Tanya Gold

Sexy Fish is a ludicrous restaurant with a ludicrous name in a ludicrous town. It is the latest venture from Richard Caring, major Tory donor and Asian fusion’s very own Bond villain. The more I insult Caring in these pages, the better I like him. He is certainly vivid, and the swiftness with which he expands his empire demonstrates a truism — the more often you order a £15 million restaurant interior in the service of propping up the Conservative party’s decimation of liberal civilisation, the better you will get at it. So, Sexy Fish. It is, in homage to its stupid name, a tank on Berkeley Square, where no birds sing, and it is principally gold-coloured — for that, Scrooge McDuck, is its brand.

Forty-five Jermyn St lives in the left-hand buttock of Fortnum & Mason (F&M), a shop whose acronym is slightly too close to FGM (female genital mutilation) for this column to be able to relax there for long periods, even though its Diamond Jubilee Tea Salon is excellent. Its name is part of a vogue for naming restaurants after postal addresses, and even street numbers (Richard Caring’s 34 in Mayfair). This is one of the more idiotic, if less gritty, consequences of the London housing crisis: an address — or even a house number — is a brand. The restaurant named after a postcode — and I suggest TW11 0BA in Teddington because there is nothing there — is surely pending. Go for brunch, lick the bricks, adopt a refugee.

Penny is an all-day café in the former Pit Bar in the basement of the Old Vic, a famous and charismatic theatre on the road to south London. I love the Old Vic on its pavement peninsula on The Cut by Waterloo. Sirens screech past; after a particularly calamitous accident, you can hear them from the stalls. (Best to see a musical here; A took me to Kiss Me, Kate when we married, to show he understood me.) It feels — although this may be a lie — like theatre for The People, as they might be but almost never are. It is fierce, shabby and rigorous, although during the 1980 Peter O’Toole Macbeth the laughter carried as far as the trains chugging out to Dorking.

Pedro’s Tex-Mex Cantina is a fantastical shack near a ring road in Norwich. It was recently asked to stop handing out sombreros at the University of East Anglia Freshers’ Fair, because anti-racist activists (henceforth known as ‘morons’) at the UEA Freshers’ Fair reckon the sombrero is racist, and gave the staff of Pedro’s Tex-Mex Cantina a lecture about ‘cultural appropriation’, which they took well; that is, they did not set fire to the UEA Freshers’ Fair, which is what I would have done. This is where we are with progressive politics, Spectator reader, although I think you knew that anyway.

Mum’s, or to use its full title, Mum’s Great Comfort Food, is a restaurant in Edinburgh designed to soothe itinerant performance artists. For, in the fag days of August, as the Fringe dies — it will be reanimated next year by the blood of Citizen Puppet and Nicholas Parsons — assorted actors and comics and cabaret artists and mime artists and circus artists and ballet dancers and tap dancers and flute players and face painters and sketch performers and one-woman-show specialists (expiating rejection by standing in bins) and the guy who dresses up as Darth Vader are more ulcer than human being; and that is before we get to the clowns, who are in a special sub-section of desolation, even if Puddles Pity Party did get five stars.

Jamie’s Italian is squeezed into the Devonshire Arms on Denman Street, Soho, borne on the duplicitous winds of TV shows and book deals. It’s an odd fit, like a Flump meeting Dante. The Devonshire was a pub at the end of the world, a Victorian dystopia made of violence and despair. Now Jamie Oliver — an aghast teenager running to fat even as he declares war on the Turkey Twizzler and the civilisation that wrought it — has sucked it into his empire of Jamie’s Italians (there are 41, from Aberdeen to Gatwick), installed a roof terrace and written ‘Established 2014’ over the door. At first glance, Jamie has done nothing to the Devonshire Arms. It is still a grim London pub, now struck down with a late-term identity crisis.

Selfridges is skilled at making things that are not hideous (women) look hideous (women dressed as Bungle from Rainbow or a tree, after shopping at Selfridges). So I was not surprised to discover that it has summoned a ‘pop-up’ restaurant to its roof. It is called Vintage Salt and it is based on a Cornish fishing village. Not a real one, such as Newlyn, but a fake one, such as Padstow, which is based on Selfridges anyway. Selfridges shoppers do not want reality but a half-remembered contortion of something they read in Vogue while having their hair dyed banana yellow in St John’s Wood High Street in the company of a chihuahua smarter than they are. The portal is an express lift in Fragrance.

The Gatto Nero — or ‘Black Cat’ — is in Burano, a tiny island in the Venetian lagoon. It is close to ‘haunted’ Torcello, with its ancient campanile and its branch of the Cipriani restaurant. (The only equivalent thing I can imagine is a branch of Soho House at Dracula’s castle, or possibly Chernobyl.) I like the name Black Cat; it reminds me of the Blue Parrot in Casablanca. I like that you must leave San Marco, with its tat and wonders combining queasily, to get here; I like the brightly coloured houses like Bratz dolls fighting; it looks, to me, like Notting Hill with fish, lace and a soul. I like that the Black Cat has a black cat; or at least it used to. I do not see it today. Perhaps it left suddenly, or died?

The Maze Grill is on a sinister street in Chelsea, between a small Tesco — a boutique Tesco? — and a shop selling ugly sculptures of cats. The Chelsea Physic Garden, with its poisoned plants and amazingly posh Sunday walkers, is nearby. I cannot walk in the Physic Garden without hearing the howls of property developers from the skies, longing to destroy it, because what is it for, this garden and its small carnivorous plants, these tiny, dangerous Chelsea-ites? The Maze Grill is the fifth restaurant of that brand from Gordon Ramsay, who operates 25 restaurants globally from Las Vegas to Raqqa, alongside his more important sideline of shouting at people as they chop fish on television.

The Ivy is a Playmobil-style faux-medieval restaurant in a triangular building opposite The Mousetrap; of the two, The Ivy is more ancient and threatening. It has mullioned windows, a photogenic lamp post and a parking space for paparazzi to shoot people who want to be shot, as in early Martin Amis novels. It has been refurbished for its 100th birthday, in the manner of an ancient dowager empress seeking new fingers. Of the ‘celebrities’ or ‘notables’ or ‘people who are better than you’ who used to dine here I cannot speak; but apparently it was a live-action re-enactment of a Nigel Dempster diary. Christopher Biggins blah. The pig from Babe blah. It is, you must understand, a ‘legendary restaurant’.

The Beaumont Hotel is a bright white cake in the silent part of Mayfair, where the only sound is Patek Philippe watches, tick-tocking. We are in the eye of the storm, where it should be quiet; of the cacophony of Selfridges, just to the north, we hear nothing. It is the first hotel from Chris Corbin and Jeremy King, creators of the Delaunay, the Wolseley, Brasserie Zédel and Fischer’s. The façade is so languid, pristine and self-satisfied that it could — no, should — be Swiss, even if it was once an Avis garage wrought in Art Deco. It reminds me of the Beau-Rivage Palace on Lake Geneva, a hotel which likes itself so much it built another just the same, and will spend eternity admiring itself in both its double and the lake.

Fenchurch is a restaurant that is scared of terrorists. It cowers at the top of 20 Fenchurch Street, a skyscraper which looks like an enormous and unfashionable Nokia 3120 mobile telephone; has it been designed explicitly to telephone for assistance? But who would it telephone? The Shard? I cannot imagine the Shard doing anything for anyone. It is 525 foot high blah and replaces a building that was only 299 foot high blah and so deserved to fail, being so mean and little; I never tire of the rampant Freudian anxiety of property developers and their architect slaves, because, like the phenomenon of the competitive super-yacht, it tells me they, too, are frightened; isn’t everyone?

Ed is a plank. He was always a plank — and now he is in Ibiza being a plank. Plankety--plankety-plank: goodbye to our most recent terrible leader — and who will be the next? I, meanwhile, am in the Gay Hussar, choking on my own grief, hearing ‘Crying in the Rain’, weirdly, in my head, trying to forget the images that flicker mercilessly across my eyes, disrupting my view of a book that says, in capital letters, for emphasis — tony blair (now that’s a leader, eh!) — Clegg, dry-eyed with realisation at the breadth of his failure, Ed Balls hauled down like an -Easter Island statue, Samantha Cameron’s victory dress, which was a bullet-proof vest on the front and a high-vis jacket at the back. Well, it was a long -campaign.

The Portrait Restaurant lives at the top of the National Portrait Gallery, London. It is fiercely modern, but likeable. You ride an escalator into a void, glimpse the raging faces of the Plantagenets and take a lift upwards, away from dead kings and film characters walking the streets. (Downstairs, by the entrance to the National Gallery, two competing Yodas from Star Wars are posing for photographs. One is too tall to be a convincing Yoda. Tourists inhabit a different city.) In this long bright room there is no such anxiety; only clean windows to Trafalgar Square and happy women having lunch in a secret glade of stone and brick.

The Ivy Chelsea Garden is a restaurant inside an Edwardian house disguised as a Tudor house on the King’s Road; it was formerly the fetid Henry J. Bean’s American Bar and Grill, which was a sort of magnet and sex market, with cheeseburgers, for Chelsea teenagers. It sits in a row of babywear shops and artisan bakers — why Chelsea needs bakers I know not, because no one here is fat enough to eat bread. Perhaps it bespeaks a psychic insecurity that even the rich of SW3 feel — for the bread is the life? It is the third instalment of Richard Caring’s growing Ivy franchise, because Caring — catering’s Dr No — cannot let a good brand rest in peace; he loves money, and napkins, too much for that.

La Coupole, Montparnasse, is the grandest and most famous of the old pre-war Parisian brasseries; that is, if you have an Esprit Brasserie loyalty card, as I have, you can dine in homage to dead continental intellectuals — plus Ernest Hemingway — whenever you wish, and with 20 per cent off. They sit, dead in black and white on the walls in their spectacles, like the toys Star Wars sold but more rigorous and interesting. Ernest Hemingway is to Parisian brasseries what Mickey is to Disney World; Edith Piaf — or Salvador Dalí — is Daffy Duck. Me, I sat under a playful cartoon of Jewish intellectuals murdered by the Nazis. Happy Easter, Europe. The street is a shrieking boulevard; the exterior is Art Deco at its most inhumane and bulbous; the room is vast.