Ever since The Zetter first opened in Clerkenwell in 2004, the group has helped set the bar for London’s boutique hotel scene with its relaxed approach to luxury, characterful interiors and distinctly residential feel. Its newest opening, The Zetter Bloomsbury, continues that tradition across six interconnected Georgian townhouses neighbouring the British Museum, where check-in takes place over a glass of wine or coffee, immediately setting the tone for the rest of the stay. With interiors that have all the warmth and personality The Zetter has become known for, it’s the sort of hotel you’ll find yourself looking forward to returning to at the end of the day.

Wallpaper* checks in at The Zetter Bloomsbury, London

What’s on your doorstep?

Tucked away in Bloomsbury, The Zetter sits in one of central London’s most convenient yet often overlooked locations. The British Museum is just next door, while Russell Square, Tottenham Court Road and Holborn Underground stations are all within a short walk, making it easy to reach almost anywhere in the capital. Soho, Covent Garden, Oxford Street and the West End are all close enough to reach on foot, whether you’re heading to a gallery, catching a show or browsing the shops. Yet Bloomsbury itself is reason enough to stay put. Beyond the museums and shopping, it’s the sort of neighbourhood where it’s easy to lose track of time, whether you’re browsing an independent bookshop or settling into a café for a long lunch.

Who is behind the design?

The interiors are designed by James Thurstan Waterworth, and every shelf, cabinet and corner is layered with objects that feel as though they’ve been collected over a lifetime. European antiques sit alongside midcentury furniture, African textiles, Turkish rugs repurposed as ottomans and works by St Ives artists including Sandra Blow and Roger Hilton, while ancient Egyptian artefacts and a library of more than 600 vintage art and auction catalogues reflect the hotel’s close relationship with its neighbour, the British Museum.

It’s the craftsmanship that really sets the hotel apart. More than 500 cushions have been made from antique textiles; vintage fabrics have been reworked into upholstery, headboards and lampshades; Georgian cabinets discreetly conceal modern services, while hand-painted faux-marbled architraves, reclaimed timber floorboards, bespoke rugs and decorative pieces made by British artisans create interiors that feel deeply personal.

The room to book

Overlooking the secluded courtyard garden, the Junior Suites are well worth booking, with lofty ceilings and four-poster beds that give them all the charm of the Georgian townhouses they occupy, while marble bathrooms, richly textured fabrics, antiques and collected objects make them feel just as characterful as the public spaces downstairs. Thoughtful details continue throughout, from the well-stocked minibar tucked discreetly beneath the television to Verden amenities in the bathroom. If you’re celebrating a special occasion, however, the Terrace Suite is worth the splurge, with its wraparound terrace, claw-foot bath positioned beneath the bay window and views across the garden.

Staying for drinks and dinner?

Breakfast is served in The Orangery beneath a glass roof, where leafy plants, the morning light and views onto the courtyard garden make it one of the loveliest spots in the hotel to start the day, while an à la carte menu featuring dishes such as avocado on toast or a full English breakfast is complemented by baskets of pastries, breads and fresh juices.

Later in the day, the menu moves next door to The Parlour and its adjoining courtyard garden, where elevated British classics such as Scotch eggs and sausage rolls are joined by seasonal salads and larger plates, making it just as suited to lunch as evening drinks. On arrival, every guest is also handed a coin to exchange for a complimentary drink from the bar, from a coffee to a cocktail or even one of the more premium spirits, a small but memorable touch that perfectly captures The Zetter’s relaxed approach to hospitality.

Where to switch off

The Zetter Bloomsbury isn’t a hotel with a sprawling spa or extensive wellness facilities, but that’s part of its charm. Instead, switching off comes naturally in the hotel’s secluded courtyard garden, where a drink beneath the trees on a warm summer afternoon is the perfect escape from the bustle of central London.

The verdict

Characterful, welcoming and full of personality, The Zetter Bloomsbury is the sort of place that’s just as appealing to first-time visitors to London as it is to those who know the city well. As one of London’s newest hotels, there are still a few service inconsistencies to iron out, but once those settle, the hotel has all the ingredients to become one of the capital’s most enjoyable boutique stays.

The Zetter Bloomsbury is located at 2-7 Montague St, London WC1B 5BP, United Kingdom. Rates: from £210

As you wander through the grounds of Casa Bonavita, a new 17-bedroom hotel in Malta, it is easy to forget you are in a hotel at all. With its golden limestone walls, palm-fringed pool and gardens scented with jasmine and orange blossom, it feels more like the home of a particularly fortunate friend. That, its owners Christopher and Suzanne Sharp explain, is entirely the point.

The founders and former owners of The Rug Company stumbled across the dilapidated 18th-century house in 2010 and were instantly bewitched. Over the next 15 years, they gradually brought it back to life, first as their family home and later as a hotel, which opened in late spring 2026.

Casa Bonavita is located in the sleepy village of Attard, one of Malta’s historic Three Villages and around 20 minutes from the capital, Valletta. Five minutes’ walk away is Villa Bologna Pottery, the renowned ceramics studio, shop and restaurant owned by the Sharps’ daughter, Sophie Edwards. But Casa Bonavita makes retreating behind its garden walls especially tempting.

Almost every bedroom has its own private outdoor space, yet even in the gardens or beside one of the hotel’s two pools, it is possible to enjoy complete solitude.

The terrace-wrapped restaurant centres on an open, Sicilian tile-clad kitchen with a Lacanche range, further blurring the distinction between hotel and home. Open to guests throughout the day, it welcomes outside diners in the evening, serving Mediterranean dishes including pan-roasted sea bass, verdura mista and buffalo mozzarella.

While Christopher revived the gardens, the interiors are the work of Suzanne’s London-based practice, Suzanne Sharp Studio. Drawing on her southern Mediterranean heritage – she grew upin Malta – she has created welcoming spaces that appear to have evolved over generations. Antique furniture, Murano glass lighting, textiles and art are layered with hand-painted murals that sweep across walls and ceilings, most notably in the restaurant where Alfonso Orombelli and Luna Aulehla Greppi have created a leafy scene that brings the hotel's garden foliage inside. The bar is wrapped in a bespoke de Gournay wallpaper depicting 17th-century Valletta, while artists from the nearby pottery studio hand painted the lampshades. Every surface has been considered.

A subterranean spa encompasses a hammam, sauna, cold plunge and gym, its blousy floral fabrics and deep-green zellige tiles creating a glorious meeting of English and Moorish pattern.

The best bedroom is hotly disputed among staff and guests, but Wallpaper* believes that Room Five – the only suite in the main house – just takes the crown, thanks to its generous proportions, its bathroom, set within the house’s former chapel, and private terrace overlooking the gardens.

Here, Wallpaper* speaks to Christopher and Suzanne Sharp about memories of Malta, designing through instinct, and finally realising a lifelong dream.

The home that became a hotel

Wallpaper*: You’ve both said that opening a hotel had been a lifelong dream. Where did that dream begin?

Christopher Sharp: When we were in our mid-twenties, Suzanne and I dreamt of opening a small hotel in Tuscany. Looking back, had we somehow managed to pull it off, it would almost certainly have been an unmitigated disaster. We had neither the financial resources nor the experience to make such an ambitious venture succeed. Having now opened Casa Bonavita, we appreciate just how much knowledge, resilience and patience it demands. Quite simply, we weren’t ready. Even so, that early dream never really disappeared. It became one of those quiet ambitions that stays with you, surfacing every few years to remind you that there is something still left to do.

Over the course of our lives, we’ve had several different careers, and we often joke that our philosophy is to do everything once – and leave while we’re still enjoying it. When we found this house, everything seemed to align. We finally had the right property, the experience that had been missing all those years before, and the resources to realise the vision properly.

More importantly, we had reached a stage in our lives where we understood what kind of hotel we wanted to create. Casa Bonavita was never conceived as a commercial exercise; it was the opportunity to fulfil a dream. Sometimes the best ideas simply need time before they are ready to be realised.

W*: Before it became a hotel, Casa Bonavita was your family home. How did living here influence the decisions you made as you transformed it into a place for guests?

CS: Living in Casa Bonavita before it became a hotel gave us an understanding of the house that would have been impossible to acquire from architectural plans alone. It allowed us to experience its rhythms and subtleties through every season: how the light moves through the rooms at different times of day, how the sun travels across the garden, and how the character of each space changes throughout the year.

It also taught us the practical realities of living in a historic Maltese house. Although Malta enjoys abundant winter sunshine, the humidity means good heating is essential for comfort. In the height of summer, effective air conditioning is equally important, but we also came to appreciate the value of ceiling fans. There are many evenings when a gentle movement of air is far more pleasant than the constant chill of air conditioning.

Perhaps most importantly, living here allowed us to understand how the house actually functions as a home. Spending time in every room revealed what each space needed to make it both practical and comfortable, while living in the village gave us the opportunity to get to know our neighbours and become part of the local community. We hope that sense of belonging and authenticity is something our guests experience too. The house was designed not simply to look beautiful, but to feel natural to live in, and we believe that has made all the difference.

Suzanne, you grew up in Malta. What is the Malta of your childhood that you remember, and in what ways did those memories find their way into the hotel?

Suzanne Sharp: My inspiration has always come from memory rather than a particular design style. I grew up in Malta when life was slower and houses were lived in rather than styled. I remember the cool stone floors, high ceiling rooms with shutters closed against the afternoon sun, family houses filled with objects and furniture collected over generations, and gardens that seemed overgrown. There was an ease to the way we lived and entertained that has stayed with me.

Casa Bonavita was never intended to recreate my childhood, but to capture that feeling. We wanted it to feel like a much-loved home where everything has found its place over time. If guests leave with a sense of the Malta we remember – its warmth, generosity and quiet beauty – then we’ve achieved what we hoped.

Designing the interiors

W*: The wall and ceiling murals are one of the hotel’s most distinctive features. How did the idea first emerge?

SS: As we restored the house, we uncovered traces of its past that reminded us how colour in Maltese houses was used. That became the starting point for the murals. We didn’t want to recreate anything historically, but rather continue the story of the building in a way that felt natural.

W*: How closely did you direct the artists, or were they given room to interpret the spaces themselves?

SS: I had a very clear vision for each room and worked closely with the artists, discussing colours and atmosphere, but I also wanted their own creativity to shine through. It was a genuine collaboration. Each mural was designed specifically for its space, so no two rooms feel the same, yet together they create a narrative that runs throughout the house.

W*: You worked with your son, the antiques dealer Jamie Sharp, to source many of the antique and vintage pieces. Are there particular periods, styles or objects that you’re instinctively drawn to?

SS: I’ve never collected according to period or fashion. I’m drawn to pieces with character, craftsmanship and a sense that they’ve already lived a life. Christopher and I, together with our son, spent years searching for objects that simply felt right for the house. Some came from antique markets, some from dealers, and others have been with our family for years.

W*: What do these older pieces bring to a hotel that contemporary furnishings perhaps can’t?

SS: Older pieces bring a warmth and authenticity that is very difficult to manufacture. They carry imperfections, stories and a sense of scale making a room feel as though it has evolved naturally rather than been installed all at once.

W*: Are there any particularly special pieces that guests should look out for?

SS: Rather than highlighting one or two star pieces, I’d much rather guests discover things for themselves. There are paintings, sculptures, ceramics and small objects tucked away throughout the hotel that reward a second look. I hope people notice something different each time they wander through the house – that sense of discovery is part of the experience.

Rediscovering the gardens

W*: The gardens feel wonderfully established, almost as though they’ve always been this way. What did you inherit when you first bought the property, and what has the process of shaping and restoring them involved?

CS: When we first bought the house, the garden felt rather forlorn. Its underlying structure was still there, but it had received little more than basic maintenance for many years. There were several citrus trees, though they were in poor condition, and the planting lacked both coherence and ambition.

The garden revealed itself all at once rather than unfolding gradually as you moved through it. We wanted to create a sequence of spaces – a sense of journey and discovery – where each turn offered something new. Because the house was becoming a hotel, it was equally important to create places where guests could find privacy, as well as areas that naturally encouraged people to gather.

The scale also needed rebalancing. There were too few mature trees to give the garden the sense of enclosure and permanence we were looking for. We planted twelve full-sized palms, together with a wide variety of smaller trees and shrubs, to restore both proportion and depth. If anything, I preferred to overplant. It is always easier to remove a tree or thin out a border than to wait decades for a garden to mature.

W*: Were sound and fragrance important to the experience you wanted to create?

CS: Yes, the scent and the sounds of the garden are enormously important. Although we are in the heart of a village, there is a remarkable sense of tranquillity. One of the pleasures of the garden is that it allows you to forget where you are. Beyond the walls there is village life, but within them there is a feeling of calm and enclosure.

Sound is a large part of that experience. The gentle movement of water has an almost timeless quality; the wind passing through the crowns of the palms, the chorus of crickets on a hot summer afternoon, and the birds at first light all become part of the rhythm of the day. None of these sounds demands your attention, yet together they create an atmosphere that is deeply restorative. Scent is just as evocative. The fragrance of jasmine in the evening, lantana warmed by the sun, citrus blossom in spring and herbs releasing their oils in the heat all anchor you in the Mediterranean.

Perhaps most importantly, I wanted the garden to feel alive. I like the idea that there is an entire world of insects, birds and small creatures carrying on their own lives, quite oblivious to our presence. A garden should never feel like a stage set; it should feel like an ecosystem. If we have done our job well, guests are simply passing through a landscape that has its own life and rhythm, rather than one that exists solely for their enjoyment.

Casual Italian may have been the big story on the capital’s restaurant scene in the past 12 months, but Londoners’ appetite for the sort of French bistro that wouldn’t disgrace the set of ’Allo ’Allo! shows no sign of waning – so much so that we’re now having to import them.

Buvette comes courtesy of New York-based restaurateur Jody Williams, whose West Village original, opened in 2011, is one of five Manhattan hotspots she co-owns with wife Rita Sodi. This is the US400 couple’s second bite at a London Buvette, after a Notting Hill outpost opened in 2020 and closed three years later.

Covent Garden, however, already feels like a better fit: squint from a pavement table under the red awning in Neal’s Yard and you could be in a French square straight out of Emily in Paris – or, perhaps, an especially photogenic enclave of Greenwich Village.

Wallpaper* dines at Buvette, London

The mood: Flea market chic

A buvette is the French word for a small bar, though Williams prefers to describe this place as a gastrothèque, her own word for a mash-up of café, bar and restaurant where one is as likely to drop in for a breakfast croissant and café au lait as a supper of cassoulet and Beaujolais.

Williams says that the New York Buvette was inspired by visits to flea markets and antique fairs, though here in London she’s been equally influenced by the building’s 400-year history and that of Neal’s Yard itself, where the British whole-food scene was kickstarted in the 1970s with the likes of Monmouth Coffee and Neal’s Yard Dairy.

Inside are exposed brick walls, warm wood finishes, a tin ceiling embossed with metallic garlands and close-set tables for two. If the dimensions feel more cramped than cosy, the best way to approach Buvette might be as an hour spent en route to somewhere else: a breakfast meeting before the office or pre-theatre ahead of the Donmar. Or pull up a solo stool at the marble counter.

The food: Small plates of bistro cooking

Williams might have a James Beard Award to her name for New York City’s Best Chef, but she taught herself to cook and spent five years in Italy and Japan before opening Buvette. All of which is to say that she is not bound by tradition. So while the menu is a love letter to traditional bourgeois cuisine – coq au vin and charcuterie, steak tartare and tarte Tatin – the presentation of the food as small plates feels bang up to date.

Not that you’ll want to split everything: a croque-monsieur, bubbled with golden-brown blisters of gooey Gruyère, is far too good to share. Carb-loading is the way to go: garlicky escargots come with slices of sourdough toast for dunking, while a tartine is spread with an artery-clogging amount of butter and draped with a salty sliver of anchovy and a tangy caper.

Not everything works quite so well when presented in miniature. A pot of moules topped with a pile of French fries makes excavating the mussels from their shells awkward, though it’s worth persevering, as the curry sauce beneath makes an excellent dipping sauce.

Even if you just stick to tap water, do take time to admire the design of the drinks list, which is beautifully illustrated as a homage to the Belle Époque and is as lovely to look at as everything else here.

Buvette is located at 2 Neal’s Yard, London WC2H 9DP, UK

Despite the foggy morning marine layer at the shore, summer is upon us in Los Angeles, and that means many trips to the beach for fresh seafood and frothy margaritas. Enrique Olvera of local Downtown LA favourite Damian, and award-winning Pujol in Mexico City, has recently unveiled a new concept for Mexican mariscos and agave cocktails in Venice, San Damián. Here's what to expect.

Wallpaper* dines at San Damián, Los Angelesdamian

The mood: Airy California cantina

The former ATLA space on Abbott Kinney was taken up a notch by Mexico City-based architecture studio TALLER ADG who collaborated with brand consultant Charlotte Fischli to refresh the dining room and bar. Lush greenery pops against the airy palette of light timber, which includes tables from Artless and chairs by Mexican architect and designer Oscar Hagerman.

The petate ceiling, made from woven palm fronds, adds a touch of tropical whimsy and draws the eye to colourful pieces from Mexican artists Marcela Calderon and Perla Valtierra. Coming soon: the back patio will become a taqueria, which will no doubt also be packed on the weekends.

The food: Michelin-level Mexican seafood

The pottery and ceramics for plating were all sourced In Mexico City, Oaxaca and Michoacán and make a stunning backdrop for the Mexico-meets-California focused dishes from chef Chuy Cervantes (also of Damian DTLA).

Cervantes is a master of ceviches and tangy poached shrimp aguachile, and you will be tempted to order everything from the raw dishes, along with a smoky mezcal Paloma or Mijenta Blanco margarita. But don’t overlook the crispy tlayuda topped with chorizo de pescado; fish tacos; or a crunchy Weiser Farms potato flauta. Large format plates include pescado asado guacachile amarillo – a whole fish (usually branzino), that is served with tortillas and salsas. And remember to save room for classic churros with a rich chocolate dip. You can walk it all off later on the boardwalk.

San Damián is located at 1025 Abbot Kinney Blvd, Venice, CA 90291, United States

Toronto isn’t short of good Japanese restaurants by any means, but Shinji is creating buzz among local foodies. Located in the base of the West Tower at Bay Adelaide Centre, a 1920s heritage building tucked beneath one of Toronto’s newest office towers in the Financial District, this modern Japanese steakhouse comes from Harlo Entertainment – the hospitality group behind local stalwarts, Mimi Chinese and Sunny’s Chinese – who asked Toronto studio Odami for a restaurant that felt Japanese without falling into cliché.

Founders Arancha González Bernardo and Michael Fohring found their answer in denim. ‘It is equally at home in workwear and high fashion, and that balance between humility and refinement became the conceptual lens through which we approached the entire project,’ says Fohring, who saw in denim’s rough, functional glamour a fitting metaphor for a steakhouse built on craft rather than spectacle.

Wallpaper* dines at Shinji, Toronto

The mood: Indigo walls, one neon surprise

An existing ramp into the dining room is now enclosed in dark-stained wood and acoustic panelling. ‘Rather than treating it simply as passive circulation, we transformed it into a critical part of the experience,’ says González Bernardo. The walls and ceiling are coated in a custom indigo limewash, layered by hand until the surface reads more like ink or dyed cloth than paint.

Overhead, navy felt baffles dampen the noise of a full room while echoing the texture of woven denim without spelling it out. The one bright interruption is saved for the washroom corridor, where pink light bleeds into view gradually – a wink at Japan’s neon-lit nightlife that’s kept apart from the dining room and appears as a surprise only when guests go looking for the washroom.

The Food: Wagyu, direct sourcing, shared plates

Executive chef and partner Jia Zou, who cut his teeth at Miku and Kasa Moto, has built a literally sizzling à la carte menu around Shinji’s central grill, where raw preparations and nigiri sit paired with a full run of Japanese wagyu from A3 to A5, sourced from Iwate, Miyazaki, Hokkaido and Kagoshima, alongside true Kobe beef brought in directly from Hyogo prefecture. For guests after a more curated progression, there’s also a chef’s choice menu and a dedicated omakase experience at the chef’s counter.

Fish, shiso flower and kinome leaf arrive from Japan several times a week to keep things close to source. Start with the A5 wagyu, ordered by the ounce, or the Shinji surf and turf – black cod and sliced wagyu in yakiniku sauce with crispy leeks – which Zou calls ‘the single bite that captures the restaurant’s dual identity most efficiently.’

Shinji, base of the West Tower, Bay Adelaide Centre, 333 Bay St, Toronto ON M5H 2R2, Canada

Emirates is coming for one of economy travel’s great indignities: the collapsing head. The Dubai-based airline has begun installing the U-Dream Headrest across its fleet, a multi-way adjustable leather headrest designed to support the neck and head properly during sleep, rather than leaving passengers to wrestle with travel pillows, tray tables and the shoulder of a stranger.

Emirates introduces world’s first U-Dream headrest

The airline says it is the first in the world to introduce the headrest, which is being fitted to Economy Class seats across all Emirates A350s, most Airbus A380s and Boeing 777s, and will arrive pre-installed on the 270 Boeing 777X aircraft it has on order. Three A350s are already flying with the new addition, with the rest of the A350 fleet due to be completed by the end of the year. Retrofitted A380s and 777s will follow from 2027.

The U-Dream forms part of Emirates’ Z400 seat by Safran Seats. Padded in leather, it has flexible side wings that fold inward to cradle the head and neck, helping passengers keep a stable sleeping position without slumping forwards or sideways. It also moves vertically and tilts, so it can be adjusted for different heights and body types. Emirates says the design has been independently tested to meet European Union Aviation Safety Agency standards, while cabin crew are trained to help passengers use it.

Tim Clark, president of Emirates Airline, called the headrest a significant improvement for long-haul economy passengers. ‘No more neck pillows needed,’ he said, adding that the design brings a level of ergonomic support usually associated with premium cabins.

The launch fits into Emirates’ wider push to make economy feel more considered. Its long-haul cabins already include widebody aircraft only, mood lighting, generous screens, complimentary meals, amenity kits, family services and ice, the airline’s entertainment system with more than 6,500 channels. Starlink is also being introduced across the fleet, allowing passengers to stream and browse at altitude.

emirates.com

On 12 August 2026, Mallorca will fall into the path of a total solar eclipse: the rare moment when the moon passes directly between Earth and the sun, briefly covering the solar disc and turning day towards dusk. The event will pass across parts of the Arctic, Greenland, Iceland, the Atlantic, northern Spain and the Balearic Islands, making Mallorca one of Europe’s most desirable places to watch it unfold. This round-up looks at the Mallorcan stays making the most of the eclipse – some have built full celestial programmes, with astronomers, telescopes, dinners and sea departures.

Mallorca’s total solar eclipse is best seen from these hotels

Hotel Corazón

Hotel Corazón sits off the mountain road between Sóller and Deià, in an 18th-century finca wrapped in palms, cypress and Tramuntana rock. The 17-room hotel is run by photographer Kate Bellm and Edgar Lopez, whose eye for image, garden and mood shapes everything from the room newspapers to the cactus garden. Moredesign restored the finca with local artisans, keeping the cobbled courtyard, terracotta tones and old chapel, now a spa. Rooms feature limewash, linen, stone, pink, sage and rough ceramics; the pool sits above the sea among pampas grass, rosemary and 1970s loungers. Farmer-in-residence Emma Philip sends kitchen-garden produce to chef Eliza Parchanska, who offers plant-led plates at the terrace restaurant, which Tatjana von Stein recently redesigned with carved marble tables, mustard banquettes, gingham napkins and sailor-striped cushions. For the eclipse, Corazón is keeping it stylishly low-key: the boutique is already selling bohemian Corazón Eclipse ’26 T-shirts, with the real viewing party happening on the terrace, a drink in hand, as the Tramuntana turns blue.

Hotel Corazón is located at Carretera de Deià, km. 56, 7, 07100 Sóller, Balearic Islands, Spain

Four Seasons Resort Mallorca at Formentor

Few Mallorcan hotels come with a backstory as rich as Four Seasons Resort Mallorca at Formentor. The original Hotel Formentor opened in 1929, founded by Argentinian poet and promoter Dan Diehl, and became the island’s grand northern hideaway long before the word resort lost its romance. In 2024, Four Seasons took over the 40-hectare site at the tip of the island, with Estudio Lamela remodelling the historic building and Gilles & Boissier handling the interiors. The white façade remains largely intact, while all 110 rooms and suites face the sea, with terraces looking over Formentor Bay. Inside, the palette follows the coast: pale natural tones and deep green accents feature across tadelakt walls, fabric panelling, and timber. The eclipse programme here includes a viewing from the spectacular Na Blanca summit, an elegant BBQ evening in the resort’s private vineyards beneath the Perseid meteor shower, and a yacht journey along the Formentor coastline for a front-row view of the celestial event. The property itself already has the right ingredients too: pine-shaded terraces and outdoor tables at Mel, Shima and Llum I Sal.

Four Seasons Resort Mallorca at Formentor is located at Carrer de Formentor, s/n, 07470 Mallorca, Illes Balears, Spain

Jumeirah Mallorca

Jumeirah Mallorca is perched above Port de Sóller on Mallorca’s north-west coast, with the Serra de Tramuntana behind it and the Mediterranean below. Designed by Arditecnica, with interiors by Peter Silling & Associates, the 121-room hotel is worked into the slope with planted roofs, private terraces and a round stone entrance hall that refers to the island’s talaias, the defence towers once built along the coast. Rooms split their gaze between mountain and sea, while the best views are saved for the public spaces: the 240 sq m Tramuntana Terrace, the eighth-floor infinity pool 110m above the water, five restaurants including Cap Roig and Sunset Lounge, and the Talise Spa, where a hydropool looks back to the mountains. Jumeirah is treating the eclipse as a four-day takeover. From 10 to 14 August, there will be astronomy masterclasses with Mallorca’s Astronomy Institute, solar telescopes, sunrise rituals, yacht trips, olive-grove dining and wellness sessions. On the night itself, guests can gather 100m above the sea for a lunar-inspired cocktail reception, live commentary from astronomers, and stellar gastronomy.

Jumeirah Mallorca is located at Carrer de Bèlgica, S/N, 07108 Port de Sóller, Illes Balears, Spain

Mandarin Oriental Punta Negra, Mallorca

Mandarin Oriental’s first Balearic resort takes over the former Hotel Punta Negra on Mallorca’s southwest coast, a pine-fringed headland in Calvià, close to Puerto Portals. Renovated by Estudio Lamela with HKS, the 131-room property is arranged to sit low among Aleppo pines, rocky coves and Mediterranean views: protected buildings have been restored, with their new volumes opening fan-like towards the sea, and bungalows placed by the water’s edge. Six dining venues include concepts by Nobu Matsuhisa and Dani García, while the spa, gardens, art pathway, tennis, golf and coastal yoga add the usual Mandarin Oriental flair. For the 12 August eclipse, the property is offering guests the opportunity to watch from a private yacht or traditional boat, rise above the coastline by helicopter, or join a limited 15-person hot-air balloon flight, with viewing lenses provided. On land, a 12-day Eclipse Advent Calendar brings the build-up into the resort through infusions, local sweets and bites.

Mandarin Oriental Punta Negra, Mallorca is located at Carrer Punta Negra, 12, 07181 Palmanova, Illes Balears, Spain

Nakar Hotel

A 1950s building was coaxed back to its former glory, thanks to local Palma hotelier Toni Ramis and architect Magi Marqués, who together transformed the Pension Nacar building on one of the city’s liveliest streets into the 57-room Nakar Hotel. Along with designer Marga Rotger’s touches – contemporary accents of pale oak, stone, black lacquered iron, glass and copper – a rationalist design aesthetic runs throughout. The result is a harmonious marriage of neutral colours, soothing lighting and simple planes, which together create the calm atmosphere that is Nakar’s signature. This commitment to relaxation is punctuated by the presence of a subterranean spa, where bamboo details, a shadowy palette and a heated pool, steam bath and sauna offer holistic rejuvenation. Elsewhere, a ninth-floor rooftop sundeck and infinity pool offer a privileged vantage point from which to enjoy the eclipse, while a more subdued mood can be found at CUIT Bar and Restaurant, which serves local cuisine from chef Miquel Calent.

Nakar Hotel is located Av. de Jaume III, 21, Centre, 07012 Palma, Illes Balears, Spain

Nobis Hotel Palma

Nobis Hotel Palma sits in the city’s Old Town among Gothic churches and stone squares, occupying one of the city’s oldest buildings: a 12th-century former Islamic palace, later a noble Mallorcan residence. Wingårdhs, working with Jordi Herrero Arquitectos and Eduardo Garcia Acuna Arquitecto, handled the renovation with due restraint, restoring vaulted ceilings, Gothic archways and a pair of courtyards, one fitted with a small dipping pool around an ancient fountain. The 37 rooms and suites bring Scandinavian calm to Spanish limestone walls and beamed ceilings, with wood, wool, leather, Örsjö lamps, Ogeborg carpets, Flos pendants, ceramics by Miquel Segura and tapestries by Leela Rome throughout. NOI Palma serves sharing plates beneath a textile ceiling installation; Mirall Bar brings velvet and drama to nine-metre-high stone walls; the rooftop looks towards La Seu Cathedral. For the eclipse, Nobis is taking guests out to sea. Its 12 August sailing experience leaves from Palma for around six and a half hours in the bay, with hotel-to-port transport, a professional skipper, swimming in a turquoise cove, snorkelling kit, paddle boards, dinner and drinks on board, and a champagne toast during the eclipse.

Nobis Hotel Palma is located at Carrer de les Caputxines, 9, Centre, 07003 Palma, Illes Balears, Spain

Sant Francesc Hotel Singular

Combining an historic 1880 manor house, a prime location on Plaça de Sant Francesc, and contemporary design, Sant Francesc Hotel Singular serves as a stylish base camp from which to experience Palma. Originally built as the residence of the Alomar family, the 42-room hotel is carved from a thoroughly renovated neoclassical structure where original details such as frescoes, beams and coffered ceilings abound. Working closely with the building’s current owners, the Soldevila Ferrer family, architect Tolo Cursach, interior decorator Maria Jose Cabré and landscape designer Ana Esteve successfully merged features such as a Baroque façade with present-day designs from Antonio Citterio, Jaime Hayon and Paola Navone. The Quadrat restaurant, led by chefs Àlvar Albaladejo and Carles Forteza, serves Med-inspired dishes, while a rooftop pool and terrace are ideally placed for soaking up the sun with cooling cocktails and breathtaking views of the Mallorcan capital. Another privileged rooftop view.

Sant Francesc Hotel Singular is located at Plaça de Sant Francesc, 5, Centre, 07001 Palma, Illes Balears, Spain

Mayfair dining rooms often arrive fully dressed. Latine is better when it changes outfit. Set in Lancashire Court, the Franco-Latin restaurant by London-based interior designer Victoria Vogel moves from a bright ground-floor crudo bar to a candlelit first-floor salon, a mural-wrapped private dining room and a basement lounge in lacquer, velvet and brass.

Wallpaper* dines at Latine Mayfair

The mood: A venue of many temperatures

The ground-floor restaurant is the brightest chapter: limewashed walls, solid wood tables, bouclé seating and a marble-fronted crudo bar, all gathered around an exposed brick rotunda and central chandelier. Decorative tiling nods to the seafood-led menu, while cream, terracotta, chocolate and pale timber give the room its soft sense of warmth.

Upstairs, La Candela brings white wainscoting, twin crystal chandeliers and terracotta accents into a candlelit salon. On the second floor, El Cielo turns private dining into a scenic room, wrapped in a hand-painted mural by Melissa Wickham beneath exposed oak beams and a sculptural bronze chandelier. Downstairs space, LACAV, drops the temperature: lacquered walls, burl walnut, velvet seating and brass lighting make it the late-night room: darker, richer, and much happier after dinner.

The food: Ceviche first, Béarnaise later

The menu opens with colourful crudos: bright, sharp and built around citrus, heat and sweetness. Sea bream tiradito comes with coconut leche de tigre; red prawn ceviche with mango and yuzu. Yet, the starters are where the Franco-Latin exchange gets better: snails baked with chimichurri butter and served with brioche; Cornish mussels with Latine marinière and fries; pão de queijo filled with Camembert, with the option to add Oscietra caviar.

Mains continue the exchange: grilled hispi cabbage with Peruvian curry sauce and Comté, wild sea bass with ají amarillo beurre blanc, bouillabaisse with ají panca rouille, and chargrilled ribeye with chimichurri Béarnaise.

Latine Mayfair is located at 10-11 Lancashire Ct, London W1S 1EY, United Kingdom

Most fine dining rooms worry about lighting levels. Huset has to deal with the sun disappearing for months. The restaurant sits in Longyearbyen, Svalbard, a Norwegian archipelago in the Arctic Ocean. At 78 degrees north, it is the world’s northernmost fine dining restaurant.

Huset, which means ‘the house’, is located in a building completed in 1951 for a mining town that needed one roof for almost everything: church, hospital, sports hall, school, post office, cinema, concert venue. The building has outlived the industry that made it necessary, but not its role in the town, remaining a gathering place, only now with a 14-course Arctic tasting menu and one of Scandinavia’s largest wine cellars.

Dubbed the heart of the town by locals, Huset now begins a new chapter following an extensive transformation by Norwegian architecture firm Snøhetta, which treated the restaurant as a building of leftovers, repairs and accumulated habits. That matters in Svalbard, where materials arrive by ship, weather interrupts everything, and resourcefulness is a mindset of daily life.

Wallpaper* dines at Huset, Svalbard

The mood: no snow-globe romance

The interior is warmer than the latitude suggests. Two tones of stained oak run through the fixed joinery and bespoke furniture, picking up the mixed woods in the coffered ceiling of the former cinema hall. Öland stone appears on counters and a large dining table; red linoleum gives the floor a blunt, practical heat, while accents of stainless steel cut through the softness.

‘Creating a warm and intimate atmosphere in a place as full of contrasts as Svalbard is both demanding and incredibly exciting. In a setting where it’s either always light or always dark, it calls for a very particular approach to lighting and surfaces,’ says project manager and team lead interior at Snøhetta, Marlene Fenger Vedal.

The smartest move is the textile work. Snøhetta used three layers of transparent fabric to create panels with a moiré effect, so the walls seem to shift as the light changes. Similar panels slide along the windows in timber frames, filtering the view without turning away from it.

‘By working with what already exists, it’s possible to develop more sustainable and meaningful solutions in line with a place’s history and identity, where history is not only preserved but activated as a resource in shaping the future,’ adds Fenger Vedal.

Throughout, the furniture has a sculptural sharpness: solid Swedish pine chairs by Simmer, supplied by Verk, and round tables designed by Snøhetta, including versions with cone-shaped bases. The adjacent chambre séparée is enclosed with fabric-clad screens and centred on a three-metre custom oak table.

The Food: Permafrost, preservation, wine below ground

Head chef Alberto Lozano cooks from a place where abundance is not guaranteed. The kitchen works with trappers, fishers and foragers, using Nordic preservation techniques and whatever the fjords, tundra and seasons allow. ‘Everything starts with what we can find here,’ he says.

That restraint gives the 14-course Arctic Experience its edge, with Arctic cold cuts, such as Reindeer charcuterie, Ptarmigan pâté en croûte and Huset chees. Examples of preservation include scallops in kefir cream, petrified langoustine with collagen and black shallots, and hay combined with lacto-fermented Norwegian green tomatoes. Below it all sits the wine cellar, dating back to the 1980s, with more than 1,000 titles.

Huset Restaurant is located at SJ, Vei 300, Longyearbyen 9170, Svalbard & Jan Mayen

The best souvenirs are rarely souvenirs at all, but something that proves useful in everyday life – like a hat. This is the premise behind Ruslan Baginskiy’s summer residence at cult-favourite beach club Scorpios Mykonos, open on the Greek island until the end of September 2026.

Ruslan Baginskiy brings Ukrainian craft to Scorpios Mykonos

The Ukrainian luxury headwear and accessories brand has dreamt up the earthy space under the art direction of its eponymous founder, a milliner and designer. Somewhere between an atelier, a gallery and a summer pop-up, it is filled with the brand’s signature styles, original workshop hat blocks, hat-making tools, and handwoven wicker pieces made bespoke for the project.

‘To me, trips are about exploring, so I wanted to create a kind of “wonder room”,’ Baginskiy tells Wallpaper*. ‘It’s a place where people can wander around a little and slow down, get lost in the details. Craft is meant to be experienced in person – to be seen, touched, and understood through its details. Just like the places we travel to, the real value for me is in the experience itself.’

Large handwoven wicker ottomans reinterpret the silhouette of classic Ruslan Baginskiy (RB) bucket hats, turning a familiar accessory into something with sculptural demeanour. Other handcrafted pieces were shipped from Ukraine, while vintage furniture from Mykonos and mainland Greece helps the installation bend into the existing Scorpios landscape. ‘We brought the real tools of hat making into the space, but at the same time turned hats into furniture you can actually sit on,’ Baginskiy says. ‘I like this play between something authentic and whimsical.’

The young milliner wanted the residence to feel like ‘a natural continuation’ of the destination, rather than a retail insertion. ‘That’s why the RB summer residence exists somewhere between an atelier, a gallery, and a friend’s beautiful summer home,’ he says.

A selection of RB summer hats and accessories, from the versatile HatBag to the quirky straw cowboy hat, can be personalised with fruit- and vegetable-inspired bag charms as well as limited-edition Scorpios medallions, turning each piece into a keepsake. ‘I love the idea that guests can leave with something that carries a memory of this beautiful place, of their time there, and of this summer,’ Baginskiy adds. ‘To me, the best souvenirs are the ones that become part of your everyday life later on.’

Scorpios Mykonos is located at Paraga, Mikonos 846 00, Greece

Felice’s newest New York restaurant opens at one of Flatiron’s most privileged corners, where Fifth Avenue meets 26th Street beside Madison Square Park. Set inside a 21-storey neo-Gothic building completed in 1912, the site gives the family-run Italian brand a dining room with unusual scale, daylight from three sides and a strong connection to the street.

Wallpaper* dines at Felice Flaitron, New York

The mood: go big and come home

Since opening on Manhattan’s Upper East Side in 2007, Felice has grown to fourteen locations across New York, Connecticut and Florida. Designed by local studio Bonetti/Kozerski Architecture, Felice Flatiron is arguably the brand’s most architecturally ambitious opening to date. The room boasts 18ft ceilings, windows on three sides and a Fifth Avenue presence that changes with the light. Afternoon sun cuts across amber banquettes, pale tablecloths and warm timber.

‘We wanted the space to feel instantly familiar but elevated in every detail, Tuscany in its materials, New York in its energy,’ says Enrico Bonetti, co-founder of Bonetti/Kozerski Architecture.

The design works through proportion, material and cathedral-like drama: custom Italian oak millwork crafted in Florence, Chianti terracotta sourced from Tuscany, deep red blinds, leather seating, soft pendant lamps and a 30ft illuminated wine wall. At the centre is Felice’s largest bar to date, wrapped in Grigio Versilia marble and engineered to be the restaurant’s social anchor.

The food: all-day entertainment

The menu stays close to Felice’s Tuscan roots: seasonal ingredients, regional recipes, signature pastas and dishes made for sharing. New to Flatiron is the Il Toscano Plate, with rotating salumi, pecorino, olives and crostini, alongside a tableside tiramisu cart and an interactive amaro station.

Wine remains central. The by-the-glass list champions small producers, with Italian bottles joined by selections from Spain, California and elsewhere. A ‘Back to Natural’ section brings in low-intervention wines, while the cocktail programme leans full dolce vita: Dirty Martini Spritz, aperitivo drinks, and a nightcap menu running from Amaro Shakerato to Affogato Martini.

Felice Flatiron is located at 220 5th Ave, New York, NY 10001, United States

Club de Mar Mallorca has never been just another marina. Founded in 1972, as Palma was becoming an international sailing destination, it helped draw large yachts from the French Riviera and place the city on the Mediterranean nautical map. After a five-and-a-half-year redevelopment, the club has reopened with whimsical interiors by Madrid-based designer Marta de la Rica.

Sail into Club de Mar in Mallorca

Her brief was to honour the club’s past without turning it into a museum of maritime nostalgia. ‘I wanted to create a unity of purpose through colour, material and shape,’ says de la Rica. She looked to vintage Riva runabouts – their high-varnish hulls, lacquered surfaces and easy glamour – as well as the club’s own 1970s origins, ‘an era that expressed luxury in a very sensorial and relaxed way’.

High-gloss lacquered wood runs through the bars, counters and wall panels, with slats, softened corners and rounded edges giving the rooms a nautical language without anchors on the wall. Light catches the varnish, chrome and glass, warming the interiors as it moves through the space.

The palette borrows from nautical flags, with red, blue and yellow drawn from the International Code of Signals. Stripes appear across upholstery and textiles, while sculptural furniture, rounded geometries, burgundy conical lamps and oval bars give the club a strong visual identity. Much of it was custom-designed, with nautical antiques from the club archive placed throughout: boat models, barometers, anchors and diving helmets. ‘Antiques bring soul and history to a space,’ says de la Rica.

Looking towards Palma’s Old Town and cathedral, the terrace feels afloat. ‘When you’re on the terrace looking out towards the Old Town and the cathedral, it feels as though you’re on a boat,’ says de la Rica. For her, the sea is present ‘not through thematic elements, but through materials, proportions and light’. The result is glossy, graphic and rooted in place: a 1970s-tinged yacht club interior that knows exactly where it belongs.

Club de Mar is located at Muelle Pelaires, 07015 Palma, Balearic Islands, Spain

Mayfair has no shortage of polished dining rooms, but Miko Mei Fair has arrived to turn up the heat. On the ground floor of MiMi Mei Fair’s Georgian townhouse, the 50-cover Thai restaurant is the latest opening from Samyukta Nair, the restaurateur behind London hotspots Jamavar, Bombay Bustle, MiMi Mei Fair and Nipotina. Led by chef Soonthorn Apaipat of Koyn Thai, it pairs townhouse glamour with cooking rooted in fire, balance and sharing.

Wallpaper* dines at Miko Mei Fair

The mood: MiMi’s more eccentric sibling

Miko Mei Feir delivers a darker, more intimate mood than the usual Mayfair new opening: candlelight, glossy wood, patterned banquettes. The interiors keep the townhouse framework and dial up the colour: teal and timber panelling, red leather booths, brass accents and tropical wallcoverings, with gold-leaf lotus details adding a subtle Thai nod. The Peacock Room, set behind folding timber screens, adds a private dining room for eight, while hand-painted chinoiserie wallpaper ties it back to MiMi Mei Fair upstairs.

The food: Robata smoke meets Thai balance

Chef Apaipat moves across Thailand – Isaan heat, Southern coconut richness, Central Thai balance – with Koyn Thai’s robata-style grill guiding the kitchen. The headline dish is the Apple Wood Fire Peking Duck Penang Curry, adding MiMi Mei Fair’s signature duck into one of Thailand’s best-loved curries. Elsewhere, there are spring rolls with tofu and spring onion, prawns pla ra, and toasted rice beef tenderloin. Don’t miss Sabai Sabai, the signature cocktail, which mixes Mekong rum, kaffir lime, Thai basil and soda. For no-alcohol drinkers, Akoya comprises cucumber, Thai basil, lychee, lime and sparkling jasmine tea.

Miko Mei Fair is located at 55 Curzon Street, London W1J 8PG, United Kingdom

Chef and restaurateur Jackson Boxer has form when it comes to opening beloved local restaurants: Brunswick House has been going strong in Vauxhall since 2010, while in 2025, Dove replaced Boxer’s Notting Hill restaurant Orasay, on the same site, with something more approachably laid-back (not least with its off-menu cheeseburger, rationed to ten per service).

For his latest venture, the chef heads to Clerkenwell with Vesper, its name the Roman word for the planet Venus, as it appears at sunset: the time to enjoy one of the restaurant’s bracingly cold cocktails, ideally at a bistro table on the pavement as the Exmouth Market passeggiata slides by, with the promise of a Gorgonzola and dry-aged beef burger to follow.

Wallpaper* dines at Vesper, London

The mood: Built to last

Designer Jermaine Gallacher, a longtime friend of Boxer’s, approached Vesper with the simple brief of creating somewhere he would wish to be a regular himself. ‘I wanted to give Jackson a restaurant that would stand the test of time,’ he says, ‘something classic and refined.’

The result occupies a double-fronted corner space with timber-framed floor-to-ceiling windows, a bar by the entrance and a candlelit dining room beyond. Gallacher found his design cues in unlikely places – an ancient studded door spotted on a trip to Italy became the inspiration for the bar, while a photo of a pair of carved lips in an old book about 1980s New York restaurants informed the stonework.

The team of London artisans Gallacher collaborated with were closer to home: architectural stone carver Tom Pullen hand-carved the limestone panels according to Gallacher’s drawings, artist Lawrence Andrew Chalk made the studded zinc bar and curved cloakroom door, while the steel and brass sconces, candlesticks and cast-pewter door handle come courtesy of sculptor Will Jack. ‘I think what’s so magical about really good restaurants is that they are the sum of all parts,’ Gallacher says. ‘It’s not just about the food or the interior or the people that frequent them. It’s all of those things and more. Things made with love are honest, true and never date.’

The food: Comfortably ambitious

Boxer is far too canny an operator not to give his customers what they want, which here means including an edit of the Dove greatest hits: not just that beef-rib burger, but a spin on the fermented potato pizzette, here topped with stracciatella, mortadella and mostarda.

But Vesper goes beyond merely transplanting the Dove menu from Notting Hill to east London. Take the chuck-eye steak Diane with grilled maitake mushrooms and baked saffron rice, which promotes a neglected cut of beef to star billing. It’s the sort of clever update on a retro British classic that has made Boxer one of the UK’s most in-demand chefs (he’s also a consultant chef at Cowley Manor). But if you prefer your classics more straightforward, order the half-roast chicken with bread sauce to share.

And if you’re here just to drink: a bowl of homemade salt-and-vinegar crisps with trout roe and French onion smoked cream is the poshest version of chips and dips to snack on with a citrus-spritzed martini.

Vesper is located at 8-10 Exmouth Market, London EC1R 4QA, United Kingdom

Like many of the palazzi in the city, Orient Express Venezia has two entrances: one on the street, one on the water. The latter is the only way to do it. As your boat glides through Cannaregio's canals, medieval façades rise straight from the water, their reflections broken by the steady choreography of gondolas and vaporetti. A doorman appears at the blush-pink façade of Palazzo Donà Giovannelli, home of the hotel, opening a portal into a world of frescoed ceilings, ornate stucco and Murano chandeliers.

Wallpaper* checks into Orient Express Venezia, Venice

What’s on your doorstep?

Cannaregio isn't the Venice of postcards. It lacks the grandeur of San Marco and, yes, there's a Claire's Accessories around the corner. This is a neighbourhood where Venetians actually live – where laundry hangs over the canals. It's home to the Jewish Ghetto, founded in 1516, the Gothic church of Madonna dell'Orto. But besides, when the address in question is the 15th-century Palazzo Donà Giovannelli, quibbling over postcode hardly feels apposite.

Who is behind the design?

Built in 1436 during the height of the Venetian Republic, the palazzo passed through some of Venice's great noble families before becoming one of its leading cultural salons. In the mid-19th century, architect Giovanni Battista Meduna introduced the neo-Gothic interiors – the octagonal staircase and the lavish reception rooms are some of the palace's most breathtaking features.

‘The restoration was a labour of love requiring rare interventions, from drying the palazzo’s foundations and building a dam around the façade walls, to the removal and treatment of each stone on the walls and floors. Over nearly a decade, hundreds of artisans worked across fresco restoration, sculpture, gilding and woodwork,’ explains Lebanese architect and designer Aline Asmar d'Amman, who is behind the latest chapter of the building, it’s transformation into Orient Express Venezia.

She resisted turning the hotel into a museum piece: original frescoes meet mirrored walls, and silk, velvet and embossed leather run into patinated plaster, carved timber and time-worn stone. ‘Beyond a monument to history, I see Orient Express Venezia as a living story, where the past shapes the future,’ she says. ‘It was important for me to honour the palazzo’s history while reimagining it for the present.’

The palette is clever. Asmar d'Amman drew on Venice's ‘lost colours’ – the rich reds, ochres, blues and greens that once animated the city before centuries of salt air and sunlight softened them to powdery hues. The designer embraces the spectrum that remains: baby tones woven through upholstery, curtains and finishes. This finds its fullest expression in the public rooms – the sorbet-hued Salone Vittoria and the Sala della Cultura, crowned by a lapis lazuli ceiling, are the undeniable stars of the renovation.

The room to book

They're rivalled only by the six Signature Suites, the largest of which span 145 square metres and incorporate incredible original details, including 19th-century frescoes depicting mythical winged figures and vast marble fireplaces. Tall windows frame canal views, while antique-inspired furnishings and rich textiles capture the essence of Palazzo Donà Giovannelli at its most romantic. ‘I wanted guests to be touched by the grace of [the palazzo’s] undying youth, while also experiencing a sense of cinematic progression,’ says Asmar d'Amman. ‘It becomes a great discovery, where one moves through layers of history.’

‘I love the act of re-using what once belonged to a glorious past, with an infinite interplay between old soul and contemporary interior architecture,’ she continues. The Cherubini Suite, for example, is home to a 1958 Carlo Scarpa chandelier as well as a vintage Murano chess table, weaving together distinct threads of Venice's architectural and artisanal heritage.

The guestrooms, by comparison, dial things down. Finished in coffee tones, pale timber and fretwork inspired by the Ca' d'Oro, the Grand Canal palace also designed by Meduna, they're elegant, if a little overshadowed by the spectacle outside.

Staying for drinks and dinner?

Dining is split between relaxed Venetian cooking at all-day La Casati and the more ambitious Heinz Beck Venezia. La Casati takes inspiration from the persona of Marchesa Luisa Casati, who would famously take her pet leopard for walks in Piazza San Marco, serving seasonal dishes from cicchetti to marinated beef with artichokes and creamed cod ravioli.

At Heinz Beck Venezia, the three-Michelin-starred chef brings his ingredient-led approach to lagoon produce in the palace's restored orangerie. Before or after dinner, cocktails are served at Wagon Bar, an art deco space that subtly references the golden age of rail travel in a nod to the Orient Express name. ‘A loving tension reigns between the Orient Express world, marked by the glamour of the 1930s, and a reinterpretation of Venetian living. It embraces the duality of legacy and reinvention,’ says Asmar d'Amman.

Where to switch off

Perhaps the greatest luxury at Orient Express Venezia is its rare tranquillity in the city's tourist centre. The hotel's walled garden – almost unheard of in this part of Venice – is a pocket of calm restored with fountains, antique gates and lantern-lit pathways.

The spa follows the same philosophy, borrowing from Roman, Venetian and Ottoman bathing traditions to create a lagoon-inspired sanctuary.

The verdict

Orient Express Venezia’s location should not be mistaken for compromise – few addresses in the city can rival Palazzo Donà Giovannelli’s scale and atmosphere. The romance of Venice is palpable here, with contemporary interventions executed so deftly that you barely notice them.

Summer travel has a way of exposing the weak links in your packing: the phone cable you forgot, the SPF that leaves a chalky cast, the toothbrush that feels like an afterthought, the passport cover that has seen better terminals. Whether you’re heading for a long weekend by the sea, a city break in the heat or something further afield, the right travel essentials solve those small, recurring problems, making the whole exercise feel smoother, smarter and far better looking. From well-designed luggage and clever tech to beauty staples, we’ve rounded up the pieces worth making room for.

12 of the best summer travel essentials for 2026

London’s top suites have moved beyond the question of thread count. They now sell temporary ownership of the city: a roofline, a piece of a landmark, a view, an all-suite ecosystem. Four Seasons Hotel London at Park Lane enters that conversation with 14 newly renovated suites. Spanning Deluxe, Park and Grand Suites, alongside the Presidential Suite, the collection gives the hotel’s upper floors a further ritzy residential character.

Tour Four Seasons Park Lane’s new suite collection

Designed by London-based studio Interiors with Art, the spaces take their cues from the manicured Hyde Park and the manners of Mayfair. Sycamore panelling, brushed metal, Murano glass lighting and bespoke furniture run through the rooms; soft greens, autumnal shades and gold tones draw from the lush greenery across the road, while an art deco influence is kept to the details.

The Presidential Suite, on the fifth floor, might be the most formal of the set: three bedrooms, marble bathrooms for each, a guest powder room, rosewood panelling, Gaudi stone marble, dining for six and a private fireplace, all looking towards Hyde Park and Park Lane. The Park Suite, on the other hand, takes a softer route, with gold and burgundy tones, a fireplace in the living room and the ability to connect to a Mayfair Suite for a larger two-bedroom arrangement.

The Deluxe Suite is the city-facing option, set higher in the building, with panoramic views, a separate dining area and a layout that can also expand into two bedrooms. Meanwhile, the Garden Suite, which overlooks the hotel’s private garden, pairs 128 sq m of interiors with a sprawling 60 sq m landscaped terrace.

Suite guests can opt for butler service on request, packing and unpacking, Bentley house-car drop-offs in the local area, in-room styling and, for signature suite bookings, airport transfers. The concierge team includes seven Les Clefs d’Or members, while complimentary tickets to sold-out exhibitions across the V&A South Kensington, Young V&A and V&A East add a useful cultural key to the stay.

‘Each of these suites has been designed as a sanctuary, where every detail, material, and experience reflect the character of London and the care of Four Seasons,’ says Lynn Brutman, regional vice president and general manager at Four Seasons Hotel London at Park Lane. ‘Whether guests are with us for a weekend or a month, they’ll find a space that feels both elevated and effortlessly personal.’

The renovation sits neatly alongside the hotel’s stellar line-up of facilities: Pavyllon London by Yannick Alléno, the tenth-floor spa overlooking the skyline, and Bar Antoine, where the new Savoir-Boire menu turns French culinary cues into cocktails – from a Croissant Old Fashioned with croissant-infused cognac and Byrrh to a Cornichon Martini with olive oil vodka.

Four Seasons Hotel London at Park Lane is located at Hamilton Pl, Park Ln, London W1J 7DR, United Kingdom

Rimowa has added Ink Blue to its Original collection, giving its quintessential grooved aluminium suitcase a new permanent colourway. The shade joins the Cabin, Check-In L and Trunk Plus sizes, extending the brand’s long-running experiments with colour anodisation.

Rimowa dresses its travel icons in Ink Blue

Used for centuries in writing, drawing and dyeing, ink becomes the conceptual starting point for a deep midnight blue finish, applied through the German luggage maker’s anodisation process. Rather than coating the surface, the technique works the pigment into the aluminium itself, giving the suitcase a uniform metallic depth while preserving the character of the material.

The launch is accompanied by a campaign starring American actress Sydney Lemmon, who travels to Shanghai in search of love, following a trail of ink-written calligraphy through aquariums and karaoke lounges across a blue-tinted city, with her Rimowa in tow.

The collection carries the familiar Rimowa hardware: the stage-free telescopic handle, multiwheel system, TSA-approved locks, an updated Flex Divider with a zipped storage pocket, and a newly engineered ergonomic handle with a damper mechanism for a smoother closure. Naturally, all suitcases are backed by a lifetime guarantee.

Ink Blue also extends beyond luggage. The Groove collection adds Small and Large Cross-Body Bags and a Zipped Pouch in smooth Italian calf leather, while seasonal accessories pick up the same tone through denim: a reversible bucket hat with travel pouch – a first for Rimowa – packing cubes and a toiletry pouch. An anodised aluminium card holder completes the line.

Prices start at €1,200 for the Original Cabin, €1,500 for the Check-In L and €1,950 for the Trunk Plus, with the collection available through Rimowa stores worldwide and online.

We tend to believe we know a place by looking at it. Stuart Fowkes is interested in what images miss. For the past 12 years, Fowkes has worked as a field recordist and sound artist, although his interest in recorded sound began earlier, through sampling, musical composition and live performance. In 2015, he founded Cities and Memory, a global collaborative sound map that invites people to record the world.

While the platform now contains around 8,000 sounds, the first upload was ‘a humble one-minute snippet’ recorded under a bridge near Fowkes’ house in Oxford: pigeons, joggers, gentle river sounds. ‘I regard the rest of the entire project as in effect an expanded reflection on and memory of that recording,’ he says. ‘It sounds like potential, and like a beginning.’

Over time, the platform began inviting artists to reimagine recordings as new compositions. More than 2,500 artists from around the world have now taken part. ‘This community can connect a recordist in Tokyo with a musician in Vancouver, over a field recording from Rome. And there’s something quite magical about that,’ Fowkes adds.

For Fowkes, sound is ‘a first-hand, living encounter with memory and emotion’. Images may tell us what a place looks like; sound gets under the skin. ‘A sound can drop you into a time and a place like nothing else,’ he says. You may know Venice through photographs, but until you hear the boat traffic, the footsteps over bridges, the city arriving through your ears, something essential remains out of reach.

In the last 20 years, our culture has become almost totally visually dominated, yet sound remains the most transportative and immersive sense. In the conversation that follows, Fowkes discusses listening as an active act, sound as a route into memory, and how a one-person project became a sonic portrait of the world.

A world mapped by sound

Wallpaper*: Before Cities and Memory started, were you already listening to the world differently?

Stuart Fowkes: I’ve always had an unusual sensitivity towards sound, and a preference for the sonic over the visual, which led me to the project in the first place. But over the last decade, Cities and Memory has taught me how to listen differently to the world, and how to listen better. Above all, it acts as a daily reminder that sound is active, whereas hearing is passive. Listening is something we do, and we all do it in our own individual way.

W*: Do you think Cities and Memory is ultimately a project about sound, or a project about people?

SF: It’s about both sound and people, and the intersection between them. It’s about how sound can help us connect, relate to one another, and explore some of the issues and mysteries that surround us. You can’t remove the people or the sound from Cities and Memory – they’re both fundamental. I think the fact that it’s built around emotion, memory, openness and connection is what separates it from most other sound or art projects.

W*: Why did you decide that every recording should have a reinterpretation, rather than simply building an archive of sounds?

SF: By bringing together sound recording and composition so directly, we’re acknowledging the great tradition of ‘all sound is music’ in the lineage of John Cage – and the way it can bring the world to life in all kinds of different ways. When an artist chooses a recording to work with, they apply their own lives, emotions and memories to it, creating a new way of listening to the world. You can navigate the sounds of the world as they are, explore an imagined sound world created by the collective imagination of thousands of artists, or move freely between the two.

W*: If you had to identify three moments that transformed Cities and Memory, what would they be?

SF: The first was receiving a recording and composition from someone outside the UK – a recording from Sofienbergparken in Oslo. It was the first time I felt the project had reached beyond itself, and perhaps the first time I believed there might really be something in it. Last year, I performed live in Oslo and returned to the same park to make my own recording from that spot, which felt emotionally important. The second was the launch of ‘Century of Sounds’ at the Pitt Rivers Museum, where we took over the museum for a night of live performances and panel discussions. Artists came from the UK, Italy, Spain, Japan and the USA; seeing around 40 contributors in person, many of whom I had only known as email addresses, was overwhelming and beautiful. Lastly, winning the Grand Prix at the Charles Cros Awards in Paris was special: to go from one sound recorded under a bridge near my house to an award-winning project spanning 140 countries, with lasting friendships and creative connections around the world.

W*: Can a city have a sonic identity in the same way it has an architectural identity?

SF: You only have to listen to the hissing of steam pipes on the streets of Manhattan, the ‘mind the gap’ announcements on the London Underground, or the chopping splashes of moored gondolas in Venice to understand that cities are as alive and distinctive sonically as they are architecturally and visually. There is no ‘blue plaque’ scheme for recognising and protecting culturally significant sounds, and those sounds risk disappearing without anyone noticing until it is too late. Part of what I’m trying to do is encourage people first to listen to the world around them, and then to listen differently, with a deeper kind of appreciation.

W*: Do you think sound is a more honest record of a place than photography?

SF: Recording sound presents many of the same philosophical challenges as taking a photograph. Just as a photographer chooses what to frame and what to leave out, a recordist chooses which moment to capture, where to record, and how to stand or move during the recording. The intentionality and authorship are similar, which means every recording carries some element of the recordist’s perspective, whether we want it to or not. We are selecting moments in time, rather than arrangements of light. A recording of the same spot at different times of day can be as different as a photograph of the same place at midday and midnight. Can a recording tell us truths and stories about a place that photography, or even video, cannot? Absolutely. But is it more honest? I wouldn’t say so.

W*: Are you building a portrait of the world as it is, or a portrait of the world as it disappears?

SF: With the field recording and composition sides of Cities and Memory, we’re presenting a portrait of the world as it is, and also as it could be, filtered through the collective imagination of thousands of people. It’s the evolution of the world measured through sound, but mediated through emotion, memory and individual stories, which I think is a beautiful thing.

citiesandmemory.com

The Florida motel has always known the power of a good sign, a swimming pool and somewhere to hide from the sun. Perroquet, a redesigned 1950s motel in Fort Lauderdale, starts there and takes it up a notch. Located on Harbor Drive, between the Intracoastal Waterway and the Atlantic Ocean, the 37-room hotel keeps the familiar vernacular ingredients – courtyard, balcony, pool, palms, shade – and gives them a slick architectural treatment.

Come on down to Perroquet Hotel Fort Lauderdale

Hoteliers Clifford and Matthew of The Lane Organization brought in Belgian architect Bernard Dubois (recently behind The Standard Brussels) to rework the property, keeping the traditional U-shaped motel layout centred on a courtyard. On his first visit, Dubois says he ‘immediately loved’ the old motel plan, even before the building had found its new identity. His first move? To use a lush pairing of off-white and forest green across the façades, guardrails and corridor ceilings, referencing the region’s country clubs, tennis courts, and post-war motels. Dubois describes it as ‘a way of taking familiar codes and giving them a new clarity.’

Outdoors, red brick, green canvas, white railings and custom outdoor furniture give the courtyard a sculptural rhythm, while new planting turns the pool area into what Dubois calls 'a real jungle'. The trees screen the hotel from the street, draw birds into the courtyard and give the rooms a view of greenery rather than traffic. From outside, the building almost disappears behind them – clever planning by landscape architect Nathan Browning of Island Planning Corporation.

Thirty-seven rooms sit across nine categories, where a verdant palette turns slightly sulkier across linoleum floors, sheer curtains, chrome, leather and lacquered wood. Dubois designed the furniture himself, pulling from 1970s and 1980s chairs, 1990s chrome-and-leather silhouettes, Miami art deco geometry and 1930s rug patterns. The result delivers the clean snap of a boutique hotel, but also the delicious eccentricity of a roadside bolthole.

On the art front, curators Valerio Polimeno and Whitney Lane have assembled a collection that includes Salvatore Emblema, Giorgio Griffa, Jean Tinguely, Jean Cocteau, Lucio Fontana, Roberto Matta, Alekos Fassianos and Jeff Koons, with different works placed across the rooms. Elsewhere, the offer is deliberately straightforward: Sferra linens, Byredo toiletries, a self-service breakfast bar, deck chairs for the beach and a check-in style designed to leave guests to the pace of the place.

For Dubois, the contemporary motel is no longer bound by old ideas of luxury. ‘Many places that are the most authentic, charming and interesting aren’t the most traditionally luxurious,’ he says. Perroquet gives Florida a bijou hotel with panache, plenty of shade and a very good retro-style pool chair.

Perroquet Hotel Fort Lauderdale is located at 3081 Harbor Drive, Fort Lauderdale, FL 33316, United States

David Rockwell has designed hotels, restaurants, museums, sets for numerous Broadway shows and even the venue for the 93rd Oscars. But the renowned architect had never designed a space for magicians. ‘They are unusual, eccentric people,’ muses the Wallpaper* USA 400 honoree. ‘We don’t think anyone has ever designed for them.’ That has officially changed with the opening of The Hand & The Eye, a 36,000 sq ft venue dedicated to magic, set within Chicago’s McCormick Mansion, a stately Renaissance Revival edifice that dates from 1895.

The Hand & The Eye will leave you spellbound

Originally built as a private residence for one of the city’s most affluent families, the structure later became Pierre’s Continental Casino, then Kungsholm, a Swedish restaurant (complete with puppet opera). Following a fire, the restaurant's owner renovated and expanded the building, creating much of the limestone-clad ‘castle’ seen today, complete with quatrefoils adorning the exterior walls. Its longest resident, from 1974 to 2020, was Lawry’s The Prime Rib, a steak house.

There are few vestiges of the building’s prior lives beyond the exterior, as the mansion is not a designated historic landmark. A grand staircase (which took over four months to restore) remains from its casino days, as well as a brick wall from the original mansion. ‘We inherited a building with an incredible provenance of twists and turns and built-in eccentricities,’ says Rockwell.

It took about five years, but the result is a deliberate maze of lush, layered interiors that feels part exclusive club, part theatrical set, part design sleight of hand. ‘The residential scale of the rooms, and the numerous height changes of the floors, make for a meandering complex where multiple experiences and shows can take place at the same time,’ Rockwell explains. ‘No two rooms feel the same. Each space unfolds with a different mood and scale.’

The Hand & The Eye operates as both a private members’ club and a performance venue open to the public through ticketed admission. Guests navigate the experience through a three-hour journey guided by a concierge, moving between performances, bars and lounges, and, if one so chooses, a meal served on custom Ginori 1735 tableware.

The Hand & The Eye pays homage to Chicago-style magic, which is performed close-up in intimate spaces that encourage and enable interaction between the magician and the audience. Magic takes place throughout the building – whether in a small theatre, while seated at a bar or via spontaneous encounters. Rockwell stressed that the design is not a participant in any magic trick: there are secret doors and other elements of surprise, but the tricks are all created and performed by humans, and the design was tailored to the magicians themselves.

‘We learned so much about how magicians aren’t just hyper aware of their immediate surroundings and the people in front of them, but also of their physical surroundings,’ Rockwell notes. ‘In addition to the raked seating in the theatres, we worked closely with them to embed magic into every corner, creating areas where magicians and guests could have smaller, intimate moments in addition to the larger performance theatres.’

This translates into details most will not notice, which includes tables with adjustable height settings or removable centre panels that let the magician perform at the ‘heart’ of a table. Details that guests may notice include the floral ceiling in one of Rockwell’s favourite spaces, the Red Herring Room, made using layered UV-printed polycarbonate panels; the blue velvet panels in the Monarch Room (custom creations featuring 6,600 beaded pearls that took eight months to make); a wall of vintage security boxes and keys in The Vault; and the wall coverings in some restrooms that feature playing cards.

While seemingly random, the commission was very intentional and brought together a motley crew of men of a certain age who all shared a passion for magic. As a child in New Jersey, Rockwell became fascinated with the art. ‘I started doing magic tricks at younger kids’ birthday parties. I had a hamster – Herman the Great – who was part of my act,’ he recalls. ‘The apex of my magic career was when I built the Saw the Lady in Half trick. I did saw a lady in half. But in the rearview mirror, I see that the working drawings and building the trick was what really attracted me.’ He adds that he’s always been friends with magicians, has pondered hiring them as consultants for projects, and was involved in developing a Houdini musical that never made it to Broadway.

Rockwell was tapped for the project by his friend Glen Tullman, a healthcare entrepreneur, fellow Chicago Bears fan, and magician since the age of eight (‘He’s better than I am,’ admits Rockwell). Tullman offered Rockwell the opportunity to create something completely new from scratch, a departure from the firm’s usual work. ‘It’s a total first for Rockwell Group, and I love that it brings together performance, magic, dining and discovery in a way that reflects our long belief that architecture can choreograph wonder,’ Rockwell says. For a man who once performed tricks with a hamster named Herman the Great, the opportunity feels less like a departure than a full-circle moment.

The Hand & The Eye is located at 100 E Ontario St, Chicago, IL 60611, United States

This article appears in the August 2026 Issue of Wallpaper*, available now in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

FOOD was a cultural hub and restaurant in the early 1970s on the corner of Prince and Wooster streets in SoHo, New York, where it blended the rituals of dining with an experimental spirit. Robert Rauschenberg and Donald Judd crafted performative dishes while the restaurant’s co-founder Carol Goodden turned soups into paintings. In its three-year life, the restaurant saw its other cofounder Gordon Matta-Clark turn bones into necklaces. Today, a norm-pushing edge is a memory in this downtown pocket of soaring lofts and posh boutiques, but the New Museum remains something of a hub for the bygone avant-garde spirit. The institution’s recent doubling of its exhibition space by OMA has finally made possible an essential that many of peers have long enjoyed: a restaurant.

Oberon opens this week (7 July 2026) with 90 seats inside the 60,000 sq ft expansion, in the form of a self-contained black box on the ground floor. Brooklyn-based restaurant group The Oberon operates the eatery with a menu created by chefs Julia Sherman and Ali Ghriskey. The hospitality group’s founder and managing partner Henry Rich sees an opportunity in the New Museum’s alchemy of heritage and a downtown sensibility. ‘The museum straddles the world of New York institutions and edgy galleries around here,’ he tells Wallpaper* and says the non-profit holds a ‘unicorn position with a stature and a commitment to most forward-looking art’.

The non-collecting museum has held a pivotal role in career-making exhibitions for many global artists, yet it had lacked a proper restaurant throughout its 49-year history – in its first eatery, cork anchors the visual statement. Without a direct contact with Bowery Street, the interior wraps its guests as a concentrated experience in which the dominant material appears in five different ways, both in recognisable and distinct qualities.

OMA partner Shohei Shigematsu and associate Jake Forster who oversaw the expansion planned the pocket inside the overall metallic mesh and steel-heavy building to, as Shigematsu puts it, ‘complement the rest of the series of gallery spaces’. Besides FOOD, their mood board included the community gardens peppered throughout SoHo and Lower East Side. ‘We looked into communal spaces that have brought artists together and conceived the restaurant as its own volume,’ he says. A generous potpourri of plants outlines the opaque window, which lets museum-goers notice diners’ silhouettes within the silver-leaf cork exterior. Inside, Portuguese company Sofalca created black cork surfaces through a process in which the negative-footprint carbon-absorbing material is heated to extreme temperatures and blended with resin to yield large monolithic blocks. A series of textural cork domes, created by CNC milling, form overhead booths with serrated cork around their perimeters. An intensely textured cork ceiling in the centre is suspended above 20 or so two-seater wooden tables designed by Minjae Kim.

The Brooklyn-based designer says the main challenge in his first restaurant commission was to implement his vision into a fully-baked vision. ‘I responded to the inventive use of cork with texture and warmth,’ he says. For the 30ft bar, he summoned the technique of sanding into the grain of ash wood for a distressed rippling texture, with a lacquer finish. Kim also designed nine quilted fibreglass pendants through a process of running woven fibreglass in a sewing machine for an ornate sculptural effect, in contrast to the sturdy cork-led interior.

While enjoying meals such as a classic hamburger and martini pairing, art-loving diners can curb their visual appetite with Ian Cheng’s video installation behind the bar. The New York artist, known for his contemplative live simulations and real-time animations, here delivers dancing visuals, alive with a moody energy. In an homage to FOOD’s Fluxus roots, avant-garde artist Laurie Anderson provides a farewell to diners in the form of poems she has penned for the wrappings of parting chocolates.

Steps away from the surrounding neighborhood’s bustle, the hermetic culinary experience interprets cork’s thick hug into sculptural accents, complemented by a textural use of wood and a generous wash of greenery. ‘We are privileged to cater to a community that already likes to hang out,’ says Rich.

Formula 1 hospitality has a basic contradiction at its centre: the room is never the main event. However good the lunch, however expensive the wristband, the reason for being there is still outside, arriving at high speed. Each year, Silverstone’s premium hospitality spaces compete with that fact. The Vale, the circuit’s newest and most premium offering, was built to top them all. Its launch added another marker to the 2026 British Grand Prix, a record weekend that drew 564,000 fans across four days – the biggest Formula 1 event ever held – with Charles Leclerc taking his first Silverstone victory and five full-time British Formula 1 drivers on the grid for the first time since 1996.

Formula 1 hospitality gets an architectural upgrade at Silverstone

Set beside the paddock entrance, The Vale looks over the pit entry and the final corner sequence, the stretch of Silverstone where a lap tightens before releasing onto the start-finish straight. For Levi Jack Sibthorpe, founder and director of architecture studio Flux Nexus, the site offered two kinds of theatre. ‘At the rear, a tranquil outlook to the inner circuit lakeside; the front elevation, however, complete proximity to the race action,’ he tells Wallpaper*.

Arranged across two levels, on the ground floor sits Labombe by Trivet, the restaurant from Jonny Lake and the team behind two-Michelin-starred Trivet in London. Upstairs, a second tasting experience, a music lounge, a bar and a terrace place guests above the circuit. The brief, Sibthorpe says, was to create ‘a brand-new race experience destination’ and establish the highest tier of luxury at Silverstone. ‘For us, it’s about human touch,’ he adds. ‘Guests should feel a level of human touch in every detail, from the furniture pieces to the finest details of the graphic design of a lanyard.’

While the project took 11 months to develop, The Vale had to be built in a matter of weeks, which meant Flux Nexus had to leave behind the masonry, ceramics and heavyweight timber framing the studio would usually favour, and use an 8m-tall cross-braced aluminium space frame. The most impressive architectural feature is a 10m overhanging cantilever roof that places guests directly over the race action. Meanwhile, cabinets, art corridors and tunnels through the building’s underbelly sit alongside more than 100 individual furniture pieces, 35 art installations, and the work of furniture house Mainguilty.

Food has its own track position. Labombe by Trivet serves sea bass crudo with orange ponzu and crispy quinoa, trofie alla Liguria with Jersey Royals and summer beans, halibut ‘picchio-pacchio’ with white beans and basil, and gelato sundaes with sake, potato caramel and crispy potato. Upstairs, roaming menus run through the day: viennoiserie and Estate Dairy yoghurt at breakfast; Alpine burrata, lobster rolls with caviar, miso halibut yakitori, Colchester crab and sakura summer cake as the weekend unfolds.

Silverstone describes The Vale as an ultra-premium experience with limited capacity, VIP arrival options including chauffeur transfer and helicopter access, and after-hours music and entertainment on Saturday and Sunday. Sibthorpe says the aim was to ‘break the mould of what’s possible in the event world of temporary structures’.

silverstone.co.uk

There are certain European cities that seem to have undergone a remarkable reinvention over the past decade. Places that have somehow managed to retain their soul while embracing a renewed sense of confidence and creativity. Porto is one of them.

Portugal's second city has long lived in the shadow of Lisbon, quietly going about its business on the banks of the River Douro. Yet today, Porto feels like one of Europe's most exciting urban destinations: a city alive with energy, culture and a renewed appreciation of its own remarkable heritage.

Walk its steep cobbled streets down to the sun-kissed banks of the Douro and you'll discover a place where centuries-old architecture rubs shoulders with contemporary galleries; where sleek modern European restaurants occupy historic buildings, and where a youthful creative spirit breathes fresh life into traditions that stretch back hundreds of years.

At the heart of that story sits one of the world's most famous-yet-arguably-misunderstood drinks: Port.

For centuries, Porto and Port have been inseparable. The relationship between the city and its namesake wine has shaped its history, architecture and identity. The grand lodges of Vila Nova de Gaia, lining the southern banks of the Douro, stand as monuments to generations of merchants, winemakers and traders who built a global industry from this remarkable fortified wine.

What makes Port especially fascinating is the role Britain has played in that story. Few drinks illustrate the relationship between Britain and Portugal quite so elegantly as Port. British merchants were instrumental in establishing many of the great Port houses, while generations of British drinkers embraced the wine as an essential part of festive gatherings and after-dinner rituals.

Yet what makes Porto feel so compelling today is how seamlessly it balances that British influence with an unmistakable Portuguese soulfulness. The city has never felt trapped by its history. Instead, it wears it lightly, allowing tradition to provide a foundation rather than a constraint. And perhaps nowhere is that evolution more evident than in the changing fortunes of Port itself.

For many years, Port suffered from a major image problem. To younger drinkers, it often seemed like a relic of another era; a drink associated with the wheel of Christmas Stilton, ageing decanters and older generations gathered around the dining table after dessert.

However, that perception is rapidly changing. A new generation of consumers has begun to rediscover Port through an entirely different lens. Rather than viewing it as a formal, almost ceremonial drink, they're embracing it for what it has always possessed in abundance: flavour, versatility and character. Whereas vintage ports are all about tannic structure and ageing potential, younger, more vibrant ruby ports are awash with immediate potential: fruit-driven; softer and finely balanced – and perfect for mixing: not sipping in quiet contemplation at room temperature.

Port, it turns out, is perfectly suited to this modern mindset, especially when served ice cold, on the rocks and topped up with tonic water. If I may be so brazen for a second: consider it Portugal's glorious contribution to the Aperitivo movement: more approachable than Aperol, yet still in possession of all the heritage and romance to truly fall in love with.

Few producers have recognised this shift more effectively than Cockburn's. Since 1815, the brand has been something of an outlier with a maverick streak, arguably a deep-rooted attitude that its founders, Scottish brothers Robert and John Cockburn, instilled into its way of thinking.

Thumbing their nose at the traditional Merchant's Fair (the traditional way to buy grapes back in the day,) the brothers went direct to the farmers deep in the Douro valley. Cockburn's declared vintages when it felt like the quality was perfect, rather than following its competitors and in 1969, launched Special Reserve, a bold, richly layered market trailblazer, which revived the long forgotten native Touriga Nacional grape variety, now once again a mainstay of the industry, thanks largely to the research done by Cockburn's.

Today, Special Reserve is the UK's best-selling port: as at home in a small glass, toasting the King's Christmas speech, as it is in a modern twist on a Negroni, in place of the regular Vermouth. Cockburn's current owners, the Symington family, (owners of Graham's Port, and, one of the category's most historic and significant names,) have played a leading role in demonstrating how Port can thrive in contemporary drinking culture without sacrificing the traditions that made it famous in the first place.

Using Cockburn's as its test-bed, The Symington family recently created a range of Ports specifically for mixed serves and cocktails: the lighter, fruitier Ruby Soho, a drier and more oak/citrus driven Tawny Eyes, and a floral, and deeply aromatic white variety called White Heights - and in doing so, it has effectively highlighted the immense versatility that the category has to offer.

Perhaps this is nowhere more apparent than in the rise of White Port and Tonic. Spend any amount of time in Porto during the warmer months and you'll quickly discover that this deceptively simple serve has become an almost integral part of the city's lifeblood: a drink that feels entirely at home in its surroundings, it somehow captures the essence of modern Porto itself. It is elegant without being pretentious, rooted in tradition, yet perfectly suited to contemporary tastes.

The growing popularity of the serve has been impossible to ignore, and Cockburn's has continued to push the category forward through a series of innovative activations and partnerships.

Earlier in June, the brand partnered with Primavera Sound, arguably one of Europe's most vibrant and influential music festivals, this year headlined by Damon Albarn's purveyors of perennial cool, Gorillaz.

The collaboration feels entirely appropriate. Primavera Sound Porto attracts a culturally curious, youthfully-minded audience that values creativity, authenticity and discovery: precisely the qualities helping to drive Port's renaissance. Perhaps most impressively, festival-goers were treated to on-site bars serving Port and Tonic on tap: a concept that feels very much destined to travel well beyond Porto soon, especially as European consumers continue to search for alternatives to established aperitif serves.

Despite all the innovation and modernisation on offer, Porto itself remains wonderfully grounded - and that may be its greatest and most appealing feature. Old-school charm and modern vibrancy rarely sit together quite so comfortably. In Porto, they feel entirely inseparable.

Staying in Porto

Neil stayed at the PortoBay Flores hotel - portobay.com

Fine Dining: O Gaveto: Established in 1984 and one of Porto's most celebrated seafood restaurants, O Gaveto is found in the Matosinhos area of the city, recently becoming a member of the exclusive Krug Ambassade Network.

Port History: For an unrivalled glance into Port's rich heritage, a visit to The Factory House building is a must: this enduring landmark, established in 1785 has recently opened to the public for the first time in 240 years and houses over 15,000 bottles of vintage port in its historical cellars.

Kitty’s Cosmopolitan Club is a basement bar with the character of something several storeys higher. The new Chicago cocktail lounge from Lettuce Entertain You Restaurants and partner-beverage director Kevin Beary sits beneath Crying Tiger at 51 W Hubbard Street, reached by way of a host station at the foot of the stairs, where a backlit glass-brick wall gives the first clue that River North’s latest watering hole is not interested in understatement.

Wallpaper* drinks at Kitty’s Cosmopolitan Club, Chicago

The mood: emerald after-dark

Designed by David Collins Studio, which also worked on Crying Tiger, the basement has been arranged with the clipped symmetry of a supper club and the atmosphere of a private cabaret. Emerald green drapery falls from the ceiling and gathers behind the bar, edging the room towards something tented and theatrical. Metallic bronze crackle-finish tiles wrap the columns; dark-stained timber walkways frame an abstract animal-print rug; plush banquettes sit against softly illuminated glass brick. The effect is a lush intoxication of green velvet, smoked mirror, polished nickel and low amber light.

There are plenty of details to linger over. Pierre Paulin bar stools, upholstered in red and metallic abstract animal print, line the bar. Handwoven emerald macramé leather screens divide the room. Behind the bottles hangs Circus Romance, a 1978 painting by Robert Kushner, while sculptural tiger table lamps and waiters in green velvet dinner jackets extend the room’s ritzy after-dark mood.

The drinks: classics, sharpened

Beary’s cocktail programme is divided into four categories – From the Bar, From the Cold Room, From the Trolley, Low and No – with drinks built around classic references but made with modern techniques and sharper spirit selections. A Kitty’s Gin Martini is stirred tableside with Old Raj 55° Dry Gin and a house vermouth blend; a Japanese Whisky Old Fashioned uses Yamazaki 12 Year Old Whisky; and the bar’s dedicated -16°F walk-in freezer station, billed as a Chicago first, gives the colder drinks their own ritual. Food follows the same indulgent maximalism: caviar chips and dip, chilled shellfish, warm Cinco Jotas Ibérico ham, dim sum and chocolate truffles.

Kitty’s Cosmopolitan Club is located at 51 W Hubbard St Ste 200, Chicago, IL 60654, United States

Every London village needs its butcher, baker and, if not a candlestick maker, then a fishmonger. All are to be found on Chelsea’s Pavilion Road, which over the past decade has established itself as one of London’s smartest foodie thoroughfares. Now, after seven years of success, the street’s resident fishmonger, The Sea, The Sea, has moved over the street into bigger new digs, where the original fresh fish counter-cum-chef’s table concept has been expanded and joined by a 40-cover bistro upstairs and a terrace for 28 out front.

Wallpaper* dines at The Sea, The Sea

The mood: Restaurant and retail

Designer Benjamin Wilkins worked on the first iteration of The Sea, The Sea and says he ‘borrowed from the brand DNA, which I broke down into three core elements: the hard-working utilitarianism of the seafood industry, the natural beauty of the food offering, and the comfort of the guest.’

Weathered timber and textured plaster contrast with stainless steel and bright lighting in the downstairs seafood shop to evoke the energy of a fish market in Cornwall or Scotland, where much of the produce for sale on the central ice-display table is sourced from small boats. Come the evening, the table transforms into a seafood bar for 10 diners, surrounded by dry-ageing cabinets displaying house-aged fish.

As The Sea, The Sea founder Alex Hunter explains: ‘First and foremost, this is an operationally practical design. We’re effectively running two businesses – restaurant and retail – in one building, so that operational efficiency is paramount, but we do it in a way that feels clean, un-muddled and elegant, much like the plating of our food.’

Upstairs in the bistro, Wilkins says that ‘the existing pitched ceiling evokes the hull of a fishing boat and lends itself to the narrative of the space.’ Which is to say an airy and unpretentious room where art from Patrick Caulfield and Alexander Massouras lines the walls. Fans of the original The Sea, The Sea will find it comfortingly familiar; for newcomers, it’s convivial and relaxed.

The food: Quite the catch

Hunter numbers some of London’s best restaurants among his clients – two-Michelin-starred Ikoyi and one-star Kol buy their fish from him – so rest assured that the quality is top-notch. Head chef Nick Marsden has the likes of Dovetale, Pitt Cue and The Laughing Heart on his CV, so is a dab hand at putting together plates that offer sophisticated simplicity: pickled Fowey mussels with sunsweet melon and lovage from the raw bar, perhaps, ahead of grilled half Cornish lobster with vin jaune sabayon.

Small plates include cuttlefish ragu with salsify and green almond, while larger plates to share take in whole fish such as plaice with wild garlic, capers and pickled dulse (the shop has its own seaweed counter). And of course there are oysters everywhere, presented with cucumber and apple vinaigrette on the side and the option to add the restaurant’s in-house caviar per oyster.

In a hurry? There are freshly prepared lunch boxes to take away, whether ready-to-eat sashimi sets and shellfish rolls or a miso black cod or Singapore chilli crab to put in the oven. After all, what else would you expect to find in Chelsea than London’s poshest ready meals?

The Sea, The Sea is located at 243 Pavilion Road, London, SW1X 0BP, United Kingdom

Birgit (Bebe) Dierken never travels without something yellow. More often than not, it’s a bright yellow kaftan emblazoned with a giant metallic graphic resembling a camera – or perhaps a train, depending on who you ask. The colour isn’t accidental. ‘Yellow is energy and optimism,’ she says. ‘Traditional yellow is associated with sunlight and warmth. Neon yellow adds a rebellious edge. It says, “I’m here.”’

The same can be applied to the joy of travelling itself, or of a life shaped by movement. Known professionally as Bebe, the German-born cinematographer has spent much of her career travelling between countries, cultures and film sets, helping create the visual worlds of productions including Victoria (2015), Bridgerton (2020), Sexy Beast (2024), and Midas Man (2024). Yet despite a career built on international travel, she barely left her hometown in northern Germany until the age of 19, when she boarded her first flight to London to become a photo assistant.

Since then, the world has become both workplace and teacher. ‘I’ve met the most incredible people and seen places I could never have imagined back then,’ she says. Travel, for Dierken, is not simply about arrival but transformation. ‘You slowly stop becoming just someone from a town or a country. You become a human from the world.’

For the inaugural edition of In Transit, our new interview series exploring the travel habits and philosophies of creative minds, Dierken shares the destinations, objects and rituals that accompany her journey – from never seating on 9B on every flight to the emotional pull of Athens, the city where she feels she finally arrived exactly where she belonged.

How Bebe Dierken travels

Do you pack for who you are, or who you think you’ll become on that trip?

‘I pack for who I am – and maybe come back as somebody else.’

What one garment, accessory or beauty item do you always rely on when travelling?

‘I always travel with something yellow. In particular, it’s my yellow kaftan dress from Starstyling, featuring a huge foil print on the front and back that resembles a camera – although I sometimes think the illustrations were actually designed to be trains.’

What is the best thing you’ve ever brought back from a trip?

‘Mine is a tiny hand-carved chair that I found in the Transkei region of South Africa while working on Blood Diamond (2006), back when I was still a focus puller. The director [Edward Zwick] engraved “The Bebe Platz” into it, and I still absolutely love the little stool.’

Do you have a travel habit – something you do every time, wherever you are, even if it’s irrational?

‘I always count the rows to the emergency exit. Plane, train – it doesn’t matter. I saw a documentary years ago about thick smoke in an aircraft cabin and how, suddenly, you can’t see anything. Since then, I’ve always needed to know exactly how many rows are in front of me and behind me.’

Do you tend to capture moments when you travel, or let them stay unrecorded?

‘I do take a lot of pictures – it’s my profession – but I consciously try not to over-stylise them. I want them to feel like unfiltered memories, not heightened Instagram moments.’

What are the movies you always look out for in a long-haul entertainment platform?

‘I always look for films where beauty and damage sit within the same frame – images that feel held together by memory rather than perfection. On a plane, I often watch the exact opposite: something I would never normally choose.’

Which place in the world feels most like you?

‘Greece, especially Athens. The first time I arrived at Athens Airport, I started crying. Anyone who has been to that airport knows it wasn’t because the airport itself is particularly spectacular. I think I must have had a gut feeling that it would become the place I love most. When I was younger, people always used to say I had a Greek nose. So perhaps when I finally arrived in Greece, I arrived in the place where everyone had always said I looked like I belonged.’

According to Bebe...

Journey or destination? ‘Destination.’

Window or aisle? ‘Aisle, always.’

Early or late flight? ‘Late flight. There’s always too much to organise beforehand.’

Overpack or underpack? ‘Overpack – mainly because I leave it until the day of travel.’

Fold or roll? ‘Roll.’

Go-to travel snack? ‘Pretzels.’

Ideal long-haul seatmate? ‘My husband.’

Seat to avoid? ‘9B. I once sat there on an old Tupolev Tu-134 when part of the ceiling cracked open at 30,000 feet, and condensed water came pouring down on me like buckets of rain.’

bebedierken.com

La Fantaisie in Paris has handed over one of its 73 rooms to the Hungarian artist Szabolcs Bozó, whose vibrant creatures and fluid, folk-inflected forms now occupy Room 607 for a nine-month residency. Running until 22 February 2027, the project continues the hotel’s ongoing artistic series, which previously saw a takeover by French contemporary artist Ben Arpéa.

Tour La Fantaisie’s Art Suite by Szabolcs Bozó

Bozó’s work has always carried the cadence of a spontaneous drawing and the nostalgia of a childhood memory. Rooted in Hungarian folk traditions and shaped by a self-taught visual language, his paintings, sculptures and installations are populated by zoomorphic figures that orbit somewhere between dream, fable and playground.

The walls of Room 607 have become an in-situ canvas, layered with works made directly for the space, while the existing artworks have been replaced entirely with pieces by Bozó. Handmade cushions and bespoke bedspreads woven with his signature animal-like motifs bring the collaboration into the soft furnishings; large-scale soft sculptures introduce a more physical sense of play; and hand-painted lampshades cast the room in a warmer, stranger glow.

A booklet for guests offers an introduction to the artist alongside the works available to purchase, while a selection of co-branded objects is also available and is exclusively sold at La Fantaisie, featuring caps, stickers, playing cards, and trays.

The Art Suite by Szabolcs Bozó spans 42 sq m, sleeps up to three guests and overlooks the hotel’s garden. It comprises a large walk-in closet, a plush bathroom with a bathtub and shower, and a sofa bed which can be turned into an additional sleeping quarter. Designed by Martin Brudnizki, La Fantaisie is already a botanical exercise in colour, pattern and exuberance, with boutique rooms, a glass-roofed restaurant, garden terrace, street-facing café, rooftop bar and spa in Paris’s 9th arrondissement.

‘Coinciding with my exhibition Antidote at Semiose, my collaboration with La Fantaisie brings together familiar elements from my studio, but also new materials, including fabric and everyday objects, allowing guests to experience my work in an even more tactile way. Paris as a location has always been close to my heart, with my first show taking place here,’ says Bozó of the opening.

La Fantaisie is located at 24 Rue Cadet, 75009 Paris, France. Rates for the Art Suite by Szabolcs Bozó start from 1,000 EUR inc. breakfast (approximately 862 GBP)

Kyoto is not short of beautiful hotels, but Four Seasons Hotel Kyoto has one thing most of them do not: an 800-year-old pond garden at its centre. At the foot of Higashiyama Mountain in the ancient capital’s temple district, the hotel feels like an idyllic paradise arranged around Shakusui-en: a heritage garden believed to date back to the late Heian period. With 180 rooms, including 13 suites and 57 residential suites, two restaurants, two lounges, a spa and wellness centre and a leather-clad Hermès rickshaw in its lobby, this is a property that makes staying in feel as compelling as going out.

Wallpaper* checks in at Four Seasons Kyoto

What’s on your doorstep?

Higashiyama might be Kyoto at its most atmospheric: narrow alleyways, traditional machiya houses, temples, shrines, small artisanal shops. Kyoto Station is about ten minutes away, making arrivals easy, while the surrounding district places guests close to some of the city’s most rewarding cultural sites, such as the Kyoto National Museum or Kiomizu-dera temple. That said, the hotel has a habit of slowing plans down. Between its garden, tea house, terrace overlooking the koi pond, and weekly maiko (traditional apprentice geisha) live performances in its lobby, leaving requires a surprising amount of discipline.

Who is behind the design?

Kyoto’s Four Seasons Hotel is an exercise in understated luxury, steeped in tradition yet thoroughly modern. The architectural blueprint was developed by Japanese studio Kume Sekkei, while global interior design firm Hirsch Bedner Associates (HBA) led the interiors for the guest rooms, spa and public spaces.

The sense of arrival is particularly strong: the porte-cochère, designed by Jun Mitsui & Associates, takes its cue from traditional Japanese umbrellas, with washi paper and glass used to soften the threshold between city and hotel. Indoors, HBA overlooked nothing, with grandeur in spades: quadruple-height ceilings in the dining room; a leather-clad Hermès rickshaw in a hallway corner; and cushions woven by Hosoo, a Kyoto atelier that dates from 1688.

Among the hotel’s expansive art collection, highlights include Seven Stones by Tokyo-born sculptor Todo, made using rocks collected from the hotel’s pond garden, and Zen by Ofune Makoto, a large blue work inspired by the temple district, shifting seasons and Kyoto’s meditative calm.

The room to book

Rooms and suites are designed around the Japanese idea of kutsurogi, or relaxation, and the best of them look directly onto either the city or the garden. Even the more contemporary spaces feel rooted in Kyoto through their use of washi-paper lighting, soft screens, warm wood and calm, restrained palettes. The garden-facing rooms are the ones to book, if possible: waking up to Shakusui-en is an experience in itself. The residential suites are a particular hot commodity for longer stays or families, offering the scale and privacy of an apartment with the service of a hotel.

Staying for drinks and dinner?

Designed by Yamamoto Atelier, the teahouse in the garden, also known as Fuju Lounge, is used for meditative tea ceremonies by day, but come twilight, it turns into a swanky bar serving fine sakes – including one produced exclusively for Four Seasons – and premium Champagne. The perfect pre-prandial stopover before heading to Sushi Ginza Onodera Sushi, the 10-seater restaurant that serves Edo- (Tokyo-) style sushi from chef Takuya Kubo, or Kyoto Grill, the brasserie-style restaurant serving breakfast, afternoon tea and dinner, with charcoal-grilled meats, dry-aged cuts and seafood among its signatures

Where to switch off

The spa is one of the largest wellness areas in Kyoto, where facilities include a 20-metre indoor pool, Japanese ofuro baths, sauna, steam room, whirlpool, relaxation lounge and 24-hour fitness centre, alongside seven treatment rooms. Treatments draw on Kyoto traditions and seasonal ingredients. The Heian Tradition ceremony uses matcha, bamboo charcoal salt, camellia oil, rice milk, honey compresses, a sake bath and hot stones, while the Zen Ceremony focuses on full-body massage, ginger-infused hot towels and, in the longer version, another sake bath. There are also Sodashi treatments for jet lag and detox, alongside facials using Kotoshina, Biologique Recherche and Tatcha.

The verdict

Four Seasons Hotel Kyoto works because it understands that the garden is not a backdrop, but the point. The rooms are elegant, the food is strong, the spa is genuinely worth setting time aside for, and the location places guests inside one of Kyoto’s most atmospheric districts. But it is Shakusui-en that gives the hotel its character: koi in the pond, seasonal blossom, a glass bridge over ancient stonework, a tea house looking back towards the 12th century. Kyoto's beauty and history is unusually easy to take all at once.

Four Seasons Hotel Kyoto is located at 445-3 Myohoin Maekawacho, Higashiyama Ward, Kyoto, 605-0932, Japan

Palácio Príncipe Real is a boutique Lisbon hotel with a backstory – tied to Portugal's aristocracy and the changing tides of the capital – and is infused with a sense of historic hedonism. Constructed in 1877 as a mansion for Diario de Noticias, co-founder of a Lisbon newspaper, the private residence was soon passed to the Teixeira da Mota family, who made it a centrepiece of Lisbon’s high society – famed for extravagant, decadent parties hosted in its lavish rooms – and would own it for more than a century.

Palácio Príncipe Real

The grand building is right at home in the surrounding Príncipe Real neighbourhood, an area established in the mid-19th century as a leafy residential haven for Lisbon’s aristocracy, and named in honour of King Dom Pedro V (Príncipe Real meaning ‘Royal Prince’), who reigned from 1853 to 1861.

After the Teixeira da Mota family moved out in 1980, the building slowly began to fall into disrepair. That was until retired British couple Miles and Gail Curley discovered the derelict building in 2015. Over the course of several years, they restored the classical architecture and ornate stucco, down to the hand-painted arabesque ceilings and azulejos (Portuguese tiles). Their attention to detail helped make the property into an award-winning boutique hotel, where historic glamour and contemporary craftsmanship meet.

Amid the grandeur, an unlikely, recurring motif throughout the hotel is the Indian runner duck – a nod to the small ecological farming business in Mallorca that the Curleys owned more than 20 years ago. Two Indian runner ducks, gifted by a friend, captivated the owners at the time, and are now suitably honoured.

At the heart of the hotel is a cascading stairway. Sunlight streams through a skylight, illuminating the pink walls. Up these stairs, are 25 restored rooms and suites. You might choose to sleep in the former family ballroom, or perhaps to soak up the views of a jacaranda tree from a window-side Drummonds roll-top bath.

Outside, the hotel opens up to a soothing oasis with a pool. The 1,400 sq m garden includes wisteria that climbs up the outside staircase, while deep-pink bougainvillea tumbles down the walls, and jasmine and lemon blossom add fragrance.

The residence’s Gatsby-esque grandeur nods to high-society parties past, but in its latest incarnation, this former palace has transitioned into a calming retreat where a more restrained elegance is the relaxing order of the day. Sip a glass of rosé in the grounds, peruse the neighbourhood shops (there are hilly, cobblestoned streets – pack comfortable shoes), or daydream beneath a jacaranda tree about the wild parties once hosted in the ballroom.

palacioprincipereal.com

Munich is the victim of more than its fair share of lazy Bavarian clichés, but beyond the beer halls and lederhosen lies a city with a far richer creative history than many visitors realise. ‘There are certain cities I feel like I just get very fast,’ says interior designer Tatjana von Stein, whose largest hotel project to date opens there this month. ‘Munich I found a little bit harder to grasp, if I'm totally honest.’

The admission is perhaps surprising. Von Stein was born in Munich to a German father and French mother before moving to the Austrian Tyrol as a young child. Now based in London, designing the latest offering from Irish-born lifestyle hotel brand The Dean has offered an opportunity to rediscover her birthplace from a fresh perspective.

What von Stein found was a city whose cultural identity proved far more layered than its reputation suggests. In the hotel’s Westend neighbourhood she discovered a burgeoning creative community, where pottery studios, wine bars and independent restaurants sit side by side, reminding her of her home in London. ‘Two big movements really came roaring out of the research: Jugendstil (the German and Austrian interpretation of Art Nouveau)... and the music industry (which boomed there in the 1980s). That really surprised me,’ she says. ‘I don't feel Munich is known for that kind of music scene at all.’

These seemingly disparate movements became the basis for the 281-room hotel’s interior, which oozes the sort of sultry sophistication that has become a hallmark of von Stein’s work, albeit dialled up a few notches. Working within the framework of an existing postmodern hotel, von Stein retained elements where possible – including the black stone floors in the lobby – before completely reimagining the public spaces as a sequence of increasingly theatrical interiors.

Wallpaper* checks in at The Dean Munich

What are the design standouts?

In the lobby, guests are greeted by softly curved Art Nouveau-inspired forms and floral motifs paired with flashes of 1980s glamour – lacquered finishes, reflective surfaces and polished metals that bring softness and warmth. A cream lacquer wall is set with stainless steel lighting by Cologne-based Studio Kuhlmann. ‘I don't want people to walk into a space and understand everything immediately,’ says von Stein of the design-era mash up. ‘I like nuance and discovery.’

Throughout the hotel, curator Christian Ganzenberg's site-specific art programme provides another layer of interpretation. Rather than attempting to match the interiors, the contemporary works deliberately create moments of friction – something von Stein sees as one of the project's strengths. 'Sometimes tension can be wonderful,' she says. 'Different people see and feel different things.'

Staying for drinks and dinner?

Further inside at Ibasho, a Japanese restaurant with a menu conceived by consultant chef Alex Craciun, the palette becomes warmer. Stained-glass screens reinterpret Jugendstil motifs in a more geometric language while apertures in the partitions frame views through the space. A glossy C-shaped bar and sunken seating area, topped by a mirrored ceiling, create a cosy cocktail spot within the restaurant. Rust-coloured carpets woven with floral motifs soften the room, in one instance climbing up the back of a banquette.

Vintage pieces, including designs by Josef Hoffmann, sit alongside von Stein's own bespoke furniture featuring fringing, velvet upholstery and glossy black veneer. The effect is one of controlled decadence: richly layered without ever tipping into excess.

Where to switch off?

‘I've always been obsessed with flow and tempo,’ she says of the hidden speakeasy. ‘Like the spaces are revving up, if you know what I mean.’ At The Dean, the interiors build to a crescendo in Noren, a small but richly decorated bar with a timber-lined ceiling that sits behind Ibasho. Here, tiger print sits alongside glossy timber, tapestry-style banquettes, mountain-inspired wallpaper and a lacquered bar illuminated by vintage Gabriella Crespi bamboo lamps, while custom lime-green Friendly Pressure speakers mounted to the ceiling inject an unexpected note of playfulness. Von Stein’s affection for this space is clear: ‘it’s such a vibe – an explosion of indulgence’.

The room to book

If the public spaces are designed as a crescendo, the guestrooms provide the exhale. Rather than starting from scratch, von Stein worked within the framework of the existing hotel, refreshing the rooms with new furniture, textiles and joinery while retaining much of the original architecture. Muted greens, soft curves and tactile finishes temper the visual exuberance of the public spaces below, creating rooms intended to restore.

The verdict

‘I would say we're primarily hospitality designers, and I think the part I love about that is the fact that we get to indulge in the story,' she reflects. Asked what unites her increasingly varied portfolio, von Stein is reluctant to pin it down. ‘I'm such an intuitive designer,’ she says. ‘It simply has to feel right.’ Judging by The Dean Munich, that instinct is remarkably well calibrated.

The Dean Munich is located at Landsberger Str. 68, 80339 München, Germany. Rates: €225 per night.

Madrid is a long way from the sea, which is partly what makes new bathhouse Riela’s founding image so persuasive. Its name comes from the old Spanish rielar: the shimmer of moonlight on water; light broken across a surface, something seen indirectly.

Riela Bathhouse, Madrid

Designed by Barcelona-based architecture firm Oficina Satélite, Riela takes that idea and brings it into the city. Inspired by Roman thermae, Japanese onsen and Russian banya, the space has been conceived as a modern setting for an old ritual: a 75-minute, self-guided circuit through heat, steam, water and cold. Guests move between a Finnish sauna, a hammam, a mineral hot pool, cold plunges, and a heated granite stone.

The venue avoids the usual language of urban wellness, with its beige softness and scented neutrality. Instead, Riela feels darker, more mineral and cinematic. Backlit glass bricks cast a greenish glow through the corridors, giving the rooms the quality of something submerged. Rough walls hold the light rather than reflect it. Granite from Madrid quarries gives the pools and benches a certain local weight, while wood is reserved for the sauna, where it brings warmth and recovery.

Oficina Satélite sought to achieve the sensation of stepping out of water on a summer day in Menorca, when the body is slowed and the skin is alert, soaking in light from several directions at once. That idea is visible through Riela's glass-block corridors glowing like diluted moonlight; pools sunk into rough, shadowed rooms; granite benches held against walls of pale green opacity.

‘Riela is a place where people and emotions coexist. As in Turkish baths or Russian banyas, there is social exchange: the space is open, free, non-intrusive. But that exchange happens in an environment of low light, where you don’t feel exposed; you feel held,’ say Marc Castaño and Laia Rafel, founders of Oficina Satélite.

Guests can book individual session passes or opt for a monthly membership. The hot-cold circuit is designed to stimulate circulation, support recovery and help regulate the nervous system, with regular use linked to better sleep, improved mood and greater resilience to stress. Expansion plans for Riela are already underway, with a second, much larger Madrid location on the horizon before the concept ventures into Barcelona, Paris and London.

Riela is located at Calle de Apodaca, 20, Centro, 28004 Madrid, Spain

Since opening their debut in a former Freemason’s Hall in Shoreditch almost twenty years ago, Andaz have proven a canny ability to get ahead of the curve and open high-end hotels in up-and-coming neighbourhoods. Andaz Shanghai ITC follows suit, as the first lux stay in Xujiahui (the centre of the Former French Concession, aka Xuhui), set inside the new International Trade Centre complex. As is the Andaz way, the interiors are inspired by the locality, and this branch has gone for a nod to nostalgia. It’s an urban bolt hole, but the open-air movie nights, outdoor yoga and DJs in the cocktail bar make Andaz Shanghai ITC more than just a spot to rest your head.

Wallpaper* checks in at Andaz Shanghai ITC

What’s on your doorstep?

Slightly removed from the tourist trail, Xuhui is an enclave of heritage buildings, leafy parks and wide boulevard streets. Its main thoroughfares are fast-paced, but the side streets are homey, with the occasional impressive art deco apartment block or modernist civil building tucked away. The district’s supporting cast, which the Andaz design team took their inspiration from, is the distinctly Shanghaiese shikumen, or Lane Houses; the pre-war era micro-communities of dwellings that curl around communal courtyards with arched gateway entrances. Shikumen can date as far back as the mid-19th century, melding Chinese and European styles, and you can spot them around Xuhui, particularly those repurposed as cafés and boutiques. The area also comes with cultural cachet, as the home to Xujiahui Library, St. Ignatius Cathedral, and the Shanghai Film Museum, all within a 10-minute stroll of the hotel.

Who is behind the design?

This newly opened Andaz is part of a vast architectural project designed by the Hong Kongese P&T Group, the Xujiahui International Trade Centre. The ITC is a self-proclaimed ‘vertical neighbourhood’ of streamlined pathways, encompassing the Andaz, condo and office blocks, soon-to-open malls and the other ITC figurehead, Tower 2, which at 70 storeys and a soaring 370m in height, makes it the tallest tower in Puxi, the west side of the river.

The Andaz Shanghai ITC interiors are by HBA, who have artfully mirrored features of the heritage buildings of Xuhui to elicit an elegant time warp, while infusing a playful tone through the pops in colour and flow of lighting and space. Alleyway-like corridors lead into naturally light-drenched, high-ceilinged drinking and dining spaces. HBA’s Matthew Liu explains: ‘The communal spaces (the gym and swimming pool) were inspired by the historic rowing clubs along the Huangpu River. We are particularly proud of the dining rooms on the 14th floor. Architecturally, they reference traditional Shanghai lane houses; their proportions and spatial scale closely reflect those residential typologies.’ Think classy but cosy.

The 14th floor lobby is a design whimsy, with 1930s flashback elevators and a grand clock that has its own daily ritual at 5.30 pm, marking the moment when day becomes night. Grey brick provides a neutral backdrop to the colourful light fixtures and inviting textiles used throughout this floor, which also houses three lively dining spaces, the East Wing, the Rooftop Bar and the West Wing. ‘Brick was reinterpreted in multiple forms and materials across different areas of the hotel to define character, texture, and spatial identity,’ Matthew Liu told us. The vivid turquoise chandeliers of the East Wing and cluster of bright light globes and mirror balls in the Rooftop Bar are stand-out features, but honourable mentions go to the wellness floor’s triathlon mosaic by SONITE, art installations in the dining spaces by Debut Studio and Lu Jian Xin’s large wall piece ‘City Coordinates’, all accentuating movement and dynamism of the neighbourhood below.

The room to book

The 267 rooms come in five different types, each styled as the abode of a creative professional; the King rooms are the home of a fashion designer, the Twin rooms are the creative artist’s, the Andaz suites are the photographer’s house, the Premier suite is the florists and the unfathomably swish Executive suite is the jewellery designer’s pad, with all five decorated with art and artefacts to fit the profession. We loved the Andaz suite, a three-room affair on the corner of two corridors with sweeping views of Xujiahui below. Cameras deck the walls, as do used film reels and photography books, all adding fun detail and commitment to the theme. The sizeable sofa and bathtub in the Andaz suite are both ideal for reviving your feet after a busy day marching through the city, resetting before heading to the bar.

Voss water is plentiful throughout the room. Cans of Heineken beer and Coca-Cola sit cooled in the fridge, as do bottles of soda water. Spirits come in the form of Absolute Vodka, The Singleton Single Malt Scotch Whisky (Aged 12 Years) and most interestingly, a lightly spiced local Shanghai craft gin by Peddlers Gin Co, infused with lotus, cardamom, Sichuan pepper, Chinese cassia, and liquorice, to name just half the ingredients. TWG Tea bags and Nespresso coffee pods are also readily available.

Staying for drinks and dinner?

Executive Chef of Andaz Shanghai ITC, Jesse Chen, is Shanghainese born and bred, and has returned home after working in Europe for a long stint. She tells us, ‘Sweet things bring people joy; I am a typical Shanghainese that way. I saw my mother and grandma cooking a lot of rich sauces like soy sauce and sweet and sour sauce.’ So on the East Wing’s menu, she showcases these Shanghai flavours with plates of braised pork belly, slow-cooked lotus root, marinated river prawns, and of course dim sum and bao.

In the West Wing, there’s a multicultural approach, typical of Shanghai, with a deli-like counter offering Spanish tapas and Italian bites. After grazing, there are tea-based cocktails in the Rooftop Bar, concocted by bar manager Van Li. The Pomelo Oolong with pineapple, Japanese yuzu and 10-year-old Lafroig is a smoky dream. His domain is afternoon tea by day and DJs and board games by night.

The verdict

Despite being China’s capital of nostalgia, finding glimpses of old school Shanghai can be elusive beyond The Bund, given the forward-facing and futuristic nature of the city’s design. So Andaz Shanghai ITC is something of a shrine to the city of yesteryear, putting working-class culture (communal living, kids' games, everyday flavours) on a pedestal through its design. It’s a heart-warming stay without being too kitsch, elegantly done but with a lot of character. Everything is seamless, as you’d expect from a chain so committed to understated luxury, but the ease is a particularly welcome respite from the fast pace of the city outside.

Andaz Shanghai ITC is located at Hongqiao Rd. 283, Shanghai, China 200030

A cooling evening breeze is much appreciated after stepping out of the Tube exit at Notting Hill Gate. What is even more of a relief in the summer heat is that Kinz, a new Lebanese brasserie in the district, is only a few steps away.

Locals in the area may recognise the building from a previous incarnation. Designed by Sir Edward Maufe, it was a branch of Lloyds Bank. With tall ceilings and exposed brick walls, it has the restrained and almost clinical elegance that Maufe was known for. Yet, once you’re inside Kinz, his 1930s architectural severity is balanced with a warm and inviting atmosphere.

If you think the interior is reminiscent of Palestinian restaurant Akub, you are not mistaken. Founded by Rasha Khouri Bruzzo, co-owner of Akub, alongside brothers Jad and Karim Lahoud, Kinz blends authenticity and modernity in both its aesthetic and its food, highlighting the multifaceted flavours of Lebanese cooking.

‘The project is rooted in the food and traditions I grew up with – the small details, rituals and flavours that are passed down at home rather than written down. Kinz takes its name from the Arabic word for “treasure” and is our tribute to those treasures: cherished recipes, generous cooking, and the spirit of Lebanese food as it’s meant to be shared today,’ says Khouri Bruzzo. ‘It’s a place designed to feel as natural for everyday visits as it does for long, lingering meals.’

Wallpaper* dines at Kinz, London

The mood: a trove of authenticity and modernity

The interiors were spearheaded by London-based Fare Inc. Working with the pre-existing architecture, they implemented pockets of warmth by injecting colour. This is seen with the bright teal in the entrance deli space, which is broken up with a neutral tone in the central area. The ochre-hued bar and mezzanine glow from the far end. ‘Refined zones are needed in such a large space to create a more inviting atmosphere, yet we still wanted to highlight the original architecture of the space with pared-back tones that complement it throughout the main room,’ explains founder Annabel Harrison.

Above the heart of the dining area is a wine-red, oversized lantern that acts as a modern ‘sun’ for what feels like a courtyard-style space, albeit indoors. ‘The lantern [helps create the feel of] an elegant terrace, accentuated further by striped banquette seating and iron dining chairs,’ says the designer. ‘The red was chosen to add vibrancy to the otherwise delicately finished ceiling and original metal braces of the bank.’

The bank vault is converted into a wine room. A space that was built for security has been softened to allow for intimacy. ‘Lighting has been really important here, so there is pretty much no overhead lighting, only very low-lit wall lights and soft LED highlighting the wines. The walls and ceilings are drenched in Roman Plaster paint, which has softened the swathes of concrete and the steel beams, and we have a single, glass-grape pendant over the sharing table, for a playful nod to its purpose,’ says the designer.

The urban charm of Lebanon informed the practice’s design choices. Taking inspiration from Beirut’s metalwork, the studio designed iron screens to divide the retail and entrance area from the restaurant space, and continued this up the staircase and along the mezzanine edge to create a street-balcony feel. Harrison explains that they wove in squares of colourful seeded glass that glow in the sunshine and add a vibrancy to the space.

The food: a menu designed to be shared

The menu offers an array of flavourful morsels that showcase the best of the country’s flavours. Plates come out at similar times, creating a beautiful spread. To begin, we recommend the hummus, meat kibbeh (bulgar shells stuffed with spiced lamb and beef, with pine nuts and onions), and the spinach patayer, which are filled triangular pastries.

There are three salads, which add a refreshing zestiness to the savoury dishes. We suggest the fattoush, which is scattered with gem-like pomegranate seeds and fresh mint. A menu highlight is the warak enab – tender lamb cutlets resting on a bed of vine leaves and courgettes stuffed with fragrant rice and spiced lamb. But leave room for the flourless chocolate cake. It’s decadently delicious; you can’t go without.

The constant bringing and clearing of plates adds a sense of buzz to the atmosphere, giving Kinz the feeling of a welcoming local restaurant. It is easy to find comfort in the design’s small cultural details and the consideration of the menu, making you feel right at home.

Kinz is located at 50 Notting Hill Gate, London W11 3JD, United Kingdom

Fans of the eco-conscious 1 Hotel chain will now have yet another reason for visiting Japan, with the latest addition to the brand’s portfolio in Tokyo’s Akasaka neighbourhood. Featuring 211 rooms, including 24 suites and three penthouse suites, a gorgeous pool and hammam, a dedicated gin bar and delicious Mediterranean-inspired cuisine, guests might find it hard to actually leave and go explore the city, though.

Wallpaper* checks in at 1 Hotel Tokyo, Japan

What's on your doorstep?

Located right in the heart of the city, 1 Hotel is within walking distance of fun-loving Roppongi, shopping in Azabudai Hills and a 20min stroll to the Imperial Palace Gardens, but with the pool, Hamman, excellent coffee at the Neighbors coffee shop adjacent to the reception, you might find it hard to leave the hotel altogether.

Who is behind the design?

Housed on the upper floors of the Akasaka Trust Tower, the interior design has been put in the very capable hands of Jun Aizaki of Crème. A stunning stone wall at the entrance on the ground floor sets the tone of the natural and eclectic palette of materials used throughout the space; distinctly Japanese Oya stone, reclaimed wood, handblown glass and hemp cord lamps. With a carefully selected variety of lamps and bespoke furniture, the design never gets repetitive, and there is a clear reference to the local setting (moss, bonsai, earthen walls) without the design being overly Japanese.

The room to book

Even the standard rooms feel spacious and inviting with ample use of subdued colours, wooden furniture and carefully selected lighting fixtures. The rawness of, for instance, the rough edges of the bathroom vanity, marble counters, reclaimed wood furniture and wood panelling adds an honesty to the sophisticated design that renders the rooms very cosy.

Staying for drinks and dinner?

The hotel’s main dining room, NiNi (a name meaning ‘two-two’ in Japanese), takes its inspiration from Mediterranean cuisine, while making abundant use of local Japanese ingredients, and is headed by Nikko Policarpio. Dinner offers fresh seafood dishes such as botan shrimp carpaccio, hamaguri clams (served with cucumber mignonette, yuzu kosho and olive oil Caviar), roasted scallops, homemade pasta (the zucchini ravioli being our favourite), simple charcoal grilled meat dishes (including chicken confit from Iwate Prefecture, pork chop from Yamagata and Tajima Wagyu) and a selection of vegetable side dishes.

Breakfast is the perfect blend of made-to-order mains (perfectly cooked omelettes, mushroom tartines, waffles, French toast, etc) and a carefully selected, but not overly complicated buffet.

Where to switch off

Guests can indulge in various treatments and massages (including hard-to-find in Tokyo couples massages) at The Bamford Wellness Spa, and are also given free use of the small but gorgeous pool and adjacent Hamman steam rooms.

The verdict

We love the stylish, honest and natural design throughout the hotel. Dining at NiNi is a treat, and with a well-selected wine and impressive non-alcoholic selection too, a new favourite addition to Tokyo’s vibrant dining scene. The rooms come with a well-stocked minibar and the pool and Hammam onsite, and delicious coffee at the hotel’s own coffee bar Neighbors, makes it hard to actually leave the hotel.

Book 1 Hotel Tokyo, 2 Chome-17-22 Akasaka, Minato City, Tokyo 107-0052, Japan. Rates from $550

Nick Molyviatis spent his career in some of London’s most respected kitchens, including Kiln and Oma, before becoming co-owner of Singburi. For Zylia, he has teamed up with restaurateur Barry Karacostas, whose Cypriot heritage and two decades in hospitality informs the menu alongside Molyviatis’s Athenian upbringing. The result is a contemporary Greek-Cypriot taverna shaped by childhood memory, family recipes and professional experience – and a shared obsession with charcoal grills.

Wallpaper* dines at Zylia, London

The mood: Built on contrast

The idea for Zylia’s interiors took shape over several Cypriot beers in Nicosia. Architect and Red Deer co-founder Lionel Real de Azúa was being shown around Cyprus by Karacostas when the pair began talking about the contrast between sleek modern design and the pieces Karacostas had grown up surrounded by. ‘We wanted to bring together the confidence and elegance of the London hospitality scene with the warmth, generosity and familiarity of your giagiá’s dining table or local taverna,’ Real de Azúa says.

Delicate Lefkara lace sits against stainless steel tables and shelving, handwoven wicker bread baskets sourced from Limassol rest against stripped-back London brick, and a service counter is built from stone quarried at Gerolakkos. ‘Nothing is intended to feel nostalgic,’ Real de Azúa says, ‘but everything carries a sense of memory and patina.’ His reference point throughout was Diporto, the 139-year-old taverna in a basement near Athens Central Market. ‘The materials are simple, the proportions are right, and the beauty comes from authenticity.’

The other reference point came from the menu itself, with Molyviatis’s sheftalia – small, rustic, packing a punch – becoming a kind of metaphor for the design brief. ‘There’s a directness to both the food and the interior,’ Real de Azúa says of details such as traditional Cypriot tiles and green leather booths. ‘Warmth comes from texture, craftsmanship and use rather than embellishment.’

The food: Dip and mix

Those sheftalia appear as four chubby caul fat-wrapped pork parcels resting on sliced onion, parsley and sumac – but before that, order some bread, which arrives as a basket of oregano-flecked warm pitta to dredge through creamy-and-crunchy taramasalata with cracked carob rusk or smashed feta and yoghurt adorned with a roasted chilli pepper to mash up for heat.

Then it’s a case of pick-and-mixing your way through a selection of small plates such as Metsovone cheese balls slicked with honey, or a contemporary spin on spanakopita presented as a pastry stack of crispy hand-stretched filo, before hitting up the charcoal grill for a heap of chops (pork, beef or lamb), or the house special of milk-fed lamb shoulder kleftiko, a blanket of slow-cooked comfort food. Either way, a bowl of hand-cut chips is non-negotiable.

Wines are Greek, beers Cypriot and the cocktails a blend of cutting-edge mixology and Mediterranean ingredients: as creative a blend of heritage and here-and-now as the rest of this place.

Zylia is located at 6 Bedford Street, London, WC2E 9HZ, United Kingdom

London’s Spanish restaurant scene has never been more varied or more vital. The city’s love affair with Iberian food stretches back decades – from the early champions who first put Manchego cheese on the map, to the tapas bars of the Noughties that made small-plate dining a way of life – but what is happening now goes well beyond chorizo and calamares.

Today’s Spanish London spans Basque grills, no-bookings tapas counters and neighbourhood gems devoted to regional cuisines, all underpinned by a shared reverence for quality ingredients and the pleasure of eating well without spending a fortune. That, at least, is the idea, although the final size of the bill is likely to depend on the amount of Spanish wine consumed. Here are the eight best places in London to sort your jámon from your jerez.

The best Spanish restaurants in London

Alta

This elemental-looking two-floor restaurant (a sibling to Japanese Moi on the other side of Soho) brings the live-fire cooking traditions of northern Spain’s Navarre region to Carnaby Street. Upstairs, beautifully presented plates of artfully sauced dishes excel with vegetarian options – try the oyster mushroom with shiitake and pine nuts – though there’s also 35-day aged sirloin to share. From mid-June, downstairs has become the more informal Bar Alta for pinxtos and vermouth.

Alta is located at 9 Kingly Court, Carnaby Street, London W1B 5PW, United Kingdom

Arros QD

Quique Dacosta holds three Michelin stars for his eponymous restaurant down the coast from Valencia and the chef brings the same serious approach to bear on Spanish rice cookery at this Fitzrovia dining room. The paella valenciana – chicken, rabbit, garrofón beans, artichokes, veal and herb stock – is a revelation for anyone who think paella is just prawns, and if the 10 other rice dishes don’t appeal, there’s Atlantic octopus cooked on the six-metre wood-fired stove.

Arros QD is located at 64 Eastcastle Street, London W1W 8NQ, United Kingdom

Barrafina Dean Street

Cal Pep in Barcelona inspired this now five-strong group of tapas bars, but the no-reservations Soho branch is the most fun and closest to the spirit of Spain. Arrive before 6pm to avoid a long wait, but even if you do have to queue, there are few more pleasant ways to stand in line that with a glass of rosé cava in one hand and a plate of ham croquetas in the other. The straightforward cooking is based on quality ingredients: crinkly pimientos de Padrón, runny-yolked chorizo tortillas, or a fleshy-pink plate of gambas rojas.

Barrafina Dean Street is located at 26-27 Dean Street, London W1D 3LL, United Kingdom

Ibai

A Basque-accented steakhouse near Smithfield Market, Ibai specialises in Galician Blond beef from cows raised on grass pastures until the ripe old age of 16, by which point the meat has developed a rich pungency. Grilled over charcoal, it is the beefiest beef imaginable. Elsewhere are Cantabrian anchovies with arbequina olive oil and pâté Basque with truffle honey and grilled bread. The meat-importer owner’s smaller tapas bar Donostia and charcoal grill Lurra occupy opposite sides of Seymour Place in Marylebone.

Ibai is located at 90 Bartholomew Close, London EC1A 7BN, United Kingdom

Morito

This tiny offshoot of Sam and Sam Clark’s Moro grafts that restaurant’s North African sensibilities onto Spanish small plates. A handful of tables line the corridor-like space, but the counter is the place to sit – or at an outside table on vibey Exmouth Market when the sun is shining. Order the crispy chickpeas with chopped salad and tahini yoghurt.

Morito is located at 32 Exmouth Market, London EC1R 4QE, United Kingdom

Pizarro

Extremadura native José Pizarro has established himself as Spain’s unofficial food ambassador to Britain and Bermondsey Street is his embassy. For breakfast there’s his all-day dining spot Lolo’s and tapas at his no-bookings José; Pizarro is the chef’s full-scale restaurant that moves from small plates to more substantial main courses including a signature presa Ibérica of acorn-fed pork shoulder. The room, with its L-shaped marble counter, open kitchen and Spanish tiling, manages to feel both neighbourhood and destination.

Pizarro is located at 194 Bermondsey Street, London SE1 3TQ, United Kingdom

Sabor

At Sabor, Bilbao-born chef Nieves Barragán Mohacho distils her years of London experience into something more expansive than the standard tapas formula: a ground-floor counter where the classics are executed with contemporary flair, and a first-floor ‘asador’ devoted to regional cooking such as the showstopping Segovian suckling pig. The chef’s follow-up restaurant, Legado in Shoreditch, was awarded a Michelin star six months after opening in August 2025.

Sabor is located at 35-37 Heddon Street, London W1B 4BR, United Kingdom

Tranga

This long-running neighbourhood gem serves a daily-changing menu in which quality produce is given elegant treatment. Expect piquillo peppers stuffed with prawn bechamel and shellfish fumet, or a paella of Ibérico pork tenderloin, alongside a carefully chosen list of sherries and Catalan natural wines. The candle- and chandelier-lit interiors, strewn with vintage finds, are as attractive as the cooking.

Tranga is located at 61 Newington Green, London N16 9PX, United Kingdom

Art deco architecture is as much a part of South Beach as sandy beaches and dancing on tables. The Delano Miami Beach has stood tall inside the same iconic building since 1947. After a six-year full-scale renovation, led by Elastic Architects, the latest reincarnation of the once hard-partying hotel – one of the most exciting recent hotel openings – brings its iconic luxury footprint back to Miami Beach with plenty of glamour and a more modern mindset that, while still convivial, puts wellness ever-so-slightly above late-night antics.

Wallpaper* checks in at Delano Miami Beach

What’s on your doorstep?

Located on Collins Avenue, the Delano sits in the middle of a stretch that’s seen the old guard flip – with The Shelborne by Proper opening last year and revamps of The Raleigh and the Shore Club (which soon fly the Auberge flag) coming down the pipeline. It’s also in a prime beachfront position, providing direct access to the Miami Beach Boardwalk and the Delano’s serviced beach area.

Who is behind the design?

The Delano is one of Miami’s most emblematic hotels. When it first opened, the sign read ‘nothing finer’. It also advertised air conditioning – a big deal back in the day; thankfully, now standard across the balmy Florida city.

Hotelier Ian Schrager, in collaboration with designer Philippe Starck, reignited the historic hotel into a sleek, scene-driven South Beach destination in 1995 and operated it for 25 years. The latest iteration, nay transformation, turned back the clock in some ways, honouring the hotel’s legacy, while also bringing it into the present. The design and management teams worked closely with the City of Miami Historic Preservation Division to stay on task. Aesthetically, there’s plenty to appeal to history buffs, from the terracotta floors emblazoned with the original emblem to the scene-stealing lobby, which shows off soaring columns and billowing fabric.

Despite its deep roots – and thoughtful choices that pay homage to its glam past – the Delano feels refreshingly on the pulse, thanks to its airy palette and impressive collection of works by Miami artists – including a mythical glazed stoneware relief by Nina Surel, oil paintings by Natalie Galindo and striking botanic sculptures by Alissa Alfonso that adorn the walls outside of Rose Bar.

The main pool area is now flanked by loungers and umbrellas, accented with lemon print underneath and playful fringe, plus a row of cabanas for VIP poolside hangs. Rooms are bright with crisp linens, light wood flooring and rugs evoking the soft sands below and large, ocean-facing windows. The dining concepts channel other vibe-driven destinations: the dynamic energy of Osaka, languid summers on Italy’s Mediterranean coastline.

The room to book

The Delano Miami Beach features 171 rooms and suites, decorated with crisp tonal hues, curved furnishings and oversized windows for gazing at the beach or the city skyline. For the ultimate in space and scenery, the swank 2,824 sq ft ocean-view penthouse offers unobstructed panoramas of the sandy shoreline and Atlantic waves from the three ensuite bedrooms, living and dining spaces and terrace.

If you’d rather soak in the social buzz, the two-storey poolside bungalows are the epitome of a Miami Beach holiday. Located just steps from the pool, each boasts a covered patio that effectively doubles as a cabana, allowing guests to enjoy food and beverage service without ever leaving the shade.

Staying for drinks and dinner?

It’s not a secret that Miami Beach is chock-a-block with great spots to eat and drink – a trio of them happen to reside at Delano Miami Beach, the result of a partnership with Paris Society, marking the group’s first restaurants in the United States. Gigi Rigolatto – a chic Italian eatery with outposts in Saint-Tropez, Paris, Dubai, Rome and Bodrum – brings its effortless elegance and coastal Italian cuisine to South Beach. Designed by Hugo Toro, the first-floor space, which extends from the air-conditioned dining room to the covered terrace, gleams with the sun-dappled warmth of plaster walls, carved wooden panels, archways and yellow Sienna marble. Signature dishes include seabream carpaccio, tomato salad, linguine alle vongole and grilled octopus.

On the fourth floor, at Mimi Kakushi, Elastic Architects and Pirajean Lees utilise wooden screens, textures, and hand-painted walls to transport Delano Members Club and hotel guests to Osaka, blending art deco-influenced design with modern dining. There’s an open sushi counter where chefs craft nigiri by hand as well as a menu of shareable Japanese plates such as tuna tartare topped with caviar, Wagyu and foie gras gyoza and miso black cod. The cocktail program, inspired by Sessue Hayakawa, celebrates the Japanese silent film star’s many on-screen characters through cinematic tipples and nonalcoholic options.

For a nightcap, the Rose Bar, just off the lobby, is back in all its glam glory, whether you belly up to the dusky-lit Rosso Lepanto marble bar for a Rose Old Fashioned or sip a Floral Negroni on one of the low-slung sofas that spill out into the lounge.

Where to switch off

Back in the Ian Schrager days, the basement was a nightclub. The glow-up, which taps into Miami’s wellness-oriented lifestyle rather than dance-till-dawn nights, replaces that more debaucherous after-dark fixture with a forthcoming wellbeing wing. There’s also a chic gym kitted out with tonal Technogym equipment and a fitness studio. Beachfront yoga sessions are also available to guests.

The verdict

Delano Miami Beach is a chic, grown-up – much-needed and welcome – addition to the South Beach scene. It’s a place where you can indulge in rosé by the pool, cocktails and late-night sushi. But there’s also a quieter emphasis on wellness. Guests might just as easily turn in early rather than stay out till dawn and rise for morning yoga. The service is friendly, warm, and young. Not inexperienced by any stretch, just vibrant and youthful. The Delano employs people who can match the fun, sunny energy of South Beach.

Book Delano Miami Beach, 1685 Collins Ave, Miami Beach, FL 33139, United States. Rates: from $650

Waves crash against the side of the boat as the sun slips behind the clouds. Ahead, the jagged wall of mountains that frame our basecamp at Nusfjord Village & Resort fade into a distant smudge on the horizon. Our lines are cast sixty metres below the surface, each of us decked out in windproof flotation suits, weathering the choppy swell of the Vestfjorden in search of dinner.

Whatever we catch will be cooked by the chef back at the resort, but for me – a vegetarian and somewhat reluctant angler – I’m more interested in Svein, the fisherman guiding our trip who has been navigating these Arctic waters for the best part of sixty years. From the brine-scrubbed deck of Elltor, our 60-year-old fishing boat, he reels off stories that read like a Mark Jenkin plotline; weeks spent toiling on storm-tossed seas – all that rigging, baiting, icing. I ask about the biggest catch of his career. ‘A whale,’ he offers, casually, as if describing his breakfast.

What to see and do in Nusfjord, Norway

Fishing has been the lifeblood of the Lofoten Islands since the Viking Age. This archipelago of spindly crags that stretches into the Norwegian Sea from its tether to northern Norway once drew up to 30,000 seasonal fishermen during the region’s annual cod migration. Today, that number is much smaller, but the economic shortfall has been plugged by a recent boom in tourism. It’s no mystery why; so otherworldly are Lofoten’s landscapes that Norse mythology claims they were shaped by feuding trolls.

Between the eagle-scoured peaks of the region’s rugged mountains and the glassy fjords shadowed by orcas, it’s also one of the premier places on the planet to witness the northern lights, which the ancients believed were lit green by supernatural warrior women, the Valkyries.

Though while it may be nature that draws most people here, the islands’ bubbling cultural scene is starting to summon a different kind of traveller. Not least in Nusfjord, where a former salt house has been transformed into Salteriet, a contemporary art gallery displaying the work of HM Queen Sonja alongside a rotating roster of Norwegian and international artists. This year, the resort’s creative momentum accelerates as Stockholm’s Fotografiska takes over Nusfjord for a landmark photography exhibition ahead of the institution’s permanent opening in Oslo in 2027.

Founded in 2010, Fotografiska have established galleries in Stockholm, Berlin, Shanghai and Tallinn, each guided by the uniting belief that photography is the most influential, accessible and inclusive art form of our era. In Nusfjord, the exhibition is split across two historic sites. Across the ground floor of the village’s Salteriet gallery – where roe was once salted and dried – Japanese photographer Rinko Kawauchi presents A faraway shining star, twinkling in hand, a series of works that zone in on the beauty in life’s small moments, our temporality and oneness with nature. In a place like Lofoten, where people have lived at the mercy of nature for centuries, these works have a resonance that goes beyond their frames.

Elsewhere, in an old power station filled with relics from bygone times – vintage maritime radio transmitters, heavy-duty dials, and bulky cathode-ray fishfinders –Elizaveta Porodina’s project The Wall People features uncanny, dreamlike images that speak to the region’s mythological mystique. ‘It was the contrasts that struck me most,’ noted Caroline Krefting, owner of Nusfjord Village & Resort. ‘The rawness of nature against the refinement of art, the silence of the mountains meeting the pulse of human creativity.’

Creativity is everywhere in this peaceful pocket of the Arctic, from the made-over ‘robru’ fisherman huts to the sculptural spa built by the Oslo School of Architecture and Design that mimics the rocks it rests on. It shows up in the kitchen, too, thanks to a programme of culinary take-overs that invites global chefs to interpret the Arctic landscape on the plate. This May, for example, Swedish chef Niklas Ekstedt took advantage of the region’s famous midnight sun to create a four-day culinary immersion where guests were invited to join him and his team to fish, forage and cook together over fire.

This cultural boom is spilling out into other parts of the islands, too. To the east, the village of Henningsvær has repurposed its industrial heritage: an old caviar factory now operates as KaviarFactory, a sleek contemporary art gallery housing works by Warhol, Munch, and Melgaard, while Trevarefabrikken, a former fish processing plant, has found new life as a vibrant gig venue and creative hub (home to the popular Trevarefest music festival every July).

If you’re travelling by car, Artscape Nordland has five site-specific sculptures dotted across the islands and embedded in the landscape. The regional renaissance is set to grow later this year with the debut of Skrei in Storvågan, a museum dedicated to the deep cultural impact of the ‘fish that built Norway’, the Arctic cod. Masterminded by LPO Arkitekter, it marks Northern Norway’s most ambitious museum project to date, cementing the archipelago’s status as a top-tier cultural destination.

For the Vikings who once navigated these shores, the world was inherently enchanted. They didn’t seek salvation from the landscape or escape from strife. Instead, they marvelled at it and found purpose in responding to it. That spirit is alive and well in Lofoten, where nature and culture are parts of the same story, inextricably linked. Back on deck, the wind bites as Svein turns us around.

As we pull into Nusfjord’s colourful harbour, it’s clear that Lofoten is no longer just a place people come to witness the sublime expanse of nature. It is also a place to witness humanity answering back. As Bárbara García, chief executive officer of Fotografiska, puts it, photography – and perhaps culture itself – should travel as far as our curiosity does. And in Lofoten’s rugged perch at the edge of the world, curiosity has found a stellar playground.

Nusfjord x Fotografiska runs from 20 March to 31 October 2026

Eight years after closing Restaurant André in 2018 at what he called ‘a moment of perfection’, the Taiwanese chef André Chiang is back in Singapore. He has chosen to return inside one of Asia’s most mythic addresses: the former Raffles Grill at Raffles Singapore, a high-ceilinged room that has hosted coronation dinners and colonial galas since 1887. That year – the hotel’s founding – gives the 42-seat restaurant its name, and its culinary conceit: a menu that moves through time rather than through courses.

Wallpaper* dines at 1887 by André

The mood: whimsical grandeur

Inspired by the idea of a leafy, tropical conservatory, the Bangkok-based interior designer Bill Bensley has kept the room's colonial bones – arched colonnades, original herringbone parquet – while imprinting his trademark extravagance into every surface. Towering metal-foiled Traveller's Palms rise toward a trompe-l’oeil glass ceiling complete with powder blue sky and wispy white clouds hand-painted by Bensley, whilst mechanised punkah fans, their blades cut in the shape of great green hearts, flap slowly overhead.

A curved glass cabinet at the entrance displays the hotel's silverware collection, including antique pieces buried in the hotel grounds during the Japanese occupation and unearthed after the war; and at the far end, a raised semicircular bar – its stools monogrammed, its marble top deep enough to dine at – accommodates walk-ins and solo diners. The room is unapologetically theatrical, and no one minds at all.

The food: time, unravelled

Chiang spent over a year in Raffles Singapore’s archives, rifling and leafing through sepia menus from the hotel’s past. What he found was quietly startling, not least wild rose ice cream, turtle soup as a Victorian luxury, and Duck Apicius roasted with ancient Roman spice. The result of all this gastro forensics is a menu that Chiang has conceived as a time machine in which each course represents a different era, and each table, depending on what is ordered, sits in a different year on the 1887-to-present continuum.

In practice, this means an intriguing trawl through nearly 60 dishes – Victorian, Singaporean and Chiang's personal signatures all present simultaneously – that dismantles the conventional tasting sequence entirely. For those who prefer a guide, three formulas named after French cultural figures – Monet, Eiffel, and Bernhardt – offer a curated path through the labyrinth.

But the invitation to roam freely is the point. A preview tasting yielded Légumes en Vessie Sarah Bernhardt – vegetables cooked inside a pig's bladder using a Belle Époque technique all but vanished from contemporary kitchens – alongside a more contemporary East-meets-West Blanquette de Bak Kut Teh and a Green Curry King Oyster Mushroom that needed, besides sheer culinary chutzpah, no historical justification at all. ‘You can stop anywhere you want,’ Chiang says. ‘Mix and match. Decide which time period you want to go to.’

Unlike his previous restaurants, which he tends to close just at the height of their fame and move on, 1887 by André is conceived as something more permanent – a place, he says, that generations of diners can keep coming back to.

Appropriately, the kitchen is helmed day-to-day by Ben Wang and Roy Kuo, both trained and seasoned by Chiang at RAW in Taipei, a restaurant he ran, he says, as ‘a gallery, a museum, an exhibition hall’ whilst staging seasons of grand classic French cooking and VR dinners before closing it at the end of 2024. A culinary academy will open in its place later this year.

For a chef who returned his stars, closed his restaurants at their peaks and built a cooking school, 1887 by André feels less like a comeback story (which, of course, it is) than an act of custodianship – for a city, and a culinary culture, he has never really stopped calling home.

1887 by André is at Raffles Singapore, 1 Beach Road, Singapore 189673

Conceived by Italian architect Fabio Fantolino, Lève Office Bar in Turin takes its cues from an unlikely source of inspiration: the workplace. Here, the visual language of the 1960s office interiors is reworked into a sophisticated bar environment that evolves throughout the day.

Fantolino reinterprets the era’s emphasis on materiality and composition through chrome-plated metal, stainless steel, reflective surfaces and bold colour accents. The result is a layered space that favours corporate precision with warmth and conviviality.

Tour Lève Office Bar, Turin

The venue unfolds across three distinct zones. Guests enter through a room anchored by a dramatic stainless-steel counter that culminates in a deep red enamel backdrop. The minimalist structure shifts function as the day progresses, operating as a casual counter by day before transforming into a cocktail station in the evening. A brick-toned herringbone floor introduces a domestic touch against the reflective finishes.

At the double-height central space, references become more prominent, combining green resin flooring, mirrors, chrome and stainless steel with wood and leather details. Upstairs, leather and bouclé seating arrangements subtly echo the open-plan layouts of midcentury American workplaces, framed by red wood and laminate panelling.

Lighting plays a central role throughout. A luminous ceiling grid animates the lower level, while retro-inspired pendant lamps establish rhythm above. Further statement lighting by Lambert & Fils and Santa & Cole completes the scheme.

Open from 7.30am until 1am daily – extending to 1.30am on Fridays and Saturdays – Lève Office Bar serves breakfast through to late-night drinks. The cocktail menu features five signature twists on classics, including a cherry-and-cinchona Boulevardier and a clarified Piña Colada with coconut, pineapple and tonka bean. Alongside bocadillos, oysters, caviar, bao and gourmet focaccia, the venue also serves sushi (nigiri, gunkan and uramaki).

Lève Office Bar is located at Via Stampatori, 21, 10122 Turin, Italy

Late Japanese film director Yasujirō Ozu was a master at bringing the heart of Japanese life to the screen. His films – Late Spring (1949), Tokyo Story (1953), An Autumn Afternoon (1962) – were often reflections of his own life and daily surroundings. Now, visitors can step into his cinematic universe by staying in the filmmaker’s former home.

A stay at the house that inspired a master of Japanese cinema

Located north of Kamakura in Kanagawa Prefecture – one of Japan’s most popular tourist destinations – the house sits in Kita-Kamakura, along the road leading to Jōchi-ji Temple. A tunnel carved into the mountainside, just wide enough for a person to pass through, leads to the other side of the hill. Following the road uphill, visitors arrive at the 100-year-old house where Ozu lived with his mother from 1952 until his death in 1963.

After Ozu’s passing, the Ogura family – the landowners who lived at the foot of the hill and had been neighbours of the director – inherited the property. Wanting to allow the public to experience Ozu’s world, the family preserved many of the original fittings and renovated the house while retaining as much of its atmosphere as possible. In June, they registered the property on Airbnb as a guesthouse where visitors can stay overnight.

Set on a sloping plot of approximately 900 square metres, the property comprises a 120-square-metre main house built from hinoki cypress and cedar, topped by a curved tiled roof, alongside an 80-square-metre annex. Both structures are elevated on stone footings and constructed using traditional Japanese carpentry techniques. The renovation was carried out by a carpenter specialising in the restoration of temples and shrines in the neighbouring Kamakura area.

Upon opening the sliding entrance door, guests are immediately greeted by a tatami-mat tea room – an arrangement rarely found in traditional Japanese houses. Typically, an entrance opens into a foyer, leading towards the living room where the family spends most of its time, while the tea room is usually located in the deepest part of the house.

‘It seems that Ozu, as a film director, enjoyed welcoming many colleagues and guests to this house, first offering them tea as a gesture of hospitality,’ says Yoshiki Ogura of Hinomoto Japan, the company responsible for managing the Ozu Residence. The tea room functioned almost like an antechamber.

Beyond it, a cedar-clad wooden walkway runs like a cloister around the living room. This was the space where Ozu spent most of his time. Typical of traditional Japanese houses, the structure relies on a framework of columns and beams rather than solid exterior walls and is enclosed by sliding glass doors. With its generous openings, the living room enjoys sweeping views of the surrounding mountain ridges.

‘Ozu used to work on his films here while gazing at the scenery outside,’ says Ogura. It is said that he often opened the glass doors and spent time relaxing with his mother on the veranda, enjoying the view.

The plastered walls and many other finishes remain from the original period. While the tatami mats and shoji screens had deteriorated significantly and required replacement by craftsmen from Kamakura, much of the house retains its original character. The sofa and zelkova wood table in the living room are contemporary pieces crafted by Hinomoto Japan.

A wooden-floored corridor winds around the living room, revealing thoughtful details such as a small window in the partition wall that offers glimpses into the central space. The main house is organised around the living room, with two bedrooms – renovated to suit modern standards of comfort while retaining their original functions – alongside a kitchen, bathroom and toilet. This arrangement allows guests to experience the house much as Ozu once did.

The kitchen has been fitted with modern cooking equipment and updated to accommodate a wide range of culinary needs. Guests can either prepare meals themselves using local ingredients or arrange for a private chef to cook on the premises.

Traces of traditional Japanese architectural design remain throughout, including shitajii-mado – slatted windows commonly found in tea rooms that allow soft light to enter – and lantern-like pendant lights suspended beneath the eaves. Ozu was known for insisting on authenticity in his films, from the tableware and furniture to the paintings on the walls. Even the tonkatsu featured in his films was reportedly sourced from his favourite restaurant in Tokyo. As a result, his home reflected his personal tastes. He occasionally used vases and tableware from the house as props, and some of these objects still remain today.

Meanwhile, a new open-air rotenburo bath made entirely of cypress has been built on a slight rise a short distance from the main house, accessible via a series of stepping stones. Opening the sliding doors reveals panoramic mountain views. Surrounded by forest, with only the Ogura family living below, guests can leave the doors open at night and gaze at the moon while soaking in the bath.

With squirrels and other wildlife as neighbours, the property offers a rare sense of immersion in nature. It is a special place where visitors can feel as though they have stepped back in time to the era when Ozu himself lived here.

airbnb.co.uk

If you were to sail around Sardinia, it would be easy to glide past Poltu Quatu without a second glance. True to its name meaning ‘hidden port’, the small Sardinian village peeks through the mountains like a hidden oasis. Its topography is reminiscent of Greece, and its flora that of Spain, making the Italian island a cultural conglomerate, offering an environment that is distinctly different, yet familiar.

At the heart of the village is the new W Sardinia by Marriott Bonvoy. The hotel is nestled within the pre-existing architecture designed by Jean-Claude LeSuiss – he originally designed the resort's buildings in the early 2000s. The hotel replicates his signature style of white-washed facades and irregular arches (known as occhio de bue, meaning eye of the bull, a construction nightmare but one that results in a visual delight).

Sardinia became a tourism hotspot in the 1960s, and W Sardinia echoes this. There is a feeling of nostalgia and glamour within its interior, from the poolside bar, to the chunky bridge connecting the hotel suites to the main lobby, it is a surprising reposition for the company, known for having a vibrant party atmosphere, but now embarking on a new, elegant chapter – still with a sprinkling of W’s playful energy.

Wallpaper* checks in at W Sardinia - Poltu Quatu

What’s on your doorstep?

After perusing the small village of Poltu Quatu (home to a few boutique shops and restaurants), book a 15-minute taxi to the neighbouring village of San Pantaleo. Enjoy a gelato at Il Buon Gelato (we recommend the salted pistachio), and explore the bohemian village. Known for its art, head there on a Thursday to see the street market, or check out Sardinian artist Nicola Filia’s art gallery – he designed the W sculpture outside the hotel.

You can also choose to spend an afternoon at Surrau Winery and taste a selection of Sardinian wines against the backdrop of rolling vineyards. The winery itself is full of architectural intrigue, from its wooden ceilings to the large underground tunnel home to various wines.

Who is behind the design?

The design was spearheaded by Will Meyer and Gray Davis, founders of their eponymous New York design firm. The duo kept the architecture, flooring and pool completely original, while every interior detail is considered and locally made, including the large hand-sculpted art feature by Luca Scassellati behind the lobby deck, to ceramic vases by Walter Usai and tapestries by Fabrizio Sanna, to the woven carpet which nods to the crystal seas, a stone's throw away.

‘There’s something kind of mystical about the area,’ says Will Meyer. ‘There is a depth of history, and myth, and there's something kind of magical about it.’ Gray Davis continued to note, ‘I think the narrative is such a key element. We learned about the native Sardinian Nuragic civilisation, and the archaeological treasures found in Sardinia that were created by the civilisation, and that in itself felt very mysterious.’

From the minute you enter the building, the architecture strikes you as unique. As Davis explains, ‘[The architecture] speaks to a lot of the caves and kind of an underwater world. We really leaned into this and enhanced those elements within the main lobby living room area.’

This abstract storytelling was balanced with contemporary functionality. The designers created a space which slowly reveals itself. The lobby feels compressed and cosy, before entering the ‘Wet Deck’ which opens up as if stumbling upon a secret lagoon offering a sense of discovery. Meyer and Davis were also inspired by the mythology of the Janas, fairy-like creatures which resided in caves and ancient sites around the island. In Sardinian folklore they are the protectors of the fisherman on their journeys at sea. This is celebrated with a large mural at the back of the W Lounge restaurant.

The room to book

There is a lot of artistic expression across the 157 rooms and suites. From the vibrant veining of the stone cabinets to the chunkiness of the makeup vanity coupled with an overlapping mirror which mimics an oceanic ripple effect. Each suite feels like a secret grotto. Either book the premier room, which offers a private balcony to enjoy views of the pool below, or indulge in the deluxe suite, a more spacious room with a tub, lounging area, and large makeup vanity. In either room, the layering of materials creates a soothing oasis that encourages you to exhale as soon as you step inside.

Staying for drinks and dinner?

The Tanit restaurant, named after the ancient goddess of abundance, is perched overlooking the harbour where one can gaze at the yachts in transit. Breakfast is a main event here with a dedicated Dolce Room by Italian chef Fabrizio Fiorani offering an array of delectable pastries and cakes (the petite custard-filled fruit tart is divine). Dinner at the restaurant is fresh, local and light, and centred around seafood. We would recommend the freshly caught sea bass accompanied with garlic potatoes and roasted vegetables, followed by a symphony of frozen fruits stuffed with a refreshing sorbet. The cocktail menu stays classic, but fair warning: the drinks are strong.

If you want to venture out of the hotel and into the small village for dinner, we recommend Il Marchese for an authentic Italian experience. A table outside is perfect to watch the sky light up in sunset hues. Enjoy the fried courgette flowers and Matriciana pasta, with 18-month-aged pecorino romano and traditional pork cheek.

Where to switch off

The best place to switch off would be poolside. Don't miss the hidden sauna and steam room. The cave-like architecture makes it a soothing destination which perfectly captures Sardinia’s spirit.

If being active is your way of unwinding, then head to the resort's fitness centre, fully equipped with Technogym. W also suggests experiencing sunrise yoga and power walks around the marina.

The verdict

Stepping away from W’s party roots, the Sardinian location is more like a chic older sister, offering a more sophisticated stay while still uniting W’s signature energy. It's transportative, comfortably straddling the past and the future, and engulfed in timeless, Sardinian beauty.

W Sardinia - Poltu Quatu is located at SP59, 07021 Poltu Quatu OT, Italy. Rates: from £423

Nick Jones, founder of the Soho House group, has spent more than three decades shaping how a certain generation wants to eat, drink, work, linger and belong. At St. Clement, his anticipated new hotel in London, that instinct has been turned inward. Here, everything he finds annoying about hotels has been removed, softened or rethought: No fussy check-in, no paid-for minibar snacks, no laundry forms, no promise of a river view unless there is actually a river view. And certainly, no performative luxury.

At St Clement, Nick Jones rewrites the rules of the London hotel

St. Clement sits at 180 The Thames, part of the wider 180 Quarter being developed by British entrepreneur Mark Wadhwa, whose work around 180 The Strand has already pulled this once-overlooked pocket of the city into a cultural mecca for the groovy and cool: residences, restaurants, galleries, libraries, studios, and a new London square all stitched into one address. Jones knows the weight of the site and its privileged vista: ‘This is where London started,’ he says during a walk-through with Wallpaper*, looking out across the city.

The interiors, by London-based Eagle + Hodges – the studio founded by Alex Eagle with Sophie Hodges in 2016 – avoid the over-dressed mood of many new luxury hotels. It is polished and sleek, but it does not want to vaunt. In Jones’ own words: ‘This is our take on what a grand dame hotel like The Savoy would be if it were built today. Not bowler hats, stiff suits and high heels, but something a bit more relaxed, closer to cashmere and trainers.’ Indeed, the lobby has the ease of a laid-back, gallery-like private living room, with vintage furniture by George Nakashima and Jean Royère, blossom-heavy tables, and Richard Horwood’s 1799 plan of the City of London anchoring the walls.

All 90 rooms follow in spirit. The 450 sq ft entry-level rooms would pass as suites elsewhere. Jones calls one ‘bog-standard’ during the tour, then immediately points out the details that make it anything but: complimentary non-alcoholic minibar snacks, free laundry and steaming, proper luggage storage, and games boxes. ‘I hate paying for the minibar,’ he says. ‘I hate being charged for a Kit Kat.’

In the bathroom, a mirrored cabinet opens like a beauty apothecary, stocked with a Discovery Kit by beauty brand YLW (You’re Looking Well), Daba sunscreen, Laro dental care, Arlington shaving cream and Pleasing nail polish, among other essentials.

Standout details throughout include generous Eagle & Hodges-designed Rutland sofas and matching armchairs, glowing Brian Clarke glass screens, and bespoke Perfumer H amenities. Meanwhile, the 4,000 sq ft, two-storey penthouse – with its vast river-facing living spaces, fully equipped chef’s kitchen, library anchored by a vintage Bernar Venet sofa from 1993, and wraparound terrace – has the feel of a cinematic collector’s apartment. Rather than oversell the experience, Jones prefers to underplay the promise and let the hotel exceed expectations.

Food and drink venues are positioned as their own destination. Café Clement, the all-day restaurant and bar from chef Danny Bohan, reads like a London brasserie with French and Italian instincts: cheese soufflé with Gruyère and nutmeg; Sea bass carpaccio with citrus and herbs; an open Scottish lobster omelette with crème fraîche and tarragon served at breakfast, lunch and dinner; Roast duck for two with dripping potatoes and St Clement sauce.

Bobbi’s Bar takes the mood later. Open until 3 am and featuring a sound system by Devon Turnbull, it sits in a darker register: wood panelling, warm lamps, glowing bottles and the faint danger of staying one drink too long. A daybed running alongside the bar stools makes it an ideal spot for a final nightcap before bed. The cocktail to order is the Clementini – a mix of ‘Oranges and Lemons’ vodka, Champagne, Oyster Vermouth and olive oil. Add a pickle to make it dirty.

More is still to come. Lunette, chef Florence Knight’s first solo restaurant after Sessions Arts Club, will open on the top floor in September. A private screening room is also in the works, alongside a series of event spaces for dinners and parties of up to 100 guests. Then there is the Health Club & Spa. Set to open later this year for both hotel guests and members, it spans three levels and centres around a 25m pool running alongside the Thames. Around it: weight training, cardio, banya, steam room, hammam, sauna and ice baths.

As our tour with Jones comes to an end, it becomes clear that St Clement is not selling a one-night fantasy of London, but the promise of return. Jones wants the property to be used regularly, not simply visited once for the novelty of a new opening. That distinction matters. ‘We want people to decide to change this to be their new London address,’ he says, before the conversation turns to his plans to host a ‘cabbies’ breakfast.

St. Clement is located at 180, the Thames, 12 Temple Pl, Temple, London WC2R 2NF, United Kingdom

Getting comfortable without a lie-flat seat on a long-haul flight is something most travellers never manage to master. No matter what angle you contort yourself into or how many supports you pile around you, the result is inevitably the same: twisted, cramped, too hot or too cold – all while trying to ignore the screaming child a few rows back. Until now, perhaps.

Australia-based travel amenities specialist Buzz and UK design consultancy Tangerine believe they've cracked the code with a new series of premium travel accessories built around the particular frustrations of premium economy passengers. Combining a blanket, eye mask, earbuds and support cushions, the collaboration aims to redefine comfort in premium economy.

Currently in the prototype phase, the products are being presented to airlines for potential inclusion in cabin-class amenity offerings.

The collection targets four of the most stubborn in-flight pain points. First is the Cocooning Blanket, featuring cloud-inspired 'pinsonic' detailing that wraps around the body to enhance a sense of security. Pair it with the Sensory Shut-out Eye Mask, which integrates sound-reducing earbuds directly into the straps – an ingenious solution for anyone who has lost an earbud down the side of a seat. The earbuds also detach for independent use.

Then there's what may be the biggest game-changer of the range: the Adjustable Flat-Roll Neck Pillow. Frequent flyers will know the limitations of the traditional U-shape, and this design discards it in favour of a more adaptable format that can be configured into multiple positions.

The lower back, meanwhile, rarely gets the attention it deserves – yet it's often among the first areas to protest on a long flight. The Foldout Lumbar Cushion addresses this, offering both lower-back and lateral support while adapting to shifting postures.

The four products were developed over a six-month period of close collaboration, with Tangerine leading concept development and Buzz contributing manufacturing and operational expertise. The teams worked through weekly video sessions, shared digital workspaces and iterative prototyping cycles.

Sustainability has also been built into the brief. Both teams are exploring biomaterial foams for key components, with a longer-term ambition to create amenities designed to be washed, reused and recycled.

The accessories aim to narrow the comfort gap between economy and business class – without the business-class prices. Whether it fully delivers will depend on the individual – but as a starting point, it represents one of the most coherent rethinks of in-flight amenities in some time.

Japanese hand rolls are, ahem, on a roll in London – this year we’ve already welcomed Kumori and Maki Nori to Soho, with Saltwater and Miokuru due later this summer. They all have Temaki to thank for their popularity – the Brixton sensation which earned a devoted following in south London and beyond for owner AM Dupee’s Californian approach to Japanese cuisine. Now, after four years south of the river, Dupee has upped sticks from Brixton to Mayfair to a new and significantly larger home, with an expanded menu to match.

Wallpaper* dines at Temaki Mayfair

The mood: Counter culture

Thessaloniki-based architecture and interior-design studio Adamidis designed the space to feel ‘modern, relaxed and a little bit Japanese-inspired’, says Dupee, who wanted minimalism without coldness in much the same way that the food marries Japanese precision to Californian mellowness. ‘We used artwork and texture to bring some warmth and personality into the restaurant,’ Dupee says, ‘with neutral colour and clean lines to let the produce really stand out.’

Upstairs is a stripped-back wooden chef’s counter for 14 diners, with handrolls passed directly over the oak. Downstairs is more restaurant-in-feel, with a softer, listening-bar vibe, seating gathered around a central counter and a dry-ager displaying the raw materials that end up on the plate.

The food: Roll with it

The restaurant takes its name from te (hand) and maki (roll), the no-chopsticks-required version of sushi believed to have been invented in the 1920s and inspired by American ice-cream cones.

Like all the best ideas, temaki is blissfully simple: pristine fish, vinegared rice and crisp nori, rolled to order and best enjoyed straight from the chef’s hand. The signature Temaki combines akami, otoro and caviar, while fillings such as prawn tempura, baked scallop and barbecued eel demonstrate the breadth of the format. The set menus that built the restaurant’s loyal Brixton following remain a cornerstone of the experience, providing an ideal introduction to Temaki’s Californian-inflected take on Japanese dining.

Also order a couple of rounds of Japanese small plates designed for sharing: some yellowtail sashimi here, some grilled aubergine with sesame sauce there, with some crispy rice topped with spicy trout for carbs, a gyoza of the day if you’re still peckish and, if you really insist on eating with your fingers, an A4 Wagyu slider. After all, who needs chopsticks?

Temaki Mayfair is located at 11 Maddox St, London W1S 2QF, United Kingdom

Tucked between two of Mallorca’s most photogenic villages, Hotel Corazón has found the answer to the popularity of the island’s mountainous spine: a sunbaked 18th-century finca where the outside world feels very far away.

Wallpaper* checks into Hotel Corazón, Mallorca

What’s on your doorstep?

Amid the 90km of the Serra de Tramuntana mountain range, rocky headlands studded with cypress drop to glittering coves. Along this range sits a trail of villages – Valldemossa, Fornalutx, Deià, Sóller – that have variously claimed the ‘most beautiful in Europe’ crown.

That said, predictably, the hordes have descended (or ascended). In high season, it can be difficult to move through the honey-coloured streets. Hotel Corazón sidesteps all of that. Between the amenity-rich Sóller and the picture-perfect Deià (both still worth a visit), a veer off the hairpin road brings you to a historic finca ensconced in palms.

Who’s behind the design?

The 17-room property is owned and run by photographer Kate Bellm and her husband, green thumb Edgar Lopez, and you can tell: everything here – from the interiors to the printed ‘newspapers’ left in each room – bears the mark of people who care deeply about how things look and feel.

The original restoration was led by Mallorca-based studio Moredesign, working alongside local artisans, metalworkers and ceramicists. The main body of the hotel sits around a cobblestone courtyard in shades of terracotta, punctuated by monstera-filled amphorae. The original chapel remains, repurposed now as a spa.

The dining terrace and conservatory were expanded and redesigned in 2024 by London-based designer Tatjana von Stein, who brought prior experience in Mallorca from her work on Làlia, a private members' club in Palma. These areas feel bohemian but never eccentric: hand-carved marble tables, mustard banquettes and benches adorned with sun motifs meet gingham napkins and sailor-striped cushions. The view of the Serra de Tramuntana from the terrace is breathtaking – particularly at dinner, when the peaks turn blue in the twilight and their summits swirl with cloud.

The room to book

Hotel Corazón has two suites, 13 individually designed superior and double rooms and two garden rooms. I stayed in one of the last – modest in scale but the most private on the property, set apart from the main building beside Lopez’s cactus and succulent garden. They’re cosy, with candy-pink bed linen, though let down somewhat by an almost total lack of storage.

Holy Wood, one of the superior rooms I also had the privilege of experiencing, is Jacques Couëlle-esque in its wobbly doors, rounded steps and bumpy surfaces. You’ll be hard-pressed to find a right angle here. These rooms combine stone, limewash and linen in the shades of pink, beige and sage, offset by sheepskin rugs, rough ceramics and oversized art.

Staying for drinks and dinner?

The hotel’s kitchen garden is integral to the dining offering. Farmer-in-residence Emma Philip harvests produce that reaches the plate within minutes, and chef Eliza Parchanska’s cooking is vibrant – finished with edible flowers which make each dish positively sculptural. Sweet potato noodles with spicy sesame dressing are transformatively good, a crispy rice salad with edamame and peanuts detonates on the tongue, and fried artichokes with pistachio aioli have a quality that seems somehow greater than the sum of their parts.

Where to switch off

Perched on a vantage point over the sea, the pool is surrounded by pampas grass and rosemary, with carritx-covered umbrellas, 1970s-style loungers and tasselled hammocks for comfort and shade. A WhatsApp ordering system is a good idea in theory, undermined by the area’s patchy signal in practice. Pilates and yoga sessions, offered free to guests, are an excellent way to get into the hotel’s clean-living spirit.

The verdict

For the aesthete, Hotel Corazón feels like heaven – from the whimsical interiors to the kitchen-garden cooking, every detail has been tended to with a rare level of conviction. In a corner of Mallorca that feels at risk of being loved to death, the property carves out its own paradise.

Hotel Corazón is located at Carretera de Deià, km. 56, 7, 07100 Sóller, Balearic Islands, Spain. Rates: from 350 EUR

Inside Korean Air’s new lounge network at Incheon International Airport Terminal 2, David Pacey, the airline’s executive vice president and chief of in-flight service and lounges, is talking beans, baristas and the exacting standards of Seoul’s café culture. He tells a story about buying Panama Geisha green beans during the World Barista Championships, then struggling to find anyone willing to roast them. The risk was too high; the beans too expensive. Eventually, he met the woman who would train him as a certified barista.

The coffee is a metaphor. Pacey’s story is really about standards: the patience to source the right ingredients, the insistence on finding the right expertise, the refusal to cut corners simply because nobody else would notice. That is the logic behind Korean Air’s new lounges, a kind of operational fussiness elevated into brand language.

For Korean Air, the lounge has become the fastest way to show what the airline wants to become. In 2025, following its acquisition of a two-thirds stake in Asiana Airlines, the airline unveiled a major brand makeover – its first since 1984. The refresh embraced a cleaner, more contemporary aesthetic, centred on Korean Air’s signature spectrum of blue as its most distinctive visual cue. The new lounges follow suit.

‘We wanted to be world-class,’ says Pacey. ‘Whether that was from the design concept, the fit-out, the food and beverage experience, the customer service, delivery – we want to be world-class in whatever we do.’

The figures reiterate his point. Following a 42-month, KRW 110 billion overhaul of its lounge network at Terminal 2, Korean Air has expanded its footprint from 5,105 to 12,270 sq m, while seating capacity has grown from 898 to 1,566. There are now seven lounges across the terminal, from First Class and Miler Club to Prestige East, Prestige West and the two Garden lounges.

Pacey is refreshingly blunt about what came before. The old lounges, he says, were ‘very vanilla’. One-dimensional. Too open. Too white. Chairs lined up in a space that, in passenger feedback, could feel like ‘a really large doctor’s waiting room’. With the overhaul, Korean Air wanted to attempt something more pointed: to make the hours before departure feel like part of the airline, not an airport-administered prelude to it. Pacey describes the ambition as creating ‘a lounge at the airport as opposed to an airport lounge.’

A Korean sense of place

The First Class Lounge is the most concentrated expression of that idea. At 921 sq m, it is 2.3 times larger than before, arranged around an open hall and 11 private suites. Guests enter as they would an upscale restaurant. Rather than helping themselves from a buffet, they can settle in, read or work while meals are prepared to order from an à la carte menu and served at a properly laid table using Bernardaud porcelain, Christofle cutlery and Baccarat glassware. Menu highlights include Wando abalone seaweed porridge and wild mushroom galbitang. Guests can also retreat to Ceragem massage chairs, shower suites stocked with Aesop amenities, or dedicated relaxation spaces.

The other top category is the Miler Club. Designed for Korean Air’s most frequent travellers – elite SkyPass members and regular long-haul flyers – the lounge balances efficiency with comfort. Guests have access to live cooking stations preparing made-to-order dishes, a dedicated bakery, barista-made coffee, a full-service bar, shower suites and a variety of seating zones.

Meanwhile, the Prestige Class West Lounge operates under heavier pressure. At 2,615 sq m and with more than 420 seats, it is the largest single lounge facility at Incheon International Airport. It is a workhorse, as Pacey puts it, designed to handle the intense morning departure banks when hundreds of travellers may pass through in a short window. Yet the room does not read as one vast field of seating. Here too are distinct zones for dining, working and resting, with changes in furniture, lighting and circulation that create a sequence of smaller environments.

Throughout the lounges, Grand Hyatt Incheon chefs, under the direction of Kim Sea-kyeong, Korean Air’s culinary consultant and owner-chef of Seoul’s lauded Cesta restaurant, prepare dishes on-site, with menus spanning Korean comfort staples such as tteokguk, a warming rice-cake soup, and janchi guksu, delicate wheat noodles served in a light broth, while fresh gimbap is rolled throughout the day – around 1,000 rolls daily. Western favourites are also well represented, alongside soft-serve ice cream stations, speciality coffee and a full bar service.

The noodle programme has become a particular point of pride. As Pacey recalls, the airline was once asked by a ratings agency why a major Asian carrier lacked a noodle bar. The response is now unmistakable. Noodles have become a signature feature of the lounge experience, culminating in the Prestige East Left Lounge’s Ramyeon Library, where passengers can select instant noodle varieties, customise them with toppings and prepare them using automated cooking machines.

For the design, Korean Air worked with LTW Designworks, the Singapore-based hospitality studio behind luxury hotel and resort projects for brands including Four Seasons and Park Hyatt, with design director Teo Su Seam shaping an interior language that resists the usual airport-lounge shorthand.

‘We weren’t interested in creating a themed interpretation of Korea,’ says Teo. ‘Instead, we looked at the underlying principles of Korean architecture – the relationship between openness and enclosure, the idea of the courtyard, and the way spaces gradually reveal themselves as you move through them.’

Teo points to the hanok – the traditional Korean house – as a key reference for the way it organises space, light and movement. The logic of the courtyard became an organising principle, creating a central gathering point from which more intimate corners, dining areas and places to work or rest naturally branch out. Spaces expand into bright, open volumes before narrowing into more enclosed settings, creating a rhythm of openness and retreat. The result is a lounge that accommodates the shifting states of travel.

Those ideas are translated through a series of subtle cultural references rather than overt symbols. Hangul, the Korean writing system, is abstracted into texture and pattern. Ancient Korean coins inform geometric motifs, while the moon jar – a celebrated form of Korean white porcelain – appears through proportion and curve. In the Miler Club, ramie bojagi, traditional patchwork wrapping cloths, inspire a richer palette of purple, rust, blue and lavender, while engineered wood columns add warmth and texture.

Each lounge has its own mood. First Class moves through natural wood, earth tones, oxblood accents and gold leaf details, with references to pottery and lacquerware. Prestige introduces a sharper conversation between technology and tactility: polished stainless steel columns, walnut, blue tones drawn from the airline’s identity, softer furniture for dining, working and resting. The F&B areas set engineered wood against metal, warmth against precision, table against aircraft.

Hanji, the traditional Korean paper prized for its texture and durability, was explored as a potential wall material, but airport fire regulations made the literal application impossible. The idea survived as a Hangul-inspired wallcovering in the First Class Lounge, where characters are turned into architectural texture.

‘The goal was not to tell guests they were in Korea,’ says Teo. ‘It was to create a feeling that is distinctly Korean without relying on obvious symbols. We wanted the cultural references to be discovered rather than announced.’

For Korean Air, Incheon is not the endpoint. Pacey calls it the ‘mother concept’ for the airline’s wider lounge strategy. The rollout is already underway in the United States, where the new lounge at Los Angeles International Airport opened earlier this year, translating the same DNA into something more horizontal, open and garden-like, with warm tones and a Southern Californian ease. New York will follow, taking the concept in a taller, darker and more urban direction with black marble, dark wood and brass.

As my tour with Pacey concludes in Cooking Studio L’atelier – a space where lounge guests can make Valrhona chocolate bark with Grand Hyatt Incheon chefs, adding sweets from a wall of glass jars – I can’t help but think that Pacey is to Korean Air what Willy Wonka is to his chocolate factory: not in the top hat sense, but as the executive who seems to know every machine, ingredient and secret door in his own factory.

koreanair.com

13 Rue François Sibilli has seemingly become the epicentre of Saint-Tropez’s summer social circuit. Two stone pillars, each bearing a discreet Dior medallion, open onto a herringbone brick path that heralds a sprawling manifestation of the maison’s universe, luring in both ritzy passersby and those with weeks-in-advance bookings. Here, the majestic boutique – with its pale blue shutters and ivy-clad façade presiding over the whole scene – showcases the latest creations by Jonathan Anderson alongside Riviera-inspired pieces.

Meanwhile, a chic café, open all year round and offering a delectable afternoon tea experience, faces a lush scene punctuated by a colourful stone totem by Swiss sculptor Ugo Rondinone and a carp-shaped gilt bronze sculpture by French visual artist François-Xavier Lalanne.

A new chapter in Dior’s Saint-Tropez story

New for this season is Monsieur Dior, a restaurant helmed by three-Michelin-starred Argentine chef Mauro Colagreco of Mirazur fame as a tribute to the late couturier. Its entrance is discreetly concealed, tucked into a garden beside the boutique where lavender, sunpatiens and cape plumbago grow freely, and the scent of jasmine drifts through the air. The setting is open to the sky, shaded by cream parasols with frilled golden edges and anchored by rattan details echoing Dior’s cannage motif: a geometric pattern of interlacing squares and diagonals.

Colagreco is no stranger to cooking in dialogue with the maison. The first iteration of Dior by Mauro Colagreco opened in Bangkok as a café in 2024, within a Dior boutique infused with Thai craftsmanship and flavours such as pandan and coconut. Saint-Tropez is its Mediterranean counterpart. To prepare for this collaboration, Colagreco spent a week in Paris, fully immersing himself in the Dior museum and the archive with a research team that included anthropologists, artists, writers and ethnobotanists alongside his cooks.

‘It made us leave our creative process,’ he tells me, from one of the café’s deep wicker armchairs. ‘In general, we take an ingredient or a culinary technique. Here it was a dress, a way of thinking of Monsieur Dior.’ Among the most unexpected discoveries: a cookbook. ‘Christian Dior cooked, and cooked with conviction. His recipes revealed more about the man’s sensibility – a love of simplicity, an attentiveness to quality – than any archive photograph could.’

Beyond their shared passion for gardens, the deeper connection is celestial. Christian Dior consulted astrologers before each collection, carried talismans and read the tarot. Colagreco, meanwhile, has farmed biodynamically for years – his calendars at Mirazur are determined not by season alone but by lunar cycles. When he began reading about Dior’s beliefs, something clicked into place. ‘The cosmic influence on the plants is one of the bases of the biodynamic techniques we use at Mirazur,’ he says. ‘It is much more known in winemaking than in agriculture. We follow a lunar calendar to grow our produce.’

The menus follow the rhythm of the day. Breakfast ranges from the pared-back Lever de Soleil to the more generous Rosée du Matin and Éveil Gourmand, centred on artisan breads, seasonal fruit and eggs cooked to order. Lunch is served as the three-course Déjeuner de Soleil, while dinner takes the form of the five-course Clair de Lune. Most ingredients arrive from Colagreco’s biodynamic orchards and vegetable gardens in Menton within 48 hours of harvest.

When I ask Colagreco what he would serve Monsieur Dior first, were he to be seated here with us, his eyes light up. ‘The Champ de Trèfle,’ he says without hesitation: a tartare of red Sicilian gamberoni with lime and wood sorrel, the scattered leaves standing in for the four-leaf clover Monsieur Dior never left home without.

At breakfast, the Casse-croûte truffé combines flaky brioche with a softly set egg, jasmine-infused cream and shaved summer truffle. The Mediterranean John Dory, wrapped in a zucchini flower and served in a saffron sauce (dubbed Drapé de Soleil), is among the menu’s standouts. During my visit, a special of Poisson Mille-Fleurs – the menu changes every three weeks – arrived covered in petals and herbs, assembled with the precision of couture embroidery.

The attention to detail extends to the smallest gestures: amuse-bouches served in rose petals, desserts finished with insect-shaped golden chocolates. The references are deliberate. Throughout his career, Christian Dior returned repeatedly to the garden as a source of inspiration, weaving flowers, leaves and insects into his collections. At Monsieur Dior, Colagreco translates those same motifs onto the plate.

The cocktail list continues the narrative. Jardin d’Étoiles, a pear and fig leaf cordial, references Christian Dior’s belief in fate and the lucky star he carried throughout his life, while Brume Marine is built around passion fruit and tomato distillate, drawing on Saint-Tropez and the couturier’s enduring relationship with the Riviera.

Towards the end of our conversation, I asked Colagreco what he most enjoys growing in Menton. The answer is not fruit or vegetables, but trees. ‘When you plant a tree, you plant it not for yourself, but for everyone that comes after you.’

Monsieur Dior by Mauro Colagreco is located at 13 Rue François Sibilli, 83990 Saint-Tropez, France

Charming and quaint, the Swiss city of Basel may be modest in nature, but every June, it becomes the centre of attention for the art world, roaring to life with a sprawling exhibition of works by more than 4,000 artists from five continents, represented by some 290 galleries. A flagship cultural event, Art Basel has been operating for more than five decades, setting the blueprint for sibling fairs elsewhere that now define the art-world calendar. When not fully immersed in the art experience, participating gallerists take advantage of a city defined as much by its medieval heritage and classical modernism as by its contemporary expressions. With Art Basel 2026 taking place 18-21 June, here, five of them share their favourite cafés, bars and restaurants.

Where to eat and drink in Basel, the insiders’ guide

Casey Kaplan

Morning treat at Hotel Märthof Basel

‘I do not drink coffee, just tea, so I like to begin my days in Basel with a hot green tea on the roof of the Hotel Märthof, which looks out on the Marktplatz, where some mornings you have a bird’s-eye view of the fresh fruit vendors. That is the best place to buy strawberries.’

Hotel Märthof Basel is located at Marktgasse 19, 4001 Basel, Switzerland

Wine o’clock at Consum Weinbar

‘A glass or two of rosé from Provence in the afternoon outdoors at Consum Weinbar (across the street from Hotel Krafft) is the best spot for a break with friends and colleagues. It feels local and an escape from the art fair.’

Consum Weinbar is located at Rheingasse 19, 4058 Basel, Switzerland

Dinner at Restaurant Krafft Basel

‘I recommend the river fish en papillote while dining outdoors along the Rhine at Restaurant Krafft. You can hear the rushing river from your table, which is a nice way to unwind after a long day at the art fair.’

Restaurant Krafft Basel is located at Hotel Krafft Basel, Rheingasse 12, 4058 Basel, Switzerland

Galerie nächst St. Stephan

Morning treat at Confiserie Schiesser

‘One of my favourite coffee places is Confiserie Schiesser on the Marktplatz, a very traditional spot. As children, we all loved their famous Schoggi S pastries, and I still love them today – crispy on the outside and soft and slightly creamy on the inside. It was the usual treat that my mother would bring home for my three sisters and me on a Saturday.’

Confiserie Schiesser is located at Marktpl. 19, 4051 Basel, Switzerland

Wine o’clock at Imi Bar

‘For drinks, I recommend the Imi Bar in the Volkshaus Basel. A great place named after German artist Imi Knoebel, who designed the glass windows.’

Imi Bar is located at Rebgasse 12-14, 4058 Basel, Switzerland

Dinner at Rhyschänzli

‘Restaurant Rhyschänzli simply has wonderful cuisine: international with a touch of Swiss and a hint of Italian. During the summer, it’s lovely to sit outside on the sidewalk. Even though it’s usually very busy, the restaurant team has excellent service, and the asparagus is always a great recommendation.’

Rhyschänzli is located at Lichtstrasse 9, 4056 Basel, Switzerland

Lehmann Maupin

Morning treat at Restaurant Beyeler im Park

‘Mornings at Fondation Beyeler are magical. I always get a coffee and a croissant in the garden cafe to spend more time outdoors. When I need to have a quick breakfast meeting near the fair: Fruhling or Bru Speciality Coffee. My go-to breakfast is a flat white with oat milk, avocado and eggs.’

Restaurant Beyeler im Park is located at Fondation Beyeler, Baselstrasse 101, 4125 Riehen, Switzerland

Wine o'clock at Bar Les Trois Rois

‘An aperitivo at Bar Le Trois Rois is a ritual for the art world – a sunset drink overlooking the river, before the evening crowd walks in.’

Bar Les Trois Rois is located at Grand Hotel Les Trois Rois, Blumenrain 8, 4001 Basel, Switzerland

Dinner at Zum goldenen Fass

‘Zum goldenen Fass offers a seasonal menu, a good wine list, and a great atmosphere. All within walking distance of the fair. I eat everything, but it’s their vegetables that shine. On the nights I can’t get a last-minute reservation somewhere, Thai food at Thai Family Restaurant is always there for me.’

Zum goldenen Fass is located at Hammerstrasse 108, 4057 Basel, Switzerland

STPI

Morning treat at Confiserie Beschle - Clara

‘On the busier mornings – which are most of them during Basel week – I’ll swing by Confiserie Beschle on Clarastrasse. It’s a short walk from Messe, and there’s something grounding about starting the day with a simple latte and a croissant before the craziness starts. Simple, but it gives you the right fix from the beginning.’

Confiserie Beschle - Clara is located at Clarastrasse 4, 4058 Basel, Switzerland

Wine o’clock at Flore

‘When I need to decompress after a long day at the fair, Flore is where I end up – or simply opening a bottle of beer by the Rhine. No fuss, no scene, just warmth. There’s an ease to it that I really value during a week that can otherwise feel relentless.’

Flore is located at Klybeckstrasse 5, 4057 Basel, Switzerland

Dinner at Alchemist

‘The honest answer is our apartment. Our team normally rents an Airbnb during Basel week, and we cook Asian food for fellow gallerists and friends – we cooked Lu Rou Fan (braised pork rice) last year, for example. Those evenings are often the highlight of my week. That said, if dining out, I’d head to Alchemist for their poulet lollis or spare ribs.’

Alchemist is located at Schifflände 1, 4051 Basel, Switzerland

Xavier Hufkens

Morning treat at Konditorei-Confiserie Gilgen

‘I always enjoy starting the day with a stop at Konditorei-Confiserie Gilgen. There’s something very comforting about sitting down with a coffee and a fresh pastry before the day begins. I usually order coffee with a buttery croissant, and I never leave without taking some traditional Basel Läckerli home with me. They make the perfect gift (or late-night snack).’

Konditorei-Confiserie Gilgen is located at Spalenberg 6, 4051 Basel, Switzerland

Wine o’clock at Bar Les Trois Rois

‘The bar of the Trois Rois is probably my favourite place for a drink in Basel. The terrace overlooking the Rhine is hard to beat, especially at sunset after a long day. I usually go for a glass of wine there, although their cocktails are equally good. It has that rare mix of elegance and ease that makes you want to stay longer than planned.’

Bar Les Trois Rois is located at Grand Hotel Les Trois Rois, Blumenrain 8, 4001 Basel, Switzerland

Dinner at Restaurant Chez Donati

‘We traditionally have our team dinner at Chez Donati, which has become a ritual I really look forward to every year. It’s one of those timeless places with impeccable old-school service and a warm, familiar atmosphere. I usually order a classic pasta or a Milanese – simple, comforting, and always perfect.’

Restaurant Chez Donati is located at Hotel Stadthof, Gerbergasse 84, 4001 Basel, Switzerland