The Adelaide Review - Luxury Edition #2

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South Australia | Northern Territory

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South Australia | Northern Territory

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–––– Contents

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Julie White and Peter Drew works hang next to each other in Madeline Reece’s apartment. Photographer: Josh Geelen

Contents #AdelaideReviewLuxury #AdelaideReview

10 –––– 11 Regional destinations 12 –––– 14 Changing face of luxury 15 –––– 21 Design at home

Cover shot: Billy Dohnt. Photographer: Josh Geelen

22 –––– 23 Curating art for the home 24 –––– 25 Private chef 26 –––– 27 Golden key 28 –––– 29 Travel

Editor David Knight –––– Digital Manager Jess Bayly –––– Design Director Sabas Renteria –––– Administration and Distribution Kate Mickan –––– National Sales and Marketing Manager Tamrah Petruzzelli –––– Advertising Executives Jana Maragozidis, Michelle Pavelic –––– Contributors John Dexter, Marni Ladd, Paul Wood, Jonathan van der Knaap –––– Photographer Josh Geelen –––– Managing Director Manuel Ortigosa

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Editor’s letter Welcome

To deliver this, we speak to Williams Burton Leopardi director Sophia Leopardi as she dishes out home improvement secrets as well as visually showcasing how the design and architecture firm creates a major project for a client. On transforming the home, gallery assistant Madeline Reece discusses the art of curating for your home and, as she shows, it doesn’t have to cost an arm and a leg. Chef Billy Dohnt left the restaurant kitchen three years ago for catering and private chef gigs and he hasn’t

looked back, as the rise of reality cooking and renovation shows means that private chefs are in demand for dinner parties and other occasions. Away from the home and Paul Wood travels to Japan to discover engawa as he swoons over the food and design of Tokyo and its surrounds. We also show some of the regional delights closer to home in the regions of South Australia as new luxe dining options have made day and weekend trips all the more enticing. Finally, John Dexter discovers what the Golden Keys are all about as he chats to Siddhartha Kaul, chief concierge of the InterContinental Adelaide.

David Knight Editor, Luxury by The Adelaide Review

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The home represents many things: comfort, shelter, family and security. And it hopefully represents a sense of personal luxury. For the second edition of Luxury by The Adelaide Review we focus on the home and what you can do to turn your house into a sanctuary, a welcoming space to relax with loved ones.

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Hardy’s Verandah. Photo: Meaghan Coles

South Australia’s regions are scattered with new must-visit dining destinations that match the state’s amazing produce, natural beauty and wildlife as attractions for those one-day and weekend getaways.

By David Knight

to country

The rise in the number of quality regional dining destinations is proof that the state’s epicurean resurgence isn’t restricted to Adelaide’s CBD and its surrounds. Luxe and special occasion rural dining restaurants have emerged all over the state to accompany acclaimed regional delights such as Hentley Farm, The Salopian Inn, Fino, Appellation and Star of Greece. What’s intriguing about many of these new destinations is that they are fine or casual fine

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dining establishments. As Hardy’s Verandah Restaurant, St Hugo and the soon-to-be completed d’Arenberg’s Cube are perfect destinations for those special weekend trips. The emergence of these new destinations mean that you don’t have to drive interstate to a region such as Victoria’s Daylesford to experience a cluster of fine-dining establishments, they are just a short drive away in the Adelaide Hills, McLaren Vale or the Barossa Valley.

d’Arenberg Cube Winemaker Chester Osborn’s dream will soon become a reality as the soon-to-be-completed d’Arenberg Cube is set to be an iconic landmark when it opens late in 2017. The five-storey multipurpose building, situated in the middle of Mourvèdre vineyards in the McLaren Vale, isn’t a building that merges in surreptitiously with its surrounds; it sticks out like one of Osborn’s colourful shirts. The Cube, which has got the wine world talking, will include a luxury restaurant which d’Arenberg says will “challenge convention”. The husband and wife team of Brendan Wessels (formerly of Leonards Mill and the Lake House) and Lindsay Durr will be in charge of the kitchen and will aim to create individual experiences for each diner that aims to engage the guests’ imagination as well as amuse and delight them.

St Hugo in Rowland Flat

St Hugo Cool contemporary design is perfectly juxtaposed with warm heritage at St Hugo, the restaurant and wine lounge which opened with a bang in 2016. Pernod Ricard’s South Australian base of luxurious wining and dining was, until a few years ago, the home of Grant Burge and has been transformed into one of the most spectacular South Australian gastronomic destinations thanks to Barossa’s JBG Architects and Adelaide’s Studio Gram. Perched in the middle of spectacular looking vineyards in Rowland Flat, St Hugo houses a restaurant and wine lounge with the slick fitout recently earning a commendation at the Australian Architect Awards (SA). Head chef is Mark McNamara, a Barossa local for a quarter of a century who was previously in charge of the kitchen at Appellation. His four course ($120) and eight course ($220) menus include St Hugo’s wine as part of the experience with McNamara basing all his dishes around the stable of wines. Also available is the four-hour chef’s table experience which is $300 per person (with wine) for a minimum of six people.

St Hugo Barossa Valley Way, Rowland Flat Lindsay Durr, Chester Osborn and Brendan Wessels in front of d’Arenberg’s Cube

Hardy’s Verandah In the beautiful Mount Lofty House, Hardy’s Verandah brings fine-dining to the Adelaide Hills. The iconic 165-year-old Adelaide Hills property has been rejuvenated with six-star accommodation coming to complement the new-ish fine dining restaurant that opened with much fanfare in February. With executive chef Wayne Brown recruited from Sake in Double Bay, the chef brings experience from many years working in Asia as well as time spent in iconic Sydney restaurants Quay and Tetsuya’s and Brisbane’s Urbane. With its ‘valley to verandah’ ethos, Brown’s menu showcases his French training and experience in Japanese kitchens with the short story ($109 or $179 with matched wines) or full story ($160 or $280 with matched wines) menus. Both menus showcase the Hills with many of the ingredients grown or foraged from the property and its surrounds.

Hardy’s Verandah Restaurant 74 Mount Lofty Summit Road, Crafers

Hardy’s Verandah. Photo: Meaghan Coles

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d’Arenberg Osborn Road, McLaren Vale

–– 12 The designs of local couture label Paolo Sebastian respresents new luxury. Photo: Duy Dash

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We must revisit the definition of luxury from the point of view of the customer and not the producer, writes Marni Ladd.

By Marni Ladd

Incomes and wealth in mature societies have more than tripled over recent decades. But are we getting happier as we are getting wealthier? Academics assert that once basic needs are met, additional income doesn’t do much to improve happiness. Known as reference anxiety, most people judge what they have according to what others have. So instead of being content with our own needs being satisfied, we are only happy by being comparatively better off. People tend to measure their comparative wealth by, amongst other things, the consumption of positional goods like luxury products and services. Today, as social media makes our lives much more visible, and technology promotes a desire for more instant gratification, reference anxiety is on the up. At the same time, brands are making luxury goods much more accessible, resulting in what some have called ‘masstige’ or ‘democratisation

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The new face of luxury of luxury’. But if millions have access to the same luxury goods and brands, then these luxury offerings lose their relative value, as the entire raison d’etre for luxury brands is to offer something that others can not get access to. In other words, scarcity is becoming less scarce, and wealth is relative. So if luxury is defined as a “state of great comfort or elegance, especially when involving great expense; an inessential, desirable item which is expensive or difficult to obtain; a pleasure obtained only rarely” (Oxford Dictionary), it follows that either the luxury market should be facing a bit of trouble, or that the definition of luxury is changing. The answer is that both are true. While traditional luxury categories enjoyed steady growth in the earlier part of this century, this is largely due to economic factors, mostly attributed to the rapid growth of BRIC nations (Brazil, Russia, India and China) and the associated boom in HNWIs (high net worth individuals). But this growth has more recently flattened, and in some markets retracted, posing challenges for traditional luxury brands. Continued on next page

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Artisan delights from Steven ter Horst Chocolatier epitomise the changing face of luxury. Photo: Jonathan van der Knaap

The third driver is the desire we have to make our lives feel more meaningful. This is very broad in terms of its application, and it is also the most significant departure from yesteryear’s definition of luxury. Until recently, luxury apparel and decorative items were often derived from the coveted and precious skins, coats, teeth and bones of rare beasts.

Today, customers of luxury brands are consuming much more consciously and as such are demanding ethical, sustainable and authentic luxuries.

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This is becoming more of an imperative, than an option, as customers demand transparency into ingredients, materials, country of origin and production methods. This is not unique to the

A luxury garment, when shoved into a plastic bag at generic point of sale, does not provide the sensory experience beyond that of buying a burger at McDonald’s. But some brands are getting it right. Department store Lane Crawford in Hong Kong offers a personalised DJ service while customers shop, the personalised music selection enhancing the shopping experience and therefore connection with the brand.

This means we must revisit the definition of luxury, this time from the point of view of the customer, rather than the producer. In doing so, three important factors determining the new path and growth of luxury can be identified. The first often overlooked driver of luxury is associated with the pleasure we derive from sensory experiences. This includes all touch points both online and offline, and is easily undermined by the lowest common denominator. That is, a brand is only as ‘luxury’ as its lowest point, not its highest. For instance, if a luxury hotel has poor customer service or cheap looking toiletries in its bathrooms, the promise of a luxury experience is broken.

The second driver comes from the sense of comfort we experience through engagement with relationships. Successful luxury brands bring like-minded people together; they have a point of view, a story and create a personal connection, so much so that it becomes an extension of the customer. Together with the rise of personalisation, successful luxury brands offer a masterfully balanced sense of joining a tribe at the same time as allowing the customer to express their uniqueness and desire for individuality. Monogrammed luxury accessories and more recently, VIP customers making or labelling their own wine, are two obvious examples of this driver in action. Luxury brands that incorporate ways for their customers to share time together, especially while learning something along the way (‘edusperiences’) can create very strong engagement. Often these brands capitalise on the fact that they are niche, small scale or local, emphasising the exclusivity, rarity (not just in terms of product, but also in terms of time) and sense of place as part of their story.

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luxury market, as customers in all segments are seeking transparency, but it is particularly challenging for luxury, a category traditionally characterised and defined by scarcity or rarity. Luxury products and services that help customers achieve their personal health and wellbeing goals are another result of the customer’s search for meaning, improvement and wellness. Many luxury goods and services of the past focused on their product only, promised happiness, but delivered only short-term satisfaction. A luxury brand’s goal was once to create a superior, exclusive and aspirational product. Successful luxury brands today understand that luxury is not just product and price related. Luxury is critically about experience, community, story, authenticity and transparency. The definition of luxury, through the lens of the customer, is changing and will continue to do so. What was a luxury yesterday is a necessity tomorrow, and many luxury brands now have a use-by date on their business. Small, niche, nimble brands with unique stories, which can connect and engage in a meaningful and personal way will be the winners.

Marni Ladd is Program Director of Wine Business at the University of Adelaide and was formally Program Director at Australian Centre for Retail Studies at Monash University

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For Leopardi, luxury is all about time and this is an aim that should be attainable for all, not just the well-off. Luxury is not about ostentatious gold bling or imported brand names but simply having time to yourself and/or your family, and to enjoy what you have in your space – the home – with loved ones.

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Creating a home The unofficial theme of this year’s Luxury magazine is luxury at home. With that in mind, we engaged Williams Burton Leopardi’s Sophia Leopardi to show us how her studio realises this ambition for her clients as well as sharing some tips for those who want to rejuvenate a room or two.

By David Knight Photos by Christopher Morrison

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“Pure luxury is time and space,” Leopardi says. “It’s about having time to enjoy your home and its details. When we create a home we want that sense of comfort. It should be a retreat that makes you feel good, happy.” Leopardi, who heads WBL’s interior design team, shares a visual snapshot of how they prepare and then curate a major project when someone hires an architect and design firm such as WBL.

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The brief: discover what the client wants. Look at the existing conditions of the site or property. This is followed by the concept, including the paste-up: posting pictures and ideas on a wall to visually weave an idea of the home.



Drawing the designs and refining the brief. Collaborate with client and other parties. Council is engaged for the approval process and once approved it is documented and specified and handed over to the builders.



Nursing the process through construction including alterations and additions. Making sure the spirit of the concept is carried right up to the moment to when the client moves in. Woven in through all the stages is ‘curation’: an ever evolving element that includes curating art, furniture and other details.

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“Play with scale and glazing. Break up to add interest.”


“Use contrast to highlight materials with age or patina.” 3 3

“Pay attention to the threshold, this often overlooked detail can elevate a simple opening to something special. Consider using a natural or salvaged material.”

Improving a home Over the following pages are a few simple tips to create a sense of luxury at home, as Sophia Leopardi shares some easy to follow guidelines to improve your home inside and out.

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“Leave blank space. It creates a sense of calm and allows surrounding details to shine.”


3 2

“Use lamps to add instant warmth.”


“Be thoughtful with what you display and what you put away.”


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1 1

“Structured bedhead as contrast to soften layers and delicate bedside table.”


“A bold use of colour adds atmosphere.”

3 3

“A mix of natural textured fabrics in a subtle graduation of colour for the ultimate understated texture.”

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Detail 1

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“Pendants are not the only way to create statement lighting, consider a contemporary surface fixture.”


“Use items on repeat to achieve an ordered display – making an everyday item more impactful.” 3 3

“Balance masculine and feminine styles. Flowers to soften a dark backdrop, marble to soften steel.”

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Importantly, as Reece’s collection shows, you don’t have to splash a lot of cash to hang an incredible array of art in your home. The walls of Reece’s inner-suburban cottage features work by acclaimed local artists such as Emmaline Zanelli, Billie Justice Thomson, Peter Drew, Julie White and Louise Haselton while she has recently purchased a Leo Greenfield drawing as well as a James Tylor piece. Reece, who is Flinders University Art Museum and City Gallery’s Exhibitions Assistant, say the ideal way to buy local art on a budget is to start following artistrun initiatives such as FeltSpace, Fontanelle and Floating Goose Studios as they have many events that provide opportunities to browse and buy.

Home is where the art is By David Knight Photos by Josh Geelen

Purchasing local art kills two birds with one stone for Madeline Reece, as the work she collects not only improves the look and feel of her home but supports local artists and galleries.

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“Go to their exhibition openings and attend fundraisers such as the Adelaide Central School of Art’s Wish You Were Here fundraiser,” says Reece, who purchased James Tylor’s piece from that fundraiser. “On the higher-end of the price spectrum, you can buy from galleries such as Greenaway and Hugo Michell,” she says. “Markets like Bowerbird Bazaar allow you to purchase pieces from the makers as opposed to brand names from big stores such as Freedom and Ikea. You will pay a little more comparatively [by purchasing from the maker], but it is worth it to support the artists. The same goes for purchasing

Indigenous Australian art, places such as Flinders University City Gallery shop and Tandanya source works directly and ethically from the art centres and the money goes back to the communities.” Madeline Reece

Joining the work of local artists such as Amy Joy Watson and Andy Nowell’s West End and Steve Wilson’s Acceptance Speech are prints of special meaning to Reece, who also curates people’s homes as a side-business, including an old Louis Armstrong poster (which was given to her by a former neighbour), a 1988 Adelaide Fringe poster and a print of the cult noir film Tokyo Joe, which starred Humphrey Bogart, and found its way to Reece via a strange pathway

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that included both her mother and father and an ex-boyfriend. While Reece’s day job involves curating exhibitions, hanging art in her home, and other people’s houses, is a different beast. “I’m my own worst enemy in my home as I’m in complete control of the work,” she says. “At the museum we are either working with a curator or an artist to install the work. We need to consider what the artist and the curator needs and balance that with what the visitors will respond to as well as the integrity of the work. At home, it’s different; it’s personal and it’s a place where you come back to rest at the end of the day. It’s a safe place.”

The secret lives of private chefs

While larger than life restaurant chefs hog column inches, host reality cooking shows and occasionally make the leap from tradesperson to celebrity, it is the caterers and private chefs that humbly go about their business.

By David Knight

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Photos by Josh Geelen

And business is good for caterer and private chef Billy Dohnt as the rise of cooking shows coupled with the enduring popularity of home renovation television proves that there is a pantry full of opportunity for private chefs. Perspective clients want to enjoy restaurantquality meals in the comfort of their own home while showcasing new renovations, artworks and wine cellar purchases.

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“The culture of dining has changed,” Dohnt says about the rise of hiring private chefs for dinners and parties. “More people are hiring private chefs as there is more of a culture around food now than, for say, my parents’ generation.”

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Dohnt, who lives in Port Elliot with his young family, says he works about two private chef gigs a month which is coupled by catering work across the state and the country for corporate clients such as PwC, Mazda, KPMG and Mercedes Benz and wedding locations such as Waverley Estate. He packed his knives and left restaurant kitchens about three years ago with Euroa Butter Factory in North-East Victoria sowing the seeds for his future catering work after two decades in the kitchen. “It was where I got a handle on events and weddings, selling weddings and started to work with clients and shape events,” he says. Then he returned to South Australia and his best client’s niece from his days at the Salopian Inn was the events manager at PwC, which got the ball rolling on his catering career. Dohnt can’t see himself going back to the hustle and bustle of the restaurant kitchen, as his catering and private chef gigs mean he gets to spend time with his young son and enjoy the unique beach and rural lifestyle that the Fleurieu Peninsula allows. Plus, the diversity of work means he is challenged creatively and it doesn’t hurt that he is close to food producers such as Goolwa PipiCo as well as the Langhorne Creek and McLaren Vale wine regions.

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“I love it down here,” Dohnt says. “I cheffed in the McLaren Vale for so long and I’ve got a passion for the Fleurieu Peninsula and the different opportunities catering allows me. Every day is different.”

Billy Dohnt

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The man with the golden key –– 26

As a member of the global society of concierges Les Clefs d’Or, Siddhartha Kaul has the keys to make guests welcome not only in Adelaide but almost any major city in the world.

By John Dexter

Siddhartha Kaul. Photo: Jonathan van der Knaap

A member of the 4000-member society that is Les Clefs d’Or, Kaul takes immense pride in his own capacity to make guests and visitors feel at home, both here and abroad.

“The most important thing is to understand what the guest wants – to understand their expectations, and then exceed them,” says Kaul, chief concierge at InterContinental Adelaide. But how does a concierge who works in Adelaide make someone feel at home in a different city? The key is in his connections. Much like the scene from Wes Anderson’s The Grand Budapest Hotel, where Ralph Fiennes’ character passes messages between a chain of Luxury by The Adelaide Review

international concierges, Kaul has the ability to make contact with an enormous and well-placed global network of peers. If a valued guest is leaving Adelaide and heading to Singapore, Kaul will discretely pass on their personal preferences to that destination, where they will be set up for the guest’s arrival. It could be a rose on the nightstand, a particular meal or something more complex, but if Kaul knows what they’re after, he’ll do his best to make it happen. “The guest feels special when we do that,” Kaul says. “The most important thing is to understand what the guest wants – to understand their expectations, and then exceed them.” Translating literally to ‘The Golden Keys’, Les Clefs d’Or is an international organisation and union of the world’s very best concierges. They meet annually in different centres of commerce, capital and luxury every year to learn, maintain their encyclopaedic knowledge, and, most crucially,

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keep in touch. Membership is highly prized, and hard to get, with only the most knowledgeable concierges gaining entry to the society. Kaul is modest about his inclusion, though quietly proud of his achievement in becoming one of only three Les Clefs d’Or members presently working in Adelaide. “It wasn’t an ambition or dream, as such,” he says nonchalantly, “I was there and thought, ‘why not?’”

“It’s about everything,” Kaul says of the arduous interview, noting he was grilled on topics as diverse as the state’s emblem, specific transport options, global customs controls and Adelaide’s history. Having worked in luxury accommodation in Dubai, the USA and Perth before coming to Adelaide, Kaul has seen his share of remarkable largesse and complex itineraries. He describes setting up a private tasting at Two Hands wines in the Barossa for visiting (unnameable) rock stars only to have

Kaul believes his top-notch service is more relevant than ever in an industry affected by rapid technological disruption, in the forms of new booking methods, digital guides and wayfinding methods. “These days I feel that the technology cannot emulate that real emotional human connection,”

he says. “With our experience, we can tell guests more. Booking sites can’t tell you a restaurant’s signature dish, for example.” It’s a position of duty and devotion for Kaul, who says that he feels a responsibility not just to the guests he assists. “As a concierge, you’re an ambassador for not only the hotel, but the city, state and country,” he says. Referring to the medieval origins of this grand global society, where the master of a lodging was known as the ‘keeper of the keys’, Kaul says he feels at home making others feel the same. “As an ambassador, I have the keys to the city.”

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them return to their rooms to find their favourite bottles of the day on their pillows. The strangest though, came during his time in Dubai, when a Saudi princess demanded that “the entire stock and catalogue of a jewellery store be moved to her hotel suite” for her own perusal.

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He goes on to explain the conditions of entry into Les Clefs d’Or. Candidates must have five years’ experience as a concierge, and three of those must be as a chief concierge. A recommendation must come from the candidate’s colleagues, who will endure hours of questioning over their general knowledge.

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Food, travel and engawa: a Japanese experience

In Japan, the concept of engawa is as much an architectural design element as it is a way of life.

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By Paul Wood

A way to bring the outside in, engawa is traditionally an in-between vestibule that wraps around a building, functioning as either an indoor gathering space or an outdoor area thanks to a clever use of screens. Engawa maintains connections, allowing a building to fade into nature by framing and harmonising interiors with exterior landscapes. The concept now informs a contemporary way of life influencing design, travel and food. The Aman Tokyo is one of the city’s newest and most luxurious addresses. A monument to the modern Japanese capital, a place where urban

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dynamism is tempered with serenity. While such a grandiose hotel in the centre of the world’s busiest metropolis might seem as far away from nature as you would expect, the interior of this resort has been meticulously designed to make you feel a world away. Traditional elements of stone, timber and washi paper are used to create a dramatic sanctuary in the hotel lobby and restaurant, bars and spaces for relaxation and conversation wrap around the exterior – their very own engawa. The hotel occupies the top six floors of the 38-storey Otemachi Tower, and through

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At its core, Narisawa strives to offer guests a style of cuisine and dining experience not easily replicated. The cities are surrounded by the sea and forests, the Japanese believe that people live in unison with nature, taking only the most necessary from the earth to support their lives. Narisawa succeeds in bringing the outdoors to the table as you are somehow transported to the ocean or the forest floor with each mouthful.

Mt Fuji

Awaking to a fresh new day, breakfast at the Aman Tokyo is something to behold – the ultimate AM bento box. The meal is presented like geometric artwork placed meticulously on the table. Out of the restaurant window distant views of Mount Fuji evoke excitement of the adventure that waits for rest of our luxury sojourn. After soaking in all that the Aman has to offer, we head off in search of the nearest Shinkansen station and before we know it are bulleting at 300 kilometres an hour towards the world’s most iconic snow-capped mountain.

An interpretation of engawa, Hoshino seems to bring more of the inside out and is designed to allow guests to live according to nature’s rhythms. The ‘campsite’ is set over a series of platforms with giant fire bowls at the centre of each. Fireside lounges come complete with cushions and blankets and attentive staff serve tea and drinks while we watch others prepare the afternoon feast of waffles, sweet cakes, marshmallows and chocolate. Rugged up in supplied goose-down knee length coats, we check into our tents (which are luxurious eco-pods). Starkly contrasting the surrounding forest on the outside, and simply designed inside to make the most of the views facing Mount Fuji. We see a sneaky peak over low clouds on arrival, but the majestic mountain stays hidden for the rest of the day. Only one in five guests actually gets to see the top of Mount Fuji according to local legend. “She only comes out once a week if you’re lucky,” chuckles our friendly porter.

panoramic 33rd floor lobby windows, uninterrupted views of the lush grounds of the Imperial Palace gardens at the centre of Tokyo complete the picture. The feeling of serenity is all-consuming us as we enter our 37th floor suite. The interior is elegant and simplistic. Windows stretching the length of the room offer more of those views and washi paper screens the main room from the wet areas, which includes everything from a stone bath to views of Tokyo Tower. As if exploring the Aman isn’t exciting enough, our adventure really begins at dinner.

Narisawa is currently the 18th best restaurant in the world according to The World’s 50 Best. Simplicity is a word that is overused in the culinary world but at Narisawa each dish epitomises simplicity. Ultimately, this is food prepared in a way that nature intended. Take ‘essence of the forest’. Presented as scenery, a hewn timber board showcases ingredients fresh from the forest floor. Next, a broth of sea snake from Okinawa washes around tender diced clam and sea bream bites. A single virgin oyster with baby peas has the impact of a half-dozen and is bettered only by baby sweet fish from the seas of Kanagawa, lightly tempura in style and served in a pool of its own pink roe.

But back to those delicious waffles… or more importantly, flame-grilled deer and local beer served in the Hoshino kitchen later in the night. Alongside every condiment imaginable, and a cast iron dish of chargrilled vegetables and roots, the venison stands in a pool of gravy that uses Japanese whisky as a main ingredient while a local beef cut is cooked in a jus of Sake, and I can’t think of a better combination. This is not a regular mountainside camping trip, and even the word glamping seems to undersell the experience. Mount Fuji towers above when we wake in our cosy little pod the next morning. She appears twice a week if you’re really lucky, it seems.

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Hoshino Mount Fuji is not your everyday holiday resort, designed with the busy Japanese family in mind it offers short stay nature and culinary adventures with all the modern conveniences.

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Experience magnificent Adelaide

Adelaide Arcade

Park Sq

Adelaide Arcade encapsulates a classic period with a timeless feel. Built in 1885, the Adelaide Arcade still retains elements of the original Italian style architecture and is a space of opulence and magnificence. As you walk through the centre of the arcade you’ll be absorbed in the splendour of the speciality stores and the charming and characteristic air of elegance.

Park Sq is a visionary new landmark on South Terrace inspired by the urban excitement of the city and the serenity of the surrounding parklands. Residents will enjoy superbly crafted homes, luxurious amenities, and a premier location with access to the parklands and the bustling CBD. Conceived by the acclaimed Woods Bagot architectural studio, Park Sq is proudly defined by its bold articulated façade. While the elegant design is an expression of both the urban and natural form, retail offerings on the ground floor will speak to the city’s renowned cosmopolitan culture and gourmet dining scene. The Park Sq display suite is open seven days a week from 12pm to 4pm at 208 South Terrace.

The Playford Hotel

Pfitzner Furniture

The Playford, MGallery by Sofitel is a boutique hotel located on North Terrace. Offering an opulent blend of classical style and contemporary luxury, the Art Nouveau ambience flows throughout. At the heart of every MGallery by Sofitel is a special story to discover and the promise of an unforgettable experience.

Everyone is different. And so is every piece made by Pfitzner Furniture. They handcraft to clients’ order – whether it’s a little longer or wider, from a unique Australian timber, or hand stained to your perfect colour. And because they use a combination of old world craftsmanship and new technologies, their furniture not only looks beautiful, it lasts for generations too. True luxury.

Luxury by The Adelaide Review

IDEAS FOR LIVING With Darren Palmer There are a few things that light me up in my work and in design generally. Obviously aesthetics are a huge attraction but ever since designing my first kitchen I have been enamoured with anything that surprises with its functionality. Real ‘James Bond’ stuff where televisions are revealed out of cabinets or doors seamlessly glide over the face of their neighbouring panels. Anything that adds functionality but in a really considered and surprising way was what I have always wanted to know about. Now to be working with the world leader in this type of technology for the home, from kitchens to cupboards, robes to entertainment areas I feel grateful that I now have the inside info on all of the latest and coolest fittings for designers and home owners alike, and I can share them, now, with you. For more information visit our website.

Darren Palmer Interior Designer, TV Presenter & Author


C ALL BEN 0407 646 803 FOR AN EXCLUSIVE PREVIEW D I S P L AY S U I T E 1 7 0 N O RT H T E R R A C E M E E T U S T U E S D A Y – S U N D A Y, 1 0 A M T O 4 P M O R BY A PP O I N T M E N T R E A L M A D E L A I D E .C O M

RL A247163

Luxury by The Adelaide Review

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