A watch, a ring, or a fine piece of silver – these are the kind of time-honoured treasures that get passed down through generations. But what are the heirlooms of today? With her elegant collection of linens and homewares, Emilia Wickstead has an answer.

The New Zealand-born fashion designer is known for her exquisitely tailored garments, pieces whose modern silhouettes have become perennial favourites of A-Listers, including the royal family. But with Emilia Wickstead Home – which Wickstead expanded this spring with help from her mother, Angela – she’s turning her couturier’s eye to the table.

‘Beautiful Italian linens and embroideries are something we admire but don't necessarily own ourselves. I wanted to bring this to the marketplace in a design-led way under the name of a fashion house,’ she tells Wallpaper*.

Like her clothing, Wickstead’s home items are crafted from the finest materials using traditional techniques, like silver cutlery crafted in Sheffield, porcelain made by a family-run business in Limoges, and crystal glasses blown by a traditional Murano artisan. ‘If you're going to do it, you need to do it properly,’ laughs Wickstead. ‘This is for long longevity, these are the keepsake pieces.’

Equally timeless is Wickstead’s hosting style. Here is how she does it.

How we Host with Emilia Wickstead

Wallpaper*: Are you a relaxed host and pull it all together at the last minute, or is there careful planning?

Emilia Wickstead: I'm from New Zealand, which has quite a relaxed culture, but then I have the Italian influence of my grandmother, who’s always hosting and having everyone around the table. Although it was relaxed, it was also well thought out and beautifully laid. It was the same linens that came out all the time. We weren't inventing a new tablescape every time; it was just beautiful linens and different sets. I remember those throughout the years, and I want to recreate that storytelling element. There's a bit of nostalgia with that, which I love.

Can you cook?

EW: My husband is an exceptional cook. I love to cook, but he takes a lot of pleasure in feeding a table of people. Nothing feels stressed or frantic in the kitchen when he's cooking, which makes it very enjoyable. To have a home-cooked meal is very much part of our culture. I remember fondly that my mother would always have fabric napkins at the table and fabric placemats or a tablecloth. Why wait for a special occasion when it can be something as simple as breakfast? Every moment is a special occasion.

W*: What was the first dish you perfected to feed a group of friends or family?

EW: My grandmother taught me how to make Bolognese sauce, and I took that with me to university. I was very popular with that dish when I was living in London in my younger years. The secret to the recipe isn't in the ingredients, but the way in which you cook the meat. It's the timing of how dry the meat is before you put in the next ingredient. I also make a pavlova, which is a New Zealand meringue cake.

W*: Drinks on arrival – what’s on offer?

EW: I drink a lot of Champagne. That is my go-to drink; I always have a refrigerator stocked with my favourite. My husband will make cocktails, which is very old school. One thing that my husband and I have in common is that we love having people over and allowing people to eat as much as they can, drink as much as they want, and have a merry time.

W*: Go on and tempt us – what’s your go-to menu, from starters to afters, whether homemade or bought in?

EW: I don't really think there is a go-to. I think it's very much comfort food, though. It is about having people over and taking care of people, which is what we ultimately enjoy.

W*: What’s on your dinner party playlist?

EW: I'll have anything from a bit of jazz in the background like Chet Baker, to Paul Simon, Van Morrison or Eric Clapton. I might also throw Elvis or Aretha Franklin into the mix. It feels relaxing and warm. It's often what I have in the background at home, or if I'm working. It's the same playlist throughout my life of doing all the things I enjoy. I get the best out of myself.

W*: Who’s your dream dinner party guest?

EW: I honestly would love Diana Vreeland. She's someone I've always admired. She was crazy about her family, her sons and her husband. I imagine she was family-oriented but also very much a creative. From art to literature, she was so expressive with her point of view and opinions. One of my favourite things about having people around my table is when people are really expressive and have really strong opinions. Conversations are always very funny and open. She would be the perfect addition with her wit and wisdom.

W*: Dish the dirt: what should a host never do?

EW: Ask people to leave early.

W* What would be your secret to a successful evening?

EW: That people don't want to leave. The whole idea is for everyone to have a good time.

Get the look

With its colourful ceiling mural and steel countertops, artisanal ice cream bar The Dreamery, in Islington, north London, has gained popularity for its decadent scoops paired with crisp wines. Now, the whimsical bar welcomes a takeover by Spanish maison Loewe Perfumes.

The collaboration marks the launch of the new Loewe Pistachio scented candle. The green-fleshed nuts have long been popular in the culinary realm – not least as an ice cream flavour – but have been in exceptionally high demand in recent years, particularly since the rise of pistachio-filled Dubai chocolate.

Celebrate pistachio at the Loewe Ice Cream Bar

Translating pistachio into a fragrance that balances freshness and warmth, Loewe’s candle might be the most indulgent iteration of the flavour. Crafted in Spain using natural wax, the candle is packaged in Loewe’s signature grooved vessel. Its smooth pale green housing is a perfect pistachio hue – a shade you’ll also find painted across the façade of The Dreamery in its new incarnation as The Loewe Ice Cream Bar pop-up (running until 30 July 2026).

Set within a repurposed 19th-century building, The Dreamery was launched in 2024 by Alex Young and George De Vos – the duo behind natural wine bars Goodbye Horses and Stable Wines – and serves flavours from blueberry and ricotta to croissant and custard. Now, visitors can enjoy a limited-edition pistachio flavour during the Loewe Perfumes takeover.

There’s seating for 20 within The Dreamery’s whimsical interior, which retains its existing look – dominated by British artist Lucy Stein’s folklore-inspired ceiling mural, painted on a grid of backlit, Japanese unryu rice-paper panels.

Loewe Perfume's bespoke pistachio ice cream will be served exclusively for the duration of the partnership, until 30 July 2026, at The Dreamery 20a Halliford St, London N1 3HD. Open daily, 12-10pm

If your summer has been a warm one, relief is at hand – La Maison du Chocolat has launched a new collection of ice creams and frozen chocolates, the perfect way to cool down and refresh those taste buds at the same time.

Melt into La Maison du Chocolat's summer collection

Since its founding in 1977, at 225 rue du Faubourg Saint-Honoré in Paris, the chocolate house has flirted with an almost couture-style approach to its craft, elevating the concept of what chocolate can be. This continues today, with the Parisian chocolate house unveiling an array of summer sorbets, smooth ice creams, and frozen bars in an assortment of flavours.

Succumb to vanilla marbled with chocolate caramel, pistachio, or zingy raspberry. Or devour artisanal ice cream sticks in pistachio, dark chocolate, vanilla, and hazelnut praline, or raspberry and passionfruit.

If you're a chocolate lover and have lost a bar or two to the sweltering sun, then Nicolas Cloiseau has developed a solution. The head chocolatier at La Maison du Chocolat has reinvented ganache for chocolate to be enjoyed fresh or frozen. The frozen chocolates come in three flavours: lemon and elderberry, vanilla from Madagascar and Papua, and caramel and fleur de sel.

La Maison du Chocolat’s new collection could be summer’s most stylish edible treats. No surprise, given founder Robert Linxe’s connection to couture; he has previously said: ‘I was deeply drawn to couture, my uncle was a tailor, and I had an eye for it. We were fortunate to meet extraordinary people: the Chanels, the Diors, the Balmains. I would study the colours of the dresses. I only loved truly beautiful things. It wasn’t out of envy, just for the delicacy. You mustn’t look at average houses. You must always aim very high.’

lamaisonduchocolat.com

Who would think a fridge could be cute and collectable? Well, Rocco’s smart fridge got that bit more exciting thanks to a limited-edition collaboration with Gohar World. The viral mini fridge company (which teamed up with New York’s renowned Kat’z Deli on a limited edition in 2025) has revealed a new version in a sleek piano-black finish, chosen to merge into any setting as a piece of furniture.

Rocco, which specialises in high-tech, temperature-controlled drinks fridges, aims to make ‘every day a mini celebration’. This makes it a perfect partner for sisters Laila and Nadia Gohar – founders of Gohar World – known for their whimsical tabletop settings and design pieces crafted for entertaining.

Gohar World's mini fridge for Rocco

The special version of The Rocco Fridge is finished in Mirror Black, a first of its kind for the brand. To achieve its ultra-reflective surface, each fridge undergoes an automotive finishing process, including premium lacquer, ceramic coating, three-stage polishing, and a final wax.

If you’re familiar with the Gohar universe, you’ll know the sisters are not afraid to have fun. And in true Gohar World form, the collaboration extends beyond the fridge. Each appliance includes a pair of champagne coupes, designed exclusively by Gohar World and Rocco.

‘As a rule, I always keep a bottle of chilled champagne at home ready for any unexpected guests,’ says the former Wallpaper* guest editor, Laila Gohar.

The Mirror Black Super Smart Fridge is $2,295, including two exclusive Gohar World & Rocco Champagne Coupes. Available in very limited quantities beginning 14 July 2026 at roccofridge.com

Ghraoui is one of the oldest luxury chocolate houses in the world. Its story began in Damascus in 1805, and encompasses centuries of cultural heritage and dedication to quality and craftsmanship amidst global change and political upheaval.

The House of Ghraoui takes its name from the prominent Middle Eastern family whose trading business, in the early 19th century, specialised in sugar, coffee, tea, and fruit. Their chocolate enterprise began in earnest in the 20th century, when Sadek Ghraoui, head of the family’s fourth generation, visited France in 1931. His experiences there inspired him to introduce luxury chocolates to the Middle East.

With great business acumen and knowledge of his customers he realised that a marketing strategy was called for to tempt the Middle Eastern market, who were used to Arabic sweets, to try a new European confection. He placed other desirable goodies, such as silver scissors and golden letter openers, within the beautifully made chocolate boxes to add to their allure.

Discover Ghraoui's mouth-watering delights

Ghraoui chocolates were soon well known and highly esteemed, and they became a prized luxury gift. Appreciation of Ghraoui delicacies was not confined to the Levant region, but spread into Europe too. During the 1930s and 1940s, their products were sold in fancy London emporiums such as Fortnum & Mason, Selfridges and Harrods, and In Paris, at luxury food stores Fauchon and Hediard.

The Ghraoui story is bittersweet tale of Damascene heritage and of resilience, as it moves through decades of political turmoil in Syria, and the rise and fall of the family fortunes. Despite this, the Ghhraoui’s kept their legacy alive. Sadek’s son, Bassam Ghraoui, rebuilt the business from a single remaining shop, and in 1996 he founded the Ghraoui Chocolate Company and opened a modern factory near Damascus. This was forced to close in 2012 because of the Syrian civil war, but in 2017, the brand was reborn in Hungary, with Ghraoui’s flagship store located on Budapest’s prestigious Andrássy Avenue, (a UNESCO World Heritage Site)

Ghraoui chocolates are a unique fusion of traditional Middle Eastern ingredients and modern European chocolate-making techniques. They feature fragrant Levantine flavours including orange blossom, rose, apricot, and pistachio, and Ghraoui also offer other delicacies such as dates, fruit confits, and marron glacé. The confections are hand finished and elegantly presented in a range of gorgeous boxes befitting a luxury gift.

Ghraoui products are available in Budapest, Dubai, Abu Dhabi, and Doha, as well as Beirut and Amman, and in London they have made a proud return to Harrods, within the magnificent Chocolate Hall.

ghraouichocolate.com

In a world full of beige Martin Brudnizki’s maximalist designs are visually refreshing. A Wallpaper* favourite, the Swedish designer’s work is all about colour, with his interiors deeply reflecting the context he is in. This is showcased in his expansive portfolio of projects, from the labrador and garden-inspired interiors at Annabel’s, and Harrods’ wine rooms, to the Four Seasons’ new cruise ship and the eclectic romanticism of The Fifth Avenue Hotel in New York.

Naturally, this archive is a glorious feast for the eyes, and only natural for Brudnizki to chart it in a monograph – however it is a tome with a twist. ‘I've been asked several times to write a book, but the whole idea of doing one of those portfolio books doesn't appeal to me. When I was discussing it with a friend, he quite simply said "Well, it should be about colour."’

And that is what Brudnizki did. Much like its title, the book charts his life in colour. The reader explores 46 different projects with each chapter dedicated to a different colour – highlighting the interior designer’s essential ingredient in his design pantry.

Since founding his eponymous studio in 2000, Brudnizki has been working between the London and New York offices, until nesting into the beautiful countryside in west Sussex where he resides with his fiancé Jonathan Brook, and their whippet, Zenon. While walking through the West Dean Woods with Zenon, Brudnizki speaks with Wallpaper*, and believes the backdrop not only sets the scene for a perfect dinner party, but reflects the personalities of the hosts. From lighting to scent, music to a roaring open fire, this is How We Host with Martin Brudnizki

How Martin Brudnizki hosts

Wallpaper*: Are you a relaxed host and pull it all together at the last minute, or is there careful planning?

Martin Brudnizki: I'm sort of midway, probably. When it comes to the food, I do plan it about a week in advance because we are constantly between London and West Sussex. Me and my fiancé sit down and write a menu, and then depending on what it is we usually prepare the food a day before. For instance, if it's autumn or winter, we do a coq au vin. We'll even do the potatoes the day before, because there's nothing more delicious than a twice, or even thrice, cooked potato. It makes them just so delicious. I don't like to panic on the day. We want it to be easy because we want to enjoy the time we spend with our friends. We want to have fun too.

W*: Can you cook?

MB: Yes, adequately. But we're fortunate, where we live in the country, in West Sussex, there are some really big estates like Cowdray, and Goodwood, and you can buy great meat compared to what you can find in London. There's a fantastic fishmonger here as well. I think it's all about the produce at the end of the day. That way you can keep your style of cooking very simple, because it will just be delicious.

W*: What was the first dish you perfected to feed a group of friends or family?

MB: We do a lot of salmon, just for ourselves, so that's something we know how to do extremely well. It's quite nice to experiment with different herbs, but the one dish that I have perfected over the years, and sort of made a mission to perfect, is the Sunday roast.

The perfect Sunday roast is all about the gravy and quality of meat. Yorkshire puddings are something I have always wanted to do but can never be bothered, only because I focus more on the gravy. For me, that's sort of very important. It’s my piece de resistance.

W*: Drinks on arrival – what’s on offer?

MB: So, most things are on offer in our household. We usually keep a fully stocked bar. So if you arrive, you can have a dry martini, a negroni sbagliato, or a gin and tonic if you want to, but as a standard, we have champagne.

Sometimes we do Bellini – a bit of white peach juice just mixed with the champagne. We do it in a jug, so that'll be sort of always a welcome drink, but people can have whatever they want from that. As I said, a very well-stocked bar, I think, is so important for any good time.

W*: Go on and tempt us – what’s your go-to menu, from starters to afters, whether homemade or bought in?

MB: When we first moved down here [Sussex] and we started entertaining we kept it more formal, so food was served at the table. Now, we have stopped all of that because then you can invite more people. We do these big summer parties where everything is just in the kitchen, people can come in, help themselves, and then they can sit wherever they like. It's more fun. It's easier, it’s less fuss.

In the summer, we might do a potato salad with a big piece of salmon, and then we'll do two or three different salads, like a peach or a celery salad, and thrice-roasted potatoes. For dessert we keep it really simple. Coffee or espressos and fudge. Someone always brings chocolate. If it is a smaller party we sit around the dining table and have panna cotta.

W*: What’s on your dinner party playlist?

MB: My fiancé has a great playlist we use. It's a mix of midcentury Italian music, to classical. I would say it's quite simple and pleasant songs. Not disco, or anything like that.

W*: Who’s your dream dinner party guest?

MB: When we do dinners or lunches for me it's important you spend it with friends. People who you love, people who you like. People who you might not see every day, every week. It's just great to catch up, so that's sort of what's important to me. If it's going to be a dream guest, it would be someone like the artist Rex Whistler, photographer Cecil Beaton, or the theatre artist Oliver Messel.

W*: Dish the dirt: what should a host never do?

MB: I think a host should never be too prescriptive. Try to push too hard for some sort of outcome. I think a host should be relaxed, and not creating a stressful environment by things needing to be done in a very specific way. Hosting is about looking after people, making people feel comfortable and having the best time of their life.

W*: What should a guest never do?

MB: Be a brag, or be a bore. They shouldn’t complain. Show interest in other people. Be entertaining, be sparkling. Effervescence is required.

W*: What’s the secret to a successful evening?

MB: It's the mix of everything, but the main thing is to make people feel relaxed. Make sure that everyone talks to each other, and people are enjoying themselves. I think the ingredients to make that work, of course, are a good selection and then food. And, don't forget, add colour to your dinner party.

mbds.com

Welcome to the latest instalment of 'How We Host', our column devoted to all things entertaining from those who know a thing or two about having a good time. Next to dissect the fine art of entertaining is actor, model, author and activist, Pamela Anderson.

In a career that’s spanned fame and activism, Pamela Anderson has ventured from a humble upbringing to the forefront of Hollywood stardom. For a new generation, however, Anderson is probably best known for her stunning bare-faced beauty looks. For women of all ages, the liberation of seeing the 1990s bombshell go make-up free, especially in the over-saturated era of Facetune and filler, felt like a breath of fresh air.

Her life at home is just as down to earth. These days, Anderson lives a quiet life on her seven-acre coastal property on Vancouver Island, where she grounds herself with gardening. 'I read to my plants – I talk to them, sing, and they talk back,’ she says. ‘My Finnish grandfather always told me that the trees spoke to him.’

Still, Anderson has been busy in recent years. In 2024 she released a plant-based recipe book I love You and the TV show Cooking With Love. She’s also released a new furniture collection, ‘The Sentimentalist’, with Olive Ateliers. Inspired by her memories of staying at her grandmother’s home along the Salish Sea and her love of the outdoors (‘I must be outdoors in every season, to touch the earth with my feet and hands,’ she says), the collection comprises 40 indoor-outdoor pieces, ranging from a lounger to a dog bed, crafted from natural rattan and solid teak.

We caught up with Anderson to hear how she makes guests (and her dogs) feel right at home, from chicory dandelion coffee on the dock, to a picnic of minty pea-potato pierogis.

How Pamela Anderson hosts

Wallpaper*: Are you a relaxed host and pull it all together at the last minute, or is there careful planning?

Pamela Anderson: It depends. I’m more spontaneous these days, and it’s a challenge when last-minute guests come, but a visiting cake and tea are easy to throw together. I love my three-tier tea platter. I am, and have always been, a big planner when it comes to parties. I’m known for wilder ones from when I was younger. I’ve even created circuses in the forest; if you were there, you know.

W*: Can you cook?
PA: I like to think I can, but cooking is never-ending. It’s an experiment. I love to learn. I love to use what is in my garden and go from there. Simplicity is actually better, I find.

W*: What was the first dish you perfected to feed a group of friends or family?
PA: I don’t think I have perfected anything, but my lentil soup is a crowd favourite, and it always comes out a little different. I crave it.

W*: Drinks on arrival – what’s on offer?
PA: I like to offer water. Sparkling is nice. Fewer people seem to drink these days, at least that I know of, though I have wine and champagne on hand. Rosé with ice cubes, also known as ‘a swimming pool’, is a poolside favorite and reminds me of the south of France.

W*: What’s your go-to menu, from starters to afters, whether homemade or bought in?
PA: All homemade, of course. My family loves my fresh sourdough. It’s a pleasant starter served with olive oil and sea salt. A fresh heirloom tomato salad from the garden, roasted cauliflower or cabbage are big favourites, and berries for dessert. All from the garden, ideally. I love to can my vegetables and pickle, so my pantry is full. In wintertime, we can still eat from our bounty.

I write things out by hand and plan in my journal. It can be a great source of inspiration. I doodle and write poems. I created a journal with [my beauty brand] Sonsie to share with others and to spark inner thoughts and ideas. A menu can be born of a walk in nature, or a look on my dog’s face. I make dinners for my dogs, too. For breakfast, they get homemade doggie granola with superfoods and probiotics.

W*: What’s on your dinner party playlist?
PA: Jazz is nice and doesn’t overpower conversation: Miles Davis, John Coltrane, Stan Getz, Nina Simone.

W*: Who’s your dream dinner party guest?
PA: My kids and my dogs. I miss them. We all travel so much, and when we are all home together, at any one of our homes, it’s precious. We meet for dinners in restaurants all over the world, but a home-cooked meal together, with everyone participating (the boys are good cooks), connects the dots.

W*: Dish the dirt: what should a host never do?
PA: Never have bad lighting. Ambiance is important, and who wants to sit under a spotlight? Candles or natural light are best.

W*: What should a guest never do?
PA: I’ve noticed in my social scene that staying too long is the no-no, but leaving too soon isn’t cool either. You want to be engaged, interested, and polite. And don’t forget to bring something like flowers, wine, or sparkling water. It could even be wildflowers picked on the way.

W*: What’s the secret to a successful evening?
PA: Great conversation, good food and music. Good people leave lasting impressions and create memories. Human connection and romance are needed in the world. Friendship, too. We are all in this together, and the more we meet and encourage each other, the less alone we feel.

Tilda Swinton is to perform a new live work at the Guggenheim Museum Bilbao this June, created in collaboration with Dom Pérignon and co-created with the French fashion historian and curator Olivier Saillard. The two-day event, taking place on 5 and 6 June 2026, staged in the museum’s Frank Gehry-designed atrium, marks the Champagne house’s most ambitious foray into live performance to date. Tickets are available from 21 May from the Guggenheim Museum Bilbao website.

Tilda Swinton at Guggenheim Museum Bilbao

Titled ‘House of Gestures’, the performance centres on Swinton moving through and inhabiting space, using physical movement and costume changes as a way of evoking character, memory and place. Gesture becomes the sole means of expression; without script or speech, there is only Swinton’s body and what it wears, with garments worn and replaced before the audience, as a way of conjuring stories from an otherwise empty stage.

The piece was developed in close conversation with Dom Pérignon’s chef de cave Vincent Chaperon, whose own thinking about the relationship between wine and landscape runs through the work’s conceptual framework. As he explains: 'A great wine is the place of the soul. It is both landscape and portrait.'

For Swinton, the parallels between performance and champagne are more than merely figurative. 'With performance, we like to create a free zone where something honest and original can occur and become a shared experience in real time,” she says. “A great Champagne has much in common with this idea. Both are rooted in space and authentic presence, not representation or interpretation..'

The Bilbao performances coincide with the unveiling of Dom Pérignon’s 2018 vintage. The new release is the first to be produced entirely under the stewardship of Chaperon, who took sole charge of the cellars following the departure of his predecessor Richard Geoffroy in 2019.

The collaboration is the latest in a long line of creative partnerships that Dom Pérignon has cultivated since 2005, when the maison began working with artists and cultural figures including Karl Lagerfeld, David Lynch, Lenny Kravitz and Jean-Michel Basquiat.

Those projects took the form of limited-edition bottle and packaging designs. Lagerfeld created a studded case for the 1998 vintage, Lynch contributed chiaroscuro-inflected designs for the 2003 vintage, Kravitz applied hammered goldsmith metalwork to the shield of the 2008, while the more recent Basquiat collaboration, realised with the artist’s estate, placed his 1983 painting ‘In Italian’ on a special edition of the 2015 vintage.

The Swinton commission marks a decisive shift from pure product to something more experiential, involving live art staged inside one of the world’s most recognisable museum buildings.

Swinton is among several new collaborators, including Zoë Kravitz, Iggy Pop and Takashi Murakami, brought into Dom Pérignon’s current creative programme, launched in 2025 under the ethos ‘Creation is an eternal journey’. Swinton’s approach as an actress, artist and performer has long centred on the body as a vehicle for meaning, perhaps most famously in ‘The Maybe’ – first staged at the Serpentine in 1995 and reprised at MoMA in 2013 – in which she lay asleep in a glass vitrine, observed by the public without any explanation.

Swinton’s artistic concerns resonate with the themes Chaperon has articulated around terroir and time, not least in the way her performance reflects Dom Pérignon’s relationship with the concept of place. At the house’s vineyards at Hautvillers, near Épernay, the grapes for each vintage are harvested from plots of land with individual names, such as Côte à Bras, Chant de Linotte and Prières. The idea of a named, storied landscape as the source of both wine and meaning is central to what ‘House of Gestures’ sets out to explore and articulate.

Tickets for the public performances on 5 and 6 June are available from 21 May here

Sessions Arts Club – the London restaurant, gallery and performance space – has a divided atmosphere. On the surface, it is cool, calm and collected, yet bubbling below is an undercurrent of energy and theatrics. Food is the centrepiece, and to founder Jonny Gent, it is art. For the artist, who also founded Cabin Studio, a wider company dedicated to creating ‘spaces built on the pillars of art, food and supplies’, Sessions Arts Club is a blank canvas he uses to express himself.

'Food Volume 1: Sessions Arts Club'

The location, a former courthouse, is constantly reimagined, changing with the exhibitions and performances it hosts. However, the food served is consistently crafted and plated with artistic vigour – and everything that goes into this is captured in Gent’s new book, Food Volume 1: Sessions Arts Club.

The book is more than a recipe book, also charting the history of Sessions Arts Club and documenting dishes prepared throughout its time, and is dedicated specifically to the chefs and porters who have served from 2021 to 2026.

Gent’s priority was to capture the interest in an archive of the people and processes behind the restaurant, noting that the book is ‘an homage to the people that worked and made things. I wanted to remove all hierarchy, all romance, all poetry.’

Recipes are treated like working documents to reflect the realities of a professional kitchen, stripping back the romanticism and highlighting fast-paced cookery. The book's 66 dishes – from decadent chocolate torte and creme fraiche to trout, beetroot and horseradish – are accompanied by notes on the restaurant's architecture, suppliers, kitchen zones and daily operations. Food Volume 1 stands as a record of Sessions Arts Club and an ode to the people behind it.

sessionsartsclub.com

There’s a moment – fleeting, almost imperceptible – when you step into a truly great bar or restaurant and feel the world outside dissolve. It’s not just the lighting, or the music, or even the promise of what’s to come in the glass. It’s something deeper, something quieter. A sense that you are being looked after in a way that feels both effortless and profound. In the West, we’ve grown accustomed to calling this ‘service’. In Japan, they call it something else entirely.

They call it hospitality, though even that word feels like a blunt instrument when set against the precision of the Japanese concept of omotenashi: a philosophy that elevates the act of caring for a guest into an art form. To understand it properly, you must recalibrate your expectations. Because what Japan offers, whether in a tiny Ginza cocktail den or a centuries-old Kyoto ryokan, is not hospitality as performance, but hospitality as devotion.

The ritual of care

Walk into a high-end cocktail bar in Tokyo and you’ll notice something immediately: silence, or at least a reverent hush. Not the awkward quiet of an empty room, but the composed stillness of a place where every movement has intention. The bartender doesn’t greet you with exuberance or forced familiarity. Instead, there’s a nod, measured, respectful. You are acknowledged, not overwhelmed. The experience begins not with noise, but with observation.

And this is where Western hospitality often falters. We’ve grown used to equating warmth with volume, friendliness with informality. In doing so, we’ve lost sight of the idea that true hospitality might be less about expression and more about attention.

In Japan, the bartender watches. They notice how you sit, how you hold the menu, whether you glance more often at the whisky selection or the citrus garnishes. Recommendations are not delivered; they are arrived at.

It’s a subtle dance, and one that requires not just skill, but discipline.

The craft beneath the surface

This discipline is rooted in a broader cultural framework, one that finds expression in everything from cuisine to craftsmanship. Two concepts are particularly instructive here: monozukuri and kaizen.

Monozukuri speaks to the spirit of making, of pursuing perfection through dedication to process. It’s the reason a sushi chef might spend a decade mastering rice before touching fish, or why a bartender will practice the same stirring motion thousands of times until it becomes second nature. Kaizen, meanwhile, is the philosophy of continuous improvement. Not grand reinvention, but incremental refinement. A slightly clearer ice cube. A marginally smoother pour. A garnish placed half a centimetre more precisely.

Witness this first-hand in Ginza's fabulously compact Apollo bar or, at the opposite end of the scale, the positively cavernous Little Smith, complete with its high vaulted ceilings, and it all makes complete sense.

Together, these ideas form the artistic backbone of Japanese hospitality. They ensure that what appears effortless is, in fact, the result of relentless pursuit.

The quiet majesty of artistic blending

It's these hallowed principles that also underpin the foundations of Hibiki – the Japanese blended whisky launched by Suntory back in 1989. Today, Hibiki, with its distinctive 24-sided bottle (representing the 24 different Japanese seasons), has become a global phenomenon, largely thanks to its distinct yet subtle house style: fresh, vibrant and citrus-led, with a delicate wisp of smokiness sitting alongside a richer, more complex sherry-cask driven maltiness. It is as effortlessly drinkable over a hand-carved ice block as it is mixed into a tall, refreshing highball – arguably the serve, which best demonstrates why Hibiki has been one of the foundations of Japanese bar hospitality for four decades.

To understand why Japanese whisky has evolved into the cherished and revered spirit it is today requires a speedy excursion on the Shinkansen, outside of the bustling hum of Tokyo, to the altogether more serene landscape of the Kansai Plains, home to the Yamazaki distillery.

There’s something ethereal about the light here: a clarity and brilliance – a literal luminescence, if you like – that doesn’t seem to exist anywhere else. It’s most noticeable as you pass by the densely wooded areas, interspersed by a tapestry of sprawling green and crops of tiny houses, as you blast towards Kyoto. It's something that Ian Fleming also noticed when writing his Bond classic, You Only Live Twice, back in the early 1960s, reflecting on how remarkable Japanese whisky was – years ahead of any other commentators: ‘Apparently, you only make good whisky where you can take good photographs... something to do with the effect of the clear light on the alcohol...’

Today, as the same sunlight streams into the stillhouse at Yamazaki, it bounces off an odd copper menagerie of varying shapes and sizes. Each still vital in creating the different, distinct styles of spirit that go into the Hibiki blend, which is then gently coaxed into becoming a whisky after years spent ageing in a variety of different American and European oak cask types: ex-sherry butts, bourbon barrels, French wine barriques, capacious 500-litre puncheons and – perhaps the most important of all – rare casks made from mizunara oak, an unique Asian strain, which brings a distinctive incense-like aroma to the resulting whisky.

The blending of Hibiki is not just whisky creation. Seeing it first-hand feels like a philosophy in liquid form. It embodies the Japanese approach to harmony: balance over bravado, subtlety over spectacle. Where Scotch whisky often celebrates the individuality of a single malt, Hibiki leans into the art of blending. It is about creating something greater than the sum of its parts, a seamless integration of flavours that unfold gently, revealing layers over time.

Artistry is something that runs deep within the dynasty of Suntory. Family member and former master blender Keizo Saji was a patron of Japanese arts and founded the Suntory Hall in Tokyo exactly 40 years ago. Suntory has also been instrumental in helping to preserve the ancient art of handmade washi paper, working with acclaimed artist Eriko Horiki and her creative studio since the Hibiki brand was founded, to provide the beautifully textured labels adorning its bottles.

However, Suntory's latest artistic collaboration might just be its most ambitious step yet into Japan's rich and deeply cultural artistic history.

The Chiso kimono house can trace its roots back to 1555 and has been meticulously crafting silk kimonos for high-profile clients throughout its 470 years. Today, is it arguably one of Japan's most respected family-run artisan companies, still operating from the same base in Kyoto. The house has historically designed and created pieces for the Japanese royal family and was one of the first companies to promote its craft internationally as Japan’s Renaissance developed globally in the late 1880s. Around this time, the hierarchy of designs, once limited by royal status, became less significant and consumers of all stature could afford beautiful handmade creations.

Chiso has over 20,000 pieces in its archives, including textiles and designs from the Shogun period, which are now considered national treasures. It was a handful of these historic designs that provided the inspiration to create a one-off, bespoke, hand-painted kimono for Hibiki, which has taken a year to complete. Bespoke kimono design involves 20 separate processes, each one requiring a specific master of their craft. Chiso produces only a dozen bespoke designs a year (each one starting at around three million yen – £14,000) and has over 300 specialised silk painters, embroiderers and illustrators to call upon. Translating the outline designs onto silk requires a specific natural blue flower ink, which disappears once the piece is completed, requiring a month of solid work, by hand.

The finished kimono for Hibiki will be worn by the whisky brand’s global ambassador, Japanese actress Anna Sawai, but first, it will be displayed at JFK airport, as part of an installation to celebrate the opening of the airport's new terminal in June 2026.

Culinary Echoes

The parallels between such ornate craftsmanship and Japanese cuisine are impossible to ignore. Consider the intricate patterns of the kimono, where every thread, every dye, is chosen with intention. These are not merely aesthetic pursuits. They are artistic expressions that place value on precision, patience, and respect for materials.

In the culinary realm, this manifests itself in dishes that appear deceptively simple. A visit to Kyoto's multi-award-winning restaurant Tempura Matsu or the deeply traditional Hanasaki Manjiro perfectly articulates how a piece of sashimi, an ornately cut tofu cake, or a perfectly grilled skewer of yakitori is the result of years, sometimes decades, of refinement.

So where does this leave us, as Western diners and drinkers?

It would be easy – and perhaps comforting – to frame Japanese hospitality as an exotic ideal, something to admire from afar but not necessarily replicate. But that would be a mistake.

Because the truth is, we haven’t lost the capacity for genuine hospitality. We’ve simply allowed it to be overshadowed by speed, efficiency, and the relentless pursuit of scale.

In many Western establishments, the focus has shifted from how something is done to how quickly it can be done. Service becomes transactional. Interactions become scripted. The guest becomes a client, rather than an individual to be cared for.

Japan offers a different perspective.

It reminds us that hospitality is not a checklist, but a mindset. That excellence is not achieved through shortcuts, but through sustained effort. And that the smallest details – an ice cube, a gesture, a moment of silence – can have the greatest impact.

Neil Ridley stayed at the Okura Hotel in Tokyo (okura.com) and the Mitsui Hotel in Kyoto (marriott.com)

Coinciding with the Chelsea Flower Show 2026, Sketch in Bloom is back with the 12th edition of its annual floricultural tribute. In previous years, the experimental restaurant has honoured Jane Austen’s 250th birthday and celebrated 200 years of the National Gallery. Now, it is the crop-top-wearing, honey-loving bear Winnie-the-Pooh who takes centre stage.

‘The Hundred Acre Bloom’

Marking 100 years since the publication of AA Milne’s Winnie-the-Pooh, illustrated by EH Shepard, the exhibition is an ode to English woodland, specifically the book’s Hundred Acre Wood, and childhood nostalgia.

As with previous years, the neo-classical venue invited London florists to take over different spaces within the Grade II*-listed building in Mayfair, and display their individual interpretations.

LVF Creative Studio’s installation is the first that guests see. Sketch’s greenery-bedecked entrance hall unfolds as a forested passage, with leafy foliage, trunks and a mossy floor. This continues through to the reception area, where a large tree with a fairytale wooden door rises from the corner.

LVF Creative Studio also took over the space in the restaurant’s Glade. Utilising Sketch’s pre-existing tree-inspired canopy, the studio has intertwined blue balloons, which float up into the trees, nodding to Winnie the Pooh imagery.

Meanwhile, honeybees are at the heart of the East Bar and the Pod loos. Spearheaded by Ricky Paul Flowers, the installation features a tree with a hanging beehive surrounded by abundant florals, with miniature bees crafted from (yellow spherical) craspedia flowers nestled among the display. Playful touches, such as a sign from Owl’s house, add a further literary reference.

In the Pods, a garden landscape takes over, with blooming purple delphiniums, alliums, chrysanthemums, achillea, craspedia, butterfly ranunculi, yellow gypsophila and preserved beech leaves.

To accompany the visual takeover, Sketch’s Lecture Room and Library are offering a four-course tasting lunch menu, alongside afternoon tea with a Winne-the-Pooh theme. In addition, Sketch has also collaborated with Farshore, current publisher of Winnie-the-Pooh classics, on an exclusive centenary edition.

To round off the takeover, Sketch has also unveiled three exclusive Merrythought Edward Teddy Bears: Christopher Robin’s original teddy that inspired Winnie-the-Pooh. Handmade in Merrythought’s Shropshire factory, the bear is available in 18- and 11-inch versions, and as a six-inch key charm.

‘The Hundred Acre Bloom’ is a playful homage for adults and children alike.

Sketch in Bloom runs from 12 May until 7 June 2026

Nyonya kuih are gorgeous, jewel-like cakes and snacks that you will find in Southeast Asia. ‘Nyonya’ refers to the fusion of Chinese and Malay cultures that began to develop centuries ago when Chinese immigrants settled in Malacca, Penang, and Singapore. They applied their culinary skills to the local produce and ‘Kuih’ are the delectable delicacies they created, using ingredients such as sticky rice, tapioca, palm sugar, and coconut milk. The kuih are scented with pandan leaves, and often served on vivid green pieces of banana leaf. There are numerous forms and varieties of Kuih, both sweet and savoury, with distinctive shapes and textures, and unique flavours.

These beauties were made for Wallpaper* by The Pandan Bakery: a small, family affair based in London, and run by the Robinson family. Ling Robinson is from Seremban in Malaysia and came to the UK as student nurse. She is a talented home cook and used her skills and knowledge of Nyonya cooking to make kuih for family and friends who couldn’t find the real thing in London. In 2014, Ling, Valence, and their daughter Tamsin Robinson started making kuih more seriously and selling them, freshly made, in small batches. In 2016 they launched the Pandan Bakery and once a fortnight they set up their stall at Putney or Battersea Power Station Sunday markets – rotating different varieties of kuih month by month.

Try the striped Kuih Lapis, which is best eaten by peeling apart the squashy layers made of steamed coconut milk and tapioca flour. Seri Muka is a mouthwatering layer of pandan-flavoured custard atop a layer of glutinous rice. Ang Ku Kuih translates as ‘Red Tortoise Cake’, with a chewy, glutinous rice shell filled with mung bean or peanut paste (these are must-haves at Chinese New Year celebrations, as the bright red colour is associated with wealth and prosperity).

Many of Pandan Bakery’s patrons are Malaysians and Singaporeans longing for a true taste of home, and often travelling far and wide to get hold of it. There are also curious first-time customers looking to try something different. Attracted by the fragrance of pandan leaves and the vibrant colours, they are pleasantly surprised by the delicacy and complexity of the flavours, and inevitably come back for more.

You have to get these kuih while you can. They sell out fast and when they’re gone they’re gone. Happily, you can also order them online for delivery (they are hot property at Malaysian festivals and special occasions). Thanks to the Pandan Bakery, there is no need to travel all the way to Southeast Asia to taste authentic kuih and experience a delicious part of Nyonya culture.

pandanbakery.com

There are wine weekends, and then there is something altogether more transportive: a kind of vinous altitude adjustment where place, palate and people align in a way that lingers long after the last glass is drained. High up in the Ötztal Alps, the annual Wein am Berg gathering in Sölden, hosted by the quietly luxurious Das Central hotel has, for 23 years, honed that alchemy into an art form.

At first glance, the proposition sounds deceptively simple: a long weekend devoted to prestige local wines and great Michelin-Star-level food. But this is no hotel-bound tasting junket. Here, the experience is deliberately immersive, pulling you up the mountain – quite literally – into a rarefied environment where the rules of flavour seem to shift. The slopes, still brushed with plenty of late-season snow, become both playground and laboratory; here, one's skis are as essential as the corkscrews.

Fine wine at 3,000 metres

The rhythm of the weekend is set early. Mornings begin with the crisp hush of alpine air, skis carving across a challenging piste that has hosted world championship races. It’s a setting that sharpens the senses before a single drop of wine has passed your lips. By midday, you’re unclipping your boots and stepping into a tasting that feels less like a static line-up and more like a curated conversation between terroirs.

Austria, quite rightly, takes centre stage. This is, after all, a country whose wines have quietly surged into the upper echelons of global respect. Producers from the Wachau, Kamptal and Burgenland pour with a confidence born of precision and heritage. Grüner Veltliner shows its many personalities: peppery, textural, quietly powerful - while Rieslings hum with crystalline acidity and brightness. Among the standouts, the Blanc de Blancs from Weingut Bründlmayer offers a compelling reminder that Austria’s sparkling wines can stand shoulder to shoulder with more famous counterparts. Such effervescent prowess sits wonderfully alongside a majestic, highly complex vintage Cabernet Sauvignon from Leberl and a brace of extraordinary wines from winemaker, Paul Achs: a rich and detailed Chardonnay, and a delicate-yet-refined Pinot Noir Reserve.

And yet, the joy here lies in the entire European wine dialogue. Champagne, deep-hued Bordeaux, Sauternes, Spanish Tempranillo and Portuguese Tinto are not parachuted in as trophy bottles but woven into the overall narrative. A glass of Billecart-Salmon Brut Réserve, tasted at 3,000 metres, becomes something subtly different: brighter, more citrus-driven, its well-structured richness dialled back in favour of precision. A liberal pour of 20-year-old Niepoort Moscatel sweetens things up. There’s a curious phenomenon at play: altitude seems to soften the perception of carbonation while amplifying freshness and zest. It’s not just a talking point; it’s a sensory recalibration.

That idea, wine behaving differently in extremis - is at the heart of the event’s appeal. It invites you to reconsider bottles you thought you knew. A Chardonnay, all sun-warmed fruit and buttery richness at sea level, tightens its frame here, the oak stepping back to reveal a more citrus-led profile. A classic Bordeaux gains a certain linearity, its tannins feeling more structural than standoffish. For the enthusiast, it’s a masterclass without the classroom. Of course, no serious wine gathering exists in isolation from food, and this is where Wein am Berg truly flexes.

Alongside the traditional and simple raclette: stringy, molten hot and utterly delightful in the alpine air, the culinary line-up reads like a who’s who of contemporary gastronomy. Among them, is Andy Beynon of Behind - his Michelin-starred, counter-dining concept in Hackney, London - brings a deft, seafood-led sensibility that feels almost rebellious this far from the coast. His dishes, precise and quietly inventive, act as both foil and amplifier to the wines, proving that pairing is as much about contrast as it is about harmony.

Elsewhere, international chefs, such as Dennis Ilies & Janina Trogisch from the two-Michelin-starred Tannenhof Hotel in the Tyrol, layer in their own interpretations, creating a rolling feast that moves from rustic alpine comfort to haute cuisine without ever feeling disjointed. It’s indulgent, certainly, but never gratuitous. Each plate feels considered, part of a broader narrative that celebrates provenance and craft.

Hovering above it all, both physically and metaphorically, is the ominous Ice Q, the striking, glass-clad restaurant also owned by Das Central. Perched like a futuristic outpost on the mountain, it’s as much architectural statement as dining destination. Many will recognise it from its cameo in the 2016 James Bond film, Spectre, where, as the fictional Hoffler Klinik, it provided the backdrop for one of the film’s more tense sequences. In reality, the drama here is of a more pleasurable kind: breathtaking, sweeping alpine views paired with plates that marry precision with a sense of place.

Evenings drift into a gentle decadence. Back at Das Central, the atmosphere shifts from the exhilaration of the slopes to something more intimate. Aside nursing the stresses of the slopes in the world class spa facilities, complete with a -100c Cryotherapy treatment room, Producers mingle with guests and there’s a sense of community that transcends the usual transactional nature of tastings. You’re not just sampling; you’re engaging, learning, and occasionally being challenged.

What makes Wein am Berg so compelling is its refusal to be pinned down as a single thing. It’s a skiing trip, yes (though non-skiers are still more than welcome on the piste,) a wine festival, certainly. A gastronomic showcase, without question. But more than that, it’s an exploration of context: how environment shapes perception, how altitude can redraw the map of flavour and how shared experiences deepen appreciation.

After 23 years, one imagines it would be easy for such an event to become formulaic. Instead, it feels vibrant and excitable, anchored by its setting but open to evolution. Perhaps that’s the real secret: the mountain itself. It imposes a certain perspective, a reminder that even the most familiar pleasures can reveal new facets when viewed from a different height.

As you descend for the final time, legs pleasantly tired, palate quietly recalibrated, there’s a lingering sense that you’ve experienced something more than the sum of its parts. Wein am Berg doesn’t just showcase great bottles; it recontextualises them. And in doing so, it offers a rare gift: the chance to taste, quite literally, on a different level.

Bookings are now open for Wein am Berg 2027, (22-25 April) with packages from €2100 for the full event experience. Details available from weinamberg.at

Staying there: Das Central Hotel, Sölden offers double rooms from €250 per person per night Solden-central.com

Most champagne houses wear their identity in shades of ivory and gold – the visual grammar of luxury. Veuve Clicquot is the conspicuous exception. Its now-iconic yellow branding dates to the 19th century, when the house introduced a vivid label to distinguish its drier champagne.

For Milan Design Week 2026, Veuve Clicquot has taken that sunny legacy and translated it into a limited-edition collection of drinks accessories, among them a champagne bucket and cooler. Entitled ‘Chasing the Sun’, the collection was developed in collaboration with British-Nigerian designer Yinka Ilori MBE. When you're building a collection around colour and vibrancy, the self-styled ‘architect of joy’ was perhaps an obvious choice.

Ilori's interpretation is light, bright and uplifting. Drawing on his Nigerian heritage, he has fashioned a visual world of joyous motifs across the accessories: hands cradling the sun, reimagined celestial forms and symbols rooted in nature and human connection. The standout pieces – the 'Sun Totems' and 'Sun Holder' – are inspired by the calabash fruit, which has traditionally served across West Africa as a portable drinking vessel.

The collection also includes a reimagined version of the Clicquot Arrow gift box – shaped as a road sign displaying the distance between a chosen destination and the maison's cellars in Reims – alongside smaller accessories such as a bottle stopper and grape-material charms. Upcycled materials and 3D knitting technology are used throughout.

Yinka Ilori on his joyful collection of drinking accessories

Wallpaper*: How did you balance your signature aesthetic with Veuve Clicquot’s visual heritage?

Yinka Ilori: It was about finding the right framework. I saw myself as the frame, reframing their heritage through my own lens.

There was already a natural invitation through the brand’s signature colour. That colour, depending on the light, perspective and what surrounds it, offers a range of tones – sometimes more orange, sometimes more yellow. Just like the sun, it has natural variations.

Since colour is what gives my work depth and perspective, this became the common thread – the natural equaliser between my visual language and their heritage identity.

W*: How do you translate emotions of happiness and optimism into tangible objects?

When it comes to joy and optimism, I’m really interested in how we get there and where we pick people up, because everyone is chasing that feeling.

For me, optimism comes from the idea that happiness is something we create ourselves. It exists within each of us. So the process begins with looking inward, listening closely and then translating that into physical form. The shapes and objects come out of that process of reflection, giving form to something that is usually invisible.

W*: What was your design process for this collection?

YI: The process was very much about immersion: both in my own context and in Veuve Clicquot’s world. Visiting the vineyard, I was interested in the role that the sun plays – on a practical level, it helps the grapes grow, but more importantly, on a conceptual level, you can feel its presence in the warmth and care that goes into the making.

That connected strongly to my own heritage. In Nigeria, the calabash is a natural form that is used in many ways. The sun helps it grow, but it reaches its full potential when people gather around it and use it.

The shapes in the collection are inspired by the calabash, which was very present in my upbringing. The hand motifs represent community and craftsmanship, the circle represents the power of the sun, and the sun itself is reflected in Veuve Clicquot’s signature colour. The colours are also inspired by natural elements – the different hues the sun creates depending on the time of day, the materials it touches and the environment.

W*: How did you approach selecting materials and processes?

YI: My journey as an artist and designer started with upcycling. What interests me is the idea that objects already carry a history, a life that has been lived. It’s about recognising that and reframing them. That’s why upcycled materials felt natural for this project. They already hold stories, and when brought together, they create new ones.

3D knitting is a newer element for me, but I’ve always had a strong interest in textiles, especially because of their importance in Nigerian culture, whether it’s aso-oke, tie-dye or Dutch wax prints. What I find interesting about 3D knitting is that it gives textiles a sculptural quality. It allows them to take up space rather than remain flat. In that sense, it becomes another medium for storytelling.

W*: What can visitors expect from the installation at Milan Design Week, where these pieces will be debuted?

YI: I wanted to create a space where people can feel warmth, calm and inspiration. It reflects the same sentiment as the products themselves. Milan Design Week is very energetic and exciting, but also quite intense. I wanted to offer a moment where people can slow down, come together in warmth and peace.

W*: What do you hope people feel when they use or experience these pieces?

YI: I hope to take people on a journey, show them my own journey, but also Veuve Clicquot’s. Ultimately, I want people to look within themselves and find their own ‘sun’, both individually and within their community.

‘Chasing the Sun’ makes its debut at Milan Design Week, running 21-26 April 2026, at Mediateca Santa Teresa, Via della Moscova 28, Milan.

For London-based recipe developer and writer Ranie Saidi, hosting is an act of generosity. It creates a moment where people can step away from everyday life to gather, celebrate, and connect – an ethos Saidi weaves into his debut cookbook, The Malay Cook.

The book – and much of Saidi’s culinary identity – is inspired by his grandmother, Che Aminah. A Malay village cook who ran a wedding catering business in Malaysia, Aminah taught Saidi the nuances of traditional Malay cooking by her side. When she passed away in 2011, her handwritten recipe book was stolen, leaving Saidi with only memories of her dishes.

'The Malay Cook' by Ranie Saidi

When Saidi moved to London to continue his studies, he began recreating her dishes from memory, eventually sharing them through supper clubs. 'I started hosting supper clubs as a way of sharing my grandmother’s cooking,' Saidi explains. 'After she passed away, cooking became part of how I processed my grief. The kitchen is where I feel closest to her.'

The move to London initially left Saidi feeling unsure of where he belonged, but cooking became a way for him to express himself. 'Hosting supper clubs grew out of that feeling. Over time it became a ritual,' he reflects. 'I began sharing dishes that are rare to find here in the UK. In many ways, it is my way of reclaiming my identity while also celebrating the life I have grown here.'

Much like his supper clubs, which emphasise aesthetics and meaningful details, Saidi’s cookbook is a visual and emotional tribute. His grandmother loved flowers, which is why they remain a focal point of his dinner events. 'They feel like a way of bringing her spirit into the room whenever I host,' he notes.

Building on the success of his sell-out supper clubs and Malay sauces, the book serves as a tangible ode to Che Aminah. Though Malays are Malaysia’s majority, their everyday dishes are little known internationally. In his Southeast London kitchen, Saidi has mapped the Malay palate using locally available substitutes. The book dives into the importance of flavours and ingredients – from everyday spices and pastes to traditional recipes adapted for the modern home cook.

Saidi’s favourite dish is his grandmother’s 'matrimonial chicken.' 'It’s my ultimate comfort food – my "death row" meal,' says the writer. 'There’s nothing fancy about it, but this was what she was best known for during her years catering Malay weddings. The dish is made with chilli, onion, ginger, coconut milk, and yes, ketchup.' The secret, he insists, is all in the balance: 'In one mouthful, you get sweet caramelised onions, tangy tomato, gentle heat, and the warm fragrance of ginger, all wrapped in creamy coconut milk.'

Abundance is at the heart of Malay cooking. For Saidi, it is about sharing, not just food but the stories behind. 'Compiling these recipes has been deeply personal,' he tells Wallpaper*. 'My grandmother’s recipe book was lost when she passed away, so I’ve had to piece everything together through taste memories and by talking with my aunts and my dad back in Malaysia. Every dish carries a memory, and trying to recreate it here has been both a challenge and a joy.’

Beyond flavor, Saidi also addresses the practicalities of modern cooking, including sourcing ingredients in London while considering sustainability. 'Every recipe feels like a bridge, connecting my roots back home with the life I’m building in London.'

In The Malay Cook, Saidi also explores the cultural significance of coconut, explaining how to use its various forms for different dishes. 'For generations, it has shaped the way we cook, eat, and care for the people around us,' he says.

Ultimately, the most important message is that cooking through kindness is intrinsic to Malay culture. 'Feeding people is a natural gesture of care and hospitality,' Saidi concludes. 'I hope people will remember this instinct to welcome and nourish through food.'

The Malay Cook by Ranie Saidi is £25.00, and available to purchase at Amazon and Waterstones

Where confectionary meets considered design, it is no wonder Barnaby has taken over London since its first opening in Covent Garden in 2024. The chocolate bar shop which was founded by Barney Goff, who also runs the cinnamon bun shop Buns From Home, offers a range of made-in-house chocolate bars, which are inspired by childhood classics. Now, following openings on Charing Cross Road in 2024 and Bow Lane in the City in 2025, Barnaby is welcomed to Mount Street in Mayfair.

Much like the original store, creative direction and interior design was led by London-based designer Tom Morris of Morrisstudio. Like with all stores the warm honey-like yellow hues are at the focal point, coupled with dark wood panelling which adds a midcentury touch.

‘Our concept for the brand was always to tweak the overarching aesthetic for each retail space so that they look and feel different,’ explains Morris. ‘There are some unifying elements to each shop, like dark wood panelling. Where the aesthetic of the Covent Garden or the City shop were both inspired by Arts and Crafts detailing (like the tenon and tusk joints), we were thinking of 1970s design here: stainless steel trims, olive green fitted carpet, Arne Jacobsen stools, leather counters and a 6ft long ceiling lightbox (very disco). The original branding by Irving & Co does a great job of unifying things across each unit.’

Luxury chocolate with a disco flair seems like the ultimate combination, however the design studio made sure to stay away from a full blown Saturday Night Fever, keeping it unified within the store's context. Looking towards classic Mayfair specialist shops Morrisstudio looked to the traditional perfumiers, confectioners, and even cigar shops that once occupied sites on Mount Street.

For Morris, he particularly reflected on a shoe shop he ventured to as a child, telling Wallpaper*, ‘I remember from childhood the shoe shop’s carpet and the wood panelling. We wanted to create a sense of theatre and it felt appropriate. A handmade, tailored service but neither too kitsch or too historical.’

A six metre long bespoke ceiling lightbox, antique light fittings and walnut wood are an ode to the 1970s. As with previous stores arts and crafts traditions are present in the antique marquetry panels showing traditional British scenes of fields, plough horses and timber-framed houses.

However, unlike previous shops, Barnaby Mount Street will offer a make-your-own bar service. Pick your base, middle and topping and then watch your custom bar go through the chocolate machine, it is then beautifully boxed up and ready to take home. Says Morris, ‘Mayfair was historically known for this type of bespoke retail, especially on Mount Street with its history of perfumiers, cigar shops and shoemakers, and this new concept was created to imbue that. ‘

With a retro backdrop, and bespoke chocolate bars, the shop is an ode to the UK’s retail heyday and the classic British style found at the Mount Street address.

morrisstudio.co.uk 
barnabybars.com

Welcome to the latest instalment of 'How We Host,' our column devoted to all-things entertaining from those who know a thing or two about having a good time. Next to dissect the fine art of entertaining is Elad Yifrach, founder of the luxury homeware brand L’Objet.

Setting a table is second nature for L’Objet founder Elad Yifrach. Those who have ventured into L’Objet's boutiques in the Saint-Germain-des-Prés neighbourhood in Paris, or on London’s Sloane Street, will be well-acquainted with their museum-like jewel box interiors, which display elegant homeware, fragrances and decor inspired by history, travel and a love for beautiful things. ‘I love the gesture of traveling around and bringing back semi-precious stones or other curiosities, then making them into a functional object or just adding them to your collection. That always resonated with me,’ explains Yifrach.

It was in Rome five years ago where Yifrach found his inspiration for L’Objet’s newest tabletop collection, Grand Tour, a collection of dinnerware inspired by time-honoured craft techniques and semi-precious materials such as malachite, coral, lapis and tiger’s eye. ‘I saw these incredible giant tables, panels and urns that were all stone inlay. I thought: these are such old-world masterpieces, it would be fun to use that technique on something modern and functional,' he recalls.

Against the backdrop of his beautiful Lisbon home, where he relocated five years ago, Yifrach enjoys the surprising element of mixing different textures and eras in his tablescape, noting, ‘It’s not a "perfect match," but there is a perfect harmony between them,’ he says. Below, the designer shares his secrets to effortless hosting.

How We Host with L'Objet founder Elad Yifrach

Wallpaper*: Are you a relaxed host and pull it all together at the last minute, or is there careful planning?
Elad Yifrach : I try to do both. If it’s a Thursday or Friday night and I’m working, I have less time to plan, but on the weekend, I take it easier. I take more time to set the table, cook and buy everything. I like to set up more than just one area in the house, normally drinks will be had in the living room, so I’ll set up a bar there with wine or Champagne. Then you can take it easy until everyone is ready to sit at the dinner table.

W*: And can you cook?
EY: Oh, yeah, I love cooking. A lot.

W*: What was the first dish you perfected to feed a group of friends or family?
EY: A lemon chicken tagine. My grandparents are from Morocco, so I know the flavors, but I actually discovered this specific version in Paris. I serve it with either rice or couscous. Sometimes I just do a big table full of different salads and dishes such as eggplants, roasted vegetables or cauliflower, and then you don't even need the rice.

W*: Drinks on arrival – what’s on offer?
EY: Champagne. Always. And then wine. I’m not a bartender, but I’m good at picking good wine or Champagne. I like to make it easy by setting up a beautiful Champagne cooler so everybody can help themselves. I always serve it with a good mix of nuts, Spanish olives or pão de queijo (a Portuguese cheese bread). When guests start arriving, I put the cheese bread in the oven for 15 minutes so they are served hot. It’s very satisfying with wine.

W*: Go on and tempt us – what’s your go-to menu, from starters to afters, whether homemade or bought in?
EY: I like when I’m able to make many different dishes and put everything on the table with an abundance of options. In the winter, I might make an orange salad with liqueur and cinnamon. For dessert, I always like to have fruit, but one of my favourites is a very famous chocolate cake here in Portugal. It’s flourless, very rich and dense, but also fluffy. I love serving it with a lemon and rosemary sorbet from a guy here in town that I'm obsessed with. And because of my Moroccan heritage, I love serving Moroccan tea at the end. I actually have an antique set I bought in Morocco.

W*: What’s on your dinner party playlist?
EY: My Spotify is full of different moods. For me, music and lighting are the first layers of everything. I curate the music for the stores too, and every season I drop a new playlist, which I usually put together when I’m traveling on an airplane. Once you get into it, it’s easy — one song gives you another idea. I love Polo & Pan and Daft Punk, they’re just instant good moods. I also like to surprise people; all of a sudden there will be a Madonna song, or Jungle, or Charlotte Gainsbourg for some old French tunes.

W*: Who’s your dream dinner party guest?
EY: James Turrell, because the way he sees light and colour is my favourite. Salvador Dalí, because he would have incredible insights, and Yves Saint Laurent, although I think he would judge everything on the table!

W*: Dish the dirt: what should a host never do?
EY: Never clear the table at the end of the meal. Unless you want your guests to leave, that’s a cue that 'this is over.' If there’s good conversation, let it go as long as it can. Also, never be too precious about your house. If you serve wine, you take the risk that someone might spill it. Don't give off that nervous energy about your carpet or your table. It’s meant to be lived in.

W*: What should a guest never do?
EY: Be too late. A 'fashionable delay' is okay, but if you’re holding up the rest of the table, it’s not considerate to the person cooking. It adds unnecessary tension.

W*: What is your key to a successful evening?
EY: Set the tone from the beginning with music and light, and don't leave everything to the last minute so you aren't stressed. You need to enjoy it as much as the guests. If you don’t have time, just pare it down and do less, even if you just order pizza!

Marchesi 1824's luxury chocolate Easter egg echoes the beauty of an intricate painting. The Milanese bakery, one of Italy’s oldest and most esteemed pastry houses, has unveiled its Easter collection titled ‘The Return of the Swallows’. It proves to be more than just an aesthetic theme but nods to the Prada-owned bakery’s regency history.

Crack into Marchesi 1824’s chocolate Easter eggs

Standing front and centre of the collection is the 2kg dark chocolate egg, delicately piped with swallows and pink flowers. Another Marchesi 1824 masterpiece is its 1kg white chocolate egg which has been elegantly carved into, in the shape of a swallow.

Complementing these giant creations are the new 400-gram filled eggs. These eggs come in paired flavours; pistachio and raspberry, hazelnut and lemon, almond and orange, pecan and caramel.

There are also an assortment of miniature dark and milk chocolate eggs, filled with gianduja, pralined hazelnut, hazelnut, and cremino. Each egg comes in a beautiful pastel shade, echoing the regency period, while others show the creamy tones of different chocolate percentages. The larger selection of eggs (around 250g), are available in indulgent flavours from pistachio to stracciatella, salted caramel to raspberry.

Other than the refined flavours, and intricate decorative work, what makes Marchesi’s Easter collection intriguing is the deep dive into food history. Marchesi’s chocolatiers looked into historic recipes of chocolate-making tradition, which is why they decided to use Venezuela 74% cocoa mass for its balanced aromatic profile.

To celebrate the craftsmanship, the windows of Marchesi’s London and Milan boutiques have transformed its windows into chocolate stage sets featuring a large chocolate house resting on a branch which shelters a nest. In this nest is a decorated egg, while suspended swallows hover above.

The products – including hand-decorated biscuits and chocolate objects – are available at the three Marchesi 1824 pastry shops in Milan: Via Santa Maria alla Porta 11/a, Via Monte Napoleone 9, and Galleria Vittorio Emanuele II, as well as at the London boutique at 117 Mount Street, Mayfair, and at the corner in the Chocolate Hall of Harrods.

A selection of products, including the signature leavened creations and chocolate eggs, is also available online at www.marchesi1824.com

Elevate your egg basket this Easter with Louis Vuitton’s decadent ‘Chocolate Egg Bag’. The new edible collection is created by Louis Vuitton pastry chef Maxime Frédéric, with realistic detailing and adorned in the maison’s recognisable codes.

Tuck into Louis Vuitton’s chocolate egg bag

The ‘Chocolate Egg Bag’ was first released last year, and is inspired by the original ‘Egg Bag’ designed by Nicolas Ghesquière, artistic director of women's collections at Louis Vuitton, for the S/S 2019 show. In 2026, the well-received chocolate version is back, this time in a colourful iteration.

The taste is as good as the bag's artistry promises. The piece comprises two dark chocolate shells, which are filled with an assortment of roasted nuts, candied fruit and hazelnut praline. The white chocolate handles and zipper are in a soft shade of yellow. Inside, you will find a bar of milk chocolate filled with a luscious centre of hazelnut praline and lemon caramel.

The collection also includes a box of six mini chocolate egg bags. These are smaller takes on the main design, and come in different, but all divine, flavours: a milk chocolate egg is filled with hazelnut praline, pieces of hazelnut and vanilla caramel; a dark chocolate egg is filled with a crunchy chocolate praline and caramel; and another milk chocolate egg is filled with peanut praline, pieces of peanut and vanilla caramel.

Frédéric, who won the title of Best Pastry Chef in the world in 2025, finished the collection with the return of three chocolate chicks, each with a Louis Vuitton motif around its neck. Like with the miniature eggs, the chocolate chicks come in three flavours: there's a dark chocolate chick filled with crunchy buckwheat praline and buckwheat caramel; a milk chocolate chick filled with oat praline and honey caramel; and another milk chocolate chick filled with corn praline and vanilla caramel.

These chocolate morsels look too good to eat, but that won’t stop us indulging in the gourmet range this Easter. The collection is available to purchase online here, and will be available in-store at the Maxime Frédéric at Louis Vuitton chocolate shops in Paris and New York, from 13 March 2026.

Maxime Frédéric at Louis Vuitton, 2 bis rue du Pont Neuf, 75001 Paris

Le Café Louis Vuitton at Louis Vuitton 57th Street NYC, 6 East 57th Street, New York, NY 10022, USA

Welcome to the latest instalment of 'How We Host,' our column devoted to all-things entertaining from those who know a thing or two about having a good time. Next to dissect the fine art of entertaining is Justine Palefsky, one half of the members- only home swapping platform, Kindred

The thought of swapping a luxurious Los Angeles mansion for a quaint thatched-roof English cottage seems like, well, something straight out of a movie. Justine Palefsky is turning that fantasy into a reality as the co-founder of Kindred, a San Francisco-based home-swapping platform that's not only allowing travelers to experience gorgeously-designed homes, but also connect with like-minded people seeking a more generous, more connected life.

Here's how it works: members host others from within the Kindred community, which results in credits they can use to stay at other homes later on. Kindred's network includes houses all over the world, from New York to the Cayman Islands; from Costa Rica to Estonia, you can even stay at designer Gustaf Westman’s Stockholm apartment. Each home is thoughtfully designed and incredibly personal.

‘My co-founder [Tasneem Amina] and I started Kindred in 2021, really as an experiment in seeing if we could build the kind of world that we want to live in,’ explains Palefsky.

Palefsky certainly knows the art of being a welcoming host — and guest. And Kindred's unique brand of hospitality appears to be working: ‘Every month we have dozens of members hosting meetups all over the globe. Many of them are dinner parties, actually,' she says.

Below, Palefsky shows us how it's done.

How We Host with Justine Palefsky

W*: Are you a relaxed host and pull it all together at the last minute, or is there careful planning?

Justine Palefsky: I am definitely more of a relaxed host. I love impromptu gatherings, and group dinners and I love having the kind of home where friends and family just drop in unannounced. It makes a really big difference in my enjoyment of my own life, to feel more connected to my extended community and have people drop over. My friends are right next door, and sometimes 15 minutes before dinner I will go over and knock on their door and say, 'Do you guys want to come over?' I think it is so nice to not have such careful planning, to host people and open the door to these spontaneous gatherings, which are more about connecting than performing.

W*: Can you cook?

JP: I'm not a good cook, my fiancé is more of the chef in our household. I really hate cooking. We purposely live walking distance to a great grocery store, and I will often pick up some pre-made food or get takeout when we're hosting. I remember feeling a bit bashful of that in the beginning and I've decided to just own it.

Removing the stress from the act of hosting others again makes you want to do it more. It makes it possible to host people at your home two, three or more nights in a week because it's okay to pull it together at the last minute . If you give yourself that permission, you can squeeze in more of these warm nights around a shared table into your week.

W*: What was the first dish you perfected to feed a group of friends or family?

JP: I think maybe the answer here that's more interesting is with an example of a different way I host. I like to host around a TV show that my friends are regularly watching together (currently it is Night of the Seven Kingdoms). Every Sunday when people come over, my speciality is making a really big pot of fresh popcorn and having a seasoning bar. Guests can get their own bowl and make their own popcorn to their heart's content — salt, butter, nutritional yeast, Tajin, even hot sauces, It's a fun activity as we're getting settled in to watch our show.

W*: Drinks on arrival – what’s on offer?

JP: I think my go-to is really just having a lot of sparkling water, or non-alcoholic options available. We always have wine, beer and mezcal on hand

W*: Go on and tempt us – what’s your go-to menu, from starters to afters, whether homemade or bought in?

JP: I can't cook but I can arrange food pretty well. To start I'll make some boards, you know, crudité, olives, maybe some yummy kind of cheese and crackers. My parents live about an hour north of San Francisco, in the wine country, and they have four or five olive trees, it's not enough to to do much with it, but it's lovely to be able to lay out and say, 'Hey, these are olives that my parents grew.'

Another funny thing that I often have is a work-in-progress puzzle that's out on the coffee table. It can be a nice mindless activity for when the first few people are arriving, especially if they don't know each other yet. You don't have to think too hard, and you can maintain a conversation as you're sort of passing each other pieces back and forth.

In hosting, the person you have to design for is the introvert, someone more shy. There are people who just feel comfortable making conversation with anybody and they'll be fine. You have to think of the people who are a bit more introverted or maybe they're coming to a dinner without knowing anybody else. For me, it's really how that person feels, and by the end of the night they're leaving feeling relaxed having a whole host of new friends.

For dinner we'll often order something ahead of time. My go-to is this restaurant called Sol Food. It's amazing Puerto Rican cuisine that's local to the Bay Area. They have big platters of chicken and rice dishes, thinly cut steak and the most amazing hot sauce you will ever eat. For dessert we actually live a block down from an ice cream place. It's a lovely post dinner stroll.

W*: What’s on your dinner party playlist?

JP: I love calm '70s classics, like James Taylor, Fleetwood Mac, Cat Stevens, Van Morrison, the Grateful Dead. I think it sets a very nice vibe. Just over the bridge in Sausalito is the recording studio where Fleetwood Mac recorded the Rumours album. It’s kept entirely the same architecturally, exactly how it was when they were in there for over a year recording. I went there over the weekend and thought, 'Oh wow, we need to host a party here.'

W*: Who’s your dream dinner party guest?

JP: Even though my music taste kind of lives in the '70s, I have to say my dream dinner party guest would be Taylor Swift. Her music has been the soundtrack to so many different eras in my life and I feel like I've grown up with her as she's just emerged as this really formidable businesswoman, in addition to the superstar and the lyricist that we've known her to be. I would love to hear and learn more about what that journey's been like for her. As a woman entrepreneur myself, I'm so excited to put myself, and this business that I helped dream up, out there into the world, but, man, does it feel vulnerable.

W*: Dish the dirt: what should a host never do?

JP: A host should never forget someone's name. It's okay for a guest to not know everybody's name, that's not their job, but for the host, I think you should try really hard to remember each person, and that way you can involve them in conversation.

What should a guest never do?

JP: A guest should never feed the house dogs from the table. I have two dogs so they're at our dinner parties as well. They couldn't be more different. Ava is a little old lady and Javier is a very athletic energetic border collie-Australian shepherd mix. We take care to try and train them, make sure that they're well behaved, and it sets us back when someone from the table tosses them some chicken. Even though I know your intentions are good, please don't feed the dog any human food from the table.

What’s the secret to a successful evening?

JP: I think the secret is really remembering that hosting is about connecting, not performing. People won't remember what everything looked like as much as they will remember how you made them feel when they were in your home. Just keeping that in mind when you're running around trying to get ready and thinking about, 'I need to go wash this dish' and instead taking a step back and remembering that that's not what's at the heart of this beautiful human ritual that you are doing, which is hosting people warmly in your home.

Remember: even if your silverware doesn't match, you can still be an incredible host as long as you make it about the guests and not about the tablescape.

Marchesi 1824, one of Italy’s oldest and most esteemed pastry houses, has opened its first-ever concession in Harrods’ famed Chocolate Hall – perfectly timed for all of your Valentine’s gifting needs.

On 9 February 2026, the Milanese institution launched its new space within one of Harrods’ most celebrated departments, offering Londoners a curated selection of its Italian chocolate. Visitors can expect a showcase of Marchesi 1824’s signature creations, including pralines, cremini, dragées, biscuits and – the showstopper – the Grand Cru Venezuela cocoa mass, available exclusively in Harrods. Sourced from the region south of Lake Maracaibo, the cocoa mass has been calibrated for both intensity and balance, with a flavour profile which is deep, elegant and aromatic.

Founded in Milan in 1824, Marchesi 1824 quickly became a landmark of Milanese confectionery and café culture, synonymous with refined Italian taste. Throughout the 19th and 20th centuries, the house remained a defining presence in the city's social and culinary life. After its acquisition by the Prada Group in 2014, Marchesi 1824 began expanding globally, with flagship locations in Milan and an outpost on London’s Mount Street. The Harrods concession marks a new chapter for the house, allowing it to focus exclusively on its chocolate offering.

‘The opening in the Chocolate Hall at Harrods represents a further step in Marchesi 1824’s development,’ says CEO Andrea Menicatti. ‘It is an important opportunity to introduce our brand and our vision of chocolate to a global audience, continuing to share our story and values worldwide.’

Diego Crosara, pastry art director, adds: ‘We are thrilled to enter the world of Harrods. It is a great honour for us to bring our craftsmanship and the Italian artistry of our products into such an iconic location.’

Marchesi 1824’s arrival in the Chocolate Hall invites Londoners to savour a taste of Italian heritage – and there’s still plenty of time to visit before Saturday.

Welcome to the latest instalment of 'How We Host,' our column devoted to all-things entertaining from those who know a thing or two about having a good time. Next to dissect the fine art of entertaining is Lisa Sternfeld, founder of WLLW, an interior design firm rooted in environmental health and wellness.

After her son faced severe respiratory issues, a scary question popped into Lisa Sternfeld’s mind: Could her house be making him sick?

Sternfeld, who had been working in the New York-area design world for more than two decades, started doing her own detective work, testing for mold and poor air quality, from seemingly-benign sources like synthetic carpets, off-gassing furniture and home fragrances.

As she rethought her home and as her son’s health improved, she realised she may not be the only one facing a toxic living space. The epiphany led her to establish the wellness-oriented design firm WLLW (which stands for ‘Well Life, Lived Well’) in 2022 year. The firm has gone on to design for high end residential for private clients and aims to show that healthier design needn’t look sterile or generic.

Her own home, nestled in the charming town of Fairfield, Connecticut, is proof. By leveraging non-toxic materials (such as vegetable-dyed textiles and rugs); antiques (which don’t off-gas like new furniture); and nature (her garden is a feast for the senses), she’s created a home that not only prioritises her family’s health, but also beauty.

‘My ultimate goal was to bring together science, design, and beauty to create a home that supports both physical health and emotional connection,’ Sternfeld tells Wallpaper*.

Of course, wellness isn’t just about our environments — it’s about relationships too. And, since Sternfeld, along with her husband, frequently hosts extended family gatherings, the house needed to be spacious and accommodating, whether that be for a quick visit, a sit-down meal, or just time spent together. Here, the designer outlines her tips for quality time with guests — and why having your phone at the dinner table might just be the ultimate faux-pas.

How We Host with Lisa Sternfeld

Wallpaper*: Are you a relaxed host, or is there careful planning?

Lisa Sternfeld: I plan a menu, but I keep it simple. I like knowing what we’re making and having a sense of how the evening might unfold, but I don’t plan every detail. Once the table is set and something fresh is cooking, I can relax.

Hosting has always been an extension of how I think about homes. I plan just enough to stay calm, then I step back. If the space is working properly, the evening doesn’t need much managing. I want to be present, moving between the kitchen and the table, paying attention to how the room feels and how people settle in.

W*: Can you cook?

LS: Yes, and it’s part of our everyday life. My husband and I cook together, and that shared time in the kitchen is part of the pleasure. Cooking isn’t something that happens in the background. It’s often where the evening begins.

We cook simply and let our kitchen garden lead. When ingredients are fresh, you don’t need to do much. Cooking together also has a practical benefit. It keeps us out of each other’s way.

W*: What was the first dish you perfected to feed a group of friends or family?

LS: A simple roast chicken with vegetables from the garden. It’s something we’ve been cooking for years, and it still feels like the most reliable way to feed people.

We’ve made it so many times it’s become instinctive, which is probably why it works. It’s about timing, warmth, and knowing when to leave things alone.

W*: Drinks on arrival – what’s on offer?

LS: Something light and refreshing. Sparkling water with lemon or fresh herbs, and a chilled white or a natural wine. It’s easy, unfussy, and gives people a moment to arrive.

W*: Go on and tempt us – what’s your go-to menu, from starters to afters?

LS: Simple, seasonal food. Vegetables picked just before cooking, herbs used generously, and usually a roast or something gently braised placed at the centre of the table. We cook with very few ingredients and let them speak for themselves.

Lately, I’ve been baking Nigella Lawson’s clementine cake. It’s simple, not too sweet, and it never lasts long.

Cooking from the garden brings everything closer to the senses. The smell of herbs on your hands, citrus in the air, vegetables still warm from the sun. It sets the tone before anyone sits down.

W*: What’s on your dinner party playlist?
LS: I usually start with Bill Evans, move into Nick Drake, and let someone like Van Morrison carry the evening. The music should support the room, not compete with it.

W*: Who’s your dream dinner party guest?

LS: Someone curious, present, and not in a hurry. Stanley Tucci feels like the ideal dinner guest. He’s warm, observant, genuinely interested in food and people, and has a way of making a table feel relaxed and natural. The best guests make everyone else feel comfortable being themselves.

W*: Dish the dirt: what should a host never do?

LS: A host should never make guests feel like they’re in the way. Things won’t be perfect, and that’s part of what makes an evening feel human. Hosting is an act of generosity. Once guests feel like they’re interrupting you, the energy in the room shifts.

W*: What should a guest never do?

LS: Arrive distracted. You don’t need to perform, but you do need to be there. Phones have a way of flattening a room and pulling energy away from the table.

What’s the secret to a successful evening?

LS: Simplicity and attention. When the food is fresh, the ingredients are good, and the space feels calm, people relax without realizing why.

When someone asks what they can bring, I usually ask them to bring a story, a shared memory, or a favourite recipe they love to make. Something personal always adds more to the evening than another dish. It creates connection before the meal even begins, and over time, it’s how I’ve gathered some of my most treasured recipes.

And if people stay longer than they planned, it’s usually a good sign. One of the best compliments I’ve received is simply, “It just feels so good in here.”

As the calendar flips decisively into 2026, there’s an unmistakable sense of renewal in the air; perhaps an opportunity not to renounce pleasure per se, nor to stride grim-faced into a monastic-like abstinence, but to embrace a more mindful kind of enjoyment. Given how bleak January tends to be, a completely Dry month has never appealed to me, but what does is the opportunity to refine my drinking habits and explore the wealth of low and no-alc options now appearing on bar menus and retailer's shelves.

Increasingly, drinkers are discovering that moderation needn’t feel like a compromise; in fact, it can open the door to a richer, more curious world of flavour. And at the heart of this shift sits a burgeoning sector of non-alcoholic alternatives: drinks crafted with the same intent, creativity and provenance we’ve long admired in fine wines and spirits- yet engineered to offer the drinker greater control over how, when and why they imbibe.

What does 'Non-Alc' actually mean?

Today's most credible non-alcoholic alternatives, in the truest sense, are not merely soft drinks dressed up in fancy packaging. They are thoughtfully built beverages designed to replicate the structure, complexity and ritual of alcoholic drinks - minus (or with minimal) alcohol.

For wine, this often means de-alcoholised expressions: wines that begin life exactly as any conventional bottle would, grown in the vineyard, fermented, and nurtured into a well-balanced liquid. Only then is the alcohol removed, usually through techniques such as vacuum distillation or reverse osmosis. Both methods allow producers to retain the aromatic compounds and flavour nuances that define the original wine. The result is a drink that feels familiar in the glass: structured and tannic, food-friendly and genuinely vinous, yet invites us to sip without consequence.

Creating a credible – and tasty – spirit without the alcohol content is devilishly tricky. The inherent complexity of a spirit is intensified by the distillation process, so resorting to other means to create similar flavours has meant that the results are never quite as robust or mouth-filling as the original. Some are made in the same way, ie distilled from a beer or wine, with the alcohol molecules removed post-distillation. Others use what is called a hydrosol: distilling water, or tea and adding specific flavourings, such as ginger and citrus elements, salts, acids and flavour stabilisers, to mimic the flavour and mouthfeel of a spirit, which is combined with other flavourings such as gin botanicals and spices - and in the case of low-abv spirits, a small amount of spirit, such as gin etc.) This results in a concentrated, realistic spirit flavour. Adding a small amount of glycerol, post-distillation can also help to develop the thicker, perceived ‘unctuousness’ that an alcohol-rich spirit brings.

What feels most exciting about entering 2026 with these drinks at our disposal is the sense of possibility they offer. it’s about expanding our toolkit of pleasure. It’s about pacing ourselves across the night, staying present in the conversation, waking up clear-headed, yet still feeling like you’ve indulged in something crafted, thoughtful and delicious.

Five Solid Non-Alc 'Wines' to try:

Five Non-alc 'Spirits' to seek out:

Welcome to the latest instalment of 'How We Host,' our column devoted to all-things entertaining from those who know a thing or two about having a good time. Next to dissect the fine art of entertaining is music mogul Usher, who speaks with Wallpaper* from his LA home.

American singer-songwriter Usher has had a lifelong dialogue with movement, motion and rhythm. The Grammy-award winning artist remains the ‘King of R&B’ since he released his self-titled debut album at the age of 15 in 1994. With three decades in the game, Usher has a distinct style and knows what he likes. He's even known to bring his own tumbler, specifically one made by French crystal house Baccarat, to major events, including to the Met Gala and to his Super Bowl halftime show after-party.

‘As a matter of fact, it has been one of my most trusted friends for years,’ Usher says. 'Every show I’ve ever done, it's on my rider that they have two to four tumblers backstage’.

It made complete sense, then, that the storied glassware brand partnered with the singer on the Harmonie Tumbler, a fresh take on a Baccarat classic design, reimagined with a jaunty, slanted base. ‘When I’m hosting people, I have Baccarat glassware specifically in my lounge,’ Usher shares. ‘Every detail and every note is considered when making music, and Baccarat’s process is the same.'

'Hosting,' he adds, 'is an expression of how you feel about your guests and also who you are.'

Although Usher enjoys a classic Old Fashioned at the end of a busy day (his schedule has been nonstop since wrapping up his 'Past Present and Future' tour this May), it's the mornings that mean the most to him — making breakfast for his family and embracing the daily craziness that comes with being a parent. Below, he reveals his tips for a perfect breakfast, the best ‘get-out-of-bed’ tunes and why banana pudding is forever on the menu.

How Usher Hosts

Wallpaper*: Are you a relaxed host and pull it all together at the last minute, or is there careful planning?

Usher: I mean, I can pull it together! You’re talking to a guy who can improvise and make it cool. I can put a mean cookout together with a red Solo cup, just as easily as I can with a crystal glass. It depends on who I’m hosting. If I’m trying to impress, a lot of thought goes into it. But afterwards, I’m very relaxed. That’s the purpose – to know someone else put thought into making sure your experience was curated with the best food and drinks

W*: Can you cook?

U: I try! That isn’t what I meant when I said in my song 'Let It Burn.' My food is charred, that’s what I got to go for.

W*: What was the first dish you perfected to feed a group of friends or family?

U: I only cook for my guests occasionally because I have an amazing group of people in my family – my wife and my mom – who really enjoy cooking. I also have some of the greatest baby chefs in the world. My daughter cooks an amazing banana pudding, compliments of my Nanny, who taught me how to cook it or make it when I was four years old. So the traditions that make you feel as though you're getting to know me and my history – that's what I try to bring to my dining experience.

I’m actually better at breakfast. If you're lucky enough to wake up in my house, I make this thing called a 'Tuscan egg toast.' I bake an egg in the middle of a piece of bread with herbs, salt, pepper and crushed pepper if I want it spicy. That’s my specialty.

I also consider myself a certified dessert chef, at least in my house! I love to make banana pudding and pound cake. My auntie has an incredible pound cake recipe. I’ve shared those recipes with my kids.

W*: And drinks on arrival? What’s on offer?

U: These days I’m more of an Old Fashioned guy. I like a single barrel, usually Blanton’s. I also make something I call the 'Chattanooga'—it’s like a chai tea with a little bit of bourbon.

W*: Did you make that up yourself?

U: Yeah, I made it up! Trademark it!

W*: Go on and tempt us – what’s your go-to menu, from starters to afters, whether homemade or bought in?

U: Well, I mentioned the 'Dirty Chai'—that’s a chai with a shot of espresso and bourbon. That’s my morning specialty. I’m normally a fruit guy, but I also love a nice omelette or chia seed pudding with passion fruit and berries.

W*: If you had a playlist for your dream breakfast, what would be on it?

U: I always play this song to wake the kids up, Louie Vega's remix of Sylvester's 'Dance (Disco Heat).' My kids hate me for it because I blast it. Other than that, 'Get On Up' by James Brown. That’s my morning start.

It doesn't matter what time of day, I love Stevie Wonder, Luther Vandross, Whitney Houston, Anita Baker, Sade. I can listen to that all day. And I actually have records, I love to hear the vinyl. My kids think I'm a weirdo, but I want to keep traditions alive. It’s important to sit down, look each other in the face, and talk. Even if it's just a Taco Tuesday, I manage to get everybody to sit down.

W*: Who’s your dream dinner party guest?

U: I don’t have one name, but I love bringing intellectual people together with 'common folks.' I love a melting pot. I like to see dialogue between people who have big concepts and people who just want to talk about what’s going on in the world.

W*: And what should a guest never do?

U: Come empty-handed. Always bring something—a card, a bottle of wine, a six-pack, or even games. I love game night. If you know about Spades, that game absolutely breaks families. It's a really cool, competitive game.

W*: And what should a host never do?

U: Decide to cook for someone without asking if they have allergies. Have an EpiPen at the ready!

W*: What’s the secret to a successful evening?

U: Preparation. The time you put into the experience is the most important part. You want people to feel as though they get to know you. Serving with Baccarat is great for me because everything tastes better when it looks better. I wanted to create something innovative. Being able to say I’ve joined the legacy of designers like Virgil Abloh is a new chapter for me. I can be on your table and in your hand, giving you a reason to have a conversation.

Welcome to the latest instalment of 'How We Host,' our column devoted to all-things entertaining from those who know a thing or two about having a good time. Next to dissect the fine art of entertaining is Heide Hendricks, one half of the US interior design firm Hendricks Churchill

American interior designer Heide Hendricks has mastered the art of crafting a homey space, wherever the setting, a fact that’s evident in her stunning green living room that’s the backdrop of our video call.

‘I've actually been referencing this living room a lot because it has a really good vibe for people to relax and it's great for entertaining,’ Hendricks says, referring to a new hotel project in Vermont that she’s designing.

Places, after all, are backdrops for memories, and Hendricks, alongside her partner in business and in life, Rafe Churchill, has created some of New England’s most memorable ones as one half of the renowned interior design firm, Hendricks Churchill.

‘My husband had his own architectural design firm, and I had my interior design firm, and often we would collaborate together on projects,’ Hendricks explains. ‘It reached a point, maybe six years in, where we asked ourselves “What are we doing? Why aren't we just combining forces?"’

The pair has a particular passion for old houses. ‘It's always our goal, especially on the architectural front, to make it look like we were never really there. Yes, you'll end up with updated mechanics and radiators that work efficiently. But the whole point is that it will still feel like an old house.’ That approach is summed up in Hendricks Churchill’s new book Distinctly American: Houses and Interiors (Rizzoli) which charts 10 of their most compelling projects, ranging from rural residences to city dwellings.

Beautiful spaces are made even more beautiful, of course, when they’re shared with loved ones, which is why Hendricks enjoys entertaining, from comforting meals of spaghetti and meatballs to glasses of crisp Champagne by the fireplace. Below, she reveals her tips for a successful soirée — and why she’ll always turn to the Barefoot Contessa, Ina Garten.

How Heide Hendricks hosts

Wallpaper*: Are you a relaxed host and pull it all together at the last minute, or is there careful planning?

Heide Hendricks: I did all the meticulous planning when we designed our house. We put a lot of thought into a kitchen and how it will be the most efficient to use in preparing meals. This now allows me to be spontaneous when it comes to entertaining. I pretty much empty the fridge and make something. I will say, I always defer to the experts and start with recipes by some of my favourite cooks such as Ina Garten. I love being able to walk into the living room and only having to worry about tidying up, maybe fluff the pillows, and put some flowers on the table.

W*: And can you cook?

HH: Yes, I can cook, but like I said, I trust the experts and start with their recipes before tweaking to my taste buds. There's something very reassuring every time I crack open Ina's book, because I know she's perfected the recipe, so it's sort of fail-proof.

W*: What was the first dish you perfected to feed a group of friends or family?

HH: The first big dinner party I hosted we had spaghetti and meatballs. This quickly became something that I would keep going back to until people got fed up! Ina, shared a genius tip of adding nutmeg to the meatballs. It's just something super easy that you can make in advance and then just pop the pasta in a pan to boil while everybody's getting settled.

W*: Drinks on arrival – what’s on offer?

HH: When the people arrive, it always starts out in the kitchen. I think that's just the way it's done. Then, depending on the time of year, I usher them either outside, or inside by the fireplace in the living room. I always like to have some nice crisp champagne and also have a non-alcoholic seltzer with a fresh berry reduction sauce. It’s a little fancier than just plain seltzer.

W*: Go on and tempt us – what’s your go-to menu, from starters to afters, whether homemade or bought in?

HH: I love to make everything. I'll start off keeping it simple with maybe a couple of cheeses, dried fruits and seasonal fruits, something that people can graze on easily. Maybe add some salted nuts. Right now I'm loving a recipe from Via Carota, an awesome restaurant in New York City. It's their Insalata Verde, and its bed of romaine hearts, endive leaves, butter lettuce and watercress. This is then doused in a heavenly sherry vinaigrette with tarragon. It is super easy to make.

For dinner I love making like a classic roasted chicken and then dressing it up with a sauce. Usually it'll be a green sauce with whatever type of herbs on hand, like parsley and mint and chives, all blended together. Add a little bit of honey and you're golden! It just makes it extra special.

For dessert, I would do a devil’s chocolate cake. My friend Jessie Sheehan has a cookbook called Vintage Baker and she has the most delicious chocolate cake recipe in there. It's like a devil's food chocolate sheet cake with sea foam frosting. It always delights everyone when you bring it out because it's mounded with a giant meringue frosting and big silvery sprinkles for a little bling.

I've always been a dessert person, but lately I'm crossing over to savoury and I get really excited about a bread basket. That's my weakness - I mean, warm bread and butter are you kidding me? And then add a sprinkling of flakey sea salt…

W*: What’s on your dinner party playlist?

HH: I love putting together playlists. When people are arriving, I like to put on something with a little bit of pep to it. Lately I'm loving Sierra Ferrell's folksy indie country sound. As we ease into dinner time, I'll segue more into anything by Sun Kil Moon. I love to move the party into the living room for dessert and eat it fireside, or move to the terrace if it's still warm outside. Then I'll pick up the music tempo again. Right now I'm obsessed with Cameron Winters' Heavy Metal. The vocals are just so froggy and deep and it sort of hits you in your gut. And I think by then, some people might have a little bit of a buzz on and will appreciate it even more.

W*: And what should a host never do?

HH: A host should never neglect to plan for backup food in case you run out, because it's happened to me. I was hosting a friend's wedding, and there was so many very voracious teenage boys coming and helping themselves to three servings before everyone else had even had their first serving. I was running around the kitchen making extra pasta just to get us through. Since then I always keep the pantry stocked.

W*: What should a guest never do?

HH: It's sweet when you get a hostess gift, but it's a good idea to make sure it's nothing that they have to deal with and distract them from focusing on getting the meal ready. Flowers as a gift is such a great thing, but maybe bring them already in a vase.

W*: What's your secret to a successful evening?

HH: The guest list is important. If we're a larger group, I want to make sure I'm really good friends with at least half of them. But I love the opportunity to meet new people. I think it's really great when you have your friends in the room just helping you be yourself. So as you meet new people, it's the easiest way to make new friends because you feel genuinely more comfortable.

Inspired by French bon-bon sweets (a sugar almond wrapped in a twist) and the sound of a crackling fire, London confectioner Tom Smith decided to add a ‘snap’ to his wrapped tissue paper sweets by creating a friction-based mechanism that would make a bang when pulled apart. Eventually, these 'crackers' evolved to contain trinkets and a small love note. Over 170 years later, Smith's crackers are still a festive Christmas staple in Britain and beyond, and traditionally contain a paper hat, a joke and a small gift.

But sometimes conventional knick-knacks won't do. Luxury Christmas crackers today can contain everything from gourmet sweets to beauty treats to — yes — even jewellery. We've pulled together some of our favourites — from Claridge’s elevated set, which comes complete with vintage cocktail recipes, to an elegant selection from TOAST that come wrapped in traditional Japanese wrapping cloth. No matter what you select, these picks are sure to provide a cracking good time.

The best luxury Christmas crackers of 2025, according to Wallpaper*

Welcome to the latest installment of 'How We Host,' our column devoted to all-things entertaining from those who know a thing or two about having a good time. Next up? Hostess-with-the-Mostest and Houses & Parties founder, Rebecca Gardner.

When it comes to hosting, Rebecca Gardner knows how to make the rules, and, more importantly, how to break them. With her company Houses & Parties, she's planned extravagant soirées that have included everything from mechanical bulls to waiters dressed like aliens. As Sofia Coppola has said, My dream would be to have Rebecca Gardner in charge of the party committee of my life. '

Alongside her French bulldog, Percy, Gardner splits her time between Savannah, Georgia and New York, metropolises that contribute to her events' effervescent blend of southern hospitality and big city sparkle.

Gardner exhibited a knack for hosting at a very young age, from merchandising her bathroom cabinet in anticipation of a visit from an older cousin, to spending up to a full year planning her birthday parties. ‘My seventh birthday party was a fashion show down the side of my parents' house, which was really the driveway,’ she says. ‘My mother tapped a local newscaster to serve as emcee, and I was the bride at the end in white polyester.’

Today, she's essentially a party-planning fairy godmother — no request is too elaborate, whether it's pulling together a surprise party with a secret dance floor to a catered meal for 400 people. ‘I'm usually the one making things complicated,' she says.

Still, she aims to make entertaining easier for mere mortals. This autumn, she launched her debut book, A Screaming Blast, to encourage readers to host more parities of their own. The monograph — which includes a forward by Coppola — looks at 18 of her most elaborate parties spanning from birthdays to weddings, holiday parties to dinners. We spoke with Gardner to dive deeper into the anatomy of a successful party as she unveils what makes a good host — and a good guest.

Wallpaper*: You split your time between New York and Savannah. Does your hosting style differ with each location?

Rebecca Gardner: When I'm in Savannah, I have a lot more space – a proper dining room that seats a lot of people. In New York, I have cocktail parties that have a Holly Golightly vibe, champagne in the bathtub, and pass around the pigs in a blanket. I think no matter where what the environment is, the most important thing is the intent to gather friends, and mix up the crowd, because if your guests are lame, your party is going to be lame, no matter how many bouquets of heirloom roses you have down the table.

I definitely like to create a mood. I avoid overhead lights like the plague, so I would suggest lighting lots of candles, and having beautiful music. The recipe is to have interesting people, flattering light, and strong drinks to welcome people into your little world with graciousness and thoughtfulness.

W*: Are you a relaxed host who pulls it all together at the last minute, or is there careful planning?

RG: Whether I'm planning a party for a client or my friends, I plan like I am NASA and I'm executing the landing on the moon. However, at some point, especially if the party is at my house, I have to let go and let God take over. I do think that a hostess has got to at least act at ease, even if it's a performance because effortless is the look, but effort is the key.

W*: Can you cook?

RG: I'm a B+ cook. Yes, I can cook. But when I'm entertaining friends, I like to make one or two things for a dinner party, and then I outsource the rest. My book has a whole chapter titled, ‘You don't have to make it to make it happen’. I'm a working girl and I don't want to spend my whole day in the kitchen.

I do love Yotam Ottolenghi, and I think his books are a great resource for recipes that are sophisticated. They have a hell of a lot of ingredients, but they don't require something complicated like an organic pea foam or piping hot presentation. As long as you have all those spices lined up like soldiers, it's relatively easy to serve.

W*: What was the first dish you perfected to feed a group of friends or family?

RG: One of the first dinners that I had for my friends was at my tiny apartment in downtown Savannah, and I had a very ambitious Julia Child's menu which included anything complicated and creamy — think of an oyster bisque, beef Wellington, and some sort of spinach soufflé custard — and I got way in over my head. There were pots and pans lined down the floor of my galley kitchen. At one point, I opened a bag of potato chips and everyone drank a lot while waiting for my custard to set. I don't do that anymore. From that, the mantra that ‘you don't have to make it to make it happen’ was born.

W*: Drinks on arrival? If so, what's on offer?

RG: I always serve something strong, like a margarita or an old-fashioned. Bon Appétit has an amazing recipe for this time of year that is Earl Grey Bourbon punch. I think that when you first walk into a party, drinks shouldn't be complicated. Give someone something that they want and make it easy for them to ask for another, but I don't like complicated or sweet signature cocktails.

W*: Go on and tempt us – what’s your go-to menu, from starters to afters?

RG: I'm Southern, so I serve fried chicken. Alongside this I have a really yummy recipe for a wild rice salad that has water chestnuts, dried cherries and toasted pecans, and this really garlicky green goddess dressing which can be served cold. I also roast root vegetables, and serve a green mustardy salad. I think that the fried chicken pairs really well with expensive Champagne. For dessert, I love things that can be passed around, like lemon bars, big fat strawberries or rich chocolate brownies. The idea is to have a high-low menu, a Timex or Rolex, but staying clear of the middle.

W*: What’s on your dinner party playlist?

RG: Oh, God, I am not great with music, so I stick to Pink Martini at the beginning, and then I hope the evening ends with '90s hip-hop.

W*: Who’s your dream dinner party guest?

RG: I think that a young Jack Nicholson would be my dream dinner party date because he is, I assume, charming, funny and a little wild. I think every party needs an element of danger.

W*: Dish the dirt: what should a host never do?

RG: I think that a host should never apologize. If dinner is burned, order a pizza. No one notices the mistakes if the host is at ease and the party is fun. I think that the one thing that could go wrong is that you run out of booze.

W*: What should a guest never do?

RG: My pet peeve is guests that are determined to be in the kitchen. For me, hosting friends is a love language, and if someone continues to insist on helping, clear glasses or load the dishwasher, they're ruining my magic.

W*:What’s the secret to a successful evening?

RG: Flattering light, heavy pours, and an interesting mix of people.

A Screaming Blast is available at rizzoliusa.com and housesandparties.com

Thanksgiving is one of those American holidays with its own set of tropes and regalia – the gravy boat, the gigantic platter, the ‘good’ china and, of course, a cornucopia. But holiday entertaining can present a conundrum for those whose aesthetic inclinations slant more Rothko than Rockwell (read: all of us at Wallpaper*). How do you create a holiday spread that feels elevated, yet festive and celebratory? There’s no one-size-fits all approach for creating modern Thanksgiving table decor (our very own design editor recently swore off tablescaping), but there are a few places to start.

'A refined holiday table should exude quiet abundance, warmth, and generosity without leaning into the classic clichés,' says Bryony Sheridan, buying director at the luxury e-commerce site Abask. Lean into sculptural centrepieces, subtle glassware and grounding, earthy materials such as linen, hammered metal and ceramics, elements that 'create warmth without clutter,' per Sheridan. 'Minimalism and festivity work beautifully together when the focus is on intentional design rather than solely decoration,' she adds.

But don’t overdo it – no one wants to have an over-the-top flower arrangement blocking their dinner conversation. 'The golden rule with any table is to edit once before guests arrive because removing the one unnecessary element always elevates the whole table,' Sheridan adds.

Here are a few tabletop pieces we love to get you started. And remember: no matter what’s on your table, the most important thing is the people who surround it.

As seems to happen for a few years each decade, the dinner party has sashayed back into the spotlight. Right now, when public life is just a plague of smartphones and anxiety, being behind closed doors in a home with friends can feel thrilling. The rules have changed, mind. With party season already upon us, we have a few words of advice for contemporary hosts and guests.

How many guests?

Eight to ten people are optimal for genuine conviviality: it’s the smallest number that can feel like a party and the largest number that can have a group conversation and still break away for subsidiary gossip without being rude. On invitation, inform guests who else is coming – knowing who you’re spending an evening with in advance means you can mentally prepare to be your best, or most appropriate, self.

What good guests bring

We are increasingly of the opinion that good guests bring food not booze. Shop shelves have never been so laden with small brands offering every type of cuisine, so introduce your host to your favourite Malaysian chocolates, Scottish salami or Amazonian insect.

The table

Hosts, do not ‘tablescape’. In fact, never utter that word again. Laying a table in your own home for Instagram plummets new depths of social dystopia.

The food

Cook food that makes sense for a home, rather than a restaurant, so serve your guests pie or stew and avoid any stress or pretension. (If you’re a bit of a fearful cook, ordering food in is also fine, so long as it stands up to the journey.) People tend to remember the fun they’ve had more than the food they’ve eaten, and we’re living in times where showing off some knife skills feels sad in a Patrick Bateman psycho kind of way.

The mood

Light a few more candles than you think is necessary, particularly on your dining table. Illuminate humans, not space. And let people play with the wax. Play music from the era when your attendees were in their early twenties, carefree and capable of debauchery. We’re not huge fans of nostalgia, but a good dinner party gets better with a heady shot of aural reminiscence. Before midnight, smoke or vape outside or next to open windows.

One no-no

Finally, don’t speak to Alexa or ask Chat GPT anything. A dinner party is an enduring, endearing human saga; we lay bare the messy vulnerabilities of ourselves and our domestic habitats for others to witness and partake in – everyone goes to bed satiated, seen and loved. Leave the robots out of it.

The December 2025 Entertaining Issue of Wallpaper* is available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News + from 6 November. Subscribe to Wallpaper* today

Here in Wallpaper’s native northern hemisphere, the nights are closing in and the corresponding desire to dial down all but the most urgent demands on our time grows. It’s little wonder, then, that our thoughts increasingly turn to ideas of home. Whether sanctuary or salon, short-term stopgap or ancestral abode, domicility – for those of us lucky enough to enjoy it – continues to serve as an all-purpose synonym for privacy and protection, as well as a full-service hub for relaxation, entertaining, and those joyous moments that combine the two.

It was in this spirit of familial, informal cheer that we approached Wallpaper’s December 2025 Entertaining Issue, alighting on the ingredients that make a memorable evening remarkable: expect a plethora of ideas on how you can demonstrate your socialising superpowers, complete with sparkling stemware and hand-carved fruits.

We also suggest some lively and elevating house gifts for those in search of a thoughtful thank-you, from the perfect lint roller to prestige flatware; we present some daring and debonair eveningwear for the night owl in us all; and we challenge our design critic Hugo Macdonald to elucidate on the elements that make up a truly sublime supper party, one where the demands of the guests (no more than ten, apparently) are more than met by the effortless élan of the host. Hint: if you’re no great shakes behind the stove, it’s OK to order in.

Away from the hearth, we visit the new office of the Italian embassy in London, where long-time Wallpaper* collaborator Nick Vinson has envisioned a creative bridge between Italy and Britain. We also marvel at Not A Hotel’s latest reimagining of the fractional ownership market, located on a Japanese island, and check out the London outpost of Carbone, New York’s long-heralded bastion of midcentury Italian-American cuisine.

Elsewhere, we unpack the daring design of Cano House, which cantilevers over a steep slope in LA’s Mount Washington, revelling in its connections to nature. And we toast artist Maggi Hambling as she marks her 80th birthday with a new exhibition, paying a visit to her Suffolk studio.

Bill Prince
Editor-in-Chief

On the newsstand cover: Fruit carving: Nasima Khatun at Fruitima. ‘Tribus’ wallpaper in Sisal RM 1069 66, price on request, by Élitis. ‘Soleide’ coffee table, price on request, by Antonio Citterio, for Maxalto. ‘Deco Leaves’ three-tier server, £1,080, by L’Objet

The December 2025 Entertaining Issue of Wallpaper* is available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News + from 6 November. Subscribe to Wallpaper* today

Hosting is an art form. Whether you are a laidback throw-it-together-at-the-last-minute host, or a detailed planner, there is an innate human need to please people, and a hidden craft in setting an enjoyable dinner party. But what makes the perfect dinner party? This is where Wallpaper* steps in, presenting our new entertaining series diving into the art of hosting from the perspectives of leading figures in the design, architecture, and entertaining world. While hosting is undeniably a gift, it doesn’t harm having a few handy pointers along the way, whether you are an aspiring host, or being hosted.

How we host: Shiza Shahid

To inaugurate the series, we spoke to Shiza Shahid, founder of the globally loved Our Place, a homeware brand of culturally inclusive pans, and cooking accessories, (the Wonder Oven is a Wallpaper* favourite). After emigrating to America, Shahid reflected upon childhood memories in Pakistan, where her family would cook a variety of meals in one or two staple pans, which inspired the products she makes today. Items which celebrate globally diverse culinary traditions and multicultural kitchens.

With cookware, bakeware, kitchenware, and a cookbook, Shahid knows a thing or two about cooking for multiple people, and feels it is necessary to balance playfulness with practicality when whipping up meals in the kitchen. From perfecting the perfect crispy salmon, to exploring foods outside of your culture, we speak with the founder in her LA home to find out more about her hosting style, one which is more casual than you may think.

Wallpaper*: Are you a relaxed host and pull it all together at the last minute, or is there careful planning?

Shiza Shahid: I'm definitely a planner. I try to be really present for the event, and I find that the planning helps with that. I do believe in hosting being something that is really a gift that you give to your guests. I come from a big culture of hospitality, it is one of the main values within Pakistani culture - actually of a lot of cultures! I always want to put in that effort, but once guests arrive, I want to put them at ease and spend time with them and focus on connecting.

W*: It sounds like a welcoming environment. Obviously given, you own a cookware brand, are you a natural cook?

SS: Well… I can cook, but that does not mean that I don't also get help when it's a big group. I also love to experience different flavours. I live in Los Angeles, so I can cook a range of things that I'm familiar with, but I would love to work with local chef's such as Chef June Kusama of Otus Thai or Chef Shane Fatemanian, and bring in other flavours from cultures outside of my own. It is like having a guest chef series in your own house. (If you are based in UK I would recommend Melissa Helmsley, Ravinder Bhogal, Saima Khan of Hampstead Kitchen, Uyen Luu and Aida Khan).

W*: What was the first dish you perfected to feed a group of friends or family?

SS: I would probably say a crispy salmon. I love it when I can get a really high-quality piece of fish, get it started on the stove, and then pop it in the oven. I do the same with a bunch of different veggies, put them in the Wonder Oven to air fry. Then I can go and sit with my guests versus needing to be in the kitchen the whole time.

W*: And drinks on arrival? What’s on offer?

SS: So when guests walk in, I love to have a board or two on the table, like crudites, fruit, cheese, dips. I live a five-minute walk from our local farmers market, so I'm typically going there once, if not twice, a week.. Then for drinks, I offer all kinds of waters, because people are very specific! Then, of course, if people want a glass of wine or a cocktail, I can happily accommodate. I don’t really drink myself, so I always have an abundance of kombucha or mocktails on offer. I also try to serve farm-to-table food, so I also replicate that in my drinks. This could be getting fresh grapefruit from the market, or whatever citrus is in season, and mixing that with a nice tonic water. It is lovely and fresh.

W*: Go on and tempt us – what’s your go-to menu, from starters to afters, whether homemade or bought in?

SS: At the dinner table I love to have a variety of salads and roasted veggies like crispy brussels sprouts, and sweet potatoes with the salmon I mentioned earlier. For dessert, fresh fruit is a light option, alongside a cardamom and almond cake. This would be my fresh and flavourful, but simple dinner, that I feel good putting together by myself. If it's a special occasion, like Diwali, that is when I'll work with a chef. Another tip I would love to share is being able to source ingredients in. For example, if a place makes a great pasta sauce that I can't possibly replicate, I will try and find it and then do the rest at home. This can vary from a really good bread to a dessert.

W*: What’s on your dinner party playlist?

SS: My dinner party playlists are varied, and kind of range with music from different places I have lived and travelled. Expect Lana Del Rey, REM, John Lennon, Edith Piaf, Fateh Ali Khan, who's an old Pakistani Qawwali singer, Simon and Garfunkel… it is a mixtape across cultures and decades.

W* Who’s your dream dinner party guest?

SS: Oh, my goodness definitely Michelle Obama. She is someone who I think has a lot of wisdom, but also seems to have a great time. She is funny and has a great rhythm, the kind of person who would drop incredible nuggets of wisdom that I would remember forever, while also being fun.

W*: Dish the dirt: what should a host never do?

SS: A host should never make people feel like they're inconveniencing them. Hosting, does require effort, right? You’ve got to get your house ready, cook the food, invite folks over, and to me, that effort is really a gift. My biggest hosting fear is probably not having enough food, so I always make too much. Inviting people into your home is a different kind of intimacy than dining at a restaurant. I'm not saying you have to cook every single dish on the menu, but hosting is the art of making something with your hands, something that matters to you. It can simply be a beautiful cup of chai. It is ultimately about the deeper intimacy that comes from sharing a meal in your home.

W*: What should a guest never do?

SS: I would say, don't be late and don't stay too late. I think it's also nice to bring a gift or something that reflects the host, and take the time to understand the person. Finally, make the effort to bring good energy to the dinner party. Get to know your fellow guests, and bring openness and positivity.

W*: What’s the secret to a successful evening?

SS: I am always up for a good dinner party prompt as a way to get the conversation started. I think the secret to a good dinner party is the conversation. Curate your guest list thoughtfully and make sure that people will get along and be interested in each other.

W*: Thank you, I really hope that you end up hosting and serving salmon to Michelle Obama one day.

There’s a certain quiet magic about Aÿ-Champagne. The village hums with history, its cobbled streets echoing with the clink of bottles and the low, cool stillness of cellars far beneath your feet. Somewhere under those streets, in a labyrinth of chalk and time, lies the beating heart of Billecart-Salmon – a champagne house whose story stretches back seven generations, yet feels as alive and expressive today as the bubbles in a freshly poured flute.

Descending into those cellars is like slipping into another world. The temperature drops, the air stills, sounds become deadened and more distant – and the faint waft of yeast and limestone mingles with that unmistakable perfume of ageing wine; a whisper of brioche, citrus peel, and above all else – potential.

Inside Maison Billecart-Salmon

The tunnels were first carved in the 17th and 19th centuries, long before electricity or industrial machinery. Some 2.5km of them snake beneath the village, like veins carrying the lifeblood of champagne itself. Here, what seems like millions of bottles slumber in silence, stacked in perfect symmetry, their slightly cloudy lees slowly performing that remarkable transformation from still wine to the bubbly liquid celebration we're more familiar with.

Our guide through the labyrinth of tunnels is Mathieu Roland-Billecart, seventh-generation family member – and the man tasked with maintaining the traditions of the past but keeping the brand on the path to continued future greatness, too.

He speaks of these cellars with the kind of reverence usually reserved for a cathedral tour. And in truth, these cellars are a place of worship: a subterranean temple to patience and precision. Every bottle is touched by time; prized vintages laid down for over a decade, marked by the character of its season and the quiet decisions of those who nurture it.

'Because we're a family-run champagne estate, we have the luxury to take our time,' he says, gazing into a dusty bottle waiting patiently for its time to come. 'Time – especially time on the lees – is a critical factor for greatness in champagne, but unfortunately a lot of producers seem to forget that important fact.'

It’s a sentiment that captures the spirit of Billecart-Salmon, founded in 1818 by Nicolas François Billecart and Elisabeth Salmon. Seven generations later, the family still follows the same principles: finesse over force; freshness over flamboyance. While many houses have embraced modernity with industrial zeal, Billecart-Salmon moves to a slower rhythm, trusting in intuition as much as innovation.

Just a few steps from the family home, in a small walled 'garden vineyard', this philosophy takes root – quite literally. Le Clos Saint-Hilaire, a single hectare of Pinot Noir vines, is a marvel of meticulous viticulture. The vines here are tended to with fastidious detail; horses plough the rows, sheep graze the plot after the harvest, to help fertilise the soil, and every grape is hand-harvested with reverence. The result, bottled as Le Clos Saint-Hilaire, is one of Billecart-Salmon's rarest expressions – a soulful wine with profound complexity.

Tasting it in situ is a special moment. The wine is rich and deep, with real precision. Notes of hazelnut, a dusting of spice, and orchard fruit give way to echoes of minerality, reminding one of the earthy silences in the cellars below. There’s a distinct sense of place in every sip: a conversation between soil and winemaking craft that has been ongoing for more than two centuries.

The main guest house was refurbished in 2024 by French-American interior designer Elliott Barnes and feels both timeless and intimate. The inside walls are decorated with unique natural materials, and the wall covering is appropriately called ‘Winepaper’ for the ingenious way it combines hemp and linen with dried grape skins, sourced from grapes hand-picked from the Clos Saint-Hilaire plot during the 2022 harvest. Outside, a majestic bicentennial chestnut tree dominates the courtyard, underscoring the family's commitment to the importance of appreciating time and tradition.

The core range of wines, from the lighter, delicate, Chardonnay-rich Blanc de Blancs, through to the oak age-driven, toasty, yet beautifully balanced Le Sous Bois, (blended between Chardonnay, Pinot Noir and Pinot Meunier,) perfectly demonstrate that Billecart-Salmon’s style has always been about subtlety - a considered conversation rather than a shout. Even the rosé, often a sweeter, zesty, fruit-filled explosion in lesser-skilled hands, is a masterclass of intricacy: paler than most other brands and delicately perfumed, with freshly picked strawberries. It’s champagne for reflection as much as celebration.

'The wine world is often far too inward-looking,' says Mathieu. 'Our objective is to bring a smile to people's faces. If you can't smile after a glass of Billecart-Salmon, then we haven't done our jobs properly,' he beams.

With the afternoon sun dipping low over the village, glinting off the slate rooftops, somewhere beneath us, the bottles continue their slow transformation, watched over by a family that understands the value of waiting. Seven generations on, Billecart-Salmon remains a house not of spectacle, but of soul – a reminder that true elegance lies not in extravagance, but in the quiet pursuit of perfection.

champagne-billecart.fr

Björn Frantzén has a new approach to whisky tasting. The Swedish chef – who has three Michelin-starred restaurants – has partnered with Highland Park, the Orkney distillery founded in 1798, on a 16-year-old single malt whisky, ‘Between You and I’. Invited to provide tasting notes for the whisky, Frantzén ventured away from unpacking the usual flavour references – following considered sips of an amber-hued dram – and instead asks drinkers to explore personal memories and emotions inspired by the whisky.

In his own tasting, Frantzén reflected on his experiences and focused on personal associations, rather than identifying specific notes. ‘Taste is such a personal thing, and it has such an incredible power to take us places, bring back memories, and make us feel certain ways,’ he tells Wallpaper*. ‘Eating great food is a very personal experience, and whisky is the same. What I taste will be different to what you taste, and that’s why Between You and I is such an exciting concept – it identifies that we all have unique perspectives, and allows us to each experience the whisky without predetermined tasting notes, just letting its flavours evoke our individual memories and emotions.’

For Frantzén, the whisky reminded him of his travels, and spending time with loved ones. ‘I got a hit of tonka bean on the nose, which reminded me of being on a beach in the Caribbean. Palm trees swaying, warm air, the sound of waves crashing. Another flavour I tasted was marzipan, and it immediately made me feel like I was back in my grandmother’s kitchen in Sweden, doing the Christmas cooking. That smell of almonds, the cold outside, and the cosiness inside. Pure nostalgia.’

The whisky itself matures for 16 years in virgin Swedish oak (a first for Highland Park), sherry-seasoned European and American oak, and ex-Bourbon casks. ‘Between You and I has this kind of attitude – that’s how I would describe the mood,’ says Frantzén. ‘The flavours are really deep and layered, and then there’s this confident kick of smoke. To me, it tastes a little bit like rock music. Not digital, but analogue, handcrafted – people playing instruments at the peak of their craft.’

Each bottle of whisky comes in a customised box, with a booklet filled with questions and prompts inviting the owner to experience the whisky in their own way. Frantzén’s words of advice to those trying out the new tasting experience are: ‘The key is to listen to your palate rather than trying to impress yourself with fancy words. When I began cooking, I didn’t describe flavours – I remembered them.’

'Between You and I' by Björn Frantzén is available including Selfridges, The Whisky Shop, Master of Malt and The Whisky Exchange

From royal banquets at Versailles to dinners with Queen Elizabeth II and President John F Kennedy, Louis XIII cognac has been sipped at some of the most prestigious tables. The self-proclaimed ‘King of Cognac’ was created in 1874 by Paul-Émile Rémy Martin, and comprises a blend of eaux-de-vie, using grapes grown in Grande Champagne. There’s dedicated glassware available to accompany the cognac, and it seemed a natural progression for the French maison to extend beyond the decanter to the dining table with a new venture into porcelain.

Discover the new tableware by Louis XIII

‘Art de la Table’ is the maison’s fine tableware debut. ‘Our ambition was to extend the tasting ritual into a complete dining experience,’ explains Anne-Laure Pressat, Louis XIII executive director. ‘The heritage of timeless moments inspired us to create art pieces that carry the same spirit of excellence and emotion beyond the glass. It felt like a natural evolution for us to make every dining experience an elevated and memorable occasion.’

Louis XIII worked with JL Coquet, a 200-year-old porcelain house renowned for its porcelain’s purity. Within ‘Art de la Table’ are two collections. Each includes six pieces: a large plate, a soup plate, a dessert plate, a bowl, tea set and a coffee set.

The first collection, ‘Soil is Our Soul’, pays homage to the terroir of Grande Champagne. ‘We 3D-scanned the chalky soil at our Domaine du Grollet and translated its texture into porcelain, a tactile reminder of our roots,’ says Pressat. ‘Every detail reflects the idea that the soul of Louis XIII begins in the earth.’

‘Light of Time’, the second collection, focuses on how the eaux-de-vie are kept in cellars. JL Coquet carved facets into the porcelain to catch the light to match Louis XIII’s glass decanter. Final details include hand-painted copper that echoes the amber hues of cognac.

The collections’ complexity and artistry lie in the intricate craftsmanship of the porcelain, its whiteness a hallmark of quality. Pressat explains that each piece undergoes a three-to-four-week process, and is shaped by the hands of JL Coquet’s artisans in Limoges. ‘Over three years, 40 artisans mastered 12 entirely new techniques to bring our vision to life. For us, the process was about ensuring that every detail reflected Louis XIII’s legacy and quest for utmost quality. It was about pushing the limits of porcelain-making to fully express the soul of Louis XIII.’ Only 750 numbered editions of each collection have been made.

With the tableware taking diners from starter to dessert, each piece highlighting precise craftsmanship, Pressat says, ’Ultimately, we want people to feel connected to something larger than the table itself, a celebration of terroir, time and savoir-faire.’

Louis XIII Art de la Table will be available exclusively at the Louis XIII Boutique at Harrods, starting at £400 for a set of two pieces, from October 2025

In Knightsbridge, London, The Berkeley hotel has paid tribute to the queen of cake, Marie Antoinette, with an exclusive menu focused on all things cake and cocktail. The new menu, ‘Cakes & Cocktails fit for a Queen’ coincides with the V&A exhibition ‘Marie Antionette Style' in South Kensington.

‘Cakes & Cocktails fit for a Queen’ at The Berkeley

The menu is more than confectionary. The hotel partnered with shoe designer Manolo Blahnik, who designed the original pieces for Sofia Coppola’s 2006 biopic, Marie Antoinette. The limited edition menu will be hosted in The Berkeley Bar’s ‘Snug’ area. The pink-hued walls offer a dainty backdrop, covered in a mural of female faces with an array of expressions, by New York-based artist TM Davy.

The menu is decadent, and inspired by the last queen of France. Marcello Cauda, The Berkeley’s bar manager, worked closely with Blahnik to create a concoction that includes the designer’s favourite flavours. Highlights include a take on Blahnik’s favourite drink, a martini. The aptly named ‘Manolo’s Martini’ is made with Grey Goose vodka, bergamot, beeswax, and orange blossom, honouring Marie Antoinette’s daily ritual of bathing in orange blossom scented water.

‘La Reine Privée’ is a sweeter drink made with toffee vodka, pisco, apricot, white chocolate, orange, almond and ‘croissant air’, while ‘The Versailles Spritz’ with Grey Goose vodka, Provence rosé, Lillet Blanc, berry cordial, jasmine and coconut is a refreshing choice. ‘La Dauphine’s Garden’, which is also available as a mocktail, is a fusion of Bombay gin infused with rose, St Germain elderflower, violet, butterfly pea flower, and champagne. The menu is then paired with a selection of seasonal cakes and desserts.

‘The Berkeley is a beacon of luxury in London, and I am delighted to celebrate our partnership with this exquisite collection of cakes and cocktails inspired by Marie Antoinette,’ says Blahnik. ‘It is a delicious way to bring her spirit of elegance, indulgence and creativity to life.’

Cakes & Cocktails fit for a Queen’ at The Berkeley with Manolo Blahnik is available from Friday 19^th September 2025. Reservations can be made at the-berkeley.co.uk

If, like me, you have a curious nose for out-of-the ordinary tipples then you'll be delighted by a brand-new partnership in arguably one of east London's most exciting places to eat. For the month of September, Luna Omakase, the exclusive 12-seat Sosaku-style Edomae dining experience, (which nestles, hidden away inside the vibrant quarters of Los Mochis on the 9th floor of 100 Liverpool Street,) plays host to an extraordinary 12-course Japanese wine pairing menu, which evolves around the 12 phases of the moon.

Get acquainted with Luna Omakase, a dining experience based on moon phases

The partnership is the brainchild of head sommelier, Michele Orbolato and executive chef Leonard Tanyag, aiming to shine a light on the rich complexity of Japanese wines, specifically those from Chateau Mercian, the oldest established winery in Japan, which traces its roots back to 1877.

Based largely in the prefecture of Yamanashi, which is well documented for its wonderful, sweeping mountainous terrain, Mercian pioneered and perfected the vinification of Japan's first indigenous grape variety, Koshu. As a varietal it is famed for its minerality and flintiness, with a touch of citrus, making it an ideal bedfellow for pairing with rich, fatty fish like bluefin tuna belly.

However, Mercian isn't just adept at working with Koshu and since 1976, under the stewardship of Shogo Asai - arguably the father of modern Japanese wine - Mercian has also been crafting wines using a surprising array of European varietals: firstly, Merlot in the Kikyogahara region and then in 1984, it began experimenting with Cabernet Sauvignon and later on, Chardonnay. Its international credentials and ambitions were bolstered in 1988 with the appointment of Paul Pontallier, the former technical and managing director of Chateau Margaux as technical advisor, leading to award winning wines and wider acclaim in the upper echelons of the fine wine community.

Four of Mercian's wines are paired across the 12-course menu, which itself is split into five separate parts, delivered with exquisite precision and storytelling by Tanyag and his three-strong team, who calmly prepare and serve each dish in as you watch on in awe.

Part one and two showcases Mercian's versatile Rivalis 'Left Bank' Chardonnay from 2020 as well as its Koshu Ortum 2021 (which has an outturn of just 1,100 bottles) - and focuses on fish, with an Australian Amberjack Kampachi Crudo (a tangy, wasabi-led dish with red shiso) Bluefin tuna tartare, with Oscietra caviar, fresh wasabi and shari crackers, served in mysterious volcanic orbs which emanate smoke, and finally, sweet King Crab legs with yuzu, before delving into a precisely layered and complex trio of nigiri.

Another Koshu, this time a Gris-de-Gris 2022 (with similarities to a bold and orchard fruit-laden orange wine,) is paired with a grilled yellowtail tartare with fresh black truffle, as well as a further Oscietra caviar dish and Hotate Aburi - a rich and very complex dish with seared scallop, Goma truffle and balsamic figs.

The menu and stories from Chef Tanyag move swiftly into his childhood favourites, the highlights being a BBQ Unagi handroll with freshwater eel and miso gochujang and an incredible A5 Wagyu Sando - a precisely cut, and beautifully soft sandwich, with rice flower bread and wasabi leaf, which pairs wonderfully with the Mercian Mariki Syrah, with hints of minerality and spice.

Part five highlights Tanyag's undisputed status as one of the city's most inspiring chefs, with a crisp and zesty blood orange and camomile granita, followed by its culinary polar opposite: a hot soufflé, with miso caramel and fresh wasabi ice cream - one of the most remarkable flavour combinations you'll encounter this year.

The Luna Omakase X Chateau Mercian Wine Pairing Menu runs until 30 September, and then from the 1st of October at sister restaurant, Juno in Kensington.

With its spirits boasting amber hues and golden flecks, Casa Noble has been making tequila for over 200 years. The boutique distillery has seen more than seven generations of production of Single Estate Organic tequilas – blanco, reposado, and añejo. Now, it has announced a new limited-release tequila, Marqués de Casa Noble Tequila.

Discover Marqués de Casa Noble Tequila

Much like the company’s previous tequilas, the new limited edition is harvested, distilled and bottled using only traditional production methods on the private family estate (located near the town of Tequila in Jalisco, Mexico, it comprises over 6,500 acres of land and more than one million blue agave plants).

Each stage of production is controlled and overseen by founder and master tequilero José Pepe Hermosillo. Firstly, the blue agave is grown in the region’s volcanic soil, which creates the plants’ distinct flavour profile. Marqués de Casa Noble Tequila is then aged in new French oak barrels for two years.

These barrels are selected from trees in the Allier region of France, which are then transported to Tronçais and Bertrange (the French forests known for producing high-quality oak wood, prized for winemaking), where they are toasted and aged one additional year to create Hermosillo’s perfect vessel for liquid maturation. Hermosillo then blends 12 ‘extra añejos’, and nine ‘añejos’ aged for up to five years to create the Marqués de Casa Noble Tequila.

‘Each step of the tequila-making process was carefully planned and executed over the course of many years to create this unmatched spirit,’ explains Hermosillo. ‘We aimed to create a spirit that is not just complex and premium but also sippable – something to be enjoyed alongside life’s best moments.’

The result makes for a rich and silky tequila with a flavour profile of cooked agave, vanilla and peach, topped with roasted pecan, almonds and white chocolate, finished with spiced touches.

Marqués de Casa Noble Tequila, RRP £240, available at casanoble.com

Following in the footsteps of Yayoi Kusama and Paola Paronetto, French fashion designer Simon Porte Jacquemus is the latest creative tasked by French champagne house Veuve Clicquot with reinterpreting La Grande Dame.

Its premium cuvée is a tribute to Barbe Nicole Ponsardin, also known as Madame Clicquot, who took over her late husband’s wine business, becoming the first female champagne producer and introducing several innovations into the champagne-making process.

Jacquemus has worked with the 2018 iteration, the 25th vintage of the cuvée launched in 1972. ‘I have always admired Veuve Clicquot, its savoir-faire and history,’ says the designer. ‘I wanted to create a collaboration that brought together both of our worlds in a meaningful way. Jacquemus has always been a lifestyle brand, going beyond fashion. That’s why this project interested me so much: to work on the world around the bottle with Jacquemus codes and share our mutual values of French culture.’

For his interpretation of the bottle, Jacquemus draped the vessel in a white Toile du Marais canvas, a gesture designed to evoke the elegant simplicity of heirloom textiles drying in the sun, ‘a human, simple touch’. On the canvas, yellow embroidery marks the vintage’s momentous release. ‘Yellow is my favourite colour, and has always been a key focus in my collections,’ says the designer, noting the connection with the champagne house’s own visual codes. ‘Veuve Clicquot has owned this colour since 1877, and I loved the idea of wrapping the bottle in this warmth, like sunlight stitched into fabric. It became a thread throughout the project.’

Born and raised in the South of France, Jacquemus’ work is heavily influenced by his Mediterranean upbringing and the region’s luminosity, and this collaboration is no exception, particularly as the current cuvée is described by its maker as ‘a wine with a sunny soul. Its colour is bright and luminous. Its precise style is characterised by a subtle finesse and freshness, expressed through its salinity.’

For the 2018 cuvée, Jacquemus created a collection that is intended to reimagine the ritual of drinking and sharing champagne. The hero piece is a modern take on a French 18th-century classic, the rafraîchissoir, a large vessel designed to keep champagne cold. ‘The shape came from Medici vases, which I love, but also from my childhood memories: the trompe-l’oeil fish and the hammered texture are a wink to the Mediterranean,’ says the designer. ‘The handles’ details are square and round, a Jacquemus signature.’

The exquisite silhouette of the rafraîchissoir (a limited-edition piece made on request) was brought to life by artisan Camille Orfèvre, a recipient of the Meilleur Ouvrier de France, the highest accolade recognising exceptional craftsmanship. ‘Camille is incredible, one of the last great metalsmiths in Paris,’ says Jacquemus. ‘His atelier in Le Marais is full of history. I loved working with him because he understands about detail and tradition. Like in couture, every gesture matters. We talked a lot about celebrating savoir-faire and perpetuating traditions.’

Each piece takes more than 40 hours to create, using antique techniques that include polishing, engraving and lacquering. ‘This project is a tribute to true craftsmanship, and that’s what makes it so special.’

Le Rafraîchissoir and La Grande Dame by Simon Porte Jacquemus are available from Harrods, POA

It may be Notting Hill’s hottest dining ticket, but you’d be forgiven for ambling straight past The Fat Badger. An unprepossessing door down a Portobello side street – set behind the modish Italian diner, Canteen – and a painted pub sign of the eponymous burrower give little hint to what lies above. Ascending a tight, dowdy staircase, one first happens on the bar; all ecru linen, rough beige plastering and anachronist downlighting, ersatz Georgian and charming with it. Up again, and it’s into a vision of dining room: a simulacrum of bucolic British and retro Alpine, swathes of oak panelling and mahogany leather dotted with bushels and copper pans, a bustling open kitchen demarcated by a black-marble counter its nexus. It’s swooning, but looks aren’t everything. These merely buffer some of the finest modern British food crossing a pass anywhere in the city. But before dinner, some context.

The Fat Badger is perhaps the most garlanded opening yet from Public House; the newest sibling of artfully scuffed contemporary gastropubs The Pelican in Westbourne Park, The Hero in Maida Vale, and Cotswold bolthole The Bull in Charlbury. The group, inaugurated in 2022 with the opening of The Pelican, is the brainchild of Philip Winser (concept and design) and James Gummer (ops and menu development), who grew up together near Charlbury. (The third partner, Olivier van Themsche – business and acquisitions – is French.) Returning to the UK during Covid after a long hospitality jaunt in the US, Winser was galvanised with a growing interest in farming and food pathways, and keen to open something in London. Gummer’s local – now The Pelican – was up for sale: 'A hideous, blue-painted Italian pub concept,' says Winser. 'But such amazing bones.' Piqued with the idea of framing a traditional British pub as both a hub for beer-sloshing conviviality and a vehicle for platforming homegrown cooking and produce in an unbuttoned context, they took the plunge. The rest is history.

Provenance has been the group’s core tenet across both aesthetics and eating from the off. All its pubs are laughably beautiful: urban-pastoral amalgams of muted minimalism and an elegant harnessing of original and curated features. They operate a full-service, in-house design and build studio, led by interior designer Leticia Blakiston Houston, and have adhered to a key set of rules from the outset: no paint, natural materials, lime plaster, beautiful objects, a sense of nostalgia. 'A design style that’s sort of how our houses would look,' Winser says. 'Everything had to have a level of craftsmanship and be based around UK heritage. Even down to the oak we use, it was all taken to a really nerdy level.' (To those ends, they work closely with a furniture restorer near Charlbury; with deVOL kitchens on custom lighting; luxe kitchenware brand Katto for their knives; and an artisanal Somerset bedmaker to forge the four-posters in the Bull’s overnight rooms, to name but several.)

As for the food, seasonality and sustainability are paramount. As much produce as possible is sourced in the UK, with a decent amount pulled from their own market garden at Bruern Farms near Charlbury (a 1.6-acre plot with approximately a polytunnel per pub), and animals bought whole from the the regenerative Whittington Lodge and Paddock farms in the Cotswolds. Its simple, ingredient-led dishes bely some serious cheffing bona fides: Sally Abé, previously of The Pem, has been recently installed as head of food at The Bull; The Fat Badger’s head chef George Williams manned the hobs at Dorian and the River Café; and group exec chef Doug Sims led the kitchen at Quo Vadis. The menus are as ascetic in concept as they are deft in practice, offering no more detail than things like ‘fresh cheese, pea’ or ‘cod’s cheek, curry’ – which would seem affected if the results weren’t so delicious.

The Pelican, et al, run a conventional à la carte. But at the Badger, wunderkind Williams and sous Beth O’Brien have devised a set menu format: four courses, a few snacks, a modicum of choice in terms of the headline mains but you’re generally at the whims of the kitchen. The overarching focus on seasonality and sourcing remain, but things err more painterly here, especially in the small bites: a chilled tomato and crab soup with perfect soda bread; a Cornish tuna belly tostada with finger lime; shuddering nuggets of sweetbread on celeriac tacos; scallops with Lilliputian white prawns and bisque (and so on).

Delicate it may be, restrained it is not. 'It's a bit of a feast,' says Williams. 'Exactly how I like to eat: loads of food at the beginning, something really intricate and interesting, and then just something big to make sure that everyone's nice and fed.' It’s all, cumulatively, exceptional – the pub experience embellished with a slick of ceremony, subtle recherché club vibes afforded by the half-hidden entrance, and course after course of blinding eating. The immersive spatial design and hubbub of the visible kitchen were conceived to heighten the communal ambience, too: 'The thing that kept coming up in the conversation was that we wanted to feel like being in someone's kitchen,' explains Williams.

And next? After opening another pub – The Hart, off Marylebone’s bijous Chiltern Street this autumn – Winser, Gummer and van Themsche have their sights set on co-launching Pub Club. A training initiative near Charlbury, its aim is to impart practical knowledge and skills in cooking, front-of-house, food production, nutrition and financial literacy, promoting hospitality and its skillsets in a hands-on, project-based way for new generations. 'We spent the last couple of years working on food distribution and producers,' explains Winser. 'We're now looking within the organisation of how to invest and create new systems.' The scheme, he says, aims to give 'young adults the confidence to get into the hospitality industry and realise that there's a really great career path there' in a way that isn’t as regularly embraced in the UK as it is on the continent. Embryonic it might be, but the intention is laudable.

When it comes to food, Notting Hill and its near environs are, irrefutably, having their moment. Dorian, Ria’s, Dove, Canal, Canteen, Eel Sushi Bar, Permit Room... the cast proliferates by the day. The Fat Badger might be its most esteemed player yet. As for the group itself: city-best eating, design mag looks and a social conscience? Call it a full house.

In 1986, Keith Haring designed a poster for Absolut Vodka – the second artist to do so (following a recommendation from Andy Warhol) as part of the Absolut Art Collection – an initiative that, between 1985 and 2004, invited over 550 artists to collaborate with the brand. Haring produced four lithographs, which are now held by the Spritmuseum in Stockholm along with the rest of the collection, with one being chosen to become the face of Absolut’s campaign.

Nearly four decades later, Haring’s signature style returns to Absolut. The Absolut Haring Artist-Edition bottle reimagines his original artwork in three dimensions, featuring a vibrant yellow background with debossed red linework which harmonises with the blue of the logo.

The bottle features Haring's signature on the shrink sleeve, and a hand-drawn rendition of the Absolut medallion – depicting LO Smith, who founded Absolut in 1879 – is wrapped around the neck. The result is a collectible piece of 3D art that transforms Haring’s poster into a tangible object.

To celebrate the launch, Absolut has developed a signature cocktail: the Absolut Haring Fizz. This yellow-hued drink, inspired by the vibrant palette of Haring’s design, blends apple, orange, toasted sesame and ginger.

The limited-edition bottle channels Haring’s artistic ethos: that art should be accessible and lived (and follows collaborations from Keith Haring Studio with the likes of Swatch and Lexon). In 1980s New York, Haring sought to take art off the museum walls and into real life. The bottle also preserves the original spirit of the Absolut Art Collection: ‘Absolut has always believed art should be open, joyful and for everyone,’ says Deb Dasgupta, VP global marketing at Absolut.

David Stark, founder and CEO of Artestar, which represents the Keith Haring Studio, adds: ‘Our mission is to keep Keith Haring’s spirit alive by continuing to expand access to his art and the important messages within it. This project with Absolut revives a moment that meant so much to Keith – not just creatively, but symbolically.’

The Absolut Haring Artist-Edition will be available in global travel retail from 1 July 2025, and then in over 40 markets from October, for a limited time

Serpentine Galleries marked the official start of summer with its annual party last night (24 June 2025), bringing a plethora of guests together in a celebration of 25 years of the Serpentine Pavilion.

Bangladeshi architect Marina Tabassum and her Dhaka-based firm, Marina Tabassum Architects (MTA), designers of the 25th Anniversary Serpentine Architecture Pavilion, titled A Capsule in Time, were guests of honour at the event hosted by Michael R Bloomberg, chairman of Serpentine’s Board of Trustees; Bettina Korek, Serpentine CEO; Hans Ulrich Obrist, Serpentine artistic director; and actor, producer and humanitarian Cate Blanchett.

Guests, who were able to browse Giuseppe Penone’s exhibition ‘Thoughts in the Roots’ at Serpentine South and enjoy Sir Peter Cook’s Play Pavilion, dined in style on dishes including traditional dum pot biryanis, topped with pastry, layered marinated meats and vegetables with basmati rice. Members-only platform Dorsia was on hand with a tempting food trolley, offering chicken tenders and caviar.

Chef Skye Gyngell, of Spring, stepped in for desserts. Bangladesh’s seven-layered tea was the inspiration, resulting in infusions of lychee and saffron, as well as coconut, mango and sesame cakes.

‘From our loyal patrons to our inspired partners, we are deeply grateful to all who made this year’s Serpentine Summer Party a success,’ said Korek and Obrist. ‘Last night was a celebration of the artists whose projects extended from inside the galleries and beyond their walls into the surrounding park, of Serpentine supporters everywhere, and of the Serpentine Pavilion’s 25th anniversary. In the words of our very first Pavilion architect, Zaha Hadid, “There should be no end to experimentation.” Thanks to the generosity of the global Serpentine community, and especially our inaugural Summer Party Host Committee, the Serpentine spirit of experimentation will continue throughout the summer and all year round.’

If there’s one thing to know about Stanley Tucci, it’s that the man loves pasta. Between his 2021 CNN series Stanley Tucci: Searching for Italy and this year’s Tucci in Italy on National Geographic, in which he explores his ancestral homeland (his grandparents emigrated to the US from Calabria), he has sampled rigatoni in Rome, pansotti in Liguria and bigoli in Veneto – and that’s just the beginning.

‘I'll eat pasta every day,’ Tucci says. On a week like this, with London basking in a heatwave, his go-to is spaghetti alle vongole – ‘which is perfect, light, satisfying’ – paired with salad: ‘You don’t need much more than that.’ The idea of cheese with the dish, however, leaves him cold: ‘That’s bad, very bad.’

Pasta may be Tucci’s number one, but there’s a close runner-up: oysters and a martini is, he says, ‘one of the best things in the world’. On the perennial debate of gin versus vodka, he’s torn. ‘I love gin,’ he reasons (we’re speaking in his capacity as an ambassador for Tanqueray No. Ten, which he describes as ‘incredibly versatile, not super juniper-y and very citrus-y, which makes it totally refreshing’). ‘But also, making a Vesper martini [gin, vodka and Lillet Blanc vermouth] is a really nice thing, too.

With World Martini Day impending (June 21), Tucci reminisces about time spent at New York landmark Café Luxembourg on the city's Upper West Side. ‘I used to go there when I had a little money and treat myself to a cocktail,’ he says. ‘As the years went on, I was finally able to afford to eat there, so that was nice.’

These were Tucci’s pre-Hollywood days, when he worked in restaurants to support his acting training. ‘I’ve always been interested in food and drink,’ he muses. ‘My parents were amazing cooks – my whole family, actually, on both sides. I learned how to bartend many years ago. I also worked in a kitchen as a prep chef, and was really fascinated by restaurant culture. That’s why my cousin and I wrote the movie Big Night.’

The 1996 film, which is about two Italian immigrant brothers running a struggling restaurant in 1950s New Jersey, is a love letter to food – and became the catalyst for Tucci’s career. He went on to star in hits such as The Devil Wears Prada (2006), The Lovely Bones (2009) and The Hunger Games franchise (2012–2015), becoming a household name.

A gourmet to his core, Tucci never left the world of food and drink behind. He was perfectly cast as chef Julia Child’s husband in 2009’s Julie & Julia. But it was perhaps in 2020, when he posted an Instagram video of himself making a negroni which promptly went viral (1.3 million views at the time of writing), that the public became, as he puts it ‘interested in my opinion about food and drink’. With Searching for Italy and Tucci in Italy, where the actor deep dives into regional specialties from lardo to limoncello, he has carved out a niche as something of a modern ambassador of la dolce vita. Think of him as an urbane Bourdain, with less swearing and more biscotti.

The first thing that Tucci does when he gets to a new filming location is ‘go find a great meal’, or, if he’s staying in an apartment rather than a hotel, ‘go grocery shopping and make a big pot of tomato sauce – marinara’. He is nothing if not consistent.

While filming his most recent series, he came across what he considers to be the most magical place he’s ever been (a considerable endorsement given the visual sumptuousness of his shows): Trentino-Alto Adige in the Italian Dolomites. ‘It’s one of the most beautiful places ever,’ enthuses Tucci. ‘And, because that area was controlled by the Austro-Hungarian Empire, the food is really interesting: different kinds of noodles – not really pasta in the traditional sense – polenta, root vegetables, meats, fresh water fish… More butter and less olive oil.’

There are plenty more gastronomic odysseys ahead – Tucci in Italy has just been renewed for a second season – but for this weekend, it’s Tanqueray at the Tuccis’.

Stanley Tucci celebrates World Martini Day with Tanqueray No. Ten and a limited drop of pre-batched martini cocktails, inspired by his own recipe. Follow the link to be in with a chance of receiving one of the limited edition bottles.

Nothing screams a British summer more than a friendly neighbourhood fete, and London’s Mount Street Neighbourhood Festival has ticked all the requirements, and more. Taking place in the heart of Mayfair, the festival celebrates the area’s expansive outdoor spaces with an array of fashion, food and art.

Over three days from 12 to 14 June 2025, Mount Street’s stores will embrace the local community, opening new storefront seating areas for alfresco dining and tea experiences. These include a traditional Milanese aperitivo by historic pastry shop Marchesi, and the Mount Street Neighbourhood’s collaboration with Ladurée, in the form of soft-serve ice cream topped with personalised macarons. Other sweet delights include a popsicle stand by Métier, two exclusive ice cream flavours by Farm Shop, and more frozen desserts available from a cute cart by The Connaught hotel.

In true British fashion, an array of afternoon teas is available from various establishments, including a traditional option at Jean-Georges at The Connaught. To help visitors navigate between refreshment spots, artist Sainte Maria has illustrated a map of the area, marking the abundance of tea options.

But it's not all about food and drink. The festival organisers have also collaborated with local galleries, artists and other creatives – a partnership that will run throughout the summer season. Alfie Nickerson, a grower of biodynamically cultivated flowers, will run a flower stall, while Phillips Auction House will be launching a Modern & Contemporary Art sale. Hamilton's Gallery will host a screening of Isaac Mizrahi’s fashion documentary, Unzipped, and Lucy Sparrow will show her felt artworks of British fish at Lindsey Ingram.

With a cool drink in hand on a (hopefully) glorious summer’s day, what better way to explore this neighbourhood rooted in British heritage?

The Mount Street Neighbourhood Festival runs from 12 to 14 June 2025, mountstreetneighbourhood.com

‘I've loved chocolate my whole life – it’s always been part of my daily ritual,’ said Noor Freiha, founder of a new London chocolatier Makers. The ‘healthy chocolate’ shop, located on a corner plot at the intersection of Fulham Road and Old Church Street in London’s Chelsea, offers chocolates free of refined sugar, seed oils, wheat and dairy.

Inside Makers, London’s new ‘healthy chocolate’ shop

The Lebanese chemical engineering graduate taught herself how to make chocolate at home and infuses her creations with her love of wellness and ‘clean’ eating without compromise. ‘I grew up in Lebanon in a family that believed in cooking from scratch and eating clean, long before it was called that. If we wanted dessert, my mum made sure we baked it ourselves. That’s where I learned that flavour and nutrition don’t have to be at odds,’ Freiha tells Wallpaper*.

‘That mindset never left me. When I started teaching myself how to make chocolate, I realised how much conventional chocolate relies on ingredients that aren’t great for you: refined sugar, seed oils, wheat, dairy, artificial additives and preservatives.

‘So I wanted to challenge the status quo and push the boundaries of the artisan luxury chocolate world using “better for you”, health-conscious and clean ingredients, without ever compromising on incredible taste. If you're going to eat it every day, it should be guilt-free.’

The Makers kitchen is led by the Belgian chocolatier and patissier Alexandre Vandale, who comes from a traditional luxury chocolate background. The chocolates look as good as they taste, as he unites his savoir-faire with a contemporary take on indulgence. Products include sphere bonbons, square bonbons, candy bars, tablettes, paleo baked goods, spreads, hot chocolate on tap and seasonal soft-serve ice cream.

The flavours are unique, with ingredients including ancient Chinese herbs and Peruvian plants. Achieving a tasty result, Freiha confesses, wasn’t an easy ride. ‘Everything had to be rethought. Our executive chef, Alexandre Vandale, built every single recipe from scratch: praliné, ganache, feuilletine, and jams. We weren’t using the conventional ingredients most luxury chocolatiers use, so it became a technical challenge in the truest sense. But that was the fun part. Working within strict limitations pushed us into real invention. It’s a scientific process – the timings, temperatures, textures – and we thrive on that level of precision.’

To recommend a favourite flavour is difficult for Freiha, but she says the coconut praliné candy bar with astragalus really caught her off guard. Astragalus is an ancient Chinese herb known for supporting cell regeneration and vitality. Other offerings include soba cha crunch sphere bonbons (a particular hit in the Wallpaper* office, although everything we tasted was delicious); almond orange blossom marzipan square bonbons; hazelnut wafer and maca candy bar; caramel popcorn covered in dark chocolate; paleo marble bundt; and a secret off-menu iced chocolate.

The shop interior is inspired by the origin of cacao and boasts a maximalist colour palette, including blue tones that nod to the western coast of Africa. However, Makers’ interior also nods to Freiha’s heritage. ‘Hospitality is such a big part of Lebanese culture. It’s not just about service, it’s about making people feel seen, remembered, cared for,’ she says. ‘The space includes personal touches, copperware handmade by a Lebanese workshop, hand-painted tiles with the Lebanese flag, lemons and wild strawberries, and motifs from my childhood. Even the rhythm of the boutique, with its layered textures and interior design, mirrors an old Lebanese house. It’s important to me that Makers feels like an extension of that world, warm, generous, and intentional.’

‘Some of our bonbon flavours nod to that heritage too: pistachio marzipan, tahini black sesame, and coffee cardamom. They’ve become quiet favourites, and I’m always dreaming up more. It’s my way of bringing a little bit of home into each bite.’

Makers is located at 2-4 Queen's Elm Parade, Old Church Street, London makerslondon

If there’s one drink that fits the Anish Kapoor treatment, it’s Rémy Martin XO. Created in 1981 by cellar master André Giraud, XO is one of the brand’s most famous cognacs, made from a blend of up to 400 fruit brandies – known as eaux de vie (or ‘waters of life’) – from the exclusive Grande and Petite Champagne vineyards of the Cognac region.

Rémy Martin has tasked Kapoor with the creation of a limited-edition decanter for its prestige XO cognac. Luckily, the sculptor was already a fan, thanks in large part to memories of his father’s maritime history. 'When I was a boy in India, my father, who was in the Navy, used to drink Rémy Martin,' he tells Wallpaper*. 'It seemed to me a drink imbued with sophistication. The brand has a very special nostalgic resonance for me.'

Given free rein for the new design, and as a self-proclaimed ‘colourist’, Kapoor’s approach to the new decanter centred on this aspect of the liquid, with its varied brandy hues blending into deep ochre in the bottle and lighter gold in the glass. Taking photos of the original sculpted decanter from all sides, he noticed how much the cognac actually shifted colour and tone as the sun caught different angles of glass. It was beautiful, but added to the challenge. 'The colour of XO changes as the light changes, so I had to search,' says Kapoor. 'To me, the dark red-brown of XO has a radiant presence: it glows deep red-brown from within the glass and alters as the light changes.' The focus on colour and light led Kapoor to focus on a minimalist design, smoothing out elements of the original and allowing the cognac to show off its depth without distraction.

Alongside the decanter, Kapoor has also created an artwork for the House of Rémy Martin, a huge, painted concave mirror that sits within his recent collection. 'I have been playing with curved, concave forms and reflective surfaces for many years now. The concavity in [the] mirror creates optical illusions,' says Kapoor. 'You come within the focal length and the image flips the right way up: it turns the world upside down and induces interiority. It invites us to think about the inner life of things.

'The concave mirror captures the reflective qualities of Rémy Martin XO. It offers a kaleidoscope of sensations, aromas and emotions.' It’s a good job there’s plenty of time to reflect over a glass or two, then.

Rémy XO Martin x Anish Kapoor Artistic Collaboration Limited Edition Cognac RRP £195 (700ml). Exclusively available in the UK at Selfridges in-store and online at selfridges.com

remymartin.com

It's safe to say that American whisky is usually the gateway into dark spirits for many of us.

It certainly was for me, over 25 years ago, when I was first offered a hastily poured Jack Daniel's over ice at a house party. What immediately struck me was the extraordinary spectrum of flavours in the glass, compared to Irish whisky and the small number of Scotches I had tried at that point: sweet, then savoury and spice-laden, then sour, then back to something mellow, vanilla-heavy and oaky... it piqued my interest in the wider world of whisky, of which I’m as passionate as ever, all these years later.

Today, the category of American whisky is certainly going through a transformation – something akin to the way Scotch did a decade ago –with a rise in popularity for limited-edition, small-batch releases, single-barrel offerings and highly prestigious, ultra-premium releases with age statements well into the teens and beyond, all of which command huge respect from spirits collectors and, of course, come with suitably high price tags.

Alongside this development comes a greater focus on the ‘grain-to-glass’ concept: taking a much greater understanding of the growing conditions and ecology of the raw materials used in making bourbon, as well as highlighting the sustainability and regenerative practices that are being widely celebrated by the global distilling community.

For the uninitiated, it's probably prudent to take a brief look at just what's under the skin of some of our favourite American whiskies and a little history behind the spirit.

A shot of American whisky history

The story arguably begins during the 1600s, when European settlers travelled to America, bringing with them distillation know-how: what they found was a country full of agricultural potential and the right conditions to grow the all-important grains used in the production of whisky, such as corn, rye and wheat. By the 1700s, Kentucky’s rich ‘bluegrass lands’ – and also Tennessee – became synonymous with the art of whisky distillation, which attracted more European settlers: such as Welshman, Evan Williams, who was instrumental in establishing Kentucky’s 'Bourbon Country' (more on exactly what makes a bourbon whisky later).

The Mississippi River proved pivotal in providing access to the coast for exports to both America's big cities and overseas markets. However, as the 1920s roared in, disaster struck, when the Volstead Act (or Prohibition, as it is more commonly known) came into play and for a period of 13 years, distillation became illegal, leading to the closure of many distilleries (just six remained open in Kentucky, producing whisky for 'medicinal purposes'), leaving only a few major players to keep up with demand once the act was repealed in 1933.

The 1980s and 1990s were a lean time for the industry, but change was afoot. The world began once again to get a taste for American whisky and thanks to the enduring qualities of the likes of Jim Beam, Maker's Mark, Heaven Hill and Buffalo Trace, as well as a new breed of artisanal distillers, the ranks were swelled again. By 2009, Kentucky was home to 19 distilleries. Today, that number is significantly higher, with over 90 currently producing spirit, and many more on the way, demonstrating why the future is very bright for American whisky.

Bourbon’s distinct flavour

From a style point of view bourbon gets its charismatic sweet, spicy and rich, full-bodied flavour thanks to a combination – or mash bill – of different grains: a legal requirement of no less than 51 per cent corn, often bolstered by rye – which brings a distinct herbal and peppery note, alongside wheat, providing a creamier, softer flavour and then additionally, malted barley for extra complexity. Maturing in new, charred and toasted American white oak barrels brings bourbon's rich colour and deep vanilla, cherry and sweet tobacco-led flavours, with the spirit ageing quickly, thanks to the extreme temperatures found in some of the huge 'rickhouses', where the barrels are left to slumber.

It's these two fundamental aspects – grain and oak – that distillers have really begun to tap into, to revolutionise the character of American whisky, to produce some astonishing variants using innovative techniques.

The best American whiskies on the Kentucky Bourbon Trail

Maker's Mark – the master of sustainability

Michter’s – the industry favourite

Jeptha Creed and Potter Jane – from small-scale to next-level craft

Bardstown Bourbon Co – the next frontier in innovation

Heaven Hill and Jim Beam – tradition, innovation, sustainability

Rabbit Hole – pushing the boundaries of flavour

Louisville essentials

Getting There:
Direct flights via British Airways - Heathrow to Cincinnati, or via Chicago to Louisville Airport.

Where to Stay:
The Hotel Distil Autograph Collection: 101 W Main St, Louisville, KY 40202, marriot.com

Hotel Bourré Bonne: 133 W Market St, Louisville, KY 40202, bourrebonne.com

Where to Eat and Drink:

North of Bourbon (cocktails and light dining) northofbourbon.com

610 Magnolia (modern Southern fine dining) 610magnolia.com

Cured (modern European fine dining) curedlouisville.com

The Bar at Fort Nelson (Michter's bar, serving twists on classic cocktails) michters.com

Hell Or High Water (intimate and cosy, modern cocktails, booking needed) hellorhighwaterbar.com

Hindsight is a wonderful thing, especially when it comes to fine wine.

The number of times I’ve discovered bottles at a restaurant or bar, which later turned out to be extraordinary vintages, only to find out weeks, or months afterwards that they’re essentially impossible to find again or are now prohibitively expensive, is all too frequent. I’m forever trying to take photos of wine labels now and have also joined the ranks of Vivino (the wine search-and-rating app,) which has become an almost ritualistic thing to check wherever I go.

Over the years, I have considered the possibility of having a Spiral Cellar installed in my kitchen. This ingenious and now somewhat iconic design certainly gives any home some serious gravitas and the typical cost of a three-metre-deep cellar, which can hold up to 1600 bottles is around £34-40k, taking up to 10 days to install. No doubt, it’s a considerable outlay, but also a sound investment too.

However, this January a chance opportunity arose for me to take the plunge and start building up a more serious wine collection at home. I say by chance, as I finally decided to clear out the modestly sized, previously inaccessible coal cellar of my Victorian house, solely with the intention of decluttering… and the potential I found down there was rather exciting indeed.

Fine Wine in a Victorian Basement?

Traditionally the final resting place for rusting bikes and other junk we no longer need, but can’t quite say goodbye to, the suburban basement is actually a surprisingly good environment to store wine in optimum conditions, if treated properly. Mine was particularly damp, mouldy and musty, but once it was cleared out of the junk and rotten cardboard boxes, and the bare brick walls and floor covered with a breathable ‘tanking slurry’, (a messy job, but ultimately satisfying,) things started to take shape.

'When building a home cellar one of the most vital elements to consider is the temperature: not just it being too hot, or too cold, but ensuring that temperature remains consistent throughout ageing – so the kitchen and garage are off limits!' explains Jake Curran, from the Fine Wine Sales Team for Corney & Barrow, one of the UK’s leading wine merchants. 'The best temperature for long term ageing is between 10-15°C degrees.

'The key thing to avoid is a big fluctuation in temperature,' concurs Ben Godfrey, Buyer for Mr Wheeler Fine Wine. 'It doesn’t want to be anywhere near getting close to freezing in the winter and then jumping to 20+ degrees in the summer: that’s a quick route to ruined wine!'

'Additionally, lighting is a super important, consideration', continues Curran, 'as too much – (especially artificial,) can damage the wine and its aromas – think sun bleaching, but for wine. A cool, dark cupboard or under the stairs are great options, but ideally a dedicated wine fridge would be the best choice.'

Wine fridges come in all manner of sizes and capacities and my advice here is to buy the largest one you can feasibly accommodate, with some companies, such as La Sommeliere offering single cabinets, with UV-resistant glass doors, which hold up to 250 75cl bottles, storing the wine at a set temperature between 5 and 20 degrees: some also have specific temperature zones for different styles of wine.

When it comes to conditioning and entire room or cellar however, then it’s worth considering a complete conditioning unit. One of the common drawbacks of storing wine at home is controlling the amount of moisture in the air, particularly if the aesthetics of the bottle are important to the collector. Damp will begin to affect the labels over time, leading them to deteriorate and in some cases, fall off completely. So, if the look of your collection is as important as the contents, Eurocave have developed the ingenious Inoa cellar-conditioning unit, which comes in two sizes, (for up to 25 and 50 cubic metre spaces,) which circulates the perfectly chilled air around the bottles to ensure any prized vintages are kept in great condition.

After buying a few combined digital thermometer and hydrometers to place in different areas of my newly tanked cellar, remarkably, it turned out that the conditions were a stable 12-14.5 degrees, with a reasonable humidity of about 80% – nearly the optimum for storing wine for long, slow maturation. Also, because it's subterranean, it’s free from any sunlight or major vibrations. So, a great starting point.

Perfecting that Cellar Look and Feel

Once I got the humidity under control (using a dehumidifier set to stabilise at 70%,) it was time to start thinking about how to utilise the space properly. There’s a wealth of options in this department, from the traditional latticed racking, through to wooden upright racks, (worth exploring family-run Tanglewood Wine for some smart options,) and perhaps the ultimate in authenticity: cast limestone displays, from the Stone Cellar Companybuilt to mimic the limestone from the Loire valley, which helps to keep a consistent temperature and humidity.

My starting point was four, walnut finish wooden upright racks, each one holding 28 bottles, (I’ll no doubt add more as the collection grows,) which allow for the bottles to lay at a slight downward angle. 'Keeping the wine in contact with the cork ensures that it does not dry out, shrink and ultimately let in oxygen, the wine killer,' explains Corney & Barrow’s Jake Curran.

I’ve illuminated the cabinets with some low output, rechargeable lights that operate with a 30-second PIR movement sensor, and my cellar is now fit for storing a maximum of 250 regular sized bottles, with a small brick shelf to hold larger magnum formats.

Which wines to drink and when…

But what to start filling it with? This is of course where personal preference comes in, but also a specific distinction. My cellar is one for personal enjoyment, rather than to store wines for investment purposes. If the latter is something you’d be looking to do, then it’s far better to build a ‘portfolio collection’ – a bespoke virtual cellar with a wine merchant, such as Berry Bros & Rudd, Mr Wheeler Fine Wine, or Corney & Barrow, which offer professional storage facilities.

Berry’s charge annual storage fees in a conditioned warehouse of £17.28 per 12-bottle case (discounted to £15.12 if you become a member of its Cellar Plan,) and that way you can keep track of the authenticity of your wine’s maturation before selling it, but also buy ‘in-bond’ – meaning that you don’t pay the VAT on the wine, unless it is removed from the warehouse. It also opens up the opportunity to purchase ‘En-Primeur’: future wine from specific high-end Chateaus released annually, which usually arrives at your bonded cellar of choice a couple of years after the vintage has been bottled.

My tastes tend to be quite conservative: bold Bordeaux-style reds, with a special fondness for the Left and Right Bank classics, such as Margaux, Pauillac, Pomerol and St-Émilion and big, voluptuous, buttery and unctuous whites - particularly Chardonnay-based.

No matter what your tastes are, one thing to consider is the drinking window of each wine. As a rule, wines such as white Burgundies tend to have a smaller window of maturation and don’t require as much aging, offering that beautifully rich and opulent profile pretty much straight off the bat, or after only a few years of cellaring. Bolder reds such as Cabernet Sauvignon and Merlot-based blends, (which you’ll find across the Bordeaux region,) can be bright, fruity, tannic and a tad overly acidic at first, requiring more time in bottle to mellow and to allow secondary flavours and aromas to flourish. As such, they can develop wonderful complexity over decades in the right cellar… the difficulty is no to get too trigger happy and pop the corks before they’re truly ready!

My top picks for building your new home cellar:

White Wine

To Lay Down

To Drink/Keep:

To Drink Now:

This is a beautifully textured wine, from a small number of Aligoté vines planted in 1975 above the famous Mersault area. You’ll find a wonderful richness, including candied fruit, soft toffee, and a fresh citrus backbone, with a delicate touch of spice and butter. Drinking wonderfully now, until the end of 2026.

Red Wine

To Lay Down:

To Drink /Keep:

To Drink Now:

Rolling hills and soft valleys where rows of vines cascade down the lush terrain sound like an idyllic Tuscan scene. Yet, this landscape can be found in Chilham, Kent, and makes a perfect location for Domaine Evermond, the UK’s first subterranean winery.

Tour subterranean winery Domaine Evremond

The property itself takes its name from Charles de Saint-Evremond, an exiled French poet at the court of Charles II, and the first ambassador of Champagne in England. The wine estate was founded by two friends – Pierre-Emmanuel Taittinger of Taittinger Champagne, and Patrick McGrath, a Master of Wine and founder of Hatch Mansfield – and is the realisation of their shared dream of creating a stunning English sparkling wine.

Domaine Evremond is a one-hour-ish train journey from London, but the drastic change in scenery from concrete buildings to soft greenery feels like arriving at a secret garden. The building itself is a venture in minimalism that allows its context to do the talking. Designed by French architect Giovanni Pace, the building is one elongated volume with a latticed façade, which opens into a bar area, a gift shop, and an elongated table at which to taste and discuss Domaine Evremond’s signature cuvée.

The cellar extends 23m into the ground, and stays at a cool 12°C year-round, the temperature maintained due to the chalk hillside. With consideration for resources in mind, all excavated material was repurposed, some used to line the winery’s wildflower-meadow roof which, come spring, will be the finishing touch to its integration into the landscape.

‘This is the first time Taittinger Champagne house has planted vines in the UK, which is a huge stamp in the quality of the land here and the opportunity to expand UK wines,’ says India McGrath director of sales, marketing, and communications.

The winery currently makes one signature sparkling wine, the Classic Cuvée. It is a blend of Pinot Noir, Chardonnay and Pinot Meunier, which the team believes ‘expresses the heart and soul of Domaine Evremond’. The Kentish terrain of chalky soils and oceanic influence is translated through the wines’ mineral profile.

In future, the company will create a sparkling rosé, and will offer food-pairing experiences. For now, other than this being a stunning place to enjoy a glass of wine and take in the views, there are also two tasting tours.

The ‘Classic Cuvée tasting’ takes place at 11.30am, and includes a look at Domaine Evremond’s history as well as a dive into the profile of the wine, how it is made, and the impact it is having. The tour can be curated, depending on the guests, and the environment is intimate.

‘It is a really concentrated look at the wine. Guests can come away understanding and knowing our wine,’ says Jeremy Wilson, cellar door manager. ‘In the afternoon, we run a longer viticulture tour. We explore the vineyard and the varieties we have on site, and have a glass in the vineyard. We want to make it fun, sparkling wine should be fun. And if you don’t fancy a tour, enjoy a drink on the terrace with a glass or bottle and the view.’

To book a tour, visit domaineevremond.com

Domaine Evremond is located at :
Chalk Hill, Chilham, Canterbury CT4 8DT

Sketch is back in bloom with its 11th annual showcase of floral installations. The art-focused London restaurant is presenting a ‘floricultural’ tribute to Jane Austen in celebration of what would be the author’s 250th birthday. For the month of May 2025, ‘Sketch in Bloom’ will take over the Grade ll*-listed building in Mayfair. For this year's installations, floral designers Lucy Vail Floristry, Ricky Paul and Rob Van Helden were invited to interpret some of Austen’s most notable works such as Pride and Prejudice, Sense and Sensibility, Emma and Mansfield Park. Additionally, a Jane Austen-inspired afternoon tea will be available, served in an ornate tea set.

Sketch celebrates Jane Austen's 250th birthday

The exhibition starts at the reception and entrance hall. Courtesy of Lucy Vail Floristry, who also designed last year's exhibition, which coincided with the National Gallery's 200th birthday, an archway is decorated with clematis, rose trails, geraniums, catmint, foxgloves, daisies, buttercups and forget-me-nots.

The entrance hall installation is inspired by a regency colour palette, and in each of a series of alcoves, artist Meg Boscowen has painted a scene inspired by the British landscape, with subtle nods to Austen. In The Glade dining room, Lucy Vail Floristry built upon the space's existing woodland-inspired installation with intricate cream and lace parasols filled with colourful flowers.

The Lecture Room and Library features a stunning wisteria tree. Rob Van Helden used this as a focal point to add a dreamy and ethereal touch using delicate lilac and pastel tones. Surrounding this set, bunches of hydrangeas, irises, delphiniums, lupins, and seasonal flowering plants take over the space with romance and whimsy.

The Pod Loos – or ‘egg-like’ bathrooms – are perhaps one of Sketch’s most notable spaces. Now they have been transformed with a contemporary aesthetic. Floral designer Ricky Paul wanted to add a feminine and soft touch with twisting vines and handmade wisteria stems made from rose petals. At the heart of the installation lies a topiary interpretation of a quintessential Austen character, crafted from lush moss.

The new installations are visually and fragrantly stunning, capturing the essence of a countryside garden. To accompany the exhibition, Sketch has collaborated with Penguin on exclusive editions of Pride & Prejudice and Emma; 200 copies of each will be available as limited-edition Vintage Collector's Classics.

In the words of Austen, from Mansfield Park, ‘To sit in the shade on a fine day and look upon verdure is the most perfect refreshment.’ We say Sketch's floral chapter is a close second.

‘Sketch in Bloom’ is on display until 1 June 2025 sketch.london

Being the great-grandson of French painter Henri Matisse carries with it, let’s just say, some creative pressure. That’s why Alex Matisse forged his own path.

In 2009, after a ceramics apprenticeship, Matisse moved to a former tobacco farm in North Carolina and set up his own pottery studio, East Fork.

‘For a long time, my family's legacy felt more like a shadow than something to celebrate, so much so that I needed to disappear in the mountains of North Carolina to find my way out of it,’ Matisse says.

Over the last 16 years, Matisse has grown East Fork into a successful business, alongside his business partner, John Vigeland, and his wife, Connie. East Fork’s product line grew from a line of humble mugs and bowls in earthy colours like ‘panna cotta’ and ‘morel’ to a fully-fledged homeware line that encompasses kitchen essentials, candles and even glassware. The company also grew; today East Fork has more than 100 employees in its Asheville, North Carolina headquarters.

Finally, Matisse was ready to re-embrace his famous forebear. Today, East Fork has unveiled the Matisse Collection, a joyful assortment of tabletop essentials featuring the French artist’s most iconic works.

There are plates emblazoned with whimsical faces–based on Mattisse prints such as ‘Bédouine au grand voile (1947),’ and ‘Nadia au regard sérieux (1948)’. There’s a delicate line-drawing of a plane tree—’Le Platane (1951)’—printed on a round serving platter. And then there's a set of dinner plates printed with the artist’s most recognizable cutouts, a series of reclining figures titled ‘Nu Bleu’ (1952). The company has even launched a new brilliant azure colourway, La Sirène, to complement the decorative items.

‘With time, it feels like a natural progression to honor my great-grandfather’s legacy in this special way,’ Matisse explains.

The ceramist was also working with a deadline: Henri Mattisse’s oeuvre entered the public domain in the U.S. this year. For the collection, the younger Matisse was able to collaborate with his family’s estate and foundation, Héritiers Matisse, to ensure that the East Fork line was as faithful to the artist’s originals as possible.

‘Now that [East Fork’s] stood firmly on its own for many years has the weight of that legacy lightened enough to celebrate and honor it. This collection is the beautiful culmination of that process,’ Matisse says.