Restaurants

It will seem an ungrateful comment after the lunch which I am about to describe, but Manchester has some way to go. In the Midland Hotel, the principal Tory conference hotel and a grand edifice redolent of civic self-confidence from an earlier era, the northern powerhouse could sometimes be mistaken for a 40-watt light bulb. The business centre had been closed for the duration of the conference. The management person who told me this had enough nous to wilt under my incredulous stare. But it remained closed. At a bar, two girls struggled to do half of one girl’s work. Whenever anyone tried to pay by plastic, inaccuracy and chaos

Mum’s, or to use its full title, Mum’s Great Comfort Food, is a restaurant in Edinburgh designed to soothe itinerant performance artists. For, in the fag days of August, as the Fringe dies — it will be reanimated next year by the blood of Citizen Puppet and Nicholas Parsons — assorted actors and comics and cabaret artists and mime artists and circus artists and ballet dancers and tap dancers and flute players and face painters and sketch performers and one-woman-show specialists (expiating rejection by standing in bins) and the guy who dresses up as Darth Vader are more ulcer than human being; and that is before we get to the

Selfridges is skilled at making things that are not hideous (women) look hideous (women dressed as Bungle from Rainbow or a tree, after shopping at Selfridges). So I was not surprised to discover that it has summoned a ‘pop-up’ restaurant to its roof. It is called Vintage Salt and it is based on a Cornish fishing village. Not a real one, such as Newlyn, but a fake one, such as Padstow, which is based on Selfridges anyway. Selfridges shoppers do not want reality but a half-remembered contortion of something they read in Vogue while having their hair dyed banana yellow in St John’s Wood High Street in the company of

The Gatto Nero — or ‘Black Cat’ — is in Burano, a tiny island in the Venetian lagoon. It is close to ‘haunted’ Torcello, with its ancient campanile and its branch of the Cipriani restaurant. (The only equivalent thing I can imagine is a branch of Soho House at Dracula’s castle, or possibly Chernobyl.) I like the name Black Cat; it reminds me of the Blue Parrot in Casablanca. I like that you must leave San Marco, with its tat and wonders combining queasily, to get here; I like the brightly coloured houses like Bratz dolls fighting; it looks, to me, like Notting Hill with fish, lace and a soul.

The Maze Grill is on a sinister street in Chelsea, between a small Tesco — a boutique Tesco? — and a shop selling ugly sculptures of cats. The Chelsea Physic Garden, with its poisoned plants and amazingly posh Sunday walkers, is nearby. I cannot walk in the Physic Garden without hearing the howls of property developers from the skies, longing to destroy it, because what is it for, this garden and its small carnivorous plants, these tiny, dangerous Chelsea-ites? The Maze Grill is the fifth restaurant of that brand from Gordon Ramsay, who operates 25 restaurants globally from Las Vegas to Raqqa, alongside his more important sideline of shouting at

The Ivy is a Playmobil-style faux-medieval restaurant in a triangular building opposite The Mousetrap; of the two, The Ivy is more ancient and threatening. It has mullioned windows, a photogenic lamp post and a parking space for paparazzi to shoot people who want to be shot, as in early Martin Amis novels. It has been refurbished for its 100th birthday, in the manner of an ancient dowager empress seeking new fingers. Of the ‘celebrities’ or ‘notables’ or ‘people who are better than you’ who used to dine here I cannot speak; but apparently it was a live-action re-enactment of a Nigel Dempster diary. Christopher Biggins blah. The pig from Babe blah.

The Beaumont Hotel is a bright white cake in the silent part of Mayfair, where the only sound is Patek Philippe watches, tick-tocking. We are in the eye of the storm, where it should be quiet; of the cacophony of Selfridges, just to the north, we hear nothing. It is the first hotel from Chris Corbin and Jeremy King, creators of the Delaunay, the Wolseley, Brasserie Zédel and Fischer’s. The façade is so languid, pristine and self-satisfied that it could — no, should — be Swiss, even if it was once an Avis garage wrought in Art Deco. It reminds me of the Beau-Rivage Palace on Lake Geneva, a hotel

Fenchurch is a restaurant that is scared of terrorists. It cowers at the top of 20 Fenchurch Street, a skyscraper which looks like an enormous and unfashionable Nokia 3120 mobile telephone; has it been designed explicitly to telephone for assistance? But who would it telephone? The Shard? I cannot imagine the Shard doing anything for anyone. It is 525 foot high blah and replaces a building that was only 299 foot high blah and so deserved to fail, being so mean and little; I never tire of the rampant Freudian anxiety of property developers and their architect slaves, because, like the phenomenon of the competitive super-yacht, it tells me they,

The Portrait Restaurant lives at the top of the National Portrait Gallery, London. It is fiercely modern, but likeable. You ride an escalator into a void, glimpse the raging faces of the Plantagenets and take a lift upwards, away from dead kings and film characters walking the streets. (Downstairs, by the entrance to the National Gallery, two competing Yodas from Star Wars are posing for photographs. One is too tall to be a convincing Yoda. Tourists inhabit a different city.) In this long bright room there is no such anxiety; only clean windows to Trafalgar Square and happy women having lunch in a secret glade of stone and brick. You

La Coupole, Montparnasse, is the grandest and most famous of the old pre-war Parisian brasseries; that is, if you have an Esprit Brasserie loyalty card, as I have, you can dine in homage to dead continental intellectuals — plus Ernest Hemingway — whenever you wish, and with 20 per cent off. They sit, dead in black and white on the walls in their spectacles, like the toys Star Wars sold but more rigorous and interesting. Ernest Hemingway is to Parisian brasseries what Mickey is to Disney World; Edith Piaf — or Salvador Dalí — is Daffy Duck. Me, I sat under a playful cartoon of Jewish intellectuals murdered by the

The Dorchester Hotel, Park Lane, is a cake floating in space. All grand hotels create a parallel universe in which their guests are returned to some great gilded and unnatural womb with mini-bar and floristry, but the Dorchester feels particularly remote; has it overplayed its myth? Or is it a combination of the traffic (Park Lane has eight traffic lanes, three roundabouts, one set of unicorn-themed gates and a monument to the dead animals of war), the net curtains (the decorative equivalent of blindness) and the strange completeness of the building? What does the Dorchester, with its curved beige frontage and yellow awnings, actually look like? Bournemouth. Or any retirement

I think Rowley’s is the perfect restaurant; but I am really a gay man. Rowley’s is at 113 Jermyn Street (the Tesco end). It was made in homage to the Wall’s sausage and ice-cream fortune, although it opened in 1976, after the Wall’s sausage and ice-cream company (I call it that because it sounds magical) was sold to Unilever (less magical). So it is quite a late homage. The Wall’s sausage and ice-cream fortune, how I love to type the words; did you know that Mr Wall moved into ice-cream so as not to sack staff in the summer months, when no one — except me and George IV —