If you regularly drive through Camden, Islington, Hackney, Haringey or Tower Hamlets, as of the start of April 2023, you’re going to have to slow down.
The five London boroughs have been targeted by Transport for London as part of a capital-wide initiative to reduce speed on the road for cars to 20mph in order to make the capital’s highways safer. The initiative, developed by London Mayor Sadiq Khan is the Vision Zero policy which aims to see no one killed or seriously injured on our roads by 2041.
The policy is based on reports that speed was a factor in 48 percent of fatal collisions in London in 2020. Extensive data demonstrates that the faster a vehicle is travelling, the more likely it is that a collision will occur because the driver has less time to react, stop or avoid the danger, which increases the likelihood that any injuries will be more severe as a result. The stats are eye-opening: for example, if you hit someone at 30mph they’re five times more likely to die than if you hit them at 20 mph.
Three years ago, just as we entered lockdown part one, TfL introduced a 20mph speed limit on its roads in central London. The next phase sees the speed limit lowered by 10mph along 20 miles of roads in the five selected boroughs which will be closely monitored over the next few months, with the aim that it is extended to a further 70 miles in London by May 2024.
Now 20mph is not actually that fast. For comparison, a good, but not elite, sprinter can run at that speed. Usain Bolt was reaching speeds of 28mph in his pomp, so 20mph is an amble for him. Cheetahs and ostriches can run at 70 mph but only for short distances, so your best bet if you need to get somewhere in a hurry, is either a) cycling, or b) a skateboard harnessed to a cheetah that keeps to the pavements.
Edinburgh is one of the most beautiful and historic cities in the world. With its stunning architecture, fascinating history, and lively culture, Edinburgh is a must-visit destination for travellers from …
Fortitude bakehouse is a tiny bakery tucked away on a small alley just off Russel Square station. It’s quite possible that if there wasn’t a wooden board saying “Morning buns and coffee” and the smell of baked goods I’d have missed it hurrying up to get to work.
Fortitude bakehouse is actually quite unique in that they don’t offer loaves of bread, apart from their soda bread which is served with their soups at lunch. What they specialise in though is sourdough bakes – both savoury and sweet.
If you arrive in the morning you’ll find their popular morning buns with a variety of fillings, sticky buns, beignets and more! Even though it’s all delicious I do try to limit myself on how often I treat myself to their sweet goodies but for lunch, it is my go-to place. At lunchtime, you will find their savoury offerings! Every day they’ll have a selection of sandwiches, scones, puff pastries, morning buns with but with savoury fillings this time, a daily soup offering and more! My go-to choices and must try recommendations are: the Berber omelette sandwich, the daily soup and the cheese breadstick! What I love about the place is how creative their recipes are and the flavour combinations are always well thought out.
A bonus tip – if you happen to be in London around Christmas time do not miss to try their mince pies, probably the best in town!
The National Portrait Gallery is set to reopen with more than two dozen newly discovered works from trailblazing 20th-century British photographer Yevonde.
Yevonde: Life And Colour will explore the life and career of Yevonde Middleton, who pioneered the use of color photography in the 1930s, and will run from June 22 to October 15.
The exhibition will feature more than 25 photographs on display for the first time, highlighting the history of British portrait photography over Yevonde’s 60-year career photographing famous faces, from George Bernard Shaw to Vivien Leigh, John Gielgud to Princess Alexandra.
Supported by the Chanel Culture Fund, the exhibition is the first to open as part of the National Portrait Gallery’s 2023 program after three years of major refurbishments.
The photographs were discovered through the research, cataloging and digitization of Yevonde’s color negative archive, acquired by the gallery in 2021.
A color portrait of one of the most photographed women in the 1930s, socialite Margaret Sweeny (1938), is among the works to be shown for the first time. She gained notoriety in 1963 as the Duchess of Argyll, through her high-profile divorce which was dramatized in the BBC series A Very British Scandal starring Claire Foy as Margaret.
The exhibition will also feature a new color print of the portrait of Surrealist patron and poet Edward James, which was used on his 1938 volume of poetry The Bones Of My Hand.
It will also explore Yevonde’s life and career through self-portraiture and autobiography, including an unseen self-portrait in Vivex tricolor from 1937.
Director of the National Portrait Gallery Nicholas Cullinan said: “I am delighted to launch the new National Portrait Gallery with Yevonde’s extraordinary photography and to be able to share exciting new research and acquisitions we have made of her pioneering and inimitable work.
“Thanks to the Chanel Culture Fund whose support of the exhibition and digitization of the artist’s important archive, which has enabled us to bring Yevonde’s inventive and humorous creations into focus for a new generation.”
London-based photographer Yevonde was introduced to photography as a career through her involvement with the suffragette cause, when color photography was not considered a serious medium.
Her work quickly became published in leading society and fashion magazines such as Tatler and the Sketch, capturing the growing independence of women. Her commercial work also appeared as adverts through humorous still life or by using models in tableaux.
Yevonde’s most renowned body of work is a series of women dressed as goddesses posed in surreal tableaux made in 1935, first exhibited as part of Goddess & Others at her Berkeley Square studio in London.
The National Portrait Gallery exhibition will consider aesthetic and mythic references and uncover the biographies of her sitters. A work revealed during the final stages of producing the exhibition publication is the portrait of Dorothy Gisborne (Pratt) as Psyche in 1935.
Yevonde’s portrayal of the Greek goddess of the soul with customary butterfly wings is a previously unknown element of the Goddess series.
The exhibition will build on Reframing Narratives: Women In Portraiture, a three-year project to improve representation of women in the gallery’s collection.
Clare Freestone, photographs curator at the National Portrait Gallery, said: “Yevonde’s originality demonstrated through these photographs traverses almost a century and provides a vision so fresh and relatable. It is enthralling that there are further revelations to be transformed into color after almost a century or, for some, for the very first time.”