My beautiful community launderette
“We see each other three or four times every week to hand over the keys of the launderette, but in spite of this we have developed a solid bond of friendship,” quipped Philip Green affectionately, speaking of his fellow Director of the Boundary Estate Community Launderette, the equable Jean Locker. Both live here on the magnificent Estate, built as the first social housing in Britain and are justifiably proud of their launderette, nestling in Calvert Avenue opposite Leila’s Shop next to Arnold Circus – as they explained to me when I met the two community champions yesterday, for a conference amid the washers and driers, while the customers negotiated around us to manoeuvre their washing in and out of the machines, that churned and rattled as we spoke.
“We needed a launderette”, explained Jean, “And a lot of people came together to develop the idea of a co-operative to run a launderette as a social enterprise in the community.” She told me it took two years of hard work to raise enough money and negotiate the lease, before they could open in September 1992, at a time when most of the other shops in Calvert Avenue were derelict and many of the flats in Arnold Circus were boarded up. But the launderette immediately proved triumphant, not just for laundry but as a vital community centre and symbol of renewal too. Today, hundreds bring their washing each week to the four employees, who also provide a service to many local businesses and, in particular, to the Shoreditch Football Team – who deliver their muddy kit after every game, including their ball in the bag to get it scrubbed up ready for the next fixture.
Although the beautiful launderette has been a storming success for nearly twenty years now, washing clothes only covers running costs. Whenever maintenance is required funding has to be raised elsewhere, because the co-operative is without any financial reserves. “What comes in, goes out!” said Jean, referring not only to the laundry but also the co-operative’s bank account too. As we spoke, one washer was out of action until money for its repair can be found. Passionate advocates, Phil and Jean spend fifteen hours every week writing letters applying for grants from charities to cover the necessary additional expenses. This is on top of sharing the duties of locking up each night. “It’s been hard, it’s not been easy,” admitted Jean, revealing that, after the first ten years, the machines began to pack up and they raised £15,000 to replace them all. She and Phil are the only active directors of the original twelve now (apart from Anita who does the accounts) and Jean confided that she gives up a day each week of her salaried job, to do the unpaid work required to keep the launderette open. They both agreed that some younger directors of the co-operative would be welcomed.
I realised I was in the company of a pair of unsung benefactors, Jean with her bold features and clear-eyed sense of social responsibility and Phil, a kind man with a self-deprecating laugh. They put in all this work just so that everyone has a launderette. Jean told me she always volunteered, “You do it because you live locally and after twenty years here, people rely on us – including the people who work in the launderette. You can’t pull the plug on that.” Phil agreed “I love the estate, I have a lot friends here and I believe things that are needed must be kept.” I was touched by the nobility of these thoughts in such a modest location, but as I cast my eyes around at the brass plaques listing grants given and awards won, the results of their ideals were self-evident. Everyone loves the beautiful community launderette at Arnold Circus.
As we talked, there was another individual I wanted to speak with, whom I observed preoccupied with carrying baskets of laundry around, and loading and unloading machines. Marie Glace has been the manageress of the launderette since 1992, she has been here, day in day out, over all these years, becoming a popular and respected local figure in the process. I am reliably informed that she is a confidante to many people here when they require a trusted counsellor. Eventually, I managed to pull up a chair next to her, and we sat together enjoying the warmth of a washing machine in its hot cycle, sheltered from the icy drafts by the bookshelf that holds the launderette’s free lending library.
At once, I was spellbound by Marie’s gentle features and soft voice that draws you closer to listen. “I get everybody organised, make sure things run smoothly and deal with complaints. I know everyone round here.” she disclosed, “We’ve had a few dramas when someone’s clothes all got dyed red by accident and they blamed me for it – but the people are alright because everybody’s friendly on the whole. It’s nice to have a community to be part of. The elderly people come, they don’t see anyone all day, so they just bring a few things to wash and have a chat. We make coffee for them and maybe give them a biscuit.” This is the woman who really knows everything that goes on in Arnold Circus, I realised, as she went on to tell me about the married couple whose romance first blossomed over the spin-dry.
The Boundary Estate Community Launderette was the initiative at the beginning of the renewal of the neighbourhood twenty years ago and it is an enterprise that is true to the spirit of those who first built Arnold Circus. Now we must ensure that the beautiful launderette continues to exist and thrive as a necessary democratic temple where everyone can meet as equals over wash and tumble-dry.
If you want to show your support for the Boundary Estate Community Launderette click here to go to their facebook page.
Simon Pettet’s tiles
Anyone who has ever visited Dennis Severs’ house in Folgate St will recognise this spectacular chimneypiece in the bedroom with its idiosyncratic pediment designed to emulate the facade of Christ Church, Spitalfields. The fireplace itself is lined with an exquisite array of Delft tiles which you may have admired, but very few people today know that these tiles were made by craftsman Simon Pettet in 1985, when he was twenty years old and living in the house with Dennis Severs. Simon was a gifted ceramicist who mastered the technique of tile-making with such expertise that he could create new Delft tiles in the authentic manner which were almost indistinguishable from those manufactured in the seventeenth century.
In his tiles for this fireplace, Simon made a witty leap of the imagination, using them to create a satirical gallery of familiar Spitalfields personalities from the nineteen eighties. Today his splendid fireplace of tiles exists as a portrait of the neighbourhood at that time, though so discreetly done that unless someone pointed it out to you, it is unlikely you would ever notice amongst all the other beguiling details of Dennis Severs’ house.
Simon Pettet died of Aids in 1993, eight years after completing the fireplace and just before his twenty-eighth birthday, and today his ceramics, especially this fireplace in Dennis Severs’ house, comprise an intriguing and poignant memorial to remind us of a short but extremely productive life. Simon’s death imparts an additional resonance to the humour of his work now, which is touching in the skill he expended to conceal his ingenious achievement. As with so much in these beautiful old buildings, we admire the workmanship without ever knowing the names of the craftsmen who were responsible and Simon aspired to this worthy tradition of anonymous artisans in Spitalfields.
Once Anna Skrine (the former custodian of 27 Fournier St) told me the story, I wanted to go over to Folgate St and take a look for myself. And when I squatted down to peer into the fireplace, I could not help smiling at once to recognise Gilbert & George on the very first tile I saw. Simon had created instantly recognisable likenesses that also recalled Tenniel’s illustrations of Tweedledum & Tweedledee. Most importantly, the spontaneity, colour, texture and sense of line were all exactly as you would expect of a Delft tile. Taking my camera and tripod in hand, I spent a couple of happy hours with my head in the fireplace before emerging sooty and triumphant with this selection of photographs of Simon’s tiles for you to enjoy. Reputedly, there is a portrait of Dan Cruickshank, but it must be hidden behind the fire irons because I could not find it that day.
Mick Pedroli and David Milne, manager and curator at Dennis Severs’ house, who graciously permitted me to invade the fireplace for a morning, were part of the social circle connected to the house that included Simon in the nineteen eighties. They talked about Simon affectionately as a vivid and charismatic presence and revealed that Simon’s clothes remain there in his trunk in his room. Let me also admit my gratitude to Martin Lane for whom Simon made a fine fireplace in the Delft style for his Elder St dining room in 1988. Martin allowed me to photograph the plaque dating his fireplace, which has the order of service from Simon’s funeral in Christ Church, Spitalfields, tucked behind and concealed within the chimney breast.
A week later, I sat down with Marianna Kennedy (who did the gilding on the fireplace) and Jim Howett (who did some of the carpentry) and we enjoyed an afternoon looking at each of these tiles together, as they deliberated over the identities of the people, before arriving at a consensus, accompanied by colourful stories and engaging digressions about the individuals in question. Finally, Hugo Glendinning and Anna Skine told me about the last year of Simon’s life, when he knew he was dying and moved to 27 Fournier St to be cared for there. Hugo described a candlelit party in the last months of Simon’s life, when hundreds of people came to fill the house and celebrate with Simon. Fifteen years on, everyone in Spitalfields who knew Simon remembers him fondly.
When I had almost finished photographing all the tiles, I noticed one placed at the top right-hand side that was entirely hidden from the viewer by the wooden surround on the front of the fireplace. It was almost completely covered in soot too. David Milne used a kitchen scourer to remove the grime and we discovered this most-discreetly placed tile was a portrait of Simon himself at work making tiles. The modesty of the man was such that only someone who climbed into the fireplace, as I did, would ever find Simon’s own signature tile.
Gilbert & George.
Raphael Samuel, foremost historian of the East End.
Riccardo Cinelli , artist
Jim Howett, carpenter, whom Dennis Severs considered to be the fly on the wall in Spitalfields.
Ben Langlands and Nikki Bell, two artists, who made money on the side as housepainters.
Simon de Courcy Wheeler, photographer
Julian Humphreys, who renovated his bathroom regularly, “Tomorrow is another day.”
Scotsman, Paul Duncan, who worked for the Spitalfields Trust.
Douglas Blain, director of the Spitalfields Trust, who was devoted to Hawksmoor.
The person in this illustration of a famous event in Folgate St cannot be named for legal reasons.
Keith and Jane Bowler of Wilkes Street.
Her Majesty the Cat, known as “Madge,” watching “Come Dancing.”
Marianna Kennedy and Ian Harper, who were both students at the Slade.
Phyllis Archer and her son Rodney (featured in Saturday’s post).
Anna Skrine, secretary of the Spitalfields Trust.
Simon Pettet, designer and craftman (1965-93)
Columbia Road Market 25
I walked in sunlight through the frost to discover the market full of life early this morning. The very first thing that caught my eye were these Auriculas (or Laced Primulas) and I bought the only tray of fifteen plants outright for £10. On the very same Sunday last year, I also bought the only tray of Auriculas from Denise who grows them in a nursery at Battlesbridge in Essex, and they were much admired. In fact, I learnt that Auriculas are believed to have been introduced by the Huguenot weavers in the sixteenth century, which makes it especially appropriate to have them here in Spitalfields.
Auriculas have had a special place in my affections since I first saw them when I visited the writer Lucy Boston at the Manor, Hemingford Grey in Cambridgeshire – a twelfth century manor that has been continuously inhabited since it was built and is believed to be one of the oldest houses in England. Lucy was ninety-seven at the time and warned me over the phone that she was no longer walking much, when I called to say I was on my way. So I did not know what to expect, but when she opened the front door, to my surprise, she said “Follow me!” and ran upstairs. When I commented in admiration at the breadth of the ancient floorboards in the upstairs hall, each of which was the size of a whole tree, Lucy replied, “Oh but these are not original, these were put in recently – in the fourteenth century.” The Manor at Hemingford Grey was the house that inspired Lucy Boston to write her celebrated series of children’s books about Greene Knowe and it is the most truly enchanted place I have ever been.
Among many highlights of her remarkable garden, Lucy had a section of black flowers and this is where I came across the Auriculas. Although, in general, I am not an enthusiast of articifial-looking flowers, Auriculas are the exception to my rule. I love the delicate borders on each petal that seem to have been painted on. The ones I bought today from Columbia Rd are a satisfying russet colour with custard-yellow borders to the petals and egg yolk-yellow centres. If I deadhead them conscientiously, they will give me two months of spectacular flowers, as they did last year. And if, by chance, we should get more snow, I shall run outside and carry my pots of Auriculas inside to shelter them from the blast.
Rodney Archer, Aesthete
Rodney Archer kindly took me to lunch at E.Pellicci yesterday, but first I went round to his eighteenth century house in Fournier St to take this portrait of him in front of his cherished fireplace that once belonged to Oscar Wilde. One day in 1970, Rodney was visiting an old friend who lived in Tite St next to Wilde’s house and saw the builders were doing renovations, so he seized the opportunity to walk through the door of the house that had once been the great writer’s dwelling. The fireplace had been torn out of the wall in Wilde’s living room as part of a modernisation of the property and the workmen were about to carry it away, so Rodney offered to buy it on the spot. For ten pounds he acquired a literary relic of the highest order, the fine pilastered fireplace with tall overmantle that you see above, and which today has become a shrine to Wilde that is the centrepiece of Rodney’s first floor living room in Fournier St. You can see Spy’s famous caricature of Wilde up on the chimneypiece, but the gem of Rodney’s Wilde collection is a copy of Lord Alfred Douglas’ poems with pencil annotations by Douglas himself. Encountering these artifacts in this environment – that already possess such a potent poetry of their own, amplified by their proximity to each other – is especially enchanting.
Rodney has allowed the patina of ages to remain in his house, enhanced by his sensational collection of pictures, carpets, furniture, books, china and god-knows-what, accumulated over all the years he has lived in it, which transform the house into three-dimensional map of his vigorous mind, crammed with images, stories and all manner of cultural enthusiasms. In Rodney’s house, anyone would feel at home the minute they walked in the door because the result of all these accretions is that everything has arrived in its natural place, yet nothing feels arranged. It is a relaxing place, with reflected light everywhere, and although there is so much to look at and so many stories to learn, it is peaceful and benign, like Rodney himself. Rodney’s style can never be replicated by anyone else, unless you became Rodney and you could live through those years again.
Rodney made his home in London’s most magical street in 1980. It came about after his mother fell down a well at The Roundhouse and broke her hip while visiting a performance of “The Homosexual (or The Difficulty of Sexpressing Yourself)” by Copi in which Rodney was starring. It was the culmination of Rodney’s distinguished career of just eight years as an actor, that included playing the Player Queen in Hamlet at the Bristol Old Vic in a production with Richard Pasco in the title role and featuring Patrick Stewart as Horatio.
After she broke her hip, Rodney’s mother told him that her doctor insisted she live with her son, much to Rodney’s surprise. Gamely, Rodney agreed, on the condition they find somewhere large enough to live their own lives with some degree of independence, and rang up his friends Riccardo and Eric who lived in Fournier St, asking them to keep their eyes open for any house that went on sale. Within three months, a house came up. It was the only one they looked at and Rodney has lived there happily ever since. Thirty years ago, Spitalfields was not the desirable location it is today, “My mother thought I was joking when I told her where I wanted live,” declared Rodney, raising his eyebrows, “Now it would nice if there were more people living here who were not millionaires. I visit people in houses today where there are ghosts of people I used to know and the new people don’t know who they were, it’s sad.”
Rodney’s roots are in East London, he was born in Gidea Park, but once his father (a flying officer in the RAF) was killed in action over Malta in 1943, his mother took Rodney and his sister away to Toronto when they were tiny children and brought them up there on her own. Rodney came back to London in 1962 with the rich Canadian accent (which sounds almost Scottish to me) that he retains to this day, in spite of the actor’s voice training he received at Lamba which has imparted such a mellifluous tone to his speech. After his brief years treading the boards, Rodney became a teacher of drama at the City Lit and ran the Operating Theatre Company, staging his own play “The Harlot’s Curse” (co-authored with Powell Jones) in the Princelet St Synagogue with great success.
“When I retired, I decided to do whatever I wanted to do,” announced Rodney with a twinkly smile, at this point in his life story. “Now I am having a wonderful third act. Writing about that time, my mother, the cats and me…” he said, introducing the long-awaited trilogy of autobiographical fiction that he is currently working on, in which the first volume will cover his first eight years in Spitalfields concluding with the death of his mother in 1988, the second volume will conclude with the death of his friend Dennis Severs in 1999 and the third with the death of Eric Elstob. (Elstob was a banker who loved architecture and left a fortune for the refurbishment of Christ Church, Spitalfields.) “There is something about the nature of Spitalfields, that fact becomes fiction – as you become involved with the lives of people here, it gets you telling stories.” explained Rodney, expressing a sentiment that is close to my own heart too.
Now it was time for lunch and, as we walked hungrily up Brick Lane towards Bethnal Green in the Spring sunshine, the postman saluted Rodney and, on cue, the owner of the eel and pie shop leaned out of the doorway to give him a cheery wave too, then, as if to mark the occasion as auspicious, we saw the first shiny new train run along the recently completed East London Line, gliding across the newly constructed bridge, glinting in the sunlight as it passed over our heads and sliding away across Allen Gardens towards Whitechapel. This is the elegant world of Rodney Archer, I thought.
Turning the corner into Bethnal Green Rd, I asked Rodney about the origin of his passion for Wilde and when he revealed he once played Algernon in “The Importance of Being Earnest” at school, his intense grey-blue eyes shone with excitement. It made perfect sense, because I felt as if I was meeting a senior version of Algernon who retained all the wit, charm and sagacity of his earlier years, now having “a wonderful third act” in an apocryphal lost manuscript by Oscar Wilde, recently discovered amongst all the glorious clutter in a beautiful old house in Fournier St, Spitalfields.
Pelliccis' celebrity album
For over fifteen years they have kept a celebrity album behind the counter at E.Pellicci, the Italian family-run cafe in the Bethnal Green Rd that was founded in 1900 by Priamo Pellicci. Salvatore (on the extreme left of the picture above) started the album after Julie Christie came in for a cup of coffee years ago and they did not think to ask for her picture until she had gone. So Salvatore decided that any celebrity who passes through must be recorded for posterity, either in a snapshot or at very least by an autograph on a scrap of paper. Regular customers will be familiar with this fat little album which is brought out frequently, whenever anyone feels like leafing through the pages of treasured images and savouring the memorable moments enshrined there, but now thanks to generosity of the Pellicci family I am able to publish a choice selection here for you to enjoy.
The distinguished gentleman with the stylish glasses who recurs throughout these pictures is Nevio Pellicci senior and the skinny young man who grew up to develop Groucho Marx eyebrows is Nevio Pellicci junior (in the green shirt above) whose glamorous sister Anna Pellicci is also to be seen completing the happy family group in many of the photographs.
Colin Farrell and Anna Friel were photographed at Pelliccis just last July whilst filming “The London Boulevard” and there is no doubt that Colin carries the picture above with his graphic features and charismatic emotional presence, just as we are accustomed to seeing him do with such exuberant success in the cinema. But in this instance, while he makes a plausible show of looking cool at first glance, on closer inspection there is an undeniable element of the-rabbit-caught-in-the-headlights about his expression, whereas on the right hand side of the picture Nevio Pellici junior is hamming it up with gleeful reckless abandon.
In fact, as I examined these pictures in detail, it dawned on me that the real star turn here is not delivered by any of the celebrities, it is Nevio Pellicci junior himself with his outrageous cartoon features who reveals the most potent star quality on display. Scrolling through these images, I was almost blinded by his dazzling grin that has a wattage sufficient to light up the entire Bethnal Green Rd at night. Only hoary old troupers like Michael Gambon and Su Pollard manage to avoid being upstaged by young Nevio’s incandescent smile.
The truth is that I find the open-hearted playfulness of this album irresistible. Here you see the Pellicci family (except Maria Pellicci who is always in the kitchen) at home over the last fifteen years as they participate in the long-running drama enacted daily at their beloved cafe. And by the end of this series, Nevio Pellicci junior has taken over from his father Nevio Pellicci senior in Bethnal Green, just as Michael Douglas took over from Kirk Douglas in Hollywood. Interestingly, a comparison of the images of Nevio senior and Nevio junior reveals that Nevio junior inherited his trademark smile from Nevio junior, just as Michael inherited the dimple from Kirk.
If you want to see the full album for yourself and pore over all the autographs too, you simply have to go round to E.Pellicci at 332 Bethnal Green Rd, and if you are a celebrity you should be aware that you cannot truly claim with any credibility to have arrived until you have got your picture in the Pelliccis’ book. Salvatore confided that he was thinking of getting the famous album insured, which sounds like a wise move to me because it is priceless.
Eastenders star Patsy Palmer, who grew up round the corner in Columbia Rd, experiences an emotional return to the cafe where she once enjoyed spaghetti as a little girl.
David Schwimmer takes a break from filming “Run Fat Boy Run” in Columbia Rd to chill with his new friends at Pelliccis in 2007.
Eager young Frank Lampard in 1998 when he played for West Ham before he transferred to Chelsea.
Better known as Sergeant Lynch from “Z Cars,” James Ellis knows how to froth a coffee.
Dizzee Rascal takes a break from filming a video to hang with his brutha in the hood, Nevio.
Clive Owen enjoyed a slap-up breakfast with all the trimmings.
Boxing legend Sir Henry Cooper is proud to make his mark at Pelliccis.
Michael Gambon, who signed himself as Dumbledore, re-enacts a ham sandwich for the camera.
Coronation St’s Ali King and Nevio Pellicci deny all the rumours.
Lil Peters flirts shamelessly with two Chelsea Pensioners.
Ross Kemp and the Pellicci boys.
Jools Holland always pops in when he’s in the East End.
“I’m completely stuffed,” declared Su Pollard.
Hookey Alf of Whitechapel
In 1877, photographer John Thomson and radical journalist Adolphe Smith published “Street Life in London” in twelve monthly parts. A series of portraits of common people following upon the model of Henry Mayhew’s “London Labour and London Poor,” adding photography to the project.
“We have sought to portray these harder phases of life, bringing to bear the precision of photography in illustration of our subjects. The unquestionable accuracy of this testimony will enable us to present true types of the London poor and shield us from the accusation of either underrating or exaggerating individual peculiarities of appearance.” wrote the authors in their joint preface.
At first, I was attracted by the evocative photography yet suspicious of the dubious claim of scientific detachment, but when I read this plain account of the life of a man in Whitechapel my sympathies shifted. In fact, “Street Life in London” provided sympathetic interpretation of the lives of the poor for curious middle class readers who wanted to learn more about their fellow men and women.
In the photograph before us we have the calm, undisturbed face of the skilled artisan who has spent a life of tranquil, useful labour, and can enjoy his pipe in peace, while under him sits a woman whose painful expression seems to indicate a troubled existence, and a past which even drink cannot obliterate. By her side, a brawny, healthy “woman of the people” is not to be disturbed from her enjoyment of a “drop of beer” by domestic cares and early acclimatizes her infant to the fumes of tobacco and alcohol. But in the foreground the camera has chronicled the most touching episode. A little girl, not too young, however, to ignore the fatal consequences of drink, has penetrated boldly into the group, as if about to reclaim some relation in danger, and drag him away from evil companionship. There is no sight to be seen in the streets of London more pathetic than this oft-repeated story – the child leading home the drunken parent.
The most remarkable figure in this group is that of “Ted Coally” or “Hookey Alf,” as he is called according to the circumstances. His story is a simple illustration of the accidents that may bring a man into the streets, though born of respectable parents, well-trained and of steady disposition. This man’s father worked in a brewery, earned large wages, married, kept a comfortable home, and apprenticed his son to the trunk-making and packing trade. The boy frequently helped to affix heavy cases to a crane, so that they might be lowered from the top floor of a warehouse into the street. As the boxes were lined up it required considerable strength to push them out of the loop-hole out into the street, and, the young apprentice having inherited his father’s stalwart form, was selected for this work.
On one occasion, however, he threw the whole of his weight against a huge case which, through some mistake, had not been lined with tin; of course the case yielded at once to so tremendous a shock, it swung out into the street, and the lad carried away by his own unresisted impetus, fell head foremost to the pavement below. This accident at once put an end to his career in the trunk and packing trade, and rendered all the expense of his apprenticeship useless.
He recovered, it is true, from the fall, but has ever since been subject to epileptic fits. Finding that under these circumstances, he could no longer attempt complicated and difficult work, he thought he would seek out his living in one of those occupations where mere muscular strength is the chief qualification required. Thus he was able for some time to make his living as a coal porter but, even in this more humble calling, fate seemed to conspire against him. While high up on an iron ladder near the canal, at the Whitechapel coal wharfs, he twisted himself round to speak to someone below, lost his balance and fell head first to the ground. Hastily conveyed to the London Hospital, it was discovered that he had broken his right wrist and his left arm. The latter limb was so seriously injured that amputation was unavoidable, and when Ted Coally reappeared in Whitechapel society, a hook had replaced his lost arm. Thus crippled, he was no longer fit for regular work of any description, and having that time lost his father, the family soon found themselves reduced to want.
“Hookey Alf,” as he was now called, did not, however, lose heart, and, pocketing his pride, he wandered from street to street in search of any sort of work he could find. Hovering in the vicinity of the coal-yards he often met his old fellow-workers, and whenever a little extra help was required they gladly offered him a few pence for what feeble assistance he could render. Gradually he became accustomed to the use of his hook, and proved himself of more assistance than might have been anticipated, but, nevertheless, he has never been able to secure anything like regular employment.
He may often be found waiting around the brewery in the Whitechapel Rd, where ten or twelve tons of coal are frequently taken during the course of the day. “Hookey” stands here on guard, in the hope that when the coal arrives there will be some need of his services to unload. On these occasions he will earn a meal and few pence, and with this he returns home rejoicing. But, if after a long day’s patient endeavour he fails to make anything, the worry and disappointment will probably cause an attack of epilepsy, and thus add ill-health to poverty.
The tender concern of his mother cannot soothe the wounded feelings of the strong man. The energy and will are still there, it is the power of action alone that is wanting, and this good-natured honest man, feels he ought to be supporting his mother and sister, while in reality he is often living off their meagre earnings. The position is certainly trying, and it is difficult to make poor “Hookey” understand that an epileptic cripple cannot be expected to fulfil the same duties as a man in sound health.
Perhaps the lowest depths of misery were reached when “Hookey” in despair, slung a little string around his neck to hold in front of him a box or tray containing Vesuvians, and presented himself at the entrance of a neighbouring railway station, and sought to sell a few matches. “Hookey’s” misfortunes will, however, serve for one good purpose. They demonstrate that even those who resort to the humblest methods of making money in the streets are not always unworthy of respect and sympathy.
Many cases of this description might be found “Whitechapel way,” by those who have the time, energy and desire to seek them out. It will always be found that those who have the best claim to help and succour are the last to seek out for themselves the assistance that they should receive. It is only by accident that such cases are discovered, and hence my belief that time spent amongst the poor themselves is far more productive of good and permanent results, than liberal subscriptions given to institutions of which the donor knows no more than can be gleaned from the hurried perusal of an abbreviated prospectus. In this manner Dickens acquired his marvellous stores of material and knowledge of the people. Exaggerated as some of his characters may seem, their prototypes are constantly coming on the scene, and as I talked to “Hookey” it seemed as if the shade of Captain Cuttle had penetrated the wilds of Whitechapel.
To be honest, examining the picture, I cannot discern the “painful existence” of the woman from her “troubled expression” with “unquestionably accuracy” (as Thomson and Smith intended), though I was not there when the photograph was taken to learn the full story. It would be easy to distance ourselves from this pitiful tale of “Hookey Alf” by dismissing it as illustrative of the world before employers’ liability and incapacity benefits, yet it remains a common sight today to see people with visible disabilities on the streets of East London who are either begging or selling the Big Issue.
I respect Adophe’s engagement with “Hookey Alf’s” feelings of frustration, humiliation and desperation, drawing the reader to empathise with his subject, creating a sympathetic portrait that anyone with an ounce of humanity can recognise. Significantly, Dickens is the touchstone when it comes descriptions of the common people of London. And I feel that Adophe is evangelically persuasive in arguing the case for the moral integrity of the man to refute a contrary voice that, like Ebenezeer Scrooge, is condemning the poor as feckless and irresponsible.
Most interesting and radical is Adolphe’s proposal to his educated readers that they might actually consider spending time among the poor, engaging directly with their fellow humans, rather than merely making charitable donations to salve their guilt. Living in the city, it is hard not to become inured or indifferent to those who ask for money in the street, but Adolphe Smith’s article speaks across more than a century to remind us, if we should need it, that “those who resort to the humblest ways of making money in the street are not always unworthy of respect and sympathy”.
Hullabaloo at the Thrift Store
One Saturday morning recently, I was walking down Brick Lane when I saw a long line of hundreds of excited young people that stretched the entire length of Sclater St. When the Thrift Store decided to post an invitation to their jumble sale on facebook, they never dreamed that over two and a half thousand people would arrive, many coming from as far away as Oxfordshire and Cambridgeshire. At opening time there was already a queue of four hundred people waiting outside but during the morning it grew and grew, until the line reached all the way round the corner into Brick Lane. You have to admit it was a good deal, for £10 you could fill a small bag with as many clothes as you pleased or for £20 you could fill a big bag.
There are so many reasons to love thrifting but I had no idea the culture of secondhand was this huge – until I saw the line of enthusiasts in Sclater St, all dressed in their diverse individual styles created from vintage. Spitalfields is now the capital of this culture and thousands of eager people come every weekend from all over, to trawl through the different thrift stores side by side on Brick Lane, Cheshire St and Sclater St. Taking the occasional break for coffee or lunch, and meeting up with friends along the way, it is a pleasant day’s occupation. I see them parade back to Liverpool St clutching their bags triumphantly at the end of the afternoon.
Quite simply, vintage clothes have brought the fun and creativity back to fashion because they are cheap and every item is unique. With tantalising ambiguity, these clothes manage to be both democratic and exclusive simultaneously, permitting everyone to create a distinctive look, expressive of their personal identity, that no-one else has or can have. And the alterations that are often required invite the purchaser to restyle the garments, using second-hand to become fashion-forward. Another attraction is that old clothes often display higher quality workmanship and are manufactured from better fabric than many new clothes.
I love the poetry of old clothes that carry their history, of design, of manufacture, of the previous owner, and of other times and other worlds. There is a fascinating dynamic present when a younger generation take on the garments of a previous generation, subtling adjusting them to the suit the requirements and expectations of contemporary life. We wear them differently. In their form and structure, these clothes connect the wearer to the social custom of the past while revealing how the world has changed too.
For those politically aware fashionistas, wearing secondhand clothes is an ethical statement in itself, and one of the best kinds of recycling, providing the easiest path to the moral high ground that I know. Because you are conserving the resources that would be used to make new clothes and also dissociating yourself from the exploitative labour practices of the High St stores. Imagine, all this integrity that can be acquired just by purchasing some old rag!
Each month, the East End Thrift Store holds a lively shopping party with a free bar at their vast warehouse in Whitechapel. Once I heard about it, I realised this was an opportunity too good to be missed. So last week, photographer Sarah Ainslie and I went along to investigate. We hoped to photograph some extravagant wild flowers to show you, but instead of a bunch of secondhand roses, we discovered these raging beauties…
Poppy is thinking about whether to buy this silver hat for £10.
Duke knows how to look good in primary coloured sweaters.
This is Nimi and Tina, showing off the snazzy red dress she discovered for £15.
This is Jen, triumphant with the classic shirtdress she found for £30.
This is Rafal who knows instinctively how to carry off a cape.
This is Nina delighted with the nautical-themed shiftdress she will wear all summer long.
This is Paula and Ainara who are going to share this jacket.
This is Robson, an artist and curator, looking for an outfit for the opening of his show on Thursday.
Emma is deliberating between a red dress and this one in deep turquoise for £30.
Max has just moved to London from Weymouth and is considering investing in a leather jacket, maybe.
All pictures copyright © Sarah Ainslie






































































