veuve clicquot | la grande dame 2018

Founded on a creed of elevated simplicity, Toklas’ exquisite menus, wines and events have distinguished the Mediterranean restaurant as a London hot spot. From launching its first edition of cuvées last year to hosting monthly wine tastings and decadent gatherings, Toklas has cultivated a steadfast community of art and food aficionados since it opened in 2021. Established by Frieze Art Fair cofounders Matthew Slotover OBE and Amanda Sharp, hints of the pair’s artistic leanings are reflected in Toklas’ decor and scrumptious treats by head chef Chris Shaw. In recognition of the restaurant’s ingenuity, we spoke to Slotover and Toklas’ head of beverages Agustina Basilico about their extensive wine list, forays into the art world and collaboration with Turner Prize-winning artist and friend Lubaina Himid CBE. 

“Amanda and I met when we were 18 and discussed opening a restaurant before we talked about doing Frieze,” begins Slotover. “It’s a fascinating industry that I wanted to learn about and hopefully contribute to.” Today, his restaurant neighbours prestigious art and culture institutions like Somerset House and The Courtauld Gallery, while simultaneously holding its own unique ties to the art world. The first clue is in the establishment’s name — a nod to writer and primo bohemian Alice B. Toklas. Together with her partner, the celebrated novelist Gertrude Stein, Alice threw intricate dinner parties in Paris for some of the greatest artists of the early 20th century. 

Toklas’ art connections deepen as you enter the restaurant and spy works by acclaimed photographer Wolfgang Tillmans and painter Ragna Bley. “The restaurant’s interior design is quite purposeful,” says Basilico, pointing to a bar wall decorated with a patchwork of art posters from the last 40 years. “From artworks to posters of exhibitions, artists and curators who are our friends, the restaurant’s design has kind of become a creative outlet for us, as much as the food itself,” says Slotover. Art and wine have long conspired with one another to enhance the human experience. 

Constantly valued for their provenance, age and quality, rare wines and art are regular headliners for auctions at renowned  houses like Christie’s and Sotheby’s. “I think both wine and art can be very obsessive areas,” says Slotover, who has often found that buying wine is like buying art from a gallery. “You’ve got the winemakers or artists, the buyers or collectors and then the distributors who guide you like galleries do with artists.” Wine also often accompanies life drawing, exhibition receptions, and other such events, punctuating the art market calendar. With this in mind, Toklas’ artistic flair feels like a welcome and natural pairing; much like a glass of Pinot Noir with an earthy mushroom risotto.  

Cradled within the circumference of the Strand, Toklas is a jewel in London’s coronet of dynamic food establishments. A pared-back, spacious bar, open kitchen and downstairs bakery greets guests. The ‘brasserie’ tone continues with a vintage parquet floor, Børge Mogensen chairs, emerald leather banquettes, open grill and menus designed by contemporary artist Allison Katz. Perhaps the star of the show is the restaurant’s own edition of cuvées — red, white and rosé — a trio collaboratively made by Toklas and Provence winemaker Valérie Courrèges. “Valérie is an incredible human,” says Basilico. “She was here two weeks ago for an annual wine tasting wearing fake fur and smoking cigars. She’s an icon.” 

For this first edition of cuvées, Toklas commissioned Turner Prize-winning artist Lubaina Himid CBE to paint colourful limited edition labels. “There’s a good history of artists designing wine bottles and menus,” says Slotover. He notes artists like David Hockney, who once designed the Neal Street restaurant menu, as well as a label for Château Mouton Rothschild. (The label has also been designed by artists Pablo Picasso, Salvador Dalí, Dorothea Tanning and Francis Bacon over the years). For her part, Himid used her signature palette of vibrant hues to paint rows of elegantly simplistic bottles in shades of crimson, blushing pink and citrus. “Lubaina Himid has got an incredible career,” says Basilico of the painter known for being one of the UK’s most important contributors to the British Black arts movements, and the first Black woman to win the Turner Prize. “For a female artist and female winemaker to unite like this is quite powerful in this day and age.” 

Grown from the clay and limestone soils of Cotignac, each cuvée comes with its own taste profiles and pairings. The ‘Toklas White Edition’, for instance, is reportedly fresh and supple with notes of mandarin and lemon. Each wine’s rounded character speaks of the precision and care behind its production. “We strongly believe that chemical additives are wrong, whether they’re included in the growing or making process,” says Slotova. “So, we wanted to partner with winemakers who care about sustainability, from the grapes to the long-term quality of the soil.” The cuvées sit nicely alongside Toklas’ expansive collection of largely sustainably produced natural wines. “The term natural wine is quite broad, and there are a million books by a million wine writers trying to describe what natural wine is,” says Basilico. “For me, it’s wine that is alive and clean. If you have sensitive taste buds, you can taste the minerality of the grapes’ birthplace.” Crafted using sustainable, organic, biodynamic or regenerative methods, these natural wines are marked by a • symbol on the menu. 

Together with Finnish sommelier Heidi Mäkinen, Basilico has almost tripled the wine list since she first arrived at Toklas. “Heidi has a traditional palette, and I try to push the boundaries to keep us on trend with London’s wine landscape,” she says. The result is an emporium of contemporary and traditional wines that can sometimes be served from kegs, reducing the wine’s carbon footprint by 75%. Originally from Argentina, Basilico has resisted the urge to place more than one Malbec on the menu (a traditionally full-bodied, dark-coloured red wine made from Argentina’s signature grape variety). “I’ve only added one edition,” says Basilico. “Our menu doesn’t include red meat, so there’s no need for a heavy wine.” 

While Toklas’ bakery has been noted by Timeout magazine for its breakfast viennoiserie of flaky croissants, pain au chocolat and cardamom buns, the restaurant’s Mediterranean-infused cuisine deserves its own ovation. “Simple food expertly cooked at Toklas will put you on a high – and that’s before you even get to the chips,” wrote renowned food critic Jay Rayner in 2022. Most recently, the restaurant hosted a series of citrus-inspired dinner parties showcasing the literal fruits of their partnership with Todolí Citrus Fundació, a foundation created for the research and conservation of citrus biodiversity. It grows over 500 varieties of citrus and was founded by none other than Spanish art curator and former Tate director Vicent Todolí. “Vicent met our founders Matthew and Amanda on the art circuit,” says Basilico. “When the partnership began, we formed a group of restaurants and split the fruits between all of us. This grew exponentially over three years, and now there are over 150 restaurants in London benefitting from Todolí citrus.” 

For its recent citrus-inspired dinner, Toklas paired segments of Todolí’s citrus fruits with dishes like wild sea bass crudo, radicchio and ricotta salata. The Spanish countryside also permeates through the bakery’s seasonal citrus salad; a festival of beetroots roasted and bathed in a dressing of their own juices, red wine vinegar and segments of Todolí’s blood oranges and grapefruits. Striking a balance between the dish’s aromatic sweetness and acidity is an art form in itself. “I often think chefs and artists have a lot in common,” says Slotova. “They take elements that have no value and create something fantastic. It’s partly about execution and partly intellectual.” 

Toklas’ holistic approach to its wine and artistic values will continue with a wine tasting on June 19th. The event is a meet-and-greet between Olly of Emile Wines: a London-based, female-founded wine importer and retailer offering authentic, largely biodynamic wines from Burgundy and the classic regions of France.

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words. Raegan Rubin

From May 1 to 4, 2025, the PalaisPopulaire in Berlin transforms into an immersive experience celebrating art, champagne, and conscious living. During Berlin Gallery Weekend, a key event on the cultural calendar, Ruinart invites guests to explore the multifaceted world of its historic champagne house in a new way at the Ruinart Champagne & Art Bar to celebrate its 2025 artist collaboration, Julian Charrière, a Franco-Swiss artist whose work explores the intersections of time, geology, and human impact. 

Known for blending scientific research with poetic storytelling, Charrière challenges how we perceive nature — not as something separate from us, but as a force constantly shaped by human history and intervention. Conversations with Nature brings this perspective to Ruinart’s terroir, transforming the Champagne house’s deep connection to the land into an artistic dialogue that spans millennia. Conversations with Nature makes its debut in the Champagne & Art Bar, inviting viewers into a dialogue with the natural world through the lens of time and terroir. 

Ruinart’s selection of Charrière is a natural fit. The Maison has long been at the forefront of sustainability in winemaking, from regenerative viticulture to eco-designed packaging. Charrière’s work adds another layer, questioning how human activity reshapes the environment and what it means to engage with nature in a time of ecological urgency. “At the heart of my work lies the notion of encounter — an intimate dialogue with place, biome, and environment. These moments are not mere observations but exchanges, where landscape and presence intertwine, shaping one another in a quiet, reciprocal conversation,” he explains.  

The event, which occurs between May 1st to the 4th at PalaisPopulaire in Berlin, includes a carefully curated, sustainability-inspired menu offering light, à la carte dishes crafted to pair perfectly with Ruinart’s champagnes. Guests can register now to indulge — from refreshing starters to refined bites, every pairing is designed to elevate the flavours of each pour. In addition to the art, what guests can really experience is what is at the heart of Ruinart’s philosophy: a deep commitment to sustainability, evident in every aspect – from vineyard practices to packaging innovations. The newest cuvée, Ruinart Blanc Singulier, embodies this vision, reflecting both environmental mindfulness and the Maison’s iconic character. Guests can taste it by the glass and even purchase a bottle wrapped in a Furoshiki cloth as a keepsake.

Champagne’s limestone-rich soil holds traces of an ancient sea that once covered much of Europe. Forty-five million years ago, the region was submerged under the Lutetian Sea, a vast marine world whose fossilised remains still shape the land. The chalk pits (crayères) beneath Ruinart’s vineyards are ghostly echoes of this past, a reminder that landscapes are never static — they carry the memory of deep geological time. 

Charrière pays tribute to this lost ocean while reflecting on the fragile state of today’s marine ecosystems. His Conversations with Nature series includes a collection of photo lithographs capturing coral reefs — luminous, living structures that mirror the prehistoric marine forests that once thrived beneath Champagne. Using a 19th-century lithographic process, Charrière reimagines these corals through pigments sourced from locally collected limestone and crushed corals. The muted, pale tones evoke the fading vitality of these ecosystems, suggesting both the resilience of nature and its vulnerability in the face of environmental change.  

Unlike a traditional gallery exhibition, Conversations with Nature is designed as a multi-sensory experience. Through large-scale installations, geological textures, and soundscapes, Charrière invites viewers to engage with Champagne’s terroir in a way that goes beyond observation. The collaboration reinforces Ruinart’s vision of Champagne as a product of time, landscape, and human ingenuity.  

Visit Ruinart Champagne & Art Bar from May 1 – 4, 2025, 1 PM to 9 PM daily, at PalaisPopulaire, Unter den Linden 5, Berlin Mitte. Register now at ruinart.com.

photography. Alice Jacquemin, Gregoire Machavoine, Raul Cabrera
words. Gennaro Costanzo

La Galerie des Magnums.
Wine cellars, Maison Ruinart.
4 Rue des Crayères, Reims, France
ruinart.com

For centuries champagne has been synonymous with celebration, but climate change is affecting how this beloved beverage is produced. Frédéric Panaïotis, Chef de Caves at La Maison Ruinart, shares with Schön! alive how the renowned champagne house is adapting to these shifts. Champagne has long been associated with joyous occasions, but the traditions behind its creation are now being tested by unpredictable weather patterns. Rising temperatures, harsher winters, and erratic seasonal changes are altering the growth cycles of vines, compelling winemakers to rethink their methods. In response, the industry is increasingly embracing sustainable practices to safeguard the future of champagne.

Ruinart’s winegrowers and winemakers have observed the accelerating impact of climate change firsthand. To counteract these effects, they have refined their techniques, adjusted their blends, and collaborated with startups to study the consequences on biodiversity. This proactive approach ensures that the rich heritage of champagne production remains intact while evolving to meet new environmental realities.

Born in 1964, Frédéric Panaïotis developed an early appreciation for viticulture in his grandparents’ vineyards. Immersed in the art of winemaking from a young age, he pursued formal education at the Institut National Agronomique Paris-Grignon, specializing in Viticulture and Oenology. He later earned the Diplôme National d’Œnologue from the École Nationale Supérieure Agronomique in Montpellier in 1988.

In 2007, Panaïotis joined La Maison Ruinart as Chef de Caves, where he became responsible for crafting the house’s signature blends. His expertise extends across Ruinart’s portfolio, from the non-vintage Blanc de Blancs and Rosé to the prestigious cuvées of Ruinart, Dom Ruinart, and Dom Ruinart Rosé. Under his guidance, Ruinart maintains its commitment to excellence while integrating innovative approaches to combat climate change.

As Ruinart navigates the evolving landscape of champagne production, Panaïotis emphasizes the importance of balancing tradition with forward-thinking strategies. By respecting time-honored techniques while embracing sustainable solutions, Ruinart ensures that future generations can continue to savor the magic of champagne. The world of champagne is changing, but its essence remains. Through dedication, innovation, and a deep respect for the craft, La Maison Ruinart is leading the charge in preserving this timeless beverage for years to come.

Frédéric Panaiotis.
Chef de Caves at Maison Ruinart

clockwise.
Diane de Chevron Villette.
Cheffe de projet environnement & OEnologue
HABITATS.
by Nils Udo, 2022
The Taissy vineyards of Maison Ruinart.
Since 2014, these historic vineyards have
been certified High Environmental Value and
Sustainable Viticulture in Champagne.

Tell us how you got into the world of champagne.

I was born and raised in this region. My dad liked wine, and it grew in my family. My grandparents had a small vineyard, so when I was very young – around two years old – I was allowed a little sip of champagne every now and then. As I got older and started to think about what I would do as a job, I studied biology and, even though it was not my initial wish, I naturally chose the path to study vineyards and winemaking. But what really convinced me is the people, not so much the product. We had this amazing trip to Burgundy when I was a student, and this old producer opened a jeroboam of Pouilly-Fuissé 1969. I remember he said, “I have four of them, but I’m opening one for you,” and I was mesmerised because we had no money – we weren’t going to buy anything – but the guy was so generous to open and share and show us what an old Pouilly- Fuissé tasted like. I think that’s what I like about wine. It’s about sharing, memories and friendship.

Can you tell us what a typical week looks like for you?

The good thing is that there’s no typical week or typical day. That’s what I love most about my job. There’s zero routine and because the season changes, you’re constantly learning. There’s always something new. I feel like it’s a big privilege that I don’t get bored, and I honestly can’t get enough of it. There are so many outside factors that make every day different, but there are also human factors. In the morning you’ll be wearing your boots and stomping through the mud, going around the vineyards but then in the evenings, speaking to a crowd of VIPs in Paris about the vintage. clockwise

Nestled in the Nicolas Ruinart Pavilion, near
the Crayères, a secret cellar is home to
iconic cuvées and historic bottles of Ruinart
champagne, preserved as milestones in the
Maison’s history such as the
Dom Ruinart Blanc de Blancs 1961

What is the secret to making excellent champagne?

Grapes, vineyards and grapes again! That’s where it all starts from. Then teamwork, passion, dedication, and time to make champagne – because that ageing time is extremely important. Time is one of the essential elements of champagne, but the beauty is that you can drink it early on. You can also age them and discover another facet of the champagne. Is there some sort of mindset you enter when you’re working? How can you not be happy having this kind of job? I came across this Chinese saying: “Find a job you love, and you will never have to work a day in your life.” I’ve been doing this for 35 years and not once have I felt like I’m working.

Desnatureza 6.
by Henrique Oliveira, 2024
Open to all, 4 Rue des Crayères
offers an immersive experience of
art, history and bespoke champagne
pairings crafted by acclaimed chefs.

How is climate change impacting the production of champagne?

It brings new challenges. The grapes are ripening faster, the cycle of the vine is shorter, and it brings a different balance in the grape. So, we had to reinvent and re-adapt ourselves to the new conditions. We’ve proven with Le Saint-Golier that we can still make great champagnes even in the craziest, warmest year on record, which could be the norm in 20 or 30 years. It showed that we have the capacity to adapt because we still have water, which is obviously one of the most important things when you deal with plants. And we have the knowledge.

What we’ve done [is] based on a know-how that’s decades – even centuries – long. We know how to adjust and slightly change to the new parameters and still make champagne that is very appealing and enjoyable with this kind of softness, nice texture and with a beautiful, fresh balance. Even though the climate is changing in our region, we can manage for a few decades. That could probably not be the case for other regions that are exposed to extreme drought. South of France, Italy, Spain…some of the areas might disappear in the near future. In Champagne, we still have some future, but we need to rethink and be ready to change a few things.

Do the other houses think this as well?

We are lucky in Champagne to have this amazing committee that equally integrates the houses and the growers. So, we work together. We’re on the same boat, so we go in the same direction, and I think most people are very progressive about it. When you work with nature, you really see climate change. It’s not through books or Instagram stories or the news. It’s the reality. You deal with it. I think people in Champagne are fully aware how precious the name is.

Champagne is apparently the second most known French word in the world after Paris. Everywhere you go – to any country in the world – you say Champagne and people know what it is. That’s not the case with Camembert, for instance! We know our name is an amazing treasure, so we need to protect it. We need to protect it by making sure there’s no copy using our name, but also by making sure that the land stays the same for as long as it can, that we are sustainable in everything we do, from growing, winemaking, shipping to packaging, etcetera. I would say that maybe not all, but a high majority of producers, are fully aware of it.

Crayères Blanc de Blancs
La Galerie des Magnums.

Wine cellars, Maison Ruinart.
4 Rue des Crayères, Reims, France

What was the most significant thing you’ve learned since starting this position?

I realised that I don’t know so much! The cool thing about this job is that you keep on learning, which keeps you fresh and young. The other thing I’ve learnt is that you need to be in love and in harmony with the company you work for, sharing the values and the tastes as well. Here I feel at home.

What makes Ruinart special compared to the other houses?

We have this incredible mix of modernity and tradition. We express it in many ways, but we also express it in wines. We are the oldest champagne house. We were the first to make rosé back in 1762. We’ve been innovating since the beginning and have been the first in so many fields. Today the style of our wine is not old school at all. It’s actually amazing. We use modern technology to make our wines more precise. So, we really have that tension between tradition and modernity in every aspect of the house and I think that’s what makes it so special and so successful. If you’re modern with your style, it means you change it all the time. The Blanc de Blancs you taste today is different from the Blanc de Blancs that we made ten years ago, because we are living with our world and adjusting to new conditions. Also, we’ve been disruptive. The second skin packaging, for example, was a little revolution. It’s part of the DNA of the house to innovate.

What do you bring to a 300+ year history? What’s legacy to you?

I feel like it’s easier to go away when you’ve left something tangible – whether it’s a book or a piece of art – and we’re lucky because we leave bottles for the next generation. Rebuilding the library is a huge pleasure because I know that, in the future when I retire, someone, somewhere will enjoy it.

Bottles of Ruinart in the innovative, authentic and
environmentally conscious Second Skin Case.
ruinart.com

Nicolas Ruinart Pavillon.
An exceptional space where every
guest is welcomed with bespoke care,
offering inviting lounges, a champagne
bar, a boutique, and a terrace for a bright,
immersive experience.

And what is most challenging about part of your job?

Climate change. We see the effects. We’ve seen them for the last 25 years and it’s bringing new issues. For example, we’ve had to adjust and change the recipe for the rosé because of the grapes ripening early. And not only learning how to react, but how do we play in our role towards sustainability as well? We’re taking so many actions, like how we can reduce packaging yet ensure it still looks luxurious.

What advice would you give to someone wanting to enter the industry?

Be passionate and be humble, because wine is a lot about humility. It teaches you humility and it’s hard.

And what’s the most rewarding part of your job?

When people smile and are having a good time. That’s honestly the best reward. I have friends or customers send me pictures of bottles they’ve enjoyed, and they’ll say ‘Fred, thank you,’ even sometimes when I’m not responsible for a particular bottle! Like someone once sent me a picture of 1990. I wasn’t even there! But you feel like you gave them some pleasure. This kind of recognition is the greatest reward I can get. There’s two ways of seeing my job. As a cellar master, my job is to make wine according to the style of the house, and in that way, I’m the guardian of the temple. But the other way I see my job is to make people happy. I’m bringing pleasure to people. And how many jobs in the world do that?

clockwise.
Fenêtre sur vignoble.
by Ugo Gattoni, 2024
Cerf Contrôle.
by Pascale Marthine Tayou, 2024
Serpentine Bell.
by Tomoko Sauvage, 2024

left
Retour aux sources. art installation
by artist duo Mouawad Laurier, 2019
right
Chateau of Maison Ruinart.
mirrored in the Nicolas Ruinart Pavillon

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interview. Raoul Keil
words. J. Bibi Cooper
photography. Simon Lipman