The first stainless steel cutlery

Tiramisù

A modern story with classic flavour

Tiramisù is the fifth most well-known word from Italian cuisine abroad, and the first when it comes to desserts. The name tiramisù, in the Venetian dialect, means “tirami sù”—literally “pick me up”—referring to its energizing effect, both due to the coffee and because it is considered a light dessert. The most documented version places the origin of tiramisù in the city of Treviso, in the Veneto region. It is said that during the 1960s, at the well-known restaurant Le Beccherie, chef Roberto Linguanotto and pastry chef Ada Campeol—the owner’s wife— invented this dessert. Tiramisù is based on sbatudin, a traditional preparation made from beaten egg yolk and sugar, typically given to children or newborns as a nutritious food, and incorporates mascarpone, savoiardi biscuits, coffee, and cocoa. Other accounts trace its origin back to around 1959, in a handwritten tiramisù recipe by Norma Pielli, the longtime cook at a hotel in the town of Tolmezzo, in Friuli-Venezia Giulia. For locals, the fetta di mascarpone (slice of mascarpone) was served to hungry hikers and climbers in this mountainous area. Although its true origin remains uncertain, tiramisù was traditionally a family dessert, served on special occasions in Italian homes. It was only from the 1980s onwards that it began to be commercialized, appearing on restaurant menus both in Italy and abroad. Its presence in international cookbooks increased interest in tiramisù, leading to many adapted versions—but the balance of the original—biscuits lightly soaked in coffee, mascarpone cream, and a dusting of cocoa—remains hard to improve upon. We’ve shared our family tiramisù recipe in the Recipes section.

Orfèvrerie Ercuis

Tradition and craftsmanship since 1867

The origins of Ercuis goldsmith's house date back to 1867, when Father Adrien Céleste Pillon, a parish priest in the village of Ercuis, 50km from Paris, founded a religious goldsmith business to make silver- and gold-plated pieces.To finance the business, Pillon set up a local newspaper, which he also used as a means of advertising his creations. However, the business was soon taken over by Léon Durand, the former production manager of the Clichy glassworks, who redirected it towards the art of the table. In 1880, they opened their first shop in Paris.In 1886, Ercuis goldsmiths signed an agreement with the producer George Maës, adopting his ‘poinçon carré’, the official contrast in France for silver-plated metal, represented by a centaur, which has become the symbol of the firm to this day. The Maës family spearheaded the growth and expansion of the house for three generations.Throughout the 20th century, the house gained prestige and recognition, participating in various Universal Exhibitions, equipping the great hotels of the Côte d'Azur, the Côte Basque and Paris such as the Pavillon Henri IV, and receiving important commissions such as the silver-plated pieces for the ocean liner ‘Le France’ or for the Orient Express.From 1980s onwards, the company became a public limited company and changed hands several times. Today, the brand is owned by the Italian group Sambonet. Ercuis hallmarksThe Ercuis pieces bear at least two hallmarks: the goldsmith's mark and the quality hallmark. - The goldsmith's mark is represented by the inscription ‘ERCUIS’.- The hallmark may be represented by the ‘poinçon carré’, the official French contrast for ‘metal argenté’, or by indicating the percentage of silver with each number in a square. The Ercuis ‘poinçon carré’ includes a centaur with the initials ‘OE’ identifying the house, and the indication of quality in Roman numerals: I or II, depending on the microns of silver in the piece. The high quality of the silver plating applied to their pieces makes them of superior value on the antique market.

Ancient Rome, Felipe V and the Roscón de Reyes

Origin of the Spanish Christmas sweet of Epiphany

Roscón de Reyes is a Spanish gastronomic tradition of this period of the year. It is common practice in all homes to eat Roscón on 6 January, the day on which the adoration of Jesus by the Three Wise Men is celebrated.  The origin of this tradition dates back to the Roman Saturnalia, festivities which were celebrated in Ancient Rome in honour of Saturn, God of agriculture, on the occasion of the onset of the winter solstice, which brought longer days and the end of the winter sowing season, which allowed slaves to rest for a few days. A public banquet was held and Roman citizens exchanged gifts.  Each year, a round cake was made with figs, dates and honey in which was hidden a fava bean, a symbol of prosperity, which gave the title of «King of Kings» to the slave who was given it, allowing him to be free during the Saturnalia.  In the 4th century, when Christianity became the official religion of the Empire, these festivals were gradually replaced by Christian celebrations. The tradition became less important except in France, where the Roi de Fave (King of the Bean) was celebrated. To celebrate Epiphany, each village gave a sweet bun to the poorest children and whoever found the bean received gifts and privileges. In the 18th century, Louis XV included a gold coin which meant that no one wanted the bean, and finding it was no longer a prize. It was Philip V who introduced this tradition in Spain, maintaining the duality between reward and punishment. Later the coin was replaced by a figurine and the person who found the bean had to pay for the roscón. We share the value of the tradition. The beauty of the customs makes us enjoy our time around the table.

Maison Christofle

A savoir-faire that endures

In 1830, the jeweller Charles Christofle, following the family trade specialising in precious metals, founded the maison that still bears his name today. Two years later, he registered his goldsmith's stamp with the Office de Garantie in Paris for the manufacture of gold pieces. Later, in 1842, he bought the patents for electrolytic silver and gold plating from the Frenchman Henri de Ruolz, focusing his business on the manufacture of silver-plated metal pieces. Christofle gained national and international recognition when it became the ‘Emperor's supplier’. In 1852, Napoleon III commissioned silverware for receptions at the Tuileries Palace. A service for a 50-metre-long table comprising 4,000 pieces and a ‘surtout’, a common centrepiece at the time that included sculptures, a salt and pepper shaker, a candlestick, a vase, etc. This was designed by the renowned sculptor François Gilbert, was made up of 121 pieces and was 3 metres long. The pieces were burnt in a fire at the palace in 1871. However, some were rescued from the ashes and are now on display at the Musée des Arts Décoratifs in Paris. A decade later, in 1862, the Emperor appointed Charles Christofle an Officer of the Legion of Honour after the house won a medal at the Universal Exhibition in London. After the death of the founder in 1863, he was succeeded by his son Paul, and his nephew Henri Bouilhet, who maintained the spirit and principles of Christofle. The Maison continued to grow in success and received major commissions, such as the silver-plated pieces for the Ritz Hotel in Paris, the Orient Express and the Concorde. Over the years, Maison Christofle has adapted to the different needs and trends of society. Today, it continues to innovate and revolutionise the art of goldsmithing.   Maison Christofle hallmarks Christofle pieces bear at least two hallmarks: the goldsmith's mark and the hallmark of quality. - The goldsmith's mark is represented by a balance with the initials ‘OC’ (Orfèvrerie Christofle). - The hallmark may be represented by the ‘poinçon carré’, the official French contrast for ‘metal argenté’, or by indicating the percentage of silver with each number in a square. Christofle's ‘poinçon carré’ includes a chess knight with the initials ‘OC’ identifying the house, and the indication of quality in Roman numerals: I or II, depending on the microns of silver in the piece. Christofle pieces usually bear a third hallmark with the inscription ‘CHRISTOFLE’ within a rectangle, which facilitates their identification. The high quality of the silver plating applied to their pieces makes them of superior value on the antique market.