#quince linen

[marimuntanya]

[marejadilla]

Kamille Corry, “Satsumas and Quinces”, oil on linen on panel.

[fashionsfromhistory]

As someone who can't wear fabrics that are itchy, (rough) even if it washed in softener. Can you give advice on what to look for? I need more business clothes but it seems all the work pants I find for the office is made of that fabric.

Oh this is a tough one. Unfortunately, you might have to go for a higher price point. A fix that worked for an actress I used to work with was wearing satiny cuddl duds in the winter and tights in the summer under all of her pants but YMMV.

(this next part assumes you're US American but I think the idea is applicable everywhere)

First, I would recommend going a slightly fancy department store like Nordstroms. You don't have to buy anything, just feel some clothing to figure out what fabrics you like and write it down. I would recommend going to a higher end store vs like JC Pennys because manufactures like to lie about fabric content and in my personal experience it's less of an issue if you go to a more expensive store. If you're like me, anything rayon, wool, or polyester is a no-go. Semi synthetic fabrics are hit or miss. I'm personally good with silks, satins, linens, and cottons. (If you're not allergic to wool, apparently merino wool is great)

If you're close to a bigger city, you'll probably be good to shop in store. Smaller towns you'll probably have to do online shoping in order to avoid certain fabrics. I haven't shopped at all these but off the top of my head some good stores to check out might be: Quince, Universal Standard, Good American, Amour Vet, Madewell, and Macy's but be real vigilant about checking the fabric content. Rich People Goodwill can have some great stuff but with the rise of thrifting it can be a slog (and real frustrating depending on your size)

May the odds be in your favor on the hunt for non scratchy clothes <3

[gowns]

Someone recommended Quince to me for linen clothes. Is that a brand you’re familiar with, and/or would you recommend them?

quince is giving greenwashing. i have seen comments that their linen is fine but very thin. (prob similar to parachute, which has crazy good marketing. i bought their linen sheets and they were very thin which i thought was nice because it's a sort of "broken in" feeling but then they got holes in them (and i see that in a lot of their product reviews))... so like, why bother with that kind of quality? esp when quince has no certifications or a detailed production process

for the best bang for your buck i would recommend notperfectlinen which offers a lot of customization. like, you can talk directly to the people making your clothes with your measurements. and everything is made, cut, sewn, packaged, in one location. that's much better. for the quality that they offer, NPL is A+. you can join the BST facebook group for even more discounted prices.

another brand i can personally recommend is phaedra, which is one person in the UK. she sources really lovely linen and has nice designs. you have to sign up for her newsletter for releases.

if you're on a super tight budget, just search poshmark for linen -- there's a lot of secondhand linen out there, a lot of it from marshall's or old navy or what have you. but you can also very easily find brands like flax, NPL, linenfox, etc, on poshmark. or an in-person thrift store if you're savvy. just check the tags to see where it was made, if it's a blend, etc etc.

all of this is linked and mentioned on the top lines of my spreadsheet!

[thirtyknives]

"There’s a lanky man in his mid twenties folded up behind the table with his hands over his ears, watching Dio with a worried expression. He’s in a very rumpled pair of beige linen slacks and a buff coloured checked shirt. Guy’s the same washed out shade of yellow as the quinces, with big brown eyes and a mop of mousy brown hair cut short and fluffy.

“What you doing back here?” I ask.

He stares up at me, agog. I’ve rarely seen anyone who qualifies for ‘agog’, but this dude absolutely does. There’s a fair measure of flabbergast in there, too.

“Not much,” says Dio. “He just saw me and freaked out in a very gentle, slow motion kind of way. Almost peaceful.”

“Peaceful, you say.”

“You can hear him?” asks the guy, in the same frightened little voice.

“So can you,” I reply, breaking into a huge grin. “You’re a rare breed, my friend.”"

Chapter Five of River City Bones is now available for paid members!

A friendly phone call from a favoured client has our girl Amber out at the Annerley strip in full table-rapping regalia. It's just as well, as the trip brings her into contact with the most valuable of treasures - someone who knows exactly what she's going through, because he's going through it too. Featuring pubs, philosophy textbooks and as many quinces as you can carry. Content warning: Smoking, drinking, swearing (usual quantities), mentions of death, blood, elderly pharmaceuticals, extinct community book shops.

[beautiful-basque-country]

Basque kutxak or chests have always been the most traditional and appreciated piece of furniture. They would serve as a chest, wardrobe, and table, and they were thought to be essential at home: women would keep their linen there with some quinces or apples so they smelled good. When people got married, they would recieve a kutxa full of presents.

They were traditionally made of oak wood, and got finely carved solar symbols, flowers and plants, or scenes depicting the profession or personal history of the owner. Since they were so precious, the carvers tried to design atemporal, elegant and likeable kutxak, because they were going to be at home for generations.

Another important piece of the kutxak were the locks, decorative and effective, a craft that Basque smiths had been dominating for centuries.

In the pictures there are kutxak from the 18th and 19th centuries.

Pic sources: 1, 2, 3

[pwlanier]

Jan Sanders van Hemessen (Hemessen c. 1504-1556 Antwerp), Double portrait of a husband and wife, half-length, seated at a table, playing tables.

Oil on panel.

Note: Jan Sanders van Hemessen’s Double portrait of a husband and wife is one of the most exciting Early Netherlandish paintings to appear on the market in years. It is a masterpiece by one of the foremost painters in Antwerp during the second quarter of the 16th Century. This revolutionary double portrait, prominently signed at lower right along the edge of the table “IOHANNES[S] SANDERS/DE HEME[SSE]N PINGEBAT 1532” and executed on an ambitious scale, is the second earliest work known to be dated by Hemessen and was undoubtedly an important commission for the young artist. In a cozy interior bathed in bright sunlight, a couple enjoys a game of chance and strategy known as tables, an ancestor of backgammon. Seated in a leather chair embellished with a colorful geometric design, the woman is handsomely dressed in a black gown with fur trumpet sleeves over full undersleeves of dark rose velvet. A sheer partlet covers her décolletage, while a crisp linen hood conceals her auburn hair. The lady’s waist is cinched by a gold girdle from which hangs a string of rosary beads, their bright coral hue popping against their dark background. The woman’s gaming partner is equally fashionably dressed in a black overgown lined with luxurious lynx fur, a cap jauntily perched on his head. Beneath his dark doublet his pristine linen undershirt peeks through, its collar embroidered in blackwork with a pale blue lozenge pattern. Though the sitters have yet to be identified, their costly and stylish attire suggest that they are a wealthy Flemish burgher and his wife.

The couple’s game board, made of two hinged wooden compartments, occupies the center of the table before them. The disposition of the black and white draughtsmen, as well the cast dice that together number eleven, reveal that their game is underway. Nearby, several other elements, each painted with such care that it could stand as an image on its own, also grace the table’s surface. These include a still-life of ripe fruit, a quince freshly cut with a knife featuring a gilded handle, a glass filled with wine, a bird resembling a blue-fronted Amazon parrot, and a cracked walnut.

There exists in western art a long tradition of representing backgammon and its early variations, the origins of which can be traced back to Mesopotamia. From the medieval period onward, the game was often used as an emblem of vice – following the Gospel of Matthew, soldiers appear in countless crucifixion scenes playing dice at the foot of the cross, and a tables board appears beneath the harlequin figure in Pieter Bruegel’s circa1562 The Triumph of Death (Museo del Prado, Madrid). A tables board is equally present in the background of the Magdalene with a Lute (Gemäldegalerie, Berlin), a painting nearly contemporary to the Stella portrait and formerly attributed to Hemessen himself (see B. Wallen, op. cit., 1983, p. 94, fig. 38, as Brunswick Monogrammist). There, the game rests on a table in the room behind the saint, an allusion to the transience of the earthly pleasures enjoyed by Mary Magdalene in her earlier, sinful life (P.H. Jolly, loc. cit.). A 1529 drawing by Pieter Coecke van Aelst (Museum Boijmans-van Beuningen, Rotterdam) makes this message more explicit, showing a poor and ragged peasant handing over a chicken, his last worldly possession, as payment to the young temptress who has soundly beaten him at tables (see G. Marlier, La Renaissance Flemande: Pierre Coecke d’Alost, Brussels, 1966, pp. 88-90, fig. 27).

Yet during this same period, many artists portrayed the game as a courtly pastime, free from any obvious moralizing overtones. Such is the case, for example, with a circa 1450-1475 marginal illumination framing the Annunciation page from a Northeastern French Book of Hours (fig. 1; The Walters Art Museum, Baltimore) and a pen and brown ink drawing of a Seated couple playing trictrac and standing woman playing checkers attributed to Albrecht Dürer, circa 1492-93 (Bibliothèque nationale de France, Paris; see B. Butts, and L. Hendrix, Painting on Light: Drawings and Stained Glass in the Age of Dürer and Holbein, Los Angeles, 2000, no. 7). Scenes like these, featuring well-to-do members of the opposite sex playing tables, typically possess an amorous connotation. Such is the case in the present painting, although it has the distinction of seemingly being the earliest to show the game being played in the context of a portrait (B. Wallen, op. cit., 1971, p. 75).

Hemessen’s double portrait may have been commissioned to commemorate a wedding. The painter emphasized the strong connection between the couple by portraying the wife resting her hand on her husband’s shoulder as the two gaze intensely at each other. In his 1971 study on the portraits of Jan van Hemessen, Burr Wallen linked the present portrait, then in the Balcarres collection, to the very popular battle of the sexes that continued to rage on in sixteenth-century Europe, although the couple’s affable demeanor suggests that the quarrel’s playful dimension prevails here. Accordingly, Wallen interprets the composition as an expression of the concordia between the husband and wife. “In fact,” he writes, “there may be reason to believe the couple to be united together against a common foe who lies unseen behind the peaceful domestic exterior” (ibid., p. 76). For the scholar, the ominous nature of this opponent could be signaled by the dice, which have landed on five and six, whose combined sum of eleven carried portentous associations in the 16th century. A similar result of a dice roll is seen, as Wallen notes, in the hand of the gambler in Hemessen’s 1536 Parable of the Prodigal Son (Musée Royaux des Beaux-Arts, Brussels), a painting in which life’s temptations are made explicit.

Though Wallen’s interpretation is compelling, one need not necessarily envisage a common foe to read the scene. Rather, it is equally plausible that just a moment ago, the husband and wife were playing opposite one another, as is standard, but he has now come around to be closer to her to discuss a finer point of the game. Indeed, something of note has clearly occurred, as evidenced by the couple’s gesturing toward the black draughtsmen nearest her. Presenting his sitters in this manner, Hemessen shows his awareness of the artistic advances of his Italian contemporaries and Renaissance masters, such as Moretto da Brescia, Romanino and Savoldo, but also Raphael, Bronzino and Parmagianino, whose paintings he would have seen during his Italian sojourn, a few years earlier (ibid., pp. 76-77). As Wallen observes, in this double portrait Hemessen 'achieves a compromise between northern and southern aspirations that is weighted on the side of the north and its tradition of pragmatic realism in portraiture, a compromise that is in many ways similar to the contemporary works of Hans Holbein'. (ibid.). Indeed, Hemessen may have had occasion to meet Holbein, who likely visited Antwerp on his trips between England and Basle in 1528 and 1532.

Following a pictorial tradition deeply rooted in Flemish art, Hemessen chose to tilt the table upward, and in doing so, defy the laws of perspective, to give the spectator a better view of its contents. Thoughtfully articulated and centrally positioned, the game itself is at the heart of the composition, but the still-life elements too add another layer of meaning to the scene. Placed close to the picture plane, they recall the symbolic objects carefully arranged on foreground tables in representations of the Virgin in Child in early sixteenth-century Flemish painting. In particular, many of the items here relate closely to those found in Joos van Cleve’s Holy Family of circa1512-13 (fig. 2; New York, Metropolitan Museum of Art), thus revealing the enduring appeal of this convention. Especially noteworthy in this respect is the pewter charger piled high with beautifully rendered fruit rich in connotations, such as the apples that signify the Fall of Man, the cherries that evoke paradise and the grapes, which, like the glass of wine on the other side of the table, denote the Eucharist. The walnut, as Saint Augustine tells us, is to be associated with Jesus: its outer hull represents Christ’s flesh, its hard shell, the wood of the cross, and its kernels, his divinity.

Common to both paintings is also the elegant knife set at an angle, whose blade catches the light. In the Stella portrait, however, the knife has been used to cut a quince, which in addition to its religious significance, was associated with love, marriage and fertility. In fact, according to Plutarch, brides were encouraged to eat quince, a tradition that was revived in the Renaissance. Andrea Alciati elucidates the reasoning behind this practice in the Emblematum Liber (first published in Augsburg in 1531), under the illustration for the emblem 'Cotonea' (Quince Tree), writing that the fruit should be given to the newly wed because “it is conductive to good taste and disposition, and also that their breath might be sweet / and a seductive charm might linger on their lips” (see A. Bayer et al., Art and Love in Renaissance Italy, New York, 2008, p. 325). The presence of the cut quince can thus be understood in relation to the painting’s presumed marital theme. In addition to being a marker of wealth and status, the parrot may also be interpreted in symbolic terms, as it is an emblem of the Virgin Mary. By placing the halved walnut and Parrot close together, Hemessen thus evokes the pairing of Jesus and Mary, Adam and Eve, and a virtuous husband and wife.

Recent study of the painting with infrared reflectography did not reveal significant underdrawing. No major changes to the composition were visible, with possibly one notable exception (fig. 3). The artist appears to have expanded the length and shifted the angle of the table's left and right edges. Further study would be required to confirm that oblique lines and shifts in tonality seen in these areas are not artifacts of the ground preparation or subtle effects in the paint film itself, but if these are, in fact, compositional changes, they could suggest that the still life and wine glass at left were not originally planned, but added at a later stage in the design process.

Though conceived according to the conventions of Early Netherlandish painting, Jan van Hemessen’s double portrait is in many ways revolutionary. Independent portraits of married couples were already commonplace in the 15th century, but these were almost exclusively painted on separate panels and designed to be displayed as pendants (see M. Ainsworth, Jan Gossart, p. 276). While a discrete number of Early Netherlandish double portraits painted on single supports that predate Hemessen’s painting are known, their sitters almost always appear to be psychologically isolated from one another. Such is the case with Jan Gossart’s Portrait of an Old Couple (National Gallery, London), painted just a few years earlier than Hemessen’s masterpiece, as well the Double portrait of Dirck Borre van Amerongen and Maria van Snellenberg by the Master of the Amsterdam Death of the Virgin (Musueum Boijmans Van Beuningen, Rotterdam; ibid.). One of the earliest examples is Hans Memling’s Portrait of an Elderly Couple, which today is divided between the Preussicher Kulurbesitz., Gemäldegalerie, Berlin, and the Musée du Louvre, Paris, although originally the portraits of the man and woman were joined together with dowels to form a single panel. Notably, in the second half of the 15th century, double portraits on single panels began to develop as a popular format in Germany, and it has been proposed that Hans Memling’s Germanic origins inspired him to bring this style to the Netherlands, but some have challenged this idea, arguing that since the genre developed late in the century, Memling’s portrait should be viewed as his own invention (see de Vos, op. cit., no. 10; T-H. Borchert, Memling’s Portraits, Ghent, 2005, pp. 155-56. The German examples also often appear in architectural settings (see, for example, Thoman or Hans Burgkmair the Elder’s 1498 Double portrait of Jakob Fugger and Sybilla Artzt (The Schroder Collection, London), rather than against landscapes.

Strikingly original in its conception, Jan Sanders van Hemessen’s double portrait is best understood as a continuation of a tradition of allegorical double portraits whose origins lie in Jan van Eyck’s astonishing panel of Giovanni Arnolfini and his Bride (fig. 4; National Gallery, London). Painted in 1434, this small panel represents the Italian merchant and his wife, standing in a bedchamber of a Flemish townhouse. It is filled with objects that appear to have symbolic value relating to the sacrament of marriage, although the painting’s precise message and even the identity of the bride have been debated for centuries. Van Eyck’s invention seems not to have been immediately imitated, although there are echoes of it in the following decade, with Petrus Christus’s Goldsmith in his shop (fig. 5; The Lehman Collection, The Metropolitan Museum of Art, New York), which is now believed by some to represent Willem van Vleuten, goldsmith to the Duke of Burgundy, visited by Mary of Gelders and James II, King of Scots, who are in the process of buying a wedding ring. Like Hemessen’s double portrait, Petrus Christus’s painting is filled with symbolic and moralizing imagery, in particular the convex mirror, a traditional symbol of vanity, and the worldly temptations reflected therein. An even closer potential source for Hemessen’s painting is Quentin Metsys’s The Moneylender and his wife(fig. 6; Musée du Louvre, Paris). This signed and dated work was painted in Bruges in 1514. Though not specifically a portrait and not quite life-size, the panel similarly depicts a husband and wife seated at a table in a room filled with carefully described objects. The figures’ outdated attire, however, removes them from their contemporary setting, allowing the painting to be read as an allegory of Christian Virtue and the condemnation of avarice (L. Silver, The Paintings of Quenten Massys with a Catalogue Raisonné, Montclair, 1984, p. 212). Yet the remarkable casualness of the sitters’ interaction in Hemessen’s painting is nowhere to be found in Metsys’s work. Instead, for a closer prototype, one can turn to the Master of Frankfurt’s Self Portrait with his Wife (fig. 7; Koninklijk Museum voor Schone Kunsten, Antwerp), which was painted around 1496 in Antwerp. The painting measures 31.1 x 47.2 cm and presents the artist and his wife on a single panel, seated before a non-descript background. The couple’s tender interaction (the artist has his arm around his wife’s waist) as well as the remarkable still life elements on the table seem to anticipate Hemessen’s composition. The younger artist would likely have encountered the painting due to his membership in the Antwerp Guild of Saint Luke. Jan Sanders was born in the village of Hemessen (Hemishem) outside Antwerp. In 1519-20, he was apprenticed to Hendrik van Cleve I. Stylistic evidence suggests that he might next have worked with the Master of the Magdalen Legend at the royal court at Mechelen. There, he could have come in contact with court painters Jan Cornelisz. Vermeyen and Jan Gossart. During the 1520s, Hemessen traveled to Italy, as confirmed by his painted copy of Andrea del Sarto’s fresco of Charity in the Chiostro Scalzo, Florence (untraced). In 1524, Jan became a master in the Guild of St. Luke in Antwerp, and soon thereafter established a workshop in that city. In 1545, he married Barbara de Fevere, the daughter of a successful Antwerp cloth merchant. In part due to this felicitous union, but also thanks to flourishing artistic career, he became a man of considerable wealth. In 1548, Hemessen served as dean of the Antwerp Guild of St. Luke. He fathered several children, many of whom became artists in their own right, most famously his daughter, Catharina.

Courtesy Alain Truong

[professorpski]

Interweave Knits: Summer 2023

Summer knitting is here which means lighter yarns and shorter sleeves. There are 9 tops and a cardigan in this issue along with an intriguing article by Karen Frisa which has broken me forever from not swatching. She knitted then blocked and also hung four yarns used in this issue; some of them grew in width or length and if you then multiplied out the 2 extra stitches in the 4 inch swatch to determine the effect across an entire garment, you realize how far off your sizing could become. Better to spend some time in the beginning, I now think, than to despair over time wasted in the end.

But on to the patterns. On the cover is the Branchport Cottage Top by Laura Barker which is a top-down circular construction with short rows over the yoke and a shaped waist. its is a full 4 out of 4 for difficulty because of the complexity of the lace stitch yolk. It is made of Elsebeth Lavold Hepathy a blend of cotton hemp and modal, which is a kind of rayon.

I give you a close-up of the front shoulders of the Orlaya Shell in a pale pink by Elena Dimchevska. It is worked in the round from the bottom up with a more solid stitch pattern across the shoulders. It has a very simple shape and then a charted lace stitch. It is 3 out of 4 for difficulty and is made of Drops Cotton Merino which is just what it sounds like.  

Far simpler to complete, but needing care for its eyelet argyle motifs is the Serene Summer Pullover in minty color by Fiona Munro. It is a 2 out of 4 for difficulty and is a bottom up, circular needle project made in Quince & Co Wren another wool and cotton blend.

The pale blue green tee is done with wrapped stitches and called Patio Nights Tee by Debi Maige. It is a 2 out of 4 for difficulty despite having shaped shoulders. The yarn is Shibui Knits Pebble in Crete, a blend of silk, merino and cashmere. 

Cables and a lace stitch that looks like wheat appear in the V-neck Abundant Tee by Blazenka Simic-Boro a 3 out of 4 for difficulty made of Hikoo Rylie in Pearl which is a alpaca, silk, linen blend. While cables always strike me as a cold weather feature, I want to try the lace stitch on something else.

The cover garments is the only pattern here that has waist shaping, the rest are rectangles, so you may want to add your own shaping if you swim in rectangles as I tend to do.

You can find this at your local yarn store, or online here: https://www.interweave.com/product-category/knitting/knitting-magazines/

[whentherewerebicycles]

hey look it’s my most beloved little guy :) it is a gloomy wet morning and it looks like it’s going to be rainy all day. I have a meeting with my boss from 9:30-10 and will have a little bit of work to do based on her feedback, but am done for the week once I finish that. I think I may channel all the mixed feelings of today into doing a big burst of spring organizing and house projects. so here are some things that I could do.

KITCHEN

reorganize ALL cabinets (this will be a significant undertaking but should also significantly improve my life lol)

make list of spices I need to refill

clear out fridge

empty and reload dishwasher

bring down wall planters

LAUNDRY ROOM

reorganize pantry shelves

process amazon return (paint)

HALF BATH & CLOSET

organize both junk drawers again

declutter closet area and sort stuff into boxes

DAYROOM / OFFICE

declutter desk

move some books in to fill up shelf space

find a nail and finally hang up banner properly

frame liz bday gift painting

HALL CLOSETS & BATHROOM

reorganize linen closet shelves

put open (unlit) candle in linen closet

reorganize and tidy all four bathroom drawers

go through shower shelves and throw out empties/stuff I don’t use anymore

figure out where slightly mildew-y scent is coming from—it seems like shower liner but I literally just washed it?? do some sleuthing

BEDROOM & LIBRARY

reorganize hanging clothes

reorganize dresser drawers

put all laundry away

print quince return labels & pack

reorganize library bookshelves

OTHER LIFE TASKS:

contact trainer about ruthie leash training

confirm start date

call LL bean and reconcile return issue

call insurance company

run an easy mile or so (gym or outside)

walk the dogs if there’s a break in the rain

write cards??

call mazda about extra $ and lease extension

give dogs flea/tick meds

[whenlovebeckons]

My fall / winter 2024 capsule! I've ordered some new things from Quince that I'm so excited for: two pairs of linen pants, the cardigan, and the shearling boots, which will replace a pair of gray button bear paws I've had for ten years as the soles have worn through.

All of my clothing is natural fiber aside from activewear and shoes.

All three turtlenecks are secondhand wool / cotton blends.

The dresses in order are quince silk, old navy cotton, notperfectlinen, and secondhand. The yellow dress is the NPL cannes wrap dress in the color honey. It's the only picture that is not of the exact item in my capsule.

The sweaters are secondhand wool blend, Patagonia recycled wool, and a cashmere crew from LL Bean (mine is from years ago- their current cashmere sweaters are awful)

Both silk blouses are secondhand

The cardigan is cotton and is a preorder from Quince

All three linen pants are from Quince

The wool cape coat is Nine West from 10+ years ago, the cotton/linen trench is from Uniqlo

All hosiery is falke, merino/cashmere.

Shoes are hunter talls, quince shearling, danner mountain 600s, and toms.

[distillerchic92]

Check out this listing I just added to my Poshmark closet: Quince Women's Golden Brown European Linen Short Sleeve Button Up Shirt Size XS.

[secondhandfinery]

Check out this listing I just added to my Poshmark closet: Quince NWT Linen Pant in Driftwood.

[styleatacertainage]

Affordable Luxury for Your Summer Style at Quince

We are continuing our focus on affordable clothing brands today with a look at spring and summer fashion from Quince. Quince is an incredible brand that offers quiet luxury at affordable prices. Materials like cashmere, silk and linen, beautifully crafted in styles that are timeless and made to last. We love Quince here at Style at a Certain Age and we are excited to build out our summer…

[michaellloyd]

Paella Caterers East Sussex Crafting Unforgettable Paella For Weddings & Events

Dreaming of a flawlessly catered wedding, corporate event, garden party, or any special occasion in East Sussex?

Look no further than Vamos Paella Caterers East Sussex! We’re a passionate team of culinary experts dedicated to crafting exceptional dining experiences.

Our diverse menus feature fresh, seasonal ingredients and cater to various dietary needs, ensuring everyone can enjoy the celebration. But we’re more than just delicious paella. We pride ourselves on personalised service, meticulous planning, and genuine care for your vision.

Why choose us?

Passionate and experienced – since 2011, Vamos Paella is appealing to the taste buds of London, Hampshire, Surrey, East Sussex and beyond. Our reputation is built on quality, services, taste, reliability, cost effectiveness and flexibility.

Diverse menu – get innovative and offer tasty treats to accompany paella. This could be in form of desserts, appetizers or even entrees. Vamos Paella caterers East Sussex services offers hot and cold tapas in vibrant colours, quails egg with cumin, manchego cheese with sweet quince jelly, beautiful fruit tartlets, crackers with home-made chutneys and many other mouth-watering desserts. This fun treats gives your guest a talking point during the event and after it has passed.

Full service capability Apart from cooking delicious Paella and other culinary delights, we can even hire and arrange the table, chairs, linen, glasses, plates and cutlery. Have a theme in mind or may be a particular table decoration or you want to please someone with special flowers; go ahead let us know in advance. With us by your side, you will be able to see the transformation of your venue into the one you dreamed of, in a matter of hours.

Commitment to sustainability - At Vamos Paella caterer East Sussex, we are dedicated to quality and sustainability. We source our ingredients locally and responsibly, using only the freshest produce to create exquisite menus that cater to specialist dietary requirements. Our experienced chefs ensure that every dish is prepared to the highest standards, while our initiative is reducing food waste. Trust us to provide exceptional catering services that are ethical and environmentally conscious.

We believe – great paella caterers East Sussex can enable great entertainment that is delicious and enjoyable.  Connect with us.

[ayala831]

Check out this listing I just added to my Poshmark closet: Quince Womens European 100% Linen Pull On Pants Sz Large Black Lightweight Crop.

[ajgirls3]

Check out this listing I just added to my Poshmark closet: NWT Quince 100% Linen Shirt Short Sleeve White Size Large.