Les Images Bien Léchées des Renards Gourmets
Gastronomy awakens our senses by evoking much more than just taste. For us, Renards Gourmets, a talented duo of creative gourmets with a sharp tongue, explore the visual as well as the cultural, historical and philosophical significance of our plates. On the menu? Baroque impressions, flavors of yesteryear, cinematic delights, but above all, an exaltation to savor life and munch its great and small joys to the full, without yielding to convention.
Who's behind Les Renards Gourmets?
We are a loving, artistic couple united by a passion for goodness, beauty and justice. Esther is the photographer, Morgan the cook. To both of us, we write the décor and culinary styling for our creations with four hands before photographing them. We're both self-taught, from working-class artistic and creative families.
In your opinion, is culinary writing a vast world too often reduced to recipe cards?
Of course... If some people turn it into a collection of recipe cards, that's unfortunate. This means missing out on fascinating books or articles that take a closer look at what constitutes both an absolute necessity, a great epicurean pleasure and one of the sociological, historical and cultural markers we have at our disposal.
«Cooking is an absolute vital necessity, a great epicurean pleasure and one of the richest sociological, historical and cultural markers we have at our disposal.»
Do you have an example of this culinary embodiment of a culture's heritage?
When you look at Spanish cuisine, you can't help but be struck by the link between the great American conquests, Arab invasions, Jewish communities and local populations. Most of its ingredients come from invasions: corn, tomatoes, beans, squash, chocolate, chillies, peppers... Spanish culinary identity traces the history of this people, The tradition of preparing and eating offal in Rome is quite simple. In Rome, there's a great tradition of preparing and eating offal, for a very simple reason: the Vatican appropriated all the noble cuts, leaving the lower classes with only the «lower cuts». We are both what we eat and what we don't eat!
As photographers, do you also see yourselves as food stylists?
Yes. When we started out, we immediately had the desire not to «simply» photograph our plate, but to "photograph" our food. create and materialize a shared vision around art and food. This is what it's all about the art of living. Little by little, the presentation of the dish, the choice of crockery, the decor - everything became a subject for reflection. We work in a seasonal way, our desire is born from the chromatic and natural conception of photography and food.. Without culinary styling, it almost becomes packshot, a highly technical style of photography for which we have a great deal of respect, but which for us does not fall within the realm of emotion and artistic expression. Although... nothing's set in stone, everything's a matter of non-definitive opinions, so it's sometimes artistic packshot! Art can verge on the commercial marketing concept, while advertising and fashion can satisfy major emotional and aesthetic aims..
What are the sources of inspiration for Gourmet Foxes?
We return to the Italian, French or Flemish still life, It's an obvious influence on our photographic work for a number of reasons. From a formal point of view light and composition effects fascinate us like the’intervention of numerous more or less logical objects in a scene meant to resemble the ingredients, preparation or pre-tasting of a meal. We are also seduced by vanities. We are challenged by the antagonistic visions of death and life, finitude and eternity, carnal and gastronomic pleasure, sin and piety, gluttony and disgust, delicacy and barbarity, all of which intersect visually and symbolically with nuance. For us, life is all about nuance. And then, of course, there's the testimony to the customs of the time which is fascinating and precious. We are also inspired by cinema, directors such as Peter Greenaway, James Ivory, Fellini, Patrice Chéreau with Queen Margot have left an indelible mark on our visual universe. In a way, their «baroque» visual work gives us the desire to feel free to go into very deep, intense colors, but not so much for today's taste, colors that for us are precisely those of painting. But also in working with light and shadow, which are never just two sides of the same coin. In life as in art, we don't like half-measures.. The music and the narration are other profound influences: if we're making a Venetian dish, we'll be listening to our favorite Venetian composers, perhaps to the chagrin of our neighbors. And then.., we imagine a story in a way, we're transported in turn to Renaissance Italy, 19th-century bourgeois Provence and the court of King Louis XIV, whether the emotion or idea is triggered by a place, a space-time or a work of art.
Cinema has inspired you to create images for a very special new project...
We recently revisited one of our favorite films, Le Souper d’Édouard Molinaro with Claude Rich and Claude Brasseur. At the same time, we were contacted by a delightful young woman, Clarisse from’Cooking action. The idea is to «create» a dish around a cult film. So we imagined ourselves back in the days of Talleyrand and Fouché, and came up with a French-style tartouffes cake. But we're not historians, so it doesn't matter if there are visual anachronisms in the crockery or fabrics chosen. Accuracy doesn't take precedence over sentiment. We want to create a feeling of «of» and not strictly illustrate a temporality.
How do you conduct your cultural and historical investigation to bring a recipe back to life?
We go through books in old Italian and French, masochistically, because the s look like f and vice versa, after an hour of reading we're lisping, but it's for a good cause! After hundreds of frugal pages, we come across something that tickles our fancy! We have a few pet peeves, such as the use of the wild game meat, the use of spices or the curious associations. Then there's the feasibility, It's not just a question of products, it's also a question of presentation. Some recipes are interesting, but in fact look like nothing at all, unless we distort them, in which case we run the risk of losing their meaning. We're not historians, so if the recipe calls for 60 lobsters to be pounded into a sauce, we'll move on or adapt it. Quoting doesn't imply religion; we're comfortable with dogma. The idea is not to revisit, visiting is already enough., with today's taste and outlook. Above all, we love understand the original meaning of things. How did our ancestors manage to get from one recipe to the version we know today? It's fun to go back to the original idea. The evolution of a recipe is sometimes clear, sometimes not.
This is the main problem with French home cooking: our gastronomy is based on sauces and reductions. But today, nobody makes sauces anymore, we use trickery such as crème fraîche, abundant flour or cornflour to achieve results. The taste and density of the sauces are totally distorted and the dishes lose all their meaning and, above all, their essence...
«The idea is not to revisit, visiting is already enough, with our taste and our view of today».
You celebrate historic epicurean cuisine. Could it be served today?
When you immerse yourself in the cuisine of yesteryear, you quickly realize how different it is, but also that it is more a question of fashion and economic issues than of taste. Individual taste is largely influenced by the powerful. It's easy to follow these old recipes to the letter., They're no more curious than combining pounded meat enriched with soy, emulsified lactose, sugar and glutamates. Perhaps our ancestors found these tastes inappropriate. Some periods are closer to our own than they seem, the emphasis is often on product quality, just as it is today. Seventeenth-century manuals are quite precise on the subject: an onion from Flanders is not an onion from Provence, and everyone has their own taste. There are culinary oddities, but isn't that the lot of every era and culture? Cooking these ancient dishes is like listening to the music of Vivaldi. He might not stand a chance with his silk stockings and mandolin on the stage of The Voice, but doesn't his music still echo in our hearts? We can be seduced by ancient refinements, the recipe of the tortelli di zucca alla mantovana (squash ravioli with a filling containing cookies and candied fruit) is still cooked in Lombardy and even by a Parisian Michelin-starred chef, yet it dates back to the time of the d'Este family. Perfectly balanced, it's one of our favorite recipes that you might also like.
«Cooking these ancient dishes is like listening to the music of Vivaldi, perhaps he wouldn't stand a chance with his silk stockings and mandolin on the stage of The Voice, but doesn't his music still echo in our hearts?»
You cook and compose grandiose dishes for the pleasure of the eye thanks to your photography, but do you have other guests to delight (films, advertising campaigns, restaurants)?
Not yet, but we'd love to. Designing and creating dishes for filmed sequences, for example, would exhilarate us, with greater precision thanks to the help of decorators and the desire, in such circumstances, to truly reflect the time represented. The game is no longer the same, nor are the means. We've already been approached by a company for advertising, but it didn't suit us.
Making people salivate with words and, as you say, «nourishing the eyes and hearts» is already quite an art and the raison d'être of the menu. When I lived in Asia, I was surprised to see the primordial role played by images on restaurant menus, something that's not widespread in the West.
The image in Asia is present t both in the menu and in the words chosen. to talk about food. We are amazed by the names given to foods, flavours and dishes. Once again, we're «baroque» people, more into the more than the less. We're far more fascinated by Chinese cuisine than by Japanese (besides, this universal obsession, this fashion for liking the same things, is boring, even though Japan is a magnificent country with a rich culture). So, at first, we were seduced by the poetry at work in Chinese culinary vocabulary but also indeed by this a taste for the visual. There's a lot in common between Chinese and French gastronomy. Precisely because it's about gastronomy and not just cooking. We're probably the greatest culinary enthusiasts there is.
How can we explain still life's historic attraction to the edible?
Perhaps the weariness of academic subjects, portraits and religious subjects? The possibility of using symbols and associations of forms and ideas more freely. This testifies to Art's historic openness to more «profane» subjects. I believe that food has always been an obsession for man, first as a vital necessity, then as a source of pleasure.. In France in particular, we have a reputation for eating our meal while already talking about the next one. But then again, this is an obsession shared by many people. What we eat is a reflection of our terroirs, our traditions, our emotional moments.. Food is a marker of our essence, It also embodies our desire for life, or our morbid desires. It's always been at the heart of current affairs over the centuries. In our country, where many people lack nothing, it's curious to see the panic that seized some people at the announcement of confinement, as well as to observe the passion of some people for survivalist food in a privileged living environment. For us, it's nonsense. It's not that we shouldn't question the way we eat, but we shouldn't adopt a social stance or adhere to a way of thinking because it's pre-digested for us. This is true of all subjects and there are actually too few free spirits.
«What we eat reflects our terroirs, our traditions, our emotional moments. Food is a marker of our essence.»
When and how do you see art and gastronomy coming together?
Art and gastronomy are one and the same: the art of living, and more precisely, the joy of living.. Art and all the sweet sensations of life are nothing more than the celebrating beauty that it is above all given to us to’admire nature on a daily basis. It's our greatest source of inspiration, a perpetual source of wonder.
«Art and gastronomy are one and the same: the art of living, and more precisely, the joy of living.
Gâteau vert-vert du couple Monet, Bouchées à la reine named after Marie Leczinska, Couronne des rois inherited from the galettes des Saturnales: these recipes are all little stories that have made history, brought men and women and sometimes peoples closer together. Is this also the essence of a dish?
Big or small, every recipe has a story, whether it's the story of a king or a peasant.. For us, a people's identity and the cuisine that stems from it are linked to the terroir. When your feet are in the water, doesn't it make sense to develop a fish cuisine? When you're entertaining the world's powerful for dinner, and you want to justify the thousands of florins spent on an expedition to the New World, isn't it essential to give them a taste of squash? We even believe that terroir is linked to people's health., For a Méridional, the need for iodine is greater than for an Auvergnat. It's in people's genes and desires, to deny this link to the land is to deny our roots and forget who we are.
«To deny this link to the land is to deny your roots and forget who you are.
Does your cooking philosophy tend towards frugality or abundance?
FRUGAL ABUNDANCE! The question of quantity is very relative, for us it depends on the dish: a plate of tripe must be eaten with bread and wine, the pot must always be full, same thing with pasta or polenta. Restaurants that serve three tortellinis should go before the Inquisition Tribunal of the nuns of Emilia Romagna. Some dishes are best eaten in quantity, Others, on the contrary, may suffer from a little lipid economy. We were recently offered a lark, which arrived alone in the mail, all feathers and lying on a bed of hay. Any lark hunter would weep with laughter as we shared this thumb-sized lark. But the rarity of the bird, the pleasure of the gift we were given, we tasted the bird with great ceremony and it was a wonderful moment. The feeling of fullness is very different in these cases.. Sometimes it's an open dinner party in good company, with plenty of generosity and good times.
Your roots are respectively Franco-Italian and Mediterranean, which is also the culinary territory of Les Renards Gourmets. A few recipes (Hummous, Muhammara Levantin...) take you to the Orient. Would you go so far as to venture into uncharted territory?
Big debate between Morgan and me. The culinary editorial line for our site is his doing. He's the chef. I can order anything I want from abroad whenever I want, but France and Italy are often the only ones he likes for our site, even though he's a big fan of Chinese and Oriental cuisine.
I was born in Marseille to a Corsican mother and a father of Sephardic Jewish origin. Some sources assume that the word Sephardic comes from safari, which implies travel. In any case, they are a people of (often forced) travelers. Jews have long been the cultural and food link between the two shores of the Mediterranean. As far back as the High Middle Ages, Jews from the Levant supplied their Ashkenazi co-religionists in Estonia and Poland with dates and jujube to meet certain ritual needs. When you trace a Sephardic family tree, the cities of Toledo, Meknes, Smyrna or Damascus quickly come to mind, as these trading posts were the gateway to even greater worlds. What brings us both together are these Mediterranean, Eastern and Western roots, We're not closing any doors, but there's already so much to do in our region. We're not closing any doors, but there's already so much to do in our own backyard.
Is there such a thing as good taste when it comes to dressmaking? Are there standards to be respected, or is there total freedom for a chef or a food photographer?
Training is a matter of common sense. A famous cooking show shows us every week how to occupy 10% of a plate. Promoting porcelain artisans is a healthy occupation, but it doesn't concern us; we like to focus instead on what's inside. Maybe it's because we're French, but for us, a complete plate consists of a well-cooked piece of meat or fish, a garnish and a sauce. There are no sixty ways of presenting things, whether in a small carousel or in a row. Fashion is not important to us, what's important is that the dish is legible and that attention is focused on the main piece. Tiles, edible flowers, seeds, skimmers and flying sauerkraut are not part of our repertoire. At the end of the 16th century, an Englishman wrote «much ado about nothing». For us, the best way to read a dish is to transmit information clearly.. Denaturing a product is not necessarily a bad thing, but it must be identifiable. Whether or not to filter or degrease a sauce is a very personal choice, but the sauce is the link in the plate, it must invite us to taste it, and to do this, certain rules must be respected, its color and brilliance must seduce us. We don't like dogmas imposed on us, we just don't like them. follow your instinct and true taste, to which you add a little perseverance, seems to us to be the best thing to do.
Some photographers and food stylists don't hesitate to play chemist's apprentice for more visually striking images. The wolf is cunning, but no tricks in your artists' den?
An excellent question, to which we're delighted to give a bold answer: no! As a photographer, I sacrifice myself and eat the aforementioned dish, often lukewarm or even cold. But no, we don't cheat. The only «trick» would be when I add a little water to the foliage with a water sprayer or dropper. Oil brushes and inedible lacquers are not for us.
Do you pay attention to the products you cook and their origins, beyond their appearance? Do taste and ethics take precedence when it comes to image?
Of course it is! It's essential for us, even fundamental. We only cook in season. We also pay close attention to how these products are produced, and to the ethics of those who grow them.. It's what inspires us, and it's what we stand for and want to share. It's out of the question for us to use, promote or shoot for brands we don't respect. In the same way, we often work with brands we don't respect. vegetables or fruit with defects. We like them real, not standardized or unnaturally shiny. Perfection has nothing to do with nature, and even less with the nature of things.
«Perfection has nothing to do with nature, and even less with the nature of things.
Are all seasons culinarily photogenic?
For us, seasons are linked to periods or territories. Spring takes us on a journey to the Italian Renaissance or to the south of France, to the Col de Tende. Summer opens the doors to the Orient. Autumn takes us to Sologne, the Langhe or Maremma. Winter is associated with Christmas festivities and certain Christian traditions such as Carnival or Lent, which is very inspiring, contrary to what you might think. As a matter of fact, our inspiration is renewed every three months, We're soon dreaming of our next trip, and can't wait to find the products we've chosen. The colors match the inspirations: dominating greens in spring, golds and reds in summer, russets in autumn and the white of snow and the purple of fire in winter. Contrary to popular belief, each season is equally rich in products.. Renewal is permanent, you just have to give up the urge to eat the same thing all year round., We can't wait for the first peas, asparagus and fava beans to arrive. We can't wait for the first peas, asparagus and fava beans to arrive.
«The seasons are as rich as each other (...), renewal is permanent, you just have to give up the desire to eat the same thing all year round».
Do you pay particular attention to waste? How can you enhance the image of a part of an ingredient while at the same time showcasing it in its entirety?
There was once a principle that didn't need to be taught so much as it was so obvious. the art of being domestic, knowing how to make the most of what you hunt, fish, gather, breed or buy. Getting all the goodness out of a food takes time and organization, but it's also a great way to save money and avoid wasting anything. When we buy poultry, we buy it whole, from head to dewclaws. With a few flicks of the knife here and there, you get lots of pieces, all of which can be cooked. The old saying that everything's good in a pig should apply to the whole animal world. It's ridiculous to buy an animal by weight and leave more than half of it in the garbage can. We sometimes get up to ten meals for two out of a small bird. The daily portion of meat is reduced, which is not a bad thing for the many reasons I don't need to mention. All the trimmings that make a piece of meat presentable in a photo are also used. Stuffings, pâtés, sauces. When you cook almost everything, you quickly find the right use for each piece.. The principle of italian cucina povera is no different. There's more to Italian cuisine than burrata! Up until the 80s, in some regions, people ate the well-washed tripe of chickens and ducks. In Florence, people still feast on the less noble parts of cows' digestive systems, eating chicken necks and heads. The Chinese do the same, and do very well. We often cook unspeakable things for our friends, and they always enjoy it.
Are there any unexpected challenges in food photography?
There are few unpleasant surprises at the last minute, in general, when a dish looks good in the kitchen, it stays looking good in the photo.. Certain consistencies can change with cooling, just as very fresh products can quickly look mushy when in contact with heat. We try to keep an eye on these changes during the shoot, and above all to think about the way the ingredients are assembled beforehand. If we know that something is likely to react badly after five minutes on the plate, we avoid using it, but that's not a constraint either. The presentation of the dishes is thought out in advance, so that we can rule out anything that won't work according to our aesthetic criteria.
What are your tips for an appetizing staging?
For us, it's time to do away with conceptual guides, textures, temperatures, contrasts... Some dishes are appetizing for what they are, For example, there's no need to add nasturtium flowers to tripe à la romaine, or a scattering of Parmesan cheese to a fillet of venison. Monochrome can be as beautiful as contrast. For a dish to be appetizing, everything must be fresh, well-cooked and shiny without excess.. Straining sauces so that they are smooth, lightly buttering them at the last moment, draining what will be cooked in fat so that the fat doesn't bead up on the plate: these are the little details that can make all the difference. When you cook with love and care, the result is always appetizing., It doesn't matter what's on the plate. Consistency is something we value. Nature gives us the codes, all we have to do is draw inspiration from them.. In terms of shooting, if you're not satisfied with what you see in the camera, you need to be flexible and adapt to the subject and the environment: move around, turn the plate, move closer or further away from the subject, change the light. But we have to adapt, a watchword in life as in our work. Adapting can become evolving when it's acquired, and therefore growing and enriching. And it's perpetual. It's as true for a culinary photo as it is for a human relationship.
«Nature gives us the codes, all we have to do is draw inspiration from them.
Which is the most photogenic dish in your experience? The most difficult to capture?
Stews, rustic and gourmet sauce dishes like bourguignon, blanquette de veau or coq au vin, curry... in short: simmered dishes. Easily appetizing, but less photogenic, at least for us. The most photogenic dishes are those that are clear from the recipe name.. As soon as this understanding is truncated or disguised, photography becomes more complicated, because it's important to understand immediately what we're talking about.
«Envy is instinctive, not intellectual».
Cooking is often a matter of emotions. Do you have a particularly vivid culinary memory?
For us good food is not necessarily that of the most expensive restaurants, but eating what's right in the right place at the right time. I remember grilled fish caught behind Marseille's Fort Saint-Jean by retired North Africans listening to Radio Algérie on an old, sizzling set that picked up painfully across the sea. It's probably my best memory of fish cooking. There was no question of gutting or scaling these nameless fish. The cooking was perfect. Nobody can cook like that. It's an instant, a moment. The main ingredient in cooking comes into play in a new form: time..
Instagram, Pinterest... images are ubiquitous, and with the emergence of #foodporn our glycemic indexes are exploding. Overdose or appetizer for the recognition of culinary art?
I don't think it's always about culinary art... It's about food porn. In other words consumption of a product, in this case a food image, without emotion or reflection. It's a silly and diligent consumption, a enjoyment disconnected from its depth. It's well-chosen after all, it's like porn: nothing to do with making love. Sometimes it's welcome, but most of the time it's easy and unsatisfying. Without depth of field...
Which recipe to celebrate the arrival of spring?
Roman vignarola, Venetian risi e bisi, porchetta de lapereau or sou fassum... Go to the market or your local greengrocer. Fill your basket with everything green: asparagus, broad beans, peas, artichokes, wild garlic... Cook everything in salted butter, olive oil and a tablespoon of water. As soon as the ingredients have «fallen», enjoy. The kitchen we don't photograph is this one. instant cooking. The products of the seasons don't meet by chance, they marry perfectly without the need for too much intervention.. Alain Passard has understood this for over twenty years! And the old-timers long before him. We've compiled these recipes here, our gourmet ode to spring.
«The products of the seasons don't meet by chance, they marry perfectly without the need for too much intervention.
Fine writing and good food can go hand in hand. What books do the Renards Gourmets like to devour?
Obviously, we like cookery books, not necessarily recipe books, but more contextual ones, like «Que mangeaient les Parisiens pendant la Révolution» ("What Parisians ate during the Revolution"). Table manners often interest us more than recipes. The problem with cookery books is that they are often published by people who don't cook, and who think that no-one can follow a real recipe to the letter. But that's not true, many people know how to cook properly. What could be more frustrating than getting a different result from the photo that accompanies the instructions? When you go through a new book, you soon realize that the instructions don't match. In some cases, the deception is such that some of the ingredients in the photo don't even appear in the list. These books are meant to make you dream, not to cook. We both love to read: plays, novels, poetry, the invitation to imagination and travel is also a constant source of inspiration. When we read Boccaccio, we dream of thrushes in a shroud of bacon or a farandole of asparagus, not double cheese. We must try to cultivate our imagination on a daily basis, the world would be a better place. That's what all artistic mediums are for. We often pair the music we listen to with the food we cook. Once a year, when there's talk of the hare à la royale, which can take hours to prepare, it's impossible not to listen to the Ballet Royal de la Nuit. Immediately the stainless steel pans disappear, replaced by a cathedral of suspended hams and cheeses.
What is your definition of Art de vivre?
The present moment. But it's a thought that's actually not so easy to maintain. We deeply believe that the art of living is the art of living in the moment.. And to be less consensual, the art of living is the ability to understand that beauty is a celebration of nature and the world in which we live. To live in love with beauty is to live in the earthly paradise to which we belong. The mistake is to believe that beauty or paradise are exempt from ugliness or suffering. It's transcendence that changes everything... and resilience.
What are your plans for the future?
We work as authors for numerous websites and print magazines (Gueuleton, Dînette Magazine, 196 Flavors, Les Hardis), so we're always busy. At the same time, we're feeding our site with seasonal recipes and can't wait to get to work on enriching our spring selection. We're also working on a book, a fairly substantial project that has taken a lot of time and research, and we're looking for a courageous publisher. We know that this project will find its readers, but it's an ambitious one. What's more, for once, the recipes match the photos! Of course, we have thousands of ideas for books, articles and photographic projects in store. But living is our biggest project. And to laugh!
Could you share with us your favorite ethical and aesthetic local or web addresses?
Like all adopted Parisians who love to eat and find good food, certain addresses come up often, such as Terroirs d'Avenir (sustainable agriculture and fishing) for its selection of fresh vegetables, but there's no shortage of quality local grocery stores. Our favorite is close to home: Saveurs et Vous (9 rue Keller 75011 Paris), the vegetables are delicious, fresh and well selected by Nehmat and Sarah, who are simply passionate and genuine. We also buy a lot on the internet. Culinaries for example, or Picardie Venaison for some of the game we eat. It's not uncommon for us to cross town for a specific cheese or a particular grade of flour. We also work for a website that compiles recipes from all over the world, so sometimes we go to specific neighborhoods to find fermented fish heads, giant banana leaves, that sort of thing. The quest for the right product is frustrating, because the more you educate your palate, the more rigorous you try to be about your consumption, the harder it becomes to be satisfied.. Nevertheless, we must salute such fine initiatives as the Ebisu fishmonger's whose fish is always fresh and properly caught. We also love natural wine and regularly visit the site Amazing Wines which offers a very fine selection. Peppers and spices from Roellinger or Japanese products from Nishikidori. Last but not least urban and peri-urban picking and especially gifts. We are often offered beautiful products from all over France and Italy, which is sometimes essential, as some things can't be found in the shops.
The word of hunger?
Live and eat mindfully, Don't imitate, but inspire. Don't wait for moments, create them. Know your tastes and find a way to satisfy them. Like pasta? Learn how to make it, and enjoy these moments alone or together. Forget compensations, baking and roasting involve butter, enjoy it and eat light the next day. Smell, bite, drink, travel at least in your mind. Life is often what you make of it, and fate can be fought. Sometimes, anyway, so you might as well give it a try.
This testimonial was collected to complement the 4-part article dedicated to sustainable and committed gastronomy on this website. diary.
Many thanks to Esther Ghezzo and Morgan Malka for their time and their tasty words shared in this rich testimonial. The superb images composed by Esther and the tasty recipes created by Morgan can be discovered on their site alongside their many visual, gastronomic and editorial creations. Les Renards Gourmets also invite you to discover their world on Instagram.