Jaguar unveil brand new E-PACE with star studded event.

 

Last week Jaguar hosted a star studded event filled with music, fashion and unrivalled cinematic styled stunts. With a clear focus on style, luxury and entertainment, we attended to see if the British manufacturer could mirror the same booming successes of Britain’s current luxury fashion and entertainment industries.

The event was all in celebration of Jaguar’s brand new compact performance SUV, the E-PACE. On first glances, it’s clear that Jaguar has combined their legacy of artistic and unique design prowess with the comfort and practicality of a five-seater body.

The E-Pace exterior design is sleek, tasteful and above-all-else one of the most fashionable designs you’ll find on a five-seater SUV on the market. The interior boasts modern amenities from its five USB connections, four 12-volt charging points and 4G Wi-Fi hotspot for up to eight devices; so despite the practicality of vehicle, owners will also benefit from the innovative amenities seen in sports car ranges.

We got to witness the aforementioned high-performance qualities of the E-PACE put to the test with famed stunt driver Terry Grant performing a 15.3 metre-long jump complete with a 270-degree ‘barrel roll’ across London’s EcXel which landed the car safely into the official Guinness World Records book.

Coming in at an affordable £28,500, Jaguar has opened their arms to both a younger and more practically minded consumer base commendably without compromising on the great design we’ve come to expect the manufacturer.

Director of Design, Ian Callum has this to say “Established Jaguar design principles ensure the
E-PACE is immediately recognisable as the sports car of its class. Our new compact SUV combines the interior space, connectivity and security that families expect with the kind of proportions, purity of design and performance not usually associated with such a practical vehicle.”

But the night was not only for lovers of fast cars and stunts as the presentation was rounded off by a whirlwind set performed by Pete Tong, The Heritage Orchestra and special guest Raye, the latter of whom we spoke to only a few weeks ago. Discussing the set after the show, Raye jubilantly told FAULT:

“It was such an incredible experience to perform with Pete Tong and The Heritage Orchestra! I’ve always been a fan of fast cars and have fallen in love with the new E-PACE – it’s beautiful!”

Fashion model and (true) philanthropist David Gandy was also in attendance on the evening. David Gandy has long-been associated with Jaguar, and we asked what from the lineup he was most excited for

“I’m always excited Jaguar’s new launches; there’s no one thing I can tell you I am most excited for tonight because there’s no one thing I love about cars and the brand”.

In all honesty, these events aren’t something we cover too often as they can be rather boring in the eyes of our affluent younger readership. Many times unveilings can miss the mark of what younger audiences are interested in, so we must commend Jaguar for engaging and understanding that their contemporary fan base is harbouring an appreciation of luxury, design and technology without any less of the excitement afforded to them elsewhere.

The evening even boasted a spectacular VR demonstration of the E-PACE which allowed us to get a close-up, 360 inspection of the internal components which allows for such a practical car to perform so well. Blending the innovative and exciting technological advances of Jaguar with the equally compelling format of VR technology was a genius move on their part.

All in all the event was a success, and from what we’ve heard from the automotive journalists in attendance, Jaguar is set to see a winner with the E-PACE. Our take away from the event is Jaguar’s clear and successful push from Jaguar to be an industry leader for the often forgotten consumer base of the young and affluent. The musical performances, showcases and incorporation of new technology are a clear signal that despite over eighty years in the business, Jaguar is still very much on trend.

 

 

FAULT Magazine Reviews: The Trading House

Summer has finally landed in London, and as promised, FAULT Magazine is putting together our very own ‘Where To Dine Summer 2017’ guide to let you know of all about London’s best restaurants.

We recently visited Trading House to see what it had to offer and despite being in banker central, on entering, we were amazed to discover so much life and soul within the venue. With a live performer and marvellously rich décor, we were off to a good start so let’s dive into the meal!

We began where all good meals should, at the bar, where they have an extensive wine list and even larger (and more fun) cocktail menu. From the offset, the bar staff were ready to make our experience as unique with their cocktail menu which boasts original twists on old English classics. To put this into perspective, they can make five different variations of the world famous mojito from a Spiced Pineapple to a softer tasting Peach & Cardamom variation. It being summer, we opted for their Elderflower Gin Coolers and Karma’s A Bitch cocktail; the latter mixes gin, apricot, homemade karma tea-infused syrup and while I have no idea what karma tea is, it’s certainly delicious.

Their nibbles menu is also sufficient enough if you’re only planning on visiting for a few drinks after work too. Start your evening with crispy whitebait, salt and pepper onion petals, pork crackling and or olives if you’re only popping in for a short amount of time.

For our starters, we were spoiled for choice with Trading House offering scotch eggs, calamari, truffle mushrooms, smoked haddock fondue and many other restaurant favourites. We went for the classic dishes to use as a point of reference and compare them to what we’re used to from another restaurant. With that in mind, we tried the crispy calamari and wings in barbeque sauce which were both to die for. The calamari was coated in Piri Piri salt, and I don’t believe I’ll be able to eat them any other way from now on – a great start!

Moving on to the mains and again, we were very impressed by the comprehensive menu. Don’t be put off if you’ll be dining with less adventurous dinner guests as The Trading House caters for everybody. While the lure of the unknown and adventure might take your fancy, The Trading House also features classic dishes such as fish and chips, flat iron steak sandwiches and pan-fried seabass for those with a less adventurous tongue. We thought it’d make for a better review to go with the more out-there offerings however and lucky for us the menu is a playground for the adventurous diner.

Choosing a main course was difficult, and quite frankly, it begs for a second visit because everything sounds delectable. From the new Orleans inspired, prawn and chicken gumbo to lamb kofta or their selection of pies, all of it looked amazing but what The Trading House is famous for is their Hanging Kebabs so it’d be rude not to!

We opted for the salt and pepper pork belly which arrived on your very own spit with the chips at the bottom ready to soak up any rich and flavoursome sauces which drip upon them. Accompanies with sweet chilli and ginger sauce, the meal was oozing with different flavours not often put together but ones which blend surprisingly well.
Non-meat eaters looking to enjoy Trading House’s hanging kebabs can opt for the halloumi, and falafel kebab alongside garlic butter and cauliflower couscous and if you’re a fish lover, Jerk Salmon alongside rice and peas sounds and looked amazing.

If by chance you can still manage dessert, the white chocolate and peanut butter mousse with chocolate and ginger crumb are as great as it sounds. If you don’t share our sweet tooth, we can with real confidence recommend the cheese board.

We admit when we first heard of the Trading House and it’s location in Bank we were a little worried that we’d find nothing but a tourist trap filled with false charm and unnecessary theatrics but we, in fact, found the complete opposite. The Trading House isn’t a themed restaurant, nor one that tries too hard to force a feeling of exclusivity despite its high-end level of customer service. Their cocktails all come at a fair price and in London, it’s not often you’ll be able to get a three-course meal of this quality at under £30 per head.

The Trading House is a great location for laid back date nights with or casual drinks. What that area of London has been missing for too long is a restaurant that provides excellent customer service without compromising the human touch and charm required. For us, Trading House is the perfect example of how to strike the right balance.

Trading House – one of the finest examples of fresh ideas and exciting cuisine in a part of London that sorely needs it. For us, this is one of 2017’s must visits!

 

 

Gurls Talk Premiere Event in Partnership w/ Coach & Dazed

While in recent months the times have been trying, sometimes it’s good to be reminded of all the positive and empowering vibes still around us. On July 1st, Gurls Talk will be hosting their first event with a day-long festival of female empowerment. Gurls Talk in partnership with New York fashion house Coach and supported by Dazed will kick off their free and open to the public event with a talk by activist and model Adwoa Aboah.

While you might recognise Adwoa for her accomplishments as a model, working with fashion powerhouses Versace, Alexander Wang and Kenzo to name a few; what you’ll no doubt grow to admire her for is her work as an activist and founder of Gurls Talk. As explained in the video below above (which is worth watching in full), Adwoa explains the reasons she founded Gurls Talk as the safe place she needed as a young woman but was not able to find.

 

“Having such a hard time when I was at school I think there should really be a space where girls can talk about these certain things that maybe people don’t see as so important like insecurities and boyfriends”

“At school, I didn’t have this place – I idolised people who had a life I thought I wanted”

A safe space to discuss ideas of sexuality, body image, mental heath and so much more – Gurls Talk is an unfiltered platform full of articles and stories which educate as much as they inspire and we can expect the very same from their event this Saturday.

Speakers confirmed so far include US Vogue contributor and relationship expert Karley Sciortino, activist, actress and model Hari Nef, intersex advocate and model Hanne Gaby Odiele, feminist columnist and author Laurie Penny, and Professor KM Abel. Alongside panel talks, there will be a programme of workshops including a movement workshop hosted by British choreographer Wayne

McGregor; a bonding and healing workshop hosted by Dr Lauren Hazzouri in addition to a Claire De Rouen library, a Coach Dream Station, a photo studio and much more.

The event is free and open to the public and of course, we wouldn’t miss it for the world and will be down there front centre of every talk, workshop and photo booth.

Free Admission

To secure your place RSVP at rsvp@gurlstalk.com

Location: 180 The Strand, London WC2R 1EA – Time: 12:00pm-6:00pm

FAULT Focus: How e-cigarettes have changed pop culture

In years gone by, it used to be the rule that if you wanted to create a  cool, rock n roll, brooding character, then they had to smoke. Be it James Dean’s breakthrough role as Jim Stark in Rebel Without A Cause, John Travolta’s swooning and charismatic portrayal of Danny Zuko in 1978’s Grease or Brad Pitt as Tyler Durden in 1999’s Fight Club – if you want to portray a badass, they had to be seen with a  cigarette.

Of course, it wasn’t just male brooders of yesteryear who had to always be seen dragging from cigarettes on screen, a demur example of its female counterpart can be seen in the legend that is Audrey Hepburn. Even her most famous photograph taken from Breakfast at Tiffany’s shows her irradiating natural beauty but in her hand, the famous cigarette holder clenched so delicately.

This, of course, was simply a sign of the times, while now we might discern the cigarette, smoking tobacco has been a way of life worldwide for centuries. In 1974, over 50% of men in England smoked but by 2015 that number had fallen to 19.1%. Thanks to a number of different factors namely, vaping, nicotine gum and nicotine patches, the number of cigarettes smoked has fallen but not the ingrained cultural connotations that come from mood caused by smoking haven’t. So where has pop culture turned to I hear you ask – e-cigarettes.

Watching an actor on screen blowing out plumes of smoke, whiskey in hand as they act out whatever dramatic scene is asked of them still implies a level of drama, seeing a cigarette in hand also brings the negative connotations of stale smoke soaked furniture and blackened teeth but luckily for producers, e-cigarette smoking does not share the same negative connotations.

 

 

Take for instance ‘The Tourist’ which stars Johnny Depp and Angelina Jolie sees Depp’s character Frank puffing away on his e-cigarette on a train (not something we’d advise). Notice how Depp is able to keep the same brooding, sexual prowess of the gentleman above without the uncomfortable and culturally out of touch sentiment of cigarette smoking.

Even small screen characters who are famous for their cigarette smoking have now moved onto e-cigarettes even Eastenders’s own mainstay Dot Cotton. For years, Dot could be seen on the show smoking, pre-UK smoking ban there are even clips of Dot smoking inside her place of work but fast forward to today and Dot Cotton is in the famous Queen Victoria Pub puffing away on her Vapestick.

On screen isn’t the only place that the vision of smoke is required, however, even we have participated in the switch over in our shoot with Angel Haze. On the 2014 Online Cover shoot, we depict Angel blowing out plumes of smoke but without a cigarette in sight. On set, we used an e-cigarette filled with e-liquid from Vape Club which we then removed before taking the photo.

As the popularity of cigarette smoking continues to fall, we’ll no doubt see e-cigarettes fill the void for years to come.

 

FAULT Focus: Khadija Saye: Remembering The Artist Through Her Photography

 

Early Thursday morning, the reality of London’s Grenfell Tower blaze hit home for myself and my fellow UCA alumni as we read the final Facebook update from our once classmate, Khadija Saye. Trapped within the burning building, Khadija reached out for prayers from her loved ones, and they rushed to the streets and social media in hopes of finding her. Sadly, the next day Khadija’s family would confirm that what we feared the most had come to fruition, Khadija had tragically perished in the blaze.

While we did share a class throughout university, myself and Khadija were not close friends. Remembering my panic as I scrolled Google and social media desperately looking for an update on her condition, I feel compelled to help ensure that her captivating body of work and not the tragedy of her passing, form her lasting legacy.

As an artist, her work cast a light on Gambian culture, the collective unity within “the other” and her journey into self. In memorial of Khadija and the conclusion of her photographic portfolio, FAULT takes a dive into the work of the late great artist – Khadija Saye.

 

‘Crowned’

In 2013, Khadija took her seat at the proverbial table and unveiled her centrepiece in the form of her photographic project entitled, ‘Crowned’. This series of photographs is one of the projects that our class was able to observe as it developed from inception to completion as Khadija’s final degree show series. ‘Crowned’ is made up of eight portraits showcasing the different ways in which black woman close to Khadija styled their hair. From woven braids, extensions, dreaded and natural afro, the viewer is given a glimpse into the diverse range of hair styling possibilities open to black women.

Entitled ‘Crowned’, Saye references the physical and the symbolic idea that black hair is something to be prized and adorned and not ashamed of. The words of Ingrid Banks taken from her book entitled ‘Hair Matters: Beauty, Power, and Black Women’s Consciousness’ echoes in my mind when I reflect upon Khadija’s title choice. In the book, Banks writes:

“Crown suggests a source of power, excellence or beauty…Therefore, a notion of power is embedded in the idea of hair as a black woman’s crowning glory. Hair has the ability to become a foundation for understanding how black woman view power and its relationship to self-esteem” –  Ingrid Banks 2000.

More contemporary references to black hair as something of brilliance can also be seen in Solange Knowles’ critically acclaimed 2016 release ‘Don’t Touch My Hair’, where within the opening verse Solange exclaims:

“Don’t touch my crown, They say the vision I’ve found”

“They don’t understand, What it means to me”.

One does wonder what significance Khadija’s perception of her own afro hair and its beauty played in her choosing to embark on the project and if I were to guess, producing ‘Crowned’ was a labour of love and presentation of self-pride. Indeed in March 2017, four years after the release of the series, Khadija reminisced on the making of the project in joy tweeting:

 

In the image, her young assistants observe possibly unaware of the importance their participation played in the construction of ‘Crowned’ or how it might affect their perceptions towards their afro hair and ideas of self in years to come; truly the impact of ‘Crowned’ will stretch on far further than even Khadija would have imagined.

As the only black male on our course, I once attempted to play up my “wokeness” and asked Khadija if she had seen “the Chris Brown documentary called ‘Good Hair’”, (misquoting Chris Rock’s 2009 documentary that focussed on the perception of natural hair within the African-American community.) Emblematic of her kind-hearted and gentle attitude, Khadija, of course, corrected my mistake letting out a light giggle; dropping my façade I listened to her thoughts on the documentary.

Earlier I referenced Solange Knowles’ ‘Don’t Touch My Hair’, a fiery anthem that highlights the resentment caused by patronising actions which decrease afro hair to a thing of play but observing ‘Crowned’, the same frustrated narrative does not confront me. My interpretation of ‘Crowned’ isn’t, “don’t touch my hair!” It is an inviting, “Don’t touch but do see. Bear witness to the beautiful ways black women can choose to style their crowns.” The viewer is invited to marvel at the intricacies of the different twists, curls and over-locking structures of the sitter’s hair and when printed and framed in a gallery, we’re disarmed and hypnotised by their sophisticated beauty.

It’s important we recognise the personal connection Saye shared with the women she photographed. The trust the sitters have placed in Khadija is unique; formed not just from a shared experience of blackness but through the confidence these women placed in Khadija’s skill as an artist to capture so much more than just hair. It is thanks to her affable character that Khadija was trusted to capture up-close the art within her subject and through her artistry and presentation nous, she allowed the viewer to appreciate black women’s hairstyles up close as something of splendour.

Khadija’s ‘Crowned’ might end here, but the project as a form of inspiration to a new generation of artists will continue. The eight sitters included on Saye’s website are but a drop in the ocean of the many different ways black woman can choose to style their hair; making ‘Crowned’ a gleaming seed from which the mightiest body of work can still grow.

 

Home.Coming

For her series entitled ‘Home.Coming’, Khadija travelled to The Gambia and documented her exploration of self through a series of portrait and landscape photographs.

Something I notice through all of Khadija’s work is her ability to find familiarity and gain trust within cultures sometimes seen as ‘the other’. ‘Home.Coming‘, ‘Crowned‘, ‘Eid‘, ‘Madame Jojo’s‘, all focus on different categories of the human experience yet notice how she has never been kept at arm’s length from her subject. I don’t feel the presence of a white tape that Saye is forced to photograph from behind when I observe her work. When capturing her subjects, for a time at least, Khadija is one with their environment and through her lens’ eye, the viewer is too.

For me, the unseen friendship-building and conversations Saye would have had with each person to earn their trust before the photo session conjures much intrigue. The above portraits arrest your gaze; the men’s eyes tell countless yet frustratingly unattainable stories. Khadija has stopped time but for a moment yet opened the door for myriads of questions – made sorrowfully more perplexing now they’ll go unanswered.

In another photograph from the series, a young girl smiles as she watches something out of the frame and in the below photograph a man leans on his prized Volkswagen, both beg a mountain of questions yet if we take a step back, we’ll find Khadija’s story told throughout the series.

Any second generation migrant knows all too well the conflicted notion of “home”, and from what I can only guess, Khadija travelled to The Gambia to find, explore and reflect on life in a home in which she did not live. While the content of Khadija’s photographs doesn’t answer the question of “did Khadija find self and the comfort of home while in The Gambia” but we need only look at her sitters to find our answer. As referenced previously, her subjects are unperturbed in front of the camera and this is likely because they were relaxed with their photographer. Any artist can tell you the anguish of requesting a portrait of a stranger only to watch their sudden discomfort when faced with the intrusive camera lenses flung in their face but notice the air of calm in Khadija’s work.

Yes, each photograph in the series contains countless untold stories, yet one is clear, and it’s the sitter’s tale of Khadija. As a photographer, she wasn’t a stranger in their midst nor a second generation displaced entity forcibly taking up shop in their domain; for that time if only for a moment, Khadija Saye was one with them – truly at home.

 

Dwelling: In This Space We Breathe

Khadija’s last exhibited work ‘Dwelling: In This Space We Breathe’ made with the help of artist, Almudena Romero, saw her once more exploring her heritage by investigating traditional Gambian spiritual practices and the comfort practitioners found in the arms of a higher power.

There is something remarkably poignant about her final project immortalised on such a physically existent format such as the tintype. By using tintypes, Khadija transformed her amorphous visual being, memory and legacy from a temporary state and gave it physical form. Unlike a digital file, memory or spoken recollection, her tintype image has weight, texture, smell and uniqueness the very same way our physical forms do; yet unlike us, her tintypes do not have an expiration date and will always remain.

The very idea of legacy and the pursuit of artists to leave a token in this world for after we pass, itself is a practice of spirituality. For all we know, there is no telling of what significance our life actions will play after our lives come to an end, yet we attempt to leave proofs of our existence to tell the future world “I was here and I existed.”

In the tintype images, Khadija is depicted in a ritual using sacred Gambian artefacts meant for the purpose of connecting with the spiritual world from the physical plane. Now with her passing, there is a spiritual awakening of ideas and ways of reflecting within the viewer. Now as we gaze upon the imagery, it is us the viewer who are being connected with Khadija and in turn, linked spiritually to the “once was”.It is through Khadija’s immortalisation of Gambian ritual that we now look upon her from this physical plane despite what would be considered by many religions as her soul ascending to a higher state of being.

I’ll admit that the above sounds somewhat of a stretch and likely not what the project was intended to symbolise, but it did cast a light on my scepticism towards schools of beliefs that I do not understand. In reflecting on the work, my own westernised perception of spiritual ritual has come into question. For myself at least, the actions depicted by Khadija provides a brand new outlook and way of seeing such ceremony.

For some of those raised in the UK, the idea of spirituality and non-conventional western religion is sometimes considered as something of myth or fantasy, not necessarily through conscious choice but through our conditioned view of pre-evangelised spirituality.

In Sir Edward Burnett Tylor’s 1887 book (now somewhat offensively entitled) ‘Primitive Culture’, he gave the broad belief that spirituality can be attributed to ritual and inanimate objects the name ‘Animisim’.

Note: ‘Animisim’ does not exclusively describe the Gambian ritual Khadija explored in her project but broadly refers to the school of similar beliefs held by people throughout Africa, Europe, Asia and Australia throughout history. Hopefully an anthropologist or practitioner of the specific belief Khadija explored can provide a more suitable title for us to use in this essay.

While coining the English term for the phrase, Tylor knew he was generalising a large number of people, but he did so out of frustration with writers of his day who saw such displays and dismissed them as illegitimate forms of spirituality.

“Short of the organised and established theology of the higher races as being a religion at all. They attribute irreligion to tribes whose doctrines are unlike theirs”. – Taylor 1887

The link between the photographic process and spirituality is also drawn upon in the accompanying text for ‘Diaspora Pavilion 2017’ where the works are currently held on display.

“The process of submerging the collodion covered plate into a tank of silver nitrate ignites memories of baptisms.” – Disapora Pavilion 2017

It is clear Khadija found a spiritual link at every step of this project even choosing herself as the subject when producing the tintypes but rather than theorising or projecting, it’s only right to let the words that accompany the project have the final word:

“This work is based on the search for what gives meaning to our lives and what we hold onto in times of despair and life changing challenges. We exist in the marriage of physical and spiritual remembrance. It is in these spaces that we identify with our physical and imagined bodies. Using herself as the subject, Saye felt it was necessary to physically explore how trauma is embodied in the black experience.” – Disapora Pavilion 2017

 

Notice how throughout Khadija’s entire body of work, there’s a level of thinking that transcends just the art of seeing. All three projects spoken about above are unique individual displays of artistry and wonderous displays of photography worth that of an artist far beyond Khadija’s years.

‘Crowned’, ‘Home.Coming’ and ‘Dwelling: In This Space We Breathe’, are all linked only by the artist of origin and much like Khadija, they mean and will continue to mean so much to so many different people. Reminiscent of the Khadija that I knew from across the lecture theatre, not a lot is shouted nor is it displayed with over-the-top performance – because work and artists with true substance donesn’t require such theatrics.

This week we sadly lost Khadija, but not her contribution to the artistic world.

 

See more from Khadija’s portfolio on www.sayephotography.co.uk

 

 

 

FAULT Magazine Reviews: HotPot, Chinatown London

Photography: Rob Greig

 

Summer is fast approaching and with that in mind FAULT is on the quest to bring you the very best of dining experiences in London for our 2018 “where to dine this summer guide”.

Today we present to you Hot Pot, the quintessential group dining experience for friends and family. Hot Pot is of course nothing new, for over one thousand years it has allowed groups of people to come together in a shared cooking experience to prepare and enjoy food cooked at your very own table. With the newly opened Hot Pot restaurant located on Wardour Street and right in the heart of London’s Chinatown, we headed down to see if Hot Pot could still be enjoyed as part of a summertime experience.

Photography: Rob Greig

Walking into the restaurant, it’s clear that it’s already a hit; despite it being a Wednesday evening, the restaurant was still a hive of chatter as friends caught up for their slow-paced postwork meetups. With two floors the second to be opened later in the year. It’s important to mention that the décor and arrangements are well put together as opposed to some other venues within the area. Every ornament complements the next without being garish or thrown together; it’s truly a place you’d feel comfortable.

As a group dining venue, seating is arranged in tables of 6, 8 and 10 with private dining rooms available if you’d like a more exclusive experience. In the centre of each table, you’ll find the hot plate on which all of your cooking will take place.

Now down to the food! Diners have the choice of five broths to cook chosen ingredients within which are listed below.

Mala Sichuan Spicy, Tom Yum, Chicken, Clear and Vegetarian.

We had the chance to sample all five and to my own surprise Vegetarian was my favourite – any vegetarian will tell you that some restaurants can really miss the mark with their vegetarian options usually resulting in disappointingly lacklustre flavours but Hot Pot is defiantly not an example of this. I’d highly recommend the Vegetarian or Chicken Broth for meat eaters who aren’t great with spicy food but are still looking for flavoursome dishes with rich spices.

Photography: Rob Greig

After finding your broth, it’s then time to pick your ingredients to cook with it. This is somewhat daunting but luckily the restaurant staff are on hand to help pick dishes which complement each broth’s individual flavours. You can pick from a vast array of ingredients, all of which are listed below.
Rib-eye, wagyu, marinated chicken, pork belly, sea bass, king prawns, shrimp wontons, Scottish lobster, fresh abalone, shitake mushrooms, golden needle mushroom, sweet potato, fresh tofu, crab claws and quail eggs. 

While a large option is available, make sure to ring ahead and see what they actually have available that day. We know from last year’s “Datenight Guide’ that you’re all a big fan of lobster and crab however on this occasion the restaurant did not have the option available even with lobsters in the tank display, so if it’s a must, be sure to confirm before making the trip.

Despite it being a strange concept to have to cook your own food at the table, it’s actually surprisingly fun and interactive. An unexpected plus side to everyone participating in cooking and dining is that it drives conversation as you comment on the different flavours and discuss favourite dishes with your table. What really would be handy would be a graph with cooking times for each ingredient, left to our own devices there was a worry about making sure each ingredient was cooked properly and with little guidance, we were forced to either overcook the food or to risk eating it before it was fully cooked and neither option is ideal. That being said, it’s a new venue with all the potential to add in these features at a later date.

What really would be handy would be a graph with cooking times for each ingredient, left to our own devices there was a worry about making sure each ingredient was cooked properly and with little guidance, we were forced to either overcook the food or to risk eating it before it was fully cooked and neither option is ideal. That being said, it’s a new venue with all the potential to add in these features at a later date.

Photography: Rob Greig

We tried a little of everything available and your dining experience is definitely down to you thanks to their wide variety of options. If you’re after something light, you can go with wontons and shrimp cooked in a light vegetarian or clear broth and if you’re looking for something more hearty then pair the ribeye and sweet potato cooked in a tom yum broth. If there’s one thing you get when dining at Hot Pot, it’s the pleasure of choice which is a massive advantage.

Is Hot Pot a must this summer? Despite some growing pains which we imagine will be ironed out in the coming months, it’s a resounding yes. Despite it sounding more suitable for the winter season, the broths are actually pleasantly cooling. Located in the convenient but often bustling Chinatown, it’s  a godsend to have a place where you can take things slow and enjoy a meal at your own pace with your loved ones. If you’re looking for a truly unique dining experience, then look no further than Hot Pot.

Address:
17 Wardour Street
London
W1D 6PJ

Opening Times:
Monday-Wednesday: midday to midnight
Thursday – Saturday: midday to 00.30am
Sunday: midday to 11.00pm

www.hotpotrestaurants.com
Price:
Hot Pot is £8 for the table and ingredients range from £5 for vegetables, mushrooms and tofu, £5.50 for marinated pork, £7.50 for mussels, £10.50 for scallops and £20.50 for premium wagyu.

 

Lights Of Soho X Fenwick Of Bond Street unveil ‘Women in Neon’ Exhibition

 

FAULT Favourite creative venue, Lights Of Soho have brought their creative nous to the high street with their latest partnership retail behemoth – Fenwick Bond Street.

Entitled ‘Women in Neon’ all works on display were created by female artists. While the whole collection of works can be viewed on the first floor – LOS have also taken over the window display at the street level where Federica Marangoni’s ‘Art Has No Sex’ neon unashamedly illuminates their message.

While all artists have worked with Neon for this exhibition, they all hail from different disciplines and creative backgrounds, the display is fluid and stands as a testament to how both individualism and collaboration can come together to create a true work of art.

“Women in Neon” will be taking a four week residency on the 3rd floor of Fenwick of Bond Street on 20th March and all pieces displayed will be available to purchase.

Read more info on the artists displaying work below:

Linda Bracey is creative director of God’s Own Junkyard, founded by her late husband Chris Bracey. Linda has designed neon artworks and studio ranges for several exhibitions at the Lights of Soho gallery. She has also curated an exhibition of her late husband’s artworks in various London gallery spaces.

Lauren Baker is a British contemporary multidisciplinary artist who exhibits internationally. Her work explores the fragility of life, energy-fields, the after-life and other dimensions. She’s created installations at The V&A, Tate Britain, ran an art workshop at Tate Modern and directed the windows of Selfridges.

Rebecca Mason is a UK based artist using light to convey the darkness within human life, existence and emotion. Rebecca has exhibited in various UK locations including restaurants, bars and galleries.

Dianna Chire is a London based artist. Her practice frequently employs visual puns and bawdy humour as well as a commentary on female identity. Dianna works in mediums of sculpture, performance and neon.
Federica Marangoni is a Venetian artist and designer, working internationally has researched on various materials and technological media throughout her career and has exhibited in many international museums including MoMA (New York 1980), Peggy Guggenheim Foundation (Venice, 2001) and La Triennale di Milano (2016)

Get to know: Spoek Mathambo and Lars Iversen’s new project ‘HOT ICE’

Introducing Hot Ice, the incredible new project from Copenhagen based producer and songwriter Lars Iversen and South Africa based MC/Producer/Artist Spoek Mathambo. The first taste of Hot Ice comes in the form of their irresistible single ‘Lola’, an uplifting and bouncy slice of summery, tropical dub-pop, due for release on 24th March 2017 via Atlantic Records. The track also features guest vocals from Mattias Kolstrup, lead singer of renowned Danish electronic band Dúné.

 Critically successful artists in their own right, Hot Ice sees a first time collaboration between Lars Iversen and Spoek Mathambo; with Iversen known as the founder, producer and main songwriter of The Asteroids Galaxy Tour, and Mathambo as a hugely influential and pioneering electronic artist and producer both within his native South Africa and the wider world.