Chef Igor Macchia talks Italian-infused creations, collaboration with Riyadh’s new Lavazza Coffee Design eatery

Italian chef Igor Macchia designed the menu at Riyadh's Lavazza Coffee Design. (Supplied)
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Updated 27 May 2024
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Chef Igor Macchia talks Italian-infused creations, collaboration with Riyadh’s new Lavazza Coffee Design eatery

DUBAI: Italian chef Igor Macchia is excited about the opening in Riyadh of Lavazza Coffee Design, which infuses his signature dishes and brews with Middle Eastern tastes and flavors.

Having designed the menu for the establishment, which opened on May 23, Macchia is looking forward to Saudi Arabia customers experiencing his creations.




Italian chef Igor Macchia designed the menu at Riyadh's Lavazza Coffee Edition. (Supplied)

“The creative process started from a local consumer taste perspective combined with the Lavazza Italian DNA and my Michelin-star background from La Credenza Restaurant (San Maurizio Canavese, Torino, Italy),” said Macchia in an interview with Arab News.




Lavazza’s premium 1895 collection cosists of  limited-quantity microlot coffee, specialty blends and single-origin brews. (Supplied)

“I’ve visited different restaurants and spots in Middle East and tasted a lot of local recipes to get inspiration for my project for Lavazza Coffee Design store. The result is a rich and tasty menu, ranging from breakfast to dinner, ideal to be paired with 1895 premium coffee, selected by Lavazza for this store in Riyadh.”

Inspired by Lavazza’s flagship stores in London and Milan, the Riyadh location boasts signature design elements, such as the iconic chandelier made up of more than 300 illuminated coffee beans and the main counter finished with exhausted coffee powder and resin for an original effect.

Additionally, the coffee experience is elevated by the introduction of Lavazza’s premium 1895 collection sourced from around the world. It consists of limited-quantity microlot coffee, specialty blends and single-origin brews.

Here, Macchia discusses his favorite dish, early mistakes and management style.

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

I’ve never made a mistake. (Laughs.) I’m joking. I think my most common mistake was to try and enrich a recipe, looking for the best taste when, in the end, it’s sufficient to buy good-quality ingredients and give value to them for a ‘Wow’ effect.

What’s your top tip for amateur chefs, cooking at home?

Cooking’s all about passion. Recipes are fine, but they need a personal touch to become really wonderful dishes.

What one ingredient can instantly improve any dish?

Parmesan cheese in all kinds of forms.

When you go out to eat, do you find yourself critiquing the food? What’s the most common issue that you find in other restaurants?

When I go out for dinner, it is a moment of pure pleasure and I love enjoying it without any fussing or critiquing. The most common mistake is building a very beautiful venue, but with no soul in it. The vibe you can feel inside your preferred spot will make all the difference.

When you go out to eat, what’s your favorite cuisine/dish to order? And why?

It all depends on the mood: it can be a traditional place like an Italian trattoria as well as a fine-dining restaurant, or ethnic food which I do love.

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

Easy and fancy at the same time: rigatoni with butter and Parmigiano Reggiano cheese, finished with a pinch of ground coffee powder.

What customer request most annoys you?

Clients are our guests: we need to listen to their requests. Maybe a suggestion from a client could one day be a new dish on the menu.

What’s your favorite dish to cook?

Risotto. No doubt about it. I spent my childhood summers in the Vercelli area, where Piedmont rice comes from. Risotto has a special place in my heart.

What’s the most difficult dish for you to get right?

I think it’s tiramisu — the iconic Italian coffee-based dessert. The way we do it, with sponge cake, instead of lady fingers biscuits, means it needs to be prepared in the right way to be light and airy. Then you finish the dish with mascarpone foam with syphon and pour the 1895 Cocoa Reloaded espresso on top. Different steps and textures for an amazing result.

As a head chef, what are you like? Do you shout a lot?

I’d say I’m a disciplinarian, but I’ve learned that motivation is key to great results. There’s no need to shout, you just need to build team spirit.

Recipe: MASCARPONE & DRIED FRUITS TOAST




The chef's marscapone and dried fruits toast. (Supplied) 

1. Cut a 1cm slice of sourdough bread and gently toast it.

2. Spread generously with mascarpone cheese, add pomegranate seeds, decorate with fresh mint leaves and finish with a sweet sauce made from honey with chopped dried fruits, such as dates, and nuts, such as pistachio.

3. Serve. Ideal when paired with coffee.

 


Akio Fujimoto discusses RSIFF Golden Yusr winner ‘Lost Land’ 

Akio Fujimoto at the Red Sea International Film Festival in Jeddah. (Getty Images)
Updated 19 December 2025
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Akio Fujimoto discusses RSIFF Golden Yusr winner ‘Lost Land’ 

  • The Japanese filmmaker on his groundbreaking Rohingya-language feature

JEDDAH: Some stories demand to be told. Not just as narratives, but as acts of witness.  

Japanese filmmaker Akio Fujimoto’s “Lost Land” is one such story. Billed as the first feature film in the Rohingya language, the movie took home the top prize — the Golden Yusr — at this year’s Red Sea International Film Festival. 

“Lost Land” — which premiered in the Horizons section at this year’s Venice Film Festival, where it won the special jury prize — follows two young Rohingya siblings, Somira and Shafi, fleeing persecution in Myanmar as they undertake a perilous journey d to join their uncle in Malaysia. 

Shomira Rias Uddin (R) and Muhammad Shofik Rias Uddin in 'Lost Land.' (Supplied) 

Presenting the Golden Yusr to Fujimoto, RSIFF jury head, the US filmmaker Sean Baker, said the film “confronts the plight of displaced children with unflinching empathy and poetic urgency.” 

Fujimoto’s journey to this film is a profound narrative of personal reckoning. Having worked in Myanmar for more than a decade, he recognized the unspoken tensions surrounding discussions about refugee experiences but never spoke out himself due to fear of persecution. The 2021 military coup in Myanmar, he said, forced him to confront a lingering sense of guilt about his previous silence on the subject. 

“Looking back on my decade of work, I realized I had been avoiding topics I wanted to focus on as a filmmaker,” Fujimoto said in an interview with Arab News at RSIFF. 

That self-reflection became the catalyst for “Lost Land,” transforming personal hesitation into a powerful act of cinematic storytelling. 

Eschewing traditional casting methods, Fujimoto discovered his lead actors through serendipity during community fieldwork. Shomira Rias Uddin and Muhammad Shofik Rias Uddin, real-life siblings who play the film’s young leads, were found walking near interview locations, compelling the filmmaker to reshape the entire script around their natural chemistry. While the original script was written with two teenage brothers in mind, the discovery of the Rias Uddin siblings led Fujimoto to alter the script significantly. 

Communication between the cast and crew became an intricate dance of translation and cultural bridge-building. With Fujimoto speaking primarily Japanese and some Burmese, the team relied on Sujauddin Karimuddin, a Rohingya translator who did far more than linguistic conversion. “He wasn’t just translating words but conveying messages, creating trust, and establishing a collaborative atmosphere,” said Watanabe, Fujimoto’s translator. 

One of the most remarkable aspects of “Lost Land” is its linguistic significance. Beyond being a narrative, the film serves as a critical instrument of cultural preservation. Karimuddin, who is also a producer on the film, approached his role like a linguistic curator. “As a Rohingya myself, I had the privilege of choosing words carefully, trying to instill poetry, capturing linguistic nuances that are slowly disappearing. So, the film is very important when it comes to the preservation of a people’s language. It was a privilege for me to contribute to it,” he said. 

As they were making the first fiction film focused on Rohingya experiences, the team felt an immense responsibility. “Lost Land” aims to humanize a community often reduced to statistics, giving voice and complexity to individual experiences.

Shomira Rias Uddin and Muhammad Shofik Rias Uddin (R) in 'Lost Land.' (Supplied) 

“In our film, we had around 200 people — including extras — who were all part of the Rohingya community. I felt in order to show their feelings and their voice; it was really important to bring in the Rohingya people and tell the story together with them,” said Fujimoto. 

For Fujimoto, whose previous films include “Passage of Life” (2017) and “Along the Sea” (2020), the film represents more than an artistic achievement. It’s a form of personal and collective redemption. “I can now clearly talk about these people without hesitation,” he said. 

The filmmaker’s future ambitions involve expanding on this project. He sees “Lost Land” as a crucial first step, and hopes to support Rohingya filmmakers in telling their own stories directly. 

“The next phase is bringing narratives from the Rohingya perspective, directed by Rohingya filmmakers,” he said.