
A Focus On Sustainability And Nature At The Redesigned L'Orangerie
The newly renovated dining room at L'Orangerie
L'Orangerie, the two Michelin-starred restaurant tucked inside the landmark Four Seasons Hotel George V in Paris, recently reopened after undergoing an extensive renovation. The new restaurant aesthetic was crafted specifically to complement the menu, which focus on organic elements, nature and sustainability.
Alan Taudon is the chef at L'Orangerie. The menu he created eschews meat and instead focuses solely on plant and seafood dishes. He says the restaurant's philosophy is built on seasonality, precision and a deep respect for nature. Traditional French cuisine often features many meat-heavy dishes, but chef Taudon sought to develop his own culinary identity and take a new direction with his menu.
'It is true that traditional French cuisine can often be rich, but at L'Orangerie, we have chosen to focus on lightness and balance. Instead of relying on rich butter-based sauces, we use delicate, aromatic infusions and fresh, seasonal ingredients,' chef Taudon said in an email. He also notes the difficulties he encountered with sourcing high-quality, sustainable meat that met his standards. 'Rather than compromise, I decided to prioritize the freshest seafood, vegetables," chef Taudon explained.
The dining tables at L'Orangerie
The updated interior design of L'Orangerie reflects the light plant-forward dishes. The aesthetic is airy and soft, with a color palette of neutrals, blonde wood and earthy hues.
'Pierre-Yves Rochon, the renowned architect, has reimagined L'Orangerie with a striking new design that perfectly complements my cuisine,' chef Taudon said in an email. 'The restaurant's organic setting immerses guests in a sensory experience."
According to chef Taudon, a standout design element that Rochon brought to the restaurant is a white porcelain tree. The tree hangs from the ceiling and features more than 10,000 porcelain bougainvillea leaves and 600 flowers that extend across the space.
'[It's] a stunning sculpture by Art and Floritude, crafted over 3,700 hours, [it] brings nature to the heart of this dining experience,' chef Taudon said in an email. Chef Taudon notes the intention was to weave nature into the fabric of the space.
The restaurant is intimate with just six tables. In addition to the new sculpture, it features a wall of windows that look out on the plants and nature in the hotel's courtyard. This further brings the outside into the dining space.
L'Orangerie at The Four Seasons Hotel George V
In addition to the focus on nature in the dishes and the new restaurant design, sustainability is also top of mind for chef Taudon.
'Sustainability is at the heart of what we do at L'Orangerie. We work closely with local, small-scale producers who share our commitment to preserving the environment. For instance, we source live shrimp from trusted suppliers, and vegetables from Mr. Rigaud's garden in Franconville, just outside Paris," chef Taudon explained in an email. "Our commitment extends to minimizing food waste and using every part of the ingredients we source, creating a dining experience that is both exceptional and environmentally conscious.'
Tastewise, a platform for food and beverage analytics and insights, says data shows sustainability in the food industry isn't just a passing trend. Tastewise data across social platforms, restaurant menus and recipes reveals a 42% increase in sustainability as a driver for food choices in 2024. Consumer interest in plant-based and low-impact eating has grown in tandem, with plant-forward dishes up 35% across restaurant menus and recipes. Consumers are also showing their passion for sustainable eating online. According to Tastewise, TikTok food posts featuring vegetarian sustainability themes saw a 48% spike in engagement compared to non-ethical posts in the same category.
The dining room at L'Orangerie looks out to the hotel's courtyard
Fanny Champlon is the director of food and beverage at Four Seasons Hotel George V. She says that sustainability is deeply embedded in the food and beverage philosophy throughout the hotel.
'We have eliminated single-use plastics across all dining venues and prioritize seasonal, high-quality ingredients from trusted suppliers,' Champlon explained in an email. 'A key initiative is our farm-to-table approach: our 1,800m2 vegetable garden in Versailles for the restaurant Le George and Mr. Rigaud's garden for the restaurant L'Orangerie.'
The MICHELIN Guide France announced their 2025 selections in March. L'Orangerie retained its two stars. The Four Seasons Hotel George V has a total of six Michelin stars and one Green Star, a record in Europe and the Middle East.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
3 hours ago
- Yahoo
Video does not show astronaut exposing 'fake' life in space
"Former Astronaut Karen Nyberg Shows How NASA Fakes Space Flights.." a June 16, 2025 post on X claimed. It shares a video of a woman in front of a space station-like backdrop watching a chip bag float away from her, side-by-side with the same footage being filmed in front of a green screen. A person in a green body suit is manipulating the bag. The video garnered thousands of interactions in posts on X, Threads, Instagram and Facebook. The clip also circulated in posts making similar claims about Nyberg in French, Spanish and Italian. Nyberg is a retired NASA astronaut who completed two spaceflights during her career, including a 166-day stay on the ISS in 2013 (archived here). But she is not the woman in the green screen video. Comments on the post on X included links to previous debunks from USA Today and PolitiFact who named the woman in the video as Paige Windle. In the clip, a person off-camera is heard calling the woman Paige. Windle is the founder of a lifestyle management company and the wife of David Weiss, known online as "Flat Earth Dave," the host of "The Flat Earth Podcast." Contacted by AFP, Weiss confirmed Windle is the one on-camera. "This video never dies. It keeps coming back," Weiss said in a June 17 email. The video was originally posted on Weiss's YouTube channel as part of a series titled "Globebusters," but made no mention of Nyberg (archived here). "Someone took that clip and presented it as Karen Nyberg and it went viral a bunch of times and now it has started again," he said. He said he has repeatedly addressed the false use of the video, sharing with AFP the cover image of a YouTube video he posted in response to the false viral claims (archived here). Astronauts onboard the ISS experience microgravity, causing them and objects to float (archived here). At the altitude of the ISS, gravity is 90 percent of the total gravity one feels on Earth, but an absence of air resistance causes all objects in the ISS to fall at the same rate, producing a weightless appearance. The ISS stays afloat because it moves at a speed that matches the curve of the Earth, causing it to "fall around" the planet while staying at roughly the same altitude. The moon's orbit works in a similar way. NASA uses the ISS in part to study how extended time periods in microgravity and other conditions in space impact the human body as it prepares for future long-term missions in space. On her website, Nyberg features a video she recorded on the ISS where she worked on a quilt (archived here). Unlike in the video filmed in front of the green screen, Nyberg's hair and necklace float throughout the clip due to the microgravity conditions. AFP reached out to Nyberg's representative for comment, but a response was not forthcoming. AFP has previously debunked claims that ISS astronauts faked a video from the station.


Los Angeles Times
5 hours ago
- Los Angeles Times
'Étoile' Stars Gideon Glick and Luke Kirby Reflect on Canceled Series, Dance Immersion, and Palladino Magic
Actors Gideon Glick and Luke Kirby of the Prime Video series 'Étoile' recently discussed the show's first season with Los Angeles Times moderator Matt Brennan. The Q&A, held on June 11 at the NeueHouse in Hollywood, covered various aspects of the series, which is set in New York City and Paris and follows two ballet companies swapping their star dancers to save their institutions. Glick and Kirby revealed they learned of the show's cancellation shortly before Glick received an award for the series. Both actors shared their introduction to the dance world for their roles; Glick, from musical theater, shadowed choreographers, while Kirby, with family ties to dance, took ballet classes, gaining appreciation for the art form's physicality and dedication. A significant part of the discussion focused on their collaboration with creators Amy Sherman-Palladino and Dan Palladino, with whom they previously worked on The Marvelous Mrs. Maisel. Glick likened the Palladinos' writing to Steven Sondheim, noting, 'It is all there and it's so well constructed and it's psychologically potent that for an actor it's pretty much a dream.' Kirby compared it to Shakespeare, explaining, 'You don't do the text, the text does you ... things are revealed in the writing in the moment.' Glick, who also worked in the 'Étoile' writer's room, described Amy Sherman-Palladino's creative bursts as 'being struck by lightning,' with dialogue 'spitting out almost word for word.' He also shared that his character, Tobias, was specifically written for him, an experience he called 'pretty life-changing' that expanded his ambitions to include writing. The actors also reflected on filming in Paris. Glick, who is hearing impaired, found the French accents challenging but noted, 'I did feel a little isolated and I felt it really helped me stay in Tobias's mind.' Kirby described the experience as 'just great to be in Paris,' highlighting the dedication of the French crew and the 'rare gift' of working with international talent. They reminisced about shooting pivotal romantic scenes, with Glick calling it 'the most magical day of shooting.' Kirby, recalling his scene, praised his co-star Lou de Laâge: 'Lou is exceptional and I was staggered by her, always staggered by her talent.' Finally, they touched upon the show's theme of art as a form of 'insanity' or 'ecstasy.' Glick described the creative process as sometimes 'manic,' akin to the Greek word 'ecstasis,' meaning 'to leave the body.' Kirby said, 'I think it's a shame if you've never been insane ... it's a great gift to know you have that option.' They concluded by expressing profound gratitude for the collaborative and enriching experience of making 'Étoile,' with Glick stating, 'It was one of the greatest artistic experiences of my life. Everybody was extraordinary.' Kirby added, 'I think it asserted the whisper that we all have within us. And to listen to the whisper, don't shut it down.'


Los Angeles Times
6 hours ago
- Los Angeles Times
Journalists get a guided tour of totalitarianism in ‘Meeting with Pol Pot'
French Cambodian director Rithy Panh has often cited the genocidal regime of the Khmer Rouge, which killed his family and from which he escaped, as the reason he's a filmmaker. His movies aren't always directly about that wretched time. But when they are — as is his most memorable achievement, the Oscar-nominated 2013 documentary 'The Missing Picture,' which re-imagined personal memories using clay-figurine dioramas — one senses a grand mosaic being assembled piece by piece linking devastation, aftermath and remembrance, never to be finished, only further detailed. His latest is the coolly observed and tense historical drama 'Meeting With Pol Pot,' which premiered last year at Cannes. It isn't autobiographical, save its fictionalization of a true story that happened concurrent to his childhood trauma: the Khmer Rouge inviting a trio of Western journalists to witness their proclaimed agrarian utopia and interview the mysterious leader referred to by his people as 'Brother No. 1.' Yet even this political junket, which took place in 1978, couldn't hide a cruel, violent truth from its guests, the unfolding of which Panh is as adept at depicting from the viewpoint of an increasingly horrified visitor as from that of a long-scarred victim. The movie stars Irène Jacob, whose intrepid French reporter Lise — a perfect role for her captivating intelligence — is modeled after the American journalist Elizabeth Becker who was on that trip, and whose later book about Cambodia and her experience, 'When the War Was Over,' inspired the screenplay credited to Panh and Pierre Erwan Guillaume. Lise is joined by an ideologically motivated Maoist professor named Alain (Grégoire Colin), quick to enthusiastically namedrop some of their hosts as former school chums in France when they were wannabe revolutionaries. (The character of Alain is based on British academic Malcolm Caldwell, an invitee alongside Becker.) Also there is eagle-eyed photojournalist Paul (Cyril Gueï), who shares Lise's healthy skepticism and a desire to learn what's really happening, especially regarding rumors of disappeared intellectuals. With sound, pacing and images, Panh readily establishes a mood of charged, contingent hospitality, a veneer that seems ready to crack: from the unsettlingly calm opening visual of this tiny French delegation waiting alone on an empty sun-hot tarmac to the strange, authoritarian formality in everything that's said and shown to them via their guide Sung (Bunhok Lim). Life is being scripted for their microphones and cameras and flanked by armed, blank-faced teenagers. The movie's square-framed cinematography, too, reminiscent of a staged newsreel, is another subtle touch — one imagines Panh rejecting widescreen as only feeding this evil regime's view of its own righteous grandiosity. Only Alain seems eager to ignore the disinformation and embrace this Potemkin village as the real deal (except when his eyes show a gathering concern). But the more Lise questions the pretense of a happily remade society, the nervier everything gets. And when Paul manages to elude his overseers and explore the surrounding area — spurring a frantic search, the menacing tenor of which raises Lise's hackles — the movie effectively becomes a prison drama, with the trio's eventual interviewee depicted as a shadowy warden who can decide their fate. Journalism has never been more under threat than right now and 'Meeting with Pol Pot' is a potent reminder of the profession's value — and inherent dangers — when it confronts and exposes facades. But this eerily elegiac film also reflects its director's soulful sensibility regarding the mass tragedy that drives his aesthetic temperament, never more so than when he re-deploys his beloved hand-crafted clay figurines for key moments of witnessed atrocity, or threads in archival footage, as if to maintain necessary intimacy between rendering and reality. Power shields its misdeeds with propaganda, but Panh sees such murderous lies clearly, giving them an honest staging, thick with echoes.