TaSty SELECTION 02 - STYLE - 01/2025 - EN

Ta S t y S E L E C T I O N

THE POWER OF DESIGN

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EDITORIAL

DESIGN IS BOT H GOOD A ND BE AU T IF U L! A

s we keep saying, KACHEN’s mission to cover and introduce you to “everything good and beautiful in and around Luxembourg” is hardwired into its DNA. It therefore made perfect sense for us to take a more in-depth look at the topic of design in this spring supplement.

After all, design is all around us. It has the power to influence our feelings either positively or negatively and to attract, challenge, captivate, and even sometimes outrage us.

Design represents an era, a moment in time that has been captured and remains with us. It may be contemporary or vintage, personal or produced by a design office. It may be accessible or remote, elaborate or minimalist...

Since 2023, we have been featuring the interiors of Luxembourg restaurants in our quarterly publication, KACHEN. The magazine’s ‘Restaurant Design’ section showcases the inventiveness of the nation’s restaurant owners and the range of ambiances they create. Because ultimately a restaurant’s look is a key part of its identity, and chefs are well aware that the magic needs to extend beyond the dishes they prepare. This supplement includes a small curated selection from the magazine’s design section.

On the subject of KACHEN, where do you keep your back issues? We’re sure that many of you will have them within easy reach in

your kitchens, as the magazine is so synonymous with cooking.

The French Larousse dictionary gives a succinct definition of the term ‘design’ as: “A discipline aimed at harmonising the human environment, ranging from the design of everyday objects to urban planning”. We’ve therefore met with specialists from the Grand Duchy’s top kitchens to discuss their latest innovations, including new technologies, that help improve well-being through stress-busting features or the latest colour palettes.

In this issue, we’ve talked to all sorts of experts living in Luxembourg including architects, interior designers, vintage furniture professionals and artists, who have shared contemporary trends and must-haves and offered their views on current and future design developments. Naturally, the common thread running throughout is the importance of sustainability, something everyone can approach in their own way, whether by recycling furniture, using vintage items or opting for organic paints.

After all, design is rooted in the spirit of the times and, as such, is shaped by current issues.

Our sincerest wish is for good and beautiful things to be as sustainable as possible, providing a responsible and lasting treat for your eyes and taste buds.

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EDITOR-IN- CHIEF BIBI WINTERSDORF

MIELE

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ART C H A R LOT T E PAY E T: F R O M WA S T E TO WO N D ER

T R A N S L AT I O N M I K E S C OT T, R AC H E L Z AY E R ART DIREC TOR MARC DOSTERT GRAPHIC DESIGNER E N I A H A EC K C O N TAC T I N F O @TA S T Y. LU A DV E R T I S I N G S A L E S @TA S T Y. LU

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C A R L O T TA B E N E D E T T I

2025 T R EN DS IN A RCHI T ECT U R E A N D DESIGN Carlotta Benedetti is an American-Italian architect who has been based in Luxembourg for 20 years. Her projects take her across Europe, designing apartments, houses, and public buildings. In one of her latest projects in Luxembourg, she joined forces with a global team of architects and engineers who designed the Uniqlo store on Grand-Rue in Luxembourg City.

TEXT MARION FINZI

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arlotta describes herself as a dedicated architect who, after analysing her clients’ needs, guides them through every step of their project. “I never impose my tastes; instead, I help my clients understand their needs, so they can have the best space to live in, a bespoke one”.

An essential aspect of her work is immersing herself in and drawing inspiration from the latest design trends. To do this, she loves visiting design fairs. Her number one? The ‘Salone del Mobile’ held every spring in Milan. “It’s an opportunity to be inspired and touch the latest trends from around the world.”

Carlotta shares with us six trends that will mark 2025.

TRENDS

TEX TU R ES & REL IEFS Wall coverings such as wooden or fabric panels will add style to your interior. Ceilings or walls can also be adorned with 3D ornaments or mouldings to give more relief to the space. Check out Orac Decor’s website for beautiful examples.

© ORAC DECOR

A SU STAINA B LE INT E R IO R In 2025, there will be a continued focus on discovering and promoting the most eco-friendly materials. One of these is a chemical-free, organic paint.

In Luxembourg, Peintures Robin in Leudelange offers excellent quality organic paints.

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TRENDS

CURVED L INES This year, straight corners are out; the trend is all about cur ves.

Sofas, coffee tables and chairs, even doors, will all have cur ved designs, bringing comfort and fluidity to a room.

T HE ‘ CO LO U R DR E NC HING’ T EC HNIQ U E This new trend involves choosing a single colour for the entire interior, with walls, ceilings and even furniture, such as sofas and rugs, all the same shade. This bold choice creates an ultra-cosy immersive experience, like a giant hug when entering a room.

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TRENDS

COMFORTAB L E MATERIALS Everyone knows velvet, a timeless material that adds a chic and pleasant touch to an interior.

This year, ‘technical velvet’ is set to take over. Sofas made with this material are extremely comfortable and also stain-resistant into the bargain. A must-have.

A SM A RT TAP T HAT M A K E S CO F F E E The craze for ‘smart’ technologies continues to evolve in our interiors with a constant focus on sustainability. The latest ‘smart’ innovation, by Gessi, will soon make its way into our kitchens: a smart tap that adjusts the water temperature, makes it sparkling, and can even turn it into coffee …

© GESSI

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ADVERTORIAL

HOW SM A RT A PPLI A NCES A R E M A K ING EV ERY DAY LIFE E A SIER Our daily lives would be inconceivable without connected devices and appliances. Advanced, practical and intelligent technologies have long since found their way into our homes.

We took a closer look at the new generation of household appliances with AEG.

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ife in 2025 is hectic: work, children, housework, and the rest – it’s a constant juggling act. It’s a good thing, then, that we’ve got smart devices and appliances to make our lives easier. Connectivity is definitely the way forward!

U S E R- F R I E N D LY APPLIANCES The first thing you need in order to embark on your connectivity adventure and lighten the load of your daily life is a smartphone. So far, so good. The second step is simple, too: Download the app for your home appliance. “Our app is called simply ‘AEG’,” says Marc Veneziano, the AEG account manager responsible for kitchen designers in Luxembourg. “Next, you’ll need to connect your appliance to your home Wi-Fi.” Then, of course, you need to pair (connect) your phone with your household appliance. “The PNC, or product number code, is on the appliance and generally quite easy to find.

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ADVERTORIAL

You can enter it manually in the app or scan the QR code, which you’ll also find on the appliance, alongside the PNC.”

AN INTUITIVE APP An easy set-up process that you only need to do once. Once everything is properly connected, you can move on to the easy-to-use programmes.

“The app is intuitive and straightforward,” says the AEG specialist. “All you need to do is simply tap on the connected appliance that you want to use and let the app guide you.”

It’s as simple as that! You’re now good to go and enjoy the benefits of your newly connected household appliance: more flexibility, more efficiency... and less stress.

G O O D BY E S T R E S S

“THE APP IS INTUITIVE AND S T R A I G H T F O R WA R D . A L L YO U N E E D T O D O I S S I M P LY T A P O N T H E A P P L I A N C E A N D L E T I T G U I D E YO U.” MARC VENEZIANO

Burnt, overcooked or undercooked food: with the latest generation of ovens, these worries are a thing of the past.

Picture the scene: It’s Saturday evening and you’ve invited friends over for dinner. You’ve just gone upstairs to get ready when you realise that you’ve put the meat in the oven but haven’t switched the oven on! Gone are the days of rushing back downstairs to the kitchen – you can simply turn on the appliance from your app! At the tap of a button, you’ve selected the fan oven option and the desired cooking level for your roast (you inserted the meat thermometer into the meat when you put it in the oven). Job done. Now the oven will take care of the rest, from temperature to cooking time. Leaving you to relax and get on with getting ready for your guests and playing the host. Stress – what’s that again?

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ADVERTORIAL

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ADVERTORIAL

“ WE ALSO WORK WITH ARTIFICIAL INTELLIGENCE . IF I FIND A RECIPE ONLINE, T H E O V E N W I L L I N T E L L I G E N T LY O P T I M I S E I T . ” MARC VENEZIANO

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ADVERTORIAL

R EC I P E O P T I M I S AT I O N But that’s not all: “Our app now also works with artificial intelligence,” says the AEG spokesperson. “So, if I find a recipe that takes my fancy on the AEG or KACHEN website, for example, I can enter it into the app. The app then asks if I want to adapt the recipe to the oven functions. If I answer yes, the oven will intelligently optimise the recipe. For example, a steam oven will add a little steam if needed to make the dish even juicier. It will adapt to save energy, perhaps add ten minutes to the cooking time or reduce the heat, always with the aim of optimising the recipe.” Who hasn’t dreamt of such a great helping hand in the kitchen?

A F U L LY C O N N EC T E D HOUSEHOLD A smart oven is a marvellous thing, but one glance at the little AEG app on your smartphone is enough to see that it can, in fact, do far more.

For example, the app can notify you when you’re about to run out of dishwasher tablets and when the carbon filter in your extractor hood needs replacing (because the app tracks how often you use it!). It can warn you if the freezer door has been left open, ensure your laundry is washed in the most energy-efficient way possible – and let you know when the cycle has finished. No wonder AEG is Luxembourg’s favourite household appliance brand!

Always rushing around the house to check everything is running as it should? Well, you no longer have to! Connected household appliances are a real time-saver. They stand for more quality and efficiency, less energy consumption... and above all, less stress!

AEG.LU

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NEWS

M A L A NGUE SOUR I T EMBR ACES MUR A NO M AGIC As 2025 begins, Cyril and Anne-Sophie Molard are treating their two-starred restaurant ‘Ma Langue Sourit’ to a subtle makeover. Their first step was to transform the conservatory lighting with their latest find: the award-winning ‘Murano Bulb’

by Italian designer Marcantonio - an ingenious hybrid of bulb and chandelier that can be fitted anywhere and garnered recognition at Venice Design Week 2024 last November.

A dozen of these exquisite pieces, each handcrafted by a Murano glass artisan, now bathe the space in their gentle glow.

With brighter days ahead, the chef was keen to bring more light into the venue. The leather table surfaces will soon sport lighter hues, while the lower walls in both the entrance and main dining areas are set to receive upholstered panelling.

“We’re using a light beige fabric, three centimetres thick, to create a more intimate setting. The chair cushions will feature the same material but in warm terracotta shades,” shares Anne-Sophie Molard.

V ILL A PÉTRUSSE C A LLS ON DESIGNER TR ISTA N AUER After five years of ambitious restoration work on the Villa Baldauff, carried out with the utmost respect for this prestigious heritage site, the luxury hotel Villa Pétrusse is set to open on 1 April in Luxembourg City. The redesign has been overseen by the interior designer and architect from Lorraine, Tristan Auer. This specialist in reconfiguration has previously worked on the transformation and renovation of prestigious hotels such as the Hôtel de Crillon in Paris and the Hôtel Carlton in Cannes. For this new project, “the décor draws fully on the spirit of the place, with the faithful restoration of certain historical elements, such as the precious hand-painted wallpapers, reproducing the works of Sosthène Weis, along with bespoke furniture pieces designed exclusively for Villa Pétrusse,” explains the hotel’s communications team. They emphasise that “despite its sometimes grandiose volumes, Villa Pétrusse has retained the atmosphere of a luxurious private residence, offering a feeling of being at home, welcomed with all the warmth and attentiveness of genuine hospitality.”

© A M AURY L APARR A

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R E S TAU R A N T D E S I G N

K ACHEN C ATCHES T HE EY E! Since KACHEN is passionate not just about good food but also beautiful spaces in and around Luxembourg, our ‘Restaurant Design’ section has been spotting restaurants with that special decorative touch since 2023. Here, we’ve compiled a ‘best of’ selection from this section, highlighting a decorative or design element that particularly caught our eye in each venue!

Whether they’re pieces from fashionable designers, craftsmanship in local timber, works from artists, car boot sale treasures, or even mass-produced reproductions – every detail can give a restaurant its own personality and originality. And that’s precisely what we love!

M A LA N G UE SOURIT K ACHEN N °3 4 SPRING 202 3

The two-Michelin-starred restaurant in Moutfort treats itself to a spring refresh. Whilst some pendant lights have been replaced since 2023 (see left page), you can still admire the paintings by house artist Toma.

His colourful, animal-inspired works evolve with the seasons – just like Cyril Molard’s dishes.

LA G R A P P E D’O R K ACHEN N °35 SUMMER 202 3

The interior of this starred restaurant in Arlon, run by Clément Petitjean and Monia Aouini, is worth a closer look. In this journey through a gentle, pastel paradise, the white Seletti wall vases in the shape of anatomical hearts particularly stand out. The interior design was orchestrated by Luxembourg-based interior design and decoration firm Milkshake.

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U M P LAT EAU K ACHEN N °36 AUTUMN 202 3

Stéphanie Jauquet’s restaurant transformed its look in 2023.

Most notable are the ‘So Seventies’ disco balls – artworks by Dutch collective Rotganzen from their collection ‘Quelle Fête!’ These disco balls appear warped or melting, rather like Dalí’s flowing clocks.

CO M E À L A MAISON K ACHEN N °37 WINTER 202 3

With 3,000 m 2 of décor, masterfully curated by former decorator and current Come à la Maison Group owner Séverin Laface, choosing a highlight is rather challenging. Our attention was drawn to the massive wooden windows partitioning one of the spaces in this enormous restaurant. These came from a former railway depot in Arlon, closed over 25 years ago, whose elements the owner secured at auction. A piece of heritage finding new life – that’s sustainable decoration at its finest!

G U ILLO U CAM PAG NE K ACHEN N °38 SPRING 2024

Guillou Campagne’s décor strikes a balance between family furniture pieces, elegance, and classical style. An eccentric touch: small frames created specifically for the restaurant featuring ‘unique birds’ – creations by Pierre-Yves Dayot, a Breton artist friend of Katell Guillou.

R E S TAU R A N T D E S I G N

NAGA K ACHEN N °39 SUMMER 2024

A touch of the Orient, Asia, and the Mediterranean: Although Naga in Mondercange will soon be redesigned, we were particularly impressed by the striking giant portraits by German photographer Mario Gerth, displayed above the tables in the private dining areas.

LA VIL L A D E CA M ILLE ET JUL IEN K ACHEN N °40 AUTUMN 2024

This starred restaurant captivates with its exquisite décor. Opposite the entrance, the large steel bar almost disappears beneath homemade arrangements. Around a hefty bough – found by Camille Tardif during a lockdown walk in the woods – cluster large vases filled with dried flowers and grasses.

Proof that nature itself can provide statement pieces for interior design.

OPÉRA K ACHEN N °41 WINTER 2024

Opéra opened its doors in October 2024, with playful touches added to its understated décor courtesy of a successful collaboration with vibrant artist Frank Jons. The walls of the new restaurant feature modern works by the painter, who has made a name for himself on the Luxembourg art scene through his expressive use of colour.

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R E N O VAT I O N

NEW LOOK FOR LÉA LINSTER Following a kitchen modernisation, Restaurant Léa Linster has now redesigned its dining room. With enhanced warmth, improved acoustics, and clever service features, it aims to offer guests a better experience with a more comfortable atmosphere.

TEXT CHAREL HEINEN PHOTOS MARC DOSTERT

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any guests found the ambiance somewhat cold and impersonal.

So we’ve made the dining room more modern yet cosier,” explains Njomza Linster, the conscientious manager and heart and soul of the guest area.

However, some recognisable elements remain: “We’re keeping our traditional white and beige colour scheme.”

For the new design, they brought in the interior design firm NJOY, which has already proven itself with several successful hospitality projects. The renovation proceeded in stages, as the large, historic building made the work complex. “We started in August during the summer break and worked through step by step,” says Linster. The final decorative elements are expected to be added during the Easter holidays. “It’s exciting for our guests – they discover new details with each visit.”

O P T I M I S E D AC O U S T I C S Acoustics were a key consideration. The dining room was enlarged through a breakthrough, which could have amplified sound. Carpeting and sound-absorbing elements on walls and ceilings ensure it

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R E S TAU R A N T D E S I G N

remains pleasantly quiet. The new layout also offers more flexibility: the main dining room can accommodate a large table, while smaller groups remain undisturbed in the side room. This revised arrangement allows various occasions to run simultaneously – from large family gatherings to business dinners – all in a comfortable atmosphere.

“Form follows function” – the first commandment of good design shouldn’t be neglected when designing a dining room. The renovation aims to optimise service: “It was important to me that our team rarely needs to leave the room and can keep an eye on guests at all times,” explains Njomza. Therefore, practical stations for glasses, cutlery, and beverages were installed directly in the room.

These small service stations not only save steps but also ensure smoother operations in the dining room.

A M O R E I N T I M AT E ATM O S P H E R E The restrooms have also undergone a much-needed update. Here, they opted for warm, subdued lighting to create a contrast with the light and airy dining room. While the ladies’ restrooms now feature plants and flowers, the men’s facilities showcase a number of humorous artworks by artist SUMO. With its new look, Léa Linster stays true to its style: classic, but now with more warmth and enhanced functionality. The restaurant remains what it has always been: a place for good taste – and now for even greater comfort.

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A CHEF’S CHOICE

THE PERFECT TA BLEWA RE When chefs envision a dish, finding the perfect plate to enhance their culinary creations is an essential part of the process. We asked six chefs to share their tableware choices and the reasons behind them.

ARCHIBALD DE PRINCE RES TAUR ANT ARCHIBALD DE PRINCE R AK PORCEL AIN

Chef Archibald De Prince didn’t hesitate for a second before choosing his dinnerware. RAK porcelain, renowned for its excellence, was a natural choice, thanks to its robustness, which guarantees optimum durability, combined with sophisticated presentation.

“We opted for the new Bone China collection, whose sleek, refined design enhances our culinary creations,” explains the chef.

R E N É M AT H I EU RES TAUR ANT FIELDS * SIMON BENNE Y – KERNOW WOOD ART

Plant-based chef René Mathieu sources his tableware from a local craftsman who specialises in wood.

First, the chef designs the bowls and plates he needs, then the craftsman forages for wood in the forests of Luxembourg, which he then cuts and processes.

“This tableware is the perfect representation of our philosophy of naturalness and sustainability,” confides the chef.

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SELECTION

LO U I S L I N S T E R RES TAUR ANT LÉ A LINS TER * COQUE T, S TOCK M ANS , PERGAY & S TUDIO M AT TES

Louis Linster places great importance on selecting porcelain that seamlessly complements the ambiance of his restaurant. He collaborates with various manufacturers, including Coquet, Stockmans, Pergay, Studio Mattes and Japanese brands, bringing variety and quality to his dishes’ presentation. His tableware includes both standard collections and custom-made pieces tailored to his specific requirements.

CYRIL MOL ARD RES TAUR ANT M A L ANGUE SOURIT ** LOANA SCHMIT – ATELIER M AUSI

Two-starred chef Cyril Molard’s favourite plates are sourced from Belgium and handcrafted exclusively for Ma Langue Sourit by Loana Schmit from Atelier Mausi.

Each piece is entirely sculpted and hammered by hand, making it unique. These artisanal ceramic creations follow an eco-responsible production process, “from the sourcing of raw materials to the final delivery to the customer,” explains the ceramist.

RYÔ D Ô K A J I WA R A RES TAUR ANT RYÔDÔ * K ANTA KOZ AKI

Michelin-starred chef Ryôdô Kajiwara’s favourite plates are sourced from Germany but carry a story deeply rooted in Japan. They are designed by Kanta Kozaki, a Japanese ceramist based in Germany. Each piece is entirely handmade, and “his creations possess a distinct Japanese aesthetic while introducing unique originality, different from what is typically found in Japan,” the chef explains.

C LOV I S D EG R AV E RES TAUR ANT GRÜNE WALD CHEF’ S TABLE CHARLIE M ARTENS – S TUDIO M AT TE S

Chef Clovis Degrave particularly values plates designed by Charlie Martens, founder of Studio Mattes in Belgium. He uses these plates at his restaurant Grünewald Chef’s Table, especially for dishes that are meant to be enjoyed in a single spoonful.

“Its deep shape allows us to layer elements and pour a sauce or broth over them while preserving the dish’s aesthetic appeal,” he explains.

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INTERVIEW

© L AURA INNOCENTE

A RT FU L LI V ING SPACES

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We met with Amandine Maroteaux, founder and creative director of the now ten-year-old interior architecture and design firm ‘Atelier Compostelle’. Sitting comfortably on a beautiful blue velvet sofa in her magnificent townhouse offices near the Champ du Glacis, we discussed renovation projects, ways of ‘living better together’ and the vital role of art in interiors.

INTERVIEW

TEXT MARION FINZI

How would you define good design?

If we assume that design aims to improve quality of life, then good design is design that stands the test of time and offers a solution to a specific problem. In terms of objects, these should therefore be durable and capable of being passed on.

Sometimes design leaves a lasting impression, thanks to its aesthetic power; sometimes it introduces a new use or functionality. Either way, good design should always serve the project.

How are interiors generally designed today?

At ‘Atelier Compostelle’, we conduct research into changes in lifestyle and future trends. Having a team in Paris and Luxembourg also enables us to compare what are sometimes very different lifestyles, like when it comes to hosting, for example.

One thing we’re seeing is a trend away from the segmentation of living spaces and more towards interweaving them. Take bathrooms, for instance: Bathroom design is increasingly inspired by hotel rooms, with bathrooms opening onto the bedroom and dressing room. These three distinct spaces are starting to merge and their functions to become blurred. Dressing tables are moving out of the bedroom into the bathroom, washbasins from the bathroom to the dressing room, and bench seats are acting as connectors between dressing room and bathroom... Spaces that used to be considered ‘functional’ have become living spaces.

Interiors are also being designed with the overarching idea of ‘living better together’ in mind, all the while preserving individual areas for their specific purpose. For example, company kitchens and canteens are being opened up to dining rooms and reception areas, while playing with glass walls framed in wood or metal, to maintain a degree of privacy, allowing light to circulate and people to see each other, but preventing them from hearing everything.

“ S PA C E S T H AT U S E D T O B E C O N S I D E R E D ‘ F U N C T I O N A L’ H AV E B EC O M E L I V I N G AMANDINE MAROTEAUX S PAC E S .”

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© JULIEN PEPY

© JULIEN PEPY

INTERVIEW

How do you approach a project when renovating a public space?

When we renovate a restaurant, an area in a hotel or any other public space, our aim is to ensure that the interior design fits the purpose of the establishment in question. For example, when we fit out offices, we often ask our clients not to describe their ‘needs’, but rather their ‘way of working, interactions between teams and customers and the corporate identity’.

The restaurant Velvet [Editor’s note: at Howald tennis club] is a good example of this: For this renovation project, we wanted to create a story and a use that combined our clients’ expertise in hospitality and cuisine with our expertise in the use of space. The space could simply have been a restaurant, but we saw the potential for it to be a bustling go-to place, with people coming in all day long, in keeping with the rapidly changing neighbourhood and its popular tennis club.

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© L AURA INNOCENTE

How do you marry old and new when renovating a building?

Some buildings have more history than others, but all are part of a setting with its own unique identity. When it comes to historic buildings, we usually start by looking at the architectural details, which we then use as the basis for developing an original, coherent and harmonious concept that combines tradition with our penchant for contemporary interiors.

This could be a mosaic, a detail on a banister, a window or a door lock. We have to find the anchor point for this detail, starting with the history of the house and even the street, and then adapt it to our current-day lifestyle and the personality of our client.

The new interior of the restaurant Velvet at Howald.

INTERVIEW

© ROBIN

© ROBIN

Amandine Maroteaux and Robin collaborate to create 10 shades for the Collection ‘Ode à la Provence’.

Your studio works alongside artists a lot. What role do works of art play in interiors, in particular in public spaces?

In situ art in a place that welcomes different groups of people becomes a source of inspiration and enables connections to be made. This brings an extra dimension to, and thereby helps strengthen our clients’ brands and corporate identities. We are fortunate to have access to emerging artists, leading galleries and agents in Luxembourg, France and Belgium.

Competition in the restaurant business is fierce. Restaurants have to stand out from the crowd and fight hard for their place. A place becomes a destination. Art supports this endeavour and is increasingly used to embody an identity and create an experience.

It is thanks to art that different networks and worlds meet.

And besides, anyone who collects contemporary art today is helping to shape the art history of tomorrow.

AT E L I E R C O M P O S T E L L E . C O M © CHRISTOPHE BUSTIN

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INTERVIEW

LIVE TOUCH DESIGN

SPACES FOR LI V ING A N D LE A R N ING With a keen sense of style and flair, Dominika Wojtkowska-Banaszek creates interiors that are more than merely functional spaces. She has already left a distinctive mark on her native Poland – from the Faculty of Chemical Technology building at Poznan University to her collaboration with David Lynch on the film centre in Łódź – and is now transforming mainly private homes, but also public spaces here in Luxembourg with her architecture and interior design studio Livetouch Design. Dominika firmly believes that well-thought-out interior design, based on sensory experiences, can boost our mood and well-being.

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INTERVIEW

TEXT CHAREL HEINEN

D

ominika is the kind of interior designer you want by your side if you’re looking for more than just an aesthetically pleasing space. For Dominika, good design is a holistic experience: “Good design should appeal to all five senses,” she explains.

“People not only perceive their environment through their senses, but also learn through them. You have to explore this – it’s the only way to find out what you really like.”

What textures do you like? What smells? What colours? What light?

Our senses can tell us all this if we engage with them. We can then draw on what we learn as a solid foundation for building a home in which we can be truly comfortable and content. That’s why Dominika insists on working closely with her clients: “It’s a process of learning and discovering together that only works if I tailor my design precisely to my client’s needs.”

Dominika’s move to Luxembourg brought with it new perspectives – after all, we are a very multicultural country and tastes can therefore vary greatly, something Dominika sees as highly enriching: “Every client brings something unique from their culture; I find it simply fascinating. I love hearing about how they live, their likes and dislikes, customs and traditions... Details that help shape my designs for them.”

“EVERY CLIENT BRINGS SOMETHING UNIQUE FROM T H E I R C U LT U R E ; I F I N D I T S I M P LY F A S C I N A T I N G . ” DOMINIK A WOJTKOWSK A-BANASZEK

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Dominika’s designs also always plan for the future. “An interior needs to be able to grow with the people who occupy it,” she says. This could be a young couple who are planning to have children or a family with children who will be leaving home in the not too distant future. Good design is not always immediately apparent, but rather unfolds through the use of the space.

LET THERE BE LIGHT Dominika’s starting point for every space she designs is the natural light sources – in other words, the windows: “First, I ascertain what natural light is available and where. We then use this information as a basis for deciding whether to install larger windows or create shadows, to integrate blinds or create additional lighting elements...”

Dominika regards light not only as a functional element, but also as an integral part of the interior design, one that significantly influences the ambiance and our well-being. She uses light to bring spaces to life and set the mood, much like a director: “It’s a bit like in a theatre: First you need background lighting; then you shine a spotlight on specific focal points.”

After lighting, the next most important consideration for Dominika are the materials used.

“For the same reasons we shouldn’t be producing short-lived products that end up in the bin after just a few years, when it comes to interiors, it’s more sustainable to develop a well-thought-out design and to implement this step by step with the client rather than be tempted by quick, short-term solutions,” she says.

Dominika’s materials of choice are wood, stone, glass and steel – natural, high-quality, durable materials with character. She sets particular store by individuality: Furniture, carpets, fabrics, even washbasins and lamps are created from her

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INTERVIEW

own designs – custom-made for the respective space. “Every design element and feature is produced by experienced craftsmen and specialised companies, who follow my designs to the T. This is how truly unique spaces are created.” Plastic, on the other hand, is not an option: “Plastic is too ‘manufactured’, too ‘cheap’ – it has no soul,” she says. When asked what her favourite material is, she replies with a smile: “People.”

D E S I G N T H AT T E L L S A S TO RY For Dominika, sustainable design is not about sacrifice, but about a conscious approach to materials and existing structures. “We don’t always have to create something new when there are good things already at our disposal,” she says. Instead of rashly replacing furniture and structural elements, she looks for ways to put them to further good use. “Old objects tell stories. Why dispose of them when we can restore or repurpose them?”

As an example, she cites a renovation project in Luxembourg, where she decided to preserve an old ceramic mosaic wall in the kitchen, even though the surface was uneven.

Instead of opting for a modern, smooth solution, the entire room was designed to showcase the old mosaic wall.

Trends and developments in the industry are, of course, important, and it’s vital to keep your eye on the ball. To constantly hone and update her design skills and expertise, Dominika regularly attends international design and art fairs such as the Biennale preview in Venice, Art Basel, Milano Design and PAD in Paris. However, she is very clear to point out that: “We mustn’t let ourselves be too blinded by trends – it’s far more important to pay attention to what clients actually need!”

“ I T ’ S M O R E S U S TA I N A B L E T O D E V E L O P A W E L L- T H O U G H T O U T D E S I G N R AT H E R T H A N BE TEMPTED BY QUICK , S H O R T-T E R M S O L U T I O N S . ” DOMINIK A WOJTKOWSK A-BANASZEK

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V I N TA G E

CONTEMPOR A RY IS HISTORY Good design is timeless – as Michèle Rob’s vintage boutique proves.

From accidental idea to Luxembourg’s leading destination for vintage furniture: Rob Vintage is today a go-to for collectors and architects, and an ever-growing clientele of lovers of furniture with a past.

TEXT CHAREL HEINEN PHOTOS MARC DOSTERT

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he story of Rob Vintage actually begins in 1957, when Michèle Rob’s father, a trained carpenter, opened Luxembourg’s first designer furniture store. The perfect venture for a skilled craftsman with a passion for design – some of Nic Rob’s creations can be seen today in Luxembourg’s National Museum of History and Art (MNHA). After leaving school, Michèle Rob went on to study law. But a career in law wasn’t to be. With a love of design inherited from her father, Michèle took over the business in 1993. It wasn’t until 2012, when looking for something a little more unique to dress the store’s Christmas window, that the idea of selling vintage furniture – somewhat accidently – came about.

Michèle was taken aback by the response to the old designer pieces from the depths of the stockroom that she used in her Christmas display. Suddenly, she was inundated with enquiries from architects who had instantly recognised the pieces and were keen to buy them.

But Michèle knew absolutely nothing about the vintage market. “We were a contemporary furniture shop with concrete suppliers, price lists and catalogues – the vintage market

“ T H E V I N TA G E M A R K E T IS ANOTHER BALL GAME A LT O G E T H E R ! ” MICHÈLE ROB

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is another ball game altogether!” she laughs. Undeterred, Michèle set about learning the vintage ropes and was soon buying and selling her first vintage pieces.

V I N TAG E WO N D E R L A N D Michèle’s next logical step was to open her own showroom, which she did in September 2012 – in her parents’ old apartment above the shop. Stepping inside this apartment, decorated by her father in the 1970s, is like stepping back in time. For film buffs, this time capsule looks like a set straight out of a Stanley Kubrick film, while for design enthusiasts, it’s a veritable museum. Most of the original décor and fittings and fixtures have been retained, and provide the perfect backdrop for the vintage treasures on display. “It seems the obvious choice now, but I didn’t see it at first – I had the perfect premises here right under my nose!” says Michèle about her decision to convert her parents’ apartment into a showroom.

Today, her customer base is not just limited to architects and people in the industry. “At one point, vintage was all the rage, and suddenly everybody – young and old – wanted it,” she says.

While the older generation associates nostalgic memories with the furniture that she sells, the younger generation is discovering the magic of a bygone era. But it’s not just retro charm that’s driving this interest in vintage: it’s also sustainability and the increasing importance of this for consumers. “In the past, the quality was much higher than what you find on the market today,” says Michèle. “The workmanship, the materials… furniture that was made to last generations.”

Rob Vintage’s customers are as diverse as the furniture on display.

Most come in looking for a particular piece – a shelf by Charlotte Perriand or the timeless Eames lounge chair, for example. “I’ve currently got one

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customer who’s after a specific Perriand shelf – it’s almost impossible to find one these days!” says Michèle. Most vintage items bought are destined for contemporary interiors as statement pieces. “Very few people are real vintage fanatics, furnishing their entire home with vintage pieces,” she says. “Most are looking for that special one-off piece that will give their home a unique touch.”

MY T H S A N D FA K E S

“ I N T H E PA S T, T H E Q UA L I T Y WA S M U C H H I G H ER T H A N W H AT YO U F I N D O N T H E M A R K E T T O D AY. ” MICHÈLE ROB

But there’s also a downside to this vintage boom. Michèle warns against supposed flea market bargains – a myth that many still believe: “It’s virtually impossible to pick up a bargain at a flea market these days, where prices have soared in line with demand. Especially for me as a dealer, it’s no longer worth buying from flea markets.” As the only legally certified expert in designer furniture in Luxembourg, Michèle is also well aware of the danger of fakes. “No fake gets past me!” she says emphatically.

Her trained eye can tell instantly if, for example, the frame of a table is original but the top has at some point been replaced. “If I sell the item on, I disclose such information to the buyer, which is, of course, reflected in the price,” she explains.

When asked what she believes constitutes good design, she is quick to answer: “First and foremost, it has to be functional. With a chair, for example, there’s no compromising on comfort.

Of course, aesthetics also play a role – there has to be a certain symmetry, an elegance to it.”

Word of Michèle Rob’s passion and expertise has spread far and wide: Rob Vintage is now not only the place to go for design fans from Luxembourg, but also attracts collectors and enthusiasts from all over the world. In an age where sustainability, quality and authenticity are highly valued, vintage seems the way forward now more than ever.

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FAVO U R I T E S

ICONIC DESIGNS FOR YOUR INTER IOR For this special, we asked design experts to share their three all-time favourite pieces – iconic designs they consider essential.

Whether timeless classics, personal keepsakes, or unexpected discoveries, each of these must-haves tells a unique story and adds character to any space.

R O B V I N TA G E

MICHÈLE ROB

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SERIE UP GA E TA N O PE S C E

THE BALL CHAIR EER O A A R N I O

SERIE BAMBOLE M A R I O B EL L I N I

“The chair that shocked the world! A chair that compresses like a sponge and always returns to its original shape – a true revolution in its time.”

“A milestone in design history – both in its technical execution and unmistakable character.”

“A true design icon – I had a sofa like this in my childhood room and absolutely loved it!”

FAVO U R I T E S

LIVE TOUCH DESIGN

DOMINIK A WOJ TKOWSK A-BA NA SZEK

A V I N TAG E TOY FROM CHILDHOOD

LC 4 C H A I S E LO N G U E L E CO R B U S I ER

INDIAN TEXTILES L I N EN & COT TO N

“An object from childhood always adds a deeply personal touch to a space. Personally, I love wooden toys for their tactile quality and natural feel.”

“A true classic of modern design.

The perfect balance of form and function – a piece that never loses its elegance.”

“I’m currently fascinated by traditional Indian fabrics. Their intricate patterns, rich colours and textures instantly make a space feel warm and vibrant.”

AT E L I E R C O M P O S T E L L E

A M A NDINE M A ROTEAU X

P I P I S T R E L LO L A M P GA E AU L EN T I

ARMEN L AMP G R ÉG O I R E D E L A FÔ R E T

B O R G H E S E S O FA L A C H A N C E PA R I S

“This lamp had a significant impact on the world of design and was a true innovation for its time, with a very bold design. It is also the first heightadjustable lamp.”

“This is a stunning piece. Armen is like a ball of light trapped between pebbles, inspired by the Breton universe.”

“It is a very strong iconic piece.

Designer Noé Duchaufour Lawrance was inspired by the Borghese Park, combining metal and fabric.”

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ADVERTORIAL

O N C E A M I E L E , A LWAY S A M I E L E

125 Y EA RS OF QUA LIT Y A ND INNOVATION Miele, a family business founded in 1899, celebrated 125 years of premium craftsmanship in 2024. From the outset, its founders were clear that success should be achieved by beating the competition on quality rather than price. Since those days, Miele has stuck to its motto of being ‘Immer besser’ (‘forever better’), and is constantly seeking to improve its products and services.

T

he company is now led by the fourth generation of the Miele and Zinkann families. Renowned for its innovative laundry and floor cleaning appliances, the Miele brand also excels in cutting-edge cooking appliances. Its flagship products include the DGC combination steam oven that has been on the market for the past 19 years and offers outstanding performance.

The HydroClean automatic cleaning system, exclusive to Miele, has recently been added to this classic product, further securing its position among the top kitchen appliances.

This statement from the current senior management team highlights the value the firm places on consumer satisfaction: “Our top priority is to ensure our customers are satisfied. We’re committed to supplying premium products and constantly innovating to meet our customers’ needs.” Quality, long service life and innovation remain the mainstays of the Miele brand, which offers its customers products combining state-of-the-art technology and elegant design.

A responsible and sustainable approach is also taken to

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production processes, enabling the company to save on resources and offer long-lasting appliances that set standards in terms of electricity, water and detergent consumption.

ONCE A MIELE, A LWAYS A M I E L E Miele’s role in making everyday life easier, combined with its tireless efforts to dream up the most stylish designs, has made it a permanent fixture in home interiors.

Customers’ commit to the brand because once they experience the quality and reliability offered by Miele and see just how intuitive its products are, they quickly realise they can’t do without them in their everyday lives. Its household appliances allow users to coordinate daily tasks in their homes, while its ovens make child’s play of producing the most refined culinary creations, providing a taste sensation for dinner guests.

Boasting over 125 years of expertise and innovation, Miele is committed to its customers and is keen for the love felt by both sides to continue. This is the implicit basis of the current slogan “Once a Miele, always a Miele”.

ADVERTORIAL

A SM A RT C U LINA RY E X P ER IE NC E

“ W E ’ R E C O M M I T T E D T O S U P P LY I N G PREMIUM PRODUCTS AND C O N S T A N T LY I N N O V A T I N G T O MEE T OUR CUS TOMERS’ NEEDS .”

Miele is using artificial intelligence to open up new possibilities for cooks.

Its Smart Food ID technology uses a camera inside the oven to take photos of the food. The AI system identifies the dish and automatically manages the various stages of the cooking process. This cutting-edge feature currently allows users to choose from over forty dishes from ten food categories. But Miele’s efforts to innovate don’t stop there, as new dishes are constantly being added to the Food ID system.

So how does it work? During the cooking process, the camera regularly takes photos, allowing the smart algorithm to monitor how well your dish is browning. Once it has turned a perfect golden-brown, the oven stops cooking. Smart Food ID is users’ smart kitchen assistant, offering an intuitive cooking experience that gives them peace of mind and helps save time in their everyday lives, with guaranteed results every time. The Smart Food ID technology can be activated using the Miele app.

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ADVERTORIAL

T HE M IELE E X PER IENCE IN GA SPER ICH For the past 48 years, Miele has occupied premises in the Gasperich district of Luxembourg City.

Initially designed as a Miele showroom, this space was subsequently turned into a sales outlet, where customers are met by a friendly team of staff passionate about sharing the history of Miele products.

The brand also operates throughout the Grand Duchy through Miele partner dealers.

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hese days, the Miele Experience Center in Gasperich is much more than just a store. It offers cooking demonstrations in a specially fitted kitchen studio for those who either already own a Miele appliance or are considering buying one. These sessions promise an unforgettable sensory experience that combines great flavours with great company.

Manuela Lefèvre, who has worked as a product adviser for the past ten years before recently taking on a role as cooking demonstrator, is a veritable mine of information on Miele appliances. “I live and breathe Miele,” she grins. For three hours, Manuela provides customers with a home-fromhome in which she demonstrates appliances’ features. “I make a starter, main course and dessert to showcase all the things you can do with a steam oven!”

Sat comfortably at a kitchen counter facing a whole array of cooking appliances, customers can ask any questions that spring to mind and see for themselves the enormous scope offered by Miele technology. “My main aim is to show them that if they follow the basic functions’ lead, they can then explore a whole range of user-friendly options,” explains Manuela. “All you need to do is put your ingredients in and the oven will do the rest.”

Since Miele appliances are tested to last 20 years, careful consideration is needed when deciding whether to go for a combination steam oven or an induction hob. “Our aim with these cooking demonstrations is to explain all the details to customers, so they can then decide whether or not to make this invest-

ment. The sessions also help them ensure that the appliances they choose for their kitchens fully meet their requirements.”

During her demonstrations, Manuela works with the combination steam oven. “This gem, combining technology and innovation, is capable of making a lasting first impression. By cooking a full meal in the oven from starter to dessert, I demonstrate just how easy to use and, in particular, how intuitive its features are, offering an effective time-saving tool with guidance from connected technology.”

The great thing about these cooking demonstrations is that a fun approach is taken to Miele technology, with the practical benefits of appliance connectivity explained in simple terms. “Using the combination steam oven based on the instructions provided not only saves time, but also guarantees a successful outcome, because the appliance is able to pinpoint the right temperature to one degree and

select an optimal cooking time based on the ingredients in the oven.”

For customers who prefer to have things explained to them in the comfort of their own kitchens, Miele also offers the two-hour ‘Miele Home Program’.

This service is free of charge for those purchasing a set of at least five kitchen appliances including a Miele steam oven.

Customers who already own Miele products and are seeking more detailed explanations can book an online session (two-hour presentation costing €199).

Rather than offering customers a cooking demonstration in their own homes, this includes guidance with appliance set-up, valuable pointers and, if required, the installation of customised profiles.

For the dates of upcoming courses:

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ADVERTORIAL

NEW TRENDS

‘OBSIDI A N M AT T BL ACK’ A ND ‘PE A R LBEIGE’ Miele kitchen appliances have always been associated with design expertise, minimalism and seamless integration in the home. The launch of two new colours proves that these credentials are still intact.

A M O R E ELEGANT TA K E O N B LAC K The new ‘Obsidian matt black’ colour range (named after the volcanic rock) is sure to delight those whose love of black springs eternal. The colour black, a symbol of timelessness, has been combined with a matt finish to create a highly elegant look. The induction hob is also available in matt black with MattFinish glass ceramic, further enhancing the hob’s minimalist design. This is highly scratchresistant and fully fingerprint-proof.

These 125 Gala Edition cooking appliances with ‘Obsidian matt black’ finish have been specially designed to mark 125 years of Miele quality, with a warranty extension of 125 weeks in addition to the legal warranty period, offering over four years’ peace of mind.

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ADVERTORIAL

T HE SU BT LE B EAU T Y O F ‘ P E AR LB EIG E’ Those who love design are certain to fall for ‘Pearlbeige’, the new colour that blends chameleon-like with all interior styles. ‘Pearlbeige’ is a warm blend of grey and beige that has been designed to exude subtle elegance against different coloured backdrops. With its modern yet timeless feel, it will retain its elegant look for years. Whether your kitchen is light and bright or features darker, more complex tones, ‘Pearlbeige’ is sure to enhance the overall effect.

This neutral colour coordinates harmoniously with natural shades and wood finishes. It is therefore ideal for creating an elegant, uniform space. ‘Pearlbeige’ is available for all kitchen appliances including the combination steam oven, microwave oven, coffee machine, wine cooler and even the cooker hood. All these built-in items can be equipped with handles (VitroLine range) for greater convenience or handle-free (ArtLine range) for a more minimalist and elegant look.

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ART

‘ FA L L E N T R E E S ’ I N O S A K A

T HE SILEN T L A NGUAGE OF T R EES From 6 to 20 May, the Luxembourg Pavilion at the 2025 World Expo in Osaka, Japan, will be exhibiting ‘Fallen Trees’ – an ambitious art project by Luxembourgish wood sculptor Pitt Brandenburger. This striking exhibition marries traditional craftsmanship and cultural and ecological awareness. At its centre are two sculptures, dedicated to the elder tree and the apple tree and created in collaboration with artists and craftsmen from various disciplines.

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ART

TEXT CHAREL HEINEN

‘F

allen Trees’ is the vision of Pitt Brandenburger and embodies the artist’s two great passions: traditional craftsmanship and nature – or, more specifically, trees: “Trees are not only vital for our ecosystems, but are also a key part of our cultural history,” says Brandenburger. “With each sculpture, I want to tell a story and raise awareness of the value and beauty of nature.”

The ‘Fallen Trees’ project is an ongoing series of sculptures that Brandenburger creates in collaboration with various artists and craftsmen and that are made from wood sourced from exclusively dead, fallen trees. The project emphasises our responsibility to nature and uses natural resources to draw attention to the ecological and cultural values of our native trees.

WO N D R O U S WO R K S O F A R T The sculptures are anthropomorphic – or human-like – and contain hidden elements, almost like a puzzle. On closer inspection, flower-like shapes turn out to be exquisitely crafted brushes, while elsewhere a musical instrument is concealed under a cover. This playful discovery is a central element of the concept, encouraging visitors to engage with the works, and thereby fulfilling Brandenburger’s primary aim of imparting knowledge.

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ART

The elder tree sculpture was created in collaboration with various artists and craftsmen, who have interpreted specific aspects of the tree artistically. For example, Ellen van der Woude, a renowned ceramist, has incorporated the structures and textures of the elder tree into her ceramics. Silversmith Birgit Maringer has recreated elements of the elderflowers in silver, highlighting the delicate details of the tree. While flute maker Rostislav Žďárský has drawn on the tradition of making flutes from the hollow branches of the elder tree. And felt artist Carine Mertes has made a cover and the platform for the sculpture.

The apple tree sculpture showcases a variety of artisan techniques and natural materials.

Maggy Backes, an expert in plantbased dyeing techniques, used pigments extracted from the leaves of the apple tree to dye fabrics that are incorporated into the sculpture. Michaela Fedeschin, a brushmaker from Hannover, contributed handmade brushes with applewood handles. While textile artist Carmen Laigre-Vazquez from Olingen designed a quilt to complement the sculpture.

Pitt Brandenburger Wood sculptor

Birgit Maringer Silversmith

Carine Mertes Felt artist

LU X E M B O U R G I S H MASTER CRAFTSMANSHIP The World Expo in Osaka provides a major stage for this exceptional multifaceted project. When the first visitors from around the world arrive in May and discover the hidden details in the ‘Fallen Trees’ sculptures, they will not only experience Luxembourgish master craftsmanship up close, but also embark on a contemporary exploration of our relationship with nature.

A project that is fully in keeping with World Expo tradition – characterised by a spirit of innovation, originality and a keen sense of the pressing issues of our time.

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Ellen van der Woude Ceramist

Rostislav Žďárský Flute maker

ART

T HE SEC R E T LIF E O F T HE E LDE R T R E E

“ W I T H E AC H S C U L P T U R E , I WA N T TO TELL A STORY AND RAISE AWA R E N E S S O F T H E VA L U E A N D B E AU T Y O F N AT U R E .”

PITT BRANDENBURGER

To broaden his educational approach, Brandenburger is publishing a children’s book about elderflowers that he has written himself. The story is about a boy called Theo who discovers that it’s not just folklore and witches do really live in elder trees.

The witches he meets teach him about the importance and diversity of the tree. The illustrations are by artist Iva Mrázková, and the book was bound by bookbinder Danièle Köller. “The book is particularly aimed at young readers and is designed to teach them about the importance of nature and craftsmanship,” adds Brandenburger.

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F R O M WA S T E TO WO N D ER

CH A R LOTTE PAYET WINS THE 2024 A RTS & CR A FTS EXCELLENCE AWA R D W

hen Charlotte Payet walks through the streets, she spots what others pass by: the artistic potential lying dormant in discarded plastic bottles.

The German-Luxembourgish artist transforms everyday waste into extraordinary treasures – and has now been recognised with the 2024 Arts and Crafts Excellence Award.

In her prize-winning work ‘Circulation’, Payet masterfully weaves together tradition and innovation: discarded PET and PETG bottles find new life as intricately crafted carpets, breathing contemporary spirit into traditional weaving patterns. Born in 1993, the artist, who honed her craft at Muthesius Academy of Fine Arts in Kiel and Jerusalem’s Bezalel Academy, brilliantly marries artisanal expertise with environmental stewardship.

The award ceremony at the Chamber of Skilled Crafts and Trades, graced by Prince Guillaume and

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Culture Minister Eric Thill, underscored the significance of this pioneering artistic approach. In his commendation speech, Thill particularly praised how the work seamlessly blends time-honoured craft traditions with cutting-edge innovation.

Payet’s work transcends mere aesthetics: it offers a powerful commentary on our relationship with resources and our connection to the natural world.

From what most consider rubbish, she conjures vibrant masterpieces that prompt reflection on sustainability. Her creations will feature at the upcoming Biennale De Mains De Maîtres in November 2025 – another milestone for this rising star who is reshaping artistic craftsmanship across the BENELUX region and Germany.

DEMAINSDEMAITRES.LU