The Woodward, Geneva, a discreet all-suite lakefront hotel in a classical building

Darius Sanai checks in at The Woodward, Geneva, where luxury meets discreet elegance

The wow factor

The Woodward is situated in a lakefront building facing the Alps, like a few other luxury Geneva hotels, but there the similarity ends. You enter via a discreet door and are shown up in a lift to a mezzanine floor, where the receptionist sits behind a small table. It is all marble, light furnishings, art and views, like arriving at a beautiful home.

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People-watching

It was as if we were at a friend’s cosmopolitan party, with expensive-looking international couples on the mezzanine floor, but the main feeling was of space and privacy.

The hotel’s Michelin-starred restaurant, L’Atelier Robuchon

Show me to my room

The Woodward is an all-suite hotel and ours, one of 26, was like a private apartment. The design is by Pierre-Yves Rochon, a king of contemporary hotel and residence design. Furnishings are light, off-white and taupe; coffee-table books are artfully chosen; art is thoughtfully hung.

Read more: Hotel Metropole Monte Carlo, Review

Come dine with me (and other things)

At street level, the L’Atelier Robuchon is all dark lacquer and red leather. We sat at long bar, where we saw the chefs at work and our cocktails being mixed. The atmosphere was buzzing; a contrast to the tranquillity of the hotel above. The food was superb in the Atelier group’s weekend-gourmet style: line-caught turbot fillet poached with verbena, sea lettuce, cockles and clams had a fresh umami taste; farro wheat with mushrooms, black garlic, trompette consommé and Barolo vinegar was an all-time, all-star vegan dish. Then, a sliding door, and you disappear into your apartment and that view.

Find out more: oetkercollection.com/hotels/the-woodward

This article first appeared in the Autumn/Winter 2023/24 issue of LUX

A view of the Hotel Metropole’s grand exterior

In the heart of Monaco is a grand yet intimate hotel that offers fantastic dining, a world-class indoor/outdoor pool, one of the best spas in Europe and a mystique that makes it even more than the sum of its parts. Darius Sanai checks in

The arrival at a great hotel is a key part of its story. The Metropole is situated on the Casino Square of Monte-Carlo, one of the most celebrated public destinations in the (luxury) world. And yet your arrival is refreshingly discreet. Your car turns into a driveway, lined with supercars, away from the public gaze. You are ushered into the lobby as if arriving at a grand private home. The lobby itself is a visual feast, but a discreet one: no overbright lights and high ceilinged grandeur, but a dramatic floral display, tapestries on the walls and intriguingly lit corners and a segue into a bar area to the right. This is a place for insiders – those who really know Monaco.

The hotel lobby’s floral displays change according to the season

Our room, a Prestige Suite, was lavish and contemporary, a hard act to get quite right. Chandeliers and rich drapes, pale furnishings and walls, blonde wood loungers, floor-to-ceiling windows. A place of light, comfort and silence in a town that can sometimes be very hectic.

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The Metropole is famous for its food, and on the first evening we had a highly memorable meal, not at one of its celebrated restaurants but in the cosy heart of the bar, off the lobby. This is where Monaco residents go for casual dining. It’s comfort food, Monaco-style: a fabulous gazpacho, delicate artichoke with parmigiano, and a brilliant summation of Mediterranean cuisine: minestrone with monkfish, black beans and guianciale. Sublime yet simple.

The glamorous Hotel Metropole Bar was designed by architect and interior designer Jacques Garcia

The bar is a place to see friends as they swoosh back and forth to the lobby and the restaurants beyond: so we chose an excellent Pink Kiss, the house cocktail, gin-based, refreshing and balanced, to toast them.

The hotel recently opened its gastronomic restaurant, Les Ambassadeurs, by chef Christophe Cussac, who has overseen the food and beverage option at the hotel for almost two decades.

For LUX, though, the Metropole’s culinary piece de resistance is Yoshi, a small but exquisite Japanese restaurant situated in the courtyard, with a flower garden outside – a great indulgence considering the price of real estate here. The lacquered chicken – a delicious dish somewhere between teriyaki and yakitori – was memorable, the grilled black cod fleshy and fulsome with miso, and the miso soup refreshingly umami.

The Obento menu at the hotel’s Michelin Star restaurant Yoshi offers a light refreshing lunch option

Beyond the rooms and the cuisine is the spa, the hotel trying its hardest to ensure you never have to go anywhere in Monaco outside its domain. A wander down a corridor leads to a big terraced pool area, with views across town, a health food restaurant attached (with requisite, impossibly perfect men and women perched at the bar). The service at the pool is magnificent, intuitive and thorough without being overbearing. The pool miraculously turns into an indoor pool in winter, the walls of its pavilion swathed in Karl Lagerfeld frescoes.

Read more: Badrutt’s Palace St Moritz, Review

Just downstairs from the pool, we were wafted into the transformational world of the Bastien Gonzalez ‘Pedi:Mani:Cure’. If you ever wondered why women in Monaco have hands that look 20 years younger than they are, you now know the answer, although seeing a teenage girl emerging from the spa after us did beg the question of whether her hands disappeared altogether into a pre-natal state.

Designed by Karl Lagerfield, the ODYSSEY installation and heated pool is covered throughout the winter and al fresco during the rest of the year

But we digress. More than the magnificent hardware, any memory of the Metropole is dictated by the even more magnificent service. Not a given, even in this part of the world, it gives this uber-chic grand hotel in one of the world’s most iconic destinations the feel of a fantastic, extensive private home – albeit one with some of the world’s best chefs cooking for you, and a butler who can rustle up a fantastic club sandwich and cocktail if you just feel like chilling with your house guests in the drawing room. The Metropole is an absolute LUX favourite.

Find out more: metropole.com

Chef Elena Arzak

Award-winning Basque chef Elena Arzak is the latest in a long line of chefs from the same family. Working in the same eponymous restaurant that her great-grandparents began as a tavern in San Sebastián, she creates innovative yet traditional dishes alongside her father, Juan Mari Arzak, who pioneered the New Basque cuisine in the 1970s

LUX: Tell us about your restaurant’s history.
Elena Arzak: The restaurant has existed since 1897, and I am a fourth generation chef. The restaurant has been in the same building in San Sebastián. When I was a little girl, I lived next to the restaurant, and I used to come round a lot during the summer holidays to visit my grandmother who was a chef, and my mother who also worked here. And to be with my father, who I have now worked with for 25 years.

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LUX: You travelled a lot. Has your cooking been inspired by any particular place?
EA: I’ve always maintained my family’s philosophy that travelling is a constant source of new ideas. You can get so many ideas in a small neighbouring village, as well as abroad. I like to visit other cultures because the food and ingredients that for them are familiar, for us they are new. And Basque cuisine has a code of flavours. I can pick up ideas and adapt them to my own code of flavours.

Elena Arzak’s ‘vacuno selado’, a salt beef dish

LUX: Is it correct that your father started the New Basque cuisine?
EA: Well, he started serving nouvelle cuisine in 1976 in Madrid. The Gourmet Review organised a round table where they invited young chefs from Spain and the French chefs Paul Bocuse and Raymond Oliver. My father and his colleague from the three-star restaurant Akelarre in San Sebastián were so impressed with what they heard that they came back to the Basque Country and started a cuisine revolution with a group of chefs. They corrected Basque recipes that were overcooked or made with poor ingredients. They started to introduce new flavours like exotic fruits and ones that were not Basque. And they wanted to get closer to the people in San Sebastián, who love to eat – they went round small villages speaking and giving cooking demonstrations, and sometimes they introduced special prices in the restaurants so that ordinary people could come.

LUX: Do you feel that you have a duty to encourage women?
EA: In Basque culture, women are very strong. When I was growing up, my grandmother was a chef, my mother worked in the restaurant and three quarters of the staff were women. I grew up thinking that this was normal. When I went abroad and I saw I was the only woman in a team of 40, I thought, what happened? Perhaps if I’d been born in another part of the world, I wouldn’t be talking with you now.

The restaurant building in San Sebastián

LUX: Has the core philosophy of Arzak changed much over the years?
EA: Yes. In the beginning, it was a popular traditional restaurant, a tavern. They served wine, Basque cider and a little bit of Basque food. Then my grandmother changed that style to modern Basque while always thinking of local traditions and flavours. We always like to be up to date – we don’t cook like we did 10 years ago, and we won’t cook the same in 10 years.

LUX: What trends do you see emerging in the next 20 years?
EA: Everybody wants to be eco-social and to be helping producers. For me, the future is going to be about a cuisine that looks simple but is not. There are trends in cuisine – before, we wanted “Wow”, “It’s spectacular”, we needed lights, and now it’s going to be calmer but very interesting.

LUX: How has the rise of sustainability affected you?
EA: Well, here we are very lucky because in San Sebastián there are many farmers who live nearby. But we don’t have curry in the Basque area, or Himalayan salt, and I like to use things like that, so what can I do? Spices have always been traded around the world. But for me, the most important thing is to support the local suppliers.

The dessert call ‘Enigma’

LUX: How has the pandemic affected your creativity in the kitchen?
EA: It affected our way of thinking, sleeping, behaving; everybody was in shock. I was so frightened, and if you are frightened you cannot create. But I said to myself that I am a chef and creating is what really makes me relax, so I will create, because it’s the one thing that is mine. I got a lot of positive ideas during this pandemic. My children like to drink infusions so I drank rooibos tea with vanilla with them, and now I want to do an ice cream.

Read more: Chef Ángel León: Ocean Sustainability Supremo

LUX: Which is your favourite of the dishes you’ve made?
EA: I remember the first plate I presented to my father. It was a tuna salad with strings of vegetables. I was 19 years old. For me it was a challenge and I was so nervous, and when he accepted my plate, that for me was the beginning of everything.

The restaurant’s dining room

LUX: Is there a favourite dish you have by another chef?
EA: The last plate that has really impressed me was by chef Andoni Luis Aduriz at his restaurant Mugaritz. He let me taste a dish called ‘How Long a Kiss Lasts?’ It’s a tongue of ice with sea-urchin cream at the tip.

LUX: Arzak has a strong family dynamic. What has that added to the restaurant?
EA: It has added personality and identity, and people know us. And there is, of course, a super team. Some of the staff worked with my grandmother – imagine that! Being a family business is a plus.

Find out more: www.arzak.es

This article appears in the Summer 2022 issue of LUX

Chef Ángel León

Ángel León is most famously known for his innovative use of seafood at his three Michelin-star restaurant, Aponiente, in his home province of Cádiz, Spain. He is an environmentally minded forager of the sea, leading him to find a quinoa-like grain in eelgrass, known as zostera marina. As well as being a superfood, seagrass is a natural solution for capturing carbon and a hotbed of biodiversity – meaning cultivated seagrass forests could benefit us and the planet

LUX: Why are you known as ‘The Chef of the Sea’?
Ángel León: Actually, the nickname was coined for the first time by the press. And later became the name of a television mini-series about our work. It defines me. My cuisine focuses on the sea, especially on products that others do not want or do not see. However, my kitchen has also opened up to my closest environment, the marsh and those intertidal zones with halophytic vegetation (saline plants), which fascinate me.

LUX: Where did your interest in ocean conservation come from?
AL: My passion for the sea was instilled in me by my father when I was little. My father loves sailing and fishing, and we always used to do it round the Bay of Cádiz. I was never a good student, and the sea was my escape route, where my diagnosed hyperactivity rests. When we went out fishing and came home with everything we had caught, it was my job to clean it up. I appreciated the smoothness of the fish scales and would cut their bellies to find out what they ate, and therefore know what bait to use.

LUX: What is more important to you, the innovation behind your cooking or the taste and presentation of your food?
AL: There was a turning point in my cooking career when I decided to cook only seafood. I never thought of it as a sacrifice to stop cooking other products from the land. Some predicted that our journey would be limited because we would run out of resources, the most apparent raw materials of the sea, but quite the opposite. Earth is covered by 75 per cent salt water, and we only know 40 per cent of the marine supply.

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However, on a menu where there are only products from the sea, we like to include trompe-l’oeil ‘meat’ options for our customers. We must open our minds – we are very selective and limited to unknown flavours. That is why we ‘dress up’ meat dishes with marine products. A perfect example of this idea is our marine charcuterie. Everyone is used to pork charcuterie, so what we do is make those same sausages, but with fish. We give it the same shape, the same colour, but we use fish. Sea bass mortadella, mullet chorizo…

LUX: What are the benefits of using your sea grain in your dishes?
AL: We’re not cooking with it yet – this project is still in the research and development (R&D) phase. But I did have the opportunity to cook it in the limited harvest that we achieved. Gastronomically speaking, it is very similar to a grain of quinoa in the mouth. After more than three years developing this project and analysing the seeds, we can affirm that the nutritional qualities of the zostera marina are superior to those of rice or wheat. It has glucose. It has more dietary fibre than pasta. It contains protein, carbohydrates and fats that are assimilated more slowly than those in rice, wheat or semolina. It’s also high in fibre and complex carbohydrates.

LUX: Having worked in various regions of Spain and also in France, which area has had the greatest impact on your cooking and why?
AL: Certainly France. My character as a cook was forged there, and I was able to understand the reality, the discipline and the sacrifice of this profession.

LUX: How has your culinary approach changed since you studied at the Taberna del Alabardero?
AL: My approach from then until now has nothing to do with it. Actually, at that time, aspiring to have three Michelin stars did not even cross my mind, and I had already mentally defined what I wanted my philosophy to be. I am grateful for all the stages that I have had and for forging ahead to make the Aponiente project a reality. Not even in my wildest dreams did I imagine having a restaurant with a crew as committed as we have. Everything has fallen into place little by little. We have certainly been through challenging times. Many years of swimming against the current, because the client did not understand our concept, but now we see how the client has grasped it.

LUX: With regards to sustainability and saving the planet, what is the biggest change the hospitality industry needs to make in the next 10 years?
AL: Dependence, in all senses, on products that are not from our environment. We must look at our local environment with hunger and take advantage of the resources that we have closest to hand. From the farm to the fork, from the sea to the plate. We must be less erratic. We must be less selective.

Read more: Kishwar Chowdhury On The Bengali Influences Within Her Cuisine

LUX: If you weren’t a chef, what would you be?
AL: A marine biologist.

LUX: If you could choose any chef to prepare a meal for you, who would it be and why?
AL: I am a man of simple tastes. It’s been a long time since I’ve been to a restaurant on my favourite beach in Cádiz, Bolonia. There is a restaurant there called Las Rejas, where I am happy eating whole fried fish, and happy spending time with the owners. I love going out fishing with them and then cooking. Nobody fries fish like them.

LUX: Have you got any exciting projects
or discoveries coming up?
AL: I am restless, and Aponiente develops many research projects. But, today, our main effort is focused on the research and development of our marine cereal.

Ángel León is the owner and head chef of Aponiente in El Puerto de Santa María, Cádiz, in southern Spain. Since 2016 he has also been the gastronomic director of the nearby Alevante restaurant.

aponiente.com

This article appears in the Summer 2022 issue of LUX

The Alpina Gstaad’s main building and gardens, which opened in 2012. © The Alpina Gstaad

Artistic, playful and utterly spoiling, The Alpina Gstaad may just be the best hotel anywhere in Europe. So why don’t you know about it?

A contemporary jazz duo is singing and playing its heart out. Your champagne bottle is emptying steadily as you look out from your sofa at the array of contemporary art around you, and the rolling mountains in the distance. It’s time for Japanese, and you and your companions wander over, just a few metres, into a different world into Megu. This is Switzerland’s highest-rated Asian restaurant, a Michelin-starred area decorated by blonde Alpine wood, antique kimonos and slatted wooden partitions.

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The vibe is lively but not raucous, stylish but not gaudy, expensive but not stuffy. Everywhere at the Alpina has a contemporary mountain chic laced with a global sensibility, a generosity of spirit and space, and a sense of future.

Dritte Tier by Thomas Schütte, part of the hotel’s extensive collection of contemporary art. © The Alpina Gstaad

The Alpina in, or to be precise, above Gstaad, is the one example of a European resort hotel that surpasses its surroundings. Some of the great legacy hotels of Europe have been defined by the locations they sit in and need to live with the legacy. Others feel as if they might have been transported from any exotic location in the world.

The hotel’s Japanese restaurant Megu. © The Alpina Gstaad

The Alpina does something else: it redefines the location it is in. Given that Gstaad is the hub for some of the world’s wealthiest and most discerning people, that is quite an ask. Yet breeze in amid the local granite and reclaimed wood, walk up the sweeping staircase to the bar, lounge and outside terrace, enjoy the light and the art collection, and you know you’re in a place which is writing its own story.

Read more: Chopard’s Caroline Scheufele on versatile jewellery design

There is nothing particularly Swiss about a salt room, a cavernous underground lounge and juice bar, or a huge indoor pool and hydrotherapy area in a grotto. Or about a Japanese restaurant with 16 Gault Millau points and a ‘gastronomic’ yet contemporary informal restaurant, or Sommet, also with a Michelin star and 18 Gault Millau points. Like Schrödinger’s cat, the Alpina is, and it isn’t. Maybe it’s the owners: one is a local Swiss, one is decidedly international, together they give the Alpina its confidence.

The duplex Panorama Suite with its outdoor jacuzzi. © The Alpina Gstaad

But this is not a place where comfort is sacrificed on the altar of credibility. The rooms have a gorgeous mix of local wood (much reclaimed from barns), stone, contemporary art and giant glass-cowbell light fittings – with perfect sheets and massive bathrooms. And huge balconies; whatever side of the building you are on you have peace, a sense of place and a magnificent view.

Gstaad is moving to its own tune, there is something of a real-estate boom in the area right now. Among the most fortunate are those who bought one of the residences within the hotel building: these are effectively buildings within the building, to match the most opulent chalets anywhere in Switzerland. Unfortunately, they have all sold, but if you know the right people, you may be able to persuade them to rent them to you or, who knows, even sell them to you, one day. Meanwhile, just check in.

Darius Sanai

Book your stay: thealpinagstaad.ch

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

October is not usually known as a ski month. But at the Andermatt Swiss Alps development, you can cruise the slopes down the 3000m Gemsstock in the morning, and be back for some witches’ brew at the Chedi in the evening.

There are many time-honoured ways to get thrills and excitement on Halloween; skiing, traditionally, has not been one of them. Yet if the fancy catches you, that is exactly what you can do this October 31, on one in Switzerland’s most serious ski mountains.

The Andermatt Swiss Alps ski region, located bang in the centre of the country, is opening this October 31 with its top run, descending from a dizzying 2955 metres, the first to open, followed by two steeper and more challenging glacier runs later in November.

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Andermatt’s Gemsstock mountain, where the action is taking place, is one of the most exciting in Switzerland. From the top you can see over to Monte Rosa, near Zermatt, on the Italian border to the southwest, and to Piz Buin, on the Austrian border, to the northeast. There is a vertical drop of more than 1500 metres from top to bottom. Many of the pistes are north facing and benefit from big snowfall caused by the “barrage effect“ of winds sweeping across north-western Europe and hitting the Alps. In simple terms: lots of snow.

Andermatt’s 3000m Gemsstock mountain

This year, after a hot autumn and early September, temperatures plummeted and the mountain has already seen several significant snowfalls, augmented by their own “snow farm” which preserves snow from the previous winter throughout the summer and feeds it into the slopes for the next season.

Read more: OceanX founders Ray & Mark Dalio on ocean awareness

Sadly, Halloween skiers won’t be able to take advantage of the full vertical drop down to the village at the bottom, which will only open in December. But the village of Andermatt itself is a new gem of the Alps, a tiny traditional village of cosy shops and restaurants augmented by a new luxury development.

The Chedi with its private ice-rink (above), and Japanese restaurant

Aficionados will know that its highlight is the Chedi hotel, with its Japanese at the Chedi restaurant at its heart. There is also a burgeoning new residential development village created around the Piazza San Gottardo up a little further along the road, with apartments – uniquely, open for purchase by foreigners – restaurants, shops, bars, two hotels (one already open) and even a concert hall.

A rendering of Andermatt’s latest apartment building Enzian

Later in the season proper you can also sample Michelin-level fine dining on the other mountain, Gutsch. For the moment though, it’s time to put on a Halloween costume, book your place in the cable car up the mountain (a new service for coronavirus times) and whizz down from the top on your broomstick, or even the latest pair of Stöcklis.

Find out more: andermatt-swissalps.ch

The White Millefeuille is chef Anne-Sophie Pic’s ‘masterdish’ at her restaurant inside the Four Seasons Ten Trinity Square London

Anne-Sophie Pic’s London restaurant La Dame de Pic has already been awarded two Michelin stars for its innovative French cuisine, but there’s one dish that everyone’s talking about – and Instagramming. LUX visits Four Seasons Ten Trinity Square to try the infamous White Millefeuille

Chef Anne-Sophie Pic

Millefeuille is one of the most classic French desserts – even if you don’t recognise the name, you’ve probably eaten, or at least seen it in the window window of a smart pastry shop. Traditionally, a millefeuille is made up of three layers of puff pastry divided by layers of crème pâtissière. French chef Anne-Sophie Pic‘s millefeuille, however, is something quite different.

The dessert arrives on our table in the shape of a perfectly seamless white cube. If you’re active on Instagram, you’ve most likely seen hundreds of pictures, but for those of you who haven’t: it looks a little bit like a giant marshmallow surrounded by foamy white puffs (see above).

We’re anxious as to how to actually eat it. Which side are you supposed to start with? Will it collapse? Will something jump out?

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Fork in and it holds its cubic form perfectly to reveal layers of thin pastry interspersed with Jasmine jelly and vanilla cream. More importantly though, it’s completely delicious: light and sweet with an unexpected hint of spice from Madagascar pepper.

‘The desire of this dessert was to make a monochrome dish, which is as elegant in its visual approach as it is in its taste,’ Anne-Sophie Pic says. ‘And for me, elegance, then and now, is white. ‘

La Dame de Pic is Anne-Sophie Pic’s two Michelin-starred restaurant at Four Seasons Ten Trinity Square

Read more: Why Hôtel de l’Etrier is the perfect alpine hotel

It’s an elegance that resonates throughout the restaurant from its glassy, bright interiors and crisp table settings to the service and inventive presentation of each dish. The bread, for example, comes as a complete miniature round loaf, served on a bed of smooth white pebbles, which we mistake for dough balls and almost eat.

‘The White Millefeuille lends itself to playfulness: deriving from its perfect shape a signature dessert for each of my restaurants is a game, both for me in creation, and for the customer taking a tour of the Dame de Pic,’ says Pic, whose culinary creations have recently earned the restaurant its second Michelin star and Pic’s seventh.

If you haven’t made it to the restaurant yet, now is the time to go.

For more information visit: fourseasons.com/tentrinity/dining/restaurants/la-dame-de-pic-london/

The winter terrace at Rampoldi restaurant in Monaco

First opened in 1946, Mediterranean restaurant Rampoldi is legendary in Monaco for hosting Hollywood icons such Princess Grace and Roger Moore. Now with a fresh new look and a young star chef at helm, the restaurant has its sights set on Michelin status. LUX asks chef Antonio Salvatore 6 Questions.

Chef Antonio Salvatore

1. What are some of the food markets across the world that inspire (or have inspired) your cooking?

Food is emotion. I believe food generally serves as a natural gateway to a more profound understanding of culture and history, people and places. I’ve made no secret of my affection for cooking with fresh produce. Some markets that have really caught my eye are: La Boqueria in Barcelona, Mercado Saint Miguel in Madrid or Rungis in Paris. Wherever I go, I take inspiration from what I see and bring that into Rampoldi’s special gourmet dishes.

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2. Which dish are you most proud of at Rampoldi and why?

I think it would definitely have to be the roasted baby goat with aromatic herbs. My attachment to this dish is deep, dating back to my childhood. The rugged terrain of Basilicata [in Southern Italy], where I come from, makes the area well-suited to goat grazing. The tender, tasty meat of baby goats from the area is very valued. I love this dish for its simplicity and unparalleled flavour… some our clients come especially for this.

3. What’s the secret behind your famous tomato sauce?

A true classic of Italian cuisine! It’s perfect for so many dishes, but especially for pasta. Fresh tomatoes from the garden and the best olive oil are two of the main ingredients. For the rest, you’ll have to come to Rampoldi to try it out…

Beef steak tartare with Royal Premium caviar and apple sorbet

4. With so many luxury dining options in Monaco, how do you stand out?

Our clients understand that dining out at Rampoldi is a great opportunity to unwind, relax and enjoy a delicious meal in a great atmosphere. I have always believed this is what most people are looking for when they decide to dine out. Our clients are at the core of everything we do. We have created a very strong connection with our regulars over the years. I know all of their favourite dishes and flavours!

Read more: Geoffrey Kent’s hottest travel experiences & destinations for 2019

5. Where do you see the restaurant in five years?

My heart is in Rampoldi. My everyday goal is to see my clients happy. Rampoldi has become a feeling, a state of mind. Over the next few years, I’m aiming to achieve our first Michelin star, which would be a great validation of our work. We also have plans on expanding internationally in the next couple of years.

Rampoldi’s ‘Le Citron’ – lemon and mint pieces covered in white chocolate mousse, coated in a crispy shell

6. What’s the most important lesson you’ve learnt as a chef?

Over the years, I have had incredible opportunities, working alongside some of the world’s most famous chefs. After spending so much time with these incredible and successful individuals, I now better understand the meaning of creating a compelling vision for my life: understanding the power of a decision, working harder than anyone else to achieve my goals, and learning to adapt in life and my career when things don’t go as planned. However, the most powerful lesson I’ve learnt is to respect and understand the power of relationships. This is something I brought with me at Rampoldi and is at the core of everything we do.

Find out more about the restaurant: rampoldi.mc

Autumnal colours at Coworth Park country hotel

Why should I go now?

Golden leaves, bright frosty mornings, log fires, long evenings – autumnal English country landscapes are hard to beat, especially when you can curl up in the drawing room of Coworth Park after a bracing walk.

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What’s the lowdown?

Coworth Park is an easy 45 minute drive from London, along winding country lanes through some of England’s prettiest pastoral scenes, close to Windsor Great Park. The main hotel building, a Georgian style Mansion House, is elegant and homely with cream fabrics, dark woods and a sweeping staircase leading up to bedrooms.

Restaurant Coworth Park, headed by Executive Chef Adam Smith was recently awarded a Michelin star

Sitting opposite the cosy drawing room and bar, is Restaurant Coworth Park (recently awarded a Michelin star) overlooking the rose garden and fields beyond. Adam Smith‘s menu follows a Best of British theme, using locally-sourced seasonal ingredients to create delicately flavoured dishes; we were especially delighted by the Cep Velouté (one of the best mushroom soups we’ve ever tasted) and the surprising combination of pink grapefruit, vanilla, white chocolate and ginger beer for dessert.

The Spa at Coworth Park

A rustic dining experience can be found at The Barn, close by to the converted Stables and Cottages (more bedrooms), where guests wander in for a hearty lunch in their muddy boots after a polo lesson with Guards Polo Club on Coworth Park’s professional polo field.

Read next: Fashion designer Markus Lupfer’s playful glamour

The award-winning Spa is partially submerged in the landscape with a live roof sprouting herbs, and huge windows on the upper floor at The Spatisserie restaurant, providing panoramic views of the parkland. There’s heated indoor swimming pool with underwater music and surrounding loungers, an aromatic steam room and high tech gym.

Getting horiztonal

The Drawing Room

Our room, a Stable Premium Suite, was spread across the entire top floor of a converted stable block with a large sitting room, slightly more compact bedroom and a spacious marble bathroom with two standalone, roll top copper bathtubs. Warm, earthy tones, equestrian themed artwork and underfloor heating create a homely atmosphere.

Nitpicking

Not all the bedrooms overlook the parkland, ours had huge windows but a view only onto the stable courtyard. Whilst they might be slightly less grand, the cottages or the Manor House front bedrooms are the ones to pick.

Rates: From £318 ( approx. $400/350€ )

dorchestercollection.com/en/ascot/coworth-park

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.”

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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

Luxury Cotswolds hotel Buckland Manor is part of the Andrew Brownsword hotel collection

In an era of parallel entrepreneurs, who start several businesses at once, Andrew Brownsword is a serial entrepreneur, in two very different businesses. He is currently chairman and owner of Andrew Brownsword Hotels, which owns a group of luxury country house hotels (renowned for their cuisine) and chic city hotels, in the UK. But until 1994, he was known as the man behind the famous ‘Forever Friends’ greeting cards that took the market in the UK and across Europe by storm, reinventing the staid greeting card industry. He sold the company to Hallmark that year for a reported £195m, and bought The Bath Priory, a stately hotel just outside Britain’s most celebrated Roman city. Now he is chairman of the eponymous company that owns and runs a total of 13 hotels around the UK, including country jewels such as Gidleigh Park, with its two Michelin-starred restaurant; and boutique city hotels under the Abode brand. In a rare interview, he speaks to LUX Editor-in-Chief Darius Sanai about the luxury hotel market, and why Britain is best.

Andrew Brownsword

LUX: Cuisine seems to be an important element of your hotels, although it never seems to be formal. Is it growing in importance?
Andrew Brownsword: Yes. We do believe in the (Michelin) star system, and Michelin is a good guide for people. Gidleigh Park is a two Michelin star hotel, for example. Bath Priory has always been a one Michelin star hotel, and it is a place for local celebration.

LUX: You are developing city centre hotels alongside the country hotels; why?
Andrew Brownsword: We’re acquisitive but we are essentially looking for the right locations. In the city centres, as in the country. Where we are, Chester, Manchester, Canterbury, Exeter, Glasgow, London, they’re all important to us, but you could add Cambridge and Oxford to that, also Birmingham. Purely by chance, most of our hotels are on Roman roads, or were around in Roman times, or they’re in Roman cities, so you could say most of the country was invaded by Romans but it’s remarkable that you can take a Roman journey through England and probably stay in 11 of our 13 hotels.

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LUX: You don’t go for great lavish launch parties and big media trips, do you?
Andrew Brownsword: That’s just me I suppose. I think it’s a reflection of my personality as much as anything. We are self-funding and we don’t have big American companies or big Chinese companies behind us, so we do it quietly. But you’re right. We have a media presence obviously and we gain a reputation slowly by stealth.

LUX: This is obviously your second career – is that correct to say?
Andrew Brownsword: Yes, I’m a publisher really. A greetings card publisher, specifically.

LUX: You still feel that that’s what you do?
Andrew Brownsword: Yes, it’s on my passport.

LUX: What was the secret behind building up your greetings card company, from zero, as thoroughly as you did over the years?
Andrew Brownsword: I think it was just, well obviously hard work, we started from scratch. I think we were very innovative and creative. OPQ – originality, personality and quality – all we did was create different things. The market when I joined it was mostly imported from America. So we had American humour and American humour is very sanitised. We Brits, as you know, tend to use innuendo and take the mickey and use drink and drugs and sex and rock ‘n’ roll as things on which we base our humour. So I produced cards like that and eventually we produced very soft teddy bear cards, which also, well that was the big one. Forever Friends, is what I’m known for. We started creating imaginary worlds through these things and it struck me that anybody else would have produced it as a child’s range, but my feeling was that it could be very successful as an adult range. Which it was, worldwide.

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LUX: It sounds like you’re saying the creativity of the cards was as important as anything else, what was on them?
Andrew Brownsword: Yes. Words were important but they were very different words to a word or humour that had been used before. It was very much the English way of doing things.

Interiors at The Slaughters Manor House in Gloucestershire

LUX: And after selling the cards business, you could have just done nothing or had one hotel..
Andrew Brownsword: Oh right, yes we sold well, it was a very successful business, it was an international business. I enjoyed the travelling. I did that for another four and a half years at Hallmark. And yes, we bought this hotel within months of selling the business, just on a whim because we suddenly had some money. And so, we bought the hotel, and that is how it started really. But we didn’t really think of having a chain of hotels, that wasn’t the intention. And still, the thing is to get quality, to get original sites, not necessarily to dampen the quality of what we do, the personality of what we do. We like to think our hotels each have a different personality. It’s quite an eclectic group of properties, and it’s interesting like that to me. Usually they feature our art and a lot of our interior ideas, and they don’t necessarily follow a formula. And at Gidleigh Park, we extended and refurbished the whole hotel shortly after purchasing the property, adding elements including stunning bathrooms and spa suites, to retain the property’s character but include some contemporary elements.

LUX: Is there an abiding philosophy? Obviously the hotels are individual, but is there something that customers will experience at all of them that is the same?
Andrew Brownsword: Yes, good service. Excellent service, I hope. And the quality, as I say, of the bed and the bathroom. Bathrooms are very important to us.

LUX: Hospitality is a tough industry.
Andrew Brownsword: It is a tough industry but we’ve been in it 25 years, so there’s a lot of new people on the block. It’s tough like this, where it’s not a formulaic thing. Premier Inn is not tough anymore, you can just open those all the time. But I don’t want to be in that business. The greeting card business was different, it was exciting. We all have exciting businesses, you publish magazines, that’s exciting. And that’s your career. My publishing is my career. What would you next step into if you didn’t do that? It’s a difficult question. So this suits us because we’re laying down a foundation. We’re not just hoteliers, we’re fairly large-scale farmers as well. I’ve been buying land for some years. Mainly arable land. So we mainly go growing crops. Potatoes, carrots and parsnips for the big supermarkets.

LUX: Is that a separate business that you own?
Andrew Brownsword: Very separate. It’s mainly owned, like all these businesses, in trusts for family future. I’m building a future for the family, hopefully, and setting it in such a way as most people like me do, that it will continue for a long, long time.

LUX: Your country hotels are luxury, and your city hotels are more four star level.
Andrew Brownsword: Yes. While Exeter and Canterbury are still primarily leisure, and actually Manchester and Chester are as well really, I think we suit the leisure market [in the cities] very well. We try to be a bit different, have a sense of location and personality. A bit creative.

Gidleigh Park has a renowned two Michelin-starred restaurant

LUX: Gidleigh Park [with two Michelin stars] is renowned for its food. Since you took over [and installed new chef Michael Wignall] the cuisine has become lighter. Is that a trend with fine dining?
Andrew Brownsword: Yes. I think food is becoming simpler, more digestible and more interesting, in so many ways. Gidleigh Park now has a much lighter touch.

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LUX: As a greeting-card publisher turned hotelier, was there ever any impetus to run a hotel when you were young?
Andrew Brownsword: Yes, my original life plan was to manage a hotel. I had a job in a hotel as a waiter, when I was 15,16,17, at a hotel in Folkestone but on my first year at Brighton polytechnic I came back and immediately got chicken pox, so they didn’t want me in the hotel, quite rightly, so I lay on my back for about 2/3 weeks and the chicken pox went and I hadn’t got a job. And my mother sent me down to the labour exchange, as it was called in those days, to get a job because my mother was very much a driving force. And I had a very ambitious mother, for me. So she sent me down to the labour exchange and I got a job driving a van for a packaging manufacturer. He he did produce a few greetings card on the edge of the packaging sheets. He printed these things on the edge.

My idea was simply not to be a printer because I hadn’t any money, so I couldn’t buy the machinery. But actually to hire someone like him to print them. Those days, in the Seventies, if you were a greeting card publisher, you were also a printer. That’s where all the cost was.

So I started, and I don’t think entrepreneurs are born entrepreneurs, I think they are created out of naivety. We start with these wonderful ambitions and dreams and then we have to find the first hurdle comes and then the second hurdle is bigger. For ten years I was probably insolvent. I owed the bank more money than I had, but I always succeeded, never went bankrupt or anything. But for a few thousand pounds I was probably insolvent for ten years, until I found the artists and the creativity in me, and the creativity came from seeing a market place full of American greeting cards. And realising that we were funnier than these greeting cards. You and I could crack a funnier joke than most of these cards. The Americans take life seriously and they take themselves seriously and they can’t laugh at themselves really. I thought that was the case for Germans as well but actually we did very well in Germany in terms of British humour, until I found out that the German translations of our humour were very, very on the edge. Risqué is the word.

LUX: Is there a common factor in success in your two careers?
Andrew Brownsword: I think so. It’s trying to do things in a different way and trying to be original and putting some of your personality into the businesses you run, and certainly the quality matters. And you have to enjoy it. You’ve got to be having fun.

brownswordhotels.com