the bold and the beautiful | la micheline, geneva

Athens – a city where late-night souvlaki meets ancient marble – has always understood drama. It makes sense that one of its most subtly radical chefs would have a painter’s perspective. Alexandros Tsiotinis, who was born in 1986 in the Greek capital, grew up surrounded by movement, noise and food. Athens is layered, contentious, sun-bleached and sea-salted; it is not a minimalist city. For Tsiotinis, food was more than just food; it was a language that would eventually take him far from home before bringing him back with better tools.

He started by attending Ferrandi Paris – the prestigious culinary school that has produced generations of French chefs – in 2007, and here he honed his intuition, learning a philosophy of precision from masters like Alain Passard and Hélène Darroze, including respect for produce, technical mastery and the notion that simplicity is frequently the most intricate gesture of all. What came next was more of a pilgrimage than a career ladder. Tsiotinis developed an obsession with flawless sourcing and a near-spiritual pursuit of detail while working in some of Europe’s most exacting kitchens. Before returning to France to work as a chef for Éric Frechon at Le Bristol Paris, he worked at the Michelin-starred Spondi, which has long been regarded as one of Greece’s most elegant dining establishments.

Tsiotinis was drawn back home by Greece, first to Perivoli in Santorini and then to Crete, where he was hired as the Executive Chef of the Elounda Peninsula Hotel at the age of 25. He received his first ‘Golden Chef’s Toque’ here and has continued to receive it every year since. However, Tsiotinis has always felt that evolution comes before awards. He collaborated with Pascal Barbot during another pivotal trip back to France, further refining a style that would eventually become more fluid rather than purely Greek or French. That hybrid language required its own stage by 2015. Here comes Tsiotinis’ creation, CTC, which is the best expression of his culinary philosophy.

Greek food is not ‘reinterpreted’ by CTC in the conventional sense. Rather, it reconstructs it using an international perspective and French technique. A tightly edited journey where familiarity dissolves into surprise, the restaurant’s name has come to represent an 11-course blind tasting menu.

Tsiotinis frequently likens his food to paintings. The process of plating transforms each plate from a blank canvas into a work of art. Movement, colour and negative space are all taken into account. Food that feels both architectural and emotional is the end result. Inviting guests to fully trust the kitchen, harmonious yet bold combinations emerge with a spirit of generosity. The chef’s vision and the unity of his team were validated when CTC received its first Michelin star in 2021. Since then, the kitchen has developed into a global hub that welcomes and develops chefs from all over the world, reaffirming Tsiotinis’ conviction in acceptance, communication and an international culinary future.

Seasonality is still crucial. The restaurant collaborates closely with regional vendors, enabling the rhythm of the menu to be influenced by daily availability. Because of this responsiveness, no two visits are the same; the experience is dynamic and depends on the crop, climate and catch. The cuisine is anchored by Greek heritage, but it gains structure and vitality from French technique and Mediterranean influences. This idea is reflected in the dining room. Recently moved, CTC’s new location strikes a balance between style and tranquility, a green garden softening the urban haven. It is an environment that slows down time and invites visitors to give themselves over to the story that is being told across courses. Wine pairings tell this story in liquid form and are chosen with the same care as the plates.

Beyond the pass, Tsiotinis continues to be involved in partnerships, charitable endeavors and menu consultations, establishing himself as a member of the larger culinary community in addition to being a restaurateur. His attention is increasingly focused on sustainable and responsible dining practices, which makes sense for a chef who is so committed to the integrity of ingredients.

CTC feels like the modern equivalent of Athens, a city that thrives on the tension between antiquity and reinvention. Memory meets imagination; tradition meets technique. According to Tsiotinis, Greek food is not preserved in amber but rather advanced, plated with the Aegean’s heart and Paris’s discipline. And that same promise – a blank canvas, waiting – appears on every empty dish before the first component is added.

Read more about CTC Urban Gatronomy here.
words. Patrick Clark
images. Courtesy of CTC Urban Gastronomy

Stevie Campbell

The industrial bones of the old Clément-Talbot motor factory have long since traded the scent of engine oil for the aroma of burning oak and fermented dough. Now known as Ladbroke Hall, this Edwardian landmark stands as a sprawling sanctuary for the arts in West London. Schön! recently visited for a long, sun-drenched lunch to witness the latest transformation of its resident restaurant, ‘Pollini.’ 

This is a significant relaunch, a shift in identity that sees Chef Emanuele Pollini reimagining the space as an elevated osteria. Since 2023, Pollini has been awarded the Gambero Rosso ‘Top Italian Restaurant’ accolade and earned its place within the Michelin Guide, solidifying its position within London’s culinary landscape.

Managing Director Emily Simmons, who worked extensively on the refurbishment, joined us to explain that the project is a living gallery. Every painting and every sculptural chair surrounding the tables belongs to the Carpenters Workshop Gallery. She pointed out that if a guest falls in love with the site-specific works by Christopher Le Brun or a particular bespoke table, they can actually buy the artworks they see there. Simmons was among the first to taste the new menu and helped choose the elements that now define the room, creating an artistic sanctuary that feels warm and inhabited.

The interior evolution, led by Linda Boronkay within the architecture of Vincenzo De Cotiis, has softened the grand volume of the hall. Natural light pours into the room from the surrounding windows and velvet curtains now wrap around the dining area, creating a sense of theatre that separates the tables from the surrounding gallery spaces without closing them off. The lighting is low and amber, centred around the magnificent Nacho Carbonell chandelier that hangs like a sprawling, organic cloud over the diners. It is an installation that commands the room, its cocoon-like forms glowing with a soft, diffused light that makes the Beaux Arts windows look even more imposing. 

This design shift reflects the chef’s desire for a more convivial atmosphere. Chef Pollini himself notes that as he moves forward, his palate continues to evolve, discovering new balances. “Sometimes the cooking becomes sharper, sometimes softer, but it is always driven by the search for harmony, precision and depth. This new chapter reflects that evolution,” he says. “The look has been refined, and the menu is more focused and dynamic, built around fewer dishes and seasonal ingredients, allowing each preparation to be more expressive.”

Emanuele Pollini’s journey to this West London kitchen began in Cesena, within the heart of the Emilia-Romagna region. He grew up in a household where pasta was a daily ritual, guided by the ‘azdora’, the traditional women of the house who hold the secrets of the dough. His mother and grandmothers were his primary mentors before he ventured into the professional world, eventually leading him to win the 2020 Gambero Rosso International Award and helming kitchens in Moscow and Milan. 

“My journey as a chef has always balanced two forces: the warmth of family cooking and the discipline of professional kitchens,” he tells us. “Ladbroke Hall feels like the meeting point of these two worlds, a creative place where everything I have learned can be distilled into food that is elegant, generous and approachable.”

This deep-seated respect for heritage is evident in the handmade pasta programme, which remains the pillar of his kitchen. Even after years in high-pressure international environments, he retains a playful, generous approach to hospitality that feels deeply personal.

Vegetarian diners often find themselves sidelined in traditional Italian concepts, but at Pollini, the plant-based options are among the most exciting developments on the menu. We began with the Aubergine caviar, a dish that feels like a celebration of the Mediterranean but with a contemporary twist. The inclusion of tomato yuzu kosho provides a citrusy, fermented heat that lifts the smoky richness of the aubergine. It is a vibrant pairing, unexpected yet completely harmonious. 

Chef Pollini wanted to keep a Mediterranean base while introducing a subtle evolution from his travels. “Aubergine is a classic ingredient in Italian cuisine, from parmigiana to pasta alla norma or simple grilled aubergines preserved in olive oil,” he explains. “The result still feels Italian but carries a small echo of the places I have worked and travelled.” The courgette pizzetta followed, a highlight of the new share-led menu. The vegetable is presented in varying textures, some grilled for a deeper flavour and some lightly sautéed, topped with squacquerone, a fresh cheese from his home region that offers a beautiful, gentle acidity.

Melisa Coppola

The standout of the meal was undoubtedly the Tortelloni di bufala e spinaci. These delicate parcels carry the soul of Romagna. By using a blend of buffalo ricotta, Parmigiano Reggiano and pecorino di fossa, Chef Pollini creates a depth of flavour that matches any meat dish. The pecorino di fossa, an earthy cheese aged in pits, adds a unique intensity that lingers on the palate. Every bite feels like a tribute to those afternoons in Cesena watching his grandmothers work the dough. 

The rest of the menu offers a broad savoury reach, pulling from the rich coastal and pastoral heritage of Pollini’s home. The Sea Bass Carpaccio arrives with bottarga di Mugine and a bright hit of lime, while the Vitello Tonnato presents rosé veal with the saltiness of Sicilian capers and leafy celery. A particular favourite is the Tagliatelle with Wild Boar Ragù, a dish that requires a meticulous, long-form preparation before being topped with 24-month Parmigiano Reggiano.

Pollini’s commitment to craftsmanship is shared by the staff, including floor manager Nafsika Boltsi, who told us that being part of this project was something she had manifested for months. She describes the building as a marriage of her favourite things, saying, “It’s not only the Italian cuisine, it’s also the ambiance, the fashion, the exhibitions, the art gallery. It ticks all the boxes. I think of the restaurant as an extension of the gallery. Even the tables are pieces of art.”

This cultural synergy was on full display last month during London Fashion Week, when Ladbroke Hall hosted the debut show of Daniel del Valle (‘TheVxlley’). The building was filled with an international crowd of journalists and artists, an energy that Chef Pollini says encourages his own creativity. The restaurant serves as a social anchor for these events, providing a space where the fashion world and the culinary world intersect. With upcoming exhibitions and live performances scheduled, the hall functions as a continuous stage. 

Chef Pollini sees the restaurant as part of a wider composition: “At Ladbroke Hall, every object and corner reflects the work of an artist, so the cuisine naturally becomes part of a wider composition. My responsibility is to ensure that the food supports the harmony of the space. If the cuisine is not right, the whole experience loses balance.”

Beyond the dining experience, the cultural calendar for the second half of March is packed. The signature Friday Jazz series continues on the 20th, followed by the weekend movement workshops led by Sanctum on the 21st and 22nd.

As the seasons shift, the anticipation is now turning towards the reopening of the garden this month. Designed by Luciano Giubbilei, the outdoor space features a bamboo forest and an original Prouvé House, providing a gorgeous backdrop for alfresco dining. Chef Pollini is already planning a spring menu that will lean heavily into the lighter, greener energy of the season. He intends to introduce ingredients like peas, asparagus and young zucchini to celebrate the opening. The garden will allow the restaurant’s convivial spirit to spill outdoors, offering a different way to experience the hall’s artistic atmosphere.

To finish the meal, the tiramisu is an absolute necessity. It is light, creamy and perfectly balanced; a classic executed with the kind of care that only someone with a profound respect for their roots can provide. “At the heart of everything are the values I learned from my mother and my grandmother: respect for ingredients, for the land, and for the table as a place of care and sharing,” Chef Pollini says.

Everything about the new Pollini suggests a restaurant that has found its rhythm within a very complex, multidisciplinary environment. The shift to an elevated osteria makes the incredible art and design of Ladbroke Hall feel accessible and warm. Whether sitting under the glow of the cocoon chandelier or looking forward to an autumn evening in the new interiors, guests are invited to participate in a larger creative narrative. The food is delicious, the space is spectacular and the heritage is genuine. Even in a city as fast-paced as London, there is always room for the slow traditions of the Italian table.

Discover Ladbroke Hall and the Pollini menu here.

photography. courtesy of Stevie Campbell (interiors), Barnaby Staniland (food), Laura Jalbert, Melisa Coppola
words. Gennaro Costanzo

Every great restaurant has a sense of place, but some feel like a destination all their own. For Lily Rosenthal Royal and Chef Mason Royal, the creative duo behind Max & Helen’s, that destination happens to sit in the middle of Los Angeles, where lines wrap around the block. The counter has quietly become one of the city’s most coveted seats, so much so that celebrities like Selena Gomez choose to dine there after award shows. 

Since opening, the diner — inspired by the warmth and nostalgia of the classic American gathering place — has quickly evolved into something bigger than a restaurant. It’s a neighbourhood hub and a space intentionally designed for connection. As Creative Director, Lily shapes the voice, atmosphere, and unmistakable sense of joy guests feel when they walk through the door. Behind the scenes, Mason, the restaurant’s Director of Operations, brings years of experience opening restaurants to building the systems and team that keep the operation running smoothly, even as demand surges.

Together, the newlyweds have created a place where hospitality feels personal and where strangers often leave as friends, sometimes even something more. It’s a philosophy that extends beyond the menu, shaping everything from how guests are greeted to how solo diners are thoughtfully seated at the counter.

For Schön! alive’s passport series, where creatives reflect on the defining “stamps” that shape their journeys, Lily and Mason share the moments that led them here, from early pop-ups and first restaurant openings to building what they hope will become a lasting Los Angeles institution.

If Max & Helen’s had its own passport stamp, what would it look like — and what would it say about the spirit of the diner?


It’d be this little watercolour painting one of our guests made for us of the outside of our diner. It’s all about our neighbourhood.

Before Max & Helen’s, what were the early “stamps” in your careers that prepared you for this moment?

This is Mason’s 17th restaurant opening. It’s my first. But together we created Violet Moon. A dinner party pop-up we got to run for a little while. Mason cooked, and I set the table. It became our creative outlets.

How did stepping into day-to-day leadership at Max & Helen’s change your perspective on hospitality?

You get to truly learn the people you serve. All anybody wants is to feel understood. 



Lily, as Creative Director, how did you shape the voice and vibe of the diner from day one?

I wanted every single aspect of this restaurant to exude warmth. If it’s not cozy, it’s not what I’m looking for.

Mason, as Director of Operations, what were your priorities behind the scenes?



Building systems to support sustained success in a high-volume setting. I’ve said from day one that I wanted to build an LA institution. Achieving that requires systems tailored to this type of volume, and following those systems allows us to execute at the standard we expect of ourselves.

Secondly, and just as important, is building a team that shares the same commitment to excellence and buy-in when it comes to enforcing our standards. We set out to put together a group of people who saw the vision and had the skillset to support these systems. I’m unbelievably proud of this team and the work they’ve put in.

Max & Helen’s has become one of LA’s most electric gathering spots. When did you first realize this wasn’t just a restaurant opening — it was a cultural moment?


When people were willing to wait 8 hours for a waffle.

Hour-long lines, crowds around the block — how do you preserve warmth and intimacy at that scale?

Genuine kindness from our staff.



Your seating philosophy is intentional, especially placing solo diners in engaging counter spots. What inspired that approach, and what have you learned from watching connections form in real time?


Community! This is how you meet your neighbours! And most people enjoy human connection; we’re just lucky we get a front-row seat.

You’re often described as the restaurant’s “welcome committee.” What does a perfect greeting feel like to you?

Joy!!! 



The celebrity guest list is headline-making, yet everyone waits for their turn. How do you maintain that sense of equality and fairness in such a high-profile environment?


If we know someone and they’d like to come in, we try to save them a table when it’s our least busy time. Like 3 pm on a Tuesday? No problem.

Lily, being called “the keeper of the secret phone number,” suggests there’s both mystery and magic in how you operate. How do you balance access with intention?

It’s just our friends asking when they can come in, which is so nice. We just try to get them in on the off-hours.

Mason, how do you ground the operation during peak chaos — long lines, viral buzz, nonstop demand — while protecting the team’s morale?



It’s all about trust. Trusting each other to hold themselves and each other accountable. We trained for over a month before we ever opened our doors to the public. That time was essential in building and refining our systems, but also to learn about each other and the ways we can support one another. The long lines, viral buzz, and nonstop demand is out of our control.

We have 66 seats, and there’s only so many people we can serve. We do our best to stay focused on what is in our control. And that is making sure that every guest feels welcomed into our space, cared for by our team, and comforted by our food. It requires a ton of discipline by our team to stay focused and not waver from our standards despite the craze. I’m honoured to lead this team every day.

As newlyweds running one of LA’s most talked-about diners, how do you separate marriage from management — or do you?

It flows pretty nicely. When we need to discuss work, we do! But when we just want to hold hands and watch Summer House, we hold hands and watch Summer House.

Hosting your wedding send-off brunch at the diner blurred the line between personal and professional in the most beautiful way. What did that moment symbolize for you both?


The night before was showing our loved ones why we want to spend the rest of our lives together, and the following morning got to show them how we’ll do so.

Max & Helen’s has already been described as a ‘Power Diner.’ Beyond buzz and celebrity, what does a lasting legacy look like for you?

One day, our kids’ kids will spend their birthdays in our favourite booth. 



If you could stamp your passport with one future dream — expansion, a new concept, or a different city — where would you go next?

We want to make sure we give this one our all. Next is maybe a nap.

Learn more about Max & Helen’s at maxandhelens.com.

interview. Kelsey Barnes