SINCE 1874 Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary Mindful Design The private realms of Vincent Van Duysen A Bigger Splash Bestselling author Katja Eichinger on the fine art of celebrity sightings at Hôtel du Cap. “Not every dish needs to be reinvented” Chef Cornelia Poletto on culinary traditions, taming tempers, and mastering truffle fries. Setting the Table for Tomorrow Futurist Hanni Rützler explores what’s next for table culture in 2025. TIMES Si lver
2 Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary 3 Publisher’s Letter 150 years of unbound creativity. In 1874, our great-great, or great-great-great-grandfather, opened his first workshop in Flensburg. It was a modest silver workshop then, but what it’s become is thanks to our employees, our customers, and countless inspiring encounters with individuals who share something rare: they are among the best in the world in their fields, all defined by a dedication to mindful craft and ideas that resonate with every sense, qualities we, too, strive to embody. Together, we’ve dreamed, shaped visions and products, and set their tables aglow with silver. They’re not just business partners but friends, companions in spirit. And it’s people like them who have been with us from the beginning. In this newspaper, we’re excited to introduce you to a few of these extraordinary people. Take Cornelia Poletto, a longtime collaborator who cooks with divine precision. Here, she talks about the quirks of top chefs, prejudices against cooking shows, and Parmesan as the ultimate culinary first-aid. We also visit the Irish country house hotel Adare Manor, where our shared love for sailing complements the silver on their tables. The 4th Earl of Dunraven, whose family originally built this stately home, famously challenged the 8th “America’s Cup” in 1893 with his yacht Valkyrie II. We are drawn to this second-oldest sporting event, celebrated in different ways at our Robbe & Berking shipyard and museum. We’re also looking into the inspiring realms of design, art, and culture. Belgian designer Vincent Van Duysen opens the doors to his private residences, sharing the materials and furnishings that define, for him, a space with taste. And trend researcher Hanni Rützler explains why fine dining is now turning to the unpretentious charm of tavern-style dining. Whatever you’re in the mood for, we invite you to enjoy this issue and, perhaps, discover something new that will inspire your world. Cut for Success As the saying goes, not all that glitters is gold. The journey of a silver manufactory’s enduring legacy. Like many stories of global brands, Robbe & Berking’s begins modestly in a narrow, garage- like workshop. When Nicolaus Christoph Robbe founded his silversmith atelier in Flensburg in 1874, Germany’s imperial economy was booming. In near solitude, save for the support of his wife, Henriette, Robbe crafted cutlery and tableware from his designs, along with commissioned pieces for local jewelers. Little could he have known that 150 years on, his brand would not only remain in the family but would also stand as a universal touchstone in silversmithing, beloved by collectors and connoisseurs across the world. The early years of the manufactory were not easy, but soon, Robbe’s workshop grew into a flourishing business. He brought in a gifted young silversmith, Robert Berking, to help with demand. But Berking was more than an extra set of hands: he became family. First, a partner, then a son-in-law, as he and Robbe’s daughter married. Within twelve years, Robbe & Berking had erected its first dedicated facility, expanded production and distribution to reach Hamburg’s city limits, and introduced its cutlery line. Berking established a credo that has shaped the brand today: “Others may be cheaper, but none shall be better.” In 1908, Robert Berking drowned while swimming at just thirty-six. His son, Theodor, stepped into the role in 1925, guiding the company through the next four decades with a strict ethos of daring, diligence, and uncompromising discipline, qualities that would resonate through the company’s future generations. Under Theodor’s watch, the company blossomed: clients included an exclusive roster of jewelers, and Robbe & Berking’s pieces became the wedding gifts of choice for those with discerning tastes. And then, like so many businesses of that era, they found themselves facing the unthinkable: the war. In the austere postwar years, a new beginning was anything but simple. However, as the Wirtschaftswunder, the German economic miracle, unfolded, Robbe & Berking rose once more. Prosperity had returned, and with it, the public’s longing for refinement. People began building lives anew, adorned with beauty and elegance. The company’s fortunes grew alongside this cultural shift, prompting a move to a larger headquarters, where it remains today. Around this time, Robert Berking II took over the family business. Over the next decades, he pushed the brand to the next level following its crowning as Europe’s No. 1 silver cutlery. A designer at heart, Robert Berking II resisted fleeting trends, crafting pieces that embodied a refined, timeless elegance. Today, many of his designs still adorn the world’s most distinguished tables. In 1985, Oliver Berking joined the family business, stepping up in 1997 as its fifth-generation leader. It was a time when German craftsmanship was growing rare, as brands outsourced to low-cost production markets. But Oliver Berking took another path. He expanded the company’s global reach, opened eleven flagship stores, and remained unwavering in his commitment to the company’s founding values: exquisite craftsmanship, premium materials, and timeless design. That the manufacturer guarantees decades-long replacements on every silver and silver-plated piece seems, considering their tradition, nothing short of inevitable. Today, with a team of 160, Robbe & Berking stands as the international leader in its niche. With Oliver’s daughter, Lilli, joining the company, the sixth generation has entered the picture, poised to carry forward a legacy of understated elegance. She’s ensuring that the brand’s delicate balance between tradition and reinvention, artisanal rigor and modern sensibility remains intact, honoring a 150-year commitment to craft that transcends trends and time. Shining Moment In honor of Robbe & Berking’s 150th anniversary, the silver manufactory celebrates its partnership with Maybach by creating a vehicle that lives up to the name “May-yacht.” It was the Geneva International Motor Show, 2002. This was a time before brand collaborations became the norm, and partnerships still carried the power to surprise. As Mercedes-Benz unveiled its long-awaited makeover of the Maybach brand, one detail stole the show: a set of custom silver champagne goblets made exclusively for the occasion by Robbe & Berking. “We are united by a love of unique craftsmanship, clear aesthetics, and timeless elegance,” says Maybach boss Daniel Lescow. “Our friends in Flensburg, just like us at Maybach, strive to create individual products for connoisseurs of the extraordinary.” The birth of a special friendship. In celebration of Robbe & Berking’s milestone 150th year, the collaboration enters a new chapter with a oneof-a-kind creation: a custom Maybach S 680 reminiscent of the iconic 12mR yacht Sphinx. These grand yachts, built until 1987, are revered as the ‘king class,’ having raced for the America’s Cup from 1958 to 1987. They remain the pinnacle of classic yacht design, a dream for any sailing enthusiast. The roots of this design symbiosis run deep. When Oliver Berking founded Robbe & Berking Classics fifteen years ago as a shipyard for classic wooden yachts, the midnight blue Sphinx anchored his vision. The yacht’s restoration became a defining moment for the company, capturing the attention of Maybach. “Like our cars, the yachts embody an unparalleled blend of passion, exquisite craftsmanship, and attention to detail,” says Lescow. In a bold fusion of maritime and automotive design, Robbe & Berking and Maybach bring a shared vision to life with a bespoke creation that reflects their long- standing partnership. “This vehicle is another testament to the bond between Maybach and Robbe & Berking,” says Oliver Berking, owner and managing director of the brand. “We share a passion for the finest craftsmanship, exceptional materials, and timeless elegance – whether on the road, the water, or the table.” We are united by a love of unique craftsmanship, clear aesthetics, and timeless elegance. Oliver and Lilli Berking
4 Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary 5 “Not every dish needs to be reinvented” Chef Cornelia Poletto on tempering culinary tantrums in the kitchen, her love for truffle fries, and why Germans might be missing out on great food. Ms. Poletto, your career spans everything from your restaurant and cooking school to German television and even Chinese teleshopping. Which of these roles resonates with you the most? Honestly, I’m a chef at heart. Everything else just came along as I opened up to new things. I’m generally an adventurous person. Otherwise, I’d never have gone to China. But these days, diversifying has become a necessity. It’s nearly impossible to make a good living from a single restaurant. In the early days, you endorsed a margarine brand and used the earnings to buy a Robbe & Berking silverware set for your first restaurant. I’ve always been meticulous about every detail on the table. When I opened my first restaurant in 2000, things were slow initially, and we couldn’t afford to splurge. I’d never advertise this product now because it’s not something I believe in, but I did it then for that beautiful silverware, which I still cherish. Your television career began when TV personality Johannes B. Kerner attended one of your private cooking classes. What do you think he saw in you? Just after we’d opened our restaurant, a friend of Johannes became one of our regulars and booked a private class for him. We didn’t even have a cooking school yet! We spent that Sunday in the restaurant kitchen, with champagne flowing, and I suppose the atmosphere was just right. Johannes, who was then working as a headhunter, saw that I had a knack for making cooking feel accessible and exciting. I wasn’t exactly planning on TV, but it just clicked. Does that mean cooking is about performance too? I wouldn’t say that. Honestly, I’m not a fan of most cooking shows. They rarely focus on cooking itself and don’t inspire people to try it at home. In the end, people still resort to microwaving pre-made meals. You didn’t originally set out to be a chef, though, you wanted to be a veterinarian. Yes, it was a rather naive plan. I loved riding horses as a kid, but my grades weren’t enough for vet school, so I trained as a hotel manager instead, which included time in the kitchen. That’s when I realized where I truly belonged. When you first appeared on TV, women chefs were almost unheard of. Heinz Winkler famously said, “Women for pastry, men for fish and meat.” That’s typical Heinz! I trained under him nearly thirty years ago, and I was the only woman in a team of 27 chefs, aside from someone in pastry. It took a lot of confidence and humor to survive in that testosterone-fueled environment. I remember once, a chef cuffed me with a hot spoon. Unthinkable now. The kitchen culture has softened considerably since then. At times, I can’t help but feel it’s almost too soft. Young chefs today seem more focused on work-life balance than on the craft of creating menus. You’re referencing the work-life balance, a priority for many who came after 1995. Sometimes, it feels like ‘life-life balance,’ which doesn’t always align with restaurant work. This job means working nights and weekends while others are out socializing. You have to really want it. Stereotypes about chefs are still going strong like the infamous kitchen temper tantrums. Well, there’s some truth to that! We’re passionate about ingredients and preparation. Take my truffle fries. I can’t tell you how many potato varieties I tried to perfect them. I think that’s what I share with Robbe & Berking: a respect for craftsmanship. Wine dealer Gerd Rindchen once compared your kitchen to a zoo after witnessing one of your legendary outbursts. I can laugh about it now, but yes, I used to be a bit... fiery. Once, I threw peaches because my now ex-husband was late picking up a dish we’d prepped in the kitchen, one that needed to be served quickly. I’ve mellowed since then. Now I remind myself that cooking isn’t heart surgery, it’s alright to make mistakes. Some Tripadvisor reviewers describe your restaurant as “excellent,” while others suggest diners are paying for the name. Do you feel that your work as a chef is truly appreciated? It doesn’t bother me personally. Many Germans want to spend less on high-quality food. I offer reasonable hours and fair wages to my team, and we source top ingredients. For example, our Parmigiano Reggiano comes from a small producer, which involves real craftsmanship. It’s like Robbe & Berking. You feel every hammer strike in their silver. It’s important to help people understand these stories. Your colleague Christian Rach mentioned that TV fame can be a mixed blessing, attracting “watchers” rather than diners. Yes, I get my share of “TV tourists,” but they’re usually enthusiastic and order the full menu. I’ve chosen not to pursue Michelin stars with my new restaurant, but my guests know what to expect. Your restaurant combines Italian-Mediterranean flavors with northern European and Asian influences, which isn’t the food you grew up with. True. As a child, I’d come home to the scent of my stepfather’s favorite meatballs wafting through the house, cooked by my mother at least once a week. But for me, it was my grandmother’s sour kidneys that were the true comfort food. A regional specialty from the area between Paderborn and Bielefeld, they were her remedy when I was under the weather. In those days, who did most of the cooking at home? My mother, mostly. She worked part-time in my stepfather’s practice and always cooked fresh meals. My stepfather, on the other hand, was more of a cookbook collector. My first attempt at cooking was actually pheasant, from a book he’d gotten as a gift from one of his patients. You’ve been a chef for nearly three decades. Is it still a creative challenge? Fortunately, yes. I’ve always felt that pasta is a canvas for creativity. You can really incorporate anything into a pasta dish. My curiosity helps, too. I’m someone who loves dining out, collecting cookbooks, and staying connected with my producers. I’m always inspired by ingredients. Just this week, my supplier called to say the Sicilian blood oranges had arrived, and my mind started racing. But I lean toward classic cuisine. Not every dish needs to be reinvented. Rumor has it you have 600 cookbooks on your shelves. Do you cook from them? Not usually. I just enjoy browsing through them for the photos. If I see something interesting, I might adapt it, adding a twist to my own recipes, or letting those ideas resurface as I cook, sparking new experiments. Desserts and cakes, however, are a different story. Those require precision. That’s high-level biochemistry, after all. When you go to a restaurant, can you simply enjoy the meal, or are you always analyzing? I like to think of myself as an enthusiast, but every so often, I’m left marveling. Dining at Jan Hartwig’s restaurant in Munich recently, I caught myself wondering how they achieved certain flavors with such finesse. What’s more essential: a good pan or a good knife? Without question, the knife. After all, in a pinch, an open fire can stand in for a pan. Gas or induction? I’m still nostalgic about the Molteni stove I used for thirteen years, but I’ve switched to induction. That old stove was perfect for quickly shifting pans around, but it was too big for my current space. With the holidays approaching, what’s your top tip for hosting a large dinner? The most important thing is not to experiment. Stick with what you know, and prep ahead as much as you can. It’s all about ‘mise en place’. Chop your vegetables, have your sauces ready, then you can enjoy being a host. And if things go awry in the kitchen? A quality Parmesan is a reliable first-aid kit – I always keep it in the fridge. My secret weapon is maple syrup. A splash can balance overly salted spinach or almost any dish. Works every time. What’s more important than good food? Probably sex and wine. But all I know is food. I’m not a fan of most cooking shows. They don’t inspire people to try it at home. In the end, people still resort to microwaving pre-made meals. Photo by Oliver Lassen F ood photography by Jan-Peter Westermann, food styling by Pio and Felix Neumann, courtesy of Gräfe und Unzer Verlag Robbe & Berking steak knife, photo by Thomas Bach
6 Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary 7 A Piece of History Imagine, your fork could have once been Cleopatra’s wedding ring, your spoon, your grandmother’s teapot. Robbe & Berking relies almost exclusively on recycled silver, crafting pieces imbued with hidden stories. Savvy Metal Baking powder, soda, even beer – the internet is packed with quick fixes to restore silverware’s gleam. But what really banishes tarnish from fine silver? First things first, none of these online hacks are ideal for true silver maintenance. Each electrochemical reaction strips a fine layer from the surface, and that toll on purity isn’t worth it. Silver owners might take a cue from British pop culture, “… Keep calm and carry on.” In the UK, they believe that silver only gains character, beauty, and depth with time and use. A well-worn piece tells its own story, like a fingerprint. The English have a term for this aged look: the “butler finish”, a softly brushed, matte effect steeped in tradition. Artisans often replicate this finish to evoke a natural patina, lending each piece a hint of quiet luxury. And practically speaking, the butler finish is less prone to those annoying fingerprints. When cleaning becomes a necessity, there’s good news: many modern silver and silver-plated pieces, including those from Robbe & Berking, are dishwasher-safe. However, some detergents can speed up tarnishing, while others offer lasting protection. Robbe & Berking recommends qualified products for cleaning (see QR code). A quick note: for silver that retains its gloss, keep it out of dark boxes or forgotten attic corners. Regular use is the most effective way to ward off staining. That said, a little tarnish will always appear with time, and like leather shoes or wool sweaters, silver benefits from occasional care. Subtle dull spots can be polished to perfection with a quality silver polish (QR code) – at last, a tip that truly shines. Everything you need to know about the care products, plus a trove of extra tips: “People are longing for comfort” Monegasque designer Sabrina Monteleone-Oeino ranks among the most sought-after talents of our time, crafting furniture, accessories, and interiors – even for superyachts. Her anchor philosophy: More originality, please! Sabrina Monteleone makes a splash with her bespoke designs, bringing a fresh, sophisticated edge to the bathroom spaces aboard the MY ULYSSIA. A model career: Sabrina Monteleone has called Monaco home since childhood, where for the past 25 years, she has been running her design studio. The BOX collection keeps the exquisite Robbe & Berking Martelé cutlery at your fingertips, adding a touch of sparkle to any room. Photos by Yvan Grubski Ms. Monteleone, your mother was a couture dress designer, and your father was a tailor. When did you first come into contact with interior design? I initially ran a fashion store in Monaco. When I wanted to furnish my terrace, I realized there was a gap in the market – back then, options were limited to unattractive plastic furniture. That’s when I started searching for the best outdoor furniture brands. In fact, Sabrina Monte- Carlo was originally called “Sabrina Monte-Carlo, Exteriors Only.” Little by little, I began selling decorative items in the store. Thanks to the trust of my clients, we gradually expanded to interior design, covering everything from coffee spoons to lighting, bed linens, furniture, and even renovations. As a designer, you’ve created nearly a thousand products. What are you currently working on, or rather, how many projects are you involved in? My daughters are actively expanding the brand and have secured wonderful collaborations with houses like J. L Coquet, Alberto Pinto, and Dedar. And, of course, working with Robbe & Berking always guarantees success. We are also dedicating a lot of time and energy to an exciting superyacht project called MY Ulyssia. The real luxury of a yacht lies in its interior, which can include pools, cinemas, gyms, elevators, jet-ski garages, and even helicopter pads. What is more challenging: designing the interior of a yacht or an apartment? Designing for yachts is a more intricate process, with numerous regulations to consider. We often lean toward fully custom designs, which, while more time-consuming, offer our team of architects and designers the opportunity to craft truly unique experiences. Your color palette prominently features neutral tones like warm whites, ivory, and chocolate browns. Is that a coincidence, or do you have a special connection to nature? Our goal is to offer passengers a peaceful ‘home away from home,’ blending contemporary aesthetics with warmth and comfort. To achieve this, we carefully select natural materials such as terrazzo, travertine, onyx, and light oak, complemented by luxurious textures like gold leaf, mother of pearl, silk, faux shagreen, and brushed bronze. I’d describe my style as contemporary and cozy, with a touch of color and beautiful artwork. You once said design must touch the soul. How can that be achieved? Accessorizing is one of the most important aspects. You can introduce color through paintings, cushions, books, sculptures, and other elements. You designed an elegant cutlery box with Robbe & Berking, which could be described as “relaxed Mediterranean.” Do you agree with that? I’d describe our style as contemporary with a Mediterranean flair. Originality is key. When my daughters decided to become designers, I told them, “Be yourself, and don’t copy anyone else.” What is the secret to creativity? I find inspiration in my travels – whether it’s a detail in a hotel room or a unique color combination in a bouquet. I never stop drawing inspiration from my surroundings. How much freedom do your clients give you? Some clients have a clear vision of what they want, and we help bring that vision to life. Others aren’t as sure, but we usually manage to understand what they want before they do. Have you noticed any changes in interior design requests recently? People now really want cozy homes. Before the pandemic, many didn’t spend much time at home. Today, comfort is the new priority.
8 Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary 9 Earl Grey Adare Manor is one of Ireland’s most striking country house hotels. Stepping inside feels like entering the storied estate of an old noble family. Well, the Dunravens and Mount Earls ruled on these grounds for over a century. Time to uncover its treasures. First Impressions T he stately, Downton Abbey-like manor, Adare Manor, sits a two-and-a-half-hour drive from Dublin, tucked along one of Ireland’s winding single-track roads. As you drive through the countryside, it’s impossible not to be swept up by the raw beauty of the landscape: emerald hills, dramatic stretches of the Irish Highlands, and quaint villages where stone cottages, fairy-tale castles, and steepled churches seem pulled from a movie. This same charm envelops Adare Manor, perched in the southwestern County Limerick. Arriving at the hotel transports you to the residence of an old Irish aristocratic family, reimagined with a sleek, contemporary edge. The manor, bordered by the serene Maigue River and lush grounds, showcases 19th-century splendor through its impeccable granite-grey façade, framed against the expansive Atlantic. A modern wing, seamlessly integrated, bridges past and present with a €50 million renovation – the most ambitious in Irish history. The result is a true “heritage hotel.” How are the rooms? Adare Manor channels the essence of British design, distilled into its most refined forms: intricately carved wood paneling, opulent stucco ceilings, powder-blue velvet sofas, grand chandeliers, and breathtaking wallpapers. For those who book one of the two signature suites, the indulgence extends to a private butler’s attentive service. Can “heritage” become too much, too stiff, too ornate? Not at Adare Manor. Every detail is a masterclass in execution. The rooms exude regal allure, with sweeping views of the untamed Maigue River and the meticulously sculpted golf course. Despite their historic grandeur, modern comforts are effortlessly woven in: iPads for room service, electric curtains, and sensor-activated nightlights. Even the flat-screen TV blends inconspicuously, tucked inside an antique wooden cabinet that embodies the manor’s British spirit. Dinner time. Where do you reserve, and what’s the experience like? At Adare Manor, the rural pursuits – trout fishing, archery, and golf – beckon. However, the true gem of the estate is the Michelin-starred Oak Room restaurant. The interior is a feast for the senses: historic oak floors gleam underfoot, while the Robbe & Berking silver cutlery glows softly beneath towering crystal chandeliers. The atmosphere sets the stage for regional delicacies crafted by kitchen mastermind Michael Tweedie, think venison, smoked sea trout, and seafood, each dish a work of art. After dinner, guests can retreat to the speakeasy-inspired Tack Room, where the flicker of the fireplace casts a warm glow, and a glass of Irish whiskey awaits. Who will you meet in the halls? Adare Manor’s public spaces are a study in understated elegance, defined by their relaxed, welcoming vibe. Antique cabinets, brimming with curios, sit alongside plush seating while the crackle of open fireplaces silences any unwelcome noise. The hushed calm is far from intimidating, thanks to the charming atmosphere of what was once the residence of the Earls of Dunraven and Mount Earls. From intimate corners, guests observe the quiet rhythm of the manor: locals returning to see what has changed (and what hasn’t), Americans in golf attire, and couples lost in the estate’s romantic ambiance. And if the whispers are true, even Hollywood royalty like Michael Douglas and Catherine Zeta-Jones have taken refuge in these storied walls. This neo-Gothic masterpiece captivates with the charm of a quintessential ‘Calendar House’, featuring 365 leaded glass windows, 52 chimneys, seven columns, and four towers. From living spaces to hallways and stair landings, every corner offers a strikingly unique setting. Photos by Jack Hardy A Bigger Splash During the Cannes Film Festival, the true celebrity gatherings don’t unfold on the red carpet, but where stars slip away from the spotlight: at the Hôtel du Cap-Eden-Roc. Our writer Katja Eichinger managed to enter, joining a somewhat surreal lunch. Forty minutes from Cannes, the drive brings you to a rarefied world where faces fresh from the big screen seem suddenly within reach. Assuming you’re lucky enough to have secured a spot on the terrace or inside the bar of Hôtel du Cap, these days, access to the grounds requires a reservation. This is where wealth seeks refuge in discretion: tech dudes still mastering the art of styling their new Gucci bags, European families teaching their children the language of six-star living, and an elite mix of Chinese and Arab guests. And then there’s the inevitable influencer, her oversized sunhat tilted perfectly, phone held aloft against the backdrop of the shimmering blue sea. Down by the water, the Eden Roc restaurant exudes an understated elegance, alongside the hotel’s more laid-back Grill. Even at the height of the festival, the service moves with an unreal precision. After an unofficial yet rigorous season of research, I can confidently declare the Niçoise salad the finest on the Côte d’Azur. In reality, it’s not about the salad, the allure of Hôtel du Cap is the quiet thrill of spotting the stars, who, for once, are as much guests as they are icons. With over 150 years of history, the Hôtel du Cap now belongs to Germany’s Oetker family, an industrial dynasty famous for its cake mixtures. Quite impressive what one can whip up with a touch of baking powder. Rudolf and Maja Oetker first glimpsed the hotel in 1964 while sailing along the Côte d’Azur, and five years later, they bought it, having never even set foot inside. Perhaps it’s the German ownership or the largely American clientele, but the du Cap feels only slightly French. With its Loire château-style architecture and a distinctly transatlantic glamour, it blends classic allure and jet-set exclusivity, wrapped in a whisper of bling. One moment during the festival captured this atmosphere perfectly. A few years back, I was having lunch on the Grill’s terrace, which feels like the deck of an art deco yacht. Nearly every table was taken, mostly by American film industry insiders indulging in rosé and oysters, all at their companies’ expense. Suddenly, a small motorboat appeared, ferrying guests from a superyacht anchored offshore. Among them was Johnny Depp, at the height of his Jack Sparrow fame, years before the disturbing spectacle surrounding his relationship with Amber Heard. As Depp swaggered up the steps in his iconic Jack Sparrow style, the terrace erupted in applause. It was exactly the kind of moment one dreams of at the Hôtel du Cap: an almost intimate encounter with the world’s most famous pirate, arriving from the sea. But if we’re honest, our applause wasn’t solely for Depp. We were also celebrating ourselves – the collective privilege of being “inside” this exclusive place. There is a clear divide: you’re either in or out, especially at the Hôtel du Cap. Sun Strokes As December approaches, the creative crowds flock to Miami and take in the cultural treats that the season’s fairs Art Basel, Nada, and Scope have to offer. Let us guide you through the maze of must-sees in Miami Beach and beyond. Dacra – The Sleep of Reason Each year, the Dacra office in the pulsating heart of the Miami Design District curates an exclusive exhibition drawn from the 1,500-piece private collection of Craig Robins. The forward-thinking real estate pioneer, who reimagined a former pineapple plantation in the 1990s into a nexus of luxury design and avant-garde culture, has cemented the district’s status as a global art destination. For the 2024-25 season, Robins unveils “The Sleep of Reason”, an electrifying showcase that highlights the works of German artists Jana Euler and Kai Althoff, crafting an exhibition where the surreal meets the sublime. 3841 NE 2nd Ave, Suite 400, Miami Art Basel Miami Beach – Jan Kaps The party-ready sibling of Switzerland’s Art Basel, Art Basel Miami Beach stands tall as America’s premier fair for modern and contemporary art. Under the new direction of Bridget Finn, this year’s fair will bring together 283 galleries from 34 countries and territories. Making its Miami debut, Cologne-based Jan Kaps gallery presents a roster including Daniel Dewar & Grégory Gicquel, Melike Kara, Berenice Olmedo, Carrie Bencardino, Minh Lan Tran, and Rasha Omar. Predominant in the gallery’s exhibited works, are themes of identity, queerness, and gender, which introduce a layered lens to the fair’s dynamic mix. 1901 Convention Center Drive, Miami Beach Faena Art – Nicholas Galanin & Lyra Drake During Art Week, the nonprofit Faena Art transforms multiple Miami Beach venues into immersive art experiences. On Faena Beach, Indigenous artist Nicholas Galanin presents a monumental site-specific installation, towering nine meters high and stretching twenty-eight meters across, creating a commanding presence on the shoreline. Inside Faena Hotel, a multisensory journey unfolds as artist Lyra Drake introduces a provocative work that engages viewers in a dialogue with an oracle. Its voice, crafted through bespoke artificial intelligence, exudes an eerie sentience, challenging our perceptions of consciousness and empathy in the digital age. 3201 Collins Avenue, Miami Beach ICA Miami – Lucy Bull Two years ago, Miami’s Institute of Contemporary Art (ICA) relocated to a bold new home in the Design District designed by Aranguren + Gallegos Arquitectos. With its dynamic facade of metal triangles and glass, the building mirrors Miami’s growing stature as a global art hub. Adding to its impressive collection – which includes works by Hervé Télémaque and Rashid Johnson – the ICA presents “Garden of Forking Paths,” an exhibition by Los Angeles-based painter Lucy Bull. Renowned for her energetic brushwork, Bull’s work explores the formal and sensual possibilities of painting in a mesmerizing blend of color and movement. 61 NE 41st Street, Miami Take a seat in the bestiary: Oak bench by Daniel Dewar & Grégory Gicquel, featuring Red Admiral butterflies, caterpillars, and snails. Photo by Simon Vogel, courtesy of the artists and Jan Kaps, Cologne. Photo by Christian Werner
10 Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary 11 “A home is not a museum” Belgian architect and designer Vincent Van Duysen has built a reputation for his elegant, understated designs, spanning from houses to furniture to fashion store interiors. For Van Duysen, the essence of great design is rooted in authenticity and natural materials – never plastic. Mr. Van Duysen, those who know you say you’re always in motion. That’s true! My mind is like a sponge, constantly absorbing inspiration from the world around me, whether it’s books, art, documentaries, or travel. But the biggest source of my ideas comes from everyday life, from the people I meet and that surround me. Everything goes through a personal filter and becomes the seed for a new concept. I am always sketching in my mind, taking notes, and observing. Turning off that creative engine is difficult for me. I’ve had to teach myself to unplug, which I do through a daily meditation routine. I also find peace at home with my family and our three dachshunds. Early theologians believed that architecture shapes people more than the Bible. Do you agree? From a theological point of view, that may make sense. Architecture has the power to shape how people feel and live. For me, architecture is about creating sanctuaries for people, places of calm, security, and balance. I like to think that architecture has the potential to make us better individuals and, by extension, a better society. One can see that in all my projects and designs, and it is the same for myself and my two residences. My work emphasizes purity, naturalness, and timelessness. But can architecture also evoke feelings of loneliness or meaninglessness? It can, absolutely. If a space doesn’t reflect the needs and soul of its inhabitants, or if the flow of the space feels off, it can create an unsettling atmosphere. A well-designed space must be functional, not just beautiful, it should enhance life, not just serve aesthetics. Do you personally suffer from bad architecture? Unfortunately, yes, it happens often. I’m very sensitive to my surroundings, so bad design affects me. If I can’t avoid being in such a space, I distract myself by mentally redesigning it. Of course, personal taste plays a role here. What might feel like bad architecture to me could work for someone else. I make decisions based on instinct. Your parents had different plans for your career, didn’t they? Yes, my parents wanted me to become a lawyer. However, they educated me about many different arts as a child. My father worked in the carpet industry but had a passion for art, he loved to paint. We traveled a lot, visiting galleries and exhibitions across Belgium, and I was exposed to artists, sculptors, and architects from a young age. That’s when my interest in architecture blossomed. It was the perfect blend of all the applied arts. I could easily have become a photographer, filmmaker, or painter, but a traditional desk job was never an option. There seems to be a clear divide between architecture and interior design. Does that separation make sense to you? Not at all. I find that divide puzzling. People often think architecture is about logic and structure, while design is purely creative. For me, architecture is about creating environments that people live in. It goes beyond just the physical building, it includes the art, furniture, and objects that enrich the space. I call it “the art of living”. My approach has always been holistic. To me, living is a Gesamtkunstwerk. Your two homes, known for their tranquility and warmth, reflect your love of aesthetics. Are you a minimalist? I wouldn’t call myself a minimalist, especially not in the way the term is used in the art world, where minimalism emerged in the 1960s. I don’t favor stark, austere interiors; I want my spaces to have a soul. I aim to achieve purity in design by stripping away the unnecessary and focusing on the essentials, but never at the expense of warmth. That’s why I always use natural materials and textured, tactile finishes. They age beautifully, developing a patina that gives interiors, spaces, and objects a timeless quality. Fashion designer Riccardo Tisci once used 19 shades of beige for Burberry’s flagship store, and beige seems to dominate interior design trends. What do you think of this color’s sudden popularity? Is it a trend? I’ve been using beige tones for over thirty years. For me, these shades are timeless. They create the perfect backdrop for art, furniture, and objects, allowing them to stand out. Neutral tonalities like beige have a calming, understated presence. They don’t compete with the items in a space, they let them breathe. But just to be clear, I’m not shied to use other colors either; I use them when they feel right. After more than three decades in the industry, you’ve seen many trends come and go. Is there a style that stands the test of time? I collect vintage furniture, from Brazilian designers like José Zanine Caldas to pieces by Pierre Jeanneret. The great classics will always make a strong statement. What makes these classics endure is their purity of form. Jean-Michel Frank is another example, he was a pioneer in interior and furniture design with his subtle, refined aesthetic. His work, defined by clean lines and sophisticated materials like straw, parchment, and leather, resonates with any style in any era. You famously avoid plastic in your designs. What is it about the material that bothers you? Plastic lacks the warmth and individuality that natural materials like wood, stone, or linen bring to a space. I prefer materials that tell a story, that age beautifully, and feel human. Many decor blogs showcase perfect homes with no signs of life – no toys, no unmade beds, no sagging sofa cushions. What’s the secret to avoiding that sterile, uninhabited look? A home is meant to be lived in, not curated like a museum. Just live within your space and let the world see it, that is how interiors should be photographed. Functionality should come first, but if you combine that with timeless pieces, art, and objects, you’re well on your way to creating a space with soul. My key advice: less is more. Better to have one fewer chair than to overcrowd the room. At the same time, invest in individual pieces that are special. My latest purchase, for example, is a pair of armchairs from 1929 by Eyre de Lanux. Made of mahogany and woven straw, they’re simple, timeless, and incredibly rare. I found them at Sotheby’s. Are your dachshunds allowed on them? Of course! My dachshunds are part of the family – they’re free to roam wherever they like. Private. Rizzoli, 94 Euros A well-designed space must be functional, not just beautiful, it should enhance life, not just serve aesthetics. At Casa M, Vincent Van Duysen prefers to move barefoot through his spaces, grounding himself in his surroundings. For his vacation home near Comporta, the Belgian architect Vincent Van Duysen has conceived of a sand-colored, bunkerlike home that blends seamlessly into its setting. The historic townhouse in Antwerp, once home to notaries’ offices, was streamlined and restructured by Van Duysen, who let in natural daylight everywhere. Photos and cover photo by François Halard
12 Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary 13 Beyond the Board No game has captured the creative imagination like chess. Across centuries, artists have reshaped its pieces, transforming them into timeless players. To the untrained eye, chess may seem like little more than pieces gliding over a black-and-white grid. However, there’s a reason it carries an aura of genius and madness. This is a strategy as spectacle, a high-stakes contest of wits. It’s no wonder that artists, drawn to obsession and interpretation, find themselves at home here, where each move unfolds endless possibilities, a playground for ideas. Alexander Calder, Man Ray, Max Ernst: chess has always invited minds like theirs to play. For no artist was chess quite the rabbit hole it was for Duchamp. The grandmaster of conceptual art became so immersed that he stepped away from the art world in the 1920s, competing in five Chess Olympiads for France through 1933. He even penned an entire book on his theories. Duchamp’s devotion even led him to design his own chess set. At the time, there were two standard sets: the delicate French Regency, where pieces were so finely turned they almost blended together, and the Staunton set, solid, substantial, and favored for tournaments since the mid-19th century. Duchamp, ever the boundary-breaker with his Readymades (yes, the infamous urinal), showed that art lives beyond galleries and museums, emerging wherever an object or action is seen anew. His chess pieces, though, are surprisingly subdued by his standards, almost restrained. Meanwhile, other artists’ interpretations were pure visual statements. To Man Ray chess was a modernist canvas. In an era of bold shapes and radical ideas, he crafted a set in silvered brass and wood, with a pyramid king, a cone-shaped queen, and a knight coiled like a violin’s neck. The pieces channeled the graceful minimalism of his friend Brancusi, and when Ray commissioned a table to match from art deco tastemaker Jean-Michel Frank, it was clear: Ray’s set was a true Gesamtkunstwerk. Max Ernst, Duchamp’s close friend, took his own daring approach. He envisioned each piece as an individual sculpture, his knight a twisted snail shell, shifting in perspective with every angle. Oversized and weighted, his pieces created an immersive experience, inviting players into surreal landscapes and deeper into his imagination. In the hands of artists like Ray, Ernst, and Duchamp, chess elevates from game to ritual. Each piece, each board, is a portal into realms of abstraction and artistry. Setting the Table for Tomorrow Futurist Hanni Rützler explores what’s next for table culture in 2025. Imprint Publisher Oliver Berking, Lilli Berking Editorial Direction Nils Binnberg Art Direction BOROS Marie Janda Photos Robbe & Berking Thomas Bach Printing Schleswig-Holsteinischer Zeitungsverlag GmbH & Co. KG Ican’t pinpoint exactly how long I’ve been circling Robbe & Berking’s silver. But when I opened Seiberts a decade ago, I realized that you can’t run a proper bar without silver bowls. Take the classic Prince of Wales, which has always been served in a silver cup. Allegedly, Albert Edward, the British heir to the throne, specified this back in the late 19th century. Glass simply doesn’t cut it. And when you work with exceptional ingredients, the presentation must meet that same standard. With nearly a hundred signature drinks on the menu, we make many of the ingredients ourselves. A standout is our Kaviar tini. The recipe: homemade Kalamansi-saffron sorbet, vodka, and champagne, topped with warm blinis and caviar, placed on a so-called bridge. We like to think of our craft as ‘fine drinking.’ The right temperature is key, and silver beautifully embraces that chill. That said, we serve the Kaviartini in a silver bowl. Is it one of our signature drinks? That’s tough to answer, as the menu is always evolving with the seasons. What I can say for sure is that lately, our Negroni orders have gone through the roof. Ours is a rarity – we use a Campari from the 1970s. And it deserves to be served in … silver. Seiberts, Friesenwall 33, 50672 Cologne The Sipping Point With over thirty years behind the bar, Volker Seibert has collected some of the highest accolades in the bartending world. The Cologne-based mixologist reveals why, for certain cocktails, only silver makes for the perfect pour. Let the games begin: Robbe & Berking introduces elegant play sets to the table. 2 Simplicity meets sustainability Alongside the sustainability movement, there’s a return to authenticity in both dishes and table settings. “We’re witnessing a gastronomy with a clear conscience,” says Rützler. With a focus on ethical sourcing, traceable ingredients, and regional traditions, chefs are moving away from theatrics to highlight the true quality of their produce. Think kale with sausage, a simple dish but from a specialist who knows where the meat comes from, or even raises it themselves. As Rützler puts it, the “new tavern cuisine” is driven by a profound connection to nature and the foundations of human culture, offering a stark contrast to the over-the-top opulence seen in some Michelin-starred kitchens. 4 No more bars without non-alcoholic drinks The demand for low-alcohol and non-alcoholic drinks is skyrocketing, driven by a growing awareness of health and ethical concerns. Young consumers are moving away from their daily beer or wine, seeking something unique when they indulge. Verjus, the juice of unripe grapes, offers a tart, fruity flavor to non-alcoholic beverages, while kombucha made from fermented vegetables is carving out its own space in the emerging “soft health” category. “It’s an exciting field,” says Rützler, pointing to drinks that are complex, not overly sweet, and full of sour and bitter notes. As the expert sees it, the future of culinary culture will be driven by an unprecedented diversity of ingredients that push the boundaries of our imagination. 5 Take-away fatigue, home cooking stays strong The pandemic’s takeout surge has simmered down, as inflation nudges people toward mindful spending. But that doesn’t mean takeout is disappearing entirely: the younger, tech-savvy generation continues to rely on apps for food at all hours. Home cooking, however, is here to stay, though more for its cost-effectiveness than passion. While some have embraced the ritual, others prefer to improvise with what’s on hand. Levantine favorites like grilled cauliflower with tahini and pita keep it simple and veg-forward, as Korean cuisine, now a supermarket staple, finds a growing following. Rützler also observes a rising yearning for home. “We’re returning to regional cuisines. Simple, vegetable-forward stews are having a renaissance, reclaiming their place as ultimate soul food.” 3 The rise of vegetarian and vegan menus Despite the recent resurgence of meat consumption, younger, urban diners are increasingly choosing plantbased options or reducing their meat intake altogether. This shift is here to stay, with vegan dishes now a staple in top restaurants. As Hanni Rützler observes, vegetables are no longer relegated to mere sides but are taking center stage with bold new flavors. Michelin-starred restaurants like Vienna’s Tian, New York’s Eleven Madison Park or Nijmegen’s De Nieuwe Winkel are at the forefront of this movement, reshaping how we think about sustainable, plant-forward dining. 1 Wasabi, now made in Germany The shift towards local food is hardly new, but it continues to evolve. According to trend expert Hanni Rützler, while we crave more regional ingredients, we also don’t want to lose the diversity of international flavors. Enter local exotics like wasabi, now cultivated in Burgenland, Austria, offering a solution to this paradox. As these unique ingredients make their way onto menus, they’ll soon feel less foreign. Similarly, chefs are breathing new life into seasonal vegetables, transforming simple ingredients like cabbage into modern creations. What was once old is now the future. Hanni Rützler is Europe’s go-to authority on food trends. Since 2014, the Austrian researcher has been dissecting shifts in eating culture with her annual “Food Report”, offering a sharp lens on how we consume, cook, and think about food. Photo by Julietta Kunkel
14 Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary Silver Times – The Robbe & Berking Newspaper on its 150th Anniversary 15 Dellach Restaurant Hubert Wallner Dornbirn Zum Verwalter Feldkirch GUK Feuersbrunn am Wagram Toni M. Golling bei Salzburg Döllerer Großraming RAU Grundlsee Seehotel Grundlsee Ischgl ELIZA Kaprun Chalet Evi Lech am Arlberg Griggeler Stuba; Jägerstube; Kristiania; Restaurant im Almhof Schneider; Severin*s Leutasch Quellenhof Leutasch Lochau Mangold Mautern Landhaus Bacher Mauterndorf Mesnerhaus Obertauern MountainVita Oberwaltersdorf FontanaRestaurant Pettneu am Arlberg Gridlon Saalbach- Hinterglemm Schmiedalm; Unterschwarzachhof Salzburg SENNS.Restaurant St. Anton am Arlberg Tannenhof Telfs-Buchen/Seefeld Interalpen-Chef ’s Table Vienna Dstrikt Steakhouse; Mörwald Kochamt & Boutique; Silvio Nickol; The Bank; Veranda Brasserie & Bar Zell am See Tirolerhof Zeltweg Steirerschlössl Antwerp Dôme Brussels EMILY St. Vith Quadras Whistler SIDECUT Steakhouse Beijing AZUR; Grill 79 Chengdu La Rôtisserie Hong Kong The Legacy House Shanghai Maison Lameloise Shenzhen InterContinental Savudrija Kanov Worldwide Europa; Europa 2; HANSEATIC inspiration; HANSEATIC nature; HANSEATIC spirit; Scenic Eclipse · Lumière; Silver Cloud; Silver Dawn; Silver Endeavour; Silver Moon; Silver Muse; Silver Nova; Silver Ray; Silver Shadow; Silver Spirit; Silver Whisper; Silver Wind Strictly Come Dining From Michelin-starred fine dining to hidden gems, all the restaurants serving with Robbe & Berking cutlery collectively boast 179 stars. We take you inside the best addresses – and ask four of their chefs where they eat when they’re off the clock. Dôme, Antwerpen – Frédéric Chabbert Breakfast Honestly, breakfast out isn’t a ritual I indulge in much at home in Antwerp; it’s something I reserve for traveling. I get just as much joy from a Michelin-starred spread as I do from a bustling noodle shop in Chinatown – it’s less about the cuisine itself and more about the moment, whatever I happen to be craving. It’s entirely about my mood. Lunch I’m drawn to smaller places like Mico & Jon on Kloosterstraat. After years in Hong Kong, I sometimes crave those classic Cantonese flavors, and Jon and Mico capture them with a modern twist. Their dishes are all heart, prepared with passion, yet reimagined with this fresh, contemporary edge. Sadly, I don’t get there nearly as often as I’d like. Dinner I might slip into The Jane next door for something extraordinary or head to Arrikiiati, a Sicilian bistro run by my sommelier Delphine and her husband. Misera has inventive cooking and a serious wine list, while Invincible has a perfectly curated selection of wines. And, of course, timeless places like Bistrot du Nord and ’t Fournis are always there, steady in their mastery of traditional dishes. Drinks There are really just two bars in Antwerp that pull me in. Oud Arsenaal, tucked near Rubens’ old haunt, holds this wonderfully old-school charm, while Borze Café near the stock exchange – my favorite by a mile – is where I find myself most often. It’s run by my friend Pierre Mouysset, who’s curated a wine list that is a true gem. But let’s keep that little secret between us. Sühring, Bangkok – Thomas & Mathias Sühring Frühstück We’re not big breakfast people, but we do love to grab coffee at Green & Been. It’s one of those spots that just feels right for starting the day. Sometimes, if we’re feeling it, we’ll have toast with avocado and eggs – simple, balanced, and perfect. For us, it’s always about the quality of the ingredients and the vibe of the place. That’s what makes a breakfast spot stand out. Lunch One of those places we’ve kept coming back to since we arrived in Thailand is Sara-Jane’s. It’s not just a regular lunch spot for us, it’s a staple. Their Khao Soi? Unbelievable. The kind of dish that hits all the right notes: authentic, full of flavor, and comforting. We tend to keep it casual for lunch, and Sara-Jane’s has that relaxed but welcoming feel that makes you want to linger. Dinner Lately, we’ve been going to Wana Yook, nearby the Victory Monument. They do a tasting menu that’s inspired by Thai cuisine, and it changes with the seasons. The flavors are deep, nuanced, and the setting – a stunning, century-old colonial house – makes the whole experience feel special. We also like to eat at home. Both of our wives are fantastic cooks. Escape We like to make a point to visit chef friends whenever we can. Odette in Singapore, Caprice in Hong Kong, and Den in Tokyo are some of our favorites. But one meal that really stayed with us was at Sushi Sugita in Japan – sushi that was unforgettable. Le Bernardin, New York – Eric Ripert Breakfast If I’m not enjoying a leisurely morning at home, you’ll likely find me in one of the countless local diners that line the streets. I savor a bagel topped with smoked salmon and cream cheese or indulge in classic eggs paired with crispy hashbrowns. In general, I gravitate toward restaurants that prioritize sustainable, local, and organic produce, ensuring that what I eat is not only delicious but also responsibly sourced. Lunch I’m a regular at Balthazar, drawn in by the vibrant energy of this beautiful American-French brasserie. I love starting with oysters, clams, and a shellfish platter before moving on to their steak tartare, which I always order extra spicy, alongside what might just be the best homemade French fries in New York. And I can’t resist finishing with the delightful canelés from their bakery next door. Dinner Choosing just one dinner spot is a challenge in this city. However, on Sunday nights, I cherish a family dinner at Campagnola, an old-school Italian establishment boasting at least twenty fantastic specials that the waitstaff can recite from memory. My go-to dish is the Osso buco, prepared traditionally and executed flawlessly. The bartender also has a knack for placing a Macallan 12 double at my table – I wonder why. Escape For many years, I’ve found solace in the East End of Long Island. When I’m there, I love to unwind, explore the beaches, and visit local farm stands. But if I do venture out, I’m spoiled for choice. The American Hotel in Sag Harbor is perfect for a delicious casual meal paired with a dirty martini, while Lulu Kitchen & Bar serves up fantastic wood-fired bistro fare. For superb Japanese food I make a pilgrimage to Sen. BELGIUM I n a neoflemish Renaissance setting with echoes of Baroque, chef Chabbert at Dôme offers a fresh take on familiar flavors. Photo by Tijs At Sühring, which opened its doors in 2016, classic German cuisine is reinterpreted with a modern flair. Within just two years, the restaurant secured two Michelin stars. Photo by Sühring Chef Eric Ripert at Le Bernardin has spent over two decades redefining classic seafood, a commitment that has earned him three Michelin stars. Photo by Nigel Parry AUSTRIA CHINA CANADA CROATIA CRUISE SHIPS
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