The UK’s only black tie music festival, Henley Festival, returns for its 42nd year, this week. LUX has a look

Mud, sweat and beers. That’s what one associates with music festivals. Well one hopes that there’ll be sun, a friend or two and some good music to make your voice worth losing back at the work the next day. (‘Been off ill, have you?’, one hears the boss ask. ‘Yes, yes’ one surreptitiously croaks. ‘Not at Glastonbury?’ ‘No, no; just a cold…’) Not, however, at Henley Festival…

Henley Festival features not only music, but art, comedy and what it calls the ‘Roving Troupe’, groups of roaming entertainers of various sorts.

The town, renowned across Britain for the home of the Royal Regatta, has been pulsing to the UK’s only black tie music and arts festival. The dress code reads somberly that if you are spotted in casual attire, you’ll be ‘refused entry to the event.’ One pictures security guards in morning suits rather than fluorescent jackets. 

Henley-on-Thames in Oxfordshire, England, is home to the Henley Royal Regatta, first held in 1839 as a local festival but now an internationally renowned competition.

Henley, in line with its dress code, ensures that both art and gastronomy are focuses of equal measure to the music, which itself proves to be strong and eclectic.

In the past, Henley Festival has featured Jess Glenn alongside the Heritage Orchestra, Melanie C alongside Goldie, and the Pet Shop Boys as well as Chaka Khan. This year, the lineup has procured artists from across the pop, classical, world music, and jazz settings, from Nicole Scherzinger to Dave Stewart’s Eurythmics Songbook, to Trevor Nelson, Gladys Knight and Sam Ryder. Oh, and a minor addition – the semi final of the Euros will be shown as part of the festival this year, on July 10th.

KATYA, winner of the Rising Star Initiative, rose to fame with her debut single, ‘I’ll Take Your Number’, featured on Spotify’s Fresh Finds UK & IE playlist.

2022 saw the 40 year anniversary for Henley Festival, and marked the founding of RISE – a platform lifting up emerging young musicians, comedians and visual artists. This, as Jo Bausor, CEO of Henley Festival, contents, is ‘rapidly becoming the beating heart of Henley Festival and is at the core of everything we do.” And this year, one will find the inaugural Westcoast RISING Star Award – awarded to multi-instrumentalist KATYA, who has impressed the UK’s largest festival, Glastonbury, as well as BBC Radio 1, for her electronic beats, jazz overtones and soundscapes.

The range of dining and drinking options spans from riverside fine-dining to grazing, to various bars across the site.

It’s no surprise that a music festival in Henley – the second most expensive market town in England for property – has opted for black tie. But what is surprising is how radical it seems that, despite the obvious discomfort of mud, sweat and beer, no other festival in the UK has gone for the comfort and sophistication of bow ties, velvet and Veuve Clicquot. For now.

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henley-festival.co.uk

Is it a club, an Italian restaurant or a sushi house? Actually, Sumosan Twiga on London’s Sloane Street is all three, and all the better for it

Top quality food with a fun vibe has taken off in the world’s cultural capitals over the past few years. For a showoff dining experience, you are no longer restricted Ito temples of gastronomy. Top-quality ingredients and cheffing can now combine to make the ultimate comfort food.

But there’s still a challenge. What if you want a vibe, but can’t work out whether to go for a perfect pasta with beef and herbs, or some top-quality sushi? Or what if your party has split opinions and nobody wants to compromise?

Launched in November 2016, Sumosan Twiga is the combination of the Japanese restaurant, Sumosan, and the brand Twiga

What you do is secure a booking at Sumosan Twiga, on London’s Sloane Street. Past a couple of intimidating doormen – to ensure the maki rolls are not consumed by the wrong type of customer, presumably, to be greeted by a glamorous receptionist, you are then whisked up in an elevator and enter a world of DJs and a partying crowd all dressed in Cavalli and Etro.

Ponder the menu over a couple of Bellinis and you soon note, if you didn’t know already, that Sumosan Twiga is effectively a sushi restaurant and a high-end Italian wrapped into one place. Back in the day, that might have meant some compromise – a chef practiced in one cuisine trying to master the other, with limited success. But not here: whether you stick to Italian or focus on sushi or (as we would recommend) you sample both, this is top-quality cuisine which, a little like the clientele, is here in in generous and beautifully presented portions.

The menu offers an array of classic Italian dishes and flavours paired with contemporary Japanese cuisine.

We started with burrata with datterino tomatoes, Kobe mini sliders (OK, more Meatpacking than Milan), and lobster with lollo blondo salad as a pre-starter; ingredients with beautiful and it was put together with care. From the Japanese menu we went on to seared salmon, lime soy and mustard miso, as delicate and umami as it sounds, and some rolls: buba, seabass with jalapeno and cucumber, wasabi tobiko and albemarle and salmon with orange tobiko: meatily fulsome and also featherlight.

Sumusan Twiga is the brain child of Flavio Briatore, of Formula One fame & Janina Wolkow, pioneer of the luxury Sumosan brand.

Mains were veal milanese with rocket and cherry tomatoes, hugely satisfying, what might be London’s best tagliatelle bolognese with chunks of feelsome beef, and Alaskan black marinated miso cod.

The only discord in our party was over whether it’s better to keep things pure by having Japanese starters and Italian mains (or vice versa) or just order a huge selection; the general agreement was one cuisine per course (whether that’s two or five courses) was better, so your palate does not train itself for the slicing umami of the tuna sashimi and freshly grated wasabi only to have a piece of breaded Milanese and pasta pomodoro, from a different gastronomic planet, with the next mouthful. The general consensus was to split the cuisines by course. But then we ordered another caipirinha, got up and danced, and forgot all about it.

We check in to the Principe di Savoia, a palace hotel offering grandeur and glamour for anyone visiting Italy’s fashion capital, Milan

Le Principe di Savoia is a grand palace building in central Milan

The trend among contemporary hotels to integrate the bar (and sometimes a dance floor) into the main reception lobby area was started by the original boutique hotelier Ian Schrager back in the 1980s. It accelerated with the development and corporatisation of hotels like the W hotel group, in the ’90s and 2000s, and now whether you are in the Alps or LA, you are likely to be greeted by a receptionist standing next to a bartender.

And while this works for a certain category of oriented hotel, where the vibe is more important than the room and everyone is invited, a good hotel bar needs its own space and should be a unique and compelling concept, not a funky alcoholic addendum to a reception desk.

The presidential suite encapsulates the classic grandeur of this Dorchester Collection property

Nowhere makes this more clear than the Principe di Savoia in Milan. We arrived after a delayed flight and a traffic-filled entrance into Italy’s biggest city. It was too late to go for dinner, but we did crave a little atmosphere, rather than just room service. A quick change in the room, and then we went into the Principe Bar, a grand room located in pride of place at the centre of the ground floor at this Milanese palace.

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A luscious sweep of a room, with perfectly dimmed lighting, the whole place is focused on the showpiece bar counter. We were immediately swept into another world, a universe where everyone is glamorous, drinking a Bellini makes you Sophie Loren. Not that you should really drink a Bellini, with a list of decorative gastronomic cocktails at your disposal: a particular favourite was an Indian Summer 22, with Chrysanthemum gin, Monin Paragon White Penja Pepper cordial, homemade cordial, Teapot Bitter, and a garnish of flower powder.

Le Principe Bar is a place in which to get lost with friends and disappear into a world of gastronomic, cocktail-inspired glamour

The Savoia is a proper palace, an imposing building right on the edge of the old city centre of Milan. Arriving there, whether it is the cocktail hour or not, is dramatic as you sweep up a flower lined driveway and are whisked into the hotel by a phalanx of door people. And across the big square in front of the hotel is the city’s finest park.

Read more: Hotel Crans Ambassador, Crans-Montana, Switzerland Review

Our suite had rich art deco panelling, high ceilings, dark floral drapes, a marble-clad bathroom and a sense of utter still in the heart of a great city. Walking down into the lobby from your suite, you feel you need to be imperious, as if this hotel expects a certain standard of style – although the attentive and delightful staff (this is a Dorchester Collection hotel) certainly wouldn’t bat an eyelid if you came down in a onesie.

But if you’re that kind of person, maybe you won’t appreciate the classic chic of this true Grande Dame.

Find out more: dorchestercollection

Chef Davide Guidara in the garden of Veuve Clicquot

The champagne house Veuve Clicquot hosted a lunch in Paris in which eight chefs, hailing from Switzerland, France, Italy, Japan and the UK created dishes using only the produce from Veuve Clicquot’s garden in Reims to perfectly match La Grande Dame, its prestige champagne. The results were anything but expected. Candice Tucker reports

Over 200 years ago Madame Clicquot, the founder of Veuve Cliquot is said to have said, “If, in the search for perfection, we can take two steps at a time, why be content with just one?” This single statement was the inspiration behind Veuve Clicquot’s plan to gather some of the world’s greatest chefs to create a fine dining meal solely using produce from the estate’s garden, where “Grand Cru” vegetables mix with Grand Cru grapes. The event was intended to show that La Grande Dame, is a champagne to be enjoyed at the heart of any meal to compliment the fine food.

Left to right: Emmanuel Renaut, Sally Abé, Kanji Kobayashi, Alberto Toé, Dario Cadonau, Enrico Crippa, Amélie Darvas, Domingo Schingaro

What made this event so extraordinary was not just the culinary talent on display, but the unique constraint faced by each of the chefs: dishes had to be crafted using only products from Veuve Clicquot’s garden, while perfectly matching La Grande Dame champagne.

The Garden of Gastronomy event in Paris

The dishes that emerged from this culinary challenge were nothing short of spectacular. Among them were Cadonau’s garden herbs and yellow beets presented with an intricate lace pattern detailing framing the plate, constructed using herbs to adorn the dish with edible flowers, resembling the picture of a garden.

Dario Cadonau’s Garden herbs with yellow beets

Domingo Schingaro created a dish based on lettuce with almond and anchovies; whilst anchovies might normally be the focal taste of a dish, they were simply used as a condiment in this case, not taking any attention away from the star of the show, the lettuce cooked to crunchy perfection in a yuzu sauce.

Amélie Darvas working on her Marigold ravioli, Hungarian Blue Squash, tomato water and fig leaf maceration

The champagne’s complexity, with its layers of citrus, floral, and fruity notes, found its perfect companions in the carefully composed dishes. The result was a symphony of flavours that danced on the palate, highlighting the quality of both the champagne and the garden produce.

Read more: Veuve Clicquot CEO Jean-Marc Gallot on the spirit of the iconic brand

The champagne was also poured into both narrow and wide glasses, depending on the meal, changing both its taste and texture to match the food being eaten.

Chef Tadayoshi Kimura in the Veuve Clicquot garden finding produce to match La Grande Dame

Veuve Clicquot’s Garden of Gastronomy event in Paris was a celebration of culinary creativity. This event highlighted the versatility of prestige champagne in fine dining  and showed how a delicate complex and multi-layered champagne like La Grande Dame can be a brilliant match to an astonishing variety of food.

Find out more: veuveclicquot.com

Perrier-Jouët Belle Epoque 2013

Champagne house Perrier-Jouët teamed up with the Rosewood Crillon and legendary chef Pierre Gagnaire in Paris for a series of evenings to remember on its 120th anniversary. You could almost smell the scent of the engraved wildflowers on the art nouveau bottles, says Samantha Welsh

In a world where luxury brands are digging up whatever tenuous historical links they can find to burnish their heritage, it was both reviving and exhilarating to be at the 120th anniversary of something very tangible. In 1902, botanist and artist Emile Gallé decorated a magnum of Perrier-Jouët champagne with a spray of Japanese anemones, to symbolise the stylish, floral freshness of the wine inside.

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The anemones became both the calling card of the champagne house, and a lasting symbol of the art nouveau influence on the flourishing Paris of the Belle Epoque, the first decade of the 20th century, when art and culture and gastronomy flourished in the French capital. In due course, Perrier-Jouët created its prestige cuvée – its luxury champagne – carrying the Belle Epoque name and the anemone engraving, and the rest is history, particularly for lovers of its poetic, natural, and complex yet subtle style.

Nature is at the heart of the champagne house’s narrative

Now, 120 years after Gallé first created his design, Paris is once again flourishing as a centre of arts, catalysed in part by London’s exit from the European single market. And nature is once again at the centre of the luxury narrative, as the value of natural capital and the importance of nature-based initiatives become increasingly apparent in an era of climate change.

Meanwhile, two things haven’t changed: Paris is still the world’s centre of gastronomy, and the Crillon, now the Rosewood Hotel Le Crillon and run by the sophisticated, Hong Kong based luxury hotel group headed by aesthete and entrepreneur Sonia Cheng, is still its most spectacular address.

Pierre Gagnaire and Boris Campanella

So it was apposite that we – champagne connoisseurs, art collectors, thought leaders and media – gathered together at the Rosewood Le Crillon to celebrate the 120th anniversary last week. At a dinner cooked jointly by Gagnaire and Rosewood Le Crillon chef Boris Campanella, we started by selecting our own, personal, Belle Epoque era glass from an array of beautiful vintage glassware arranged on a table. We then bespoked the engraving on our own personalised bottle of Belle Epoque, from a choice of anemones, petals, butterflies and bees. In terms of the celebration of biodiversity, Perrier-Jouët was exactly 120 years ahead of time. (It also owns the largest private collection of Art Nouveau furniture and collectibles in Europe.)

Celebrating the 120th Anniversary of Perrier-Jouët

The maison is very current as well, as the artist it collaborates with this year, Garrance Vallée, has created works showing the diversity and importance of nature, “Planted Air”, exhibited at a nomadic exhibition in Paris this month.

Read more: Thought leadership at the Cliveden Festival

None of this would have mattered had the champagne itself not been of the highest quality. But it was sublime, and the only challenge was – which do you prefer? As a standalone, one could only admire the purity, freshness, and breadth of the 2012 Blanc de Blancs Belle Epoque. But as a collaboration, when you have Gagnaire and Campanella in the kitchen, the pairing of the 2012 Belle Epoque Rose with dessert was, well, art.

Find out more: perrier-jouet.com

Keythorpe Hall Private House and Walled Garden, Leicestershire, England

Once a Downton Abbey-style aristocratic home, Keythorpe Hall in Central England has reinvented itself as a sustainable private-hire venue for eco-conscious house parties

The experience

Keythorpe Hall sleeps up to 14 people in seven bedrooms in the main house. We took the corner suite with floor-to-ceiling windows looking out onto the hills of Leicestershire, a couple of hours’ drive north of London. The room was like something from a Brontë novel – with blush-coloured soft furnishings, a rattan bedstead, shutters, and folding screen. In the bathroom, there was escapism of a different kind, with a freestanding shower resembling the Great Glass Elevator in Charlie and the Chocolate Factory set beside a hot pink bathtub.

Sustainable thinking provides superior comfort. Bed linen is made from 100% Oeko Tex certified cotton. Bath products, created using botanicals, are sourced from small businesses 15 minutes down the road. The house is heated using a biomass boiler which runs on local woodchip for its energy source, and so is the Japanese hot tub on the terrace, which invites a kind of eco-therapy in the great outdoors.

One of Keythorpe Hall’s seven guest rooms

The food & drink

Chefs Peter Johansen and Bent Varming create bespoke menus for guests based on what’s in season. Fruit and vegetables are grown in Keythorpe’s 1.8 acre walled garden, where a quality not quantity mindset means they grow for flavour rather than yield. When we took a walk around the garden with head gardener and wild food expert Claudio Bincoletto, we spotted rainbow chard, wild rocket, and daikon – all of which reappeared on our plates later that evening.

Of the seven ultra-fresh courses we sampled, our favourites were the brill with beurre blanc, rapini and golden ball turnip, and the sea bass with beetroot and toothache pepper. After mains, the Baron Bigod brie (the only traditional raw milk Brie-de-Meaux style cheese produced in the UK) and apple brioche was particularly well accompanied by a glass of Nyetimber Demi-Sec, a sparkling wine produced just a couple of counties away in Kent.

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Responsible for personalising wine pairings at Keythorpe Hall is Bert Blaize, award-winning sommelier and author of Which Wine When. While the wine cellar is available for formal tastings, we opted for something a little less vinous: a vermouth-making class with Blaize, using botanicals foraged from the grounds. (Just don’t make the same mistake as we did, and sign up for a one-on-one session at 10am on a Saturday morning.)

Eco-conscious gastronomy at Keythorpe Hall

The design

Few can say that they have taken a shower in front of a 2.5-metre mural of a Tudor aristocrat. But then again, the owners of Keythorpe Hall aren’t ones to pay homage to its heritage through any conservative means.

Read more: How to create a truly sustainable luxury hotel

Barbara van Teeffelen and husband Giles have spent the past decade at local auctions and Christie’s sales restoring the private collection of the original owning family while beginning a contemporary art collection of their own. Walk into the reception hall and you will be greeted by two austere, seventeenth-century faces framed on opposing walls. Enter the lounge, and you’ll find contemporary works by Polish artist Marcin Dudek and Selma Parlour’s neon, geometric canvases.

One of Keythorpe Hall’s guest bathrooms

Beyond the property

Leicestershire is less famous than the neighbouring Cotswolds, but it is still English countryside at its best. Keythorpe Hall is close to the market towns of Uppingham and Oakham, famed for its antique shops and galleries and shopping respectively. Rutland Water, one of Europe’s biggest man-made lakes, is 10 minutes away.

Old art meets new at Keythorpe Hall

Any areas for improvement?

Keythorpe Hall’s owners are candid about its shortcomings. The huge showerheads are not conducive to reduced water consumption. Fish cannot be sourced locally, but must instead be transported from the coast. But the place is proof that sustainability can be synonymous with superior flavours and comfort, and bravo for the effort.

The experience: 8.5/10

Responsible culture rating: 8/10

Rates from £6,000 per night for full use of the house and grounds. Packages can be tailored to include all meals, drinks and service. Book your stay: keythorpehall.co.uk

Image by Sterling Davis

As the art world’s elite flock to Los Angeles for Frieze art fair, Olivia Muniak, founder of catering company La Cura and LA resident, shares her guide on the best places to drink and dine around the city

Olivia Muniak

Growing up in the restaurant business, I learned to appreciate the subtleties of what makes a restaurant succeed. I saw my parents transform a casual European cafe into New York’s coolest lunch spot after which they launched two chic Italian fine dining restaurants in the heart of Greenwich Village and having worked myself in pretty much every front of house position, I know how much hard work it takes to deliver an exceptional dining experience. It goes without saying that the food has to be good, but the best restaurants know that it’s also the lighting, the decor, the people that define their identity and keep clients coming back for more.

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Since moving to Los Angeles in 2017 to set up my business La Cura, I’ve made it my priority to scope out the city’s best places to eat and below are just a few of my favourites. Some newly opened, other’s mainstays in my book.

Bicyclette

The sister restaurant to the famed French cafe République.

Stepping down into the bistro feels like midnight in Paris, it’s a lively, warm space and almost every seat in the house gets a peak into the kitchen. Reservations are a must and make sure you arrive a little early for an aperitif at the bar. The food is classic bistro style, but so thoughtfully prepared. The soft egg, onion tart and bouillabaisse are amongst my favourites. Whether you go for a bottle of wine, or by the glass (my tip: ask for half-pours so you can explore the by-the-glass list), talk to the sommelier for their recommendations.

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The interiors of Gigi’s Hollwood. Image: @gigis_la

Gigi’s Hollywood

A trendy favourite for a late night dinner that begins and ends with cocktails.

The emerald green and gold interior, and white tablecloths feel fresh and luxe in contrast to the sporty-clad staff – it’s a vibe and we’re all into it. The quintessential California-french menu has many hits including the baguette with butter and caviar, but the most unexpected dish, at least for LA, is the Schnitzel and it’s delicious. Be sure to make a reservation.

gigis.la

Read more: Michael Xufu Huang on Supporting Emerging Chinese Artists

Cafe Stella

A tiny garden restaurant tucked away behind an even better bar.

Go for dinner, plan to stay late for drinks, and possibly, a spot of dancing. The interior is a bit worn and rustic, but that’s what makes it cool. The menu is also French bistro style and has all the favourites: Moules frites, Steak frites, Poulet Roti and Sole meunière.

cafestella.com

Image: @crudo_e_nudo

Crudo e Nudo

A very casual “fish market” with sidewalk seating, natural wines and the best crudo you will ever taste – trust me!

Crudo e Nudo takes sustainable seafood sourcing  to a new level. The chef knows every fisherman that brings in the day’s catch, and how that fish was caught. You can see the Japanese influence on a very Californian menu in the seasoning of the dishes but also in the discipline in the way the food is prepared. It’s worth striking up a conversation with the chef who’s friendly face you’ll see at the counter. The menu rotates but you can always find these dishes: Vegan caesar with Furikake and  Tuna Toast.

crudoenudo.com

Read more: Koons, Kitsch & the Evolving Art Market

Grá Pizzeria

A funky local spot in the Echo Park area.

The interior is pared down with exposed brick and an open garden patio. A few things worth mentioning about the pizza: the dough is made with a long-fermentation sourdough recipe that the owner brought over from the UK, and cooks in a wood-burning stove so it’s crispy on the outside and chewy on the inside. More importantly, it holds it shape when folded (a true sign of a quality pizza). The Margherita is my favourite but the seasonal pies are always worth a taste. The plate of prosciutto and green lovage salad should also be on your order.

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The patio at Gjelina. Image: @gjelinarestaurant

Gjelina

A well-known spot but deserving of the hype.

The menu is a journey through California produce, with some of the most creative, seasonal vegetables, pizzas and pastas. As soon as a vegetable is not at it’s peak, it’s off the menu. Gjelina is equally great for brunch, lunch or a relaxed, yet elegant dinner. If you can’t get a reservation, try  their sister restaurant Gjusta, which doubles up as a deli.

gjelina.com

Walking back after dinner. Image by Darius Sanai

Paris, the eternal city, never changes. Or perhaps it does. After a two-year hiatus, Darius Sanai notices some interesting happenings during a week of meetings with luxury CEOs, art dealers and creatives

Meeting an old friend for the first time in two years, I wonder if she will have aged and find her instead fizzing with renewed life.

The friend is Paris. I am here for the first time since just before the pandemic hit Europe. “Since Brexit, people are coming here instead of London because it’s easier to get a job,” says Kai, a graphic designer I bump into at a gallery opening. Estonian, she moved to the vibey/slightly scary 19th arrondissement from Dalston, in London, in September.

That doesn’t mean that Paris hasn’t suffered from city flight, like London, New York and most other metropolises. Prices of apartments in the centre of Paris are down 2.5% year on year. The sellers are not like Kai. They are wealthy and middle aged. Maybe an exchange of the wealthy bourgeoisie for edgy graphic designers in their 20s is the reason for the vivacity. Property prices in the dodgy/cool 19th are up 3.8%, from a much lower base.

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To dinner on the Left Bank with Francois Pinault’s CEO of Artemis Domaines wine estate group. Frédéric Engerer has Château Latour, the celebrated Eisele and Clos du Tart estates in Napa and Burgundy respectively, and several others, under his thumb. I get the feeling from Frédéric that these may not be the last: luxury goods titan Pinault is buying great wine estates like he once snapped up Gucci, Bottega Veneta and Saint Laurent.

At Les Climats, the Parisian restaurant with “the best wine list in the world”, according to numerous magazines, the sommelier at first doesn’t recognise Frédéric, who is arguably the most powerful man in French wine. This could have been embarrassing but Frédéric is understated, leafing through the list as anyone would. The penny drops. “Ah…sorry, I didn’t realise who…” stammers the sommelier. It’s fine.

We do a side-by-side blind tasting of his own Clos d’Eugenie against another excellent Burgundy. Frédéric and I both manage to identify both wines correctly, simple for him, and a 50/50 for me. Having had a bottle of champagne and two bottles of Burgundy on a Tuesday night, with meetings all day Wednesday, we decline the suggestion of a dessert wine.

Our suite at the Hotel Costes Castiglione. Image by Darius Sanai

Back at Hotel Costes, I am walking slightly unsteadily towards the lift in the arresting, Christian Liaigre-designed lobby of the new Castiglione wing, when I am greeted by someone walking out of the bar. After establishing I am who he thinks I am (two years absence and a compulsory face mask have that effect), Jean-Louis Costes invites me for a drink in his bar.

Over a late-night glass of Badoit, the man who first created a new vibe for Paris with the Hotel Costes in 1995 tells me his plans to expand the Costes even more. A boutique is becoming a palace. It’s also turning into my kind of place: I found the Jacques Garcia-designed original Costes a bit self-conscious, or perhaps it’s the people I met there over the years. The Castiglione, with its high ceilings, visual drama and flair, is Paris showing Dubai, London, New York and anywhere with pretensions of grandeur, how contemporary luxury style is done. If Marie Antoinette were alive and holding court in 2022, she would do it here. I reflect on how the most talked-about hotel in France among the social and media (and social media) sets is owned and run by a man who doesn’t do interviews (the profiles I did with him for LUX and Condé Nast Traveller in 2021 were the first he has ever done for the international press) and isn’t on social media.

Read more: Why you should get your new car ceramic coated

The next morning, I walk downstairs as Jean-Louis walks into the lobby. He offers me on a hard hat tour of the new spa and swimming pool, under construction beneath the hotel, and the next wing, to be a loft-style chill out zone, opening later this year. I promise to say nothing about them until the time. Only, the pool is very big and will be special. “I don’t want to build something for three people doing lengths,” he says. Jean-Louis reminds me of Nick Jones, founder of Soho House. He looks at the same space everyone else looks at, and sees an idea for something nobody else can see.

Bird’s eye view of Angie Kremer’s photoshoot for the next issue of LUX. Image by Darius Sanai

I walk to Montparnasse, to the Photo House studio where Angie Kremer, a happening young photographer and videographer, is doing a shoot for the next issue of LUX on young creatives in Paris. Gen Z Parisians entering the workforce seem far more open to culture and ideas from the rest of the world – and outside the Peripherique – than the previous generation of twenty somethings. A positive impact of social media.

Vanessa Guo & Jean-Mathieu Martini. Courtesy Galerie Marguo

Vanessa Guo and Jean-Mathieu Martini are not Gen Z. They are globally connected millennials on a mission. Vanessa, former director of Hauser & Wirth in Hong Kong, moved to Paris and opened Galerie Marguo in October 2020. The gallery is in in a former government building in the Marais and looks out onto a newly rebuilt courtyard – the Square Arnaud Beltrame – where public art and outdoor private views take place next to a kids’ playground. (No Takashi Murakami works here.)

Vanessa says a new generation of collectors is interested in collecting a new generation of artists. Back to Brexit: with taxes and paperwork on art in and out of the UK, Paris is vying to take over London’s preeminent role in the European art world. The collectors are coming here too, she says. So long a museum of culture and brands managed carefully by a closed elite, Paris is opening out. The imminent arrival of Art Basel, displacing the more local FIAC from its seat at the Grand Palais, will change things even more.

Installation view of “Ziping Wang: Obsession Indifference and Onionskin” at Galerie Marguo, Paris

Amin Jaffer, collector and curator of the sublime, is out of town this week so I can’t take him up on his invitation for tea at his beautiful home, where his art collection is so beguilingly put together that I never want to leave. Instead, he organises for me to have a tour of the new Al Thani collection, which he curated, at the (also) new Hôtel de la Marine. The building is on Place de la Concorde, directly in the centre of the north side. The collection is a sliver of the art from Persia, Mesopotamia, Egypt, India and surrounding regions, collected by Qatar’s ruling family over the last decades. It is presented delicately, clearly, warmly, with excellent descriptions that are both clear and authoritative. And have no “side”. Curators of far lesser intellectual worth writing dreadful, biased descriptions in some of the leading institutions of the Anglo-Saxon world should take note and learn from the Qataris, and Amin. I make a note to ask him to give me a personal tour next time.

Read more: Richard Curtis on the Power of Pensions

At meetings at Kering‘s HQ, at a former military hospital on Rue de Sèvres, I reflect that Francois-Henri Pinault’s sustainability strategy and introduction of environmental P&Ls for his brands felt revolutionary and a bit weird when I first spoke about them ten years ago. Now, it feels normal, the least you can do. Meanwhile the metaverse feels revolutionary and a bit weird now.

A sculpture at the Al Thani Collection. Photo by Darius Sanai

A final lunch with the LUX team and Angie Kremer at Château Voltaire. This new mini five-star hotel with 1970s themes is where Kanye West stayed for the last fashion week. I have tuna tataki with ponzu and frisée salad. Angie points out that frisée can misbehave when covered with dressing and goes for haricots verts. We plan a little party and exhibition for her shoot after the next issue is out.

Time to catch the Eurostar, where the security still doesn’t provide trays, so your Balenciaga coat sits on the conveyor and your Fragonard perfume bottle gets chewed up between the ramps.

At the Eurostar arrivals area of London St Pancras, the huge Dent clock above the Tracey Emin neon has stopped. It’s an easy omen for a writer. London hasn’t stopped, but in Paris, something has restarted.

The Splendido with its legendary pool and restaurants, above Portofino. Image courtesy of Belmond/Mattia Aquila

In the third part of our luxury travel views column from the Autumn 2021 issue, LUX’s Editor-in-Chief Darius Sanai experiences la dolce vita in Portofino

My one encounter with the Splendido Mare, the village-based sister hotel of the celebrated hillside Splendido in Portofino, was a little over 10 years ago. Since then, the port area of the village has been pedestrianised, and the Mare has been upgraded with its own character (to reflect a kind of village-chic identity, escaping from the shadow of its showy sibling). What a difference! Artful touches, gentle lighting and townhouse style abound, and getting to our “village view” room along a labyrinth of corridors was a delight, with a feeling of staying in a real house. “Village view” could mean a wall, but actually it was out along the Via Mare, the cute main street, which, now pedestrianised, was a blush of colourful visitors eating ice-creams and pizza at the outdoor restaurants. Perfect insulation meant it was quiet, also.

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We arrived late one evening, met at the other end of the Via Roma (all of 100 metres away – Portofino is tiny) by the hotel porter who took our luggage while another parked our car. On the stroll into the hotel we noticed the restaurant at the front of the building, on the main piazza on the harbourfront, was buzzing; twenty minutes later we were installed at a table on its front row, with a perfect vista of the evening passeggiata as the light dimmed over the hillsides on either side of the harbour.

The terrace of one the bedrooms at Splendido Mare

The Mare has a family-run vibe, despite being part of an international hotel group; the fritto misto of fish and shellfish with fruit and vegetables was a spectacle in the serving, and worked extremely well with a bottle of Lagrein red from northeast Italy, although a more conventional choice from the wonderful wine list would have been a Frascati or even a chardonnay-based Franciacorta. Next time.

Read more: Nayla Al Khaja on filmmaking and female empowerment

The beauty of the Mare is you can step right out onto the harbourfront (now with zero traffic and no noisy Vespas – a true transformation) and, in our case, onto the hotel’s boat for a whizz around the coastline: to the lighthouse point at the tip of the peninsula and back along the coast to the resort town of Santa Margherita Ligure, playing a game of spot the mansion (Dolce & Gabbana; Versace; Berlusconi; Agnelli) and spot the yacht (pass – seems like stalking).

The harbourfront at Portofino, home to the Splendido Mare. Photograph by Darius Sanai

And then it’s a short shuttle ride or walk up through the gardens to the original Splendido. This grande dame is perched high above the village, and there’s no better introduction than a long pizza lunch (those pizzas! That tomato sauce!) accompanied by a longer bottle of Ca’ del Bosco rosé Franciacorta (Italy’s splendid alternative to pink champagne); the pizzeria is metres from the pool, where you can revive yourself afterwards.

The Splendido’s curved pool is a historic place to gaze out over the bay and dream; we had an even better alternative in the form of our balcony, which had the same view and no other people. Aperitif, quick change, down to the bar above the pool for a little jazz piano and the same view, seen from within the gardens; and then dinner. Definitely the place for the ravioli with Ligurian herbs, lobster and bisque.

Book your stay: belmond.com

This article was originally published in the Autumn 2021 issue.

Chef Alain Ducasse, who currently holds twenty-one Michelin stars, has teamed up with Dom Pérignon and renowned chefs Albert Adrià (one Michelin star), Romain Meder (3 Michelin stars) and Jessica Préalpato to create ADMO, an exclusive dining experience on a roof terrace overlooking the Eiffel Tower. Candice Tucker travelled to Paris to find out more

ADMO bills itself as an ephemeral restaurant experience due to the fact that it’s open for 100 days only, but it doesn’t really seem the right way to describe a fourteen course, multi-sensory menu, created by five of the world’s best chefs and paired with Dom Pérignon Rosé 2008. Decadent is the word that comes to mind and perhaps, a touch hedonistic.

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Situated on the top floor of Musée du Quai Branly, the restaurant has a prime position overlooking the Eiffel Tower, which as the clock strikes the hour, is illuminated by brilliant lights. Cynics might pass it off as naff, but it feels suitably sparkly for a champagne feast.

The fusion of philosophy and food makes ADMO stand out from other gastronomic experiences. The menu specifically excluded meat products, to emphasise its green credentials. Being presented in a minimalist fashion, it further highlighted the importance for people to appreciate food for its refined quality whilst fully satisfying one’s appetite.

Read more: Standard Chartered’s Eugenia Koh on Next Gen Investors

The small tables and dim lighting, made the grand culinary experience, warm and intimate. Between each course, there was lively conversation amongst the journalists, food and champagne connoisseurs, but as each course was placed in front of the guests, the room fell silent. Every plate – notably, the crispy pastry sheet with red mullet and fried scales – provided an explosion of perfectly balanced, fresh flavours that were enhanced by the champagne pairing.

© François Goizé

Speaking at the launch event, Alain Ducasse explained how each dish at ADMO aims to encapsulate a philosophy of sustainability (all ingredients are locally sourced except the caviar which comes from the north of Shanghai), suggesting that this will, increasingly, define the future of fine dining. “There will be more of these types of projects. There will be more attention on better food, thinking more about the food we can eat and food that is better for the planet,” he said. “I believe this is the roadmap [for the future] and it will not end.”

Vincent Chaperon, Dom Pérignon’s Chef de Cave, also commented on the importance of taking a sustainable approach: “I believe that if we focus on [sustainability], more people will embrace this approach. More doesn’t mean quantitative, it’s qualitative. This kind of project encourages people to recognise a new art of living [that centres around] our relationship with nature. We have to preserve and not only interact.”

If ADMO is a taste of what the future will bring, we’re very much on board.

ADMO is open from Tuesday to Sunday for lunch and dinner at Les Ombres au Musée du quai Branly. For more information, visit: admo.lesombres-restaurant.com

Suite “Antonia” features the building’s original high-vaulted stone ceilings

Occupying a restored masseria – farmhouse – on a quiet street in the historic town of Lecce, Puglia, La Fiermontina is a five-star hotel with a homely, boutique feel. LUX discovers its quiet charm

Arrival

Like many beautiful Italian cities, Lecce has an unprepossessing ring of suburbs. But drive through an archway and a magical vision appears like an ancient Roman city, even more mesmerising at night, still and lit by gentle oranges and yellows on the ochre walls.

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Past the arch and La Fiermontina is down a quiet street. Walk up a stone staircase lit by uplighters into a walled courtyard, turn into the reception area, and then exit again to wander in a garden enclosed by the hotel’s ancient buildings and the old city walls. The light from the sky and the garden lighting is otherworldly.

The Room

Our suite was reached via a short staircase (there is a lift also, but it seemed a bit inauthentic) and seemed to span two buildings, old and new. The huge terrace balcony looked out over the courtyard, from where gentle jazz wafted up each evening. The bedroom had a vaulted ceiling and light stone walls, with contemporary furniture, art books and little clutter. If there is a more compelling bedroom in the whole of Italy, we would love to see it.

The Experience

We arrived on a weekday evening, slightly frazzled after flying in, renting a car and navigating the racetrack/autostrada for the hour’s drive. (Taking a taxi, easily arranged by the hotel, might be a better option next time.)

Read more: The Best of Tuscany’s Wine Resorts

Walking down from the room in search of the bar and a bite, we came across an enchanting sight. The hotel holds occasional evenings for locals and guests to sample regional beers and wines, and local cuisine in a buffet style. Puglia has been acclaimed for its wines but what is less known is that it’s part of Italy’s microbrewery revolution as well. It was hard to choose between the local beer and a local chardonnay. For the cuisine, we chose from a giant pan of pasta with sausage and melted cheese, and some antipasti.

Choices made, sit at your table in the gardens, under the olive grove near the pool, next to the walls of the ancient city, listen to the jazz and you feel far from the airport transfer.

The hotel’s outdoor restaurant focuses on local, seasonal produce

Exploring

The hotel is in the heart of the most compelling city where you can wander through the latticework of ancient streets. You can get a guide or allow your instincts to guide you. Doing the latter, we stumbled upon a hidden square with a single restaurant and terrace where lunch turned into an after-lunch digestif and into an early evening aperitif.

Verdict

The most mesmerising way to stay in one of Italy’s most interesting cities, and with a homegrown, not a big chain feel. Exquisite.

Find out more: lafiermontina.com/hotel

This article was originally published in the Summer 2021 issue.

Suvretta House overlooks the Upper Engadine valley. Image courtesy of Suvretta House. 

High in the Swiss Alps, LUX indulges in a gastronomic tour like no other, all under the auspices of one hotel

It’s summertime, and what we crave is sunshine, blue sky, space, views, freedom and a change in cuisine. All uncontroversial except for the last – why would we want to change the way we eat? Perhaps because for many of us in the fortunate minority in the world, even during the lockdown cycle, a great variety of cuisines has become the norm. Temaki and uromaki delivered tonight; Vietnamese cha cua and mi quang tomorrow; miso Chilean sea bass the next. Freed from choosing restaurants for the experience they offer, we have spent a lot of time choosing them purely for their variety of cuisine.

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We reflected on this last summer, during a release from the first wave, sitting at the Chasellas restaurant above St Moritz. For generations, great European dining has been about being welcomed by a host who recognises you; typically, a besuited maitre d’ of an older generation, as comfortable giving orders to staff as he is joining favoured customers for a cognac after hours. We were welcomed by Livia Sterki, a smiling young woman ostensibly as far removed from the traditional maitre d’ image as can be imagined: her charm and efficiency were so memorable it made us want to go back every night.

The hotel’s cuisine focuses on local ingredients. Image courtesy of Suvretta House. 

The Chasellas is decorated in Alpine mountain inn style, lots of pine, bare-backed wooden seats, and a terrace with a view over the rooftops of the village of Champfèr, across forests and lakes to the towering mountains of the Bernina range across the valley. The cuisine of chef Marco Kind is not only fine: it is unlike anything you will ever find in a metropolitan hub.

There’s a combination of mountain purity, local ingredients, and a local Swiss authenticity, and a lightness of touch. Beef entrecôte sous-vide, datterini tomatoes and summer truffle was both satisfying and light; essence of wild mushrooms with shiitake and agnolotti was a kind of ultimate consommé (and vegan); and even the non-vegetarians went for the variation of peas with mountain peach, radish, asparagus and macadamia. Another vibrant main course was spring chicken braised in apple with young vegetables, local potatoes and wild mushrooms.

Beef tartar with oysters, miso and caviar. Image courtesy of Suvretta House. 

The cuisine was like eating the Alps and went delightfully with what is commonly referred to as the “local chardonnay”. In fact, the Engadine valley is too high for growing grapes, but the modest moniker refers to chardonnay from the Bündner Herrschaft, two valleys over at lower altitude, which is in fact emerging as one of Europe’s most brilliant yet unknown fine-wine regions. The wines have the same freshness as the cuisine.

Read more: The beauty and biodiversity of Andermatt’s golf course

The Chasellas is part of the dining offering of a single-hotel resort, Suvretta House, which brings us to the second point of this story: being able to luxuriate in different dining experiences under one resort banner is not confined to swanky brands on tropical islands. Interestingly, Suvretta House’s owners and its managers, the mind-bendingly hard-working Peter and Esther Egli, have decided not to bring in outside brands, but to create all their dining themselves.

The hotel’s terrace with views over Lake Silvaplana and Lake Sils. Image courtesy of Suvretta House. 

It’s a five-minute walk downhill to Suvretta House from the Chasellas, past a couple of very nice chalets (or a 20-second ski in the winter season, past the hotel’s own lift). Suvretta is one of St Moritz’s original palace hotels, and everything about it suggests old money, aristocracy and a clubbish feel, in the nicest possible way. You’re more likely to see a classic Ferrari parked outside than a new one.

Idyllic paths through the meadow and woodland around the hotel bring unexpected sights. Images by Isabella Sheherazade Sanai (top) and Darius Sanai.

The hotel overlooks a wavy forest, stretching up the valley towards the Italian border; St Moritz itself is out of sight just around the corner of the mountain. Just above the swimming pool and huge lawn overlooking the view is the Stube restaurant, cosy and hearty in design, where you might expect to eat rib-thickening traditional mountain food. But not here; or not quite, anyway. Isaac Briceño Obando, the chef in charge of this culinary hotspot (each of Suvretta House’s restaurants is a destination in itself), blends simplicity (Wild Kelly flat oysters; Iranian beluga caviar) with purity (saddle of lamb smoked in hay; A4 wagyu tenderloin plain grilled) and tradition (sliced Zurich-style veal in cream) with just a touch of the exotic (Maine lobster salad, pumpkin, kalamansi and miso). So relaxing is the Stube experience that the lockdown limitations on seating times (gone soon, we hope) felt almost intrusive.

Chicken with carrots and a Sauternes jus

Upstairs, the centrepiece of the hotel is the Grand Restaurant, a dining room with a Belle Époque flair whose New Year’s Eve parties are the stuff of legend (and many years of waiting lists). Watching Europe’s grand aristocracy waft back and forth there one evening was an experience in itself (at the time of going to press, the hotel is not sure whether regulations will allow the Grand to reopen for the summer season). High on the mountainside above Suvretta there is also the Trutz restaurant with a kind of rustic-Swiss chic serving air-dried beef, pastas, barley soup and salads with local cheeses – an excellent tonic after hiking up there.

Read more: Umberta Beretta on fund-raising for the arts

The river En (Inn) beneath the hotel

There is far more to the Suvretta House than its cuisine; the rooms, fresh and Swiss-luxurious, have an eternally epic view across forests and mountains; the indoor pool-with-a-view is huge; and the gardens (and utterly charming woodland childrens’ playground) are addictive. But this summer, there is nothing that will stop us indulging in a gastronomic tour of its restaurants and the sublime service and views. Something no home delivery service will ever offer.

Find out more: suvrettahouse.ch

This article was originally published in the Summer 2021 issue.

The reception area at The Fullerton Bay Hotel Singapore

In the first of our four part luxury travel views column, our editor-in-chief Darius Sanai recalls the breathtaking views and chic ambience of The Fullerton Bay hotel in Singapore

A first-time visitor to Singapore before would be forgiven for being rather surprised arriving at the rooftop swimming pool at The Fullerton Bay hotel. The city state has a reputation for being efficient but unexciting – a business city for the wealthy, not a tourist destination.

Walk out of the lift on the top floor of the hotel, and you realise that reputation is outdated. In front of you is a huge outdoor pool with sunloungers both beside it and along both sides, inside it – meaning you can have both a wet bar and a wet sunbathe. Or moonbathe, in my case, as I had just arrived on a long-haul flight in the evening. Beyond the pool was a bright and throbbing outdoor bar area, the front row of which looks directly across the water of Marina Bay at the celebrated skyline of the Sands landmark on the other side, beyond which is the ocean and, in the distance, the islands of Indonesia.

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It may seem ‘normal’ if you are a resident of Singapore but coming from the western hemisphere this tropical city skyline-bar-swimming pool combination is literally breathtaking. A quick swim, then down to my room to get changed ahead of a couple of drinks in the bar, refreshing the palate before a long day of meetings the next day.

The rooftop Lantern bar at The Fullerton Bay Hotel, Singapore

While I was swimming, my room had been transformed. Normally, the ground floor is no place for a suite in a luxury hotel, but at The Fullerton Bay, the ground floor is located directly on the water. No road, no path, nothing in the way – the screens in my room had been folded back by the turndown service so I had a 180-degree view of the harbour, and when I stepped out onto the balcony and into my own personal swimming pool, I could also have taken a couple of steps more and jumped into the sea.

Read more: Activist José Soares dos Santos on environmental responsibility

If I’d been on my own, I would’ve stayed right there on the balcony, ordered some champagne, and chilled in the equatorial moonlight.

Up on the roof, by 10pm, the bar was turning more into a nightclub, with people dancing in an area cleared of tables. I sat at a table on the corner of the bar terrace, a 360-degree view of Singapore city centre all around. A pretty exhilarating introduction into the city.

The living room of its Robinson Suite

In a time when eating outside is advisable as well as enjoyable, The Fullerton Bay has no shortage of options, as I discovered at my outdoor breakfast the next day. It is served à la carte, with tables well spaced, and a choice of Malaysian/Indonesian (nasi goreng), Chinese, and western, it would have been perfect on a luxurious break. On a business trip, though, I recommend you don’t make the same mistake as I did and go down in a crisp white Margiela business shirt to wear at your meetings – 8am, Singapore weather is hot enough to turn you into a sweat ball, meaning a rapid return to the room to change.

The hotel’s rooftop jacuzzi

Fullerton is a legendary name in the Asian luxury industry, owned by the redoubtable and charming Ng family (who are also active in Hong Kong) and the more famous hotel and original of the same name is located 100m along the waterfront. The Fullerton, a local institution, is the colonial-era palace but is not priced at the same high-level as its more exclusive sister hotel. It is where you have to go for spa treatments, and I arranged one for just before my flight home. It was a mixture of Chinese pressure-point massage, ginger, rosemary and lavender oil, and stretching and soothing that was the perfect end to the Singapore stay-over. Over the years, I have changed my pre-long-haul flight routine flying back from Asia from champagne and sushi to a swim and a spa treatment, which is definitely more effective if you want to feel fresh on landing the next day.

Find out more: fullertonhotels.com

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

Sumosan Twiga offers a fusion of Italian and Japanese cuisine

Editor-in-Chief Darius Sanai discovers the culinary delights of Italian Japanese restaurant Sumosan Twiga

An Italian Japanese restaurant in London does not necessarily sound promising. Add the location, Knightsbridge, and you will be forgiven for having visions of yet another in a long line of smart restaurants with fabulous decor and just good enough food catering to a crowd of wealthy socialites who either have smoked too many cigars or are going on too many diets to notice about quality.

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Well, you’d been wrong about Sumosan Twiga. About the food, anyway – the decor is as snazzy as you would hope in this two floor hangout.

There are two cuisines on show here, Italian and Japanese, and many of the offerings are comfort food staples.

The Best of Both menu features the likes of tuna tartare, grilled Angus tenderloin with sweet chilli soy, California roll and tuna and salmon sashimi. Each dish was astonishing: the best of its type, the sashimi rich and full and melty, the tenderloin ripe and unctuous, the tartare delicate, the avocado freakishly fulsome.

Tofu steak with a spicy teriyaki sauce

We added a tagliatelle bolognese, which came in a large dish served onto your plate, Monaco-style; it could have been overcooked and bland, but it was meaty, chunky, bitey. And a spicy tuna maki. Which had more flavour than a maki should ever have.

Who would have thought it – top quality comfort Italian and Japanese, in the same funky setting. Oh, and there’s a DJ. Who needs Monaco?

Book your table: sumosantwigalondon.com

The Lygon Arms in the Cotswolds dates back to 14th century

A couple of unspoilt Cotswolds rural idylls from the 14th and 17th centuries, a rare luxury hotel in Champagne with a touch of the contemporary, and the best place to stay in medieval Heidelberg, LUX recommends four historic country hotels to visit post-lockdown

The Lygon Arms, Cotswolds

THE LOCATION

Broadway is a Cotswold village straight out of central casting. This includes the tourists wandering down the exquisite High Street lined with low buildings of local stone, with the Cotswold Hills rising beyond. The colour palette of nature and history is a perfect sand yellow/deep English green.

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THE ARRIVAL

The Lygon Arms looks like a combination of coaching inn and hotel. You expect a ruddy-faced local, fresh out of the local country estate, to appear and help you with your bags, and that is exactly what we got. Parts of the structure of the hotel date back to the 14th century, and the feeling of a cosy history, lovingly recreated by its current owners, is all around you.

The Lygon Bar and Grill

THE STAY

Our room, the Charles I suite with a four-poster bed, was swathed in Tudor dark wood. We ate dinner in the courtyard at the Lygon Bar and Grill: the grilled chicken with chestnut mushrooms and tarragon was highly satisfying. The achievement of The Lygon Arms? To offer true history, nicely updated with casual contemporary service and simple high-quality food.

ANYTHING ELSE?

A 20-minute walk from the end of the High Street and up a hillside takes you to the Broadway Tower, from where you can view the invading Welsh armies swarming across the Severn River Valley. Behind the tower stretch the sweeping green uplands of the Cotswolds proper, with exquisite nature walks.

Book your stay: lygonarmshotel.co.uk

Le25bis is the first of its kind in Épernay

Le 25bis by Leclerc Briant, Champagne

THE LOCATION

It’s long been a matter of bemusement that you can spend your day being serenaded by a major champagne house in Épernay and then find yourself in a disappointing, generic hotel. Le 25bis, owned by a champagne house and refurbished in a luxurious modern style, promises to change that.

Read more: Driving from Alsace-Lorraine to Lake Constance

THE ARRIVAL

There is nothing quite like driving along the avenue de Champagne which radiates from the town centre. Le 25bis is fronted by a delightful courtyard with a few tables and as you walk to the reception desk, you walk past a couple enjoying a champagne tasting, a perfect scene setter.

THE STAY

Le 25bis belongs to a well regarded boutique champagne house, Leclerc-Briant, which has a shop at the front of the house. After a long day of visiting champagne houses, there’s nothing quite like tasting the champagne made by your hotel. There are only five rooms, which are huge and have clearly been refurbished with little regard for budget, with pale contemporary furnishings with antique twists, aesthetic floral arrangements, intricate wallpapers and beautiful vintage-style (but very modern) bathrooms.

ANYTHING ELSE?

Make time to visit the Leclerc Briant house itself, and when buying from the shop at the hotel (our preferred cuvée was the eponymous entry-level cuvée, and the rosé was also delicious) make sure you buy in magnum. It is always better.

Book your stay: le25bis.com

Lords of the Manor is located in Upper Slaughter, a pretty hamlet in the Cotswolds

Lords of the Manor, Cotswolds

THE LOCATION

If The Lygon Arms is in the low Cotswolds, Lords of the Manor is in the high Cotswolds. To get there, you wind slowly through Lower Slaughter (probably Britain’s prettiest village, and that’s saying something), past an estate and into the hamlet of Upper Slaughter. Down a drive, there is a manor house with gardens dropping to a lake, and meadows and woods beyond. This view hasn’t changed much since Shakespeare’s time.

Read more: Fashion superstar Giorgio Armani on his global empire

THE ARRIVAL

Walking into the wood-lined great hall feels like arriving at a friend’s country house. You are taken to your room up a suitably creaking staircase. Ours looked out over the drive, lawn and lake, and was decorated in lavish country house style. All around was silence.

The bar at Lords of the Manor

THE STAY

Crunching through the grounds you feel like there is nothing more you would need from your English country estate. A walk across a little wooden bridge leads to a path alongside a stream taking you to Lower Slaughter, where you can slake the thirst in an inn. The dining experience at Lords of the Manor is very proper and British: venison and foie gras pithivier with creamed butternut squash and brandy sauce.

ANYTHING ELSE?

You could explore the many sites of this glorious region, but we wager you’ll stroll from the hotel on the secluded walks, and chill out on the hotel’s terrace with a glass of champagne, looking at the grounds, and do nothing else.

Book your stay: lordsofthemanor.com

Grand Hotel Europäischer Hof is Heidelberg’s only five-star hotel

Grand Hotel Europäischer Hof, Heidelberg

THE LOCATION

Heidelberg, one of the world’s oldest university towns, lies at the edge of the Rhine river plain at the point at which it rises up sharply into the mountains of the northern Black Forest. It’s one of Europe’s prettiest towns, and also infused with a feeling of intellectual history – and current intellectual power.

Read more: How Hublot’s collaborations are changing the face of luxury

THE ARRIVAL

The hotel, the city’s only five-star property, is located on the edge of the old town, making it easy to get to when arriving by car or train. The family-owned luxury property is big and relatively modern. You turn into a grand driveway and are greeted by a uniformed doorman, and taken up some steps into the reception hall that leads to a jazz bar on the left and around the corner into a U-shape into a formal restaurant, the Kurfürstenstube.

THE STAY

The hotel is grand and generously proportioned, as was our Executive Suite, which was light and airy with high ceilings, baroque-style furnishing in creams and beiges and rustic golds. While parts of the hotel are old, much of it has been built recently, including the large spa area. You will inevitably use the hotel as a base for visiting Heidelberg and beyond.

ANYTHING ELSE?

The hotel’s delightful concierge’s recommendations are now ours: the Kulturbrauerei, a centuries-old dining hallcum-beer hall with hearty, meaty cuisine and its own beer; and a walk down from the Königstuhl mountain, reached by a funicular.

Book your stay: europaeischerhof.com

Note: All reviews were carried out prior to the global lockdown

This article was originally published in the Summer 2020 Issue.

The view across the Rhine valley from Alsace’s Chateau de Haut-Koenigsbourg to Germany’s Black Forest.

LUX takes a journey from Alsace-Lorraine to Lake Constance, through a historic, beautiful, tranquil and gastronomic part of France and Germany that is curiously overlooked on the international tourist map

Location photography by Isabella Sheherazade Sanai

There was a point at which, quite abruptly, the Autoroute A4, the east-west artery arrowing out of Paris towards Germany, became interesting. For hours before this point, we had been driving on a wide motorway flanked by flattish fields. Wind turbines and the occasional tractor were for the most part the only distractions from the monotony, with the exception of a brief section, near the city limits of Reims, where the vineyards of Champagne crept up an unexpected hill to our right. But the Montagne de Reims is better experienced in a glass than through the glass.

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An hour or so east of Reims, as if the gods of scenery had decided on a set change there and then, the highway swept to the left and up through a sudden forest on a long incline. The forest felt ancient, revealing glades and streams between its fronds, even when travelling at a cruise. There had been no warning of this scenery’s arrival, making it all the more compelling. In a few miles, a sign told us we were in the Forest of Argonne, known as the site of some of the worst battles of the first world war, and among oenophiles as the source of wooden barrels for some of the world’s great wines.

As if now trying to free itself from its straight-laced former self, the motorway writhed through a series of hills, along viaducts and across shallow valleys. We were now in Lorraine, technically part of the same, recently created region of Grand Est that we had been driving through for hours, but in reality a different part of Europe, historically, linguistically and, evidently, topographically. Lorraine, by itself or bound to neighbouring Alsace, is arguably as Germanic as it is French. Without crossing a border, we had changed nations.

Riquewihr, one of the historic villages on the Alsace wine route

We turned off near Verdun and followed a country lane that tracked a little river, turning left at a little junction and heading into the forest. Through a tiny one-horse village aligned along the road, and some wrought-iron gates, and we arrived at our overnight stopover, the Lodge Hôtel du Domaine de Sommedieue.

Read more: Why we’re dreaming of summers at Badrutt’s Palace, St Moritz

The reception area doubled as a restaurant, in an old building with a few tables outside, scattered across a lawn shaded by tall trees and bordered by a series of ponds. Our room, tidy, clean, well prepared and functional, was in a newly refurbished building a few metres away. The Sommedieue advertises itself as a fishing lodge, but we don’t fish, so we ordered a bottle of very good Côtes du Rhône from the receptionist/ waitress, who happily chilled out by the bar with her beau, with no pressure on us late arrivals to drink up and allow her to lock up. We drank the bottle, then another, at an outside table, alone with our thoughts and the plopping of fish, until a deep night-time absorbed us all.

Uberlingersee, the northwestern stretch of Bodensee (Lake Constance), in southern Germany, is an idyllic destination for summertime leisure visitors

The next morning the waitress had been replaced by the busy, jolly owner, who asked me which newspapers we would like. He placed a selection on a long wooden table inside the restaurant which he had festooned with a breakfast spread worthy of a still life: fresh, fat loaves, thickly sliced; home-made raspberry and apricot jam; slabs of butter; a bowl of apples.

We headed on, eastwards, through Lorraine, through forests and past rivers and lakes, still in France but with road signs reading as if they were in German: Harskirchen, Hirschland. Lorraine and neighbouring Alsace were at the heart of Europe’s history and wars for centuries, sometimes French, sometimes German, sometimes independent: they have seen peace only since the establishment of the forebear of the European Union after the second world war.

The town of Phalsbourg is bounded on one side by high wooded hills and on the other by meadows dropping down into the lowlands of Alsace. It sits on the border of Alsace and Lorraine, and we were there for its annual festival, the Festival de Théâtre. We arrived in the late afternoon, and walked into the central square, which with its gabled, almost Hanseatic architecture, feels like it belongs more to the Baltic than a country with a Mediterranean coast. We had a pizza on the terrace of one of the square’s handful of restaurants, while the festivities geared up; children and adults wearing the traditional red wandered by, eating candy floss and sipping on local wines respectively. A jazz band launched into a fabulous set as the day turned from gold to light blue to darker blue.

As the band finished, we climbed into the car and headed into the hills enveloped in deep forest and arrived, around midnight, at the Auberge d’Imsthal, a little inn set on a lake in the forest, ringed by hills. I sat on the balcony, listening to fish splashing and animals crashing through the forest, looking for shooting stars.

Notre-Dame de l’Assomption church in Phalsbourg, a town in the hills on the border of France’s Alsace and Lorraine regions

The Alsace Wine Route carves its way across slopes lined with vineyards and scattered with Hansel and Gretel villages. The road is slightly elevated from the Rhine floodplain, and as you snake through the vineyards you see views of the deep blue mass of the Black Forest mountains. Halfway along the wine route, we stopped off at the village of Eguisheim, which sits amid its vineyards near the leading edge of a steep hillside leading up to the Vosges mountains.

Read more: Artist Marc Ferrero on his collaboration with Hublot

Eguisheim is tiny – the size of a city square in Paris or Madrid – but seems both eternal and infinite. Its narrow streets, lined by 500-year-old gabled houses, many of them in pastel shades, are arranged in an oval shape, with a breathtakingly bijou square with a fountain at its heart. We sat in a courtyard belonging to a wine producer and drank light, pure local crémant rosé sparkling wine, as the sky and the buildings changed colour and a cool breeze wafted down from the mountains as night fell.

Mercedes S 560 Cabriolet

For our epic drive across Europe, we had a Mercedes S 560 Cabriolet, a big, handsome, luxurious convertible with seemingly limitless performance and the ability to whizz down any road in a ‘swoosh’ of power and smoothness. The armchairs cradled us like a jealous lover, and, with the roof down, their air-conditioning kept us chill when the sun shone, and warm at night.

The most memorable, and attractive, thing about the Swoosh-mobile was its effortlessness; the way you could fire it up and almost instantly be going at the speed limit, while it made bumps and bits of broken road disappear as if they were not there. So many fast cars these days are tuned as if they are going to be driven on a racetrack, riding down the road so firmly that you fear the movements on your expensive wristwatch will disassemble themselves every time you hit a bump, and making you fear for the integrity of the wheel every time you crash into a pothole. The S 560 is different: it is made to give its driver and passengers the most soothing drive possible, at a level of luxury that would have been inconceivable in a car only 15 years ago.

Read more: Entrepreneur Dr. Li Li on the importance of global relationships

If that makes it sound like the car is boring to drive, it’s not. There is a certain rakish, louche joy in whipping the roof down, cranking the concert-standard Burmester hi-fi up to high, and aiming down the road, elbow on window sill, the car emitting a deep, sonorous but quite muted gurgle. It responds well to changes of direction, not driving nearly as softly as its super-smooth ride would have you fear. Perhaps on a racetrack it would suffer against sportier rivals, but who takes this kind of car on a racetrack anyway?

It certainly didn’t suffer on the autobahn. Parts of German motorways remain free of speed limits, meaning that, once you spot the roadside sign telling you all speed checks are off you can go as fast as you wish without fear of being stopped or photographed by the police. As the autobahn descended from the Black Forest towards Bodensee (Lake Constance) on the final part of our journey, the no-limits sign appeared. The road arrowed straight down a gentle incline bordered on either side by meadows, with no junctions, and no traffic ahead of us. With the accelerator buried, and a rumble of chest-beating from somewhere inside the exhaust system, we surged, roof down, unstoppably, past an indicated 150mph in a matter of seconds. I finally eased off at 155mph when the wind above the open roof was at a severe hurricane level. The S 560 may be easy going, but it can also go.

Such speed hastened our arrival on the shores of Bodensee, which is shared between three countries: Germany on its northern shores; Switzerland on the south shore opposite; and Austria at its eastern edge. Überlingen, on the German shore, is a small and historic resort town. That evening we strolled along the lakefront along a pathway festooned with gardens and small hotels, past the Strandbad (lake beach), where families were sunbathing, playing games and jumping into the lake, and to the centre of Überlingen. A row of cafes, restaurants and ice-cream booths faced the lake, alongside the pedestrian path; a passenger ferry docked, sending a mother duck and her ducklings into a tizzy and causing a passer-by to rescue a duckling which had jumped into a hole for safety. A ten-year-old brother and sister played trumpet and violin, quite competently, attracting a pile of donations for their bicycle fund. A mini beach-volleyball tournament attracted a small crowd, sipping local beer sold from a pop-up stand, on the waterfront. Überlingen is a special find, a tidy, beautifully preserved hark back to another era that feels all the more relaxing now because of it.

For our final overnight, we drove five minutes to the Park Hotel St Leonhard, on a gentle hillside, covered with meadows, orchards and vineyards, above the town. From the wide balcony of our room, the hill sloped down into the town towards the lake; across the two fingers of Bodensee, the lights of the settlements on the Swiss side lit up, the Alps forming a jagged graphic backdrop. The air was wet, herbaceous and grassy. This had been Europe, both new and old, at its very best; and sometimes true luxury cannot be measured by hotel stars.

Four Alsace wines to try

Alsace’s wines remain curiously undiscovered. Whites and sparkling dominate, all are fresh and sophisticated, some are sweet but others are dry, complex and fabulous value; and there are many good producers, keeping prices reasonable.

Domaine Trimbach Cuvée Frédéric Emile
Rich, rounded, but bone-dry riesling with layers of candy and lime. Fabulous wine and value.

Domaine Zind-Humbrecht Pinot Gris
Sweet but not cloying, packed with a thousand fruit salads and much more. One of the greats.

Bruno Hertz Crémant d’Alsace Rosé
Heart-stoppingly pure sparking pink, simple and delicious, tasting of summer forest.

Domaine Hugel Riesling
Somehow unctuous and dry at the same time, stony with kiwis; older vintages can age beautifully.

For more information visit: mercedes-benz.co.uk

Note: This trip was undertaken pre-lockdown. LUX paid in full for all the hotels in this feature. 

This article was originally published in the Summer 2020 Issue.

Masseria Cardinale is one of The Thinking Traveller’s larger villas in Sicily, located in the countryside with authentic design features

The Thinking Traveller is a villa rental company that offers exclusive access to some of the most desirable properties in the Mediterranean. Guests of The Thinking Traveller also gain access to local insider knowledge through the company’s on-the-ground concierge team who plan bespoke itineraries and experiences. Here, we speak to the founders Huw and Rossella Beaugié about their villa selection process, luxury retreats and their intrinsically sustainable ethos

Rossella & Huw Beaugié

LUX: How was the concept for The Thinking Traveller conceived?
Huw Beaugié: We started the company in 2002. Prior to that [Rossella and I] had been living in Paris, where we met in ‘98. Rossella was a cell biologist doing her PhD in Paris and I was an engineer working in marketing at that time. Rossella is from Sicily, so we had been travelling to Sicily a lot already. We went there in November 2000 and that was the kind of the catalyst. We climbed up a mountain called Stromboli, and doing that made us decide that we would like to move there for a bit, which we ended up doing two years later.

Rossella Beaugié: We started doing walking tours first of all and then very soon my friends started saying ‘oh we’ve got this nice house on the island, would you want to try renting it out?’. So the first brochure we put together had three walking tours with volcanos and hills, and then seven villas, I think. At the time we were doing everything ourselves but it worked.

Follow LUX on Instagram: luxthemagazine

Huw Beaugié: There wasn’t anything of great quality in Sicily so we realised that we needed to really help these villa owners to create a property and product that would fit our clients and the people we wanted to be our clients. We started advising [the property owners], helping with design and we even began advancing money to invest in pools or refurbishments. We would make contact with interior designers to help them develop the houses. Really quickly we figured that if we were making all these investments, the only way we could really work with these houses and make it profitable would be to deal with them exclusively. That is one of the things we have stuck with ever since. We started with seven houses and we now have about 220 in various destinations in the Mediterranean, but the really vital and big unique selling point is that they are all exclusive to us and that means we can still keep on investing to make sure the quality and service is right, and to have our people on the ground to support that. We are expanding slowly, being careful to always keep the quality increasing rather than diluting.

Views over the Sicilian countryside from the pool at Masseria Cardinale

Rossella Beaugié: The secret has been that right from the beginning. For the first 10 years we were in Sicily so we were around the whole time and then we started hiring staff who are really knowledgeable people and know everybody locally, meaning they can find the best doctor if needed, the best yoga teacher or if you wanted to organise a dinner we can do that. We don’t have reps who move around, our staff work for us 12 months a year and they have insider knowledge.

LUX: What challenges have you encountered now that your main offices are in the UK and you’re based here?
Rossella Beaugié: We have developed quite slowly. There have been two regions that we were interested in but because we hadn’t found the right people or properties we wanted to offer clients, we decided not to go with them. We are happy with the regions we’re working in because we have amazing teams and the owners of properties share our priorities and ethos. The team here receive so many offers of villas everywhere, we could have 10,000 villas! We get that many offers because they see the website, they like it and we have a good reputation, but we have been careful of where we go and what we take on.

Faro di Brucoli is a refurbished lighthouse in Sicily with views of Mount Etna across the Ionian Sea

LUX: How do you select the villas to represent?
Rossella Beaugié: They tend to come to us. It is usually owners knowing us already, maybe due to our reputation amongst other owners who also have these kinds of top level properties. So what we do first of all is decide whether it’s for us and we can see that now straight away with Google and photos.

Read more: High altitude luxury at Riffelalp Resort 2222m, Zermatt

Huw Beaugié: Probably 70% of them we cut immediately. The next 30% we go further and ask for more information, and then perhaps the final 5% will end up with a visit and a detailed report and out of those, we probably only take on one property.

Here and above: Iola is a contemporary villa located on the Greek island of Corfu with sweeping sea views

LUX: What are the key elements you’re looking for?
Rossella Beaugié: We are now at a stage where we know what our clients want so we have criteria, but at the bottom of it, we really need to truly like the property in terms of style and we have to know that the owner could be a good partner because it’s their house and they continue managing the property so they need to be able to reinvest and sort out problems quickly. In terms of more objective criteria, the location and views are important but it depends on the region. Greece, for example, is really all about location so being on the sea and beaches. Privacy is also important and then there are all the things like ensuite bedrooms, a good kitchen, a nice-sized pool, not being overlooked. Then once we take on the property, we have a list of stuff that they have to have such as good quality linen, appliances etc. We recommend things and then our local managers go and do what we call a quality check.

Read more: Founder of Nila House Lady Carole Bamford’s guide to Jaipur

LUX: Is it important to you to have a wide range of different properties in your portfolio?
Rossella Beaugié: Yes, we have clients that have gone from a very charming, chic, three-bedroom house in Puglia and then they book our best property in Sicily, which sleeps 24 with a chef because maybe they are doing a multi generation family holiday, or it’s someone’s wedding anniversary and they want to invite everyone. So yes, we need diversity in terms of size and level of service. Some people could afford to have service everyday but they just want privacy, they want to be able to go around without clothes if they like. Then there are also different styles of property. Some people want minimal or really cutting-edge design, and some other people want to go to a place in Puglia or Sicily with traditional charm.

Huw Beaugié: We also work a lot with people who haven’t even started building. The optimum situation is when someone comes to us and says ‘I’ve bought a piece of land’ or ‘I’m looking to buy a piece of land, and what are your suggestions?’ Or people say ‘I’ve bought this ruin and what should I do with it?’ With those projects, we are involved from the beginning right through to the delivery. We suggest interior designers, architects, landscape designers, everything. Those are the villas that tend to perform the best.

Masseria Cardinale (here and above) offers guests traditional charm combined with luxurious modern amenities

LUX: Can you tell us a bit more about the experiences side of the business? What can you make happen for your clients?
Huw Beaugié: We try to make anything happen that the clients want as long as it’s not against the law!

Rossella Beaugié: The kinds of things that are becoming standard for us is that everyone wants a cook. Especially in Puglia and Sicily, people want to learn to cook and so we organise cooking classes either in the villas or on vineyards. We have three kids who were born in Sicily and grew up there which means we were able to try out things with them and find out what they found boring. From that, we designed some guided experiences with experts who will prepare the tours on two levels so that it works for the parents and it’s entertaining for the kids. Wine tasting is very requested, and water sports are popular, but then we also have occasions like weddings when people want a Steinway piano in the garden or a certain opera singer to perform.

Read more: Inside The Dorchester Collection’s first branded residences

Huw Beaugié: What we are starting to do more of is themed weeks so things like getting a celebrity chef out to a villa for a week and creating a programme for full immersion in the food, which might include cooking classes, demonstrations and tours of markets. This year, we are doing a partnership with Bodyism so that you can take a wellness instructor out with you to the villa.

The Thinking Traveller has paired up with McQueens Flower shop to offer guests flower arranging courses at Palazzo Gorgoni (above), one of their properties in Puglia

LUX: What’s your approach to sustainability?
Huw Beaugié: It’s the same as when we started. The basic model of restoring or building unique properties in rural locations or old towns using local people to build, cook and garden, all of that is just inherently sustainable. Generally, you’re also using local materials and the money is staying local. The things that have been added to that model since 2004 is more use of solar energy. However, sustainable a client is they never want to give up on air conditioning, which is one of the single biggest consumers of energy in a villa so solar energy supplements that. Then the other big thing is water: drinking water and swimming pool water. Swimming pools lose hundreds of litres of water a day through evaporation so we encourage people to cover pools when they’re not using them and at night. Same with air con, setting the temperature between 24 and 27 degrees, for example, rather than at 18 degrees and wrapping yourself up in a duvet, which uses a lot more energy. In terms of drinking water, we are doing a big campaign to try and get people to install water filters in their homes, which is difficult in the Med where bottled water is standard, but it’s changing.

Rossella Beaugié: We have these little leaflets which we leave in the houses called ‘Think Green’ which have sustainability tips for guests. People are more aware of sustainability issues so it is easier now than it was in the past to encourage these ways of behaving.

View The Thinking Traveller’s portfolio of properties: thethinkingtraveller.com

Hôtel de l’Etrier is located in the sunny Alpine resort of Crans-Montana

Why should I go now?

While many Swiss resorts suffer from “deep valley” syndrome in midwinter, with the sun hidden by peaks for most of the day, Crans-Montana is both snowy (it sits at 1450m and its top station is at 3000m) and sunny, as it’s on a south-facing shelf high above the deep Rhône valley. Hôtel de l’Etrier is a Crans-Montana institution: take one of its recently refurbished, Alpine-contemporary pine clad, coolly lit south-facing rooms with a big balcony, and you have one of the best views of any Alpine hotel, and one of the sunniest locations.

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What’s the lowdown?

L’Etrier is a three minute walk from the main Crans lift station (you can leave your skis at the lift station rental store, which incidentally does an excellent line in Swiss Stoeckli skis, among our favourites). Step into the hotel and you have a picture-window view from the bar across the Valais Alps; there are few better places to relax with a long cocktail after (or maybe before) a day on the excellent Crans slopes.

The hotel has a spa and indoor pool, which connects to an outside swimming pool in summer

You also have access to two of this foodie village’s most well-known restaurants without even stepping outside, as a passageway leads to the Michelin-starred Pas de l’Ours restaurant and its more casual counterpart, the Bistrot de l’Ours, serving signature dishes such as candied pig shank with curry, beer cabbage, juniper and apple vitelotte.

The bar offers a cosy atmosphere for casual dining, whilst le Fer à Cheval restaurant (below) serves traditional Swiss alpine cuisine

The bar in the hotel itself is supremely relaxed and serves casual food, and this was our favourite hangout of all, in a deep armchair by a picture window looking out at the dramatic view. Many Alpine hotels nestle deep in valleys and views are limited; not so here. There is also an indoor pool (connecting outside in summer) and spa/wet area.

Getting horizontal

Our “superior” room was just that. It wasn’t the last word in high luxury, and l’Etrier is not priced as such, being a four-star hotel. But we preferred it to rooms we have had in some of Europe’s (and Switzerland’s) grandest institutions. The light pine and modern lighting decor were just right; the furnishings were light and contemporary without being irritatingly over-designed and the emphasis was on comfort.

Read more: Andermatt’s new high-altitude restaurants

One of the hotel’s spacious suites

The balcony had such magnificent views across the resort, below, the woods around it and across the Rhône valley to the giant peaks of the Pennine Alps surrounding the distant resorts of Zermatt and Zinal, that we spent an evening sitting and admiring the rose-coloured sunset, despite the increasing Alpine winter cold. Some rooms are just right in terms of general vibe: this was a room you didn’t want to leave, in the evenings, as the canopy of stars emerged above the mountains and valley.

Flipside

Crans-Montana is quite a spread-out resort and none of its top hotels can claim to be quite in the centre of things; L’Etrier is no different, and while it’s very near the main lift, it’s an eight minute walk (or two minute shuttle) to the centre of Crans, one of the two villages.

Rates: From 200 CHF  (approx. £150 /€200/ $200)

Book your stay: hoteletrier.ch

Darius Sanai

“I worked in nature as if it was in the studio. The vineyards seemed to me a very poetical, mysterious and playful environment.” – Marie Benattar

Louis Roederer makes what might just be the world’s most famous champagne, Cristal, and a range of others all renowned for their sophistication and complexity. Less known is the family-owned company’s visionary art foundation, and foray into the luxury boutique hotel industry. Darius Sanai speaks to CEO and 7th-generation family scion, Frédéric Rouzaud, about photography,
art, hospitality, and almost everything except champagne

Frédéric Rouzaud

Travelling from the heart of London to the heart of Paris is, in some ways, like stepping from one luxury universe into another. In Mayfair, every conversation is about money – what’s for sale, what’s being sold, who might buy what. A brand is a currency, there to have its value inflated and sold on to the next wheeler-dealer.

Paris may be the home of the global luxury industry, but despite this, or perhaps because of it, it is – mostly – not considered appropriate to have the same conversations. For every private equity group buying and selling companies like card sharps distributing aces, there is a celebrated company (don’t call them brands) that has been in family hands for centuries.

Follow LUX on Instagram: luxthemagazine

This is one of the first thoughts that flows through my head when I meet Frédéric Rouzaud in a hotel lobby in the chi-chi 16th arrondissement. Through the Maison Louis Roederer, Rouzaud may be the family owner and CEO of one of the world’s most celebrated luxury brands – who doesn’t know Cristal, after all – but it’s apparent that this thoughtful, understated and gently smiling gentleman in a dapper suit is a different breed to many modern CEOs. Louis Roederer is a Maison, not a brand.

Photography by Michel Slomka

We settle in quickly to an easy conversation about art, and in particular photography. Recently, Louis Roederer invited young abstract artistic photographers to create images of the champagne house, its cellars and grounds, giving them carte blanche to interpret whatever they wished, however they wanted.

The results, which have never been publicly exhibited, are published on these pages. But Rouzaud, who expresses an enthusiasm for photography and 20th and 21st century art, is doing so much more in the world of art through the Fondation Louis Roederer (a private foundation), and has a plan to develop a collection of luxury boutique hotels. Here is a polymath who is plainly not interested in being pigeonholed. And, of course, the Louis Roederer brand owns several wine estates and makes some of the world’s most celebrated champagnes – not just Cristal, which needs little introduction – including a personal favourite, the complex yet ethereal blanc de blancs.

“I found in champagne perfect elements related to dreams… it appears as a perfect opportunity to explore a fairy direction.” – Marie Benattar

LUX: Tell us more about your hotel projects?
Frédéric Rouzaud: We bought our first hotel last November, in the Alps in France. A hotel seems far away from the wine world, but not so far when you look for a long-term strategy that you need to have for hotels. Like for wine, it’s about the French ‘art de vivre’. It’s about gastronomy, the experience and wine. My idea is to create a small boutique hotel collection, and also by having some private houses open to private consumers who would like to live a very nice experience around wine in our different properties. [Outside of Champagne] we have wine properties in Provence, Portugal, two châteaux in Bordeaux, one in California. The idea is to create a small collection either by buying hotels like we did in the Alps or by creating some hotels within our winery sites, which are generally very nice places to stay.

Read more: Wes Anderson & Juman Malouf curate an exhibition at Fondazione Prada

LUX: Will there be a particular aesthetic?
Frédéric Rouzaud: We will try to make people feel comfortable and at home. We will work with some designers that have this sense of conviviality, [to create] a nice experience. We will adapt to each place – the style, the sense of the place. It will be a five-star hotel that is casual and comfortable, family friendly.

“I worked at night by the light of the moon. I have aspired to build mirage images in order to reveal what can not be mastered by man, the very power of nature. The artificial lights were developed to unmask ghostly presences, unreal scenes, dreamlike horizons.” – Lucie Jean

LUX: There is a very powerful partnership between your Maison and the art world. The photography for the prize that you do is very abstract. Is that something you initiated yourself and how has it grown?
Frédéric Rouzaud: The story started 20 years ago, when we met the president of the Bibliothèque Nationale de France. They have a fantastic collection of more than five million images – old photographs from the beginning of the creation of the photography – but they didn’t know what to do with it because they are more book-orientated. So they asked us if we would be interested in helping them show the fantastic collection to the public. That is how we started our collaboration, and we did a lot of very nice and interesting exhibitions there. We sponsor all of the exhibitions and they are fantastic. It is a very serious, rigorous and interesting collection of photography with plenty of artists.

“Views from above of the symbolic interiors of Roederer were completed with images of starry skies from the vineyards. This face- to-face seemed to us to be a poetic metaphor for what champagne represents, a kind of cosmic union between earth and sky.” – Simon Brodbeck and Lucie de Barbuat.

LUX: What about the young photographers we feature here?
Frédéric Rouzaud: We asked the Bibliothèque Nationale de France to select for us eight or ten young photographers who went to Champagne; there was lots of creativity and they decided to photograph Roederer as their own perception.

LUX: What did you think of what they did?
Frédéric Rouzaud: I think it was great. I think it was so different and their approach was phenomenal.

LUX: You must have a personal passion for photography to give it such support?
Frédéric Rouzaud: I am interested by art and photography – because photography is really a contemporary art form. I think it is approachable for people who sometimes do not understand or find it difficult to approach contemporary art. Photography is always approachable, understandable… and I see a big future, a big potential for photography. It is a very nice, aesthetic art.

“The intervention of man gives a very graphic aspect to the vines. I sought, through the strength of this vegetation and nature,
visual haikus which would plunge us between the lines from what is immediately visible.” – Lucie Jean

LUX: Do you collect photography yourself ?
Frédéric Rouzaud: I have some, I don’t only collect photography – I collect many things. I buy lots of intuition and inspiration (laughs). I am not a collector in the sense that I buy everything, I am more for going into galleries on the weekends/ auction sales to see what is going on – I can buy photography, a chair, a lamp…

Read more: Geoffrey Kent on travelling beyond the beaten track

LUX: Does your foundation have a physical home that people can visit?
Frédéric Rouzaud: No, not yet. The purpose of the foundation is to help institutions and museums like Palais de Tokyo and Le Grand Palais to show to the public their fantastic collections. I think we are much more for that approach rather than to say, ‘Hey, look at my foundation, look at my collection, come and visit it.’ We are a small company, we are more for helping the French big institutions, like Bibliothèque Nationale, trying to choose the artists that really talk to us in a way – that is the first point. The second point is the different prizes that we have created now; we like to discover new talents. That is really the two things helping the institution with known artists – because there are lots of artists who we have sponsored who were known, but we also like to give prizes to new talents.

“For me, photography is a way to discover and observe the world, to embrace its complexity without feeling too much gravity. It is also a way to take time, spend it and even try to stop it.” – Marie Benattar

LUX: Is the private sector becoming more important in supporting art?
Frédéric Rouzaud: Museums don’t always have the means to do these exhibitions for the public so they seem very happy to have that kind of foundation to help. I think it is very important, yes. Even if in France it is less usual to have funds from a private company or foundation like it is in the UK, it is very normal. But I think it is coming and definitely there are never enough funds to help art. If the approach is quiet, organised, long-term and focused on what we like, I think there is no reason that it doesn’t work, because again in our approach we are more behind museums that have the savoir faire, the connection. We prefer to be maybe a little bit behind the scenes.

LUX: Are wine and art similar?
Frédéric Rouzaud: Of course, there is a link. But I always say to my team, ‘Don’t consider yourselves artists. We are not artists. We are artisans, dedicated to nature, trying to interpret each year what nature likes to give us: climate, size of grapes, concentration…’ And we try to make, modestly, with that, a wine that we sell. Artists have total freedom. We don’t. We have to ferment the wine, we have to press the wine, it has to be vigorous. It’s close to the artists’ work – but we don’t have the freedom. The only thing you have to do as an artist is express what you have in your head. So there is a very natural link between the world of wine and the world of art, but we are not artists.

“The need and the desire to create cannot be explained. It’s like a breath, a small voice and sometimes even a cry that animates you and takes you to creation.” – Laura Bonnefous

LUX: Is it true to say the world of wine is more objective than art?
Frédéric Rouzaud: Yes, in the world of wine we have to follow rules, some tools, some gestures. In art, you do what you want – you are much more free. We are free in the way that we are free to search the best soils to plant the vineyards, we are free to search the best way for pruning the vineyards, the way of fine-tuning our grapes, our methods, our pressing process, our fermentation, our storage – we are free for that. But at the end of the day, the focus has to be a bottle of wine that is appreciated by the consumers. An artist, if he makes something and it pleases collectors, it is good. If it doesn’t please them, it is fine also!

Read more: Spring Studios’ Founder Francesco Costa on building a creative network

LUX: With wine, is the product the most important thing? Or the brand?
Frédéric Rouzaud: (Laughs) The brand comes after the product, in our approach. We do small quantities, small production in our own vineyards. We don’t buy grapes, we don’t buy wine, so it is a small production and we produce a small quantity of wine – not enough for the world and we are fine with that, because we don’t know how to do more at that level of quality. For us the brand is more a Maison; it is a family-owned company and we make a product the best way we can and if it becomes a brand, fine! But we are not trying to make a brand and then make the product. We were founded in 1776 and my brothers and sisters have done a great job to make a brand today – called Roederer – but still the team is really not in that approach of branding. We are really behind our product, behind our vineyards.

“A Cristal bottle is transparent; I tried to make the production process transparent by highlighting the talented people working in the vineyard, the cellars, the factory, the office…” – Sandra Reinflet

LUX: Tell us why you chose Val-d’Isère for your first hotel?
Frédéric Rouzaud: Why Val-d’Isère? This resort in terms of value, authenticity, purity of skiing… it really is the resort in France, if you like to ski. I like to ski and I have been to lots of resorts in France. After testing Val-d’Isère you will be disappointed if you go elsewhere – if you like to ski. Plus the fact that it is a historic hotel, one of the first of the resort, and it belonged to a family – the same family who built the hotel.

LUX: How important is China for you?
Frédéric Rouzaud: It is small yet. We are very strong in Hong Kong, but China is quite small at the moment. First, we do not have the volume. Second, the market is very young. Sometimes champagne is considered as goods which should be offered for parties. I don’t know why – champagne as a commodity. In an emerging market like that you have to sponsor a lot if you want to be in some places and we are not in this game, because we do not have the volume. We have such a respect for the wine itself that we don’t like to give it for free. We only do it sometimes, as a special prize.

LUX: We were talking about biodynamics…
Frédéric Rouzaud: We are running the Cristal estate in Champagne, 100% biodynamically, it has been ten years now so we are very happy with it. I am not a technician, but I have tastes; the grapes and maturities, the balance of the grapes concentration, acidity, level of alcohol – and it is working very well.

LUX: What difference does it make to the products when you make it biodynamically?
Frédéric Rouzaud: It is difficult to express but I think it gives it more vibrancy, more life in the wine.

Find out more: louis-roederer.com

This article was originally published in the Autumn 19 Issue

Thomas Keller at pictured at his Napa restaurant, The French Laundry. Image by Deborah Jones

Ever since legendary chef Thomas Keller opened his restaurant The French Laundry in California’s Napa Valley more than twenty years ago, he has been inspiring diners – and chefs – with his forward-thinking food. Keller tells Emma Love about his latest plans for fine dining without the fuss

Three years ago, American chef Thomas Keller reached a milestone in his illustrious career. The French Laundry, the Napa Valley restaurant he opened in 1994 and which quickly garnered international acclaim as well as three Michelin stars, reached its 20th anniversary. Some might use an occasion such as that as an excuse for throwing a party but Keller decided to spend $10 million on completely re-designing the kitchen and restaurant grounds. “There is a time that comes in life to push the envelope and explore new methods to stay relevant,” he says, citing the new state-of-the-art kitchen equipment and the 15,000-bottle wine cellar as examples of the changes that were unveiled in April this year. “That quest for evolution and wanting to shake things up has always been part of my DNA.”

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This comes as no surprise: Keller is a chef who has spent years challenging the industry with his restaurants (as well as The French Laundry, he is also behind Michelin-starred outposts of Per Se and Bouchon) where his ‘law of diminishing returns’ philosophy of cooking means that tasting menus come with multiple tiny courses where ingredients are never repeated. “The less you have of something, the more you appreciate it,” he reasons sensibly. “For me, not repeating ingredients is a challenge. If you use corn more than once in a ten-course menu that’s kind of lame, don’t you think? There’s so much variety out there and so many vegetables, we don’t need to use something twice.”

His quest for evolution – and changing the way we think about food – seems to be at the heart of all his projects from his wine label Modicum, which is used as an educational tool for his sommeliers, to Finesse, the bi-annual magazine he publishes in place of a newsletter which focuses on themes he considers to be important, such as community and design. “Modicum was set up so the sommeliers could work with the winery to understand about harvesting, blending and the many different aspects that go into producing wine,” he explains. “With Finesse we are also trying to educate and inspire by giving people an insight into what we do and touching on those topics where we can tell stories. It’s another way of having an impact.”

The new kitchens at The French Laundry. Image by Michael Grimm

Then there’s Cup4Cup, which he began in 2010 in collaboration with his then research and development chef at The French Laundry, Lena Kwak. Initially offering a gluten-free flour blend which is a substitute for all-purpose flour, more recent products in the range (which is sold at Whole Foods in the US) include mixes for pizza, waffles and pie crusts. “I never thought I would produce flour,” says Keller. “When Lena started, her first task was to come up with a recipe for our signature salmon cornets. It’s the way people begin their meal at The French Laundry and they are iconic but the problem was that anyone who is food intolerant couldn’t eat them. We thought it was something that everyone should be able to enjoy so we created a gluten-free flour. The brilliance behind Cup4Cup is that you can literally replace a cup of regular flour with a cup of gluten-free flour and you can’t tell the cornets apart.”

Read next: Gucci’s Robert Triefus on how to create a sustainable fashion power house

Gluten free apple pie by Cup4Cup

As the Cup4Cup brand happened organically, so did his collaboration with friend and Italian olive oil producer Armando Manni, whose extra virgin olive oil is used at The French Laundry and Per Se. One day in 2010, the pair were in Keller’s Yountville backyard chatting about Manni’s idea for a chocolate bar made with olive oil (which preserves many of the natural antioxidants found in cocoa beans); Keller agreed to be his partner for the project on the spot. “Armando worked with the University of Florence and a laboratory in Paris on scientific trials to develop a new method that replaces cocoa butter with olive oil, but still retains the taste of chocolate,” recalls Keller. “At the eleventh hour, we realised that we couldn’t use a traditional factory because we required a fundamental change in the way the equipment was made.” Their solution? To modify the equipment and build their own factory, which added another two years to the development process. Finally, the K+M Extravirgin Chocolate bar launched in March.

Now he’s turning his attention to other projects, one of which is curating the restaurants at Hudson Yards, the largest retail, commercial and residential development in New York since the Rockefeller Center. “What we want is to create a community of neighbourhood restaurants. Not Michelin-star fine-dining necessarily, but places where you return again and again because you love their Dover sole or steak.” In other words, restaurants – such as Extebarri in Spain’s Basque country where he once ate what he described as “the most perfectly grilled sardine that I’ve ever had” – that create memories so people want to return. “If a chef executes a philosophy that gives you a positive, lasting memory, that’s what success is. That’s what we try and achieve at The French Laundry.”

thomaskeller.com

Rebecca Louise Law’s cherry blossom canopy at Sake No Hana

Mayfair’s Sake No Hana restaurant by the Hakkasan Group celebrates the Japanese ‘sakura’ season with an installation of intertwining cherry blossom branches and a limited-edition menu. LUX enjoys Hideki Hiwatashi’s contemporary take on hanami – the Japanese feast that celebrates cherry blossom season and the start of spring – beneath the seasonal blooms.

Sakura begins in the south of Japan around February and finishes in the north at the end of May. Fortunately, the 24,000 flowers carefully installed by East-London artist Rebecca Louise Law at Mayfair’s Sake No Hana are hand-dried and preserved to last forever. However, they’ll only be visible on the restaurant’s wooden beamed ceiling until the end of June, providing the ideal backdrop for a contemporary hanami feast.

Read next: Tailoring for the modern gentleman 

Traditionally served at a Japanese cherry blossom picnic, Head Chef, Hideki Hiwatashi has dreamt up a new take on the traditional feast; a culinary reflection of the season’s celebrations and the transient beauty of the blossoms.  The special hanami cocktail blends lavender bitters and Akashi-tai honjozo, whilst the culinary offerings are typically innovative of the brand.

The sakura sushi platter

Our highlights were the bamboo leaf wrapped sea bass nigiri, tied prettily with a golden wire (it looks almost too good to eat), and the char-grilled rib eye beef with chilli ponzu. The most decadent option is the salmon served with a reach champagne yuzu miso sauce and pickled carrot and celery, which resemble pink blossoms. And for desert, a bitter chocolate, cherry delice that melts in the mouth. Enjoy the transient tastes while they last.

The sakura menu and art installation will be available at Sake No Hana until 18th June
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The breathtaking views of the Matterhorn are worthy of any postcard and a million selfies

Above Zermatt, Switzerland’s most spectacular mountain village and home to the Matterhorn, high-altitude restaurants like Chez Vrony combine tradition with chic, and put the haute into cuisine, as Darius Sanai discovers

All-round views are breathtaking

Mountain hut cuisine will be familiar to anyone who has skied the Alps; raclettes, fondues and other dairy confections. Fresh in the best sense of the word – sourced locally, recently – but rarely sophisticated.

We were looking forward to a little mountain cuisine as we approached Chez Vrony, in Findeln, high above the resort of Zermatt. It was a clear, warm summer’s day, and we had been hiking down from Fluhalp, a hut positioned high above a former glacier I enjoyed gazing at in my childhood in the 1980s (now melted, due to global warming, Mr Trump). The hike had taken us through a fantastical rock wonderland – where part of the mountainside above had simply collapsed into several football fields of Mini-sized boulders. We strode along the side of Stellisee, a lake whose reflections of the famous Matterhorn, facing us from across the broad Zermatt valley, have featured in a million postcards. We edged along a narrow path, a sheer drop to our left, as the glacial valley disappeared into a stream far beneath us; we could just make out the sound of a stream, a distant, constant swirl, like a giantess shushing its infant.

Read next:Kazakh artists make world art breakthrough at Venice Biennale

Descending, we walked past the highest trees, stumpy starter Christmas trees that had the temerity to grow above the otherwise uniform treeline; and skirted around another lake, this one more green, where children splashed and a thousand tiny frogs appeared and vanished into the grass on its edge.

The restaurant’s idyllic terrace, above the Findelnbach stream

Past a rock ridge, we gazed down and saw the hamlet of Findeln, home to Chez Vrony; only another ten minutes of descent down the well-made, sand-covered path and we were there. Chez Vrony is a wooden village hut from the outside, a sophisticated terrace restaurant from the other side. Ushered in by a lady who knew everyone (was this Vrony? Her daughter?), we were whisked past groups of well-dressed hikers (a curiosity in itself) and sat on sheepskins atop benches by a broad wooden table. The Matterhorn stared down, a world of ice, rock and snow, across a forest and a valley. We could have been served supermarket sandwiches and would have declared it the most wondrous refuge in the world.

But Vrony has other ideas. The menu was haute cuisine in both meanings: ingredients plainly sourced from the mountains, like the ‘pink-roasted entrecôte of Swiss lamb served with a port-steeped fig and hazelnut potato purée’, but with real panache and delicacy. (For a simpler option, the beef in the Vrony burger was sourced from the pasture above the hut.) We could have stayed all afternoon; indeed I think we did.

Vrony serves mountain cuisine with a sophisticated touch

Afterwards, it was 45 minutes’ rapid downhill hike through a scented forest as dusk approached, to the outskirts of Zermatt. The Matterhorn, changing angle and mood, always there with us, always a reminder that, however civilised the food, and however much we melt the glaciers, above Zermatt, this greatest of all Alpine villages, is a wild world, not our own.

chezvrony.ch

The view from one of the Eiffel Suites

Why should I go now?

Paris in the spring; summer fashions adorning the Parisiennes and their offspring and canines; do you have no romance? The Avenue Montaigne, upon which Hôtel Plaza Athénée sits like a palace, is the most sophisticated retail street in the world, with the river and view across to the Eiffel Tower at one end, and the ‘rond-point’ floral circle of the Champs-Elysées at the other.

Alain Ducasse at Hôtel Plaza Athénée. Interiors by Patrick Jouin and Sanjit Manku.

What’s the lowdown?

Hôtel Plaza Athénée is the ultimate Paris ‘establishment’ hotel. Republics are created and Prime Ministers deposed in its art-deco Relais restaurant. Unions (romantic, corporate and both) are created in the three-Michelin-starred Alain Ducasse restaurant, the centrepiece of the chef’s empire. A recent complete refurbishment has transformed the hotel. The long gallery through its heart still has classic Paris in its soul but the lighting and ambience are gently contemporary; it now feels like a place for a 21st century couple, rather than the deposed Count of Montauban and his dowager companion. Service, by the Dorchester Collection, is typically attentive; as flourishing as you could possibly expect over tea at the Gallery. The bar is a place to propose over a Black Forest Gin Martini. The bar staff seemed slightly in two minds whether they needed to be cucumber-cool to match the new style bar décor, or Dorchester-attentive to the numerous couples paying attention to each other in the dim crannies overlooking the Avenue Montaigne.

The Royal Suite

Getting horizontal

Our room had the best view in Paris, across Place l’Alma to the Eiffel Tower; a Disney movie couldn’t have made it better. Rooms have also had a complete refurb, although the style is a little different from Bruno Monaird’s ultra-sophisticated public areas; more classical, with less subtle lighting, and plenty of trad luxury, reds and golds.

Flipside

There really isn’t anything to dislike about Hôtel Plaza Athénée. The palace hotels of Paris are still in a league of their own in Europe, and possibly the world, for grandeur backed up by depth of product and service, and of course location; and Hôtel Plaza Athénée is one of the very greatest. If you’re wedded to all-white design hotel boxes with all their signage in lower case sans serif, then perhaps it’s not the place for you, but then Paris probably is not, either.

Rates: From €850 excluding breakfast (approx. USD $900/£700)
Darius Sanai

Paris in the spring: every year, from April to June

dorchestercollection.com/en/paris/hotel-plaza-athenee

From a five course interactive dining experience to hip burger joints and Dutch pancakes, Francesca Peak discovers Amsterdam’s best gastronomic secrets.

De Culinaire Werkplaats

reative cooking at De Culinaire Werkplaats

What looks like a large unassuming kitchen on the corner of a quiet street in west Amsterdam is actually one of the best tasting experiences you’ll ever have. Five-course tasting menus are devised around a theme, such as Japanese imperfection and rituals, and presented beautifully, each with a brief explanation that in no way impedes your enjoyment of the complex flavours. One course is even interactive, so whatever ends up on our plate is of your own making. All they ask in return is that you take your own dishes to the sink – a small ask for what is an incredibly reasonably priced culinary experience.

deculinairewerkplaats.nl

Moeders

The clue’s in the name – the Dutch for ‘mothers’ – but in case you don’t speak Dutch, the floor-to-ceiling photographs of mothers and grandmothers might give it away. Home-style comfort food is on offer at this cute spot, think mashed potatoes with meatballs, sausages and rich gravy. Order the starter selection for a cake-stand full of hearty Dutch savouries, and end on a high with apple cake or delightfully light French toast. All while basking in the glow of a hundred smiling mothers, even though none of them are your own.

moeders.com

Cocotte

Cocotte’s famous crepes

A mere 10-minute walk from the red light district, but a world away, this house of galettes brings a slice of Normandy to town. The rustic classic French cafe is filled with the smell of coffee and freshly baked goodies, from berry crumble to buttery brioche, not to mention the two hefty crepe machines behind the bar. Go for a classic ‘Complet’ galette, with ham, egg and cheese, and indulge with a large slice of justs-sweet-enough tarte tatin.

No website

Sanders Bar & Kitchen

Whether you’re in the mood for a cocktail or hearty meal, this well-located spot on the edge of the shopping district manages to be casual, cool and cosy at the same time. The rustic interior and wide leather sofas make it perfect for a well-earned drink after a day of museum-hopping – the sharing platter of cheese and steak tartare is a winner.

sanders-amsterdam.nl

Thrill Grill

This isn’t your average burger joint piggybacking on the trend – this one’s backed by Michelin-starred chef Robert Kranenborg, and takes pride in sourcing only the best ingredients for every element of their ‘thriller’ burgers. From the newspaper-printed menus to the exposed brick walls, it may seem like a hipster’s paradise, but the proof’s in the meat, and this meat is worth the (fairly short) wait. Don’t skip the super-crispy truffle parmesan fries, either. When you’re done, nip around the corner to the Albert Cuyp Market and pick up a freshly-made stroopwafel for dessert.

thrillgrill.nl

Pancakes!

If Holland battle with France for the title of best crepes, then these tiny restaurants, which lend themselves to substantial queues, are a serious contender in the transnational battle. With their range of savoury and sweet, they’ve got everyone covered, even those who prefer tiny American-style fluffy pancakes simply sprinkled with icing sugar. Be a traditionalist and stick to the light and flavourful Dutch version, then walk out rubbing your tummy in glee.

pancakesamsterdam.com