DESIGN FOCUS
Expressing his interest in interior design, he says: “Many restaurant designers do cookie cutter designs, you see the same chairs in different places. Nicolas’ approach was a little different.”
With wood, stone and white shells present through the interiors, the restaurant showcases an exhibition–style open kitchen and a contemporary chandelier of flowing white fabric, created by Japanese fabric artist, Reiko Sudoh.
The lounge and bar area have an eye–catching mirror installation above the workstation, which is positioned in such a way that it’s the first thing guests see when they enter the restaurant.
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Vongerichten continues: “There are so many different areas here; we wanted it to mimic what we have in Jean–Georges New York a little bit. Sometimes when you go to a fine dining room, you feel like it’s too serious.”
In his Dubai venue — which he confirms is similar to the set–up in New York — he says the design is meant to put diners at ease. “Fine dining today is a bit different than it was 20 years ago,” he explains.
It’s clear the design was important to him. “I’ve enjoyed working with Nicolas before. Last time we came here, we picked up all the stone here. Food and design are very similar, it’s all about textures, layers, colours.
“We’re working with a friend of mine who’s a lighting designer, Hervé Descottes. I’ve been working with him for about 20 years now. He lit the Mona Lisa when he was a 21–year–old… and it’s still lit by him.”
When asked why he emphasises so much on this element of F&B, he responds: “People have to look good, and feel good. It’s so busy in the world, that I think a restaurant is only one of the few last pleasures where people spend time together.
“Lighting is important. Whatever you touch is important, and of course, whatever you eat here has to be important.”
Citing the lights in the restaurant as well as the natural stone as his favourite design features, he explains: “It’s very natural, I like that. I don’t like fake things.”
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