Recipes for success: Chef Robert Stirrup, culinary director of The Ritz-Carlton Riyadh, offers advice and a seabass and salad recipe 

Chef Robert Stirrup is the culinary director of The Ritz-Carlton Riyadh. (Supplied)
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Updated 27 June 2024
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Recipes for success: Chef Robert Stirrup, culinary director of The Ritz-Carlton Riyadh, offers advice and a seabass and salad recipe 

RIYADH: Robert Stirrup’s culinary journey began in his family home just outside of London. In the bustling kitchen, he would carry out basic tasks to help prepare meals on the weekends, and this sparked a lifelong passion for cooking.  

Now, with more than two decades of experience behind him, including stints at five-star hotels and Michelin-starred restaurants, Stirrup is the director of culinary arts at The Ritz-Carlton Riyadh.  




Al Orjouan at The Ritz-Carlton Riyadh offers an international buffet service in an elevated setting. (Supplied)

Here, he discusses his favorite dish and his top tips for amateur chefs. He also shares his recipe for roasted seabass with etuvée of vegetables and herb salad. 

When you started out, what was the most common mistake you made?  

Probably one of the biggest was to keep trying to add flavors. When you’re not really sure of the different flavors and the complexity of ingredients, you keep adding things. Over time, you start to realize what will work with what. One of the big things that one of my chefs taught me, when I was 19 or 20 years old, was to actually smell and eat all the different herbs and understand what the flavors were and what you could actually pair them with. 

What’s your top tip for amateur chefs? 

Planning. If you don’t have a plan for what the dish is going to look like or be presented as, then you miss out on making a list and realizing that a lot can be done in advance. If you do a lot of the things in advance, then at the end you’re just doing the finishing touches of cooking the meat, cooking the fish, finishing the vegetables or reheating the sauces. Then you don’t put all the pressure on yourself at the last minute and panic and make a mess of it. 

What one ingredient can instantly improve any dish? 

Citrus. It can elevate so many different dishes, and there are so many different ways that you can use it. It’s not just a case of using lemon, either. You can use different herbs that have a citrus base. You can use limes. You can use yuzu. There are lots of different ways that you can revitalize a dish or bring back the freshness of a dish by adding citrus. 

What’s the most common mistake that you find in other restaurants?  

I always check how big the menu is. If I see a big menu, I always think that either the food can’t be fresh, or the team can’t be experts at making that many dishes. For me, having a smaller menu means the team is more focused, and the ingredients will be fresher because they'll rotate them properly. I also prefer restaurants that serve a particular style of cuisine, rather than trying to do everything for everyone. Also, I think you can tell a good restaurant before you go in by how busy it is. If a restaurant’s empty, I’m not going there.  

Also, from a service perspective, I always like to ask the team what they would eat. It’s so important to have a well-trained team. And it’s so difficult to find good people. But train the team so that when they’re talking to guests and explaining the menu they’re really confident with it. I went somewhere recently where they presented the dishes and didn’t explain them at all. They just said, ‘Enjoy’ and walked off. And that changed the whole experience — rather than them sharing a bit of their knowledge and their enjoyment of being there and of what they’re serving.  

What’s your favorite cuisine? 

I like the simplicity of Japanese food. You can’t hide behind anything when you’re cooking Japanese food, because it's so simple. It’s the quality of the ingredients that make the dish. 

What’s your go-to dish if you have to cook something quickly at home? 

I tend to just open the fridge and see what’s there. It’s something that always drives my wife mad. I don’t like to do big shopping trips, I prefer to buy ingredients on a regular basis, and then just see what there is. I don’t really think you need to put more than three or four ingredients together to make a dish, especially at home.  

But I think something easy that everyone enjoys is probably pasta. There are so many different dishes that you can do.  

What customer behavior most annoys you? 

I think it’s just being impolite. Everyone’s busy, everyone’s rushing, but the person who is cooking for you or greeting you or serving you? They’re also humans. It’s doesn’t cost anything to have good manners and to be polite to people. And I think you’ll have a much more enjoyable experience and they’ll have a much more enjoyable experience. Even if something’s not going right and you want to talk about it with someone, you can still be polite (about it). People suddenly become very aggressive sometimes, and I think it’s very unfair on the team who are trying their best to cook for you or to serve you. 

What’s your favorite dish to cook and why? 

I like to cook fish. It’s so versatile, whether it is sea bass, cod, snapper… anything really. Find a great piece of fish and some fresh vegetables, put them together and add some different seasoning. I always think it’s a sign of good cook if someone can cook fish well, because it’s very easy to overcook it and get it wrong. And, like I said, the less ingredients, the better.  

As a head chef, what are you like? 

I’m fairly laidback. I’m used to having very big teams; I have nearly 150 people in the team. At my last place, I had nearly 300. So, I’m a team player, an organizer who understands people. I find that to be much more effective than screaming and shouting. Occasionally, yes, you have to raise your voice to make everyone stop and listen, but very rarely. 

RECIPE

Chef Robert’s roasted seabass with etuvée of vegetables and herb salad  

Serves two 

For the seabass 

INGREDIENTS: 2 seabass fillets (180g each); 7g cumin seeds; 5g sumac; 10g dried oregano; 10g sesame seeds; salt and pepper to taste (approx. 5g each)  

INSTRUCTIONS:  

1. Toast the cumin seeds in a dry pan until aromatic. Transfer to a mortar and grind with sumac, oregano, sesame seeds, salt and pepper to make a fine powder. Set aside extra for future use.  

2. Roast the seabass fillets seasoned with the spice blend until cooked through and golden.  

For the etuvée of vegetables: 

INGREDIENTS: 1/2 large fennel bulb or 8 pieces of baby fennel, shaved or finely sliced; 1 carrot or 4 baby carrots, shaved or finely sliced; 4 baby artichokes (optional), shaved or finely sliced; 2 banana shallots, finely sliced; 2 cloves of garlic, crushed; 10 basil leaves; 4 sprigs of thyme; 100ml vegetable stock; juice of 2 lemons; 50ml extra virgin olive oil; salt and pepper to taste  

INSTRUCTIONS: 

1. Sweat the shallots in olive oil until translucent. Add the crushed garlic and cook gently.  

2. Incorporate the carrots and artichokes (if using), then add the remaining olive oil, herbs and vegetable stock.  

3. Cook slowly at medium heat, covered with a lid or cling film, for 10 minutes. Then stir in the lemon juice and adjust the seasoning.  

For the herb salad: 

Combine seasonal salad greens with 2g fresh dill, 2g fresh basil, and 2g fresh sorrel. 

ASSEMBLY: 

Plate the seabass on a bed of the etuvée vegetables. Garnish with green vegetables of your choice, such as asparagus or green beans. Accompany with your fresh herb salad.  


Toronto Arab Film Festival screens searing ‘Arze’

Updated 16 sec ago
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Toronto Arab Film Festival screens searing ‘Arze’

DUBAI: The Toronto Arab Film Festival, running from June 20- 29, screened the scathing yet poignant Lebanese film “Arze,” directed by Mira Shabib.

The ambitious “Arze” — which means "cedar" in Arabic — follows the story of Arze, a single mother supporting her teenage son and love-struck sister through a homemade pie delivery business. In an effort to improve their lives, she steals and sells her sister’s jewelry to buy a scooter for her son to use for deliveries. But when the scooter is stolen, mother and son embark on a frantic journey across Beirut to recover it.

On the surface, “Arze” tells a story that resonates deeply with many Lebanese families caught in financial limbo. It explores the emotional toll of such hardship, with questions arising as to whether one should leave the country or give up remnants of a once-comfortable life to survive Lebanon’s shifting socio-economic landscape.

Beneath the family drama lies sharp satire. Even the film’s title that references the cedar tree, a national symbol of Lebanese identity, carries layered meaning. Like the character herself, that identity appears fragmented, constantly lost amid the country’s sectarian divides. This is where the film truly shines: Arze, portrayed with emotional depth by Diamand Abou Abboud, dons various religious symbols and disguises to navigate Beirut’s fractured neighborhoods.

Shabib excels in exposing the farce of sectarianism, insinuating that Lebanon’s religious divisions are not deeply rooted but socially constructed and performative. Arze’s ability to blend into different communities simply by changing her appearance highlights how fragile and superficial these boundaries truly are.

In this sense, the film excels in its portrayal of a fourth main character: Beirut itself. Through Shabib’s lens, we are taken on a tour of a city so diverse it borders on overwhelming. Yet this diversity, rather than being a source of division, becomes a stage for a pointed critique, one that targets society’s fixation on appearances and its preference for the performative over lived reality.


Michelin Guide to launch first-ever Saudi edition

Updated 53 min 3 sec ago
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Michelin Guide to launch first-ever Saudi edition

DUBAI: The Michelin Guide is set to launch in Saudi Arabia, marking a major milestone in the Kingdom’s evolving culinary landscape.

Organized in partnership with the Culinary Arts Commission, a subsidiary of Saudi Arabia’s Ministry of Culture, the “new selection will focus on the bustling cities of Riyadh and Jeddah, while also beginning to explore the diverse regions of the Kingdom, including Khobar, AlUla, and many more,” according to the Michelin Guide. 

The announcement confirmed that Michelin inspectors “are already in the field” and will begin evaluating restaurants." The selection will be made according to the Michelin Guide’s criteria: “The quality of the ingredients, the mastery of cooking techniques, the harmony of flavors, the personality of the cuisine and the consistency both over time and through the menu as a whole.”

Gwendal Poullennec, international director of the Michelin Guide, said in a statement: "These past few years, our Michelin inspectors have been keeping a watchful eye on The Kingdom’s culinary progression and continue to relish the wonderful spectrum that this fast-developing country has to offer.” 

Mayada Badr, the CEO of the Saudi Culinary Arts Commission, said: “Our collaboration with the Michelin Guide marks an important milestone in celebrating the unique and diverse culinary scene of Saudi Arabia. It shines a light on the creativity and excellence of our chefs and restaurants, and invites the world to discover the distinct flavors and experiences the Kingdom has to offer.”

One Michelin star is awarded to restaurants for “high-quality cooking that is worth a stop,” two stars for “excellent cooking that is worth a detour,” and three stars for “exceptional cuisine that is worth a special journey.”

Alongside the coveted star ratings, the selection also includes the popular Bib Gourmand category, a distinction awarded to restaurants that provide good quality food at a moderate price.

The restaurant selection for the inaugural edition will be unveiled towards the end of 2025. The selection will be revealed in three stages - on the 15th of each month from October to December 2025, the inaugural selection for Saudi Arabia will be unveiled on our dedicated digital platform.

The guide currently operates in Dubai, Abu Dhabi and Qatar.

The prestigious French guide actually began as a handy guidebook for Michelin tire customers in France in 1900. It was the brainchild of the Michelin brothers, who sought to “provide motorists traveling through France with all the useful information to supply their automobile, to fix it, where to sleep and eat, and which means exist to communicate, by mail, telegraph or telephone,” according to Christie’s auction house, which put a set of guides under the hammer in 2016.

The first edition saw almost 35,000 copies printed, and contained useful information for motorists, including a list of hotels, groceries, bakeries, hardware stores and instructions on how to fix and change tires.

In 1931, ratings featured the current system of three stars for the first time, with the definitions becoming clear and definitive in 1933. One star indicated a good place to stop on your journey, and was awarded to a very good restaurant in its category. Two stars meant excellent cuisine, indicating dishes of outstanding quality worth a detour. Three stars were awarded to a restaurant worth a special journey, where diners could expect to eat very well.

Although production of the guide was suspended during both world wars, the 1939 edition of the guide was reprinted by the US military in 1943, just before the June 6 invasion of Normandy the following year, as it was deemed the most up-to-date map available to the armed forces.

The push eastward is relatively recent, as until 2006 Michelin’s country guides only covered Europe. 


Theater and film experts Fatima Al-Banawi, Lana Komsany lend expertise to Saudi summer camp

Updated 23 June 2025
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Theater and film experts Fatima Al-Banawi, Lana Komsany lend expertise to Saudi summer camp

DUBAI: Saudi filmmaker Fatima Al-Banawi is set to take part in a two week summer program for children in Jeddah hosted by Alf Wad Productions.

The two programs aimed at children are titled “Little Theater Stars Camp” and “Camp Journey to the World of Cinema.” The programs run for two weeks.

The schedule focuses on teaching theatrical experiences by allowing children to write a play inspired by their ideas. In addition to writing a script, the participants will design the costumes and help in building the set for the production.

From lighting to sound and storytelling, the program will offer a holistic understanding of what it takes to bring a theater production to life.

Led by instructor Lana Komsany and supervised by Al-Banawi, the programs will conclude with a performance in front of a live audience.

 

Al-Banawi is recognized for her roles in “Barakah Meets Barakah” and the Saudi thriller “Route 10.”

She made her directorial debut with “Basma,” in which she also plays the titular role of a young Saudi woman who returns to her hometown of Jeddah after studying in the US. Back home, she is confronted with her father’s mental illness, strained family ties, and the challenge of reconnecting with a past life that no longer feels familiar.

“I really went into cinema — in 2015 with my first feature as an actress — with one intention: to bridge the gap between the arts and social impact and psychology,” she previously told Arab News. “And I was able to come closer to this union when I positioned myself as a writer-director, more so than as an actor.”

The film debuted on Netflix in 2024.

Meanwhile, Qamsani specializes in film and theater, with extensive experience in directing, acting, and writing, and is known for her work in creative training.

Alfwad Productions is a Saudi Arabia-based creative arts organization focused on nurturing young talent through performance, storytelling, and cultural education. The organization runs year-round programs that blend theater, music, and visual arts.


Bella Hadid’s Orabella launches new collaboration

Updated 23 June 2025
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Bella Hadid’s Orabella launches new collaboration

DUBAI: American Dutch Palestinian supermodel Bella Hadid is expanding her beauty brand, Orebella, into the world of accessories — and she’s doing it with a little help from her close friends.

Hadid has teamed up with Wildflower Cases co-founders Sydney and Devon Lee Carlson to launch a limited-edition collaboration featuring two dreamy new products: an iPhone case and a “Scentable Wristlet.”

Bella Hadid has teamed up with Wildflower Cases co-founders Sydney and Devon Lee Carlson to launch a limited-edition collaboration featuring two dreamy new products: an iPhone case and a “Scentable Wristlet.” (Instagram)

Hadid took to Instagram to announce the launch, writing, “Feeling like the luckiest girl in the world to be able to be creative with my beauty boss sisters. Life is beautiful when we have the opportunity to watch our friends winning. So proud of you two. So proud of our teams. So proud of us. Love you all — thank you for bringing this vision to life.

“Cases ANDDDD our most special scented wristlets to keep the orebella scent of your choice on you at all times! Been wanting to make this accessory for a while, had the idea for scented bracelets and wristlets, and my sisters pulled it all together for us. Love you guys so much,” she added.

Teased earlier on Instagram through behind-the-scenes campaign shots, the collaboration blends Orebella’s fragrance-forward ethos with Wildflower’s unique phone accessory style.

The iPhone case is designed with a celestial sky motif and a delicate crescent moon, channeling Hadid’s signature mystical aesthetic — part of what the trio call a “girl gang collection,” celebrating the friendship between Bella, Devon, and Sydney.

Meanwhile, the Scentable Wristlet introduces a functional — and fragrant — twist. Designed to hold a small vial of Orebella’s signature scent, the wristlet allows users to carry their favorite fragrance with them wherever they go, seamlessly merging style with sensory self-expression.

Orebella, which launched in May last year with a sell-out line of clean fragrance mists, is rooted in Hadid’s love of scent layering, spirituality, and beauty rituals.

Hadid wrote on her website at the time: “For me, fragrance has always been at the center of my life — helping me feel in charge of who I am and my surroundings. From my home to nostalgic memories, to my own energy and connection with others, scent has been an outlet for me. It made me feel safe in my own world.”


Co-founder of digital platform The Open Crate shares Art Basel top picks

Updated 21 June 2025
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Co-founder of digital platform The Open Crate shares Art Basel top picks

BASEL: Tunisian art expert Amina Debbiche, who co-founded digital art platform The Open Crate alongside Nora Mansour, shares her top artworks from Switzerland’s Art Basel contemporary art fair, which wraps up on Sunday.

Amina Debbiche. (Supplied)

The Open Crate allows clients to digitalize their entire collection, whether it be artwork, design objects or luxury items.

Yto Barrada at Sfeir-Semler Gallery

“I first discovered Yto Barrada’s work at the Arsenale during the 2011 Venice Biennale and was instantly captivated by her poetic and political approach. Since then, I’ve followed her brilliant trajectory across film, photography, textiles, and installation. Born in Paris and raised in Tangier, her practice explores themes of memory, displacement, and resistance. We’ve now come full circle - she will represent France at the upcoming Venice Biennale, curated by Myriam Ben Salah.”

Yto Barrada’s work at Art Basel. (Supplied)

 Alia Farid’s ‘Elsewhere’ at Art Basel Unlimited

Alia Farid’s ‘Elsewhere’ at Art Basel Unlimited. (Supplied)

“Alia Farid’s ‘Elsewhere’ deeply moved me with its layered storytelling and political tenderness. The work maps Arab and South Asian migration to Latin America and the Caribbean through handwoven rugs made with Iraqi weavers. It documents hybrid identities, memory, and solidarity across geographies. I’ve long admired how Alia reclaims overlooked narratives with such poetic clarity. Her voice feels both urgent and timeless.”

Eunnam Hong’s ‘Safeway’ at Mendes Wood DM booth

“Eunnam Hong’s painting … stopped me in my tracks — cinematic, hyper-stylized, and effortlessly cool. With nods to Cindy Sherman and K-drama aesthetics, the Korean artist explores identity and performance through staged, uncanny tableaus. Her figures- drenched in soft light, wrapped in curlers and headscarves, clutching vitamin D and Safeway bags - feel both retro and unmistakably now. It’s suburban surrealism meets generational moodboard, complete with Converse and quiet rebellion. Hong is one of the most compelling contemporary voices out there - sharp, relatable, and iconic in the making.

Eunnam Hong’s ‘Safeway’ at Mendes Wood DM booth. (Supplied)
​​​​​

Simone Fattal’s ‘Music On My Mind’ (2024)

“Simone Fattal is a Syrian Lebanese artist whose sculptural practice draws from archaeology, poetry, and mythology to explore themes of memory, exile, and resilience. Born in Damascus and raised in Beirut, she has created only a few large-scale sculptures, making each one rare and significant. Her works are held in major collections including MoMA, Centre Pompidou, and the Sharjah Art Foundation … I was drawn to “Music On My Mind” for its quiet power — the naive, totemic form and subtle reference to sound felt deeply poetic.”

Simone Fattal’s ‘Music On My Mind’ (2024). (Supplied)

M'barek Bouhchichi’s ‘Terr

M'barek Bouhchichi’s ‘Terra’ series (2024)


Noah Davis’s ‘The Goat from Grayson’ (2008) at David Zwirner

“I love this work for its quiet intensity and material poetry and Selma Feriani, who presents it, is one of the few truly independent voices from the region to make it to Art Basel with a consistently bold program. M’barek Bouhchichi, born in southeastern Morocco, lives and works in Tahanaout, Morocco. The artist collaborates with women artisans to create henna-dyed wool works that evoke both landscape and memory. His ‘Terra’ series explores cultural links between Morocco and Mali through ancestral weaving techniques. These minimal, earthy compositions blur the line between textile and painting. A major solo show in Tunis is coming this September.”

Noah Davis’s ‘The Goat from Grayson’ (2008) at David Zwirner

“I’ve always been drawn to Noah Davis’s ability to create scenes that feel both dreamlike and grounded in Black lived experience. “The Goat from Grayson” (2008), shown here at David Zwirner, captures his signature blend of poetic realism, rich symbolism and painterly tenderness. The glowing tree, the quiet tension, and the spiritual undertone pull you in. Davis, who passed away tragically young at 32, was not only a brilliant painter but also the founder of The Underground Museum in Los Angeles, a vital space for Black art and community. His work was the subject of a major retrospective at the Hammer Museum in 2020, cementing his legacy as one of the most influential artists of his generation.”

Eric Fischl’s ‘After the Funeral’ (2017)

“Eric Fischl’s paintings often feel like paused movie scenes, loaded with tension, memory, and unspoken drama. I was instantly drawn to these two women, something about the cigarette, the ice cube, the gaze, it felt like I’d stumbled into a Woody Allen film mid-conversation. Fischl captures that strange mix of intimacy and detachment with uncanny precision. A key figure of American figurative painting since the 1980s, his work explores suburban psychology and social dynamics. He is represented by Skarstedt, a gallery known for championing major contemporary artists like David Salle, Cindy Sherman, and George Condo.”

Eric Fischl’s ‘After the Funeral’ (2017)

Sheila Hicks’s ‘Lianes Etoiles’ (2020)

“Sheila Hicks’s ‘Lianes Etoiles’ is pure visual rhythm. Its vibrant threads, soft textures, and sculptural layering instantly drew me in. There is something meditative and sensual about the way the colors pulse across the surface. Hicks, a pioneer of textile art, has redefined fiber as a sculptural and painterly medium for over six decades. This piece feels both contemporary and ancestral, like a coded language of color and craft. It is shown by Alison Jacques, a gallery that consistently champions strong, visionary practices.”

Wael Shawky’s ‘I Am Hymns of The New Temples: Pompeii glass amphora (#06)’ (2023) at the booth of Lia Rumma

“Wael Shawky’s amphora sculptures are a masterclass in historical layering and contemporary wit. Representing the Egyptian Pavilion at the last Venice Biennale, his work was among the most celebrated and nearly won the Golden Lion. The video “Drama 1882” retelling of the ’Urabi revolution that was co‑funded through support from Mai Eldib, who organised key patronage, was later acquired by a major institution in the Middle East. These Murano glass forms, draped in ornate textiles, are as subtle as they are rich in reference. Shawky continues to expand the visual language of Arab myth, ritual, and storytelling with quiet force.”

Wael Shawky’s ‘I Am Hymns of The New Temples: Pompeii glass amphora (#06)’ (2023) at the booth of Lia Rumma

Amoako Boafo’s ‘Floral One Piece’ (2025) at Gagosian Gallery’s booth

“This striking portrait by Amoako Boafo was exhibited at the Gagosian booth, where the brilliant Rola Wazni, director of Gagosian Paris, walked me through a presentation curated by Francesco Bonami. Boafo, originally from Ghana and based in Vienna, is known for his lush finger-painted figures and bold exploration of Black identity and presence. His textured brushwork and floral detailing here are both tender and defiant. The composition radiates quiet power, dignity, and individuality. Rolla’s sharp eye and grace made the experience even more memorable.”

Amoako Boafo’s ‘Floral One Piece’ (2025) at Gagosian Gallery’s booth

Maurizio Cattelan and Rudofl Stingel at Gagosian Gallery’s booth

“Gagosian’s booth at Art Basel 2025, curated by Francesco Bonami, offered a brilliantly irreverent pairing of Maurizio Cattelan’s ‘No’ (2021) and Rudolf Stingel’s ‘Untitled’ (2012). Cattelan’s kneeling figure in a suit, head covered by a paper bag, delivers a biting satire of modern-day capitalism and mental health collapse — a man caught between denial and trauma, refusing to face symbolic castration or mortality. Stingel’s silvery abstraction provided a haunting, meditative counterpoint, echoing themes of absence and ego. Together, the works reflected on visibility, repression, and the absurd rituals of the art world. The result was a sharp, minimalist statement that lingered long after.”