A flash fiction story originally written for and published on The Story Seed.
It was as if Margaret was still here.
After all those years, her presence could still be felt everywhere – in the house and in the garden, in the river and in the air. But most strongly, in his paintings.
Everyday, he sat in front of his easel with a meticulous and passionate dedication, to createanother painting of her.
I never imagined that ghosts could be more charming than a living, breathing human being. Yet here we were – me, a forgotten shadow behind him and Margaret, his sun, his fellow artist, his muse. His everything.
This flash fiction story was originally written for and published on The Story Seed. It is inspired by and dedicated to the teachings and meditations of Thich Nhat Hanh, a beloved Zen master, spiritual leader, activist and poet.
She closed her eyes and inhaled the sunset mist…
As she let her breath out slowly, a deep sense of nostalgia filled her.
It felt like she was in a long-lost 19th-century Romantic painting.
Time was standing still. There was only the pure silence of nature…
She looked at the elegant trees surrounding her – her wisest friends, who always listened and never judged. At the lake that always embraced her with all her human flaws and vulnerability. Looking at her reflection in the water, she softly whispered to herself:
In the age of empowerment, models are on a mission to break the stereotypes and challenge the criteria by which their success is measured.
Oxford Dictionary’s definition of a model is “A person employed to display clothes by wearing them.” Which is, in the literal sense, true, of course – but clearly inadequate especially when one thinks about the successful, outspoken and inspiring models of our time, like Adwoa Aboah, Winnie Harlow, Ashley Graham, Hari Nef and Halima Aden. If there was a chance to edit that definition now and expand it, what could’ve been said?
A model is a person (i.e. a human, not a hanger) who has a unique character, soul, opinions and beliefs. A person who works hard to show that, that there’s much more to them. A person who works hard in the professional sense too, in not always so glamorous conditions which they have little control over, while more often than not facing gender and racial discrimination, verbal abuse and bullying, sexual assault and constant criticism about how to look, what to eat, who to become. A person who has scars and marks, insecurities and health issues like everyone else, but perhaps feels that people don’t want to hear about all that, they just want to see the body – the person who is employed to display clothes by wearing them.
But not anymore. Now, that person is not afraid to show the layers of who they are, and inspire thousands, even millions of people to do the same and not hide themselves, to embrace their identity, ethnicity, sexuality and to be whoever they want to be. That person is part of the new generation of models who use the power of social media to do that. Through social media, these models have the chance to show and express their true selves whenever and however they want and get their message out to the world in an instant. As Sara Ziff, the founder of the Model Alliance, points out, “Social media has given models a platform they didn’t have before.”
This powerful tool enables models to share any abusive and exploitative behavior they experienced in the industry with millions, get it off their chest and shed light on a much-glamorized part of the fashion world. One of the most prominent examples of this is how Cameron Russell used Instagram to encourage her fellow models to share their experiences with sexual assault in the industry, by using the hashtag #MyJobShouldNotIncludeAbuse.
By sharing their stories, insecurities and “imperfections” through these platforms, models often find an incredible amount of support and encouragement and inspire many people with similar issues. For instance, when Iskra Lawrence shared her 10-year journey of overcoming her body insecurities on her Instagram, her post quickly became viral and received thousands of likes and support comments.
Models use social media platforms also to promote campaigns on social and environmental issues and raise public awareness. Adwoa Aboah is one of the most important such names that come to mind, as she uses her social media accounts often to promote and share news of her non-profit organisation Gurls Talk and engage with millions of young people.
On the other hand, there’s also the other side of the coin – models receive not only support and appreciation but also harsh criticism and hateful comments and face cyberbullying too. However, although it is by no means easy, thanks to their self-aware, confident and brave attitude, they can rise above the negative, don’t let it dim their light and use the very same platform where people criticize them to show they are not defined by others’ opinions.
One of the many models who experienced serious cyberbullying is Öykü Baştaş, a young Turkish model who was discovered thanks to IMG’s Instagram scouting campaign We Love Your Genes, and made her runway debut at Gucci, becoming the first ever international Turkish model.
Following the Gucci show, her remarkable rise continued as she walked runways for some of the most important fashion houses, such as Burberry and Acne Studios. However, in her home country, there were very few designers who wanted to work with her. One of them was Cengiz Abazoglu, one of the most famous fashion designers in Turkey, who said about choosing Öykü:
“When casting models, one of the most important qualities I look for is individuality. I prefer to select models who are unique, confident and charismatic. Öykü is also one of those models, when I first saw her I was very impressed by her natural presence and high energy, and immediately wanted to include her in my shows.”
On the other hand, since Öykü doesn’t necessarily fit the conventional beauty standards of Turkish society, instead of widespread support and acknowledgment of her success, she started receiving hundreds of hate messages and criticism on social media based on her appearance. However, instead of letting this get to her, she took a different approach, and simply replied: “I also don’t think I’m beautiful, I agree with you.”
Following that statement, suddenly the reactions changed, and she started to receive apology messages and huge support from people. While this example highlights some very problematic aspects of Turkish society on a sociological level, it most importantly shows how the models of the new generation are not afraid anymore. They’re not silent. They’re not perfect, and they know they don’t really need to be because they’re human. They know better than putting their energy into photoshopping and filtering their images constantly, so they can meet the expectations. They don’t care, actually. What they care about is making the modelling industry a better, fairer and more genuine place, where models can be who they are – neither the ugly duckling nor the swan, in Öykü’s words.
And they know that this self-awareness is all that counts in an industry and world that constantly try to make them doubt themselves. Well, not anymore.
How to Become a Successful Model in 2018
Embrace your unique features that make you stand out, don’t try to change them in order to become who someone expects you to be. There will always be someone telling you you’re not good enough, thin enough, pretty enough – don’t let their opinions dictate who you are, know that only you can define yourself. Wear your so-called imperfections more confidently than any high-end designer label. Most importantly, genuinely accept yourself for who you are, love that person from the bottom of your heart and do all you can to express the soul of that person, be it through writing, making art, advocating for causes you believe in, or in any other way you please. Don’t forget, you may not always find bliss in silence, but always in being yourself.
How social media platforms are being used by young people for experiencing art is an issue that most people can have an idea about or be familiar with, as it is being focused on and explored constantly. In this short story, I wanted to take a slightly different approach and reflect on the role of social media on experiencing art not from the point of view of a young individual or a millennial; but from the perspective and experience of a pre-social media generation. I hope you’ll enjoy.
Helen was turning 72 today, and she was alone, like every other day since Jack passed away. She didn’t have many close friends or any children, so when her husband died from a stroke one year ago, the feeling of loneliness became an undeniable, inescapable part of her life.
Jack was a painter, a very talented one – at least in Helen’s eyes. He painted landscapes and portraits, usually of women, but they were imaginary. He didn’t have models like most artists did. He was a loyal man, he surely had some unpleasant qualities, but infidelity wasn’t one of them. She sometimes caught herself imagining who might the women in his portraits be in real life – if they were real, she never asked about it and he didn’t say anything. But she always trusted and counted on him, and when he was gone, it became harder and harder for her to cope with his absence and her loneliness – some days it was just unbearable.
It was on one of those days that she decided to go to this art gallery that recently opened on her street. She enjoyed art, but she wasn’t a regular museum or gallery visitor, she didn’t have the habit to go and explore artworks regularly. But that day she just wanted to get out of the house, do something different to distract herself from her overwhelming thoughts.
After that day, she started going to this gallery once or twice every week, sometimes even more – spending hours in front of the paintings and looking at them like they were masterpieces. At first she didn’t understand how this happened, as she didn’t have this urge to visit a gallery before and there wasn’t anything special about this place. But then after a while she realized, she somehow felt closer to Jack while she was there, closer to his world. She could feel and remember his presence more, surrounded by all these paintings. This small gallery became her shelter in a sense, her best way to connect with Jack. She had lost him, but finally found a way to nurture her memory of him.
So on her 72nd birthday, Helen decided to go to the gallery again. Jack wasn’t a particularly romantic man, but he never forgot her birthdays and always gave her a small present, sometimes a painting, even though they were getting old this habit of his always continued. So on this day, she wanted to go to the gallery, to somehow feel like she was celebrating her birthday with him, even though she knew this would never happen again.
There was something extraordinary going on in the gallery that day. Well, maybe it wasn’t that extraordinary – people were constantly taking ‘selfies’ , a term that Helen learned recently, in front of the artworks. On her regular visits to the gallery Helen noticed this was happening quite often – visitors, especially young people, taking selfies or photos of the artworks, and spending most of the time looking at their smartphones, rather than focusing on and observing the works. As an old woman, she thought this was the new ‘trend’, one that she wasn’t able to understand and thought was quite meaningless and distracting, but who was she to judge?
On this particular day, this trend seemed at its peak to Helen. Almost everyone and especially youngsters were taking selfies, some were using long sticks attached to their phones to take them – Helen hadn’t seen one of those before. They were rushing around, stopping in front of the paintings and changing the position and angle of their phones constantly. Helen couldn’t understand what exactly was going on and started feeling very overwhelmed – then she saw the poster on the wall. The poster said it was the “#GallerySelfie” week, the visitors were encouraged to take a selfie in front of the artworks and post it on ‘Instagram’ with the ‘hashtag’ #GallerySelfie and the gallery ‘tagged’ in it. Then the best 3 selfies chosen by the curator and the director of the gallery would be featured there, as artworks themselves.
Helen didn’t know what most of the terms in this poster meant, but she knew that her idea for her birthday was ruined. Not being able to focus on any work or to feel that calming atmosphere and connection with Jack, she left the gallery perplexed.
She didn’t go there the next week, or the week after that. She felt like after her last visit on her birthday, being in the middle of all the rush and chaos, her vision of this gallery as some sort of haven, as an imaginary link between herself and her beloved Jack, was damaged. She didn’t know why this has affected her so much as she used to notice this behaviour on most of her visits, but perhaps seeing too much of it at once made her feel this distanced towards it.
One day, after two weeks passed by without her visits, she started feeling very suffocated in the house, alone with her thoughts. She wasn’t sure what to do, she got quite used to going to the gallery when she felt this way in the past few months. So she decided to go again, hoping the atmosphere wouldn’t be like the one in her last visit.
Upon entering the main space in the gallery, Helen noticed it was much calmer and she felt pleased. Walking around the space slowly, she started feeling her bond with this place becoming strong again, allowing her to feel a connection to Jack once more.
Suddenly, she came across the section of the room reserved for the 3 selfies – the winners of the #GallerySelfie week. Getting curious, she started looking at them carefully. In the first one, a man in his thirties was doing the exact surprised facial expression as the portrait behind him. In the second selfie, a mum and her little son were hugging each other, she wasn’t sure of the work behind them. In the final one, two teenage girls were looking to each other and laughing in front of a beach landscape painting, and there were people in the background, as the frame of this one was much larger compared to the other two. While taking a closer look to all of them, she needed to put on her glasses to be sure of what she was seeing in the final selfie – she was there too in the background, looking around with her puzzled expression.
The contrast between her confused image in the background and the laughing young girls was so strong that Helen couldn’t take her eyes off of the photo. She stood in front of it for a long time, looking at it over and over again- and then took her old fashioned phone off her pocket, and decided to take her first selfie.
How many art museums or galleries are there today, that don’t have an active Facebook or Twitter page? What about the number of institutions that continue to have inflexible rules when it comes to photography in their spaces? How many of us, especially as millennials, didn’t take a #MuseumSelfie to post on Instagram yet? Even if we don’t know the exact numbers, we can easily guess the answers to these questions. Social media is becoming or already became an indispensable element in the world of art; affecting both how the institutions represent themselves and reach people, and how we experience and perceive art and these institutions; which brings many more interesting questions to the table.
In my interview with Mine Kaplangı, an art curator, artist representative and editor based in Istanbul, I wanted to tackle this growing, intriguing relationship and the questions it raises further. Mine, who is currently working on curating the yearly program of BLOK art space, a well-known contemporary art space in Istanbul, gave many thought-provoking answers to my questions. I hope you’ll enjoy!
Q:As you know, the increasing presence and activity of art institutions on social media platforms is discussed greatly in art scenes all over the world these days. What are your personal opinions on this ongoing orientation and its effects and outcomes for the institutions?
A: As art institutions increase their social media presence it becomes very important to make the distinction between using these platforms for promotion and education. The increasing number of followers of art museums or galleries on social media show that people are interested in getting the latest developments in the art world this way, so using these platforms not only for promotion but also for education, giving information and making announcements becomes a crucial point. With these platforms, we – as a community linked by art – have new and bigger responsibilities for our followers, artists and visitors. Now museums and galleries have more opportunities to express themselves not only in local and physical spaces, but also in digital and global ones. By using these platforms being in connection with the global art market becomes much easier, which makes using them efficiently even more important.
Q:What about its impact on their audience and visitors? Do you think especially millennials being the ‘digital natives’, have started to perceive art institutions as more approachable, interesting or entertaining as a result of the social media effect?
A: With the increasing presence of art on social media, in a sense ‘popular’ shapes it’s way also in the art world. Social media platforms create the new trends; people turn to them for the answers of questions like “What is in? What is popular?”. Maybe someone with a thousand followers really liked a sculpture because of its colour, posted it online, suddenly there is a “popular” artwork on social media. Many people start following the artist, the gallery and so on.
Of course sharing and compressing all experiences into one timeline creates a personal pleasure for young generation. Entertainment is surely part of these platforms but this is how this new generation live now, in an age where the discussion “entertainment versus education” has ended and now entertainment is the first rule for the education, especially when it comes to art. So before they experience the actual exhibition, they check online, learn more about the trends, follow the artists they like, share the works they feel closer and share their selfies from their experiences. Also since the 90s there are many examples of digital artworks focused on social media platforms, criticising or exploring either way we are trying to learn more about the new ethical rules of these big questions through art as well. These platforms and what kind of standards they bring to our perception of art will be discussed by all of us for years I believe, until we have other platforms.
Q:In BLOK art space, what is your standpoint to this relationship as an art gallery? You have active Instagram, Facebook and Twitter pages, how do you use them strategically to reach your audience?
A: I think in this new era we are living in; this is not a choice but a need. We have no choice but to use social media platforms to reach a wider crowd. This is also a part of a business plan, since we are all connected as a large art system each one of us should offer certain information, images etcetera to get people’s attention.
This is our 3rd year in the social media field. Facebook is more of an event page for us, we almost use our profile page like if it’s our website. We use Twitter to follow local and global art news and also as a news board for our followers. We use Instagram as a timeline, almost like a visual archive. With our Instagram posts, we try to be very careful with posting all information both in Turkish and English as half of our followers are from foreign countries. One of our artists’ got an invitation to a seminar in London because of our Instagram post about her installation last year. We believe that creating these kinds of new links and connections are very valuable for the art world.
Q:What are your opinions on the current trend of taking photographs and/or selfies in art exhibitions and sharing them on social media, especially by millennials? Do you support it and think that it should be allowed, for marketing purposes for instance? Or do you think that it distracts the visitors from the actual artworks thus it should be discouraged?
A: This is a very on point argument at the moment for the contemporary art world and I believe this phenomenon has both its effective and contradictory sides. On one side these tools are almost becoming a form art by themselves. For instance, take the colour pallet you can choose from for your Instagram photo of an artwork. Not only people put their own aesthetic perspectives into this action but also Instagram filters become their personal choices for the last look! In addition, we can share everything easily and quickly, thus we also become like a newsletter for the art world. You follow your friend, your friend shares an artwork, you get curious, click on the artwork, and bam! You are already in that gallery’s or museum’s page. That’s indeed a very effective way of spreading the word.
On the other hand, personally I find it very difficult not to get disturbed by the fact that we are starting to feel like we need to record everything to remember. But I believe this is more related with our generation’s zeitgeist not exclusively with the art world. Every day we create another profile on social media platforms, we use different apps to create diverse types of realities. So, in this fast-track movement how we are going to find our ways? Do we have a moment to just breathe and be present, or should we just evolve with these new opportunities and discover the world of art through digital platforms?
Q:At BLOK art space, did your rules for photography change as a result of this trend?
A: Our rules didn’t change in a significant way, as we have always allowed our visitors to take photographs in our exhibitions. We only ask them not to use flash when taking photographs as it may damage some artworks or objects. If there is a certain event, performance or a screening of course we expect from our visitors to respect the works. Since our space is not very large, when it’s dark even the dimmed light from a single phone can be pretty disturbing for the viewing experience.
Q:How do you see the future of this expanding relationship between art institutions and social media? Do you think a continually growing number of institutions will become more embracing of social media platforms and enhance their presence and activity on those platforms, as it seems to be the case?
A: The future of digital technologies and how us, as the art community, will continue to use them is unknown yet very exciting! We tend to use these platforms to create a community for sharing knowledge, ideas and information. We do learn and get inspired from each other so why not continue to use these platforms to connect with one another? I believe that future will bring new ways of perceiving and sharing art, creating new discussions on topics such as “What is art?” and “Who is an artist?”. We will all experience and learn together.
Q:What about from the perspective of the audience and visitors? In your opinion will they continue to increasingly engage with art through social media, by sharing their experience of art on those platforms, or at one point this trend will reach its limit and they will start becoming weary of it?
A:I don’t think this is a trend that one will be tired of. I just think we are going to be very tired because of carrying those smartphones and holding them up straight to get photos with a perfect angle, but probably technologies will find a way to solve these problems soon. I believe our cyborg generation will never leave their digital media platforms, we will create more platforms, maybe alternative ones with more interactive or user-friendly options. But at the end our Internet age just created a new digital world that represents our physical world. So why not learn how to represent it correctly or efficiently?
Turkish cuisine is regarded as one of the best ones in the world, and trust me, I’m not telling this because I’m Turkish – it genuinely is in so many ways!
The traces of the traditional Ottoman cuisine and the flavours of different cuisines such as Mediterranean and Middle Eastern ones, renders Turkish cuisine very extensive and rich. There are literally so many delicious dishes that can appeal to anyone’s taste. Besides the famous kebabs, pastries and heavenly desserts, there are also light and healthy but absolutely delicious vegetable dishes with olive oil (zeytinyağlılar) and amazing appetizers (mezeler) in this unique cuisine.
So when I’m in London, I sometimes literally crave Turkish food and I’m really happy that there are some good Turkish restaurants here. I haven’t been to all of them but among the ones that I’ve visited, Babaji is probably the best in terms of the food, the service, the design, the location – in summary everything :)
Babaji is located in Soho, close to Chinatown and it’s owned by Alan Yau, the name behind some of London’s best restaurants such as Hakkasan and Yauatcha.
The story behind the name “Babaji” is that when Alan Yau comes to Istanbul, he hears someone calling their father “babacım”, ( daddy ) and he really likes the way it sounds, so he interprets the word as “Babaji”. This choice of name is meaningful and appropriate also because it’s easily remembered and rhythmical, and the letter “a” is dominant, just like in Yau’s other restaurants’ names – Hakkasan, Wagamama, Busaba and Yautacha.
The restaurant is named as pide salonu, which can be translated to English as pizzeria, however don’t be fooled by the name – besides an amazing selection of pide’s (Turkish style pizza – boat-shaped flat bread with a variety of toppings), the menu is filled with some of the signature Turkish appetizers, meat and vegetable dishes, and desserts!
From the appetizers, I definitely recommend cacık (yogurt with garlic & cucumber) , kısır (bulgur wheat salad) , oven baked halloumi , karides güveç ( shrimps with tomato & kaşar cheese, cooked in traditional Turkish clay pot) and börek (filo pastry filled with cheese & spinach)
As for beverage I strongly suggest ayran (traditional Turkish salted yogurt drink) and of course Turkish coffee after your meal, which is served in a copper coffee pot and is probably my favourite beverage in the world!
Since I prefer traditional pide’s, I’ve tried their pide develi (pide topped with diced beef, tomato, Turkish green pepper & parsley) and kıymalı pide (pide with minced lamb, tomato & pepper) and both of them were very good, but you can surely choose other kinds of pide’s from the menu based on your taste, as there are so many options with great combinations of ingredients.
When it comes to other main courses from the stove & grill, the ones that you shouldn’t miss are mantı (traditional Turkish dumplings with beef, yogurt, Turkish chili flake & butter) , kuru fasulye (white bean stew with tomato & red chilli) , külbastı (grilled lamb with tomato sauce and yogurt) and dolma (vine leaf stuffed with minced beef & rice)
From the desserts, you should certainly try künefe (sweet cheese pastry soaked in syrup ) and baklava (with pistachio & vanilla ice cream)! Back in Turkey I prefer baklava without pistachio, but it’s a matter of choice and many people enjoy it this way as well.
Finally, I’ve recently found out that they also serve weekend brunch between 11:00 – 16:30, and if you’ve read my previous post you know this news made me more than happy!
I checked out the menu and they almost have everything that needs to be there in a traditional Turkish breakfast/brunch. For those who are curious what are the main dishes in a Turkish breakfast, the ones from the menu are söğüş (chopped cucumbers & vine tomatoes) , Gemlik black olives, feta cheese, pan-fried halloumi, jam, simit, menemen (Turkish style scrambled eggs with tomato & peppers) or sucuklu yumurta (Turkish sausage “sucuk” and fried eggs)
The design of Babaji is truly impressive and unique with special details, made by a world-wide known Turkish design studio named Autoban. The beautiful handcrafted ceramic tiles that cover the walls and ceilings, the Iznik tile designs on some of the tables, and the inlaid brass details used in the wood tabletops reflect the traditional Turkish culture in a wonderful way.
The restaurant is on three levels, on the ground floor you can see how the pide’s are made from where you’re sitting, as in the middle there’s an open space with a large stone oven where the chefs are baking the pides. On the first floor, there’s a more spacious dining area, and on the basement there’s a smaller one and the kitchen.
The service of the restaurant reveals the well-known Turkish hospitality once again, with almost all-Turkish staff welcoming you in a warm and friendly way, and providing a quick and attentive service throughout the meal.
The philosophy of Babaji is simple – presenting the traditional Turkish culture with a modern interpretation, and reflecting its warmth and sincerity without exaggeration, in a natural way – for example by playing the common Turkish songs in the background and using the traditional, thin glass cups that are used to serve tea in Turkey.
In my opinion Babaji represents the Turkish culture in a decent and impressive way, with all the hidden details and the apparent effort and thought that has been given to all parts of the restaurant.
Note: The restaurant doesn’t take reservations, so depending on the time of day you visit there’s a chance that you’ll have to wait for a while, but you can order from the restaurant through online delivery services as well!
So, to summarize, if you’re interested in Turkish cuisine and want to try the delicious Turkish dishes for reasonable prices in a unique atmosphere, then you should definitely pay a visit to Babaji!
This is the first guest post that I’m featuring on my blog so it’s pretty exciting for me! It’s written by Jaime Tung, the talented author and creator of angloyankophile.com – an award-winning blog full of her amazing adventures and discoveries as an American in London – and in many other parts of the world! Thank you so much Jaime for your contribution, it’s awesome to have you on dilaland.com!
As we inch closer and closer to Christmas, I’m having a hard time keeping up with my work schedule, let alone my social calendar (just ask Dila, since it’s taken me forever to get this post to her!). Now, there aren’t a lot of people I’d wake up at 6:00 a.m. for, but my friend Alice is an exception. Since we both work in the same part of London, one of our favorite traditions is to grab breakfast before work. It’s great, because unlike lunch, we don’t feel as rushed, and it’s such a nice way to start the day. When Alice and I worked in the same office, we used to have a favorite breakfast hangout (until it closed a few months ago), where we ordered the same thing every time, and even sat at the same table! I know, we’re nerds like that.
This time, we met at Honey & Co. on Warren Street, which specialises in delicious Middle Eastern cuisine. Slight issue? I totally forgot about our plans! We were supposed to meet at 8:00 a.m. and at 7:21, I was still tucked up in bed, chuckling at cat videos on YouTube. So cool, right? Then I got a text from her that said, “My train is far too busy at this time in the morning! See you soon!” To say that I leapt out of bed would be an understatement. I grabbed the nearest clothes, put my contacts in with one hand, and flew out the door. I was only 5 minutes late, which was an achievement! “I literally woke up like this,” I said to Alice breathlessly as I rushed into the restaurant.
But! The breakfast menu at Honey & Co. was the best reward for rushing out the door. In fact, any menu that features a “dinosaur egg” is a winner in my books! It’s smallish, so if you’re thinking of going for dinner, I’d book ahead of time. They serve an extended breakfast menu on the weekends, but on the weekdays, you still get a hearty serving of warm dishes like “Green shakshuka” (Legbar eggs baked on herby spinach with goat’s yogurt and bread) and “Phylas” (filo pastry filled with pumpkin, spices, feta yogurt and a hardboiled egg). I ended up ordering the “Ijje” – a herb, feta, and buttered leek frittata plus a fresh mint tea, which was such a nice change from the limp bacon sandwiches and dry pancakes you might find at every other breakfast establishment.
We stayed for an hour or so, catching up on life (we both bought houses around the same time this year!) and work – and never felt rushed. The fun, brightly-colored decor made me feel as though we were on holiday in Tel-Aviv instead of starting the workday in Central London. I could have easily stayed longer for a coffee, but the clock soon struck 9:00 and, like Cinderella, it was time for us to leave the proverbial breakfast ball.
I had my eye on Honey & Co.’s cookbooks, which I thought would make a great Christmas gift for my brother-in-law, who loves to cook.
I’m looking forward to going back for dinner soon! I’ve heard that their desserts are the stuff of legends.
Do you ever go out for a nice, sit-down breakfast before work? I’d love to know!