ISSUE NINE - July 2026
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06 What We Love in London 08 Maria Jakubiec on Parliament Hill Café 18 Naarah on NAIDOC Week in London
20 Artist Profile: Jasmine Coe 30 The Great Plate Robbery 38 Charlotte Colbert at Fitzrovia Chapel
44 Recipe: Brayden Davies 44 Recipe: Brayden Davies Damper Bread Damper Bread 48 PAIRED: Willunga 100 48 PAIRED: Willunga 100 52 My London: Naarah 52 My London: Naarah
JULY IN LONDON
Prue Freeman & Tom Onions, Daisy Green Collection Founders
There’s a point every summer when London feels at its absolute best. The parks are full, the evenings stretch on longer than they should, and suddenly the city feels a little less hurried. People linger over lunch, meet friends by the river after work, and find themselves discovering corners of London they haven’t visited in years.
This issue is full of those kinds of discoveries.
We head to Richmond to spend time by the Thames, celebrate the reopening of Parliament Hill Café through the story of one remarkable woman who’s spent more than three decades serving the local community, and explore some of the exhibitions, artists and cultural moments shaping the city this month.
Art runs through these pages more than ever. From Marilyn Monroe and the photographers who helped define her image, to the work of Aboriginal artist Jasmine Coe, Charlotte Colbert’s dreamlike world at Fitzrovia Chapel and Alan McFetridge’s thoughtful new exhibition at Holland Park Café, there’s a shared theme of looking more closely at the world around us.
You’ll also find plenty of reasons to make the most of the season, whether that’s Wimbledon on a big
screen, a riverside dinner at Peggy Jean or a walk through Holland Park.
As always, we hope these pages inspire you to get out and enjoy the city. Summer in London never lasts quite as long as we’d like, so consider this your reminder to make the most of it.
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THE CON TENTS
ISSUE NINE - JULY 2026
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What We Love In London
08.
Maria Jakubiec on Parliament Hill Café
18.
Naarah on NAIDOC Week in London
20.
Artist Profile: Jasmine Coe
30.
The Great Plate Robbery 48.
38.
Charlotte Colbert at Fitzrovia Chapel
44.
Recipe: Brayden Davies Damper Bread
PAIRED: Willunga 100
52.
My London: Naarah
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Marilyn Monroe; Laurence Olivier (Press Conferenceat The Savoy Hotel)
by Larry Burrows
From the original modern silver print, 15 July 1956
Given by Barbara Baker Burrows and Russell Burrows, 2012
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JULY GUIDE
What to see, do and
where to visit this month.
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01 Soda Jerk bac.org.uk
02 Prideinlondon.org
WHAT WE LOVE IN LONDON
Our favourite exhibitions, openings and seasonal moments across the city this month.
The Art of Mini Golf (until 26th July) Swap the white walls of a gallery for a putter and a scorecard at this playful exhibition taking over Battersea Arts Centre. Featuring nine imaginative mini golf holes designed by leading women artists, The Art of Mini Golf celebrates the game’s surprisingly rebellious origins while inviting visitors to play their way through a series of immersive artworks.
Pride in London (5 July) One of London’s most recognisable London’s annual celebration of LGBTQ+ life and culture returns with a huge central parade, live performances and citywide events. Pride in London brings together communities, allies and visitors for one of the capital’s most colourful and energetic days of the year.
Marilyn Monroe: A Portrait at the National Portrait Gallery (until 6 Sept) In celebration of the Hollywood star’s 100th birthday and in association with the Marilyn Monroe estate, Marilyn Monroe: A Portrait will explore the life, career and legacy of Marilyn Monroe through portraits created by some of the greatest photographers and artists of the 20th and 21st centuries.
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03 Marilyn Monroe™; Rights of Publicity and Persona Rights are used with permission of
The Estate of Marilyn Monroe LLC. Photo by Sam Shaw © 2026 Shaw Family Archives
04 Keithprowse.co.uk
Wimbledon Championships (29 June – 12 July) The world’s most famous tennis tournament returns to southwest London, drawing global attention to Centre Court drama and British summer tradition. Wimbledon is one of the defining moments of the season, even for those watching from the city’s pubs and parks, or hoping to secure a last-minute show-court seat through the afternoon resale scheme.
Serpentine Pavilion (6 June – 25 October) Each summer, the Serpentine commissions an architect to create a temporary structure in Hyde Park, turning the lawn into a space for art, design and conversation. Serpentine Pavilion continues to be one of London’s most visited contemporary design installations throughout the season.
FRIDA: The Making of an Icon (25 June – 3 January 2027) A major exhibition exploring the life and legacy of Frida Kahlo, tracing how her self-portraiture and symbolism built her into a global cultural icon. Running through the summer at the Victoria and Albert Museum, it offers a detailed look at her influence on art, identity and politics.
The Waiters’ Race in Soho (19 July) One of Soho’s most playful annual traditions returns as hospitality staff sprint through the streets balancing trays of drinks and plates in a test of speed and skill. Set in the heart of central London, it’s a summer spectacle that always draws a crowd and look out for the Daisy Green team taking part as they go head-to-head with some of the city’s best.
05 LANZA Atelier
06 Frida Kahlo (Mexican, 1907–1954), Untitled [Self-portrait with thorn necklace and
hummingbird], 1940. Oil on canvas mounted to board. Nickolas Muray Collection of
Mexican Art, 66.6. Harry Ransom Center.
04 03
07 Charlie Milligan
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“LET’S DO IT”
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Maria Jakubiec on 33 years of pasta, community and Parliament Hill Café
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hen Maria Jakubiec first walked into Parliament Hill Café in 1992, she wasn’t looking for a career. Visiting London with a friend, she popped into the café and asked owner Alberto D’Aurio if there might be any work available during her stay.
“Come tomorrow,” he replied.
Thirty-three years later, Maria is still here.
Over the past three decades she has become one of the most familiar faces on Hampstead Heath, serving generations of local families, learning treasured recipes from Alberto’s mother and helping to make Parliament Hill Café a destination in its own right.
“It was completely different to anything I’d done before,” Maria says. “I was a teacher. But I felt very good here straight away. The community kept me here all this time.”
And when Maria talks about community, she means it literally.
“We had children who would come here after school for pasta, then years later they’d come back with their own children. Some families have been coming for generations.”
The café’s reputation was built on many things, but ask Maria what
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Parliament Hill Café is truly known for and she doesn’t hesitate.
“Pasta,” she laughs. “Definitely pasta.”
For years, customers queued patiently for bowls of lasagne, tortellini, cannelloni and homemade pasta sauces cooked from scratch.
“People would ask if we just opened tins and heated them up. I’d say yes, we use tinned tomatoes, but every sauce was cooked step by step from scratch. That’s the difference.”
Many of those recipes were passed down by Alberto’s mother, who taught Maria the secrets behind the café’s beloved sauces during her days off.
“She taught me like a daughter,” Maria says. “Bolognese, Napoli sauce, all the traditional recipes. Alberto taught me so much too.”
Back in the 1990s, the menu was far larger than many people might imagine.
“We served everything,” she laughs. “Pheasant, wood pigeon, lobster, Beef Wellington. It was like a restaurant.”
The café also became known for catering some of the Heath’s largest events. Maria remembers Alberto preparing meals for thousands of people at a time, from cross-country races to City of London celebrations.
“It’s a continuation of what we started.”
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“Hampstead Heath means nature and community”
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“He would make flowers from beetroot, carrots and potatoes by hand. A flower on every plate. It was incredible.”
As Parliament Hill Café prepares to reopen following its refurbishment, Maria will once again be at the heart of it. In fact, she says many of the improvements are things she had been hoping to see for years.
“We spend ten hours a day here sometimes,” she says. “It needs to feel good for us too.”
The refreshed café features additional outdoor seating, new umbrellas and heaters, upgraded acoustics and flooring, and improved kitchen and counter spaces, creating a brighter, more welcoming experience for visitors throughout the year.
Most importantly, Maria says, the things people love about Parliament Hill Café aren’t going anywhere.
“When people asked me, ‘Are you staying? Is the pasta staying?’ I always said yes. Of course. It’s a continuation of what we started.”
Several of the café’s long-standing pasta dishes will remain on the menu alongside new additions including speciality coffee, milkshakes, salads and an expanded brunch offering.
But for Maria, the café has always been about far more than food.
“Hampstead Heath means nature and community, even when I was working long hours, I was surrounded by nature all day. That’s a privilege.”
It’s difficult to imagine how many thousands of meals Maria has served over the last 33 years, but perhaps one story sums up her approach best.
The café kitchen officially closed at six o’clock.
Schoolchildren often arrived at twenty past five.
“We’d always say, no problem.”
Then she smiles.
“Let’s do it.”
After more than three decades, it seems that simple phrase has become something of a philosophy.
A warm welcome. A bowl of pasta. A familiar face behind the counter.
Some things are worth holding on to.
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A SUMMER SUPERSTARTER
Why Opera Holland Park continues to captivate London audiences in a digital age.
For more than two decades, Opera Holland Park has transformed a corner of west London into one of the city’s most distinctive cultural destinations. Each summer, audiences gather beneath its open-sided canopy to experience world-class opera surrounded by the trees and gardens of Holland Park.
If you’ve never been, forget the clichés. This isn’t an intimidating world of velvet ropes and exclusivity. It’s one of London’s most welcoming cultural institutions, drawing seasoned opera lovers alongside curious first-timers, families, students and neighbours who simply want to spend a summer evening immersed in something extraordinary.
That accessibility feels increasingly important. At a time when so much of modern life happens through screens, live performance offers something different: a shared experience that exists only in that moment. Hundreds
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of strangers sitting together, listening, watching and feeling the same story unfold in real time.
Perhaps that’s why reports of opera’s demise continue to be greatly exaggerated. Earlier this year, actor Timothée Chalamet sparked debate when he suggested that nobody really cares about opera anymore. Yet every summer, audiences continue to fill Holland Park’s auditorium, proving that great storytelling, exceptional music and the simple act of gathering together remain as relevant as ever.
This year’s season includes productions of La fanciulla del West, Turandot, Un ballo in maschera and Die Fledermaus, alongside family favourite Alice’s Adventures in Wonderland. Whether you’re a lifelong devotee or considering your first opera, there’s never been a better moment to discover what makes this place so special.
We’re delighted to be partnering with Opera Holland Park this season on a series of exclusive Supper Nights, bringing together exceptional food and world-class performance. Guests enjoy a seasonal Daisy Green feast before the curtain rises, with dessert served during the interval – a celebration of two things that bring people together better than almost anything else: great culture and great hospitality.
Because some experiences are worth putting your phone away for.
MORE INFORMATION OPERA HOLLAND PARK
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MORE THAN MARILYN
Iconic Images explores the artists, photographers and myths that shaped Marilyn Monroe
There are very few people who become shorthand for an entire idea.
Say Bowie and you think reinvention. Say Picasso and you think creativity. Say Marilyn and almost everyone pictures the same thing instantly: platinum hair, red lips, a beauty spot and a smile that somehow still feels familiar more than sixty years later.
The remarkable thing is that Marilyn Monroe hasn’t really belonged to Hollywood for a long time. She belongs to artists.
This summer, Iconic Images Gallery Piccadilly marks the centenary of
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Monroe’s birth with Marilyn Monroe: Icon, an exhibition that explores how one woman became one of the most enduring subjects in visual culture. Rather than retelling the story of her life, the exhibition focuses on something perhaps more interesting: what happened after.
The exhibition brings together photographs by some of the people who knew Monroe best, including Eve Arnold, Sam Shaw and Allan Grant, photographers who captured both the carefully constructed movie star and the quieter moments in between. Their images remind us why Monroe became such a compelling subject
Also, don’t miss Marilyn Monroe:
A Portrait at the National Portrait
Gallery, on until 6 September.
Learn more about Marilyn
Monroe: Icon at Iconic
Images Gallery
in the first place. She understood the camera instinctively. Every photograph feels deliberate, even when it appears effortless.
Yet what makes the exhibition particularly fascinating is seeing those photographs alongside the generations of artists who have continued to reinterpret her image ever since.
Pop artists turned her into a symbol of fame. Illustrators transformed her into line and colour. Street artists reimagined her for a new era. Even now, decades after her death, contemporary artists continue to return to Monroe as a way of exploring celebrity, beauty, power and public obsession.
One of the exhibition’s most striking works is Marilyn Monroe: Immortal by British artist San B, a portrait created using more than 150,000 individually placed Swarovski crystals. Part artwork, part spectacle, it feels fitting for a woman whose image has always existed somewhere between reality and fantasy.
What becomes clear walking through the exhibition is that Monroe’s greatest legacy may not be her films at all. It may be her extraordinary ability to keep inspiring new creative work. Every artist sees something slightly different in her. Every generation creates its own version.
One hundred years after her birth, Marilyn Monroe remains one of the most recognisable faces in the world. Not because the story has stayed the same, but because artists keep finding new ways to tell it.
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CARRYING CULTURE ACROSS CONTINENTS
A personal reflection on Aboriginal culture, connection and NAIDOC Week in London.
By Naarah
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Did you know? ‘Bondi’ — the namesake of Bondi Green in Paddington — comes from the Dharawal Aboriginal language and is thought to mean “the sound of water breaking over rocks”.
very July, NAIDOC Week arrives with a similar feeling to Christmas. A warmth, an anchoring. A strong reminder of where I come from and who I come from. This year I’m writing this from London, twelve thousand miles from home.
Growing up, I never had to explain myself to myself. You know who you are in relation to everything around you - the land, your mob, your history. It just was. Then I moved to the other side of the world.
I’ve lost count of the number of people I’ve met here who know little to nothing about Indigenous Australia. Not out of not wanting to know, but just absence. I’ve met people who are genuinely curious, genuinely warm, who simply have no frame of reference for what Indigenous Australia looks and feels like. And so, without really signing up for it, I became a kind of ambassador. Every conversation an opportunity. That became my personal mission - changing the narrative, sharing the history, the strength of the culture so close to my heart.
NAIDOC Week’s origins trace back to 1938 on the 150th anniversary of the arrival of the First Fleet. Born out of activism and protest with a demand to be seen, heard and recognised. Over the decades it has evolved into something loud, joyful, full of remembrance but proud and ours. A celebration of Aboriginal and Torres Strait Islander cultures - with over 250+ language groups. Not ancient. Not past. Living and very present. The distinction matters enormously to me - still here.
From twelve thousand miles away, in a city that often feels like the centre of everything that tried to erase us, I feel more grounded and on a
more purposeful mission than I ever expected to. I’ve ended up debuting a role about the origins of Australia in an Olivier award winning play titled “Our Country’s Good”, represented at Buckingham Palace, been extremely involved with Australia House, been a part of repatriation ceremonies, celebrated countless Aboriginal arts & cultural events/exhibitions and the list goes on and continues to! Something I’m most proud of is that many people now know the Aboriginal flag and much more about my culture just because I’ve existed loudly and proudly here. I’m a big believer in when you can’t get a seat at the table, you make your own table. Here I get to walk into the rooms they didn’t build for me, bring my people’s strengths, wear their artwork and make sure people know we are here. NAIDOC Week strengthens this for me each year!
We are the world’s oldest continuous living culture, and NAIDOC Week is a celebration of that. Despite everything that has been thrown at us, we are still here: telling our stories, creating, building futures and carrying culture forward.
But NAIDOC Week isn’t just for mob. It’s an invitation for everyone to learn, listen and engage with First Nations culture and history. Wherever you are in the world, I encourage you to discover something new: a story, a language, a place or a piece of history you may not have encountered before.
The least we can do for one another is remain curious, open and willing to celebrate culture. I’ll be here, twelve thousand miles from home, doing exactly that.
Happy NAIDOC Week.
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ARTIST PROFILE: JASMINE COE
BY MADISON HOWARTH
Jasmine Coe’s art practice is the culmination of her two heritages colliding.
The London-born artist and curator is both British and Aboriginal, more specifically Wiradjuri - in western New South Wales spanning approximately 60,000 square kilometres.
Often depicting honeybees in a vibrant dance of colour, her work jumps off the canvas. Warm pinks and yellows alongside earthy hues in pieces such as the ‘Earth with Honeybee Series’ and ‘Spring Swarm’ evoke a sense of joy which complements the deep blue of the protective and pensive ‘Father Moon’.
Coe’s art is a reflection of her connection to culture, a reminder of the beauty of our natural world and an urgent call to protect it.
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Photos: coegallery.com
JASMINE COE’S ART PRACTICE IS THE CULMINATION OF HER TWO HERITAGES COLLIDING.
“I paint honeybees as recurring symbols within my work which hold deep cultural meaning for me and were shared with me through my father,” says Coe.
Coe, now based in Bristol, grew up in the UK and first visited Australia when she was 24 years old, in a trip that would be transformative, both personally and creatively. She says while at times she has struggled with her dual heritage, painting allows her to “reach a place of balance”.
Coe studied Fine Art at Bath Spa University where she focused on portraiture before graduating in 2014, but it was reconnecting with her father in 2016, after 20 years apart, that changed the course of her life and her artistic practice.
Coe’s dad, Paul Coe, who sadly passed away last year, was an Aboriginal activist and a key fi gure within the Aboriginal land rights movement in Australia.
“Through reconnecting with him, alongside my family, I was introduced to histories, political movements and ways of thinking that have deeply shaped both my understanding of identity and my creative practice,” she says.
The honeybees that adorn her work bring Coe back to Wiradjuri values and the teachings from her father - balance, equality, community, responsibility and connection to the natural world.
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Artworks behind Jasmine: Gloria Petyarre, Emily Kam Kngwarray,
Tjulyata Kulyuru, Cassyanne Wood, Tjulkiwa Atira Atira.
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These values are now the driving force behind Coe Gallery.
While Aboriginal artists have long had strong European and UK audiences, Coe Gallery, established in 2022, is the UK’s fi rst Aboriginal-owned art gallery and features works from 28 artists from all across Australia. Through the gallery, Coe hopes to deepen the understanding of Aboriginal art practices and the rich history from which they are born, in the UK.
“It’s more than just art - it’s a living expression of culture, identity, history and connection to Country - the oldest continuous practising culture on earth. Aboriginal art carries knowledge, memory and ways of understanding the world that have existed for tens of thousands of years,” she says.
Coe says while visibility and representation for Aboriginal art in the UK is important, she created Coe Gallery to reach further. “Beyond exhibiting work, it’s about creating long-term opportunities, cultural exchange and spaces where Aboriginal artists can share their stories on their terms,” says Coe.
For Coe, art and activism are intertwined and Coe Gallery is sustained by the legacy of her father. “Art can hold uncomfortable conversations while also creating new ways for people to engage with diffi cult histories. It’s a visual language that, depending on how it’s used, can become a gentle but powerful way of creating connection, understanding, refl ection and healing.”
This June, Coe Gallery will be featured in the fi rst dedicated Aboriginal art pavilion, Everywhen: Contemporary Aboriginal Art at VOLTA Art Fair in Basel, Switzerland.
Coe Gallery opens for seasonal pop ups at the Vestibules in Bristol. To browse or purchase from the gallery visit coegallery.com
Photos: coegallery.com
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OUR FAVOURITE AREAS: PEGGY JEAN: RICHMOND
Where to stay, eat and explore around Richmond
Long before Richmond became one of London’s most desirable postcodes, it was a royal retreat. In 1501, King Henry VII renamed the area after his earldom of Richmond in Yorkshire, and for centuries monarchs escaped here for hunting, riverside walks and a little peace away from the city.
That sense of escape still lingers today. Richmond feels wonderfully different from central London. Grand Georgian houses overlook the
Stay: The Selwyn Hotel
48 Sheen Road, Richmond TW9
Just a short stroll from Richmond Station, The Selwyn offers a more contemporary take on a London stay. Housed within a Victorian building, the hotel combines elegant interiors with a relaxed atmosphere that immediately makes you feel at home.
The rooms are bright and thoughtfully designed, while Richmond’s riverside, independent shops and green spaces are all within easy walking distance. A comfortable base for exploring one of London’s prettiest neighbourhoods.
theselwynhotel.co.uk
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Thames, deer roam freely through Richmond Park, and tree-lined streets lead to independent cafés, pubs and boutiques. On a sunny day, the riverside fills with people picnicking, rowing boats drift past, and it’s easy to forget you’re still in the capital.
Nearest Station: Richmond.
Eat: Petersham Nurseries
Church Lane, Petersham, Richmond TW10
Hidden within a greenhouse surrounded by flowers, climbing plants and terracotta pots, Petersham Nurseries feels less like a restaurant and more like stumbling across a secret garden.
The menu celebrates seasonal British ingredients with Italian influences, while the setting is one of the most beautiful places to eat in London. Sunlight filters through the glasshouse, birdsong drifts in from the gardens, and every corner feels thoughtfully imperfect. It’s peaceful, romantic and completely unlike anywhere else in the city.
petershamnurseries.com
Peggy Jean: Life on the Thames
Moored on Richmond Riverside beneath Richmond Bridge, Peggy Jean offers a very different pace of life. Set aboard a lovingly restored Oxford college barge, it feels a world away from central London, despite being less than half an hour from the city.
By day, the pontoon fills with brunchgoers soaking up the sunshine, coffees in hand and plates piled high with Daisy Green favourites. Walkers pause along the riverside, rowers drift past on the Thames and the whole place carries the relaxed energy of a long weekend, even on a weekday.
As afternoon turns into evening, Peggy Jean really comes into its own. The river catches the golden light, cocktails appear on tables and friends gather for long dinners overlooking the water. Firecooked dishes emerge from the clay ovens while the sunset reflects across the Thames, creating one of the most beautiful dining settings in London.
Part restaurant, part riverside escape, Peggy Jean captures everything people love about Richmond. Relaxed, scenic and just a little unexpected, it’s the kind of place that makes you want to stay for one more drink as the sun disappears behind the riverbank.
Book Peggy Jean
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CULTURE AT DAISY GREEN
Art, music and stories from across
the Collection
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THE GREAT PLATE ROBBERY 2026
More than £100,000 raised for cancer charities as chefs, artists, musicians and supporters came together for an unforgettable evening of food, creativity and generosity.
The Great Plate Robbery brought together some of the UK’s most exciting chefs, artists, musicians and supporters for a one-night celebration of creativity, community and fundraising, and by the end of the night, more than £100,000 had been raised for The Royal Marsden Cancer Charity and Prostate Cancer Research.
Hosted by the brilliant Sally Phillips, the event welcomed guests from across London’s hospitality, arts and cultural worlds, all united by a shared goal: supporting pioneering cancer research, treatment and patient care.
The evening was a true celebration of culinary creativity. Guests began with Bleecker’s iconic cheeseburgers and
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Australian banana prawns from Daisy Green, before enjoying a spectacular menu that included Claude Bosi’s twice-baked cheese soufflé, charred char sui Glacier 51 Toothfish with roasted miso eggplant and yuzu caviar, and Australian double lamb cutlets served with sunchoke and potato mille-feuille, caramelised shallots and Madeira jus. Dessert came courtesy of Emily Roux, who served a decadent 75% Peruvian dark chocolate creation with hazelnuts, gianduja, salted caramel and hazelnut ice cream. The evening concluded in fitting Daisy Green style with espresso martinis and Radio Lamingtons to take home.
Meanwhile, a carefully curated auction showcased original artworks, artist-designed plates and exclusive experiences donated by some of Britain’s most celebrated creatives. Among the standout pieces was a specially commissioned “Mega Plate” by Margo in Margate, created exclusively for the event and featuring a personal message of thanks to supporters and an original painting by Maggi Hambling.
But beyond the unforgettable food and great art, what made the evening so memorable was the sense of purpose in the room. Almost everyone attending had been touched by cancer in some way, and the generosity shown throughout the night was a powerful reminder of what can happen when people come together behind a cause that matters.
A 100% of the funds raised will help support groundbreaking research programmes, innovative treatments and vital patient services through both charities, making a tangible difference to thousands of lives.
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UNDER THIS ONE TREE Our Artist in Residence: Alan McFetridge at Holland Park Café
16 JULY – 19 SEPTEMBER 2026 Scan the QR code to RSVP Holland Park Café, Ilchester Place, London W8 6LU
Opening this July at Holland Park Café, Under This One Tree continues photographer Alan McFetridge’s year-long exploration of the park’s landscape, shaped by close observation of its trees, changing seasons and the quiet rhythms of daily life.
Developed through months of walking, photographing and spending time within the park, the exhibition forms part of a new cultural programme that brings together art, nature, hospitality and community in one of London’s most beautiful green spaces.
The exhibition takes its title from a line in Zbigniew Herbert’s 1957 poem A Small Bird: “How can we live anywhere else but in this one tree?” Encountered by McFetridge through a handwritten letter from renowned photographer Robert Adams, the phrase became a starting point for a body of work centred on trees as witnesses to time, memory and human experience.
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Throughout the exhibition, visitors are invited to slow down and notice the living landscape around them. Whether encountered over brunch, after a walk through the gardens or during an afternoon coffee beneath the café’s historic arches, the works offer a gentle reminder of the connections that exist between people, place and the natural world.
Under This One Tree also sits within a wider programme of artist talks, workshops, walks and seasonal gatherings taking place throughout the residency, creating opportunities for conversation around ecology, creativity and public life.
A selection of works and editions will be available throughout the exhibition.
*Detail crops of artwork
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WALKING AS ART: AN AFTERNOON WITH HU YUE
When was the last time you really paid attention to a walk?
Not the rush to work, the dash for a train or the daily dog walk, but a walk taken slowly, with curiosity and intention.
On 26 July, Holland Park Café will host artist and researcher HU Yue for an immersive workshop exploring walking as both an artistic practice and a way of understanding the world around us.
Part talk, part guided experience, the workshop begins with an introduction to Yue’s work, which spans photography, visual art and environmental research. Drawing on projects ranging from pilgrimage journeys in Tibet to fieldwork developed through her doctoral research, she’ll explore how walking
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can become a tool for observation, documentation and deeper sensory engagement with a place.
The second half of the afternoon moves outdoors into Holland Park itself. Participants will be invited to take part in a collective walking exercise, carrying a small object of their choosing as a point of reflection, attention or interaction throughout the experience. It’s a simple idea, but one designed to encourage participants to slow down, notice more and engage with the landscape in new ways.
Currently completing practice-based doctoral research at the University of Plymouth, Yue’s work examines the relationship between people and landscapes in a time of environmental change. Her projects explore memory, ecology and our sensory connection to place, and have been exhibited
internationally across Europe and Asia.
The workshop forms part of photographer Alan McFetridge’s ongoing Artist Table residency at Holland Park Café. Through a series of monthly gatherings, Alan invites artists, thinkers and creatives to share practices centred around connection, nature, ritual and ecological care.
Whether you’re an artist, a keen walker or simply someone looking to spend a Sunday afternoon a little differently, this promises to be a thoughtful and inspiring way to experience one of London’s most beautiful green spaces.
Brunch, conversation, creativity and a walk through the park — not a bad way to spend a summer weekend.
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Bring your notebook, dress according to the weather, and let’s explore the beauty of Holland Park while deepening your connection with nature and your inner self.
Holland Park Cafe, Highgate Rd, London NW5 1QR
Sunday 26 July 11AM - 2PM
DREAMS, SYMBOLS & STORIES
Charlotte Colbert opens a portal between myth and the unconscious at Fitzrovia Chapel
This July, the sacred stillness of Fitzrovia Chapel becomes the setting for a journey into the unseen.
With Supernatural Tendencies, artist and filmmaker Charlotte Colbert transforms the historic chapel into an immersive realm where myth, memory and the subconscious converge, inviting visitors to cross the threshold between the everyday and the imagined.
Running from 1–9 July 2026, the exhibition continues Colbert’s ongoing exploration of the symbolic landscapes that shape human experience. Drawing on folklore, dreams, archetypes and collective memory, Supernatural Tendencies unfolds as a living meditation on the stories that reside beneath consciousness and quietly influence how we understand ourselves
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and the world around us. For Colbert, imagination is far more than a creative tool—it is the force through which reality itself is formed.
“Collective imagination is the basis of the structures we live in and we can’t let those be taken away from us. We have to imagine our own futures, not let them be imagined for us.”
This belief sits at the heart of her practice. Through sculpture, film and installation, Colbert investigates the hidden narratives that underpin contemporary life, encouraging audiences to reconsider the assumptions, myths and inherited beliefs that shape their experience of the world.
Charlotte Colbert’s work will be familiar to some Daisy Green guests.
We previously welcomed one of her striking sculptures to Ziggy Green on Heddon Street, offering a glimpse into the imaginative visual language that continues to shape her practice today.
The connection feels particularly resonant. Colbert’s recurring eye motif, which appears throughout her artistic practice, serves as a symbol of perception, imagination and alternative ways of seeing.
“The eye is a key symbol of my practice,” she explains. “Not only does it have the protective qualities of apotropaic objects, it also bridges our inner and outer worlds and as such is the symbolic heart of imagination.”
Elsewhere, she describes the eye as “a portal into wonderland”—a fitting symbol for an artist whose work continually invites viewers to step beyond conventional ways of seeing. Colbert’s sculptures encourage us to imagine alternative realities and question accepted narratives.
Those themes find a natural home within Fitzrovia Chapel. Rich in symbolism and history, the chapel stands as one of London’s most enchanting sacred landmarks. Adorned with marble, mosaic and gold, it remains a rare sanctuary in the heart of the city—a place where history and imagination meet, and where the boundaries between the earthly and the dreamlike gently blur.
Long associated with healing, reflection and spiritual contemplation, the chapel provides an evocative backdrop for Colbert’s exploration of liminal spaces and inner transformation. Visitors are invited to wander through a dreamscape where familiar narratives dissolve and reassemble, revealing
Charlotte Colbert’s “Lost Echoes” outside Ziggy Green on Heddon Street in 2024.
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hidden connections between the personal and the universal, the ancient and the contemporary.
Throughout the exhibition, symbols emerge and recur like fragments of a collective dream, inviting interpretation while resisting fixed meaning. This fascination with symbolism draws heavily from folklore and fairy tales, which Colbert views not as children’s stories but as repositories of cultural wisdom.
“Fairy tales feel like narratives of our universal unconscious, in a similar way to tarot, symbols and archetypes.”
The exhibition’s title, Supernatural Tendencies, hints at this intersection between the rational and the mysterious. Rather than offering an escape from reality, Colbert invites visitors to explore the invisible forces that influence it—from inherited stories and cultural myths to personal memories and subconscious desires. A specially commissioned soundscape by musician Birdy deepens the exhibition’s immersive atmosphere.
Moving between reverie and awakening, the composition creates an emotional landscape that complements the visual works and heightens the sense of entering another realm. Together, sound and sculpture create moments of stillness and reflection, encouraging visitors to slow down and engage with their own inner worlds.
The same ideas resonate throughout Supernatural Tendencies. While the scale and setting may differ, the questions at the heart of Colbert’s practice remain
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remarkably consistent: How do stories shape reality? What hidden narratives govern our lives? And what futures become possible when we dare to imagine differently?
For Colbert, the answer begins with imagination.
“What you think, what you dream, what you imagine
SURREALISM,
ESPECIALLY AS PUBLIC ART,
CREATES A GLITCH IN THE
“If public art can make us look up, celebrate chance encounters, facilitate conversations amongst strangers, that is the most wonderful and magical thing to me. For when two strangers meet, a world of possibility opens up.”
MATRIX
At Fitzrovia Chapel, Colbert offers no definitive conclusions. Instead, she opens a doorway. Beyond it lies a world of symbols, dreams and forgotten myths—a place where imagination becomes a form of alchemy, where stories reveal hidden truths, and where, as Colbert reminds us, the more impossible it seems to reimagine the future, the more essential it becomes.
Supernatural Tendencies will run at Fitzrovia Chapel from 1–9 July
charlottecolbert.com @colbertcharlotte | @charlottecolbertstudio
has power to change the world.”
At a time when technological, political and environmental change can make the future feel increasingly predetermined, her work argues for the importance of retaining agency over our collective imagination. “Surrealism, especially as public art, creates a glitch in the matrix,” she says. “A moment of pause where we can re-imagine the structures and the world around us.” For Colbert, these moments of disruption carry a profound social value.
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FOOD AND DRINK
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AUSTRALIAN DAMPER BREAD WITH VEGEMITE BUTTER
By Brayden Davies, Head Chef at The Box Tree, Ilkley
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Damper is a traditional Australian bread, originally made by the First Nations peoples and baked in the coals of a campfire. It’s defined by its simplicity, just a few ingredients, a little patience and a hot flame. Bread has long held an important place in Australian food culture, from Indigenous bush breads made using native seeds and grains, to the simple campfire damper that took shape around the open fires of early bush kitchens.
This Australian Damper Bread with Vegemite Butter celebrates a fusion of my Aussie upbringing and my proud British heritage. The buttermilk culture gives it an almost crumpet-like texture while staying true to its damper roots. We serve this bread at the restaurant and it’s a firm favourite with our guests. By combining a classic damper technique with the unmistakably Australian flavour of Vegemite, the recipe honours the place I call home. I hope you enjoy this damper at home!
AUSTRALIAN DAMPER BREAD INGREDIENTS 400g self-raising flour 11.5g baking powder 10g salt 200g buttermilk 100ml water
METHOD 1. Combine all ingredients in a mixing bowl and bring together by hand (or use a stand mixer with a dough hook). 2. Once combined, allow the dough to rest uncovered at room temperature for 20 minutes. 3. Weigh the dough into 100g portions and roll into balls on a lightly floured surface. 4. Place the dough balls on a tray and refrigerate for 30 minutes. 5. After chilling, flatten each ball with your closed fist (like a hammer) into a rough circular shape using the base of your palm. 6. Dust each piece lightly with flour and place a cast-iron pan over a gentle heat. 7. Once hot, cook the dough rounds in the pan, you’ll see them begin to rise and colour. 8. Cook until both sides are nicely charred; don’t be afraid of the colour, traditionally, damper is baked directly over the embers of a fire. 9. Transfer to a preheated oven at 180°C for 8 minutes to finish cooking. 10. Serve warm with a generous helping of Vegemite Butter. (At the restaurant, we finish these on a Japanese BBQ instead of in the oven, a great option for any summer BBQ at home too.)
VEGEMITE BUTTER INGREDIENTS 110g Vegemite (around half a jar) 250g unsalted butter Pinch of salt
METHOD 1. Bring the butter to room temperature. 2. Whisk in the Vegemite and salt (Marmite works just as well) until fully combined. 3. We like to serve ours in washed, repurposed Vegemite jars, it looks great and adds a touch of nostalgia.
ABOUT BRAYDEN DAVIES
Brayden Davies is Head Chef at The Box Tree in Yorkshire, where he brings together Australian influences and British ingredients in his award-
winning cooking.
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COCKTAIL OF THE MONTH: THE CARMEN
Few figures captured the spirit of tropical escapism quite like Carmen Miranda. With her vibrant style, infectious energy and unmistakable fruit-laden headdresses, the Brazilian singer and actress became one of the defining icons of the 1940s, bringing a splash of sunshine wherever she went.
That same sense of colour, warmth and celebration lives on in The Carmen, one of the standout cocktails currently pouring at Larry’s. Tucked beneath the National Portrait Gallery, Larry’s has become known for its atmospheric setting, creative drinks list and late-night energy, making it the perfect home for a cocktail inspired by one of entertainment’s great originals.
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Built around Velho Barreiro cachaça, one of Brazil’s most recognisable sugarcane spirits, The Carmen is designed to transport you far beyond central London. Unlike rum, cachaça is distilled from fresh sugarcane juice, giving it a distinctive grassy brightness that works beautifully alongside layers of Caribbean pineapple, coconut rum, triple sec and fresh lime.
The result is vibrant, refreshing and full of personality. Tropical without being overly sweet, it balances bright citrus with juicy fruit and a subtle depth that keeps you coming back for another sip.
Whether you’re settling in for cocktails before dinner, meeting friends for a late-night drink or simply looking for a
momentary escape from the everyday, The Carmen captures the playful spirit that makes Larry’s one of London’s most distinctive drinking destinations.
This month, we’re raising a glass to a cocktail that brings a little sunshine to Trafalgar Square — no passport required.
AVAILABLE AT
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WILLUNGA 100: THE ART OF GRENACHE
An evening with David Gleave MW on McLaren Vale, Mediterranean terroir and wines shaped by place.
McLaren Vale, just south of Adelaide, is one of Australia’s most celebrated wine regions. Best known for its world-class Shiraz, the region is also home to some of the country’s oldest Grenache vines, with the variety enjoying a remarkable resurgence in recent years. Few producers have done more to champion its potential than Willunga 100.
Founded in 2004 by David Gleave MW and John Ratcliffe, Willunga 100 built its reputation on a simple belief: that the old bush-vine Grenache vineyards of McLaren Vale deserved to be taken seriously. At a time when many winemakers overlooked the variety, they recognised something special in the region’s ancient vines, sandy soils and Mediterranean climate.
Today, Grenache remains at the heart of the winery. Fruit is sourced from a collection of distinctive vineyard sites across Blewitt Springs and Clarendon, where old dry-grown vines produce
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wines of remarkable purity, elegance and site expression. Rather than chasing power, Willunga 100 has helped pioneer a fresher, more lifted style that allows each vineyard to speak for itself.
That commitment to place has earned widespread acclaim, with Willunga 100 becoming one of Australia’s most respected producers of Grenache. Their wines capture a side of Australian wine that feels increasingly exciting: vibrant, food-friendly and deeply connected to the landscape from which they come.
Last month, guests joined David Gleave MW at Ziggy Green for a special Paired dinner celebrating the wines of Willunga 100. Ahead of the event, we spoke about the rise of Australian Grenache, the unique character of McLaren Vale, and why some of the world’s most exciting wines are coming from this corner of South Australia.
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JULY PAIRED PICK
Willunga 100 Blewitt Springs Grenache Rose 2025
Crafted from old-vine Grenache grown in McLaren Vale, this pale pink wine is bright, refreshing and beautifully balanced, with notes
of wild strawberry, watermelon and citrus. Elegant yet effortlessly drinkable, it captures everything we love about Australian summer
in a glass.
SOLD OUT
31 MARCH JIM BARRY (£140pp)
29 APRIL MICHAEL HILL SMITH MW FROM SHAW + SMITH (£140pp)
SOLD OUT
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06 MAY HENSCHKE (£160pp)
03 JUNE TORBRECK (£140pp)
SOLD OUT
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24 JUNE WILLUNGA (£140pp)
SOLD OUT
22 JULY ENGLISH SPARKLING SPECIAL
NYETIMBER (£150pp)
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30 SEPTEMBER GROSSET & MT HORROCKS (£140pp)
21 OCTOBER VASSE FELIX WINES (£140pp)
SOLD OUT
18 NOVEMBER PENFOLDS (£200pp)
2026 LISTINGS
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MY LONDON: NAARAH
This month, we explore London through the eyes of Naarah, an Indigenous Australian performer, cultural advocate and storyteller whose life in the UK has become a bridge between two worlds. Alongside her cultural work, Naarah also trains all new starters at Daisy Green, helping shape the people and hospitality that bring the Daisy way to life. Living more than twelve thousand miles from home, she has spent years sharing Aboriginal culture, history and contemporary identity with audiences across London, from theatres and cultural institutions to community events and diplomatic spaces. Her relationship with the city is shaped by both distance and connection — finding reminders of home in unexpected places while creating new opportunities for First Nations voices to be seen, heard and celebrated.
A part of London that has always felt important to you? As ironic as it is writing this for the Daisy magazine, my ‘place’ has always been visiting sites in the collection. I was a big fan long before I was involved and always hunted one out for my fave Aussie flat white to remind me of a taste of home. From the first time I walked in, I knew it was going to be a regular occurrence – and now you’ll find me there all the time, training all of the new staff and sometimes even singing!
A gallery, museum or cultural space you love returning to? I think everyone should go to the Royal Albert Hall. My favourite recommendation is to see a film there accompanied by a live orchestra and choir – it’s so magical! A few upcoming ones I think would be great are Harry Potter and the Philosopher’s Stone™ in Concert (25–27 September) and Black Panther in Concert (3 October).
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A London memory you’ll never forget? I originally moved to London to study at the Royal Academy of Music in Marylebone. One Friday night, before an Academy Symphony Orchestra performance of Rachmaninov’s Piano Concerto No. 2, I was sitting in the communal café when Sir Ian McKellen walked past. As I moved my chair to let him through, I couldn’t resist joking, “You shall not pass.” He laughed, and I later found myself sitting a few seats away from him as my RAM colleagues performed. Not every day you get to say something to Gandalf himself in your school cafeteria. A true London moment.
A place where you feel connected to your culture or community? I feel so lucky to be a regular at Australia House – almost everything you see there has been brought over from Australia itself, including all of the beautiful marble. If not there, then the Lyric Hammersmith – a special theatre in West London that I frequent often and which showcases some incredibly interesting theatrical works each year.
A hidden corner of London more people should know about? I tend to go for one or two really nice drinks rather than a “pub night out”, always taking myself on solo dates to explore new corners of London. One of my favourites has to be the Red Room at The Connaught, a total treat hidden behind a red velvet curtain. This bar is a sensory journey that feels completely transformative – a glamorous artist’s living room filled with cream and blush tones, an exceptional wine list, great cheese, wine-inspired cocktails and the most stunning femaleled artworks. A hidden gem definitely worth a stop if it’s a “treat yourself” kind of evening.
One thing every Londoner should experience at least once? Aside from the Royal Albert Hall, I honestly think it’s as simple as a Sunday in a pub. With a voluptuous, well-garnished roast and a beverage of your choice, of course – for me personally, a Hugo (elderflower) spritz and a Saddleback pork roast with Bramley apple sauce at The Albion in Islington.
Honestly, the UK really understands the art and lifestyle of a good Sunday – I respect it.
Daisy Green Royal Albert Hall - David Levene
Australia House Royal Academy of Music in Marylebone
Red Room at The Connaught The Albion in Islington
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Green Pages by The Daisy Green Collection Mother Sun by Jasmine Coe