The Linen Draper_Issue03

*Cockney rhyming slang for ‘newspaper’
Issue 03 Spring 2016
THE ARTS AND CRAFTS ISSUE
The world of Pure Evil
Hackney printmakers – Craft classes – Highbury books

ART RULES
CONTENTS
Cover image:
PHOTOGRAPHY: Charles Gervais, bothhemispheres.com
(With thanks to Pure Evil Gallery)
Printed in the UK by Mortons, mortons.co.uk
Published by Currell, currell.comcurrell.com
Currell Islington
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020 3222 5555
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Mill Street, SE1 2BD
020 3668 1000
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Currell Clerkenwell
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Currell Hackney
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020 7241 4111
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Does your property stand out from the crowd?
Getting your property noticed in a crowded market can be
difficult. At Currell our expert marketing and extensive database
ensures your property gets noticed by the right buyer.
For a free sales or lettings valuation contact us now.
London is overflowing with creativity. It is visible
everywhere you look, from backstreet graffiti to
fabulous handmade products in shops and galleries.
We are a city full of makers, artists and craftsmen and
we thought it only right to celebrate them.
For our cover story in this issue, we meet street artist
turned gallery owner Pure Evil to discuss his journey
into the art world and his thoughts on street art
hitting the mainstream (p8–13). His bold, colourful
prints adorn our front cover, and, we hope you agree,
look fantastic.
We go in search of local arts and crafts producers who
promote the joy of craft, such as the London Centre for
Book Arts (p32) and Pressed & Folded (p38). We also try
our hand at making jewellery in Shoreditch (p36–37)
and meet the owners of a new bookshop, INK@84,
in Highbury (p34–35).
We haven’t forgotten about food lovers either and have
a distinctly fishy feel to our food section this issue with
Islington’s newest restaurant, Galley (p28–29), and a
crab-focused street food brand, Claw (p30–31).
There is also the usual round up of the best events in
north and east London, with a special craft focus (p4–7),
wonderful local theatre productions (p14–15) and some
quirky interiors ideas from some of east London’s best
design shops (p22–23).
We always welcome your feedback at The Linen Draper,
so please get in touch at thelinendraper@currell.com.
Gina Wasikowski, Head of Marketing, Currell
8-13
COVER STORY
How Pure Evil made
the journey from graffiti
artist to gallery owner
4-7
OUT AND ABOUT
Our top picks of events
in and around north
and east London
14-15
ARTs AND CULTURE
Two local theatres present
outstanding productions
this spring
20-23
property and interiors
A thoughtful conversion and
some whimsical wall designs
28-31
FOOD AND DRINK
Seafood rules for a top
end restaurant and a
street food start up
32-38
LIFESTYLE
Getting crafty with books,
binding, printmaking
and jewellery
EDITED AND WRITTEN BY: Simon Manuel and Gina Wasikowski
DESIGNED BY: Sally Grondowski
CONTRIBUTORS: Imogen Williams and Kira Holecza

4 The Linen Draper
out and about
5 Issue 03 Spring 2016
SPIN CITY
Cycling festival, Spin, offers far more than the chance
to drool over shiny new bikes and the latest gadgets.
Although with legendary marques such as Cinelli, Condor
and Bianchi alongside newer tech brands like Blaze, Sherlock
and Lumo there is plenty of opportunity for open-mouthed
dribbling. What makes Spin different is its celebration of
everything and anything two wheeled. The Art Hub will be
showcasing the best in cycling art and the Frame Lab will be
offering workshops for those who prefer to build their bikes
rather than buy them.
Other attractions include music, the latest in cycling fashion
and clothing, a cinema and an authors’ area, plus craft beer
and street food.
Spin London, Old Truman Brewery, 20–22 May
Linen Draper readers can quote code LDA for 2-for-1 tickets
spinldn.com
SPRING in LONDON
If childhood memories of the Clangers and Bagpuss bring you out in dewy-eyed nostalgia you will love the new
exhibition coming to the V&A Museum of Childhood. It examines the work of much-loved production company
Smallfilms, whose quirky, inventive work enchanted millions of little ones long before the days of CGI. The show
includes original puppets, archive footage, storyboards, scripts, sets and filming equipment in a recreation of the studio
where the imaginary worlds lived. It also goes behind the scenes of Smallfilms’ other cult creations: Pogles’ Wood,
Noggin the Nog and Ivor the Engine.
The Clangers, Bagpuss & Co, V&A Museum of Childhood, 19 March–9 October, free entry
vam.ac.uk.
PLUCKY NEWCOMER
Knitting Needles at the ready
SMALL FILMS, BIG MEMORIES
Anew restaurant opening later this spring in Shoreditch is out
to show that turkey isn’t just for Christmas. After a successful
four-day stint as a pop up in Shoreditch House in November, Strut
& Cluck will put chicken’s bigger cousin in the spotlight all year
round. There’s a twist too as the menu will have a strong Middle
Eastern flavour. Owners Amir and Limor Chen, left, say turkey’s
low fat, high protein meat responds brilliantly to herbs and spices
so we can forget the dry, rubbery bird we are used to. Dishes will
include a marinated, slow-roasted and then grilled drumstick, served
with pomegranate molasses and schrug – a hot sauce that originated
in Yemen. Vegetarians don’t despair, several colourful veggie options
will be on offer.
Tucked away on Camden Passage is Loop, a beautiful mecca for people who love textiles and haberdashery. The shop
not only stocks beautiful yarns of wool, books dedicated to knitting and stitching, and unique pieces of haberdashery,
it also hosts an incredible variety of classes dedicated to teaching textile arts. Classes take place on evenings or weekends
and range from Beginner’s Knitting to Advanced Lace and Improver’s Crochet. There are also special workshops led by
visiting teachers from across the world, who lead their own individual workshops. Whether you’re a master knitter or a
shaky first timer, Loop has the class for you.
Loop, Camden Passage N1, classes from £45
loopknittingshop.com
Strut & Cluck, opening in Commercial Street, E1 in late spring
strutandcluck.com

6 The Linen Draper
out and about
For an exhibition guaranteed to get under your skin
look no further than Tattoo London. The Museum
of London has teamed up with four of the capital’s top
tattoo artists to display some of their new artwork and
give you a behind-the-scenes look at their fascinating
lives. The exhibition also examines the long and rich
history of tattooing in London, which, contrary to
popular belief, pre-dates Captain Cook’s adventures
in Polynesia.
Stokey’s very own village hall, Abney Hall, is hosting
a two-day fair showcasing original works by 50
independent ceramicists and potters. Ceramics on sale
will include a rich mix of tableware, lamps, sculptures and
original works of art, many by local artists. Both days will
be different as the exhibitors will change each day.
Artist Amy Worrall (whose Springbreak piece is shown left)
says of the event: “It’s a fun way to meet us ceramicists face
to face and to discover some beautiful ceramics and pots.
It’s a great showcase of new wave ceramics. A perfect
weekend jaunt.”
Independent Ceramics Market, Abney Hall, 2–3 April, free entry
hackneyfleamarket.com
CERAMICS TAKE CENTRE
STAGE IN STOKEY
7
Walk Eat Talk Eat adds one special ingredient that sets it apart
from other London guided walking tours – food. Its Urban
Carnivore walk is an opportunity to eat your way through the East
End, tucking into delights such as Yorkshire pudding and pâté, pork
crackling, sausage rolls made by an award-winning pastry chef and
ten-hour slow-roast pork from a street food caboose.
In between meaty mouthfuls you’ll also find out quirky facts about
the area, such as why many of the pubs have green roof tiles. It turns
out that the colour of its tiles showed the large number of illiterate
Londoners in the 1800s which brewery a pub was tied to and therefore
if it served their favourite beer. The walk starts from Old Street and
takes three and a bit hours, finishing at Spitalfields market – by the
sound of it, not nearly long enough to walk off all that food.
Urban Carnivore walk, Fridays, Saturdays & Sundays, £70 (includes food)
walkeattalkeat.com
walk, eat... repeat
CRAFTERNOON DELIGHT
The art of ink
For sheer originality, the Crafternoon Cabaret Club
takes some beating. Craft-loving blogger Hannah Cox
has managed to combine her love of crafts, creativity and
performance by hosting events where you make things against
a backdrop of cabaret. Her Inspired Wall Hangings workshop
WORDS: SIMON MANUEL,
GINA WASIKOWSKI
at Shoreditch’s Book Club gives you a chance to embroider
a wall hanging with your favourite word or phrase while
tapping your feet or singing along as you sew. Performers
include exciting new and established acts on the cabaret
and comedy scene.
There’s even a chance to sketch painted ladies and inked
gents at a life drawing session led by Art Macabre. This
will explore the tales behind the models’ designs and let
you experiment by drawing your own designs directly
onto their skin.
Tattoo London, Museum of London, until 8 May, free entry
Art Macabre, Museum of London, 4 May, £28
museumoflondon.org.uk
Photo: Amy Worrall
Inspired Wall Hangings, The Book Club, 30 April, £15
crafternooncabaretclub.com

8 The Linen Draper
COVER STORY
FROM THE UNDERWORLD
TO THE ART WORLD
Shoreditch has long been the spiritual home of London street art, with
Banksy’s pieces in Rivington Street being two of many that adorn the
area. The Linen Draper spoke to street artist Pure Evil, who, when he’s
not out spraying paint onto walls, runs his own Leonard Street gallery
WORDS: SIMON MANUEL
PHOTOS: CHARLES GERVAIS

10 The Linen Draper
COVER STORY
Describe the response on
social media when you put up
the New Logo for the Hackney
Looting Team in Broadway
Market in 2012.
I hesitated before I released the
image because it was pretty strong.
I painted it on the side of a chip
shop on Broadway Market and
got some free chips for doing it,
which was a bonus. Then somebody
photographed
it and put it up
on Imgur and
it went mental.
It had about
two million
views in about
two days.
Obviously,
because it was
a stencil, people thought Banksy had
done it. The main thing is, I got my
message out there and only had one
angry letter. At the time there was
a lot of discussion about the effects
of the Olympics on the East End, so
it was good that artists took up their
spray cans and said things.
Is social media one of the main
reasons for the rise in popularity
of street art?
Street art and social media coming
along at the same time was a perfect
storm. If street artist ROA paints a
piece in Panama, we all know about
it through social media. It’s mental.
People now are less worried about
how long their painting is going
to stay up on the street because
they have got their Twitter pic up
and it’s getting lots of likes. I think
more people were doing square
pieces because they were thinking
about how it was going to look on
Instagram. Images that work as
visual gags are popular because
people are more likely to retweet
funny stuff that gets a chuckle.
What are you working on
at the moment?
I’m working on a set of
paintings of famous Welsh
people for a hotel in Wales
and then I have to do lots of
paintings for solo exhibitions
I’m doing in New York,
Norway, Hong Kong and
Paris. I can’t wait. I’m also
mad busy hand-finishing prints.
They’re great because they are fast
and loose, some of them end up
being happy accidents, where two
colours work in a strange new way,
or two inks fight against each other
and create a cool effect. It’s really
inspiring. I work well on a deadline.
I like the pressure I get from knowing
I have an impending show.
Why did you choose Shoreditch
as your base in 2000 and how
has the area changed since then?
I was drawn back to it because it
had an edge. It was and is a dirty
place but you need dirt to help things
grow. You couldn’t throw a rock
without hitting an artist, a DJ, a club
promoter, a musician or a fashion
designer. Throwing stones at them
was actually a bit of a pastime
back then.
It’s constantly in a state of
change, it’s quite refreshing. Fifteen
years ago people were moaning
about people from Notting Hill
coming here but I think this feeling
is constant because it’s always in
a state of flux, shadowed by huge
cranes and mechanical diggers.
Your gallery is more than just
a gallery in the ordinary sense.
Can you describe its role?
The ethos of the Pure Evil Gallery
includes being opposed to seeing
artists as a commodity. Also, no
conceptual artists or poseurs, no
curators allowed in the building –
they will be shot on sight, principles
before profit and the gallery should
Charles Uzzell-Edwards is better known as graffiti artist and Shoreditch gallery
owner Pure Evil, the name coming as a result of the guilt he felt over killing
a rabbit with a shotgun when he was a child.
Since then he has tagged street art with his rabbit logo on the walls of cities all
over the world and exhibited in some of its leading galleries.
The Linen Draper spoke to the man behind the moniker about why he would now
rather shoot curators than rabbits, the impact of his artistic statement about
the 2012 Olympics and what the future holds for street art.
“Street art and
social media coming
along at the same time
was a perfect storm”
Pure Evil was attracted
to Shoreditch by its “edge”
New Logo for the Hackney
Looting Team on the wall of a
chippy in Broadway Market

12 The Linen Draper
COVER STORY
13
Pure Evil Gallery has upcoming shows of two
artists Pure Evil describes as “awesome” and
“epic” – Michal Mráz from Bratislava (whose
work is shown left) and Deedee Cheriel from Los
Angeles whose art includes Goddess of Wealth
– To Desire is to Suffer, shown above.
Deedee Cheriel is exhibiting at Pure Evil Gallery between 2–26 June.
The dates of the Michal Mráz exhibition have yet to be confirmed.
ARTISTS OF THE FUTURE
be a mecca for independent artists.
I want the gallery to be an example
of how other galleries should be run.
People come in, and we actually
talk to them, not ignore them and
act snobby. I’ve been to galleries
where the
assistant is
perched behind
a laptop at the
desk of power,
and I can’t get
them to talk to
me. I get treated
like a leper when
I am interested
in buying
something.
We actually
pay artists. You
would think that is standard for
galleries but it’s not.
The bit about shooting curators is
a bit of a joke, but I really don’t like
them, I don’t see any point in their
existence. Artists can decide with
the galleries what and where to hang
stuff. Aaron Rose used to run The
Alleged Gallery in New York City
and he nailed it. He said all you
need to do is paint the walls white,
pay the electricity bill, and hey
presto, you have a gallery.
It’s all about keeping it simple.
Good art helps obviously but
seriously, keep the curators out.
You recently exhibited at
the Saatchi Gallery. Do you
think street art has become
mainstream and, if so, is this
a good thing or a bad thing?
It’s fine, I have no problem with
street art being
popular. It’s becoming
a legitimate art
movement, and people
enjoy it. Seeing it have
its own section in the
Pompidou Centre
bookshop makes me
very happy.
Who are the up-and-
coming young street
artists to look out
for and what do you
like about them?
There’s a guy called Banksy, he is
going to be BIG. Trust me. I like
his humour, something I like to try
myself, but fail miserably at.
How has street art changed
over the past few years?
It’s become more about making
money and getting hits on social
media. That’s normal though. If
it drops off the map again it will
just go underground and emerge
stronger. I have noticed a new brood
of ‘Banksy’s Children’ who want
to be noticed for a few street art
pieces done in Photoshop, who then
migrate to doing prints and canvases
so they can get famous and rich just
like Banksy. Sorry guys, it’s not going
to happen.
Where do you see yourself and
your gallery in 10 years time?
Having our 20th anniversary. Still
doing awesome shows, maybe with
a few more Pure Evil galleries
around the world, taking a leaf out
of Subway’s book. Franchises!
Tell us a little bit more about
the dead rabbit.
I shot a rabbit with a shotgun when
I was a kid and it re-emerged in my
sketchbook in about 2001 with the
words PURE EVIL next to it. I’ve
been tagging it ever since because
when I do I get into a ‘flow state’
or ‘the zone’. It’s that unconscious
state that free climbers get when they
are climbing up a mountain with no
ropes. They don’t know what they’re
really doing, it’s just an automatic
thing. When I’m tagging it around
a new city it feels like I’m totally in
the Pure Evil zone.
What does the future hold for
street art?
More painting on walls.
pureevilgallery.com
“I have noticed a brood
of ‘Banksy’s Children’
who want to be noticed for
a few street art pieces done
in Photoshop. Sorry guys,
it’s not going to happen”
Curators found at the Pure
Evil Gallery are likely to suffer
the same fate as the rabbit

14 The Linen Draper
UN...bear...ABLY GOOD FAMILY FUN!
We’re Going on a Bear Hunt, one of the best-loved productions by Islington’s acclaimed
Little Angel Theatre, returns to the stage this spring for a limited run of 10 weeks
ARTS AND CULTURE
15
visibile just beneath the surface
To say that Hackney Wick’s The
Yard punches above its weight is
a bit of an understatement. Last year,
Time Out readers voted the 110-
seat venue the second best theatre in
London. Not bad given that it is housed
in a former warehouse and made from
recycled materials.
This season’s new plays include Made
Visible, written by award-winning artist
and writer Deborah Pearson. Based on
a ‘real encounter’ between two strangers
in Victoria Park, Deborah, played by
Haley McGee, wonders why she has no
idea how to talk about the fact that she
is white. The play is not about guilt or
confession but instead deals with issues
of white privilege and accountability.
After a two year tour around the
UK, the Little Angel Theatre’s
production of We’re Going on a Bear Hunt
returns to its home stage. The show,
adapted by Peter Glanville and Barb
Jungr, has been the renowned puppet
theatre’s most successful ever.
The original book, by Michael Rosen,
has sold more than eight million copies
since its release in 1989 and continues to
captivate young readers worldwide with
its delightful story of a family embarking
on a great adventure.
Islington’s Little Angel Theatre is
renowned for celebrating the art of
puppetry as well as producing shows
that are at once entertaining and
educational for children. This beautiful
adaptation uses stunning puppetry
to bring the story to life in a way that
audiences won’t have seen before.
Samantha Lane, Artistic Director at
the theatre says: “We’re thrilled to be
bringing We’re Going on a Bear Hunt back
to our stage at Little Angel Theatre.
The popularity of the production has
kept it consistently on tour around the
UK since it opened in 2013. It’s such
a special story and really highlights the
wonder and magic of puppetry.”
The show is suitable for ages 2 to 7
and on Sundays a special ‘relaxed’
performance takes place that is suitable
for children with learning disabilities
or those with an autistic spectrum
condition.
Described by Time Out as “charming”,
We’re Going on a Bear Hunt is definitely
a show not to be missed.
We’re Going on a Bear Hunt
14 April–26 June, tickets start at £5
littleangeltheatre.com
New play by award-winning
artist and writer Deborah
Pearsontackles issues of
white accountability
WORDS: SIMON MANUEL
It promises to be a fascinating
examination of life on London’s streets
today and the tensions that exist beneath
the surface.
The Yard also boasts an inviting bar and
eating space, to enjoy before or after the
show. Like its theatre, The Yard presents
an ever-changing menu, with resident
chefs taking short stints in the kitchen.
Made Visible
15 March–9 April, tickets start at £10
theyardtheatre.co.uk
Made Visible is based on a
‘real’ meeting in Victoria Park
We’re Going on a Bear Hunt has been
touring around the UK since 2013
The puppetry on display will
enchant young audiences
WORDS: GINA WASIKOWSKI

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20 The Linen Draper
PROPERTY AND INTERIORS
21
As London sees a rise in new build
homes and large scale gentrification
marches onwards, period properties
are becoming ever more cherished and
harder to find in this historic city. This
three bedroom property,
sitting in a converted Victorian school
building is a
Make yourself at home in this beautiful Victorian school conversion in Victoria Park
Derby Road is on the market for £1,750,000.
All enquiries 020 3222 5555 currell.com
“One exceptional
feature is a light well that
runs through three floors
from lounge to bedrooms”
Back To School
As London sees a rise in new build homes and
large-scale gentrification marches onwards, period
properties are becoming ever more cherished and
harder to find in this historic city. This three bedroom
property, sitting in a converted Victorian school
building, is a real period gem.
Originally designed and built in 1892 by architect
TJ Bailey, the school and outer buildings underwent
many changes and additions in the first half of the
20th century, before coming back into full use in the
90s when they were converted into houses and flats.
The current owners have carried out substantial works
of modernisation to the property in order to make the
best use of its space. The kitchen has been brought
into the heart of the home, moving from the basement
to the ground floor and making it the central hub of
family life. Bespoke kitchen makers Humphrey Munson
were brought in to create a shaker-style kitchen
complete with a distinct country-style island, providing
ample space for the whole family to relax in.
A sunken patio area in the basement, now home to
a bright and spacious living room, provides light and
fresh air all year round. One exceptional feature is
a light well that runs through all three floors, from the
lounge up to the bedrooms, allowing the old school’s
huge double height arched windows to flood the house
with natural light.
Joa Studholme of Farrow & Ball designed the colour
scheme to get brighter at every level of the house as you
ascend from basement to roof terrace, going from cosy
in the basement to airy in the study on the top floor.
Sitting alongside the simple wall colours is original
exposed brickwork and tiling that adds stunning texture
to the design.
The kitchen was moved from the
basement to the ground floor
The double height arched windows are
a stunning feature in the master bedroom
The cosy basement is
perfect for relaxing

PROPERTY AND INTERIORS
2322 The Linen Draper Issue 03 Spring 2016
1
5
2
6
3
7
4
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style
watch
Off the Wall
Hang up your magnolia
paintbrush this season and
embrace these colourful animal
inspired prints from east London
designers and artists to inject
some fun onto your walls
1. Uphill Elephant, Claudia Borfiga, £50
Print Club London, printclublondon.com
2. Hackney Empire Wallpaper Midnight Stripe, £148 per roll
House of Hackney, houseofhackney.com
3. Gentleman 2, Guy Gatier, £65
4. Golden Cat Two, Chris Keegan, £50
5. Birds N Bees Wallpaper in charcoal by Timorous Beasties, £300 per roll
SCP, scp.co.uk
6. Neon Pink Stag, Aida, £30
Fee Fee La Fou, feefeelafouenterprises.com
7. Bear, Susie Wright, £100
8. Baleana Wallpaper Aegean Blue/Off Black, £128 per roll
House of Hackney, houseofhackney.com

currell.com currell.com
A charming four storey, Grade II listed Georgian
property in the heart of Clerkenwell. Positioned on a
quiet residential street, accommodation measures
approximately 1128sqft. A garden is accessible
to the rear of the property. Wynyatt Street is
conveniently located south of Islington and is just a
short walk from Exmouth Market and Angel.
Sebastian Street, EC1V
£2,850,000 Freehold
Wynyatt Street, EC1V
A large four bedroom Grade II listed Regency
Georgian house located on the corner of Sebastian
Street and Northampton Square in Clerkenwell. This
beautiful home has an abundance of period features
and measures in excess of 3000sqft. Northampton
Square offers easy access to the local amenities of
St John Street, and Angel, Barbican and
Farringdon Stations.
Clerkenwell
020 7253 2533
clerkenwell@currell.com
Islington
Sales: 020 7226 4200
Lettings: 020 7288 9109
islington@currell.com
A beautiful Grade II listed detached property set on Mountfort Crescent within the heart of Barnsbury, London. This substantial
property offers approximately 5200sqft of fabulous entertaining and social space, with accommodation set over four storeys.
Built in circa 1845, this fine home currently offers a formal reception area, three further reception rooms, study/library, a country
kitchen and six bedrooms. The building is set on its own sizeable grounds with a detached garage. A rare opportunity to purchase
in a prime Islington location. Permission to extend is in place.
Mountfort Crescent, N1

A stunning two bedroom, third floor apartment set within
this modern development along the Regent’s Canal.
Accommodation comprises a bright dual aspect open
plan reception and kitchen, with access to a balcony
and two double bedrooms. Positioned between Islington
and Shoreditch, Hoxton Wharf offers excellent transport
links into the City and West End. EPC: B
A rare opportunity to buy within one of London
Fields’ top locations. This well-proportioned end of
terrace Victorian house offers just over 1060sqft of
accommodation comprising double reception, kitchen/
dining room leading to an enclosed rear garden and
two double bedrooms. Subject to planning, there is the
opportunity to extend. EPC: D
Victoria Park
020 3222 5555
victoriapark@currell.com
Hoxton Wharf, N1
£725,000 Leasehold
Lavender Grove, E8
currell.com
Hackney
020 7241 4111
hackney@currell.com
A substantial five bedroom semi-detached home situated on a quiet street set off Victoria Park Road, offering over 2000sqft of
accommodation. The interiors include original features such as parquet flooring and an art deco fireplace. With oversized rooms
throughout, there is a large bay fronted reception to the front, a bright open plan kitchen and dining room to the rear, creating a perfect
family and entertaining space with doors opening out to the well-kept, south-facing garden. The current owner has extended into the loft,
creating a stunning, light and airy master suite. The amenities of Victoria Park village are within walking distance. EPC: C
Sharon Gardens, E9
currell.com

FOOD AND DRINK
28 The Linen Draper 29
Sophisticated seasonal
suppers sail onto
Upper Street
Upper Street in Islington, with its
plethora of restaurants and cafés
vying for business, may not be the
obvious location to set up a new high-
end restaurant, but co-owners Marcel
Grzyb and Oriona Robb disagree.
“When Marcel and I were thinking
about opening a restaurant we wanted
to create something that would add
to Islington’s restaurant scene but also
change it,” says Oriona. “I have lived in
Canonbury for
15 years. Knowing the
area and understanding
the audience here,
I believe we are offering
them something that
they don’t have at the
moment and something
which they perhaps
wouldn’t expect.
“Also, the restaurant scene here is
gradually changing with the arrival of
other restaurants like Bellanger and
Oldroyd, so hopefully people looking for
exceptional, seasonal food will now look
to Islington as the place to go.”
With its bold interiors and distinctive
name – so called after the narrow layout
of the restaurant brought a ship’s galley
to mind – the restaurant certainly stands
out. It has an atmosphere of almost
luxurious cosiness, more associated with
Mayfair than Islington. The interiors
have been designed like
this to create somewhere
to relax and unwind with
friends, from brunch
through to late evening.
Brother and sister
team Marcel and
Oriona have both had
a passion for food since
childhood. “From an early age growing
up in Poland, our family was always
surrounded by really good food; our
mother is an excellent cook. Every social
event was filled with freshly cooked
food, full of seasonal ingredients. It is
this passion for fresh and seasonal dishes
that Marcel and I wanted to share with
people,” says Oriona.
“The ideas for the dishes on the menu
are products of travelling across the
world and working to put new twists on
traditional flavours,” says Marcel, the
head chef at Galley. “At the moment
there is no Polish influence but we
might bring that in at a later date. The
dishes are a mixture of traditional
French, Italian and English dishes. We
didn’t want to tie the menu to a specific
cuisine but what ties it all together is that
everything is seasonal.”
Marcel worked as head chef at Randall
and Aubin, the seafood restaurant in
Soho, for 12 years. His experience with
fish is reflected in the menu, with choices
including octopus, oysters and lobster.
Marcel is keen to point out though that
Galley is not just a seafood restaurant.
“We didn’t want it to be limited to
seafood. While we do lean on fish as our
speciality the menu also includes great
seasonal meats. We want to create dishes
that can be enjoyed by everyone.”
The seasonal element to the menu
means that new dishes will be on
The latest addition to
Islington’s expanding culinary
landscape is Galley, a stylish,
contemporary restaurant
focusing on fresh fish and
seasonal ingredients.
Gina Wasikowski talks
to owners Marcel Grzyb
and Oriona Robb about
their new venture
WHAT WE ATE
“What ties
the menu together
is that everything
is seasonal”
offer on a quarterly basis to reflect the
changing British produce available.
Marcel gives me an insider tip that
as spring arrives, the Scottish venison
currently on the menu will be replaced
by delicious spring lamb.
The focus on fresh seasonal ingredients
has also informed the layout of the
kitchen, with customers able to sit
at the bar overlooking the chefs. It is
really special to be able to see chefs at
work and to get an understanding of
the complex processes involved. Our
customers can see that there are no
gimmicks, just every dish being made
fresh with top quality ingredients.”
Galley, 105–106 Upper Street, N1
Monday–Friday, 12–12
Saturday–Sunday, 11–12
galleylondon.co.uk
The open plan kitchen allows
diners to see their food being made
1 2
3
4
5
1. Lemonade, Mint and
Grape Mocktails
2. Hand Dived In-Shell
Scottish Scallops
3. Wookey Hole Cheddar
& Ham Hock Croquettes
4. Octopus & Chorizo
a la plancha
5. Crispy Cornish Squid
“The mocktails were especially
made for us and were utterly
delicious. Each dish was packed
with flavour and we didn’t want it
to end. A thoroughly enjoyable visit
from start to finish!”
Gina

Method
1. Cook the macaroni in a large pot of salted boiling
water until al dente. When cooked, run under cold
water to stop the cooking process. Preheat oven to
180C.
2. Melt the butter in a pot and at the same time start
warming the milk in a separate pan.
3. Once the butter is melted add the red onion, garlic
and tarragon.
4. Whisk in the flour until a roux has formed and then
start adding the milk one ladle at a time. Continue to
whisk until the milk has blended with the roux. Add
all the cheese.
5. Once the cheese has melted, add the brown crab
meat, salt, pepper and Old Bay Seasoning.
6. Put the pasta into an oven proof dish and slowly mix
it with most of the cheese sauce.
7. Spread the remainder of the cheese sauce on top of
the pasta along with the grated cheddar and smoked
paprika, then bake for approximately 20 minutes.
8. Remove the dish from the oven and sprinkle the
white crab meat on top before serving.
500g macaroni
100g fresh white crab meat
100g fresh brown crab meat
100g grated cheddar
For the cheese sauce
1 pint full fat milk
70g butter
70g plain flour
2 red onions
“Our macaroni and cheese is a blend
of various recipes we’ve discovered
along the way. We’ve tweaked and
twisted it, but reckon it’s now the best
crab ‘n‘ mac in London” Fabian Clark
CLAW MAC ‘N’ CHEESE
Ingredients (Serves 6)
FOOD AND DRINK
As our passion for street food continues, the London scene is going from strength to
strength. One of its latest additions focuses on bringing crab back to British plates.
The Linen Draper talks to Fabian Clark, founder of Claw, to discuss all things crab
Absolutely crabulous
2 cloves of garlic
1 bunch tarragon leaves
1 tbsp smoked paprika
2 tbsp Old Bay Seasoning
1 tsp salt
1 tsp pepper
120g mature cheddar grated
120g Comté grated
120g Emmental grated
120g Parmesan grated
How did Claw get started?
I’ve always had a passion for, and interest in, food. With the
growth of street food in recent years I thought why not give it
a go? So I quit my job and got going in February last year.
Why did you choose crab as the focus?
A few years back I had an amazing crab sandwich on the
Isle of Wight, so good that I still remember it! I thought a lot
about the kind of street food that is currently on offer and
noticed most of it focused on meat. I wanted to do something
that I hadn’t seen done before and which I knew could taste
really great.
Is there a reason crab
is less common on our
plates than other foods?
I read an article that said
80% of British crab is
exported to Europe because
we don’t have a taste for it
in this country like they do
on the continent. This is such a shame, especially as we have
amazing access to it on our coastline. I want to change that,
so Claw has really become about making British crab and
other shellfish accessible to the British public and showing
them how good it is.
Do you get customers who have never tried crab?
Surprisingly, yes! It’s great to be able to give them their first
experience of it, which is hopefully a positive one.
Where do you get your crab from?
We only use Devonshire crab, which is fished off the coast of
Salcombe. I’m very lucky to have formed a great relationship
with a local fisherman called Paul, who supplies us with all
our crabs directly.
Where do you get your recipe inspiration from?
I do a lot of googling, particularly on current trends around
the world to find different flavour combinations that might
work. American restaurant menus are great to look at for
ideas because they love crab in the US.
How often do you
change your menu?
Our menu changes
depending on what the
pop up space we are
using lends itself to, as
well as what we think
suits the occasion. We’ve
done events in kitchens
where there are very few
cooking facilities so we’ll keep the menu options cold. Or, if
we are doing a stint at a pub we may focus on crab burgers
and fries. We’re currently at Fish Market in Liverpool Street
where we have designed a special brunch menu. It’s the
biggest offering we’ve done and has been so well received our
residency has been extended until the end of March.
Claw recently won ‘Best Street Food Brand’ at the
Virgin Start Up Foodpreneur Awards. Did Richard
Branson have any advice for you?
Not really but he did tell me that he liked my crab! It was
a great thing to enter as the prize was a week’s residency at
Old Street roundabout. It’s always good to get exposure in
new venues.
Where would you like Claw to be in a year’s time?
I’m spending the year focusing on finding a permanent home,
so fingers crossed in 12 months’ time we’ll be opening the
doors to our own place.
Claw is at Fish Market in Liverpool Street until the end of March, and
will take up residency at the Hat & Tun, Clerkenwell in June
eatclaw.com
“Fingers crossed, in
12 months’ time we’ll
be opening the doors to
our own place”
“Claw has really
become about making
British crab and other
shellfish accessible to
the British public”
Fabian ready to convert customers into
diehard crab fans at his Old Street pop up
Claw’s seafood platter at Fish
Market in Liverpool Street
Fabian receives his award for ‘Best Street
Food Brand’ from Richard Branson

020 3826 4888
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311-313 Kingsland Road, Hackney, London E8 4DL
currell.com
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and everything you need to know about the most exciting part
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33 Issue 03 Spring 201632 The Linen Draper
LIFESTYLE
DOING IT BY
THE BOOK
Set on a quiet street on Hackney’s Fish Island in what was
once part of Percy Dalton’s Peanut Factory is London’s
only centre for book arts. If you wander into it from the street
you would be forgiven for thinking that this was simply a
rather old fashioned printers complete with historic letterpress
printing machines. So what exactly are book arts?
“Hmm, that’s a bit of a hotly contested issue in the book arts
world,” says Simon Goode, one of the centre’s co-founders.
“But basically, it is the craft involved in the making of a
book using traditional techniques such as bookbinding and
letterpress making.”
The London Centre for Book Arts (LCBA) is no monument
to lost skills though. It is an open-access space for people who
want to make their own books with their own hands. Many of
these are artists who use the centre to publish limited editions
books showcasing their work.
As Goode explains, “The LCBA is less about the fetishising
of the craft than it is about people being beholden to a
bookbinder or a printer and having to pay loads of money for
something they can do themselves.”
Goode set up the centre in 2013 with equipment he had
been collecting for eight years with the intention of opening
his own book-making studio. But, after spending three months
visiting book arts centres across the US, he decided to set up
somewhere for people like himself keen to produce their
own books.
The centre is open to anyone who wants to use its equipment
to work on their own book-related projects. And Goode has
no issue with people combining traditional and modern
techniques. “It’s more than possible to do a whole book or just
bits and bobs like use the foil blocking press, for example,” he
says.
“We’re open-minded. If people are printing stuff digitally and
binding by hand that’s fine by us. It’s interesting what you can
do if you mix it up a bit.”
For those interested in finding out more about book arts and
getting their skills up to scratch, the LCBA runs workshops
every weekend covering topics such as letterpress printing,
foil blocking and bookbinding. Goode says that the courses
have been attended by “thousands of people” of all ages over
the past three years. “Last week we were in V&A Museum of
Childhood with children as young as three. And we’ve had
80 year olds on courses, so we span the generations.”
Goode is currently writing a book about making books,
which, ironically, LCBA will not be printing. “There will be
thousands of copies, far more than we could do,” says Goode.
London Centre for Book Arts, 56 Dace Road, E3
Tuesday–Friday, 10–6
Saturday–Sunday, 11–5
londonbookarts.org
Binding and printing books the traditional
way is not a completely lost art, even in our
digital-obsessed world. The Linen Draper
meet Simon Goode, a man on a mission to
teach the public about this fascinating craft
from his Fish Island base
Many users of the LCBA are local artists
publishing books that display their work
It took Simon eight years to acquire
all the machinery used at the centre
The LCBA runs workshops every
weekend from its Fish Island studio
WORDS: SIMON MANUEL

BOOK
LOVERS
REJOICE
Bookshop INK@84 is seeking
to attract Highbury locals with
a new kind of literary offering.
Jointly owned by author Betsy
Tobin and artist Tessa Shaw,
INK@84 promises a different
approach to the art of selling
books. The Linen Draper
speak to co-founder Tessa
Shaw about the new venture
34 The Linen Draper
As well as selling books,
INK@84 is also a café and bar
35
LIFESTYLE Issue 03 Spring 2016
Betsy, left, and Tessa in their
new Highbury Hill bookshop
“
We opened on 5 December last
year. It was always our plan to do
that as it’s a really important time
of the year for book retailers, but it was
manic. We were still learning the tills on
the day we opened. When Christmas
Eve arrived we were frazzled. We knew
it would be busy but we were surprised
at just how tiring the whole thing was,”
says Tessa.
Tessa is one half of the team behind
INK@84, with Betsy Tobin, an author,
the other. For both of them, it is their
first foray onto the high street.
“Betsy came to me with the idea for the
bookshop and asked if I wanted to help.
At first I thought she was mad. But after
some thought, I thought why not,” says
Tessa. “There seems to be a mood swing
at the moment as to how independent
bookshops can work. I thought that
if we could do it a different way, so it
wasn’t just about books and we could
incorporate events and a café or bar,
then we could make it into something
new. That’s when I got really excited.
“Neither of us knew the business side of
books before we opened but both of us
have related industry experience, Betsy
as an author and me as a journalist, so
we both understand the publicity side
of bookselling and the importance of
keeping up with fashions. What we
didn’t know was the basics, like ordering
and how to go about choosing stock.”
The shop, perched on Highbury Hill,
took Tessa and Betsy about six months
to find. After a lengthy search for the
right place, the conversion into the
bright and airy space it is today was
relatively fast. But why choose this
part of town, as opposed to a more
established high street?
“I’ve always been interested in this area
as I have lived locally for 20 years, as
has Betsy. A lot of people tend not to go
further than Highbury Barn but there
are some fantastic independent shops on
this road. Louis Farouk is fabulous for
gifts, there’s a deli, a café, Franks, and
a bread shop.
“We had a very strong idea of what
we wanted from a premises. The wide
pavement is perfect for putting benches
outside in the summer and as we are
next door to Franks with its amazing
food we get a lot of footfall at the
weekend.”
Setting up shop in a less established part
of town does carry risks however, so
what is it about INK@84 that has been
designed to draw in local custom?
“We have chosen to go with a highly
curated selection of books. We certainly
don’t stock everything. People aren’t
coming here to find the classics or
Fifty Shades of Grey, they are looking for
brilliant new modern publications. We
are very keen to support local authors
and new writers, too. We had
a gentleman who popped in with his
book, so we stocked it, sold it and now
we have restocked it. We hope that
this personal, handpicked approach
will appeal to people, particularly the
creative community in the area.”
The large children’s section should
also prove a big draw for local families.
Nicolette Jones, reviewer of children’s
literature for The Sunday Times, has
overseen their selection.
“Children’s literature is surprisingly
difficult to choose because reading
ability differs so much between ages.
Nicolette is fantastic at knowing what is
suitable; picking out recognisable titles,
as well as exciting new releases.”
Other than the books, INK@84 is
also hoping its coffee and newly up
and running bar will give customers
something a little bit different.
“We have tried to create a space that
isn’t solely reliant on books. The shop
space is so we can cater for various
events, like film screenings or book
launches. I also want to get craft groups
in, as being an artist I love that kind of
thing. I’d love to think people might stop
by after work, have a glass of wine and
read a book. How great would that be!”
The bar and café is stocked primarily
with local produce, with coffee from
Nude in Shoreditch, gin from the
Hammerton Brewery in Caledonian
Road and wine from Highbury Vintners,
making it a beacon for the promotion of
local craft and people.
“The best thing about this business
is that it’s ours, so we can try lots of
different things and see what works.
There are so many possibilities and that
is really exciting.”
INK@84, 84 Highbury Park, N5
Tuesday–Wednesday, 10–6
Thursday–Saturday, 10–8
Sunday, 12–5
ink84bookshop.co.uk.
“I’d love to think people
might stop by after work,
have a glass of wine and
read a book. How great
would that be!”
The bookshop sells a highly curated
selection of modern literature

LIFESTYLE
Ispend most Sunday mornings running 10K across a cold
and windy Clapham Common, so the chance to make
jewellery in a warm workshop instead was one I wasn’t going
to turn down. The workshop in question is in Hackney’s
Sunbury Studios and I’m here to try my hand at ring making.
After a welcome cup of tea to get me going, course leader
Sharla Donovan tells us what to expect during the day.
“The three things to keep in mind are practice
makes perfect, patience is key and cutting the
join is the hardest thing to master in jewellery
making,” she says. How right she is, as I was
to discover later.
The class consists of five other budding
jewellery designers all, like me, women in
their mid-20s, two of whom have been given
the day as Christmas gifts. We start off by
making an unsoldered copper ring. This involves an
incredible amount of detail and I get the impression I’m not
the only one struggling to get to grips with the intricate steps.
After measuring my finger and marking out how much metal
I need, I heat up the metal to make it malleable and then
use a mallet to bash it into the shape of a ring.
Sharla has been making jewellery since 2005 and runs her
own jewellery shop in Hackney so I feel like I am in expert
Making jewellery takes patience, creativity and skill. We sent The Linen Draper’s designer
Sally Grondowski to The London Jewellery Workshop to find out if she has what it takes
hands. And she couldn’t be more friendly and encouraging as
I stumble through the steps.
As we head towards lunch, I have miraculously managed to
produce something that looks like a ring, even if it is a bit
plain. Now comes the exciting bit though: deciding which
finish to put on my ring. Sharla explains the different options
and techniques and I choose planishing – smoothing the
metal using a hammer.
The end result may not win any
awards but it is unique and I’m proud
of my first jewellery creation. I use
a stamp to engrave my initials on
the back to prove my prowess to any
doubters.
It’s been a jam-packed morning and
after a short hop to Brick Lane for a
much needed lunch break we’re back in the studio for the
afternoon session. This is to create a silver soldered ring, a far
more difficult process than what we have learnt so far.
With Sharla’s opening words ringing in my ears I get
increasingly impatient as I spend about an hour trying to cut
a join in the ring and prepare it for soldering. This feels like
an impossible task, as it requires a super steady hand on the
saw and good hand-eye coordination to cut the join in the
right place. I seem to have neither, but thankfully Sharla
comes to my rescue and completes it for me.
The next step is to solder the join together with the
blowtorch. This is by far the most rewarding part of the
day as, once completed, my handiwork finally looks like
a normal ring.
The class ends up running about half an hour later than
the intended 4.30pm finish as we each wait our turn to
use the shared equipment, in particular the polishing
machine. After a hard day in the workshop, we all want
to make our rings look as fabulous as possible.
The day was full on but incredibly rewarding as I got
to take home two rings, each handmade by me. Next
time I look at a ring in a jewellery store, I’ll be under no
illusion about how much skill and hard work has gone
into making it.
Sharla was a patient and dedicated teacher and the day
was a lot of fun. It would make a great present for a
friend or joint activity for a hen day.
Sally took the Make A Silver Ring workshop at London
Jewellery Workshop in Hackney. The course costs £95
londonjewelleryworkshop.co.uk.
“I use a stamp to
engrave my initials on the
back, to prove my prowess
to any doubters”
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SALLY PUTS A RING ON IT
Cutting the join is
harder than it looks
Sally adds the finishing touches
with the polishing machine
Sally’s textured silver ring, top,
and planished copper ring
Sally, right, with jeweller
and trainer Sharla Donovan

How did Pressed and Folded start?
Malissa: As we are both self-employed
artists and married, it seemed inevitable
we would work together at some point.
James suggested the idea of designing
a range of greetings cards and I jumped
at the chance to do something new after
working in textile design for so many
years. Our range of cards is completely
design led and is produced with all
occasions in mind.
Both of you have backgrounds in
textile design. How much does this
influence your designs?
Malissa: I love textiles but designing
cards allows me to be much freer with
colour and pattern. Saying that, I could
actually see myself wearing a lot of my
card designs!
James: Understanding fashion helps
because it’s useful to know how to
identify and predict trends when
producing a commercial product.
Husband and wife team James and Malissa Brown have pooled their artistic talents to
create Pressed & Folded, making stationery from their collection of original prints.
The Hackney Wick based duo speak to The Linen Draper about what they are up to
Play your cards right
LIFESTYLE
38 The Linen Draper
309 Upper Street, Islington, London N1 2TU
currell.com
Simon Garfinkel
Director
s.garfinkel@currell.com
020 7354 5050
David Jones
Head of Valuation
d.jones@currell.oom
020 7354 5050
Providing expert professional valuation
services across London since 1990
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Do you collaborate on any designs?
Malissa: We design separately but we
like the fact that there are two distinct
styles to create diversity in the range.
How long on average does a card
take to design?
James: Some of our cards are taken
from archive screen and lino prints, so
we already have those ready to go. New
designs can take days and some can take
a couple of hours. Generally the ones
that come easily seem to be the most
successful.
What influences your colour
selections?
James: I like to work in two colours
and limit my colour palette. If I could,
I would work solely in red and black.
Malissa: I’m much more relaxed when
picking palettes. I can be inspired by
anything from an exhibition to an old
piece of fabric.
How did you come to be based in
Hackney Wick?
James: I’ve had a studio here since
2002. It’s a great place to work and
I don’t think there’s anywhere like it in
London; there is a really good, friendly
community. During the Olympics it was
interesting to see people from out of
town come here, as they all seemed a bit
bemused by the unique micro climate in
the middle of London.
What are the plans for the future?
Malissa: We have a few ideas in the
pipeline including gift wrap, notebooks
and some textile products.
Where can we find your cards?
We’re in shops in Clerkenwell, Islington,
Hackney and Victoria Park. All our
stockists can be found on our website.
pressedandfolded.com
Pressed & Folded cards are
made for every occasion
An original print from James
and Malissa’s collection
Husband and wife James and
Malissa make a perfect design duo
“Our range of cards is
completely design led and is
produced with all occasions
in mind”
Contact our experienced team of RICS Chartered Surveyors now to discuss your requirements

The Linen Draper_Issue03

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