logo
Rachel Khoo Interview On KETTLE® Chips New Flavours

Rachel Khoo Interview On KETTLE® Chips New Flavours

Buzz Feed19-05-2025
You probably know Rachel Khoo from The Little Paris Kitchen, the BBC series (and best-selling cookbook!) that launched her into the culinary spotlight. Or maybe you've seen her judging cakes on The Great British Menu and The Great Australian Bake Off. But behind the TV charm and Instagram-worthy plates is a woman who's built her career through an unwavering belief that food can be a tool for connection and change. From growing up in South London to cooking in a tiny Parisian bedsit, Rachel's path has been shaped by passion, innovation, and an unshakable love for food.
We sat down with Rachel to talk about her career evolution, her new flavour collab with KETTLE® Chips, and how she's paying it forward with the KETTLE® Khoo Academy, an initiative designed to give aspiring female food entrepreneurs a real shot at success.
You originally studied art and worked in PR. How did food end up taking centre stage?
Rachel Khoo: I went to art college at Central Saint Martins and then worked in PR and marketing. My career was progressing, but I just felt like, "If I don't leave, I'm going to stay here for the rest of my life." I wanted to get back into food – I'd always loved it – and I looked at culinary schools in London, Vienna, and Paris. London would've been the easiest option, but with Paris, I'd get the cultural experience too. I didn't speak French, didn't know anyone. It was definitely nerve-wracking, but I thought, 'I'll just give it a go.'
And you didn't speak French? How did you get by?
Nope, not a word. I'd saved just enough for the school fees, but I didn't have money for living expenses, so I got a job as an au pair. That came with accommodation, 80 euros a week, a mobile phone, and a travel pass – just enough to scrape by. I also did loads of other jobs: selling perfume in department stores, teaching English… I also worked in a little culinary bookstore, and that's how I started meeting people in food publishing. That opened the door to writing two cookbooks in French.
Around the same time, I started doing underground pop-ups ~restaurants clandestins~ before pop-ups were really a thing in Paris. When I was writing my third cookbook for a UK publisher, I had over 100 recipes to test. I hate food waste – that's my Austrian grandma's influence – so I started inviting people to my tiny bedsit. I could fit two people at a time for lunch. They'd donate a bit towards ingredients, and I'd test the recipes on them. It was a great way to be economical and get feedback.
A lot of people know you from The Little Paris Kitchen. What was it like filming that? It was all filmed in that same tiny flat! I could only fit two guests at a time around the table. It was super DIY – just me: cooking, filming, and serving. But it was such a special time because it wasn't just about recipes, it was about creating a human connection through food.
Your upbringing sounds like it had a big influence on your love for food.
Definitely. My dad's from Malaysia, my mum's Austrian, and I grew up in the '80s in the UK, where the culture was more about assimilating, like, 'don't stick out'. I didn't grow up speaking Cantonese or Hokkien, but at the dinner table, everything came together. We had beef rendang, schnitzel, roast on Sundays… Monday was leftovers night, so it was like the United Nations on the table! That cultural mix really shaped how I see food – it's a way to connect, no matter where you come from.
Fast forward to now: how did the collaboration with KETTLE® Chips come about?
They actually approached me, which was lovely because I genuinely love their chips. I grew up in the UK with chip sandwiches, that's the culture I come from. In France or Sweden, where I've lived, the chip game isn't quite the same. So when KETTLE® said they wanted to create flavours inspired by my time in France, I was all in.
There are so many delicious French flavours to choose from. Tell us how you landed on the two.
The flavours – Honey Dijon Mustard and Brie & Caramelised Onion – are really personal to me. They're inspired by my time in France and all the food I fell in love with there. The Honey Dijon has that beautiful sweet-tangy balance, and the Brie & Caramelised Onion is pure comfort: creamy, nutty brie paired with that deep umami of caramelised onions.
How involved were you in the development?
Very involved in the fun parts – the tasting, brainstorming, the creative side! I'm not the technical expert, but KETTLE® has an incredible research & development team. We'd go back and forth to get the flavours just right. Like with the Dijon, we wanted enough heat without it turning into that mustardy punch-up-your-nose feeling! With the brie, we had a whole brie versus camembert debate, it was a real team effort. These chips really are a love letter to France and all it gave me.
And you've also teamed up with KETTLE® for the KETTLE® Khoo Academy, an initiative which aims to help combat the disparity between men and women in UK kitchens. The program is now heading into its second year – can you tell us a bit more about why you decided to become a mentor?
When I was starting out, I had to figure everything out on my own, there wasn't a clear path or mentorship. The KETTLE® Khoo Academy is about changing that. We created a programme that gives aspiring food entrepreneurs access to everything I wish I had: mentorship, insight from KETTLE®'s team, workshops on branding, marketing, R&D – the whole behind-the-scenes of building a food business.
One of the mentees wanted to start a food truck bringing food education to rural Scotland, but she couldn't drive. So she used her bursary for driving lessons. It sounds small, but it was life-changing. That's what this is about: giving people practical tools and confidence to take the next step, no matter how big or small.
BBC
Who do you want to apply for the next cohort?
Absolutely any woman who's passionate about food and wants to share that with the world. It's not about where you are on your journey or your age, it's about passion. Whether you have a full business plan or just an idea scribbled in a notebook, we want to hear from you.
What do you hope future mentees take away from it?
That you don't have to do it all alone. The Academy builds a community – mentees support each other, share experiences, and stay connected even after the programme ends. That kind of network is so powerful, especially when you're just starting out.
Final question: What keeps you excited about food after all these years in the industry?
People. Food brings people together: that never gets old. Whether it's sharing a meal or a packet of chips, food creates connection. And if I can help someone else find their voice through food, even better. That's the real joy.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Michael Rider's CELINE Debut Is the Beginning of a Great Legacy
Michael Rider's CELINE Debut Is the Beginning of a Great Legacy

Hypebeast

time6 hours ago

  • Hypebeast

Michael Rider's CELINE Debut Is the Beginning of a Great Legacy

In Paris on Sunday,Michael Ridermade his much-anticipated debut atCELINE, the French luxury house at which the newly minted creative director formerly worked for a decade under Phoebe Philo's lead. A homecoming of sorts, the kaleidoscopic spectacle marked the beginning of a new era — one defined by preppy style codes, sculptural silhouettes, glamorous eveningwear, and, yes, skinny jeans — in the wake ofHedi Slimane's departurelast year. 'Coming back to CELINE, and to Paris, back to 16 rue Vivienne in a changed world, has been incrediblyemotional for me. And a complete joy,' said Rider, who more recently led design at Polo Ralph Lauren. 'CELINE stands for quality, for timelessness and for style, ideals that are difficult to catch, and even harder to hold on to, to define, despite more and more talk about them out there.' In a mix of business and extravagance, the collection opened with muted trench coats, blazers, sweaters, and button-ups heavily accessorized with decadent, gold necklaces and bracelets. Bold blues and saturated reds crept into the picture on oversized shoulder bags, wide-legged dress pants, and logo-laden scarves, before true greens and aquamarines commanded sports coats and sweaters made with perfect proportions. Given the CELINE tag's glaring prestige (and the hefty price point associated with it), these are the kinds of pieces that most shoppers would view as investments, the sort of prized closet fixtures that, eventually, pass down through generations. That idea of longevity fueled Rider's vision. He mused, 'I've always loved the idea of clothing that lives on, that becomes a part of the wearer's life, that may capture a moment in time but also speaks to years and years of gestures and occasions and change, of the past, the present and the future, of memories, of usefulness and of fantasy, of life really.' Rider is just getting started, but he's clearly got a legacy-defining plan in place. See his full debut collection for CELINE in the gallery above.

Celine Just Confirmed That '80s Prep Is So Back
Celine Just Confirmed That '80s Prep Is So Back

Elle

time7 hours ago

  • Elle

Celine Just Confirmed That '80s Prep Is So Back

It's been seven years since Michael Rider was last at Celine, where he worked for a decade as design director under Phoebe Philo's famed tenure, and quite a few things have changed. While Hedi Slimane stepped in, dropped the acute accent from the name, and shifted away from Philo's feminine ease, Rider sharpened his preppy edge as creative director of Ralph Lauren. Now, on the runway, it's as if the varying influences from his career have formed a scrapbook to compose his Celine debut. As models wound through seats formed in an interlocking C emblem, the sporty collegiate vision was immediately realized. Two things from the collection stood out as abundantly clear: accessories and styling reigned supreme. In a way, this method creates an incredibly approachable luxury vision with tangible entry points. You aspire to buy the beautifully constructed pieces, but you're inspired to shift the way you dress, whether it be incorporating a silk foulard into your wardrobe, taking scissors to the bottom of your necktie, or stacking every single piece of jewelry that you own. The scarves, also seen across multiple menswear collections last week, were a dominant motif on the runway (the invite was even composed of one). Many were adorned with a different logo pattern: a slimmer, almost crescent moon-like 'C.' One wide-winged accessory in particular evoked the ghost of fashion past. With the reissue of Philo's iconic Phantom, Rider smartly tapped into the It-bag resurgence craze. For bags slung over the shoulder—and, in one instance, matched with a tan patchwork leather jacket—bigger was better, emulating a youthful academic aesthetic. The Brat Pack's arrogant glory and personification of the '80s preppy era—specifically in the coming-of-age film St. Elmo's Fire—immediately comes to mind. Give it a French twist with skinny trousers and topsider-meets-Keds minimalist shoes, and you've summed up Rider's debut. There's no doubt that a high-powered and highly glossy version of the '80s is currently dominating the runways. It's a relief to see designers playing skillfully with beautiful styling and a pleasure to witness each interpretation. For Rider, that manifests through yuppie-inspired pieces—no doubt a result of his time at Ralph Lauren. However, it's his remarkable blending of subtle subversions, like tucking wide-legged suit trousers into logo-printed boxing shoes or dabbling with sweatshirts and retro silhouettes, that separates him from playing too heavily into the preppy handbook. Alexandra Hildreth is the Fashion News Editor at ELLE. She is fascinated by style trends, industry news, shake-ups, and The Real Housewives. Previously, she attended the University of St Andrews in Scotland. Following graduation, she moved back to New York City and worked as a freelance journalist and producer.

‘I wasn't going to show the violence': S.F.-raised Eva Victor on ‘Sorry, Baby'
‘I wasn't going to show the violence': S.F.-raised Eva Victor on ‘Sorry, Baby'

San Francisco Chronicle​

timea day ago

  • San Francisco Chronicle​

‘I wasn't going to show the violence': S.F.-raised Eva Victor on ‘Sorry, Baby'

Eva Victor was back in their hometown, the final stop on a press tour for their critically lauded debut feature, and they were ready to party. But first, Victor, who uses they/she pronouns, demanded perfect attendance during a Q&A on Tuesday, July 1, after a crowded screening at the Alamo Drafthouse New Mission theater of ' Sorry, Baby,' which Victor wrote, directed and stars in. 'Good night!' Victor said to laughter as a couple was walking out just as the discussion got started. 'If you leave, I will call you out, it will be horrible for you. Don't leave!' Victor, best known for a recurring role in the Showtime series ' Billions,' is trained as a comedian; they have performed at SF Sketchfest when they were with the satirical website Reductress and was very entertaining as they discussed 'Sorry, Baby.' But while the movie has sharply funny moments, it is a serious and unique drama about Agnes (Victor), a woman processing a sexual assault — called 'the bad thing' — and her life-saving friendship with Lydie (Naomi Ackie of ' Blink Twice ' and ' Mickey 17 '). While Victor insists the film, which counts Barry Jenkins (' Moonlight ') as a producer, is 'narrative fiction,' it is based on an incident they experienced and admitted to the audience, 'I made this film about a time and experience when I felt very unheard, and it means the world for you to be here and listen to what I have to say.' Hours earlier, during a Chronicle interview at the 1 Hotel, Victor said, 'I really wanted to write a film about trying to heal. … It was a real joy to fictionalize an emotional truth in my life.' Victor was born in Paris, but their family moved to San Francisco when they were 2. They went to the International School from kindergarten through 12th grade before going to theater school at Northwestern University. This conversation has been edited for length and clarity. A: When I was a kid, we lived in the Marina, and my favorite place to go was on a walk to Crissy Field, go to the Warming Hut, get a cup of cocoa. That's a nice spot. Q: Did you enjoy school? A: It broke my brain, and I still don't know if I've recovered. The best part of it was my junior year of high school. I started doing theater, and that was amazing because (Berkeley-based actor) Michelle Haner was my teacher, and I was in 'Spring Awakening,' the musical, and my director was Brad Korman. They were both incredibly supportive teachers and treated me like an adult and took me seriously. And that made me want to go to theater school as a college student. So I'm very grateful for them. Q: How in touch are you with your French heritage? A: I would love to get French citizenship. Once I got a job on a TV show, I got to have a little more money so I could go to France. I feel very, very connected to Paris. It was very fun to go to the Cannes Film Festival (in May). I think it's beautiful, and I would love to spend more time there. Q: Your previous directorial experience consists mainly of comic videos you made on social media. How did you come to direct 'Sorry, Baby'? A: It was definitely intimidating. I didn't want something to get lost in me taking on too much. I wrote this really privately, just in a house by myself with my cat, and I was desperate for someone to read it, like I didn't want to be alone with it. I really wanted to act in the role, and I thought, 'Well, we can hire someone to direct it.' Then I went to think about it for a month or so and quickly realized I desperately wanted to direct it. I just needed to figure out how. So I spent a couple of years preparing to direct in various ways. I knew how I wanted it to look and feel. I just needed to learn how to communicate that to heads of department, who will then ideally challenge you on your vision. The nice thing about directing the film is you spend a lot of time building the film with other people, and then you shoot it and direct it. It's like this really long journey of creation together. Q: A key casting choice was who would play Lydie. How did you find Naomi? A: We met, and she was just such a warm ray of light. I'd seen ' Lady Macbeth ' (2016) and the Whitney Houston movie (2022's ' Whitney Houston: I Wanna Dance With Somebody '). I was so overwhelmed by how goofy she was. The universe sent her to me, and on set, it just clicked. Q: You chose not to show 'the bad thing' but instead show her walking into the place where it happened, then later walking out. Why? A: I always knew I wasn't going to show the violence. It was for a person like I was who couldn't sit through a film like that; it would turn my body into shock mode, and I didn't want to put anyone through that. Her body goes in, but I don't think her spirit does. I think this might be more of a memory of what that experience was like. It's frozen and disconnected. So it's kind of out of body.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store