible to more people than ever before through outreach and through public displays. Remarkably, the museum remains something of a secret from the wider Bloomsbury neighbourhood in which it rests. Jack Ashby and the staff at the museum fully encourage visits from the general public and are always keen to raise awareness of this hidden gem. The Grant Museum is sure to stimulate the imagination of anybody who steps into its corridors and explores its numerous odd exhibits. After all, with such a wonderfully eccentric collection on your doorstep, you’d be mad as a box of quaggas not to pay it a visit!

 

Skoob Books

Skoob Books


Words Chloe Moss

Photography Kirk Truman


“What makes Bloomsbury important is the culture that’s here…”

Exit Russell Square tube station, having conquered its seemingly never-ending steps, bypass the crowded Brunswick Centre, veer off the main shopping drag, and you will find one of the great treasures of Bloomsbury. In an unassuming location – next to Waitrose and down a flight of stairs – is Skoob, the second-hand bookshop that is home to possibly the largest privately owned book collection in the world. Venture down those stairs in search of a particular book and you will not only find it but most likely come away with several other titles you didn’t even know you were looking for. Yes, Skoob is a treasure-trove of a place, its tightly-packed shelves playing host to around 65,000 volumes on the shop floor alone, another 45,000 in basement storage, and around one million in a warehouse in Oxford. If you didn’t believe me when I said it was a large collection, those numbers should do the talking.

It’s fitting that Skoob – which opened 1978 on Sicilian Avenue, near Bloomsbury Square, and has operated from a variety of premises around London – is now back in the literary haven of Bloomsbury, where it has made its home for the past 9 years. With such a vast collection, your first question might be (well, mine was) where does it all come from? Chris, the manager and the man behind the seemingly endless rows of books, tells me that it comes from anywhere and everywhere. Oxford colleges, London academics, people downsizing, or their own lucky finds. Thankfully for Chris, we Londoners are typically short on space and always looking to shed a few volumes. The book collector of today is changing. Space is hard to come by, and even if you do have some room, downsizing is a reality. Not only that, but we’re constantly on the move. So as Londoners find themselves running out of space or leading a transient lifestyle that makes them reluctant to be weighed down, Chris and the rest of the Skoob staff are there to pick up the literary remains. They gather collections both great and small and of every conceivable genre to fill their shelves, which burst with books for every kind of reader.

“We undertake not to shred, and to find another read, another buyer, for a book,” says Chris. All of the books they collect, even yet more Jilly Cooper paperbacks, will eventually end up on the shop floor or on the carefully selected online shop. Skoob is committed to continually replenishing whatever sells with something better, so that customers are never at a loss to find something. Restocking happens every time a sale is made, but the process is not random. As Chris explains: “If I just replace that with any old book, then gradually the quality goes down. So what we need to do every time a book sells is replace it with a better one. Better than the gap that’s left.” It’s the sort of approach that demonstrates how much attention Skoob pays to its customers: the staff always want to find the right book for every shopper. “We recognise that all our customers are individuals and aren’t going to be herded into buying the latest fashion.”

I am one of the many customers to which Skoob caters. As a student I thankfully discovered Skoob not far into my first year of reading English Literature. I say thankfully because had I not taken a friend’s recommendation early on into my first few weeks of living a stone’s throw from Russell Square, my three years of education in London would have wound up being a lot more expensive. Even when I moved out of the area, I still returned to Skoob on a regular basis, not simply for practical reasons but out of a fondness for its packed shelves. I never left empty handed and rarely with just the items on my list; testament not just to my shopping habit, but also to how well stocked this shop is. If I went in looking for an affordable copy of Little Dorrit, I left with an armful of Faulkner as well.

The last decade has seen a huge change not just in the make-up of Londoners, but more specifically in the capital’s student population. They buy fewer books, and when they do, they go second-hand, both online and in penny-saving sanctuaries like Skoob. This is great news for the shop, whether students have grouped together and shared the cost of one reading list, or whether they go solo as I do. It’s great news for impoverished readers too, and makes Skoob an utter haven for people like me, looking to shave off some academic costs so there’s something left for cocktails. The easy atmosphere, extensive back catalogue and low prices make the shop a destination for London’s students, particularly given its location close to many university halls.

For regulars, students or bibliophilic tourists, Skoob is more than just a Bloomsbury institution and a shrine to the area’s literary history. As the shop continues to evolve and grow, as the staff forever restock the shelves, Skoob continues that history in the best possible way. Chris will keep buying books because of his desire to always delight his customers and to maintain the literary legacy of the area.

“One of the things about Britain is the vibrant literary culture”. Bloomsbury, synonymous as it is with the names of Virginia Woolf, Vita Sackville-West, and other key members of the Bloomsbury Group, has played host to much of that cultural history. The plethora of blue plaques and famous landmarks are a testament to this, and people flock here for that very reason. Despite its celebrated history, the area is increasingly in danger of being homogenised. Seventeen bookshops have closed in the area in the last 10 years. That’s why Skoob, in its dedication to continually cultivating its collection and looking to the future, is one of the most important treasures of Bloomsbury. Long may it remain here – if only to convince me that I need more Faulkner.

 

Store Street Espresso

Store Street Espresso


Words & Photography Kirk Truman


“We’re one of the few independent coffee shops that has remained independent”

Walk down Store Street and you leave behind the roar of the West End and cross the bridge into the more peaceful world of Bloomsbury. Starting at Tottenham Court Road in the west and ending at Gower Street in the east, Store Street is one of the most diverse in the neighbourhood, indeed in all of central London. Just a short walk from the British Museum and some of London’s top universities, Store Street Espresso has become a favourite with students, locals and visitors alike, making it a serious contender on London’s independent café scene.

Serving delicious artisan coffee since 2009, Store Street Espresso has fast became an institution on the street from which it takes its name and one of the best coffee shops in Bloomsbury. Boasting an excellent selection of sandwiches and pastries, as well as consistently delicious coffee, Store Street Espresso caters for a growing band of loyal customers. As you’d expect, they’re a diverse clientele, drawn from the neighbourhood’s mix of academia and commerce. The café was the brainchild of friends Rog and Jack. Having identified an impending coffee explosion in the city, they opened up with a simple aim: to offer great coffee to the people of Bloomsbury.

“Originally we just wanted to make some nice coffee, work with great equipment and have a cool space for the locals to hang out. On top of that it is always important that we provide a fun environment for people to work in, and for them to feel that they can have influence on what we do,” says General Manager Momo. Coffee is still at the centre of what they do, and their passion and enthusiasm for experimenting and trying new suppliers is evident both in their vast selection and on their Instagram feed, which on any given day is full of shout-outs to their most popular suppliers. “I’m open to all suggestions,” says Momo, “and because of that we were one of the first speciality coffee shops to produce cold brew, bulk brew filter and matcha, all of which has brought us a lot of success.”

It was this success that led to the opening of a second branch, closer to King’s Cross. “Honestly”, Momo tells me, “we were victims of our own popularity. We had reached the limits of what we could do in the space we had, the second store provided us with an opportunity to have an in-house kitchen so we could make our own sweets and offer cooked brunch for customers. It was a chance to try something new and different from the original, but to keep it familiar.” Recognising the need for expansion allowed them to grow the business on their own terms, and keeping their duo of cafes close together has facilitated this. The second Store Street Espresso can be found on Tavistock Place, not far from Russell Square, offering a port in the storm for anyone looking to escape King’s Cross and enjoy a peaceful interlude of coffee, cake and people-watching through the vast street-facing windows.

“All we knew was that we wanted it to be simple, minimal and different.” This signature minimalist style runs throughout every element of both locations. The relaxed café is a haven for students escaping the library, busy freelancers seeking a bit of human interaction and tourists and locals in search of sustenance and a break in their busy day. The minimalist interiors keep the space light and airy, with few distractions other than the array of tempting treats on offer. Store Street Espresso sources from anyone and everyone: local suppliers, recommendations or requests from regulars, or members of the team championing something they’ve discovered. This collaborative approach fits well with the community vibe that the café shares with Bloomsbury in general.

Arriving at 40 Store Street, you’re quickly lured in by the distinct aroma of coffee. The skylights at the rear of the café make it feel a bit like an airy workshop, while the bright walls add to the cheerful feel. At present, those walls also illustrate Store Street Espresso’s dedication to the local community, hosting an art exhibition in conjunction with the upcoming Bloomsbury Festival.

Is Store Street Espresso Bloomsbury’s living room? Perhaps. What is certain is that it guarantees excellent service and some of the best coffee in the area – not to mention the perfect vegetable quiche. It continues to be clear about its aims: great coffee for every taste, and a relaxing environment for people to visit. As Momo puts it, “We’re one of the few independent coffee shops that has remained independent, Jack and Rog still work closely with the team every day.” Expansion will hopefully continue for Store Street Espresso as they explore new locations, but they intend to stay anchored in Bloomsbury – with the area’s unique community feel, it remains the ideal base of operations.

 

Julia Lundsten

Julia Lundsten


Words Chloe Moss

Portraits Etienne Gilfillan


“When designing clothes I always felt like the body says what the clothes look like… but shoes are always the same.”

My first thought upon being handed a pair of towering FINSK heels was that I was about to take a tumble. Being slightly lacking in grace and poise, I braced myself for at least a wobble. But once I’d donned the striking colour block shoes with their cut-out heels I soon realised that not only was I not going to fall, but that my feet were surprisingly at home in this initially scary footwear. If even I can stay upright, then it’s testament to the fact that FINSK shoes are as functional as they are eye-catching.

Created in 2004 by Finnish designer Julia Lundsten, FINSK has become synonymous with avant-garde yet entirely wearable designs, championing an architecturally driven aesthetic and a simplified colour palette. With an emphasis on a modern, structural look, FINSK keynotes include cut-out heels and colour blocking, eschewing frills and embellishments and letting the shape of the shoe do the talking. Most importantly, Julia’s shoes take into account comfort, and actually allow the wearer to move. Whilst collaborating with Dutch fashion designer Iris Van Herpen for her Spring/Summer 2016 collection at Paris Fashion Week, Julia was a huge hit with the models, who told her they were in awe of how easy the shoes were to move in. “All the models were like ‘Wow! I feel like I can run around’”. So although the shoes make an intimidating first impression, they are ultimately founded on a strong understanding of practical components, making for incredibly wearable design.

The focus on architectural influences comes naturally to Julia, whose parents both worked as architects. Having studied fashion design at the Royal College of Art, she realised that footwear was her true passion because of her appreciation for structural design. “When designing clothes I always felt like the body says what the clothes look like – because someone is big or someone is thin and they look so different – but shoes are always the same.” After graduating in 2003 Julia worked on a freelance basis for numerous clients whilst honing her own design plans. By working for a Brazil-based company she was able to explore what would become the base for her own future studio and had the opportunity to begin working on her own collection while still learning from other, established brands. After a year or two, Julia launched her first collection and FINSK, with its distinct brand identity, was born.

Having gained access to Brazilian ateliers through her freelance work, Julia made the decision to base her own factory there because of the highly skilled craftsmen, and the opportunity to ethically source every material going into her shoes. Her guiding principle was that “we never use leathers just for the sake of the leather”, so the primary materials for the shoes come from animals farmed for meat, rather than solely for their hides. Basing the atelier in Brazil also allowed her to take advantage of local craftsmanship and the unique techniques used in shoemaking there. With Brazil hosting fourteen people working on the practical side, two others overseeing the work, and Julia and her business partner based in Bloomsbury, FINSK operates with a relatively small team, allowing the collections to feel like a genuinely collaborative effort.

FINSK hash numerous shared credits under its belt, having worked with the likes of Basso & Brooke, Marimekko, Tia Cibani and Ports 1961 to create footwear to accompany their respective runway collections. There is also the collaboration with Iris Van Herpen for Spring/Summer 2016. Van Herpen’s collection combined craftsmanship with technology in a line that involved laser-cut, highly structural pieces. Julia’s footwear, then, with its sky-high and intricately carved heels in nude and black, provided the perfect accent to a collection that focused on sharp shapes.

Another exciting collaboration sees FINSK teaming up with Finish heritage rubber footwear brand Nokian. Famous for their wellington boots made using natural rubber, the brand’s secret formula, created in 1989, is still used today. The challenge for Julia was to combine her own techniques, established over a decade, with those of a European-based factory to create something that represented the FINSK aesthetic. Having worn Nokian boots as a child, Julia wanted to create versions that she could wear as a busy adult. The collection itself showcases the artistry of both brands, with the distinctive FINSK stamps of colour blocking and a structural heel transforming the humble wellington into something that you might even wear to the office.

Having introduced a unisex line, Julia continues to showcase the diverse nature of her designs, as well as responding to the ever-changing landscape of the fashion industry. FINSK has long since ceased to adhere to the traditional fashion calendar, preferring to respond to their clients’ desire to shop the looks they want when they want – and many international brands are now following suit. While some buyers seemed initially bemused by Julia’s intimidatingly architectural shoes, the response has been overwhelmingly positive. FINSK has built a loyal following and continues to offer exciting and challenging designs.

Brunswick

Brunswick


Words Mary-Rose Storey

Illustrations Ross Becker


“…it’s as though you’re living in the clouds, not just looking at them.”

A 1960s concrete housing estate is not an image that springs to mind when picturing the architecture of Bloomsbury but The Brunswick Centre has more in common with the elegant Georgian squares of the area than one might think.

As the architectural journalist Steve Rose wrote in The Guardian “By anyone’s standards, the Brunswick is a radical building. It would be a great setting for a sci-fi movie, with its huge concrete frame, elevated walkways and stepped ranks of apartments with curious angled windows. It’s such an odd building, variously called a “superblock” or a “mega structure”. Its banked ramparts and soaring service towers bring to mind the fantasy designs of the Italian futurist Antonio Sant’Elia; but more commonly, the Brunswick’s raw concrete and structural articulation put it firmly in the new brutalist school, alongside other ambitious structures of the time, such as Sheffield’s Park Hill housing estate or London’s Trellick Tower.”

Built in 1964 by architect Patrick Hodgkinson, based on studies by Leslie Martin, The Brunswick has had a troubled history. Initially it was intended as a private development and planned to be much larger, extending all the way to the Euston Road, but the Ministry of Defence, whose Territorial Army headquarters was in nearby Handel Street, refused permission for Camden Council’s compulsory purchase, using the excuse that the building contained a very large, hydraulically mounted gun – what if war should break out during the moving process?

Another problem for the development occurred when, in 1964, the newly elected Labour government brought in rent controls and agreed to rehouse all tenants evicted by compulsory purchase. Camden Council signed a 99-year lease in 1966, and the potential buyers of The Brunswick flats pulled out when they realised they would be sharing the building with council tenants. The developers still kept ownership of the structure and the shopping areas but the original designs were compromised due to lack of funds.

The concrete exterior was designed to be painted Crown Commissioners Cream, in keeping with the Georgian buildings of the area, but the concrete was left unpainted, resulting in unattractive streaking and water seepage problems. Over the years, the building fell into disrepair, shops began to close and it became litter-strewn and uncared for. Only the Renoir Cinema remained as a beacon of culture.

But salvation was at hand. Allied London Properties bought the freehold in 1998. Luckily, the founder, Michael Ingall, liked the property and hired Patrick Hodgkinson to submit a revised scheme. He brought in David Levitt (who actually lives at The Brunswick) and David Bernstein, who both worked with him on the original design and in November 2002, the £22 million project began. The exterior was cleaned and painted in a cream colour (Desert White). A large Waitrose store opened and The Renoir Cinema became The Curzon Bloomsbury.  New shops, cafes and restaurants were attracted to the centre and it began to be used as the architects’ vision had intended: a London village with a thriving mixture of flats and businesses, the sloping glass roofs giving the residents hours of light and sunshine.

The Brunswick is now Grade II listed and though adored by most of its residents, it has always had a love-it-or-hate-it reaction from the wider public. It has been variously described as a “Bloomsbury Prison”, “Alcatraz”, “Planet of the Apes” or, more affectionately, “Like some giant spaceship landed in genteel Bloomsbury – really cool”. The Italian film director Michelangelo Antonioni, who used locations of bleak urban landscapes to depict modern alienation, featured the Brunswick Centre in his 1975 film The Passenger. Its star, Jack Nicholson, can be seen striding across the square to meet Maria Schneider, who waits for him on the (since demolished) steps.

When reviewing Todd Longstaffe-Gowan’s book The London Square, A.N. Wilson remarked on its failure to mention The Brunswick, stating: “It managed to achieve the sort of living space provided by the ideal square. It combines the qualities of Inigo Jones’s sunny piazzas and the domestic intimacy of Canonbury and the Lloyd Baker Estate.” The film director Jack Bond, who recently moved to The Brunswick, finds the building inspiring: “I love its brutal simplicity. Also the sky plays such a dominant part – it’s as though you’re living in the clouds, not just looking at them. From any angle, you tend to look up because you’re in this valley, this trough of buildings created by a triangular centre part. The other thing I like is that it’s a gathering place for people to come and relax, have a coffee or a meal or go to the cinema. When I look across at the flats opposite, it reminds me of those Spanish mountain villages where houses are tiered above each other.”

When architect Brendan Woods moved into The Brunswick 22 years ago, he found it a bit like Eastern Europe in terms of its general decrepitude. He was a personal friend of the architect Patrick Hodgkinson, who sadly died in February this year at the age of 85, and wrote Hodgkinson’s obituary for the RIBA Journal. He likens living at The Brunswick to living on a sailing ship. As he wrote in the Architectural Review in 2007, after the restoration work was completed: “I think the transformation is near miraculous after the years of neglect. ‘The SS Brunswick’ stranded in Bloomsbury (a bit like the SS Great Britain malingering in the Falkland Islands) was weather-beaten and appeared semi derelict.  The stained concrete and render added to its sense of abandonment and neglect. Patrick Hodgkinson had always intended that the building be painted but was thwarted by McAlpine who wanted to save money.”

Woods is hoping to develop the idea of ‘greening’ the building by introducing much more planting (new owners, Lazari Investments, support this idea and have said they will provide irrigation). He loves The Brunswick because he finds it wonderfully private with a sense of being far away from other people. He doesn’t consider the architecture ‘Brutalist’, which he thinks a much-abused term.  “I have grown to appreciate what an extraordinary achievement it is. Few architects can boast of anything comparable.” As Alan Powers wrote some years ago about the portico to Brunswick Square: “Against the evening light, or on a winter’s evening, the tall thin columns standing out against the chiaroscuro background provide one of the few genuinely sublime architectural sights of London.”

Continental Stores

Continental Stores


Words Chloe Moss

Photography Kirk Truman


“We are drawn to Bloomsbury. The clientele, the mix of students, academics, tourists, residents and business workers, provides a wonderful eclectic mix I doubt we could find again in such a small area of London”

The coffee scene in London is pretty crowded. I’m talking physically, of course, given the way in which I navigate, on the daily, through crowds of people in my local haunts with the determination familiar to many a disgruntled, deadline-ridden freelancer looking for their preferred table (close to a plug socket) and a caffeine fix. It’s more than just that, though. Since the city saw a boom in independent coffee shops five or six years ago, everywhere you turn you’re forced to choose between three independent coffee bars, each staffed by men with impressive beards standing behind marble counters with exposed light bulbs overhead. That’s not to say I don’t love the latte art and the highly photogenic interiors that dominate even my Instagram feed; but if we’re honest, such is the embarrassment of riches we Londoners face, it sometimes feels as if we have too much choice. That’s where Store Street Espresso comes in.

The story behind Store Street Espresso begins, predictably, at 40 Store Street, from which the café takes its name. The busy street, home to a multitude of cafés, restaurants, bars and bookshops, sits under the watchful eye of the nearby British Museum, and Store Street Espresso has been part of it since 2009. Initially conceived by friends Rog and Jack, who spotted an impending coffee explosion in the city, its aim was simple: to offer up really great coffee to the people of Bloomsbury.

Momo, the General Manager, explained the initial concept. “Originally we just wanted to make some nice coffee, work with great equipment and have a cool space for the locals to hang out. On top of that it’s always important that we provide a fun environment for people to work in, and for them to feel that they can have an influence on what we do.” Coffee is still at the centre of what they do, and their passion and enthusiasm for experimenting and trying new suppliers is evident both in their vast selection and on their Instagram feed, which is crowded with shout-outs to their most popular suppliers on any given day. “I’m open to all suggestions, and because of that we were one of the first speciality coffee shops to produce cold brew, bulk brew filter and matcha, all of which have brought us a lot of success.”

This success led to the opening of the second branch closer to King’s Cross, a café I’ve frequented on many a daily jaunt. “Honestly”, Momo tells me, “we were victims of our own success. We had reached the limits of what we could do in the space we had. The second store provided us with an opportunity to have an in-house kitchen so we could make our own sweets and offer cooked brunch for the locals. It was a chance to try something new and a bit different from the original, but keep it familiar.” Recognising the need for expansion allowed them to grow the business on their own terms, and keeping their duo of cafes close together has further enabled this. The second Store Street Espresso is nestled in Tavistock Place not far from Russell Square, offering a port in the storm for anyone looking to escape hectic King’s Cross for a peaceful interlude of coffee, cake and people-watching through the vast street-facing windows.

“All we knew was that we wanted it to be simple, minimal and different”. Their signature style runs throughout every element of both locations. The relaxed café is a haven for students needing a break from the British Library, freelancers seeking some human interaction and tourists and locals looking for sustenance and a pause in their busy day. The minimalist interiors keep the space light and airy, with few distractions other than the array of tempting treats on offer. Store Street source from anyone and everyone: local suppliers, recommendations or requests from regulars, or members of the team championing something they’ve discovered. This collaborative approach lends itself to the community vibe that Store Street Espresso shares with Bloomsbury in general.

Just as Bloomsbury, with its rich history, acts as a hub for British literary culture and attracts an eclectic mix of people, so Store Street has become a hub for a similarly diverse clientele. With the surrounding streets crowded with students, tourists, local residents and stressed-out freelancers alike, there’s no shortage of exciting new people to meet as well as loyal regulars. Store Street continues to be clear about its message: great coffee for every taste, and a relaxing environment for the customers. And, as Momo adds: “We’re also one of the few independent coffee shops that has remained independent. Jack and Rog still work closely with the team every day.” Expansion will hopefully continue for Store Street Espresso as they explore new locations, but they intend to stay anchored in Bloomsbury – with the area’s unique community feel, it remains the ideal base of operations.

Dalloway Terrace

Dalloway Terrace


Words Kirk Truman

Photography Simon Brown


Cross Tottenham Court Road to Bedford Square, and you’ve left Fitzrovia and entered Bloomsbury. There’s something quite distinct – unique, even – about this part of London; you feel its charm as you pass Bedford Square’s central garden and make your way down Adeline Place to Great Russell Street. Home to a number of hotels, an art supply shop, a furnishing store, and numerous cafés and restaurants, it’s a traditional London thoroughfare, but one that somehow encapsulates Bloomsbury’s neighbourhood spirit. Recently, a new arrival has added still further character to the street.

A carefully curated collection of eight family-owned luxury and urban hotels, the Doyle Collection is spread across superb locations in London, Dublin, Washington DC, Cork and Bristol. Each hotel has established a strong identity closely connected to its location, and a slice of its cultural setting is woven into the fabric of each building and the experience of its guests. With 153 rooms and suites on offer, all promising luxurious comfort, The Bloomsbury is at the heart of the neighbourhood whose name it bears. Tucked away on one side of the hotel is the newly unveiled Dalloway Terrace, taking its name from the eponymous character in Virginia Woolf’s 1925 novel Mrs Dalloway. Evoking Woolf’s own literary attachment to the neighbourhood, the new bar and restaurant, like the hotel as a whole, taps into the history and spirit of the area.

Accessible from either the main entrance of the hotel, or via the carefully concealed side entrance, the main terrace area is peaceful and charming, carefully hidden from Great Russell Street and the hustle and bustle of nearby Tottenham Court Road. The fully heated indoor/outdoor space is open throughout the year, offering all-day dining from 7am-11pm and a menu overseen by The Bloomsbury’s Head Chef, Paul O’Brien. From light breakfasts and small plates to more substantial culinary delights, the menu caters for both those working in the local area and guests staying at the hotel itself. Small plates include seared tuna and pickled radish with wasabi, and the all-day dining menu features favourites like Lamb cutlets and broccoli champ with mint béarnaise or hand-dived seared scallops with spinach, chanterelles & teriyaki dressing. There are also daily specials, which change throughout the week.

Dalloway Terrace is also a perfect meeting spot, serving coffee and traditional afternoon tea, as well as a wide range of cocktails, all inspired by the Bloomsbury set, that influential group of English writers, intellectuals, philosophers and artists that put the area on London’s artistic map. The terrace area feels like a secluded secret garden hidden away from the city; it boasts a fully retractable roof, making it inviting in the autumn and winter and the perfect alfresco hideaway in the spring and summer. The design of Dalloway Terrace was created by Alexander Waterworth, Interior Designer for London’s Annabel’s, Q on The Roof and High Road House, as well as The Musket Room in New York. His work brings an elegant and quintessentially British feel to the space. Tucked away under the terrace is a concealed lower floor, otherwise known as The Bloomsbury Club Bar. Here, Waterworth has taken inspiration from the bohemian 1920s and 1930s and added a modern twist: the results are truly memorable.

In contrast to the tranquillity of the terrace, the lower-floor bar feels discreet and exclusive; as you descend the staircase, you are transported from one realm to another. Upstairs menus feature a floral motif based on the technique of preserving fresh flowers, while downstairs, classic typefaces evoke a comforting sense of nostalgia that blends seamlessly with the stylish contemporary setting. The setting resembles a hidden grotto or an old railway arch. From its glassware, cocktail techniques, hand-illustrated menus and dim setting, it makes quite an impression.

Both venues are appealing enough to while away the evening in. Perhaps the ideal would be to enjoy cocktails and a relaxed dinner above ground and then to disappear quietly below decks for a discreet postprandial tipple: think a fine whiskey or a glass of Champagne. Dalloway Terrace is very much in its infancy, having only opened its doors back in the spring, though what already resonates is its connection with the surrounding Bloomsbury neighbourhood. Having built relationships with many local businesses, residents and figures in the area, Dalloway Terrace has the potential to become ‘Bloomsbury’s living room’ in the years to come. For breakfast, lunch or dinner, for a daytime meeting or an evening drink, stop by at any time and see for yourself.