a room with big window and lights and bar

A nice interior with big lights and a bar. Big windows

Picture Ladbroke Hall – a cocktail of Beaux Arts elegance, Edwardian grandeur, modern creativity. This ex-car factory has transformed itself into a sprawling arts complex, from gallery to jazz bar to fine-dining. LUX Editor-in-Chief Darius Sanai meets its mastermind and co-founder, Loïc Gaillard

Darius Sanai: Ladbroke Hall is a major development. What made you want to do it?

Loïc Le Gaillard: Ladbroke Hall has been an incredible journey! The inspiration behind this project was simple – we aimed to establish a unique arts and social club, a central hub for creativity. From contemporary art to collectible design, encompassing culture, dining, and music, all within a single space. Beyond being a physical location, Ladbroke Hall is a meeting place for everyone – the public, friends, Patrons, and collaborators alike. It tangibly serves as a haven for those who appreciate the arts and seek meaningful connections, bringing together diverse minds and kindred spirits.

Ladbroke Hall also houses our flagship gallery, Carpenters Workshop Gallery in London. After 17 years of developing Carpenters Workshop Gallery, we made the decision to expand on the traditional gallery model to facilitate artistic exchange through a more immersive experience.


DS: It has elements of members’ club, but it’s not. Who is your market, and why are they coming?

LG: Ladbroke Hall is a distinctive haven for our community of art and design enthusiasts. In response to the growing need for spaces that foster community and connectivity, we introduced the Patron’s scheme. This scheme is designed to give our Patrons exclusive access to Ladbroke Hall’s vibrant community. This includes special privileges such as entry to private spaces like the Lamyland Patrons bar, ensuring that our Patrons are involved in every facet of Ladbroke Hall’s endeavours. Priority access to the live programme of Patron only events, the restaurant, and private dining experiences further enhances the Patron experience. Despite these exclusive perks, our commitment to inclusivity remains unwavering, ensuring that the enriching ambiance and offerings at Ladbroke Hall are accessible to all.

Functioning as a dynamic stage for the Arts, Ladbroke Hall creates unforgettable experiences. Our philosophy centres on providing Patrons with unparalleled access to the thriving artistic community, emphasising the shared experience within this vibrant creative hub.


DS: Tell us about how the commercial gallery, F&B and cultural programming work together.

LG: At its core, Ladbroke Hall is a stage for the Arts – a place to experience multidisciplinary arts all under the same roof. When visitors dine at our restaurant, Pollini, they are not only savouring the finest Italian cuisine by Chef Emanuele Pollini; they are doing so in a designed space crafted by one of our core artists and fellow Italian, Vincenzo De Cotiis Architects. The space features a specially commissioned, site-specific sculptural chandelier by Nacho Carbonell and four paintings by Sir Christopher Le Brun PPRA.

Visitors are also invited to enjoy our weekly Friday Jazz, accompanied with a specialised dinner menu. This event welcomes both jazz enthusiasts and new audiences, featuring some of today’s top musicians with a focus on high-quality straight-ahead jazz. The essence of this musical genre, breaking barriers and fusing cultures, resonates with Ladbroke Hall’s ethos as a multidisciplinary creative hub.

Recently, we’ve introduced the Classical Masters series, showcasing performances by some of the most distinguished classical musicians. Additionally, Carpenters Workshop Gallery currently hosts three solo exhibitions by Michele Lamy, Roger Herman, and Wendell Castle, all running until April 26th.

We also are excitingly opening Ladbroke Hall’s garden this spring designed by Luciano Giubbilei – so stay tuned! Ladbroke Hall has something for everyone, providing a space for people to gather and enjoy the Arts.

Big red brick building with trees and blue sky

Ladbroke Hall is an imposing building, just a few minutes from the heart of London’s shi shi Notting Hill.

DS: Why has it taken a French person to create such a visionary construct in London?

LG: London has long been a melting pot, drawing incredible talent from across the globe. It has been my home for half of my life, a place that continues to surprise and inspire me daily. London will always be international. As the London Mayor, Sadiq Khan, once said, when the UK officially left the EU, “London is open and no matter where you’re from, you will always belong here.” Therefore, I do not see it as a French person in a British city constructing something so visionary. Several years on from Brexit, London continues to attract the world’s most exciting artistic talent and in turn collectors. It’s a hub for exchange and that is exactly how we see Ladbroke Hall.


DS: You opened less than six months ago; what would you want people to be saying about Ladbroke Hall in ten years?

LG: That’s a great question. I envision Ladbroke Hall in ten years to be the premier social and arts club where everyday visitors create wonderful memories and forged new friendships and collaborations. It is exciting to think what else Ladbroke Hall has in store, making it a journey we can only fully appreciate by waiting and enjoying the ride.


DS: What were your biggest challenges in its creation?

LG: Crafting Ladbroke Hall was in no means an easy feat. It is thanks to our team, collaborators and artists who helped create Ladbroke Hall. My business partner, Julien Lombrail and I pulled together a band of artists that were keen on joining the vision for this ecosystem.

two men in suits sitting on steps

Loïc Le Gaillard and Julien Lombrail are the co-founders of Ladbroke Hall, which blends a high end restaurant, a bar, a commercial arts-ace, a jazz club and a new garden space.

DS: What do you seek to achieve, and who do you seek to attract, through your programming.

LG: Curious, creative and kind people.


DS: You run the restaurant yourselves, yet you are not a restaurateur. Why? Is that challenging?

LG: The desire to open a restaurant has been a lifelong dream of mine. London’s competitive scene presents its challenges, but it’s an honour to collaborate with Chef Emanuele Pollini, who brings his brilliant culinary expertise to us.

Reading time: 5 min
man outside in shirt and tie
portrait of a man

Abdullah Ibrahim by Lex van Rossen

Abdullah Ibrahim was discovered by Duke Ellington, fought against apartheid, and played at Nelson Mandela’s inauguration. The South African jazz legend speaks to LUX from his Cape Town home about his hopes and dreams

My favourite view…

The stars in the night sky over the green Kalahari.

The best place to listen to jazz…

Where your chosen jazz musicians are playing.

Where you’ll find the coolest new bands…

In the place you least expect.

The only thing I’ll queue up for is…

A masterclass with a master.

Most overrated tourist spot…

The beach.

Most undiscovered tourist spot…

The unlisted one you discover.

man outside in shirt and tie

What I love about Cape Town…

The flowers and animals.

My favourite smell…


I feel most at one with nature in…

The desert, hills and rivers.

The best local dish…

The traditional dish prepared at home.

My favourite memory is…

The next one.

What I think of the youngest generation…

I was once like them.

If I live to be 200 I would like to see…

If that bird at daybreak still sings the same song.

My proudest achievement is…

Realising and accepting that the process of learning is boundless.

My greatest fear is…

Becoming complacent and lapsing into a comfort zone.

My biggest regret is…

Not doing enough to seek for knowledge.

Find out more: abdullahibrahim.co.za

This article originally appeared in the Autumn/Winter 2020/2021 Issue. 

Reading time: 1 min
vintage vinyls
For many, the 1950s and early 60s was the golden age for music, an era of artistic experimentation and precise analogue audio reproduction, but mint condition vinyl albums from this time are increasingly rare to find and ludicrously expensive to buy. Fortunately, this is where the Electric Recording Company steps in. Millie Walton sits down with founder, Pete Hutchinson in his premier recording suite to listen to jazz and talk about the re-mastering of the key catalogue titles, bringing back the super sounds of the seventies. Audiophiles everywhere rejoice.

Millie Walton: You have a lot of very beautiful, vintage machinery here. Where did it all come from?

Pete Hutchinson: Originally it came from Romania, but we found it rusting in a damp garage. It took us three years to restore all of the equipment, but it was completely necessary to help us achieve the sound quality we wanted. When you get a normal remake or reissue of a record from a shop, its cut on contemporary equipment with different technology. This is all valve machinery from 1950s, ’60s and ‘70s. Most studios threw all this stuff into skips and then the sound changed forever. We want to bring back that lost sound by taking the original mask tapes, playing them through these machines and re-cutting the vinyl. That’s the concept.

MW: How would you say the sound differs?

PH: Well I think that transistor sound is a bit harder and glassier than valve sound, which tends to be more open and dynamic, but obviously its completely subjective. We cut in what’s called true mono, which no one else does anymore. Up until early 1950s everything was recorded in mono, which means that the music is played into one microphone. When stereo came into effect the signal was split to the left and right. The idea is that you hear the guitar for example on one side and the drums on the other pop over to this web-site.

Read next: Inside the colourful world of Tierney Gearon 

MW: Do you think mono is better?

PH: It’s better for some things. For an orchestra stereo is probably better because you get a wider sound image. Mono is much more direct, in your face. To us it was very important that we cut in mono and had the machinery to make that happen. Other studios press a button on the desk to make a mono channel but its not pure mono, we use a mono tape machine head and from there it goes into a mono recording amplifier into the lase and its then cut on a mono cutting edge so that the signal stays absolutely pure all the way through. This project is all about nuance. You have to be a bit of a geek to care about this stuff…

MW: How did you approach the artwork of these original records?

PH: What most people do is digitally scan the artwork and use a generic card for every release, but I didn’t want to do that. I really wanted to have holistic approach to the whole aesthetic. We found a guy here in London who uses the technology of the late 50s to letterpress. It’s a very involved and slow process and incredibly expensive.

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MW: It sounds like a true labour of love.

PH: Completely. We only make a limited edition of about 300 copies of each reissue. Our first releases took a year or two to make, but we wanted the whole look to be right, using rice paper sleeves as they did in the 50s for the vinyls and even letter pressing the labels. Each vinyl also comes with a book, which explains the process. We normally sell directly to consumer and have a huge market in Asia, Hong Kong where people where buying multiple copies in order to keep and then presumably sell on which I tried to encourage not to happen because these records shouldn’t be like an asset class, they should be consumed for the art and for the music.


Reading time: 3 min