Michael Emerson arrives early for the photo shoot at a studio in Kakaako with plenty of paraphernalia. There are linen slacks with a collared shirt and matching vest – everyday wear for this man, who always looks polished – an Oxxford tuxedo, and an Emmy statuette cradled in bubble wrap inside a large Tiffany bag. The Emmy he won in September for his work as the inscrutable Benjamin Linus on ABC’s Lost remains in the Los Angeles home he shares with his wife, actress Carrie Preston. When an actor wins, he gets to keep the award (a veritable weapon with wings that resemble the point of a knife), but he does not actually own it. This explains the death grip award-winners keep on their prizes, which are almost impossible to replace. But Lost co-executive producer Jean Higgins has been kind enough to loan Emerson her statuette from the show’s first-season triumph in the category of Best Drama Series.

In the makeup chair, Emerson laments the turn of events on the upcoming sixth and final season of the hit series that airs in 230 countries.

“I was just starting to get good-looking in the show!” he jokes about his much-abused character, who enjoyed a brief respite from beatings. Instead, he will return to lengthy pre-dawn applications of abrasions and filth.

Writers and executive producers Damon Lindelof and Carlton Cuse were familiar with Emerson’s 2001 Emmy-winning turn on The Practice, as well as his extensive theater résumé, and have said they wrote the guest role introduced in the second season with him in mind. Rough work, other actors warned the New Yorker of the outdoor series filmed entirely on Oahu.

But really, he thought, how hard could it be?

On his first day of shooting, he found himself hanging from a tree with an arrow in his back. And it only got worse.

But his riveting performance inspired the writers to make his character permanent and pivotal. Four years later, he says, “it’s been the best part I’ve ever had on the screen.”

Fellow Emmy-winner and castmate Terry O’Quinn, who plays John Locke on Lost, believes Emerson’s addition to the cast has elevated everyone’s execution.

“Michael is, for me, the ideal scene partner,” says O’Quinn. “He is creative, aware, responsive, considerate and prepared; in short, he is a professional in the best and truest sense of the word. He both enhances and relishes the work of his fellow actors – the better they do, the happier he is. I think we lift each other, and I always look forward to my days on the set with Michael. I’ll be very sorry if we don’t work together after Lost.”

Dressed in the tuxedo he wore to the Emmys, Emerson strolls into the studio, where the photographer apologizes for the mess. Emerson chuckles. “I think you’re used to working with fussier subjects than me,” he says. The youthful-looking 55-year-old seems utterly comfortable until it’s time to pose for pictures, be “the Emmy winner” and engage the spotlight without a character to play. He moves in response to the photographer’s instructions, and for a time withholds the warm, broad smile that illuminates his face,

as though subconsciously monitoring his behavior to ensure that it never approaches gauche or inappropriate or immodest. Kissing the statuette? Out of the question.

This Midwestern lack of pretension is perhaps one reason why he grapples to interpret what it means to win an Emmy – his first in three nominations for his work on Lost. When it happens, you can’t process anything beyond whether the announcer read the wrong name or if you will trip on the stairs or if the microphone is too low, he explains.

“You’re really out of body,” Emerson says. “The volume of your social interaction doesn’t allow for digestion. You can’t fully absorb what the honor is. You’re too crazed at the moment.”

For Emerson, the best part of the evening came when he and Preston arrived home after the HBO soiree, made popcorn, changed into their pajamas and debriefed for the next two hours.

Months later, he’s still not sure if the award will alter his career. “I guess it’s good,” he says simply. “It’s great on your résumé and great on your bookshelf, but the work, I think, comes differently. Yet it does require that you find a way to place it correctly in your life. How much is appropriate pride? How much is appropriate celebration?”

Dwelling on it goes against his humble upbringing. “I know it’s a pain when people affect modesty, but we Iowans tend to put those things behind us, roll up our sleeves and go on to the next thing. And not make too big a fuss over ourselves,” he says.

But he also worries that dismissing it is potentially disrespectful. Who wouldn’t want to be honored publicly by his peers? After much consideration, he offers an intimate analysis.

“When you think about the Emmy award you’ve just won, you see that it has a community meaning and a personal meaning,” he observes. “It is a heady thing to know that the whole television industry has opened its door and embraced you. But even more potent is the feeling that you have been validated in your craft – that your hope of success was not misplaced or silly. It quiets the little voice that comes around sometimes and whispers ‘fraud’ in an actor’s ear.”

Regardless of awards, the impending end to the longest acting gig in his life signals a cardinal shift. The cast and crew feel like family to him.

“To be on a series is such a marriage; it demands so many commitments,” he says. The isolation and shooting schedule have precluded his doing any other kind of work for the past four years, making the series even more central to his current existence. “It will be a big upheaval when April comes. I’ll have to figure out what to do with all the things I’ve collected since I’ve been in Hawaii. And I also have to figure out what to do with the rest of my life. So that’s kind of daunting.”

There is one comfort, however. Preston is a regular on HBO’s True Blood, another series with a fanatical fan base. “I’m comforted to know that come May, at least one of us will be employed,” Emerson says.

Though fans occasionally approach Emerson on the street with trepidation because he plays the character with such conviction and skill, in reality the only traits he and Ben Linus share are a sharp, clever wit and an articulate turn of phrase. Poised and polite, Emerson possesses the gift

of easy conversation and a charming, self-deprecating sense of humor positioned alongside the urbanity of an artist in New York City, where he has resided since the mid-1970s. His affinity for the big city has encouraged him to seek a similar type of cultural stimulation, whenever possible, in Honolulu.

In New York he filled his free time with play readings and audio book recordings, for which he has earned award nominations. In Hawaii, with bursts of work taking every minute of his days (and many nights) mixed with breaks when he is not prominently featured in an episode, he makes an effort to involve himself with the local community in a way that’s reminiscent of his life in New York. Whenever he gets the opportunity to be onstage – in performances for Honolulu Theatre for Youth or reading The Story of Babar with the Honolulu Symphony, for instance – it re-ignites his passion for performing in front of a live audience.

“Whatever happens is irretrievable and uncorrectable,” he says of stage work, “yet it always startles me how at home I feel.”

Symphony conductor Andreas Delfs noticed Emerson’s mastery, accomplished with no rehearsal following a hectic day on the set. “I have never seen a performer as intuitive and creative as Michael Emerson,” Delfs says. “‘Babar is a lovely but quiet and sophisticated piece that often fails to engage the audience. With a few ingenious touches – a light French accent, a slightly wicked sense of humor, an easy but liquid pacing – he brought this piece to life like nobody I have heard before. He was so impeccably well-prepared and is such a consummate professional that it felt like we had done this kind of thing many times before.”

To be sure, opportunities in Honolulu are fewer than in New York, so when unscheduled time presents itself, Emerson claims to be a great “fritterer.” However, much of his free time in the coming months will be spent entertaining a stream of out-of-town friends who have nearly frittered away their opportunity to see Oahu with a television star as a tour guide.

To stay fit for his physically demanding work, he swims laps in the pool of his Waikiki apartment complex, often walks to his destination (as every good New Yorker does), and hikes trails on Oahu, sometimes with co-star O’Quinn. In quiet moments, Emerson is an avid reader, and occasionally acts out scenes (to the delight of any listener) when describing his latest tome.

He returns to his linen pants and vest for the final few pictures in the studio, then settles into a folding chair to eat a sandwich and chat with the crew about the journey that brought him here. “I had no business moving to New York when I did, but I got through it,” he recalls. Achievement is rarely attained without sacrifice and setback, and Emerson’s career has been no different.

After growing up in Toledo, Iowa, he studied theater and art at Drake University in Des Moines. The struggle to break into acting led to employment in retail and magazine illustrating. He quips that he didn’t know why he thought it would be easier than acting, but “somehow the rejection didn’t feel so personal,” he says of his drawings. The career fostered a strong work ethic, which he brought to acting when he returned to the stage in his mid-30s. He plied a number of trades in Florida and in the South – acting, drawing, directing, teaching – before deciding to enroll in the Masters program at the Alabama Shakespeare Festival. He tried his luck in New York City again, and eventually got a break in Moises Kaufman’s Gross Indecency: The Trials of Oscar Wilde. More notable stage roles followed on and off Broadway. He also appeared in a number of films, including Saw, a horror flick that has spawned five sequels. When asked about the filming experience, he says simply, “I’m glad I survived it.”

Now that he has attained some level of financial success, he and Preston eschew expensive toys in favor of “ease and convenience,” especially when traveling to see each other and family members. And whenever they are in New York City, they treat themselves to shows.

But where it might seem logical to indulge, he doesn’t. Ironing and cleaning? He finds these tasks therapeutic.

Christmas also is a simple affair. The holidays typically are spent in Manhattan. In addition to party-hosting and miniature tree-decorating in their tiny apartment, they enjoy window shopping and walking for hours through the city late on Christmas Eve or on the night of Christmas searching for that last open restaurant or watering hole, and “seeing what life there is out there.”

Following the photo shoot, over a beverage at Starbucks, where other patrons pretend not to stare or carefully introduce themselves to shake his hand, Emerson admits that every actor struggles with the perception of fame, especially when living a fairly normal life most of the time.

“What is owed the universe for the gifts that have been given to you? I don’t know. It’s hard,” he notes.

But in the end, his conduct in and out of the spotlight revolves around one philosophy, which is why he remains perpetually pleasant and accessible. “It seems like graciousness should be the order of the day,” he says, “or just manners.”

As you walk through Whistler Village at the base of the towering Canadian Coast Mountains, you could easily think you were strolling in the Swiss Alps. But with just a single

plane ride from Honolulu and a picturesque hour-and-a-half drive from Vancouver, one trip to this winter wonderland can spare you that long flight to Europe.

The town of Whistler is home to two ski mountains, Whistler and Blackcomb, with more than 8,100 acres of skiable terrain, three spectacular glaciers and 12 alpine bowls. Exploring trails on both mountains has become even easier with the launch of the “Peak 2 Peak” Gondola, which carries skiers between the mid-mountain peaks of the two resort towns. An adventure in itself, the views from this new, world record-breaking gondola are breathtaking, and if your timing is right, you may get to enjoy the ride in one of the resorts’ glass-bottom gondola cars as it takes you as high as 1,427-feet above ground.

While there are more than enough beginner and intermediate runs for cautious skiers to enjoy, the advanced trails of Blackcomb leave adrenaline junkies weak in the knees. If you fall into this category and are lucky enough to get a big snow during your trip, head straight up to Spanky’s Ladder, a short hike from the top of the Glacier Express chairlift, and enjoy deep powder on some of the world’s best open terrain. The mountain’s famous double black diamond, Couloir Extreme, a nearly vertical 2,500-foot chute, is also sure to test your limits.

For the non-downhill skier or snowboarder, Whistler Resort offers endless activities, including magnificent hiking, cross-country skiing and snowshoeing. The resort also is home to Ziptreck Eco-tours, the “No. 1 Zipline Tour in North America.” Operating year-round, the thrilling adventure takes you through a network of cables and suspension bridges as you glide over the treetops. For the kids, don’t miss the backcountry dog sled tours – a day spent riding behind these adorable Alaskan Huskies is truly un-forgettable.

After a long day on the mountain, settle into world-class luxury at one of Whistler’s many renowned hotels and lodges. The Fairmont Chateau Whistler has been a longtime favorite among regulars since it opened in 1989, and its grand architecture makes it ones of Whistler’s best-known landmarks. Located just steps from the ski lifts, no property beats the location of this five-star hotel.

Relatively new to the scene, the Four Seasons Resort Whistler, which opened in 2005, is giving the Chateau a run for its money. With top-notch service and fireplaces and balconies in every room, the Four Seasons is another great luxury accommodation. If the five-minute walk to the slopes is a deterrent, the hotel’s complimentary ski valet may change your mind. Not only do these unique valets help you in and out of your skis each day, they also provide daily insider tips about the mountain and snow conditions.

Second to the great mountains, Whistler is famous for its quaint and lively village. Bar-hopping and window shopping can’t get much easier in this pedestrian-only place; it truly is one of the best ski towns in the world. For dinner, Barefoot Bistro, with five-star food in an unpretentious atmosphere, is not to be missed. Complete with a stylish champagne bar, it has been said that Barefoot Bistro sells more champagne than any other restaurant in Canada. For a slightly more formal but equally excellent dining option in Whistler Village, the internationally acclaimed Araxi lives up to its reputation and features local farm-grown produce and fresh fish and game from the province.

Complete with world-famous ski terrain, luxurious accommodations and a picture-perfect ski village, it’s no surprise that the International Olympic Committee picked Whistler as home base for many of the 2010 Winter Olympic events. Olympic excitement will take place Feb. 12-28; the resort will serve as the Official Alpine skiing venue for the 2010 Winter Games. Lucky for Whistler regulars and new visitors, however, more than 90 percent of the mountain will still be open for exploring the slopes.

Whistler Booking Information

Whistler/Blackcomb Resort www.whistlerblackcomb.com

The Fairmont Chateau Whistler www.fairmont.com/whistler

The Four Seasons Resort Whistler www.fourseasons.com/whistler/

My friends and I value the way great Champagne ages. It matures just as well as the mighty Bordeaux or regal Burgundy. In fact, Champagne shares two of the major varieties of Burgundy, Pinot Noir and Chardonnay. But the secondary fermentation – Champagne’s essence and being – unlocks something that is incomparable.

One evening, having dinner with friends at Halekulani’s flagship restaurant La Mer, I was reminded of how well Champagnes develop. We drank six Champagnes from 1988; none of them was a slouch.

We began with a magnum of Alain Robert Blanc de Blanc. Drinking a magnum of Champagne (1.5 liters, a size equal to two regular bottles) is the only way you should truly drink Champagne, though it admittedly is a bit too much without friends. This Champagne is made of 100 percent Chardonnay from the village of Le Mesnil, which is a Grand Cru rated village. It had a very “pretty” nose, with sweet citrus, lees, cinnamon and cardamom. Poached apples, hints of pear and buttered toast points make it superbly elegant, offering tons of finesse on the palate. It was still quite fresh (I am certain being in magnum helps with extended aging), with some primary citrus fruits and a creamy finish.

The Dom Perignon (55 percent Pinot Noir and 45 percent Chardonnay) had a completely different attack. It had a biscuit taste, sourdough-like even, with an earthy and chalky note. It showed a deep, darker fruit tone, with lovely and focused entry to the palate. It invited me in with sweet fruit, more baked bread flavors on the palate and an even lengthier finish.

The fabulous Cristal (50/50 blend of Pinot Noir and Char-donnay) from Louis Roederer had some drinkers wondering if it was indeed sound, as it seemed the most developed of all six Champagnes. It jumped from the glass, with huge notes of fruit bread, pineapple, candied citrus, poached melon, even hinting toward tropical fruit. The ripeness didn’t stop on the nose; the palate was more than creamy, being round and almost fat. This was a hugely hedonistic vintage for Cristal, and it was approaching maturity quickly. Yet complexity already was ratcheted up in this amazing drink.

Salon Champagne always has been one of my favorites, and it was a hit on this night as well. This Champagne also was 100 percent Chardonnay from the Grand Cru village of Le Mesnil. It opened up with a slight sulfur odor, which thankfully blew off to reveal a plethora of complex aromas. A gorgeous, flowery component unique to this wine was presented through notes of lemon pie (with a vanilla crust) and hints of glace apricot. The palate was quite feminine and graceful. Along with citrus peels and vanilla cream, there was a taste of Sauternes. None of the sweetness was overtly apparent, but the surrounding flavors were incomparable and reminded me of when I worked in a French kitchen’s dessert station. The aftertaste was clean, yet amazingly long.

The Vintage Krug (50 percent Pinot Noir, 18 percent Pinot Meunier, 32 percent Chardonnay) showed to be the “thumper” of the bunch, with intense, masculine flavors of sweet white fruits, minerality, brioche and an almost rich texture that separated it from all the rest. In the nose it simply sang, with an aria of fruits, flowers and teas. As beautifully complex as it already was, I still believed this Champagne to be quite young. It had more potential to realize, which can only be coaxed out with time in a cold cellar. A dozen more years would not be out of the question. It simply was terrific.

So what could be better than Vintage Krug, you may ask? This evening, it was Krug Clos du Mesnil. This legendary, 100 percent Grand Cru rated vineyard (approximately the same size

as Romanee Conti) is walled completely within the village of Le Mesnil and planted entirely to Chardonnay. It was amazing how this wine stood head and shoulders above the others. It had ineffable clarity, precision, a defined personality and identity. There is no other wine in the world like it. The fruit was amazingly balanced and melded with the minerality. The length was piercing and interminable. It continued to grow in stature and complexity throughout the entire evening. This wine was still far from its apogee, and yet it already distinguished itself as a modern-day legend. With an average production of 250 cases in a “vintage” year, I am privileged to have had some.

Don’t be afraid to stock up your cellar with vintage Champagne, especially with wines such as these. They are some of the greatest vinous experiences you will ever share.

Lumpy though it may be, unattractive, covered in dirt, the truffle commands a reverence shared by few edible objects.

Nature has designed the truffle for exclusivity, the kind that justifies a price tag of up to $1,000 per pound. It’s basically a mushroom, but a mutant one. A little fungi biology here: Truffles have internal spores. This means they can’t reproduce the way other mushrooms do, by sending their spores out on the wind. A truffle must be eaten by an animal, usually a rodent, which then moves off and spreads the spores when it, you know, “un-eats.”

They grow deep underground, developing a heavy aroma that peaks when they’re fully mature. This scent attracts the animals, and also makes truffles deeply flavorful and beloved of gourmands.

Add to this the fact that it takes at least six years for truffles to reach maturity, and that they’re hard to find in their underground nests, and that they must be eaten within days of harvest – you can see how they gained their aura.

The ultimate truffles are the Perigord, or French black truffle, and Piedmont, or Italian white. These are the ones that command top dollar. The Perigord grows wild in oak forests of the Perigord region of France, although it has been cultivated elsewhere, including the United States. The Piedmont is found in parts of Italy and Yugoslavia.

In Europe, truffles are hunted by lady pigs, drawn to a scent that resembles that of a gentleman pig’s hormones. Dogs also have been trained to pick up this scent and have somewhat of an advantage among hunters, as they don’t try to eat the truffles once they find them.

More fungi biology: The truffle’s attractive scent emanates only when it is mature and at the height of its flavor, which means the animals are only digging out the best. In the United States, pigs and dogs haven’t reached this level of expertise, so most truffle hunting is done by humans using rakes to comb the earth. Having lesser olfactory talent, humans hunt by eyeball and can’t discern between a ripe truffle and one that’s less so, meaning that many North American species aren’t considered as tasty.

Truffle types are many, including Oregon species in black, brown and white. There’s also a Texas truffle and many types of Chinese truffles. Commercial truffle-growing is a new industry just starting up in parts of the United States, particularly the South, where the climate is right.

Being so expensive and so flavorful, truffles are used sparingly in cooking. They’re usually shaved and a tiny bit might be sprinkled into almost any cooked dish – even scrambled eggs – to give it that distinctly musky truffle essence. A classic use is in paté.

Because they are so rare and perishable, finding a fresh truffle is a treasure hunt. A few Web sites offer them by mail order, but great care must be taken to be sure you’re not spending a lot on poor quality.

Truffle oil is the home cook’s best alternative. Oils can be used in small amounts in many of the same ways as fresh truffles. European oils in many grades of quality may be found in gourmet food shops and even some supermarkets. For a made-in-America oil, visit www.oregontruffleoil.com, which sells a $35, 5-ounce bottle made from Oregon white truffles.

Adding decadence in this otherwise frugal year is easy with our gold-dusted, berry-infused champagne cocktail. Serve it as the perfect aperitif at the season’s most spectacular party or keep it elegantly simple by adding just a splash of Prosecco or Cava instead of champagne.

So then, our toast: May your days be merry and bright, and may your holiday season be filled with more of life’s little luxuries.

Merry and BriGht

Serves One Ingredients:

* 1 ounce Orchid Guava Liqueur or pure guava puree

* 4 ounces Veuve Cliquot Rose

* 3 fresh raspberries

* Sprinkling of edible gold dust

* Handful of mint leaves

Method:

Gently blow gold dust across raspberries. Drop several into a champagne glass.

Slowly pour champagne over the berries. As the bubbles settle, drizzle 1 ounce of Orchid Guava Liqueur or pure guava puree into the glass.Wait until the puree reaches the bottom. Do not stir.

Garnish with gold-dusted raspberries. Swizzle once and serve.

“I wanted to reflect the magazine’s style and elegance,” he says, “so I created a holiday collection.” In Viloria’s collection, you’ll find a triple chocolate Chanel purse, a Japanese cheese-cake and a yule log complete with handcrafted mushrooms and holly.

Our edible Holiday Collection is available ready-made at Honolulu Chocolate Company in Ala Moana Center. That should bring some holiday cheer to fashionistas and “chocaholics” everywhere.

However, we think the simple, though still fairly challenging Japanese Cheesecake is fun to try at home.

Japanese cheesecake

Recipe courtesy Chef Ron Viloria Ingredients:

* 10 ¹/2 ounces cream cheese, room temperature

* 2 ³/4 teaspoons butter, softened

* 1 tablespoon cornstarch

* 3 egg yolks

* 3 egg whites

* 3 ¹/2 ounces sour cream

* 2 tablespoons + 1 ¹/2 teaspoons sugar

* Zest of ¹/2 lemon

Crust:

* 5 ounces graham cracker crumbs
* 2 tablespoons + 1 ¹/2 teaspoons butter, melted

Method:

Cream the cheese, butter and cornstarch until smooth. Mix in yolks one at a time. Add sour cream and lemon zest.

In a separate bowl, whip egg whites until they reach soft peaks. Add sugar, and whip until mixture reaches stiff peaks.

Fold egg whites into the cheese batter and continue to mix for an additional 5 minutes until the batter loosens slightly.

For crust:

Mix graham cracker crumbs and butter together, and line the bottom of an 8-inch springform cake pan or cake ring with the crust mixture. Press firmly with a spatula or an object with a flat, circular base, such as a wineglass or cup. Bake at 350 degrees for 8 minutes and cool.

To assemble:

Pour the cheesecake batter into the prepared crust pan and bake in a water bath for 45-60 minutes in a 300-degree oven. Cool and chill for at least 8 hours. Run a small paring knife along the edge of the cake pan to loosen the cake and allow for easier removal from the pan. Top with lemon curd, fresh fruits and fresh whipped cream.

But the most valuable lesson he learned from her was not about cooking. “Successful restaurateurs understand as much about receipts as they do about recipes,” he says. “For me, business skills are the most important thing. Cooking is the easy and fun part of running a restaurant, and you can always hire a chef.”

After running his own restaurant for seven years, he now shares his experience in the food industry as Y. Hata’s corporate executive chef, advising other chefs and restaurateurs on how to save money and utilize some of the world’s most innovative food products.

“At Y. Hata, our days are spent training chefs and restaurant owners in the use of new products and showing them the incredible range of time-saving products that are available,” he says. “Imagine every restaurant and sandwich shop with their own freshly baked bread. That’s possible today.”

Working with the city’s top chefs and restaurants is Chef Limcaco’s passion, and helping with menu development and staff training is rewarding for him. From working with the military – “they have the highest standards of food service” – to bringing up a new generation of restaurateurs, his love of food and commitment to his work are evident.

“Food is incredibly important to us all socially,” he says. “When we’re born, it’s the first thing we need. When you ask someone to marry you, it’s usually over a romantic meal. When you die, people get together and eat and celebrate to remember you. Food is such a part of any culture.”

But when it comes to narrowing down his favorite type of food, he says fine dining always will be his first love.

“French food is certainly high on my lists of favorites,” he says.

Don’t Be Tardy For The Party

With the holiday season upon us, we couldn’t think of a better person than Chef Limcaco to ask for advice on hosting the perfect party. Here are his top five party tips:

1. Get Your Guests Home Safely.

It’s a No. 1 priority during the holidays. Either offer a car service or have designated drivers. Or hire a bartender with instructions not to “over-serve” your guests.

2. Take Advantage Of The Amazing Range Of Ready-Made Products Available.

Sous vide, steamable and precooked items – things that you can put in the oven and bring out ready to serve – are extremely convenient.

3. Have A Cheese Board.

It’s easy to assemble, and it’s something that guests can go to before drinks, during the party and before they go home.

4. Don’t stress out.

The main aim of a great party is to have a good time.

5. Use Disposable Stemware.

There are many high-quality lines on the market today, and they excellently mimic glassware and silverware.

The first thing that strikes me about the dining room formerly known as The Surf Room at The Royal Hawaiian is that architect Terry Hendrickson actually

understood the original architecture of the hotel.

Call me odd, but I feel a warm glow of confidence when I walk into a restaurant where there’s a firm sense of place. Azure, with its Moroccan-inspired accents, imitates the original Moorish design of the hotel. The effect is a room that is both beautiful and effortlessly elegant. Black, white and shades of brown set the stage for glowing candlelight mirrored across mother-of-pearl accents, as billowy white curtains separate the dining room from beachside cabanas and soft, luxuriant couches.

All that splendor before the cocktails even arrive. Azure sets up high expectations and sends out bold messages. Certainly the look of the dining room alone is enough to catapult it into the category of one of the most intriguing new restaurants of the year.

And happily, the only hints of pink you’ll see are on the tips of a lobster tail or the flesh of a giant shrimp.

Executive Chef Jon Matsubara spent much of his early career working with top chefs in New York after a few culinary stops in Asia and Europe. Matsubara is best known to Honolulu foodies as the Alan Wong alum who opened Stage Restaurant at Honolulu Design Center.

I was interested to see what direction his food has taken. At one time he referred to his style as “designer cuisine,” and I was keen to see if that odd label still applied.

Azure is primarily a seafood restaurant, with a specific emphasis on fresh Island fish. There’s a very good steak – one based on a childhood memory of a dish Matsubara’s father used to cook for his birthday – and there are fabulous ribs that come to the table with a ton of smoke and lots of flavor. But mostly, it’s a restaurant where fish rules and the catch of the day is the focus.

“You’re in Hawaii, so you want to eat the fish,” says Matsubara. “Especially if you’re here as a visitor. We want guests at Azure to feel like they’re experiencing not only the best dining spot in Waikiki, but the best local fish, too. The Pier 38 fish list gives them that.”

As part of the regular menu, guests are given a list of fish bought earlier in the day from Honolulu’s auction. Other seafood options include lobster, shrimp and clams, all served with a bounty of indigenous ingredients.

The menu isn’t very extensive, and Matsubara says regular customers are eager for him to change dishes. However, he says, “we have so many people coming here for the first time. For some of them, it’s the first taste of this food.”

It’s perhaps for those regular guests, keen to see Matsubara strut his culinary stuff, that he’s designed the Royal Papa’aina, an eight-course degustation menu that showcases Matsubara’s talent and love of surprise.

He says he’s cooking “with two feet on the ground,” and that the menu is designed to showcase local ingredients. But there’s no doubt that he has the ability to soar.

The $150 per person degustation menu starts with an amuse bouche of Akolea black sturgeon, soy caviar and a passion chili soda. The Siberian sturgeon is raised on the Big Island and has a wonderfully fatty flesh that’s perfect for smoking. Served with a spoonful of caviar and a passion chili soda that comes in a shooter glass, the tiny dishes are meant to be eaten more or less at the same time, by taking a spoonful of caviar and sturgeon and then shooting the soda.

There’s heat and sweetness immediately on the palate. The salty smokiness of the sturgeon does two things: It reminds you that you’re near the ocean, and it tells your palate to get

ready for a trip.

Matsubara loves the effect that unexpected flavor combinations and textures have on the palate.

“Sometimes I just watch the guests’ faces to see how they react,” he says with a grin.

Next on the Royal Papa’aina menu is chilled Kona lobster with a Kahuku seaphire carotene. House-made taro chips, avocado and chilled, buttery, soft Kona lobster are combined to make a dish that’s an abstract shrimp cocktail with guacamole. At the table, our waiter pours a tiny pot of carotene across the lobster, adding remarkable sweetness with a burst of color.

And so the evening goes on, a brilliant display of culinary theater with local ingredients in the spotlight.

A torched Australian Wagyu beef comes to the table under a glass cover – the kind more commonly seen on cheese boards. Our waiter removes the cover and a flurry of smoke is released, momentarily lingering over the table before dispersing into the warm night air.

It’s another of Matsubara’s palate-tempting tricks, and another that works.

Moi and abalone are next, then veal cheeks, then a cheese course, then dessert. In each, there are tiny sparks of culinary genius.

Matsubara is ably aided in the dining room by a staff that may be the happiest in town. Led by general manager Jim Weisiger, with the talents of mixologist and beverage director Joey Goettesman not too far away, Azure’s staff members are the rare kind who notice everything, welcome all, stop to chat and genuinely seem happy to be serving some of Honolulu’s most exciting food.

“We take care of everyone,” says Weisiger. “All waiters go to all tables. That way, everyone’s aware of what’s happening throughout the evening.”

What happens throughout the evening is a dining experience worthy of one of the world’s best-loved hotels.

If true luxury is the by-product of ingenuity, necessity and style, then the Premier Suites at Halekulani may require a moniker more aptly defined than “luxurious.”

Not because the suites – particularly the newly unveiled Orchid Suite – fail to possess these traits. Instead, they elevate the notion of refinement demanded by the most discerning traveler. At $7,000 per night (the price tag on both the Royal and Vera Wang suites as well), only a hotel that zigs while competitors are waging a price-cutting war and zags through fly-by-night design trends can continue offering the highest personal service.

Halekulani’s chief operating officer, Peter Shaindlin, feels it’s a little more in-depth than that, actually. Which is why it made perfect sense to have Shaindlin show us the Orchid Suite. What follows is not merely a tour of the most elegant room for rent in Waikiki; it is an exploration into the philosophy that birthed it.

The ground floor Orchid Suite, lore dictates, actually was the original honeymoon domicile known as “Bungalow 7″ during the hotel’s infancy in the 1920s. Navigating through a maze of manicured gardens and elevators to reach it today, Shaindlin points out that this notion carries a lot of meaning for repeat visitors, many of whom have increased their net worth over the years – and can now afford the tab.

Upon entry, the first thing you hear is the sea. This is a relatively lost amenity in Waikiki, Shaindlin points out. In front of you lies a sizable span of lawn, fronted by a hedge of hibiscus that blocks passers-by, yet perfectly frames the state’s most recognizable landmark: Diamond Head. From the bed in the suite’s single bedroom, there’s also a beautifully centered view of the picturesque crater.

What you won’t see in this room, however, are bold art pieces or statements of color.

“We don’t really do ‘neutral,’ but it is sedated,” says Shaindlin, who has been with Halekulani for six years. “I was very clear to the designers (local firm Wimberly, Allison, Tong & Goo): ‘Think elements: land, sea and sky. Keep things grounded.’”

As we sink into supple couches in the living room, which has a full kitchen and bar, Shaindlin is eager to talk about a three-option program he inked with incumbent Executive Chef Vikram Garg specifically for guests of the suite. One involves an in-room dining experience featuring the fare of AAA Five Diamond-rated La Mer restaurant, to be served at the outdoor dining area just beyond the suite’s sliding glass doors. Second, Garg can come down and arrange a personalized menu that complements the guest’s palate, which he will then prepare himself. Or, for the more adventurous, Garg will literally teach guests how to make their favorite dishes and suggest ways in which they could be updated. He would then serve the party in the suite.

The master bath resembles a room found within the spa at a resort twice the size of this one. Designed so guests of the suite can have all the relaxation treatments offered at the spa

without having to leave the room, the space is a temple of sedation. Two oversized bathing tubs (one, a cold plunge; the other, an air-bath “experience”) stretch end to end, capped only by a steam “Shower Tower” – all of which are made by Japan’s Toto Neorest. In fact, a new signature treatment was created upon the completion of, and inspired by the Orchid Suite’s bathroom. It involves a white algae body wrap, followed by a cranial massage, reflexology, a steam shower, a lavender jacuzzi soak and a tea ceremony.

“After, we assuage guests to the entertainment room, where they enjoy a light- and sound-therapy experience,” Shaindlin says, standing in the cozy entertainment room palming for a 24-karat gold remote control that looks as if it could land an airplane. On it, a recognizable signature: “Steinway & Sons.”

Shaindlin’s coup de grâce is a $250,000 stereo system built by the iconic piano company. The device incorporates heat sensors that pick up where a listener is located within the room, adjusting the sound appropriately. The nine-point system was installed by a sound specialist from Copenhagen, who fine-tuned every element in the room.

The in-room DVD and album collection was hand-picked by Honolulu Symphony conductor Andreas Delfs. After previewing a video that details wildlife around the globe, Shaindlin pops in The Rolling Stones’ Shine a Light. Amidst wailing gui-

tars and succinct rhythm, we chat about the evolution of luxury hotels, from hiring European GMs with proven pedigrees in the 1980s to amenity-driven gimmicks that “big-box luxury hotels” turned to in the ’90s.

“It’s important to have an understanding of the humanities – of the arts and culture where the hotel is located – in order to execute an informed vision,” he says. “I believe that if a hotelier wants to advance, the depth and culture of his iconic institution can only reach the depth and culture that he has.”

The question arises: “What is iconic?” “An icon has a power over people, whether it’s another person or a building,” Shaindlin says. “When someone interacts with an icon, they encourage a sense of surrender that’s undefinable. There’s a sense of beauty that makes people not want to let go. It’s like after a game at Yankee Stadium – everyone stands, but no one wants to leave. Or at a Rolling Stones concert. It’s the same trying to leave the Halekulani.”

BMW 750Li
Engine: 4.0 liter, V-8, 400 horsepower
Acceleration: 0-60: 5.2 seconds; top speed 150 mph
Braking: Four-wheel disc brakes
Sound system: High-fidelity sound system, 10 speakers with two subwoofers; 205 watts of power
Price: $84,200; as equipped $101,320

With last year’s edition of the 1 Series, the smallest BMW, this German manufacturer has attempted to cover the entire automotive spectrum. This year, its the top-of-the-line sedan, the 7 Series, which has been given a major overhaul.

With this redo, all the typical BMW design signals are still accounted for. The dual kidney-shaped grills remain, the flanks have been cleaned up, and the infamous kicked-up trunk lid (named the “Bangle Butt” after its designer) has been leveled off.

Our test model was the 750 Li – a “limo” with speed. With the letter L added to the formula, the wheelbase is stretched more than 5 inches, resulting in additional leg room in the already roomy rear seats.

However, there is one more 7 model that really is at the top of the heap: a V-12 monster called the 760Li. Certainly not lacking in power, its turbocharged 6 liter engine produces 537 horsepower and the torque of a locomotive.

Oh, but do not feel sorry for the poor 750i or Li owner. This four-door sedan has a twin turbo V-8 with all the technical parts that develop 400 horsepower, and it is tied to a smooth-operating six-speed automatic. In ordinary use, the V-8 is a paragon of silent power with a transmission that feels totally “shiftless.” Even when hammered, that model of silent power does not change much. At full song, 0 to 60 time is just over five seconds.

Besides its distinctive look, BMW is known for its clean, comfortable combination of handling and control. Even with this, the largest of Bimmers, that reputation remains. No matter how poor the road conditions, no matter how off-kilter a corner, no matter how big that pothole may be, this large sedan handles it in stride.

As an additional bonus, there are four different ride and speed settings. If absolute comfort is your choice, then the shocks, transmission shift pattern, engine response and steering input all are adjusted accordingly. Next up are the “normal,” then “speed” and finally “speed plus” settings – the driver truly can tell the difference between these various levels.

Also, gone are the days of BMW’s black hole interiors. With just the right mix of fine-grade leather, wood and metal, the interior is well-laid out, bright and airy.

All of the latest computerized functions and high-tech items are either standard or available. In the front cockpit, the focus of activity is on the 10-inch screen in the center of the dash and the iDrive system. Thankfully, the iDrive has been largely modified so the wheel mouse is not the entire begin-all and end-all. Various buttons can send the driver or passenger to the functions available.

Hold your breath, because a ton of options can come up on the screen: a picture of what is behind the car when reversing, a 3D navigation map of Honolulu, an infrared picture of what is far in front of the car at night, the telephone numbers from your Blue-tooth phone, settings and information about the CD, iPod or AM/FM sound systems, and even all the engine information you could ever want. The heads-up display right in front of the driver, which shows speed and other data, looks like the information is suspended in the air above the hood.

Not that your rear passengers are left out. They have separate controls for air conditioning and can turn on or off separate reading lights. In case the paparazzi are about, window shades for the back and side windows can be raised or lowered, depending on whether you do or do not want to be seen. In case of those airport jet-setter runs, the trunk is huge and equipped with a power trunk lid.

This BMW leaves the potential owner of a large luxury sedan with a tough dilemma: “Do I want to drive a powerful, high-tech and great-handling machine? Or do I want to be pampered in the back seat and avoid being seen by my many fans?”

Life’s choices are tough sometimes.