behind closed doors Vine takes a guided tour with Robert Sackville-West of the unseen attics of Knole Words Charlotte Luxford. Pictures Christopher Porter
K “Knole is a vast labyrinth... On the way, you encounter the most unexpected juxtapositions: an eighteenth-century fire engine here, a range of cobwebbed classical busts there; a faraway attic room where Victorian wash jugs jostle with Greek pottery; corridors where First World War military uniforms and cavalry boots tumble out of cupboards, phials of laudanum lurk in Victorian medicine chests, and love letters from another age curl on the windowsill.” Inheritance; The Story of Knole and the Sackvilles, by Robert Sackville-West
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n the face of it, Knole House has always conjured up mixed emotions, predominantly due to its awe-inspiring exterior which on a summer’s morning impresses a feeling of splendour, but its sodden Kentish ragstone can strike a rather sombre note on a winter’s day. It is not its exterior however, but its secret passageways, its dusty, untouched treasures and its infinite attic space which hold the enchantment of this magnificent building. As a child, Robert Sackville-West relished discovering the nooks and crannies of these derelict and magical attic rooms; on the morning we arrive to meet him for our tour, he greets us with the same keen enthusiasm you might imagine when he was young. It is during this time climbing roof tops and winding staircases with Robert we discover the true essence of Knole, its extraordinary history and about those who lived and breathed Knole...
Tapestry Passage is one of Robert’s favourite places; a small, narrow corridor packed with dusty treasures, from broken pottery to military clothing belonging to his great uncle Charlie (above). Robert likes to keep much of the room the way it is to maintain the spirit of the place and its history: “Every detail holds a story: the portraits, and all the junk which the subjects of those portraits left behind, point to pivotal moments in history.” § An impressive assortment of souvenirs from
various travels, including paintings, photographs and furniture, are chaotically collected, yet somehow artistically composed in this one attic space above the King’s Room (following page). A newspaper from 1946 rests on a table as if it were placed there yesterday alongside Lord Sackville’s labelled ‘mattrass’; nineteenth century deer hooves sit comfortably on the creaking wooden floorboards and a leather case with painted portraits for the purpose of travelling abroad is
left open. While objects rest idle there is a sense these rooms are still lived in – Robert’s children have cheekily written their names in the dust on mirrors and it seems possible that Charles Sackville-West might walk in to pick up The Times he left there in a moment of distraction (above). § The leopards are a recurring theme of the house, installed by Thomas Sackville in the sixteenth century. He turned Knole into a Renaissance palace, creating a show house to demonstrate
his success, with the leopard emblem playing a significant part in the grand display. The leopard is embossed on the ceiling of the Retainers’ Gallery and 27 impressive heraldic stone leopards carrying the family coat of arms stand proud on gables (following page). Vita Sackville-West in her book Knole and the Sackvilles stated: “There is here no flourish of architecture, no ornament but the leopards.” § The numerous galleries maintain a delicate balance of careful, ongoing
restoration and elegant chaos – Lord Sackville’s charming old trunk still remains intact as if it were still very much in use and objects lean absently against the walls. The Retainers’ Gallery, however, is in much better shape than it was after the devastating storm of 1987. A discovery of a Boulle cabinet was nearly consigned to a skip, but instead was rescued and sold for over £1 million at Christie’s, paying for the restoration of the park. § The clock tower began as The Bourchier Tower
in 1456-86 and the clock itself was added later in c.1743 from the roof over The Great Hall. The bell is inscribed, “St. George is my name. May my sound be pleasing to God. I was cast in 1540 by Jan de Steg.” § An important job for the staff at Knole would be to clear the snow off the roofs during the winter months. Here, an impressive documentation of pencilled names, dates and measures of snowfall are scrawled on the walls over several generations (above). v
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ith such busy lifestyles, most of us tend to put off that much-needed DIY. Getting your partner (or, heaven forbid, yourself) to install a quick-fix, flat pack piece to hide all that clutter on a rare bank holiday is not exactly ideal. Help is at hand, however, as the innovative company Pah Designs have the modern-day answer to your storage needs; with their ‘virtual showroom’ you can sit on the sofa and choose your wardrobe on your laptop and get it expertly fitted without any hassle. It’s the perfect solution for those with no time on their hands, yet an urgent need for space. Some may think of fitted wardrobes as more of a compromise rather than a stylish focal point, yet Pah Design’s wardrobes are beautifully crafted, Italian design pieces. If you’re feeling flush, they offer stunning walk-in wardrobes, which would make Sex and the City’s Carrie Bradshaw green with envy; so beautiful are their designs you almost want to buy shoes and bags just to accessorise the wardrobe itself. Owner Paul Humphriss is completely dedicated to his work and extremely meticulous when it comes to finish and design. His attention to detail has been a constant throughout his career, with a keen eye for quality, having worked in the antiques trade at the reputable Warwick Antiques and he has also acted in senior positions at top kitchen and furniture companies. Paul makes sure the wardrobes become part of the entire interior design concept, which can be both matched sympathetically with vintage pieces as well as contemporary ones. The wardrobes come in a wide range of finishes from gloss lacquer to silk screen glass in vibrant retro-inspired hues for those looking to inject a little colour and beautiful, understated tones for those looking for something a
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little more subtle. The virtual showroom has an entirely comprehensive range of samples to choose from; you can then speak with Paul personally on the phone to discuss the space and its dimensions. Even if it’s an awkward area, Paul can still offer you an effective storage solution and send detailed design presentations, with your personal style and budget in mind, to help you realise your dream interior. Once the plans have been finalised, the fittings are exclusively designed to suit your requirements and installed by Paul’s expert team. While the business is predominately online, if you’re not so internet savvy, or would simply prefer Paul to come in person, he is more than happy to meet with you to discuss your fitting. Even if you decide to take the online route, it’s less of a ‘buy it now’ service; you are invited to discuss it at length, customise the design, finishes and sizes to ensure that you can purchase with absolute confidence and put your mind at ease. Paul isn’t just a wardrobe specialist – he has currently just launched a new website focused on contemporary bedroom furniture with stunning ranges, from minimalist chic to perfect bachelor pad furnishings. Paul is also passionate about the great mid-century designers such as Le Corbusier and Eileen Gray, with a website, The Chair Lab, dedicated to offering these classics. With Paul’s enthusiasm for incredible design and providing a top quality service, clients could easily kit out their entire home with his online offerings – many do! n For more information on Pah Design Ltd, call 01926 88 69 60 or 07746 072 449 and visit www. walkinwardrobezone.com, www.thechairlab.com, www.contemporarybedroomfurnitureuk.co.uk
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6 vine November 2010 onlinevine.co.uk
In a rare interview, leading British historian David Starkey tells Vine his views on the Royal family, his “soft-spot for Sevenoaks” and why he feels naked without his favourite comb
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WORDS CHARLOTTE LUXFORD
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avid Starkey is famous for his ability to excite all sorts of passions; he’s been dubbed “the rudest man in Britain” and is known for revelling in his own controversial behaviour. Yet, he has curated some of the best historical exhibitions in the country and is now well known for his hugely popular television series on Channel 4, Monarchy. However, more recently and perhaps most importantly, he has painstakingly condensed our British history into around 500 pages of engaging and animated narrative entitled Crown & Country. Despite his reputation, this interview reveals a man who is compelling, dramatic and keen to share his enthusiasm. As one of the leading historians of this century, he is also here to educate modern-day Britain on our monarchs who were sometimes mad, eccentric, truly great and most of all, part of our ancestry that make us who we are today. Vine: Why do you think it is important for British people to know about the history of their country? DS: I think it is important for two reasons; human beings without a knowledge of their past is like a form of Alzheimer’s – not knowing where we come from, who your ancestors were, what they did and why they did it is hugely important and the consequence of not understanding this is practically like trying to read a foreign language. The second reason is that history is jolly exciting and it is simply human nature to be curious, to learn about the ancestors who shaped our words, values, institutions and laws of today. Vine: Do you believe that the traditions of the monarchy should remain the same or adapt to suit modern-day society, or do you think they already are? DS: Well they’ve all got a bit willy-nilly haven’t they? It’s astonishing how much the institution has changed – it is much like the seventeenth century rebellions which put the monarchy into question. The twentieth century monarchy has come to mirror our own confusions on traditional values, such as the nature of family – continuity is hugely important to Charles in some ways, yet he is the most famous marriage breaker in the world. However, it shows that we are all human doesn’t it?
Here, I make a subconscious slip of the tongue when I ask David about the historical figures in the book and which are his favourite. I accidentally called them “characters” and aim to rectify my mistake when David quickly steps in: DS: It’s funny you chose the word character isn’t it? Because they really are, aren’t they? I chose to write about the monarchy not just because it was a popular subject, but the monarchy is the only institution which has always existed in some form or other and it makes a wonderful story. Alastair Campbell always understood the importance of narrative; it is important to have biographies, stories, and personalities whether they are madmen or great men. However, trying to condense British history from the Romans to modernity into 500-odd pages was not an easy feat and so I had to be ruthless – heads would be rolling everywhere! I suggest that I am particularly fond of his description of Alfred the Great; Alfred’s own self-invented persona which may seem arrogant, yet quite justified according to David, having written in Crown & Country: “Alfred’s achievements matched the grandiosity of his vision”. DS: Alfred was remarkable wasn’t he? He learnt Latin and began to seriously translate it while also doing all his kingly duties; he puts texts into English and becomes a populariser of the language – a large part of the reason I find him so incredibly attractive. Before Henry VIII, he was the only other king to actually write a book! I enquire which historical figure fascinates him the most, but I barely have to ask. DS: Of course it’s Henry VIII. It’s not simply because I have studied him my whole adult life but because his reign was a large turning point in history. There are very few figures that have changed from one world to another; Britain was largely a content, Catholic country, but Henry was the original Euro-sceptic and he turns Britain into this seemingly weird and eccentric island. Vine: Where is your favourite historical place? DS: It has to be Ightham Mote; it was the very first house I studied seriously and it was one of my students who lived in Sevenoaks that suggested I go there. I looked at the badges and decorations in relation to
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INTERVIEW
Richard Clement and Henry VII and Henry VIII. It was the first time I really broke away from library studies and actually started studying real things – it was really where my public career begins. Vine: What did you think of the Pope and Archbishop of Canterbury holding the first service together since Henry VIII’s break from Rome? DS: Well it is important and in a way it’s a good thing – Henry’s influence on religion is finally coming to an end and he’s had a good innings! The profound hostility once held against Rome has largely gone and Christianity is not as strong as it once was. While the sense that Europe as a hostile entity has largely vanished, there’s the new issue of politics, rather than religion when it comes to the EU. I actually voted in the referendum for joining the EU, initially believing it would be a very good thing, however, wanted I didn’t vote for was to turn all the countries into provinces, almost like the Roman Empire. Each country has such uniquely different economies and laws it is impossible to try and impose single rules and ideals. Vine: What’s the highpoint of your career? DS: Well, in the world of media you are only as good as your last success. But I don’t think it is too cruel to say that I probably began as the all-purpose media whore, especially
in my Moral Maze days! (He roars the most wonderfully mischievous laugh). But the pinnacle moment was probably April last year at the opening of the Henry VIII exhibition at the British Library. It was the point at which I had managed to bring all the various elements of my career together and it was a success – usually people hear ‘library’ and add the subtext ‘boring’, but the British Library has such a fabulous collection and those combined with amazing loans from the Vatican, I managed to achieve an exhibition that wasn’t just paintings; it was a mixture of objects, literature and art that relate to each other, bringing those people to life. I know that David is fond of Kent and has a home there, which he is more than happy to talk about. DS: It’s no mansion, but it’s a double fronted Georgian house with a nice garden – it’s very English. Every owner that has lived here has changed something so it’s a real mish-mash of history from eighteenth century to Art Deco. I do get a little unhappy when people try and re-instate one single period of history rather than leaving all the changes made – people lived in radically different ways over the years and my house reflects that. I have some great photos of the house taken in 1909 and in some ways it is absolutely similar, but when you look closer you also realise how different it is too; the garden is dramatically different and
you can see in the photo the windows had the old Victorian sun blinds that were so popular in their day. Vine: What are your most treasured possessions? DS: Well I didn’t inherit anything as I had a very humble background so everything is acquired. There isn’t really anything I can’t live without but it’s those little things, those particular objects that are part of everyday life that I just have to have. I have a very particular pen for example and if I’m not carrying my mock ivory comb in my pocket I simply feel naked! I even have my favourite shoehorn for God’s sake! Vine: What’s next? DS: Well I’m doing a new Channel 4 programme which will include teaching a group of around 10 boys and girls who have left school at the age of 17 and try and encourage them to re-engage with education. I have taught before, but never in front of a camera so I could fall horribly flat on my face! v ■ Crown & Country (Harper Collins, £25) available now
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he 19th-century Chesterfield is possibly one of the most iconic sofas ever created and one that is still incredibly sought-after today. As a classic piece, these sofas are easily matched with today’s contemporary styles, whether it’s a more ‘roughed-up’ model you’re after, or create your own style from scratch. One element that is constant throughout however, is the Chesterfield’s ability to sit comfortably in any interior space as a status symbol in its own right. One man who has recognised the value and desirability of the Chesterfield is former banker Harvey Mann, who has taken the idea of comfortable living to a whole new level with his successful business venture, the Original Sofa Company. Far from the chaos of his city life that used to be, working for the likes of Merrill Lynch, Harvey has turned to something more creative, producing quality Chesterfield sofas and lovingly restoring old ones to satisfy the demands of those in search of a classic. The showroom is centrally located just on the outskirts of Mayfair, creeping into the trendy Marylebone, laden with stylish interior design and furniture shops, making it a perfect location. It takes over 100 hours to make one single sofa; so dedicated are the craftsmen they only use the best
quality materials, aiming to achieve ultimate perfection. Having worked with 19th-century Chesterfields for many years, these experts want to reconstruct the quality of their ancestors’ efforts, so their sofas too will last for generations. After your very own bespoke consultation, work will begin on your tailor-made design. The Chesterfields are filled with loose horse tail lined with lambs’ wool and fitted with a hand tied coiled sprung base which is then covered in the finest russet leathers (the top one per cent of world’s leather), which is then dyed by hand. The craftsmen use only hammer and tack to fix the materials, so you know your sofa will endure all that wear and tear for years to come. It’s not just new ones that are on offer, however; ‘preloved’ or genuine antique Chesterfields can be purchased through the company and lovingly restored by the team if you wish. The work of the Original Sofa Company has not gone unnoticed; clients such as Harvard and Cambridge Universities, the Michelin-starred Pipe and Glass Inn and renowned chefs Gordon Ramsay and Jamie Oliver have found the company’s Chesterfields perfect for their interiors. Visit their showroom at 17 Seymour Place, London, W1H 5BS or view their full range at www. theoriginalsofaco.com For more information call 020 7723 0008 or 07748 606032
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The Arab Hall
18 vine February 2011 onlinevine.co.uk
palace of ART THE
P R I VAT E
Leighton House is one of Kensington’s best-kept cultural secrets. Vine explores this magnificent studio-home, the creation of exceptional 19th-century artist Lord Frederic Leighton
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Wo r d s C h a r lot t e lu xf o r d
Leighton’s bedroom
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n a quiet side street just off the bustling Kensington High Street, you may expect to find beautifully decorated homes with a handsome facade – that is not uncommon. However, what you may not expect to stumble across are a number of properties once belonging to a colony of highly successful 19th-century artists, known as the ‘Holland Park Circle’. They may not be apparent the first or even tenth time you walk down these interlinking streets, but once you look out for them, you begin to notice the blue plaques, the gigantic studio windows and the beautifully crafted 19thcentury houses. The group held open ‘Show Sundays’ and musical soirées in their studios, wooing the collectors and inviting fellow artists to admire and purchase the latest paintings in truly luxurious settings. Their prestigious dwellings were anything but modest. Journalists flocked to the studio-apartments to write about them, highlighting their architectural plans and the lavish interiors. This was the heyday of artistic Kensington and Lord Frederic Leighton was the pre-eminent figure in this circle. Leighton’s house may have a less extravagant exterior than some of his contemporaries’, but this extraordinary home deserves to be known as a ‘private palace of art’. Leighton was indeed a very private soul, yet each detail of the house stands as a showcase for his creativity, or a practical solution to aid him in his painting – he was simply dedicated to his work. Quite unusually, Leighton lived by himself and there was only one bedroom; a testament to his artistic dedication rather than practical living (opposite). A writer for Century Magazine noted the uniqueness of the property: “In every square foot of space there hangs or lies some work of art ancient or modern, peculiarly rare, choice, lovely. One feasts the eye perpetually upon forms of beauty.” Nothing about Leighton House is really ‘useful’, except Leighton’s tiny bedroom; with its bare, simple appearance, it was literally used for sleeping, giving nothing away about his character. However, that’s not to say that Leighton wasn’t sociable; quite the contrary, he was very much
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© CHARLOTTE LUXFORD
respected by many of his fellow artists and rose with ease through the ranks in the artistic and academic world, demonstrated by his election to President of the Royal Academy in 1878. Leighton’s house was a labour of love – he spent substantial sums of money creating his aesthetic vision, with good friend and architect George Aitchison. As an avid traveller with an interest in Persian and Arabic art, he spent several years collecting well over 1,000 tiles from the East, among other objects, to create a striking display in the Arab Hall, based on the 12th-century Palace La Zisa in Palermo, Sicily. However, not everyone agreed with his decorative use of abstract fragments, lifted from ancient buildings; Edward Burnes-Jones condemned Leighton’s use of the Islamic tiles: “There couldn’t be any gain in making public property of it, and to have all those splendid things from the East built up in such a silly way couldn’t please me, could it? And they could not be moved without endangering them. It’s a great shame.” At the forefront of interior decoration, Leighton acquired many objets d’art and was known as a ‘bricà-brac hunter’. Using his studio-house as a setting for his own personal collections and decorative antiques, he was quite cosmopolitan and forward-thinking for his time. He didn’t necessarily collect new objects from cutting-edge designers like James McNeill Whistler and Oscar Wilde did, but he preferred to create a ‘new’, fashionable look out of old and visually arresting objects. However, Leighton did go against tradition, as displaying personal objects went against the Victorian opinion that one should keep their private life separate from a public persona. But, this is how Leighton defined himself – he dedicated himself to the world of art and
The studio
his magnificent interior spaces reflect that. While Leighton’s adoration of Eastern culture is clear – his love of peacock blue pervades almost every room – he was also a traditionalist when it came to art. Many of the paintings in his collection were by artists closer to home, in particular his young contemporaries, including good friend John Everett Millais. One of Leighton’s greatest friends, however, was George Frederic Watts, who lived in nearby Little Holland House. Leighton was impressed by his large-scale murals and many exchanges of work occurred between these two artists as their friendship developed, working closely together on the academy’s exhibitions hanging committee. Giovanni Costa and George Heming Mason befriended Leighton in Rome in the 1850s and he continued to support them for years after. Leighton owned at least 10 landscapes by Costa and he commissioned a work entitled Wind on the Wold, which hung at Holland Park Road along with around 13 works by Mason. Leighton’s entire collection was sold at auction by Christie, Manson & Woods in 1896 when he died – an event which attracted a huge amount of attention. Leighton told his sisters they could sell the contents of the house and the house itself, giving the money to the Royal Academy. On his deathbed he said “Give my love to the Royal Academy.” His sisters tried in vain to sell the house with all its contents as a museum (as it is now), but it was deemed too impractical by many to live in and therefore they were forced to sell the contents instead. The works of Corot made an extraordinary 6,000 guineas, bought by an English nobleman, a
Millais’ Shelling Peas in the Silk Room
Gainsborough drawing was purchased for the substantial sum of £304 and the highest price out of the old masters was Tintoretto’s Portrait of Paolo Paruta, sold for 420 guineas. However, it was the modern works drawing higher prices, with Millais’ Shelling Peas achieving 750 guineas and Sir Lawrence Alma-Tadema’s Corner of the Studio making £1,890. With the dispersal of Leighton’s collection and the slow demise of the building, it seemed to be struggling, especially after suffering bomb damage twice during the Second World War, but post-war, it finally became a useful building (something that perhaps Leighton would never have expected), standing as an outstation for Kensington Central Library. Criminally, this resulted in the covering of the luminous gold leaf-stencilled walls and rich timber floors with white-wash and light flooring; it seems only the Arab Hall remained as a compelling reminder of what had once been a spectacular home. However, realising this building’s true potential, a concerted effort from Friends of the Museum in the early 1980s saw the beginning of the slow transition to its former glory. It was only with the turn of the millennium, when substantial investments were made by the Royal Borough of Kensington and Chelsea Council, that a major refurbishment and restoration project took place. The museum closed its doors to the public in October 2008 and, after much painstaking work, reopened its doors in April 2010 to reveal the magnificent ‘private palace of art’ it used to be. v
InterestIng facts about Leighton house
The staircase hall
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Leighton spoke five languages Leighton was a nobleman and a good friend of the Royal family The cost of the refurbishment on Leighton House cost 1.6 million The models had their own separate entrance to the house, with their own private area to get ready The peacock blue tiles in the staircase hall were produced by William de Morgan, at considerable financial loss Before Leighton House, Leighton rented briefly at 2 Orme Square, but was unhappy with the studio Leighton gave friend Alfred Gilbert £100 to produce a statuette of any style and subject; the result, Icarus, became one of the most influential sculptures of the period Leighton was bearer of the shortest lived peerage in history; after only one day his hereditary peerage became extinct Leighton was born in Scarborough to a family in the import and export business He designed Elizabeth Barrett Browning’s tomb for Robert Browning in the English Cemetery, Florence in 1861
n Visit Leighton House Museum, 12 Holland Park Road, W14 8LZ. For more information, go to www.rbkc.gov.uk/ leightonhousemuseum PICTURE CREDITS: © JUSTIN BARTON © ROYAL BOROUGH OF KENSINGTON & CHELSEA onlinevine.co.uk February 2011 vine 23
The much-loved Kirstie Allsopp talks to Vine about how to create your own ‘homemade’ home, where to buy secondhand furniture, her favourite designers and the truth about her and Phil WORDS CHARLOTTE LUXFORD
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irstie Allsopp has led the way in Britain’s desire for a craft revival, charmed potential house buyers (with a bit of subtle coercion in cases) and has a magpie’s eye for all things beautiful, whether it's a Victorian house or a piece of glass. Her talents and jolly character have made her something of a TV sweetheart, whether it’s her FHM award-winning curves or her sheer enthusiasm that wins you over. Kirstie hit our screens back in 2000, with copresenter Phil Spencer and their first series of Location, Location, Location, and now there's no stopping her. Her solo series Kirstie’s Homemade Home went down a storm and she is set to present more, including the aptly-named Vacation, Vacation, Vacation. She has also recently launched her own linen range, pulling on her background in interior design. Prior to her successful television career, Kirstie wrote for Country Living, worked for designers Nicky Haslam and Hindlip & Prentice, and studied History of Art at Christie’s – all of which gave Kirstie her knack for spotting properties with potential. Her latest endeavour is creating the true ‘homemade’ home. She has brought crafts and secondhand wares into our homes, with inspired interior design ideas that turn bricks and mortar into personal spaces. “Out with the new and in with the old” is her plea to homeowners and it is this trend sweeping across the nation that has stimulated a real creative frenzy in Britain.
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INTERVIEW
Where did you get your passion for creating your own homemade things? My father has worked in the antique business all my life and he also paints and draws and I was very fortunate; I was surrounded by beautiful objects and brought up with a desire to know how they were made. It’s one of those things, once you start on this path and learn about how the craftsmen create the pieces, it snowballs and you start making shows and then you hear people saying their stained glass courses are booked up until Easter and Peter Jones say there has been a spike in sewing machine sales and the whole thing is so positive – look at the news for example, you really want to slit your throat! So working on something that has no downsides and just encourages people to do things for themselves is a real treat. What advice would you give to our readers who wish to start making their own pieces? Well, I’m not that skilled and I’ve had the benefit of a very good tuition, so when you do the shows, you get the best people in and we’re doing it intensely for about four or five hours, whereas if you go on a night course in reality it would probably go on for at least five weeks. I always think, the thing to start off with is mending, and then you just build your confidence. There’s a lot of evidence that people chuck away things when they lose buttons! There’s a big, big fashion at the moment for sock animals and there are whole websites devoted to these. It’s such a nice and easy thing, and so sweet too! There was one animal a lady made earlier on today who brought it in for me to sign and it was very obviously a drunken reindeer, but it was just a sock – so it is an art form and you can represent things – I think it’s very clever actually. A few days ago someone gave me a piece of embroidery from Fine Cell Work, which is a charity that encourages prisoners to do crafts. It’s one of those examples of people benefiting psychologically and it was 80 per cent men funnily enough. So where would you suggest people go to buy second-hand? I would always say, familiarise yourself with places that are local, as you rarely find what you want the first time, so to make a big journey can be a bit frustrating. Everyone has local antique shops, charity shops and reclamation yards and if you get to know the people that run these places they can let you know when they have something for you. The other day, some pictures came in that the guy in our local antique shop just knew that we’d want so he put
them aside, and one of the best things about buying local is human contact. I’m still a huge fan of buying online; it’s easier, but you often don’t know who made it or who sold it and I think that’s incredibly important. What inspired your new home range? If someone had said to me five years ago, “Do you want to design your own bed linen?” I would have thought it was a completely crazy suggestion. However, after series one of Kirstie’s Homemade Home I was trying to source sheets for that and I really struggled so when I got a call from Ashley Wilde, who specialise in commissioning celebrities, I thought twice after they said there was a market for them. They have an incredible team there and they can take vintage fabric and adjust it – it’s an extraordinary process. Just this morning we were talking about the spring range and I think it’s safe to say it’s one of the most fun things called “work” that I’ve done in my life! So which of the crafts featured in the series is your favourite? Freestyle machine embroidery is up there, which is this crazy thing where you take your foot off the sewing machine and move the fabric any way you want and you end up with abstract stitching. I also like anything that involves heat, like melting metal, but the crafts I really struggle with are the ones that are mathematical – I’m still struggling with knitting and crochet – anything where you have to count and concentrate, I’m not inclined to do two things at once! Where do you shop for your outfits and do you have any tips on buying vintage? I tend not to buy vintage clothes because they don’t stand up to all that much when you are filming every day as you’re sometimes in the same thing two days running for continuity’s sake. For my clothes I’m the worst, because if I like it I buy all the colours, it’s a really bad habit! I only ever wear dresses; I have occasional skirts and jumpers if it’s very cold. At the moment there are two dresses I love in particular, both irritatingly American, meaning they’re more expensive, but they’re two small New York designers who have come up with absolutely brilliant, classically cut dresses – one’s called Tucker and the other is called S-Sung, those are the two I’m wearing a lot and I have six of each of those in all different colours! Who are your favourite fashion designers and interior decorators? I’m quite mixed with my clothes – Moschino, I’m quite a fan of – I also like Mark’s & Spencer, but I’m equally happy
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INTERVIEW to go to Alexander McQueen – I think his team is continuing to do fantastic stuff. If I’m going to spend money I’d start with McQueen and Moschino and then at midrange I like Jaeger a lot; I think what they’ve done recently is fantastic, they’ve completely revamped – Jigsaw too – it’s wherever I find a good dress and then I just go for it! I’m also a huge Stella McCartney fan; I’ve got two or three of her coats from this season! As for interior designers, well, Cath Kidston is my cousin and I think what she’s done is extraordinary – it’s a brilliant British brand that has spread across the world and I think that’s something to be proud of. My first job was working for Nicky Haslam and I’ve always admired him as a decorator. Jane Churchill I think is very talented – there are lots of people. I’m a big fan of wallpaper – it’s all sorts! How badly has the property market been affected by the current economic climate and recent spending cuts? It’s difficult for everyone as many are looking for indicators from national statistics and that just isn’t possible. It’s more of a regional change than a national thing; it depends on employment, house building, transport links and the schools and you have to do what’s right for you in your area and forge your
own path, but the thing that is national is that the pendulum had swung too much towards lenient lending and it’s swung back the other way and it’s now too restrictive in my opinion. I think that we have to have some sensible and rational lending and surveyors and mortgage companies need to know their stuff. You and Phil Spencer work closely together, do you drive each other mad or get on well? Well, we have a lot in common because he’s one of four, as I am, and he was brought up in the country and very close to his family. He’s absolutely devoted to his partner and he has two sons, so we start from that base point and we have a lot in common. We’ve been together for ten years – it’s a long time – I’ve been with him longer than I have my partner! I respect him as a talented negotiator, a dad and a husband and he’s an all-round nice guy, he’s really cool and we’ve done a lot together. We’ve got a new programme coming out, Vacation, Vacation, Vacation, in February, and he joined in Kirsty and Phil’s Perfect Christmas. He’s really fun to work with. v ■ Kirstie’s home range is available from House of Fraser www.houseoffraser.co.uk. Follow Kirstie on twitter @kirstiemallsopp
Your local blind and curtain maker
THROWING money OUT THE WINDOW?
Expert Shane Keens is dedicated to saving Kent’s sash windows. His message is “improve don’t remove.” Q My house has good insulation but the sash windows let in terrible drafts and I am concerned about the effect on my heating bills. What can I do?
You can select from a wide range of fabrics including the Casadeco range All our curtains and blinds are delivered fully pressed hung and dressed
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A You’re right to be concerned – no one wants to throw money out of the window. Renovating windows to ensure they seal properly can reduce drafts and noise ingress by up to 90 per cent and reduce fuel bills. To ensure your windows seal properly, I would suggest installing a brush pile system as part of a general overhaul. The best ones sit within timber parting beads and therefore do not change the window’s appearance. They are even suitable for listed buildings and conservation areas. Once you have stopped drafts pushing cold air into the room, then good quality, lined curtains will also help to keep you warm and cosy this winter. For a free sash window survey and estimate, contact Shane on 0800 731 5905. Find FAQs at www.SlidingSashSolutions.co.uk Sash window dilemma? Email Shane c/o Vine on hello@onlinevine.co.uk
DOORS OF
SE V E N OA K S Society is fascinated with what goes on behind closed doors but local photographer Sarah Murphy believes the doors themselves each tell their own story. Charlotte Luxford reports
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arah’s new work brings Sevenoaks’ eclectic mix of architecture together, uniting doors from some of the most prominent townhouses to the beaten old thatched hut on The Vine. Doors that seem worlds apart are brought together in this one art print. Following a foundation art course at Camberwell College of Arts and photography degree at the Surrey Institute of Art and Design, Sarah took her talent to London. She soon tired of lining others’ pockets and gradually set up her own business. Now, Sarah’s Sevenoaks-based studio has been running for five years and she has never looked back since. While Sarah is usually busy with studio portraiture and events, she decided to break away from her usual work to do something a bit more personal for this project. She said: “I love to walk around Sevenoaks and I just knocked on people’s doors and asked if I could photograph them. I wasn’t sure where it was going to lead, and it started as a bit of fun. I didn’t realise that doors were such a popular subject! “Sevenoaks’ doors are all shapes and sizes. Some beautifully decorated and some in need of a lick of paint. They are all appealing in their own way and each had its own personality.” Sarah has also created smaller prints with a single colour theme, in which customers can add their own front door if they wish. But Sarah says it’s not just residential doors that are of interest. “It’s also ones that are no longer working doors, some bricked
up – looking at the story of a door that had once been.” One local resident, Christine Zildjian, is most impressed with Sarah’s photography and is keen to stress the importance of her work in showcasing Sevenoaks’ architectural merits. “Sarah had really captured the unique flavour and richness of Sevenoaks in her portrayal of the 70 or so doors featured in her print. “These doors span over 400 years of history, each hinting at the private charm and historical importance of the unseen property that lay beyond.” Christine said it was only after she received her print, which now serves as a great talking point in her home, that she realised her previous house was in there too, which was a brilliant bonus. She added: “It’s difficult to drive round without noticing the doors in the print; there’s a quiet feeling of achievement every time I spot one of the doors featured.” Pepper the cat also seemed intrigued by Sarah’s work, creeping into the photograph of Maria Frauenrath’s front door. Maria said: “I had no objection – and no idea the cat would squeeze himself into the photo. It seems he smelled his claim to fame that day!” Maria said she is inspired by the prints and believes that more should be done to show off Sevenoaks’ charming houses and, of course, its pets. “Sevenoaks is such a beautiful town. I often find that just looking at certain buildings can lift my spirit.” Prints, starting from £20, are available from sarahmurphy.co.uk or call 07970 187229
through the
behind closed doors nd closed doors
Vine takes a guided tour with Robert Sackville-West of the unseen Vine atticstakes of Knole inspiration from the Words Charlotte Luxford. Pictures Christopher Porter ed tour with Robert Sackville-West of the unseen attics of Knole elegant, understated home of local
Words Charlotte Luxford. Pictures Christopher Porter
p PRESS.indd 32
textile designer Caroline Gray 28/09/2010 17:24
Scandinavian design has never been more popular and one woman who pays homage to its simple and solid elegance is textile designer Caroline Gray. Her home, whilst still a ‘home’, is also a beautifully constructed work of art with thought going into every detail. The groung floor was initially used as her studio, with elements of it now integrated artistically into the redesigned living space. Her bold textiles pervade each room, mixed with Brick Lane
findings and handcrafted pieces, such as a beautiful oak table and yew branches for the banisters. Caroline also dedicates one room to showcase her furniture and textiles for sale, which she also sells at her charming shop on Hollybush Lane in Sevenoaks. Caroline still has a studio at her home where she designs all of her pieces, working late into the evening to escape the frenzy of family life and her two charismatic cats, Kit Kat and Sprocket. v
Lord M
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INTERVIEW
of the
Manoir Celebrated chef Raymond Blanc, star of the BBC series Kitchen Secrets, meets Charlotte Luxford to share his cooking tips, dislike of malt vinegar and his singing of the French national anthem with the Queen Mother
Raymond Blanc began as a waiter in Oxfordshire. Now he is an internationally-renowned chef who has inspired not only the nation, but many award-winning chefs who he has nurtured to stardom. Growing up in rural France, Raymond learnt from an early age to appreciate food, and it was his passion inspired by his mother, Maman Blanc, which drove him to pursue a career as a chef. He opened Les Quat’Saisons in 1977, becoming an overnight success and since then his brand name adorns patisserie Maison Blanc, his chain of Brasserie Blanc, a cookery school and his two-Michelin starred restaurant, Le Manoir Aux Quat’Saisons. Now his BBC series, Kitchen Secrets, will return to our screens on February 21.
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s I arrive at the lavish Home House members’ club, situated in the heart of London, I look around for Raymond in the bustling drawing room. After inspecting a few faces, I find him perched on the edge of a comfy-looking sofa eating a late lunch of what appears to be a few Thai dishes. He is immediately welcoming and invites me to join him – already offering me some of his food. I kindly decline, but order some tea (which I never drank due to my cup and accompaniments being used as props for various demonstrations throughout our interview) and we begin to chat about his busy schedule. How this man manages I do not know. Yet, he says we have all the time in the world to chat and he certainly makes time – two and a half hours of it. He is an insatiable talker. After speaking to him for a while, I really get the sense that he is so keen to share everything he knows about cooking and encourages people to be as passionate as he is about it. As a man on a mission, it seems this is what inspired his programme Kitchen Secrets. So I begin by asking him, what made him decide to do the series? “I did a bit of television at my younger age, but I had far too much cooking to do! I was busy establishing my name; I was a totally self-taught chef, I created Le Manoir Aux Quat’Saisons, plus I was creating the Brasserie Blanc concept and Maison Blanc. What I
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wanted to do with Kitchen Secrets was to bring my culture and my food, which my Maman taught me, to television. Back then, I never meant to get on television, that was not my intention; I did it in the early 80s, but I really didn’t like it because food and television fell into the wrong hands. A food programme then had nothing to do with food effectively, and it would be created by producers who didn’t understand food – it was almost used as a weapon to undermine the true value of food. It is only now that chefs and consumers are reconnecting. Before, we would just grab everything without asking a single question. For the last 50 years we have been voracious consumers and food processing companies were making millions, adding colouring and flavours to this horrible food and the television programmes used to be a reflection of all that.” The culture of the ‘celebrity chef ’ has become quite popular recently, and it seems our television screens are infiltrated with cooking programmes; why all of a sudden has it become such a big thing? “Firstly, television chefs are quite recent, but chefs have always been well respected. Think back to medieval history for example; there were great kings who wanted the best chefs to create great feasts and for that the chef was very well rewarded, so much so that he was given titles and properties even. It is little-known that chefs have always been highly-prized and greatly appreciated. So, the phenomenon of the ‘celebrity chef ’ is not new, but now it is displayed through a new media.” I share my view with Raymond that there seems to be two types of cookery programmes; ones that teach and ones that, quite frankly, show off. So I ask him, is cooking more about experimentation, like Heston Blumenthal, who appears on television as a sort of gastronomic adventurer, obsessed with the science of food, or should it be more like the friendly-faced Jamie Oliver, who cooks for the masses? “I feel I can teach people, because as I was selftaught myself and made plenty of my own mistakes, so therefore I know what to do in each situation. It’s all about being enthusiastic and building people’s confidence so they can cook well themselves. Obviously there are techniques to it – for example, if you cook a carrot, you should always chop it finely, the longer you cook it the more you kill the taste and boiling is the worst thing you can do. Generally, shorter cooking is better, unless it is something that deserves to be cooked slowly, like a piece of meat – slowly, at 80 degrees – it may take hours, but it’s worth it. “When I teach I love to empower young chefs and I share all I’ve got in order to give joy most of all – then I educate as a by-product of sharing that knowledge. Maman Blanc was an amazing influence, and when she cooked, it was an act of love. I prefer to cook how she taught me rather than going for fashionable cooking – it can be fun certainly, but it is also short-lived.” Perhaps this is why the greats of the last century such as Jane Grigson and Elizabeth David still fascinate us today. As 60 years have passed since David’s first cookbook, publishers have jumped on the bandwagon and released several revised editions and new books. While David’s recipes may date eventually, they still seem popular, and this love of good, old-fashioned home cooking can be seen in the way that Maman Blanc’s cooking has influenced her son; so it is perhaps the solid foundations of traditional home cooking that
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INTERVIEW
Food is glorious; it’s a way to connect and share, to celebrate and appreciate each other’s company. We have become disconnected – the true values of food have been lost and we need to reinvent our own heritage
Raymond’s flagship restaurant Le Manoir Aux Quat’Saisons in Oxfordshire
wins the day. After trying the first molecular gastronomy programme in 1991, Raymond kissed science goodbye and decided not to go back into television until he could do something “true and authentic” with food. “Working with the BBC on the latest programme was great – I said I wanted to recreate a proper kitchen and make it as authentic as possible. My kitchen is my home and it was as true as it could be – I was happy to give people the little secrets that make cooking so much easier.” At this point, Raymond shares some of these secrets with me. He asks what I like to cook and, in an ashamedly British fashion, I say a good roast. He gets out a notepad and starts drawing a diagram, explaining the beef needs to be left before serving for at least 30 minutes. “Poof ” he exhales as he throws himself back on the sofa, demonstrating that the muscles need time to relax. He says that during that resting time, the beef actually gets hotter by a few degrees, meaning your beef can turn from medium-rare to well done if you’re not careful. Cook it on chopped bones; it not only gives a great flavour to the jus, but by elevating it your beef is cooked evenly – otherwise it goes that “’orrible grey colour”. Raymond is passionate about getting the consumer to reconnect with their food and to know where it came from. The Pink Lady apple he tells me, as he quickly sketches one out on his pad (he apologises as it looks more like a cherry), is “seductive, she is beautiful, she is sweet and you want her – we choose on looks after all”, he says with a glint in his eye, “but, despite being the bestseller on the shelf, she may have come all the way from China, covered in pesticides, disease-resistant
sprays, modified to have that glorious, pink colour and when we choose her as the consumer we are making a political decision, a socio-economic decision – perhaps most of all – a health decision. The efforts of farmers are killed by imported food, and why do it, when we have so much beautiful, seasonal food right here?” So, has he always been this passionate about food? “Yes; even as a boy I had a deep understanding of food, of seasonality, and we were poor, but we ate like kings. At five or six, we had to earn our bread and help in the garden and my father would always ask me, ‘Taste it!’ I was taught to appreciate the value of food. We always bought our produce at farmers’ markets without a second thought and now it is something quite novel. When we buy our food now, we must buy responsibly and think, ‘What kind of society are we creating for tomorrow?’ Food is glorious; it’s a way to connect and share, to celebrate and appreciate each other’s company. It’s an opportunity to meet and sit down with family. We have become disconnected – the true values of food have been lost and we need to reinvent our own heritage.” As Raymond has a clear passion for food, I ask him what his last supper would be. He ponders for a while, as it is obviously a question worth considering. “That is difficult, but it would have to be Maman Blanc’s apple tart – it was a great gift. I remember when my Grandpère was on his last legs and lying in bed in the room downstairs. That Sunday afternoon Grand-mère was cooking her apple tart – it was a heavenly scent – and he said, ‘I really want a piece of that apple pie.’ She replied, ‘No, it’s for after your funeral.’ It’s a very French story, but I like it.” And what doesn’t he like? “There isn’t anything
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INTERVIEW
Le Manoir
really, but I do have a dislike of malt vinegar. When I came to England in 1972, the first thing I wanted to try was something British and I thought – fish and chips! When they were done in just a few minutes I was shocked they could be cooked that fast, and the guy covered my chips in malt vinegar and it was horrible! Also, my fish – I had never seen a square fish before, it was totally bizarre, and then I said to myself ‘What am I doing here!’ I also wanted to try Aylesbury duck; I had been dreaming about this big, fat duck, but when I went all the way to Aylesbury in my little car, I could not find it, it didn’t exist!” Raymond has built an impressive resume since he came to the UK and made it as a self-taught chef. Obviously he has his restaurants and shops, but he is also now the vice president of Orient Express Hotels; he has taught many Michelin-starred chefs, as well as maintaining his own two stars for Le Manoir Aux Quat’Saisons for the 27th year running; he does plenty of regular charity work and seems to be constantly updating his social media sites. So, having achieved so much in his life already, receiving an OBE and becoming an internationally-renowned chef, what is Raymond’s greatest achievement? “It actually has nothing to do with cooking. It was making 200 British people stand up on Bastille Day, July 14, and sing La Marseillaise with their fists on their hearts, that I am proud of. I used to do a lot of cooking for the Queen and the Queen Mother and she actually asked
Since 1954 The Troubadour has grown in its mythical status as one of West London’s most loved institutions. Brimming with character and charm, this bohemian cafe offers delicious, filling fare with lashings of atmosphere. It sits above the legendary Troubadour Club with live music most nights from the singer songwriters of the future. The next door
wine shop regularly runs fun wine tastings which are a hit with connoisseurs and beginners alike. And then there’s The Garret, their cosy luxury accommodation overlooking London’s rooftops that offers a sanctuary for two to four people for short or even long stays. All in all The Troubadour is a complete entertainment destination and one you will enjoy discovering.
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me the same question as you at a dinner, and I told her – the Queen Mother had a good sense of humour and she made her guests of about 30 lords and ladies stand up and sing it there and then! She had a perfect French accent and we used to talk a lot.” With such a hectic lifestyle (his phone goes off quite a few times during our interview and he has to dash off a bit later to the 100th year anniversary party of Michelin), how on earth does he fit it all in? “I’m a multi-tasker and sleep little. I also happen to have a wonderful team of people, but I’m involved in everything I do. Did I want to be an entrepreneur? Not especially, it just happened by accident, but I enjoy it now! I write all my recipes and still contribute and get involved in everything that has my name to it. I’m a very privileged person to be in my position.” So what’s in the pipeline next? “Well the launch of the London Cocktail Club will be exciting – winners of last year’s series of The Restaurant, JJ and James are opening their new cocktail bar in February. I know that some people thought my decision to pick them was controversial because cooking wasn’t JJ’s strength, but he has a huge talent for cocktail making and extraordinary taste. They’ve both worked really hard, they put their own money in and I am supporting them.” v ■ The new series of Kitchen Secrets will be showing on BBC2 from February 21.Visit www.raymondblanc.com
263-7 Old Brompton Road Earls Court, London, SW5 9JA 020 7370 1434 www.troubadour.co.uk
We all know that the Kensington and Chelsea borough has plenty to offer – why would so many tourists come here if not? But what if you don’t want to join the crowds in your own town? Here’s Vine’s secret guide to the area, just for locals
WORDS CHARLOTTE LUXFORD
A brief history of the borough...
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he history of the Royal Borough dates as far back as the Anglo-Saxon period, split for at least a millennium into two halves; Kensington and Chelsea. It was only in 1965 that the two boroughs finally became united, each with very rich and unique histories. The borough has seen many notable figures come and go; Chelsea was home to Sir Thomas Moore and Henry VIII also took a fancy to the area, building a manor house for Katherine Parr, now the site of Cheyne Walk. Great houses and palaces have been erected in the borough, with Sir Walter Cope’s Campden House and Cope Castle, and William III was the first royal to move to the area in 1689, when he settled into Kensington Palace. Queen Victoria was born in the palace and lived there until her accession to the throne in 1837. In the nineteenth century, Earls Court became a cowboy’s haven, with annual exhibitions and ‘spectaculars’ such as Buffalo Bill’s Wild West Show. Other pioneering entertainment venues include the Royal Court Theatre, earning a reputation as a showcase for new playwrights, including Harold Pinter and Samuel Beckett. The Electric Cinema in Portobello
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Road was the first purpose-built cinema when it opened in 1910, which has recently been restored to its former glory. Despite the ravages of time, wars and often brutal post-war redevelopment schemes, Kensington and Chelsea still retain their unique characters. Today conservation is key; every corner of the borough is littered with signs of history, from listed buildings, blue plaques and museums, each meticulously cared for to preserve thousands of years of history. Along the way it has been home to royalty and pig farmers, cowboys and artists, entrepreneurs and soldiers. Only time will tell what will become of it in the future, but for now, here are a few snippets of Kensington and Chelsea that you might not have come across yet – certainly worth an afternoon walk anyway.
Campden House
SECRET KENSINGTON
Holland Park, Kyoto Gardens and the Ice House There are many great parks in London, but Holland Park is great for those looking for something a little quieter and unique. The wellkept park used to be the grounds of Cope Castle, a large Jacobean mansion hidden in the depths of the woods, built by Sir Walter Cope in the early 17th century. Cope was the Chancellor of the Exchequer during King James I’s reign, but the building was later renamed Holland House after the Earl of Holland’s wife, Lady Rich, inherited the property. The house was badly damaged in the Second World War, but one wing was saved and now stands as an attractive youth hostel. The front terrace is now an impressive setting for many open-air theatre productions and classical concerts in summer. Within the park is the stunning Kyoto garden, usually adorned with peacocks, built by an eminent Japanese garden designer to celebrate the Japan Festival in London in 1992. The park also contains the original Ice House for the Holland Estate, which has now been transformed into a contemporary exhibition space used throughout spring to present small-scale works. www.rbkc.gov.uk
The Museum of Brands, Packaging and Advertising Ever wondered about the history behind the iconic Oxo cube or are you fascinated by those nostalgic adverts of the last century? The Museum of Brands, Packaging and Advertising began with one boy who started with a packet of Munchies: Robert Opie, who is now a consumer historian. The menagerie of 12,000 original items comes together to reveal the history of consumer culture and what were popular items in the shopping basket in years gone by. With such a come back in retro posters and striking brand images, this museum tucked down a beautiful mews just off Portobello Road is worth the detour from the typical tourist attractions. Current exhibitions include ‘Political Mugs’ (literally mugs with politicians’ faces) and ‘The Art of Guinness’, celebrating 250 years of Guinness, from beer mats to TV commercials – both on until February 27. www.museumofbrands.com
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Oscar O’Flahertie Wills Wilde ADDRESS: 34 Tite Street, SW3 Tite Street became Wilde’s marital home in 1884 where his career took off and then came crashing down. Wilde was a familiar and popular figure in Chelsea: a regular at his mother’s soirees at Oakley Street, friend of Lillie Langtry and Ellen Terry and verbal sparring partner of Whistler. Here he wrote his best works, including The Importance of Being Earnest.
Dame AGATHA CHRISTIE 1890-1976
Detective novelist and play wright lived here 1934-1941
Dame Agatha Mary Clarissa Christie ADDRESS: 58 Sheffield Terrace, W8 Christie lived at 58 Sheffield Terrace, despite writing 48 in her autobiography; the error was spotted by English Heritage. She called 58 “a happy house” despite nearly being killed during an air raid. While here, she wrote many novels, including Murder on the Orient Express, The ABC Murders, Death on the Nile and Evil Under the Sun.
1899-1980 Film Director lived here 1926-1939
1874-1965 lived and died here
Alfred Joseph Hitchcock ADDRESS: 153 Cromwell Road, SW5 This was the family’s home throughout Hitchcock’s English career. Designed by him and decorated by studio technicians, it became a second studio. He spent as much time here as on set during the making of a film, believing a laid-back approach produced the most realistic scripts. Asked about working with Hitchcock most scriptwriters mention two things, his dining room and his silk pyjamas.
Read between the lines There are plenty of good independent bookshops in the area, which are always good for a potter. Speaking of which, Potterton Books London on Lower Sloane Street (an area worth exploring anyway with the antique haven that is Pimlico Road around the corner) is a specialist in arts and interiors books and also holds several art exhibitions throughout the year. There’s also the beautifully designed Lutyens & Rubinstein Bookshop on Kensington Park Road for a great selection of general, new books and Slightly Foxed on Gloucester Road is especially good for second-hand books. It is also a showcase for the Slightly Foxed quarterly and its successful limited-edition pocket hardback series Slightly Foxed Editions. In Notting Hill, Books for Cooks is the ultimate destination for the foodie and for a quick, cheap read, head to The Book Exchange just off the Gate.
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WILDE 1854-1900 wit and dramatist lived here
SIR WINSTON CHURCHILL.K.G. Prime Minister
Sir ALFRED HITCHCOCK
OSCAR
Sir Winston Leonard Spencer Churchill ADDRESS: 28 Hyde Park Gate, SW7 Moving to Hyde Park Gate in 1945, Churchill wrote his history The Second World War and lectured on the Communist threat. He was made Freeman of the Royal Borough in 1949. He died at home in 1965, exactly 70 years after his father.
SECRET KENSINGTON
To keep you going throughout the day... While stomping around all these great places in the borough you will need a little sustenance, so here’s a mini food and drink guide to see you through the day:
Breakfast Head to Ffiona’s on Kensington Church Street; not for the fainthearted, but damn good breakfasts in a quirky setting. The buttermilk pancakes are well-recommended or if you can manage it, Fi’s glorious “piggy pudding”. Kensington Square Kitchen is also delightful and does a fantastic range of brunches, but get there early.
Elevenses To escape the chaos of Portobello Road, head into Cafe Garcia for their fantastic, soupy hot chocolate and if you’re feeling a little cheeky, accompany it with churros. Pop to the delicatessen next door to recreate the experience at home. Up-market pub grub: The Admiral Codrington is the perfect place for a relaxed lunch
Cheeky chocolate: Spoil yourself with churros and hot chocolate at Cafe Garcia Busy brunch: Kensington Square Kitchen is a popular brunch hotspot
Lunch There’s hundreds of great places, but off the beaten track you can find The Admiral Codrington in Chelsea for some up-market pub grub or try 202 Westbourne Grove, Nicole Fahri’s café and restaurant, which has excellent food and always ice-cold wine.
Tea-time The Cadogan Hotel has launched the aptly-named “ARTea” in conjunction with The Kings Road Art Gallery. Sip afternoon tea in the wood-panelled drawing room and view an exclusive collection of the gallery’s paintings. The place has a long history with the bohemian community – ask what happened when Oscar Wilde came by.
Early-evening tipple Full of character: Enjoy a drink or two at The Windsor Castle before dinner
Dinner For something a little swish, Launceston Place is to die for and make sure you order the truffle risotto if they have it on; Bar Boulud at the Mandarin Oriental has the best burger in town if you’re willing to pay (try Lucky 7 on Westbourne Park Road if not). For something a little different, try Urban Turban for a grand Indian Feast; the quirky Tiroler Hut for bucksome Austrian waitresses and yodelling (Kate Moss loves it); El Gaucho in South Kensington for a traditional Argentine steak or Rodizio Rico on Westbourne Grove for a Brazilian meat fest.
Depending on where you are, two great pubs are The Windsor Castle with tiny doors and plenty of character on Campden Hill Road and the Scarsdale Tavern hidden down the beautifully tranquil Edwardes Square. If it’s wine you want, head to Kensington Wine Rooms and have a spot of tapas with a good glass or two.
Best burger in town: Visit Bar Boulud to see for yourself Tropical paradise: 1.5 acres of themed gardens 100ft above Kensington
After-party If you’ve still not had enough, there’s plenty of fun to be had at the cosmopolitan Beach Blanket Babylon (a bit of an institution) or try the sophisticated Firehouse opposite the V&A for something a little unknown. To escape the concrete jungle for a while, try Kensington Roof Gardens; a tropical paradise 100ft above Kensington High Street, with 1.5 acres of themed gardens, fish and flamingos – it certainly makes for a unique evening!
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