Header image Maria Bell photography

A quick walk through an almost perfect woodland and visitors are confronted by 24’s pavilionesque, space ship aesthetic. With its reflective and angular aluminium sides, it could hardly be more of a contrast to the verdant trees and foliage it stands between but it’s a statement design, for sure; something special beckons. Inside, bright vertical op art gleefully greets us. There’s no reception desk but a long corridor lit purely by skylight. Within the dining space, a notable calmness dominates; London is another city. The ceiling is a couple of storeys high so much of the sound dissipates above but even the open plan kitchen feels mollycoddled by a respect for the countryside which envelops it and is emphasised by 24’s large windows. If, inside, the overall illusion is one of convening with nature, there’s also a large outdoor terrace that destroys the illusion and makes it a reality.  

We remain inside and sit in the furthest corner from the entrance. A Yayoi Kusama sculpture yellows the greenery of a distant field. Nearer by, shadows flit on walls and cut geometric patterns. We order glasses of Rathfinny Classic Cuvée from East Sussex, a crisp and clean cut way to help us dissect the small menu which includes ‘Nibbles’, ‘Small plates’ and ‘Dessert’, except on Sundays when ‘Roasts’ are added. From the former, the homemade Sourdough is a must; light and fluffy but with a playfully crisp crust and marmite butter, which adds salty but subtle flavour. 

Our waitress recommends four to six plates, depending on hunger levels. With one exception which we ordered later, the plates arrive at the same time, which presents a small challenge to fit them on the table. The Seabass Crudo swims in a green flecked olive oil and is decorated with a sweet apple and cucumber salsa and three sliced jalapeños for a little kick. It’s an unusual but delicate and elegant combination. Likewise, the Sussex Fishcake; watercress pesto offers a sour twang to the saltier caper mayonnaise, both of which add succulence to the crispy, fish-laden cake.

The Goodwood Lamb Shoulder and the Chalk Stream Trout are the closest the menu has to mains. The former is super tender, slow-cooked and delicate, much like pulled pork in texture. The latter is chargrilled and clean and is accompanied by a bisque sauce. Both come with their own sides but we order more ‘dedicated’ ones. In visual terms, the Potato Fritter is the meal’s biggest surprise. Orange coloured in an orange sauce, it resembles a cubic asteroid, lands with all the exuberance and excitement of an unidentified flying dessert and is the closest option to comfort food. I stay away from the Charred Cabbage but my friend is very excited by it.

The 70% Chocolate Mousse follows in a similar vein to the above; traditional British cuisine with twist. The mousse is heady and silky and smooth and might even have a small slick of caramel on its bottom. On top, a cluster of nut crumbs mingle with honeycomb chunks for a decadent way to finish our meal. We sat down to eat at around 1.30pm and left for a walk around 3pm. Last entry is 4pm and the estate encourages visitors to leave by around 5pm.

With only two hours, we were a little tight on time, especially when there’s two small exhibitions to take in. The main gallery is dedicated to deceased American ‘land artist’ Nancy Holt, best known for her large-scale earthworks and site-specific installations. Including poems and type-writer art, Holt shows communication was way more frivolous and fun back in the ‘60s. There’s a 16mm film about the construction of her famous concrete Sun Tunnels and, most impressively, a specially constructed shiny aluminium fan/exraction system taken from Holt’s original design. Not only does it look like an integral part of the gallery’s structure but it also expands outside to look like a deliberate part of the exterior. The smaller gallery is devoted to Eva Rothschild who practices ‘material dissonance’ and often deals in brightly coloured, if not fluorescent objects of both two and three dimensions. Two tapestries have been specially commissioned for the space and were woven locally at West Dean College’s Tapestry Studio.

Other artists on display include Lee Ufan, Hélio Oiticica and Isamu Noguchi. Rachel Whiteread has one piece which looks like slick space age coffins beamed down from another dimension and one which represents her more urban and concrete ‘negative space’ period. With her erect and flesh coloured sculpture which resembles both an arm bursting from the ground and something(s) more phallic in nature, Rose Wylie suggests there’s more enjoyment to be gained in the countryside than anyone might imagine. Yayoi Kusama’s instantly recognisable sculptures seem a little over-exposed these days but the sight of two large, iconic, yellow and black spotted pumpkins slumped together in a massive English field is an undoubtedly joyous moment. That said, the standout piece for me is a site-specific aural installation by 2010’s Turner Prize-winning Susan Philipsz. Hidden in several trees, loudspeakers burst forth every seven minutes with music and lyrics derived from Elizabethan songs. Words evoke the woods as a site of gathering, exile and refuge, perspectives change and the audio is so crisp that I half expect the singers to reveal themselves. Although uplifting and pure in nature, it also conjures up images of witchcraft and Wicker Man-type horror films.

The Goodwood estate may be better known for its horse and car-racing events but owner, Duke of Richmond, is just as keen, if not more so, on art and with his art foundation, he’s amassed an impressive display of internationally renowned artists to prove it. From woods to fields to the occasional quarry or open space, the array of sculptures elevates the already beautiful landscape into a surreal and beguiling one. The sense of discovery, the anticipation for what might lurk around the next tree bark, the happy confusion as to how the sculptures interact with nature renders the experience magical and intriguing and fully engrossing.  Add the delightful 24 into the mix and this experience has all the trappings of a perfect day out. 

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Location

The Mellah Hotel is set deep within the historic Jewish Quarter of Marrakech, offering a warm contrast to the city’s more frenetic rhythm through its quietly removed location. Despite this sense of seclusion, it remains within an easy walking distance of the city’s key landmarks, including the Bahia Palace, Ben Youssef Madrasa, and the bustling souks, and only a 20-minute taxi to the airport.

Part of the experience is simply finding your way there. Down a maze of pedestrianised streets and out of sight from the main road, you’ll find yourself outside an unassuming door, almost hidden in plain sight. From the moment you arrive, it feels deeply personal, as though you have been guided into a space known only to those who seek it out. That feeling of arriving home resonates every time you step through the Riad’s doors.

The Space

Once inside, the contrast is striking. The calm of the Riad, paired with its eclectic design, creates an immediate sense of escape, making it hard to believe that the energy of Marrakech lies just beyond the walls.

The renovation of this former Rabbi’s home was led by French-Moroccan entrepreneur Simohamed Azzouz. The design is minimal, brought to life through deliberate bursts of orange, yellow and blue set against Marrakech’s signature terracotta tones. At the centre of this three-storey Riad sits a traditional, expansive open courtyard, where a circular yellow sofa rests on black-and-white tiled flooring, framed by large, leafy greenery that perfectly catches the morning light. Elsewhere, Azzouz strikes the balance to silently fill every space. Artwork by Flemish-Moroccan photographer, Mous Lamrabat, is displayed on the whitewashed walls, dissolving traditional boundaries between art and environment while exploring questions of identity, heritage, and cultural hybridity. Each nook has also been carefully considered to provide a sense of escape from the world beyond the Riad doors.

Whether relaxing beside the large fireplace on the ground floor, leafing through a book in a quiet corner of the softly lit library, or taking a dip in the rooftop pool during the afternoon heat, surrounded by a sea of terracotta roofs, one thing is for certain: every space invites moments of pause to allow the sense of stillness to gently take hold.

My Room

One of the first things I noticed was the absence of keys. It’s a small detail, but one that speaks to the Riad’s intention of feeling like a home away from home: safe, familiar, and entirely at ease. It’s not something I found myself questioning, rather, it reinforced that quiet sense of trust and comfort that I felt as soon as I walked through the doors.

Beyond the bedroom doors, a king-size bed sat against a mustard-coloured wall, framed by African-inspired soft furnishings that subtly nod to Morocco’s heritage. Even the smallest details felt intentional, from the colour of the radio to the textures layered throughout, each element blending into the overall design found across the Riad.

But the real highlight, and an indulgence I rarely overlook, was the freestanding bathtub positioned at the centre of the room, inviting one to relax with a deep soak after a day wandering the bustling streets of Marrakech. This was contrasted, yet complemented, by a more traditional circular walk-in shower wrapped in intricate mosaic tiles, allowing a balance of clean, minimal lines with subtle artisanal detail throughout the room.

Together, the bedroom struck that fine balance between function and indulgence. With only ten rooms, each one is not overly elaborate, but rather it’s designed to feel personal and intimate, honouring the Riad’s ethos.

Culinary Journeys

The dining scene at the Riad is truly special, with restaurant manager Abdel Samad ensuring each dish is carefully presented and thoughtfully explained. His evident passion when introducing every course reflects the Riad’s wider philosophy of welcoming guests into the home, rather than simply hosting a stay. With a kitchen run by local women, affectionately known as the Moroccan Mamas, each meal is homemade, authentic, and bursting with flavour.

Breakfast is a generous, leisurely affair on the rooftop while catching the first of the morning rays. A spread of pancakes, fresh bread, yoghurt and fruit is laid out on the tiled table alongside a selection of homemade condiments. This is followed by a second course of your choosing, with options ranging from Moroccan shakshuka to khlea and egg tagine, offering a balance of dishes to start the day.

Throughout the day, lunch and afternoon tea are on offer to fill the spaces in between. Dinner, however, was the highlight for me, framed by the stars overhead to add to the magical allure of the Riad. With a three-course set menu, making it difficult to settle on just one dish at each stage, the meal was cooked to perfection. I began with a mezze of five traditional salads, each offering a subtle twist that elevated otherwise familiar ingredients. The main course was a standout, and far from an ordinary chicken tagine. Rather than relying on the more typical preserved lemon, it was gently infused with fruit, adding depth without tipping into the sweetness tagines can sometimes lean towards. To finish, I chose the matcha tiramisu which was whipped to an airy texture that rounded off the meal with just the right level of indulgence.

Portions were generous, with a quality and presentation that felt more in line with fine dining than a traditional riad setting. Even if you are not staying in one of the ten rooms, the Riad welcomes outside guests for dinner, a detail not to overlook as this was the standout meal of my time in Marrakech.

Moments in Between

Spending time within the riad has a way of slowing everything down. It’s intentionally designed to be slow-paced, encouraging guests to reset and unwind before returning to everyday life. Afternoons can be spent lazing in one of the poolside cabanas, or, for something slightly more active, taking part in one of the cooking or pottery workshops on offer.

For those looking to explore more of Marrakech, the Riad is perfectly located for sightseeing. Bahia Palace is just a short walk away, while other key landmarks can be reached within a fifteen-minute walk. The lively Rahba Lakdima (often referred to as Spice Square) is also only a ten-minute walk, adding to the sense that the city is easily within reach.

Looking ahead, the Riad is set to expand in 2027 with additional rooms, a wellness space, and an extended rooftop and restaurant, offering more ways to fill those moments in between, while still maintaining the intimacy of this small boutique stay.

Final thoughts

From the moment you step inside the Riad, its philosophy becomes immediately clear: a restorative stay shaped with care and delivered with genuine warmth, not for show, but for comfort.

If this is the level of service and hospitality after just one year, it already feels remarkably assured, as though the team has been doing this for far longer. With plans for expansion on the horizon, The Mellah Hotel is certainly one to keep on your list, and one I would personally return to without hesitation.

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Txema Palacio is Bilbao-born, trained in kitchens across northern Spain and the south of France, and his cooking reflects those influences. The technique, the sauces, the stocks and the respect for product come from the Basque Country. The olive oil, the generous wines, and the charcoal grill come from Andalucía.

Malva beach is beautifully designed, distinguishing it from a typical chiringuito restaurant on the coast. Elegant wood furniture, warm, sophisticated interiors and day beds and loungers set out on the sand, shaded by palms and parasols. The restaurant sits right on the Rada beach, with the Mediterranean as the backdrop to everything.

The menu opens with sharing plates. Txema Palacio’s own gildas, the Basque anchovy, olive and pepper pintxo. Pil pil prawns from Huelva. Galician mussels with piparras peppers and oloroso sherry vinaigrette. Carabinero croquettes with prawn tartare. Then a raw section with Gillardeau oysters served natural or with ponzu, Bloody Mary or ají amarillo, bluefin tuna sashimi with yellow chilli and ponzu, and a steak tartare prepared fresh with egg yolk, hollandaise and crystal bread.

The grill is central to the kitchen’s identity. Sardines al espeto, red prawns from Garrucha, langoustinos from Sanlúcar, sea bass, red snapper, turbot, and a matured cowboy steak all cooked over hot coals. Fire gives character and depth, and it is one of the defining elements of Palacio’s cooking. Among the chef’s recommendations, the roasted Málaga goat shoulder with celeriac, artichokes and a Palo Cortado emulsion, and the bacalao al pil pil on a bed of fried vegetables both signal the depth of what this kitchen can do.

The wine list is impressive for a beachfront restaurant, with strong representation from across Spain and a particularly good selection of Andalusian fortified wines, including Barbadillo Reliquia sherries aged over 100 years. There are champagnes from Dom Pérignon to Cristal, and serious reds from Vega Sicilia Único to Château Margaux. The cocktail list includes classics as well as house creations like the Santorini Spritz and Matcha Martini.

A six-course tasting menu is also available for those who want to experience the range of Palacio’s cooking.

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Shelly, please tell us a little about yourself and how your journey in hospitality began. 

I actually started my career at the JW Marriott right here in Washington, DC, which was the very first JW Marriott hotel, so that was pretty special. From the beginning, I was drawn to the energy of social events, weddings, and planning meetings. I really loved that side of the business.

As my career evolved, I spent time in group sales and marketing, which eventually led me into general management roles. That is the part of the job I enjoy most because I get to be involved in every aspect of the hotel and work closely with all of the teams.

The Mayflower is one of Washington DC’s most storied addresses, the “Grande Dame of Washington” and the “Hotel of Presidents.” What does it mean to you to lead such an iconic and historic property?

It really is an honor to lead a hotel with such deep significance and rich history. The Mayflower Hotel, Autograph Collection has honestly changed the way I travel and how I experience cities. I love to travel and have been fortunate to see many places around the world, and now I naturally seek out historic hotels wherever I go. I am drawn to their stories, the people who work there, and the history they have lived through, very much like the incredible legacy of The Mayflower Hotel.

The Mayflower’s grand lobby and its 400-foot promenade have been described as “probably the grandest indoor street in Washington”. What do you hope every first-time visitor feels when they walk through these doors?

That’s such a great description, because when I watch guests walk into The Mayflower Hotel each day, you can actually see that sense of awe and arrival. From the moment they enter, they step into this grand dame, and the beauty and scale of the building surround you right away. You feel it immediately.

As you move through the promenade, it really builds anticipation and naturally leads you through the space to my favorite room, the Grand Ballroom. The lobby itself is stunning, from all the gold gilding, which has the most gold gilding in any building, second only to the Library of Congress in Washington, DC, to the marble pillars and the open, high-ceilinged atrium. It is a space that truly takes your breath away.

The hotel has hosted Presidential inaugural balls, world leaders, celebrities, and some of Washington’s most memorable moments.  Are there any chapters of The Mayflower’s past that particularly captivate you as its GM?

The 1920s are especially fascinating to me, particularly as we celebrate our 100-year anniversary. That was really the time when the hotel was at its newest and grandest, more so than any other hotel in Washington, DC.

When I stand in the Grand Ballroom each day and imagine presidents and first ladies greeting their guests from the presidential balcony, it honestly never gets old. It is incredibly special.

Washington DC is unlike any other city in the world, where politics, diplomacy, history, and culture collide daily. How does that unique character influence the guests who come to The Mayflower, and what does it demand of you as the person responsible for their experience?

That really is a tall order. We welcome guests from all over the world, each one here for a different reason and for so many different purposes. Knowing that The Mayflower Hotel is the backdrop for those experiences is incredibly special, and it is also a responsibility that I, and everyone who works here, take very seriously.

For us, it truly comes down to personalisation. It starts with understanding each guest and what they need during their stay, and then, acting on that, we can create a very personal, meaningful experience for whatever brings them through our doors.

You take a hands-on approach to your work, making a point of being present in the lobby to greet guests personally. Please tell us more about your leadership philosophy and your beliefs about great hospitality.

Yes, I do take a hands-on approach, and for me, it really starts with our associates. I truly believe in being visible, approachable, and engaged every day, not just with our guests, but especially with our team. When the associates are enjoying their work, the guests feel that energy immediately.

Those moments in the lobby and the arrival experience are my favorite. There is such excitement when someone first walks into The Mayflower Hotel, anticipating why they are here and what their experience will be like. You can really feel that sense of expectation and energy.

From a leadership perspective, I also place a strong focus on mentoring our managers and helping them build confidence and feel empowered. When they carry that confidence into every guest interaction, no matter the request, they feel comfortable taking ownership and creating a truly personal experience.

You’ve described The Mayflower’s team as “one giant family,” with dozens of associates who have been here for 30 or 40 years. What does this extraordinary staff loyalty mean to you, and how does it shape the culture of the hotel?

Our associates have incredible pride in both working for Marriott and working for the Mayflower Hotel. And as you mentioned, many have spent decades here becoming part of the hotel’s story. And without them, we would simply be a beautiful building. Those associates are the ones who create the moments that guests remember.

Is there a type of guest or a particular reason for visiting that you find especially meaningful to welcome? 

Absolutely. I think this really goes back to my beginnings with the company, because wedding weekends are especially meaningful to me. I make it a point to personally welcome the couples and their families, and that is always incredibly special. We have even hosted multi-generation weddings here, which are deeply moving.

Those kinds of experiences create lifelong emotional connections to the hotel. My favorite wedding last year was a bride whose mother and grandmother were both married here at The Mayflower Hotel. Being part of a legacy like that is truly extraordinary.

The Mayflower is a place where, as you’ve put it, “history is being made every day.” As you look at the next chapter of the hotel’s story, how do you balance preserving that extraordinary heritage with the need to modernise and evolve?

We talk a lot about the history of The Mayflower Hotel, and storytelling is such an important part of that. For me, it is really about honoring our past while keeping it relevant for today’s guests. One of the ways we do that most meaningfully is through food and beverage, which plays a major role in striking that balance.

One of my goals is to create a living library that tells the hotel’s story through its menus. It is a way to honor the chefs who came before us, while also leaving space for future chefs to add their own chapter to The Mayflower’s story.

Beyond the hotel doors, what are your personal recommendations for making the most of Washington DC? Where should guests eat, what should they see, and where do the locals actually go?

The Phillips Collection in Dupont Circle is actually my favorite art museum. It is very personal to me since my wedding reception was held there, so it will always be special. The space is so intimate, and you can really lose yourself moving through the rooms. That sense of closeness and design really stays with you.

At the same time, the Smithsonian museums are truly cannot-miss experiences for anyone visiting Washington. I am also very excited about the new National Geographic Museum of Exploration opening just outside our doors in June. It is always wonderful to see a new museum join the incredible collection we have here in Washington, DC.

When it comes to dining, I love the classic restaurants like Old Ebbitt Grill, Le Diplomate, and Filomena. But like most locals, I also enjoy discovering the newest restaurants, and Washington, DC is always full of exciting new places to explore every year.

Luxury means different things to different people. What does it mean to you, and to The Mayflower?

To me, luxury is really about thoughtful attention to detail, and that is what we strive to do every day by getting to know each guest and personalizing their stay. When we are able to deliver that in a genuine, personal way, guests naturally create their own memories and truly appreciate the experience.

It is also about creating moments of surprise that feel meaningful. Guests may not know the full history of the hotel or have experienced a restaurant like Edgar Bar & Kitchen before. When we can surprise and delight them with stories, and connect them to the history in a thoughtful, authentic way, they leave with memories and stories of their own.

And finally, what is your personal motto, if you have one?

What immediately comes to mind for me is Mr. Marriott’s belief that if you take care of your employees, they will take care of your customers. That philosophy has guided me throughout my entire career and remains a core principle for me today. It is something I truly believe in and actively carry forward with my team every day.

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Guests can dine on locally inspired cuisine at The Stuart Restaurant, enjoy afternoon tea in the Great Hall, or relax with cocktails in the wood-beamed bar. The spa features an indoor pool, sauna, steam room and treatment suites using luxury products by ESPA. A fitness centre and tennis courts complement the wellness offering. Located minutes from Stratford’s theatres and the River Avon, Billesley Manor provides an idyllic countryside retreat.

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I have known Sea Grill for well over a decade, and this latest chapter feels like the most focused. The restaurant now occupies the upper level of the resort’s sea facing pavilion building, with the new La Petite Maison taking the lower, direct sea-facing space. Sea Grill is a more intimate, more cohesive space, and it suits the restaurant well.

We took a seat at our table and ordered a Negroni, prepared tableside from a trolley, served with an ice cube pressed with the Sea Grill logo and a neat circle of orange peel. Generous and well made. I had the cocktail of the day, whisky with a carrot liqueur made from the resort’s own farm, shaken and served in a coupe glass. Superb. From the bar you look straight across to the marble seafood counter on the east side, where the day’s catch sits on a bed of crushed ice under a continual flow of dry ice, framed by a view out across the terrace to the gardens and the sea beyond. On the day we visited, a ronqueo carving of a whole bluefin tuna was taking place behind the counter. It is the kind of scene that tells you immediately this kitchen lives by what it says about provenance.

Tables are set with white linen with dark blue water glasses and bespoke plates. Each is white with a blue rim and a small stamp, topped with a signature plate featuring three blue sardines. Fun, and distinctly Sea Grill. Blue velvet banquettes line the west wall, vintage-style ribbed glass globe lamps with maritime brass fittings hang from the white wood and glass pergola ceiling, and on the north wall, bespoke hand-painted ceramic tiles of fish, octopus and shells frame a wide cinematic hatch into the open kitchen. The team in white shirts, blue chinos and aprons move through the room with relaxed, attentive confidence. The one note I would lose is the terracotta pot of fresh herbs on each table, which feels at odds with the otherwise pared-back, refined aesthetic.

Bread arrived in a small iron skillet, soft buttery rolls like a light brioche, accompanied with a marble tablet of two house-blended butters. One a rich salted and the other with green algas. Irresistible. Then the smoked salmon, carved tableside from a trolley, a time-honoured recipe with a deep, authentic smoke flavour. Alongside, the classic accompaniments in miniature, including finely chopped hard-boiled egg, capers, red onion. Beautifully done, simple and elegant. The tuna tartare with Japanese mayo was a delight.

The artichokes, pan-fried in olive oil, were among the best I have had in Andalucía. A genuine highlight. The yellowfin tuna steaks, prepared à la roteña with tomatoes, onions and peppers, one of six ways the kitchen offers to prepare your fish, were less memorable, though the fresh asparagus alongside, dressed with olive oil and black pepper, was good.

Desserts are evocative of Spanish classics and traditional treats. The flan was one of the finest homemade Spanish-style flans I have tried, soft and creamy, flecked with ground vanilla pods. The bread, olive oil and chocolate was less successful in my opinion, the mousse too runny with too much oil, but served with crisp toasted slivers of crystal bread to enjoy. Both are evocative of Spanish childhood treats, the bread and chocolate a nod to the merienda, the afternoon snack of a bar of chocolate on bread. With coffee came a warm magdalena, generous after an already substantial meal.

The house white, a Nekeas Blanco 2025 from Navarra, was a good, enjoyable glass. In fact, the by-the-glass selection is extensive, and the full wine list, overseen by Wine Director Alejandro Marcos, holds over 1,400 references with two consecutive Wine Spectator awards. The dessert wine pairings alone, from a 1984 Don PX to Château d’Yquem 2022, tell you everything about the ambition of this cellar.

The quality across the board is reflected in the pricing. With a couple of starters, a fish course, dessert and a glass of wine each, lunch for two will comfortably reach almost €300. It is worth knowing before you sit down, but for this level of produce, preparation and service, it feels fair.

Sea Grill continues to earn its place at the centre of this landmark gastronomic resort. More intimate, more personal, and with a daily-changing menu that gives it a clarity and honesty genuinely rooted in the land and the sea around it.

This was a hosted lunch.

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British artist Bruce Munro is best known for producing large-scale immersive light-based installations, with language, literature, science, and music greatly influencing his work. An artistic diarist, he has spent over 50 years collecting and recording ideas and images in his sketchbooks, which he returns to as source material. Bruce’s work has been shown at Museums and Botanical Gardens internationally, notably, Longwood Gardens, Pennsylvania, The Victoria & Albert Museum, London, Waddesdon Manor for the Rothschild Collection, Buckinghamshire; Beyond Limits 2016 for Sotheby’s at Chatsworth House; Messums, Wiltshire and the Heide Museum of Modern Art in Melbourne.

Read on to discover more.

Take us back to that night in 1992 when you first camped near Uluṟu. What was it about that specific moment in the desert that planted the seed for Field of Light,  and did you have any inkling then that it would become your life’s most iconic work?

There was no Eureka moment; more like a feeling that I was part of something much bigger than myself. I felt joyful and a great sense of being alive. Scribbling thoughts and feelings into my sketch book was something I did, so I had no sense of how this experience would shape my future life 

You famously sketched the original idea in a notebook and then sat on it for over a decade before bringing it to life. What finally made you feel ready to realise it? 

I didn’t exactly sit on the idea. As soon as  I returned to the UK, I began thinking about how I might create an art installation to describe my experience, but it took a while to develop as I had no points of reference for how or where to start; also more worryingly, no regular income or home! I had to be realistic and accept that this was going to be a “long-term “ project. I am a bit of a terrier once I get an idea in my head …I hold on! 

You’ve described yourself as someone who works with light the way a painter works with pigment. Why did you choose this as your preferred medium of expression? 

I came across light in a formal sense by chance when I moved to Sydney in 1984. I saw a display of UV light-activated fluorescent materials in a shop window, which literally stopped me in my tracks. I passed it on my way to catch a Ferry from Circular Quay to Balmain, where I was doing a stint as an illustrator for a TV /film set builder. My interest in using light as a medium of expression progressively developed from that encounter.

Solar-powered stems, fibre optics, acrylic, the technology behind Field of Light is surprisingly delicate. How much of your practice is artistic vision versus engineering problem-solving?

I have always been mindful that having an idea is only part of the solution. Bringing an artwork to fruition is essential if one is serious about the idea. My dear old mum advised all her children (especially me) “ don’t be a talker, be a doer”!

750,000 visitors, ten years, 50,000 stems of light across seven football fields. When you walk through it now, does it still feel like your work?

Truthfully, nobody is entirely responsible for the work they create. If one considers the reality of life, everything is connected, and reality is actually a dance of atoms. However, I do feel connected with the FOL every time I visit Uluru. It’s like visiting an old friend or younger me.

Field of Light has since travelled to California, New York, Pennsylvania, Western Australia and the UK, but Uluṟu remains the original and longest-running. What does each new landscape bring out of the work that the others can’t?

Art changes one’s perception of a place as much as a place changes one’s perception of the art. Every iteration tends to have its own feel, and one can’t predict how this will be; so all new installations are an adventure with new surprises to be discovered.

The installation sits gently on Aṉangu Country. How has your relationship with the Traditional Owners shaped the way the work has evolved over the decade?

From the very start it was important for me to convey that the FOL was simply an expression of joy and connection inspired by visiting  Uluru with Serena all those years ago. It is definitely not a pastiche or western interpretation of Indigenous art or culture. The installation would never have proceeded without the Anangu’s blessing, and I was honoured that they gave it a name in their language which translates to “looking at many beautiful lights”

For luxury travellers planning to visit, the experience is as much about where you stay as what you see. Where do you personally lay your head when you’re at the Resort?

In 1984, we camped. It was December (and very hot); the ground radiated the heat of the day back into the sky …it felt like sleeping on a radiator! More recently, we have been very lucky to stay at Sails in the Desert, but there are a variety of places to stay; 131 being the luxury end of the spectrum. Wherever you stay, it’s the place that creates the unique memories.

Longitude 131° is regularly named one of the world’s great luxury lodges, with its tented pavilions facing directly out to Uluṟu. For our readers debating where to base themselves, what’s your take on experiencing Field of Light from that level of seclusion versus the buzz of the main Resort?

In truth, like many others, I would love to experience 131 because I hear it is amazing. However, I do love Yulara as a village; there’s a definite buzz of seeing/experiencing visitors from all over the world coming and going. I love the fact that the place comes alive when the sun sets and rises.

The new Field of Light Dinner menu has been unveiled using native ingredients from First Nations-owned Creative Native Foods, Coastal Rosemary Lamb, Smoked Kangaroo Blini, and Wattleseed Falafel. Can you tell us a bit more about that?

I was lucky enough to taste the new menu at the 10th anniversary celebrations. Experiencing native foods in such an iconic location can only enhance an appreciation of a place … Simply said it was delicious!

So much of luxury travel today is about meaningful experiences rather than just thread counts. Field of Light, Wintjiri Wiru, Sunrise Journeys, the new native-ingredient menu, Ayers Rock Resort has become a case study in that shift. Do you feel your work helped catalyse this?

In a small way, I hope we have been part of that influence to make travel experiences more meaningful. Places create feelings and feelings are fingerprints of time.

The extension to at least 2029 takes Field of Light well beyond anything you originally imagined. Do you see a natural endpoint for the work at Uluṟu?, Or could it become permanent?

The FOL will stay until it is no longer deemed relevant to the place it inhabits. I am truly honoured that it lasted more than a year

What do you hope the next generation of visitors will take away from the experience that perhaps the early visitors didn’t?

I hope future visitors take away the same feelings that Serena and I experienced in 1992. We all need some joy in our hearts, especially at this present time.

Luxury is so subjective. What does luxury mean to you, Bruce?

Luxury is when I wake up and appreciate how lucky I am to be alive!

A question we love to end with: What is your life motto? If you have one.

Something that has travelled with me all my life. When I learnt it as a child, I did not pay much heed, but the older I get, the more it makes sense. The motto “Garde Ta Foy” (Keep Your Faith) of Felsted School encourages students and staff to reflect on their values and beliefs. This motto emphasises the importance of strong personal foundations, integrity, and resilience, guiding individuals to approach life with grace and treat others with respect and kindness.

Image credits Bill Blair

www.ayersrockresort.com.au

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Hovering almost angelically above the city, with wraparound 360-degree views of Edinburgh’s skyline, João’s Place has always felt like one of the city’s better-kept secrets. Named Cocktail Bar of the Year in 2025 at the Scottish Hotel Awards and listed among Condé Nast Traveller’s best rooftop bars in the city. The redesign has almost doubled the floor space, turning what was formerly the W Lounge’s chef’s table into an enhanced lounge area within the bar. Outside, the wraparound terrace offers views that stretch over Princes Street on one side, round to Arthur’s Seat and across to Calton Hill, and on a clear night like the night I was there, the Firth of Forth and its bridges glint faintly from the other side of the terrace. And fear not, gas fires take the edge off even the sharpest Scottish chill, keeping you comfortably outside well into the night. On the evening I was there, the sun was setting on one side while a full moon rose on the other, a truly magical moment.

The cocktail menu is where the Liberdade story comes to life. Rare Japanese whiskies feature Yamazaki 18, Hakushu 18 Peated Malt, and the extraordinarily exclusive Highland Park 30, while those marking a milestone can choose to open an evening with a bottle of Laurent-Perrier Grand Siècle Edition #26. Signature cocktails embrace the São Paulo-Tokyo concept. Evening at Liberdade is a layered composition of Nikka whisky, Kahlúa and Mozart liqueur, dark and rounded. Margarita Piquant is its opposite, bright and zesty, built on Patrón Reposado, Illegal Mezcal and a jalapeño padron pepper soda. And if you go, make sure to try what ended up my favourite, the Maria, Pierre Ferrand 1840 Cognac, Port of Leith white port and oloroso sherry, coconut syrup and black walnut bitters. It’s bold and almost whisky-like in its delivery.

The food offering has expanded, too, with a larger light-dining selection, designed for sharing. Options now include items like sushi rolls with whisky-cured salmon and snow crab, wagyu empanadas with sweet ají panca and California rolls layered with Cornish brown crab, avocado and a drizzle of truffle oil. My personal favourites of the night were the crisp plantain chips served with ají amarillo, and warm, pillowy pão de queijo paired with a piquillo pepper aioli.

For live music enthusiasts, the bar hosts Sounds of João’s, an intimate acoustic session from Scottish-based musicians, running each Sunday from 4 pm to 7 pm.

The W Edinburgh is one of my favourite spots in the city for a drink and stay (read full hotel review here), and this enhancement to João’s Place further enhances its appeal. Open Wednesdays to Sundays from 3 pm – 1 am. Pre-booking is advisable, which can be made online here.

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The entrance is a narrow climb, literally, twelve steps up from the courtyard. Inside, Sartoria kow-tows to unfussy and timeless elegance, where white cotton table cloths and napkins still rule supreme but bronze lamps hold court. Everything is dramatic in its darkness and minimal in decoration, although the handful of moody black and white photos don’t display Sophia Loren, Ferrari or Dean Martin but rather the technique of dress-making. A couple of busts, one of an unnamed Roman Emperor, the other, a saucy and sozzled moon face advertising a product called ‘Rossi’, add playful decoration, confirming the space is more than a stiff paean to stuffiness. Overall, the entrance is transformative; goodbye England, hello Italy. 

I was running twenty minutes late, so I needed an immediate pick-me-up/calm-me-down. Sartoria’s main menu offers three aperitivos: Peach Bellini, Campari Spitz and, my go-to, a Negroni, which was pretty perfect and did its job impeccably. That said, for more choice, make sure you don’t miss the bar menu as we did. It lists a load of Signature Cocktails, including the evocatively titled Saville Stitch, Weekend in Milano, Il Sarto and Via Brera, all of which take the restaurant’s mythology and run with it.

Between Cicchetti e Pane, Antipasti, Primi Piatti and Secondi, it’s never an easy decision working out which courses to have and how many portions thereof. After a quick QnA session, our waiter advises and comes up with what sounds like a five-a-side football formation. Cichetti e Pani sits on the bench in favour of a two-two-one or a two-one-two. We opt for the latter. 

Antipasti is certainly a tough call with both Insalata di Polpi and Carpaccio di Filetto garnering lengthy discussions, but we eschew both. The Vittello Tonnato (Veal Carpaccio with Tuna and Caper sauce) presents simplicity as elegance. The veal slices are thin and perfectly pink, the tuna mayo is fishy, maybe with some anchovy, but not overpowering, while pickled, coloured cauliflower adds a crunchy texture and capers, a tang. The Crudo Di Tonno is a less pure tuna tartar than some, spiced up and flavoured with dill, tomatoes, Tropea onions and a green oil, but is moreish to the last. 

The Calamarata Alla Pescatora garners immediate murmurs of admiration from both my friend and I. This pasta belongs to the paccheri family and receives its name from squid, which it resembles in its tubelike form. Large enough to hide some of the seafood inside, or like clunky finger jewellery,  there’s a magnificence about this pasta. Its size and al dente chewiness make it feel like the main event and, of course, the succulent mussels, the finely cut, tender red prawns and the lobster bisque type sauce make it a joyous dish. My friend even notes its worthy of her favourite restaurant in Venice.  

I take a glass of Dolcettta d’Alba, Brezza, Piedmont with my Filetto al Pepe Verde. The Aberdeen Angus is sustainably raised and grass-fed and comes medium rare. It’s thick and chunky and is presented in a green pepper sauce full of fresh peppercorns, which burst with herbaceous crispiness. My friend takes a San Vincenzo, Anselmi, Soave with her Tonna Alla Puttanesca. The finger-sized strips of tuna are super rare, super tender, taste like they’ve been thrown in a hot pan and ripped out almost immediately. A reductive and rich tomato sauce with basil leaves, olives and capers renders the dish a romance for my friend. Special mention goes to the Patate Al Forno contorti, super fluffy on the inside, light but super crispy on the outside; an unexpectedly pure potato offering which wipes up the sauce from both Secondi dishes. 

Special mention should also go to Sartoria’s Italian themed playlist, geographically specific but stylistically and chronologically expansive. Expect therefore, anything from sixties Doo Wop to seventies Prog Rock to eighties Synth with everything in between including Mambo, Disco, Spaghetti Western, and House music. If it sounds distracting, it most certainly isn’t; eclectic it may be, exuberant it most certainly is.

Dolci consists of four choices but Tiramisu wins out as it always should and, much like in every Italian Restaurant, design and taste are idiosyncratic in the best way. Served at the table from a deep, seventies-style glass bowl, we share one portion. On closer inspection, it looks like slabs of marble sunk into concrete. It certainly isn’t as viscous as some, is relatively firm in texture and doesn’t fall apart upon first spoonful. Amaretto seems more located in the sponge, which is less soggy than many whilst the cream is thick and fresh. We love it. On our way out, the chef flits by. We have time to congratulate him on his great work, but not to ask if the Tiramisu is a family recipe. Either way, his mother would be very proud. 

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Sushita has been a fixture of Madrid’s dining scene since 1999, founded by Natacha Apolinario, Sandra and José Manuel Segimón. The brand has built a loyal following among the city’s smart set. The founding team and their R&D chefs have travelled extensively through Hong Kong, Canton, Singapore, Shanghai, London, and Paris to develop a fusion concept that goes well beyond sushi, drawing on techniques and flavours from across Asia and Europe.

Chinitas, Beautifully Reimagined

For their ninth opening and first outside the capital, Sushita chose Málaga, and specifically the building that housed El Chinitas, one of the city’s most emblematic addresses, historically linked to flamenco and the local artistic scene. The space has been beautifully reimagined. On the ground floor, a long bar runs along one side, leading to the partly open kitchen. Tables are set by the windows, in the middle of the room and in intimate alcoves. The decoration is inspired by Parladé, heavy on blues, with pieces sourced from antique dealers in Málaga, Seville and the south of France, including 17th-century Sevillian ceramic plates. The walls are painted with hand-executed murals by Johina García Concheso. Original features have been kept, including the wooden shutters, the entrance lanterns, the wrought-iron staircase railing with its worn marble steps and smooth wooden handrail.

Eugenia&Sushita tableware

The group’s collaboration with Eugenia Martínez de Irujo, the Duchess of Montoro and daughter of the late Duchess of Alba, on the Eugenia&Sushita tableware collection reflects the playful yet timeless elegance of the restaurant group, a hint at why it’s such a hit. The restaurants attract a well-connected crowd for the elegant, joyful dining experiences.

On the ground floor a table is dressed with dishes, trays and pieces from the Eugenia&Sushita collection, designed exclusively for this Málaga opening and the first place in Andalucía to offer the Eugenia&Sushita tableware. It is a lovely touch that immerses guests in the aesthetic from the moment they walk in.

We dined on the first floor, a salon with a small bar, a long table for the group and a series of charming alcoves. The walls are lined with books and ceramics, with wall lights made from sea shells. The third floor appeared set up for private events.

Tasting Menu

The cocktail list sets the tone, with author creations that fuse classic cocktail-making with an oriental twist. The Ginger Paloma with Patrón tequila and ginger syrup and the Mango Picante Colada with coconut, pineapple and a Tabasco kick are typical of the approach.

The tasting menu moved through a generous number of courses, and the kitchen’s approach was clear from the start. This is not the restrained precision of traditional Japanese sushi. This is colourful, playful, visually generous food, decorated with edible flowers, fish eggs and sauces. There is a lot going on, and it works. The flavours and textures are a delight. The kitchen works with sustainable Norwegian salmon, local Málaga producers and proximity ingredients, keeping the quality high and the sourcing considered.

The gilda de atún rojo, a riff on the Basque pintxo with red tuna and pickles, began the lunch, as we mingled with other guests. The carabinero croquetas with kimchi were a standout, the kind of dish that shows the range of the menu, fusing Spanish bar culture with Asian heat.

Once at the table, the gyozas de churrasco arrived. They were barbecue-glazed with a crisp shell and deeply flavoured. The tempura of red prawns with sweet chilli was tasty.

The sushi arrived on large boards, ready for sharing. The salmon nigiri with foie and truffle, the toro tuna gunkan and the spicy tuna maki roll were all generous and prettily presented, with that same emphasis on visual impact and Western-friendly flavour combinations.

We ended with coffee accompanied by a tiny bite-sized tarta árabe.

Final Thought

It is a fun, sociable restaurant in a beautiful building, with food that does not take itself too seriously but takes quality very seriously indeed. For Málaga, it is a welcome addition.

This was a hosted lunch for media.

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History

The Grade II-listed building operated as the Marlborough Street Magistrates’ Court from the 1800’s and had many a famous name frequent it, including John Lennon, Johnny Rotten, and Oscar Wilde, who stood trial there and Charles Dickens, who worked there as a reporter. It was then converted into a hotel, with careful consideration to maintain many of its original features. The hotel is independently owned and a family-run business.

Location

The hotel is located on Great Marlborough Street, where Mayfair, Soho and the West End meet, making it a great choice for visitors who love the buzz of a bustling city yet want a quiet place to which to retreat.

The world-renowned department store Liberty London is almost directly opposite the iconic Carnaby Street and Oxford Street, just a moment or two walk away, so shoppers will be in their element!

The London Palladium theatre is next door, with other West End theatres within short walking distance, and Oxford Circus station is only 3 minutes’ walk away, offering convenient and easy access to explore the rest of the city.

The day I visited, there was a tube strike, and as it was such a beautiful day, I walked from Kings Cross train station, which took me approx. 40 minutes. I thought the location of this hotel was brilliant!

Arrival and Check-In

I looked up and took the international collection of flags blowing in the breeze as my signal that I’d arrived. Upon entering the narrow corridor that leads to the main reception (on one side and on the other an entrance to Soho Wala) it is evident that this hotel is brimming with original character. The original tiles and dome ceiling depict days of old; I could easily imagine a constable marching a defendant along here. And true to these words, a member of the hotel team confirmed that this was the corridor that led the accused to the waiting room before trial. 

Through the double doors into the main reception area, there is an entirely different vibe.

The space is styled with creative furniture, vibrant artwork, and a collection of curios that pay homage to the historic past of the building and to the Indian roots of the current owners. A smart concierge stands proudly at his desk.

Check-in is an efficient process, with my bag whisked away to my room before I even notice. The reception team strike the perfect balance between professionalism and a friendly disposition, and I’m introduced to the Guest Relations manager, who clearly leads by example and takes me on a tour of the hotel, where I learn more about the original features of the hotel that have been maintained or restored, giving them a modern-day use. You’ll learn more as you read on.

I’m also introduced to the hotel’s GM who is also very friendly  – everyone I meet who works here has a genuine smile on their face and can’t do enough to help attitude.

Rooms & Suites

There are 116 rooms and suites (at the time of writing) ranging from a Classic Twin or Double at 25sqm, Superior Queen at 28sqm, Superior King at 32sqm, Deluxe King at 38sqm with a sofa or Chaise Longue. The Magistrates Suites are 55sqm and are individually designed with a separate living space, Robert Adams fireplace, marble bathroom and flat-screen TV. These are housed in high-ceiling Judge’s chambers within the original part of the building. The Lalique Penthouse Suite is the hotel’s premium accommodation option, named after the Lalique pieces of furniture and art it features. There are two bedrooms within this spacious suite, both with en-suite bathrooms, a living room, dining room and kitchenette.

My Room

I was hosted in a Superior Queen, which was extremely spacious offering ample hanging and storage space. My favourite aspects were the wooden clothes stand and suitcase bench.

Dressing table, workspace, robes, slippers, hairdryer and a good selection of Skin Essentials bathroom amenities were all conveniently on hand. There was a small selection of tea bags with a kettle but no coffee machine or mini-bar. There is a fridge, should you wish to keep your own snacks cool. 

I also received a lovely handwritten welcome note from the team along with some choccies, a bottle of wine and a bowl of fruit.  Décor follows a minimalist colour palette, which combines seal grey wood panelling, and is complemented by bold golden soft furnishings, like the ripple-effect headboard, which adds texture and warmth. This colour palette runs through the carpet and other soft furnishings too.

The bed was superbly comfortable with convenient light controls, a selection of reading lamps and power sockets on each side of the bed.

Facilities

The Courthouse Hotel is a deceptive hive of entertainment treasures. Boasting one of the biggest private cinemas in central London, it seats up to 100 people, and its rich aubergine carpet and suede walls create a dramatic ambience. Each of the luxurious mauve leather seats has armrests and fold-out tables so guests can enjoy a truly relaxing and authentic cinema experience. The cinema hosts regular classic-collection film nights for hotel guests and locals, along with exclusive-use hire options for private functions.

The Lumi Spa is found on the ground floor of the hotel and is the place to go for peace and pampering. Featuring a small pool, sauna, steam room, relaxation area and a variety of treatments too. I didn’t use the spa facilities during my stay; however, the pool did look very inviting!

There is also a very small gym with two treadmills, a cross-trainer, a seated cardio machine, and a weights bench with dumbbells up to 10kg and Rocky Balboa pictures hung on the walls to motivate guests as they work out. Remember to take your own towel and water, as these aren’t provided.

Food and Drink: Bars

The bar on the ground floor embraces the history of the building and is aptly called ‘The Bar’ with prison doors at the entrance. The vibe is cool, and the décor is modern, which complements its stylish drink offering. The refined space boasts some truly unique seating spaces with three former holding cells converted into distinctive private spaces where guests can enjoy a relaxed drink…..the original doors remain with the ‘hatch’ and lavatories still intact – such a fun way to bring the past to life.

The Soho Sky Terrace is, on a sunny day or evening, the hotel’s crowning glory. I was fortunate enough that when I stayed, the sun had made an appearance, so I enjoyed a pre-dinner drink amongst the city’s rooftops. I ordered a Margarita, which was superbly refreshing with a gentle kick, and the bartender had left a small gap in the salted rim so I could sip away without a salt overload… a thoughtful detail. Considering the bar is in Central London, it is unbelievably quiet, with only the sound of Ibiza-style beats softly playing in the background. Sheltered seating spaces, outdoor heaters, blankets and cushions enhance the relaxed Mediterranean vibe.  Vibrant orange trees, table flowers, faux grass and flora (which cleverly disguise the toilets) add colour, fun and personality to the elevated space. A range of wines, cocktails, spirits and light bites are served, and during the summer months, DJ nights and BBQs are frequently hosted here. The space can also be booked for private events.

Food and Drink: Dining

Breakfast is served daily in the ‘Waiting Room’ which is where defendants used to sit before their trial. It does carry an intangible weight which is hard to describe, and you can really imagine the scenes here from years gone by. Breakfast comprises a hot and cold buffet, which sadly I didn’t have time to try out. The team did kindly offer me a takeaway bag, but time wasn’t on my side.

The Silk Room is the private dining restaurant and retains many original features of the classic courtroom, English Oak benches still embossed with legal titles and a stunning vaulted glass ceiling. It’s a unique space which lends itself perfectly to intimate weddings and exclusive use gatherings.

And I’m sure if walls could talk this room would have some fascinating stories to tell. Notable cases (and people) trialled here include Mick Jagger in connection with cannabis possession allegations, Keith Richards, who was fined in 1973 for possession-related offences and unlicensed firearms, and Oscar Wilde’s celebrated Queensberry case started here too.  Photographs of such cases hang on the walls outside the restaurant and reaffirm the building’s position of authority and historic value.

Soho Wala

This is the hotel’s restaurant, which is directly opposite the legendary Carnaby Street and open to non-hotel residents too. Head Chef Rajesh Parmar and his team have built a good reputation for serving delicious and fresh Indian street food.

The menu comprises an excellent choice of small plates and platters ideal for sharing with options including chicken, lamb, prawns, cheese, lentils and side salads so it caters for most dietary requirements. Curries, dishes from the clay oven and a ‘special’ section are the main stars of the menu.

I dined with two others, and the helpful waiter suggested that two or three dishes each should be sufficient. We opted for the Tandoori Sizzler Platter (half Tandoori chicken, tiger prawns and lamb sheikh kebab). This was served on a bed of spicy, sticky onions and peppers, which were just as delicious as the leading meaty characters. The chicken pieces were tender with a pleasant mix of tandoor spices; the prawns were juicy, and the lamb kebabs were delightfully fragrant.

Another winning dish was the Walnut Paneer Tikka served with roasted onions, pomegranate and crushed walnuts. The Paneer was firm, not rubbery, with a slightly smoky flavour that paired perfectly with the Tikka spice and the crunchy texture from the walnuts and pomegranate.

One of the house specials is the Kali Dal with Choor Choor Naan. The dal was so creamy and moreish, and the overnight cooking process really enhanced the smoky, warming flavour. It was served with a Delhi-style street naan bread, which at first glimpse looked a bit like a caramelised cinnamon swirl – for me, this was a standout part of the meal, with a crisp edge and soft centre and a not-sweet but not-salty type of bite – it went down a treat.

The Butter Chicken Curry was very tasty too, with a deep, rich sauce covering tender bite-sized pieces of chicken. We mopped up the sauce with our side of roti, and I could have easily spooned the rest of it like soup had I not been ready to burst! 

We also ordered a side of Par desi raita (yoghurt served with cumin and pomegranate) along with a small plate of Chatpata Corn Chaat, which is steamed corn kernels, finished with lemon, coriander and chilli. These were excellent palate cleansers and brought a zing and freshness to the other deeper spiced dishes we’d chosen. This was more than enough for three of us, and we even left a few small morsels. All the dishes were presented in either steel dishes, wooden boards or colourful plates adding a sense of fun to the sharing dining experience.

As tempting as the desserts were, especially the Gulab jamun cheesecake (dumplings of sweetened milk solids with malai crème) we didn’t have room to squeeze one in – a good excuse to go back!

The drinks menu is not hugely extensive, but it presents enough choice to cover all preferences. We all enjoyed a glass of the white wine from Argentina.

Décor is colourful and playful with dark walls and ambient lighting, contrasting bold chairs and Indian inspired artwork on the walls add pops of colour. The overhead lights are a mix of various bird-cage style shades, and the table lamp light is constantly but seamlessly moving through a spectrum of colours – another playful design aspect. Funky Indian music plays in the background, helping to transport diners to the streets of Delhi.

I thoroughly enjoyed my meal here, and it exceeded expectations.

Final Thoughts

The location of the hotel, along with its treasure of a rooftop bar and interesting history, really adds a unique element to it. It’s an ideal base from which to explore the city and come back to a comfortable place to rest your head.

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Located off Massachusetts Avenue NW, this 20,000 sq ft Japanese food hall is unlike anything else in the city. Broken into four different dining experiences, all tied together by a long red hallway inspired by the torii gates of Kyoto’s Fushimi Inari shrine. Dear Sushi specialises in omakase, celebrating both traditional takes on sushi. Beloved BBQ, a high-end yakiniku steakhouse with smokeless grills at the centre of each table where diners can grill their own Japanese A5 Wagyu and American-raised beef. Hiya Izakaya, a high-energy Japanese bar with whisky highballs and other inspired cocktails plus sake, beer and wine. Japanese bar foods on offer include skewers and bites prepared over a robata grill, and Love on the Run, the most recent addition, a fast-casual spot serving fried chicken sandwiches, ramen, sushi rolls, salads, dumplings, soba, udon, ramen and their famous heart-shaped doughnuts.

Chef Makoto Okuwa’s career started in Japan, where he spent ten years training under master sushi chefs from the age of 15 before moving to Washington, D.C. Here, he secured his first job at Sushi Taro in Dupont Circle, and a few years later, left to work with Iron Chef Masaharu Morimoto. Chef Makoto would eventually assume the role of head sushi chef at Morimoto’s flagship in Philadelphia, as well as at his outpost in New York. Two years later, he fulfilled a lifelong dream of opening his own restaurant, Sashi Sushi + Sake Lounge in Manhattan Beach and then he went on to open restaurants in Miami, Mexico City, Panama, and São Paulo before coming full circle back to the capital. Partnering with restaurateurs Eric Eden and chef David Deshaies, who run L’Ardente (a favourite of Barack Obama’s) next door, Love, Makoto opened in 2023 in the growing Capitol Crossing.

Dear Sushi is a bright open space with light raw wooden furniture, almost Scandi in design, sitting against Prussian blue banquette seating which curves along one side. Vast linen shades hang above, while a sushi bar runs against the window.

Here it is all about the omakase; everything is thought out in precise detail, the menu presented in typewriter font as if perhaps an old love letter. Ceramic soy sauce dishes reveal a heart when they are filled. A set of iwai-bashi chopsticks dresses the table alongside a linen napkin, and a dish of ginger arrives with a quenelle of freshly grated wasabi sitting in ying and yang harmony.

We start with a lacquered box of edamame and a covered bowl of hatcho miso soup, the miso’s umami complexity leaving you craving for more. Two hand rolls are then presented on a wooden rack. The new and old school format, a signature of Chef Okuwa’s cooking, is virtually present in the white soy paper on the left and the classic nori wrapping on the right. The left filled with spicy tuna with jalapeno, wasabi, cucumber and soy, while the nori swaps a delicious baked crab filling and dynamite sauce.

Following this, sushi arrives on a single ceramic plate, eaten in a clockwise rotation, starting with Sakura tai snapper with kombu oil and sesame. Then King salmon with ponzu and sakura salt, finished with sesame. Bluefin tuna with soy marinade and wasabi, Hamachi with light soy and yuzu salt, topped with a confetti of citrus and dried flowers, and O-toro, a fatty tuna, finished with house soy and jalapeño koji.

Eating as a group, we also ordered a few dishes to share. The Hamachi with serrano chilli arrives as four thick slices of yellowtail laid out with rounds of fresh serrano on each. A spicy cucumber with shiso, the cucumbers smashed rather than sliced, dressed in chilli oil and sesame, topped with crispy shallots, dried nori. The zuke bluefin tuna with shiso ponzu, comes as four slices of soy-marinated bluefin in a shallow ponzu bath, scattered with pickled shallots, toasted sesame, shiso and tiny purple flowers.

The wagyu fried rice deserves a paragraph of its own, partly for how it tastes and partly for how it arrives. The bowl comes to the table looking austere, diced wagyu arranged in a ring around a trembling onsen egg, the whole thing buried in katsuobushi flakes. The server then mixes it in ceremonial fashion, folding the egg through the rice and meat until the whole thing becomes something richer and more yielding than the sum of its parts.

The lunch closed with cherry creamsicles, served still frozen on a wooden board, cherry blossom at dusk in colouring and drizzled with frozen berry coulis.

Header image and additional images courtesy of Love, Makoto

Final Thoughts

Dear Sushi is open 11 am–2 pm and 5–10 pm daily with Omakase priced at $85 per person, $45 for lunch and à la carte items ranging from $6–$45, correct at the time of writing. 

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