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THE SOHO HOUSE WAY TO THROW A PARTY . INSIDE OUR GLOBAL ART COLLECTION . THE MEMBERS’ GUIDE TO BERLIN . TWENTY YEARS OF SOHO HOUSE IN NORTH AMERICA . HOW THOM BROWNE BUILT A FASHION EMPIRE . NEW HOUSES, COMING SOON . PLUS, THE WINNERS OF THE SOHO HOUSE AWARDS 2023
OUR THEATRE PERFORMER OF THE YEAR CRACKLES WITH CAREER POSSIBILITY AT ELECTRIC HOUSE
Scan to discover our North American Houses and hotspots chosen by Soho House members
Key figures from the Soho House world share a glimpse into local life at our Houses, from a crayfish party in Stockholm to the new facials coming to our
THE MEMBERS’ GUIDE TO BERLIN
Heading to the German capital anytime soon? We've got you covered, thanks to a li le inside help. Our Berlin-based members reveal where to go, what to do and the must-visit spots for any foodies
Soho House’s Global Director of Art Kate Bryan takes us on a guided tour of our one-of-a-kind art collection, highlighting her favourite pieces and revealing what it takes to build a global gallery
45
Yes, that’s right: the Soho House Awards are back for a second year. While we couldn’t invite you all to the ceremony at DUMBO House, we have given you the next best thing: interviews with our winners, right here
THOM BROWNE
e winner of our Fashion Designer of the Year Award –and founding member of Soho House New York – joins us fresh o the plane from showing his first-ever couture collection to discuss why it’s never too late to follow your passion
86
Any member of ours will know that a lunch, dinner or big night out at our Clubs is nothing less than legendary. Our team reveals the best spaces to hire to make your next gathering a breeze – a er all, there ain’t no party like a Soho House party
96 MUMBAI SPOTLIGHT
Taking a closer look at the captivating artwork by ukral and Tagra that welcomes members as they enter Soho House Mumbai
TWENTY
It’s been two whole decades since we launched Soho House in the States. To mark the occasion, we’ve created the We Are campaign, celebrating our members across all our North American Houses, from Nashville to Toronto
Photography: Jake Curtis, Christopher Sturman, AJ Woomer, Marcus Mainz
If you are a fan of Charlie Brooker’s Black Mirror, then you will no doubt have seen Joan Is Awful – the prophetic episode that striking writers and actors involved in the SAG-AFTRA action have called a “documentary of the future”.
If you were too busy scrolling through Raya to pay attention (don’t worry, streaming services are apparently prioritising “second screen content” so that disengaged viewers such as ourselves don’t switch o ), the premise of Brooker’s episode is thus: a woman returns home each day from work, flicks on the TV and realises that the show she is enjoying is in fact an algorithmicassembled compendium of all the poor decisions she’s made that day, played by actor Salma Hayek – or, rather, an AI-generated likeness of Salma Hayek. So far, so fist-bitingly close to real Hollywood’s big issues.
Whatever the outcome of the strike – and I hope as you are reading this, a fair se lement has already been agreed –such themes are the sum of all working
actors and script writers’ worst fears. The worry is that someday, in the not-so-distant future, all supremely skilled, striving actors will be replaced by CGI-generated versions of themselves, while film and tv scripts will be churned out by precision-perfect ChatGPT programs that cost little more than a LAMDA-trained actor’s bus fare back from an audition they were rejected for.
The warning signs are already all over our Soho House screening rooms: rather than seeking out bold originality, a studio’s pursuit of known IP with mitigated risk means franchises such as the bombastically popular Top Gun: Maverick or Indiana Jones and the Dial of Destiny are in favour. The latter, released earlier this year, saw a young Indy played not by an actor with a similar jawline, but by 81-year-old Harrison Ford. For 25 minutes of the film, a CGI version of Ford took to the screen, generated from thousands of archive clips and photographs of the actor in his youth.
“So what?” You might say. “Are you not entertained?” Well, if new acting, writing or directing talent isn’t being given the chance to bloom, or even begin, who will become our next Tom Cruise, Sofia Coppola or Quentin Tarantino? (It’s heartening to counter this with the fact that Greta Gerwig’s inspiringly original, billion-dollar-taking Barbie saw thousands-long waiting lists for our early screenings in August.)
is September, we celebrated the second annual Soho House Awards, powered by our friends and partners at Porsche – the only such industry event where breakthrough talent is given as much prominence as those who have already made a household name for themselves, all nominated by our members (p45). e event, which took place at the electric DUMBO
House in New York, saw acting, musical, entrepreneurial, artistic and changemaking talent jump, swagger and swish onstage to collect their awards, each pla ormed for their particular journey – long or short, yet all hard fought.
With this as the evening’s framework, the night saw our Breakthrough Fashion Designer Taofeek Abijako (p81) and actor Haley Lu Richardson (p82), the winner of our Standout Performance Award, celebrated alongside w ell-lauded stars such as stage and screen actor Emma Corrin (p46) and legendary fashion designer Thom Browne (p72). A night to remember, and to remember that the best kind of collaboration is one that pays it forward. roughout this new Autumn issue, you will find interviews and profiles of our Soho House Award winners, with many photographed in our Houses around the world. Elsewhere, members and team members alike bring us up to date with some of our most exciting future initiatives. To celebrate 20 years since Soho House arrived in the US, we’re featuring local members from our North American Houses (p90). ere’s also our insider guide to Berlin – a special project that saw members take us through the city’s most desirable destinations, along with a peek into the reinvigorated Soho House Berlin (p38). Lastly, whichever House you find yourself in this month, a reminder that the best moments aren’t always made via a screen. Put the device down, close your laptop, turn to your right and start a conversation with a member you’ve never met: it’s that spark that might ignite a blaze, and it’s those connections – real, not deepfake – that are your creative gasoline. Members, light it up…
Contributors
Janessa Narciso, Izogie Guobadia, Abigail Hirsch, Hanna Flint, Leo Goddard, Dom Chung, Chiara Brazzale, Lucy Jones, AJ Woomer, Christopher Sturman, Jake Curtis, e Morrisons, Michael Rygaard, Buzz White, Harry Lambert, Samantha Stone, Charlo e Manning, Rebecca Donnison, Julia Nimke, Aneesh Bhasin, Yemi Abiade, Mark Lazenby, Rebecca Fearn, Anastasiia Fedorova, Jennifer Abrams, Zaynab Ali, Alfred Tong, Alicia Gutierrez, Min Shrimpton, Anakena Paddon
With special thanks to Jarre Stuhl, Anouska Ruane, Ben Nwaeke, Gareth Lewis, omas Allen, Guy Williams, Rajat Dhawan, Ma hew McQuade, Amy Cheema, Markus Anderson, Samantha Stone, Vanessa Xuereb, Jo Addy, Tom Collins, Guy Chetwynd, Tom Russell, Dominique Bellas, Chris Glass, Esther Brown, Marcus Barwell, Surinder Sangha, Terence Heflin-Connolly, Jakob Hesketh, Kimani Roquemore, Karen Sanchez, Dana Mosa-Basha, Avia Hawkins, Andrea Noguera, Daniel Smith, Danny Chan, Katie Smith, Olivia Sheath, Milly Baker, Emily Purdham, William Baines, Wallis Hamilton, Ruggy Joesten, Camilla Barre , Sarah Graham, Velma Simmons, Charlo e Read, Constance Lugger, Kimiko Ninomiya, Philip Spee, Kimiko Singer, Tatiana Meira, Jack Rainey, Kimberly Chuang, Jack Lazenby, Claire Hearn, Meg O’Donnell-Bath, Pablo Arango, Melina Asnani, Max Moran, Bryony Watson, Sara Terzi, Stephanie Purohit, Malgorzata Madejczyk-Nita, Louise Jobe, David Winstanley, Georgia Harris, Hanna Raud, Salvo Scornavacche, Jason Rosenberg, Jose Dozal, Jose Teran, Sophie Yon-Gharbi, Wallis Hamilton, James Bryan, Gina Soden, Josip Grgić, Mel Holmes, Hunter Claire Rogers, Jess Schoenholtz, Noah Finkelstein, Philip Aglipay
YEMI ABIADE
Abiade is a Londonbased journalist, editor and podcaster who’s wri en for the likes of e Face, VICE and Dazed & Confused. For this issue, he inteviews our Creator of the Year, Dave Free (p56) – of whom he is an avid fan: “Free is one of modern music and culture’s great storytellers, who turns songs into avant-garde art that transcends the genre of hip-hop itself.”
JULIA NIMKE
e photographer, whose work has appeared in Time Out New York and Condé Nast Traveller, captured the images for our ultimate guide to Berlin (p38).
“I loved shooting the Soho House guide for my hometown,” she says, “because it took me to unknown places and made me appreciate the beauty of this city: its culture, art, food as well as its fabulous architecture.”
HARRY LAMBERT
e London-based stylist and creative consultant is best known for working with Harry Styles. He has since added actors Josh O’Connor and Eddie Redmayne to his roster of clients, as well as Emma Corrin, who he styled for this issue (p46). Lambert is a champion of fresh talent and works with designers Harris Reed and SS Daley, styling their shows and campaigns.
CHIARA BRAZZALE
e Venice-based illustrator’s work has appeared in the Wall Street Journal, WIRED and the Financial Times
In this issue, her commissions can be seen throughout e Waitlist (p13) She cites Saul Steinberg and Pablo Amargo as inspirations: “ eir illustrations inspire me to bring humour to my stylised human figures, such as those I’ve created for Soho House Magazine.”
ANEESH BHASIN
Aneesh is an award-winning photographer and entrepreneur who captured the House Art at Soho House Mumbai for this issue (p96). “I believe I have the largest archive of pictures slyly taken at Soho House Mumbai,” he jokes, “so it was good to be able to shoot at the House o icially. It has such a warm vibe – I’m glad everyone gets to see a li le of it in this issue.”
e launches, the spaces and the moments to celebrate at Soho House throughout autumn
Bring a touch of our Houses’ iconic interiors to your own space with the AW23 Soho Home collection, inspired by our upcoming Houses in Manchester and Portland. It features new furniture and home accessories – including upholstery, lighting, textiles and tableware – for your living, dining and bedrooms, plus our first-ever bathroom o ering. ere are more options to customise your pieces, too, with 22 new colours available for our made-to-order sofas, beds and armchairs. Our signature armchairs, including Garre (above) and eodore, are also made to order – you can take your pick from up to 10 velvet and linen finishes. Discover more at sohohome.com
Words by Yasemin Celepi, Chloe Lawrance and Sagal Mohammed
Chiara Brazzale
Popular with both the local community and global travellers, Art Basel Miami Beach (8–10 December) brings art dealers, collectors and gallerists together to explore and enjoy an abundant line-up of international galleries that feature both established names and emerging artistic talent. Of course, it only makes sense to mark such an occasion with a series of events at our Florida clubs: Soho Beach House Miami and Miami Pool House. Celebrations in previous years have included private lunches, a dinner with a surprise performance by Kelis and DJ sets that kept the crowd going all night long. Whether you’re looking for inspiration, art or simply good time at Miami Beach, you’ll be sure to find it at our Houses during this year’s Art Basel.
Soho House lends itself to all things Halloween: costumes, decorations, tasty treats, you name it. In fact, the date is one of the biggest and most exciting in our calendar. Let's just say that if previous years’ events are anything to go by, this is definitely where you’ll want to be spending the spooky season.
Past years have seen our Houses host all sorts of horror-themed nights for the occasion, including a Saw party at Soho House Mumbai, an Alice in Horrorland event at Soho House Nashville and a Psycho-themed House party at 40 Greek Street.
At every one of them, our talented members and guests have pulled out all the stops, with off-the-scale costumes including long leather trench coats and black sunglasses for Shoreditch House’s Matrix-themed night, not-so-subtle space fairies at a cyberpunk party at Soho House Hong Kong and stylish spacemen dancing alongside nostalgic Teletubbies at our Retrofuture Extraterrestrial party at New York’s DUMBO House.
Top:
Beach
At our Houses, you can count on the crowds, the entertainment, the interiors and the music to create a Halloween experience where the fear factor is as high as the fun factor. is year’s parties are in the works – keep an eye out on the Soho House App for more information.
e pool at Soho House Miami. Top right: Members at an Art Basel event on the beach in Miami. Above and right: Halloween partygoers get into character at DUMBO House
For the first time, SXSW (South by Southwest) – the festival that brings together the worlds of tech, film, music, education and culture – is relocating from its home in Austin, Texas, for a week-long event in Sydney, Australia. And Soho House is coming along for the ride.
From 15–22 October, SXSW will take over e Old Clare Hotel in Chippendale – an area home to a host of art galleries and design studios –with the hotel’s main bar serving as a Soho House pop-up across the week. It will be a space for creators, thinkers and innovators from across the world to come together to ignite creative discovery and inspiration.
SXSW is dedicated to helping creative people achieve their goals. Deemed as an essential experience for all creative professionals, Soho House guests and members will be exposed to networking opportunities and artistic development, as well as exposure to a multitude of talent. Head to the Soho House App to sign up for events, gain member access and discover special rates
Set to open at the end of this year, Soho House São Paulo will become our second outpost in Latin America, and the first in South America. “We are elated to be opening in São Paulo, which is a thriving and dynamic city in Latin America that deserves a spotlight on a global scale,” says Alicia Gutierrez, Soho House Director of Membership, LATAM.
e new House will be situated in Cidade Matarazzo, one of São Paulo’s most ambitious urban redevelopments, and is set in the former maternity wing of a historic hospital building. It features 36 bedrooms, a gym, spa, roo op pool bar, restaurants and club spaces for members.
“From creativity to innovation and diversity, culture flows through every aspect of the city and we are excited to build a community there," says Gutierrez. "We hope that the House serves as a site for global members to visit and discover the city, while also being a space for local members to connect and thrive.”
e opening of our Portland club is just around the corner. Based in the heart of Oregon’s most cra y district, our new location introduces us to a hub of talent rooted in the city's thriving art, film and foodie culture. We’ve been ge ing to know our new members, finding out what they’re looking forward to most about the House and joining our global community.
" is city is a place where your voice ma ers. It’s an ever-evolving, vibrant, casual, come-as-you-are kind of place. You can wear a T-shirt and jeans everywhere, but show up in a suit made of lo ery tickets with a bird’s nest as a hat and that’s cool, too. e House will be a gathering space for a diverse group of global citizens that will inspire all kinds of unexpected, juicy goodness.”
“I only realised the strength of my connection to Portland a er I moved away and longed to return home. is city is a place for people who are engaged in experiencing life through authenticity and creativity; it’s a place where people are able to really express themselves. Soho House will provide the light of incubation for so many new ideas and pla orms that have yet to be discovered.”
“When I moved to Portland from Chicago in 2017, the solace and nature were what inspired me the most. at's still the case, but creatives also want to get out of the o ice, the house, the studio sometimes. Having a tasteful location where like-minded individuals will be able to ideate and connect is something that Portland has been desperately in need of.”
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“
ings really mean something here in comparison to other big cities. Portland let me know that there were a lot of people who wanted to do the same thing I did – they needed resources, real estate, opportunities, and I was down to do cool s**t. en came the photoshoots, my own art stu , opening up an artist in residence programme, raves –Portland has a scrappy nature to it; there’s more accessibility.”
ere’s a genuine sense of familiarity and approachability in Portland that makes it easier for artists from various backgrounds to come together. I think this has created a culture of collaboration. While Portland has made a name for itself in the creative landscape, it remains a relatively small community, so the establishment of Soho House marks a pivotal moment in our city’s creative journey.”
Domo Branch, drummer, composer and educator (le )
“Portland has given me chances to present myself and my creativity on multiple occasions. Soho House will serve as a gateway to connect people in many di erent ways: creative, friendly, romantic. It will create opportunities to connect with the other Houses, which can be huge for people who haven’t been able to travel or get out of Portland to work.”
When you think of Soho House, “gym” might not be the first term that comes to mind. But it should. Inside many of our Houses across the globe, you’ll find our Health Clubs and workout spaces, o ering everything from state-ofthe-art gym equipment to saunas – all designed in the usual Soho House style, of course. Take our three-storey Health Club in Hong Kong, complete with its own boxing ring; or the outdoor gym at Soho Roc House, o ering views of the Aegan and a dedicated treatment space.
e gym at Brighton Beach House, overlooking the iconic pier, is next to join the list. We consulted with members when planning the space (which opens later this year), and the desire for a flexible, inclusive, non-intimidating space consistently came up trumps. So, alongside the machines, we’ve built in smaller free weights areas, making it easier to grab some equipment and do your own thing. ere are two studios for classes: from boxing and HIIT to sunrise yoga, Pilates and barre. ere’s also a steam room, sauna and Hyperice recovery station – the first in Brighton. You’ll also find Cowshed toiletries in the changing rooms.
In the reception, you’ll even find a selection of wellness essentials, from supplements to apparel. Perfect for grabbing a post-workout shake before heading up to the roo op to relax.
Above and right: e outdoor workout space at Soho Roc House in Mykonos.
Right: An artist’s render of the gym at the upcoming Soho House Manchester
Our Global Director of Art Kate Bryan has spent seven years shaping the Soho House art collection. Comprising some 8,000 pieces by more than 3,000 artists across 41 Houses, it’s a museum-level assemblage that is ready to be discovered
is page: Soho House’s Global Director of Art Kate Bryan with Split Nude (2022) by Hester Finch at Shoreditch House.
Opposite: Damien Hirst’s spray-painted Shark (2009) at Soho House Berlin
Since joining Soho House seven years ago, our Global Director of Art Kate Bryan has helped to amass a widereaching collection of work with which t o populate the nooks, crannies and walls of our 41 Houses around the world. Bryan, who took over the curatorial role in 2016 from Francesca Gavin (and artist Jonathan Yeo before her), does not have a simple job. Each House hang must represent the city in which it resides; championing local and diverse voices in a way that feels both relevant and contemporary. Beautiful to look at, yes, but stimulating too. This is a big year for art at Soho House. We’re opening Houses in Mexico City and Portland later in 2023, and Bryan and her team are already building the collections for upcoming Houses in São Paulo, Glasgow and Manchester. We sat down with Bryan to learn more about our forthcoming year in art, the future of the Soho House collection and what makes it so unique.
Tell us about the Soho House art collection, Kate. What sets it apart? There’s nothing else quite like it. I describe it as a working horse, rather than a show pony. You have these extraordinary artworks that are full of meaning, but they’re not in a museum. You dance next to it, drink next to it, eat next to it. You can bring your baby and nurse it next to the painting. ere are banks with bigger collections than us. And museums, of course, but all of our art is on display. None of our art is put in storage for any length of time. e works are acquired to genuinely support and reflect the art scene in the cities where we operate. I find that really exciting. I also love that it isn’t commercial. We acquire everything essentially through a barter system, which is kind of medieval. Yet we have one of the most exciting line-ups of contemporary artists going. I just love it. I love its contradictions.
What does the barter process look like?
e collection is built on La Colombe d’Or system. Soho House founder Nick Jones and Jonathan Yeo (who founded the art collection with him) modelled it on this beautiful, historic hotel in the south of France where Picasso, for example, would turn up for two weeks, have a beautiful holiday, torment whatever mistress he was with and leave a cracking painting on the reception to say thanks for his stay.
at’s the principal way in which we acquire art. It’s really special to do something so old fashioned in a world that’s become so rampantly commercial.
How do you source new pieces?
We do a lot of research. Every time I go to an art fair, I add artists I love into our database. When we have a House opening, we do long research trips. We read local art magazines, we speak to museum directors, artists and collectors and start building a list of names. When we have around 200 or 300, we start looking at the diversity of the list. We start taking people out. Maybe they make video art and we won’t be a great showcase, or maybe they make incredibly large sculptures, which again, won’t really work in our Houses. We’re really careful to make sure that we’re representing the makeup of that city. en we start approaching the artists.
Art is subjective. How do you adapt your taste to suit that of our members?
It’s something we talk about a lot as a team because we all have di erent tastes. Ultimately, it’s not our collection
and it shouldn’t look like a bunch of pictures that we want for ourselves. Effectively, we’re curating for a kind of mythical creature – thousands of members in one person. I’m trying to think about what everybody wants, but I’m also trying to disrupt expectations because I think the collection has to keep pushing forward. It can’t be predictable and it can’t be simply decorative.
Sometimes I turn up to a House when we’ve finished installing and the designers – who are incredible, by the way – have put in some last-minute touches, like a beautiful lampshade that accidentally matches the artwork next to it, and I’m mock-horrified. I don’t want things to just be good-looking, I want them to stand on their own as artworks. I want people to notice them. Ultimately, no one’s ever going to like every piece that we put into a House, and that’s fine. We’re in a constant feedback loop with the members. We’re constantly listening to them, talking to them. And don’t forget that the artists and the art world are members as well. We can build a dialogue.
Occasionally, there’s a theme to the collections in the Houses. How do you land on these themes?
It’s one of the great pleasures of my job to come up with these ideas. When we opened Paris, we decided not to have a collection that was 100% French because what we kept hearing was that Paris wanted to once again be seen as an international centre for contemporary art. We responded by making a collection that was 100% paintings, since Paris is the home of painting in our collective imaginations. It was 70% French artists, including Laure Prouvost, and the rest international, such as Oscar Murillo, Flora Yukhnovich and Lyne e Yiadom-Boakye.
For Brighton Beach House, it was really important to respond to the history of Brighton as a beacon city for the queer community. So it’s got two collections: a line-up of local artists born, based or trained in Brighton; and then it’s got the Brighton Beacon Collection, curated by Gemma RollsBentley, which features LGBTQIA + artists from around the world, including Catherine Opie, Sunil Gupta, Hal Fischer, Christina Quarles, David Hockney and Maggi Hambling.
Has it been di icult to get the collection recognised as museum-level?
These things happen slowly. In order to be a museum-level collection you need to be showing in museums. We lend to museums at the request of artists, of course, but we are excited to be more strategic in the future. We have hundreds of museum-level artists.
One of the things about the art world is that sometimes status and value comes through money. Because we don’t sell our art and we don’t talk about it as a financial asset, we’re le out of that conversation, which is fine with me.
e collection has huge cultural value. We are so fortunate that so many museum-level artists want to be part
of the Soho House collection. It’s lovely because it means that artists trust us and love the Houses. I really like that the artists put in work that they want to see. When an artist gives a work to us, they eyeball it every time they come for a cup of co ee. It means we get good work because the artists know that they’re going to keep seeing it. Some of them are also slightly competing against the other artists in the collection. ey want to give their best work. I love that the value judgement isn’t about money, it’s about respect for other artists.
What is your current ambition for the art collection?
I would love to do a book, but with over 8,000 pieces in the collection, it’s a slow job. We would love to find new ways to open the collection up to people. One of those, I hope, will be that we can start taking work out of the Houses for shows. It’s a journey we’ve started this year.
“I’m trying to disrupt expectations because I think the collection has to keep pushing forward”Above: Genevieve Gaignard’s custom appliqué wallpaper at Soho Warehouse. Le : A painting by Lyne e Yiadom-Boakye at 180 House
Tell us about a few of your favourite pieces in the collection.
First, one of the most iconic pieces in the collection: Damien Hirst’s spray-painted Shark in Berlin. Nick Jones flew all these artists out for the opening of Soho House Berlin. Damien turns up, takes a spray can and just does this shark on the hoof on the temporary exterior walls put up by the builders, then signs it. Nick has the foresight to cut it out from the hoardings and put it on the wall. Who else in the world gets a Damien Hirst that way? It’s pure Soho House.
I’m always really proud when I see the Genevieve Gaignard wallpaper at Soho Warehouse in DTLA. I went to the loo when I visited the amazing Underground Museum and it was covered in this fabulous wallpaper. I got in touch and asked her to do something similar for us. She papered the entire stairwell going up to the roof and then did beautiful hand-applied appliqué on top of it.
The fact that we’ve got a couple of Lynette Yiadom-Boakye’s works is remarkable. She is the greatest painter working in the UK at the moment, if you ask me. ey were acquired by my predecessor, Fran Gavin, who’s an incredible curator. They’re these little grenades on the wall. I love the one at 180 House.
Then there’s the Romina Bassu in the lobby of Soho House Rome. It’s a tragic-comedic painting of a woman who physically manifests the despair of the feminine psyche. I loved it so much that I bought myself one. I was like, “I have to have one of those.” I think e verybody feels like that about her work, especially women.
Lastly, Deborah Roberts at Soho House Austin. Deborah is such an incredible artist who’s shot to fame in the last few years. When she replied to my Instagram message to say, “Hell yeah, I’d love to be in your collection,” I was like, “Yes, Deborah Roberts!” When you ask the most famous artists of a city and they say yes, you feel like you’re on roll.
Are there any works you’d particularly like to acquire?
I would love to get a Cindy Sherman. Jack [Lazenby, Art Collections Assistant Manager] would love to get a Cecilia Vicuña, as would I. Anakena [Paddon, Art Collections Manager] dreams of space for big sculpture. I think all of us have that kind of unicorn we’re trying to get – Sara [Terzi, Senior Art Collections Manager] and I joke we would die happy if we were able to acquire Toyin Ojih Odutola.
What was your journey to becoming Soho House’s Global Director of Art?
I’ve worked in the art world for a long time. I’ve been a dealer and I started my career at the British Museum. I began working principally in Renaissance art. en I was living in Rome making TV shows. I went to a party, where Jonathan Yeo told me that Soho House was looking for a curator. I was like, “Maybe I’m leaving Rome, as that’s my dream job.”
To be honest, I imagined it’d be quite cushy. I thought I’d be hanging around the clubs drinking flat whites a few days a week. In the interview, Nick and I concocted this grand vision for the collection, so I couldn’t resist. We’ve acquired around 6,000 works over seven years. It turned out not to be a cushy job. But I’m glad it’s not. It’s very exciting.
We have many House openings coming up: Portland, Glasgow, Charleston, Mexico City, Manchester… What are your plans for these hangs? Mexico City, I think, will be our best House for art. I’m so excited about it. Mexico has such a historically important art scene. It’s staggering in terms of its depth and quality. Also, the House is beautiful. It’s a great building for art. We’re developing our most ambitious collection to date there, with beautiful, site-specific installations, including a huge textile installation in the reception by a duo called Celeste, which is like nothing we have ever done. We’re also busy working on São Paulo and Portland. ey’re both great collections. Portland doesn’t have an internationally established contemporary art hub, but it has a vibrant and w orthy scene and it’s about giving that the attention it deserves. Like Nashville, there’s a chance to make a real commitment to the strong local identity by highlighting the creatives working there. We’re very excited about Manchester and Glasgow as well, because in Glasgow you’re just tripping over artists. It’s an easy one.
“Damien Hirst turnsup, takes
a spraycan and
does this shark onthe
temporaryexterior.
Nick cut it out and put it on the wall”Above: A tapestry commissioned for Soho House Holloway (2022) by Diedrick Brackens. Right: Gravity (2021) by Romina Bassu in the reception area of Soho House Rome Photography assistant: Tom Peppia Additional photography: Mark Seelen, Gina Soden, Giulia Venanzi, Ian Byers-Gamber, Chatchawan Jaksuwong
Can you share any artist anecdotes?
We played a game inspired by the Surrealist Paul Klee at 40 Greek Street. I asked 20 of the most important artists w orking and showing in London to make a drawing without allowing their pencil to leave the page. Tracey Emin did it, and Helen Marten, who had just won the Turner Prize. Jake and Dinos Chapman, Conrad Shawcross, Bharti Kher, Elmgreen and Dragset… What was fascinating was the creative ways they found to break the rules. Yinka Shonibare drew the Statue of Liberty, sent it over and then sent a follow-up email to say, “I’ve got no evidence that I did this in one go, should I do it again and video it?” I just thought, “ is is insane, it’s Yinka Shonibare!” Sometimes you worship these artists and then you realise that they’re also really sweet people. en there was the time I fell o my chair in the o ice because Jenny Holzer replied to my email. I stood up, whooped and punched the air. Then, as I sat back down, my chair wasn’t there and I fell on the floor.
We’re printing a series of art guides for the Houses. What was the motivation behind this?
Since I joined the company, I’ve wanted to get the collection in order so that the members can understand what we have. It’s their collection. We’ve redesigned
John Boyega _____ Reinventing Hollywood _____ 25 Le : e team installing artwork at Soho House Bangkok. Works, from le : Beacon (2022) by Mark Corfield-Moore; Pink Man Begin II # 2 (1997) by Manit Sriwanichpoom; Monk no.1 by Prapat Jiwarangsan; Old Pine Tree (2020) by Noppanan annaree; Become a Believer (2019) by Kamonlak Sukchai; Ready Set (2019) by idarat Chantachua; Crown Room (2021) by Nawin Nuthong
like the Romina Bassu and a killer painting by Helena Foster. I buy a lot of young graduates’ work. I have a small terraced house in Brixton and I must have about 150 artworks. It’s packed. It’s good for my daughter. I took down a piece this week and switched it for a new one. She noticed straight away. Maybe she’s ge ing an eye.
What’s the best bit of member feedback you’ve ever received?
Once I went to West Hollywood in the middle of the night and changed the entire hang. We reopened again in the morning. is guy came out of the li on his phone – he goes to the Club every day. He looked up, turned around and looked back at the li , and then looked around again. It was this huge physical reaction. He was like,
our art maps and made them more user-friendly. We’re going to make them downloadable on the Soho House App and we’re also going to print some. It’s really exciting, because it shows Soho House’s commitment to art and creates a portal to understand it further.
What does your personal art collection look like?
It looks like a poor man’s Soho House! I have a lot of the same artists obviously, but more affordable drawings and works on paper. I have treated myself to a couple of paintings in recent years,
“Oh. My. God.” out loud. I wish I had videoed it. He was really, really thrilled. He felt like it was a new Club.
My hope is that members look at the collection in their city and feel proud of it. Hopefully we provide a great shortcut if they want to know more about art, and hopefully it makes them feel really proud of the diversity and brilliance of the art scene in their city.
Stories by Rebecca Donnison, Chloe Lawrance, Charlo e Manning, Samantha Stone and Rachel Su on
Amsterdam, Netherlands
Over the summer, we celebrated Soho House Amsterdam’s five-year anniversary. It’s hard to believe it has been half a decade since the famous opening party in 2018, though at the same time, I find myself asking where the time has gone. Many of us locals can’t envision this city without the House; it has truly brought the creative community of Amsterdam closer together.
The House is located in the monumental Bungehuis – a six-floor former trading office built in the 1930s. e building is known to most as the former faculty of Humanities of the University of Amsterdam, with some of our members having actually studied there. It overlooks the Singel canal and has become a landmark in the city, acting as a second home to our local members whilst being the perfect base for international members when they visit.
As a city, Amsterdam hits the sweet spot between a charming village with quirky characteristics and rich architectural heritage, and a booming metropolis – especially since some of the industry’s big creative players,
such Netflix and Nike, have spread their wings here, establishing European headquarters in and around the city. What keeps these creative minds here, however, is the Dutch quality of life.
Being born and raised in Amsterdam myself, I can confirm that our perception of distance is somewhat unrealistic; we’re used to having everything close by. Nowhere should take more than 15 minutes to reach by bike, otherwise it is considered too far. at’s why Soho House Amsterdam’s central location could not be be er. It’s the perfect place for a quick pit stop to work out, to pass time or to just pop in and out of the sauna at the Cowshed Spa (if you know, you know). e House has everything you need for work and play, and the best days start with a co ee in the morning and end with post-dinner cocktails on the roof during golden hour, having met new and old friends along the way.
For me, it’s all about sharing these moments together and connecting through music and food with fellow creative souls. Over the past five years – three of which I’ve had the pleasure of being part of the Soho House Amsterdam membership team – there have been so many memorable moments shared. ere’s our annual ADE music festival events
and King’s Day parties, plus gigs by some notable acts – including Thundercat, Kelis and Kaytranada – as well as more intimate sessions with the likes of Kamaal Williams and Joep Beving. Similarly, other initiatives have been so inspiring, from our roo op Wim Hof bath experiences to our mentorship program, which brought members together and made a positive impact on the community.
During our birthday week in July, we hosted an intimate dinner with founder Nick Jones and some long-standing members, who reminisced on special memories with us and the connections they’d made within the Soho House community. It was beautiful to watch them all come together to celebrate that night and also at the anniversary party, where some of our favorite local DJs – Mr Wix, JAEL, STEWW, Dam Swindle, Willem Mulder – brought the best vibes. It was truly one for the books, and a night our members will remember for years to come.
Ultimately, Soho House Amsterdam is an anchor for the creative community in our city. It’s a safe haven, a meeting point, a place to hide, to come together and make memories. Despite being a new concept in Dutch culture, it has earned a special place in the hearts of our local and international members.
For many Soho House members, work is so much more than a nine to five. From creative thinkers to industry trailblazers, they are entrepreneurs who are leading teams to success, or freelancers stepping out on their own.
is was the inspiration behind Soho Works, our global co-working spaces for members and non-members alike.
I joined the business over five years ago as General Manager of Soho Works in Shoreditch; these days I head up the business within the UK. During my tenure, I’ve seen Soho Works grow from a single space in east London to eight global locations and more than 5,000 members. In LA, New York and London, Soho Works has forged the way in co-working spaces, carrying the creative passion (and stunning design principles) of Soho House to build welcoming spaces that help our members to connect, grow and succeed.
An essential part of Soho Works’ success has been its flexibility. No two members are the same, and we meet their needs by o ering di erent tiers of membership to suit our community.
There’s also the meeting rooms, phone booths, courier services, fully equipped kitchens with complimentary breakfasts and co ee by the bucke ul – just some of the additional perks we o er to our members.
e thing I’m most proud of, however, is the creative communities we help to foster in our spaces. There’s such a supportive energy between our
members; a collective goal to hustle and succeed together. I see it in the introductions made by the coffee machines and in the way knowledge is shared while waiting for the toaster to pop up in the mornings. (Even creatives need tax advice, a er all.)
Whether they’re part of a team or entrepreneurs flying solo, our members become each other’s colleagues and support systems. They rely on one another to bounce ideas; to reach those elusive “lightbulb” moments.
We try to encourage this open, community-like atmosphere in simple ways: our table layouts, breakout spaces and – vitally – the drinks trolley that does the rounds each Friday. Stacked high with Soho House favourites, nothing solidifies a working relationship like a Picante or two after a long week. In addition, we also o er complimentary perks, such as sports massages and manicures – these might not directly help with member networking, but they present a much-deserved midday break during busy periods.
Our event programming is another highlight that makes Soho Works so special. Member events have always been a staple at Soho House, and we wanted to replicate this with a jam-packed events schedule focused around networking and professional growth. From member dinners and speed pitching sessions to inspiring talks from esteemed speakers, ranging from Jane Goodall to Declan Rice,
I love that we can collaborate with our members and their brands to curate such a brilliant lineup of events. Of course, it helps that the community is so ready to cheer on their fellow members by ge ing involved.
I like to think we have a small part to play in nurturing the future of the creative industries at Soho Works, too. By opening up membership to people who might not yet have a Soho House or Soho Friends membership, we’ve been able to diversify our creative community even further. Similarly, our A er Hours membership – which o ers a reduced rate for o -peak access to our spaces –is o en utilised by side-hustlers hoping to turn their dreams into a reality. Our members are hungry for knowledge; there’s a lot to be said about the crosspollination of ideas between fresh-faced entrepreneurs and members further down the line in their careers.
This is still just the beginning for Soho Works. In the coming months we’ll be opening two new floors at our London Dean Street outpost (including a fully soundproofed recording studio, which I’m particularly excited for). We’ve adapted as the working world has changed – and that’s something we’ll continue to do – but our core concept remains the same: making space for creative individuals and businesses to flourish. Ultimately, Soho Works wouldn’t be anything without its members – and I can’t wait to see where their journeys take them next.
SOHO WORKS, GLOBALLos Angeles, USA
By Samantha Stone, Chief Membership O icer at Soho House
Los Angeles represents such an important part of Soho House’s creative community. Since the opening of our West Hollywood location in March 2010, we have grown and shi ed in so many ways. I joined the company 13 years ago as Membership Manager at what was then the second of our House openings in the US – and the very first on the West Coast. It was a time long before that big, beautiful marble staircase was put in at Soho House West Hollywood and before we had the community we’ve built today –there are now four Houses in California alone, and 14 in North America overall.
Back then, we still had to convince people who we were, what we were doing and what it meant to be in a physical space with people who share similar interests and love for the creative arts. At that time, the concept of Soho House was very foreign to a lot of people in Los Angeles, unless they had been to a pop-up we’d hosted during the Oscars or visited the Houses in New York and London. But Los Angeles was also a city where the primary fields that people worked in were film, entertainment and music.
When we opened the House, I remember writers in West Hollywood loved the fact that they could use it as a place to sit and write. is was
before the nomadic way of remote working took off. You didn’t have people on their laptops taking meetings, because most creative people still worked in o ices. ings are so different now, with so many more flexible opportunities within the creative industries. In the years since we first opened, Los Angeles has developed an incredible food culture and fashion scene, and the tech world has evolved so much, too.
Now, as Chief Membership O icer, I have had the privilege of witnessing how Soho House has become a mainstay for our members – not only in LA but throughout the US, as we’ve extended our community by opening Houses everywhere from Miami and Chicago to Nashville and Austin.
All of these Houses are really special to me in different ways, with each reflecting a significant time in my own life. When I think of somewhere like Soho Beach House Miami, which we opened just a few months a er West
Hollywood in 2010, it takes me back to a very young time in my life before I had my kids. My husband and I, who are both West Coast natives, now have three children and there is a specific House opening that reminds me of each of them. As my family was growing, so was the Soho House community. In a weird way, the Houses all feel like extensions of my kids, especially the LA locations.
Next year, we’ll be celebrating Soho House West Hollywood’s 14th birthday; a major milestone for us and our community in the city. One of the many special and unique things about our presence in a place like Los Angeles is all the incredible creative journeys that we get to support along the way. We’ve been with that screenwriter since they were in school who is now a showrunner, or the actor who finally got their big break. We’ve been a part of all those stories, and hopefully many more to come in the next 14 years.
“ONE OF THE SPECIAL THINGS ABOUT OUR PRESENCE IN LA IS ALL THE CREATIVE JOURNEYS WE GET TO SUPPORT”
From big events to small gatherings, book a private space at Soho House
Year a er year, Swedish people live the summer season to the fullest. And no wonder. In this part of the world, threequarters of the year experiences cold, dark weather, which can make for a rather moody and socially anxious society come springtime. So, like clockwork, from the first of June through August, there is a noticeable shift in the country’s social behaviour.
For both city folk and country dwellers, summer is most commonly spent by the water, under the sun and being generally immersed in nature. Activities include early morning swims in the ice-cold sea accompanied by a sauna session; long, lazy weekends spent in the countryside with family and friends; celebrating the summer solstice holiday known as Midsummer (nothing like the scary movie), and that late-season classic: the crayfish party krä skiva, which is so simple, so fun and so delicious.
of schnapps, which are equally as important as the side dishes and are consumed while group songs are sung unapologetically loud and fast.
By Charlo e Manning, Member Events Manager at Soho House StockholmHistorically, eating crayfish and drinking chilled Swedish schnapps (similar to vodka) can be traced back to the early 16th century, when the crustacean – which looks and tastes like a mini lobster – was a delicacy for the royals. To mark the Swedish summer this year, the Soho House Stockholm Membership and Events team celebrated with our biggest event since the House opened in December 2022 – by hosting a traditional kräftskiva dinner on an island on the Stockholm archipelago just outside the city, Dalarö Skans.
Wherever a crayfish party takes place in Sweden, it tends to follow the same format: crayfish-themed napkins, tablecloths, paper hats and known songs, chants and moments of cheer. Let’s just say, it’s hard to miss a crayfish party when you see one.
Typically, they are celebrated outdoors, with large groups gathered around a long table filled with plates of crayfish stacked like mini mountains. Traditional side dishes include freshly baked bread and bu er, boiled potatoes and the crowd-pleasing Västerbotten pie – a quiche-like tart made from the rich Swedish cheese of the same name. Chanterelle pie, which is filled with the creamy mushroom that grows in Swedish forests, is another popular option. And let’s not forget the shots
For our first o icial House crayfish party, we wanted to keep the feast authentic, with the menu provided by local Swedish seafood market Melanders. Most important to us was the location. We wanted this party to be a magical experience, for which Dalarö Skans was ideal.
“ e island is known for its historic fortification, Dalarö Fortress, which was built in the 17th century to protect the strategic entrance to Stockholm from potential naval invasions,” says Emilio Osei-Bonsu, one of its owners. “Its history is a narrative of constant readiness against threats, notably from Russia and Denmark-Norway. However, by the mid-19th century, the fortress had lost its military significance and was abandoned.”
Last year, Osei-Bonsu and his partners Roy Ghazizadeh and Oskar du Rietz Fogstrand visited the island and realised that “it was a hidden gem”. He explains: “We bought it and converted it into a unique recreational spot. e island embodies the balance of military prowess and serenity, presenting a stark contrast between its original purpose and its current use as a peaceful retreat.”
is made it the perfect se ing for our House’s first krä skiva celebrations. And what a celebration it was. With a guestlist comprising 100 local members and All House tourists, the special dinner was followed by an a erparty back at the House, where we were joined by even more members and friends for a truly special night enjoyed by all. From the delicious outdoor feast to shots and singalongs; watching the sunset on the edge of the Dalarö Skans cli to dancing the night away; we will treasure the memory of this crayfish party and the community of creatives it gathered beyond the summer and long into the cold, dark winter months to come.
“WE WILL TREASURE THE MEMORY OF THIS CRAYFISH PARTY AND THE COMMUNITY OF CREATIVES IT GATHERED”
Creative minds. You’re shaping industries, mastering your craft. Thriving on the independence, without losing sight of your community. Striving for work freedom. Doing things your way.
But, what about fnancial freedom? For many it’s less about money, more about time. Being in control of it, having the luxury of doing what you want with it. Whatever that may be. We believe fnancial freedom isn’t just for the super-wealthy. That’s why we built Gather. We’re on a mission to empower one million creative-minded heroes just like you, to begin their investment journey.
We’re ofering £30 credit on the app, for all UK Soho House, Soho Works and The Ned members as an exclusive beneft. Scan the QR code to start Gathering today. UK only. Coming soon around the world.
Don’t just invest. Gather. Find out more: gatherinvesting.com
Capital at risk
Gather International Limited does not ofer advice or personal recommendations, if you’re not sure if investing is right for you then please speak to a fnancial advisor. The value of your investments may go down as well as up and you could get back less than you originally invested. Tax rules can change, benefts depend on circumstances. Gather International Limited is an Appointed Representative of Sapphire Capital Partners LLP (FRN 565716) which is authorised and regulated by the Financial Conduct Authority. This Financial Promotion was approved by Sapphire Capital Partners LLP as of the 30th of May 2023.
Global
Calling all self-care aficionados: there’s a new skincare treatment rolling out across Cowshed spas that promises seriously high-impact results from some seriously high-tech gear. at’s right: the Hydrafacial is here.
For the uninitiated, Hydrafacials are so much more than just a facial, which explains why they have become something of a phenomenon in the beauty sphere – it’s estimated that one is performed every 15 seconds globally . How did they become so popular? For a start, the treatment isn’t performed with hands alone. Rather, a medical grade hydradermabrasion device is used. Trust us, it’s not as scary as it sounds – think of it as something of a magic wand: a pen-like nozzle that glides over skin, getting into every nook and cranny as it cycles through three stages of treatment to improve overall skin health and target a plethora of skin concerns.
e first of these stages puts your skin through a deep cleanse and exfoliation. Traditionally, dermabrasion facials resurface the skin by sloughing away dead skin cells with (sometimes harsh) physical exfoliants. In contrast, Hydrafacial’s hydradermabrasion uses a gentler approach. In our spas, therapists begin by using Cowshed’s Cleansing Balm to remove all traces
of makeup, oil and grime, followed by a gentle chemical exfoliation using either glycolic or salicylic acid. Don’t let the idea of using acids on your skin put you o : these key ingredients gently shi the top layer of dead skin cells to reduce dullness and loosen all the dirt hiding inside your pores.
Next, comes the extraction stage –arguably the most satisfying part of the treatment. e Hydrafacial wand acts as a kind of vacuum, gently sucking out the gunk lurking within your pores. In a more traditional facial, this is the point where your therapist might carry out manual extractions, using their fingers to squeeze debris from the skin; something that can be quite painful and carries a risk of scarring from overzealous fingertips. e Hydrafacial, meanwhile, is painless, though the squeamish may want to avoid looking at the device, because all the grime that’s been removed from your pores is clearly visible inside the extraction tube.
Finally, skin is saturated with a blend of hydrators and specially tailored “booster” serums to help seal in moisture and nourishment. This
is the step that makes a Hydrafacial so special, as the serums target your specific skin needs – whether that’s preventing blemishes, reducing redness, boosting radiance or giving skin a smoother, more plumped-up look. Our Cowshed therapists may also use LED light therapy to further target your skin concerns: blue LED light reduces acne-causing bacteria, while red stimulates the production of collagen within the skin.
e results of this three-step a air are instant: you can expect your skin to immediately look and feel glowy and hydrated. at said, Hydrafacials are most e ective when they become part of your regular skincare routine; one every four to six weeks should see skin looking clearer, plumper and more radiant over time. Even better, Hydrafacials carry almost no downtime, though skin may look a li le red straight a erwards, so avoid too much sun or piling on makeup for a few hours.
Available in our spas across the US now, Hydrafacials will be finding their way into our Cowshed Spas across the globe in due course, so stay tuned.
Planning a trip to Berlin? Staying at Soho House is a given, but as for what else to do while you’re there, our members have got you covered
We’re thrilled to have you. There’s never been a be er time to visit Germany’s cultural capital – and, of course, Soho House Berlin, which was our first outpost in mainland Europe.
Since we opened in 2010, Soho House has become a cornerstone of the growing creative community in Berlin-Mi e. e House is a welcoming reflection of the city’s grit and warmth. And what warmth there is. Whether you’re visiting for a long weekend, a holiday or business, take a moment to bask in Berlin’s glow. From world-beating art galleries to verdant parks and legendary nightlife, there’s so much to see, do and experience.
So, make this – our ultimate Berlin guide, produced in partnership with Antler and featuring all the best tips from our members in the know – your ultimate companion next time you’re in the city.
Izogie Guobadia, Soho House Director of Membership & Communications, Europe
Soho House Berlin was our first outpost in mainland Europe. Featuring warehouse spaces and 1970s-inspired interiors – alongside food o erings from across the globe, a gym, Cowshed spa, an amply stocked Store X and an expansive art collection, the House is beloved by members and visitors alike.
When choosing the location for the first Soho House in Europe, there was only ever one city in mind. Berlin remains the world capital of underground culture: a place where musicians, artists, writers and a global creative community can find a ordable homes and studio spaces.
SELECTED BY ROBERT SCHULTE, DIRECTOR, JULIA STOSCHEK FOUNDATION
PARIS BAR
O en copied, but still unmatched. I can’t think of a be er way to eat a bowl of bouillabaisse than si ing in this place in front of Martin Kippenberger’s painting of the bar (right). Or, next to one of Cosima von Bonin’s rocket sculptures. parisbar.net
CCA BERLIN
e Center for Contemporary Arts (CCA) is a discursive and agile art space in the city with a dynamic roster of exhibitions and public programmes, which o en reflect current topics.
@ccaberlinGEORG KOLBE MUSEUM
Located in Berlin’s Westend district, the former studio of sculptor Georg Kolbe is a real gem. e museum presents an outstanding exhibition programme and the location is beautiful. One of my favourite
solo shows was by omas Schü e in 2021. georg-kolbe-museum.de
BETWEEN BRIDGES
Founded by photographer Wolfgang Tillmans, the Between Bridges foundation is a new non-profit exhibition space in Kreuzberg’s Adalbertstraße. It supports the arts, LGBTQIA2S+ rights and anti-racism work. betweenbridges.net
LIEBERMANN VILLA
e former summer house of painter Max Liebermann is situated on Lake Wannsee. Visit it in spring to see the garden in full bloom, where 200 paintings were created and are now exhibited. liebermann-villa.de
Le : e Berlin-Mi e district, home to the Berliner Fernsehturm (TV tower) and Soho House Berlin Explore Soho House Berlin1. BERLIN-MITTE
Mi e is Berlin’s beating heart and its central borough. Here, you’ll find the Brandenburg Gate, the original Reichstag parliament building, Tiergarten park and Hauptbahnhof train station. ere are also many world-class museums and art collections, including the impressively restored Neues Museum on Museum Island. Elegant boulevards and restored squares and buildings, such as Unter den Linden and Gendarmenmarkt could rival any in Paris. Housed in a Grade IIlisted former department store, Soho House Berlin is proud to call this district home.
2. FRIEDRICHSHAIN
e scene of huge riots between squa ers and the police just a er the fall of the Berlin Wall in 1989, Friedrichshain was originally the
counter-cultural heart of the city. While the squats have largely been replaced by cafes and boutiques, the area still boasts some famous venues, including the legendary nightclub Berghain. You’ll also find R.A.W. – home to a collection of art spaces, music venues and clubs in what was formerly a converted industrial site.
3. NEUKÖLLN
is area has undergone a complete transformation in recent years due to an influx of immigrants and artists. e neighbourhood now features an array of candlelit bars and restaurants, plus galleries and independent boutiques, in addition to its parks, canals and leafy squares. Neukölln is also the grassroots epicentre of political campaigning in Berlin. Protests and demonstrations for racial justice and fair housing o en start in the district.
SELECTED BY TIL VOIGT, RESTAURANT MANAGER AT NOVEMBER, RINA CEITLINA, HEAD OF MEMBERSHIP AND COMMUNICATIONS AT SOHO HOUSE AND IZOGIE GUOBADIA
BERTA
Michelin-star chef Assaf Granit named the restaurant a er his grandmother, Berta. It o ers a modern Israeli-inspired menu and the interior design is as charming as the service. Be sure to try the kreplach dumplings – they’re the best. bertarestaurant.com
CAFÉ FRIEDA
is modern restaurant in Prenzlauer Berg boasts beautiful interiors and serves sharing dishes, along with a great selection of wines. It’s somewhere you’ll want to stay for hours – fortunately, the menu changes across the day, as the space shi s from a café to a restaurant and a bar. cafefrieda.de
Le : Of the 12 boroughs of Berlin, our members highlight Berlin-Mi e (1), Friedrichshain (2) and Neukölln (3) as their favourites
BARRA
Barra, which serves sharing dishes, is in Neukölln – a district home to new gastro concepts and wine bars. It has been featured in the Michelin Guide and awarded a Bib Gourmand. barraberlin.com
893 RYOTEI
Behind a grafi ied facade on Kantstraße is 893 Ryotei, serving mainly Japanese food. e open kitchen makes it a dining experience you won’t forget. 893ryotei.de
November is another great place for Japanese cuisine. It’s a warm environment with a friendly team and outstanding food. november.berlin
And for a real Berlin experience Stroll around Ko busser Tor, the centre of Berlin’s buzzing Kreuzberg district, and indulge in a döner kebab (day, night or very early morning).
Right: e roo op pool at Soho House Berlin
TIERGARTEN PARK
Wander into the animal park and you’ll find Café am Neuen See, where you can hire a rowing boat. Take it out on the lake and enjoy the scenery. It reminds me of a scene from the movie e Notebook
GRUNEWALD FOREST
Take a walk into Grunewald and discover the sand gravel pit and Teufelssee lake. is beautiful forest has a serene energy; I go there to recharge. It feels like you’re out of the city, without having to leave Berlin.
PFAUENINSEL
Catch the ferry from Wannsee to this enchanting place, known as Peacock Island. It’s home to a fairytale castle, rare plants and trees, plus colourful peacocks.
SPREE RIVER
SELECTED BY ANDREAS
MURKUDIS, RETAILER
RENÉ TALMON L’ARMÉE
I’m a big fan of his creations using natural black rough diamonds. His store in Berlin’s Scheunenviertel neighbourhood reminds me of the days when my shop was located in Berlin-Mi e. renetalmonlarmee.com
DO YOU READ ME?
If you need a stimulating read – especially on the topics of art, fashion and architecture – the bookstore Do You Read Me? (above) is always a safe bet. doyoureadme.de
RYOKO SENSES SALON
I don’t find myself in Neukölln very o en, but when I do, I make sure I stop by Ryoko Senses Salon. I appreciate the
Japanese philosophy of scent and aromatherapy – subtle, never overpowering. Plus the owners, Ryoko Hori and Daniel Kula, have excellent taste.
ryoko-berlin.com
VOOSTORE BERLIN
Pegged as a “culturally empowered, creatively driven concept space”, this Kreuzberg stalwart is a failsafe spot for finding the best sneakers in Berlin. It stocks brands ranging from Prada to Salomon, and there’s also a great edit of books and magazines. vooberlin.com
SAL BAZAAR
Mulackstraße is one of my favourite streets in Mi e and this fashion store, which sells brands such as Christophe Lemaire and Dumitrascu, is a real gem. Well worth a visit. salbazaar.com
Rent a paddleboard in Kreuzberg and glide along the river. It’s fun to be on the water next to li le boats in the middle of Berlin. It’s a way of seeing the city from a totally di erent perspective.
SPREEWALD FOREST
Take a boat trip through the forest – just over an hour by train from central Berlin. Spreewald is a designated UNESCO Biosphere Reserve, and the area is known for its pickles. Literally, picklemania. Everything here is pickled.
Above le : Bookshop Do You Read Me? Right: e city’s grand cathedral, Berliner Dom
SELECTED BY PIERRE ESCOBAR, ARCHITECT
CHIPPERFIELD KANTINE
Designed by the British architect himself, this studio canteen is located on the David Chipperfield Architects Berlin campus. Members of the public can also have a great lunch in the sleek concrete space and gardens. chipperfield-kantine.de
RATHAUS SCHÖNEBERG U - BHF
is former deserted train station was damaged during the war and totally renovated in 2002. e buildings are nestled among the trees, which creates a beautiful interaction between the infrastructure and the park.
LOBE BLOCK
Designed by Arno Brandlhuber, this multipurpose concrete structure is an ironic answer to building regulations. ink the Hanging Gardens
SELECTED BY BERNARD KOOMSON, FOUNDER OF DEADHYPE
TINY’S HUT
Based in Æve Garden, Tiny’s Hut is a great chill-out spot with a garden and DJs. Come for a pre-drink and an amazing pizza.
@tinys_pizza
BY ALFRED TONG
As soon as you enter the lobby of Soho House Berlin, Damien Hirst’s spray-painted Shark is the first piece of art that greets you. A star of the global Soho House collection, it was created in situ by the British artist with a spray can when the building was still wrapped in hoarding in 2009.
e art in the building serves as a statement of intent: it is not
merely a decorative element, but embedded into the very foundation – and walls – of the House. Art and the spirit of creativity is integral to the ethos of everything that happens here. Elsewhere, the collection includes many Berlin-based and German artists, such as Claudia Comte, Kimberly Klauss, Nicole Wermers, Wolfgang Tillmans, Gert and Uwe Tobias, Martin Eder, Jorinde Voigt, Katja Strunz, Ma hias Bitzer, omas Helbig, and Christian Jankowski.
Above: e entrance to Soho House Berlin. Right: Hawa performing at the House for its Berlin Art Week party in 2022
of Babylon, Brutalist-style, in the middle of bustling Berlin. lobeblock.de
CHECKPOINT CHARLIE
At the corner of Friedrichstraße and Rudi-Dutschke-Straße, you’ll find a building by Dutch architect Rem Koolhaas and another one by US architect Peter Eisenman. e location was once the checkpoint between East and West Berlin.
KÖNIG GALERIE
Originally a church designed by Werner Dü mann, this gallery is one of the most iconic examples of Brutalist architecture in Germany. e building features massive concrete blocks and exposed surfaces that reveal the grains of their original wood casts. koeniggalerie.com
IMAGINARY FRIEND
Seoul-born DJ Fart in the Club is a regular at this club night with her deep house and techno and vintage breaks. If you love music and discovering new sounds and DJs, go to one of these parties.
@djfartintheclub
TEMRY AND FRIENDS
Always warm and with good energy, Berlin-based producer and DJ Temry e ortlessly mixes di erent genres such as house, neo-soul and Afrobeats with a big focus on the core community. Ideal if you want a break from single-genre parties.
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KILOWATT BERLIN is Black-run electronic and techno club series is usually hosted at Watergate, but they also do cool day parties.
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EINHUNDERT
Run by Nico Adomako and Flo
He enbach, Einhundert brings some of the best international line-ups to Berlin. e best party if you want to dance all night long.
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Photography: Mark Seelen, Julia Nimke, Marcus Mainz
The Soho House Awards, powered by Porsche, are back, celebrating the incredible work of creative talents across our membership. What makes the Soho House Awards unique is the way in which they celebrate established icons and rising stars equally for the work that they do and their contributions to their respective industries. is year, there was a twist – for the first time, our global members had the opportunity to nominate two winners per category: one high-profile figure and one breakthrough talent across the worlds of music, art, film, fashion, literature and more. Another change saw us switch location, moving the ceremony from 180 House in London to DUMBO House in Brooklyn. So, who took home the Golden Picante trophies on the night? Read on to find out …
Is there any role Emma Corrin can’t take on? e actor’s ability to seamlessly shi between stage and screen suggests not – and has won them
Soho House’s eatre Performance Award
By Hanna FlintPhotography by Buzz White
Styling by Harry Lambert THEATRE
“What ma ers is awareness, consciousness – and if there is an invitation for collaboration, that’s special”
or Emma Corrin, cinema is a sacred place. It’s a gateway to new worlds; a common vehicle for fellow big-screen travellers. A er visiting London’s Electric Cinema and Electric House for this shoot to celebrate their eatre Performance Award, the Portobello Road venues have become exciting new destinations for them, too. “ e idea of having a cinema, then a restaurant and also a library snug covered in vines; where you could see a film and go for dinner in the same place and talk to your friends about it… at’s not something I’ve ever done, but I like the possibility of it,” the actor enthuses from their home in south London, which they share with their dog, Spencer, when we catch up a week later.
“Possibility” is a word that springs to mind when considering the landscape of Corrin’s future career. Over just a short period, their talent and choice timing has seen them rack up both distinctive and iconic roles. Following supporting but significant turns in the Batman prequel series Pennyworth and Miss World biographical comedy Misbehaviour, Corrin’s breakthrough performance came in 2020. Their portrayal of Diana, Princess of Wales in the fourth season of Peter Morgan’s acclaimed drama e Crown earned them a Golden Globe and a Critics’ Choice Television Award, plus a Primetime Emmy Award nomination.
A nd rightly so. e actor’s intimate study of the People’s Princess, opposite Josh O’Connor as Prince Charles, is beyond surface imitation; it’s an unflinching embodiment that truly captures Diana’s kind but troubled soul.
A year later, in 2021, Corrin switched gears, making their West End debut in Anna X, a satirical romantic sting of a two-hander. Corrin played the eponymous role, a con artist inspired by Anna Sorokin – a notorious New York “socialite” who was proven to be anything but and found guilty of grand larceny in 2019. Corrin’s portrayal of Anna saw the actor – known for mastering the demure countenance of Diana – being praised by critics for exuding “steely cynicism” and “Villanelle-esque charm”, promptly
earning them a Laurence Olivier Award nomination for the e ort.
“Stage is a bit of a reset because you are using every single muscle, every single faculty,” Corrin says of the switch from screen acting. “All of you is active and responding live in that moment and that’s why an audience loves it. Because it changes every night and the energy is dictated not only by you, it gets heated by the audience, [too].”
For Corrin, the stage was at its most electric during the three months they spent at the Garrick Theatre performing their most personal role to date: the titular character of Orlando in Neil Bartle ’s adaptation of Virginia Woolf’s queer feminist classic, directed by Tony and Olivier Award-winner Michael Grandage.
“I’ve never been more aware of my own fragility and my own limits as I have been when I was doing that run,” Corrin admits. “But I just remember thinking every evening that I can’t believe [Woolf] wrote this when she did.”
e historical epic is a fictionalised biography about the Elizabethan nobleman Orlando, who travels through time and place, transforms from male to female and is forced to confront gender politics, evolving literary culture and social expectations over centuries.
“ e story is mostly about freeing yourself from any constraints to live as who you are in this present moment, and that might change. It might be at odds with who you were yesterday, or with who you’ll be tomorrow,” Corrin explains. “ e last line that Neil Bartle wrote is: ‘It’s now. It’s right now,’ and I think that is beautiful and euphoric.”
Woolf’s exploration of gender fluidity (which she based on her lover and friend Vita Sackville-West) was ahead of its time. Orlando: A Biography was published in 1928, 10 years a er women’s suffrage secured women the right to vote in the UK and nearly four decades before the legalisation of homosexuality in England and Wales.
e character has since been played by some of culture’s most revered stars, including Miranda Richardson, Isabelle Huppert and Tilda Swinton’s defining performance in Sally Potter’s 1992 film adaptation.
Comparisons between Swinton and Corrin can easily be made because of their androgynous blond looks, but as an openly queer and non-binary performer, the role was especially resonant for Corrin. “With my own journey, it was really special to be able to do something that’s in a different category from other parts that I do. Sometimes a job like Orlando will come along, where it will be intrinsically meaningful and personal to you,” Corrin explains. “It felt like an amazing chance to work through a lot of my own stu every night on stage and celebrate this thing that I feel passionately about, and parts of myself that I’ve taken a long time to come to terms with.”
In its truest form, art is a medium through which to better understand ourselves, each other and the world we live in, and Corrin is proving to be a formidable purveyor of what it means to be human. By adding films such as My Policeman and Lady Cha erley’s Lover to their name, plus eagerly anticipated roles in a new Nosferatu adaptation and Deadpool 3, there appear to be no limits to the stories the actor can tell, the worlds they can visit or people they can inhabit. Yet that freedom hasn’t always been a given. “When I was younger, I don’t think I ever allowed myself to think about if I could become a working actor, whether I could support myself, or have a place within that industry or what my career would look like,” they explain. “It always seemed so impossible and so unknown.”
orn on 13 December 1995 in Royal Tunbridge Wells, Kent, to Chris and Julie e Corrin – an English businessman and a South African speech therapist – the performer was raised with their younger brothers, Richard and Jonty, to embrace their curiosity. As a child, Corrin would write plays and one of their favourite games was to peoplewatch. “Me and my mum loved it,” the actor enthuses. “We used to go and sit outside co ee shops in our tiny li le town where I grew up and watch and try and guess people’s stories: their names, where they were going and who they were going to see.”
At the Roman Catholic Woldingham School in Surrey, where they boarded, Corrin was able to channel their keen imagination into acting and dance, before completing a Shakespeare course at the London Academy of Music and Dramatic Art during their gap year. Corrin wanted to get straight into acting after that, but their parents insisted on a further education safety net. So, a er being rejected twice from the Royal Academy of Dramatic Art, they instead, briefly, attended the University of Bristol to study drama before dropping out to complete a degree in education at Cambridge. is three-year stint focused on child psychology, but together with some stirring performances in productions put on by the university’s historic ADC eatre – including Coriolanus, Romeo And Juliet, Love’s Labour’s Lost, Philadelphia and e House Of Bernarda Alba – the actor was also building a toolkit for how they would approach future performances.
“I’ve never been more aware of my own fragility and my own limits as I was when I was doing Orlando”
“Orlando felt like an amazing chance to celebrate this thing that I feel passionately about and parts of myself that I’ve taken a long time to come to terms with”
is page, opposite and p46–47: Top, £360, and skirt, £595, both 16Arlington. Shirt, price on request, Be ter. Jewellery, Emma’s own
“I enjoy being totally at the mercy of someone else’s vision and their plan, and figuring out how I fit in as part of that”
“My dissertation was in the architecture of children’s primary schools, so it was very di erent from anything that I’m doing now,” Corrin notes. “But I have always enjoyed watching, learning and observing people, as well as applying what I’ve been through – my experiences, thoughts and feelings – to character.”
Corrin also loves to throw themself behind filmmakers with distinct, innovative visions, as reinforced by their recent experiences filming Robert Eggers’s Nosferatu and forthcoming neo-noir detective series A Murder At e End Of e World from Brit Marling and Zal Batmanglij.
“I enjoy being totally at the mercy of someone else’s vision and their plan, and figuring out how I fit in as part of that,” Corrin explains. With Nosferatu, that may have literally been the case. e new adaptation of F.W. Murnau’s 1922 silent film (an uno icial take on Bram Stoker’s Dracula), stars Bill Skarsgård as the eponymous bloodsucker Count Orlok, with Nicholas Hoult and Lily-Rose Depp playing couple omas and Ellen Hu er, and Corrin as Ellen’s friend Anna Harding. “Rob’s a total perfectionist,” Corrin says, “and I think that comes from his career in costume and set. He has an eye for detail and precision, and is a real world builder.”
Indeed. Anna Harding isn’t typically a large role, but Eggers gave Corrin a two-page character background describing Anna’s favourite music and even the song that she and her husband danced to when they met. “It’s that kind of detail that really gives you a solid foundation,” enthuses Corrin. “I enjoy immersing myself in a character’s past.”
at extended to Corrin’s embracing of the physical demands of the role – they were not at all perturbed by the reputation of the visionary filmmaker behind e Witch, e Lighthouse and e Northman for pu ing his actors through the ringer. “[He] challenged me in many ways as an actor that I grew from; when you’re on set with him, you become part of that world and very much exist in it,” Corrin explains. “ e way that Rob and Jarin [Blaschke], his cinematographer, work is that they will do these continuous long shots where you almost rehearse it as a play.”
Sometimes the cast would be doing one scene for “three, four hours” in order to find “the complete architecture to it,” says Corrin, “which is beautiful, because it means you have a chance to act like you are onstage, uninterrupted.”
at artistic stamina is exactly why Corrin was cast. “Emma is a truly special actor,” casting director and Eggers’s long-time collaborator Kharmel Cochrane tells me. “They embody a natural instinct and charisma that is rare. eir performances are bold and compelling, which made them an easy choice when casting Nosferatu.”
But Corrin is also aware of not ge ing boxed into period roles, so spending a year making A Murder At e End Of eWorld with “two absolute geniuses” was a no-brainer. “Brit and Zal exist in a completely different stratosphere of intellect,” they say of the show’s creators. “It’s like they’ve seen everything that’s happening with e White Lotus and they’ve been like, ‘We’re going to f**k with this.’”
In the upcoming series, Corrin plays Darby Hart, an amateur detective – or as they describe her, “an androgynous Gen Z hacker” – whose dad is a coroner and who is invited by a reclusive billionaire (Clive Owen) to participate in a remote retreat along with eight others. When one of the guests is found dead, Darby sets out to prove it was a murder.
At a time when whodunnits and detective mysteries are enjoying a comeback, Corrin was keen to be part of a new take that would subvert expectations. “ ey’ve taken a lot of
the references of traditional detectives, especially male detectives that we know, like in True Detective, and done completely the opposite,” the actor says. “Darby can be incredibly astute, is fiercely intelligent and can see through a lot of bullshit, but is also terrified most of the time and shows incredible weakness and humanity.”
It’s exactly the sort of complex character chosen by Corrin to ensure their body of work reflects the myriad ways in which we experience life and its evolving perspectives. e actor is aware that most of their parts are cis-female roles, and gender-fluid characters such as Orlando are rare. And as much as Corrin would one day like to play Hamlet, those o ers aren’t on the table, either.
e Soho House eatre Performance Award recognises artistic contribution beyond gender – Corrin hopes that one day, the industry will, in turn, reflect the fluidity of life and range of identities that make humans who they are.
“ e industry is by no means in the place it should be,” they reflect. “ ere needs to be a happy medium, where people feel seen and have their fair share of opportunity and representation, but you also need to maintain and uphold the integrity of storytelling. It’s finding the balance. What ma ers is awareness, consciousness and if there is an invitation for collaboration, that’s special.”
Corrin’s photoshoot and interview took place before the SAG-AFTRA strike.
A Murder At e End Of e World is coming soon to Disney+.
Corrin is a member of White City House
Lyrical Lemonade making stars of Lil Yachty and Juice WRLD today. And in this modern era of filmmakers, Dave Free’s star shines brightest.
While Free is the longtime creative collaborator, business partner and go-to creator for Kendrick Lamar, he is a tour de force in his own right. He is a disruptive executive and a visual savant who constructs thoughtful, jarring and rousing projects that speak to the human condition.
As an executive, director and once-in-a-generation creative multi-hyphenate, Dave Free is tasked with executing an artist’s vision. He turns lyrics into mini movies and creates visuals to last a lifetime. Throughout hip hop’s last 50 years, directors have left an indelible mark, from Hype Williams’s decadent gloss across the 1990s for Jay-Z and Nas to Cole Bennett’s
“I’ve never really worked in isolation. My work is connected to collaboration,” he says. “I get inspiration from lots of things but if I had to prioritise it into one concept, I would say ‘kids’.” e proof is in plain sight. ink of the imagery used for Baby Keem and Kendrick Lamar’s 2022 Grammy Award-winning hit Family Ties e way in which Free splices scenarios – a group of young Black men moshing; a simulated gang fight; a legion of Black ballet dancers – over one another in the video evokes a sense of youthful exuberance and iron-clad community. There’s also Lamar’s Count Me Out video, which implements similar techniques to match the rapper’s poignant lyrics: a group clad in white, akin to angels, carry Kendrick, dressed head-to-toe in red, seemingly to his resting place. As has become custom, Free’s videos stop you in your tracks
Having co-founded creative company pgLang with Lamar in 2020, Free now aims to empower those following in his footsteps. He describes the company as a culmination of all his talents and knowledge concentrated into one entity – one that continues to thrive, with pgLang having collaborated with leading brands such as Ti any & Co., Louis Vuitton, Converse, CashApp and Calvin Klein. “Myself and K-Dot [Lamar] wanted to create a cultural foundation for multi-dimensional artists to develop their skill sets,” he says of the new venture.
As a member of Soho House, Free has found an environment to aid his creative principles and break bread with similar minds, calling it “an environment focused on the opportunity to develop friendship and collaboration”. So whether he’s at Soho House taking in a performance, picking up his Creator of the Year accolade at the Soho House Awards or behind the camera, Dave Free has earned his place as one of the great visual minds of the century, all while following a mantra he holds dear: “Don’t burn the blessing.”
Dave Free is a member of Soho House Berlin
Photography: pgLang, Sean Davidsone groundbreaking music video director on collaboration, community and creating space for a new era of artists
e winner of this year’s Breakthrough Creator Award, in association with Soho Home, is known for designing and cra ing one-of-a-kind oversized glass vessels. All of Tel Aviv-born Dana Arbib’s work is inspired by chapters of her heritage: from her Libyan father to her Italian lineage and her upbringing in Toronto. Over the past two years, Arbib has experienced a level of acclaim that has led to her creations being displayed in art exhibitions across the globe and sold at notable galleries and design stores, including Tiwa Select. e multidisciplinary artist originally worked in fashion, most notably as the founder of clothing label A Peace Treaty, which she ran for more than a decade. It was during her time as a designer that Arbib met artisans who were all masters of their cra , which sparked an obsession with historical techniques that have been handed down through generations.
However, it wasn’t until a er Arbib the fashion industry that she was able to develop her artistry. In 2019, she met an Italian glassblower who invited her to Venice to learn more about the craft. So in 2020, once the borders reopened, Arbib began travelling to Murano, Italy (where her parents live), where she learnt the intricate art of glassblowing. To this day, her glass vessels are produced in Venice.
Once she refined her skills and gained confidence, Arbib began designing and creating her vases. She exhibitied her first solo show in 2022 with Alex Tieghi-Walker (of TIWA Select) at Galerie Michael Bargo in New York. “It was a labour of love and somehow it all
magically came together at the end,” she says, reflecting on what she describes as her proudest achievement to date.
Arbib’s very first design, Mille Bolle, remains one of her most famous and is used as the base for all the designs that have followed. “It perfectly encapsulates my love for the colour of the water in the Venetian lagoon, my north African heritage and my modern aesthetic.”
Ancient glass and north African relics have always been an inspiration for Arbib, but recently we’ve seen organic forms and nature used as her muse.
Arbib is a natural artist; it’s clear that creativity is the essence of how she lives and who she is: “I can’t unsee it and I can’t unthink it. I don’t know another way to be,” she says. e same ethos applies to when she’s browsing through the Soho Home collection and finds a special something – the Geona Co ee Table in Bordeaux (below) is a current favourite. “I am having a love a air with high glossed lacquer,” she says. “ is Bordeaux color is perfect. It reminds me of Halston’s iconic office and the lacquered tables he had in there.”
Looking ahead, Arbib is very much focused on continuing her creative journey, with plans of experimenting with illuminated glass next on her agenda. Watch this space.
Below:
Le : Artist and designer Dana Arbib. Geona Co ee Table, High Gloss Lacquer, Bordeaux, £1,995, Soho Homee artist’s bold glass designs celebrate traditional cra techniques through a modern lens
By Anastasiia Fedorova
“Since I first thought of being an artist, my goal was to stay in the conversation,” says Laurie Simmons, winner of the Soho House Artist Award. “I had my first show when I was 29 but I’ve been making art my whole life; I’m constantly inspired by younger artists, younger dealers and younger women. It keeps me going and my ideas fresh.”
Simmons entered the art world in the 1970s, cra ing and photographing doll’s houses – intensely atmospheric, eerie snapshots of the domestic. ose early works were inspired by her 1950s suburban childhood, which was in turn shaped by consumerist imagery in magazines and on TV, as well as toys, such as dolls. “A doll or puppet is a standin for reality,” she says. “We don’t project the same kind of emotion on a doll, but with lighting, with turning the face ever so slightly, I could play with memory. Rather than thinking about it as a fiction, I was thinking about it as a hyper-reality.”
By the 1980s, Simmons was at the forefront of a new generation of predominantly women artists, including Cindy Sherman, Barbara Kruger and Louise Lawler. Today, her work is in the
permanent collections of institutions such as the Metropolitan Museum of Art and the Museum of Modern Art. Yet Simmons recalls how picking up a camera in the 1970s was a radical act. She was a racted to the subversive power of the medium. “ e first thing I figured out about photography is still what interests me the most,” she says. “That photographs can lie and they can do it very well.” Today, she divides her time between two studios in Connecticut: one for making props and objects and another for imagebased works created with AI. Simmons describes the making of these, pulling out large printed images of carefully staged scenes in saturated, glossy colours. While she’s aware of the volatile complexity of AI, she can’t hold back her excitement for its potential and aims to exhibit this futuristic work soon.
Past and future are in constant dialogue for Simmons. In 2022, she opened a major retrospective at the Brooklyn Museum of artist Jimmy DeSana, whose estate she inherited following his death from AIDS in 1990. Bringing her friend’s archive to the public – and the overdue recognition
that followed – made Simmons think of her own art. She gestures towards a row of green and navy files behind her, filled with slides and negatives. “Memory is one of the main subjects of my work. It gives us the option to rewrite history, to rewrite our own trauma or to create our own trauma. At this point in my career, how I’m remembered and what happens to my work is important to me.”
At 73 and an art icon, Simmons could be forgiven for si ing back and enjoying her well-earned reputation, but that isn’t her style. Her most recent show in New York, for example, took place at small independent gallery 56 Henry. She cites her children – writer, director and actor Lena Dunham and writer Cyrus Dunham – as inspiration. “My subjects have always been memory and gender, and living in the world where the fluidity of gender has become a subject has given me more fertile territory to examine,” she says. “I’m so grateful that I have a trans son, because I’ve learnt so much. He is a muse and a model for me.”
Simmons remains deeply excited for change: “I feel like everything the culture serves up to me as a subject is something I’ve been waiting for.”
LaurieSimmons is a member of Soho House New York
Photography: Sebastian Kim/AUGUSTShe was the artist at the vanguard of the New York creative scene in the 1970s. Five decades on, her eye remains firmly fixed on the future
“I think there’s an undying humanity to painting, especially when you’re in its physical presence,” says MexicanAmerican artist b chehayeb. She is at her studio in Brooklyn. We speak of the medium’s place in an increasingly digital world and she is certain of its enduring power. “Painting demands something of you with its physicality and materiality,” she says. “It will always remind me of the instinctual human response to the world: to colour, the intangible or the spiritual. It captures things the internet can’t.”
In her work, chehayeb, who spells her name in lowercase in homage to author bell hooks, o en traces the intangible. Memory is a frequent touchpoint: “My work retraces my small-town Texas childhood,” she notes. “ ere’s a lot of erasure, abstract text and images: reconfiguring an image to be a le er, a star, or something relevant to small-town culture – specifically Tejano culture, which is a mix of Mexican and Texan heritage.”
Her involvement in art sprang from being immersed in language and stories. She also cites American artist Jenny Holzer, who is renowned for her use of text and language, as a major influence. While text was a key part of chehayeb’s early work, now painting occupies the most significant place in her practice.
Words still play a role in chehayeb’s art, but now they’re transmuted into visual symbols: a le er, a fruit, a pair of
cowboy boots. It gives chehayeb’s work an immersive character; familiar objects dri ing in her seas of textured colour. But she does not describe her final works as abstraction: “Abstraction was a step on the way. e point was to try to develop a language in between languages.” e conversation turns to chehayeb’s preparation of three works that will be installed at Soho House New York. She is excited about painting on bigger canvases
and to revisit working more directly with text. “ ere are a lot of references to West Texas in my colour scheme right now. e big Texas sky, a lot of greens and browns, dirt and sky – that’s where I am.” Memory, as always, looms large. b chehayeb is a member of Soho House New York
Le : ily momil (2022) by b chehayeb on display at Soho House New York
Photograph: Daniel Leeds, courtesy of OCHI and the artist, Louis Gay
In a digital world, painting still holds indelible power for an artist who uses the language of memory to write her own story
through our unique creative expression and perspective,” they say. “It goes beyond curating flavours in the culinary world; it’s about using our platform to impact and elevate the broader cultural landscape.”
With so much success already –collaborating with Japanese fashion label Sacai on a capsule collection; producing four kitchenware collections with Crux; achieving over 200k followers on Instagram – the trio has now cooked up a new collection of breakfast foods stocked exclusively at Target. This includes a pancake and waffle mix, toaster pastries and maple syrups – available in a maple cider flavour and a spicy flavour – in stores across the US.
“Working with Target was a way for us to bring our experience to the people in an accessible way, starting with remixed breakfast items. Quality that hits, flavours that stick and nutrition that uplifts. No artificial nonsense, just wholesome goodness. And, of course, Black-owned.”
Back in 2012, Jon Gray, Pierre Serrao and Lester Walker came together to make cuisine that would bring the cooking traditions of “Black, Brown and Asian folks” to eaters everywhere. With a shared passion for food, art and their roots in the Bronx, New York, Ghe o Gastro was born.
“Our mission is always to use our food, art and design as powerful tools to inspire, empower and create resources for the underestimated communities around the world,” the group says. e collective started the initiative o small, throwing dinner parties at their own houses, which led to pop-up events and culinary experiences. “Food is more than sustenance; it’s a powerful medium that connects history and people, sparks conversation and bridges gaps between cultures.”
Their intention was to disrupt the culinary space and redefine what
gourmet or high-brow cuisine meant by infusing it with the vibrant flavours of their community. “It’s always been important for us to represent our people – the underrepresented – and bring a taste of the Bronx to the world stage,” they explain. While Ghe o Gastro is, first and foremost, about food, activism for social change lies at the heart of what they do. “As we gained momentum, we aimed to use our pla orm to advocate for social change and shine a light on issues a ecting underserved communities,” the collective explains. “It’s more than just cooking; it’s about making a positive impact. Overall, we wanted to create a movement – a revolution, even – and a mindset of empowerment, creativity and inclusivity. Breaking barriers and sha ering expectations.”
For the trio, being culinary tastemakers means more than creating dishes that generate a buzz on Instagram: “It means having the ability and responsibility to shape culture and influence others
Through these products, Ghetto Gastro is building a movement inspired by the Global South, incorporating ingredients used by their ancestors such as sweet potatoes, scotch bonnets and piri-piri peppers.“As they say, breakfast is the most important meal of the day, so we wanted to give people healthy breakfasts items that are quick and delicious. We want the world to start their day on a good foot,” says the group. With their industry-disrupting cuisine, Target offering and an impressive social impact, Gray, Serrao and Walker are undoubtedly at the top of their game, making them the muchdeserved winners of our Tastemakers of the Year Award.
Gray, Serrao and Walker are members of Ludlow House, DUMBO House and Soho House New York
Redefining gourmet cuisine, driving social change and representing their community is all in a day’s work for the food collectiveOpposite page, from le : Pierre Serrao, Jon Gray and Lester Walker, otherwise known as the Ghe o Gastro collective
Photography: Joshua Woods
SOHO SUMMIT IS COMING TO LOS ANGELES 1–3 NOVEMBER 2023
in business but use their success to make a positive impact on others.”
at is the ethos at the heart of what Burston hopes to achieve with La Fête.
“Having greater diversity in any industry sparks innovation. It’s not just about the impact on the present, but about creating generational wealth,” he says.
“ e beverage alcohol industry is worth trillions of dollars and owes a significant part of its success to the contributions of Black individuals. It’s only natural for us to strive for a fair share of the pie by building brands that capture market a ention.”
Far from just capturing a ention, it would seem that wine-world domination is firmly on track for Burston. A recently launched limited-edition white wine proved so popular it’s now a permanent fixture. In fact, La Fête wines are stocked in more than 1,500 retailers across the United States, including all Soho Houses.
“For me, Soho House embodies the La Fête mantra. It’s all about connecting with like-minded, creative individuals who appreciate the finer things in life. We see the La Fête consumer as someone who shares a passion for food, travel, connections and unforge able experiences — the very essence of what Soho House o ers its global members.”
“I absolutely love rosé wine,” says Donae Burston, the founder and CEO of La Fête Wine Company who is on a mission to redefine the perception of wine drinkers. “Back in 2019, the most popular brands were only targeting a specific type of rosé drinker, completely overlooking multicultural and Black wine enthusiasts”, he says. “When I noticed a gap in the market for a truly inclusive rosé brand, I knew I had to step in. I took that leap of faith and made my dreams a reality.”
Burston already had skin in the wine game, having worked with luxury drinks brands such as Dom Perignon, Veuve Clicquot and Moët & Chandon for over 15 years. But going out on his own and setting up a wine brand designed to disrupt the market still took guts.
“Growing up, I was fortunate to have inspiring grandparents who fuelled my ambition,” he says. “My maternal grandmother ran a thriving casket business, while my paternal grandfather owned a chain of independent record stores in Baltimore. Witnessing their success encouraged me to strive for entrepreneurial achievement myself. Today, as a businessman, I find inspiration in trailblazers like Robert F. Smith and Magic Johnson. ese remarkable individuals not only break new ground for minorities
Burston sees La Fête as the drink of choice for all. “I’m determined to shi the narrative surrounding luxury wine. We shouldn’t see it as an exclusive and unapproachable thing. Wine has the power to unite us across countries, generations, sexualities and ethnicities. at’s why, since day one, our ethos at La Fête has been all about inclusivity: It’s a party, and everyone’s invited.”
Donae Burston is a member of Soho Beach House Miami
La Fête Photography: Nathan Lefebvre, courtesy of La Fête Wine Company, Jenny Abrams Le : Donae Burston. Above: La Fête du Blanc white wine, served at Miami Beach HouseIf you haven’t heard of Mae Martin by now, then where have you been? First and foremost, Martin is a non-binary Canadian comedian who moved over to the UK when their career blew up. is was a seamless move for their comedy style, reaffirmed in their response to winning the Soho House Changemaker Award: “I’m of course riddled with Canadian-British self-loathing, so it’s hard to accept any compliment but it does mean a lot.” We see you, Martin.
As with many artists, Martin often draws on their own experiences as inspiration for their work. ey bared all in their semi-autobiographical television show Feel Good, exposing intimate and personal experiences while using comedy as a tool to address difficult and complex topics including addiction, trauma and sexuality. They’ve been making waves in comedy over the last decade and brought transgender conversation to the forefront without breaking a sweat — most recently with their topless Instagram post for Non-Binary Awareness Week, which spread trans joy while humorously plugging an upcoming tour.
Over the years, Martin has brought, and continues to bring, trans conversations to the forefront, championing those who historically haven’t had much representation. “I like to think that people who might not be exposed to people like me could see me on TV, see that I’m just like them and not that scary, and that could translate into change in the world. In the meantime, I’m just eating my toast and waiting for this [SAG-AFTRA] strike to end.”
By using comedy as a vehicle, they manage to raise awareness in a way that seems e ortless, addressing their struggles and discomfort to the public in a way that often feels comforting. “Every artist draws on their personal experience, and hopes that other people will recognise themselves in it – that the personal or specific parts will resonate in a universal way. I think the funniest things are always the weird, personal, embarrassing stu .”
Growing up, Martin was always a “huge comedy fan” with dreams of pursuing it as a career. Combining that with activism wasn’t something they’d
envisioned – rather, it was a natural result that came from the impact their work has had on narratives around gender and identity. “Even when I do interviews, like this one, where the focus is identity, I’m always surprised, like, ‘Oh, right!’ because in my life I just feel like a comedian and a regular human being, living my life and eating my toast and drinking my coffee. So although I don’t mind at all, because I know visibility is still vitally important, I’m always sort of surprised that what I do is seen as political or othered in this way.”
While Martin is aware of the importance of representation, they’re not blind to its pi alls. “We o en spend so much time talking about representation in art and media that we forget that representation o en doesn’t equate to real social change or equality. In fact,
at the moment we’re seeing a lot of legislative backlashes and scapegoating of trans people, even though we are more represented in the media. ere is a very scary amount of anti-trans laws across America and a rise in hate crime, so we have to remember that representation does not equal protection,” they explain.
As far as conscious activism goes, Martin really does bare all through many forms of media and their platforms, bravely revealing vulnerable parts of their persona and story in the hope of making a difference to those on a similar journey. “It took me 35 years to acknowledge out loud something I’d always felt inside: that I’m trans. If me being clear and confident about who I am can help anyone else eliminate the anxiety and waste less time being uncomfortable, then I’m thrilled.”
Self-aware and relatable with a wonderfully awkward demeanour, we’re proud to call Mae Martin our 2023 Soho House Changemaker. Mae Martin is a member of Shoreditch House
e comedian driving social change through being authentically –and unapologetically – themselvesOpposite: Comedian Mae Martin, winner of the Soho House Changemaker Award Photography: Kourtney Kyung Smith
explains. “One of my biggest challenges has been navigating the complex landscape of the fashion industry as a Black woman. By staying true to my values and advocating for change, I’ve been able to pave the way for greater inclusivity and representation.”
As a firm believer in the positive impact of creative outlets, James credits her Soho House membership for providing a supportive community of like-minded individuals. “Soho House o ers a space for networking, collaboration and relaxation, allowing me to connect with others who share similar values,” she says.
On the topic of making real, tangible change, James highlights four essential traits: “To be a changemaker, you need empathy, resilience, a willingness to listen and a commitment to long-term impact.” Despite already having done her fair share, James’s goal is to continue to contribute to a more compassionate and connected world – a mission we encourage our Soho House community to actively participate in.
The word “changemaker” is one that has become synonymous with the name Aurora James. She won the CFDA/Vogue Fashion Fund prize in 2015 for her accessories brand Brother Vellies – a celebrity favourite she founded in 2015 with a clear goal of keeping traditional African design practices and techniques alive.
Since then, James has continued to break barriers in fashion, most notably in 2020, when she launched the Fi een Percent Pledge – an initiative urging US retail giants to commit 15% of their shelf space to Black-owned businesses. A year later, over two dozen major corporations had signed up, e ectively diverting over $5 billion in capital to Black entrepreneurs in the US. “My motivation comes from a desire to create positive change and amplify the voices of underrepresented communities,” says James. “I’m driven by the need to address systemic inequalities and create a more equitable
world, whether it’s through fashion, activism, or storytelling. The pledge has not only raised awareness about the importance of economic equity but it’s shown that consumers are eager to support diverse businesses.”
With a British Fashion Award, an American Vogue cover, a spot on Time 100’s Most Influential People 2021 list and now a Soho House Breakthrough Changemaker accolade under her belt, the creative director, designer, activist and author knows a thing or two about self-discovery and following your own path. “Being an entrepreneur through Brother Vellies has taught me resilience, adaptability, and the power of creativity. I’ve learned that I’m capable of pushing boundaries, finding innovative solutions and creating meaningful connections.”
Earlier this year, James’s memoir Wildflower was released to rave reviews, providing an intimate look into her life: “I wanted to share my story, including the challenges and triumphs, to inspire others who might be facing similar struggles. It’s a way for me to connect on a deeper level and encourage individuals to make a difference in their own way,” she
Right: Aurora James, founder of Brother Vellies and winner of the Soho House Breakthrough Changemaker AwardShe’s the designer and activist whose calls for inclusivity and representation have transformed the fashion industryAurora James is a member of Little Beach House Malibu
“I consider myself a hustler,” says Everette Taylor, CEO of Kickstarter and winner of the Soho House Entrepreneur Award. “Sometimes the word ‘hustler’ has bad connotations but to me, it defines someone who is smart, savvy and is always going to figure it out.”
To say Taylor has “figured it out” is quite the understatement. At 34, he has used his tech, marketing and business expertise to build several multimilliondollar brands through his company ET Enterprise. It all began aged 19, when he started his first company, EZ Events, shortly a er becoming homeless during his senior year of high school – a setback that armed Taylor with the valuable life skills that ultimately shaped his trajectory.
A few years later, with a Forbes 30 under 30 accolade under his belt, he served as CMO at online art brokerage Artsy. Now, he is at the helm of Kickstarter: a Brooklyn-based crowdfunding pla orm for creatives, which
under his leadership was listed in TIME’s 100 Most Influential Companies 2023. “I’m driven by impact,” says Taylor. “People o en say Kickstarter is a tech company but it’s a creative company. We empower creatives from all walks of life by supporting and investing in their vision, because I believe creativity brings innovation and that’s the only way we move forward in the world. at’s why diversity is so important; we need di erent perspectives.”
Since joining Kickstarter a year ago, Taylor has already made impactful changes. The company’s senior leadership is now 75% women and 63% people of colour, and it donates 2.5% of its a er-tax profit to organisations that fight inequality. His focus isn’t consumed by revenue, nor is his motivation materialistic. Instead, he leads with empathy – a quality he believes is the most essential to being a successful entrepreneur. “There are two kinds of empathy; one for the people you are serving – such as your customers, clients or users – and being able to understand their wants and needs. en there’s empathy for the people that work for you and with you. Both of those are huge to me. As a CEO, you’re sitting in a very advantaged position and you shouldn’t ever lose sight of that.”
Ultimately, Taylor’s “hustler’s mentality”, paired with his intentional approach to empowering a broad range of creativity from all corners of the world, is what puts him in a league of his own. “Being an entrepreneur is such a layered and versatile thing,” he says. “The beauty of it is in the journey and the possibilities it brings, especially when supporting creators. Being recognised for that by Soho House, a home created for creatives, is just so dope.”
Evere e Taylor is a member of DUMBO House
Above: Evere e Taylor, CEO of Kickstarter and winner of the Soho House Entrepreneur Award, photographed at DUMBO HouseHe’s the CEO and founder pushing the companies he helms to be more inclusive – and as a result, more successfulPhotography: Christopher Sherman, Sean Pressley
Emma Watson is no stranger to the business of blockbuster movies.
However, recent years have seen the luxury beverage business steal her focus and become a true passion project – not just for the actor, but for her younger brother, Alex, too. e Watsons and gin, you say? On closer examination, it’s really not as random a career pivot as it at first appears.
As the brains and creative force behind new gin brand Renais, the siblings are arguably just joining the family business. “We were born in France where our father, Chris, has been making wine for the past 30 years,” says Alex. “So, we were literally born into it and French winemaking culture is something I’ve always admired. at’s what led me to work in the [beverage] industry and why I’ve continued to make my career out of it for the past 10 years.”
Renais has sustainability at its very core – a cause particularly close to Emma’s heart. The gin is ingeniously derived from grape skins, which are usually discarded in the traditional winemaking process.“ e idea that we could use something that’s an overlooked byproduct, but in reality is precious, really sits with an ethos that’s important to me,” says Emma. “Renais is carbonneutral certified and Alex and I are going to keep challenging ourselves with ways to improve it even further. Also, the fact you can take our packaging, which is made out of mushrooms, and just put it straight in the soil to decompose and compost is just so cool.”
In business terms, the Watsons bring di erent yet complimentary skill sets and perspectives to the boardroom table. It’s a sibling dynamic that certainly bodes well for the brand’s long-term future.
“Emma is far more creative but I have the industry experience,” admits Alex. “Her focus on sustainability and design, paired with my knowledge of the drinks industry, make us a fantastic team,” he adds. “What’s lovely is that even though Alex is an expert in this field, he really respects my opinion and my expertise in certain areas,” says Emma. “We also check in with each other on everything. Alex will even send
me a picture of what he’s wearing to a Renais event, and I’ll check in with him on how to talk about the gin; the right language to use. We respect each other and are constantly bouncing ideas o one another. It’s the nicest thing.”
With an industry pedigree to rival any luxury drinks brand and sustainability credentials to match, Renais is also pre y darn delicious. Which is why we’re thrilled to honour Emma and Alex as the Soho House Breakthrough Entrepreneurs for 2023. e accolade coincides with the gin’s roll-out across all of our UK Houses this September.
“I’m incredibly excited to work with Soho House,” says Emma. “It’s always been a second home of mine. Becoming well-known so young, I have very few refuges that are public spaces, and the ‘no camera’ policy was a big deal.”
Emma continues: “I just love everything about the ethos and aesthetics. e way Nick Jones has done everything is so intentional and though ul. It was a dream of ours to partner with Soho House when we first started Renais. So I might genuinely get emotional when I have my first Renais served to me at Soho House!”
Emma and Alex Watson are members of Soho House 40 Greek Street
Opposite: Emma and Alex Watson, winners of the Soho House Breakthrough Entrepreneurs AwardHave a G&T, but make it delicious and sustainable. Here, the brother and sister duo tell us all about shaking up the drinks industryPhotography: Rich Stapleton
Fresh from his debut couture collection in Paris and celebrating 20 years of being a Soho House member, om Browne is riding high
Photography by Christopher Sturman
celebrates 20 years in business this autumn, and prior to my interview with American designer om Browne I’m informed that he was one of the earliest members of the club, our first in North America. Browne, who I’m speaking to over Zoom – he in his New York o ice, me at 180 House in London – o ers a wry smile when I bring it up; less, perhaps, for the memories the question conjures and more due to the fact that I’m being unchivalrous by showing his age.
“I’ve had a connection to Soho House ever since I was down on Li le West 12th Street and it opened in the Meatpacking area. I was one of the founding members,” he reminisces. “I used to go there every day a er work for a drink. e bartenders would ask me why I never stayed ’til other people came. I would visit at six and I would probably leave around eight when most people were actually arriving. I loved it that way.” He smiles.
“I remember the day that Soho House New York opened in 2003. It was an
important time. ere was a di erent feel to the city. Soho House opening was the start of a creative time and it was really special.”
Browne was 38 in 2003, the same year he opened his first store. Read that again. om Browne – the man who recently sold 85% of his eponymous label to the Ermenegildo Zegna group with a $500m valuation; the man who spent a successful decade as the creative director of Moncler Gamme Bleu; the man who makes other men look surreally cool by dressing them in toy soldier suits and kilts; the man who is winning this year’s Soho House Fashion Designer of the Year Award – was fast approaching middle age before he achieved anything remotely resembling success.
In fact, Browne didn’t even know he wanted to work in fashion until he was well into his thirties when, without a dime to his name, he flew home to New York from Los Angeles to take a job as a retail sales associate in 1997. Now 57, Browne’s silver hair is cropped close to his head and he’s sporting his uniform of a white shirt and tie with a grey blazer. He’s si ing close to the camera, so I can’t see whether he’s wearing his trademark kilt or not.
“I was broke in LA,” he says of that time. “I didn’t know what I was going to do, but I knew I needed to get back to New York in order for things to start happening. I didn’t want to be 40 and still wondering what to do with my life. So I applied for a job and it just happened
“If you’re doing something interesting, you have to expect that it’s going to take a while for people to understand”
“I remember the day that Soho House New York opened in 2003. It was the start of a creative time and it was really special”
om Browne in one of the “Big” bedrooms at Soho House New York
to be in fashion. at’s how it started. It happened to be at Giorgio Armani.”
Browne’s choice of springboard brand was portentous. Giorgio Armani is, a er all, one of the most successful labels in the history of fashion. Running for over 50 years and still independently owned, the Armani group’s profits are tracking 18% up, year-on-year, and Mr Armani’s personal fortune is estimated at around £8.5bn. All this from selling the same navy and grey suits season a er season. Consistency has been Giorgio Armani’s meal ticket, and it’s one Browne has both borrowed and put to good use during his own two-plus decades in the industry.
Browne founded his brand in 2001 after leaving Armani to spend a few years leading the creative development department at Club Monaco, which was then owned by Ralph Lauren. Under his own name, he designed five suits and went on to sell them from the made-tomeasure shop he opened in 2003 in New York’s West Village. In 2005, David Bowie wore a charcoal om Browne two-piece to perform at Fashion Rocks. at same year, the designer showed his first ready-to-wear collection, for SS06, at New York Fashion Week.
e collection – a mini symphony of truncated grey suits finished with shorts and cropped sleeves – was to become the blueprint of all Browne o erings to follow. “Browne’s new clothes are about more than just tradition,” wrote fashion journalist Tim Blanks at the time. “He likes awkwardness (it undercuts the boringness of perfection), which is why his signature ou it is that shorts suit, proportioned like a boy’s school uniform.”
Roll to now and I’m meeting Browne fresh o the plane from showing his first ever couture collection in Paris. It was a riot of creativity, inspired by the Visage track Fade To Grey: voluminous bouclé coats with immaculately cra ed zeppelin sleeves, densely draped silk gowns and mixed tweed trenches with handembroidered grey and gold bullion thread. Vogue Runway called it “dramatic”, Diane Keaton dubbed it “amazing” and WWD’s verdict was “theatrical”.
Before the more playful pieces hit the runway, the collection opened with a series of classic om Browne suits finished with kilts. They could have been taken directly from his inaugural collection, shown almost 20 years before. It’s likely that the audience wouldn’t have known any di erent if they had been.
Such is the intoxicating simplicity of Browne’s vision: behind the freewheeling creativity and showmanship, the core identity of the brand remains pristine, like the nucleus of a rapidly reproducing cell. Head into a Thom Browne shop and you’ll be met by rails of serviceable tailoring finished with tricolour tabs; perfectly cut flannel and plaid vestiges of Browne’s unique and unexpected world. Easy to wear, expensive to buy.
“Giorgio Armani and Ralph Lauren are the best ever at creating their own worlds. I took that from them,” Browne tells me evenly, his sentences as cropped as his sleeves. “ ey showed me the power of building your own universe and creating something that means something to people. It’s important to stay focused and make sure they see it in the most pure and clear way so that it can sustain itself. In my case, it’s that one grey suit where it all starts, every collection, and we’ve created a sizeable business from that one idea.”
So, to the sizeable (and serious) business of haute couture. The stuff f ashion dreams are made of, where gowns come furnished with £100,000 price tags, each handmade garment is limited to one or two pieces in total and designers who show need to be invited and approved by Paris’s elite Fédération de la Haute Couture et de la Mode. Yves Saint Laurent was a couturier, as was Karl Lagerfeld. e vast majority of readyto-wear designers are not couturiers.
“I had been approached and asked by the Fédération for a couple of years to consider doing couture,” says Browne, cool as a concombre. “It was exactly how I wanted the collection to be. It’s exactly how I wanted people to see it. It was nice to challenge ourselves to do a collection worthy of being shown that
week. But I think we all realise that most of my collections are at that level. So it was nice to be able to get new appreciation for the clothes I already create.”
It’s not a coincidence that Browne’s first foray into couture has coincided with his brand’s acquisition by heritage Italian tailoring company Ermenegildo Zegna. “We share the same passion for excellence and impeccable, modern tailoring,” the brand’s CEO Gildo Zegna said in a statement at the time of the purchase in 2018. “ om’s visionary approach and his unique point of view have enabled him to build and nurture the most loyal clientele.” The Zegna group also purchased the apparel arm of the Tom Ford business last year, asserting its position as the preeminent high-fashion tailoring conglomerate – on track to give the likes of Kering and LVMH a run for their money.
In the deal, Browne remained as chief creative o icer and the only other majority shareholder. When I posit that the injection of cash must have come in helpful in the pursuit of his couture dream, Browne is sanguine. “Gildo Zegna appreciates what I do and I appreciate what he does and it’s a really good relationship.” He pauses. “ ey know why I do things in a certain way. I’m very respec ul of the relationship and making sure that it’s, you know, as valuable as it needs to be for them.”
Browne’s broad creative vision sits in marked contrast to the monastic rigour with which he cultivates his own image.
“Giorgio Armani and Ralph Lauren showed me the power of building your own universe and creating something that means something to people”
From the military hairdo to the draconian cut of his suits, it’s always surprising to witness Browne’s operatic approach to pu ing on a show. “ om Browne stands for pure creativity, for quality; for making sure you want to be your own person and you’re confident to be yourself,” Browne says. “I feel like I’m doing exactly what I was doing at the beginning, but I’ve matured and I have the resources to do things di erently and bigger.”
When Black Lives Ma er took hold of the public consciousness, many major brands were quick to react, posting black squares without doing the due diligence on their own inclusivity practices, and hiring more Black models without examining the faces populating their boardrooms. Browne, on the other hand, took a long-term approach: “I understand the times. And I want to be respec ul and relevant in my own way,” he says. So in 2022, when Browne was appointed as the new chair of the Council of Fashion Designers of America
(CFDA), succeeding Tom Ford, he made it clear that the promotion of diversity in the US fashion industry would be a key tenet of his two-year tenure. “It is the mission of the CFDA to support and encourage new voices and new designers to parlay their creativity into a unique and singular level of success,” he said in a statement released at the time.
A large portion of Browne’s success lies in his alchemic ability to build community around his label, like an immaculately tailored pied piper summoning the tasteful and monied (and those desperate to look tasteful and monied) to consume his vision. Naturally, all Thom Browne employees are required to wear om Browne suits when they’re on duty, but he’s also gathered a band of celebrity followers who a end his shows and wear his clothes with cultish fervour. Cardi B arrived at his Couture show with a clock handbag, Diane Keaton is a perennial om Browne fan and LeBron James is a regular at his menswear outings.
This idea of building community around a brand is relatively new. Precipitated by the rise of social media, by the mid-2000s it was no longer enough for big labels to put on a show, invite a few editors to sit front row and expect sales to fly. In 2023, successful brands exist like religious orders, with doggedly loyal celebrity devotees a racted by a charismatic creative director, an inclusive omnichannel marketing strategy and an ever-changing array of shiny new products which exemplify the brand and keep a steady flow of cash coming in. It’s a strategy the Zegna group has struggled to implement thus far, and one that Gildo Zegna is almost certainly hoping Browne will show him how to achieve.
“Our celebrity relationships are never forced,” Browne tells me firmly. “All our relationships are true relationships. Everybody you see connected to the brand is usually a customer or friend beforehand, and then it evolves. The most important thing is that it feels real.” Is there anyone who Browne feels particularly excited to see wearing his clothes? “I’m a huge sports person, so athletes are always inspiring to me.” He cites champion alpine skier Lindsey Vonn as an example. She is, Browne notes, “a good friend, and I love seeing her in my clothes. I grew up watching her and being a fan of that level of athlete. But beyond celebrity, whenever I see people
wearing my clothes in the street, I kind of want to go and say hello to them.”
ere’s li le question that New York, like London, has changed considerably since Browne founded his business. With rent on the up and the basic costs of living skyrocketing, I’m eager to learn what advice he has for young creatives hoping to tread a similar path.
“Close your ears, put on your blinders, be true to yourself and just try to create something you know is truly your own,” he says emphatically. “Don’t listen to all the voices trying to tell you di erently. If you’re doing something interesting, you have to expect that it’s going to take a while for people to understand. You have to love what you do more than anything else in the world.” Once again, he pauses. “You should want to do this for the rest of your life. Don’t rush; you have a whole lifetime ahead of you. You can create the most amazing experience for yourself.”
Thom Browne is a member of Soho House New York
Below: Browne with Andrew Bolton, the curator of the Metropolitan Museum of Art’s Costume Institute, at the 2023 Met Gala
“Close your ears, put on your blinders, be true to yourself and just try to create something that you know is truly your own”
“I’ve been creative for as long as I’ve had comprehension skills,” says fashion designer Taofeek Abijako. Born in Nigeria and raised in New York, his approach to design is an amalgamation of his existence in both places – his label Head of State is renowned for its authentic blend of cultures and identities.
“I grew up in a very marginalised part of Lagos, then I came to the US and lived in another marginalised environment. I wanted to tell those stories through fashion, but I don’t believe in doing that without directly giving something back.
at’s why I’m using the revenue and the capital from Head of State to build infrastructure, like sufficient water and electricity systems, for the people whose stories I’m telling in my designs.”
At 25, Abijako has already had quite the run: in 2019, he was featured on Forbes’s 30 under 30 list. In 2022, he was a finalist for the CFDA/Vogue Fashion Fund and a month later he dressed Evan Mock [former Soho House Award winner and cover star] and Black Panther’s Danai Gurira for the Met Gala. Now, in 2023, he’s our Breakthrough Fashion Designer of the Year.
“As a child, I was surrounded by art. My dad was a fashion designer in Nigeria and my earliest memories involve watching him drape garments,” he recalls. Abijako followed in his footsteps, founding Head of State in his senior year of high school in 2016. Noticing his classmates’ streetwear obsession, he painted designs on $45 white trainers and sold them for $200.
“I want to build a legacy that doesn’t just start and end with me,” he says. “It has to go beyond that.” His AW23 Head of State collection Memories Of Home referenced writer Éduoard Glissant’s study of the creole language, which was developed by mixing di erent dialects into a new form – much like Abijako’s approach to design. “The most sentimental piece from the collection is my favourite to date: a red organza shirt that I worked on with artist Ambrose Rhapsody Murray. It’s covered in prints of an old photo of my mother from my naming ceremony in Nigeria. It’s the perfect symbol of what the brand represents.”
Next, Abijako is focused on expanding the architectural arm of his business: “ e goal is to launch buildings in the way we launch collections,” he says. “My idol is Francis Kéré. I want to create the level of impact he’s made in his community.”
For our Standout Performance Awardwinner Haley Lu Richardson, it’s clear a love of acting has always run deep. “I knew really early on in life that I loved art and loved performing. I put on a show at every family gathering from the time I could talk,” she explains, adding shortly a er: “My parents are creative and a bit wacky themselves.”
It was during one of these gatherings that a 16-year-old Richardson first revealed to her family that acting was the path for her. “I made a presentation, like a legit three-panel poster board, to my parents about moving to LA to be an actor.” Perhaps surprisingly, given
that they had no ties to the industry, her mother and father agreed: “ ey truly supported me, and a couple of weeks into my junior year of high school, they helped me move to Hollywood and start my career.”
Even with a solid support system and “a love and passion [for acting] that outweighs fear”, leaving her hometown in Arizona and moving to Hollywood at such a young age was far from easy for Richardson. She had to grow up fast, developing a thick skin along the way. “I know everyone says it, but rejection is freaking hard to accept,” she admits, recounting her biggest challenges. “Patience is excruciating to learn. Also, there are so many personalities and egos in this industry. It’s very hard for me to find the balance of protecting myself from what’s toxic while still staying open and vulnerable.”
Somehow, Richardson figured it out, going on to forge an impressive career with a roster of memorable roles, from indie dramas such as Columbus and Unpregnant to the character she is now perhaps known best for: the quirky yet oh-so-relatable Portia in the second season of hit show e White Lotus
When it comes to choosing roles, Richardson says it boils down to one thing: the emotional connection she can make with her character. It’s a relationship that is deeply important to her as, ultimately, she just “wants to believe” the person she finds herself playing. “I want to understand them, even if they are unlike me,” she says. “Certain emotional journeys resonate depending on where I’m at in my life. I really just want to feel [like] a whole, well-rounded person, connect to them and find inspiration.”
Ultimately, what she values the most about her job are the simple things. “It’s the moments on set where everyone’s quiet and the cameras are going and I get to do the thing I love,” she says. Meanwhile, inspiration is something that comes in all forms for the actor. “There are days where I struggle to find inspiration in anything and then I go to bed and wake up again, and I find the smallest moments or the most unexpected people inspiring. A constant is probably the people I love, who I’m closest to – like my mom,” she says. “I think love is the most inspiring thing. It always wakes something up inside me.”
Having already cemented herself as one of the leading actors of her generation, it seems almost fated that Richardson will continue on the path to great things. With her undeniable adoration for her cra , she will no doubt continue to enjoy success, wherever the journey takes her next. Her 16-year-old self would certainly be proud.
For the White Lotus star, performing has always been a family a airOpposite: Haley Lu Richardson, winner of the Soho House Award for Standout Performance
is year, London-born singer, songwriter and all-round creative Ama Lou – born Ama Louisa John – has been making waves in the music scene with her R&B and soul sound. She made her debut in 2016 with the single TBC, and is now best known for hits including Tried Up and Not Always, which, true to her usual style, embrace youth culture through intelligent storytelling.
e artist is a natural talent, having wri en her first song aged 11. She went on to refine her cra through classical training – “the discipline, exams and precision learning” helping her to develop her sound, which led to her eventually creating her own music and visuals.
It’s clear that creativity runs through Ama Lou’s veins. It runs in the family, too, with the artist producing many of her music videos with her sister, Mahalia
John, who is a clapper/central loader in film and TV. “It was something that was always just there; instruments were always in the house when I was growing up and artistic expression was encouraged as a kid,” she says. A er writing her first song, she fell in love, admi ing that “nothing ever made me feel how writing did”.
Music is more than just a career for Lou, it’s a way of living: an expression and a means for connection. “Creativity and making on a broad spectrum are essential to me. It’s always been my purpose here; it is what I’m always thinking about in one way or another and what I get up to do every day,” she says. “Making things allows you to take your learnings in the world and create something that regurgitates those learnings, combined with your own perspective. en you can give back to those who you learned from and make them feel seen. It’s how we’re all inspired and stay connected to one another.”
Over the years, Soho House has seen Ama Lou go from strength to strength: she has been performing her “contemporary” creations at our Houses since
early on in her career. “I have played at many a Soho House and I have always felt looked after and championed by those events,” she says. “When I was starting out, doing Soho House shows gave a wholehearted sense of what it is like to be touring musician.” All of this experience has built Ama Lou up to be the successful, original artist she is today. You can expect more and more from this ever-evolving talent; her debut album I Came Home Late was just released and the next one is on its way. “I have a tour coming up this October in Europe and the US, and then a bigger one in 2024 — lots is happening!” Let’s raise a glass to our Breakthrough Musician of 2023.
e singer’s soulful sound draws on her learned experiences –and she’s only just ge ing started…Photography: Rashidi Noah
Based in New York, Soho House menteeturned-mentor Saidah Belo-Osagie is an advocate for Afrocentric creativity and community. Her journey unfolded when she initiated the Afrobeats Futura event series at Soho House New York in 2022. Designed to upli budding Afrobeats artists and provide them with a pla orm previously out of reach, the series has since evolved into a quarterly occurrence (and member favourite).
Belo-Osagie is building a platform that champions the possibilities of African music, film, dance and fine arts in New York. With Afrobeats Futura, she has hosted everything from panel discussions to live performances and mingling hours.
She credits Soho Mentorship – where she became a mentee a er a friend sent her an Instagram link – for motivating her to chase her passions. “ e programme gave me confidence because I had a community that believed in me,” she says. “I was lucky to have a supportive mentor named Christine Woo and a cohort filled with driven, talented creatives who pushed and inspired me.”
Belo-Osagie eventually pitched a dramedy web series at a showcase at Ludlow House, which led to an invitation to present the same pitch to a studio executive – this steered her towards representation by 3 Arts Entertainment. She then graduated from mentee to Relationship Manager of our programme, organising mentorship events across North America. She also got a gig as an associate producer at VERSUS, where her skills have flourished even further.
“I joke with my friends that I feel like I’ve enrolled at Soho House University, because of all the di erent ‘campuses’ and extracurriculars,” she says. Her experience has helped her to recognise that she wants to tell stories that span beyond film, encompassing mediums such as articles, adverts and paintings. “I wish I had known sooner,” she says. She now encourages the artists she works with to broaden their creative horizons.
When it comes to forging a successful mentor relationship, Belo-Osagie says the key factors are talking, listening and collaboration. “You have to trust the process and be loud about what you
want. e power in having an idea is that it’s your idea. Even if someone wanted to take it from me, they could never execute the way I would. Have faith in your vision, express what you want and trust that you’ll reach the finish line.”
Belo-Osagie’s story is a beacon for those yearning to amplify voices beyond their own – something we value deeply, which is why she is the winner of our Golden Picante Unsung Hero Award. Saidah Belo-Osagie is a member of Ludlow House
She’s the Soho House menteeturned-mentor opening the doors for the next wave of creative talent
From intimate dinners at Cecconi’s DUMBO to special screenings at the Electric Cinema, here at Soho House we have a plethora of private hire spaces to help you host a perfect party
The setting: Soho House Rome’s Drawing Room o ers a serious dose of sophistication for an intimate drinks party, complete with vintage-inspired furniture. e Li le Room at High Road House in Chiswick includes space for up to 40 guests, with an impressive private art collection to invite conversation. Over at Soho Farmhouse, the Glasshouse o ers a chic space just a stone’s throw from the Walled Gardens. e Curtain Room at Soho House Bangkok is ideal for a small, private birthday party. And for cosy cocktails? It has to be the Library at Holloway House.
e guestlist: Intimate a airs work best when they’re exactly that, according to our UK Head of Event Operations and Sales, Marie Cox. “Invite your nearest and dearest for a very special celebration,” she suggests.
e playlist: Go for “relaxed tunes that won’t interfere with conversation”, says Cox. “ ink Bonobo and Maribou State.”
e menu: A selection of bites and bowls will ensure everyone’s appetite remains satisfied throughout the evening – and keep the Picantes flowing, of course.
e final flourish: “Greet your guests with a drink,” recommends Membership and Communications Director at Soho House, Velma Simmons. “It shows you’re invested in them having a good time.”
e se ing: For a truly memorable party, Cecconi’s at Soho Beach House Miami hosts up to 800 people. In Bangkok, the soundproofed Naughty Room promises guests a wild night. At White City House, Studios A and B can be hired separately or together. In Berlin, Torstrasse I and II can hold up to 400 guests, with a terrace overlooking Alexanderplatz, as well as a bar and space for live bands.
e guestlist: High Road House member Katherine Ormerod is a fan of the 80/20 rule: “ at’s 80% close friends and 20% new, interesting additions,” she says.
e playlist: Simmons suggests a feelgood mix of hip-hop and pop: Beyoncé, Kendrick Lamar and Burna Boy.
e se ing: Dinner with a view doesn’t get much be er than the private dining room at Cecconi’s DUMBO. Look out onto the waterfront and you’ll catch a glimpse of both the Manha an and Brooklyn bridges. Over at Soho House Tel Aviv, the private dining area is a chic and cosy spot to host friends, while the long marble-top dining table in the private dining room at Soho House Bangkok is set to impress. Redchurch Street Studio in London can be tailored to your needs, too, with space for up to 40 guests to feast on an impressive menu catered by Cecconi’s next door.
e guestlist: “Invite close friends you haven’t seen for a while to catch up over a delicious meal,” suggests Cox.
e playlist: Stick to relaxed jazz, says Chris Smith, our Head of Private Events (West Coast). “Keep it low to allow conversation to flow uninterrupted.”
e menu: Cecconi’s northern Italian fare of cicchetti, fresh pastas and handmade pizza is a winner when it comes to satisfying all tastes.
The final flourish: “The little details count,” says Cox. “‘Our teams can help to match wine choices to your menu.”
e menu: An open bar promises plenty of fun – and always a late-night snack. “I favour a cheeseburger,” says Ormerod.
e final flourish: “Have an aesthetic vision in mind,” Ormerod says. State a dress code and theme on the invite.
The setting: The Screening Room at Soho House Nashville – the newest of our US clubs – is the spot to show o your project, be it an album listening party, film premiere or a screening of your favourite movie. Follow it with an afterparty in the Sock Room, which features a terrace. In the UK, look to the luxurious Electric Cinema on Portobello Road or its sister space in Shoreditch. In Amsterdam, our Screening Room seats 36 in comfy chairs that are just calling out to be curled up in, while the Blue Room next door comes complete with a private bar and views over Spuistraat.
Photography: Tung Walsh.
Illustrations: Chiara Brazzale
Whether you’re hosting an intimate dinner, an all-out bash or a relaxing spa day with your nearest and dearest, our Houses are packed with private hire spaces perfectly tailored to your needs. Here is everything you need to know to ensure your next party goes o without a hitch
The guestlist: Fill your invitation list with a mixture of cinephiles, friends and members of your network who might lead to new opportunities and ideas.
e playlist: Cox recommends you “stick to the theme of the night” with a playlist of songs inspired by your screening.
The menu: You can’t go wrong with those moviegoer favourites: a bespoke cocktail (inspired by the film, of course), some pick ’n’ mix and plenty of popcorn.
e final flourish: For a truly remarkable experience, our Head of UK Cinema Programming, Toby King, suggests committing to a triple bill. “Perhaps e Lord of e Rings trilogy or Richard Linklater’s timeless, romantic, decadespanning Before trilogy,” he says.
The setting: The private Club Room at 40 Greek Street, where the Soho House story began back in 1995, is a chic option and seats up to 26 guests. A t Soho House Stockholm, the long table in the courtyard is a perfect sun trap. Or book into Cecconi’s groundfloor space at Soho Beach House Miami before heading out to the beach or pool.
The guestlist: It’s brunch, so gather together a group of your oldest friends for a mimosa-fuelled catch-up.
e playlist: Cox suggests an array of fun 1990s anthems, along the lines of the Spice Girls and Eternal.
The setting: Babington House was the home of Soho House’s very first Cowshed spa, so where better to indulge? Or, if you’re looking for a quiet escape from the hustle and bustle of city life, head to the spas at Soho House Chicago or Soho House Barcelona. Our team can create a bespoke package for up to six people in each location, while for larger parties, our London Cowshed spas in Primrose Hill and Shoreditch can be hired exclusively for groups of 12 to 25 people, with packages including a host of add-ons, such as champagne and canapes. Need we say more?
e guestlist: Anyone and everyone in need of a li le TLC – from your mum to your best friends to a client or colleague.
e playlist: “Classic golden oldies that everyone loves,” says Cox. “You’ll end up singing along to them while you’re relaxing between treatments.”
e menu: Cox recommends: “Healthy salads, salmon and some House Press juices. Avoid anything too heavy.”
e final flourish: “Add a personalised gi bag, complete with Soho Skin and Cowshed favourites, for your guests to take home,” suggests Simmons.
The menu: You can’t go wrong with smashed avocado and eggs. “Don’t forget a side of fries,” says our House Relations Manager, Europe, Oriol Polo.
e final flourish: Member Matilda Bea Lawlor suggests adding “fresh flowers and place names, for a unique touch”.
Opposite page, clockwise from le : the Glasshouse at Soho Farmhouse; Cecconi’s DUMBO; Miami Beach House; the Screening Room at Soho House Nashville. is page, from le : Cowshed Spa at Babington House; the Club Room at Soho House 40 Greek Street; the Yellow Room at Soho House Hong Kong
e se ing: Soho House Hong Kong’s airy Yellow Room has a table that seats up to 26 people and a large bar: perfect for a leisurely lunch with friends. For some je ne sais quoi, head to Le Séjour, Soho House Paris’s chic private dining room, or the Bu erfly Room at Cecconi’s West Hollywood – it seats up to 32 and features artwork by Damien Hirst.
e guestlist: “Bring together a dynamic group of inspirational personalities: the fashion-forward friend, the raconteur, the entrepreneur and so on,” says Lawlor.
e playlist: Go for a relaxed mix of soul, R&B and jazz from Aretha Franklin, Nina Simone and Gwen Guthrie.
e menu: Memorable dishes featuring seasonal ingredients – and always, says Simmons, “cheeseboards on arrival”.
e final flourish: “Be sure to get dietary requirements in advance. It will save any upset on the day,” Simmons adds.
when we opened our first House in Manhattan’s Meatpacking district, we’ve expanded to 14 houses in North America’s most important cities, from LA and Miami to Nashville and Austin. Soho House Toronto celebrates its 11th year in business this month, while Chicago turned nine back in August. Our base of trailblazing members has
expanded too, with a host of creatives across the country forming the network that makes our Houses truly unique.
To celebrate two decades of imagination and innovation in North America, Soho House has launched the “We Are” campaign: a 360-degree creative spotlighting our Houses and Members across the continent.
We marked the significant milestone earlier this month with a host of special events, including the Soho House Awards, which took place for the first time at DUMBO House in New York, and which this magazine celebrates.
This month, we open Soho House Mexico City, with Soho House Portland coming later in the year and Soho House São Paulo to follow soon a er. By 2025, we plan to have 20 Houses in the Americas, with Charleston and Grasmere shimmering on the horizon. Why are we doing all this? The short answer is: for the people who make Soho House in North America so special. Without you, our extraordinary members, we would be nothing.
With that in mind, when we started brainstorming about how to celebrate the past two decades, we decided that a campaign focusing on some of our most vibrant North American members was the way to go. e core concept of We Are is to spotlight specific groups of people that best exemplify the unique characteristics of our Houses.
In Toronto, we met creative director and fashion designer Joey Gollish, urban designer Morvi Sarvghadi and photographer Neil-Anthony Watson, among others. In Miami, writer and arts editor Ana Clara Silva hung out by the pool with Fotios Anagnostakis, the Club General Manager of our Beach House, and artist Jenny Perez. Over in Nashville, our beloved Head of Membership and Communications Hunter Claire Rogers took a tour of the House with artist
Shabazz Larkin and video creator Josh Nachoz, plus more amazing members.
Here at Soho House, we are many things, to many people, in many places. In West Hollywood, we are a place for members to meet and innovate. In Nashville, we are a safe space for the drag community, who increasingly find themselves under fire. And in New York, we are a cornerstone of the city that never sleeps: we are a hive of connection for creative leaders at Meatpacking; a downtime destination with a killer view at DUMBO; and at Ludlow House, we are a unique urban retreat.
Le , clockwise from top le : Marjan Vafaie, Hunter Claire Rogers, Josh Owen, Reneeka Rae, Josh Nachoz, Shabazz Larkin and Minnie Morklithavong, team and Club members of Soho House Nashville
“We have gorgeous Houses in some incredible cities and locations, but the members are what make each location special,” says Chief Membership O icer Markus Anderson. “Twenty years ago, few North Americans knew of Soho House. New York was the obvious first stop, but the road hasn’t always been
Above, from le : Yahdon Israel, Mahayla Marshall, Marcelle Phillips, Samah Dada, Stacey Yael, Karen Pinckney-Sanchez and Cassandra Aaron, team and Club members of our Soho Houses in New York. Opposite, from le : Octavia Yearwood, Fotis Anagnostakis, Jenny Perez, Sam Baum and Ana Clara Silva, team and Club members of our Soho Houses in Miami
a smooth one. Twenty years on, it remains a home for the incredible creatives that call Gotham City home.”
So why not sit back, grab a Soho Sunset (our new signature stateside cocktail) and take a moment to celebrate some of the amazing people We Are proud to call our North American members.
Soho House Nashville opened in 2022 and quickly became a haven for Tennessee’s burgeoning creative community. A safe space for all, the House consistently celebrates diversity and provides visibility for all groups, as evidenced by the collection of members we gathered for this photoshoot: photographer Minnie Morklithavong, design director Marjan Vafaie, stylist Josh Owens, Soho House Nashville’s Head of Membership Hunter Claire Rogers, Member Events Manager Reneeka Rae, artist Shabazz Larkin and video creator Josh Nachoz. Soho House Nashville is nothing if not a broad church, and the We Are campaign for the city needed to reflect that.
“After Covid started dying down, I didn’t know how to come back into society. Soho House was a safe place for me to be with friends in a controlled environment. I knew what to expect, I was surrounded by my community and I felt at home,” says Larkin. “ en, when I wanted to start hosting live experimental meditations to Black music and soul soundscapes, I began by hosting them in the theatre [at the House]. I wasn’t sure anyone would come but all my people showed up to support. I think supporting the experimental fringes of culture is where culture thrives. So while Soho House was made to bring together a creative community, for me it’s also bringing together my spiritual community; embracing the odd and curious. at’s what is real. at’s why Soho House Nashville is special to me.”
Our first club in North America, Soho House New York opened in 2003 and quickly became central to the creative culture of the city. Later, Ludlow House and DUMBO came along to provide our members with unique spaces to relax, recharge and connect. To encapsulate the ambition and curiosity of
the city, the selection of members we called on to represent New York in the We Are campaign are all high achievers. ere’s Literaryswag Book Club founder Yahdon Israel, Club Receptionists Mahayla Marshall and Marcelle Phillips, cookbook author and TV host Samah Dada, Head of Membership at Soho House New York Karen Pinckney-Sanchez, co-founder of Archie Cassandra Aaron and founder of Visible Women agency Stacey Yael. “When you run your own business, it can be challenging at times to find a community to surround yourself with, which has similar ideals, values and interests,” says Dada. “I am so grateful to Soho House for being a place
for me to hang, work, eat and connect with friends and others in both professional and personal contexts. I have met some of my best, most inspiring and interesting friends through the community at Soho House New York, and it’s completely altered my New York experience for the be er.”
From the beach to the pool at Soho Beach House Miami, we gathered a selection of our most engaged members and sta for a li le party in the sun. ere’s author and artist Octavia Yearwood, club general manager Fotios Anagnostakis, artist Jenny Perez,
entrepreneur Sam Baum and arts editor Ana Clara Silva. e shoot was an all-out celebration of the party-meets-creative atmosphere of our first House in Florida, which opened in 2010.
“Soho House is special to me for its sense of community and exploration. When people come together to create events that are specific to either art, food, cinema, music or wellness, we all benefit from pushing the envelope and digging deeper into our collective and individual curiosities,” says Ana Clara Silva. “Soho Beach House is unique for so many obvious reasons – like the beach – but what really stands out to me is this ability to access so many interesting people and institutions throughout the city, and collaborate through the programming that the House can o er. Miami is a ‘big small town’, and Soho House serves as this great pla orm to meet and learn from each other.”
Soho House has four Houses in and around Los Angeles. The first, Soho House West Hollywood, opened in 2010 and quickly became the centre of the city’s creative communities. Little Beach House Malibu, Soho Warehouse in Downtown LA and Soho House Holloway followed – now, we have something to o er everyone in California.
We wanted to ensure that this breadth was reflected in the We Are Los Angeles campaign, which is why we brought together members from all creative backgrounds for the photoshoot, including rapper, producer, writer and director Morris “Mez” Ricks II, wellness entrepreneur Millana Snow, artist and curator Anita Herrera, creative director and strategist Kenny Mac and Soho House’s L ead Membership Manager for Los Angeles, Seulgi Oh.
“I have met so many amazing people at Soho House over the years,” says Snow. “I’ve collaborated on projects and events with many fellow members. I really love how Soho House has helped me to feel at home all over the world. I have go en to know London, Barcelona, Berlin and so many other cities thanks to my stays at the Houses since I’ve been a member.”
At Soho House Chicago, we’re focused on helping members – 45% of whom are local – to build connections and find community. We provide our members with opportunities to a end big events, helping them to experience the vibrancy of their city through a Soho House lens, while also supporting local talent.
e We Are Chicago shoot reflects this, featuring Soho House Chicago team members Katie Stowers and Bryan Benhaim, dancer and fashion creator Peter Gaona, photographer and creative director Paul Octavious, clothing designer Abi English, marketing and hospitality expert Ryan Meyers and stylist Brandon Hansen Frein. “Soho House Chicago is all about community; there’s a place for everyone,” says Meyers. “I love how diverse our members are, offering a mix of experiences and learning from people from all walks of life. Our Clubs are a beloved second home. Oh, and the amenities – the pool with skyline views, the cosy movie theatre and stunning gym – make the House one of a kind.”
Above, from le : Philip Aglipay, Nate Palacios, Tatyana Singh, Joey Gollish and Neil-Anthony Watson, team and Club members of Soho House Toronto.
Right: Team and Club members on the roo op of Soho House Chicago, as before
Soho House Toronto opened its doors during the Toronto International Film Festival in 2012, a home from home for members of the Canadian capital’s creative scene. e House is situated in a building which dates back to the 1830s and there’s a palpable sense of history that grounds the club in the local community.
For the We Are shoot, we called on members including creative director and fashion designer Joey Gollish, Soho House Events Programming Manager Philip Aglipay, photographer Neil-Anthony Watson, hair and make-up artist Nate Matthew and urban designer Morvi Sarvghadi. “Our House is brimming with possibilities,” says Watson. “Toronto is a pretty small city in terms of creative talent. It serves as a bit of a junction point for so many di erent paths in the creative world. Our House understands that, and underscores any possibility of leveraging the space to foster more interconnectivity between folks.”
Since opening in 2021, Soho House Austin has established itself as both a stage for local art and a space for a rtists to convene. The House hosts regular performances by musicians, bands and upcoming talent from the area, alongside the Art Club – an intimate event where members meet regularly. We called on a number of this creatively clued-in group to appear in the Austin element of the We Are campaign, a selection of members who make our first House in Texas proud. The campaign features House team members Eddna Montelongo and Chip Belton, communications professional Cara Caulkins, artist and creative director Moyo Oyelola and entrepreneur Anna Casey. “My favorite thing about Soho House is the community. I’ve made so many meaningful and intentional friendships and work relationships through the House, and I love being able to travel all over the world and meet people,” says Caulkins. “I also love attending live music events and probably one of my favorite moments in Austin was the launch party when the House first opened.”
“At Soho House, we are many things, to many people, in many places: a place to meet and innovate; a safe space; a hive of connection and a downtime destination”Above, from le : Anita Herrera, Millana Snow, Seulgi Oh, Morris “Mez” Ricks II and Kenny Mac, team and Club members of our Soho Houses in Los Angeles
KNOWLEDGE VS PASSION and DEVOTION (2018) by ukral and Tagra, on display at Soho House Mumbai
“I was floored when I visited ukral and Tagra’s 2017 exhibition Play, Pray at Bikaner House in New Delhi. It immediately announced them as artists who are prepared to create new territory for their practice. We acquired four works by the artists, which are located to welcome members on the ground floor of Soho House Mumbai. e works overlay symbols of Indian mythology on bright blue backgrounds with mathematical Venn diagrams, to look at ‘play’ from a cultural, tactical and spiritual perspective. This blend of scientific and religious imagery with modern and ancient references results in work that is at once both profound and fanciful; joyful and satirical.”
