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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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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One of Scotland’s most respected independent restaurateurs, with many accolades to his name, James is genteel in manner, considered in thought and with a fascinating story to tell. And today we’re delighted to share some of his stories and invaluable insights. Read on to discover more.

James, I understand you first fell in love with Prestonfield House at the tender age of five years old, before working there in your student days. Please tell us more about the moment you decided the stunning property would one day be yours and your journey to achieving this?

My first connection to Prestonfield House dates back to childhood, and it made a profound impression on me even then. There was something very special about its sense of history, heritage, and quiet grandeur. Later, when I worked there as a student, that connection only deepened. I don’t think there was ever a single defining moment when I decided it would one day be mine; rather, it was a dream that stayed with me over the years.

Prestonfield House wasn’t your first success, with the Witchery by the Castle being your first venture (in 1979) that brought a new style of hotel to Edinburgh’s Old Town. You and your team have successfully developed this into one of the city’s most legendary restaurants with gothic style romantic rooms. Please tell us more about your first taste of success and how it shaped your future ventures?

Born and educated in Edinburgh, I attended George Heriot’s School – often compared to Hogwarts for its dramatic 17th-century setting. It was there, surrounded by history, art, and theatre, that I first fell in love with the Old Town and developed a lifelong passion for heritage, storytelling, and design.  In 1979, Edinburgh’s hospitality scene was very different, and I wanted to create something theatrical, romantic, and truly immersive, somewhere that created lasting memories. At just 20 years old, I opened The Witchery with only three staff, becoming Scotland’s youngest licensee.  At both The Witchery and Prestonfield House, no two rooms are alike. Antiques, rich fabrics, opulent colour, and intricate detail abound, each space reflecting my love of theatre, art, and indulgence. It is deeply rewarding to see both properties become iconic destinations, woven into the cultural fabric of the city.

Prestonfield, once a monastery in medieval times and known as Priestfield, has a deep and colourful history. It was subject to a devastating fire in the Middle Ages, is where the first Rhubarb in Scotland was grown and so much more!

Under your ownership you undertook a multi-million-pound renovation bringing the property to the theatrical and enchanting hotel it is today. Please tell us more about your vision then, how it evolved and with hindsight on your side, would you have done anything differently?

From the outset, my vision was to create a lavish and characterful alternative to the generic luxury hotels of the time. I wanted Prestonfield House to feel theatrical, romantic, and unapologetically rich in atmosphere a place that celebrates its past while offering guests a genuine sense of escapism.  As the renovation progressed, the building itself guided many decisions. Its original architecture, and hidden features revealed historic stories and details that inspired every design choice, from room layouts to decorative touches. Each space gradually took on its own personality, reflecting both its history and a sense of theatrical drama. In this way, the vision evolved naturally: I remained true to the idea of opulence and intimacy, while allowing the house’s character to shape the experience.  The result is a property that feels immersive and timeless, where every room tells a story and every corner offers a sense of discovery. It is exactly what I envisioned when I first imagined restoring Prestonfield House but it became richer, deeper, and even more theatrical than I could have imagined.

Your approach to being a successful hotelier centres on exceeding guest expectations while securing a sustainable future for historic properties. Beyond the obvious preservation of original features, what responsibilities do you feel when taking on historic buildings of such historic prestige?

When you take on a building of this significance, especially an A-listed property like Prestonfield House, you quickly realise you are more than an owner you are its custodian. The responsibility extends far beyond preserving the structure itself; it’s about keeping the character, stories, and spirit of the property alive, while ensuring every decision from restoration to guest experience honours its history and legacy.

Under your stewardship, Prestonfield House has received numerous accolades, including AA Five Red Stars, and is a member of the prestigious Relais & Chateaux collection. What do you consider to be your greatest professional achievement to date?

It has been a real privilege to spend my life creating memorable experiences that celebrate Scotland’s heritage, individuality, and sense of place. From a young boy with a dream to someone fortunate enough to restore two of Edinburgh’s most iconic A-listed properties, the journey has been extraordinary. To see The Witchery and Prestonfield House evolve into internationally recognised destinations is both humbling and deeply rewarding.

You’ve worked in the luxury hospitality industry for many years and undoubtedly observed many different trends, how do you strike the balance between conservation, modern guest expectations and planning for the future without compromising any of these elements?

Trends come and go, but authenticity and quality never do. The balance lies in respecting the building and its story while quietly ensuring guests enjoy every modern comfort they expect. The key is never to allow fashion or technology to overshadow the character and spirit of the place. If you get that right, the building remains timeless rather than tied to any moment.

Please tell us more about how you support local schools. And is nurturing the next generation in hospitality part of your plan for the future of your properties?

I am deeply passionate about supporting the next generation. I am a founding patron of Springboard UK, which helps disadvantaged and unemployed people of all ages and backgrounds to discover careers in hospitality, leisure, and tourism, and to gain the skills and confidence needed to flourish in these industries.

For over 40 years, I have also supported students at Edinburgh College, sponsoring exchange trips for students and lecturers to Lyon, and for more than 20 years I have funded the James Thomson Award for Customer Excellence. I have always believed that investing in people is essential not only for our own businesses, but for the future of hospitality.

Are there aspects of modern luxury hospitality that concern you or that you feel risk diluting the experience?

I think the greatest risk in modern luxury hospitality is uniformity when hotels begin to feel interchangeable and lose their sense of place. True luxury should be personal, distinctive, and rooted in character, not defined by formula or checklist.

When guests leave one of your properties, what do you hope they remember most?

I hope they remember how Prestonfield House made them feel, the warmth of the welcome, the dramatic atmosphere, and the sense that they have experienced somewhere truly special.

And do you have an insider tips for a first-time visitor?

Prestonfield House offers a tranquil haven to unwind, while Edinburgh’s energy awaits just beyond the gates. Take a leisurely stroll through our 20 acres of gardens, enjoy Champagne Afternoon Tea on the lawn in summer, or curl up with a book by a roaring fire under twinkling lights at Christmas.

Luxury is highly subjective – what does it mean to you personally?

To me, luxury is not about excess; it is about time, comfort, and being genuinely cared for. It is the feeling that everything has been thoughtfully considered, quietly and effortlessly, so that the guest can simply relax and enjoy the experience.

What is your life motto if you have one?

I don’t have a life motto, but I have always admired Walt Disney’s words: “You can design, create and build the most wonderful place in the world. But it takes people to make the dream a reality.” That has always resonated deeply with me, because hospitality is, and always will be, about people.

Read our review of Prestonfield House

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You were born and raised in Keith, a town that literally bears the name of Speyside whisky country. Did you ever feel that your path into the industry was inevitable?

No, although members of my family — including my father and brother — worked in the industry, choosing to join it was never a conscious decision on my part. It was a combination of circumstance and luck that led me into whisky, and the opportunities I was given along the way are what ultimately shaped my career path.

You began your career in 1991 as a Warehouseman with Chivas Brothers before moving to GlenGrant and Caperdonich. How did those early years in the warehouse shape the distiller you became?

Working alongside experienced warehousemen and distillers provided me with the strong foundation I have today. This allowed me to grow professionally in the whisky industry and ultimately pass on my knowledge and insights I’ve gained with others throughout my career.

You’ve described the restoration of The Distillery at Coleburn as returning something to the landscape. Please share the overall vision for this project. And what does it feel like to walk a site that’s been silent for forty years and know you’re about to wake it up?

I would say having the opportunity to start one mothballed distillery is rare, but having the chance to be part of a second one is an opportunity that comes once in a lifetime that I just couldn’t turn down.

In 1998 you began a 27 year career at Benromach, which was also an inactive distillery for a number of years. What are the key experiences you learned from your time here that will influence your approach at The Distillery at Coleburn?

Keep everything simple. Have a clear vision of what you want to achieve and what style of spirit you want to create. Making sure you keep the distinctive flavour profile for your distillery true to its heritage and its future.

What does a master distiller do differently when they know they’re building a legacy from scratch, not inheriting one, but creating one?

Look to see the heritage of the old distillery. Working with the vision of the master plan is what guides decision-making throughout the project. Making sure to keep some of the heritage alive within the new distillery.

The Local Heros collection launches with three blended malts: Sweet Peat, Big Smoke, and Sherry Bomb. Can you talk us through the flavour profile of each one, and what you want drinkers to experience?

Sherry Bomb we wanted to achieve the rich whisky flavour given from oloroso and refill casks, combined with the aromas of spice, honey, red apple and cinnamon over toasted malt.

The flavour profile from Sweet Peat presents a gentle introduction to smoky whisky, while combining sweeter notes like caramel and vanilla before being balanced out by light smoke and tobacco.

Big Smoke is our boldest expression, which combines notes of cherry, vanilla, lemon and coastal notes before being finished in a rich smoky character.

For the three Local Heros we want drinkers to experience the whole flavour profile that whisky can give you, delicate fruit sherry notes, a sweet character with delicate smokiness, and a full-bodied, smoky, rich whisky.

Sherry Bomb is drawn from Oloroso and refill casks. What is it about Oloroso in particular that makes it such a powerful vessel for Speyside malt?

Oloroso seasons the cask, giving it that deep fruity profile, which is very characteristic for Speyside whisky.

Sweet Peat is described as a gentle introduction to smoky whisky, caramel, vanilla, plum pudding on the nose, honey and banana on the palate. For someone who has never tried a peated dram, why is this the right starting point?

I guess traditionally peated whiskies can be deemed to be very powerful on the palate, not always but in most cases a subtle introduction of a lightly peated whisky is the best way to try peat for the first time.

Big Smoke is your boldest expression, medicinal, coastal, sea salt on the palate. Where does that coastal character come from in a whisky made deep in landlocked Speyside?

The coastal notes is a description; normally, the difference in the peat used can reflect these coastal notes in many different ways. If the peat comes from more coastal areas, then this can highlight the coastal notes on the palate, as opposed to using peat from more traditional inland heather peat bogs.

The name Local Heros is a celebration of the people and communities who have shaped Scotland’s whisky story — past and present. Who are the unsung heroes of Speyside that you feel the world doesn’t hear enough about?

The older generation of warehousemen and stillmen has a vast array of stories to tell about the area and the communities they lived in. They didn’t just work in the distilleries; they lived here with their families and made many traditions that have lived on through generations.

Which three words best describe the Local Heros collection?

People, Product, Place

What is your life moto – if you have one?

Don’t take yourself too seriously, and you’ll never achieve anything without help.

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In 2024, Cohen launched räkkhaus an international architecture and design studio based on the ethos that architecture is an act of connection, not just construction – the name räkkhaus is derived from the Finnish rakkaus (love) and the German haus (house).

A standout in the studio’s growing portfolio is Atari Hotels Phoenix, a high-profile project that exemplifies Cohen’s ability to merge storytelling, entertainment-first, with architectural and design innovation into a singular, emotionally resonant destination.

Read our interview with Zac to learn more about this exciting project, the evolution of architecture in the hospitality world and so much more.

Please tell us more about your path into architecture and the experiences that most influenced how you think about space, emotion and storytelling.

I didn’t go to architecture school. I don’t have a license hanging on my wall. I came to this sideways — through finance, through real estate, through getting on planes and staying gone for a long time. I grew up in Boulder, Colorado, studied finance and real estate development. But the real education happened when I stopped following the script. I moved to Europe, lived there for over a decade, and traveled to more than fifty countries. And somewhere between the chaos of Mumbai and the silence of a crumbling chapel in rural Tuscany, the whole thing cracked wide open for me.

Frank Lloyd Wright called architecture the mother of all art. He was right — but I didn’t understand why until I felt it in my soul. It contains everything — sculpture, painting, light, sound, time, memory. It’s the only art form you physically inhabit. You can walk away from a painting. You can’t walk away from the city you live in. That’s power. And most of the industry treats it like a logistics problem.

What travel destroyed for me — and I mean that as a compliment — was the illusion that architecture is about aesthetics. Lose yourself in the Gothic Quarter in Barcelona. Stand on the walls of Jerusalem and observe. Sit on the waterfront in Bol, Croatia watching the Adriatic do what no architect ever could. Architecture isn’t about style. It’s about the relationship between a human body and the space it moves through. It can connect people or it can divide them. It can make you feel held or make you feel erased. That’s not design. That’s responsibility.

And if you want to talk about what I believe is the most important invention in human history — forget the iPhone, forget cars, or the internet — I’d point to the Italian piazza. A public space built for nothing more than the radical act of being together. Strangers sitting, arguing, flirting, existing alongside each other. No transaction. No agenda. Just presence. That’s architecture at its most powerful — not as a monument, but as an invitation. That idea is the beating heart of everything we do at räkkhaus. 

You established räkkhaus in 2024. What was the lightbulb moment, and how has the journey unfolded so far?

There was no single lightbulb. I’d spent years working at the highest levels of international architecture — a globally recognized studio in Milan where I served as Director and then Principal. World-class projects. Brilliant people. I learned an enormous amount about what’s possible when architecture operates without fear. But I also learned what happens when complexity becomes the point. When the form starts serving the architect’s ego instead of the person walking through the door. It infuriated me.

I needed air. I needed simplicity. Not minimalism as a trend — simplicity as a philosophy. The courage to strip something back until only the essential remains. That’s harder than adding more. Any architect can add more. It takes nerve to take away.

räkkhaus was born from that hunger — and honestly, from a kind of creative impatience. I wanted a studio that leads with empathy, rather than spectacle. That treats simplicity as a radical act. That has zero interest in impressing other architects. We’re interested in moving human beings. Full stop.

We opened simultaneously in Phoenix and Helsinki in 2024 and have since expanded to Dallas and Madrid. We’ve assembled a team of architects from across Europe and the States who’ve lived it — different countries, different languages, same values. It’s been fast. Messy at times. But honest. Exactly how we like it.

The name räkkhaus combines the ideas of love and home. How does that philosophy translate into real-world architecture?

“Rakkaus” is Finnish for love. “Haus” is German for home.

Most architecture studios name themselves after the founder because architecture has a vanity problem. We named ours after the two things that actually matter — love and shelter. The most fundamental human needs.

In practice, that philosophy is ruthlessly simple: make someone feel something. Anyone with a software license and a big budget can build something that photographs well. The question we ask is different — does it move you when you walk through the door? Does it make you feel like you belong there? Does it hold you the way a home should, even if it’s a hotel or an office or an apartment building you’re renting for eleven months?

We start every project by listening. To the site, the community, the culture, the ghosts of what was there before. We immerse ourselves in the place before we draw a single line. Because a building that fails to understand the people it serves is just an expensive sculpture. And the world has enough of those.

You often describe architecture as an act of connection rather than construction. What does that mean in practice?

Construction is what keeps the rain out. Architecture is what makes you stop in a hallway you’ve walked through a hundred times and suddenly see it. That moment — that pause, that breath — that’s the whole game. The rest is engineering.

The industry is addicted to jargon right now. Sustainability. Innovation. Parametric this, computational that. And look, we use AI, we push technology as hard as anyone — but technology is a tool, not a personality. Rick Rubin said it best: the reason we go to the artists we go to is for their point of view — and AI has none. The destination is always a human being having an emotional response they didn’t expect. That’s it. Everything else is noise.

Luxury travel is increasingly driven by experience rather than excess. How has this shift changed the way you approach hotel design in particular?

The traditional model of luxury hospitality — spaces designed to make you feel small so you’ll think you’re somewhere important — that’s dead. The people shaping the future of travel want to be changed, not impressed.

Experience-driven design means the architecture itself can be the product. Not a container for amenities — the amenity. The way light moves through a corridor. The way a staircase forces you to slow down. Every one of those is a decision.

We approach hotel design by asking one question: what’s the human story this place is telling, and how does every square foot serve it? A beautiful room with a great view is forgettable. A place that takes you somewhere — emotionally, psychologically, spiritually — that’s the one you tell people about for the rest of your life. That’s what we’re after.

Please tell us more about the development of Atari Hotels Phoenix, particularly how storytelling and entertainment have been woven into the architecture itself.

It is not a themed hotel. It is not a giant arcade with beds. If that’s what you’re picturing, delete it. What we’re building is a world. A complete, immersive, architecturally uncompromising world that happens to have rooms you can sleep in.

The design draws from the visual language of Tron and Blade Runner — not as nostalgia, but as prophecy. The building is conceived as a glowing monolith of light and motion, rising from Roosevelt Row like a digital beacon announcing that Phoenix has arrived at the future. Over ninety thousand square feet of experience-driven space — a twenty-thousand-square-foot concert venue for two thousand people, an esports arena with a ten-thousand-square-foot sportsbook, immersive environments that merge gaming, music, and nightlife into something we haven’t named yet.

But here’s what separates this from spectacle: the integration is architectural, not decorative. Subtle references to Asteroids, Pong, Tetris are woven into the DNA of the building itself. The facade’s fractured patterning echoes pixel grids. Interior light bands create kinetic pathways like arcade circuitry. The Atari logo has been reimagined and stretched vertically into a luminous symbol that owns the skyline. And the LED-lit breezeway that slices through the tower’s base — a programmable, immersive passage — that’s a threshold. You cross it and you’re somewhere else.

Our goal was to fuse architecture with interaction. Not themed design — pure spatial innovation. A tower defined by motion, responsive surfaces, and a frame that glows with its own internal logic. This building generates culture. That’s the difference between world-building and wallpaper.

What design trends are you currently seeing in experiential hospitality that genuinely excite you?

The death of the passive guest.

For decades, hotels treated guests like audience members — sit here, eat this, look at that. The best new hospitality projects understand that people want to participate. They want to be inside the experience, absorbed by it.

I’m excited about immersive environments that blur the line between physical and digital — spaces that respond to your presence through sound and scale. Hotels functioning as cultural platforms — properties that host, curate, provoke, and occasionally make you a little uncomfortable in the best way.

I’m also deeply excited about the return of communal space done with intelligence and intention. People are starving for gathering — for places that facilitate real, unscripted human connection. The lobby as a living room. The rooftop as a town square. The corridor as a gallery. When you design for gathering, you design for memory. And memory is the ultimate luxury. No thread count competes with that.

Are there any trends you feel are overused or misunderstood within luxury hotel design?

Somewhere along the way, the industry decided that sophistication means sensory overload — more pattern, more texture, more objects, more visual noise competing for your attention. Most of the time it’s insecurity. A fear of silence. The architectural equivalent of someone who won’t stop talking because they’re afraid of what happens when the room goes quiet.

There is profound beauty in simplicity. A single material used with precision. A room where the light does all the work. A space that trusts you enough to give you nothing but itself. That takes more courage than throwing the entire catalog at the wall and calling it curated.

What advice would you give to hotel brands looking to create emotionally resonant spaces rather than visually impressive ones?

Start from the human level and expand out.

Most hotel design starts macro — site plan, massing study, maximizing buildable area. Then the human experience gets reverse-engineered into whatever space is left over. It’s backwards. And it’s why most hotels feel the same regardless of how different they look.

Flip it. Start with the moment a person crosses the threshold. What do they feel? What do they hear? How does the light land? Design the emotional journey first, then build the architecture around it. When you begin with the human body and the human heart as your unit of measure, everything else falls into place. It stops feeling designed and starts feeling discovered.

The brands that will define the next decade are the ones that make a person feel, on some primal level, that this space was made for them. That takes radical empathy. And the courage to design from the inside out.

Luxury is highly subjective. What does it mean to you personally?

Time. Luxury is time. It’s time with the people you care about in a space that isn’t asking anything of you.

I’ve stayed in some of the most expensive hotels in the world and forgotten them by the time I arrived at the airport. But I remember standing alone in the Rila Monastery in the Bulgarian mountains with nothing but cold air and six-hundred-year-old walls and thinking — this is it. This is what we should be building toward. Not louder. Quieter.

Finally, what is your life motto, if you have one?

Ignore the noise. I’d rather be honest than liked.

I’ve never been good at performing. Never wanted to be. Everyone’s curating — saying the right thing, wearing the right reference, waiting to see what’s safe before they open their mouth. I’d rather say the wrong thing honestly than the right thing strategically. That’s how I travel. That’s how I build. That’s how I run a company. You say what you mean. You mean what you say. If it costs you the room, it wasn’t your room. The people who get it will find you. The rest were never going to anyway. Stay direct. Stay grounded. Stay willing to be disliked. Ignore the bull$h!t.

Discover More: www.rakk.haus/about

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Read our interview with Natacha to discover more about her professional journey and the stunning boutique retreats and restaurants that embody beauty, balance and sustainability in the heart of Tuscany.

Natacha, you were born in Paris and travelled extensively across Africa, Europe, Asia, and the Americas. Please tell us more about how these experiences have influenced your career choice and approach to business.

I was born in Paris, but I was shaped by movement. Travelling across Africa, Europe, Asia and the Americas did far more than introduce me to different places. It opened my mind and my heart.

Each culture offered a distinct perspective on what truly matters: our relationship with time, community, nature and purpose. Travel teaches humility. It reminds you that your way is not the way, but one among many, and that listening is often more powerful than leading. I have been privileged to meet extraordinary people across continents, each carrying resilience and wisdom rooted in their own realities.

These experiences deeply influenced my career choices and my approach to business. I do not see business as transactional, but as a human and cultural exchange. I am drawn to creating environments, whether in hospitality, design or entrepreneurship, that are respectful, meaningful and emotionally resonant. Places where people feel grounded, seen and connected.

Travel sharpened my adaptability and curiosity. It taught me to observe before acting, to design with sensitivity, and to build systems that honour both people and place. Above all, it reinforced my belief that true success is not defined by scale alone, but by integrity, relationships and the impact we leave behind.

Every journey has been a classroom. Every encounter is a lesson. I remain deeply grateful to have learned through the world itself.

Tuscany is home to your boutique retreats and restaurants, as a well-travelled individual what is it about this region that attracted you and tell us more about making your vision a reality here.

Tuscany entered my life through a blend of serendipity and a long-held dream. Despite extensive travel, I was not searching for a business destination, but for a place of meaning. A place where art, food, culture and nature coexist in harmony, and where I could deepen my connection to life by adding another language to my journey.

What initially brought me to Tuscany was a very human desire for a family retreat. Castellina appeared almost by chance, one of those moments that feels guided rather than planned. Once there, everything aligned.

Bringing my vision to life meant listening carefully to the land, the traditions and the people. I did not want to impose a concept, but allow it to emerge organically. The retreats and restaurants grew from a desire to honour what already existed, while gently weaving in my own sensibility: soulful hospitality, regenerative practices and spaces that nourish both body and spirit.

Sustainability and authenticity are at the heart of all you do. Please tell us more about why these aspects are so important to you, how you frame them for guests, and how you promote beyond your properties.  

Sustainability and authenticity are not concepts I adopted later in life. They are part of who I am. I often say I am a child of Africa. I was raised on the islands of the Comoros, barefoot, surrounded by ocean, wind, soil and sky. When you grow up close to the elements, your relationship with nature is instinctive and respectful.

That early connection shaped my understanding of balance, interdependence and responsibility. You learn quickly that nature is not something to dominate, but something to listen to. Resources are precious. Waste is visible. Community matters. These lessons naturally became the foundation of how I live and create.

For our guests, sustainability is experienced rather than explained. We do not preach; we invite. It is felt in the quality of the food grown in our soil, in spaces that breathe, in the rhythm of the land and in the warmth of the people who care for it. Authenticity comes from alignment, when intention, action and experience are coherent.

Beyond our properties, I share these values through stories, collaborations and lived practices rather than slogans. Through design, hospitality, agriculture and wellness, I aim to show that sustainability can be elegant, soulful and joyful. At its core, it is an act of gratitude for the land, the cultures that shaped us and the future we are responsible for.

To be successful in any market, one must be attuned to customer demands and industry trends how do you satisfy (or exceed!) your specific customer needs whilst maintaining the integrity of your own philosophy?

Integrity is not negotiable for me. It is the anchor of every decision. While listening to guests and understanding industry trends is essential, long-term success comes from staying true to the promises you make, not from reshaping yourself to meet every demand.

I listen carefully, not to dilute our philosophy, but to refine how we express it. Our role is not to compromise who we are, but to deliver our commitment with care, detail and consistency. When expectations align with our values, we exceed them. When they do not, we choose coherence over convenience.

Guests today recognise authenticity and value consistency. By remaining faithful to our principles of sustainability, care, quality and human connection, we build trust. That trust allows us to exceed expectations in meaningful ways. Integrity is not a limitation. It is our strength. It creates clarity, loyalty, and a sense of reliability that no trend can replace.

Beyond your own client portfolio demands, what are your predictions for the foreseeable future of luxury travel? 

The future of luxury travel will be slower, mindful, more conscious and deeply human. Guests will prioritise places that respect the environment, honour local culture and offer emotional value rather than abundance. True luxury will lie in space, silence, time and meaningful connection, not in excess or standardisation.

What is the most surprising lesson you’ve learned working in the luxury hospitality sector?

What has surprised me most is how deeply guests respond to sincerity. True luxury today is less about excess and more about how a place makes you feel. When care, intention and human presence are genuine, they are felt immediately and remembered long after. Guests may forget the thread count or the design details, but they always remember how a place made them feel. Emotional intelligence, care and intention are far more powerful than any material offering

When you travel or stay at a luxury property as a guest, what are the little touches you especially appreciate or critique?

I appreciate simplicity that feels intentional, spaces that breathe, and environments where the lighting is softly dimmed rather than overstated. Scents matter deeply to me. They should be natural, discreet and grounding, never overpowering. Even the smallest gardens reveal whether a place truly cares about life beyond aesthetics.

I pay close attention to how responsibly a property interacts with its ecosystem. Sustainability should not be performative, but embedded in daily operations. When handled quietly and intelligently, it elevates the entire experience.

Above all, I notice people. Present, sincere staff who take pride in what they offer create an ease no design can replace. I quickly sense anything that feels scripted or disconnected. For me, luxury is coherence, when simplicity, environmental respect and human authenticity come together seamlessly.

We mentioned earlier that the properties and restaurants in Tuscany are just part of your professional interests. “Her Me Now” is a project you also founded that is designed to empower women with visibility, education, and opportunity. Please tell us more about this initiative and the work it does.

I believe in kindness. I believe that love is the answer. Beyond colour, borders, and religion, my journey has been shaped by extraordinary women and communities who supported me, taught me, and walked alongside me. I have been deeply fortunate to learn, to travel, and to grow through these connections.

Her Me Now is my way of giving back — of transforming gratitude into action. The initiative is designed to empower women through visibility, education, funding, and opportunity, but just as importantly, through connection. At its core, it is about nurturing potential and creating spaces where women feel seen, supported, and encouraged to expand beyond perceived limits.

I believe empowerment is never a one-directional act; it is a ripple. When women are supported, families are strengthened, communities grow, and future generations benefit.

Ultimately, this initiative reflects my belief that success is incomplete if it is not shared. Gratitude becomes truly meaningful when it is expressed through generosity, and Her Me Now is a living expression of that commitment.

How would you like your legacy to be remembered?

I would like my legacy to be remembered not in terms of scale or visibility, but in terms of impact and intention. If people remember that I led with kindness, acted with integrity, and created spaces where others felt seen, respected, and empowered, that would be enough.

I hope to be remembered for building with care, honouring people, cultures and the land, and for sharing what I received with gratitude. If my work helped nurture connection, inspire responsibility, and encourage others to live and lead with more authenticity, then my journey will have served its purpose.

Ultimately, legacy is not what we leave behind, but what continues to grow because we were here.

Luxury is highly subjective; what does it mean to you personally?

For me, luxury is not material. It is, above all, time, integrity, and authenticity. The privilege of feeling grounded and respected, and of being truly connected to a place, to nature, and ultimately to yourself.

What is your life motto? If you have one.

Lead with kindness, live with integrity, and let love be the answer.

Discover More

Follow Natacha on LinkedIn

Read more about One Belvedere Tuscany

Read more about Locanda Le Piazze

The post In Conversation with Natacha Fazal-Karim, Visionary and Founder of Locanda Le Piazze and One Belvedere Tuscany appeared first on The Luxury Editor.

Please tell us a little more about your background and career pre–Studio Sixty7.

Jose: Originally from Venezuela, I moved to Spain, where I studied interior design at IADE in Madrid before moving to the UK to join a leading international design practice. I worked there for around seven years on some of the studio’s most high-profile projects around the world, which gave me incredible insight into the needs and expectations of clients. I was like a sponge during that time – the opportunities were amazing, and it’s where I truly honed the knowledge and skills that have prepared me for this next chapter at our own design atelier, Studio Sixty7.

Lee: I’m a Northern boy at heart. I studied architecture at Newcastle University before shifting my focus towards interior design. In 2010, I was recognised as one of the UK’s top five emerging designers at the New Designers Awards in London – at a time when it was incredibly tough for young designers to get a foot in the door. I essentially worked for free for the first six months of my career and built from there, eventually spending 13 years at one of the top international design practices, where I progressed to Creative Director and led a team of over 50. It was a dream job – and where Jose and I first met.

Jose: What was great for us both was that we worked side by side on the company’s largest commercial projects and high-profile clients around the world. It meant we really got to know each other’s strengths and weaknesses and found a natural rhythm working together.

How was the idea for Studio Sixty7 born, and what was the journey to make the idea a reality?

Jose: I planted the seed! And I’m so glad I did. Lee and I had worked on so many projects together, and I remember being in LA on a job, looking around and realising that I’d reached an incredible point in my career – but I didn’t want to become complacent. I pitched the idea to Lee, and the look of shock on his face said it all! He’s slightly less of a risk taker, but once he saw the possibilities, we started planning what we wanted to create and how we’d present ourselves as a design duo.

Lee: It was both daunting and exciting. We spent hours planning and coming up with different studio names – honestly, the number of ideas we went through! It must be what naming a child feels like. We really wanted to capture who we are and create a strong, timeless brand right from the start.

Please tell us more about your design philosophy and how it differs from others within the industry.

Jose: Our design philosophy is simple – to create a narrative. To tell a story. To embrace the cultural heritage of wherever the project is based – and most importantly, to have fun while doing it.

Lee: For us, it’s about the people. Life is serious enough, so we want the process of working with us to be memorable and enjoyable. We’ve been entrusted to create something personal, whether for a private client or a commercial project, and we always aim to deliver that with care, creativity and a human touch.

Each project you work on is bespoke to your client’s requests – what has been the most challenging brief to date?

Lee: Designing an overwater restaurant in just one week! Not only do you have the challenge of designing over water – with all the structural and environmental factors that come with it – but you also have to ensure it feels grounded and secure. No one wants a restaurant that sways on its columns!

Jose: Exactly. Tight timelines mean you have to manage expectations and be honest with clients. We always smile when commercial clients say, “We need it yesterday!” As creatives, we always want time to work our magic and deliver our best – but part of the job is finding the balance between ambition and practicality.

Your portfolio includes both residential and commercial projects within the hospitality sector – is there a clear demarcation between the deliverables for the two?

Jose: Ultimately, both come down to budget and value – but the approach differs. Commercial projects are typically fast-paced, with tighter budgets and deadlines, as they’re focused on return on investment. There’s a strong emphasis on efficiency and functionality because, at the end of the day, it’s a business.

Lee: Private residential work, on the other hand, is much more personal and emotionally driven. The deliverables often include a deeper layer of consultation, custom detailing, and a more immersive design journey. Clients are more involved in decision-making, and we spend more time refining the smallest details that reflect their personality and lifestyle. With commercial projects, the focus is on scalability, durability, and brand storytelling; with residential, it’s about intimacy, comfort, and creating something that feels truly “theirs.”

Are there any trends you’ve recently observed in the luxury hospitality sector, and how do you balance these with your core philosophy?

Lee: There’s definitely been a shift towards connection and experience – guests want interaction within the spaces. We’ve been designing open kitchens in resort restaurants, where guests can sit around the same island as chefs prepare dishes. There’s something beautiful about that level of intimacy and transparency.

Jose: For me, it’s all about materiality. There are so many incredible finishes emerging, but one that continues to stand the test of time is Moroccan plaster. The texture, tones and tactile warmth it creates are magical – it’s like a soft embrace. In one of our recent projects in the Maldives, we used plaster throughout the resort – from suites to public areas – because it’s so versatile and timeless.

Sustainability is becoming central to luxury travel. How do you integrate environmentally conscious practices without compromising design?

Jose: Sustainability is integral to everything we do – regardless of project type. When we worked on a boutique hotel in Sri Lanka, designing consciously and responsibly was non-negotiable.

Lee: We sourced all materials locally to reduce the carbon footprint and worked with local artisans to repurpose existing furniture instead of replacing it. We reupholstered chairs, refinished tables – giving them a new life. It really reinforced the idea that not everything needs to be brand new to feel luxurious.

What’s next for Studio Sixty7?

Jose: We’re super excited about what’s coming up! We’re currently completing more resorts in the Maldives, as well as private residences in London and Mauritius – all completely different in look and feel, which keeps it exciting for us.

Lee: We’re also curating a collection of antiques we’ve sourced from our travels – pieces that tell stories and celebrate craftsmanship. As always, it’s about narrative and meaning.

Luxury is highly subjective – what does it mean to you?

Lee: Freedom and time.

Jose: Simplicity and discretion.

Finally, what is your life motto?

Lee: My dad always says, “You have one mouth and two ears – use them in that proportion.” Listen more than you speak, be a sponge, and never stop learning.

Jose: Each day is a new opportunity, and to always stay true to your core values.

Photographer credit: Tom Fallon and Sun Siyam Resorts

www.studiosixty7.co.uk

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As part of the spa’s relaunch, the hotel has introduced a seasonal series of immersive wellness retreats, partnering with Anna Deacon, one of Scotland’s leading voices in cold-water wellbeing. A photographer, author, and advocate for mindful living, Anna has inspired thousands through her writing and community work. I joined her at the Old Course Hotel to talk about the science of contrast therapy, the new retreat series and Kohler Waters Spa, and the art of finding calm in the cold.

The Snow Cabin experience is a fantastic new addition for a UK spa. What were your first impressions of it?

The Snow Cabin only opened a couple of weeks ago and it is such an exciting development. It allows guests to explore the power of contrast therapy, alternating between heat and cold to help the body rebalance and recover. The team at the Old Course Hotel have created something really special here. Moving from the warmth of the sauna into the crisp, dry snow is both invigorating and surprisingly meditative. It is an incredible space to reconnect with your senses.

For readers unfamiliar with the concept, what exactly is contrast therapy?

It is the practice of moving between hot and cold environments, for example, from a sauna into cold water, or in this case, snow. It is not new; cultures around the world have been doing it for centuries. What is fascinating is that Scotland may have had its own early sauna culture. Archaeologists have found over 300 burnt mounds across the country, particularly in Shetland, which are thought to have been ancient saunas built beside rivers or lochs.

Contrast therapy has become one of the biggest wellness trends globally. It was highlighted at the Global Wellness Summit as a key wellbeing movement for 2025, and for good reason. It helps strengthen the heart, boost circulation, and calm the nervous system, and it is something anyone can experience and benefit from.

What happens to the body during these hot and cold transitions?

When you move between heat and cold, you create a micro-stress known as hormesis, which strengthens your cardiovascular system, supports circulation, and boosts mental clarity. Regular sauna use has been shown to reduce cardiovascular risk by up to 50% and even lower the chance of Alzheimer’s.

Cold exposure has remarkable effects too. When you immerse in cold water, dopamine levels can rise by around 250 percent, producing a sustained sense of calm and focus. It is not about endurance; two or three minutes in the cold is enough. It is about slowing down, breathing through the initial shock, and allowing your body to adjust.

The idea of stepping into snow or freezing water sounds daunting. How do you help people prepare for it?

The key is to approach it mindfully. Never rush. Start slowly, breathe deeply, and listen to how your body feels. The cold can be uncomfortable at first, but that is the point, you are learning to stay calm under pressure. It teaches you resilience and presence.

When I work with people during these sessions, I encourage them to see the cold not as an enemy but as a teacher. Once you relax into it, you discover a sense of peace that is hard to describe.

You are also helping to shape the hotel’s new wellness retreat programme. Can you tell us more about that?

The Old Course Hotel has developed a wonderful series of seasonal wellness retreats, and I am delighted to be part of them. Each retreat is built around the principles of contrast therapy but incorporates different elements depending on the theme.

The first one, the Step into Summer Retreat, takes place on 2 May 2026 and focuses on mindfulness. Guests will experience contrast therapy sessions in the snow and sauna cabins, followed by a sunrise dip the next morning and a mindful photography workshop later in the day. There will also be yoga and meditation sessions to deepen that sense of awareness.

I am joined by Louise Minchin, the broadcaster and endurance athlete, who will be leading a fireside conversation about women’s health, resilience, and personal transformation. It is going to be a really special weekend, a chance to slow down, reflect, and reconnect with both nature and yourself.

Your background as a photographer seems to tie beautifully into your approach to mindfulness. How did that evolve?

I have been working as a photographer since 2007, focusing on wild swimming, nature, and portraiture. My work has been published in The Guardian, The Telegraph and Stylist, and I have co-authored several books with Vicky Allan exploring the relationship between water and wellbeing. Photography is a form of meditation for me. It teaches you to observe, to notice light, movement, and small moments of beauty. That is what my mindful photography workshops are all about, helping people see the world with fresh eyes.

What do you think makes St Andrews such a fitting location for this kind of retreat?

There is something very grounding about being by the sea here. The landscape is open and calming, and the light in Fife has this beautiful clarity. You can walk from the spa straight to the beach, breathe in the sea air, and feel completely present. It is the perfect setting to combine cold-water immersion, mindful movement, and rest.

Finally, how would you sum up the experience guests can expect at the Old Course Hotel’s spa?

The Kohler Waters Spa is truly exceptional. The new design perfectly balances comfort and challenge. You can push yourself in the snow cabin, then retreat into spaces of warmth and calm. It captures the essence of the Scottish concept of coorie, that feeling of deep comfort after facing the elements. It is an approach to wellbeing that feels both modern and deeply rooted in nature.

The post In Conversation with Anna Deacon on Contrast Therapy at The Old Course Hotel appeared first on The Luxury Editor.

Wolfcraig Distillers was founded in 2020 by former Whyte & Mackay CEO Michael Lunn, his son Jamie, and Paterson himself, and is an independent bottler based in Bearsden, Glasgow. As Bearsden is also my hometown, the whisky release feels especially meaningful. Read this fascinating Q&A, which captures some of Richard’s (many) insights into the wonderful world of whisky. 

Richard, you opened the evening by comparing whisky to the cut of a diamond. What did you mean by that?

The cut is everything. Whether it’s a suit, a diamond or a whisky, it’s about precision, timing and knowing when to stop. A badly cut diamond won’t sparkle. A poorly made whisky won’t sing. For me, making whisky is about cutting the spirit correctly, selecting the right casks, knowing when to marry them and then having the discipline to leave them alone. That respect for the cut and timing is what makes brilliance possible.

You also spoke about your family. How did those early experiences shape your approach to whisky?

My great-great-grandfather, Sir William Paterson, founded the Bank of England in 1694. He loved the smell of money. My father and grandfather loved the smell of whisky. My father took me into a Glasgow warehouse when I was a boy. At first, I was messing about and he gave me a sharp tap. He told me to hold the glass properly, swirl it, and say hello. Then he asked me to describe it.….was it heavy like my grandfather, light like my mother, sweet like chocolate or dry like dust? That was my first whisky lesson. It taught me that whisky is not something you knock back; it’s something you respect.

The new release is the 14-Year-Old Deluxe Blend, Second Edition. What makes this expression so distinctive?

This is our flagship blend, made with a premium 50% malt to grain ratio. Every whisky inside it is at least fourteen years old. Ian Macmillan and I, between us, have more than a hundred years of blending experience and we’ve drawn from all five whisky regions of Scotland. What defines this edition is the finish: Amontillado, Pedro Ximénez and Muscatel sherry casks, each seasoned in Jerez for fifteen years before we used them. They bring layers of nut, raisin, chocolate and vanilla, but in balance. Sherry casks must complement the whisky, not overpower it. The 14 is about harmony, complexity and depth. 

Why sherry casks in particular?

Sherry is transformative. Take Pedro Ximénez, the grapes are sun-dried until they’re almost raisins, producing a treacly, sweet wine with notes of Christmas cake. A cask seasoned with PX carries that richness deep into the staves. When you rest whisky in it, those flavours emerge naturally over time. Amontillado brings elegance, Muscatel adds lift. Together, they create indulgent but measured layers. I’ve always said the cask is king. Around eighty per cent of a whisky’s final character comes from the wood, so you must treat it with respect.

For readers who haven’t tasted it yet, how would you describe the flavour journey?

First, look at the colour, mahogany gold with flashes of copper. On the nose, there’s caramel, almonds, sultanas, marzipan, bitter chocolate and a little Seville marmalade. On the palate, you’ll find chocolate, vanilla, spiced cake, gingerbread, praline and Madeira cake, with a whisper of XO Cognac. The finish lingers with raisins and figs. It’s bottled at 46.1% ABV so you can enjoy it neat, while a drop of water will reveal new layers. Take your time with it. Swirl, say hello, taste once, then taste again. Let the whisky speak.

At the launch event you described the warehouse as a living system. Could you expand on that?

A warehouse is alive. A cask at the top of the rack evaporates more, keeps its strength, but can be sharp. One at the bottom matures gently, loses strength, but gains roundness. Maritime air brings its own influence. You must nose and taste across seasons, because casks fall asleep and wake up in their own time. That’s why blending is such an art, you’re drawing voices from a choir and asking them to sing in harmony.

You and Ian Macmillan are both master blenders. How does your partnership influence Wolfcraig?

Ian and I have worked across many distilleries in our careers. Between us we’ve seen most of Scotland’s warehouses inside out. Many of the component whiskies in Wolfcraig 14 come from distilleries where we’ve built relationships over decades. That makes it personal. It’s not just a technical exercise, it’s blending our history and our knowledge into a whisky we want to be proud of.

Looking ahead, what’s next for Wolfcraig?

We’re preparing to launch in the United States with Gonzalez Byass as our distributor. It’s a tough market, but quality always wins. Beyond the 14, we have casks maturing that are 30, 35, and even close to 40 years old. Those will come in time. But the principle is always the same: balance before brawn, quality before quantity. Patience pays off.

And finally, if readers remember one lesson from you, what should it be?

Respect. Respect the cask, the cut, the time. Hold the glass properly. Swirl. Say hello. Don’t knock it back. Listen to the whisky. It will reward you if you give it the attention it deserves.

Wolfcraig’s 14-Year-Old Deluxe Blend Second Edition is available now for £95 from www.wolfcraig.com as well as select independent retailers.

The post In Conversation with Richard Paterson OBE on the Release of Wolfcraig’s 14-Year-Old Deluxe Blend Second Edition appeared first on The Luxury Editor.

For readers not familiar with The Suite Sojourn please give us a little teaser of your offering. 

Unlike the traditional travel agents of the past, The Suite Sojourn operates as a true advisory—much like your legal counsel or financial advisor, just a lot more fun to work with! We engage clients in a consultative process to design journeys that reflect their individual desires, values, and rhythms of life—no two itineraries are ever the same.

As a full-service luxury travel and lifestyle consultancy, The Suite Sojourn, redefines what it means to experience the world. We specialise in curating transformative journeys for discerning travelers—executives, entrepreneurs, couples, and families—who value time and crave authenticity, beauty, and exclusivity. Whether it’s a spiritual retreat in Bhutan or a private villa escape in Turks and Caicos, we turn travel dreams into flawless, deeply enriching realities.

How did the idea for The Suite Sojourn come to you? Tell us more about your journey to making the idea a reality. 

The idea began from a personal need—I was often the one designing elaborate itineraries for friends and family, weaving together my love for travel with my eye for detail and cultural curiosity. With a background in medicine and later finance, I developed a strong appreciation for the value of time and the need for efficiency and trust in high-stakes environments.

Over time, I identified a gap in the market for bespoke luxury experiences that went beyond the transactional. I envisioned a service rooted in emotional intelligence and global fluency—offering journeys that weren’t just luxurious, but personal and transformative. The Suite Sojourn became a natural extension of my passions, global exposure, and professional discipline.

Describe a typical day for you if such a thing exists!

You’re absolutely right—no two days are ever alike! Mornings often begin with client calls in Dubai or Europe, and if I’m traveling, they may end with property visits in the Maldives or meetings in India. I might spend the day refining an Africa safari itinerary, consulting on a milestone celebration in Tuscany, or troubleshooting a last-minute change for a client mid-journey.

What remains constant is my hands-on involvement—I’m personally engaged in each journey we craft to ensure it reflects the signature discretion, personalisation, and detail that define The Suite Sojourn.

You graduated with Honors Bachelor of Science followed by a Doctor of Medicine and then went on to work in Healthcare Investment Banking. Please tell us about your transition from this sector to the luxury travel market. 

It was an unconventional, unexpected but surprisingly organic and a fulfilling shift. Healthcare and finance gave me analytical rigor, attention to detail, and an obsessive commitment to client satisfaction—all of which now inform how I approach travel planning.

But I’ve always been drawn to cultural immersion, storytelling, and connecting people to meaningful experiences. Having traveled to nearly 60 countries before launching The Suite Sojourn, I was able to combine my firsthand knowledge with a global network of vetted partners. This allows me to create journeys that are not only flawless logistically but also emotionally resonant and soul-stirring.

One of the core premises of The Suite Sojourn is entirely bespoke travel, making an individual’s travel dreams a reality. Please tell us how you make this happen. 

It starts with deep listening—understanding the client’s “why” behind the trip. Is it a celebration? A desire to reconnect? A personal milestone? From there, we custom-design every detail—accommodation, transport, immersive experiences, dining, wellness, and more—curated to engage all five senses.

We don’t replicate trips; we craft journeys with intention. The result is a journey that feels like it couldn’t have been created for anyone else—because it wasn’t.

Despite being based in the NYC and Dubai, you have a global clientele. Is there such a thing as a typical The Suite Sojourn client? 

I have guests from all over the world (thanks to referrals, and Instagram. While our clients are incredibly diverse—spanning geographies, industries, and generations—they all share two things: they value their time and LOVE their curated trips that take them off the beaten path for a memorable experience. Many of our clients are time-poor yet experience-rich individuals—entrepreneurs, executives, couples or multigenerational families—seeking journeys that are meaningful, seamless, transformative and tailored entirely to them. Our discerning clients look to us not just to save time, but to enrich it.

Have you observed any shifts in your client demographics and their requests over recent years? 

Definitely. Clients are now seeking purpose-driven travel—experiences with emotional and cultural depth. There’s a rising desire for sustainability, privacy, and personalisation. Post-pandemic, there’s also a stronger desire for privacy and exclusivity—private villas, yachts, and off-the-grid experiences are in high demand. 

We’ve also seen a growth in multigenerational travel—families wanting to reconnect and celebrate milestones together, across borders and generations through shared, immersive experiences.

Beyond your own client portfolio demands, what are your predictions for the foreseeable future of luxury travel? How will you incorporate these into your own offering?

Luxury travel is shifting toward being more intentional and deeply personal. It’s no longer just about visiting a destination—it’s about truly connecting with it. We’re seeing growing demand for cultural authenticity, transformational experiences, and long-term, concierge-style travel planning. Travelers are leaning toward private options: yachts over cruises, villas over large hotels, and intimate boutique properties are becoming increasingly sought-after.

To meet these evolving expectations, we’re expanding our global private partnerships, integrating real estate advisory for clients interested in extended stays or ownership, and providing a higher-touch, fully personalised concierge experience before, during, and after travel. We believe the future lies in a return to the true travel advisor—someone with trusted relationships, insider access, and the ability to step in when things go off course—offering the human touch that faceless reservations simply can’t provide.

The Suite Sojourn is known for expertise in Asia—Bhutan, India, Japan—as well as luxury destinations like French Polynesia and Turks and Caicos. What draws you to these locations and are there any others that you think are completely overlooked as a luxury holiday destination? 

I’m drawn to destinations where tradition and natural beauty intersect. Bhutan offers spiritual richness and intention; India presents a sensory spectrum unlike any other; and Japan offers both refinement and depth. French Polynesia and Turks and Caicos, meanwhile, are sanctuaries for serene indulgence.

As for overlooked gems—I’d say Mongolia and Puglia remain delightfully under the radar for the discerning traveler seeking something soulful. 

What are your ambitions for the future of The Suite Sojourn – anything exciting in the pipeline?

We’re expanding our global concierge network and continuing to secure even rarer experiences—private island buyouts, ultra-exclusive cultural events, and bespoke wellness immersions. We’re also growing our real estate advisory services to support clients who want to create a deeper relationship with their favorite destinations.

That said, our boutique philosophy won’t change—we’ll remain intimate, discreet, and obsessively client-centered.

You cover a wide range of luxury destinations, which are your favorite three and what makes them so special?

It’s always difficult to narrow it down to just three, but here are a few destinations that truly stand out to me.

First, Turks and Caicos – particularly Pine Cay, which I like to call a “billionaire’s island without the pretension.” It’s the perfect place to disconnect from the hustle of daily life while still enjoying top-tier service. The beaches are pristine, the vibe is effortlessly relaxed, and there’s a rare sense of privacy and tranquility that’s hard to find elsewhere.

Next, Thailand, which offers an entirely different yet equally enriching experience. Known as the Land of Smiles, it’s a destination that caters to every type of traveler – from backpackers to ultra-high-net-worth clients. Whether you’re seeking vibrant cities, serene beaches, or misty mountain escapes, Thailand delivers it all with warmth, hospitality, and some of the finest service in Asia. As someone who considers herself an Asia expert, I always appreciate the depth of culture, cuisine, and contrast the country offers.

Lastly, Bhutan holds a very special place in my heart. Tucked away in the Himalayas, it’s a destination that’s both spiritually enriching and visually breathtaking. Its commitment to sustainability, the deep-rooted Buddhist traditions, and landmarks like the Tiger’s Nest Monastery make it unlike anywhere else. I especially love the blend of luxury and authenticity—whether you’re staying at the Six Senses lodges, Amankora properties, or experiencing a homestay with locals, Bhutan offers an unforgettable, soul-nourishing journey.

Luxury is highly subjective – what does it mean to you personally? 

To me, luxury is the freedom to be present and the warmth of the people. It’s the art of anticipation—where every detail is executed seamlessly, allowing you to experience the world without distraction or friction.

It might be a private jet ready for a spontaneous getaway, a rare bottle of wine awaiting your arrival, or eating at a local’s home or simply never having to repeat yourself. True luxury is measured by how effortlessly extraordinary the experience feels, it’s not just about opulence but how deeply the experience resonates and reflects one’s individuality.

Finally, what is your life motto? 

“Live fully, travel deeply.” 

It’s a reminder to approach life and move through the world with curiosity, presence, and purpose—whether I’m discovering a new destination or crafting an unforgettable journey for a client.

Instagram: @thesuitesojourn
Website:  https://thesuitesojourn.com/

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Please tell us a little bit about yourself and why you decided to pursue a career in the luxury hospitality sector.

I am an extrovert, and I like engaging with guests and associates. I genuinely enjoy the presence of others, interacting with them, sharing experiences with them and learning from them. I believe that I am built for the hospitality industry and this is a field I truly enjoy, back from my days in F&B operations, until today in my leadership role. Throughout different stages of my career, I have always enjoyed making guests happy, working together with the team to curate unique experiences that become unforgettable memories.

You began your journey with Marriott International in 2006 at The Ritz-Carlton, Half Moon Bay in California and moved to the Middle East in 2009 where you’ve held leadership positions at various hotels across different Emirates – what are the key cultural and market differences you had to adapt to in these diverse luxury markets?

I have learned to be flexible in my approach as I gained a better understanding of how each country has its own culture, with different values. What is applicable on one part of the world may not be as easily applicable on another. I have also seen how emotional intelligence plays an important role, being able to quickly adapt to various kinds of people coming from various cultures is an important skill to possess, both in leading the team, taking care of the guests, as well as in making business decisions.

To be efficient in leading in a certain country, it is important to understand the values of that culture, their practices, traditions, and even their language. I have learned the importance of seeing things from their eyes—my associates’ and our guests’ perspective—so that I can make decisions, curate offers, and make changes that are applicable for them.

And in seeing the beauty of the diversity of cultures, I have also seen the common ground from which hospitality is built, making the guests happy.

Regardless of what country we are in, being a leader in hospitality has a common goal to give the guest the best experience, making them remember their stay in your property through the different thoughtful gestures you do for them, by personalising their experience, and through the warm hospitality that you give them from their arrival to their departure.

We are different, yes, but at one point, we are also the same. Hospitality is our common ground. Everyone wants to feel welcomed, with warmth and sincerity.

Now, as General Manager of JW Marriott Hotel Muscat, please describe a typical day for you – if such a thing exists!

I am always on the floor, engaging with guests. If I am not in meetings with my team, I would certainly be in the lobby, interacting with guests, or in the restaurants, making sure our dining guests are satisfied and delighted in their experience. I also make sure to constantly check in with my associates to see how I can support them. In between, I take time to strategise with my leadership team to design new offers and experiences based on the evolving expectations of guests. But in every single day, one thing is important for me—to make every guest of JW Marriott Hotel Muscat happy, from their arrival to departure.

JW Marriott Hotel Muscat is a luxury urban resort with 304 guest rooms and suites, what makes the hotel distinct from other high-end properties in Muscat and the wider region?

Some properties are business hotels focusing on corporate guests and groups, holding meetings, conferences and events. Other properties are family-friendly resorts focusing on leisure guests. We are both.

Our direct connection to the Oman Convention and Exhibition Centre (OCEC), the spacious ballrooms and meeting rooms and the expertise of our events team make us an ideal property to book for your business needs. Our business guests who book the suites enjoy access to our Executive Lounge, the biggest one in the city.

On the other hand, we are also a family-friendly hotel, with a spacious Family by JW Kids Camp, offering daily kids’ activities and seasonal kids’ camp. Our dining venues offer special kids’ menu perfect for the little ones, and our kid’s pool, gardens and multipurpose courts are ideal for recreational activities for the little ones.

We are a mixture of both, and we are flexible to adapt to different kinds of guests, of various nationalities, ages, and culture. The diversity, flexibility, experience and expertise of our team allows them to adapt to different kinds of guests.

And what sets us apart is the kind of genuine hospitality and warm service that our team provides. I have spoken to several guests who come to the hotel and one factor is prominent—they love the warm hospitality of our associates. And this is something I take pride in, that I have genuinely kind associates who are genuinely willing to take the extra mile to make every guest not just satisfied but delighted, exceeding expectations.

How do you innovate your offering and respond to the changing demand of high-end guests? What might surprise a returning guest?

I believe in being one step ahead. In all our programs and offers, we always think in advance and see things from the guests’ perspective. We understand that our guests are evolving, so are their preferences and needs. And as a team, we are also evolving and are flexible to adapt to the changing guest expectations.

Since we reopened, we have introduced new offers in the market—from the Summer Camp we launched in Family by JW, the unique dining offers in our restaurants, as well as the one-of-a-kind events that we activate. We always think of something new to bring to the table.

By constantly reading guests’ feedback, consistently engaging with them to hear more of their preferences and expectations, we are able to adapt, curate and tailor experiences that match their needs. And looking forward, you can expect that we will continue to surprise and delight our guests with our line-up of new experiences.

The JW Marriott Hotel Muscat has strong sustainability credentials, including Green Key and LEED alignment. What guiding philosophy drives these initiatives and how is this integrated into the guest experience?

Sustainability is at the core of our brand values. At JW Marriott, we deeply understand our impact on the world and those around us. We are also inspired by the simple beauty of the natural world. We understand that we are connected to the world and the world is connected to us, and every step we take has an impact to our surrounding, and to the future generation.

That is why our practices and policies have sustainability at the centre of the way we run our daily operations, and even in the programs that we design and activate.

As the first Marriott hotel to receive Green Key certification, JW Marriott Hotel Muscat is known for our commitment to sustainability, following a thorough assessment of the hotel’s sustainability initiatives, which include energy efficiency, environmental practices, guest room recycling, waste management, community involvement, and employee education.

In the beginning of the year, we have launched our fully automated water bottling plant, and we are the first hotel to have this kind. Through this initiative, we are able to eliminate approximately 730,000 plastic bottles annually, preventing an estimated 19,700 kilograms of plastic waste and reduces CO₂ emissions by 49,250 kilograms per year.

Apart from this, we also have our own JW Garden and we grow our own vegetables and fruits which we incorporate in the dishes prepared by our chefs. Our dining venues also prioritise locally sourced ingredients and sustainable food options.

These are just some of the examples of the sustainable practices that are being implemented in the hotel.

Oman has built a reputation as a world-class tourist destination – what are visitors most drawn to today? And in your role as Chairperson of the Marriott Business Council Oman and Chair of the Tourism Committee at the Oman-American Business Council opinion, what are you focusing on to withhold this reputation and continue to develop tourism growth?

I have met international visitors who are pleasantly surprised to see how beautiful Oman is. As soon as they arrive, they are amazed by the nature, the stunning views, as Oman looks very different compared to other GCC countries. It is a hidden treasure in the Middle East. The country boasts of its preserved natural beauty, serene surroundings, peaceful and quiet atmosphere, warm Omani hospitality, and this is what makes it attractive to regional and international visitors who desire to escape the fast-paced movements in their cities.

In my role as the Chairperson of the Marriott Business Council Oman and Chair of the Tourism Committee at the Oman-American Business Council, I focus on constant communication among fellow hospitality and tourism leaders for partnerships, collaboration and meaningful discussions, gathering feedback and brainstorming on what innovations we can do for our properties and for the growth of the industry in the city. We also leverage on our collaboration with sister Marriott hotels to increase our purchasing power, making our transactions more economical and practical.

The strong partnership and common goal of positioning Oman as a perfect tourism destination in the Middle East is what binds us together and through the activations and programs we design, the policies we implement, the collaborations we work together in, we are able to communicate the beauty of Oman to the rest of the world.

What major trends are you observing in luxury hospitality? Which do you see as here to stay? And which do you think are still evolving rapidly?

Guests nowadays are looking for adventurous activities, and they want to see something different, unique, something they cannot experience from other countries. And for many of the millennial and Gen-Z guests, they always look for something Instagram-worthy, something that they can share on social media. The guests of today are not the same guests from previous generations. The older generation looks for experiences that they can enjoy in private. But the guests of today look for experiences that they can enjoy in private and share in public through their social media platforms. And I believe that with the technology we are in, with the trend that we see in social media, guests will continue to look for interesting experiences and the hospitality and tourism industry must focus on offering unique and authentic experiences to travellers who explore the world.

Luxury is highly subjective – what does it mean to you personally?

“Luxury Service is Personalised Service”—This is what we always say at JW Marriott.

I am very hands on when it comes to guest experience. I personally meet our guests, take the time to get to know them. This helps me better understand how we can serve the guests better.

And this is the same mind-set that our team carries. We take the time to truly get to know our guests. We pay careful attention to their preferences and do our best to make them feel genuinely at home whenever they stay with us. I empower my team to take the extra mile to make our guests’ experience not just comfortable but also memorable.

One example is our Recreation Associate, Nadeeka. Apart from working in the pool area, he is also a talented artist who creates beautiful paintings and gives them as a complimentary gift to our guests as a remembrance of their stay in the hotel. We also have our talented F&B and Culinary team who provide special amenities to guests upon arrival and departure. Our Housekeeping Team also makes hand-painted bookmarks which they leave in the rooms for the guests to take away as a gift.

Our team takes note of individual preferences, guests’ birthday, special occasions, their likes and dislikes, and we do our best to ensure that these are taken into account as we serve them.

This level of personalised service and thoughtful gestures is what makes a difference in the memory of the guests. This is what makes JW Marriott Hotel Muscat their second home—a familiarity that is warm, heartfelt, and genuine. This is luxury service.

Lastly, what is your life motto if you have one?

As a leader in hospitality, I believe in this motto: “Lead by example”

In order to be a truly effective as a leader, your team should see it first in you. I believe in setting an example, which inspires the team to work hard and be dedicated in every task at hand. I teach passion by being passionate in what I do. I teach personalised service by setting an example on how to take personal attention to the guests. If they see it in me, it will be easier for the team to follow.

The post In Conversation with Samir Messaoudi, GM at JW Marriott Hotel Muscat appeared first on The Luxury Editor.

We had the pleasure of meeting Camille Oostwegel, Owner and Managing Director of Oostwegel Collection, when we were invited to experience the magical Château Neercanne and Château St. Gerlach. Both are in the South-Limburg area in the Netherlands, and part of Oostwegel Collection which also holds Kruisherenhotel Maastricht and Winselerhof. Camille is a warm and welcoming personality with an energetic vibe and a clear passion for the work that he does. Read on to learn more about his journey and the business mission he has set out to accomplish.

You’ve had an exciting career so far, working in Europe, America and Canada, in various roles before returning to take the helm from your father. Did you feel that this was more of an obligation than a personal desire?

No, it was not an obligation at all. It was always my intention to take over the family business – I was born and raised in the hotel business! Ever since I was young I’ve been involved in the family business and my first job was in Technical Services of Château St. Gerlach. However, I wanted to gain experience in other places, so from 2005 until 2009 I studied at the Hotel Management School Maastricht and did an internship at The Ritz-Carlton Washington DC and Grand Hotel Huis ter Duin in Noordwijk. I then went on to complete a Masters in Hospitality Management – a collaboration between the Hotel Management School of the Hague and RSM Erasmus University in Rotterdam before taking a place with Vita Futura, Starwood’s Graduate Management Program, in The Westin Palace Madrid, where I specialised in sales. My next career move was to New York where I worked within the Global Brand Management team for Westin & Le Méridien at the global head office of Starwood Hotels & Resorts (now Marriott) which was a fantastic experience that I enjoyed for 2.5 years before I returned to the Netherlands to join the family business. I believe this broader experience helped to bring fresh ideas back to the family business and enabled me to lead a successful team.

Would you like your own children to carry on this legacy?

Only if they are capable and dedicated in the way that my father and I are. Taking inspiration from the Maastricht Treaty that was signed at Château Neercanne, one of our properties, we have created an Oostwegel family ‘treaty’ that outlines how the business will run and will be looked after in the future. It would be wonderful if my children are capable and dedicated candidates, however, if it is not their calling then the role will be passed on to someone who is.

Oostwegel Collection prides itself on preserving and bringing to life historic buildings, combined with delivering exceptional hospitality and this is a legacy not just for our family but for visitors now and for future generation visitors to experience and enjoy.

Each of the properties within Oostwegel Collection has the same core principals as their foundation; people, place, gastronomy and collection – how do you intertwine them and ensure consistency across each property?

All properties share the Oostwegel Collection vision: Oostwegel Collection has built a legacy that goes far beyond expectation and is committed to maintaining the heritage of our properties, supporting the natural world, culture and the arts. By adding meaningful luxury to every interaction, we create inspiring experiences enriched with a considered approach to hospitality and are dedicated to working towards a better future. All properties are unique and contribute to this in their own way.

The Oostwegel Collection currently comprises Château Neercanne, Winselerhof Château St.Gerlach and Kruisherenhotel Maastricht, do you have a favourite?

Haha, no – for me I think of each property in the way a parent regards its children…..there isn’t a favourite, I value each one for their own special attributes and of course their challenges too, but I love them all equally and dearly.

Sustainability is an important aspect that you consider for all the properties within the collection, please tell us more about the practices you have in place.

We take a very eco-conscious approach to our business operations. One of our targets is to reduce our energy and water consumption by 20% by 2026. As part of the restoration of Château Neercanne we ensured that the restaurant L’Auberge runs entirely gas-free, which is quite an achievement.  

We also have a kitchen garden at Château Neercanne and at Château St. Gerlach, called het WIJland, and also with extensive vineyards, fruit orchards, beehives – we try to grow as much produce ourselves as we can and support our local suppliers too.

Beyond the environmental aspects, we also invest in our ‘Heritage Pledge’ by maintaining historical properties and their landscapes and we also support local culture and arts – at Château St. Gerlach we have exhibitions around the grounds of artwork and at Kruisherenhotel Maastricht we regularly display art from local artists.

And our contribution to the (hospitality) community is another aspect of our overall sustainability strategy. We have established the OC Academy and partner with the Hotel Management School Maastricht to develop knowledge, skills and personal growth for members of our team.

For our efforts we were awarded the Green Key Gold Certificate in 2021.

The hospitality sector is a dynamic one – what are the key trends you’ve observed over the last few years and what are your predictions for the future?

The new generation seeks an experience with meaning. Luxury that goes beyond the surface. Not just another champagne bar, but a wine made from grapes that really say something about their terroir. Not the far-flung show of produce from around the world, but cuisine that embraces its own region and seasons.

At Oostwegel Collection, we have consciously embraced this transition. Not because it is trendy, but because we believe that true hospitality serves not only the guest, but also the environment and the people who work there. That means making choices. Ingredients from our own vegetable garden instead of flown-in exotics. A personnel policy in which employees grow rather than burn out. Heritage that is not only kept beautiful, but also future-proofed.

The future of luxury in the hotel industry lies in creating experiences that extend beyond the stay itself. Experiences that are valuable not only to the guest but to everyone involved. Now that is true luxury.   

What does the future hold for the Oostwegel Collection?

There are lots of exciting plans ahead. We’re investing in developing our existing four properties and enhancing the guest experiences. Some examples I can share include:

• Expansion Kruisherenhotel with 52 hotel rooms, a high-quality restaurant and a multi-purpose space for exhibitions and meetings.
• For Château Neercanne we’re looking forward to welcoming more guests in our recently opened luxury suites.
• For Château St. Gerlach we’re further refining our five-star superior hotel
• And for Winselerhof we have a lot of regular guests whom we would like to continue to welcome for a wonderful Italian-inspired stay.

Luxury is highly subjective; what does it mean to you personally?

For me luxury must be meaningful, and this ethos is evident at every touchpoint within our collection; through inspiration, craftsmanship and hospitality we tell our story. And for over 45 years, we have been convinced that our ethos is perfectly compatible with sustainability and social commitment. ‘Meaningful luxury’ is what we call it.

What is your life motto if you have one?

In Dutch we have a saying (specifically for the hospitality industry) ‘nooit met lege handen lopen’ which means ‘never walk empty-handed’ – always take something with you.

Learn more about the Oostwegel Collection: www.oostwegelcollection.nl/en

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