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The corner bakery with the BEST hot sauce you'll ever taste + Byron Bay's adults-only secret and Australia's bougiest travel trackies: THE DETOUR

The corner bakery with the BEST hot sauce you'll ever taste + Byron Bay's adults-only secret and Australia's bougiest travel trackies: THE DETOUR

Daily Mail​7 hours ago
Welcome to The Detour: Your food and travel guide to the best flavours, hidden haunts, insider tips and unforgettable new experiences that reward those who wander off course.
Note: The views, experiences and opinions expressed in this article are solely my own. This content is not sponsored in any way.
I went to a bakery this week… except it wasn't just a bakery.
Guildford's beloved Yum Yum Bakery has been a Western Sydney institution for more than three decades - a Lebanese classic-maker that's as much about community as it is about carbs.
Founded in 1989 by Lebanese refugee Toufic Haddad, it began as a humble neighbourhood spot, serving handmade breakfasts to the area's growing migrant community.
These days, Toufic's son Najib runs the show, still using many of the original recipes, baking techniques, and even the hand-built masonry oven.
And now, there's a second outpost - tucked on a quiet Concord corner, just 20 minutes from Sydney's CBD - and of course, I had to see what all the fuss was about.
Verdict? It's up there with the best Lebanese food I've had in Sydney - and the best hot sauce I've ever tasted, full stop.
The new venue radiates the same warmth, flavour and familiarity as the original (with a cracking soundtrack to match). Locals pack the tables, which in turn groan under the weight of steaming flatbreads, fresh juices and platters of tender meats.
You'll still find the soulful staples - like awarma and egg manoush (once crowned Sydney's best eggs by Manu Feildel) - but also clever twists on the classics including lamb shawarma tacos and halloumi spring rolls drizzled with honey.
Manager George (who is a social star in his own right) says these are weekday hits, while generous brunch plates (scrambled eggs with foul (ful), labneh, halloumi, mixed veg, and oven-baked bread) reign supreme on weekends.
Other must-orders? Falafel nachos, labneh bruschetta, the mixed chicken-and-shawarma plate, and spiced cauliflower bites.
But for me, the chilli sauce stole the show. The recipe's a tightly guarded secret, and they're not bottling it - yet - but judging by the number of 'can I take this home?' requests, I'm far from alone in my obsession.
This place is special. Make the trip.
And to the locals - sorry for spilling the secret.
But for me, the chilli sauce (pictured left) stole the show. The recipe's a tightly guarded secret, and they're not bottling it - yet - but judging by the number of 'can I take this home?' requests, I'm far from alone in my obsession
Byron Bay 's 'best kept secret'
Couples and solo travellers can quite literally 'hide' away at Byron Bay's newest boutique hotel.
Hide is Byron's strictly adults-only retreat tucked away just minutes from the main beach and café strip - but you'd never know it.
Despite being right at the heart and bustle of it all, this getaway feels a world away - a concept that was intentional from the get-go.
This is why it's been dubbed the town's 'best kept secret'... for now. You didn't hear it from us.
Thoughtfully quiet, intimate and restorative, Hide was designed by architect John Burgess to hero three elements: barefoot luxury, calming minimalism and deeply personal customer service.
During their stay, guests have access to the Wellness Bathhouse on-site - a private recovery zone with a heated magnesium mineral pool, outdoor spa, infrared sauna and ice bath.
And back inside, it's the detail game that'll win your heart.
Imagine: king beds swathed in premium Cultiver linen (the sort you'll want to take home), fancy Salus bath products, fabulous minibars, speedy WiFi, plus private entrances and keyless access.
Rooms start at $319 a night, but you get options like The Canopy (treetop outlook incoming) and The Soak (an outdoor bath = romance unlocked).
The buzz? First class. Just ask the guest who left this glowing review:
'If I could give this 100 stars I would,' she wrote.
'Absolutely loved this place. It's been beautifully renovated to the highest of standards, [it has] the most beautiful high-end facilities and the staff are so friendly and welcoming.
'You will not regret it.'
Opera Bar's new chapter
Step aside Taylor Swift, Sydney's Opera Bar is having its own reinvention era week with the announcement of new management after 24 years.
Having spent the past couple of decades with Solotel and Matt Moran at the helm, Opera Bar will change hands to Applejack Hospitality (The Butler, The Botanist, Taphouse) in mid-September.
The group will take over next door's House Canteen in November and refurbishments on both venues will begin in 2026 once summer ends.
'We're thrilled to have appointed Applejack Hospitality to run the Opera House's popular harbourside venues, Opera Bar and House Canteen, for the next 10 years,' Sydney Opera House Chief Customer Officer, Jade McKellar said.
'We were delighted by the exceptional standard of the submissions received, with Applejack's detailing a compelling, vibrant vision for this community space that thousands of locals and visitors enjoy every year.'
Applejack Co-founders, Ben Carroll and Hamish Watts, said they were both 'humbled and inspired' to be entrusted with the venues.
And it wasn't an easy win for the group; a comprehensive (and competitive) tender process began back in September 2024.
'A dream come true,' Carroll and Watts said.
'A new era is here.'
Australia's first floating bathhouse
Hold onto your bathrobes: Australia officially has its first 'floating' bathhouse, and yes - it's just as dreamy as you imagined.
Sat on a lake's edge in the heart of Tamborine Mountain in the Gold Coast Hinterland, SOL Elements resembles a 'floating' circular structure designed to merge with nature's surroundings.
The unique concept was envisioned by husband-and-wife duo, Russell and Shae Raven, who wanted to create 'a genuine retreat from the hustle and bustle of everyday life'.
Inside guests will find the Earth Suite and Botanical Scrub Bar where they'll begin their 'journey' with an indulgent cleansing ritual.
Here there are 111 hand-carved bowls sat upon an ironbark slab and guests can craft their very own organic body scrub with ingredients like Australian sea salt, raw brown sugar, ground coffee and chamomile flower.
Also on offer are three outdoor communal magnesium thermal pools heated to 38 degrees, two cold plunges at 12 degrees and two bookable magnesium float caves infused with 39 per cent salt.
There is also a cedar wood sauna offering a glass-faced lookout perched over the lake, a 'silent' steam room and a Himalayan salt cave.
There are two secluded suites - one dog-friendly - where you and your crew can soak in a mineral bath on your very own balcony, or laze in the indoor sauna or ice bath as you take in the panoramic lake views.
It doesn't stop there, Alchemy Spa Rituals are on offer for those wishing to upgrade their day with a treatment - think hot stone massages, aromatherapy, facials and scalp massage.
'This has been four years in the making - a journey filled with challenges, breakthroughs, tears and laughter,' Russell said.
'Every detail has been considered, every element crafted with intention, to create something we believe hasn't been seen before in the Australian wellness space.'
Sign us up, please and thank you.
Australia's bougiest loungewear?
Trackies - but make it Bond-level bougie. Your next 'travel set' just levelled up in a way nobody saw coming.
Renowned luxury tailor Miles Wharton has announced what could be the most elite 'tracksuit' yet in partnership with premium bourbon label Woodford Reserv e.
Enter, the 'Traxedo'.
Designed especially for men, the (ahem) $2,000 custom design comes in the form of a tailored two-piece tuxedo tracksuit that blends tailored craftsmanship with the comfort of loungewear.
Picture it: super-soft wool jersey, whiskey-hued Dormeuil fabric, a shawl lapel jacket and elasticated drawstring trousers - hello, red carpet at the airport.
Renowned luxury tailor Miles Wharton has announced what could be the most elite 'tracksuit' yet in partnership with premium bourbon label Woodford Reserve
Those who wish to treat themselves will have to move fast, with a hyper-exclusive run of the looks available via made-to-measure appointments at The Bespoke Corner boutiques in Sydney and Melbourne from Wednesday 20 August.
'The Traxedo is a one-of-a-kind piece we've never attempted before, blending the precision of bespoke tailoring we at The Bespoke Corner are known for, with the ease of loungewear,' Miles said.
As it turns out, everyone wants a piece.
The high-end buy has already attracted men of all ages (and tax brackets) who are jumping at the chance to lounge like a CEO.
Two minutes with: Celebrity chef and restaurateur Luke Nguyen
Australian-Vietnamese superstar Luke Nguyen, of Botanic House, Red Lantern and Fat Noodle, shares some of his top cooking tips and what the 'perfect meal' looks like:
1. What's the dish that has been on your menu the longest - and why do you think it resonates so strongly with diners?
The Masterstock Chicken has been a signature across many of my menus - and for good reason. It's built on tradition, with a deeply aromatic broth that's slowly layered over time. It's a dish that feels familiar yet refined, humble yet powerful. Diners connect with it because it's comfort food at its core - elevated with care, balance, and technique.
At Botanic House it has quietly become a guest favourite - and it's all in the sauce. We prepare the stock in-house, layering flavour upon flavour with every batch. What looks like a humble dish ends up being one of the most requested, thanks to its rich depth and comforting familiarity.
2. Do you have a go-to hack or shortcut in the kitchen that home cooks would be surprised by?
Absolutely - get the sauce right, and you've already set the ground for success. Whether it's a punchy nuoc cham, a deep aromatic masterstock, or a silky curry base, sauce is the soul of the dish. It ties everything together, adds depth, and transforms even the simplest ingredients. Spend time mastering your base sauces - the rest falls into place.
3. What does a 'perfect meal' look like to you?
I've always believed that food is meant to be shared. In Vietnamese culture, the dining table is where connection happens - where stories are told, laughter is exchanged, and bonds are strengthened. For me, the most memorable meals aren't just about flavour, but about the people you share them with.
4. What's one underrated ingredient you love to work with that you think more home cooks should try?
Lemongrass. It's bright, citrusy, and full of personality - perfect for marinades, broths, or stir-fries. It's often underestimated, but just a few stalks can transform an entire dish.
My time in France taught me refinement - in flavour, in plating, and in technique. I've blended those lessons with my Vietnamese roots, creating a style that respects heritage while embracing new ideas. That balance of tradition and evolution runs through everything I cook.
Not balancing the core flavours - sweet, salty, sour, spicy. In Vietnamese cuisine, everything is about harmony. Once you learn to taste and tweak these elements, your food will become instantly more vibrant.
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Fans accuse Taylor Swift of ripping off Kylie Minogue's Showgirl: The Greatest Hits era with her new album cover
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‘We popped the baby in a flowerpot!' Anne Geddes on the beloved photos that made her famous
‘We popped the baby in a flowerpot!' Anne Geddes on the beloved photos that made her famous

The Guardian

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  • The Guardian

‘We popped the baby in a flowerpot!' Anne Geddes on the beloved photos that made her famous

When Anne Geddes began shooting her famous photographs, she soon learned she would need a backup baby – or 20. 'Connecting with a child who considers you a stranger is high stress,' she says. 'I remember trying to shoot one baby sitting in a tank of water, surrounded by waterlilies. It took five babies to make it work. One of them was even called Lily, but she was not having a bar of it. She looked at me as if to say: 'You think I'm getting in that water?'' She describes the practicalities of one of her best-known shots, 1991's Cabbage Kids. It shows twin brothers Rhys and Grant with cabbage-leaf hats on their heads, each sitting in an upturned cabbage, turning to one another with mild alarm. Geddes' assistant had tied a balloon to a piece of string, lowering it between them and whipping it up the moment they turned. Geddes got the shot. 'That whole world has changed; that income has gone,' says the 68-year-old Australian from her home in Manhattan, New York. Technology has changed everything. She calls Cabbage Kids 'authentic': 'The props were all real. It was all in my garage. It's funny; with Photoshop and AI, it makes me sad to think that if you came to my work now, you might question whether it was real. 'I think original stories will always prevail. That's why having people and humans behind the photographs is important. AI can't replicate that.' If you grew up in the 1990s, there is every chance that, like me, you tacked a Geddes poster to your wall. Babies upright in a flowerpot or a bucket, or gazing sleepily from a peony, a calla lily or a bed of roses. Some were dressed as bumblebees, others with little fairy wings, snoozing on a bed of crisp autumn leaves. The images are whimsical, otherworldly and sometimes plain weird. But they have that rare quality of appealing to children without being childish and have begun popping up again, often ironically, on social media. They were disseminated initially not just on Hallmark greetings cards, but also on the cover of Vogue Homme, in a Dior advert and even in a 2004 book with Céline Dion (the best image shows the singer holding aloft a baby asleep inside an amniotic sac). The height of that period, for Geddes, was appearing on The Oprah Winfrey Show: 'She came out carrying two babies dressed as bumblebees and we shot up the New York Times bestseller list!' But for many millennials, the peak of her fame was the episode of Friends in which Elle Macpherson's character, Janine, moved in with Joey and attempted to 'girlify' his apartment using Geddes' photograph Tayla as a Waterlily. Geddes is striking, with silver hair, high cheekbones and bright skin, like Meryl Streep if Streep wore her cap backwards. She sits in front of a generic backdrop, warm, if a little reserved, speaking slowly and carefully about bumblebee suits and lily pads. It's almost 30 years since she created Down in the Garden, a series of photographs of babies in and around flora and fauna, some of which will appear in her first ever retrospective, at the New Art Museum in Tübingen, Germany, this month. Among the 150 images are identical triplets sleeping in the hands of Jack, a school groundsman, whose hands also appeared in her 1993 photograph of Maneesha, a baby born prematurely at 28 weeks. For years, people have written to tell Geddes they keep this hopeful image on their fridge. Another photograph is of Tuli and Nyla. Geddes had two days in the studio, lots of babies and a giant Polaroid camera. 'I had no props, but you need a vague plan when you work with babies, as you have to work quickly,' she says. When Nyla began fussing, Tuli rocked her and whispered into her hair. She grabbed the moment. Geddes refers to these prop-less, slightly quieter pictures as her 'classic work' and the babies in flowerbeds as 'what they know' – 'they' being people like me, who grew up with them. 'After Down in the Garden came out, it was all pots, pots, pots,' she says. 'It was like I had a flowerpot tattooed on my forehead. People always want the flowerpots! But I'm like: I do other things. And what I'm looking forward to is that people will see the other work. This exhibition is really the first time anyone has asked me to do this.' Despite selling more than 10m calendars and almost twice as many copies of her seven coffee‑table books (for context, EL James shifted fewer copies of Fifty Shades of Grey in its first decade), Geddes hasn't always been treated with reverence in an industry dominated by single-name stars such as Bailey and Rankin. Is it snobbery? 'It's just a bit of a guy industry,' she says. '[Men] would say: 'I used to shoot babies, but then I moved on to landscapes.' I was always puzzled. To me, babies are magical.' The response to the baby pictures has sometimes been frustrating, she says. 'People said I was a one-shot wonder. I'm just as interested in shooting pregnant women or new mothers. It's just people don't want to talk about that as much.' With some earnestness, she says she now prefers photographing anything pertaining to the 'promise of new life, the miracle of pregnancy and birth'; she hopes the exhibition will draw attention to that. 'I've found that once the Europeans say: 'This is amazing,' then the Americans are like: 'We want this, too.' It has to be that way round.' Geddes was born in 1956 and grew up on a 10,500-hectare (26,000-acre) ranch in Queensland alongside four sisters. They were country kids who attended a two-room primary school. Photography wasn't a big part of her life: 'I only have three images of myself under two and none of me as a newborn.' As a teenager, she subscribed to Life magazine and became fascinated by the idea of telling a story through an image. Still, she lingered on the periphery of photography, going to work in television, where she met her husband, Kel. It was in those corridors that she came across the 'magic' of the darkroom. Shortly after they met, the couple moved to Hong Kong, where Kel was running a new TV station. 'Then we got married and I thought: I've got a roof over my head, now's the time to pick up a camera.' She began putting up adverts in supermarkets, offering to photograph families and children, traipsing around their gardens and homes with a Pentax K1000 she borrowed from her husband. When she was back in Australia and pregnant with her second daughter, now 40, Geddes began taking her classic baby pictures. She realised that, in a studio, she could control everything. She started taking photos for new parents, spending months creating elaborate sets in her garage and trying out different props. A lot of the shots came about by accident. One day, a six-month-old called Chelsea was brought in for a portrait and Geddes spotted an empty flowerpot in the back of the studio: 'We just popped her in there.' To keep her comfortable, she lined the pot with fabric. After a few months, she sent a collection of these images to a small greetings card company. That was that. At the beginning, she would put a call out for babies and take 'whoever came through the door'. But she learned to be discerning. 'Under four weeks is good. If they're full of milk and warm, they'll sleep.' She also liked working with six- and seven‑month-olds, 'because they're not mobile, but suddenly they're sitting and have this whole new perspective. Also, their heads are too big for their bodies, which is funny.' 'The more you charge [for a portrait], the more they want you to make magic with a two-year-old who is having a bad day,' she says. As she became well known, 'people began sending in photos of their babies, or rang from the labour ward in tears saying: 'I've just had the most wonderful baby.' I was just like: 'OK, yup, sure, let's go.'' The images that appeared in calendars, posters, books and magazines were always used 'with the permission of the parents', she says, and the parents were always on set. 'To me, a naked newborn baby is perfect,' she says. 'They are us, essentially good people, at the start of their lives, and that's what I love about them. That's what I was trying to capture. You look at these tyrants that are running rampant [in politics] and think: they were once newborns. What happened? Why didn't your mothers just tell you to sit down and behave?' Her main inspiration is May Gibbs' 1918 book Tales of Snugglepot and Cuddlepie, about little brothers who went on intrepid adventures in the Australian bush: 'Photographers have to have their own visual signature. This became mine.' Her success is unusual, given how kitsch her images are. 'This subject of mine is not deemed to be art and that's been evident throughout my career,' she says. But that was also the point. 'It was meant to be a children's story, not serious.' Does she think it would be harder to make her images now, in the digital era, because of privacy concerns? She says she doesn't think the web has affected her work in that way: 'I know a lot of people talk about having their babies online, or not having them online, but this sort of work is not exposing the babies personally.' Geddes still refers to her images by the name of each baby, partly because she is still in touch with some of them. She recently put out a call, hoping to reunite with the babies, now in their 30s, many of whom are parents themselves. After we speak, I go to bed and begin scrolling through pictures of my own baby, asleep in the room next door. We love looking at our own babies, but why do we like looking at other people's, too? We don't always, says Geddes. She once came close to winning a big portrait award in New Zealand. 'I remember the head of Kodak in New Zealand coming up to me and saying: 'Thank God you didn't win. How could we have a baby on the boardroom wall?'' Anne Geddes' retrospective exhibition, Until Now, runs from 16 August until 21 September at Art 28, Neues Kunstmuseum Tübingen, Germany

Revealed: The identity of the mystery woman seen at dinner with ex-AFL club boss who left his job during 'd**k pic' scandal
Revealed: The identity of the mystery woman seen at dinner with ex-AFL club boss who left his job during 'd**k pic' scandal

Daily Mail​

time27 minutes ago

  • Daily Mail​

Revealed: The identity of the mystery woman seen at dinner with ex-AFL club boss who left his job during 'd**k pic' scandal

The glamorous woman who had dinner with ex-Carlton president Luke Sayers shortly after his infamous lewd photo scandal has been revealed as one of Australia's top interior designers – and she's reportedly still working for the high-flying executive. Sarah Townson, the director of the acclaimed Anthology architecture and interior design company, was spotted having a meal with Sayers in April, as it was revealed that his wife had left him after his 'd*** pic' scandal in January. Sayers quit his post with the Blues effective immediately on January 22, with the announcement coming just minutes after the AFL Integrity Unit found he was not responsible for the sending of the sexual image. He was pictured having a meal with Townson at Melbourne's Geppetto Trattoria restaurant, with the pair pictured and filmed smiling as they clinked wine glasses at the eatery. Townson is currently doing interior decorating work at the headquarters of Sayers' consulting company, Tenet Advisory and Investments, and his property in Melbourne's inner city, according to News Corp. Sayers' wife Cate, the mother of his four children, is currently living at her property in Red Hill on the Mornington Peninsula, the publication reported. Townson - who was previously with Plus Architecture - has been nominated for awards and has worked on hotel developments. The Daily Mail does not suggest she is or was in a romantic relationship with Sayers. The former Blues president stepped down from his beloved club after an image of a mystery man's penis was posted from his X account, with the account of a top female management figure with a company linked to Carlton tagged in, at 5.41pm on January 9. The public post was directed at the executive's social media account, although the mother-of-two does not appear to have used X since 2017 and does not follow Mr Sayers on the platform. Sayers noticed the development after the photo had been online for 12 minutes, at which point he hastily deleted the image and apologised to his followers, stating he had been targeted by cyber criminals. 'Sorry, my account has been hacked - please ignore all posts,' he wrote. The married father-of-four's account, which had more than 7,300 followers, was deleted but the post had already been reposted and screen-grabbed by other X users. He told Daily Mail Australia he was 'outraged' by the hacking when the news first broke. The high-flying executive (pictured with Carlton star Patrick Cripps) was cleared of any wrongdoing by the AFL Integrity Unit 'This is outrageous. I'm investigating and will leave no stone unturned finding out who did this to me and my family,' he said. Sayers had been with the club for 12 years before stepping down. The AFL and Carlton later said his account was compromised and no further investigation would take place. The fallout from the scandal didn't stop there, with a club sponsor pulling out of an event that was run by Carlton and Sayers also stepping back from another post. It emerged that Bupa cancelled its naming rights arrangement for the team's Run for Respect charity event on February 2. However, a company spokesperson confirmed Bupa will continue its relationship with Carlton, adding, 'Bupa continues to prioritise the wellbeing, privacy and safety of our employee.' In addition to quitting as Blues president, Sayers also announced he would step back as chairman of his consulting company, Sayers Group.

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