The Gentle Author’s Verdict
Yesterday a dark cloud burst over the East End and enough tears fell from the sky to engulf Spitalfields, entirely coincidental with the Judge’s verdict at the High Court in favour of the Mayor of London and against the Spitalfields Trust in their campaign to halt British Land’s destruction of Norton Folgate. Read the full details here
A fortnight ago, at the hearing, Justice Gilbart warned the Mayor’s lawyer that a defence based upon the Mayor’s planning ‘expertise’ was a risk, when an email revealed the Mayor had decided to determine the Norton Folgate application even before he had received it. The Judge questioned what kind of ‘expertise’ permitted the Mayor to ignore over five hundred letters of objection accompanying the application when he had an obligation to public consultation.
Yet, although Justice Gilbart confirmed in his verdict that the Mayor’s call-in of the planning application had been mishandled, he concluded that this was not sufficient to invalidate the Mayor’s approval of the scheme. In plain words, powerful people can break the rules and get away with it.
The pathos of the moment was overwhelming, as another episode in the history of violence in Spitalfields unfurled. Before long we may expect to see a vast ugly hole in Norton Folgate just as we are currently witnessing upon the site of the Fruit & Wool Exchange, another development waved through by Boris Johnson in his eagerness to bypass democracy to keep property developers happy. Thus Old Spitalfields is being disembowelled simultaneously at either end for the insertion of steel monoliths.
Spitalfields owes its origin to the Priory of St Mary Spital founded 1197 by Walter & Roisia Brunus. I often wonder if this was a convenient means for the City of London to banish street people, homeless and beggars from their territory by sending them a mile up the road. This complex was destroyed in the sixteenth century by Henry VIII in his ‘dissolution’ of the monasteries, when he turned the precincts into his Artillery Ground and granted apartments in the priory buildings to a few of his favoured people.
In more recent centuries, enforced redevelopment saw thousands evicted from their homes to permit the arrival of the railway in Shoreditch, the construction of Liverpool St Station and the cutting-through of Commercial St, bisecting Spitalfields from north to south, so that traffic from the Docks might not congest the City of London.
Over the last thousand years, Spitalfields has repeatedly proven a testing ground between the interests of the financial might of the City and the human needs of those who seek to make their living outside the walls. Recent events offer an eloquent testimony of the balance of power in our own time, setting contemporary institutionalised violence against the perspective of a brutal history.
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An Offer to Buy Norton Folgate
Standing up to the Mayor of London
An New Scheme For Norton Folgate
Joining Hands to Save Norton Folgate
Dan Cruickshank in Norton Folgate
Taking Liberties in Norton Folgate
East End Cobblers
“When I left school at sixteen, I told the careers officer I didn’t want an office job, I wanted to do something creative, so he set up appointments for me with a shoe repairer and a watch repairer,” Gary Parsons, the proprietor of Shoe Key in the Liverpool St Arcade, told me.“The interview with the shoe repairer was on a Friday and I started work on the Monday, so I never went to the other interview,” he explained with the alacrity of one who now describes himself not as a shoe repairer but “the shoe repairer.”
Shoe repairmen have long been my heroes, the last craftsmen on the high street – where you can still walk into a workshop, inhale the intoxicating fragrance of glue and watch them work their magic on your worn out shoes. Even better than new shoes, there is something endearing about old shoes beautifully repaired. And so, in the heartfelt belief that – although it is commonplace – the modest art of shoe repair should not be underestimated, I persuaded Contributing Photographer Sarah Ainslie to accompany me on a sentimental pilgrimage to pay homage to some of my favourite East End cobblers.
When the crash happened in the City, news crews descended upon Gary at Shoe Key in Liverpool St to learn the true state of affairs from the authority. They wanted to know if city gents were getting more repairs rather than buying new shoes, or if the crisis was so deep that they could not even afford to mend the holes in their soles. Yet Gary dismissed such scaremongering, taking the global banking crisis in his stride. “There was a slump in the winter of 2008, but since July 2009 business has been steady,” he informed me with a phlegmatic understatement that his City clients would appreciate.
Twenty-two years ago, Gary built this narrow bar at the entrance to the Liverpool St Arcade where he and his colleague Mike Holding work fifty-four hours a week, mending shoes with all the flamboyant theatrics of cocktail waiters. They felt the blast of the Aldgate bomb here in 2005 and each winter they suffer the snow landing upon their backs, so every autumn they hang up a new tarpaulin to afford themselves some shelter from the future whims of fortune.
Round the corner from Shoe Key, I visited Dave Williams, a gentleman with time for everyone, comfortable in his enclosed booth in Liverpool St directly opposite the station. Dave told me he was the third generation in his trade,“My grandfather Henry Alexander and my father Norman were both saddlers and harness makers, my father he’s a Freeman of the City of London now. They were from an Irish immigrant family in Stepney. In those days, if people had trouble with their boots they took them along to the harness maker and gradually the trade in repairs took over. My training was at my father’s knee. I left school at sixteen and I have been doing this twenty-seven years. I think this trade is pretty much recession proof. It’s always been a good trade and I do very well thankyou.” In contrast to Gary at Shoe Key, Dave was full of self-deprecatory humour. Passing bags of shoes over to a couple of girls, “That’s two satisfied customers this year!” he declared to me with a cheeky smirk, the ceaseless repartee of a man who is sole trader and star turn in his own personal shoe repair theatre.
On the other side of Liverpool St Station, at the foot of the Broadgate Building, Kiri and George, the energetic double act at Michael’s Shoe Care, enjoy the privilege of having a door on their neat little shop, where everything is arranged with exquisite precision. The additional service at Michael’s Shoe Care is the engraving of trophies, cups, plaques and statuettes which – as George explained to me enthusiastically – are in big demand as rewards by corporate customers focussed upon hitting targets and setting employees in competition against each other. George, who has been here more than twenty years, leaned across with eyes gleaming in anticipation and confided his hopes to me, “Many places closed down round here recently and thousands of people were moved out, but the new builds will bring a lot of extra office space to rent. It’s just a question of waiting and more people will come to us.” I glanced up at the gleaming monoliths and thought of all the engraved trophies that will be required to reward all the corporate striving within. Yet in spite of the pathos of this bizarre appropriation of sports day trophies, I was happy in the knowledge that Kiri & George will be secure in their jobs for years to come.
Up at Well Heeled in Bethnal Green, Ken Hines – a veteran of fifty-two years of shoe repair – had a different angle which he delighted to outline.“I was going to be a blacksmith but there was no work in it, so I did shoe repair instead. I like doing it, I’ve always enjoyed doing it. My father was a docker and my family were all butchers in Wapping, my brother still has the butchers down the street. When I started here twenty-seven years ago, there were four shoe repairs in Bethnal Green now I am the only one. We don’t want to modernise. We don’t want to go modern, we’re not a heel bar. We’re going back to the beginning of the nineteenth century. There’s a lot of people bringing vintage shoes and we can take them apart and put them back together again. There’s nothing we can’t do to a pair of shoes here.”
Ken invited me into his workshop, crowded with magnificent well-oiled old machines, prized hand tools and shelves piled with dusty bags of shoes that no-one ever collected.“This stitching machine is over a hundred years old, we use it more than ever.” he said placing a hand affectionately on the trusty device. “Soles should always be stitched on. You buy a pair of shoes and the soles aren’t stitched on, they’re no good.” he declared, pulling huge sheets of leather from a shelf to demonstrate that every sole is cut by hand here. While Ken stands sentinel over the traditions of the trade, training up an apprentice at the old shop in Bethnal Green, his enterprising son Paul has opened four more branches of Well Heeled in shopping centres. But such ambition is of little interest to Ken,“There’s a lot of knowledge you pick up, being around older men,” he informed me, getting lost in tender reminiscence as he lifted his cherished shoe repair hammer,“This was given to me by an old boy thirty five years ago. It was over eighty years old then and I still use it every day.”
Our final destination was Shoe Care at the top of Mare St in Hackney where John Veitch, a magnanimous Scotsman, welcomed us. “I done it since I left school.” he revealed proudly, speaking as he worked, hammering resolutely upon a sole,“I saw one of the boys doing it and I thought,’That’s the thing for me!’ and I’m still happy in it twenty-four years later. It’s the challenge I like, it’s something different every day. Stiletto heels are our bread and butter, the cracks in the pavements have been good for us. And the recession has been helping too, we get a lot more quality shoes in for repair when in the past people would just throw them away.”
At the end of our pilgrimage we had worn out plenty of shoe leather, yet it had been more than worth it to encounter all these celebrated cobblers, and be party to some of the unique insights into human life and society which shoe repair brings. It is a profession that affords opportunity for contemplation as well as the engaged observation of humanity, which may explain why each cobbler I met was both a poet and a showman to a different degree. I admired them all for their independence of spirit and ingenious talent, devoted to the mundane yet essential task of putting us back on our feet when we come unstuck and our soles wear thin.
Opposite Liverpool St Station
David Williams at Liverpool St Shoe Repair, third generation from a family of saddlers.
In the Arcade, Liverpool St Station
Gary at Shoe Key, “Time wounds all heels.”
Mike Harding at Shoe Key
Michael’s Shoe Care sells trophies given as rewards for hitting corporate targets
George at Michael’s Shoe Care
Kiri & George are a mean shoe repair team. “It’s total football,“ says Kiri
At Shoe Care in Hackney, “We got a lot more quality shoes in for repair these days.”
John Veitch of Shoe Care
Ken Hines at Well Heeled in Bethnal Green
Old Charlie’s hammer, “It was eighty years old when he gave it to me thirty five years ago.” said Ken
Photographs copyright © Sarah Ainslie
Staircases Of Old London
Mercers’ Hall, c.1910
It gives me vertigo just to contemplate the staircases of old London – portrayed in these glass slides once used for magic lantern shows by the London & Middlesex Archaeological Society at the Bishopsgate Institute. Yet I cannot resist the foolish desire to climb every one to discover where it leads, scaling each creaking step and experiencing the sinister chill of the landing where the apparition materialises on moonless nights.
In the Mercers’ Hall and the Cutlers’ Hall, the half-light of a century ago glimmers at the top of the stairs eternally. Is someone standing there at the head of the staircase in the shadows? Did everyone that went up come down again? Or are they all still waiting at the top? These depopulated photographs are charged with the presence of those who ascended and descended through the centuries.
While it is tempting to follow on up, there is a certain grandeur to many of these staircases which presents an unspoken challenge – even a threat – to an interloper such as myself, inviting second thoughts. The question is, do you have the right? Not everybody enjoys the privilege of ascending the wide staircase of power to look down upon the rest of us. I suspect many of these places had a narrow stairway round the back, more suitable for the likes of you and I.
But since there is no-one around to stop us, why should we not walk right up the staircase to the top and take a look to see what is there? It cannot do any harm. You go first, I am right behind you.
Cutlers’ Hall, c.1920.
Buckingham Palace, Grand Staircase, c.1910.
4 Catherine Court, Shadwell c.1900.
St Paul’s Cathedral, Dean’s staircase, c.1920.
House of Lords, staircase and corridor, c.1920.
Fishmongers’ Hall, marble staircase, c.1920.
Girdlers’ Hall, c.1920.
Goldsmiths’ Hall, c.1920.
Merchant Taylors’ Hall, c.1920.
Cromwell House Hospital, Highgate Hill, c.1930.
Ironmongers’ Hall, c.1910.
Cromwell House Hospital, Highgate Hill, c.1930.
Stairs at Wapping, c.1910.
Cromwell House Hospital, Highgate Hill, c.1930.
Staircase at the Tower of London, Traitors’ Gate, c.1910.
Hogarth’s “Christ at the Pool of Bethesda” on the staircase at Bart’s Hospital, c.1910.
Lancaster House, c.1910.
2 Arlington St, c.1915.
73 Cheapside, c.1910.
Dowgate stairs, c.1910.
Crutched Friars, 1912.
Grocers’ Hall, c.1910.
Cromwell House Hospital, Highgate Hill, c.1930.
Salters’ Hall, Entrance Hall and Staircase, c.1910.
Holy Trinity Hospital, Greenwich, c.1910.
Salter’s Hall, c.1910.
Skinners’ Hall, c.1910.
1 Horse Guards Avenue, 1932.
Ashburnham House, Westminster, c.1910.
Buckingham Palace, c.1910.
Home House, Portman Sq, c.1910.
St Paul’s Cathedral, Dean’s Staircase, c.1920.
Glass slides courtesy Bishopsgate Institute
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Watermen’s Stairs In Wapping
Wapping Old Stairs
I need to keep reminding myself of the river. Rarely a week goes by without some purpose to go down there but, if no such reason occurs, I often take a walk simply to pay my respects to the Thames. Even as you descend from the Highway into Wapping, you sense a change of atmosphere when you enter the former marshlands that remain susceptible to fog and mist on winter mornings. Yet the river does not declare itself at first, on account of the long wall of old warehouses that line the shore, blocking the view of the water from Wapping High St.
The feeling here is like being offstage in a great theatre and walking in the shadowy wing space while the bright lights and main events take place nearby. Fortunately, there are alleys leading between the tall warehouses which deliver you to the waterfront staircases where you may gaze upon the vast spectacle of the Thames, like an interloper in the backstage peeping round the scenery at the action. There is a compelling magnetism drawing you down these dark passages, without ever knowing precisely what you will find, since the water level rises and falls by seven metres every day – you may equally discover waves lapping at the foot of the stairs or you may descend onto an expansive beach.
These were once Watermen’s Stairs, where passengers might get picked up or dropped off, seeking transport across or along the Thames. Just as taxi drivers of contemporary London learn the Knowledge, Watermen once knew the all the names and order of the hundreds of stairs that lined the banks of the Thames, of which only a handful survive today.
Arriving in Wapping by crossing the bridge in Old Gravel Lane, a short detour to the east would take me to Shadwell Stairs but instead I go straight to the Prospect of Whitby where a narrow passage to the right leads to Pelican Stairs. Centuries ago, the Prospect was known as the Pelican, giving its name to the stairs which have retained their name irrespective of the changing identity of the pub. These worn stone steps connect to a slippery wooden stair leading to wide beach at low tide where you may enjoy impressive views towards the Isle of Dogs.
West of here is New Crane Stairs and then, at the side of Wapping Station, another passage leads you to Wapping Dock Stairs. Further down the High St, opposite the entrance to Brewhouse Lane, is a passageway leading to a fiercely-guarded pier, known as King Henry’s Stairs – though John Roque’s map of 1746 labels this as the notorious Execution Dock Stairs. Continue west and round the side of the river police station, you discover Wapping Police Stairs in a strategic state of disrepair and beyond, in the park, is Wapping New Stairs.
It is a curious pilgrimage, but when you visit each of these stairs you are visiting another time – when these were the main entry and exit points into Wapping. The highlight is undoubtedly Wapping Old Stairs with its magnificently weathered stone staircase abutting the Town of Ramsgate and offering magnificent views to Tower Bridge from the beach. If you are walking further towards the Tower, Aldermans’ Stairs is worth venturing at low tide when a fragment of ancient stone causeway is revealed, permitting passengers to embark and disembark from vessels without wading through Thames mud.
Shadwell Stairs
Pelican Stairs
Pelican Stairs at night
View into the Prospect of Whitby from Pelican Stairs
New Crane Stairs
Wapping Dock Stairs
Execution Dock Stairs, now known as King Henry’s Stairs
Entrance to Wapping Police Stairs
Wapping Police Stairs
Metropolitan Police Service Warning: These stairs are unsafe!
Wapping New Stairs with Rotherithe Church in the distance
Light in Wapping High St
Wapping Pier Head
Entrance to Wapping Old Stairs
Wapping Old Stairs
Passageway to Wapping Old Stairs at night
Aldermans’ Stairs, St Katharine’s Way
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Jack Sheppard Of Spitalfields
Spitalfields’ most notorious son, Jack Sheppard, was born in Whites Row on 4th March 1702 and christened the very next day at St Dunstan’s in Stepney, just in case his infant soul fled this earth as quickly as it arrived. Unexceptionally for his circumstances and his time, death surrounded him – named for an elder brother that died before his birth, he lost his father and his sister in infancy.
When his mother could not feed him, she gave him to the workhouse in Bishopsgate at the age of six, from where he was indentured to a cane chair maker, until he died too. Eventually at fifteen years old, he was apprenticed to a carpenter in Covent Garden, following his father’s trade, but at age twenty he met Elizabeth Lyon, his partner in crime, at the Black Lion in Drury Lane, a public house frequented by criminals and the infamous Jonathan Wild, known as the “Thief-taker General.”
On the morning of 4th September 1724, at age twenty-two, Jack was to be hung at Tyburn for stealing three rolls of cloth, two silver spoons and a silk handkerchief. But instead of the routine execution of another worthless felon, London awoke to the astonishing news that he had escaped from the death cell at Newgate. With the revelation that this was the third prison break in months by the handsome boyish twenty-two year old Jack Sheppard, he flamed like a comet into the stratosphere of criminality – embodying the role of the charismatic desperado to such superlative effect that his colourful reputation for youthful defiance gleams in the popular imagination two centuries later.
In the Spring, he broke out through the roof of St Giles Roundhouse, tossing tiles at his guards. In the Summer, with his attractive companion Elizabeth, he climbed through a barred window twenty-five feet above the ground to escape from New Bridewell Prison, Clerkenwell. And now he had absconded from Newgate too, using a metal file smuggled in by Elizabeth and fleeing in one of her dresses as disguise. Sheppard was a popular sensation, and everyone was fascinated by the inexplicable mystery of his unique talent for escapology.
On 10th September 1724, Sheppard was rearrested after his break-out from Newgate and returned there to a high security cell in the Stone Castle, where he was handcuffed and fettered, then padlocked in shackles and chained down in a chamber that was barred and locked. Yet with apparent superhuman ability – inspiring the notion that the devil himself came to Sheppard’s assistance – he escaped again a month later and enjoyed a very public fortnight of liberty In London, eluding the authorities in disguise as a dandy and carousing flamboyantly with Elizabeth Lyon, until arrested by Jonathan Wild, buying everyone drinks at midnight at a tavern in Clare Market, Lincoln’s Inn Fields.
Back in Newgate – now the most celebrated criminal in history – hundreds daily paid four shillings to visit Sheppard in his cell, where he enjoyed a drinking match with Figg the prizefighter and Sir Henry Thornhill painted his execution portrait.
Two hundred thousand people turned out for Jack Sheppard’s hanging on 16th November, just two months since he came to prominence, and copies of his autobiography ghostwritten by Daniel Defoe were sold. Four years later, John Gay’s “The Beggar’s Opera,” with the character of Macheath modelled upon Sheppard and Peachum based upon his nemesis Jonathan Wild, premiered with spectacular success.
Biographical pamphlets and dramas proliferated, with Henry Ainsworth’s bestseller of 1839 “Jack Sheppard” – for which George Cruikshank drew these pictures – outselling “Oliver Twist.” Taking my cue from William Makepeace Thackeray, who wrote that, “George Cruikshank really created the tale and Mr Ainsworth, as it were, merely put words to it,” I have published these masterly illustrations here as the quintessential visual account of the life of Spitalfields’ greatest rogue.
And what was the secret of his multiple prison breaks?
There was no supernatural intervention. Sheppard had outstanding talent as a carpenter and builder, inherited from his father and grandfather who were both carpenters before him and developed during the six years of his apprenticeship in Covent Garden. With great physical strength and a natural mastery of building materials, he possessed an intimate understanding of the means of construction of every type of lock, bar, window, floor, ceiling and wall – and, in addition to this, twenty-two year old Jack Sheppard had a burning appetite to wrestle whatever joy he could from his time of splendour in the Summer of 1724.
Mrs Sheppard refuses the adoption of her little son Jack
Jack Sheppard exhibits a vindinctive character.
Jack Sheppard committing the robbery in Willesden church.
Jack Sheppard gets drunk and orders his mother off.
Jack Sheppard’s escape from the cage at Willesden.
Mrs Sheppard expostulates with her son.
Jack Sheppard and Blueskin in Mr Wood’s bedroom.
Jack Sheppard in company with Elizabeth Lyon escapes from Clerkenwell Prison.
The audacity of Jack Sheppard.
Jack Sheppard visits his mother in Bedlam.
Jack Sheppard escaping from the condemned cell in Newgate.
The first escape.
Jack Sheppard tricking Shortbolt, the gaoler.
The second escape.
Jonathan Wild seizing Jack Sheppard at his mother’s grave in Willesden.
Jack Sheppard sits for his execution portrait in oils by Sir James Thornhill – accompanied by Figg the prizefighter (to Jack’s right), John Gay, the playwright (to Jacks’s left), while William Hogarth sketches him on the right.
Jack Sheppard’s irons knocked off in the stone hall in Newgate.
Jack Sheppard of Spitalfields (Mezzotint after the Newgate portrait by Sir James Thornhill, 1724) – “Yes sir, I am The Sheppard, and all the gaolers in the town are my flocks, and I cannot stir into the country but they are at my heels baaing after me…”
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So Long, Angela Flanders
Today I publish Kate Griffin’s profile of Angela Flanders as a tribute to a celebrated perfumer who practised in the East End for thirty years and died on 26th April.
Angela Flanders
There is something magical about Angela Flanders‘ secret workshop. Her little room in Bethnal Green is lined with bottles full of scented oils, the contents of each one carefully inscribed in silver ink. It does not take a huge leap of imagination to see Angela as a modern-day alchemist, mixing potions and precious substances together until they are transmuted into something miraculous.
Small and neat with bright grey eyes and an inquisitive – almost academic – spirit, she could easily have been transported back in time into the orbit of Spitalfield’s most famous herbalist Nicholas Culpeper. She referred to her bottles of essential oils as “my library of ingredients.” The air of Angela’s workroom – a private, experimental space – was heady with the scent of flowers, spices and resins from all over the world. If you could capture it in a bottle, you could almost carry the globe in your pocket.
She surveyed the bottles and vials lined up on the shelves behind her. “I don’t think you could call what I do remotely conventional or scientific, I just follow my instincts. Sometimes I spend the whole day here mixing and trying different combinations to see what happens. I always start with the base notes because an old ‘nose’ in France once told me: ‘You wouldn’t build a house from the roof down; you must always start with the foundations’. So that’s what I do”.
“I play with layering separate ingredients here in the workshop, other times I’ll carry the idea of a scent around with me for several days, wondering where to take it. Then something pops into my head – a new ingredient to add to the mix that blends and lifts. Usually those flashes are absolutely right. To be honest, I don’t know why it works, but I think it must be a happy combination of instinct, inspiration and experience.”
She smiled, “I suppose you could relate it to good food? I think it’s a little bit like that programme Ready Steady Cook where people brought a bag full of the most unlikely ingredients to the TV studio and a chef would produce something mouth-watering. Creating perfume is similar – you develop an olfactory palette.”
Angela has been based in Columbia Rd since 1985 and, appropriately, given that London’s best-loved flower market is on her doorstep, for much of that time, she has worked with scent. When she first found her premises – a former shoe shop dating from around 1850 – it had been closed up and forgotten for 25 years. “We had to get a locksmith to let us in,” she recalls, “It was in quite a state. The roof was shot and there was a terrible smell, but it was full of all its original features and I was determined to keep as much as I could. I saw it as somewhere in need of care and attention. I fell in love with it.”
I was fascinated to learn that The Society for the Protection of Ancient Buildings where I work, was Angela’s first port of call – nearly thirty years ago – when trying to find information about the right things to do to care for her lovely old premises
“The walls were painted a dark blue-grey and I wanted to keep it,” she explains, “I wasn’t sure what to do, but SPAB advised me to leave the paintwork alone and to simply scrub it, wash it down and then wax-polish it. So that’s exactly what I did and it brightened up beautifully.”
Initially, Angela intended to run her own decorative paint business from Columbia Rd. A graduate of Manchester School of Art, she worked in theatre design and as a costume designer at the BBC. Subsequently, she attended courses in Interior Design at the Inchbald School and at Hackney Building College and her plan was to work primarily with furniture. But remember that “terrible smell” mentioned earlier? It was finding something to remedy the problem that set Angela on the perfume trail. She began to buy and then to make her own pot pourri, using essential oils and dried flowers – and people liked what she made.
“It was something that just grew,” she says, “I suppose I loved doing it because I’d always enjoyed making things and transforming things. With the pot pourris I think I was enjoying conjuring up atmospheres for rooms – scents that might suggest the past or a mood. At first I’d go to Spitalfields Market and buy the odd box of flowers and I’d dry them out by hanging them all round this building. Then I went to Covent Garden and bought a few more things from a merchant and within a year the business had expanded so much that I was taking in van-loads of flower deliveries. It was then that I realised that I couldn’t take on any more furniture commissions, because this was clearly the right thing to do.”
The perfume business was a direct result of Angela’s early experiments with essential oils and dried flowers. “I’ve got this theory that if you are on the right path people help you and that certainly happened to me,” Angela confided.
Sometimes assistance came out of the blue. “It was odd,” she said,“One day I was in an antiques shop and I felt myself guided, literally, to the back shelf where there was a book by a nineteenth century perfumer called Septimus Piesse. It’s mainly him holding forth on scent and his opinions and it includes some of his formulas too, one of which I have used. It has become one of my bibles.”
Although she readily admitted that she was entirely self-taught, perfumes by Angela Flanders have won international acclaim. Precious One – a rich floral created to celebrate the fifth anniversary of her daughter Kate’s elegant boutique, Precious in Artillery Passage – wafted off with the award for Best New Independent Fragrance at the annual Fragrance Foundation Awards Ceremony. Known as the Fifis, this is the scent industry equivalent of the Oscars. The decision, based on a blind ‘nosing’ by eminent fragrance writers and journalists was unanimous and Angela was clearly delighted by her success. “We didn’t for a moment think we would win, because we were up against such stiff competition. It was marvellous.”
Intriguingly, since working with scent, she discovered that the East End has a history of perfume manufacture. Essential oil distillers Bush, Boake & Allen traded from premises near Broadway Market and today, the offices of Penhaligons are situated near Artillery Passage, Spitalfields, where Angela’s second shop is situated just along from her daughter’s.
“There’s a strong tradition of perfume making in this part of London. In fact, historically, a lot of the scents made here were sold in the City and in the West End.” She grinned ruefully. “That’s the old story, isn’t it? The West End made its money off the talents of the East End, but it’s always been true. Think of the furniture makers, the gilders and the wood carvers who worked here for generations – all of them making a living as artisan craftsmen. I like to think that’s what I do – make things.”
When Angela moved into Columbia Rd she was in the vanguard of the new wave of small artisan businesses that now make it such a destination. “The flower market had flourished for one hundred and fifty years when we arrived, but it was a very different place then. At the time, as well as me, there was Jones’ Dairy, a deli and the Fred Bare hat shop. But slowly, slowly it took off. Someone once said to me, ‘If you can run a shop in Columbia Road, you can run a shop anywhere.’ I think that’s quite right!”
Angela paused and looks at the glittering bottles surrounding around us in her shop. The colours of the liquids range from pale greens and delicate aqua shades to the deep golden tones of the darker woody fragrances that have become an Angela Flanders signature.
After a moment she nodded and continued. “I also think I’m very lucky because I don’t have to satisfy the concerns of the big companies. I can play, I can have fun and I can make very small amounts of a scent. Being tiny, you can afford to be brave! Very often perfumers are forced to work to a commercial brief and it can be difficult for them. I’m not bound by that – I can explore and I treat myself to that freedom every day. Really, I just pootle along here in Bethnal Green and it’s wonderful.”
Angela Flanders and her daughter, Kate Evans.
Photographs copyright © Jeremy Freedman
Angela Flanders, 96 Columbia Rd (Sunday only, 10am to 3pm) & 4 Artillery Passage (Monday to Friday 11am to 6.30pm)
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An Audience With Viscountess Boudica
The Gentle Author interviews Viscountess Boudica, Trendsetter of Bethnal Green and one of the East End’s most cherished personalities, on 23rd May at 7pm Monday at The Society Club, 3 Cheshire St, E2 6ED. Click here for tickets
This is your chance to meet Viscountess Boudica in person over cocktails at The Society Club as she gives a rare public appearance in Spitalfields, telling her life story to The Gentle Author and answering questions from the audience.
Celebrated for her colourful outfits, her historic collection of domestic appliances, her devotion to seasonal festivals and her phenomenal art work, the Viscountess is also a formidable raconteuse with candid and amusing tales to tell of her astonishing experiences.
Be sure to follow Viscountess Boudica’s blog There’s More To Life Than Heaven & Earth
Take a look at
Viscountess Boudica’s Domestic Appliances
Viscountess Boudica’s Halloween
Viscountess Boudica’s Christmas
Viscountess Boudica’s Valentine’s Day
Read my original profile of Mark Petty, Trendsetter
and take a look at Mark Petty’s Multicoloured Coats
