Sunday,
September 24, 2006
Giorgio Locatelli; From
'Wop' to One of
The
ANNOTICO Report
After
immigrating to
He looks
back on his upbringing in the northern Italian town of
Locanda
Locatelli. has become
Giorgio is Italian,
and has a particularly 'fervent following among women'. And no wonder. Forget
his curly locks and his Italian accent, it's because he is a man who betrays
an earthy joyfulness that is the antithesis of everything Anglo Saxon and
prissy and buttoned-up.
He shows
none of the British emotional constipation and snobbery; and although
semi-famous, he disdains the "celebrity chef" moniker.
Us Brits,
I say, we're so repressed, but he refuses to be rude about us as a nation, even
when I try my best to goad him into it.
But he certainly
is "salty" in his conversation which the female interviewer finds
intriguing.
=======================
THE ITALIAN'S JOB
After an apprenticeship of being verbally abused and routinely called 'wop',
he's now running one of
The
Observer
Carole Cadwalladr
Sunday September 24, 2006
I agree
with AA Gill. I can't tell you what a disagreeable sentence that is to write
and why it pains me, really, actually, pains me to
admit it. But he gave Locanda Locatelli
his first-ever five-star restaurant review, four of which he awarded to the
chef-patron, Giorgio Locatelli, 43, on the basis that
his food is 'properly brilliant' and one of which was because he employs an
'unnecessarily large' staff so that they can actually have lives as well as
jobs. 'This is pathetically rare in kitchens with first-class pretensions, so Locatelli gets top marks because he's enthusiastic and
brilliant but not at the expense of others.'
He's right, except, sod the food,
actually, because ultimately when everything's said and done, it is just food,
and I'll leave it to the critics to get their knickers in a twist over whether
he can cook a four-star pasta sauce, or a five-star one. The fact is that Locatelli should get top marks not just because this is
pathetically rare in kitchens, but because it's pathetically rare in life.
We're sitting in the
restaurant, just chatting, after my five-hour-long induction into the Locatelli way, and suddenly he's off.
'It is such crap! Crap! It
is no way to treat people! And it is not OK! It is just ego ... I grew up in a
restaurant and you know, for 17 years I never heard somebody bullying somebody
else. I never heard anybody screaming or saying, "You're an idiot".
And I was just very much of the opinion that you have to have a joyful team in
order to have a joyful restaurant. And I've been proved wrong so many times.
There are so many of these restaurants, they have one, two, three Michelin
stars, they are the best restaurants in the world, and they treat their staff
like dogs! We lived like dogs! All this joy that is given to people is paid
with so much suffering from the other side.'
Of course, this could all
be so much talk except that during the five hours in and around his kitchen I
don't hear a single person shout. Or even raise their voice. I don't see
anybody getting a bollocking and I know something about this as I waitressed for years, including a stint in a
celebrity-studded restaurant in
There are a lot of bad
places to work, but kitchens are among the worst; the hours, the pay, the heat,
but mostly it's the bullying. Kitchens, trading floors of merchant banks,
newsrooms, Russian coalmines during the Stalinist era: they all share certain
common features - a volatile cocktail of daily deadlines and old-fashioned
machismo. As Locatelli knows, because he put up with
it for years on his way to the top, which is when most people promptly turn
into the tossers they once despised. Locatelli, on the other hand, has refused to become the tosser.
Here everybody works a
40-45 hour week, on largely single shifts, which is, as far as I'm aware,
unprecedented in
That and the fact that
he's not yet Giorgio, in the way that Gordon is Gordon and Jamie is Jamie and Nigella is Nigella. Because
although he's semi-famous, he's refused to go the whole celebrity hog, and in
this day and age, to be a Michelin-starred chef with tousled Latin locks and a
rumpled, lived-in face and not appear across all the major prime-time schedules
is in itself something of an achievement. He did do a series for the BBC back
in 2002 with his friend, Tony Allan, Tony and Giorgio, but he's resisted the
rest of the usual celebrity chef lures. He hates celebrity chefs. Hates the idea of them. Which from anybody else just about
to trip off to do a magazine cover shoot, I'd just
think, yeah, right, so I'll quote him at length on the matter:
'I'm very hungry for
happiness. I am not very hungry for that bullshit. I think it's
bullshit. I really didn't like it after Tony and Giorgio was on the television.
I really didn't like to go to the airport and have people look at me. It's much
better to have your money in your pocket and not be known by anybody and do
whatever you want and go wherever you want. It is so nice to have your own
restaurant. You come in here. This is our house, our home. You live with this
extended family of people. And you eat, shit, swear, and be
together all day and you just kind of live this life that has a different
rhythm than other lives. I have to leave at three o'clock to have my photo
taken. But you know we are putting the oxtail on at three, and I really wanted
to taste that before I go, and for me, the oxtail is maybe more important ...'
But, Giorgio, I say,
you're about to get trussed up in a toga and put on a plinth. And he shrugs his
shoulders and says, 'I like John [Reardon - the photographer], he's a lot of
fun ... And you have to play the game. You do a book and it takes five years to
do it, so it would be stupid not to promote it. But there was this thing the other
day and this woman was saying, I can't believe you
don't want to do these interviews? And I think, I have
a potato boiling, what do you mean? Get over your bloody self. I mean who
cares? I mean, if I do a fantastic potato I'm going to make 20 people so much
happier than if I tell them what I would take with me to a desert island. I
mean, Vafanculo!'
What can I say? He swears
so wonderfully well, fluently, in two languages, sometimes simultaneously, that
it's just a joy to listen to. And what I think it's impossible to underestimate
is how much shadow the figure of Marco Pierre White still casts and why a sense
of humour and a tolerance to being photographed next
to a stuffed pig is now just what chefs do.
'There was the chef BM,
Before Marco, and then there's after Marco. Marco stands there as a sort of
Christ figure in the chef's world. Before Marco there was the short, fat, ugly
guy in the big chef's hat. And then there's the rock-and-roll chef. Marco was
very inspirational because we were so young and he showed us that you don't
need the central-London location, and you don't need crystal, what's important
is the food.'
It's all about the food
with Giorgio. And the book, the book that took five years to write, with Sheila
Keating, is something more than just another cookbook. It's called Made in
There's his upbringing in
the northern Italian town of
And then there's the food.
So much food, so touchingly described. There's a whole entry devoted to salami,
which he calls 'the voice of the people', and is, he claims, a better index to
understanding a people and a culture than art or literature or music. A beautiful salami, he says, can bring tears to his eyes. Salami, capers, figs, tomatoes, eels. If only he could get
more people to eat eels, he'd be so happy, although Tony Blair impressed him by
having mackerel when he came to the restaurant; good, honest, 'healthy,
proletarian food'.
And then, most
momentously, there's truffles.Oh, the truffles. He is
rapturous about truffles; poetic about them. This is Locatelli
on truffles: 'Sometimes people say to me, "Oh they smell of feet. Horrible!" It hurts me to hear it, but I understand. If
life could be described in a smell, then it is the smell of truffles. They smell
of people and sweat. They just remind me so much of human beings: that is why I
love them.'
His entry in Wikipedia points out that he has a particularly 'fervent
following among women'. And no wonder. Forget his curly locks and his Italian
accent, it's because any man who thinks like this about what is, after all, a
fungus, albeit a really rather expensive one, betrays an earthy joyfulness that
is the antithesis of everything Anglo Saxon and prissy and buttoned-up. Us
Brits, I say, we're so repressed, but he refuses to be rude about us as a
nation, even when I try my best to goad him into it.
'They are very passionate,
the English. They are very passionate about different things. They are
passionate about fair play.'
But it's not very sexy is
it, fair play?
'No pero, to be on the other end of someone who cheats, it 'urts you so badly. And in
It's a funny thing, of
course, that someone who has staked their livelihood on certain ideas of social
justice, and who tells me that 'with my daughter the worst thing I can imagine
is that she comes back one of these days with Hello! or
heat magazine', should inadvertently create a restaurant that has become
Madonna, who lives around
the corner, has been known to come in three times a week. Kate Moss.
Giorgio Armani. Donatella Versace.
Lucian Freud. Nigella Lawson. All the fashion
people. And the food people. And the art people.
And then your usual run-of-the-mill A-list celebrity
types.
But maybe it's not such a
shock, actually, when you think about it. Because what he does, what he insists
upon doing, is treating everyone the same. And, when I go there for dinner
later that night, I realise it's the celebs who appreciate that as much as us plebs. But, in any
case, it's all slightly beside the point: the Michelin star, the Who's Who
roster of clients, the kind of reviews that make other chefs weep and beat
their breasts, it's all so much icing on the cake. Because what Locatelli specialises in,
although he never says it, is gastronomy without cruelty.
It's a deeply
unfashionable position, of course. And if I was a television executive, I'd trample
over baby seals and small children to get Giorgio Locatelli
and Gordon Ramsay into a head-to-head live-action swear-off. Because Giorgio
might eschew the whole Gordon Ramsay school of
kitchen-discipline-cum-theatre-of-cruelty, but he's a stickler for manners, and
if someone is rude, then they'd really better watch their back.
'I put everything in my
body into making people feel welcome and comfortable and to make it the best
experience that we can. I know that sometimes we can make mistakes. But if somebody
is rude to me in my house, this is my house, OK, you cannot be rude to me or my
staff in my house, you can just fuck off. If the girls
come out and say there is someone who says get me
Giorgio, I just go and blow him away. I blow him away!
'I can be really nasty if
I want. I fight a lot in my life. I've made the decision now I don't fight any
more. But you know ... sometimes ...'
It'd be a fine thing to
see him in a fight, I can't help thinking. He's fearless. And when I say that
it seems to me that Gordon Ramsay is always trying to prove his masculinity, he
says, 'Maybe it's because he's got a small dick. Who knows? I don't know. I've
never seen it. I'll have to ask him next time, show me your dick.' And he's
none too complimentary about Jamie Oliver's Sainsbury's deal either.
'He says that it's
important that he fights them from the inside, something like that. But when
you fight somebody, you don't get paid #5 million do you? You get fucking
smacked in the head, don't you? Look, I've nothing against Jamie. I think he's
a very nice guy and does a good job, but I see the position of the chef as a
little bit different. Because he has a great capacity to cook food to a certain
level and get people to eat it, he has this great thing, and this thing is
called in-de-pend-ence. He does not ever, ever have
to lick nobody's arse, ever.'
Not ever, ever having to
lick nobody's arse, ever is a big thing for Giorgio. Because he's done his
share, the worst of which was in
It's the Zafferano experience that inflames him most though. He
owned 25 per cent but, after a cataclysmic falling out with the management
group, he walked away without a penny. And it was in the middle of this time
that his daughter went into anaphylactic shock on holiday in
'It changed me a lot. It
changed the way I did things. And the way that I think about
food. I have to shower before I even touch her.' It's under control now,
but she has a complex, anxious attitude towards food, and 'when I come home and
say to Plaxy, "We did this and we did
that," and you can see that it turns Margherita
off so completely she doesn't even want to know about it'.
His son, Jack, 18, is
unlikely to follow his footsteps, either. He's always referred to him as his
son in interviews, but technically Jack is his stepson, and has known Giorgio
since he was two. 'I think children are yours if you make them yours. To me, he
is my son, there's no doubting that. Does it make any difference?'
No, I say.
'To my family in
It's funny but I think,
quite possibly, it's this that's the key to his entire success. He's Italian
but without the social conservatism and conformism; and British without the
emotional constipation and snobbery; a thorough-going British-Italian amalgam
reflected in his funny not-quite-Italian, not-quite-estuarine sentence
construction, and his urban London-Italian-restaurant food.
Plaxy is 'very
It's the final bit of
buffing that his CV needs, an art-house, smash-hit
about love, food, sex and death....
He thinks of her whenever
he thinks of the 'complicity' between restaurateur and guest. 'You become part
of their lives and they become part of yours.' And what happens in his
restaurant, whether a seduction succeeds or fails, whether it's the best day or
your life, or your worst meal of the year, is, he says, 90
per cent in his control. Food of the gods delivered by happy
little angels. It's really not just about kitchens, you see; it's pretty
much what life is like, too. A whole lot better when there's
fewer people shouting at you and no one calling you a wop.
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