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Times
02-08-2025
- Entertainment
- Times
The secret history of Shoreditch
You won't find anyone who doesn't use the word 'grim' somewhere in their recollections of what Shoreditch was like in the early Nineties. The east London neighbourhood on the edge of the City was a vista of Victorian factories and warehouses, Second World War bombsites and tired-looking wholesalers. Those who discovered its early charms included the renowned art photographer Nick Waplington. 'We needed hardcore iron bars on every window, everything would be nicked by the junkies,' he recalls. 'There were no cops, it was lawless, grey and desolate — but it was a good place for a studio.' At first Waplington commuted from 'the safety of Camden' to the 10,000 sq ft electricity substation he, along with the artists Jake and Dinos Chapman, used as a studio (and regular rave venue). 'But increasingly I found I was there all the time.' Shoreditch and its environs were slowly populated by the brave and the bohemian. 'There was a definite sense of it being the place to be, but it was still, functionally, quite shit,' says the artist Gavin Turk. Many of the Young British Artists (YBAs) lived and worked in the area — Sarah Lucas and Tracey Emin were pioneers with their live/work/gallery space The Shop, along with future stars like Gary Hume, who occupied a space so large and cold he 'lived in a tent in the middle of it', remembers the artist Darren Coffield. The area became known for its affordability and DIY attitude: when Deborah Curtis had a child with Turk, she opened a makeshift crèche in their warehouse home. The YBA Abigail Lane 'had an 'art salon' at my place because I didn't like going to the hairdresser. I had a large flat, everyone needed their hair cut, I knew a hairdresser.' Several Turner prize afterparties were held there too. • Your guide to life in London: what's new in culture, food and property More artists were lured by the eccentric curator Joshua Compston, who set up a gallery called Factual Nonsense on Charlotte Road in the heart of Shoreditch, opposite the Bricklayers Arms pub. With his vision for an art-driven bohemian community, he would be a bridge, persuading suspicious local landlords to rent to artists, whom he coaxed into the area. The artist and film director Sam Taylor-Johnson has described Compston as 'the dandy romantic of that time'. His happenings included the Fete Worse Than Death on Charlotte Road in 1993 and 1995, a chaotic street party with stalls by the YBAs who lived in the surrounding streets. Angus Fairhurst and Damien Hirst were made up as clowns by the performance artist Leigh Bowery: for £1 you'd get a spin painting, for 50p more a flash of Hirst's wedding tackle. Tracey Emin had a kissing tent and made rum cocktails. However, as the artist Simon Bill says in Factual Nonsense, a book about Compston's short life (he died, aged 25, in 1996): 'By 1999 the [Compston] era was forgotten … because there were young people with new hairstyles moving in.' Shoreditch's fame was due in some part to the nightlife that was flourishing there. In 1999 the promoter Neil Boorman launched the magazine Shoreditch Twat, the twisted child of Private Eye and a parish magazine. 'We never had it so good — design, music, art, fashion, clubs, architecture, technology — a mass convergence of grassroots culture. We will never have that symbiotic IRL moment again,' he says now. 'The geographic locus, the economy booming, property still cheap, everyone contained in a few streets.' Rob Star, the owner of the bar Electric Star, first came to the area in the mid-Nineties to club nights at the Blue Note, including Goldie's Metalheadz, and was also struck initially by the apocalyptic bleakness. 'You had to know where to go to discover what was really going on.' Star moved into a warehouse and threw parties there — for which he would become famous. He even started a festival, Eastern Electrics, in the area. 'It's no exaggeration to say that by the Noughties the area was as influential for nightlife as Berlin. Hackney council had to employ someone full time just to manage all the TENs — temporary event notices.' The haircuts kept coming and changing. A style magazine called Dazed & Confused set up offices on Old Street. Its editors — the photographer Rankin, the publisher Jefferson Hack and the stylist Katie Grand — lured even more famous people to the area. In 1996 Hack persuaded Radiohead's Thom Yorke to play an acoustic gig in an old tramshed. I was there and remember him telling the media twats at the back to shut up. • Best places to live in London 2025 'I wish I'd had my camera,' Waplington says, 'the night I popped over to [the photographer] Phil Poynter and [the stylist and Alexander McQueen collaborator] Katy England's place. Lee [McQueen] was there, Robbie Williams, Chloë Sevigny, Kate Moss … They all did an impromptu fashion show. I thought, is this really happening?' While there was no membership to pay, only talent to declare, Shoreditch was as impenetrable as any St James's gentlemen's club. Fashion was here, led by the phenomenon of talent and tailoring that was Alexander McQueen, who lived and worked in Hoxton Square. London Fashion Week was no longer the weird, ugly cousin ofthe more relevant and glamorous Paris, Milan and New York. The Bricklayers Arms became a fashion centre, full of McQueen's 'bumsters' trousers. A young Central Saint Martins graduate called David Waddington was managing the pub: 'East was no nirvana but it was quite something being at the centre of things.' The journalist Stacey Duguid moved to the area in the mid-Nineties and worked in another old-school Shoreditch boozer that would be reborn as a hip haunt, the Golden Heart. She remembers the moment when she grasped the power of her postcode. 'My flatmate [the fashion designer Marcus Constable] and I had matching black mullets. We all had mullets. Maybe Katy England started that. Very quickly that exact haircut was on the new Gucci ads. Seeing your hairstyle on a major brand campaign was odd.' The bars flourished and grew. The haircuts got madder —Star even had an event series called Mulletover, named after the infamous cut. Banksy arrived from Bristol, bringing graffiti into the mix, or 'street art' as it was now called. The street artists' HQ was the Dragon Bar, owned by Justin Piggott, the brother of Marcus of the influential fashion photographers Mert and Marcus. His girlfriend was Fee Doran, aka Mrs Jones, who styled Kylie. Then in 2005 Nathan Barley arrived on Channel 4. Barely ten years on from the second Fete Worse Than Death, this crucible of talent, spunk and youth was reduced to a parody beyond the self-critique in Shoreditch Twat. Two of the greatest satirists of their generation, a pre-Black Mirror Charlie Brooker and a post-Brass Eye Chris Morris, had been stalking the Shoreditch community and skewered all of it: the irony, the clothes, the language, the technology and obtrusive ring tones, the abject hedonism, the enormous self-regard and, of course, the haircuts and complex coffee orders. In fact, Barley's order looks reserved by today's standards: 'I want a real special coffee today, yeah. Triple size, four shots in it, and the best foam you've ever squirted from your milky pumps.' • Shoreditch and theatreland set for alfresco summer, but not Soho How did the cultural phenomenon of Shoreditch become a seven-part joke on TV at 10pm on a Friday? In one episode, one of the only sane protagonists wakes up after a big night out with his hair covered in house paint and beer bottle tops. Doing the walk of shame he is hailed as a style leader and copied. 'People dressed head to toe in some mad avant-garde designer just to get a quick coffee,' Star says. 'There were some pretty daft fashion trends. But anything out there like that is ripe to be pilloried by people who don't get it.' Yet Nathan Barley did nothing to harm Shoreditch. 'It stayed as a base for so many creative industries until about 2012,' Star says. 'Then it became an enemy of its own success — things combined to take it mainstream and a bit sterile, not least that it was now incredibly expensive to live there.' A few years on and the Shoreditch roots of experimentation and bravery filtered down into even the smallest of rural towns: think fancy coffee shops with exposed brick walls and turntables for vinyl, the Poundland offers on jam-jar-shaped drinking glasses, sweatshirts with 'Shoreditch' written on them in a 'Harvard' typeface seen as far afield as Sydney, and those funny, wonky haircuts on the walls of high street salons that aped the area's famous mullet and Hoxton fin. Now 50 and a vice-president at Coach, Boorman says Shoreditch was the epicentre of cultural cool, 'but there were elements that we needed to be irreverent about'. Indeed, Waplington remembers a certain cruelty. 'One night in the 333 [the socialite] Tamara Beckwith turned up and the whole crowd started a tribal chant, 'F*** off back to Notting Hill.' ' One wonders where the assembled crowd were from — certainly not the former wasteland that was now London's most fashionable neighbourhood. 'She left the club in tears.' The YBAs left too. The next generation of creatives would emerge out of more affordable places: the man fêted as the new McQueen, the designer Gareth Pugh, squatted an old gym in Peckham; they went to Emin's hometown, Margate; or they moved to more affordable streets deeper east. Boorman's personal death knell was 'when a wealthy Shoreditch twat bought a flat above a popular bar and promptly got the council to close it. The later arrivals drawn magnetically to the vibe always proceed to kill it.' And there might be a great place to stop, were it not for a twist in the tale: Shoreditch is still full of great shops, restaurants and denizens who are early adopters of the trends that will shape us normals in years to come. One of those tired-looking wholesalers, Dream Bags Jaguar Shoes, is an arts and party space still going strong 25 years after opening. It might have experimental DJs playing Jamie xx, Fred Again and Bicep on one night, and a poetry collective the next. Shoreditch still has it, it's just that more people know about it now and, yes, it's expensive. But with property struggling, Star has recently returned because he sees the corporate influence declining and creative talent moving back. It's real, Shoreditch is having a second coming. What's bad for the economy is good for struggling creatives. As Barley might say, 'That's well coincimental.'
Euronews
19-03-2025
- Entertainment
- Euronews
London Original Print Fair 2025: What are this year's highlights?
Timeless and tangible, printmaking democratised art collecting and continues to shape social values through its boundary-pushing creative and technological achievements. For four decades now, the London Original Print Fair (LOPF) has been at the forefront of championing the medium - a milestone being celebrated through a dynamic programme of classic and contemporary works at Somerset House from 20-23 March 2025. Featuring specially created new designs and exclusive editions by legendary artists like Peter Blake, David Shrigley, Gavin Turk, Nicole Farhi and more, it's a rare opportunity to own something truly unique. Founded in 1985 by a small group of eight print dealers, LOPF has grown to international acclaim as London's longest running art fair, crossing eras and styles through vast showcases that capture every contour of the craft. 'Celebrating 40 years of the London Original Print Fair is a proud moment for all of us," says Helen Rosslyn, Director of the London Original Print Fair. "Over the decades, we've witnessed the remarkable evolution of printmaking, and it's been incredibly rewarding to see the growing appreciation for this medium." The event will feature more than 40 exhibitors, including contributions from publishers, studios and leading international galleries like White Cube, Hauser & Wirth, Marcus Campbell Art Books, Taymour Grahne Projects, Tin Man Art, India Printmaker House and Hommage. The displayed works span six centuries of printmaking, from Old Masters to contemporary talents that collectively capture the breadth of an ever-evolving medium grounded in perennial appeal. Some of this year's works have been commissioned in honour of the fair's 40th anniversary - a highlight being London-based artist Tom Hammick's striking 1930s-style woodcut poster. "I decided to make an edition variable woodcut printed in many colours so that in their digital reproduction of my print poster it would be like a flip book full of Pantone colours," Hammick tells Euronews Culture. "As far as the composition of the images goes, I wanted to combine a schematic of the extraordinary facade of Somerset House with a young couple literally skipping up the red carpet to the private view." Manifold Editions, who specialise in the publication of limited edition art prints, will also pay tribute to 40 years of the fair through two exciting new launches. These include a series of iconic pigment prints by British artist Gavin Turk and light-hued etchings by Canadian artist Chris Levine, as well as new editions of prints by Grayson Perry, Marc Quinn and Boo Saville. Female printmakers lead the White Cube's contributions, with prints by Tracey Emin, Louise Giovanelli and IIana Savdie, while the contemporary art gallery Hauser & Wirth intertwines the historical and modern through a diverse selection featuring Swiss artist Dieter Roth, South African printmaker William Kentridge, Hungarian abstract artist Rita Ackermann, and a large silkscreen by Rashid Johnson. In another exclusive, Jealous gallery and studio are releasing a limited-edition print by the Turner-nominated artist David Shrigley, beloved for his contemporary child-like illustrations. "When we started, the fair was mostly about Old Masters. Now, it's largely contemporary printmakers, with more artists embracing print as a vital part of their practice," Rosslyn tells Euronews Culture. "Young collectors have really embraced printmaking too, drawn to its accessibility, creativity, and the craftsmanship behind it." Exhibiting for the first time, Tin Man Art gallery brings some fascinating works related to British band Radiohead, including a new Stanley Donwood series with Thom Yorke, created at the famous fine art printing studio Idem Paris. Meanwhile, fans of Peter Blake should head to the CCA Galleries' booth for a treat, which will launch a special edition print by the pop art icon - and other new editions of works from French artist Nicole Farhi and Scottish painter Bruce Mclean. For the first time, this year's event brings greater representation of international printmakers and exhibitors from China, Japan and India. India Printmaker House will share limited edition prints by seven emerging artists from India and the UK Indian diaspora, while galleries Hanga Ten, Tokyo Art and TAG Fine Arts all represent contemporary Japanese artists. This includes an unmissable series by Katsutoshi Yuasa, who recently celebrated the Venice Biennale's 60th anniversary with his 'Immortal Venice' hand-carved woodcut print. Perhaps the greatest joy of LOPF is its devotion to the history of printmaking, and those that pioneered it from the 18th-century onwards. Through a carefully curated selection of masterworks, the fair opens a portal to the past that laps at the present. Of note are Vistavka Fine Art Gallery's rare 18th-century prints, including highly-sought after proofs by Philibert-Louis Debucourt and early engravings from Pierre Filloeul. The 20th-century in particular sparked a revival of the art form, with many influential creators turning away from its heavily commercialised elements and implementing traditional techniques to reframe printmaking as standalone works of art. These examples undercurrent LOPF, with galleries such as Abbott & Holder sharing works by pre and post-war trailblazers like Edward Bawden, Eric Ravilious and James McNeill Whistler. Gwen Hughes Fine Art will also showcase a range of 1950s-1990s Modern British works from artists including Sandra Blow, Prunella Clough, Howard Hodgkin, and Kim Lim. The 'London, New York, Bristol' exhibition is another must-see, centred around leading 20th-century greats like David Hockney, Andy Warhol, Jean-Michel Basquiat and Banksy, including a rare portrait print of Elizabeth Taylor that's signed by Warhol and Taylor. If Pablo Picasso, Henri Matisse, and Joan Miró are more your thing, visit first-time exhibitors Hommage Art, who will have a wide range of original exhibition posters and lithographs curated by prestigious print houses like Mourlot. As you've likely gathered, there really is something for everyone here - but collecting or not, most enticing is the fair's communal embrace of non-hierarchical art. "What really sets LOPF apart is the atmosphere," Rosslyn says. "It's not just about buying prints; it's about meeting the artists and dealers, hearing their stories, and discovering something new. Whether it's your first piece or your latest addition, it's an inspiring, welcoming space to explore and collect." The London Original Print Fair takes place from 20-23 March 2025 at Somerset House in London, UK. Italian architect Stefano Boeri and his studio have won the MIPIM award in the Best Mix-Use Project category for their Wonderwoods Vertical Forest building in the Netherlands. The award, presented at the annual MIPIM international real estate trade show held in Cannes, recognises the most 'useful, sustainable and visionary projects' in the real estate industry. Located in Utrecht, Wonderwoods Vertical Forest is a 104-metre tower that includes 360 trees and 50,000 plants on its façades, the 'equivalent to the vegetation of a hectare of forest.' The project aims to improve the quality of life in the area, by enhancing biodiversity and absorbing carbon dioxide. 'This is a real urban ecosystem, a haven for the biodiversity of living species', the Stefano Boeri Architetti studio said in a statement. The high-rise, which opened in February, is the first vertical forest in the Netherlands to incorporate both apartments and public spaces, including services and commercial areas. 'The recognition of the MIPIM Award as the best 'Mixed Use' building in the world, has captured the profoundly urban character of Wonderwoods: a multipurpose and highly biodiverse architecture, open to the daily life of the citizens, plants and birds of Utrecht', said architect Francesca Cesa Bianchi during the award ceremony on 13 March. Stefano Boeri is known for his innovate urban forestry designs. One of his most famous projects is the Bosco Verticale – literally the "Vertical Forest" – two residential towers covered in vegetation, built in Milan. Completed in 2014, the creation received worldwide recognition in the architecture community, winning the 2014 International Highrise Award and the 2015 Best Tall Building Worldwide. Stefano Boeri went on to replicate his design all over the world. In 2021, he opened the Trudo Vertical Forest in the Netherlands, applying for the first time his concept to a social housing complex. The Stefano Boeri Architetti studio also has ongoing projects in China and Dubai. 'I try to promote urban forestation because that's what we need," Boeri told Euronews in 2021. "We have to multiply the number of trees everywhere. And the reasons are very clear. It's a faster, cheaper and more inclusive way to try to take down global warming.'
