ISSUE NO. 01 SPRING 2015
CONTENTS
SAKE FLIGHT 1 WHAT IS SAKE?
Natsuki Kikuya & SoHo + Co page 6
2 FIELD TO TABLE: A COLLABORATION BETWEEN DININGS AND SEKIYA BREWERY FROM HOURAISEN
Natsuki Kikuya & Masaru Watanabe page 10
3 HOW MUCH SAKE? JAPAN’S BIGGEST PRODUCERS AND THE WORLD’S BIGGEST IMPORTERS
SoHo + Co page 28
4 CONSUMER AWARENESS AND PERCEPTIONS OF SAKE IN THE UK, USA AND CHINA
Antony Moss page 32
5 THE ART OF SAKE LABELS
Natsuki Kikuya page 34
6 GLOBAL SAKE VOICE
Natsuki Kikuya & Masaru Watanabe page 43
7 SEASONAL FOOD & SAKE PAIRINGS
Natsuki Kikuya & SoHo + Co page 48
8 DAISHICHI BREWERY: AN EYE FOR DETAIL
Anna Greenhous page 52
9 TOKYO SAKE FORECAST 2015
Natsuki Kikuya & Masaru Watanabe page 58
MUSEUM OF SAKE JOURNAL 2
EDITORIAL
Alcohol is a cure for all ailments. TRADITIONAL JAPANESE PROVERB
WELCOME TO THE WONDERFUL WORLD OF SAKE I was born into sake. My grandfather was part of a cooperative of sake makers in Akita prefecture and my family had been brewing sake since 1655 - for more than three and a half centuries, which is an incredible legacy. However, I didn’t always have a passion for sake. Growing up, it was never really a part of my life. In Japan it seemed nobody under the age of 35 drunk it, and I didn’t feel connected to it. It wasn’t until my early twenties when I brought some friends from the American university I was studying at to visit my family brewery in Akita that I suddenly realised how special sake was. After my studies, I returned to Japan and started working in a company in Tokyo, in one of the city’s many office blocks. I might have remained in the corporate world of business had my grandfather not fallen ill. Although he has now recovered, his illness prompted me to reflect on the ‘incredible legacy’ that my grandfather was protecting. He was always so proud of his sake; it was something very special that had been passed down over all those years. And I started to think about what would happen if all that was to be lost. I therefore trained in sake, and have been working in this wonderful world. In September 2009 I moved to the UK in order to heighten my understanding of the overseas sake market, and improve the understanding of sake abroad. I worked as head sake sommelier at ROKA in London before setting up Museum of Sake in 2012. The front cover shows the family of ‘sake’ kanji characters which consist of 酉 (tori) symbols, that signify traditional sake carafes. There are 62 kanji characters with these symbols, and each of them tells stories of historical sake relationships with medicine, currency, and many more. This shows the depth of sake culture and how it has deep connections with Japanese everyday life. Our key aims are to dispel misconceptions, enthuse people about sake and devise new ways of enjoying sake that will get British drinkers and foodies excited. It is with great pleasure then that I introduce you to the Museum of Sake Journal - our new quarterly publication that I hope will instil in you as much passion about sake as I have. Kampai! NATSUKI KIKUYA DIRECTOR & CURATOR, MUSEUM OF SAKE
MUSEUM OF SAKE JOURNAL 3
CONTRIBUTORS ANNA GREENHOUS, LONDON FREELANCE SAKE JOURNALIST TWITTER: @TASTEWINESAKE
Anna Greenhous works freelance in both the wine and sake trade. She fell in love with sake researching for an expat magazine drinks column whilst teaching in Japan. Since then she has spread the word back in the U.K, presenting tastings at L’Atelier des Chefs cookery schools and writing about sake for Harpers (drinks trade magazine). ANTONY MOSS, LONDON DIRECTOR OF STRATEGIC PLANNING, WSET WWW.WSETGLOBAL.COM
Antony is a Sake Samurai and the Director of Strategic Planning for the Wine and Spirit Education Trust (WSET), where he has worked since 2004. His current role covers long-term business planning, and new product development: this means he has been spending a great deal of time exploring breweries in Japan while working on the development of a new WSET qualification in Japanese sake. CHIZUKO NIIKAWA, NEW YORK JAPANESE SAKE PRODUCER, FOUNDER OF SAKE DISCOVERIES, CO-FOUNDER SAKE JOURNEYS WWW.SAKEDISCOVERIES.COM
Chizuko earned her prestigious Sake Sommelier Certificate at the Sake Service Institute (SSI), in Tokyo, Japan and is a Sake Samurai. Working in New York, she founded Sake Discoveries in 2008. In addition to promoting breweries, planning sake events and parties and conducting activities such as staff training, she also helps organise and coordinate events at the request of government agencies, brewing unions and the like. MAMI HARADA, TOKYO CALLIGRAPHY ARTIST WWW.66MAMI66.COM
Mami Harada is a Tokyo-based calligraphy artist who has created this quarter’s journal cover artwork. Having first held a brush at 9 years old, she is a graduate of Daito Bunka University’s Calligraphy School. Mami mainly focuses on exhibitions, logo creation, and live painting while also tackling character representation as paintings and visual products. MARIE CHIBA, TOKYO MANAGER OF MOTO SAKE BAR, TOKYO TWITTER: @MARIMARIMO125
In university, Marie becomes aware of the beautiful taste of sake and the fun of customer service. She joined the Moto standing sake bar in Shinjuku as bar staff. She began to take an avid interest in the world that Japanese sake represents and today, besides running the bar as manager, she spends her holidays visiting breweries all around the country or studying at the National Research Institute of Brewing while continuing to promote sake actively both home and abroad.
MUSEUM OF SAKE JOURNAL 4
MASARU WATANABE, LONDON / TOKYO CONSULTANT, NOMURA SECURITIES
Masaru is a consultant at Tokyo-based firm, Nomura Securities. He was given the opportunity by the company to pursue any line of interest for a year. With a passion for sake, Masaru came to London in 2014 and has been working with Natsuki on the Museum of Sake Journal to further promote sake in the UK through education and information. REBEKAH WILSON-LYE, TOKYO TOKYO FOOD & SAKE CONSULTANT, FOUNDER OF ICHI FOR THE MICHI WWW.ICHI-FORTHEMICHI.COM
Tokyo-based Rebekah Wilson-Lye works as a freelance writer, ‘food-fixer’ and sake consultant. She is an Advanced Sake Professional, who was awarded her certification by the Sake Education Council. Through Ichi for the Michi, she acts as guide for visiting chefs, restaurateurs, journalists, designers and gastro-travellers. She also provides sake consultancy serves for businesses that are interested in sake for import/export purposes, or, for those who want to deepen their knowledge. SOHO+CO, LONDON FOOD & DESIGN CONSULTANCY WWW.SOHOANDCO.COM
SoHo+Co is a design consultancy with a love of witty ideas, food and drink. Founded by Jasmin Sohi and Tom Holberton who trained in both architecture and graphic design, the studio enjoys working with interesting people on quirky projects, from brand identities to installations. They believe design should be playful - a recent collaboration with the Museum of Sake was a ‘floating’ sake bar with a roof held up by helium balloons, part of an Ukiyo-e exhibition in London. SYLVAIN HUET, PARIS FOUNDER OF ACADÉMIE DU SAKÉ AND SALON DU SAKÉ WWW.NIHONSHU.FR
Sylvain holds the honour of being the first Sake Samurai in France. He is the founder of Académie du Saké, an organisation that aims to popularise Japanese sake and a place where he passes on knowledge of Japanese sake together with its charm to mainly wine sommeliers, chefs, food-related press and other such professionals. Two years ago, he hosted the Salon du Saké, the biggest Japanese sake festival in Europe. TAKA YAMAMOTO, BEIJING SAKE PROMOTER & COORDINATOR AND OWNER OF SAKE MANZO HTTP://WAJO.BIZ/
After moving to Beijing in the year 2000, Taka launched Wajo, a company that exports and sells Japanese sake. He is also owner of Sake Manzo restaurant and bar which boasts one of the best stocked drinks cabinets in town with over 60 different sakes on offer. Taka is committed to popularising Japanese sake in Beijing - the Japanese Cabinet Office selected him among the Japanese people who are most actively promoting Japan around the world.
MUSEUM OF SAKE JOURNAL 5
AN INTRODUCTION TO SAKE
1 WHAT IS SAKE? If you trace the food culture and history of Japan, there is an unmistakable relationship between land, an abundant source of water and rice production. Ever since Japanese ancestors brought wet rice cultivation culture from China over 5,000 years ago, rice has always been the center of the Japanese diet and has played an essential role in the food culture. WORDS: NATSUKI KIKUYA ILLUSTRATIONS: SOHO+CO
As a byproduct of rice a a purely fermented alcohol drink from rice and water, ‘sake’ became has been a national alcoholic beverage of Japan for over 2,500 years. As it was first produced within the shrines of Shintoism, Japan’s oldest religion, sake is still a key element of many Shinto rituals and Japanese festivals.
Brown Rice
Sake is linked to Japanese culture in many ways and expresses the beauty of Japanese nature, traditions, culture and spirit. It is often pronounced ‘SAH-ki’ by English speakers, yet in Japanese it is more like ‘sah-keh’. The word ‘sake’ in Japan simply means ‘alcoholic beverage’. In Japanese, we commonly specify the drink as ‘Nihonshu’ (日本酒) or with the more official term ‘Seishu’(清酒). Sake is purely made from 4 natural ingredients: rice grains, koji-rice, water and yeast, although sometimes distilled brewer’s alcohol is added too to enhance the flavours.
Polish Grains
Wash / Soak / Steam / Cool
Steamed Rice
Koji
Cultivate
Steamed Rice
Koji Rice
Process of Making S
Yeast Starter
Steamed Rice
Pressed Sake
Koji Rice
Shubo / Moto Starter fermentation
Filtration
Pasteurization
Moromi Mash fermentation
Stored + Aged
Optional depending on type of Sake
MUSEUM OF SAKE JOURNAL 6
Diluted
AN INTRODUCTION TO SAKE
RICE 米 : WHITE PEARL FROM THE FIELD
WATER 水 : BEAUTIFUL GIFT OF NATURE
The reason why sake is historically related to Japanese Shinto religion comes from sake’s main ingredient: rice.
Brewing sake takes enormous amounts of water. From washing and steaming rice, cleaning all the equipment as well as in fermentation stage, sake production normally requires about 50 times the weight of the rice in water. In addition, water makes up 80% of all ingredients, since the rice grain itself does not contain any liquid. It goes without saying that the quality of the sake is influenced greatly by the quality of the water.
The Japanese diet has been nourished by wet rice cultivation, or ‘Inasaku’ (稲作) culture for 2,500 years. Within the Shinto religion itself, people believe in the existence of ‘Inadama’ (稲魂) - namely, that rice paddy has a soul and spirit. Therefore rice and sake have been the ‘religion’ of Japan throughout history.
Sake
Juzo Pressing
Bottled Sake
There are two types of rice for sake making, table rice and ‘Shuzo-koteki-mai’ (酒造好適). Table rice is everyday rice that one eats as a meal. It contains more fat and protein, and does not have ‘shinpaku’ (心白), - the appearance of starch in the centre. Shuzo-koteki-mai is designed to meet the needs of making good quality sake and it has special features to be qualified, such as its large grain size and presence of shinpaku, a high concentration of starch in the middle. It also features minimal amounts of protein and fat with a high absorption and solubility level. Rice production for sake only takes up 5% of whole rice production in Japan and within that number only 1% of it is for Shuzo-kotekimai. Since it is not easy to grow, it tends to be high in price. The king of sake rice, Yamada-nishiki (山 田錦) from designated ‘Special A’ fields, is the most expensive high quality rice, and could cost about three times more than regular Shuzo-koteki-mai. Even though Shuzo-koteki-mai is an ideal choice, there are more breweries today using table rice to make beautiful sake that is lower in price.
As Japan’s islands are surround by oceans, Japan has an abundant access to water from the mountains, rivers and oceans, and there are several areas well known for high quality water. Most sake breweries tend to be located close to the best water sources in each region. Rice is something that can be bought from other areas but the source of water is an asset from nature. Generally, water can be classified into hard water and soft water depending on significant quantities of dissolved minerals, such as calcium and magnesium. Both of these water types do have the potential to make good quality sake, but the most suitable water is believed to be ‘semi-hard water’ known as ‘Miyamizu’ (宮水) from the Nada region. Hard water is rich in minerals that quicken fermentation, resulting in dry and ‘masculine’ sake. Soft water has fewer minerals and creates slower and gentle fermentation. This results in a softer and more ‘feminine’ style of sake, known as ‘Fushimizu’ (伏水) in the Kyoto region.
MUSEUM OF SAKE JOURNAL 7
AN INTRODUCTION TO SAKE
How to categorise sake 35%
<50%
Junmai Daiginjo
Daiginjo
<50%
50%
51-60 %
Junmai Ginjo
Ginjo
51-60 %
60%
Honjozu
Junmai
61+%
61-70 %
70% JUNMAI - No alcohol added
Futsushu
Rice
70+ %
100% NON JUNMAI - Added alcohol
% of rice grain left after polishing determines the category
SAKE IS CATEGORISED ACCORDING TO HOW MUCH THE RICE HAS BEEN POLISHED, AND WHETHER ADDITIONAL DISTILLED ALCOHOL HAS BEEN ADDED.
MUSEUM OF SAKE JOURNAL 8
AN INTRODUCTION TO SAKE
KOJI 麹 : MAGICAL MOLD
KOBO 酵母 : MOTHER OF FERMENTATION
Koji-kin (麹菌), or in scientific terms Aspergillus Oryzae, is a type of mould spore that has been a foundation for the fermenting food culture of Japan for many years. It is a beneficial and safe variety of bacteria used for miso, shouyu (醤油, soy sauce), sake, mirin (味醂, sweet sake for cooking), rice vinegar, shochu and various other ingredients in Japan.
Yeast or kobo (酵母) in Japanese plays a critical role in determining sake quality. Until the early twentieth century, sake was made using naturally occurring yeast. Over the decades, technology has improved and there are more and more methods of purely isolating and selecting yeast from the main ‘mash’ or moromi, (醪) of a brewery that has produced good sake. Many breweries have their own ‘prosperity yeast strains’ which were discovered by and exclusive to them.
Grape juice contains sugars which ferment in the presence of yeast, but with beverages made from grains such as sake and beer, it is first necessary to use enzymes to break down the starch in the grain to convert it to sugar before yeast fermentation. In beer brewing, malt is used as the source of these enzymes, but for making sake, ‘kome-koji’ ( 米麹) is the key player. Kome-koji is steamed rice inoculated with koji-kin, and it creates enzymes that convert rice starch into sugar, which the kobo (酵母, yeast) feeds on. Koji also produces the other type of enzyme that breaks down protein and produces amino acid and peptide, which creates the unique characteristics of each sake. Koji production is the heart of the sake brewing process, and this process is most exercised in the mind of master brewer. It requires constant control and adjustment of temperature throughout its 40-48 hour process in koji-muro (麹室), a special temperature-controlled room and traditionally covered with cedar wood with an electric heating wire or convection heater. In modern settings more and more stainless-steel covered koji-muro can be seen. The koji itself releases heat and the koji temperature has to be checked every two hours during the day and night.
Since 1906, yeast selected in this manner has been distributed largely and widely by the Brewing Society of Japan as Kyokai-kobo or Brewing Society Yeast (協会酵母). Kyokai-kobo is numbered, and packed in ampules. Currently, the most widely used yeasts are Sake Yeast kyokai #6, #7, #9, #10, and #14. Each produces its own aroma and taste characteristics and the specific choice depends on the desired sake quality. More recently, brewers have been utilising microbial technology to produce yeasts designed to increase the amount of esters delivering a fruity aroma. Since the 1990s, numerous yeast strains produced by several prefectures with advanced area of study have appeared in the market such as Shizuoka kobo, Yamagata Kobo, Akita Kobo and Fukushima Kobo.
AN EXPLORATION The world of sake is full of contradictions and surprise, and we hope that through the Museum of Sake Journal we can help with the understanding, exploration and enjoyment of this fascinating drink.
MUSEUM OF SAKE JOURNAL 9
TITLE
2
FIELD TO TABLE In April 2014 a collaboration event called “Field to Table” was held at the modern Japanese restaurant Dinings in London. Sake from Sekiya Brewery from Houraisen, Aichi prefecture Japan was especially selected for this delicious event. 2014年の4月に、愛知県蓬莱泉の醸造元であ る関谷醸造の日本酒と、ロンドンのモダン和 食レストランDININGSのコラボレーションイ ベント『FIELD TO TABLE』がDININGSにて 行われました。
MUSEUM OF SAKE JOURNAL 10
INTERVIEW: FIELD TO TABLE
IN PURSUIT OF THE MEANING OF LOCAL CULTURE
「ローカル文化」の意味を改 めて追求するということ
Sekiya Brewery is known for its ingrained way of brewing sake. It has dedicated fans in its hometown and about 80% of its products are consumed in the local area of the brewery. In addition, the fact that more than 90% of its employees are ‘homegrown’ shows Sekiya’s deep understanding and contributions to the field of Houraisen.
関谷醸造は地元に根付いた酒造りを徹底する蔵元で
Dinings’ concept is serving carefully sourced ingredients incorporating Britain’s food culture and local produce to Londoners. With the extra effort they put on understanding producers of agriculturally and sea-sourced ingredients, they deliver seasonal food to their table, adding a distinctive essence of Japanese-style to the mix.
一方のDiningsは、英国産食材や食文化を織り込みロ
す。地元の継ぎ手がいなくなった農地を買い取って米 や野菜を育てており、生産物の8割が地元の関谷醸造 ファンによって消費される人気ぶりです。従業員は9 割以上が地元出身者で占められており、蓬莱泉という Fieldに対する理解・貢献を追求したものづくりをし ています。
ンドンに「ローカライズした」和食の提供をコンセプ トとしています。英国の海の幸・山の幸の生産者との つながりを大切にし、彼らの育てた旬の食材を大いに 活用しながら、Diningsならではの和食エッセンスを加 えてTableに届けています。
そんな両者の「地元への理解を追求したものづくり」
The event ‘Field to Table’ focused on creation as a means to pursue further understanding of local culture. This event connected sake from the field of Houraisen, Japan and food from Dinings’ table in a London environment, helping to open a new frontier of the culture of Japanese food in various countries.
という共通点に着目したのが今回のイベント『Field to Table』です。蓬莱泉というFieldから生まれた日本酒 を、Dinings杉崎シェフが作った料理と共にロンドンの Tableに届けて、海外における日本の食文化の新たな境 地を開拓するイベントとなりました。
食や日本酒、そしてそれを創る「Field＝土地／生産 地」と「Table＝（提供される）場」の深い繋がりを紐
Natsuki Kikuya speaks to Masaki Sukisagi from Dinings Restaurant and Takeshi Seikya from Seikya Brewery to understand the relationship between food and sake and between ‘field’ and ‘table’.
解くべく、今回菊谷なつきが、Diningsの杉崎正樹シェ フ、関谷醸造の関谷健社長との対談を行いました。
MUSEUM OF SAKE JOURNAL 11
INTERVIEW: FIELD TO TABLE
LEFT: MASAKI SUGISAKI, RIGHT: TAKESHI SEKIYA
“One of the things that is important for me is to harmonise sake with everyday food. In this way, I believe, we can understand sake and food as a complete package.” MASAKI SUGISAKI
MUSEUM OF SAKE JOURNAL 12
INTERVIEW: FIELD TO TABLE
TRANSLATE SAKE: AN INTERVIEW WITH MASAKI SUGISAKI, EXECUTIVE CHEF AT DININGS
日本酒を翻訳する：ダイニング 杉崎エグゼクティブシェフインタビュー
NATSUKI: What is your policy towards this event in terms of
菊：今回特に関谷醸造さんの”Field”をロンドンの”Table”に届ける
delivering Sekiya Brewery’s ‘Field’ to your ‘Table’ in London?
という事で、何かこだわりや考えはありましたか？
MR. SUGISAKI: This time, I focused on a process of ‘translation’.
杉：主にフォーカスしたのは『翻訳をする』という作業です。日
It is considered the norm that sake matches Japanese food. However, considering that the event is in London, guests consider things through their own cultural filter. So, I paid more attention to translate what we want to express to them in this context.
本食に日本酒を合わせておいしいのは当たり前です。ただ、ロン ドンでイベントをする事の意義を考えた時、ゲストの方は皆さん 海外のフィルターを通して物事を判断されます。であれば、僕た ちが言わんとしている事を、出来るだけ彼らのフォーマットに翻 訳をして伝えることが、彼らにとって理解しやすいと判断し、気 を配りました。
You featured sake with your ‘table’ this time. Is there any difference from your past ‘table’? NATSUKI:
菊：日本酒を添えたときの“Table”という風に考えた時に、今まで の”Table”と特に違う部分というものはありましたか？
MR. SUGISAKI: In Japan, we are usually aware of sake as we use
it in cooking. When we entertain our guests, we do not force foreign people to learn Japanese traditions with no translation. In my opinion, it is nothing more than a small experience in foreign travel. One of the things that is important for me is to harmonise sake with everyday food. In another words, I pair sake with food, and then I bring these selections to my “table”. In this way, I believe, we can understand sake and food as a complete package.
杉：普段僕たちはある程度日本酒にフォーカスをしてやっていま す。外国人のお客様を相手にする際は、日本の伝統を押し付けて も、文化の違いがあるのでそれは海外旅行の延長でしかないと思い ます。そこで、それを普段の食事に組み込む方法をすごく考えてい ます。日本食を彼らのフォーマットにのせながらも、お酒というも のを“Table”にペアでのせてあげる。そうする事によってパッケー ジとして彼らが理解できるようにしています。
菊：原材料や素材を作っている生産者さんとの関係性をお客様に
When you explain your relationship with the producers of the basic cooking ingredients to your guests, what do you want to emphasize? NATSUKI:
伝える為に、こだわりや心がけている事が何かありましたら教え てください。
杉：僕がやっている料理はいわゆる創作スタイルです。一つは翻訳
Since my style focuses on new creations, one is translation and the other thing is “not adding too much to the basic ingredients”, which is one of the positive aspects of Japanese food. MR. SUGISAKI:
です。そしてもう一つは、日本食の良いところである「素材にあま り手を加えすぎない」ことです。
杉：実際に漁師さんの船に乗ってコミュニケーションとったりし て、イギリスの名産や文化の理解に努めています。それによって僕
MR. SUGISAKI: To understand more about British local produce
たち自身食材に対して意識が希薄になりがちな所を姿勢をただせま
and culture, I like to meet fishers in person and communicate with them. This is how we can display our new discoveries to our guests as well as improve our own attitudes toward cooking ingredients.
すし、お客様にお伝えすることで新たな発見をして頂けます。
MUSEUM OF SAKE JOURNAL 13
INTERVIEW: FIELD TO TABLE
SHARING PRECIOUS TIME WITH FOOD
食事を通して楽しい時間 をシェアしていただきたい
I heard that your family home owns a kaiseki (a traditional multi-course Japanese dinner) restaurant. What differences do you see between Japanese “Table” and a British one?
菊：ご実家が懐石料理をやられていると聞きました。日本
NATSUKI:
の”Table”というものと英国の“Table”を比べられた時に、ど ういった違いがあると考えられますか？
杉：本場の伝統的な英国の地方料理がなぜ料理が生まれて、
I’ve been pursuing the reason of the development of British traditional local food. Why were they created? What do local people consider good food? In this sense, I don’t see many differences between them. MR. SUGISAKI:
その料理で育ってきた人々は何を求めて、何を美味しい・ま ずいとしているのか。こうした点を突き詰めるという意味で は、正直全く違いはないと思っています。
杉：ロンドンでは食を通して生命維持をするのとは別に、例 えば人間関係を深めてみたり、楽しい時間をシェアしたりと
MR. SUGISAKI: In London, it seems to me that people
いった部分がもっと大切ではないかという印象がありまし
place much more value on sharing a good time with their precious friends and family, not just eating food to survive. I pay attention to the staff at my restaurant so that they can work happily and with spontaneity. Thus I believe we can provide a good atmosphere to our guests on the whole.
た。この店に関しても、フロントで実際にお客様と接してい るスタッフたちに出来るだけ楽しく、のびのびとやっても らえるよう気にかけています。そういう雰囲気を含めて、 最終的にパッケージとしてアウトプットを提供できたらな と思っています。
菊：Diningsさんとして今後どのような”Table”をクリエイト NATSUKI: As Dinings, what kind of ‘table’ would you
していきたいと思われていますか？
like to create in the future? 杉：国はどこであれ、僕らは“食”を通して楽しい時間、有意 MR. SUGISAKI: My
biggest desire is to provide happy and valuable times through our food to our guests in any country. Currently we own restaurants in Tokyo and Fukuoka. We don’t serve the same menu as we do in London, but we serve ramen because we found ramen is everyday food for daily life. Our philosophy is ‘what experience can we provide through our food?’
義な時間を過ごしてもらえる環境を提供するチームでありた いというのが強くあります。現段階で東京と福岡でもお店を やっています。このお店はこちらと同様のスタイルをとら ず、生活に密着した所に何があるのかと考え、ラーメンに 目を付けてやっています。うちのフィロソフィーとして見た ら、“食”を通して何が出来るかです。
MUSEUM OF SAKE JOURNAL 14
INTERVIEW: FIELD TO TABLE
Is there anything in particular that you want to achieve with London Dinings?
菊：ロンドンのDiningsとして何か今後して行きたいという
MR. SUGISAKI: I would like to emphasise ‘translation’.
杉：それはやはり『翻訳』です。今の日本の文化をそのまま
I actually think that it is hard for Europeans or visiting foreigners to understand Japanese culture without translation. For example, our guests were pleased today, because we did not push them, but gently translated our culture in a way they could easily understand and relate to. To reach the next step, I think it is very important to translate Japanese culture- not just in a literal sense. I am Japanese person who hopes to continue to provide a positive Japanese food experience for years to come.
ヨーロッパの方々や外国の方々に理解してもらう事は正直な
NATSUKI:
NATSUKI: Thank
ものはございますか？
話、難しいです。どんなに技術を持ってしてもやはり難しい です。本日のイベントでは皆さんに喜んで頂きましたが、そ の喜ばせ方は押しつけではなく『翻訳』という形がベストで はないかというのが僕の考えです。これから先も、海外でや っていく日本人として、日本の文化を『翻訳』して次のステ ップにのせていくという作業が大切だと思います。
菊：杉崎さん、ありがとうございます。
you very much Mr. Sugisaki.
MUSEUM OF SAKE JOURNAL 15
INTERVIEW: FIELD TO TABLE
“What we have to do is to express the identity, feature of the area, uniqueness of local rice and local brewery because we cannot compete with major food companies in terms of ‘average’ tasting food.” TAKESHI SEIKYA
MUSEUM OF SAKE JOURNAL 16
INTERVIEW: FIELD TO TABLE
LOCAL CHARACTER IN A GLOBAL WORLD: AN INTERVIEW WITH TAKESHI SEKIYA FROM SEKIYA BREWERY
グローバルな世界で地元の個を： 関谷醸造関谷代表 インタビュー
NATSUKI: Firstly, thank
菊：関谷さん本日はどうもありがとうございました。今
you for taking time today Mr. Sekiya. You passed your sake and rice to Dinings and then they did not simply bring it to their “Table”, but integrated their interpretation of British food culture into your sake and rice. Please let me know how you liked it?
回のコンセプト、関谷さんのお酒とお米というバトン をDiningsさんにお渡しして、こちらの世界観と合わせ て”Table”にのせました。紹介をしたというかたちかとは 思うのですが、いかがでしたでしょうか？
関谷社長（以下、関）：もう、素晴らしい。僕ら酒の造
In a word, brilliant! When we brew sake, we do not have a strict idea about which food would be well paired with it. Actually, it is impossible to know until you sample the finished product. Mr. Sugisaki understands tasting our sake very carefully in order to suggest suitable food. Moreover, he considered British tastes a bit to his Japanese dish. I was really impressed by the arrangement. MR. SEKIYA:
り手というのは、料理に合わせて酒って造れません。そ の中でうちの味わいをよく見て頂いき、マッチする料理 を提案していただきました。なおかつ、完全に和ではな くてどこかに少し英国の方に合うようなテイストが隠れ て入っている。上手にアレンジしている感じがして非常 に素晴らしいと思いました。
菊：企業理念として地元でのローカル化の考え方がある と思います。一方で、現在ロンドンで日本酒のPRをなさ っていますよね。ローカル化とグローバル化の関わり方
NATSUKI: You have been promoting sake in London
while one of your cooperate slogans is ‘dedication to your local area’. What is your opinion about localisation and globalisation?
をどのようにお考えでしょうか？
関：グローバルになろうと思ったら二つ方法があって、 一つは誰も文句を言えないようにいかに平均に近づける か。もう一つは、思い切り地元の個性を出すか。平均っ
MR. SEKIYA: There are two ways, I think, to globalise
our products. One is, make it close enough to the average that nobody will complain. The other is fully express it’s local character. What we have to do is to express the identity, feature of the area, uniqueness of local rice and local brewery because we cannot compete with major food companies in terms of “average” tasting food. We have to do it until we can differentiate ourselves from big companies. In this way, I believe people feel Sekiya’s Houraisen is outstanding and has its philosophy. That’s how we can expand our sake to the world.
て言うのは、言い方は悪いですが当たり障りのない味で は大きいメーカーさんには勝てない。むしろ我々がやる べき事は、ワイナリーと同様に自分の生まれた故郷のア イデンティティーやフード、地域性、そこで穫れるお米 の種類や蔵人の性格をより出していくことです。それを 突き詰めると、他のメーカーさんは真似が出来なくなっ てきます。だから例えばグローバルな世界に行っても「 関谷の蓬莱泉は個性的だ、フィロソフィーがある」と感 じてもらえると思います。逆にそう感じてもらえなかっ たら、諦める。それが我々の世界への展開の仕方だと思 います。
MUSEUM OF SAKE JOURNAL 17
INTERVIEW: FIELD TO TABLE
BREWING IS A TERTIARY INDUSTRY
酒造りは三次産業だと思う
You opened a new izakaya ( Japanese eatery and bar) Marutani last year. Could you tell me why you started to do “Field to Table” even though you are predominantly a brewery?
菊：去年始められた圓谷というお店がありますね。
NATSUKI:
なぜ酒屋が消費者につながる居酒屋。
関：元々必然です。僕は酒を製造しているものです。お酒はメーカ ーとして考えると、酔っぱらう液体を造るだけになってしまいま
To me, it was very natural. As a maker, you could say that our brewery make liquids to get drunk. However, I believe that sake originally has a possibility to provide a precious experience to people. In this sense, I would say brewing is a tertiary industry, not a secondary industry. We have sake experience programs to entertain our customers, but I realized that I needed to know their reaction since it gives me new idea of brewing. So I started Marutani. We can apply guests’ feedback not only to enhance our service but also to change the taste of our sake slightly so that they can enjoy it with food even more. SEKIYA:
す。でも本来お酒というのは、飲んでくださるお客様の豊かな時間 を作り出す手伝いの一つであると考えています。ですから、酒造り は二次産業、プロダクトではなくて、三次産業であるサービス産 業、ホスピタリティーであると思っています。うちの会社では体験 プログラムなど、お客様をもてなして楽しませる事はしていまし た。それを突き詰めた結果、お客様がどう飲んでくれるかを知る必 要があると最近思い始め、圓谷を始めました。お客様にフィードバ ックを頂きながらまたサービスに応用したり、酒造りで味わいを少 し変化させるとよりお料理と楽しんでもらえるという考えにつなが ります。
MUSEUM OF SAKE JOURNAL 18
INTERVIEW: FIELD TO TABLE
NATSUKI: I understand that you have pioneered
“Field to Table” at your company. Are you going to promote Houraisen brand on a more global “Field”?
理と楽しんでもらえるという考えにつながりま す。。
菊：まさに『Field to Table』を実践されているので すね。それを、グローバルな”Field”で蓬莱泉ブラン
There are two ways to globalise a brand. Promote your products actively or entertain foreign visitors, when they come to Japan. Our Gastro pub- Marutani is an example of the latter. When you think about the appeal of Japanese tradition, taste and sake to foreigners who stay in Nagoya on business for example, there should be a certain sophistication of Japanese restaurants which are meticulous about this ‘Japaneseness’. I definitely think it is not good for foreigners in Japan to misinterpret franchised izakayas as Japan. I would like to provide a kind of accessible entertainment at Marutani. MR. SEKIYA:
ドとして活かしていきたいとお考えでしょうか。
関：グローバル展開の方法は、一つは積極的に出て 行く方式、そして海外の方が日本に来られた際にど こでもてなすかという二つの方法があります。圓谷 はあくまでも後者です。海外の方が仕事で名古屋に 来て、日本らしい店はないのかと考えた時、伝統や 日本の味、そしてお酒を楽しめる部分をより良く外 国の方にPRしようと考えると、その部分をある程度 突き詰めたお店がないといけません。外国人のお客 様に、いわゆる大手のフランチャイズの安い居酒屋 が日本だと思われてしまったら、それは絶対間違っ ていると思うのです。来てくれた人を楽しませる。 インバウンドビジネスのようなもので圓谷がもっと 活躍できたらと思っています。
MUSEUM OF SAKE JOURNAL 19
INTERVIEW: FIELD TO TABLE
UMESHU SPRITZER WITH UME-GREEN, GREEN PLUM UMESHU LIQUOR
MUSEUM OF SAKE JOURNAL 20
INTERVIEW: FIELD TO TABLE
THEIR ENTHUSIASM ABOUT WHO HAS “FIELD”と”TABLE”を担う両者として、 A KEY ROLE OF “FIELD” AND “TABLE” 互いに思うこと NATSUKI: Now, I would like you two to exchange advice with
菊：お二人がお持ちのこだわりに対して、アドバイスをし合って頂き
each other. Mr. Sugisaki, what do you think is important for breweries to express their character in London?
たいと思います。杉崎さんから見て、造り手の方がロンドンで伝える
I strongly believe that Mr. Sekiya’s sake is very accessible to people in London because it has a strong unique character. In London, people like things which have established character or are self-asserted.
杉：関谷さんのお酒はすごく個性がはっきりしていて、ロンドンでと
MR. SEKIYA: Thank
関：ありがとうございます。
MR. SUGISAKI:
you very much.
為にどのような事をしたら良いでしょうか。
ても受け入れられやすいのではと強く感じました。ロンドンでは料理 にしてもそうですが、キャラクターや自己主張をしっかり持っている ものがすごく好まれます。
MR. SUGISAKI: I also admire the names he comes up with. He
杉：ネーミングに関してもそうです。ややこしい名前をつけずに音で
does not name his sake complicatedly but expresses them as a sound, which I think is a clever format and easier for foreigners to remember.
表現するという、海外の方々にも受け入れられやすい形をとっていら っしゃるので、すごく良いフォーマットだと僕は思っています。
菊：関谷さんの方から、ロンドンの”Table”で日本文化を伝えるのに NATSUKI: Now, Mr. Sekiya, could you please tell us your view of
どうしたら良いのかというのを聞かせて頂けますか。
a good way to express Japanese culture at a London “Table”? 関：本日のように、ピンポイントで合わせるのは実は面白い。そうし MR. SEKIYA: One-to-one paring like what we did today is very
て頂けると、たぶんワインの世界の人々ってピンポイントの方がお好
interesting. I think it suits people who love wine because they have a food and drink paring mindset.
きなので合うと思います。
杉：そうですね MR. SUGISAKI: Certainly. 関：多分彼らにとって、日本酒や日本食に対して「ピンポイントって
I’m sure they will be surprised to know that there is an appropriate sake choice with Japanese food. This surprising fact will touch them deeply. If we share this paring information with our staff, we can take pride in our great service, and customers will come to expect great food, sake and experience from our restaurant. MR. SEKIYA:
あったんだ！」という驚きがあると思います。そして、その驚きは感 動に繫がっていくと思うのです。その部分をスタッフの方と共有して もらいながらやって頂くと、素晴らしいサービスになるし、お客様か らしても、あそこのお店にいくと素敵な料理とお酒が楽しめるという 風になると思うのです。
菊：わかりました。お二方、どうもありがとうございました。
Thank you both very much for your time, it was very interesting speaking with you. NATSUKI:
FOOD:
DININGS, 22 HARCOURT STREET, LONDON W1H 4HH +44 (0)20 7723 0666
SAKE:
SEKIYA BREWERY, 22 TAGUCHI AZA MACHIURA SHITARA-CHO KITASHITARA-GUN AICHI 441 - 2301 JAPAN +81 (0)536-62-0505 WWW.HOURAISEN.CO.JP/EN MUSEUM OF SAKE JOURNAL 21
WWW.DININGS.CO.UK
INTERVIEW: FIELD TO TABLE
FIELD TO TABLE FOOD & SAKE PAIRING GALLERY
3 KINDS OF WHITEFISH SASHIMI WITH ‘DAIGINJO IRIZAKE’ YUZU AND HIMALAYAN SALT PLATE PAIRED WITH JUNMAI DAIGINJO ‘GIN’, SERVED COLD
MUSEUM OF SAKE JOURNAL 22
FOOD & SAKE PAIRING GALLERY
SEARED TORO WITH SPICY CHOJANG SAUCE, SERVED WITH CRESS SALAD PAIRED WITH JUNMAI GINJO ‘WA’, SERVED COLD
MUSEUM OF SAKE JOURNAL 23
INTERVIEW: FIELD TO TABLE
MISO BOUILLABAISSE WITH 5 KINDS OF SEAFOOD PAIRED WITH JUNMAI GINJO ‘WA VER.2’ SERVED AT ROOM TEMPERATURE
MUSEUM OF SAKE JOURNAL 24
FOOD & SAKE PAIRING GALLERY
CHARGRILLED SALTMARSH SPRING LAMB WITH KOREAN CHILLI MISO PAIRED WITH YAMAHAI ‘ROKU’ SERVED WARM AT 45°C
MUSEUM OF SAKE JOURNAL 25
INTERVIEW: FIELD TO TABLE
DININGS-STYLE SUSHI 5 WAYS: YUZU AND GARLIC INFUSED YELLOWTAIL SUSHI TOPPED WITH CAVIAR AND JALEPENO SALSA YUZU SOY INFUSED SANTA BARBARA SHRIMP SUSHI WITH BOTTARGA SCHOTTISH SCALLOPS SUSHI TOPPED WITH SPICY TARAMO SAUCE FRESH WATER EEL AND FOIE GRAS SUSHI TOPPED WITH KIZAMI WASABI PAIRED WITH JUNMAI DAIGINJO ‘BI’ SERVED COLD, AND JUNMAI DAIGINJO ‘KU’ SERVED COLD
MUSEUM OF SAKE JOURNAL 26
FOOD & SAKE PAIRING GALLERY
SAKE-KASU PANNACOTTA WITH WASANBON ESPUMA AND SESAME TUILLE PAIRED WITH JUNMAI DAIGINJO ‘KU’, SERVED COLD
MUSEUM OF SAKE JOURNAL 27
HOW MUCH SAKE?
3
HOW MUCH SAKE? JAPANESE Japan is clearly the world’s largest producer of sake PREFECTURES SIZED - but the output varies dramatically from prefecture ACCORDING TO SAKE PRODUCTION to prefecture. And where does all the 10,524 million IN 2012 - KILO LITRES Yen’s worth of sake exported finally call home? The DATA: COMPILED FROM JAPANESE NATIONAL TAX AGENCY infographics on the next few pages distort areas proportionately, showing who the key players are.
SOHO+CO 2014 FOR THE MUSEUM
TOP 10 PRODUCERS 1
HYOGO
130,000 kL
2
KYOTO
73,000 kL
3
NIIGATA
39,000 kL
= 4
AKITA
16,000 kL
= 4
SAITAMA
16,000 kL
5
AICHI
14,000 kL
6
FUKUSHIMA
12,000 kL
7
HIROSHIMA
9,600 kL
8
YAMANASHI
9200 kL
9
YAMAGATA
8,600 kL
10
NAGANO
8,200 kL
KYOTO 73,000 HIROSHIMA 広島 9600kL
MUSEUM OF SAKE JOURNAL 28
HYOGO 兵庫 130,000kL
HOW MUCH SAKE?
M OF SAKE AKITA 秋田 16,000kL
MIYAGI 宮城 YAMAGATA 7700kL 山形 8600kL NIIGATA 新潟 39,000kL
FUKUSHIMA 福島 12,000kL TOCHIGI 栃木 7600kL
O 京都 0kL
SAITAMA 埼玉 16,000kL NAGANO 長野 YAMANASHI 8200kL 山梨 9200kL AICHI 愛知 14,000kL
JAPANESE PREFECTURES SIZED ACCORDING TO SAKE PRODUCTION IN 2012 - KILO LITRES DATA COMPILED FROM THE JAPANESE NATIONAL TAX AGENCY GRAPHICS: SOHO+CO
MUSEUM OF SAKE JOURNAL 29
HOW MUCH SAKE?
CANADA ¥277mil
REST OF THE WORLD ¥526mil
AMERICA ¥3878mil
UK ¥227mil REST OF EU ¥670mil
WORLD’S COUNTRIES SIZED ACCORDING TO JAPANESE SAKE IMPORTS IN 2013 - MILLIONS OF YEN DATA: COMPILED FROM MINISTRY OF FINANCE EXPORT TRENDS (ファイナンス 2014.5) & JAPAN SAKE & SHOCHU MAKERS ASSOCIATION 2012
MUSEUM OF SAKE JOURNAL 30
SOHO+CO 2014 FOR THE MUSEUM OF SAKE
THAILA ¥170
HOW MUCH SAKE?
WORLD’S COUNTRIES SIZED ACCORDING TO JAPANESE SAKE IMPORTS IN 2013 - MILLIONS OF YEN DATA COMPILED FROM THE MINISTRY OF FINANCE EXPORT TRENDS (ファイナンス2014.5) & JAPANESE SAKE & SHOCHU MAKERS ASSOCIATION 2012 GRAPHICS: SOHO+CO
REPUBLIC OF KOREA ¥1380mil
EXPORTS ¥10 524mil10524 AROUND 3-5% OF TOTAL SALES
CHINA ¥529mil
SINCE 2003, THE EXPORT MARKET HAS GROWN BY 280%
TAIWAN ¥583mil
HONG KONG ¥1724mil
AND 0mil
TOP 10 IMPORTERS
SINGAPORE ¥380mil
AUSTRALIA ¥209mil
MUSEUM OF SAKE JOURNAL 31
1
AMERICA
¥3878 mil
2
HONG KONG
¥1724 mil
3
REPUBLIC OF KOREA
¥1380 mil
4
EU (EXCLUDING UK)
¥670 mil
5
TAIWAN
¥583 mil
6
CHINA
¥529 mil
7
SINGAPORE
¥380 mil
8
CANADA
¥277 mil
9
UK
¥227 mil
10
AUSTRALIA
¥209 mil
SAKE CONSUMER ANALYSIS
4
CONSUMER AWARENESS AND PERCEPTIONS OF SAKE IN THE UK, USA AND CHINA WORDS: ANTONY MOSS AIWS MW / SAKE SAMURAI
Accompanying the development and launch of the WSET Level 3 Award in Sake, the WSET commissioned research from Wine Intelligence to use its Vinitrack consumer surveys to investigate perceptions of sake among regular wine drinkers in three key markets: the UK,USA and China. The surveys occurred in late 2014, and focussed on people who drink wine regularly (in China, this was limited to upper middle class consumers of imported wine within Mainland China). The results showed a lively interest in sake in all three markets, but some striking differences in how familiar wine consumers are with sake, and how frequently they consume it. Extrapolating from the survey samples (1000 responses in the UK, 1000 in China, 2000 in the USA), the results suggest that of the 29 million regular wine drinkers in the UK, 14% (4 million) have had sake at least once in the last year, but as many as 61% (18 million) have never even tried sake. Consumers in the USA are generally much more familiar with sake, with 32% (28 million, out of 90 million regular wine drinkers) saying they had consumed sake at least once in the last year and 39% having never tried it. 15% of US wine drinkers had consumed sake more than three times in the last year, more double the 6% of UK wine drinkers that consumed sake on multiple occasions in a year. Sake is much more widely consumed in China, where only 17% had never tried it and the majority (57% of the 38 million consumers of imported wine) had consumed sake within the last year. Most of these sake drinkers consumed sake on several occasions a year. The survey investigated the reasons why some wine drinkers do not drink sake. In all three markets, lack of knowledge was cited as the leading reason for avoiding sake (51% in the UK, 44% in the USA and 56% in China). In all three
markets, about a quarter of wine drinkers had tried sake in the more distant past but not returned to it. The number was slightly higher in the USA (29%) and China (28%) than the UK (25%), and in the UK a much higher proportion (61%) had never experienced sake. This perhaps explains why ‘do not like the way it tastes’ was the second most common reason in the USA (41%) and China (49%) for wine drinkers not consuming sake, whereas in the UK this reason was edged into third place by ‘it is hard to find places to buy sake’ (37% in the UK, 30% in USA and 40% in China). Other reasons given for not consuming sake were the relatively high price (28% in UK, 28% in the USA, 24% in China), confusion about the styles (21% in UK, 24% in the USA, 48% in China) and the labels being confusing and hard to understand (19% in the UK, 18% in the USA and 35% in China). This suggests that although helpful work could be done to make labels readable to non-Japanese speakers, it needs to be accompanied by a wider understanding of sake in general, and greater confidence about the styles and categories. In China, most Kanji characters used on Sake labels are familiar - even if they are pronounced differently, and can have different nuances of meaning -but this familiarity provides limited help to many Chinese consumers when they try to buy the product without confidently understanding the styles.
MUSEUM OF SAKE JOURNAL 32
SAKE CONSUMER ANALYSIS
Having developed a comprehensive industry education program for sake, the WSET was interested to see what level of interest there is in sake education among wine consumers. Interest in sake education was high in all three markets, with informal formats attracting the most interest. The most popular idea in all three markets was themed sake and food matching evenings at a restaurant (61% of Chinese wine consumers said they would be likely to attend this kind of event to learn more about sake, compared to 31% in the USA and 21% in the UK).
HOW MANY TIMES HAVE YOU HAD SAKE IN THE PAST YEAR? WINE DRINKERS - UK
6%
3+ TIMES
14%
The number for the UK may seem low, but this suggests that although only 4 million wine drinkers have had sake in the last year, as many as 6 million would be interested to be introduced to the product in a fun setting. Formal industry-directed education was less popular (reflecting the higher level of commitment required), but even in the UK, encouragingly large numbers of respondents indicated an interest in structured sake education (12%, or 3.6 million people).
ONCE
61%
NEVER
WINE DRINKERS - USA
One further thought. Taking the reported level of sake consumption as accurate, and matching with import and production statistics in these markets, the average amount of sake consumed on each sake-drinking occasion is a maximum of 33ml in the UK and about 300ml in the USA (including domestic production). This is just a few sips in the UK! (Unless people in the survey claimed to drink sake more frequently than they actually do, which is a known phenomenon in these kinds of consumer survey). The UK consumes about 0.05% of the sake made in Japan (and the USA consumes about 1%). There is enormous scope for the frequency of consumption and the average amount consumed per occasion to increase in the UK, and considerable scope for further growth in the USA. How do we do this? The WSET and other sake education organisations such as the Sake Education Council (the inimitable John Gauntner), Sake Service Institute (SSI), and Sake Sommelier Association (SSA) are steadily increasing the variety and quality of sake education available to the alcohol industry. We also have to see producer’s respond to the expressed interest in informal events. The main thing is for wine drinkers to have a pleasurable first encounter, followed by the means (access to places to buy, and enough knowledge and guidance to help select) to follow that up with repeat purchases. This way sake can become part of a regular portfolio of alcoholic beverages that wine drinkers can enjoy with confidence and appreciation, whenever the occasion suits them.
MUSEUM OF SAKE JOURNAL 33
15%
3+ TIMES
32%
ONCE
39%
NEVER
AVERAGE AMOUNT OF SAKE CONSUMED ON EACH OCCASION
USA 300ml UK 33ml
TITLE
5
THE ART OF SAKEÂ LABELS Sake labels can be considered works of art in their own right. Stylistically they can be very varied, ranging from traditional, calligraphic designs through to modern interpretations. Whether featuring rolling hills or angry faces, here are a few of our favourite examples.
MUSEUM OF SAKE JOURNAL 34
THE ART OF SAKE LABELS
未 成 年 者 の 飲 酒 及 び 飲 酒 運 転 は 法 律 で 山 形 県 酒 田 市 山 楯 字 清 水 田 27 番 地
720 ㎖詰
日本酒
た て の か わ
TAT E N O K AWA SINCE 1832
アルコール分 15.0度以上16.0度未満
山形県産酒造好適米 出羽燦々100 ％使用 原材料名／米 （国産） 米麹（国産米使用） 精米歩合／50 ％ 製造年月
MUSEUM OF SAKE JOURNAL 35
山 形 県 酒 田 市 山 楯 字 清 水 田 27 番 地 720 ㎖詰
未 成 年 者 の 飲 酒 及 び 飲 酒 運 転 は 法 律 で 禁 止 さ れ
日本酒
た て の か わ
TAT E N O K AWA SINCE 1832
アルコール分 14.0度以上15.0度未満
山形県産酒造好適米 出羽燦々100 ％使用 原材料名／米（国産） 米麹（国産米使用） 精米歩合／50 ％ 製造年月
THE ART OF SAKE LABELS
CALLIGRAPHY
1
2 未 成 年 者 の 飲 酒 及 び 飲 酒 運 転 は 法 律 で 山 形 県 酒 田 市 山 楯 字 清 水 田 27 番 地
3
4
5
7
1 2 3 4 5 6 7 8
720 ㎖詰
日本酒
た て の か わ
TAT E N O K AWA
6
8
Yucho Shuzo (Nara) Kaze no Mori Akitsuho Junmai Dewazakura Sake Brewery (Yamagata) Ichiro, Junmai Daiginjo Asahi Shuzo (Yamaguchi) Dassai 50 Nigori Sparkling Tatenokawa (Yamagata) Tatenokawa Honryukarakuchi Nagayama Honke (Yamaguchi) Taka Yamahai Junmai Omachi Tenzan Shuzo (Saga) Shichida, Junmai Nagayama Honke (Yamaguchi) Taka Junmai Ginjo Yamadanishiki Matsuura Shuzojo (Tokushima) “Narutotai” Ginjo Nama Genshu
MUSEUM OF SAKE JOURNAL 36
SINCE 1832
アルコール分 15.0度以上16.0度未満
山形県産酒造好適米 出羽燦々100 ％使用 原材料名／米 （国産） 米麹 （国産米使用） 精米歩合／50 ％ 製造年月
THE ART OF SAKE LABELS
PAINTERLY
1
2
3
1 2 3
Watanabe Shuzoten (Niigata) Nechi Valley 2011 Miyasaka Brewery (Nagano) “Masumi Amairo” Junmai Ginjo Sekiya Bewery (Aichi) Horaisen “Bessen”
MUSEUM OF SAKE JOURNAL 37
THE ART OF SAKE LABELS
ANIMALS
1
2
3
4 1 2 3 4
Yamaguchi Shuzojo (Fukuoka) ‘Niwa no Uguisu’ Usu-Nigori Kawatsuru Shuzo (Kagawa) Kawatsuru Ooseto 30 Jikagumi Junmai Muroka Nama Genshu Aramasa Shuzo (Akita) Aramasa Amagaeru Sekiya Bewery (Aichi) Horaisen “150 Year Anniversary Junmai Daiginjo”
MUSEUM OF SAKE JOURNAL 38
THE ART OF SAKE LABELS
ANIMALS
1
2
3
4
5
6
1 2 3 4 5 6
Shiraki Brewery (Gifu) Year of Tiger Limited Age Blend Shiraki Brewery (Gifu) Year of Rabbit Limited Age Blend Shiraki Brewery (Gifu) Year of Dragon Limited Age Blend Shiraki Brewery (Gifu) Year of Snake Limited Age Blend Shiraki Brewery (Gifu) Year of Horse Limited Age Blend Shiraki Brewery (Gifu) Year of Sheep Limited Age Blend
MUSEUM OF SAKE JOURNAL 39
THE ART OF SAKE LABELS
PEOPLE
1
2
3
4
1 2 3 4 5
5
Hayashi Honten (Gifu), Hundred Faces, Junmai Daiginjo Kikuzakari Shuzo (Iwate) “Denbukuro 2008” Junmai Sekiya Bewery (Aichi) Horaisen “Beshi” Shiraki Brewery (Gifu) Daruma Masamune 20 Year Old Koshu Saura Brewery (Miyagi) Urakasumi “Zen” Junmai
MUSEUM OF SAKE JOURNAL 40
THE ART OF SAKE LABELS
SYMBOLS
1
2
3
4 1 2 3 4
Imada Shuzo (Hiroshima), Fukucho, Hattansou 50 Inoue Gomei (Fukuoka) Mii no Kotobuki Karakuchi Junmai Daiginjo Kenbishi Shuzo (Hyogo) Mizuho Nanbu Bijin (Iwate) Beauty Series
MUSEUM OF SAKE JOURNAL 41
THE ART OF SAKE LABELS
UNUSUAL
1
2 1 2 3 4
3
3
Kikuzakari Shuzo (Iwate) “Denbukuro 2009” Junmai Ginjo Kikuzakari Shuzo (Iwate) “Taxi Driver” Junmai Genshu Kikuzakari Shuzo (Iwate) “Arisue” Junmai Ginjo Aramasa Shuzo (Akita) Aramasa No.6 X-type
MUSEUM OF SAKE JOURNAL 42
4
6
GLOBAL SAKE VOICE
ABOVE: SALON DU SAKE IMAGE COURTESY OF CHIHIROMASUI.COM
In this series of interviews, we hear the lowdown from those promoting sake in Paris, Beijing and New York, looking at current trends and how sake is being received. 日本酒ブームに湧くパリ、北京、ニューヨ ークにて日本酒振興で活躍される3名に単独 インタビューを行い、各地での活動や日本 酒市場の今を伺いました。
MUSEUM OF SAKE JOURNAL 43
GLOBAL SAKE VOICE
DISSEMINATING A FUSION OF JAPANESE SAKE AND FRENCH FOOD CULTURE
日本酒をフランス食文化と 融合させながら発信する
Born in France, Sylvain Huet discovered the charm of sake when he visited Japan 15 years ago. He decided to convey this charm to his home country.
フランス出身のSylvainさんは、15年前に日本を訪れた時
As Japanese food is already a familiar cuisine in Paris, the educational program that Sylvain offers to Japanese food restaurants is popular as well. However, he is already looking one step ahead. “Most French people, including Parisians, think that sake is a spirit-like drink offered as a digestive in most Asian restaurant. Those who already know a little bit about true Japanese sake even believe that Japanese sake is a drink you have with Japanese food. As this is the number one difficulty for the spread and overall market growth of sake in France, I’ve been focusing on telling them that it matches very well French cuisine too”, says Sylvain, who is actively trying to promote the match between ordinary French food and Japanese sake. Moreover, he notices, the relationship between sake and wine is really interesting too. Sake is called ‘rice wine’ and it is thus often associated with wine in foreign countries, but he has a different point of view. “Wine culture in France has deep roots, and when you say ‘same as wine’, people try to understand sake in the same context as wine.” If you tell them it is similar, but also mention the kan-zake (warm sake) culture and other features of this fascinating world, they will start to approach sake in a similar way to how they think of wine (explore different tastes, flavours and regional individuality, and find their favourite brand). This year he is planning a 2nd Salon du Saké to be held on 31st October and 1st November. He has already been flooded with inquiries. Sylvain, who strongly promotes the dissemination of sake from the world’s pre-eminent food culture centre looks forward to the day when sake is lined up naturally next to wine not only in France but in many European countries.
に日本酒の魅力に触れ、母国フランスにも魅力を伝えよ うと決意した。
パリでは日本食は人々が慣れ親しんだ料理のひとつ で、Sylvainさんの行う日本料理屋への教育プログラムも 好評だそう。しかし、Sylvainさんは一歩先も見据えてい る。「たいていのフランス人は、日本酒がアジア料理レ ストランで出てくる食後酒のようなものだと思ってしま っています。少し詳しい人でも『日本酒＝日本食に合わ せるもの』と思っています。
こうした誤解がフランスで日本酒普及を行う際の最大の 壁なので、実はフランス料理にもとてもよく合うことを 伝えています。」と、現在はフランス人の生活に馴染ん だ料理と日本酒のペアリングも積極的に発信する。
また、ワインとの関係も実に面白いと指摘する。日本酒 は海外では”ライスワイン”という名でワインと関連付け られたりするが、Sylvainさんはこの点は慎重だ。
「フランスにワイン文化は深く根付いており、『ワイン と同じ』と表現をするとワインと同じ文脈で理解しよう としてしまいます。」似ているが、燗酒文化などワイン とは異なる魅力的な世界が広がっていることを伝えれ ば、日本酒もワインのようなアプローチ（味や香り、地 域の個性などを探究して自分の好きな銘柄を探し出す） をしてくれるそうだ。
今年は第2回Salon du Saké開催を10月31日と11月1日に 予定している。既に彼のもとには問い合わせが殺到して いるそうだ。世界に冠たる食文化の中心地で日本酒の普 及を力強く進めるSylvainさんは、フランスのみならずヨ ーロッパの国々でワインの横に当たり前のように日本酒 が並ぶ日を期待させる。
ACADÉMIE DU SAKÉ WWW.NIHONSHU.FR (+33) 06 24 80 67 68
MUSEUM OF SAKE JOURNAL 44
GLOBAL SAKE VOICE
FOCUSING ON CHINESE CULTURE TO CREATE NEW CUSTOMS
中国の文化に注目し、 新しい習慣を創り出す
Taka Yamamoto has spent the last 15 years trying to disseminate Japanese sake while observing the life and culture of people in Beijing. Apart from owning his own store, he offers a sake education programme in Chinese to local luxury shops, chefs and waiters, which makes him an indispensable figure in Beijing.
15年にわたって北京の人々の生活と文化を見つめながら
Taka is currently working on creating a new custom in China – ‘O-Tosa’, which is the drinking of good fortune sake at New Year’s. “In China, there is the culture of celebrating the Lunar New Year, but for New Year’s Day the only thing people do is a countdown. So I thought I might try to instil the Japanese O-Tosa culture - the culture of ‘New Year’s Day drinking of auspicious sake’, and have Chinese people drink freshly brewed sake on that day”, says Taka. This is a viewpoint only he could reach, having been living in Beijing for so many years. This year he has launched the ‘Fresh sake O-Tosa’ campaign in about eighty of Beijing and Shanghai’s local restaurants. Imports of liquor from the Tohoku region, which had previously proved very popular, were cancelled due to the influence of the earthquake. Promoting this liquor in a country where contraband and fakes are rampant continues to be extremely challenging. However, Taka is optimistic. “Beijing is now actively seeking to embrace foreign cultures, and among these many people favour Japanese culture. Moreover, as Beijing is the capital of the country, many media professionals live and work here, which makes it a very influential city”. In the near future, the day is coming when we will be drinking Japanese sake for New Year’s together with the Chinese people.
日本酒の普及に尽力する敬さん。
自身の店はもちろん、現地高級店のシェフやウェイター へ中国語で日本酒教育プログラム提供するなど北京には 欠かせない存在だ。
そんな敬さんが現在取り組んでいるのが、中国に「お屠 蘇」の習慣を新たに創り出すことだ。
「中国には旧正月を祝う文化がありますが、元旦はカウ ントダウンをする程度。そこで日本のお屠蘇の文化、す なわち『元旦＝縁起の良い日本酒を飲む日』という文化 を、旬の搾りたて生酒を一緒に根付かせられないかと考 えたのです」と敬さん。
長年北京で生活しているからこその着眼点だ。
今年は北京や上海など中国国内のレストランおよそ80も の店舗で「生酒でお屠蘇」キャンペーンを展開した。
震災の影響で、高い人気を誇っていた東北のお酒が輸入 停止になったり、密輸品や偽物が横行したりと中国での 普及活動は困難の連続だ。
しかし、「北京は今、外国文化を取り入れることに積極 的で、中でも多くの方が日本文化を贔屓にしています。 また、首都であるためメディア関係者も多く集まり、発 信力のある街でもあるのです。」と敬さん。
近い将来、中国人と正月に日本酒を酌み交わす日が来る かもしれない。
SAKE MANZO, BEIJING WWW.MANZO-DINING.COM (+86) 10 6436 1608
MUSEUM OF SAKE JOURNAL 45
GLOBAL SAKE VOICE
JAPANESE SAKE THAT EXERTS UNIQUENESS IN A COSMOPOLITAN CITY Chizuko was born in Akita Prefecture but who now lives in New York - a place where people from all around the world gather, and a city that continuously promotes sophisticated state-of-the-art culture. “I told myself that if I was going to have mass appeal, I should do it in New York where people from all around the world come together - I didn’t consider a plan B”, says Chizuko when asked why she chose New York. When asked about recent trends in New York, Chizuko says: “I feel that pubs resembling stylish bar lounges and authentic Japanese-style pubs that aren’t cheap at all have been getting a lot of attention as ‘chic’ liquor culture. Drinking sake in a variety of liquor sets made of lacquer or Kiriko faceted glass and such which give you the feeling of ‘Made in Japan’ is a new style that I am fond of.”
The one thing that she is now focusing on is promoting ‘kan-zake’ (warm sake). The fact that you can enjoy it at a wide range of temperatures is one of the attractive points of Japanese sake. However, as ‘hot’ sake equals ‘bad / cheap’ sake for many people still, it is not easy to convey the profound meaning of kan-zake. Therefore it is essential to promote understanding and knowledge of sake. Taking advantage of her own knowledge as a big fan of kan-zake, in February she opened a bar called ‘Sake Caliente’ only accessible on Saturday nights. By being refined in a place like New York, Japanese sake will take a unique form not found anywhere else in the world. If you are in New York, you might want to have a taste of this ‘world standard’ sake together with Chizuko. WWW.SAKEDISCOVERIES.COM
MUSEUM OF SAKE JOURNAL 46
GLOBAL SAKE VOICE
世界中の人が集う街で個性を発揮する日本酒を
世界中の人が集い、最先端の洗練された文
自らが今一番力を入れているのが「燗酒」
化を発信し続ける街ニューヨークで活動す
の発信だ。幅広い温度帯で楽しめること
る智慈子さんは、もともと秋田県出身。「
は日本酒の魅力。ただしHot sake = Bad /
生粋の田舎者をアピールするなら、世界中
Cheap sake というイメージがまだ多くの
の田舎者がいるであろうニューヨークでや
方に根付いている中で、奥の深い燗酒を伝
ってやろうと、ここ以外のチョイスはあり
えることは容易ではなく、お酒への理解と
ませんでした。」とニューヨークを選んだ
知識が不可欠だ。自ら燗酒ファンという智
理由を語る。
慈子さんのノレッジを活かして、2月には 土曜日深夜限定のお燗専門のバー「酒かり
現在のニューヨークのトレンドについてお
えんて」をオープンした。
聞きしたところ「スタイリッシュなバーラ ウンジのような居酒屋や、客単価が決して
ニューヨークという場所で洗練されること
低くない本格的居酒屋が『粋』な酒文化と
で、日本酒は世界のどこでも見られない独
して注目されているように思います。お酒
自の文化を形成していくように思う。ニュ
も、漆器や切子など、Made in Japanを感
ーヨークに立寄った際は、智慈子さんと共
じる色々な酒器で楽しませるスタイルがい
に「世界スタンダード」を味わってみるの
いですね。」と智慈子さん。
もいいかもしれない。
BELOW: SAKE CALIENTE BAR IMAGES COURTESY OF 3DMNYC.COM
MUSEUM OF SAKE JOURNAL 47
FOOD & SAKE PAIRINGS
7
SEASONAL FOOD & SAKE PAIRINGS Natsuki Kikuya shares a few of her favourite spring dishes, and the perfect sake to accompany them. WORDS: NATSUKI KIKUYA ILLUSTRATIONS: SOHO+CO
MUSEUM OF SAKE JOURNAL 48
FOOD & SAKE PAIRINGS
EGGS BENEDICT WITH STEAMED ASPARAGUS & CRISPY PROSCIUTTO アスパラ、プロシュートの エッグベネディクト
+
DARUMA MASAMUNE 3 YEARS 達磨正宗３年古酒 CATEGORY:
KOSHU (AGED SAKE)
ABV: 16% RICE POLISHING RATIO: 70% RICE:
NIHONBARE
PRODUCER:
SHIRAKI BREWERY
LOCATION: GIFU
This small family-run producer specialises in making Koshu (aged sake) and use brewing methods that date back over 800 years to the Kamakura era. Koshu was the preferred drink of the privileged elite during this period. On the front label, there is an image of Daruma dolls, which represent the good fortune in Japan that the doll never falls because of its round ‘Weeble’ shape. TASTING This 3 year aged sake has a beautiful golden colour, with aromas of spice such as cloves and nutmeg, dried fruits and a hint of coffee and toasted nuts. It’s mellow and rich with a refreshing finish. Try this sake if you like Dry Oloroso Sherry! Available at Ministry of Drinks, £25.99 www.ministryofdrinks.co.uk
MUSEUM OF SAKE JOURNAL 49
FOOD & SAKE PAIRINGS
SPICED AND GRILLED MACKEREL AND WATERCRESS SALAD サバの香味焼き、クレソンのサラダ
+ HARUKASUMI JUNMAI GINJO ‘BLUE LABEL’ 春霞 純米吟醸 ブルーラベル
The local Rokugo area in Akita prefecture boasts dozens of natural springs including some of Japan’s recognised selection of the 100 best-regarded springs. “Harumasumi”, meaning “misty spring” in Japanese, offers sake with purity and delicacy which comes from their abundant cleanest soft water source in the region.
CATEGORY:
TASTING
JUNMAI
ABV: 16.4% RICE POLISHING RATIO: 55% RICE: MIYAMANISHIKI & MISATONISHIKI ACIDITY 1.5 SAKE METER VALUE
+1
PRODUCER:
KURIBAYASHI SHUZO
LOCATION: AKITA
Delicately sweet nose with hints of gooseberry. Smooth and elegant yet had well rounded and layered umami with a pleasant acidity and herbaceous clean aftertaste. Best served chilled or at room temperature. Available at Sam Sake online shop, £28 (720ml) www.samsake.com
MUSEUM OF SAKE JOURNAL 50
FOOD & SAKE PAIRINGS
DAISHICHI ‘MASAKURA’ 大七 真桜 純米吟醸生酛 CATEGORY:
JUNMAI GINJO KIMOTO
ABV: 58%
RHUBARB CHEESECAKE ルバーブ・チーズケーキ
RICE POLISHING RATIO: 58% (SUPER FLAT) RICE:
+
GOHYAKUMANGOKU
ACIDITY 1.2 SAKE METER VALUE
+2
PRODUCER:
DAISHICHI BREWERY
LOCATION: FUKUSHIMA
Founded and managed by the Ohta family since 1752, Daishichi is one of the very few out of some 1,200 sake breweries in Japan today, that still use the 3-century-old, artisanal ‘kimoto’ brewing method despite an industry-wide switch in the early 20th century to simplified methods. TASTING ‘Masakura’ translates as ‘true cherry blossom’, a great option for the blooming spring season. Perfectly balanced with gentle cherry blossom and pear flavour, followed by great astringency and silky texture with a lingering finish. The Rosebery at Mandarin Oriental Hyde Park serves this sake with their afternoon tea; perfect with scones with clotted cream and rose petal jam. Serve slightly chilled or gently warmed if you prefer. Available at the Japan Centre, 19 Shaftesbury Avenue, London W1D 7ED, £58.10 (720ml)
MUSEUM OF SAKE JOURNAL 51
TITLE
MUSEUM OF SAKE JOURNAL 52
TITLE
8
DAISHICHI SAKE BREWERY: AN EYE FOR DETAIL Sake writer Anna Greenhous visits the Daishichi Sake Brewery for an insight into the fascinating processes used by this respected establishment. WORDS & PHOTOGRAPHS: ANNA GREENHOUS
MUSEUM OF SAKE JOURNAL 53
DAISHICHI SAKE BREWERY
As I travelled around Japan recently visiting sake breweries, I was intrigued by the enthusiastic response I got when I mentioned I would be visiting Daishichi. To get this response from people working within the Japanese sake brewing industry, I started to realise Daishichi must be particularly respected and I was keen to find out why. Daishichi is made up of a few large imposing modern buildings. The entrance is reminiscent of a Bordeaux Chateaux with a modern Japanese twist. Established in 1752, in the town of Nihonmatsu in Fukushima, North-Eastern Japan, Daishichi is family owned, Ohta-San, the President being the 10th generation of his family to run the brewery. Ohta-San is softly spoken and reserved, but underneath this calm exterior is a man with a great passion for sake. As he lead me around Daishichi, it became clear he takes a meticulous interest in the running of the brewery. His eye for detail is extraordinary, every tiny part of the process seems to have been extensively researched, with the quality of the sake always foremost in his mind.
HISTORICAL KIMOTO STYLE Daishichi uses the Kimoto method, a labour-intensive way of making the yeast starter by mixing and effectively grinding up the rice slowly using poles enabling lactic acid to develop naturally, creating fuller flavours. It takes around a month to make, double the time taken by more modern methods whereby lactic acid is simply added. Ohta-San explained how Daishichi led the way in what has become a resurgence in the use of the traditional kimoto method. “Kimoto used to be the way sake was made until the beginning of the 20th century. When faster, more modern methods were introduced, people started to think of kimoto as old fashioned…. it was forgotten”. But “even in this period, Daishichi [was convinced this was the way to make the best sake and] continued to use the kimoto method consistently, winning many awards. We showed during that period [that sake made by the kimoto method] could still take the first prize in competitions which has been an inspiration to young sake brewers who also want to make kimoto sake.”
MUSEUM OF SAKE JOURNAL 54
AN EYE FOR DETAIL
MUSEUM OF SAKE JOURNAL 55
DAISHICHI SAKE BREWERY
THE TOJI’S TECHNIQUE: Daishichi’s Toji, Takanobu Sato is a kimoto specialist who heads up the team of 12 ‘kurabito’, brewery workers. Trained in Iwate prefecture, he has been with Daishichi for 20 years. He’s a member of the Nanbu toji guild, whose characteristic technique is to ferment very slowly at a low temperature creating a distinctive Northern, Tohoku style which would not work in warmer Southern climes where the higher temperatures accelerate the fermentation.
RICE, WATER AND YEAST: Unlike many breweries, Ohta-San explained they only use two sake-rice varieties: “Yamada Nishiki and Gohyakumangoku. We focus on these because both were developed long ago and they are stable, healthy types. Their DNA is stable. Many new types are being developed using artificial methods which are unstable”. “Gohyakumangoku rice is from Northern Japan and has a hard, clear taste. Yamada Nishiki is a much softer type of rice from a warmer area”.. “creating a rich taste and good flavour.” For fermentation they use the most commonly used yeast, number 7. Originally bought from the Sake Brewers Association, Ohta-San explained how they have made it unique to Daishichi. Kimoto, unlike more modern methods, creates a particularly harsh environment for the yeasts, so only the strongest can survive “It’s survival of fittest, the weakest yeasts die off.” They then select the best yeasts from the best sakes they make, so that the quality of the yeast is always improving.
The water comes from a pure-water source: a natural well, the water lying 8 metres under the brewery. Whilst most water in Japan is relatively soft compared to Europe, their water is of ‘medium’ hardness.
THE PRESIDENT’S VISION: President Ohta-San and his team seem to be on a continual quest to find the best equipment, and methods to make sake: embracing innovative ways, as well as holding onto old, labour-intensive traditions should they produce better quality results. They have sourced traditional, old-style iron pots because they create particularly hot steam, steaming the rice so it is dry on the outside and wet in the middle-perfect conditions for sake making. They’ve also developed a modern bottling line using nitrogen to reduce the possibility of oxidation and ensure their sake stays particularly fresh. But the source of most pride is their award-winning ‘super-flat polishing’ technique.
SUPER-FLAT POLISHING: Premium sake makers have long known that to produce clean flavoured sake it is important to remove the outer parts of the rice which contain fats and proteins which can give off-flavours. The goal is to proportionately have as much of the ‘shinpaku’, the opaque white, starch-rich heart of the rice remaining possible to make the sake with. The highest grades, and most expensive styles of sake are generally those which have been polished to the highest degree. For the most premium style of sake daiginjo, by law only 50% of the grain remains. Some of the most expensive commercially available sakes have taken this to an extreme, polishing further still, so that as little as 19% of the grain remains.
MUSEUM OF SAKE JOURNAL 56
AN EYE FOR DETAIL
UNPOLISHED RICE CROSS SECTION
POLISHED RICE CROSS SECTION
FRONT
FRONT
SIDE
SIDE
CONVENTIONAL RICE POLISHING
SUPER FLAT RICE POLISHING
However, a flaw was found in this technique by Tomio Saito, a National Technical Official, who published his research in 1993. He pointed out that to polish most efficiently, a layer of equal thickness rom the surface-area of the grain needs to be removed. But most machines polish grains into a spherical-shape, rather than following the more ovoid shape of the rice, meaning that good parts of the shinpaku are lost at either end of the grain, whilst the widest parts are barely touched leaving the fats and proteins which are best removed. Daishichi took Saito’s research and in 1995 developed the ‘Super-Flat Rice Polishing’ technique whereby they tweaked the machines to polish the grains in a more uniform way resulting in a flatter-polished grain with less of the unwanted layers and a higher proportion of the shinpaku remaining. Though this might sound like an attempt at moneysaving as you get less wastage, it’s actually a lot more labour-intensive taking at least twice the time to remove the same amount of unwanted outer layers. The quality of the remaining rice however is higher, with less fats and proteins creating a cleaner flavour.
A WELL-EARNED REPUTATION: Daishichi has earned a good reputation for their sake abroad exporting 5% internationally, with these exports growing by about 10% a year. Their largest market is the U.S, but they also sell to France, England, Holland, Spain, Scandinavia, Germany, Canada, Singapore, H ong Kong, Taiwan, Thailand and Australia. They make a fairly high proportion of high-end sake with 30% being Junmai Daiginjo and Ginjo, 40% Junmai, 10% Honjozo, and 5% sake-based umeshu. As there is a local demand for regular sake made by the kimoto method, they do also produce some futsushu, although this makes up just 15% and is only sold locally. As I tasted through their sake range, I understood why Daishichi is held in such high esteem. You cannot fail to be impressed by Daishichi’s use of both modern and traditional, hands-on techniques, and the amount of research and attention to detail which goes into creating their characterful, yet elegant sakes.
MUSEUM OF SAKE JOURNAL 57
9
TOKYO SAKE FORECAST 2015 Natsuki Kikuya talks to Marie Chiba and Rebekah Wilson-Lye, sake experts working in the Tokyo sake scene to find out the sake emerging trends for 2015. WORDS: NATSUKI KIKUYA & MASARU WATANABE
RIGHT: HAPPY PATRONS OF SAKE STAND MOTO IN SHINJUKU, TOKYO
TITLE
TITLE
MUSEUM OF SAKE JOURNAL 59
TOKYO SAKE FORECAST 2015
Women are sensitive to fashion and have the power to create new trends. That is why we are trying to create an environment that even women who are not very familiar with sake can fully enjoy. MARIE CHIBA
MUSEUM OF SAKE JOURNAL 60
TOKYO SAKE FORECAST 2015
MARIE CHIBA, SAKE STAND MOTO
千葉麻里絵さん 東京新宿のスタンド『もと』
We talked first to Marie Chiba, manager of Sake Stand Moto - a sake bar in Shinjuku, Tokyo. She started as opening staff at Moto and while working became more and more attracted to the magic of sake. Today she spends her holidays tirelessly exploring breweries all around Japan. She puts the knowledge and experience gained from such travels to good use at Moto, where her motto is ‘building a relationship where the brewery and the seller know each other’.
まずは東京新宿のスタンド『もと』店長として活躍する
Marie says: “We wanted to create something completely new. We want people who did not have an interest in sake before to also become sake fans.” At present she is focusing her energy on expanding the number of sake fans among women. “Women are sensitive to fashion and have the power to create new trends. That is why we are trying to create an environment that even women who are not very familiar with sake can fully enjoy.”
千葉麻里絵さんにお話を伺った。最初は『もと』のオー プニングスタッフだった千葉さん。働くうちに日本酒の 魅力にのめり込み、今では休みを削って全国の酒蔵巡り をするなど探求に余念がない。
こうして自らの足で得た知識と経験は『酒蔵と顔が見え るお付き合いをしたい』がモットーの『もと』で存分に 発揮される。
そんな千葉さん「私たちは0から1を生み出したい。今ま で日本酒に興味を持っていなかった人にもファンになっ てほしいんです。」と、現在は女性の日本酒ファン拡大 にも力を注ぐ。
「女性は流行に敏感で発信力があり新たなトレンドを創 り出す力があります。
だから、日本酒にあまり慣れ親しんだことのない女性に も気軽に楽しんでもらえる雰囲気づくりをしています。
True to her word, in her bar you will find aligned beautiful and colourful sake ware, and a bar counter that is a little bit lower than usual, all details that convey concern for women.
」その言葉通り、店内には色とりどりの美しい酒器が並 び、カウンターは高さが少し低めにしてあるなど、女性 には嬉しい気遣いが満載だ。
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For 2015 Marie predicts that adding a new twist to drinking will become a major trend. One such trend is kan-zake. Although there’s just one word for warm sake, kan-zake is actually very diverse and deep. Among the different types of kan-zake, Marie continues to provide warm pure, undiluted sake said to have a high degree of difficulty. As the range of most suitable temperature for warm undiluted sake is very narrow, warming it requires specialized knowledge and years of experience and varies by year, success of the batch and sake ware even.
2015年、麻里絵さんは一工夫を加える飲み方がトレンド になると予測する。その代表が燗酒だ。ひとえに燗酒と いっても種類は多様で実は奥がとても深い。
麻里絵さんはその中でも難易度の高いと言われる生酒の 燗の提供を続けている。生酒の燗酒は適温範囲が狭いう え、年ごとの出来や酒器によって温め方も違い専門知識 と長年の経験を要する。
しかし麻里絵さん、「生酒は燗にした時の味の変化が大 きく、燗酒としてはテクニックを要しますがベストな燗 酒を提供出来ればお客様に喜んでもらえるんです。」
But Marie says, “When warm, undiluted sake’s taste changes a lot with time and thus you need technique to provide it as kan-zake, but if you can offer the best kan-zake, customers will be happy”. “Originally, kan-zake was the domain of connoisseurs. What we are aiming for is creating something completely new. Therefore, we use nama-zake (unpasteurised sake) to surprise our customers. When our customers tell us “I fell in love with kan-zake after drinking it at Moto”, I feel an indescribable excitement.
と語る。
「元々、燗酒は日本酒の玄人の世界でした。でも、私た ちが目指すのはあくまで0から1を生み出すこと。だから お客様に驚いてもらえる生酒を使っています。
お客様に「『もと』で燗酒を飲んでから燗酒が好きにな った」と言っていただいた時の感動はひとしおです。」
東京新宿に立ち寄った時は、『もと』に立ち寄り日本酒 の新たな発見を楽しんでみてはいかがだろうか。
When you find yourself in Shinjuku Tokyo, why not stop by Moto bar and enjoy making new discoveries about sake.
SAKE STAND MOTO, 5-17-11 SHINJUKU | B1F HAKUHO BLDG., SHINJUKU 160-0022, TOKYO (+81) 3-6457-3288
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SAKE TASTING AT SAKE STAND MOTO
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“ A bottle of wine is much easier to keep in the refrigerator than a huge issho-bin (1800ml) of sake!” REBEKAH WILSON-LYE
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REBEKAH WILSON-LYE, ICHI FOR THE MICHI
レベッカ・ウィルソンライさん ICHI FOR THE MICHI
What motivated this New Zealand native to dive into the Tokyo sake world was the unforgettable emotion that she felt when drinking premium sake for the first time, shortly after arriving in Japan ten years ago. After many years of study she founded Ichi for the Michi, and began using her experience to provide sake consultancy services, sake tasting and educational events for clients all around the world. We asked her what is happening now at the forefront of this industry in Tokyo.
次にご紹介するのは日本酒コンサルタント Rebekah Wilson Lyeさん
Much of Rebekah’s work is focused on connecting with a new generation of sake drinkers and encouraging them to incorporate sake into their everyday lives. Until recently, the sake industry has failed to attract young modern consumers, she believes. “Due to such things as increased urbanisation & Westernisation, the eating habits and lifestyle of the Japanese have changed significantly.”
だ。ニュージーランド出身のRebekahさん、10年前に日本を訪れた 時に飲んだ日本酒の感動が忘れられずこの世界に飛び込んだ。
それ以来日本酒を学び続け、現在は日本酒コンサルティング会社 Ichi for the Michiを立ち上げ、世界中のクライアントにテイスティ ングや教育イベントを提供している。そんなRebekahさんに、東京 の現場の最前線で何が起こっているかお聞きした。
Rebekahさんは今、より多くの人に日本酒ファンとなってもらうた め新たな世代に注目し、日本酒を彼らの生活に根付いた飲み物に するための試みを続けている。近年まで、日本酒業界は若者向け にその魅力を十分にアピールできているとは言えない状態だったと Rebekahさんは指摘する。「都会での一人暮らし増加や食の西洋化 など、日本人のライフスタイルは以前と大きく変わりました。
例えば、彼らの多くが日本酒でなくワインやシャンパンを選びま
For instance, she says, given a choice most Japanese would choose a bottle of wine or champagne over sake. The reason is partly image and fashion, and also practical. “A bottle of wine is much easier to keep in the refrigerator than a huge issho-bin (1800ml) of sake!” Her insight is sharp. But despite sake’s slow fall from favour in the Japanese market, there are auspicious signs of a recovery. In fact, Japan is experiencing a sake boom. The driving force behind it all is sake produced by a small group of progressive small and medium size local sake breweries. Such breweries are producing sake with flavour profiles which suit a modern palate and a wide variety of cuisines. They are also taking advantage of their size, and responding flexibly to market demand in order to satisfy customers and increase profit.
す。イメージの問題もありますが、原因は別のところにもありま す。一人暮らしの方が一升瓶(1,800ml)を買って冷蔵庫に入れてお くでしょうか。そこでサイズが適度でファッショナブルなワインや シャンパンが取って代わってしまったのだと思います。」Rebekah さんの洞察は鋭い。
だが、今は日本酒市場復活への吉兆がある。それどころ か、Rebekahさんは現在日本は日本酒ブームにあると指摘する。立 役者は地方の中・小規模の蔵元が手がける地酒だ。
こうした蔵元は現代人の味の嗜好や多様な料理に合う日本酒を造っ ている。また、組織サイズの強みを活かし、利益をあげる強い蔵と なるべく素早く市場の需要に対応できるのだそうだ。
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“A good example is Dassai which managed to bring new fans by creating a cosmopolitan image and overturning the traditional image of sake.” REBEKAH WILSON-LYE
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She says, ‘A good example is Dassai which managed to attract new fans by creating a cosmopolitan image and overturning the traditional image of sake.’ She is also intent on converting new audiences to sake and helping them to discover more about the different varieties and flavours. “One of the sake brands that is drawing attention now is Aramasa. While their brewing philosophy is firmly grounded in the traditions of the past, they produce sake with a modern ‘Neo-Classic’ flavour profile that is reflective of the natural environment it is crafted in and the era in which it is being made. One of Aramasa’s innovations is the use of koji (rice malt) originally used for shochu, thus creating a modern and fragrant sake with a crisp acidity. They had a famous graphic designer create the labels, which has managed to attract a lot of attention from the young generation. Other innovative sake types, such as ‘Yamagata Masamune Marora’ which have assimilated a process from winemaking known as ‘malolactic fermentation’ are also gaining popularity.” She told us about her goal: “When people go to the supermarket and are not sure what to buy: beer, wine or sake, I would like them to choose sake, of course! That is the Japan I am hoping for.” The new sake trends that she is promoting have the power to open the industry’s frontier.
「好例として、獺祭は日本酒のイメージを覆す都会 的なイメージで新たなファンを開拓しました。」と Rebekahさん。
自らも新たなファンにもっと多彩な種類の日本酒を楽 しんでもらうために新たな銘柄発掘に余念が無い。
「今注目のお酒に新政（あらまさ）があります。新政 は伝統的に受け継ぐ醸造理念は固く守りつつ、新政を 醸す地の環境と時代のニーズを反映したモダンで香り 高いお酒を仕上げました。
新政の革新的な点のひとつとして、本来焼酎に使われ る麹をあえて用いることで、爽やかな酸味を加えてい ることが挙げられます。
パッケージも有名デザイナー発注し、若い世代の注目 を大いに集めています。
ワイン醸造の製法「マノラクティック発酵」を取り入 れた「山形正宗 まろら」のようなお酒も人気が出てく るのだと思います。」
Rebekahさんは「スーパーに行って、ビール？ワイン？ 日本酒？と迷った時、当然日本酒でしょう！となるよ うな日本を目指しています。」と目標も語ってくれ た。彼女が発信する日本酒のトレンドは業界に旋風を 巻き起こす力を秘めている。
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