Viva Brighton September 2015 Issue #31

  • No tags were found...

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

vivabrighton<br />

<strong>Issue</strong> 31. Sep <strong>2015</strong><br />

editorial<br />

...................................................................................<br />

What are you wearing, as you read this? Are you dressed for comfort,<br />

or are you making some sort of style statement? Or possibly both?<br />

How long did it take you to decide what to put on this morning? To<br />

what extent is the set of clothes you’ve put on some sort of uniform?<br />

How much money did your current get up cost you? What percentage<br />

of what you’re wearing is second hand? What percentage was bought<br />

in <strong>Brighton</strong>? How much of it came from national chain stores, and how much of it from<br />

independent retailers? If you have a partner, do they approve of everything you’re wearing? Is<br />

there a significant difference between the clothes you wear in the week, and the clothes you<br />

wear at the weekend? When did you last ‘dress up’ and what was the occasion? Has anything<br />

in your wardrobe been chosen for its outrageous nature? If so, what? How long have you<br />

owned the item of clothing you bought longest ago? How often do you cull your wardrobe?<br />

What percentage of the clothing in your home has not been worn in the last year? Do you<br />

think people think you dress well? Do you care? Should you care? What do your clothes say<br />

about you? This month our theme, inspired by The Costume Games taking place in the city,<br />

is ‘dressing up’. Our sartorial advice? Be yourself. Enjoy the issue…<br />

The Team<br />

.....................<br />

EDITOR: Alex Leith alex@vivabrighton.com<br />

DEPUTY EDITOR: Steve Ramsey steveramsey@vivabrighton.com<br />

ART DIRECTOR: Katie Moorman katie@vivabrighton.com<br />

PHOTOGRAPHER AT LARGE: Adam Bronkhorst<br />

EDITORIAL ASSISTANT: Rebecca Cunningham<br />

ADVERTISING: Anya Zervudachi anya@vivabrighton.com, Nick Metcalf nickmetcalf@vivabrighton.com,<br />

PUBLISHERS: Nick Williams nick@vivabrighton.com, Lizzie Lower lizzie@vivamagazines.com<br />

CONTRIBUTORS: Amy Holtz, Andrew Darling, Antonia Phillips, Ben Bailey, Chloë King,<br />

Holly Fitzgerald, Jim Stephenson, JJ Waller, Joe Decie, Joda, John Helmer, Lizzie Enfield and Martin Skelton<br />

<strong>Viva</strong> is based at <strong>Brighton</strong> Junction, 1A Isetta Square, BN1 4GQ<br />

For advertising enquiries call 07596 337 828<br />

Other enquiries call 01273 810259<br />

Every care has been taken to ensure the accuracy of our content. We cannot be held responsible for any omissions, errors or alterations.

contents<br />

...............................<br />

Bits and bobs.<br />

6-22. Cover artist Sarah Young,<br />

<strong>Brighton</strong>-born Ben Sherman, JJ<br />

Waller, more secrets of the Pavilion<br />

and Joe Decie<br />

63<br />

Photography.<br />

25-29. Jean-Luc Brouard takes us<br />

behind the scenes at the <strong>Brighton</strong> (and<br />

London) Fashion Week<br />

Columns.<br />

30-33. Amy Holtz’ Jedi partner, John<br />

Helmer’s Norwegian forebears, Chloë<br />

King’s Swedish lodgers and Lizzie<br />

Enfield’s Texan interviewee<br />

<strong>Brighton</strong> in History.<br />

34-35. Valerie Barker, <strong>Brighton</strong>-resident<br />

transgender pioneer<br />

My <strong>Brighton</strong>.<br />

36-37. Nicky Röhl, Moshimo co-owner<br />

and Costume Games organiser<br />

In Town this Month.<br />

39-50. Nineties badboys These Animal<br />

Men, a digital ballet, a possible robot<br />

takeover, Today’s James Naughtie,<br />

Avenue Q puppetry, stand up feminist<br />

Clare Dowie and subversive comedian<br />

Mark Thomas<br />

45<br />

Cinema.<br />

51-53. How to Change the World director<br />

Jerry Rothwell, and Yoram Allon’s<br />

round-up of <strong>September</strong>’s most interesting<br />

movies, including Scalarama <strong>2015</strong><br />

....4 ....

contents<br />

...............................<br />

Art, design and literature.<br />

54-59. Al fresco artist Solange Leon,<br />

Graham Churchyard’s Batsuit and<br />

<strong>Brighton</strong> novelist Alison MacLeod<br />

67<br />

<strong>Brighton</strong> makers.<br />

61-64. We try knicker making with<br />

Sew Fabulous, and meet Frances Tobin<br />

from Maker’s Atelier, and inventor Paul<br />

Harrison. Plus Gladrags costume hire<br />

The Way We Work.<br />

67-73. Adam Bronkhorst investigates<br />

the world of sewers and dressmakers<br />

Food and drink.<br />

74-83. Fusion tapas at Señor Buddha,<br />

a recipe from Sourdough, a Bronx<br />

Burger at the Mesmerist, and cocktails<br />

at Okinami. Plus Small Batch’s everinformative<br />

Coffee Guy, Alan Tomlins<br />

77<br />

97<br />

Family.<br />

85-86. Remixing the Booth Museum, and<br />

outdoor activities for the Under 16s<br />

Health and fitness.<br />

87-92. Children’s counselling, Albion’s kit<br />

manager, bike-frame maker Jon Chickens,<br />

and salt-water floatation<br />

Features.<br />

93-97. Bluffers’ guide to film making,<br />

<strong>Brighton</strong> Chamber boss Sarah Springford,<br />

and Fabrica’s fab new extension<br />

Inside Left.<br />

98. A cowboy, a pirate and a mystery<br />

jockey in New England Street, 1953<br />

....5 ....

this month’s cover artist<br />

..........................................<br />

....6 ....

this month’s cover artist<br />

..........................................<br />

This month’s ‘dressing up’ theme had us all thinking<br />

about those lovely cut-out paper dolls we used to<br />

have, which came with little cut-out outfits you<br />

could dress them up in. So we were thrilled when<br />

this month’s cover artist, Sarah Young, came to us<br />

with the idea of re-creating exactly this. “I thought<br />

it was very apt for me to do this cover,” she said, “I<br />

had done a silk screen print years ago called The<br />

Mothcatchers, and I wanted this design to have the<br />

same mannequin clotheshorse feel.” Initially there<br />

were going to be two costumes: a bird and an insect,<br />

but given the limited space on the cover of a <strong>Viva</strong>sized<br />

magazine, she decided that one would work<br />

better. The figure itself was designed to be “slightly<br />

androgynous, with character, but faceless.” As a<br />

designer and print-maker, Sarah prints wonderful<br />

cut-and-sew tea towels, which seem too beautiful<br />

to cut up, and apparently many buyers pick up two:<br />

one to keep and one to sew. We hope you’ll feel the<br />

same about your <strong>Viva</strong>, or at least that you’ll have a<br />

good read of it before you get crafting.<br />

Sarah also forms one half of Tutton and Young,<br />

the creative duo behind MADE <strong>Brighton</strong> (and<br />

London) and <strong>Brighton</strong> Art Fair, which takes place<br />

later this month. The fair “promises a good balance<br />

of established and emerging artists,” with<br />

100 exhibitors from the UK and abroad. A few of<br />

Sarah’s ones to watch include Blue Beany, or Anna<br />

Bean, who makes surreal constructed photography<br />

prints and illustrations, Rosie Wates, who creates<br />

mixed media theatre boxes, and Alberto Fusco, a<br />

sculpted-paperwork artist. This year’s event will be<br />

supporting Chestnut Tree House hospice and there<br />

will be a Big Heart Auction to raise money for the<br />

cause. Each of the artists has been given two manila<br />

envelopes, which they will decorate with their own<br />

artwork, and the envelopes will be for sale during<br />

<strong>Brighton</strong> Art Fair.<br />

Rebecca Cunningham<br />

sarah-young.co.uk. More information and advance<br />

ticket details can be found at brightonartfair.co.uk.<br />

24-27 <strong>September</strong>, The Corn Exchange<br />

....7 ....




THE GUARDIAN AUGUST <strong>2015</strong><br />



COLLEGE 26TH SEPTEMBER <strong>2015</strong> (11+, 13+, 16+)<br />

PRE-PREP & PREP 3RD OCTOBER <strong>2015</strong> (3+ TO 10+)<br />


01273 258692<br />


its and bobs<br />

...............................<br />

on the buses:<br />

spread the word<br />

#5 Ben Sherman (No 12A)<br />

Illustration by Joda, jonydaga.weebly.com<br />

There was a time<br />

when Ben Sherman<br />

worked as ‘a<br />

waiter who serenaded<br />

the evening<br />

customers with a<br />

variety of songs,’<br />

according to the<br />

brand’s historian,<br />

Paolo Hewitt.<br />

Back then, Sherman<br />

was still Arthur Sugarman, an expat Brit seeking<br />

wealth in America.<br />

He was born in <strong>Brighton</strong>, where his parents ran a<br />

sweet shop and later a pawn shop. Too ambitious<br />

to merely carry on the family business, Sugarman<br />

moved to America in 1946, aged 20. In the following<br />

seven years, he went through two marriages and<br />

various jobs, including salesman and tobacco picker.<br />

His third wife, Ruth, was the daughter of a successful<br />

clothing entrepreneur, who hired Sugarman and<br />

subsequently taught him ‘every aspect of the business’.<br />

The young protégé found the company’s shirt<br />

designs ‘too conservative’, and was ‘bored and frustrated’,<br />

Hewitt writes.<br />

Brought back to <strong>Brighton</strong> in 1961 by news of his<br />

mother’s serious illness, he set up a factory at 21<br />

Bedford Square, initially ‘making shirts for other<br />

companies,’ a former employee later recalled. ‘He<br />

slowly, very slowly, started to introduce odd samples<br />

and bits and pieces he wanted to do. That’s how it<br />

all started.’<br />

His shirts developed such cachet among mods that<br />

Sherman was later described, by a <strong>Brighton</strong> Museum<br />

pamphlet, as ‘the Mod God’. In the mid-70s, the<br />

firm’s website notes, ‘bad health meant he sold the<br />

company and retired to Australia’. He died in 1987.<br />

Further reading: Paolo Hewitt - My Favourite Shirt<br />

Young Cody Clarke, of Sydney’s Watsons Bay,<br />

takes in July’s issue of <strong>Viva</strong> <strong>Brighton</strong> – and news<br />

of the British summer - whilst the winter sun sets<br />

over the harbour. Carry on taking <strong>Viva</strong> wherever<br />

you go and, via hello@vivamagazines.com, help<br />

us spread the word…<br />

brighton art fair offer<br />

Over 100 artists exhibit at <strong>Brighton</strong> Art Fair.<br />

To get your 2-4-1 ticket voucher, email your<br />

name and address to 241@brightonartfair.co.uk<br />

by Monday 21 Sept and you’ll shortly be sent<br />

a voucher in the post. Private View tickets for<br />

Thursday, 24th <strong>September</strong> (6pm - 8.30pm), will<br />

be available online for £10 and include an exhibitor<br />

catalogue in the ticket price. Early bird tickets<br />

are available online for £5.50. Tickets on the<br />

door will cost £6.50 per person (children under<br />

14 free). brightonartfair.co.uk<br />

....9 ....

LEwes<br />

LidO SWIm<br />

ChalLEng<br />

Saturday 19 <strong>September</strong> <strong>2015</strong><br />

Take the plunge and join Team Macmillan<br />

for our very own 2km or, more challenging,<br />

5km sponsored swim at Pells Pool on Saturday<br />

19 <strong>September</strong> <strong>2015</strong>.<br />

Sign up as an individual or get your friends<br />

together to form a relay team! You can help<br />

us ensure no one faces cancer alone.<br />

To sign up and for more information<br />

visit macmillan.org.uk/lidolewes<br />

email swimming@macmillan.org.uk<br />

or call 020 7840 4937<br />

Macmillan Cancer Support, registered charity in England and<br />

Wales (261017), Scotland (SC039907) and the Isle of Man (604).

its and bobs<br />

...............................<br />

jj waller’s brighton<br />

For our ‘dressing up’ theme JJ’s chosen this shot: “Skinhead style has always appealed<br />

to me, so the annual reunion at the Volks is a must for me and my camera,” he says.<br />

He’s been further afield recently. “I’m working on a book about Blackpool so I’ve<br />

been there many times this year. They’re both seaside resorts, but they’re enormously<br />

different. One huge difference is in the clothes people wear. <strong>Brighton</strong> is very selfconscious<br />

and style-led. I haven’t seen a single beard-and-haircut thing in Blackpool.”<br />


TOUR THE<br />








Rathfinny Wine Estate, Alfriston, East Sussex BN26 5TU / www.rathfinnyestate.com

Joe decie<br />

...............................<br />


Visit our <strong>Brighton</strong> shop in <strong>September</strong> and<br />

get 15% off your curtain and blind orders.<br />

23 New Road<br />

<strong>Brighton</strong><br />

BN1 1UF<br />

01273 605574<br />

sales@mistersmith.co.uk<br />

www.mistersmith.co.uk<br />

Croft Road<br />

Crowborough<br />

TN6 1DR<br />

01892 664152<br />


its and bobs<br />

...............................<br />

Pub: the colonnade<br />

“He’s called Willie,” says Paul, outgoing<br />

manager of the Colonnade pub on New<br />

Road, about the slightly creeps-inducing<br />

automaton that welcomes visitors into<br />

the bar. “Nobody seems to know how<br />

long he’s been here, but a customer who<br />

was an expert on suits told me the one<br />

he’s wearing would have been made in<br />

the 1890s.”<br />

I’m having a chat with Paul about the<br />

history of the place, which is owned by<br />

the Theatre Royal, and run by the family<br />

pubco The Golden Lion Group, as a<br />

freehold. He won’t switch Willie on because<br />

“he’s delicate, and anyway he’s not<br />

plugged in”, but on a good day he’ll doff<br />

his top hat to you. He used to be clockwork,<br />

but his innards were electrified in<br />

the fifties or sixties.<br />

The building used to house a cobbler’s,<br />

apparently, before being converted into<br />

a ‘Refreshment Rooms’, then into a<br />

‘Wine and Supper Rooms’, and then, in<br />

1854, into ‘The Colonnade Hotel’, with<br />

rooms upstairs. It was renovated in the<br />

1890s, at some expense, judging from<br />

the elegantly glazed green terracotta<br />

exterior, and intricate etched-glass panels.<br />

In this period the colonnade which<br />

shelters the entrance from the rain used<br />

to be the pick-up point for town-centre<br />

prostitutes. “After the show,” says Paul,<br />

“you could hire out-of-work actresses<br />

for the night”.<br />

The proximity to the theatre means it’s<br />

packed three times an evening: before<br />

and after the show, and during intervals.<br />

Often the actors come in, and many<br />

of them have left their publicity cards,<br />

which are framed on the wall, “but only if we like them.” I<br />

spot George Cole, Lionel Blair, and, remarkably enough, Judy<br />

Garland (when was she in town?) “Rowan Atkinson was here<br />

in the winter,” says Paul. “He was a very nice man.” I ask Paul<br />

which celebrities he hasn’t liked, but he’s too discreet to tell me.<br />

A little bit of research reveals that, before his time presumably,<br />

Sean Connery was at least once a visitor, and Dora Bryan was<br />

quite a regular.<br />

The faded grandeur of the place takes some beating, making<br />

the Colonnade quite a fun place to take visitors who want their<br />

<strong>Brighton</strong> experience to be a bit Patrick Hamilton (though a<br />

post-smoking-ban £50,000 renovation means it isn’t quite as<br />

shabby-chic as it used to be). And, as they don’t do food, it’s an<br />

excellent place for a quiet lunchtime pint; if your appetite for<br />

one makes it past their sinister doorman, that is. AL<br />

Painting by Jay Collins<br />


its and boBs<br />

...............................<br />

di coke’s competition corner<br />

The Royal Pavilion & Museums Foundation are delighted to offer one lucky reader the chance to win a year’s<br />

annual membership to the Royal Pavilion, giving you and one guest a year’s unlimited free entry to the Pavilion,<br />

<strong>Brighton</strong> Museum and all paying exhibitions, with a host of other benefits<br />

too - find out more at brightonmuseums.org.uk. Three runners-up will win a<br />

cream tea for two at the Royal Pavilion.<br />

Inspired by the forthcoming exhibition, we’d like you to design and<br />

name your own ‘Exotic Creature’ - it could be a drawing, a collage or<br />

a model. Share a photograph of your creature on Twitter, Instagram or<br />

Facebook with the #<strong>Viva</strong><strong>Brighton</strong>Comp hashtag - or alternatively, email<br />

to competitions@vivamagazines.com. The most creative entry will feature<br />

in our November issue and win the annual membership – the three runnersup<br />

prizes will be awarded at random. Entries must be received before 30th<br />

<strong>September</strong> <strong>2015</strong> and all ages are welcome to enter. Full terms and conditions<br />

can be found at vivamagazines.com<br />

Di Coke is very probably the UK’s foremost ‘comper’, having won<br />

over £250,000-worth of prizes. For winning inspiration and creative<br />

competitions, check out her blog at superlucky.me<br />

Relax in the latest state-of-the-art pod<br />

Ocoon<br />

A Healing Arts Centre<br />

4 energises 4 rejuvinates<br />

4 revitalises 4 promotes calm<br />

4 increases creativity<br />

4 allieviates stress<br />

Our new state-of-the-art healing arts centre also<br />

offers a wide range of natural therapies which include:<br />

Allergy Testing | Beauty Therapy | Counselling<br />

Hypnotherapy | Massage | Physiotherapy<br />

Reflexology | Reconnective Healing | and more!<br />

+ Studio for Yoga / Pilates / Creative Arts<br />

OPEN 7 DAYS<br />

01273 686882<br />

www.cocoonhealthcare.co.uk<br />


its and bobs<br />

...............................<br />

Secrets of the pavilion:<br />

Anatomy of a room: The Saloon<br />

Part 4: “Of superior taste and costliness” - The final scheme from 1823<br />

From at least 1815, the designer and artist Robert<br />

Jones became one of the most important creative<br />

forces in the decorative scheme of the Royal Pavilion.<br />

He was responsible for many rooms, including<br />

the final Saloon scheme of 1823. In the last of our<br />

series on this room I would like to give readers an<br />

impression of how the room looked when Jones<br />

decorated it and a taste of what visitors can expect<br />

to see again soon. A significant current restoration<br />

project aims to recreate Jones’ scheme. As part of<br />

this restoration, extensive re-silvering and re-gilding<br />

on the wall ornaments has already been carried out.<br />

The badly tarnished wallpaper will be replaced by<br />

a replica of the original stencilled silver-on-white<br />

design, while the Chinese export wallpaper that was<br />

on the wall cartouches will be replaced by red silk<br />

hangings - currently being woven by Humphries<br />

Weaving Company in Sudbury, Suffolk - that can be<br />

seen in an aquatint from 1826 from Nash’s Views.<br />

There are also plans to create a copy of the multicoloured<br />

Axminster carpet, originally designed by<br />

Jones, of which two design drawings and a large<br />

fragment, the latter regrettably badly faded, survive.<br />

The design for the carpet has been prepared by<br />

Royal Pavilion artist and conservator Anne Sowden<br />

and will be made by the Axminster factory.<br />

Despite many changes to the structure of the<br />

Pavilion, the Saloon still forms the centre of what<br />

is an essentially symmetrical building and retains<br />

its internal shape and dimensions from when it was<br />

built in 1787. As I have shown in previous issues<br />

of <strong>Viva</strong> <strong>Brighton</strong>, the room went through at least<br />

three different decorative schemes, including an<br />

early neo-classical scheme by Biagio Rebecca and<br />

strongly coloured Chinoiserie schemes by John and<br />

Frederick Crace, before the Prince Regent decided<br />

on a near-complete redecoration of the interiors<br />

following the great transformation of the exterior<br />

by John Nash from 1815 onwards.<br />

The scheme by Jones, which was implemented<br />

shortly after George was finally crowned King in<br />

1821, has often been described as a regal style, more<br />

suitable for a newly crowned King, but while it lacks<br />

the irreverent playfulness of the Banqueting Room<br />

and Music Room, it is certainly lavish, daring and<br />

impressive. In one of the earliest complete descriptions<br />

of the interiors (llustrations of her Majesty’s<br />

Palace at <strong>Brighton</strong>, 1838) the author Edward Brayley<br />

compared it to the earlier schemes and comments<br />

that it was ‘conceived and executed in a style of far<br />

superior taste and costliness than have been previously<br />

exhibited’.<br />

The essential colour scheme was white, gold, silver<br />

and crimson. Silver in particular was used most<br />

lavishly and creatively, and is not often found in<br />

British historic interiors in such quantity. Silver leaf<br />

was used at low and high level on the wallpaper,<br />

cornices, capitals, apse ceilings, and on wooden<br />

pilasters around the room. It was applied to a variety<br />

Japanned Saloon door © Royal Pavilion & Museums<br />


its and bobs<br />

...............................<br />

of materials, such as stuccoed plaster, paper, metal<br />

and wood, frequently in combination with gilding<br />

and contrasting with wall hangings, draperies and<br />

upholstered furniture in ‘His Majesty’s Geranium<br />

and gold colour satin decorated with silk gimp’.<br />

Large areas of re-gilding and re-silvering on carved<br />

and stucco work at higher level are already completed,<br />

while all but one of the pilasters and most<br />

of the giltwood frames and gilded crestings have<br />

been removed from site for the restoration work.<br />

The tarnished silver and white wallpaper (an early<br />

twentieth century replacement) has been almost<br />

entirely removed and the Chinese-export wallpaper<br />

(not original to the room) in the wall panels has<br />

been taken down (see <strong>Viva</strong> <strong>Brighton</strong> July <strong>2015</strong>). The<br />

clouded ceiling on the dome dates from Victorian<br />

times, although Jones’ scheme also included a<br />

painted sky. In 2005, following some water damage,<br />

some of the silvered ornamentation from Jones’s<br />

original scheme was discovered in the south apse. A<br />

decision was made to secure the original element, a<br />

silver palm leaf, and re-create Jones’s design in the<br />

south apse, while leaving the rest of the Victorian<br />

ceiling untouched. If you look carefully you can<br />

make out the original leaf in the south apse.<br />

While there are hundreds of Pavilion-related<br />

design drawings by the Craces, very few drawings<br />

by Jones survive, but there is one in the Royal<br />

Pavilion archives that shows an unexecuted design<br />

for the Saloon, with shaded lilac wallpaper above<br />

the overdoors. Jones’s account book entries reveal<br />

his attention to decorative detail (often with the<br />

aim to appear realistic or imitate exotic materials<br />

and objects) and a penchant for shimmering and<br />

reflective paint effects, resulting in a distinctive and<br />

imaginative style.<br />

Apart from balancing the colour scheme of the<br />

Saloon with the newly created Banqueting Room<br />

and Music Room, and the desire to create a more<br />

regal look for this central space, the inspiration for<br />

this interior may also have come from a room that<br />

was about to disappear. The redecoration of the Saloon<br />

coincided with the plans for the demolition of<br />

Carlton House, George’s London palace, which had<br />

for a while been structurally unstable. At Carlton<br />

House the so-called Circular Room boasted one of<br />

the grandest and most lavishly decorated interiors.<br />

It is possible that George instructed Jones to make<br />

decorative references to it in his <strong>Brighton</strong> Saloon<br />

scheme. The scheme as it appears in 1817 shows<br />

striking similarities to Jones’ design scheme for the<br />

Pavilion Saloon, such as the sky ceiling, the general<br />

layout and columnisation of the room, the combination<br />

of reflective metal surfaces on one object or<br />

in close proximity (bronze, silver, gold), and, most<br />

importantly, silvered cornices and capitals. The<br />

colour scheme was a combination of orange, pale<br />

blue, red, black, green and silver.<br />

Was George’s intention to recreate in the Royal<br />

Pavilion one of his favourite rooms of his beloved<br />

London residence he knew would not be there for<br />

much longer? It seems more than likely. The Circular<br />

Room in Carlton House is certainly one of the<br />

great lost British interiors. Likewise, the restoration<br />

of the Saloon design by Robert Jones in the Royal<br />

Pavilion will recreate a similarly great interior that<br />

we almost lost.<br />

Alexandra Loske, Art Historian and Curator<br />

Saloon 1823, © Royal Pavilion & Museums<br />


its and bobs<br />

...............................<br />

magazine of thE month: the white review<br />

Can a magazine that only prints<br />

1,500 copies of each issue be<br />

called a success? (Yes.) Can a<br />

magazine that has long-form<br />

essays, reviews, interviews<br />

and poems make it in this<br />

140-character world? (Yes.) Is<br />

there any point even stocking<br />

such a thing in a shop? (Yes!)<br />

Shouldn’t magazines like this<br />

just be in galleries? (No.)<br />

How can we be so sure of<br />

ourselves? Simple. Since we<br />

opened our shop, the number<br />

of people buying copies of<br />

The White Review has doubled and continues to<br />

increase. Some people rush in with delight when<br />

a new issue is released, willing to put in the extra<br />

time to reap the rewards of the outstanding writing,<br />

the beautiful illustrations and the great design. Of<br />

course, it helps us know we are right when the New<br />

York Times describes The White Review as ‘growing<br />

in stature’ and Deborah Levy describes it as ‘nothing<br />

less than a cultural revolution’.<br />

<strong>Issue</strong> 14, published in August,<br />

includes interviews with author<br />

Rachel Cusk, artist and<br />

film-maker Mark Leckey, essays<br />

about Madrid and stories<br />

by Joanna Kavenna and more.<br />

(How can you resist a short story<br />

by Owen Booth called I Told You<br />

I’d Buy You Anything You Wanted<br />

So You Asked For A Submarine<br />

Fleet?) On top of all that, there’s<br />

a really fine essay about the author<br />

of the cult book The Dice<br />

Man that unravels who ‘Luke<br />

Rhinehart’ actually was, and so<br />

much about this book that tells the story of someone<br />

who lives their life by continually letting the<br />

die choose one of six possible options for action.<br />

It’s a serious thing, The White Review. Celebrities<br />

don’t exist in its pages. The reader has to do some<br />

of the work. It refuses to wash over you. Isn’t that<br />

wonderful? Many people think so - and I’m certainly<br />

one of them.<br />

Martin Skelton, Magazine<strong>Brighton</strong>, Trafalgar Street<br />

toilet graffito #8<br />

Penny for your thoughts!<br />

Our toilet correspondant, Fan Fan,<br />

returns this month with this philosophical<br />

graffito (which a second scrawler has<br />

found too challenging). But in which pub<br />

did she find it?<br />

Last month’s answer: The Mash Tun.<br />

Thanks to Fiona Hilary Ward (@artisthis)<br />

who tweeted saying she’d spotted<br />

the mystery ‘Alberto’ (seemingly a black<br />

cat) painted on the wall of Artschism on<br />

Gloucester Road about two years ago.<br />


its and bobs<br />

...............................<br />

goodmoney competition winners<br />

<strong>Brighton</strong>-based social enterprise Goodmoney CIC recently ran<br />

a competition in these pages for young people to design greetings<br />

cards inspired by what they love about <strong>Brighton</strong> & Hove.<br />

These greetings cards will be available to buy alongside a new<br />

gift voucher that supports independent businesses in <strong>Brighton</strong><br />

& Hove. The four winning artists, chosen by a panel of judges<br />

including our Art Director Katie Moorman, are: Nola Player<br />

and Elijah Oakeshott in the Under 8s category and Rio Carroll<br />

and Daisy Stansfield (pictured) in the 8-12 age group.<br />

The winners and their families are invited to Goodmoney’s<br />

launch event on 24th <strong>September</strong>, where they’ll be presented with<br />

their prizes. This will also be the first time the gift vouchers will be available to buy, and will be a celebration<br />

of independent <strong>Brighton</strong> & Hove. The event is open to the public and you can reserve your free place on<br />

their website, goodmoney.co.uk. After their launch, the gift vouchers will be available to buy online and in<br />

selected local stockists. The vouchers can be spent with a wide range of our best independent businesses;<br />

from shops to eateries, sports clubs, kids clubs, local artists and more. Over 100 businesses have joined<br />

already, with more joining by the day. Goodmoney gift vouchers are a great way for people to give the<br />

best of <strong>Brighton</strong> & Hove as a gift, and give independent businesses a welcome boost.<br />

⨀ 一 攀 眀 挀 甀 琀 漀 洀 攀 爀 猀 漀 渀 氀 礀 ⸀ 倀 氀 攀 愀 猀 攀 焀 甀 漀 琀 攀 ᠠ 嘀 䤀 䈀 ᤠ

eeze up<br />

to the Downs<br />

kids go<br />

FREE!<br />

See leaflets<br />

for details<br />

77<br />

You can now breeze up to Stanmer<br />

Park and Devil’s Dyke by bus<br />

seven days a week, and up to<br />

Ditchling Beacon at weekends.<br />

For times, fares, leaflets and walk ideas,<br />

go to www.brighton-hove.gov.uk/breezebuses<br />

or call 01273 292480<br />

Or visit www.traveline.info/se<br />

to plan all your journeys.<br />







20 SEPTEMBER <strong>2015</strong><br />

<strong>Brighton</strong> Museum & Art Gallery<br />

brightonmuseums.org.uk<br />

Open Tue-Sun 10am-5pm<br />

Open Bank Holiday Monday<br />

Admission fee payable<br />

Members and Residents free<br />

Tel 03000 290900<br />

Image by Eva Rinaldi<br />


photography<br />

..........................................<br />

Jean-Luc Brouard<br />

Behind the catwalk<br />

The fashion runway show is<br />

one of the most heavily choreographed<br />

and elaborate<br />

showcases out there. For<br />

most, the image we see is<br />

the polished and composed<br />

model on the runway. Here,<br />

as part of Miniclick’s regular<br />

photo feature, <strong>Brighton</strong>-resident<br />

photographer Jean-Luc<br />

Brouard shows us another<br />

side. Taking us backstage he<br />

remains calm amongst all<br />

the chaos…<br />

How long have you been<br />

working fashion shows? I’ve been shooting in a<br />

working capacity at fashion shows for about five<br />

years now. I have shot them for fun or personal<br />

work for more like seven. I’d go along to meet up<br />

with friends who were working on them (make-up<br />

artists, models, production and so on) so it just<br />

started from there.<br />

Are you specifically asked to do backstage<br />

work, or is that something you’re naturally attracted<br />

to? I do now tend to get asked to specifically<br />

shoot backstage, thankfully. I’ve done runway<br />

before but now I only do it under duress! I’m definitely<br />

more interested in the backstage element of<br />

the shows. I’m not great at waiting in one place,<br />

I don’t have a long lens and I really like working<br />

with flash, so shooting from the runway pit isn’t<br />

really for me. Also I like to try and get shots that<br />

don’t look like everyone else’s, there’s a lot more<br />

scope for that backstage than front of house.<br />

These seem like quite hectic, stressful places,<br />

yet your images are quite calm and considered.<br />

How difficult is it to remain<br />

calm and focus on your work<br />

when you’re in the middle of<br />

it all? Backstage can be really<br />

hectic, especially at bigger London<br />

shows. Sometimes there’s<br />

20 or 30 other people trying to<br />

shoot the 20 or 30 people trying<br />

to dress, finish and check the<br />

models before they walk. Usually<br />

all in cramped spaces. It’s<br />

fairly easy to stay calm, though,<br />

as I enjoy the pace of it. I just<br />

always try to be polite: after<br />

all the person who just trod on<br />

your foot is trying to do their job, too. The few<br />

times I get stressed are when I’m about to get a<br />

shot and someone else sees you’ve seen something<br />

and jumps in front to shoot it themselves!<br />

A lot of your backstage work hides the subjects’<br />

faces, behind clothes, wigs, in shadow or<br />

behind the hundreds of hands trying to fix the<br />

hair and make-up. Are you looking out for this<br />

on purpose, or is that just a coincidence? I do<br />

look for that a lot. Not always with success! I always<br />

keep an eye on the background of people and<br />

what they’re adding or detracting from the shot.<br />

At times you can pre-empt it and place yourself<br />

for the shot you want, other times it’s almost on<br />

instinct. It’s my eye and my finger on the shutter<br />

that’s in charge of when to shoot in these cases.<br />

The brain kind of lags behind. Interview by Jim<br />

Stephenson of Miniclick miniclick.co.uk<br />

jeanlucbrouard.com. Miniclick celebrate their fifth<br />

birthday with a whole day of events on Sept 12th<br />

at the The Unitarian Church, New Road.<br />


photography<br />

...............................<br />


photography<br />

...............................<br />


photography<br />

...............................<br />


column<br />

...........................................<br />

Amy Holtz<br />

The truth is, I’m a Minnesotan<br />

My partner is going to (not<br />

so) Secret Cinema in London.<br />

It’s The Empire Strikes Back.<br />

Being born in the 80s has relieved<br />

me of fanatical Wookieworship,<br />

and it’s the reason<br />

I’m 80 Galactic Credits better<br />

off and not searching for the<br />

perfect rebel fighter gloves to<br />

go with my faction scarf.<br />

My partner though, was born<br />

in the 70s. ‘If you don’t get the<br />

scarf,’ he explains, ‘then the<br />

other rebels won’t ask you to fight with them and<br />

the whole thing would be pointless.’<br />

I feel like suggesting, at this juncture, pointless is a<br />

fairly accurate description even without the scarf,<br />

but horses for courses. Instead, I posit the theory<br />

that the Galactic Empire* has grown increasingly<br />

infatuated with commercialism and that the<br />

Cantina’s new craft beer fridge should have been<br />

the first warning.<br />

‘The appearance of craft beer at Mos Eisley* is a<br />

good thing, though, because it means the Empire’s<br />

economy is stabilising and people can buy new<br />

face scarves when the purges turn all of the planets<br />

into poisonous wastelands.’<br />

He frowns. He senses a feminist argument in the<br />

Type 1 atmosphere*.<br />

‘There are loads of us going,’ he reminds me,<br />

swiping across to the next page of suede over-theknee<br />

boots.<br />

Except me, I think. Then, unexpectedly, I get that<br />

feeling you get on a Sunday when you’ve been<br />

dreaming about chickens all morning and some<br />

pushy so-and-so who<br />

stole the bartender’s eye<br />

mere seconds before you<br />

is ordering the last of the<br />

chicken roasts.<br />

His fingers hover over<br />

sand-camo ‘knee armour’.<br />

Knee-pads, I translate.<br />

‘Can I look?’<br />

‘No.’ Swipe... swipe.<br />

‘How come?’<br />

‘Because you’re not part of<br />

the Rebel Alliance.’ Well,<br />

isn’t that just the story of my life. I sit back, frown.<br />

He shifts so I have to watch the swiping over his<br />

shoulder. I’ll look at Vanity Fair, I think, glancing at<br />

Taylor Swift in a suit. There’s an article on Botox,<br />

Tinder AND Chelsea Clinton - hours of fun.<br />

But my eyes keep straying back to the screen.<br />

Even though I really, really want to see Taylor’s<br />

photo spread.<br />

‘You should get some trading crystals,’ I say,<br />

pointing.<br />

He ignores me.<br />

On the next page, there are starfighter jumpsuits.<br />

I’m envisioning him, in that, space-cocktail drunk.<br />

‘Do you think,’ I begin casually, ‘that you’ll be<br />

wearing this home?’<br />

He shrugs. He’s moved on to the baseball scores.<br />

My fingers are itching to go back to the Empire’s<br />

superstore. I don’t even like fancy dress. But exclusion<br />

is a powerful, unconscious persuasion.<br />

‘If I come with, what are the chances they’ll let me<br />

be Han Solo?’<br />

*Don’t be silly. Of course I googled this.<br />


column<br />

...........................................<br />

John Helmer<br />

Ibsen and me<br />

Illustration by Joda, jonydaga.weebly.com<br />

‘Is this your first visit to Grimstad?’ Tall and<br />

twenty-something, Cedrik is our guide for the<br />

Ibsen tour that my family has allowed me to<br />

inflict on them. The playwright lived in this little<br />

harbour town when he was young, and wrote his<br />

first play here.<br />

‘I’ve never been to Norway before,’ I tell him,<br />

‘but my great-grandfather was born in Grimstad.’<br />

‘Oh yes, I know about the Helmers.’<br />

I do a double take.<br />

‘There were only 800 people in Grimstad at the<br />

time,’ explains Cedrik who, it turns out, is a bit<br />

of a local historian. He is keen to share what he<br />

knows, and since we modern Helmers are the<br />

only people who have signed up for the tour, the<br />

rest of it takes on a bit of a theme.<br />

‘… So this is where Ibsen lived – in a<br />

house owned by one of your relatives.<br />

He was an apothecary, but always away<br />

at sea ...’ These were useful absences.<br />

The role of apothecary in those<br />

days involved dispensing wine and<br />

spirits, and my relative’s long sea<br />

trips allowed Ibsen, his assistant,<br />

to turn the place into party central<br />

for bohemian youth. Everyone<br />

back to Henrik’s. I picture a crowd<br />

of whacked-out hipsters (one of<br />

whom, it transpires, was a further<br />

relative) in velvet jackets, slooshing<br />

back the pharmaceutical hooch.<br />

Ibsen also liked to go at it during the<br />

day, getting high on his own supply<br />

as he neglected the business and<br />

cracked on with what was to<br />

be the first in a long line of world-class gloomy<br />

dramas.<br />

Cedrik lets us into the house, which is being restored.<br />

There’s not much to see. I look across the<br />

street to the doll’s house of a place we’re staying<br />

at, called Café Ibsen. ‘Do you think he actually<br />

went there?’ I ask.<br />

‘Certainly not: it didn’t serve alcohol.’<br />

I’ve always known there was some sort of Ibsen<br />

connection, but the stories were vague. Besides<br />

which, all family history projects are to some<br />

extent self-aggrandising, and about as interesting<br />

to listen to as other people’s dreams. ‘Even people<br />

in the same family aren’t interested in them,’<br />

quips son Freddy when I try to tell him later<br />

about ours. ‘—There: comedy gold; put that in<br />

your column.’<br />

So he never hears the last bit of the story.<br />

I’ve brought a book to Grimstad, a town ledger<br />

from 1897 that has come down through the family.<br />

Cedrik’s eyes grow round when I pull it out<br />

of my IKEA backpack. There is a chapter headed<br />

‘Helmer’, and though the text is in Norwegian,<br />

you can clearly see the name Henrik Ibsen in one<br />

of the footnotes. ‘What’s that all about?’<br />

Cedrik translates. The footnote concerns a third<br />

relative, whose story might or might not have inspired<br />

a famous poem of Ibsen’s called Terje Vigen.<br />

He was arrested by the British Navy for breaking<br />

the blockade of Grimstad during the Napoleonic<br />

wars – rowing to Denmark and back for supplies.<br />

They banged him up in Reading Gaol.<br />

Drug landlord … Pisshead … Jailbird: what a<br />

heritage.<br />

I feel suitably aggrandised.<br />


column<br />

......................................<br />

Chloë King<br />

In loco parentis<br />

I turn to Mr, making a face<br />

not unlike that emoji our<br />

Swedish students would text<br />

when their bus was late. I<br />

had to poll my friends to<br />

find out what that ‘toothy<br />

grin’ emoji meant - ‘grimace’;<br />

‘excitement’; ‘slight<br />

fear’; ‘anxiety’; ‘smiling<br />

through pain’.<br />

“They have my blog address,<br />

my Twitter handle,<br />

my Instagram… I’ve replied<br />

Illustration by Chloë King<br />

chocolate buttons off their<br />

bedroom floor pleased me<br />

no end. I needed my preconceptions<br />

busting.<br />

We’re expecting two boys<br />

next, a German and an<br />

Italian, but then I get emails<br />

from two Austrian females,<br />

and a friend request from<br />

one of their fathers. It’s sent<br />

me into panic.<br />

“I feel uncomfortable,” I tell<br />

the school. “I don’t want to<br />

personally to their emails. Does he want to see be unfriendly, but my Facebook account is about<br />

pictures of that time in 2008 I got so drunk I had as personal as the underwear on my washing line. I<br />

half my hair shaved off? Would anyone want their want you to come to my house in order to see it.”<br />

teenage daughter to stay with a woman who, at any The young woman on the end of the line - clearly<br />

point in her past, had shaved her head?”<br />

regretting the huge quantity of calls she made<br />

Mr looks at me saying: “I told you so,” with his encouraging me to sign up has been matched 1:1<br />

eyes and “this is what you signed up for, fool,” with by queries from me – replies patiently, “you can<br />

his mouth.<br />

change your privacy…”<br />

We’re taking part in a fast-track course in ‘Hosting ***<br />

International Students’, you see. So far we’ve been The night the girls are due, Mr and I tidy all evening.<br />

in loco parentis to two fifteen-year-old Swedes for Julia and Leonie arrive at a time of night that renders<br />

three weeks. That was easy, once we got over the my offer of a jacket potato downright bizarre. Few<br />

shock of their arrival - we had just 24 hours warning<br />

they were coming.<br />

I’m brushing my teeth when the door goes again.<br />

words are said then they hurry off to bed.<br />

I spent the whole day doing housework, paranoid I hear Mr answer it, and a girl introduces herself<br />

over my prejudice that all Scandinavians are scrupulously<br />

clean. Mopping the pool of water that gathers have the wrong address. “CHLOë!” he calls up<br />

as Julia. Mr says we already have a Julia; she must<br />

under our sink, I thought it equivalent to seeing a the stairs and I come down in time to see Julia 2<br />

squat toilet for the first time. The sort of thing that crumple. Her arms reach out, clutching onto a<br />

makes you think, “how do people live like this?” dining chair. “THIS ISN’T PEACEHAVEN?” she<br />

before you realise you are one of those people. cries, sobbing loudly. I look at Julia, then the taxi<br />

Turns out I was half-right about the Swedish. driver, then my husband, smiling through gritted<br />

They take lots of showers, but having to scrape teeth. “I think I’d better call the school.”<br />


column<br />

.............................<br />

Lizzie Enfield<br />

Notes from North Village<br />

“Look, there’s loads of Prime Ministers!” My<br />

daughter, then aged about four, was very excited<br />

by this collective of political leaders.<br />

I looked in the direction she was pointing and saw<br />

a gaggle of HSBC staff on the pavement outside<br />

their offices, having a fag and coffee break.<br />

“Where?”<br />

“There.” She’s pointing at the bank staff.<br />

“But they’re not prime ministers.”<br />

“Yes, they are. They’re wearing prime ministers’<br />

outfits.”<br />

By this she meant suits. So dressed down were all<br />

the people in her life that the only time she’d seen<br />

a man in a suit, it was the Prime Minister (Blair at<br />

the time) on the news. <strong>Brighton</strong> pretty much operates<br />

on the principle that every day is dress-down<br />

Friday, and neither parent has a job that requires<br />

much in the way of dressing up.<br />

In another life I used to dress up for a proper job<br />

(as a BBC journalist) and I still have the clothes<br />

to show for it. But being a freelance<br />

writer, working from home most of<br />

the time, they don’t get much of an<br />

airing.<br />

I do like to give them one, occasionally,<br />

given the opportunity,<br />

mind. The trouble<br />

is the opportunities<br />

that present themselves<br />

have mostly involved interviewing<br />

people even<br />

more dressed down<br />

than the denizens of the<br />

North Village.<br />

The most mismatched<br />

I’ve ever been was going<br />

to interview Larry Hagman,<br />

a short time before he died. He was JR in<br />

Dallas, of course.<br />

Interviewing JR was an opportunity to pull out a<br />

BBC dress and jacket from the back of the wardrobe,<br />

if ever there was one. I met him in the London<br />

hotel he’d arrived at after flying in from Texas<br />

(or wherever it is he actually lives) the night before.<br />

I was suitably smart. He was a bit jet-lagged,<br />

had just got up and was still in his dressing gown<br />

and pyjamas.<br />

I’ve never felt so overdressed.<br />

“Better than being underdressed,” said a friend<br />

who is an award-winning TV producer.<br />

The thing with award-winning producers, at least<br />

the ones I know, is they never expect to win the<br />

awards. So they turn up at ceremonies expecting<br />

to skulk at the back rather than having<br />

to parade in front of the cameras<br />

in a suit and… trainers.<br />

“I thought my feet would stay under<br />

the table,” he said afterwards, just<br />

as another person (I happen to live<br />

with) thought all of him would stay<br />

off camera, when he was nominated<br />

for an award and told he had to wear<br />

black tie.<br />

“Can’t I just wear a jacket and tie?”<br />

“No. If the invite says black tie then<br />

you should wear black tie.”<br />

He ended up sitting two seats away<br />

from Kevin Spacey. Thank God for<br />

the last minute dash to Moss Bros,<br />

I thought, as I watched him appear<br />

on the telly looking so smart as to be<br />

virtually unrecognizable.<br />

“Nice Prime Minister’s outfit,” we<br />

told him after.<br />

Illustration by Joda, jonydaga.weebly.com<br />


history<br />

..........................................<br />

Sir Victor Barker’s secret past<br />

WW1 hero, or lady landworker?<br />

Valerie Barker had been tomboyish long before<br />

she had met Ernest Pearce Crouch, and fallen<br />

for him, and had two kids with him, and watched<br />

him lose his job on a national newspaper and<br />

start drinking too much.<br />

But it was Pearce Crouch who, without meaning<br />

to, pushed her further in that direction; dangerously<br />

far, in fact. The final provocation was the<br />

time he grabbed her by the hair and hit her in<br />

front of her best friend. She decided to start a<br />

new life as a man. This was autumn 1923, around<br />

<strong>September</strong>.<br />

It was partly an empowerment thing, an economic-opportunity<br />

thing, of course. But it was also<br />

a chance for a female Littlehampton farmer to<br />

enter <strong>Brighton</strong> high society.<br />

Having kicked Pierce Crouch out, she was left<br />

with her freedom, a home, and a way to make a<br />

living. She could have just renamed herself Mr<br />

Barker and carried on tending the farm, and<br />

“would no doubt have got away with it forever,”<br />

her biographer Rose Collis says. But that wasn’t<br />

enough for her.<br />

On October 15, 1923, Valerie Barker cycled to<br />

Ford railway station, and boarded a train. She<br />

got out at <strong>Brighton</strong> as Colonel Sir Victor Barker,<br />

a baronet and First World War hero with an abdominal<br />

wound, a Distinguished Service Order,<br />

and some impressive war stories.<br />

“I guess it’s a kind of madness, isn’t it? It is<br />

hugely risky,” says Mark Bunyan, who’s written a<br />

musical-theatre biopic of Barker. “But I think she<br />

can see the good lives that she could have if she<br />

were a man, and just goes for that.”<br />

Barker had prepared carefully, smoking a ‘continuous<br />

chain of cigarettes… to coarsen my voice,’<br />

roughening the skin around her chin, strapping<br />

her chest down, getting hold of the right medals,<br />

and making sure her hair and all her clothes were<br />

correct. “She wasn’t wearing ladies’ underwear,<br />

because that would have changed how she felt,”<br />

Collis says. “Nothing was left to chance.” But she<br />

was still nervous when she first presented herself<br />

at the reception desk of the The Grand.<br />

‘The manager, staff and guests all accepted me<br />

without question. In [the] lounge and bar I was<br />

greeted as a good fellow. I smoked and drank<br />

with the male guests, and paid little courtly attentions<br />

to the womenfolk. As the weeks slipped<br />

by, I began to experience a sense of exhilaration<br />

that I was “getting away with it”’.<br />

Having ‘discovered that boldness was the best<br />

way to allay suspicion,’ in her own words,<br />

‘Colonel’ Barker swam in the hotel pool, went<br />

horseriding, mingled in high society, and did<br />

some acting for the <strong>Brighton</strong> Repertory Company.<br />

She even got married.<br />

Elfrida Haward, her best friend from Littlehampton,<br />

apparently believed Barker’s explanation<br />

about an abdominal war wound which had<br />

forced ‘him’ to live as a woman previously. And<br />

Elfrida’s parents believed it too, or believed it<br />

enough to worry about the family’s reputation,<br />

as she and Barker were sharing a room at the<br />

Grand. They pressured Barker to do the gentlemanly<br />

thing.<br />

The wedding was at St Peter’s Church on November<br />

14th, 1923. It’s not clear what happened<br />

on the honeymoon, but both women always<br />

denied any lesbian tendencies, and Collis thinks<br />


they were telling the truth. “In the<br />

whole book I didn’t say Barker was a<br />

lesbian because she wasn’t… I think<br />

it was a very asexual persona, it was<br />

like, ‘this is how I’m happy living, in<br />

this gender role.’”<br />

And Barker was good at playing the<br />

role, Collis adds. She was “six-foot<br />

tall and pretty broad”, with impressive<br />

knowledge of “what was expected<br />

of a gentleman, how to speak<br />

to people, what wine went with what<br />

food, and how a gentleman would<br />

dress”. Most importantly, “it was<br />

the confidence with which she did<br />

it. I think that’s the key to this. ‘Of<br />

course I’m Sir Victor Barker!’”<br />

But the money started running<br />

out, and she left the Grand, and<br />

<strong>Brighton</strong>. ‘Sir Victor’ moved around<br />

a lot, trying to make money through<br />

acting, dealing antiques, running a<br />

cafe, working as a hotel receptionist,<br />

and brief spells of manual work. Elfrida<br />

left him. He got involved with a<br />

British fascist group. And he carried<br />

on spending too much.<br />

“Then, of course, it all unravelled,”<br />

Collis says. “Barker was brilliant at<br />

getting away with living as a man,<br />

but hopeless with money. And that<br />

was his or her downfall.” She was arrested<br />

in February 1929 over a £103<br />

debt, and in prison, as Bunyan puts<br />

it, “a routine strip search revealed<br />

Photo courtesy of Rose Collis<br />

things that were far from routine.”<br />

The revelation, and subsequent court case, provoked vast press<br />

coverage, and public outrage. The novelist Radclyffe Hall called<br />

Barker ‘a mad pervert of the most undesirable type,’ and the<br />

judge at the Old Bailey was equally scathing.<br />

“The fact it ended up at the Old Bailey was extraordinary,<br />

because the charge was falsifying a marriage certificate,” Collis<br />

says. “To end up as a major trial… That’s how seriously it was<br />

taken in those days, it really was. ‘You have offended God’s laws<br />

and we’re going to punish you for it.’”<br />

After nine months in prison, Barker carried on living as a man,<br />

moving around, working various jobs, and continuing to get in<br />

trouble over money. At one point, she was reduced to appearing<br />

in a freakshow in Blackpool. However, neither Bunyan nor Collis<br />

think of it as a particularly tragic story. Bunyan says: “I don’t<br />

think it’s ever a tragedy when someone makes a go of it - has an<br />

amazing go of it. And she did.” Steve Ramsey<br />

With thanks to Mark Bunyan and Rose Collis, whose book is<br />

called Colonel Barker’s Monstrous Regiment<br />


Photo by Adam Bronkhorst<br />


interview<br />

..........................................<br />

mybrighton: Nicky Röhl<br />

Moshimo co-owner and Costume Games Festival Director<br />

Are you local? I grew up in Kingston near Lewes.<br />

My dad moved there in the mid-sixties, at the same<br />

time as lots of other lecturers at the new University<br />

of Sussex. The village was built for them: they were<br />

all the same sort of age, and came from similar<br />

backgrounds, and had kids at the same time… and<br />

many split up at the same time too! It was truly a<br />

unique time and place to grow up… very experimental<br />

in its way; it would make a good subject for<br />

an anthropological study of life in the seventies.<br />

Why did you locate Moshimo in <strong>Brighton</strong>? We<br />

set up our first restaurant in London in 1994, and<br />

rapidly opened two more successful branches there.<br />

For our fourth we wanted to show potential investors<br />

that a sushi bar could work outside of London,<br />

and <strong>Brighton</strong> was the obvious choice: we knew it,<br />

and it was being touted as London-by-the-Sea…<br />

But it wasn’t quite like that! When we opened in<br />

2000 it was a real struggle because people were still<br />

very suspicious of sushi. It’s amazing to think how<br />

the culinary scene has changed since then.<br />

So when did you move here? In 2000. Like many<br />

people we found living in London with kids was<br />

unaffordable. I hadn’t ever got to know <strong>Brighton</strong><br />

that well, in spite of growing up in the area. My<br />

view of the place was as a scuzzy sort of town,<br />

skewed by the fact that I had mostly visited it on<br />

a Friday or a Saturday night as a teenager, but as I<br />

started coming down here to build the restaurant,<br />

I discovered what a fantastic place it is – except for<br />

the centre of town on Friday and Saturday nights,<br />

which is still pretty grim.<br />

Can you recommend any other restaurants,<br />

beside your own? The problem with restaurants<br />

is that one bad experience and you go off them. My<br />

favourite used to be [names city centre pub] but<br />

one night before Christmas it was too cold there,<br />

and the phone kept ringing and ringing, and it took<br />

forever to be served. I haven’t been there again. We<br />

should all be more forgiving: restaurants are like<br />

theatres: there are lots of factors involved in getting<br />

it right, and sometimes you just have a bad night.<br />

Do you go to the pub much? Not that often any<br />

more, but I love real ales. I like the Evening Star.<br />

How would you spend a perfect Sunday afternoon?<br />

I prefer to work seven shorter days than<br />

five full ones, so I try to make every late afternoon<br />

a Sunday afternoon, hanging out with my kids, or<br />

swimming in the sea…<br />

Do you do much exercise? I’m a year-round<br />

swimmer. There’s a group of us that aims to swim<br />

every day. It’s interesting: I know people in that<br />

group better than I would if I met them down the<br />

pub every day, from the different ways they confront<br />

the challenge of getting into the water.<br />

Do you think <strong>Brighton</strong> has changed for the<br />

better while you’ve lived here? In many ways, but<br />

not in others. <strong>Brighton</strong> used to be full of underutilised<br />

spaces, like the car park with weeds growing<br />

out of it where they built the Jubilee Library.<br />

Nowadays every space possible is exploited in some<br />

way. I miss the rubble, and the city’s unselfconscious<br />

charm. But the food and coffee is definitely better!<br />

Why have you ‘converted’ the <strong>Brighton</strong>-Japan<br />

Festival into the Costume Games? I wanted a<br />

festival that was relevant to more people. In this festival<br />

we’re throwing together real people who like<br />

getting dressed up with leading costume designers<br />

from the film industry, and mixing it up. And where<br />

better to do something like that than <strong>Brighton</strong>? AL<br />

The Costume Games, 16th-20th <strong>September</strong>,<br />

thecostumegames.com<br />


Open<br />

daily<br />

from<br />

12pm<br />

DJ’s<br />

Bands<br />

Cocktails<br />

Photo Booth<br />

Areas to reserve<br />

Local beers & ales<br />

Sea facing terrace<br />

Free high speed WiFi<br />

www.patternsbrighton.com<br />

10 Marine Parade, <strong>Brighton</strong>, BN2 1TL

local musicians<br />

..........................................<br />

These Animal Men<br />

Beautifully flawed<br />

<strong>Brighton</strong> band These<br />

Animal Men had a<br />

brief but controversial<br />

stint in the 90s,<br />

finding themselves<br />

on Top of the Pops and<br />

championed by the<br />

NME, but imploded<br />

before the end of<br />

the decade. Now the<br />

band has reformed<br />

for a one-off gig<br />

in London for the<br />

launch of a new documentary (charting their demise)<br />

called Flawed Is Beautiful. We spoke to the one<br />

they used to call Hooligan.<br />

How well do you think the film captures what<br />

went on? The film catches it all. We were lucky<br />

enough by accident or design to be in the eye of<br />

the culture storm at the time. We were loud and<br />

fundamental in our views, which meant we were<br />

both lauded and hunted like animals. This made for<br />

interesting times and most of it was caught by the<br />

camera. The director Adam Foley’s talent for storytelling<br />

makes the film a testament to the times.<br />

What was the band trying to achieve? We had<br />

the colour and the noise and it didn’t represent the<br />

order of the time so this lit all the fireworks. We<br />

were pilloried for being cartoons but the truth of it<br />

was that we really were like that. Fame and careers<br />

were no driving factor at all.<br />

What, if anything, did you do wrong? Everything!<br />

As it should be…<br />

Is there a contradiction between what the band<br />

were about and the inevitable nostalgia involved<br />

in making a film 20 years later? Contradiction is<br />

maybe the wrong word. A desperate desire not to<br />

mess with our twentysomething<br />

selves. A<br />

cynical deathwish is to<br />

be avoided at all costs.<br />

What was the music<br />

scene in <strong>Brighton</strong> like<br />

when you started?<br />

There were plenty of<br />

great bands in <strong>Brighton</strong><br />

in the late 80s and early<br />

90s. We had the ‘riot<br />

grrrl’ scene associated<br />

with Huggy Bear, I<br />

think a landmark in music. It felt like a graphic<br />

novel come to life, a major influence on us. The<br />

band Spitfire lived it how they strutted it. <strong>Brighton</strong><br />

had all the rogues you could shake a stick at in<br />

those days.<br />

These Animal Men once played a gig in my<br />

school canteen in Shoreham. How did that<br />

happen? We put on a tour of schools in protest at<br />

young people being excluded from licensed concert<br />

venues. We were forced to cancel them all except<br />

yours. An English storm over nothing (a stink over<br />

the Speedking single rhetoric). We fought on too<br />

many fronts and had our Stalingrad. Glad the one<br />

gig left was in Shoreham.<br />

What exactly happened at Phoenix Festival in<br />

1994? The film tells the story of that year in UK<br />

music culminating in the festival. Suffice to say it<br />

was a Battle of Waterloo with the forces of love and<br />

total contempt fighting it out to the death. Who<br />

won is still up for debate. You will have to see it to<br />

understand. Interview by Ben Bailey<br />

These Animal Men are playing at Heaven in London<br />

on 11 <strong>September</strong> alongside S*M*A*S*H and a<br />

screening of the film. flawedisbeautiful.com<br />


Gigs In <strong>Brighton</strong>...<br />


Wednesday 2nd <strong>September</strong><br />

Concorde 2<br />

OUTFIT<br />

Wednesday 9th <strong>September</strong><br />

The Hope<br />

NIMMO<br />

Thursday 17th <strong>September</strong><br />

The Green Door Store<br />

KID WAVE<br />

Friday 18th <strong>September</strong><br />

Sticky Mike’s<br />


Tuesday 22nd <strong>September</strong><br />

Komedia<br />


Wednesday 23rd <strong>September</strong><br />

The Hope<br />


Friday 25th <strong>September</strong><br />

Bleach<br />


Sunday 27th <strong>September</strong><br />

The Prince Albert<br />

5 Sep Mini Maker Faire<br />

10 - 11 Sep Fake it ‘Til You Make It<br />

19 Sep SPECTRUM<br />

19 Sep Bring Your Own<br />

Beamer<br />

19 Sep Seun Kuti & Egypt 80<br />

22 - 26 Sep Avenue Q<br />

6 Oct Shobana Jeyasingh<br />

Dance<br />

RHODES<br />

Tuesday 29th <strong>September</strong><br />

Komedia<br />

RAG ‘N’ BONE MAN<br />

Tuesday 29th <strong>September</strong><br />

Concorde 2<br />


Tuesday 29th <strong>September</strong><br />

Komedia Studio<br />


Wednesday 30th <strong>September</strong><br />

Komedia Studio<br />

@LoutPromotions<br />

LoutPromotions.co.uk<br />

01273 709709<br />


local musicians<br />

..........................................<br />

Ben Bailey rounds up the <strong>Brighton</strong> music scene<br />


Sat 5 & Sun 6, Preston Park, 12pm, £75<br />

What’s that?<br />

A weekend in<br />

<strong>Brighton</strong> with no<br />

festival? Luckily,<br />

local promoters<br />

One Inch Badge<br />

have plugged the<br />

gap with a brand<br />

new open-air weekender in Preston Park. Whilst<br />

offering an impressive array of headliners for a<br />

first-time festival (Super Furry Animals, Billy Bragg,<br />

Roots Manuva, etc), TTP also seems like a genuinely<br />

homegrown event with locally-sourced food<br />

and drink and a ‘soapbox stage’ dedicated to local<br />

charities and community groups. <strong>Brighton</strong> music<br />

is well represented too: from The Levellers and<br />

Brakes to up-and-comers like Normanton Street,<br />

MOK, Verity Sessions and Wild Cat Strike.<br />


Sat 12, Prince Albert, 8pm, £5<br />

Even if you’ve never heard their music, you’ve<br />

probably heard the name. It’s not easily forgotten.<br />

Having peddled their peculiar brand of comedic<br />

punk since the 90s, the Beard are finally calling it<br />

a day with a blowout farewell show at one of the<br />

only venues in town that was around when the band<br />

began. Over discordant thrash and end-of-the-pier<br />

keyboard ditties, the band’s two frontmen will no<br />

doubt be doing their best terrible dancing whilst<br />

bickering about crappy holiday camps and obsessive<br />

record collectors. As if to prove their point, they’ve<br />

put together a 108-track compilation to mark the<br />

occasion. Support comes from fellow musical buffoons<br />

The Lovely Brothers.<br />


Fri 18 – Sun 20, The Haunt, 7pm, £25<br />

After five years at the<br />

Druids, <strong>Brighton</strong>’s<br />

annual post-rock<br />

festival has found a<br />

new home. Branching<br />

out to embrace<br />

ambient and cinematic<br />

sounds alongside their usual anchor of guitar noise,<br />

NWfA has booked Brooklyn loopist Julianna<br />

Barwick (pictured) and minimalist cellist Jo Quail<br />

whilst welcoming back northern post rockers Her<br />

Name Is Calla. There are plenty more acts still to<br />

be announced, but so far Written In Waters and<br />

Speak Galactic are heading up the local contingent.<br />

That an operatic diva can sit comfortably on the<br />

same bill as a wig-out krautrock trio tells you all<br />

you need to know about the diverse scope of the<br />

festival’s line-up.<br />


Tues 29, Concorde 2, 7pm, £10<br />

Though an unlikely candidate<br />

for the role of a mainstream<br />

soul singer, it looks like<br />

Rag’n’Bone Man might just pull<br />

it off. With a songwriting style<br />

that’s grounded in classic blues<br />

and soul, but bolstered by the<br />

production values of hip hop, this guy makes music<br />

that’s radio-friendly in the best possible way. It also<br />

helps that he has one hell of a voice. This night is<br />

part of a series of curated shows he’s putting on at<br />

various venues around the UK, starting off in his<br />

hometown. He’ll be performing alongside his handpicked<br />

support of Tiggs Da Author and Òlah Bliss.<br />


digital festival<br />

...........................<br />

Digi-Fears<br />

A world ruled by robots?<br />

From dystopian novels to the Frank Zappa rock<br />

opera which features a ‘nuclear-powered Pan-<br />

Sexual Roto-Plooker’, the idea of intelligent robots<br />

has habitually intrigued, worried and inspired artists.<br />

“Well, it’s the uncanny, isn’t it?” says Lorenza<br />

Ippolito. “Something that is close to our perception,<br />

our idea of ourselves. It’s near us but it’s not.<br />

There’s that kind of double take, I think.”<br />

With fellow artist Cici Blumstein, Ippolito is curating<br />

two ‘Digi-Fears’ events in <strong>September</strong>, the first<br />

of which is a panel discussion called: ‘A new world<br />

has begun! The rule of Robots!’<br />

Lorenza: My idea is just having the time during the<br />

Digital Festival to sit down and chew the fat about<br />

what robots are and what they could be, and maybe<br />

also take into consideration dystopian ideas and<br />

fears about robots, and the fact that they could take<br />

over the world. I was just interested in seeing what<br />

people think.<br />

Cici: I’m intrigued by what ever-more sophisticated<br />

robots elicit from humans. Like maybe feelings<br />

of possibly being replaced.<br />

Lorenza: It’s interesting, the word robot<br />

comes from a Slav word meaning<br />

slave. So that kind of sets the<br />

intention of what these machines<br />

are, for us, in a way. Or should be,<br />

for us. But at the same time they<br />

might become more clever and<br />

take over.<br />

I’m also interested in the<br />

idea that with every<br />

new technological<br />

advance, we lose a way of thinking. When photography<br />

came into mass usage, the idea of perception<br />

of space and distance changed forever. So how will<br />

robots change our perception of housework… Or<br />

sex workers? They’ve already completely changed<br />

the idea of war making. If you give computers,<br />

algorithms, the power to decide who to kill or who<br />

not to kill, and why, etc, that becomes… that’s a<br />

very interesting subject to discover, to talk about.<br />

Cici: It’s this humanoid kind of appearance, and<br />

capabilities that are being developed ever faster,<br />

combined with the kind of utter machineness that,<br />

once that algorithm is in place, it will do that thing,<br />

whatever that thing is.<br />

It’s that really deep question: ‘What it is to be human?’<br />

You keep knocking up against that when you<br />

talk about robots, because the aim is to get as close<br />

as possible to robots being human in some way, as<br />

convincing as possible. So then, what is that, that<br />

humanness? I think that’s why writers and other<br />

artists are so interested in them. Whereas if robots<br />

were simply boxes that speak…<br />

Lorenza: Our house is already full of machines;<br />

we’ve got washing machines, hoovers…<br />

Cici: But robots always have that extra bit that<br />

makes them somehow, not independent, but having<br />

their own agency. It’s implied somehow. That’s<br />

something that makes them very interesting.<br />

Cici: Will robots rule the world? I hope not. Would<br />

that be an improved world? I don’t think so. SR<br />

‘Digi-fears’ is part of <strong>Brighton</strong> Digital Festival. Part<br />

I, on robots, Sept 8, Fabrica, 2.30pm. ‘Part II: Help!<br />

Evil Digital Forces Are Trying To Control My<br />

Messy Body’, Sept 26, Onca Gallery, 2pm.<br />

Both free.<br />


digital festival<br />

.........................................<br />

[Data]Storm<br />

Digital rain dancing<br />

“Basically, [Data]Storm<br />

is a classical ballet<br />

about computer science<br />

theory. There are<br />

particular ideas we’re<br />

looking at, about the<br />

internet, networks, data<br />

transmission, signal<br />

processing, viruses…”<br />

This is Genevieve<br />

Smith-Nunes, a Computing<br />

teacher and dance fan who, as part of her<br />

ongoing efforts to make her subject as fun-andnon-intimidating<br />

as possible, has created two<br />

computer-science ballets.<br />

The first, [Arra]Stre, dealt with “computational<br />

thinking”, binary, algorithms, etc. “All the programmers<br />

that watched it were like, ‘Oh my - I<br />

just saw checking and validating!’”<br />

[Data]Storm follows the travels of a bit of data,<br />

played by one of the dancers. “Data has a pretty<br />

rough journey a lot of the time. It doesn’t go<br />

from my computer to yours; it goes from mine to<br />

15 different servers around the world, and then<br />

ends up on your computer. And also, depending<br />

on where it is, it might use satellite data. So then<br />

it’s got to go through the atmosphere; does that<br />

affect it, the same as electrical storms affect lots of<br />

different signals? It’s really interesting, I love stuff<br />

like this.”<br />

To make it clearer what’s going on, there’ll be<br />

some visual projections based on weather data,<br />

which will serve as a kind of metaphor. “People<br />

understand weather, they know what rain does,<br />

and what storms are, and how they travel across<br />

the world, the same way as data does.<br />

“We’re using weather patterns to create some of<br />

the choreography, so they<br />

actually dance weatherfronts<br />

and things. It’s datadriven<br />

dance, basically.<br />

“We’re using weather and<br />

climate to help people<br />

with the visualisation of<br />

abstract concepts, which<br />

may be quite hard to do.<br />

What is the internet?<br />

What is signal processing?<br />

You can’t really visualise that unless you have some<br />

kind of clue. And we use classical ballet because it’s<br />

a really good way to marry the algorithmic nature<br />

of classical ballet and computer science.”<br />

Eh? “If anyone’s done classical ballet they’ll understand<br />

that it has set sequences, set forms, and<br />

its own language, usually old French. That’s like<br />

the programming language of classical ballet. You<br />

could turn all of those motifs into a programme.<br />

Which is just the choreography, really. It’s very<br />

structured, the same way as programming is…”<br />

The student dancers chosen for [Data]Storm<br />

hadn’t been doing computer science, “but actually<br />

they really like it now. We always explain the little<br />

bit of theory that they’re going to dance. Once<br />

they do more and more movement, and start<br />

dancing, they actually have a physical memory of<br />

the theory; it’s quite interesting.”<br />

It’s hard to imagine how computer science theories<br />

could be danced, especially something like<br />

encryption. But Genevieve says that one’s in the<br />

show. “We might not be able to do it as literally as<br />

you would like, as it might look boring. We’re taking<br />

artistic license with some of it…” Steve Ramsey<br />

[Data]Storm (part of <strong>Brighton</strong> Digital Festival), The<br />

Old Market, Sept 13, 6:30 pm<br />


攀 㨀 戀 漀 漀 欀 椀 渀 最 猀 䀀 挀 漀 瀀 瀀 攀 爀 搀 漀 氀 氀 愀 爀 猀 琀 甀 搀 椀 漀 ⸀ 挀 漀 ⸀ 甀 欀 簀 琀 㨀 㜀 㜀 㜀 㔀 㔀 ㈀ 㜀 ㈀ 㜀<br />

䈀 伀 伀 䬀 䤀 一 䜀 匀 伀 一 䰀 䤀 一 䔀

theatre<br />

...........................<br />

Avenue Q<br />

Who would be a puppeteer on Avenue Q?<br />

Avenue Q’s acting-and-singing-and-dancing audition<br />

process is so competitive that no experienced<br />

puppeteer has ever made it into the cast of any of<br />

its professional runs in the UK. You need to be<br />

talented, but also willing to use that talent in a show<br />

for which you’re dressed in grey and you’re trying<br />

to blend into the background, to keep the attention<br />

on the puppet.<br />

You have to fight your actorly instincts, restraining<br />

your movements and facial expressions, expressing<br />

the character’s feelings solely through the puppet.<br />

Which you have to learn to operate - while also<br />

learning to play to the other puppet, not the puppeteer,<br />

which is “a bit like talking to someone but<br />

looking over their shoulder the whole time”.<br />

As there are only four of you, you each have to<br />

learn the lines and songs for two or three characters,<br />

and deal with the fact that some puppets require<br />

two operators. Then there’s the physical strain<br />

of holding your hand up in just the right position,<br />

for long periods, in rehearsal and during performances.<br />

And, if you’re Trekkie Monster, you have to<br />

stand on stage and enthusiastically sing about how<br />

‘The Internet is for Porn’.<br />

But actually, Nigel Plaskett, long-serving puppet<br />

coach for the UK version of Avenue Q, is very<br />

upbeat about the whole thing. The recruits see<br />

learning to act through a puppet as a challenge<br />

rather than an irritation, he says. It is physically demanding,<br />

but they’re given regular physio. Though<br />

the puppets are the stars, it’s the humans that get<br />

the applause at the end. And they get to be part of a<br />

musical which Plaskett says is so good that, though<br />

“I’ve seen it over 200 times now… I do still laugh at<br />

it, and I find that remarkable.”<br />

Given the various challenges involved, why do<br />

it with puppets at all? First of all, of course, it’s<br />

a parody of Sesame street, an affectionate look at<br />

[Sesame Street-type characters] after they’ve gone<br />

out into the real world. That was the starting point.<br />

And yes, I think you can say things with the puppets<br />

that you couldn’t say with actors. There are certain<br />

things you can’t do without the puppets because it’s<br />

physically impossible, and some things you probably<br />

wouldn’t want to do in front of an audience.<br />

Is the sex scene a particular challenge for puppeteers?<br />

Well, not so much a challenge, but… they<br />

can use their imagination at that point, be inventive.<br />

We do try and re-block that scene for each actor.<br />

Do any of the puppeteers get embarrassed<br />

about delivering certain lines to a big audience,<br />

like in ‘The Internet is for Porn? No, not at all.<br />

In fact they enjoy it, because they get such a huge<br />

response. More embarrassed, perhaps, about doing<br />

the sex scene, but they get over that quite quickly<br />

too. At least they’re not doing it themselves. SR<br />

Avenue Q, Tues 22 - Sat 26 Sept, <strong>Brighton</strong> Dome<br />

Concert Hall<br />


interview<br />

.........................................<br />

James Naughtie<br />

On life after Today and looking forward to a lie-in<br />

“‘Shambolic’ is the word people often write,”<br />

says James Naughtie, the long-serving Today<br />

programme host. He seems to get characterised<br />

as a lovable, bumbling intellectual: a<br />

deeply knowledgeable Westminster insider and<br />

asker of thoughtful, incisive and long-winded<br />

questions who, in the Radio Times’ words,<br />

‘frequently loses the weather and cannot tell<br />

listeners the correct time’.<br />

I would only add that he’s affable and talkative<br />

and interesting, and we had to reschedule the<br />

interview because he initially sent me his number<br />

with two digits the wrong way round.<br />

“I’m afraid the shambolic adjective is not<br />

entirely unfair. My wife gave me, as a birthday<br />

present, a new device, an app, where you put<br />

tags on things - your keys, wallet and so on - so<br />

you can find them. It was a very thoughtful<br />

thing. But, two days before my birthday, I lost<br />

my phone.<br />

“That side of me is inescapable; it just is the<br />

case. I once left my passport on the wrong<br />

side of the Berlin Wall; I once lost a wallet in<br />

Buenos Aires and the taxi driver drove right<br />

across the city to bring it back… I think people<br />

overdo it, though. John [Humphrys] is always<br />

going on about me chewing my polystyrene<br />

cups in the Today studio, which I maybe did<br />

once or twice.”<br />

Naughtie grew up in a village near Inverness,<br />

and started his career on the Aberdeen Press &<br />

Journal, later working at the Scotsman and the<br />

Guardian. “I loved it, phoning in stories late at<br />

night, writing against deadlines. It’s just who I<br />

am. I never really wanted to do anything else.<br />

“Funnily enough, on Today, when I get in there<br />

at 4am, writing scripts for the programme, I’m<br />

doing what I was doing as a kid journalist in<br />

the 70s. It’s the same thing: ‘What’s important<br />

about this? What’s interesting? What do we<br />

want to find out? What does it mean? What<br />

happens next?’ And I am somebody who’s<br />

always thinking A) why did they do that?, and<br />

B) what happens next?”<br />

Naughtie is “a news junkie”, who is so fascinated<br />

with the human drama of politics that if<br />

you ask him about it, you may get a nineminute<br />

answer.<br />

In this case, the answer took in: How a generation<br />

of politicians have grown up with the idea<br />

that they must never look weak or uncertain,<br />

or change their mind. Why they should be<br />

more open about the limits of their power, the<br />

awkwardness of decision making, and the fact<br />

there are no perfect solutions. And something<br />

a Congressman once told him, that the really<br />

difficult thing isn’t the policy decisions, but<br />

dealing with the fact that playing the game,<br />

and advancing your career, will likely cost you<br />

friendships.<br />

“If you have any contact with people in public<br />

life, you realise that they’ve decided to pay<br />

a heavy price,” Naughtie says. “I think most<br />

people still go into politics for very good<br />

reasons, because there are things they want to<br />

achieve. But who would live a life like that if<br />

they weren’t driven by some desire to get to<br />

somewhere near the top?<br />

“That means it can be a very lonely business,<br />

and self-doubt does come into it. Watching<br />


interview<br />

.........................................<br />

somebody fall from grace - it’s not a pretty<br />

sight. Whether you think they deserve it or<br />

not, it is sometimes a tragedy being played<br />

out on the stage. I think politics is like that;<br />

it’s not a machine, it’s a human drama, which<br />

is why it’s so fascinating.”<br />

He does acknowledge that presenting Today<br />

gets him close to the centre of that drama.<br />

But then again, he also does classical-music<br />

stuff for the BBC, and has presented Radio<br />

4’s Bookclub since 1998. Is he a hard-nosed<br />

news journalist or is he a sensitive, bookish<br />

opera lover?<br />

“I don’t know that I’m sensitive… I’m a<br />

news person; I love new things, and being<br />

out describing things, telling people what it’s<br />

like to be there. The business of politics just<br />

fascinates me. And I love getting a ringside<br />

seat at important moments.<br />

“But at the same time, I love music, books,<br />

and having a life that isn’t just about who<br />

do you vote for, who do you support, why<br />

are you voting for Jeremy Corbyn or Yvette<br />

Cooper or whoever it happens to be.<br />

“I think if you just do one thing, you get<br />

trapped in a rather tedious world. I enjoy<br />

the different sides of my life. It’s part of my<br />

personality, I suppose. Maybe I’m just a butterfly.<br />

But that’s the way I am, and I couldn’t<br />

really be anything else.<br />

“When I stop presenting Today at the end<br />

of the year, I’ll do different correspondent<br />

roles across Radio 4, broadcast about things<br />

I like, do quite a bit on the constitution in<br />

Scotland and so on, a bit of foreign reporting,<br />

a bit of fireman duty for big stories.<br />

But I’ll also do a lot of culture. So, honestly,<br />

if you’d asked me to write [an ideal] job<br />

description, what is happening to me after<br />

January is exactly what I would say. I’ll be<br />

doing the things that I want to do, but I<br />

won’t be getting up at three in the morning.”<br />

Steve Ramsey<br />

Radio 4 Bookclub, with Tessa Hadley, Fri 25<br />

Sept, 1.30pm, at Charleston, as part of the<br />

Small Wonder festival. For ticket info, see<br />

bbc.co.uk/programmes/b006s5sf. For other<br />

festival tickets, see brightonticketshop.com<br />


theatre<br />

...........................<br />

Claire Dowie<br />

John Lennon’s still wearing that skirt<br />

Claire Dowie once wrote a play about childbirth<br />

and called it Leaking from Every Orifice. A feminist<br />

humourist and pioneer of ‘stand-up theatre’, she<br />

said in 2013 that ‘when I first started stuff [in the<br />

80s] it was really radical… I’m on the curriculum<br />

now for A-level.’<br />

What is Why is John Lennon Wearing a Skirt<br />

about? It’s about growing up as a woman and the<br />

world being for men. Everything – I think it’s still<br />

true now – is sort of geared towards men. Sixties<br />

and seventies TV programmes were all men, it was<br />

Dr Who, James Bond, The Saint, Man in a Suitcase,<br />

Randall and Hopkirk Deceased… You still get films<br />

where women are going ‘yes dear, I love you dear,<br />

anything you say dear’, and they’re not actually<br />

human, for want of a word. They’re just there for<br />

the men. A lot of men do seem to think that women<br />

are just there for men, and that’s what John Lennon’s<br />

kind of about.<br />

Would that atmosphere have affected your<br />

generation’s psyches? Absolutely. Even today, you<br />

see women doubting what they want to do, and<br />

not sure whether they should be allowed to do it.<br />

They’ve been taught, from a very young age, to not<br />

be counted.<br />

I gather John Lennon also deals with clothing,<br />

like women’s clothing is meant to be good<br />

looking while men’s clothing is meant to be<br />

practical? Yeah, it’s about everything to do with<br />

women… I was watching the news this morning,<br />

watching a female newsreader. Yay, we’ve got a<br />

female newsreader, fantastic. But I was watching her<br />

desperately trying to hold her stomach in. You’re<br />

thinking ‘how can we take you seriously when your<br />

main concern is holding in your stomach?’ But<br />

that’s what women have to do to be newsreaders.<br />

This guy with his big pot belly was just standing<br />

there natural and normal.<br />

Was it easy to find humour in those themes?<br />

Yeah, because that’s the way I look at life anyway,<br />

that sort of black humour… I hate people who take<br />

things too seriously. It can be tragic, but you can<br />

laugh at it; you should laugh at it.<br />

How was John Lennon received during its initial<br />

run, in 1990? It sold out, it really took off. The audience<br />

were kind of divided between… There was<br />

a lot of division in those times. That was the height<br />

of feminism, and women’s liberation, and everybody<br />

was trying to do something, which was great, but<br />

a lot of women were worried about whether they<br />

were doing it right. It’s the same thing; women not<br />

having the courage of their own beliefs. That still<br />

goes on today, because women still aren’t encouraged<br />

to be autonomous.<br />

So the play’s still relevant? That’s the tragedy of<br />

it. Also it’s a good thing for me because I’ve got<br />

something to do. Steve Ramsey<br />

Claire Dowie performs Why is John Lennon Wearing<br />

a Skirt (Sep 29, 8pm) and H to He (I’m Turning<br />

Into a Man) (30 Sep, 8pm), both at The Otherplace,<br />

otherplacebrighton.co.uk<br />


comedy<br />

...........................<br />

Mark Thomas<br />

Forgive us our trespasses...<br />

Mark Thomas is the guy who drove a tank, decorated<br />

as an ice-cream van, to a minister’s house, and<br />

asked for tips on exporting it to Iraq. He’s the guy<br />

who, in the late 90s, posing as a PR consultant, got<br />

an Indonesian Major General to admit that ‘we do<br />

some tortures’.<br />

He’s ‘stopped arms deals… investigated everything<br />

from Coca-Cola to inheritance tax avoidance,’ and<br />

‘been arrested on numerous occasions’, according<br />

to the press release for his latest show. That document<br />

also quotes prominently the Metropolitan Police’s<br />

description of him as a ‘general rabble-rouser’<br />

and ‘alleged comedian’.<br />

Thomas started out in the 80s, ‘working on a building<br />

site by day, and hammering the comedy circuit<br />

by night,’ in the Times’ words. In the 90s, he got a<br />

Perrier nomination and his own Channel 4 series,<br />

which lasted six seasons. But he fell out with them,<br />

he later said, ‘when they suggested making Celebrity<br />

Guantanamo Bay and offered me a place’.<br />

A hard-to-classify comedian/performer/journalist/<br />

activist, he tells me his latest show is “what I normally<br />

do: go away, have adventures, cause trouble,<br />

fuck people off, come back and tell the story.”<br />

What is Trespass about? It’s about public space<br />

and the privatisation of it. About corporations buying<br />

it up, and the consequence of what I think is a<br />

mass takeover of public space.<br />

Who’s buying them? Hedge funds, management<br />

groups, the Qatari wealth fund, Mitsubishi… all<br />

sorts of people.<br />

Why? Just as an investment? Yeah. How much<br />

do you think London property has risen? It’s huge.<br />

You can basically buy a shed and wait five years and<br />

make a fortune.<br />

Why would they then want to control these<br />

spaces? If you’re going to buy it then you will<br />

want to control what happens within it. So if you<br />

buy a shopping centre, what you’ll want to do is to<br />

maximise the number of people in your shopping<br />

centre who are shopping, rather than, say, having a<br />

social gathering.<br />

What kind of effect does that kind of thing have<br />

on the public? Well, there’ll be all sorts of things<br />

that you can and can’t do. So if I go onto a public<br />

highway I can demonstrate, hand out leaflets, hold<br />

a meeting, make a speech, busk, do pavement art,<br />

anything I want. But there, you wouldn’t be able to<br />

do any of that, it’d be forbidden. Which means that<br />

rights that we have as individuals, in law, are eroded<br />

from these spaces.<br />

How did you start to realise that the subject<br />

– which at first glance seems unpromising<br />

and potentially dry – would actually make an<br />

interesting show? It’s kind of what I specialise in.<br />

I always find things that look really unsexy and go:<br />

‘Let’s make a show about that’.<br />

Do you think politicians in general are wellmeaning<br />

people? I think people have ideas and<br />

ideologies and practicalities and agendas, and someone<br />

can be totally nice and honest and reasonable<br />

and still be an utter bastard in the way they treat the<br />

poor. Steve Ramsey<br />

The Old Market, Sept 16, 8pm, £15/£13<br />


Digital treats<br />

& electronic<br />

beats<br />

Over 100 events all over<br />

<strong>Brighton</strong> all of <strong>September</strong><br />

#BDF15<br />


cinema<br />

.........................................<br />

How to Change the World<br />

The genesis of Greenpeace<br />

Jerry Rothwell’s latest<br />

documentary sprang<br />

from a serendipitous<br />

moment in a research<br />

library in the States.<br />

“The guy sitting next<br />

to me happened to be<br />

looking through reams<br />

of archive film footage<br />

shot in the early days<br />

of Greenpeace,” he<br />

tells me, “working out what to throw out.” Jerry<br />

realised he’d stumbled upon a cinematic goldmine,<br />

as the founders of the movement, “little more than<br />

a bunch of hippies in a boat”, had filmed every<br />

manoeuvre they carried out. When this involves,<br />

for example, placing a manned rubber dinghy<br />

between a whale and a Russian whaler’s harpoon<br />

gun, and watching the harpoon being fired anyway,<br />

fifteen feet over their heads, you can imagine<br />

some of the resulting footage is pretty sensational.<br />

Jerry did further research and realised that there<br />

was a human angle to the story of the early days<br />

of Greenpeace – namely the conflict between the<br />

leaders of the organisation - which could drive the<br />

narrative along, turning his movie into “something<br />

more than just another rallying eco documentary”.<br />

One of the inner circle of the group was a dedicated<br />

film-maker, who was filming the day-to-day<br />

existence of the group off and on their boat, so the<br />

struggle for power that developed, centring round<br />

their unelected and often unwilling leader Robert<br />

Hunter, was also well documented.<br />

The resulting film that Rothwell wrote and directed<br />

- How to Change the World - was seven years<br />

in the making, and he intersperses the archive<br />

footage (from 1971-1979) with specially filmed<br />

talking-heads shots from<br />

many of the people involved.<br />

These range from<br />

a synthesiser player who<br />

was employed to make<br />

whale-like noises from the<br />

Greenpeace boat’s deck,<br />

to Patrick Moore, who<br />

replaced Hunter briefly as<br />

leader of the group, and<br />

has more recently reinvented<br />

himself as an active climate-change denier.<br />

“It was quite easy to get people to talk,” says<br />

Rothwell, “because there were many different<br />

sides to the story, and everybody wanted to be in a<br />

position to voice their own.”<br />

The one protagonist who doesn’t get interviewed<br />

is Robert Hunter, who died in 2005. Nevertheless<br />

Hunter is the central character of the film. A<br />

journalist by trade, he had the vision to understand<br />

that he could manipulate the media into getting his<br />

environmental messages across to the public if he<br />

served up ‘mindbombs’: well strategized manoeuvres<br />

that would be guaranteed front-page column inches<br />

and first-item categorisation on the news channels.<br />

He was so successful he became an international<br />

hero, but the pressure that resulted from his success<br />

nearly destroyed him. It’s a gripping story.<br />

Rothwell includes excerpts from Hunter’s biography<br />

throughout the film, and ends it when he<br />

bows out of Greenpeace, in 1979, after which the<br />

organisation was converted into an international<br />

concern, under the presidency of Jeff McTaggart,<br />

based for its first ten years in Lewes. Alex Leith<br />

8pm on Sept 9 at Uckfield Picturehouse and Duke<br />

of York’s, followed by a live-broadcast Q&A with<br />

Jerry Rothwell. howtochangetheworldfilm.com<br />


BREMF <strong>2015</strong> celebrates Women through<br />

the ages – as composers, performers,<br />

inspirational characters, muses and symbols.<br />

Highlights include ancient Arabic, Jewish and<br />

Christian songs from Joglaresa, silent film and medieval<br />

music with the Orlando Consort, and a new production<br />

of the earliest opera by a female composer – Francesca<br />

Caccini’s La liberazione di Ruggiero.<br />

Tickets from £5 at bremf.org.uk<br />

or <strong>Brighton</strong> Dome Ticket Shop on 01273 709709<br />

Resident Music The Vinyl Frontier<br />

BREMF15 <strong>Viva</strong> Lewes15 v1.indd 1 Dome Box Office<br />

(Eastbourne)<br />

27/07/<strong>2015</strong> 10:22<br />

Venue if applicable<br />

Union Records<br />

seetickets.com<br />

Music’s Not Dead<br />

(Bexhill)<br />

ticketweb.co.uk<br />

Pebbles<br />

(Eastbourne shows)<br />

Age restrictions may apply.<br />

Friday 11 <strong>September</strong> — The Hope & Ruin<br />

(with friends Dictionary Pudding)<br />

DRINKS<br />

+ The Soft Walls<br />

Monday 14 <strong>September</strong> — The Hope & Ruin<br />

Girlpool<br />

+ Nai Harvest<br />

+ lilcraigyboi (DJ)<br />

Saturday 19 <strong>September</strong> — Towner Gallery,<br />

Eastbourne<br />

Club Abstract<br />

Thursday 24 <strong>September</strong> — Otherplace at<br />

the Basement<br />

H Hawkline &<br />

Gwenno + support<br />

Friday 9 October — The Haunt<br />

Two Gallants<br />

+ support<br />

Monday 26 October — Komedia<br />

Ron Sexsmith<br />

+ support<br />

Monday 9 November — Komedia<br />

Julia Holter<br />

+ support<br />

Tuesday 10 November — Komedia<br />

An evening with<br />

Alela Diane &<br />

Ryan Francesconi<br />

Tuesday 17 November — Komedia<br />

Mercury Rev<br />

+ Nicole Atkins<br />

+ Wolf Solent (DJ)<br />

Wednesday 18 November — Komedia<br />

The Mountain Goats<br />

+ The Weather<br />

Station<br />

Thursday 26 November — Komedia<br />

Built to Spill<br />

+ Disco Doom<br />


CINEMA<br />

..........................................<br />

Scalarama<br />

Great cinema… but not necessarily in cinemas<br />

With over 500 diverse events across 300 venues<br />

in over 100 towns and cities up and down<br />

the country (and beyond), Scalarama, now in<br />

its fifth year, is an openly-sourced season of<br />

film events, with each screening programmed<br />

by a different organisation or individual,<br />

often in collaboration with established exhibitors<br />

but increasingly using alternative spaces.<br />

In venues as diverse as Redroaster coffee<br />

house in Kemp Town, the <strong>Brighton</strong> Media<br />

Centre on Middle Street and the glorious<br />

Emporium theatre on London Road, there’s<br />

plenty to enjoy. Kicking off the festival at<br />

Fabrica, Duke Street, on Tuesday 1st is a rare<br />

screening of Shirley Clarke’s The Cool World<br />

(1963), the first commercial film to be set<br />

in Harlem; this cinema verité-style feature,<br />

replete with soundtrack by Dizzy Gillespie,<br />

focuses on the 14-year-old leader of a local<br />

gang as he attempts to survive the violent<br />

expectations of his environment. The film is<br />

part of a Clarke retrospective that includes<br />

the stunning Portrait of Jason (1967), Ornette<br />

Coleman: Made in America (1985) and debut<br />

feature The Connection (1961). If nothing else,<br />

do try to see these films.<br />

Other highlights include a screening of the<br />

German Expressionist classic The Cabinet<br />

of Dr. Caligari with a live score by Partial<br />

Facsimile, more horror glory with a screening<br />

of two versions of Nosferatu, a season of films<br />

based on the life and work of Oscar Wilde,<br />

Germaine Dulac’s avant-garde classic The<br />

Seashell and the Clergyman, on 16mm, with<br />

a live score by Drill Folly and Miles Brown,<br />

and, as a fitting Closing Night gala, a chance<br />

to see Alejandro Jodorowsky’s surreal, psychedelic<br />

nightmare, Santa Sangre.<br />

Another stand-out moment is the screening<br />

of B-Movie: Lust & Sound in West Berlin<br />

1979–1989 (<strong>2015</strong>), playing at the Duke of<br />

York’s on Sunday 27th. Brought to us by the<br />

good people at KissKissKino and Sensoria,<br />

this documentary on the music and art scene<br />

in West Berlin prior to the fall of the Wall is a<br />

fascinating insight into this very special time<br />

and place that attracted radical artists of every<br />

hue to create a unique moment in popular<br />

(sub-)culture. Serious fun.<br />

Yoram Allon<br />










IN HOVE.<br />


MON—SAT<br />

10.30AM—6PM<br />


12PM—5PM<br />




CCA_PallantHouse_Advert_106x148_Jan<strong>2015</strong>_v1AW.indd 1 17/01/<strong>2015</strong> 10:12

cinema<br />

..........................................<br />

Yoram Allon takes a look at other film highlights<br />

Elsewhere in the city, movie magic continues<br />

in many different guises. Firstly, in the<br />

firm hope that we enjoy more of an Indian<br />

Summer than the supposed real thing,<br />

<strong>Brighton</strong>’s Big Screen keeps the flag flying<br />

for classic and family films showing on the<br />

beach just east of Palace Pier, through to<br />

Sunday 13th. Highlights include Richard<br />

Linklater’s tour-de-force, Boyhood; Ridley<br />

Scott’s masterpiece, Blade Runner; Alfonso<br />

Cuarón’s groundbreaking Gravity; obvious<br />

but still satisfying selections such as Quadrophenia<br />

and <strong>Brighton</strong> Rock; and the full-on<br />

genius that is School of Rock. Just pray that<br />

the rain holds off.<br />

Meanwhile, over at the Duke of York’s, as<br />

well as getting fully behind the Scalarama<br />

shenanigans (including the screening of<br />

F. W. Murnau’s Nosferatu with a live score<br />

by harpist Elizabeth-Jane Baldry as part<br />

of their 105th birthday celebrations on<br />

Tuesday 22nd) Andrew Haigh’s excellent<br />

45 Years, starring Charlotte Rampling and<br />

Tom Courteney, while Friday 11th sees the<br />

opening of Woody Allen’s latest offering, Irrational<br />

Man. Both these strong films herald<br />

the return of more sensible fare after the<br />

inanity of the traditional summer blockbuster<br />

season.<br />

Other events of note at DoY’s this month<br />

include the all-day one-off screening on<br />

Sunday 6th of Bruno Dumont’s tragiccomic<br />

crime story P’tit Quinquin, the French<br />

TV four-part mini-series that’s been getting<br />

rave reviews and favourable comparisons<br />

to David Lynch’s iconic Twin Peaks, as well<br />

as Roger Waters’ The Wall getting another<br />

airing on Tuesday 29th.<br />

In addition to these fine filmic events, the<br />

DoY’s ‘Vintage Sundays’ strand continues,<br />

with screenings of – amongst others –<br />

Marco Ferreri’s black comedy La Grand<br />

Bouffe (6th) and John Huston’s classic, The<br />

Misfits (13th), scripted by Arthur Miller and<br />

starring Marilyn Monroe and Clark Gable.<br />

Over at the Duke’s at Komedia, the excellent<br />

‘Discover Tuesdays’ strand presents<br />

its customarily strong mix of features and<br />

documentaries, including the incendiary<br />

Best of Enemies (1st); Alice Rohrwacher’s<br />

slow-burning family melodrama, The<br />

Wonders, starring Monica Belluci (8th);<br />

and award-winning Andalucia-set murder<br />

mystery Marshland (15th).<br />



art<br />

.....................................<br />

Solange Leon de Iriarte<br />

Whatever the weather<br />

Solange Leon de Iriarte spends more of her time<br />

working outdoors than in her studio. The Scottishborn<br />

Chilean artist creates her pieces in situ, sitting<br />

outside for hours, enduring the great British weather.<br />

“I almost died of hypothermia twice this year; I had<br />

heat packs on my wrists and feet, and on my back, but<br />

if it’s February and you’re not moving, your body gets<br />

really cold,” she says. Rather than try to protect her<br />

work from the elements, she embraces the impact they<br />

can have on a drawing: “What rain does to ink is really<br />

beautiful;” she explains, “the lines blend and they soften.”<br />

Puppy paw prints and seagull droppings have also<br />

made their mark on her work.<br />

Solange has dedicated her time to her art since leaving<br />

a career in architecture five years ago. “My mum<br />

wouldn’t let me study art, because she was a painter herself<br />

and she didn’t want me to have to go through the<br />

hardship and sacrifices of being an artist. She said, ‘if<br />

you want to study art, you have to pay for it yourself.’ So<br />

I had to study architecture, but, me being me, I chose<br />

the most creative, avant-garde, artistic architecture<br />

school I could find.”<br />

She studied in Chile at the University of Valparaiso,<br />

which uses an area of land called the Open City to<br />

give students the opportunity to design and build experimental<br />

structures, which their professors then live<br />

in. “The really exciting part of designing a building,<br />

for me, was how people were going to use it,” she says,<br />

“but detailing windows was not so great.” The school<br />

encouraged students to devote their time to drawing,<br />

telling them to ‘come to class with 20 drawings, or don’t<br />

come to class at all.’<br />

While architecture remains her key influence, the energy<br />

and movement in her pieces give life and soul to<br />

an otherwise stationary structure. You can tell, without<br />

seeing any human figures, whether it has been a busy<br />

day or a quiet one, stormy or sunny. “It’s the expression<br />

of movement that matters,” she says. “I drew a<br />

piece during Paddle Round the Pier, and the beach<br />

was packed. These pieces are more difficult to draw,<br />

they’re ‘noisy’ pieces.”<br />

Just before part of the West Pier broke away last<br />

winter, she managed to get one of the last drawings<br />

of the structure in its previous state. “I went down to<br />

the seafront in the wind and rain, and drew for three<br />

hours. By the time I’d finished my drawing was so wet<br />

I couldn’t take it home, so I brought it to the café underneath<br />

the Bandstand and asked if I could leave it<br />

there until the rain stopped. By the time I got back to<br />

pick it up, the structure had fallen.” RC<br />

Solange’s work is at Cameron Contemporary Art, on<br />

Second Avenue, in the ‘Black White Light Dark’ Show,<br />

5 Sept–5 Oct. cameroncontemporaryart.com.<br />

solangeleon.com<br />


design<br />

................................<br />

Batsuits you, sir<br />

Costume specialist Graham Churchyard<br />

What attracted you to working in costume?<br />

I grew up in London, so from a young age I was<br />

able to see what people were wearing on the<br />

Kings Road and Carnaby Street, then, as a teen,<br />

I got into punk and the New Romantics. My first<br />

costume job was a bit of an accident. I applied to<br />

work for a company called Bermans and Nathans.<br />

I didn’t really know what they did; I just thought<br />

it sounded interesting... I worked there for seven<br />

years, on many productions, with many designers.<br />

Working on things like The Empire Strikes Back<br />

and Superman II, I realised costume isn’t just about<br />

sequined dresses and funny hats; it can be technical<br />

and challenging.<br />

You worked on the first Batman film as well as<br />

The Dark Knight and The Dark Knight Rises.<br />

How has Batman changed? Batman has always<br />

had a wonderful silhouette, but what has changed<br />

greatly has been the technology and materials that<br />

have gone into creating it. Early Batman had a<br />

foam-latex bull neck that caused the so-called ‘Batturn’,<br />

meaning he had to swivel at the waist. By<br />

developing a lighter foam mixture, we improved<br />

that. For The Dark Knight and The Dark Knight<br />

Rises, he was still sculpted and moulded, but the<br />

neck became a separate piece from the cowl.<br />

What does your job involve exactly? I start by<br />

pulling the team together: model makers, technicians,<br />

cutters, dressmakers, on-set standbys... The<br />

number of people involved in a costume like Batman<br />

is quite incredible. With Costume FX we use<br />

both established techniques, and try to innovate<br />

with new materials and technologies. We make<br />

prototypes, for example, if we have an army we<br />

make samples that can be reproduced in-house or<br />

in workshops all over the world. We might have<br />

leatherwork from India or chainmail from Italy. I<br />

have to ensure that we get the best for the budget,<br />

in terms of visuals and practicality.<br />

What do you love about your work? The greatest<br />

pleasure is in combining the creative design<br />

side of a costume with the technical and practical<br />

aspects. I also like the collaboration between<br />

myself, the costume designer, director and in later<br />

stages, the actor. This worked particularly well<br />

during the making of the Bane mask on The Dark<br />

Knight Rises. The point when you see the actor<br />

really owning the costume - seeing how they will<br />

take it forward to help them create the character -<br />

is probably the most exciting moment.<br />

What will you be talking about at The Costume<br />

Clinic on 19th Sept? I will be part of the<br />

‘Bat Panel’ - a line-up of professionals, including<br />

Oscar-winning costume designer Lindy Hemming,<br />

that have worked on every Batman film. We will<br />

talk through how things have changed, as well as<br />

how much has stayed the same… There’ll be a few<br />

tales from behind the scenes too.<br />

Anything to add? Capes are cool… and a leading<br />

man needs the right hat. Chloë King<br />

The Batsuit will be on show at <strong>Brighton</strong> museum<br />

until Sept 20, as part of thecostumegames.com<br />


Charleston, Firle, near Lewes,<br />

East Sussex, BN8 6LL<br />

For more information call 01323 811626<br />

Tickets from 01273 709709 or<br />

brightonticketshop.com<br />


literature<br />

..........................................<br />

Unexploded<br />

Alison MacLeod’s frightened <strong>Brighton</strong><br />

Alison MacLeod’s 2013 Bookernominated<br />

novel, Unexploded, has<br />

been picked by the organisers of<br />

this year’s Shoreham Wordfest as<br />

the ‘festival read’. Unexploded spans<br />

a year of life in <strong>Brighton</strong> during<br />

WW2, 1940-1941, when the town<br />

was under threat of Nazi invasion.<br />

This very real sense of threat and<br />

terror is at the forefront of the<br />

novel and permeates the life of<br />

every character.<br />

However, as MacLeod was keen<br />

to point out, when I meet her at The Emporium<br />

in <strong>Brighton</strong>, this is not a book which is set solely<br />

in the past: “When I write historically,” she says,<br />

“I am only ever interested if I am really writing<br />

about the contemporary”.<br />

It is no surprise, then, that the idea for Unexploded<br />

was conceived during the days after the 2005 London<br />

bombings. “That’s really how the book came<br />

about, I didn’t start off by any means thinking I<br />

want to write a WW2 novel.” Thinking about the<br />

way in which the fear of terrorism is felt across the<br />

world and perpetuated by the media, MacLeod<br />

turned to WW2, and <strong>Brighton</strong> in particular, to<br />

explore how we are currently affected by this<br />

persistent sense of threat.<br />

Though London was devastated during the war,<br />

“with <strong>Brighton</strong> it was different, it was more<br />

psychological. Bombs were being dropped but<br />

they weren’t constantly being dropped, at Park<br />

Crescent there were unexploded bombs. But what<br />

interested me was that the Nazis had a psychological<br />

strategy for <strong>Brighton</strong>. They called it terrorism<br />

and it was about terrorising the<br />

population.”<br />

MacLeod was also drawn to writing<br />

about <strong>Brighton</strong> after having<br />

noticed a paucity of novels set in<br />

this city: “It is so rich, there are all<br />

these little palimpsests of stories<br />

here and a whole range of life,<br />

from wealth to poverty, real light<br />

and darker elements... I just became<br />

alert to the possibilities and<br />

had antennae up for <strong>Brighton</strong> and<br />

then on the antennae a sense of<br />

untold stories began to arrive. The way <strong>Brighton</strong><br />

had been affected had not really been explored.”<br />

By setting the book in <strong>Brighton</strong>, MacLeod<br />

succeeds in shedding light on the reality of the<br />

situation whilst simultaneously creating a palpable<br />

sense of surrealism. Walking around the streets of<br />

<strong>Brighton</strong> after reading Unexploded one wonders<br />

how this city could have ever had an internment<br />

camp at the racecourse; how it bore this<br />

interminable sense of invasion. But we know that<br />

it did, and MacLeod’s use of hindsight enables the<br />

book to avoid sentimentalism and nostalgia and<br />

instead captures “the tissue paper of stories, shifting<br />

about, layer upon layer... at the same time not<br />

letting it shift so much that the tension falls out<br />

but to keep a sense of urgency. For me very logical<br />

realism makes too safe a container for a story and<br />

so I wanted those touches of the surreal to shake<br />

it… just to make it seem like it can’t be true, but it<br />

is.” Holly Fitzgerald<br />

Shoreham Wordfest, 20 Sept-10 Oct,<br />

shorehamwordfest.com<br />


ighton maker<br />

................................<br />

‘Mr Flame’<br />

Inventor Paul Harrison<br />

How would you describe what you do? I don’t<br />

know quite... explore, invent. I’m the inventor of<br />

the silk flame illusion – that was back in 1999. I<br />

was exploring just for my own amusement, making<br />

some wind-driven puppets, and I came up with<br />

the flame. Then I worked with everyone: Disney,<br />

MTV, the Brit awards, the Royal Opera House,<br />

the Metropolitan Opera house. I had four years of<br />

being ‘Mr Flame’ and going round the world with<br />

it, but I had some dodgy business people, it all went<br />

a bit squirly-wirly and lots of people copied me, so<br />

I developed into other prop-making stuff. But the<br />

flame gave me a bit of wind under my wings.<br />

What did you do next? I moved down here and<br />

did a whole load of signs – all the big hand-painted<br />

shop signs – for everybody pretty much around<br />

<strong>Brighton</strong>. And I’m quite famous for my inside-out,<br />

upside-down and back-to-front piano which I used<br />

to busk with. I found the piano in a skip - you find<br />

them all the time in skips - and opened it up and<br />

took out all the moving parts. It’s tuned to all the<br />

black notes. I’ve made some dreamy, other-worldly<br />

music on it, now I’m making film music for the<br />

BBC. It’s been used on The Voice.<br />

What have you been making recently? An<br />

illusion, for a new bar called The Yellow Book on<br />

York Place. It’s going to be like looking down a<br />

bottomless ladder surrounded by three hundred<br />

bottles of champagne. It’s about a metre and a half<br />

squared and about the same deep and people will<br />

walk across the top of it. I had the idea and made a<br />

prototype of it, before someone turned them onto<br />

me. You’ve just got to make things when you think<br />

of them so you can show people.<br />

Where do you work? This amazing place came<br />

up, at The Old Foundry in Lewes. It’s this incredible<br />

hundred-year-old building where the ironwork<br />

for the West Pier and <strong>Brighton</strong> station was built,<br />

but it’s due for demolition. It’s enabled loads of<br />

things for loads of people. I had a big studio in<br />

<strong>Brighton</strong> but it was nowhere near as big as this. I<br />

have the space to store things which never really<br />

would have got off the ground and to tinker about<br />

all day. If you want to find out more about the<br />

building there’s an interesting video on my website,<br />

or have a look at lewesphoenixrising.com.<br />

What’s your favourite invention? My favourite is<br />

whatever I’ve made the week that I make it. Then it<br />

gets put on the backburner and I make something<br />

else and the new thing becomes the favourite. RC<br />

harrisonsbrighton.co.uk<br />


Photo by Katya de Grunwald<br />

Photo by Amelia Shepherd<br />

brighton maker<br />

................................<br />

The Maker’s Atelier<br />

Kemptown’s maven of handmade<br />

The Maker’s Atelier occupies an achingly enviable<br />

subterranean slice of a Regency block in Kemptown<br />

and its founder, Frances Tobin, seems as<br />

comfortable in her own skin as she is in her super<br />

stylish (homemade) clothes. Put simply, it’s a place<br />

to spend a day learning dress-making skills from a<br />

person with a dyed-in-the-yarn love of textiles. But<br />

it’s so much more. Her clothes, she says, “are really<br />

for any woman but she’s all about style. It’s about an<br />

attitude rather than an age”. And she’s right.<br />

It’s also the home of her online pattern store. If<br />

you’ve ever bought a dressmaking pattern, it can<br />

be an underwhelming experience, but The Maker’s<br />

Atelier’s patterns - the very objects themselves - are<br />

beautiful. Promisingly packaged in a string-tied,<br />

card envelope, there are two coats, two dresses,<br />

tops, a pencil skirt and a jacket to choose from and,<br />

for those lacking Frances’ feel for fabric, they come<br />

as makers’ kits too, including all the material and<br />

trim you’ll need. For the fully immersive experience,<br />

you can make a dress in a day or a coat in a<br />

weekend with Frances to guide you. Her premise is<br />

that the simplest shapes, in beautiful fabrics, make<br />

the most successful clothes.<br />

But like many things that look simple and effortless,<br />

The Maker’s Atelier is the creative tour de<br />

force of decades of experience. Frances made her<br />

first skirt when she was eight, and already obsessed<br />

with fabric. Her father was an avid collector of<br />

textiles and her mother made clothes for her and<br />

her four siblings, so the scene was well set. She<br />

names David Bowie as an early influence; “When<br />

I saw him I was living in Worcester, hating convent<br />

school, and I realised – Oh God – I can get out<br />

of here!” If he could change his image every week,<br />

it meant she could too and, after studying Textiles<br />

at <strong>Brighton</strong> University and the Royal College, she<br />

spent years in the industry, initially at Les Copains<br />

(‘for the love of yarn’) and then stints with Versace,<br />

Thierry Mugler, Gucci Sport and others.<br />

She’s inhabited squats and tumbledown breweries<br />

and elegant apartments in Bologna but now lives<br />

and works in the Kemptown atelier. The space itself<br />

is an exercise in the same pared-back cool; a<br />

blank canvas, full of possibility and worthy of its<br />

own article. The sample clothes on the rail are all<br />

simple lines and beautiful fabrics and, Frances tells<br />

me, incredibly easy to make. I can’t think of a nicer<br />

place to spend the day.<br />

Of her latest project she says “I loved building<br />

brands and thought it would be a challenge to<br />

build the Net-a-Porter of patterns. Luxe and what<br />

I wanted in my world. Then I thought ‘I’m going<br />

to do this’”.<br />

And so she has. The Maker’s Atelier has just celebrated<br />

its first birthday and her mission to inject<br />

style into homemade is firmly on track.<br />

Lizzie Lower<br />

Patterns £22.50, Makers’ Kits from £30, Experience<br />

Days from £195. themakersatelier.com<br />


we try...<br />

........................................<br />

Knicker making<br />

A frill a minute<br />

I’m at Sew Fabulous, a not-for-profit sewing<br />

school run by friends Sue and Susie in the Open<br />

Market, learning how to sew my very own pair of<br />

frilly knickers.<br />

Firstly Sue takes me through the basics of using<br />

the sewing machine: checking that it is set up<br />

correctly and threading the machine. “It’s always<br />

good when you’re starting a new project to test<br />

out your stitching on a piece of scrap before you<br />

start using your expensive fabric,” she explains, and<br />

we practise a few straight stitches and the zig-zag<br />

stitch which we’ll be using to sew the elastic onto<br />

the knickers, to allow them to stretch.<br />

After I’ve carefully selected my fabric and chosen<br />

a co-ordinating elastic trim, Sue shows me how to<br />

correctly cut out the pieces, resting the blunt edge<br />

of the fabric shears on the table, to keep the fabric<br />

laying flat. I cut out the front and back<br />

pieces, and the gusset, ready to be stitched<br />

together. The construction of the knickers<br />

is relatively straight-forward and<br />

quite therapeutic. One seam in, I’ve<br />

already decided I’m going to make<br />

myself ten more pairs when I<br />

get home, and another pair for<br />

everybody I know. Susie tells<br />

me that they get lots of hen<br />

parties booking in for group<br />

workshops, and their cosy<br />

studio feels like the perfect place<br />

for a little natter.<br />

Sue started sewing almost by accident;<br />

as a young mother looking to<br />

develop a new skill she found a college<br />

which also had a crèche, so she<br />

enrolled on courses in sewing and<br />

carpentry. I think it’s obvious which<br />

one won. Susie started making her own clothes<br />

from a young age and became fed up when the<br />

things she had made started to fall apart because<br />

she hadn’t known how to make them properly, so<br />

she decided to learn. They’ve been running Sew<br />

Fabulous together for about a year, but running<br />

these workshops is only the beginning of their<br />

plans for the studio.<br />

Their ultimate aim is to be able to offer free or<br />

subsidised sewing lessons to people who need<br />

them most. The unemployed, young people from<br />

disadvantaged backgrounds and people on low<br />

incomes are charged on a sliding scale according<br />

to what they can afford. To fund this, Sue and Susie<br />

teach regular workshops like the one I’ve been<br />

on today, as well as after-school clubs for kids and<br />

parties for adults. They also hold ‘sewing socials’<br />

where anyone who needs a machine<br />

or space to work can come along for an<br />

hourly fee, and one of the ladies will be<br />

on hand for support.<br />

I get to the final stage of making my<br />

knickers: stitching the elastic trim<br />

around the edges. Sue shows<br />

me how to stretch the elastic<br />

evenly and stitch it into<br />

place, which is really fiddly<br />

and takes up all of my<br />

concentration.<br />

On closer inspection, my<br />

stitching is all over the place,<br />

I’ve let the fabric overlap the trim in<br />

places and underlap it in others, but<br />

I don’t care. I’ve made them myself<br />

and I shall wear them with pride.<br />

Rebecca Cunningham<br />

sew-fabulous.org<br />


talking shop<br />

................................<br />

Gladrags<br />

Who do you want to be today?<br />

How did Gladrags begin? I used to work in community<br />

theatre as a costume designer and I always<br />

had a tiny budget, so I had to be very creative with<br />

what I could find and adapt. At the same time, I<br />

worked in nursing, caring for elderly people. I had<br />

to run reminiscence sessions, helping them to remember<br />

things from their past and tell stories; I<br />

wanted to make costumes accessible to projects like<br />

these. I started to develop my own small collection<br />

which I lent out, and it grew organically from<br />

there. Now I’ve got a fantastic team of volunteers<br />

and around 6,000 costumes which we hire out to<br />

schools, community groups and amateur dramatics.<br />

How much does it cost to hire a costume?<br />

Schools and community groups pay about £3-£6<br />

for an adult’s costume. We have people coming to<br />

hire costumes for parties and festivals who pay about<br />

£20-£25, which is part of how we subsidise lending<br />

for those who need it, but only a small part. We also<br />

do a lot of fundraising.<br />

What will you be doing this month? During<br />

the Costume Games we’re going to be within the<br />

arena, and we’re running a special costume deal.<br />

There are lots of events where people need to turn<br />

up in costume and we want to encourage them to<br />

come here! For some of the events we are running<br />

a costume bus. On the Sunday there’s a costume<br />

carnival for children where people are encouraged<br />

to come dressed up. Any proceeds will be going towards<br />

Gladrags - it’s our 21st year, and as a way of<br />

celebrating that, we’re holding 21 outreach events.<br />

What does your outreach work involve? We<br />

teach sewing skills to children and young people,<br />

focusing on those living in deprived areas, as<br />

a means of maintaining their own clothes. Some<br />

sessions we run during school time for kids with<br />

special needs; tasks like threading a needle develop<br />

fine motor skills, and there’s a direct correlation<br />

between this and literacy or handwriting skills. It’s<br />

also a nurturing space for the child; they could be<br />

very bright but issues around self-confidence might<br />

mean that they’re not be doing so well at school.<br />

Do you teach any adults? We also work with<br />

communities and groups who aren’t able to access<br />

all of what <strong>Brighton</strong> has to offer, either because it’s<br />

beyond their budget or beyond their cultural interest.<br />

In my experience, communities who are geographically<br />

on the fringe of everything that’s going<br />

on can feel like it doesn’t apply to them. We’ll<br />

be holding a big fundraiser on 27th November to<br />

help us raise funds towards our 21st birthday aim of<br />

reaching communities like these with our popular<br />

dressing-up, storytelling, sewing and reminiscence<br />

projects in their area.<br />

Rebecca Cunningham talked to Vania Mills<br />

01273 609184/gladragscostumes.org.uk<br />


䤀 一 䐀 䤀 䔀 ⴀ 䴀 䄀 刀 吀 䈀 刀 䤀 䜀 䠀 吀 伀 一<br />

䈀 爀 椀 最 栀 琀 漀 渀 ᤠ 猀 渀 攀 眀 椀 渀 搀 漀 漀 爀 洀 愀 爀 欀 攀 琀 椀 猀 漀 瀀 攀 渀 椀 渀 最 漀 渀 一 漀 爀 琀 栀 匀 琀 爀 攀 攀 琀 ⸀<br />

∠ 䄀 栀 甀 戀 昀 漀 爀 搀 攀 猀 椀 最 渀 攀 爀 猀 Ⰰ 洀 愀 欀 攀 爀 猀 愀 渀 搀 椀 渀 搀 攀 瀀 攀 渀 搀 攀 渀 琀 戀 甀 猀 椀 渀 攀 猀 猀 攀 猀<br />

∠ 䰀 漀 眀 挀 漀 猀 琀 Ⰰ ˻ 攀 砀 椀 戀 氀 攀 琀 爀 愀 搀 椀 渀 最 猀 瀀 愀 挀 攀 椀 渀 愀 栀 椀 最 栀 昀 漀 漀 琀 昀 愀 氀 氀 愀 爀 攀 愀<br />

伀 倀 䔀 一 䤀 一 䜀 匀 伀 伀 一 ℀<br />

䘀 漀 爀 猀 瀀 愀 挀 攀 愀 渀 搀 猀 琀 愀 氀 氀 攀 渀 焀 甀 椀 爀 椀 攀 猀 Ⰰ ǻ 氀 氀 椀 渀 琀 栀 攀 漀 渀 氀 椀 渀 攀 昀 漀 爀 洀 愀 琀 㨀<br />

眀 眀 眀 ⸀ 椀 渀 搀 椀 攀 ⴀ 洀 愀 爀 琀 ⸀ 挀 漀 ⸀ 甀 欀 漀 爀 攀 ⴀ 洀 愀 椀 氀 栀 攀 氀 氀 漀 䀀 椀 渀 搀 椀 攀 ⴀ 洀 愀 爀 琀 ⸀ 挀 漀 ⸀ 甀 欀<br />

㘀 ⴀ 㜀 一 漀 爀 琀 栀 匀 琀 爀 攀 攀 琀 Ⰰ 䈀 一 䔀 䈀 ⠀ 攀 砀 倀 椀 攀 爀 ⼀ 䌀 愀 爀 最 漀 猀 琀 漀 爀 攀 Ⰰ 渀 攀 砀 琀 琀 漀 䄀 洀 攀 爀 椀 挀 愀 渀 䄀 瀀 瀀 愀 爀 攀 氀 ⤀

the way we work<br />

This month, Adam Bronkhorst photographed some of <strong>Brighton</strong>’s seamstresses, alterers<br />

and dressmakers. “My influence for the shoot came from a documentary I’d watched<br />

about a photographer who didn’t shoot in ‘available light’ – as most photographers<br />

describe lighting conditions – but preferred to shoot in ‘available darkness’. He<br />

thought people were more interesting and relaxed in darker conditions.” We asked<br />

them to tell us about the item of clothing they bought longest ago.<br />

www.adambronkhorst.com | 07879 401 333<br />

Annia at The Zip Yard, thezipyard.co.uk<br />

“Actually these trousers; I got these zips put in and one day I fell off my bike<br />

and tore the knees so I got the guys here to sew in some patterned patches.”<br />


the way we work<br />

Evangelina at Helen’s Alterations, helensalterations.co.uk<br />

“I have a lot of clothes from the 90s. The other day I was going to a gig and<br />

I pulled out this ridiculous bias-cut plaid dress that I wore as a student.”

the way we work<br />

Kat at Sew in <strong>Brighton</strong> sewing school, sewinbrighton.co.uk<br />

“The item I’ve had the longest is probably something I made myself. The first pair of jeans<br />

I made were a pair of hipster flared jeans, about 10 years ago.”

the way we work<br />

Wendy at Sew What Darling, sewwhatdarling.co.uk<br />

“It would be my first pair of stilettos, which I bought aged 15, from Saxone<br />

as they were the only place I could buy size two shoes from – I have ridiculous feet!”

Beat the traffic & arrive in style<br />

Long furlong Barn have teamed up with Elite Helicopters<br />

to offer flights to Goodwood Festival of Speed<br />

and The Goodwood Revival.<br />

Arrive at the barn and enjoy a full english breakfast<br />

whilst taking in the stunning views before being picked<br />

up by Elite Helicopters for your 10-15 minute flight to<br />

Goodwood avoiding all the traffic and arriving in style!<br />

Find out more at<br />

www.elitehelicopters.co.uk<br />

Call us: 01903 871 594<br />

Email us: EnquiriEs@longfurlongbarn.Co.uk<br />

Visit us: www.longfurlongbarn.Co.uk<br />

find us: Clapham | worthing | wEst sussEx | bn13 3xn<br />

Axtell Hairdressing , 4 Station Street, Lewes

the way we work<br />

Caroline at The Fashion School, thefashionschool-uk.com<br />

“I’ve got a really great old 20s dress. My mother was an antique clothes seller<br />

on Kings Road and I used to wear these clothes to clubs and trash them.”

Food & Drink directory<br />

Raise Bakery<br />

Our well-established, family-run bakery has opened its first shop offering<br />

a wide range of sweet treats, breads, lunches, coffees, breakfast options,<br />

smoothies and milkshakes. Everything in store is handmade in Sussex with<br />

a modern British/American style. We also stock a range of baking supplies<br />

for the avid baker. Free Wi-Fi and power points. Join us in our friendly,<br />

relaxed environment, open seven days a week.<br />

facebook.com/raisebakery<br />

twitter.com/raisebakery<br />

100 Church Road, Hove, 01273 778808, raisebakery.com<br />

No.32<br />

No.32 has it all and<br />

more in this all-in-one<br />

venue. A restaurant, bar<br />

and club in the heart of<br />

<strong>Brighton</strong>, serving freshly<br />

made food and drink<br />

seven days a week. From traditional grills to<br />

fashionable burgers to freshly made cocktails.<br />

With the sound of great music from local DJs<br />

you can eat, drink and dance at this all-encompassing<br />

modern setting, so come and visit us for<br />

an evening to remember!<br />

Burgers, grills, bites, platters, sandwiches, salads.<br />

Modern & classic cocktails. Craft & draught<br />

beers. Happy hour Sundays - Fridays 5-7pm.<br />

No.32 is a restaurant, bar and exclusive late<br />

night venue in <strong>Brighton</strong> with regular live<br />

music and special events.<br />

32 Duke Street, 01273 773388, no32dukestreet.com<br />

71 East Street, 01273 729051, terreaterre.co.uk<br />

Terre à Terre<br />

Al fresco dining<br />

on the terrace and<br />

now street dining<br />

on East Street at<br />

weekends available<br />

at Terre à Terre,<br />

the local go-to for<br />

the most creative<br />

vegetarian food in<br />

<strong>Brighton</strong> and always<br />

delivered with a cheeky little pun! Open seven<br />

days a week offering brunch, lunch and dinner<br />

options from small plates, sharing tapas<br />

to three-course set meals and not forgetting<br />

their magnificent afternoon-tea menu, multitiered<br />

savoury, sweet and traditional delights<br />

available from 3 till 5pm daily, and lots of<br />

organic wines, beers and juices! Summer, true<br />

<strong>Brighton</strong> style!<br />

MARKET<br />


Situated in the heart of Brunswick village, MARKET Restaurant and Bar will<br />

be all about the very best of Sussex. MARKET is to be a Marketplace; a place<br />

for great people, for great food and for great drink. MARKET will be a hub,<br />

a hive of activity and the setting for many good times. Sharing is very much a<br />

theme of MARKET with a wide variety of Small Plates on offer plus<br />

MARKET Classics, Sunday roasts and the weekend Big MARKET Brunch.<br />

Sit at one of the many stools at the kitchen bar that overlooks the chefs, take a<br />

table or book the upmarket private dining room, ‘DownMARKET’.<br />

42 Western Road, 01273823707, market-restaurantbar.co.uk

advertorial<br />

Boho Gelato<br />

6 Pool Valley, 01273 727205, bohogelato.co.uk<br />

Ranging from Vanilla to Violet, Mango to Mojito and Apple<br />

to Avocado, Boho’s flavours are made daily on the premises<br />

using locally produced milk and cream and fresh ingredients.<br />

24 flavours are available at any time (taken from their<br />

list of now over 400) and for vegans, Boho Gelato always<br />

stock at least five non-dairy flavours. Gelato and sorbet<br />

is served in cups or cones or take away boxes.They were<br />

recently included in the Telegraph’s top ten ice creams in the<br />

UK and last summer were featured in Waitrose magazine.<br />

Saint Andrew’s Lane, Lewes, 01273 488600<br />

209 High Street, Lewes, 01273 472769<br />

Pelham House, Lewes<br />

A beautiful 16th-century four-star town house<br />

hotel that has been exquisitely restored to create<br />

an elegant venue. With beautiful gardens, a<br />

stylish restaurant and plenty of private dining<br />

and meeting rooms it is the perfect venue for<br />

both small and larger parties.<br />

pelhamhouse.com<br />

Facebook: Pelham.house<br />

Twitter: @pelhamlewes<br />

Flint Owl Bakery, Lewes<br />

Our breads contain organic stoneground flours,<br />

spring water, sea salt and that’s it. No improvers of<br />

any kind. Long fermentations bring characteristic<br />

flavours and a natural shelf life. We wholesale our<br />

craft breads and viennoiserie in <strong>Brighton</strong> and deliver<br />

six days a week. Visit our shop/cafe on Lewes<br />

High St to find our full range of breads, croissants,<br />

cakes, salads and enjoy Square Mile coffee in our<br />

courtyard garden. info@flintowlbakery.com<br />

Ten Green Bottles<br />

Wine shop or bar? Both, actually... wine to take away<br />

or drink in, nibbles and food available. Many wines<br />

imported direct from artisan producers. We also offer<br />

relaxed, fun, informal private wine-tasting sessions from<br />

just two people up to 30 and for any level of wine knowledge - we encourage you<br />

to ask questions and set the pace. We also offer tastings in your home or office,<br />

and will come to you with everything you’ll need for a fun, informative and even<br />

competitive evening. The best-value destination for great wine in <strong>Brighton</strong>!<br />

9 Jubilee Street, 01273 567176, tengreenbottles.com

drink<br />

...........................................<br />

Okinami Cocktails<br />

Slow news day<br />

Writing for a magazine called <strong>Viva</strong> <strong>Brighton</strong>,<br />

one can occasionally justify watching the world<br />

go by in the name of work. City life is meat<br />

and drink to us, after all. So, on the hottest day of the year so far, we assign ourselves a watching brief and<br />

head barwards as soon as the hour strikes respectable. We find the perfect people-watching spot on the<br />

shady balcony of Okinami in New Road. It’s an irresistibly voyeuristic vantage point, so we’re immediately<br />

distracted by the vignettes playing out below. Conversation slows to an intermittent commentary and soon<br />

dries up completely. Heat sapped, slo-mo, hot-blooded street life is, it turns out, utterly absorbing. A welcome<br />

trio of elegant green drinks arrives in a waft of cool air, condensation beading on each glass. Mine’s a<br />

Mojito - a mercifully long measure of white rum, sugar syrup and soda muddled with fresh lime and mint.<br />

RC slowly sips her way to five a day with a Cabbage Patch Cooler – gin, fresh lemon, elderflower, cloudy<br />

apple, celery bitters and cucumber. In other news, Alex takes onboard a Corpse Reviver #2 – a medicinal<br />

blend of Plymouth Gin, Cointreau, Lillet Blanc and fresh lemon complete with absinthe rinse. Blood duly<br />

cooled and the undead restored, it would be all too easy to while away the evening assigning stories to fleeting<br />

scenes but it’s rude to stare (too long) and so we descend and slink homewards through the early evening<br />

heat haze. LL Okinami Bar, New Road. All cocktails £4.50 until 6 and £6 thereafter<br />

䈀 唀 夀 伀 一 䔀 䌀 伀 䌀 䬀 吀 䄀 䤀 䰀<br />

䜀 䔀 吀 伀 一 䔀 䘀 刀 䔀 䔀<br />

圀 䤀 吀 䠀 吀 䠀 䤀 匀 嘀 伀 唀 䌀 䠀 䔀 刀<br />


food review<br />

...........................................<br />

Señor Buddha<br />

Fusion tapas<br />

As I’m going out to dinner,<br />

I put on a smart new shirt,<br />

which is slightly tight-fitting,<br />

but what the hell. Where<br />

I’m going is Señor Buddha, a<br />

new tapas place on Preston<br />

Road, kind of opposite<br />

the Duke of York. As you<br />

might suspect from its name,<br />

there’s a ‘fusion’ theme to<br />

this bar-restaurant, the two<br />

fusing elements being Spain<br />

and Thailand. I’m going with<br />

my best mate Johnny, a good<br />

judge because he lived for<br />

years in San Sebastian, famous<br />

for its small-plate bar-food culture. He’s a bit cynical<br />

about the whole concept.<br />

We sit up at the silver bar, overlooking the kitchen,<br />

where two blokes dressed in black are frying up<br />

my favourite sort of foodstuff – I see scallops, I see<br />

asparagus – for a noisy group sitting at the biggest<br />

of the three tables behind us. One of these blokes<br />

turns out to be the owner, Lee.<br />

We normally do these reviews incognito, but this<br />

time, I must reveal, it’s on the house, and, starting<br />

with a dish of king scallops and morcilla de Burgos<br />

(served on cauliflower and coconut puree), over the<br />

next couple of hours Lee serves us up pretty much<br />

every dish on the menu, each one accompanied by<br />

a small glass of wine carefully chosen to complement<br />

its flavour.<br />

From the first forkful of scallop, soft black pudding<br />

and puree, I know I’m going to have an exceptional<br />

culinary experience. A subtle addition of coriander<br />

really brings out the delicate flavour of the scallop,<br />

but this particular fusion is more Spanish than<br />

Thai, and it really works.<br />

Just about every concoction<br />

we get through is excellent.<br />

We start with three fish dishes,<br />

accompanied by French and<br />

Portuguese whites, and then<br />

proceed through the flesh and<br />

fowl section, with a variety of<br />

reds, finishing with some extremely<br />

alcoholic Boho Gelato<br />

ice creams. We try, in roughly<br />

this order: Padron peppers;<br />

octopus tentacle; Asian tuna<br />

tartare with Iberian ham;<br />

aromatic soy lamb cutlets;<br />

patatas bravas; confit duck leg;<br />

grilled asparagus; mountain mutton stew; vegetable<br />

croquettes; green mango salad (prices range from<br />

£2.50 to £6.50). In most every case there’s a subtle<br />

fusion element: a dash of wasabi here, a miso and<br />

lime dressing there, which makes every dish rise<br />

above the regular tapas you’d expect in a standard<br />

Spanish-themed bar. Johnny’s scepticism melts<br />

away, and – the loud group having soon moved on<br />

with their night – Lee takes us through every dish,<br />

revealing a great passion for what he’s doing, plus<br />

an ambition to make the concept work in other<br />

places beyond <strong>Brighton</strong>.<br />

The absolute highlight is the octopus, which has<br />

been slow cooked in red wine and Thai spices, and<br />

comes accompanied by little dollops of ‘squid ink<br />

caviar’; that and the Thai-inspired gin cocktail he<br />

makes us, to finish. All in all, then, an unexpectedly<br />

comprehensive, if ultimately slightly overindulgent<br />

success: I’ll certainly be back soon, in a<br />

looser-fitting shirt. Alex Leith<br />

9 Preston Road, 01273 567832/senorbuddha.co.uk<br />


ecipe<br />

..........................................<br />

Sugardough Bakery<br />

Spinach and ricotta roll<br />

Photo by Lisa Devlin, cakefordinner.co.uk<br />

Owner and chief baker of the Sugardough bakery in Hove, Kane McDowell, has just opened his<br />

second shop, in the Lanes. Here he shares his recipe for a lunchtime favourite – the spinach and<br />

ricotta roll – which he says is best served warm with a side salad, topped with homemade sourdough<br />

croutons. 18 Market Street, 01273 771218<br />

Ingredients:<br />

Puff pastry (we make all of ours, but<br />

pre-rolled is simpler!)<br />

250g ricotta<br />

250g bag of fresh spinach<br />

30g grated cheddar<br />

One medium onion, diced<br />

A handful of sourdough breadcrumbs<br />

Salt and pepper<br />

Recipe:<br />

Start by wilting the spinach, then let it cool<br />

and squeeze out all of the water. Roll out your<br />

pastry into a long rectangle, to about 3mm<br />

thick. Mix all of the ingredients together in a<br />

bowl and pipe along the top long edge of the<br />

pastry. Roll the pastry over and chop into rolls<br />

of your required size; we use about five-and-ahalf<br />

inches for a large roll. Brush with egg and<br />

bake at 250°C for 20 minutes to half an hour,<br />

or until golden.<br />


food news<br />

...........................................<br />

Edible Updates<br />

It’s all go in Hove this month, with two openings. Fourth and<br />

Church, on Church Road, is styling itself as a neighbourhood shop<br />

and wine bar, offering gourmet deli fare such as artisan cheeses,<br />

cured meats and fish, pâtés and terrines, pickled vegetables and<br />

preserves, as well as fresh food made onsite. They’ll also be stocking<br />

fine wines from Butlers Wine Cellar. Customers can drop in and<br />

pick up supplies or stay for lunch or dinner, as they’re open all day.<br />

The pedigree behind the place is impressive, as owners Sam and<br />

Paul are chefs by trade and have worked in everything from Michelin-starred formal restaurants to busy<br />

gastro-pubs, but they’ve also worked front of house, in management, tended bar and waited on tables.<br />

Just down the road, where AA-rosette restaurant Graze used to be, and from the same owners Kate Alleston<br />

and Neil Mannifield, comes MARKET Restaurant and Bar. Diners can choose to eat at the bar and watch<br />

the chefs do their thing, or book ‘DownMARKET’, for a table in their private dining room. The building’s<br />

makeover promises to give the feel of a traditional market, with green Victorian metro tiling, mirrors and<br />

a bright, clean, utilitarian approach to the design. The market theme continues through the menu, when<br />

customers can choose ‘From the Greengrocer’, ‘From the Fishmonger’ and ‘From the Butcher’. Expect<br />

interesting-sounding concoctions like scallops with wild boar bacon & Frangelico syrup, or polenta, mushroom,<br />

& cream cheese balls with smoked paprika popcorn. Antonia Phillips @PigeonPR<br />

Wedding Fair<br />

Sunday 20th <strong>September</strong><br />

11am-3pm Free entry<br />

Long Furlong Barn is delighted to announce they<br />

will be hosting a wedding fair.<br />

Come along to meet with a range of suppliers<br />

and get inspiration for your special day.<br />

Sunday 20th <strong>September</strong><br />

11am-3pm Free entry<br />

Call us: 01903 871594<br />

Email us: enquiries@longfurlongbarn.co.uk<br />

Visit us: www.LongFurlongbarn.co.uk<br />

Find us: Clapham | Worthing | West sussex | Bn13 3xn

food<br />

...........................................<br />

Bronx Burger<br />

Beef in the Lanes<br />

A mid-August sunny Monday lunchtime: ideal time for<br />

office-skiving, and people-watching. I decide to go to the<br />

Mesmerist, to try out one of their ‘Bronx Burgers’, and am<br />

happy to see there’s a table free in their suntrap outside<br />

space, on the corner of Bartholomew Square. This bit of the Lanes has a completely different demographic<br />

to its more <strong>Brighton</strong>er-frequented, hipsterful neighbour, North Laine. I decide, while sipping<br />

a pint of <strong>Brighton</strong> Pale Ale, to do a very unscientific survey, on a napkin. This reveals the following (all<br />

figures hugely approximate): 30% of passers-by wear sunglasses; 50% (from their slightly aimless gait<br />

and slightly bored expressions) are tourists; only about 5% have visible tattoos; ten times more people<br />

hold mobile phones than one another’s hands. My burger arrives, with pleasingly contoured chips, in a<br />

red plastic basket, into which I squirt mayonnaise. The ‘Bronx’, one of eight choices, has cost me £8, and<br />

is, according to the menu, ‘topped with crispy bacon, butter-fried white onions, baby gem lettuce and<br />

our house burger dressing’. The beef patty, which has pleasing heft, has a home-made, hasn’t-witnessedthe-freezer<br />

quality. The bread is of the soft, brioche variety. It’s a tasty burger. The chips are good, too,<br />

or more accurately the ‘skin-on, triple cooked, hand-cut French fries, seasoned with our house smoked<br />

paprika salt’. ‘Triple cooked’ sounds a bit worrying, but they’re good fries. Apart from the garnish on the<br />

salad, there’s no attempt to tick off any of my five-a-day, so it’s vegetable stew for dinner. Alex Leith<br />

5<br />

Friday 2nd to Sunday 4th October<br />


Natural and honey coffees drying on the patios, El Salvador Cherries being pulped for the washed process, Mexico Being washed after fermentation, Ethiopia<br />

coffee<br />

...........................................<br />

Coffee Guy<br />

Small Batch’s Alan Tomlins<br />

Everybody knows the difference in taste between<br />

red, white and rosé wine. Not so many realise that<br />

the way coffee tastes is equally defined by how it is<br />

processed. There are three main ways of processing<br />

coffee cherries after they are harvested, and the<br />

method employed can have just as much impact on<br />

the taste of your drink as the roast, the barista or<br />

the country of origin.<br />

These three methods are ‘washed’, ‘natural’ and<br />

‘honey’, terms which describe what is done to<br />

the seed of the coffee cherry after harvesting, and<br />

before it is ready to export.<br />

The most common method across the globe is the<br />

‘natural’ method, as it is the oldest and simplest<br />

form of processing and requires little equipment<br />

or water. The coffee cherries are harvested then<br />

dried in the sun until they are brittle enough to be<br />

put through a huller that pops the seeds or coffee<br />

beans out. This method means a lot of the cherry’s<br />

flesh, or mucilage, is dried onto the coffee bean<br />

and lends a very distinct taste that can range from<br />

earthy and rubbery to boozy and berry-like.<br />

In lower-grade coffees this can be very unpleasant,<br />

but done well and with good coffee beans, naturals<br />

can be amazing. Either way these tend to be lovethem-or-hate-them<br />

coffees. About 20% of the<br />

beans we import here are naturally processed.<br />

The next-most-common method is ‘washed’ or<br />

‘fully washed’. Most specialty-grade coffee is<br />

processed this way, and it accounts for 70% of our<br />

coffee. A pulping machine pops the beans out of<br />

the cherry, which are put in a fermentation tank,<br />

where the mucilage is broken down through natural<br />

fermentation and separated from the beans.<br />

The coffee is then pushed through water-filled<br />

channels to further clean it, before being dried.<br />

This coffee hasn’t got those funky, earthy notes,<br />

but it’s a cleaner, purer taste.<br />

This method uses a lot of clean, fresh water, so<br />

in places where this can be scarce (such as Brazil<br />

and Central America) a third method has been<br />

developed, called ‘honey’ processing. The beans<br />

are popped out of the cherry, and then dried with<br />

quite a bit of the mucilage still around them.<br />

This gives you the clean, light taste of a washed<br />

coffee, mixed with the fuller body and distinctive<br />

flavours of a natural coffee. When it’s done well it<br />

can produce amazing results, and it is being done<br />

well, especially in Costa Rica where the industry is<br />

highly developed. Most of the remaining 10% of<br />

our coffee is ‘honey’ processed.<br />

So next time you buy a good coffee, have a look on<br />

the label to see how it has been processed, just as<br />

you’d take into account the colour of the wine you<br />

buy. I’m a fan of all three methods, if they’re done<br />

well, each for a different occasion, but my go-to<br />

method is ‘washed’ because it affects the natural<br />

flavour of the coffee the least and allows the coffee<br />

to shine.<br />

As told to Alex Leith<br />


倀 刀 䤀 伀 刀 夀 匀 䌀 䠀 伀 伀 䰀 Ⰰ 䰀 䔀 圀 䔀 匀<br />

伀 倀 䔀 一 䔀 嘀 䔀 一 䤀 一 䜀 ㈀ 㔀<br />

吀 栀 甀 爀 猀 搀 愀 礀 㜀 琀 栀 匀 攀 瀀 琀 攀 洀 戀 攀 爀<br />

㘀 ⸀アパート 瀀 洀 ⴀ 㤀 ⸀ 瀀 洀<br />

䌀 漀 洀 攀 愀 渀 搀 樀 漀 椀 渀 甀 猀<br />

匀 攀 攀 眀 栀 愀 琀 眀 攀 漀 昀 昀 攀 爀<br />

一 漀 愀 瀀 瀀 漀 椀 渀 琀 洀 攀 渀 琀 渀 攀 挀 攀 猀 猀 愀 爀 礀<br />

圀 攀 椀 渀 瘀 椀 琀 攀 瀀 爀 漀 猀 瀀 攀 挀 琀 椀 瘀 攀 瀀 愀 爀 攀 渀 琀 猀<br />

愀 渀 搀 琀 栀 攀 椀 爀 挀 栀 椀 氀 搀 爀 攀 渀 琀 漀 漀 甀 爀 伀 瀀 攀 渀 䔀 瘀 攀 渀 椀 渀 最 ⸀<br />

倀 爀 攀 猀 攀 渀 琀 愀 琀 椀 漀 渀 愀 琀 㘀 ⸀アパート 瀀 洀 Ⰰ 爀 攀 瀀 攀 愀 琀 攀 搀 愀 琀 㜀 ⸀アパート 瀀 洀 ⸀<br />

匀 瀀 愀 挀 攀 氀 椀 洀 椀 琀 攀 搀 㬀 渀 漀 攀 渀 琀 爀 礀 愀 昀 琀 攀 爀 瀀 爀 攀 猀 攀 渀 琀 愀 琀 椀 漀 渀 戀 攀 最 椀 渀 猀 ⸀<br />

䄀 爀 攀 礀 漀 甀 氀 漀 漀 欀 椀 渀 最 昀 漀 爀 愀 猀 挀 栀 漀 漀 氀 眀 栀 椀 挀 栀 搀 攀 氀 椀 瘀 攀 爀 猀 㨀<br />

ⴀ 愀 挀 愀 爀 椀 渀 最 愀 渀 搀 搀 椀 猀 挀 椀 瀀 氀 椀 渀 攀 搀 攀 琀 栀 漀 猀 㬀<br />

ⴀ 愀 渀 漀 甀 琀 猀 琀 愀 渀 搀 椀 渀 最 挀 甀 爀 爀 椀 挀 甀 氀 甀 洀 眀 栀 椀 挀 栀 瀀 爀 漀 瘀 椀 搀 攀 猀 愀 爀 椀 挀 栀 氀 攀 愀 爀 渀 椀 渀 最 攀 砀 瀀 攀 爀 椀 攀 渀 挀 攀 㬀<br />

ⴀ 栀 椀 最 栀 愀 挀 愀 搀 攀 洀 椀 挀 猀 琀 愀 渀 搀 愀 爀 搀 猀 愀 渀 搀 攀 砀 挀 攀 瀀 琀 椀 漀 渀 愀 氀 琀 攀 愀 挀 栀 椀 渀 最 㬀<br />

ⴀ 愀 猀 甀 瀀 瀀 漀 爀 琀 椀 瘀 攀 挀 漀 洀 洀 甀 渀 椀 琀 礀 椀 渀 眀 栀 椀 挀 栀 礀 漀 甀 渀 最 瀀 攀 漀 瀀 氀 攀 挀 愀 渀 昀 氀 漀 甀 爀 椀 猀 栀 㬀<br />

ⴀ 愀 渀 攀 砀 挀 椀 琀 椀 渀 最 愀 渀 搀 甀 渀 椀 焀 甀 攀 爀 愀 渀 最 攀 漀 昀 漀 瀀 瀀 漀 爀 琀 甀 渀 椀 琀 椀 攀 猀 㬀<br />

ⴀ 愀 渀 愀 挀 琀 椀 瘀 攀 瀀 愀 爀 琀 渀 攀 爀 猀 栀 椀 瀀 眀 椀 琀 栀 瀀 愀 爀 攀 渀 琀 猀 愀 渀 搀 琀 栀 攀 挀 漀 洀 洀 甀 渀 椀 琀 礀 㬀<br />

ⴀ 猀 琀 甀 搀 攀 渀 琀 猀 眀 栀 漀 栀 愀 瘀 攀 ᠠ 搀 攀 瘀 攀 氀 漀 瀀 攀 搀 愀 瘀 攀 爀 礀 猀 琀 爀 漀 渀 最 猀 攀 渀 猀 攀 漀 昀 猀 攀 氀 昀 ᤠ⠀ 伀 䘀 匀 吀 䔀 䐀 ㈀ 㔀 ⤀ 㼀<br />

倀 爀 椀 漀 爀 礀 匀 挀 栀 漀 漀 氀 愀 挀 挀 攀 瀀 琀 猀 猀 琀 甀 搀 攀 渀 琀 猀 昀 爀 漀 洀 愀 眀 椀 搀 攀 愀 爀 攀 愀 ⸀<br />

倀 爀 椀 漀 爀 礀 匀 挀 栀 漀 漀 氀 Ⰰ 䴀 漀 甀 渀 琀 昀 椀 攀 氀 搀 刀 漀 愀 搀 Ⰰ 䰀 攀 眀 攀 猀 Ⰰ 䔀 愀 猀 琀 匀 甀 猀 猀 攀 砀 Ⰰ 䈀 一 㜀 ㈀ 堀 一<br />

吀 攀 氀 㨀 ⠀ ㈀ 㜀 アパート⤀ 㐀 㜀 㘀 ㈀アパート 䔀 洀 愀 椀 氀 㨀 愀 搀 洀 椀 猀 猀 椀 漀 渀 猀 䀀 瀀 爀 椀 漀 爀 礀 ⸀ 攀 ⴀ 猀 甀 猀 猀 攀 砀 ⸀ 猀 挀 栀 ⸀ 甀 欀<br />

䘀 愀 砀 㨀 ⠀ ㈀ 㜀 アパート⤀ 㐀 㠀 㘀 㤀 ㈀㈀ 圀 攀 戀 猀 椀 琀 攀 㨀 眀 眀 眀 ⸀ 瀀 爀 椀 漀 爀 礀 ⸀ 攀 ⴀ 猀 甀 猀 猀 攀 砀 ⸀ 猀 挀 栀 ⸀ 甀 欀<br />

䠀 攀 愀 搀 琀 攀 愀 挀 栀 攀 爀 㨀 吀 漀 渀 礀 匀 洀 椀 琀 栀 䈀 䄀<br />

䄀 搀 洀 椀 猀 猀 椀 漀 渀 猀 伀 昀 昀 椀 挀 攀 爀 㨀 圀 攀 渀 搀 礀 䘀 爀 愀 渀 挀 椀 猀 攀 砀 琀 ㈀

family<br />

...........................................<br />

Remix the Museum<br />

Bringing natural history to life<br />

The historical artefacts from the Booth Museum<br />

of Natural History are being brought to life this<br />

<strong>September</strong>. For the second year running, animator<br />

Dave Packer has teamed up with the <strong>Brighton</strong><br />

Youth Film Festival to produce Remix the Museum,<br />

an exhibition showcasing animations of the Booth’s<br />

artefacts, created by a group of 13-19 year olds.<br />

Dave began the first stage of the project by visiting<br />

the museum and taking photographs of the exhibits,<br />

which were printed out for the students to cut<br />

up and play about with. “Young people seem really<br />

clued up on animation,” says Dave, who works as a<br />

freelance animator, creating corporate animations<br />

for use on the web, as well as the “silly stuff” he<br />

does for fun (you might have seen the video entitled<br />

There’s a problem with <strong>Brighton</strong>’s Christmas lights<br />

on YouTube). Part of the idea for the project came<br />

from the growing ‘remix culture’ of the internet. “I<br />

thought it’d be fun to play with the museum artefacts<br />

and be able to bring a ‘hands on’ side to them.”<br />

Remix the Museum is created using a rather more<br />

old-fashioned method than he is used to; the stopmotion<br />

animations are made up of photos taken<br />

using a copy stand, which positions the camera<br />

pointing directly downwards at the subjects placed<br />

on the floor. “Gravity can be incredibly annoying<br />

in animation,” Dave explains, because there’s always<br />

a point in the middle of a movement where the<br />

figure being moved becomes off balance. “I was<br />

essentially thinking about how I could take the<br />

annoying parts out of the process, giving them all<br />

of the fun bits.”<br />

For the second stage of the project, Dave gave<br />

the young people a camera and told them to take<br />

their own photographs inside the museum, which<br />

they would turn into a second set of animations.<br />

“The progress from one to the other is really great<br />

to see,” says Dave, “and the results are far more<br />

elaborate and advanced than I would have imagined.”<br />

The two sets of animations will be projected,<br />

alongside some of Dave’s own work, on the south<br />

balcony in <strong>Brighton</strong> Museum and Art Gallery,<br />

between the 8th and 30th <strong>September</strong>. RC<br />

remixthemuseum.com<br />


family<br />

...........................................<br />

The Outdoors Project<br />

Al fresco activities, whatever the weather<br />

It’s time to go back to<br />

school, time for the<br />

days to start getting<br />

shorter and darker,<br />

and time for the<br />

outdoor adventures<br />

of summer to draw<br />

to a close. That is,<br />

unless you’ll be taking<br />

part in The Outdoors<br />

Project this autumn.<br />

Set up five years ago<br />

by father-of-three Joel<br />

Evans, the project’s<br />

aim is to get kids outside, whatever the weather. “I<br />

grew up in the States and a lot of my life was spent<br />

outside,” says Joel, “but as a parent, I’ve been just as<br />

guilty of sitting my kids in front of the TV instead of<br />

getting them outdoors.” The project started as a kids’<br />

boot camp, run by Joel, for a group of about eight,<br />

but since then the project has exploded in popularity,<br />

and there are now 32 schools in <strong>Brighton</strong> and Hove<br />

running after-school clubs each week.<br />

The activities change every term, covering games,<br />

team-building, bush-craft survival, fire-lighting and<br />

camp-craft, and forest school, where children learn<br />

about things like tree identification. The sessions also<br />

include Nerf – a game using toy blasters and foam darts<br />

which has become hugely popular with kids around the<br />

world, including those in their 20s and 30s. “The Nerf<br />

thing is fantastic, but we deliver it as a tactical base invasion<br />

game rather than a war game. We use it as a way<br />

to get them running around and exploring strategies,<br />

working together and staying active.”<br />

Joel currently has 30 freelance instructors running the<br />

sessions, from mountain bikers to expedition leaders,<br />

bush-craft experts and personal trainers. “They each<br />

bring a different element<br />

to it and the kids<br />

really look up to them,”<br />

he says. “A lot of the<br />

instructors are just ‘boys’<br />

so the kids respond really<br />

well to them – they’re all<br />

great role models.”<br />

As well as after-school<br />

clubs, they run The<br />

Saplings Project, a<br />

parent-and-toddler<br />

forest school group,<br />

and hold holiday clubs<br />

throughout the year. They also organise kids’ parties<br />

and run workshops with schools which are based<br />

on their curriculum. “For example,” Joel explains,<br />

“if they’re learning about the Stone Age, we’ll go in<br />

and make some Stone Age shelters and medallions.<br />

It’s a great way to tie in with what they’re learning at<br />

school, particularly for those kids – like myself – who<br />

don’t learn by sitting down for six or eight hours.”<br />

We all know that there’s a lot to be gained by spending<br />

more time in the great outdoors: the exercise, the<br />

fresh air, learning about the world around us, but for<br />

Joel the most important skill that kids gain from the<br />

group is just being able to be children. “When you get<br />

to a certain age, especially around your friends and<br />

peers, you start to worry about embarrassing yourself<br />

in front of them. But when you’ve got an adult there<br />

who’s much more ridiculous than you are, you can<br />

just have fun.”<br />

Rebecca Cunningham<br />

Visit their website to find out if your child’s school is<br />

involved with The Outdoors Project, or for more information<br />

on the October half term holiday club:<br />

theoutdoorsproject.co.uk<br />


family health<br />

......................................<br />

Counselling Children<br />

Rebecca Kirkbride<br />

You work in private practice<br />

rather than in schools, so<br />

presumably it’s parents who<br />

bring their offspring along…<br />

Yes, and I make it clear from the<br />

outset that it can be difficult for<br />

parents. They’ve probably been<br />

doing ‘the right thing’ bringing<br />

up their child, then they contact<br />

me and their role is to bring the<br />

child along and pay someone else<br />

to help them. And from the age<br />

of 12/13 there’s the issue of confidentiality: it may<br />

well be that the parents are being talked about, but<br />

they can’t just ask ‘So, what did you talk about?’!<br />

This modern expression, ‘parenting’, can<br />

increase the pressure to be ‘a good parent’…<br />

It can seem for some parents that the more<br />

information and advice there is, and the more<br />

they read and take in about parenting, the more<br />

shame they ‘should’ feel if it seems something has<br />

‘gone wrong’. The reality is that life is all about<br />

going through difficult times both for individuals<br />

and families and the most any parent can hope for<br />

really is to be good enough. The place of therapy<br />

for children and young people is in making sure<br />

that difficult times don’t become more entrenched<br />

and create major problems for them as they move<br />

into adulthood.<br />

Isn’t there a sense that adolescents are inevitably<br />

going to run amuck, though? How can<br />

a parent know that it’s gone too far? Parental<br />

instincts are important. It’s partly true, that idea<br />

that ‘they’re all like that’, but it’s when they’re<br />

doing something like smoking or drinking more<br />

than their friends. When a parent has concerns<br />

that won’t go away, or there’s a sense that a child<br />

is finding it difficult to talk to you,<br />

that’s the time.<br />

Which again can be hard for a<br />

parent these days. ‘I’m really<br />

good mates with my child’…<br />

From around 12, young people<br />

need a private life beyond Mum and<br />

Dad. There are very few extended<br />

families where you can talk to say,<br />

an aunt about things that are too<br />

embarrassing to talk about with<br />

your parents.<br />

What are common issues that bring people<br />

along? With boys, drugs and alcohol, with teenage<br />

girls issues around body image, self harm, anger,<br />

anxiety. With both genders there can be LGBT<br />

issues. Exam stresses crop up a lot. Increasingly<br />

there are difficulties around social media. Being<br />

constantly on the radar is difficult; arguments<br />

get posted on social media and stay there forever<br />

rather than blow over. There’s a whole cohort of<br />

kids whose sexual awakening is taking place on Instagram,<br />

so clearly we’ll see more problems arising.<br />

There’s the old Woody Allen cliché of therapy<br />

never ending. Can that happen with youngsters?<br />

On the whole, young people get bored and<br />

lose interest once they’ve got what they needed<br />

from their therapy and are ready to move on. It’s<br />

like a picnic - the therapist puts out the food on<br />

the blanket and the young person takes what they<br />

need and then wanders off to get on with their life,<br />

hopefully satisfied for the time being. Andy Darling<br />

Rebecca Kirkbride (baileykirkbridecounselling.<br />

co.uk) works with children and adolescents aged<br />

11 upwards. Her book Counselling Children and<br />

Young People in Private Practice: A Practical Guide<br />

(Karnac) is published in 2016<br />


*Based on an adult ticket at £465 on our 12 month free direct debit scheme.<br />

**On public transport within our extended travel zone.

football<br />

......................................<br />

The Albion: Behind the scenes<br />

Kit manager Clive Thompson<br />

I started this job in<br />

December 2012, after<br />

working as assistant to my<br />

brother-in-law in a similar<br />

capacity at Derby County.<br />

I work with three other<br />

full-time staff members.<br />

We are in charge of the kits<br />

of all the <strong>Brighton</strong> teams,<br />

from the under eights to<br />

the first team. That’s twelve<br />

different squads, and that’s<br />

a lot of kit.<br />

Long gone are the days<br />

when the apprentices used to clean the pros’<br />

boots. The first-team boots are our job now. Only<br />

two players wear them in black.<br />

My normal working day is from 7am to 5pm,<br />

but of course that all changes on match days. On a<br />

normal training day we have to get all the training<br />

kit ready for the players, then collect it up again,<br />

and wash it, and start all over again. It’s pretty<br />

relentless.<br />

Match days are different. On away matches I<br />

don’t travel up with the team, I drive the van up<br />

with the kit. I’m always worried I’ve forgotten<br />

something, though I never have. Once I accidentally<br />

prepared an XL shirt for a player who’s tiny,<br />

but luckily for me, he didn’t make the bench.<br />

You’ve got to have a good memory in this job,<br />

because all the players like to have things just so.<br />

Most of them like the foot cut off their socks,<br />

nowadays, and they wear ankle socks. Goalkeepers<br />

are generally the fussiest, and, of course, they need<br />

the most gear.<br />

On match days we have to make sure each player<br />

has his boots, and socks, and slips (even those<br />

have to have numbers<br />

on them) and shorts,<br />

and two match shirts,<br />

then work-out shirts,<br />

and work-out tops,<br />

and training bottoms,<br />

and sometimes cycling<br />

shorts and t-shirts and<br />

gloves and hats all laid<br />

out and hung up for<br />

them in the correct part<br />

of the dressing room.<br />

There’s a lot of funny<br />

stories I could tell but<br />

what happens in the dressing room stays in the<br />

dressing room. Here’s one I can tell: when I was at<br />

Derby an Ireland international, who shall remain<br />

nameless, came into the dressing room after a game<br />

complaining his right foot hurt, and when he took<br />

his boot off, his toe was black. He’d been wearing<br />

two left boots. Funny thing was, he’d played a<br />

blinder and won ‘man of the match’.<br />

I watch the home matches standing in the tunnel.<br />

I like standing up, and I can run into the dressing<br />

room if anything’s needed. At away matches I<br />

usually get a seat behind the dug-out.<br />

Everyone’s got a nickname here, and sometimes<br />

more than one. One of my assistants, Matt, is called<br />

‘The Bear’. Another, Alex, is called ‘Minty’ because<br />

he always rolls in after eight. I get ‘Cliff’ and ‘Clint’<br />

and ‘Olive’ and ‘Rigsby’, because I often say ‘no’.<br />

You need a good sense of humour in this job, too.<br />

I’m a frustrated footballer, of course I am. Every<br />

kit man would prefer to be a player. But the best<br />

thing about this job is that you’re slap bang middle<br />

of the professional football world, 24/7.<br />

As told to Alex Leith<br />


Excitement begins with E<br />

10 year<br />

anniversary<br />

OFFer<br />

10% Off<br />

ALL BIKES*<br />

E-asily the best<br />

and cheapest<br />

E-Bikes<br />

in <strong>Brighton</strong><br />

E-asily the biggest online retailer<br />

E-bikes from £499 to £3,500<br />

E-asily the lowest prices guaranteed.<br />

E-asily the most comprehensive range.<br />

E-asily delivered and pre-assembled.<br />

E-asily the best finance.<br />

*On purchases between 15th August and <strong>September</strong> 30th <strong>2015</strong>.<br />

Please enter promotion code EB1615 at checkout. Terms and conditions apply.<br />

www.e-bikesdirect.co.uk<br />

Tel: 01580 830959<br />

E-Bikes Direct Unit 6. Midicy Oast.<br />

Bodiam Business Park. Bodiam.<br />

E. Sussex TN32 5UP.<br />

Joy of Movement<br />

Holistic dance for health<br />

A guided class combining simple, flowing and easy to<br />

follow steps with mindful movement for adults of all ages,<br />

fitness levels and experience. Feel balanced, connected<br />

and energised as you find your own natural way of<br />

moving in a relaxed and friendly atmosphere.<br />

First taster class free.<br />

<strong>Brighton</strong> - Wednesdays 11am-12pm (from Sept 23rd)<br />

The Loft (above Little Dippers), Upper Gardner St, <strong>Brighton</strong>, BN1 4AN<br />

Lewes - Thursdays 10.30 - 11.30am (Ongoing)<br />

Cliffe Hall, St Thomas a Becket, Cliffe High St, Lewes BN7 2AH<br />

Drop in £8, or 5 classes for £35 (Concessions available)<br />

Call Stella on 07733 450631<br />

Email: stellahomewood@yahoo.com<br />


cycling<br />

...........................................<br />

Jon Chickens<br />

Bespoke steel-bike-frame maker<br />

Jon Chickens is one<br />

of only about a dozen<br />

people in the country<br />

who hand-makes<br />

steel bike frames,<br />

and he does this in a<br />

converted shipping<br />

container just north<br />

of Woodingdean, in<br />

a beautiful location<br />

overlooking a secret<br />

valley.<br />

Photo by Alex Leith<br />

I park my bike while he busies around making<br />

me coffee, and getting me a folding chair to sit<br />

in, outside his micro-factory, which has a fairly<br />

ramshackle extension built on the side.<br />

Jon, fortyish and scruffy-cool, originally trained,<br />

he tells me, to be an astrophysicist. I can tell within<br />

seconds that he’s driven by passion for his trade.<br />

He shows me his left wrist, revealing scars from<br />

a healed-up break. “I came off my bike in 2008,<br />

while I was a commissaire trying out a course I’d<br />

designed for <strong>Brighton</strong> Big Dog,” he says. “I was<br />

working for Enigma [bike-frame firm] at the time,<br />

but sadly couldn’t continue working for them with<br />

a bust wrist”<br />

When he says he fell off ‘his’ bike, he means it<br />

literally. “You can’t believe how good it feels to<br />

ride something you’ve made yourself,” he says.<br />

He’s made them for many other people besides,<br />

using traditional, old-fashioned methods. While he<br />

produces frames which are sold on by top-notch<br />

companies like Mosquito, he really prides himself<br />

on a bespoke service whereby he meets his client,<br />

measures them up and goes for a ride with them<br />

to check out their style, and builds them a frame<br />

to exactly suit their needs. It takes him about three<br />

or four days to make<br />

a frame – always<br />

of steel, with tubes<br />

sourced in Italy, or<br />

Birmingham – and<br />

a day or two to<br />

paint it (that’s what<br />

the extension’s for).<br />

That’s an output of<br />

approximately one<br />

frame every five or six<br />

days: there’s a threemonth<br />

waiting list for his services. His frames start<br />

at £1,000. “All of my trade comes from word of<br />

mouth,” he says. <strong>Brighton</strong> boasts an “incredibly<br />

large community” of people in the bike business,<br />

many of whom have helped him set up from<br />

scratch, especially his clothing partner, Morvelo.<br />

Many of his frames are sold locally, but as his fame<br />

spreads, so does the distance he sends them: “I also<br />

have customers in Australia and the States.”<br />

He shows me the specialist machinery he uses,<br />

all of which he’s bought second hand, and whose<br />

previous owners he can name; then he tells me lots<br />

of technical stuff about the process, which I only<br />

half understand. “When someone buys a frame<br />

from me,” he says, “they know it’s a frame for life.”<br />

He doesn’t just build frames; he also repairs them,<br />

if your existing bike needs “some life breathing<br />

back into it.”<br />

‘Chickens’ isn’t his real surname. “It’s my mountain-biking<br />

nickname,” he says. And also the name<br />

of his company ‘Chicken Frames Emporium’. If<br />

ever you need a bespoke steel frame, for any sort of<br />

bike, I reckon he’s your go-to man.<br />

Alex Leith<br />

Chickens Frame Emporium 07941 779903<br />


we try...<br />

......................................<br />

Floatation Tank<br />

Floating in a salty wonderland…<br />

“I feel like Peter Pan”<br />

says a man with a ridiculously<br />

relaxed look on<br />

his face, as he leaves the<br />

Cocoon Centre. I know<br />

exactly where he’s coming<br />

from. I had the same<br />

experience two days<br />

earlier, and I’m back for<br />

more.<br />

I knew very little about<br />

therapeutic floating,<br />

other than that people go to the Dead Sea for that<br />

purpose, so, before my first visit, I had no preconceptions.<br />

Proprietor Emma D’Arcy explains that<br />

Cocoon offer two floating experiences, one in a<br />

one-person pod, and the other in a larger 8.5 foot<br />

cube, filled with approximately 18 inches of Epsom<br />

salt-laden water, which I’m going to experience.<br />

They always aim to give new floaters the larger<br />

tank for their first float, I’m told, partly to limit<br />

any risk of claustrophobia.<br />

I climb out of the shower and open the doors of<br />

the spacious tank. The water is set at skin temperature<br />

so you don’t really notice it, which apparently<br />

helps with the overall feeling of relaxation. Soothing<br />

music is playing, and the space is lit both by<br />

underwater lights and by sparkling star-like roof<br />

lights. I initially sit on the floor, before letting my<br />

legs drift upwards. Emma has advised me to put<br />

my hands behind my head, which I do, and immediately<br />

I’m floating. Initially, though, my mind<br />

is racing. Are my legs actually floating? Will my<br />

head sink if I removed my hands? Is it OK that I’m<br />

naked? Will I fall asleep? Flip over? Drown? The<br />

answers are, categorically: yes, no, yes, yes, no, no.<br />

Emma has assured me<br />

of all these things before<br />

I go in, but there’s<br />

nothing like confirming<br />

it for yourself. As<br />

my mind starts to calm<br />

down, I turn off the<br />

underwater lights with<br />

the well placed foot<br />

switch and concentrate<br />

on the lights above<br />

me. At the same time,<br />

I notice the music quietening down, and start to<br />

enjoy the sense of weightlessness. At times I feel<br />

like I’m drifting, but every time I open my eyes, I<br />

seem to be in the same place. The next time I open<br />

my eyes, I realise that the outside lights are back<br />

on and my hour is up. I’d fallen asleep for maybe<br />

30 minutes, but felt as refreshed as from a deep<br />

long sleep.<br />

A couple of days later I talk through the experience<br />

with Emma. She is passionate about both the<br />

relaxation and healing benefits of floating - allocating<br />

a number of free sessions per month for therapeutic<br />

floatation. She confirms that the inanelooking<br />

grin experienced by me and Peter Pan is<br />

not unusual, and surprisingly (to me anyway), the<br />

fact that more men than women float. “It’s probably<br />

because it’s usually a solo activity and men<br />

tend to be a little more wary of group activities”<br />

she says. As I leave the centre, thinking briefly of<br />

my various slightly embarrassing attempts at yoga<br />

and Pilates classes, I realise I fall into that category.<br />

Solo floating? I’ll sign up to that… Nick Williams<br />

Cocoon Healing Arts Centre, 20-22 Gloucester<br />

Place, cocoonfloatationtherapy.co.uk/01273 686882<br />


luffers’ guide to<br />

...........................................<br />

Making a feature film<br />

Jamie Patterson from Jump Start Productions<br />

Don’t bother with<br />

shorts. Who watches<br />

shorts? They’re a waste<br />

of time: it’s easier than<br />

you might think to make<br />

a feature film. I’ve made<br />

12. [Jamie is 28 years<br />

old, and the co-owner<br />

of <strong>Brighton</strong>-based Jump<br />

Start Productions].<br />

Start with a script, like<br />

every film does. You could write it, or buy it off<br />

the internet: there are hundreds knocking around.<br />

Make sure you format it right: there’s free software<br />

on the internet for that, too.<br />

Make sure the script fits your budget. With a<br />

low budget, choose a script with very few locations<br />

and just two or three actors. I had £100 for the first<br />

film I made, having been given a great camera as an<br />

18th birthday present. I shot most of it in my parents’<br />

house, in five days. Now I’m raising budgets<br />

of £100,000, so that gives me more scope. But we<br />

still shoot in 10-12 days.<br />

Your film is only as good as your actors’ performances.<br />

So choose carefully. Remember that 85%<br />

of actors are unemployed at any given time, and<br />

that what most of them really want to do is to act<br />

in feature films. So if you’re making a film, you’d<br />

be surprised how cheaply you can hire people that<br />

you’ve heard of.<br />

If you need a soundtrack, use unsigned local<br />

bands’ music. They’ll do it for the publicity.<br />

Don’t ever give up. The world is full of half-made<br />

feature films. If you get the reputation of being<br />

able to finish a film, people will come to you. I have<br />

never not finished a film I started.<br />

Editing is the hardest<br />

job. It took me two<br />

years to edit my first<br />

film. If you can afford<br />

it, get yourself a good<br />

editor, if you can’t,<br />

download some good<br />

software, and be patient.<br />

Don’t worry if the<br />

film isn’t brilliant.<br />

There is no such thing<br />

as a perfect film. The worst thing you can be in<br />

this business is a perfectionist, because there are so<br />

many compromises that need to be made. Anyway<br />

you will learn from your mistakes. Every film I<br />

make I become a better director.<br />

I’m a producer, as well as director and scriptwriter.<br />

Producing means raising the cash to make<br />

the film, basically. My advice is to investigate<br />

crowd-funding your film. In effect you sell perks to<br />

people who want to invest. You can raise money by<br />

just thanking somebody in the credits.<br />

When you have made your film, enter it into<br />

every festival you can think of. There are hundreds<br />

of them out there. You’re unlikely to get into<br />

Cannes or Sundance, but don’t worry.<br />

Oh, and if you get a film into a festival, make<br />

sure that you go to that festival, because you’re<br />

more likely to win something. And that’s a big bonus.<br />

We won Best Film at the Madrid International<br />

Film Festival with City of Dreamers, which was massive,<br />

for us, and put us on the world map.<br />

As told to Alex Leith<br />

Jump Start have two films in development, one in<br />

pre-production and three in post-production.<br />

jumpstartproductions.co.uk<br />


All talk<br />

and no<br />

vote?<br />

You need<br />

to make sure that<br />

you’re on the<br />

updated electoral<br />

register, or you<br />

might not be able to<br />

vote in future.<br />

Register online<br />

now at<br />

www.gov.uk/<br />

register-to-vote<br />

Electoral Services, <strong>Brighton</strong> & Hove City Council<br />

Visit us at www.brighton-hove.gov.uk/vote<br />

Email electors@brighton-hove.gov.uk<br />

or call 01273 291999

trade secrets<br />

......................................<br />

Sarah Springford<br />

<strong>Brighton</strong> Chamber of Commerce Director<br />

‘<strong>Brighton</strong> Chamber of<br />

Commerce’. Isn’t that<br />

a bit of a stuffy name?<br />

We tend to shorten it to<br />

‘<strong>Brighton</strong> Chamber’. We<br />

thought about changing<br />

it, but decided that<br />

instead we would show<br />

that we are very far from<br />

being stuffy by making<br />

sure our branding, copy,<br />

photos, videos and social media are reflective of<br />

how friendly, lively, exciting and relevant we are.<br />

What’s the organisation for? How long have<br />

you got? We organise events which help our<br />

members network with other business people in<br />

the community, as well as ‘bite-sized learning’<br />

skill-sharing sessions where members pass on their<br />

knowledge of business-related subjects, from intellectual<br />

property to handling social media. Plus<br />

much, much more, from being the voice of the<br />

business community in <strong>Brighton</strong> to helping our<br />

members with any advice they might need.<br />

How long has it been going? We recently<br />

celebrated our centenary; the company has been<br />

running in its current form for about 15 years. I<br />

was offered the job as director six-and-a-half years<br />

ago. The job was only meant to last 18 months,<br />

but I’m delighted still to be here.<br />

Is your membership growing? When I joined<br />

there were 213 members. Now there are over 500.<br />

In the last three months alone we have attracted<br />

60 new members. There’s no reason for that<br />

growth to stop. I’d like to see 2,000 members!<br />

But your operation is quite small… Sometimes<br />

people’s jaws drop when they come to our offices<br />

in Hove, and realise what a small company we<br />

are. We have four full-time<br />

staff, including myself. But<br />

what’s exciting is that we<br />

also have around 50 volunteers,<br />

from businesses in<br />

the city, who help out with<br />

elements like design, copywriting,<br />

PR, running sessions,<br />

and making podcasts.<br />

A lot of my time is spent<br />

co-ordinating the volunteer<br />

team to make sure we promote what they’re doing<br />

and that they get something out of it.<br />

I hear you’re moving? Before your magazine goes<br />

to press we’ll have moved, for a limited period of<br />

12-18 months, to the new Entrepreneurial Spark<br />

near Preston Park, a business hub run by the social<br />

entrepreneur Jim Duffy. We are to be one of three<br />

‘anchor companies’ there. It’s very exciting.<br />

How’s <strong>Brighton</strong> doing, business-wise? I’d say<br />

business is booming. There are a lot of small<br />

companies here, and a lot of start-ups. The only<br />

problem is wages: workers tend to be paid less<br />

than they do in nearby towns like Guildford and<br />

Crawley. Which is why we have started the only<br />

business-led ‘living wage’ campaign in the country,<br />

possibly the world.<br />

Is there any reason why not to set up in<br />

<strong>Brighton</strong>? Good affordable office space is really<br />

hard to find.<br />

Have you got a tip for anyone who’s starting<br />

up a company in <strong>Brighton</strong>? Do a lot of research<br />

before you get going. And make sure that you tap<br />

into all the support and help there is on offer in<br />

<strong>Brighton</strong> for businesses. Interview by Alex Leith<br />

businessinbrighton.org.uk, annual membership<br />

from £12.50 per month<br />


We asked a few of our students what they like about the<br />

Counselling and Psychotherapy training at The Link Centre...<br />

“the training... it’s interactive, thought-provoking<br />

and challenging as well as supportive and fun!”<br />

“a fabulous learning environment - the tutors are inspiring<br />

and the people I have met come from all walks of life,<br />

which adds to the richness of the learning experience.”<br />

㜀 㜀 㠀 㘀 㔀 㔀 㜀 㤀 㤀 㠀<br />

䤀 一 䘀 伀 䀀 䈀 伀 䐀 夀 ⴀ 䠀 䄀 倀 倀 夀 ⸀ 䌀 伀 ⸀ 唀 䬀<br />

圀 圀 圀 ⸀ 䈀 伀 䐀 夀 ⴀ 䠀 䄀 倀 倀 夀 ⸀ 䌀 伀 ⸀ 唀 䬀<br />

倀 䔀 刀 匀 伀 一 䄀 䰀 吀 刀 䄀 䤀 一 䤀 一 䜀 䤀 一 䄀<br />

倀 刀 䤀 嘀 䄀 吀 䔀 Ⰰ 䘀 唀 䰀 䰀 夀 ⴀ 䔀 儀 唀 䤀 倀 倀 䔀 䐀<br />

匀 吀 唀 䐀 䤀 伀 䤀 一 䌀 䔀 一 吀 刀 䄀 䰀 䠀 伀 嘀 䔀<br />

∠ 䘀 刀 䔀 䔀 䤀 一 䤀 吀 䤀 䄀 䰀 䌀 伀 一 匀 唀 䰀 吀 䄀 吀 䤀 伀 一<br />

∠ 䠀 䤀 䜀 䠀 䰀 夀 ⴀ 儀 唀 䄀 䰀 䤀 䘀 䤀 䔀 䐀 䄀 一 䐀<br />

唀 一 䐀 䔀 刀 匀 吀 䄀 一 䐀 䤀 一 䜀 吀 刀 䄀 䤀 一 䔀 刀 匀<br />

Counselling and Psychotherapy Training<br />

Part-Time courses in Newick, East Sussex<br />

leading to national and international accreditation<br />

This counselling and psychotherapy course provides you with<br />

theoretical understanding, practical skills and personal insight to<br />

enable you to practise as a professional with a range of client groups.<br />

Each year runs for 10 weekends between October and July<br />

at our training rooms in lovely surroundings in Newick, East Sussex,<br />

which is in easy driving distance from <strong>Brighton</strong>.<br />

Apply now for courses starting in October <strong>2015</strong>.<br />

We also run other Counselling/TA workshops, courses and events.<br />

01892 652 487<br />

www.thelinkcentre.co.uk<br />

email: leilani@thelinkcentre.co.uk<br />

Counselling and Psychotherapy Training<br />

Mohammed - Spice of Life<br />

Fresh, home-cooked Bangladeshi and Goan speciality dishes<br />

mohammedspiceooife.co.uk<br />

Unit 19, e Open Market<br />

07985176812<br />

• Daily lunchbox specials.<br />

• Served hot and ready to eat or<br />

‘take and heat’ chilled / frozen.<br />

• Healthy cooking lessons.<br />

• Freshly mixed spices, Bangla<br />

snacks, sweets and desserts.<br />

• Ethnic groceries and spices.

icks and mortar<br />

..........................................<br />

A facelift for Fabrica<br />

And a ‘floating cube’, too<br />

You’d be forgiven for not knowing about the new<br />

extension to <strong>Brighton</strong>’s beloved Duke Street art<br />

gallery Fabrica. The project, funded by the Arts<br />

Council and designed by <strong>Brighton</strong>-based CDMS<br />

Architects, has been on the table since 2012, but<br />

building will start in <strong>September</strong>.<br />

I meet CDMS Director Corin Morton and Architect<br />

Tom Wainewright, to find out more about the<br />

attractive ‘floating’ cube they will append to the<br />

deconsecrated church. It’s a compact addition, comprising<br />

three stories of modest office and storage<br />

space to the rear and a new glazed ‘shopfront’ on<br />

Duke Street. The size belies the build’s importance,<br />

however, as Corin says, “It will enable Fabrica to do<br />

what they do so well, properly,” freeing them from<br />

having to run the charity, and its network of about<br />

90 volunteers, from inadequately-sized offices. As<br />

Corin says, “you put in extra effort because you’re<br />

doing it for the right people and the right organisation.<br />

What they do is just brilliant.”<br />

Its compactness also compounds the build’s difficulty,<br />

says Tom: “it’s essentially a big juggling act.<br />

The amount of complexity does not reflect the size<br />

of the finished building, but it probably does reflect<br />

its cultural importance in <strong>Brighton</strong>… We’ve said<br />

a few times, you could probably build something<br />

ten times the size with the amount of drawings and<br />

details we are producing for it.”<br />

The intricacy of the build is a big part of what has<br />

Corin and Tom fired up about the project. “The<br />

least interesting thing for an architect,” says Corin,<br />

“is to ask them to design a building where there’s<br />

no point of reference, there’s no challenge.” A big<br />

obstacle here is the access, as the space borders a<br />

‘landlocked’ pocket of Dukes Yard. “One of the<br />

intriguing things about this, is it’s going to be this<br />

hidden gem that few people actually ever see,” explains<br />

Corin. “It’s made us all the more determined<br />

to make sure that it’s a really interesting piece of<br />

architecture.”<br />

I’m personally attracted to the Fabrica extension because<br />

of its modernity. Slim, glazed panels partition<br />

the extension from the brick and flint of the original<br />

Grade II listed church. As Corin says, “It needs to<br />

be distinct”. His thinking may be challenging, but it<br />

reflects how the church has been developed in the<br />

past: originally sporting a stucco façade, then the addition<br />

of a gothic revival front. “It’s changed materials<br />

and styles all over the years,” says Corin. “The<br />

most logical thing to do was to change it again.”<br />

I ask if there is much difference between the sorts<br />

of builds commissioned in <strong>Brighton</strong> to elsewhere.<br />

“The unfortunate truth is it can be quite difficult<br />

to get interesting architecture built in <strong>Brighton</strong>,”<br />

replies Corin. The heritage, geography and the<br />

varying interests of community groups can make it<br />

hard to build, especially for contemporary projects.<br />

“Where this seems to be happening more easily is<br />

within the larger institutions such as the university,”<br />

he says, “but whether that trickles down is another<br />

matter… [<strong>Brighton</strong>] has to continue to embrace<br />

modern architecture.” Chloë King<br />

cdmsarchitects.com<br />


inside left: STREET PARTY, 1953<br />

...................................................................................<br />

These kids, decked out in fancy dress, are celebrating the Coronation, at a street party on June 2nd,<br />

1953. Little will most of them know it, but the New England Street houses either side of them were<br />

not to last the end of the decade: they were already earmarked for demolition.<br />

The development between London Road and the railway line was built in 1850, ten years after<br />

<strong>Brighton</strong> Station opened, largely in order to house the many workers involved in the new industry.<br />

The land was previously used for the growth of arable, and this street and the area took on the name<br />

of the farm it was built on – New England Farm. The new quarter, according to the late city historian<br />

James Gray, was constructed ‘with little regard to density per acre, the chief object seemingly<br />

being to build as many houses in as small a space as possible’. In 1950 much of it was chosen by<br />

<strong>Brighton</strong> Corporation as ‘Area Number 1’ for slum clearance.<br />

There was, however, little wrong with the structure of the houses, and, as you can see from this and<br />

other pictures, the area was home to quite a thriving community. The old New England Street was<br />

eventually demolished in 1958/9, and many of the structures you can now see on the new widened<br />

version, including New England House, were built in its place. Of course the redevelopment of the<br />

area has continued, in various stages, to this day.<br />

We sourced the photo from the Queens Park Books photo library, and it was contributed to that<br />

excellent archive by Nicola Preston, whose father you can see in the picture. He is the pirate in the<br />

centre of the group; the cowboy in the splendid chaps next to him is his mate Ray Brindley. If we<br />

were judging the costumes, we’d really rate the Francis Drake, the Beefeater, the Pierrot and the Britannia,<br />

but we’d have to give the top prize to the little jockey on the right of the group. Does anyone<br />

know what became of this little chap?<br />


Lancing College<br />

Preparatory School at Hove<br />




Join us for our<br />

Open Morning<br />

Saturday 10 October <strong>2015</strong><br />

10.00am - 12 noon<br />

www.lancingcollege.co.uk<br />

The Droveway Hove<br />

Tel 01273 503452<br />

East Sussex BN3 6LU<br />

hove@lancing.org.uk<br />

Registered Charity Number 1076483




Call our student services team<br />

on 030 300 39551 for more information<br />

and advice on your next steps.<br />






16:30 – 19:30<br />


10:00 – 13:00<br />




16:30 – 19:30<br />


10:00 – 13:00<br />


16:00 – 19:00<br />


16:00 – 19:00<br />

w w w . s u s s e x d o w n s . a c . u k

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!