To coincide with Spring and also Viognier (24th April) and Sauvignon Blanc (1st May) Day, we invite you to celebrate this blend of sounds, scents, and flavours with us by cooking up a food and wine pairing storm to showcase two of the world’s most exuberant and aromatic grape varieties!

Full of orchard fruits, honey, and spice, Viognier is a joyful grape full of the promise of warmer days. It’s delicious with a range of dishes like roast chicken, apricot tagine, mushroom risotto, and even pulled pork.

Sauvignon Blanc is a fan favourite and infinitely more zesty, making it a delicious accompaniment to seafood, goat’s cheese, and crunchy spring salads.

Abbotts & Delaunay ‘Les Fleurs Sauvages’ Pays d’Oc, Viognier 2024

RRP: £12.50 or mix six £11.00
Stockist: Majestic – find it here
This single varietal Viognier is made from grapes grown on warm, 150 – 200m hillsides in southern Minervois. This is a decadent, fragrant wine reminiscent of Condrieu, bursting with notes of peach, apricot and almond, as well as ginger spice and orange blossom. While lees ageing has brought creaminess and texture to the palate, the decision to harvest the grapes during the cool hours of the early morning has brought balance and freshness.

A delicious match for roast chicken with tarragon and roast potatoes, or a spiced squash and apricot tagine.
Tech sheet – here

Les Jamelles Viognier 2024

RRP: £9.50
Stockist: Co-op – find it here
This opulent and fragrant Viognier is made from a blend of grapes sourced from four mineral terroirs chosen for the crispness and vivacity they bring to the finished wine. Grapes are picked at peak ripeness, bringing heady scents of apricot, white peach, acacia blossom and a perfect balance of richness, golden fruit, and fresh acidity. Serve with Asian dishes, seafood, asparagus, or an apricot and frangipane tart.
Tech sheet: here

La Belle Angèle Sauvignon Blanc 2025

RRP: £9.50 or £8.50 mix six
Stockist: Majestic – find it here
Tasting Note: Those on the search for a classic French Sauvignon at an exceptional price need look no further than this elegant example, with an equally elegant label featuring ‘La Belle Angèle’ – a beautiful muse of the French Impressionists. Bottled under the Vin de France classification, this is a crisp and refreshing wine full of typical old-world Sauvignon characteristics such as citrus, apple and gooseberry, with a creamy mouth-feel following a month of lees ageing in stainless steel vats. This zesty Sauvignon would make a perfect aperitif or bring a zip of freshness to a seafood platter or a selection of goats’ cheese.
Tech sheet: here

At its core, Wild Idol is crafted from a blend of carefully selected grapes by expert winemakers, combining elements of traditional craftsmanship with a contemporary approach. Unlike many alcohol-free wines, it is not de-alcoholised; instead, it is made without fermentation, meaning no alcohol is ever created or removed. This naturally alcohol-free process preserves the purity and integrity of the fruit, resulting in a liquid that is both precise and expressive, with minimal intervention throughout.

The grape varieties themselves play a key role in shaping the style. Varietals, including Müller-Thurgau and Merlot, are chosen for their vibrant fruit character and aromatic complexity. The result is a finely sparkling liquid with delicate bubbles, offering freshness, depth and a refined sense of structure in a naturally alcohol-free expression.

With a focus on celebration without compromise, Wild Idol reflects a growing shift towards more mindful, inclusive drinking at the premium end of the market. Vegan, gluten-free and low in calories, it aligns with modern lifestyles while maintaining a distinctly luxurious positioning.

Now stocked in Harrods, Selfridges, Jeroboams, Daylesford Organic, and many more, as well as a selection of leading hotels, restaurants and spas, Wild Idol is becoming the go-to choice for those seeking a high-quality, luxury, naturally alcohol-free sparkling wine. Elegant, contemporary and effortlessly enjoyable, it represents a new standard in sparkling – where craftsmanship, purity and indulgence come together.

Purchase here

The first thing we loved was the decor, effortlessly beautiful and stylish, but warm, polished, and inviting. And right at the heart of the restaurant was a stunning olive tree, stretching upward and anchoring the whole space. It was such a striking touch and gave everything that unmistakable Italian authenticity, like you’ve been transported somewhere far sunnier than West London.

Despite how busy it was, the staff were genuinely fantastic. Attentive without hovering, but friendly and fun. We spent quite some time perusing the menu, but we never felt rushed, nor did we have to wait long for anything. It made the whole experience feel relaxed and easy, which isn’t always guaranteed in a packed London spot.

Now, the cocktails are absolutely worth mentioning. Beautifully presented and created with care, they were as delicious as they looked. The kind of drinks you take a moment to admire before diving in, and of course, one is never enough. Whether you’re starting the evening or settling in for a long dinner, the cocktails were the perfect beginning to what was to become the perfect dining experience.

The real star of the show was the food. Every dish felt thoughtfully put together, full of flavour, and unmistakably Italian in the best way, simple ingredients done exceptionally well. The kind of food that doesn’t need to shout because it’s just genuinely, deeply satisfying. You could tell there was real attention to quality, from the first bite to the last. We kept it simple and shared a few starters, olives, bruschetta with fresh tomatoes and basil and house focaccia, all exceptionally delicious. Then we both chose the same main course, Garlic Prawns with Datterino Tomatoes and fresh pasta; the prawns were of the King variety, large and juicy, and the sauce was completely divine. We then thought better of having a dessert each and shared a traditional Tiramisu, which was light and creamy, made with very obviously freshly prepared espresso. I’ve decided I probably won’t ever share a dessert again; that was indeed a rookie error!

What we loved most was how the whole experience came together: the atmosphere, the setting, the service, the food, it all just worked. It’s the kind of restaurant you go to for a special occasion but could just as easily return to on a random evening when you want something reliably great.

All in all, COMO Garden is one of those rare finds that manages to feel both exciting and comfortable at the same time.

A little pocket of Italy in Kensington, full of life, flavour, and charm. We’ll definitely be back.

W: COMO Garden
A: 37-45 Kensington High St, London W8 5ED
T: 020 7937 7287

Written by Luxuria Lifestyle’s Group Editor Debbie Stone

South African-focused Bruce Jack Wines produces wine across four continents, including Africa, Europe, North and South America, and is available in 23 countries.

“Being included on the list of the Top 50 Most Admired Wine Brands for the sixth time is a wonderful recognition of our incredible team and our strategic partnerships. It also shows we are not a fad business that bursts onto the scene only to fade away, ” said the eponymous Bruce Jack. “And while we are a long way from being a ‘planet’ brand, one of those anchor bodies around which the industry orientates itself, we are shining strongly, standing firm in the beautiful chaos and mayhem that is the global wine market.”

The business grew by 30% during 2025, driven by new listings across the African continent with far-flung markets like Brazil and Japan enthusiastically discovering what our traditional markets in the UK, Canada and Europe already knew.

“As a country, South Africa has struggled to be recognised on global lists like these, despite over achieving in international blind tasting competitions, ” Jack said. “But this is changing thanks to a growing recognition that South Africa makes consistently brilliant wine at every price point. Our industry is a healthy mix of established, heritage brands and a constant bustle of new kids on the block. We are steeped in authenticity and sparkle with African resilience. The South African wine industry is more vibrant and more relevant than ever.”

“Many of the international wine businesses on this list are renowned industry leaders with extensive experience, large teams and stellar heritage. The vast majority have been around for decades, and some for over a century.”

“It is lekker to have made the cut once again, especially as a family-owned business with a very small team,” said Jack. “Being family-owned, we contribute to the social fabric of our communities, supporting environmental organisations, establishing resilience in civic structures, and driving young student education (especially in music). While we take our winemaking very seriously, we don’t take ourselves too seriously. This allows us to push the boundaries. And at the end of the day, we value the end consumer as the most important person in the chain.”

“I think the hundreds of judges who vote for the brands that appear on the “Most Admired” list are not only interested in the big guns with huge marketing budgets – they also value the new leaders with trailblazing brands and an inspiring vision.”

The consistent performance on this list reflects over 30 years of Bruce’s total immersion in the industry, from vineyard establishment and viticulture to winemaking and marketing.

In the UK, wine lovers can sip on the Bruce Jack Lifestyle range, created for different occasions and with unique character across the UK, available at ASDA, Co-op and Sainsbury’s. The Bruce Jack Reserve, Heritage and Estate ranges are available from Hallgarten & Novum Wines and the boundary-pushing, multiple award-winning Ghost in the Machine range is available for the on-trade from Majestic Commercial.

T:  +44 (0)1582722538
E:  Ben Jackson
W: Bruce Jack

@brucejackwines / @brucejackwines

Famed beer brand from Holland, Amstel, has launched “Shot Without Permission,” a photographic project that captures unguarded moments between friends in neighbourhood bars. Moments that only happen when nobody is thinking about being observed.

Enjoyed in over 70 countries, Amstel was founded by two friends who believed that the best moments in life are the ones where you can be your real self, surrounded by the people who know you best. This is the inspiration behind this beautiful project.

Instead of staging friendship, Amstel chose to document it. Real people. Real bars. No scripts, no actors, no direction. Just the kind of spontaneous, natural connection that exists when you are with your golden circle of friends.

 Production without permission

Amstel departed from conventional advertising practices, and acclaimed Spanish photographer Javier Tles worked discreetly, moving through bars and capturing moments instinctively as they unfolded.

After the shots were taken, the team approached those who were photographed to inform them about the potential use of the images and to obtain their explicit consent. What remains are unposed scenes – observed rather than constructed – capturing connection as it naturally happens. As an extension of the idea, individuals who recognise themselves in campaign placements across outdoor and social channels are invited to come forward and claim a year’s supply of Amstel by emailing compensation@amstel.com.

By removing control from the production process, Shot Without Permission positions itself as a counterpoint to both traditional advertising and wider performance culture, reinforcing Amstel’s commitment to human connection in an increasingly synthetic world. It is a modern expression of a long-held belief of this brand, born in Amsterdam, a place of respect and freedom, where people are free to be themselves.

A study commissioned by Amstel finds that friends are the people we feel most ourselves around – more than even romantic partners, with 68% seeing friendships as key enablers of being their true, authentic selves.

Friendship and authenticity have always been at the heart of Amstel and nod to the values of the brand’s founding city of Amsterdam, where, back in 1870, two friends turned founders set out to brew a beer worthy of their friendship.

“From the very beginning, Amstel has been about bringing people together in genuine moments of connection, embracing the golden circle of friends that make you feel completely comfortable. When just being yourself is enough,” said Vanessa Brandao, Global Brand Director for Amstel at HEINEKEN. “Today, so much of life feels curated and staged, and we wanted to focus on the moments where there is no pressure to perform. Those are the moments that matter most in life, where we feel truly appreciated for being who we are, and those are the moments this initiative celebrates.”

“To portray genuine friendship, we had to momentarily break every rule in marketing. No casting. No script. No consent. We decided to shoot first and ask for permission later. The results speak for themselves,” said Daniel Fisher, Global Chief Creative Officer, INGO.

“We treated this as documentary photography, not advertising,” said photographer Javier Tles. “Nothing was directed or staged. By stepping back and letting moments unfold, we were able to capture something far more honest – interactions and feelings as they exist in real life, not as they are usually presented.”

The resulting images embrace imperfection: casual clothing, half-finished conversations, fleeting expressions, and quiet glances. Unpolished and unfiltered, the initiative reaffirms Amstel’s belief that the best moments are not created but discovered. The friendships worth celebrating are the ones that allow people to be unapologetically themselves.

Click HERE to see how the Shot Without Permission campaign was made.

]]> https://www.luxurialifestyle.com/leading-italian-skincare-brand-miami-launches-in-the-uk/ Sun, 12 Apr 2026 12:01:32 +0000 https://www.luxurialifestyle.com/?p=110361 Family-owned clinical Italian skincare brand prepares to introduce its science-led protocols to British consumers.

Italian clinical skincare brand Miamo will launch in the UK market this April, marking a carefully considered step in its international expansion following more than a decade of growth in Italy.

Founded in 2012, Miamo remains entirely family-managed across every pivotal role.

Co-founding Pharmacists Dr Elena Aceto di Capriglia and her daughter Dr Camilla D’Antonio shape the brand’s scientific vision through an enriching intergenerational dialogue, powered by advanced scientific research and a results-driven approach.

Steering the overall strategic direction of the brand’s holding is co-founder, son and brother Giovanni D’Antonio, Chief Executive Officer, combining a forward-thinking vision with an uncompromising commitment to integrity.

The name ‘Miamo’ carries a value-driven meaning at the heart of the brand. Translated as ‘I love myself’, it reflects a philosophy of self-care and lifelong wellbeing, turning everyday routines into conscious acts of empowerment. Over the past decade, Miamo has built a strong reputation and loyal following in Italy, growing into a multi-million-pound business. The brand works closely with pharmacies, clinics, medical spas and skincare professionals, while continuing to invest heavily in research, development, clinical testing and patenting.

The UK has been identified as a natural next step in the brand’s expansion, reflecting both the strength of the skincare market and the growing demand among British consumers for results-driven, science-led formulations. Miamo will begin its UK rollout with an online launch in April, followed by a retail debut with a carefully selected partner planned for September, ensuring the brand enters the market in the right environment and with the appropriate level of support. Opportunities to introduce Miamo within selected spas and professional environments are also being explored.

Science sits at the core of Miamo’s identity, reflecting a family background in pharmaceuticals, chemistry and research, and guiding every aspect of formulation, testing and product development. This commitment underpins the brand’s belief that effective skincare must be rooted in rigorous scientific research. Products are formulated using advanced active ingredients, developed and tested in trusted laboratories, and supported by clinical, instrumental and dermatological studies. Each batch is also tested for nickel content to minimise the risk of allergies or intolerances, reflecting the brand’s commitment to safety and transparency.

Every product is thoughtfully designed in Italy by a highly skilled internal R&D team, guiding the process from concept to production. Research and innovation play a central role in the company’s success, with patented complexes developed through years of study and clinical experience. Among these are proprietary technologies such as ELPA25®, a patented non-photosensitising peel for very sensitive skin, originally developed by Dr Camilla following her own experience with pigmentation and melasma, and Epigenage® was created through research into epigenetic modulation of DNA transcription. These scientific foundations position Miamo at the forefront of functional, results-driven skincare.

Dr Camilla D’Antonio comments: “The UK represents an exciting and important step in our international journey. We see a strong alignment between the British consumer and our science-led approach to skincare, particularly the growing demand for transparency, clinical testing and personalised protocols.

Entering the UK market allows us to share our methodology and pharmaceutical heritage with a new audience, while maintaining the same standards of research, education and efficacy that have defined Miamo in Italy for more than a decade.”

At the heart of the brand is the Miamo System, a structured methodology designed to personalise skincare routines through tailored protocols. Today, the brand offers more than 100 customisable protocols developed to address a wide range of skin conditions and concerns. Each routine follows up to a six-step sequence designed to maintain skin balance and maximise efficacy: cleansing, exfoliation, stimulation, treatment, hydration and protection.

A defining element of this approach is the science of serum layering, for which Miamo is particularly known. Rather than relying on a single product, multiple serums can be layered in a specific sequence, allowing several skin concerns to be addressed simultaneously and synergistically through compatible active ingredients. This method enables a highly personalised routine, reflecting the brand’s broader philosophy of inclusivity and tailored skincare, recognising that every individual’s skin, environment and lifestyle are different.

Within the full product range, several formulations have become standouts in Italy, particularly in anti-ageing, hydration and pigmentation-focused treatments. Hero products include the Renewal Peel Serum, an exfoliating peeling serum formulated with ELPA25®, a patented, new-generation blend of acids that stimulates cell regeneration without irritating or drying the skin. It is non-photosensitising and can be safely used even during sun exposure. In 2022, a scientific study published in the prestigious Journal of Cosmetic Dermatology confirmed the safety and efficacy of the peel, including on sensitive, dry and delicate skin.

The Age Reverse and Longevity Plus lines, supported by one granted patent and two patents pending, have achieved outstanding results, reflecting strong consumer demand for performance-driven skincare solutions designed to support long-term skin health.

Education is central to the Miamo philosophy. In Italy, the brand works with a network of more than 50 trained skincare consultants, providing consumers with personalised guidance and treatment planning, a model the company intends to introduce in the UK. Training is also a major area of investment, with specialist education provided to pharmacists, clinicians and skincare professionals, and educational materials developed by Dr Camilla are used within professional training programmes.

Having a strong in-store presence remains important to the brand, allowing direct dialogue with customers and the creation of bespoke protocols based on individual skin needs. Today, Miamo products are showcased in more than 1,700 retail locations in Italy, supported by an engaged and loyal community built through ongoing education and communication.

Miamo is positioned as a premium skincare brand, focusing on ingredient quality, clinical efficacy and personalised routines rather than luxury positioning. The brand recognises that effective skincare often requires multiple products working together, and pricing is structured to allow consumers to build tailored protocols suited to their individual needs.

Responsibility forms a core part of the company’s philosophy, spanning scientific, social and environmental commitments.

The brand continues to invest in more sustainable formulations and packaging solutions, including refillable components where possible. Dr Elena is also actively involved in social initiatives focused on supporting young people and promoting selfconfidence, reflecting the brand’s wider belief that skincare and wellbeing are closely connected.

W: Miamo

@miamo_global

Over the past four decades, each Master Distiller has set aside small amounts of exceptionally performing whiskeys to make each year’s Vintage. These hand-selected casks are housed in warehouses dating as far back at the 1860s. Master Distiller Kevin O’Gorman and his team’s journey to create the 2026 Vintage began here.

Five distillate styles – three single pot still and two single grain styles – were carefully selected to create this year’s expression, including a select batch grain whiskey with a barley and malted barley mash bill that featured in last year’s Vintage. The inclusion of this style gives an enhanced butterscotch and toffee aroma.

The inclusion of Midleton’s signature grain whiskey has seen a subtle increase compared to last year, contributing floral notes of rose petal and geraniums along with enhanced herbal notes. O’Gorman has included some incredible parcels of older grain whiskeys matured in ex-American Bourbon barrels which build layers of crème brulée and milk chocolate

O’Gorman made very careful adjustments to the three single pot still elements this year. Increasing the lighter pot still parcels of whiskey imparted enhanced delicate notes of citrus, lemon zest and orange peel. The increase in the traditional Pot Still style gives a luscious sweetness and rich mouthfeel to the final liquid.

Marrying together this intricate combination of whiskeys showcases the artistry and mastery of those at the distillery, creating a finished liquid of elegance and finesse that sings together in harmony to showcase the very best of Midleton. Since its inception in 1984, Midleton Very Rare has defined what it means to create a truly exceptional blended Irish whiskey. A legacy of excellence and a celebration of Ireland’s rich distilling heritage with an unparalleled dedication to quality, the Midleton Very Rare 2026 Vintage Release honours decades of tradition.

Celebrating the launch of Midleton Very Rare 2026, Kevin O’Gorman shares: “Each year, we hope to share a Midleton Very Rare Vintage that heroes the years of craftsmanship gone before whilst creating something rare, new and enticing for people to discover. As the sixth Vintage Release under my guardianship, I wanted to explore the bounds of what is possible from our array of exceptional liquids, while remaining true to the unique style for which Midleton Very Rare has become known. The final liquid offers a great depth of complexity, showcasing both the elegant, floral and herbal notes of grain whiskeys with the spicier, stone fruit notes from our single pot still whiskeys for a unique blend that is layered, elegant and distinctly Midleton.”

Following the removal of magnets the MVR 2026 vintage release will be housed in a recyclable secondary box made entirely from paper*. Adorned with elegant, foil details, the box features a new, friction closure, gliding open for a stunningly proud finish.

Midleton Very Rare 2026 is bottled at 40% ABV and will be available from 4th March initially in Ireland, Northern Ireland, Great Britain, Australia, Irish and global travel retail and Irish Distillers’ brand homes at the RRP of €240, $240, £220, and in additional European & US markets from April.

#MidletonVeryRare2026
#PinnacleofIrishWhiskey
IG: @MidletonVeryRare

Shop online at Midleton Distillery Collection

Employing speciality coffee as a conduit for change, Raw Material works with coffee growing communities across Africa, South America and Asia. In states such as Timor-Leste, which is heavily reliant on diminishing oil sales and lacking basic infrastructure following 25 years of conflict, Raw Material is helping to implement renewable energy solutions, milling and export infrastructure, and educational facilities. While giving smaller-scale coffee producers access to higher income and reliable solar-powered energy, this then supports the growth of diversified and resilient local economies to benefit the wider population.

Now sourcing its coffee beans from cooperatives and smallholders around the globe, RAVE works in collaboration with 52 farms across 19 of the world’s finest growing regions, helping them to achieve both an exceptional quality product and a fair price for their produce.

Guided by an ethos of ‘great coffee, made simple’, RAVE is committed to fairer prices for coffee lovers too – cutting through the noise of in-crowds to deliver a better coffee experience for all.

To help coffee lovers discover more varieties, and to hear the story of its journey from bean to brew, the RAVE Coffee Club subscription delivers exclusive coffees and a jargon-busting apprenticeship to homes up and down the country. Roasted, posted and landing on doormats within 24 hours, this letterbox-friendly service offers complete flexibility, allowing subscribers to choose between Traditional or Discovery, or even the new Traditional + Discovery package, as well as selecting grind style and quantity – all sent with a new tuition piece each month, breaking the story of the bean down into bite-sized chunks.

For those who want to choose their own path, the full RAVE Coffee range includes a wide selection of Blends and single-origin beans, as well as everything from Coffee Pods and Cold Brew to Gifts and Brewing Equipment. All delivering the best beans at fairer prices, for everyone in the coffee sourcing chain, from farmer to consumer.

W: Rave Coffee

T: 01285 651884

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Set on a terrace above the sands, with sweeping views of the sea yawning out to the Channel Islands, this elegant restaurant has become Montecito’s go-to dinner spot. Hosting more stars than a starry night, with everyone from Gwyneth Paltrow to Leonardo DiCaprio making a celeb appearance, the restaurant delivers on chic atmosphere, delectable dishes and desirable farm-to-table ingredients that smell as fresh as wild Gaviota flowers. A bouquet of aromas wafted off our introductory plate, which set the scene for the four-course dinner ahead of us, each plate offering a taste of what makes Santa Barbara so unique. As the elderly waiter explained, “Massimo Falsino aims to give Santa Barbara ingredients an Italian spin,” taking us on a journey through the local countryside while staying true to his Roma heritage. I decided to take the Italian inspo to heart, ordering an Aperol Spritz and giving the starters a very Italian chef’s kiss, which got an eye roll from my date. To be fair, it really does feel like you’re dining seaside in Capri, especially when my plate of burrata hit the table, accompanied by a 25-year-aged balsamic and peppered with hand-picked berries from the sun-dappled cliffs of Gaviota. “Perfecto!” I exclaimed, with an American accent that could have been mistaken for Brad Pitt in In Glorious Bastards. Again, more eye-rolls.

Each ensuing dish proved why Caruso’s has both a Michelin star and a Michelin Green Star, serving the highest quality of ingredients paired with the highest quality of plate presentation, concept and taste, all paired exquisitely with local wines by the on-site sommelier, whose Pinot Noir pairing with dry-aged duck should be studied in history books. In our second course, we savoured gnoccetti topped with caviar, abalone and uni that tasted so fresh it could have been caught while we were enjoying our spritzes. The soft texture of the gnocceti, paired with the squishy, tender uni, made for a ripe balance that melted on the tongue like butter, yet showcased a layer of flavours that could only come from a master chef who can balance brininess with acids and herbs in a relaxed, artful measure. It’s no wonder this dish is a fan favourite. While menus change every week, you can always expect to find Falsani’s gnoccetti on the menu.

Having started cooking at age 15, Falsini’s culinary talents have taken him to luxury hotels in Abu Dhabi and Napa Valley, but his style remains rooted in authentic Italian cuisine. As the sun dipped below crashing waves, and cotton candy glass morphed into sheets of cobalt sea at crepuscle, Falsini brought out another Californian staple, salty halibut, cooked tenderly to perfection over white wine sauce. With each passing bite, washed down by a peppery neutral oak Chardonnay, I found myself astounded by the flavours Fassini was able to conjure. Halibut can easily be served dry, underseasoned, but this halibut was prepared with the vivid complexity of a Renaissance painting.

As for dessert? For you, sweet treat fans, it’s my pleasure to report that Caruso’s dolci options are playful, precisely arranged museum-pieces that look as immaculate as they taste. Il Mandarino was an olive cake resting under yoghurt gelato that had subtle hints of tangerine and profuse explosions of mint that would make for the world’s greatest toothpaste. Could you trap this Genie in a toothpaste bottle? Washed down with local desert wines, I have to say there isn’t a more opulent desert in Santa Barbara. In fact, you’d be hard-pressed to find a better restaurant in Santa Barbara, period. From the moment the sun peeked through the clouds, Caruso’s offered a heavenly display of Italian cuisine that shined ethereally like a Santa Barbara sunset.

W: Rosewood Hotels Miramar Beach Montecito
W: Caruso’s
A: Rosewood Miramar Beach, 1759 South Jameson Lane, Montecito CA 93108

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Written by Asher Luberto for Luxuria Lifestyle International

Opened in 1998 and housed within a Grade II listed former banking hall in the heart of the Square Mile, 1 Lombard Street is a restaurant whose setting shapes the entire experience.

Inside, the room is every bit as impressive as you might hope. The fabulous glass cupola dome gives the restaurant a real sense of grandeur, while the circular bar area beneath acts as a wonderful centrepiece. It is elegant, but not intimidating; grand, but still warm. I was especially taken by the contrast between the crisp white tables and bar top and the rich green of the chairs and bar stools. It felt like a fitting nod to the building’s banking history, with the green bringing to mind money, wealth and prosperity. At lunchtime, there was a real buzz, with plenty of business people gathered over meetings and long lunches, which felt entirely right for its location. Yet with that dome overhead and the sheer regality of the room, I could just as easily imagine it in the evening as the setting for a truly special celebration meal.

The drinks menu made an immediate impression. I loved that a selection of aperitifs appears right at the top, setting the tone for a meal that feels considered from the outset. I tried the Twinkle Hill, made with vodka and elderflower cordial, topped with Lombard Street Champagne and finished with lemon twist and mint. It was a brilliant start to lunch: light, refreshing and celebratory, with just enough elegance to make the occasion feel elevated.

Equally memorable was the Amaretti Sour mocktail, featuring Lyre’s Amaretti, orgeat, lemon juice and Ms Better’s Bitters Foamer. This was a real highlight. It tasted like sour Parma Violets in the best possible way, with that perfect balance of sweet and sharp that kept calling me back for more sips. It felt like something naughty, but it wasn’t, and I loved that contradiction. A sophisticated drink, but also playful and moreish.

The menu manages to feel both refined and reassuringly familiar. There is a definite sense of occasion in some of the more elevated dishes — the Devon crab and caviar with crème fraîche, for example — but also plenty for those who simply want a hearty, classic British meal — think fish and chips, pie or steak. The inclusion of regularly changing specials also adds to that variety, with dishes such as soup, pie and fish shifting depending on seasonality and availability.

A wide range of starters is available, but also a nice selection of snacks, which offers a lighter alternative if you don’t want to commit to a full first course. That feels particularly sensible here, given the generous portion sizes of the mains. On the recommendation of our waiter, I opted for the ham hock, pea and mint soup, which is not ordinarily something I would choose. I am so glad I did. The ham, sitting in the middle of the bowl on arrival, was delicious: salty, rich and clearly good quality, adding another layer of flavour to the dish. I had been slightly concerned that the mint might be overpowering, as it is not a flavour I usually lean towards in savoury dishes, but it was beautifully judged. Instead, what came through was the lovely creamy flavour of the peas, which worked perfectly against the saltiness of the ham hock. Served with a warm, fresh cheese scone that was soft, comforting and ideal for dipping, it was a wonderfully satisfying start.

Among the mains, the Suffolk red pork chop with Bermondsey mushrooms and mustard gravy stood out to me. The pork chop was one of the biggest and best I have ever had. Pork can so easily be dry, but this was beautifully succulent and full of flavour. The Bermondsey mushrooms deserve special mention, too. I am not typically someone who would opt for mushrooms, but these were something else entirely: large, almost crisp in texture, and so far removed from the sliminess that can often put people off. To me, the mark of a great restaurant is being able to take something you would not normally choose and turn it into something delicious, something that makes complete sense on the plate. That was exactly the case here. A side of creamy mashed potato brought everything together perfectly.

Dessert was equally polished. Between us, we had the vanilla crème brûlée and the apple tart with Chantilly cream, both of which felt like perfect endings to a substantial lunch. I wanted something that was not too heavy, which the apple tart delivered beautifully. Fine slices of apple lay neatly over a tart base, with a perfect oval scoop of Chantilly cream on top. The crème brûlée had that lovely crack on the surface without being overdone, and a smooth, creamy layer beneath. Both desserts felt elegant, restrained and the perfect end to a delicious meal.

Part of 1 Lombard Street’s appeal is that it offers more than one kind of dining experience. Their Friday Steak Night adds a more relaxed end-of-week energy, with butcher’s cut steak, sauces and bottomless fries at the centre of the offer, alongside Friday cocktails that sound ideal for easing into the weekend.  Their Sunday roasts are another strong draw, which feels entirely in keeping with both the grandeur of the room and the restaurant’s classic City identity, with British roasts made from quality British ingredients. It is easy to see how 1 Lombard Street can be many things at once: a polished lunch spot, an after-work Friday destination, and somewhere to gather for a proper Sunday meal in the heart of London.

1 Lombard Street succeeds not simply because the food is excellent, though it is, and not simply because of its location, though few addresses feel more fitting. It succeeds because it understands its own identity. This is a restaurant that belongs to its setting: a grand former banking hall in one of London’s most historic and recognisable business districts, still carrying the energy of the City while offering style, character and occasion in equal measure. For business lunches, it feels perfectly judged. For evening celebrations, I can imagine it being quietly spectacular. And in a part of London so often defined by movement and momentum, 1 Lombard Street offers something rather rare: a chance to pause beneath that remarkable dome and take in the grandeur of the setting.

W: 1 Lombard Street
T: +44 (0) 20 7929 6611
E: Reservations

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Written by Luxuria Lifestyle’s Sam Mead

Newly opened in the heart of Mayfair, Chargal brings a refined new contemporary perspective to Turkish Mediterranean dining. At Chargal, Turkish culinary heritage is interpreted through a contemporary lens.

Guests can begin with a selection of cold and hot mezze, from mixed meze with cacık, muhammara and hummus, to red prawn carpaccio with pomegranate, olive oil and lime, or the restaurant’s mantı lamb dumplings served with smoked yoghurt and Aleppo chilli oil. Dishes such as wagyu köfte piyaz, chargrilled octopus with herb dressing and smoked paprika, and chargrilled halloumi with cherry and hot honey underline Chargal’s balance of comfort, creativity and finesse.

From the mangal and grill, Chargal leans further into its fire-led identity with dishes including pistachio lamb cutlets with pomme purée and honey pomegranate molasses, sarma beyti, adana, and a selection of wagyu cuts, alongside standout seafood such as Greek wild sea bass with smoked bay leaf, honey lemon dressing and samphire salad. Vegetarian dishes are given equal consideration, with plates such as brown butter sweet potato with kumquat, damascus rose and smoked almond praline reflecting the kitchen’s more nuanced side.

Set across three distinct spaces, a lively ground-floor bar, a more intimate first-floor dining room, and a lounge below for later-evening drinks. Chargal has been designed to move effortlessly from lunch and dinner to celebrations, private dining and cocktails. The experience is rooted in what the restaurant describes as “fire, craft and the timeless art of hospitality,” expressed through warm materials, soft light and an atmosphere of understated luxury.

With its blend of Turkish heritage, Eastern Mediterranean influence and contemporary Mayfair polish, Chargal arrives as a distinctive new destination for London diners seeking bold flavour, beautiful design and a more elevated take on modern Turkish cuisine.

W: Chargal
T: 02033972277
E: Bookings

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Inside, it is small in the right way. Tables close enough to create a low, collective murmur, candles doing most of the lighting, the sort of soft shadows and gentle hum that settles somewhere behind your shoulders. Coats disappear, chairs are shifted half an inch closer to the table, and suddenly you’re sitting rather than arriving.

It has that particular energy of somewhere that runs on a particular kind of attentiveness. It says simply – order widely, drink well, stay longer than intended.

Very early on, before food, before even deciding properly on wine, there’s a feeling of quiet competence. Not slick, not choreographed. Just people who know what they’re doing. The team put it simply: “the restaurant is built around care – for ingredients, for technique, for timing, and most importantly for people, with the hope that guests feel that everything, from the welcome to how the meal unfolds, is done with intention and generosity”. It sounds obvious, but in practice it is rarer than it should be.

We started with champagne and, as these things tend to go, simply continued.

There’s always a moment when you can tell whether bubbles belong in a place or are merely tolerated – Champagne is a good personality test for a room. Here it felt normal – glasses placed without fuss, topped up without interruption, as though ordering champagne on a normal evening was the most reasonable thing in the world. Which, frankly, it is.

The savoury choux arrived first; still warm, airy, splitting open to reveal something deeply savoury and unapologetically rich. One of those bites that makes conversation pause for a second, then resume with slightly more enthusiasm. The scallops followed, properly coloured, sweet and clean, with nothing unnecessary crowding the plate. Just careful cooking, a light hand, and the confidence not to overthink it.

Then the vegetables (and I mean that in the best possible way). Burnt carrot arrived glossy and faintly smoky, its sweetness sharpened just enough to keep things interesting, while beetroot brought depth and earthiness without tipping into heaviness. Between the two of them, they managed to make the table go quiet again, which is always a good sign.

What struck me early on was how nothing arrived in a hurry. Plates slipped in between sentences. Glasses were refilled before I’d clocked they were empty. The staff seemed to possess that rare skill of being everywhere and nowhere at once, the dining room ticking over without anyone being yanked out of conversation to confirm they were enjoying themselves.

When I asked how they describe the cooking, the answer was disarmingly straightforward: “honest, classically grounded, quietly evolving”. It tracks. There is no sense of chasing novelty here, only of refining something that already works.

By then, the room had settled into that easy middle phase of dinner – coats forgotten, voices softer, tables leaning in rather than sitting upright. Our first bottle was long gone, replaced with something suggested in a way that felt more like a conversation than a recommendation.

For mains, we did the obvious thing and over-ordered, because restraint is overrated when sharing is encouraged. The orzotto was doing everything a dish like that should: creamy without tipping into gluey, grains holding their shape, flavour built in layers rather than poured on top. It tasted calm, if that makes sense – confident in its seasoning, comfortable in its richness, not trying to impress anyone who wasn’t sitting right there. The aubergine was deeply satisfying in a different way, collapsing at the centre, caramelised edges carrying just enough smoke to keep things interesting. Between the two, we fell into that familiar rhythm of passing plates back and forth without really acknowledging it.

The team mentioned something I kept thinking about while eating: that there’s always a dish on the menu which looks simple but represents what they care about most – good produce, restraint, technique doing its job without drawing attention. It’s a philosophy you can feel rather than see.

What I liked most, though, was the lack of performance. No one explaining flavours unprompted, no sense of trying to guide your reaction. Just the steady pleasure of eating and talking.

Time did what it does in places like this – it stretched a little without anyone noticing. The room filled, softened, shifted. New arrivals slipped in; others lingered. Nobody seemed in a hurry to turn tables, which is perhaps the most luxurious thing of all.

The team confirmed my assumptions that they were very conscious not to open something trend-driven or built for social media. There were no gimmicks, just somewhere people come back to because it feels genuine. You can feel that in the details: letting the meal unfold rather than enforcing order, building a menu that rewards sharing, lighting the room for faces rather than photographs, training a team to read tables instead of reciting scripts, trusting that if you make people comfortable, they will probably drink another bottle and tell their friends.

We looked at dessert seriously (the kind of earnest consideration that suggests real interest) and then admitted defeat. I remember thinking I’d happily have both options if appetite allowed, which is probably the most honest compliment you can give.

Coffee arrived instead, strong and exactly when it should, prolonging the evening just enough.

Before leaving, I asked the team what they hoped people would say on the walk home. The answer was telling: “that guests talk about how relaxed they felt, how well they were looked after — ideally without analysing too much – and simply want to come back”. It is a modest ambition, and perhaps that is precisely why it works.

There is also a quiet thoughtfulness behind the scenes. The team spoke about working with smaller producers who prioritise quality over scale, letting good ingredients guide decisions rather than forcing dishes into fixed ideas; an approach that feels consistent with everything else about the place: attentive, grounded, unforced.

Stepping back outside, the night felt softer than when we’d arrived, as though time had slipped slightly. It’s not something you can manufacture – more the result of a hundred small decisions made well.

I walked away full, content, and already wondering what I’d order next time.

Dessert, for a start.

W: Oui Madame Restaurant

Written by Emma Blunt for Luxuria Lifestyle International

From the moment you step inside, Tigermilk takes you back to what you would imagine a typical Latin American town. The interiors are dynamic and inviting, with towering cacti, mirrored ceilings and soft, romantic lighting creating an ambience that feels completely glamorous. A central bar hums with energy as cocktails are expertly shaken, while comfy seating and lush greenery soften the space, giving it the feel of a chic South American hideaway.

We began the evening with the Pisco N’ Roses, an elegant cocktail that perfectly encapsulated the spirit of the menu. Light, aromatic and delicately balanced, it offered sharp notes combined with a light sweetness, giving a refreshing and refined start to the meal.

The menu encourages a sharing style of dining, with dishes designed to be shared across the table. One of the first to arrive was the Truffle Nachos, a luxurious interpretation of a familiar favourite. Generous yet beautifully composed, the earthy richness of truffle elevated the dish, adding a layer of indulgence that made it feel both playful and sophisticated.

Equally memorable were the Sweet & Creamy Tacos, which delivered a delightful harmony of textures. Soft tortillas encased a rich, velvety filling balanced by gentle sweetness, creating a dish that was both comforting and quietly decadent.

For the main course, the Salmón a la Parrilla proved to be a highlight. Grilled to perfection, the salmon was tender and delicately smoky, its natural richness enhanced by subtle seasoning that allowed the quality of the fish to shine. Alongside it, the Carne Asada showcased beautifully cooked beef, robust in flavour and satisfyingly succulent, embodying the bold culinary traditions that inspire Tigermilk’s menu.

The Roasted Sweet Potatoes provided the perfect accompaniment, their caramelised edges and natural sweetness offering warmth and balance to the more savoury elements of the meal.

Throughout the evening, service remained polished yet relaxed, striking that increasingly rare balance between attentiveness and effortless hospitality. The staff navigated the bustling dining room with ease, ensuring that the experience felt seamless from beginning to end.

What ultimately sets Tigermilk apart is its ability to capture the vibrant energy of Latin American dining while maintaining a distinctly contemporary London sensibility. It is lively without feeling chaotic, stylish without becoming overly formal — the sort of place where an impromptu dinner can easily evolve into an evening that stretches long into the night.

For those seeking a restaurant that combines striking interiors, confident flavours and a spirited atmosphere, Tigermilk delivers a dining experience that feels both indulgent and unforgettable, a welcome addition to London’s dynamic culinary scene.

A: Tigermilk, 127 Charing Cross Road, WC2H 0EW, London
W: Tigermilk

Written by Luxuria Lifestyle’s Sports Editors Josh and Phoebe

Formerly home to Zuaya for eight years, the site has been completely reimagined as a Tuscan inspired restaurant built around warmth, generosity and craft.

Bottega 35 brings hand rolled pasta, live fire cooking and a carefully curated wine list to W8, blending rustic Italian soul with a polished Kensington setting. It is designed as a neighbourhood restaurant that works equally well for relaxed weekday lunches and celebratory evenings.

The menu focuses on classic Tuscan flavours executed with confidence. Hand rolled pasta sits at the heart of the offering, including pappardelle ragu and mafaldine finished tableside in a pecorino wheel with truffle.

From the grill, guests can expect ribeye, house meatballs and lamb cutlets. Seafood dishes include seafood tagliolini, pan seared seabass with tomato and capers, and garlic prawns with Datterino tomatoes and olives.

Desserts remain rooted in Italian tradition with table served tiramisu, torta Susanna and classic cannoli.

The interiors were designed by Marta Gaset, founder of Marta Gaset Design Studio. Inspired by the artisanal restaurants of Tuscany, the design makes full use of the building’s two floors, high ceilings and natural light.

Quote from Marta Gaset, founder of Marta Gaset Design Studio:

“Bottega 35 was a particularly special project. We wanted to capture the spirit of Tuscan dining while respecting the character of the building. We travelled to Italy to source reclaimed furniture creating a space that feels timeless, warm and authentic.”

For the Zandi brothers, Bottega 35 represents evolution as much as opening. Quote from Alberto and Arian Zandi, founders of Emerald Hospitality Group “Kensington is part of our journey. Bottega 35 is about growth and refinement. Fire, pasta, wine and atmosphere. It is Tuscan in spirit but very much London in energy.

W: Bottega 35

It catches the edge of the fish, moves once across the surface and disappears. There is no flourish in the gesture. The torch is held low, close enough that you can see the proteins tighten, the surface shift from translucent to opaque by degrees. A faint scent of heat rises and then is gone. The nigiri is placed in front of me before I’ve quite processed what changed.

Before I can reach for it, Chef Leonard looks up. “Turn it upside down,” he says.

We are seated at a 12-seat counter on the ninth floor above Liverpool Street, the City’s glass towers blinking beyond the windows. This is LUNA Omakase — an intimate, chef-led dining experience tucked above Los Mochis — and there are no menus to scan or dishes to choose. Omakase translates loosely as “I leave it up to you.” The premise is simple: you sit down, and the chef decides everything.

At LUNA Omakase, that decision is shaped by the moon.

The 12-course sequence follows the lunar calendar, and we happened to be dining under the Snow Moon, in its waning phase. Leonard explains that this period is associated with lower human energy. “When our energy dips,” he says, “I design a brighter menu.”

More citrus. More lift. More clarity.

On paper, it could sound esoteric. At the counter, the logic is immediate.

The instruction to turn the nigiri upside down is not affectation; it is engineering. Fish first, he explains. The warmth from the torch should meet the tongue before the rice. Eat in one bite. The rice has been seasoned in the Edomae style — the codified old Tokyo discipline built on precision, structure and restraint. If eaten upright, the rice dulls the temperature contrast. Upside down, the sequence unfolds as intended.

Trust, here, is physical.

There are twelve seats around the counter, and two sittings each evening. Nothing separates diner from chef. Every movement is visible — the indentation of fingers in rice, the millimetre adjustment of a slice of fish, the angle of a brush through soy. At this proximity, technique is not implied. It is exposed.

Between courses, guests can choose either a sake or wine pairing — and whichever route you take, the alignment is deliberate. The pours arrive in step with the food, acidity introduced where richness threatens to linger, weight adjusted in line with the cut of fish. The sake leans structured rather than overtly aromatic, its quiet umami reinforcing the Edomae discipline. The wines are similarly restrained — mineral, clean, never competing. Everything is calibrated.

The early courses arrive almost austere — clean, sharp, deliberately free of overindulgence. A blood orange and chamomile granita cuts rather than soothes. Pickled cucumber and ginger function as calibration tools rather than garnish. Rice carries fish that is largely undisturbed: soy brushed, not dipped; wasabi freshly grated moments before serving, vegetal and bright.

Edomae forms the foundation of the evening — seasoning, proportion, discipline. Over that, Leonard layers what he calls Sosaku. “Sosaku is my experience, my knowledge,” he says. “It’s how I translate tradition.”

That translation reveals itself in subtle shifts rather than grand gestures.

A sweet potato shell shaped like a hard taco appears midway through the sequence, topped with sustainable Italian caviar from Ars Italica. It must be eaten in one bite. The shell fractures audibly. Sweetness lands first, then salinity from the caviar, then a faint smokiness from a seasoning inspired by gusano — the cured worm traditionally associated with mezcal. For a second, it recalls cheddar. There is no dairy present. The illusion is deliberate and fleeting.

The references travel — Japan, Mexico, Italy, the United States — yet the structure remains anchored in Japanese technique. Rice is still shaped by hand. Temperature is still controlled to the degree.

LUNA is also entirely gluten-free, something Chef Leonard mentions almost in passing but which quietly reshapes the kitchen. Traditional eel dishes often rely on sauces containing barley. Here, unagi from Hamada Lake is glazed with a house-made alternative built from permitted chilli and miso paste. Crunch comes from rice cracker and cucumber. Texture is layered carefully, never overcomplicated.

​​Heat returns in measured waves. Binchotan charcoal — dense Japanese oak that burns hot and clean — glows inside the counter, capable of reaching up to 500 degrees Celsius. Fish is passed over it briefly to achieve char without bitterness. A scallop from Hokkaido is seared just enough to warm the exterior while leaving the centre cool and almost sashimi-like. Warm outside, raw within. Texture and temperature pull against each other.

By now, the twelve courses begin to feel tidal. Brightness crests. Depth follows. Then acidity returns.

Midway through the evening, the tone shifts.

“When I was young,” Leonard says, pausing slightly, “if I got a star from my teacher, my mum would make me a special sandwich.”

The Wagyu sando arrives in a small wooden box, resembling a lunch container. It could easily tip into indulgence for its own sake — Kagoshima A5 beef, soft bread, rich glaze. Instead, it feels controlled. The bread is made in-house from tapioca starch and rice flour. Worcestershire and tonkatsu sauces are avoided due to gluten content; instead, a barbecue sauce is built from grilled garlic, ginger, onion and tomato, blended with sake and mirin. Fresh wasabi leaves replace lettuce — both for flavour and because Leonard refuses to waste them.

The beef dissolves quickly, but acidity and sweetness keep it in balance. The story of the lunchbox never overwhelms the dish. The child who worked for a star from his teacher now works at a counter nine floors above the City, translating memory into technique.

Outside the windows, the hyper-modern skyline of the City flickers without self-consciousness. Office lights burn late. Traffic threads through Liverpool Street below. The lunar philosophy sits within that grid without irony.

A smoked chutoro carpaccio follows — chutoro being the richer, marbled centre cut of bluefin tuna. It is smoked at low temperature with oak wood, enough to evoke something almost Iberian in aroma. “Close your eyes,” Leonard suggests. “You will think it’s jamón.” The smokiness plays with expectation, but the fish remains unmistakably itself. Fresh wasabi punctuates the richness. Sorrel cress adds bitterness.

Later, an elevated version of onigiri — the triangular rice snack Leonard ate as a child — appears round and grilled. Warm rice supports cold hamachi tartare, eaten in one bite so the charred exterior gives way to cool, sesame-laced fish. Winter truffle from Umbria sits alongside. The layering is deliberate, almost didactic in its sequencing: warmth, then fat, then aroma.

My name card sits in front of me — Japanese above, English below. In a 12-seat room, anonymity disappears. Each portion is placed directly into specific hands. Leonard and his team move with quiet coordination — brief glances, small nods, no wasted motion.

The sea trout belly from Cornwall is torched just before serving, releasing silky fat. Its roe is placed on top — a quiet reference to life and continuation. Pear cuts through the richness. Acid returns before heaviness has time to linger.

As the evening turns to night, I become aware of how carefully fatigue is avoided. The pacing feels deliberate. Richness never overstays. Brightness reasserts itself before indulgence settles. The waning moon framework — brightness over excess — governs the sequencing of the evening.

By the final plates, there is no crescendo. The arc narrows rather than peaks. Energy feels recalibrated rather than depleted.

“Omakase means I leave it up to you,” Leonard said at the start.

At the beginning of the evening, it sounded like an introduction. By the end, it feels like a measure of trust honoured.

At the counter, that trust becomes tangible. You turn the nigiri upside down because he tells you to. You eat in one bite because the temperature has been calculated to unfold that way. You follow the arc without asking what comes next.

On paper, a menu shaped by lunar phases could drift into something overly conceptual. In practice, it is controlled.

When the lift doors close and we descend back into Liverpool Street, the City resumes at full volume. Office lights glare. Traffic moves with urgency. Above it all, the moon continues its indifferent cycle.

Upstairs, the counter will reset. Rice will be shaped again. Fire will be applied by degrees. Twelve seats will fill.

The flame at the beginning lasted seconds.
The control behind it does not.

W: Luna Omakase
Photo credit: Lochie Fuller Photography

Written by Emma Blunt for Luxuria Lifestyle International