One thing I?ve seen along the way is that chefs spend a lot of time thinking about how food is presented. Don?t get me wrong, I think this is important but I don?t think about the design and theatrics first. For me, it?s more about flavour, putting the ingredients together and making sure all components work together, ensuring no one flavour is more dominant than the other and doesn?t overshadow anything else. There?s no planning to my plating style. Once the dish is cooked, I plate it the way I think each element will be shown at its best.

Having worked in outside catering, with the likes of Rhubarb Food Design, Mustard, Blue Strawberry and Table Talk, and catered for events such as Wimbledon, the Royal Box at Henley Regatta and the Quantum of Solace film premiere, I decided to get back into fine dining. I went to work at The Ritz, under the management of Executive Chef John Williams MBE, where I stayed for a few years, slowly working up the ranks. John was Chairman of the Academy of Culinary Arts, where I trained and his background also includes Maître Chef de Cuisine at Claridges for a number of years before moving to The Ritz. An icon in the hotel chef world, he was regimented, disciplined, determined, traditional and fantastic to work for and learn from.

After experiencing the modern, minimalistic style at One Aldwych as well as the traditional and classic style at The Ritz, I found my flair fell somewhere in between. I try to be as creative as possible without going over the top. It?s more important to match types of food that work well together and being able to show ingredients off at their best. I think a lot of that is down to where you source your produce.

I have a little black book of suppliers who I tend to call upon. I have three specialist suppliers in each area for example three for smoked salmon and three butchers. When looking for a supplier, I think the number one priority should be that they are local, ideally from within a 50 mile radius. Number two is that the produce is fresh and my final priority is flexibility. I need a supplier who is able to delivery daily to ensure ingredients are kept at their freshest. It?s because of this that I?ve started to work closely with foragers who walk locally and pick from the wild. In my opinion, all chefs should be aware of and try and get a better understanding of foraging. It?s important we utilise the best of sustainable British produce.

My favourite dish on the new Winter Tasting Menu we?ve developed is the Blackmoor Farm venison with parsnip puree, stewed cranberries and candied chestnuts. Sourced from a local, family-run Hampshire game farm, I chose the 100% free-range venison for its seasonality. The venison is accompanied by sous-vide cooked wild parsnip puree. Placed whole in a vacuum-sealed bag, we combine the parsnips with cream and seasoning, and submerge them in a water bath for approximately 48 hours. Once cooked, the parsnips are blended to form a smooth and silky purée. The dish is then garnished with locally-foraged dandelion leaves, candied chestnuts and stewed cranberries.

For me, this dish optimises rich, indulgent winter dining, combining seasonal ingredients with classic flavours and textures. I tend to create all my menus based on the fruit and vegetables that are coming into season and blossoming and this will be even more so when we install a kitchen garden at the hotel. I?m really looking forward to being able to access fresh produce right on our doorstep.

But even with the most expensive gadgets and qualifications, I think the skill to cook well is something you?re either born with or not. I also think a lot of it is down to the right attitude and willingness to learn and develop. It?s easy to be trained to cook well but the natural talent of producing new dishes and putting ingredients together requires passion and vision.