a meal but it was wonderful.
"All the chefs' parents or grandparents were in the war, many part of the landings. We also had judges, who as 17-year-old boys were on the ships. It was really interesting with amazing food."
Both agree the WI's an important part in British cooking and using its centenary as this year's theme, will contribute to what they are confident will be a season to savour. It will show, contrary to stereotypes, the WI's crucial role in British culinary history, one big reason Britain punches above its weight producing world-class restaurants and chefs.
"I hope the strong sense of community the WI's generated comes out. I was really surprised to learn how many urban WIs are opening. I certainly think if we had many more WIs in urban areas they'd be an enormous social force," said Oliver enthusiastically. "People will see they haven't ruined British cooking because what separates British cooking from other cuisines is home cooking. British baking's home cooking. Except for the WI, many things like Britain's baking culture, which I'm passionate about would be dead."
Although initially more cautious than Oliver, Prue's enthusiasm for the WI and its involvement is equally evident. "I was sceptical when they suggested the WI, due to prejudices about grey haired old ladies making cakes. I knew better: I often talk at their meetings and events - they're the most intelligent interesting people and some branches, the average age is mid-30s. I thought it wouldn't appeal to younger audiences, but it's been great," she said.
With so many cooking programmes on television compared to ten years ago, what's kept GBM so popular and can it continue to compete?
"What's obvious is GBM's been a great incubator for cooking talent and a big influence on producers and young chefs particularly regarding ingredients," said Oliver. "Food programming's mixed but GBM gives a snapshot of current British food. When I started the only food reference was France because the only people training chefs in this country were from French restaurants. Some of this year's GBM chefs may have never even been to France, nor consider it their culinary cornerstone. Their food reference is currently British, Indian, whatever. Young chefs' inspiration's completely changed in a generation - I really like our indigenous cooking culture embedding itself in new chefs.
"The national focus is great - taking things away from London's very important. Many chefs recognise if they're on GBM, win or lose, their restaurants will become busier. It's important to many restaurants outside London, more if they're good and get through."
Prue also praises the show. "Look at how it's developed - it's amazing! GBMs helped promote farmers, local produce, cooking innovation etcetera. This year's an excellent example. Inspiration came from the WIs origins, history and campaigns, food like: pigeon; rabbit; offal; herring; mackerel, which was lovely for me," Prue said. "I think it's a little different to a lot of food shows in that it's not just a competition it's also the best chefs in the country and as a tribe chefs are very engaging people. I'm not really sure why it works but it certainly does."
By Rob Whitson
Prue feels some series initially seem they will be better than others, but clearly loved them all. "Many themes I've thought will never work, but they think of excellent angles," she said. "I was rather unhappy when we started doing the Normandy landings last year. I thought that was slightly tasteless - you can't have something where so many people died as a reason for cooking
