style
dining
drinking
style
column
Crockett & Jones' Black Editions return
Dining with Isla and Double Standard
Welcome to the World of grower Champagne
Meet the Makers with John Smedley
Tailored Thoughts on Dinner Etiquette
page 14
page 45
page 33
page 12
page 20
In pursuit of a quality lifestyle
Issue 49
the food & drink issue
From the gourmet to the gut-busting, the fermented to the fatwashed, we dedicate this issue to all things food and drink
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Official WLTP Fuel Consumption for the Range Rover Velar Autobiography Dynamic Edition in mpg (l/100km): Combined 23.0 (12.3). NEDCeq CO2 Emissions 270 g/km. The figures provided are as a result of official manufacturer’s tests in accordance with EU legislation. For comparison purposes only. Real world figures may differ. CO2 and fuel economy figures may vary according to factors such as driving styles, environmental conditions, load and accessories.
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CONTENTS
THE ESSENTIAL JOURNAL
Contents
A Note from the Editor
8
The Primer A run down of who we've been talking to, staying with, watching and reading
12
Meet the Makers: Annemarie O'Sullivan We slow things down a little and spend some quality time with basket maker, Annemarie O’Sullivan
35
From Bean to Barista to Beyond La Marzocco dive into the delicate processes behind some of the humble bean’s boldest flavours
37
Paint it Black The Crockett & Jones Black Editions offer up an audacious dose of razorsharp yet fashion-forward design
37
Journey of the Cask With Sukhinder Singh, we explore the effects of cask maturation in five delicious drams
17
Genre Defiant: Emporio Armani X Sigma The latest exploits from Tessuti’s Stand Out campaign put a spotlight on Emporio Armani
39
On the Pass With Tommy Banks Tommy Banks talks us through his personal experience with eating better to feel better
40 18
In the Style Archives With Ben Sherman, we look back on iconic youth culture movements and their impact on modern British style
Road to Reinvention Jeff Gordinier talks adventure, embracing the extraordinary, and road-tripping with René Redzepi
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Tailored Thoughts On: Playing Host Matthew Gonzales offers up a few modern takes on the fine art of dinner hosting
Addressing the Table Jake waxes lyrical on the power of flavour, the folly of bar top tribalism, and the eternal, unwavering charm of meat and potatoes
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A Cut Above Ian Harrold is left to wonder if the last hope for the brick-and-mortar store lies at the bottom of a bottle Adding Fuel to the Fire Refuel, recover and re-energise with HERMOSA at Barry's Fuel Bar
27
Edinburgh Eats We take a quick trip far north to see how things are done up in Auld Reekie
29
Beyond the Plate We offer up a host of restaurants whose charm extends far beyond the food on the plate
33
High Spirits Stepping out of our big brand comfort zone and into the world of grower Champagnes
Where Showstopping Becomes the Standard Four months after opening, The Standard London is home to showstopping culinary plate-spinning The Recipe The Delicious Book of Dhal by Nitisha Patel
47
On the Grapevine Leading the way with natural wines, Jamsheed and Testalonga are on a mission to make wine fun again
51
Architectural Thoughts on Urban Agriculture For Róisín, preparing for the future of food production is a question of looking up, as opposed to looking forward
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Championing Quality British Craftsmanship We delve into the world of Sir Gordon Bennett, the online retailer devoted to supporting British manufacturing
54
CONTRIBUTORS Adam Rawson Adonis Michael Annemarie O'Sullivan Asma Khan Brad Carter Dan Harvey Dawn Davies Gary Mills Ian Harrold Jake O'Brien Murphy Lillie Smith Matthew Gonzalez Miles Kenney Nathan Retzer
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In This Together Simon Gunning discusses the importance of honesty, openness, and collective responsibility in the realm of mental health
Coffee and Counsel Adonis Michaels talks us through the big journeys that make the small pleasures possible
PUBLISHERS Singleton Publishing Nicole Ferris Nick Pears Rob Butterworth Róisín Hanlon Scott James Simon Gunning Tereza Vertatova Tommy Banks
‘Men are physically stronger [than women] and they can absorb the pressure of the kitchen better.’
Drinking With: Present Company Liverpool’s Present Company is a glowing testament to the notion that sophisticated needn’t mean showy
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Marco Pierre White
I
’ll admit it, one should typically reserve the epigraph for figures long-known for their enduring wisdom and unquestionable sagacity. But sometimes, just sometimes, the space is just as well suited to showcasing the baseless, dated, verbal diarrhea of people who really ought to know better. Get me drunk enough and I’ll doubtless wax lyrical about my time in the food and drinks industry. Over the course of those years, I had the good fortune of working with, and learning from, women who could hold down a station - be that bar or kitchen - with the very best of them (‘them’ being professionals of any gender, you understand). And they did so not with grace or poise or any of the other arbitrarily ‘feminine’ attributes we typically like to ascribe to ‘the fairer sex’, but with grit and tenacity and a cold, hard, professional calm.
'Success in any industry should never be predicated upon your gender, it should be a reflection of your skills. This should be a given; it should go without saying.' And why would it be any other way? Success in any industry should never be predicated upon your gender, it should be a reflection of your skills. This should be a given; it should go without saying. And yet here we are, having to go back to basics because the guy who made Gordon Ramsey cry had to go and reckon something. And it’s sad to see, really. I mean, Marco Pierre White is the guy who handed back his Michelin Stars in ‘99 because he thought they were getting boring and outdated. There was a progressive spark there somewhere, at some point. But no longer, it seems. Plato was right: You either retire a hero, or work long enough to see yourself become a rambling, knuckle-dragging part of the problem. That might have come from a Batman villain, actually. And I might be paraphrasing somewhat. Anyway; this issue is dedicated to all things food and drink. Bon appétit. Will HALBERT Editor
PARTNERSHIP MANAGER Lara Poynor l.poynor@singletonpublishing.co.uk
EDITOR Will Halbert w.halbert@singletonpublishing.co.uk
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CREATIVE DIRECTOR Thomas Sumner t.sumner@singletonpublishing.co.uk
For all other enquiries including guest editorial and feature opportunities please contact: info@essentialjournal.co.uk
LEAD DESIGNER - Jennifer Swaby STAFF WRITER - Elliot Ramsey SOCIAL MEDIA - Shona Radcliffe
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note that the views and opinions written within this publication do not necessarily represent the views and opinions of the publisher. All prices and details stated within this publication are correct at the time of print, however these are subject to change and the publisher shall not be held responsible for these. Third party contributions own exclusive copyright to their own material that they have submitted as part of the
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THE PRIMER
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Adam Rawson Isla & Double Standard
B
oasting not one, but two superlative food menus across both its ground floor restaurant and bar, it’s clear that The Standard London has hit the ground running at quite the pace upon its international debut. We managed to grab executive chef, Adam Rawson, between courses at Isla to get the lowdown on his story so far. EJ
Where We’ve Been Staying
Titanic Hotel Belfast Formerly the headquarters of Harland & Wolff, the Titanic Hotel in Belfast is a real architectural gem. With some parts of the original building constructed from materials used to produce the firm’s ships, the hotel is quite literally built on the rich history of Belfast as an internationally prominent port city. The Titanic’s Drawing Office bar, with its parquet flooring, arched ceiling and skylight windows, follows an Art Deco style as the bright, grand hub of the hotel - nautically themed but not to the point of overkill, a monochrome meeting of history and innovation. On the doorstep of the Titanic Visitor Centre, which in 2016 was named the world’s leading tourist attraction, the Titanic Hotel is revitalising the city of Belfast and celebrating its unique cultural heritage.
So tell us a little about yourself. I'm 29 years old and I've been in the kitchen since I was 14. I've done a bit of everything, ranging from pubs to street food, fine dining & popups. I'm now overseeing both restaurant spaces here on the ground floor of The Standard, London. Both Isla and Double Standard have two very different vibes. Is that reflected in the food? Oh yeah! Both spaces offer a totally different dining experience. Double Standard is comfort food done well. You know, the kind of food you want to eat when drinking. Here in Isla, it’s all about lighter options. We serve light, coastal-inspired, seasonal dishes that are meant to be shared. We currently lacto ferment a lot of vegetables for Isla, as well as our chilli sauces & mustards. Lacto-fermented foods are not only delicious but are nutrient-dense, enzyme-rich and alive with probiotics. They definitely fit with the Isla ethos, so expect to see us expand on them as we go. Running two restaurants with such different identities must be quite the challenge. What’s your secret? It keeps me busy, that’s for sure. But it's really fun to create two very different menus. The real trick is simply keeping things organised and sharing the workload effectively. Clever menu planning is key across each outlet.
What We’ve Been Watching
What’s On Our Coffee Table
Hail Satan?
My Last Supper: One Meal, a Lifetime in the Making
By turns deeply funny and wholly serious, Hail Satan? chronicles the rag-tag rebels of The Satanic Temple and their quest to establish a sociocultural counter myth to rival the theocratic dominance of Christianity throughout the United States. Unravelling the odd untruth of the US’ by-the-grace-of-God, monotheistic constitution (the US is, in fact, constitutionally secular) makes for some pretty compelling viewing. Yes, it’s chock full of mascara, pentagrams, and more than a few questionable pseudonyms, but Hail Satan? Is an enriching, illuminating, and above all entertaining little foray into grassroots political activism.
by Jay Rayner (Guardian Faber, available now)
Turning an otherwise morbid thought (You're about to die. What would your final meal be?) into an almost academic exercise, Jay Rayner’s My Last Supper sees the long-standing and ever-acerbic Guardian critic embark on a journey through his life in food in pursuit of the meal to end all meals. Shot through with Rayner’s infamous wit and candour, My Last Supper is both a hugely entertaining account of a life built around mealtimes and a fascinating global (not to mention death-defying) exploration of our relationship with what we eat.
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[Insta] @wastingcoffee There’s beauty in spilled milk
[Music] Laurel by Froth From their latest album, Duress
You say you’ve done a bit of travelling. Do you have any favourite places amongst those you’ve visited? I love Japan. I learnt so much whilst I was there. Peru and Mexico are high on my list of favourite places too. In Europe, Croatia took me by surprise in a big way. Still a fair few places on the list though. Do you work with any local producers or suppliers? Can you tell us about any interesting suppliers from further afield? I work with some very cool meat suppliers. Our beef is from the guys at Txuleta. They specialise in older, retired ex-dairy cows as they make for a uniquely rich flavour. I also use Wild Room for local, foraged ingredients. Our olive oil is imported from Croatia after discovering it on my travels. Not to brag, but it just might be the best olive oil ever. You probably get asked this a lot, but can you tell us a little about your fabled, award-winning, signature burger? Sure. I learned the technique whilst overseeing Lucky Chip, and since went and created my own. I can’t say too much, but I will say that it's important to have the right meat blend and a bun that steams well. I won London’s best burger in 2015 and 2016, and I then served them in various popups for a year or so afterwards.
Five-in-Five
[App] Too Good to Go Helping to reduce food waste
As far as names go, Isla certainly evokes a certain sense of locality. Is the idea of local, seasonal produce important to you? Absolutely. After a fair bit of travelling over the years, I’ve discovered that the most interesting and classic dishes seem to stem from simple ingredients. I also believe that keeping food seasonal makes life as a chef much more interesting. It keeps the creative process exciting.
[Film] Once Upon A Time In Hollywood Easy, breezy ode to cinema
[Podcast] Off Menu What was the question again?
And finally, burger aside, do you have any personal favourite dishes from the menus? The fried chicken in Double Standard is amazing, but I really think that both menus as a whole are super strong and offer something for everyone. We’re off to a great start, and it will only get better over time.
Image Credit: Courtesty of Titanic Hotel
Who We’ve Been Talking To
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Find out more at johnsmedley.com/discover/legacy
n a v i l l u , S O e i r a m e n r e v An a e W t e k s Ba X y e l d e m S n h Jo View our collections at: 55 Jermyn Street, London, SW1Y 6LX | 24 New Cavendish Street, London, W1G 8TX | 24 Brook Street, London, W1K 5DG | johnsmedley.com
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140th
BY APPOINTMENT TO HRH THE PRINCE OF WALES MANUFACTURER AND SUPPLIER OF FOOTWEAR CROCKETT & JONES LIMITED, NORTHAMPTON
MADE IN ENGLAND | SINCE 1879
Anniversary Collection
CROCKETTANDJONES.COM
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Meet the Makers
Annemarie O’Sullivan This month, we slow things down a little and spend some quality time with basket maker, QEST scholar and John Smedley ambassador, Annemarie O’Sullivan words by Will HALBERT
How would you describe your craft? All of my work is based around the ancient craft of basketmaking. I feel as though I am creating three dimensional drawings with this beautiful material - willow. What is your favourite part about what you do? I love the slowness and the rhythm of the whole process, and the fact that every day I’m holding something in my hands that I’ve grown and gathered from the land. It’s a very low impact kind of craft. All you really need is a knife and some sticks, and if you haven’t got a knife, you can use your teeth! How did you begin your career? It has been a slow progression learning the craft. Initially, I learnt how to use a range of materials and over time, I began to work predominantly with willow. How long have you been doing it? I started weaving 14 years ago. What other craftsmen/women stand out to you most and why? I have loved watching Eleanor Lakelin’s work develop and enjoyed seeing her creations celebrated all over the world. She’s found her own way of working within a very traditional craft. Did anything in particular inspire you to start your craft? Seeing the exhibition ‘Contemporary International Basket Making’ in 1999, curated by Mary Butcher, was an eye opener. It totally blew away all ideas about what a basket is supposed to be. Do you work with any other craftsmen/women to create your products? I work closely with my husband Tom McWalter, both from a practical and design point of view. I have also been collaborating with furniture designer Gareth Neal for three years. We have a really successful chair which is sold through the New Craftsmen. What is your criteria for working with fellow craftsmen/women? That we have shared values about
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the provenance of materials we’re working with and that there can be fluid and interesting conversation. What is the hardest part about what you do? The work can be very physically demanding, but also it’s wonderful knowing that my work is in such demand. What makes your craftsmanship most rewarding? I really love being able to discuss work with clients and being able to envisage where the work will go. From spending time growing and harvesting to making and delivering an item. Knowing how it will be used and who will be using it is the final piece of the jigsaw. Where did you learn the skills required for your role? I initially studied in London at City Lit for one day a week over five years. This gave me the basic skills of basket making. Since then, I have spent time working with makers in several countries including Spain, Italy, Ireland, Portugal and England. Have you had any major pitfalls to overcome to maintain your craft? One of the biggest challenges working with willow is getting the material just right at the time you need it. It takes several days to soak the willow for weaving. A drop in temperature might mean the willow takes several days longer to soak. I have to be able to timetable really well and stick to that so that the material works. Has your craft evolved into other/ new skills over time? My skill has edged me closer to the gift of patience, it slows me down and often challenges me to readjust my expectations of what I can achieve in a day. How would you describe a day in your role? I start my day with yoga, it feels really necessary to look after my body and warm it up for the day's work ahead. I am always looking ahead to what I am making in the following week. So after yoga and breakfast I sort and soak willow for the
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I feel like it chose me, from the first time I made a basket I couldn’t quite get enough of it. I have such a strong feeling that this is the work that I should be doing and I feel incredibly grateful for the success and opportunities I’ve had. Do you have any plans to expand on what it is that you do? No, I am really happy with the balance that I have at the moment, I love working with a really small team and making every single product that I sell. One of my aspirations would be to share basketmaking more widely and with a younger audience. What are the main projects you are working on now? I am currently working on a selection of baskets for a client in the USA, also developing an architectural installation for an interior design company and planning a residency in Orkney. How would your customers describe your craft? When clients receive work, they often tell me of the joy that my pieces bring to their homes. They also comment on the beautiful smell of a newly woven willow basket. I feel like people really want pieces that they handle, that become parts of their everyday lives. What are the accomplishments within your work in craftsmanship that you are most proud of? I feel like my work is now selling fairly widely across the world, which isn’t something that I had planned for. Being well known as a craftsperson and being invited to have a voice within the craft world is something I’m delighted to do.
Slow & Sustainable In the midst of a fast fashion frenzy, John Smedley is proud to operate at the forefront of a slower, more conscientious approach to craft words by Will HALBERT
T
hroughout her career as a maker, Annemarie has worked almost exclusively with willow and coppiced wood. In order to create each and every one of her spectacular pieces, she grows and treats around 20 different types of willow on her own land. Bottom line? Provenance, quality and sustainability are among the most important elements pertaining to Annemarie’s craft. With 235 years of experience creating superlative garments from the land’s most natural, sustainable fabrics, it’s safe to say that John Smedley can relate. Setting the standard not only in quality and classic style but also in sustainable practices, John Smedley’s uncompromising selection of merino wool and Sea Island cottons are a further nod to the brand’s love for all things well-made and well-sourced. EJ
johnsmedley.co.uk
following week. Once that’s done I’m able to get on with the making for the day and will spend five to six hours in the workshop weaving. We always stop and have a good chat at lunch time and usually have some soup and salad. It makes the day flow better. Over the year there will be various tasks at home that fit in with the working day - in the vegetable garden, with the chickens or chopping firewood. These are as important as the rest of the work. What are the biggest challenges you face in what you do? Helping people to understand the slowness and the value of my craft. I do feel that I have an audience that are incredibly appreciative and knowledgeable about what I do. How have you stayed passionate and inspired by your craft? It feels easy to be passionate about my craft. It connects me with all the makers of the past, the skills they developed, it connects me with the land and gives me a great sense of belonging. I feel that I have a responsibility to develop and to pass on the skills that have been generously given to me. What made you choose this career and to work in this industry?
How would you describe your company/business in 3 words? Sustainable, contemporary, rooted. How does working with QEST support you and your craft? QEST have been an amazing support, making a significant contribution to my continued learning with master craftswomen and men across Europe. How would you describe John Smedley? There is something very attractive about a brand that has been in existence for over 200 years. I imagine this would be at least seven generations and this to me is true sustainability. Do you have a favourite John Smedley piece, if so what? To be honest, I usually steal my husband's jumpers! But the Bryony is a firm favourite of mine. It’s so exquisitely crafted and the Sea Island Cotton is delightful. I’m also a fan of the shorter sleeves. What are you most excited about for the future? Keeping the balance that I have now – making more baskets and enabling people to discover and develop their weaving skills. johnsmedley.co.uk/discover/legacy
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Paint it Black
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Operating at the intersection between refined and rugged, The Crockett & Jones Black Editions offer up an audacious dose of razor-sharp yet fashion-forward design
words by Will HALBERT
A
ll too rare are the occasions when a sequel bests its original. For filmmakers, writers and musicians alike, the sophomore jinx of the second outing looms large like a billowing, black shroud. Luckily for Crockett & Jones, black is their new favourite colour. Founded in 1879 in Northampton - the undisputed heartland of the UK’s illustrious shoemaking industry - Crockett & Jones’ founding family have made a name for themselves as a heritage brand that isn’t afraid to tread new ground. Following up on last year’s foray into fashion-forward, Japanese-inflected footwear for the modern gent, Crockett & Jones look set to join the all-too-rare and ever-elusive lineage of ante-upping sequels with a second Black Editions range. In the Black Editions, uncompromising construction meets high-concept, Japanese sartorialism. Which makes perfect sense, really: Crockett & Jones has long been the British-made shoe of choice amongst the style-minded, heritage-obsessed Japanese. As is to be expected, irreverence and rebelliousness are key here, and Crockett & Jones dole out both with glee and by the boot load. In reality, this isn’t so much a sequel as it is a driving home of two simple, glaring truths: Crockett & Jones is a brand in complete mastery of its craft and it’s revelling in the sheer, creative joys of shoemaking.
'Japanese-inflected footwear for the modern gent, Crockett & Jones look set to join the alltoo-rare and ever-elusive lineage of ante-upping
crockettandjones.com
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soul Cleated Rubber the leather Rough-out Suede colour Black
Bold without ever being loud, The Black Editions boast a quietly in-yourface confidence that can only come from Crockett & Jones' signature class and calibre. Deftly avoiding any garish gimmicks in favour of a refined, informed and daring aesthetic, The Black Editions are all about turning heads, not rolling eyes. Chunky, cleated Vibram soles and all-black leathers add a razor sharp edge to the heritage brand's typically more subtle, sartorialist stance. In the Black Editions, Crockett & Jones have delved deep into their hall of fame to create something more akin to a rogue’s gallery. The Coniston boot in black rough-out suede, for instance, adds more than a touch of rugged utilitarianism to an otherwise dressy little derby. The hefty Vibram sole imparts a further militaristic flourish to create a pair of boots that practically beg to be put through their paces. By the same token, the Pembroke full brogue derby - a thirty-year veteran of Crockett & Jones’ regular line up - is given a dose of all-black, Scotch Grain, mystique. A stone cold classic with newly-added sass, this Black Edition of a style institution is just as at home on the country road as it is on the streets of Shoreditch. And then there’s the new kid on the block; the Henley III. Lean, mean and ever-so-slightly mod-esque in its appearance, the Henley III represents a contemporary, fashion-forward addition to Crockett & Jones’ offerings. Rolling out in a supple, soft sheen, cavalry calf leather, the Henley III puts a fresh spin on the classic penny loafer. There are no half measures to be found in Crockett & Jones' latest Black Editions line up, no pulling of punches. You’ll find no contrast stitching used to soften its all-black boldness. No dialled-down leather sole to offset the range’s audacious silhouette. All three additions to the range are set to strip things back, crank things up, and make Crockett & Jones’ superlative leathers the real stars of the show. Make no mistake, The Black Editions are full-force, whole-hog, and hell-for-leather by design. And they’re coming this way. EJ
the Coniston
sequels with a second Black Editions range.'
soul Cleated Rubber the leather Scotch Grain colour Black
Image Credit: Courtesty of Crockett & Jones
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the Pembroke
soul Cleated Rubber the leather Cavalry Calf colour Black
the Henley
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Genre Defiant:
Emporio Armani x Sigma The latest exploits from Tessuti’s Stand Out campaign put a spotlight on Emporio Armani, where modern tailoring meets trend-led design to bridge the timeless and the transient words by Miles KENNEY
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ou don’t build an empire by standing still. You can’t set the standard without taking a few risks, and you certainly can’t stand out without breaking the rules. Known the world over for his clean-cut lines, deconstructed silhouettes and genre-defying styles, Giorgio Armani is nothing if not a rule-breaker. Over the years, the man has garnered quite the reputation both on and off the runway for a quintessentially Italian look that isn’t afraid to cross lines. Emporio Armani is the physical, tactile embodiment of that taste for boundary-crossing. Boasting the same clean lines and curated finesse of Armani’s more sartorial offerings, Emporio Armani brings a touch of casualwear flare to Armani’s repertoire. Stripping things down to a well-edited line of sleek, stylish and street-ready looks, Emporio Armani hits a sweet spot between casual cool and sartorial severity, showing itself to be a brand that navigates the tides and trends of fashion’s twists and turns with an impressive and well-documented agility. Standing in tailored testament to that stylistic agility was Emporio Armani's recent collaboration with British DJ duo, Sigma. With their signature blend of drum and bass-dosed gully bangers, slow jams and electro cuts, the double act prove to be the perfect fit for the brand’s contemporary energy and dynamic elegance. Which is probably why we were so excited to see them perform at Shoreditch’s very own The Curtain earlier this month. Brought to you by our good friends, Tessuti, the exclusive launch event offered Emporio Armani’s usual masterclass in head-to-toe, tailored casualwear alongside an intimate live performance by Sigma. Think curated collections of logo tees, tailored sweats, and jet black bombers set to a soundtrack of Sigma’s signature urban sophistication. By all accounts, it was an evening to remember that sent a loud-and-clear message to the masses: Emporio Armani dances to the beat of its own drum. EJ
'Emporio Armani hits a sweet spot between casual cool and sartorial severity, showing itself to be a brand that navigates the tides and trends of fashion’s twists and turns with an impressive and well-documented agility.'
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THE ESSENTIAL JOURNAL X BEN SHEMRAN
A Fond Look Back
Nick Pears Co-Owner of Steam Yard Coffee, Nick Pears, recalls the music and style scenes of Sheffield’s yesteryears words by Nick PEARS
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In the Style Archives As Ben Sherman’s latest collection looks set to draw on the style and spirit of British youth club culture, we consider the enduring appeal and lasting impact of the UK’s standout subcultural movements words by Elliot RAMSEY
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hroughout history, each generation has had its own youth culture movements, fostered through a need to diverge from or rebel against the status quo. Often acting as catalysts for creativity and hotbeds of unhindered self-expression, these movements promoted individuality and significantly influenced the dominant styles and attitudes of the day. A myriad of subcultures existed throughout the 20th century, manifesting themselves through clothing, accessories, hairstyles and even demeanour. In many ways, belonging to a subcultural
'A myriad of subcultures exsisted throughout the 20th century, manifesting themselves through clothing, accessories, hairstyles and even demeanour.' movement granted youths access to a certain social capital, allowing them to develop a distinct identity, situate themselves within a cultural framework and build a sense of community with their peers. The beauty of style is its timelessness, its ability to be inherited by new generations and to influence sartorial trends long after its initial popularity has waned. Style has the ability to impact on the ways in which we live today, bridging intergenerational gaps, connecting people, reigniting subcultural energy and celebrating legacy. As an important facet of British cultural history, youth subculture has allowed people to carve out a place for themselves in the world. It’s not just about the clothes we put on or the way we style ourselves, it’s about finding a sense of community or kinship, feeling a part of something greater, exploring our commonalities and our differences, and celebrating the diversity of great British style. EJ
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y the time I was 18 in 2001, I had already been DJing for three years. I was brought up on blues music by my father. My first album purchase was John Lee Hooker. It was something about the repetitive style of those guys, you know? The stomp and the deep rawness of Howlin’ Wolf and Muddy Waters, the energy of Freddie King. It kind of gave me a strange feeling when I listened to Techno and the more electronic, driving sounds that went on and on. By DJing I could f*ck about endlessly with them. Nobody cared back then though. They were all listening to Funky House music and my stuff was nonsense to them. I didn’t mind that sound either, but I certainly gravitated towards the deeper side of it. I loved melody too, and that was my grandfather’s love of classical music coming through. Man, that shit moves me. My grandfather was an incredible poet and artist, and I found I could write a few words myself. I don’t know how because school really wasn’t for me, I spent most of my time in the corridor. Maybe it was down to all the folk and the California sounds of the 60s and 70s that my mother would throw into the mix (for want of a better term), but as soon as I heard those melodies, I felt an urge to write words. I once managed to get Sony to buy them for a song. That bought me a pair of jeans and not a lot more. I spent most of my time in clubs once I was old enough. The electronic scene was bang slap in the middle of the superclub and I f*ckin’ loved it. Gatecrasher/Bed was where I worked for shit all money, but I got to see the DJs for free on tap. As I crept into my early twenties, I spent more time around live music. Sheffield was making stunning, pioneering music, as it still does. With the live thing, I was a bit on the edge of that. I couldn’t play an instrument, no matter how much I tried, and people didn’t really want my lyrics. You don’t start a band to sing someone else’s problems, do you? Not then you didn’t. I was much better at digging crates than making music, and hammered out a bit of that blues for a while to try and be part of it, but it’s not as fun as shelling Techno records at people in a dark club. That feels magical. With the change in the crowds and sounds, my style became a little more tailored, but I didn’t really dress for other people, unless there was a kiss in it. I did what I wanted. All those old Steve McQueen movies reared up and that’s where I wanted to be. Style without too much noise. NP
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Tailored Thoughts On
Playing Host
A Cut Above
With the help of a few well-versed friends, Matthew takes
As the world drifts towards the abstract
a break from the sartorial seminars to offer up a few
escapism offered by social media, Ian
modern takes on the fine art of dinner hosting
Harrold is left to wonder if the last hope
words by Matthew GONZALEZ
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t some point in your life, you are probably going to have to invite people around to your house for a meal that is a bit more formal than a take away while watching television. For all intents and purposes I am talking about a dinner party (although I really loathe the phrase as it instantly makes me think of 80s yuppies inviting their colleagues and making them wear dinner suits to impress the boss). So in order to help shed that stigma, I’ve curated a few tips from some of Marylebone’s best restaurants as a modern guide to hosting dinner for friends. The most important thing to keep in mind is that dinner at your house is not supposed to be anything other than people getting together for a nice meal and (hopefully) enjoyable company. Don’t try to make it too formal. Some of the most awkward dinners I have personally been to consisted of friends unsuccessfully thinking they are going to have some Downton Abbey-esque meal in their one bedroom flat. Think about it in terms of yours and your guests’ personalities: If the atmosphere doesn’t line up with either of those, then the night might feel a bit forced. Obviously, there are myriad ways to create atmosphere but music is one of the easier choices. Conversations will naturally ebb and flow and that’s okay, but complete silence in a social setting is awkward to say the least. It’s the main reason why we like going to places like pubs and restaurants. The low hum of other people’s conversations or a bit of background music acts as a subliminal white noise that in itself encourages conversation.
'Some of the most awkward dinners I have personally been to consisted of friends unsuccessfully thinking they are going to have some Downton Abbey-esque meal in their one bedroom flat.' If you want to build upon that, try adding other elements like scent. It may sound a bit cheesy, but it is a great way to subconsciously engage your guests. Adding a scent can be tricky because you don’t want to use something that will smell artificial or chemical-laden, nor would you want to use something that would clash with the aroma of food you have prepared. Laurent Delafon from Cire Trudon recommends using a candle that is effervescent and citrusy. Lighting a candle that has notes of grapefruit right after cooking will help freshen the air without overpowering your meal. Hosting a dinner means the food and drink is the focal point of the evening, so it is worth taking the time to consider what you cook. It should go without saying, but never try a new recipe without testing it beforehand. Make something that you know works. If you want to try cooking something new, then give it a test the weekend before to ensure not only that you like the recipe, but to find out what adjustments you might need to make to it. Most main dishes are still meat based, so it’s important to choose good cuts and prep it well. Ben Dale, head chef at Boxcar Butcher & Grill suggests that you season your meat with a generous portion of salt and ground black pepper. Salting your meat as soon as you buy it helps to draw out excess moisture and concentrate flavour when cooking. When planning your main course, try to balance out your proteins with greens, especially if you have any guests who have dietary restrictions. Food intolerances and plant-based diets should be taken into account through a properly-planned menu. Kelly Landsberg from A.O.K Kitchen & Bakery rightly points out that you shouldn’t let dietary issues dictate your meal, but by making sure there is something for everyone, no one will feel left out. One of the hardest aspects of planning a dinner is selecting the drinks. When I am out at a restaurant I pass the wine list to anyone who will take it, but dinner at home showcases more of your personality. Think about pairing your meal with beer instead of wine if you don’t feel confident about it. Conversely, once you’ve picked your recipes, any wine shop will be able to suggest a few good bottles to compliment your menu. While it’s not often a problem in larger cities it’s smart to have a non alcoholic option in case any of your guests are driving. Desserts always make a meal feel complete. After putting in all the effort with everything else you can give yourself a bit of a break and pair a good quality bar of dark chocolate with a dry sherry or whiskey. Otherwise as Dalmaine Blignaut - head chef from Boxcar Baker & Deli says - find a recipe with a few simple ingredients like brownies as an indulgent way to finish off a great meal. Having people over for dinner can easily turn into a pantomime of what a dinner party should be, but if you put in the effort on prep and take a relaxed approach on the night, they really can be great ways to get friends and family over because, let’s face it, we probably don’t see them as often as we would otherwise like to. MG
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for the brick-and-mortar store lies at the bottom of a bottle words by Ian HARROLD
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ould you like a drink while you’re waiting? Of course you would. Who wouldn’t? Drinks offerings - both hard and soft - are something of a staple at the barber shop. In fact, the classic combination of a trim and a tipple goes back further than you might think. Rumour has it that barber shops often doubled up as speakeasies during the high-and-dry years of prohibition. That’s a story for another day, no doubt. But the point I’m trying to make is this: Booze and barber shops are increasingly familiar bedfellows. And the hospitality doesn’t stop there; Marylebone’s Van Clarke salon has no less than two in-house chefs to cater to their soon-to-be coiffed and preened clients. Shuffle a few doors down from your local, city centre barber and you’re sure to stumble upon any number of retail spots equipped with espresso machines and beer fridges. Bottom line? Food and drink have never been more closely linked to shopping and grooming. The obvious explanation is that we’re living increasingly cash-rich, time-poor lives, so grabbing a drink or a bite to eat kills two birds with one stone. But I think it runs much deeper than that. We’re not just looking for ways to optimize time, we’re looking for ways to enrich it. There’s something to be said for experiential value in today’s pace and social climate. We seek out all-encompassing, experience-led lifestyle elements. It occurs to me that the internet - and with it, social media - have spurred this on somewhat, albeit some-what indirectly. The visually-led but ultimately shallow era of Instagram has left us yearning for something more tactile, more immersive, more liveable. By the same token traditional, brick and mortar stores - unable to beat the internet’s thirst for the always-new and the ever-cheap - have had to up their game in other ways. With the age of the internet in full swing, clothing stores run the risk of becoming little more than technicoloured museums if they don’t do something to win back the hearts, minds and wallets of the masses. Turning the retail experience into something more than just a mindless shopping spree is a surefire way of doing that. By tapping into something more akin to a lifestyle experience, shops have a real chance to become more than just a place to spend, they can become an experience unto themselves. In fact, they might just wind up becoming the escape we need, a way to slow things down and catch our breath (in both a literal sense and a metaphorical one). Barber shops don’t suffer that same pressure - the internet can’t cut your hair (yet). But it’s nice to see them rising to the occasion regardless. Barber shops have long since been a place of rest, respite and renewal between bouts of whatever the day has to throw at you. They’ve forever been a pace to escape that constant thirst for novelty, and that compulsion to never stand still, and long may that continue. Anyway, I digress. What was I saying in the first place? Oh yeah! Would you like a drink while you’re waiting? IH
@ianharrold1
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THE ESSENTIAL JOURNAL X BARRY'S
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Adding Fuel to the Fire Whether you’re looking to muscle up or keep it lean, Barry’s Fuel Bar has exactly what you need to refuel, recover, and re-energise from your A word from the experts:
Lillie Smith
time in the Red Room words by Miles KENNEY
The not-so-secret ingredient: HERMOSA protein
Barry’s Manchester 'Using protein after your workout helps to repair muscle fibres that have been broken down during your Barry’s class. This process is what helps you to build and refine muscle. When repeated, it's what helps you to come back stronger than before for every class. Alongside stretching and using good technique, this can also help prevent injuries. Grabbing a protein shake after Barry's is the highlight of my day as it’s both beneficial and tastes amazing! By conveniently pre-ordering your shake before hitting the Red Room, it couldn't be easier to get that protein hit in. And it doesn't hurt that the shakes have a great macronutrient balance too.' LS
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or so long we’ve been told that if it’s delicious, it’s probably bad for us. So when it comes to the post-workout refuel, we confine ourselves to the utterly bland and downright boring in the name of ‘balance’. But Barry’s know all too well that no temple was ever built on lettuce alone. And with Fuel Bars in each and every one of their UK studios, Barry’s have gone and added some major flavour to the fuel that feeds your fire. Barry’s Fuel Bars - found in all UK studios - specialise in delivering cutting-edge (and downright tasty) ways of fuelling people’s workouts. Their shakes aren’t just delicious, they’re tailor made to help you meet your fitness goals. Barry’s even go so far as to let you pre-order your shakes so that they’re ready and waiting for when you emerge - victorious and glorious from the Red Room. From a post-workout snack, to a rest-day supplement Fuel Shakes are versatile, delicious, and ready when you are. From the tropical tang of the Miami Mango Madness to the caffeinated kick of the Not Yo’ Average Joe, Barry’s haven’t just revolutionised the protein shake scene, they’ve created a post-workout shake that actually feels like a reward.
You can purchase your HERMOSA protein at Barry's studios in the UK or online at www.livehermosa.com
You know how the saying goes: Abs are made in the kitchen. Sure, the reps, sets and miles you accrue at the gym are essential too, but they don’t count for much if your diet isn't also on point. All well and good, except for the simple fact that the majority of take-home protein powders taste like a decade old bicycle seat. Either that, or they’re filled with so much junk that you feel like you’ve downed a pint of concrete. Barry’s knows your pain, which is exactly why they’ve developed a protein so clean, delicious and smooth that staying on track with your diet won’t just be easy, it’ll be fun. Available exclusively in Barry’s UK studios, HERMOSA protein is the product of Barry’s signature desire to always go the extra mile, to accept no compromises, and to carve their own path. For the last five years it’s been the backbone of the Fuel Bar. And it’s now yours to enjoy at home. After popular demand from their clients, Barry’s are releasing the product for everyone to buy in both whey and vegan versions, as well as in both chocolate and vanilla flavours. HERMOSA protein provides a little taste of Barry’s in your own kitchen. You know, that place where abs are made. EJ
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CALM
We are a movement against suicide, the single biggest killer of men under 45 in the UK. Get support and join the campaign at theCALMzone.net
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In This Together As the latest ONS report points to a spike in lives lost to suicide, Simon Gunning, CEO of CALM, discusses the importance of honesty, openness, and collective responsibility in the realm of mental health words by Simon GUNNING
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n 2018, 6,507 lives were lost to suicide in the UK and, again, three quarters of those deaths registered were male – a gender bias that has existed since the 1990s. While it’s too early to be able to identify if this increase is part of a larger societal trend, the report certainly makes for very difficult reading today. At CALM we interact with people affected by this issue every day, and we can plainly see the pain so many people experience after losing a loved one through suicide. This report highlights the scale of the issue and brutally illustrates that, while great strides have been made around mental health and suicide awareness in recent years, this issue is not going away. Now more than ever, we must acknowledge this and act with urgency. In these times of uncertainty, CALM strives to bring hope; hope that things can get better, and that we can all come through life’s tough times with the support, understanding and comfort of those around us. This is everybody’s issue: we all go through difficult times in life and the feelings and emotions that come with that are something that
'In 2018 these services directly prevented 675 suicides, and they sit alongside other vital organisations that provide life-saving support. Through our experiences we see the effects that hope, human connection and practical support can have on people’s lives.'
thecalmzone.net
unites us as a species. We’re all connected and we’re all in it together. When we understand and acknowledge that we can see how, when left unsupported and isolated, it’s possible to reach a place where hope can diminish. We must prevent this and, thus, work to prevent people from reaching a point in which suicide becomes an option. And so we all have a role to play in moving towards a more open and supportive society in which people feel able and empowered to seek support at the earliest possible stage. But that support has to be in place and effective across the board in order to yield positive results. Unfortunately, there is some distance to go in that respect. As a direct result of our growth as an organisation, we’re able to invest in our own life-saving services. Meaning the free and anonymous CALM helpline and webchat are helping more people than ever before. In 2018 these services directly prevented 675 suicides, and they sit alongside other vital organisations that provide life-saving support. Through our experiences we see the effects that hope, human connection and practical support can have on people’s lives. Last year we proudly petitioned for the implementation of a new minister with specific responsibility for suicide prevention, which was answered with an appointment in October 2018. Whilst this was a great first step, we need to see more direct action and we welcome any opportunity to work with key decision makers in an attempt to change the picture around suicide in the UK. We have seen commitments and improvements in recent years aimed at reducing the rate of suicide. While these have been positive steps, clearly it is not enough. We need greater prevention measures across the board, and we need that now. We urgently need to build services and systems that enable people to access help and practical support when they need it. It is time to make change tangible, so that fewer people get to a stage in which suicide is their only option. We urge everyone to join the movement against suicide. SG
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Whether you are in need of a bespoke tailor for your special day or a business suit, we have exactly what you’re looking for. At Harland Collier, the only limit is your imagination. Metquarter, Liverpool For appointments call 07746 687 409 or email info@harlandcollier.com EssentialJournal.co.uk
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Edinburgh Eats It’s not just London town that knows how to turn a table. We take a quick trip far north to see how things are done up in Auld Reekie words by Elliot RAMSEY
The Bridge Inn Situated on the banks of the Union Canal in Ratho, a village in the Rural West Edinburgh area just seven miles from the capital, The Bridge Inn is a community pub with rooms at the heart of the village. Head Chef Ross Traill prides himself in producing delicious, locally-sourced food using vegetables grown in the pub’s own walled garden by in-house gardener David, as well as home-bred pork, which is perfect for the delicious pork crackling. bridgeinn.com | @bridgeinn
The Little Chartroom Say farewell to avocado on toast and hello to some refreshingly different dishes on the Sunday brunch menu at The Little Chartroom, which include the likes of Lamb sweetbreads & braised oxtail on toast, or Ham hock with pineapple & fried egg. Voted one of the UK’s Top 100 Restaurants this year, The Little Chartroom is owned by Young British Foodies Chef of The Year, Roberta Hall-McCarron (former head chef at Castle Terrace, previously at The Kitchin) and husband Shaun McCarron, the dining room has a lovely neighbourhood vibe about it and it's perfectly located for Fringe events at the top of Edinburgh's Leith Walk. There's lunch and dinner too, which is all super seasonal with the level of work and attention to detail that comes as standard from this classically-trained chef. thelittlechartroom.com | @thelittlechartroom
Wedgwood the Restaurant Wedgwood the Restaurant is set in the historic heart of Edinburgh on the Royal Mile, renowned for its use for local produce. Paul Wedgwood regularly forages for his menu, with the view that all ingredients for a dish will be provided by his own efforts reducing food miles. Often foraging around the North Berwick area on a weekly basis, Paul will incorporate his foraged finds into the menu, specifically the lunch menu which changes on a daily basis, such as samphire, scurvy grass and cicely. Paul is a nose to tail chef and is well known for making unusual haggis with unusual meats such as squirrel and guinea pig. You will always find a haggis dish on the Wedgwood menu. wedgwoodtherestaurant.co.uk | @wedgwoodtherestaurant
Harajuku Kitchen Harajuku Kitchen is Edinburgh’s only Japanese owned and run restaurant. With its cooking rooted in authentic Japanese comfort food, handed down from owner Kaori’s family, it has garnered a loyal following in Edinburgh and beyond. Testament to its quality and authenticity, Kaori is the official caterer for the Consulate General of Japan, the Scottish Japan society and the Japanese Chamber of Commerce in Scotland, and was recently named The Golden Chopsticks Best Restaurant in Scotland 2019. harajukukitchen.co.uk | @harajukukitchen
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Fashion, Lifestyle, Dining, Culture & Opinion All in pursuit of a quality lifestyle
SPIRE
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Beyond the Plate Because there’s more to the dining experience than the well-made meal, we offer up a few examples of restaurants whose charm extends far beyond the food on the plate interviews by Will HALBERT
Image Credit: Andrew R ichardson
Colla-beer-ation CARTERS OF MOSELEY, Birmingham Birmingham-based, Michelin-starred purveyors of all things weird and wonderful, Carters of Moseley need little introduction. Under the watchful eye of Chef Brad Carter, the restaurant has made quite a name for itself for both its off-the-wall, avant-garde approach to the dining experience and its rich evocation of British terroir in all of its forms. Their collaboration beer with Somerset’s Yonder Brewing aptly named Psychedelic Jam - is
at Bello for one year. We brewed together for a few consecutive weeks back in March and put the beer into their red wine barrels to really put out the best brew possible…it is! What sort of foraged ingredients can we expect to find in there? We used 3 different native botanicals in the brew. Meadowsweet; a wild English flower with flavours reminiscent of honey, vanilla and almond. It was used to flavour mead in medieval times up to 4,000 years ago. Woodruff; a flowering perennial that tastes like vanilla and almond. Hawthorn Blossom; a authenticity, diversity and equality both within and without the food and drinks industry.
'Foraged, fermented and sour as f*ck, the brew features a mix of herbs and blossoms, all aged alongside British raspberries in Yonder's ex-Loop barrels.' a firm expression of that taste for terroir. Foraged, fermented and sour as f*ck, the brew features a mix of herbs and blossoms, all aged alongside British raspberries in Yonder’s ex-Loop barrels. Add collaborations such as these to Brad’s recently-published book on staff dinners (Staff, out now), and you have a string of extracurricular activities that lends Carters of Moseley a unique appeal that extends far beyond the culinary feats offered up on the menu.
hedgerow flower with flavours of bitter almonds that Stu and I foraged for ourselves near the brewery in Somerset. Who’s behind the trippy label art? Ha ha…this label is a nod to my raving days! It was designed by my good friend Hannah al Shemmeri (@hannahalshemmeri). She is a local artist who does a lot for us at Carters of Moseley. I’ll have a mad idea and she uses art to bring it to life-so sick!
What do you recommend we drink What’s the inspiration behind it with? the beer? How did the Personally, I think it’s idea come about, and a great beer to enjoy how long has it been in on it’s own. It’s well the works? rounded and has just I met Stuart (Head Brewthe right amount of er at Yonder) through complex flavours. At our love of foraging. the restaurant we are We share a similar ethos serving it with caraand interest in British melised milk ice cream, produce and he worked fresh raspberries and Psychedelic Jam with my forager Chris salted caramel. by Hannah Al Shemmeri
Equality & Authenticity DARJEELING EXPRESS, London That the comfort foods and regional delights of Darjeeling Express are something special is news to absolutely no one. With loving callbacks to founder Asma Khan's Mughlai heritage, the restaurant has long served up Indian food as it’s meant to be experienced: by the platter; with texture flavour, and fragrance aplenty; and in the best of company. For all the conviviality that the food inspires, however, it’s the people behind the food that truly amaze. The kitchen is run not by career chefs, but an all-women team of housewives. This isn’t themed cuisine, nor is it some cynical, appropriative marketing ploy. Instead, it’s a loud-and-clear call for
Do you think we’re finally seeing a change in working conditions for women in the food and drink industry? They’re changing, but not anywhere close to the rate at which they should be changing. This stands out in stark contrast to other industries, where you can see a concerted effort to narrow the gender pay gap, to ensure that women feel safe at work, and to remove the barriers holding them back from taking on higher positions in companies and boards. Do you think people’s perceptions of Indian food have changed much over the last few years? Yes, we are certainly moving towards more regionality, which is helping to make a menu more reflective of the diverse food that is made in India. For those new to a more authentic Indian cuisine, what would you recommend they try on your menu? The Bihari Phulki, which are lentil fritters served with spicy chilli and tamarind chutney. A version of this is made in Eastern India, in Bihar, in Bengal, and even in Bangladesh. It is a very traditional, street snack which you also find in the home kitchens.
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Meters Not Miles THE DAIRY, London Farm-to-table cooking in South London might sound like some cynical, greenwashed market speak, but it’s very much a reality for the guys and girls over at Clapham’s The Dairy. Robin Gill’s rooftop micro-farming programme has been in place since before the opening of the restaurant itself, and while there’s no cheese to be found up on The Dairy’s roof, the space is home to everything from mint leaves to honey, nasturtiums to onion cress. By all accounts, The Dairy’s menu is a masterclass in restaurant resourcefulness. It reveals at an all-too-rare level of consideration that goes beyond the usual buzzword box-ticking to add a truly homegrown, seasonal, and sustainable charm to an already spectacular menu. Mindful Meat Eating FLANK, London There’s no denying that the recent, environmentally-charged seachange in food-based philosophies have (quite rightly) made for a fair few guilty carnivores in recent years. In a society unable to account for let alone comprehend - the waste it generates, Tom Griffith’s nose-totail cooking ethos offers a welcomed return to a more mindful means of consumption. Flank specialises the seasonal, open-flame cooking of some seriously delicious British produce, which goes a long way to explaining its meteoric rise from pop-up underdog to London market institution. From 70-day aged strips of Belted Galloway to lashings of beef and onion bone marrow potato gratin, Tom and his team at Flank offer low-and-slow debauchery done well, to be sure. Be sure to check out their additional residency in East London’s Print House Bar & Kitchen, should you find yourself in the neighbourhood. The Living Menu AIZLE, Edinburgh While people normally go to a restaurant after having been enticed by the calibre of its menu, Aizle in Edinburgh’s Southside is doing things a little differently. There is no menu, per se - only a list of ingredients written on a chalkboard on the wall. The beauty of this unique concept restaurant is that it is built around letting seasonal ingredients sing. An ingredient could be available for a month, a week, or even a couple of days depending on the time of year, so everything that Aizle serve is at the peak of its freshness and quality. Plus, everything is made in-house, from their sourdough and hand-churned butter, to their signature kombucha!
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Top Right Clockwise: Flank London, The Dairy London, Flank London, Aizle Edinburgh, Aizle Edinburgh
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THE WHISK Y EXCHA NGE PRESENTS
C H A M PAGN E S HOW LA MARZOCCO MASTERS OF TIME AND TRADITION SAMPLE 100+ CHAMPAGNES
MEET THE MAKERS
LIVE DEMOS
FOOD PAIRINGS
OXO, LONDON 1 NOVEMBER 2019 5.30pm - 9.15pm
TICKETS
£85
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THE ESSENTIAL JOURNAL x THE WHISKY EXCHANGE
Champagne This month, The Whisky Exchange invites us to step out of our big brand comfort zones and enter the world of grower Champagnes
FOOD & DRINK
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hen it comes to Champagne, we understand why most people rely on the big names. But we think it’s time to broaden our horizons – it’s time to discover grower Champagnes. These are Champagnes produced by people who grow and make Champagne from their own grapes. Over the past five years, the popularity of these wines has surged, and for good reason. What makes grower Champagnes so compelling is that the growers know their grapes better than the big producers. Most of them supply the more well-known houses, but since the growers can much more easily ensure the quality of their grapes and achieve better ripeness levels when using them for their own Champagnes, the wines are a cut above the rest. What's more, since they spend less on marketing, growers often offer better value for money. Dawn Davies, Master of Wine and head buyer at The Whisky Exchange, shares her knowledge of some of the grower Champagnes that we should be exploring. TWE
The Champagne Show 2019
T
he Whisky Exchange’s annual Champagne Show, held on Friday 2 November 2019 at OXO2, is the perfect opportunity to try more than 100 Champagnes, and experience masterclasses, food-pairings and Champagne cocktails. Tickets at champagneshow.com
Dawn Davies MW suggests visiting one of these London destinations to try grower Champagnes by the glass:
BubbleDogs Champagne Bar London, Fitzrovia
Champagne Lelarge Pugeot Extra Brut 1er Cru Blanc de Blancs NV
Lamiable Rosé Grand Cru NV Extra Brut Champagne
AR Lenoble Blanc de Blancs Chouilly ‘Mag’ 14 Champagne
Roger Coulon Rosélie Rosé de Saignée Brut NV Champagne
£33.95
£36.95
£41.95
£59.95
Lelarge-Pugeot is a grower that has been based in Vrigny, in the Montagne de Reims, since 1789 and today it is the seventh generation who work the land. They work organically and biodynamically – a self-sustaining system whereby natural materials are used to sustain the vineyard, and fertilisers and pesticides are forbidden – with minimal intervention, and only ever use Chardonnay grapes.
This dry rosé Champagne is made with a blend of Pinot Noir and Chardonnay grapes by a grower based in the Tours-sur-Marne, on the western end of the Marne Valley. It works brilliantly with food, and can cope with everything from fish and cream sauces to lighter-flavoured meats.
Mag 14 is the culmination of a project that AR Lenoble started in 2010 when the house started ageing its reserve wines – older wines kept for blending – in magnum-sized bottles, preserving their freshness and adding complexity. The quality of reserve wines is incredibly important, and with climate change affecting the ripeness of the grapes in the Champagne region, it’s becoming increasingly difficult to preserve the key vibrant character in them using more traditional methods.
Champagne Roger Coulon is looked after by the 9th generation of the Coulon family – winemakers with decades of experience. They have 10 hectares of old vines grown sustainably across the slopes around the premier cru village of Vrigny. Their rosé, Rosélie, is a classic of the area, made with 100% Pinot Meunier grapes.
Dawn says
Dawn says
Dawn says
Dawn says
‘This is a beautifully elegant
‘A deeply-coloured rosé, with
‘Poised and elegant with
‘This is a rich, deep rosé that
Champagne with pear and
hints of rosehip, a dollop of
beautiful citrus fruit on the
is packed with dark red fruits
crisp apple on the palate,
fresh raspberry and layered
nose giving the wine an un-
and a hint of tart cranberry.
joined by grapefruit and
red fruits on the palate, and
derlying intensity that makes
A good food wine – try it with
mandarin on the finish.’
pink grapefruit on the finish.’
it a fantastic aperitif that’s
roasted salmon.’
Sommelier Sandia Chang has curated an exclusive list of grower Champagnes, steering away from the big names to discover some of the smaller but most exciting and experienced wine producers. Many of the Champagnes are available by the glass, making it even easier to explore the range.
The Savoy Hotel Beaufort Bar London, The Strand A new menu – Music, Magic & Drama – has launched at the Beaufort Bar, taking inspiration from the three founders of The Savoy Theatre. It’s separated into three sections and the first, Music, features an entire section of English sparkling wine and a longer section showcasing the bar’s enviable list of grower Champagnes.
equally good with food.’ EssentialJournal.co.uk
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visit la marzocco in london & leeds
BUNDO
whether it's an espresso machine for your coffee shop, office or home; the doors at la marzocco uk & ireland are open to come and meet the team. contact us today: la marzocco uk & ireland 6 willow street london, ec2a 4bh t. +44 207 253 1644
la marzocco local suite l3.03, the leeming building, leeds, ls2 7jf t. +44 113 243 6672 info.uk@lamarzocco.com
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First off, tell us a little about your roastery. Nathan Retzer, Quarter Horse Coffee, Birmingham: We’re a small roastery located in Birmingham City Centre. We’ve been in business for seven years, and we’ve been roasting for over four years. Our roastery and café space has been featured in magazines and newspaper articles as one of the top 20 cafes in the UK, and one of the best outside of London. Scott James, Coaltown Coffee Roasters, Ammanford: We’re based in Ammanford, South West Wales, at the head of the valleys and the base of the black mountains. We’ve been in production for five years and have grown to a team of 30. Our ambition is to bring a new industry to our town and other post-industrial towns across the UK with the new black gold: Coffee. Nicole Ferris, Climpson & Sons, London: We’re an independent specialty coffee business with a roastery, two cafés and market stall, based in Hackney, East London. Previously a butchers, Climpson & Sons gained its first concrete home in Broadway Market in 2002, after Ian Burgess saw the opportunity to grow from a market coffee cart, to a cafe in the centre of a thriving and vibrant community. Once Ian decided he would give roasting a go in 2005 there was no going back, and we have been roasting for ourselves and other businesses for a long time. Tereza Vertatova, Curve Coffee Roasters, Margate: We're a pretty small team of just three people working in the roastery and another five working in our café, all based by the sea in Margate. We set up the roastery just three years ago and opened the café a year and a half ago. We focus on sourcing a small number of different single origin coffees with exciting and distinct flavour profiles. Our main goal is to get people to think and feel differently about coffee, move away from the perception of it as an everyday commodity, and really appreciate both its origins and the hard work and determination of the people behind producing it. Every coffee has a particular story and we want to celebrate it. Rob Butterworth, Butterworth & Son Coffee Roasters and Tea Smiths, Suffolk: Based in Bury St Edmunds in Suffolk, the heart of East Anglia, we’ve been roasting since 2011. Our very own Howard Barwick placed third at the UK Barista Championships and we achieved the best espresso in issue 4 of Caffeine Magazine, all within our first 12 months of roasting. Our Head Roaster Tom Howes has added another dimension to our unique packaging by adding his much sought after illustrations to the labels. Check out his insta @nodosaurus. Outside of the roast, what are the other elements that can impact a coffee’s flavour? Can you perhaps pick one element and offer detail
FOOD & DRINK
THE ESSENTIAL JOURNAL x LA MARZOCCO
From Bean to Barista and Beyond As it turns out, there’s a whole lot of science behind that morning coffee. La Marzocco task some of the recent Out of the Box roasters with explaining the delicate processes behind some of the humble bean’s boldest flavours
I
t’s safe to say that La Marzocco, the leading voice in espresso machines since 1927, know a thing or two about a good cup of coffee. They know that, like their machines, a good cup of coffee is the final product of innumerous unseen and intricate processes. Speaking to a few of their roastery partners from across the country, La Marzocco get the lowdown on the subtle science behind everyone’s favorite pre-work/post-work pick-me-up. EJ
Nathan Retzer
Scott James
Nicole Ferris
Tereza Vertatova,
Rob Butterworth,
Quarter Horse Coffee
Coaltown Coffee
Climpson & Sons,
Curve Coffee Roasters,
Butterworth & Son
Birmingham
Roasters, Ammanford
London
Margate
Coffee Roasters, Suffolk
around the effect it has? Nathan: Process is something that can really change the cup. For two years, we have been getting in the same coffee from El Salvador that is processed in three different ways: Washed, Honey, and Natural. With the washed process, the coffee is more nutty, sweet, and clean. The Natural is very jammy and fruity, with a heavy body. The Honey process gives you a sweet, light fruit flavour while keeping the clean cup taste. It is amazing to try when you think everything else about the coffee has remained the same. Scott: Ensuring coffee is stored correctly is a huge contributing factor to the cup’s flavour and clarity. There is a lot of contention in regard to the best practise, but keeping your beans in an airtight container away from direct sunlight and away from moisture is your best bet. Nicole: Like cooking, following a recipe will give you amazing results. You wouldn't guess the ingredient quantities baking a cake, would you? In coffee, it is no different. You need quality, fresh ingredients and a scale to measure them to get the best results. For a cafetiere, for example, we aim for 60g of coffee to 1L of water. For best results, freshly grind your coffee and weigh it out. You then want to add water - preferably filtered. Time is an important consideration too. You don't want to overcook or undercook your cake, after all. The time also relies on the grind size: If you need to cook for less time; the texture of your coffee can become coarser. If you need
to cook for a little longer, make the coffee finer. Tereza: Oh, there are so many elements! Most of them really happen at the farm level. With roasting, we're only uncovering and bringing out the best of what is already in the beans. Farm management, plant nutrition, and good harvest practices are where it all really starts. One of the elements that comes to mind now is agroforestry. For example, in Guatemala (and many other origins) most coffee is shade grown, meaning that the coffee plants are grown under a canopy of shade trees. These are often a mix of local trees like Gravilleas and Challums and fruit trees such as mangoes and bananas. These provide protection from winds and direct sunshine, and combined with high altitude, this allows cherries to mature slower and develop more sweetness, complex acidity and flavour which translates into the beans too. At lower altitudes, providing shade for coffee growing is often used to mimic cooler climates found at higher altitudes, and it is believed to have a positive impact on sweetness, acidity and body in the final cup. Agroforestry is also great for environmental reasons, it will allow us to diversify the plants grown in an area and create a polyculture, and it will often provide a habitat for local fauna. Ripe cherry selection during harvest is also absolutely essential. Fully ripe red cherries will have the most sweetness and the best flavour in the cup. And good post-harvest processing and drying practices are also important in order to avoid any
defects. The list goes on! Rob: It’s pretty difficult to pick just one element beyond roasting, as espresso machine, grinder and water filtration all pay a massive part. If I were to pick one element that may get missed, it would be the freshness of roasted coffee. It’s a major factor in the flavour: too fresh and the flavours won’t have developed properly, and roasted coffee that has been exposed to the elements for too long will become stale and lose its flavours. Do particular beans and how they are roasted lend themselves to particular serves? Are certain roasts from certain farms better suited to filter rather than espresso methods, for example? Nathan: I think in general you need to roast coffee for espresso a little bit differently. The extraction process for espresso means you need to develop a bit more of the sweetness that is in the bean. You can also go a bit darker in the roast, as the roast flavour doesn't come through in espresso in the same way it does in filter coffee. Scott: For us, having a clear understanding of how our coffees are best prepared is important, so roasting for espresso or filter is a huge factor. Some coffees benefit from a slightly longer profile. This improves solubility without sacrificing the flavour notes in the cup and allows the coffee to sing through milk. More delicate coffees, on the other hand, need a little less heat.
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Nicole: We roast to emphasise the coffee’s inherent sweetness and highlight the terroir. The more developed a roast is (i.e if too developed), the more it may taste overly bitter or burnt. If a roast is underdeveloped, it will give more earthy, vegetal flavours. Our aim is to develop the coffee to find the sweet spot to showcase the coffee for what it is. This requires a lot of knowledge about how you roast (and you can learn the basics at our brand new Home Roasting Course, as it happens), as different coffees react differently in the roaster. No coffee acts the same, so our roasters are highly skilled in the science and art of roasting. To highlight the bright acidity found in African coffees, for example, a lighter roast used for a filter coffee may generally be the best way to deliver these delicate, tea-like flavours. An espresso roast, on the other hand, may be more developed in order to promote more body and sweetness and to ‘cut through’ the milk if required. Tereza: Yeah definitely! We think that most coffees can be roasted in a lot of different ways, each allowing to bring out certain characteristics. But certain beans will naturally be richer in body (which tends to be a characteristic favoured in espresso), whilst others might be fruit-driven and super high and complex in acidity (such as Kenyan coffees, which we would usually roast for filter). There are a lot of coffees that we roast for both brewing methods, and find it fun and interesting to explore the variety of flavours that can be brought out from one particular coffee. With every roast we do and taste, we try to learn more and understand a particular coffee better. We’re always aiming to bring out maximum sweetness and complexity without adding any ‘roasty’ or ‘ashy’ notes from pushing the roast a bit too far. With our espresso roasts, we focus on full body and sweetness whilst taming the acidity, as it can be really highlighted in espresso extraction. With filter, we tend to let the bright, fruity and floral notes really shine whilst being supported by a good amount of sweetness. But there always has to be balance with acidity, bringing a nice brightness and liveliness to coffees without being overpowering or turning sour. Rob: I'm sure many roasters could debate this forever! Kenyan beans, for example, have oodles of citrus acidity which some roasters love to showcase (often to the detriment of the coffee itself, depending on who you ask). Others may choose a roast profile that softens the acidity and allows the consumer to drink more at the sacrifice of the cup (again, depending on who you ask). I think every roaster has their own style, and consumers vote with their wallet to some extent. It’s a really interesting dynamic when you think about it. For more from La Marzocco UK & Ireland head to Lamarzoccohome.com
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World-class experts when you need them At Spire Liverpool Hospital you’ll see a leading specialist in as little as 24 hours. We also have a Spire GP service, making it simple for you and your family to see one of our private GP’s.
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Journey of the Cask
FOOD & DRINK
Drinking With:
Present Company
The life of the cask is long, rich,
Dealing in finesse without the flex, Liverpool’s Present
and - until recently - relatively
Company is a glowing testament to the notion that
thankless. Sukhinder Singh, founder of The Whisky Exchange, invites us to explore the effects of cask maturation in five delicious drams words by Will HALBERT
I
t’s no secret that the humble wooden cask plays a fundamental role in whisky making. Not only does the cask represent the primary source of a whisky’s flavour, it also contributes to its colour, texture and overall character. The choice of cask can gently influence a whisky in just a matter of months or completely transform it over time. With that in mind, Sukhinder Singh, co-founder of world spirit emporium, The Whisky Exchange, takes us on a taste tour of five whiskeys selected especially to celebrate both the subtle charm and wondrous clout of the cask. EJ
Inchmurrin 12 Year Old
American-oak barrels formerly used to mature bourbon are the most popular type of cask used to age whisky, particularly in Scotland. These barrels often introduce sweet flavours of fruit and vanilla. This single malt whisky has been aged in a mixture of casks, including ex-bourbon, bringing a distinctively fruity character to this lighter style of whisky.
Kavalan Concertmaster
This Taiwanese single malt has also been aged in ex-bourbon casks. The difference here comes in the form of a port cask finish. The port wood adds an extra layer of dark-fruit flavour and soft spice without overpowering the whisky, allowing its softer fruity notes to shine.
WhistlePig Amburana
Cue the curveball. This Whisky Exchange Exclusive perfectly illustrates how drastically a cask can influence a whiskey in a short time. Matured for more than 13 years in new American oak before being finished for just 10 days in a rare amburana cask (more often used for aging cachaça), WhistlePig Amburana has a flavour profile unlike any other whiskey out there, with layers of tonka-bean spice, coconut and tropical fruit.
Glenfarclas 25 Year Old London Edition
Our fourth whisky - another Whisky Exchange Exclusive, as it happens - positively sings of its Oloroso sherry butt maturation. Glenfarclas is a distillery much-loved by those who enjoy sherried whisky, and the London Edition takes an elegant approach to the method, offering soft notes of fruit cake and spice balanced against the spirit’s orchard fruit character.
Kavalan Vinho Cask
Our final whisky comes in the form of another Kavalan masterpiece. This Taiwanese gem has been aged in a wine cask, dialing up the rich and fruity flavours you get from the most active of sherry casks. This cask-strength whisky shows how modern day whisky-makers experiment with casks, and exhibits intense vine-fruit character, lingering fruitcake and festive spice notes. A strong finish indeed.
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sophisticated needn’t mean showy words by Will HALBERT
In the Best of Company
W
hen talking about a bar like Present Company, it’s all too easy to fall into the usual clichés of decorative, journalistic nomenclature like hidden gem and best kept secret and such like. But Present Company is, in truth, neither of those things. Hell, the bar had a reputation long before it even opened its doors back in May. And with good reason too. Both Simon Thompson and Jake O’Brien Murphy - each an industry veteran and veritable powder keg of rebel-rousing, northern charm in his own right - have long since cut their teeth on the bar scenes both north and south of that quintessentially-British, geocultural divide. Having met at the East London cocktail institution that is Callooh Callay, the duo have since returned up north to shake things up a little. And shake they have. Their drinks menu is a masterclass in sprezzatura; a studied nonchalance that offsets the intellectual depth and sensory heft of their creations. Make no mistake, these are learned, complex, and downright bookish What was your main aim with Present concoctions, but you won’t see Jake, Simon or the Company’s menu? team sweat it. Such is the way of things at Present It’s just a clever pretext to let the team experiment, Company, where bar-raising is business as usual, really. It’s very much a living menu: It’s forever and humility comes by the pint. EJ changing, and some cocktails will often only stick around for as long as we can the ingredients are in season. That keeps things fun, and hopefully sparks a few conversations along the way.
Get the Round in:
Jake Murphy
In that case, what are the criteria for what does and doesn’t make it onto the menu? It’s a meritocracy, and the only metric is deliciousness. It has to taste good, and it has to be scalable. Simple as that really. The current menu, for example, has three gin drinks, two tequila drinks and zero whisky drinks. If you think about the modern canon of the cocktail menu, that doesn’t make a whole lot of sense. But I’d rather have a selection of excellent drinks that don’t tick all the category boxes, than a list of mediocre drinks that do. Any recent concepts that didn’t quite make the cut? There’s one! It’s not so much that it hasn’t made the cut, but we haven’t realised its full potential yet. We’ve been working on a series of ritual serves for dark spirits. It all started with a bottle of Clynelish 14 - our all-round, house favourite single malt. We wanted a simple bottle pour, using different wood extracts, tinctures and small amounts of complex sugars to elevate the profile of the liquid itself. The really interesting development is how the drink changes at different temperatures and dilution. Over the past two months or so, we’ve spent hours pulling our hair out trying to refine the idea. We have seen how delicious it can be, it’s only a matter of time before we crack it. Does that mean you’re consciously moving away from the category-based cocktail menu? In a sense. It’s more a case of category Darwinism. Only the strong survive. Categories can often get in the way of that mentality. As good as a cocktail gets and regardless of what base it has, you should always be looking to better it. Even if it means replacing favourites like Death at the Party and Duster? Especially if it means losing drinks like Death at the Party and Duster! I want to kill drinks. If we have to take Death at the Party off the menu because we’ve come up with something even better, well, that’s a pretty good problem to have. Benchmarks should never be finish lines.
Featured Libation
Death at the Party
A
n intriguing product of a small-scale fermentation programme that sees a homemade strawberry vinegar shot through with a few aromatised wines, Death at the Party is part guilty pleasure, part statement of intent. Boasting an approachable-yet-deceptively-complex profile, it’s just as likely to please the casual, weekend drinker as it is the more seasoned imbiber, and that’s exactly the point. Death at the Party is both a crowd-pleaser and a subtle flash of Present Company’s creative credentials. It’s also a solid liquid metaphor for the drinks menu itself. Eschewing the typical industry penchant for peacocking heavy hitters, Present Company strive instead to create an organicallyshifting, dynamic drinks selection that invites rather than intimidates. ‘Bartenders can often be their own worst enemies, and pretension is the real death of the party,’ says Jake. ‘This is a fun reminder to lighten up and enjoy the trade.’ Present Company also offer Death at the Party to takeaway by the bottle, with artwork by the superlative, Flora Grosvenor-Stevenson (@_florabyflora). EJ
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t s a f k a e r B of The Home An independent, family owned restaurant delivering an authentic American-Canadian Breakfast & Brunch menu NOW OPEN PICCADILLY, MANCHESTER Piccadilly Approach Manchester, M1 2GH
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DALE ST, LIVERPOOL 6 Dale St Liverpool, L2 4TQ
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moosecoffee.co - @moosecoffee EssentialJournal.co.uk
CROSBY, LIVERPOOL 157 College Rd, Crosby Liverpool, L23 3AS
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COLUMN
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On the Pass with
Tommy Banks Could the road to a healthy mind lie in a healthy diet? Tommy Banks talks us through his personal experience with eating better to feel better
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words by Tommy BANKS
love pizza. It seems odd to preface a talk on healthy eating by professing my love for pizza, but that’s exactly what I’m going to do: I love the stuff. It’s not as bad as it sounds though. Sure, there are those that say that pizza isn’t pizza if it’s not a greasy, cheesy, glutinous mess. But I say that pizza is what you make it, that’s the beauty of it. I’ve got a Roccbox pizza oven at home. It’s the kind of present you buy for yourself under the pretense of buying it for your significant other. Not so long ago, we used it to make a pretty delicious ricotta, broad bean and green pea pizza with a little shaved hard cheese and a sprinkle of mint. All atop a sourdough base. Lovely stuff. The point I’m making is that it’s the smallest adjustments that often make the biggest differences. There’s more to good health than fitness, and there’s more to getting fit than hitting the gym. That might sound a little counterintuitive at first, but hear me out. Good health is about more than how fast you run or how heavy you lift: It’s about balance, it’s about mindfulness, it’s about a full night’s sleep and a clear mind. Over the past year or so, I’ve found it pretty astounding to see how food helps with all those things. Now, exercise is good, there’s no denying that, but trying to carve time out for the gym can be stressful. And if, like me, the main reason for hitting the gym in the first place is to relieve stress, then it seems a little self-defeating. So I prefer to strike a balance elsewhere. I have a Peloton Bike that’s just a 5 second commute from my bedroom (i.e. the
The Essential Journal would like to extend our congratulations to Tommy and his team on their recent placings in the Square Meals UK Top 100 Restaurants and Good Food Guide 2020 Top 50 Restaurants Square Meals Uk Top 100 Restaurants Black Swan Placed 19th Roots placed 25th Good Food Guide 2020 Top 50 Restaurants Black Swan placed 34th Roots entered into the guide for the first time
'Good health is about more than how fast you run or how heavy you lift: It’s about balance, it’s about mindfulness, it’s about a full night’s sleep and a clear mind.'
image credit: Debbie Porter
room next door). Twenty minutes of pedaling up a sweat (in padded shorts I wouldn’t be seen dead in) ticks the cardio box nicely for me. The rest is down to eating well. Over the last year or so, I’ve swapped the beer for Kefir (for the most part, anyway). I’ve cut back on the sugar, too. For the simple fact that the post-prep chocolate bar was turning my brain to jelly when the inevitable come-down hit. Those kinds of slumps can seriously affect your mood, especially when you throw in a stressful work life too. Not to sound too jingoistic, but a healthy gut leads to a healthy mind. I’m a big believer in the idea that doing something positive for yourself gives you the same endorphin release as going to the gym. For me, planning my food for the week ahead is a good example of that. I feel on top of things when I start out on the right foot. This time last year, I wasn’t really taking any of this into account: I was busy and stressed and it really started to wear me down. Eating well became a great way of getting my edge back, which makes me think there’s something to be said for the link between food and mental health. There’s definitely some placebo element at play in certain cases, but does that really matter, as long as it’s having a positive effect on you? Next year, I’ll be looking to focus on making the staff meals at Roots and The Black Swan more nutrition-forward. Not that our staff food isn’t healthy, it just has a habit of getting a little indulgent. It’ll cost a fair amount more money to feed our chefs this way, but if ever there was something to invest in then happy, healthy staff would be it. I’m not sure quite what I’ll be making just yet, but maybe a few of those homemade, sourdough pizzas are on the cards. TB
Find out more about Tommy's food online at: blackswanoldstead.co.uk | rootsyork.com
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Image Credit: Jeff Gordinier
On the Road to Reinvention Ahead of the release of his forthcoming memoir Hungry, food writer Jeff Gordinier talks adventure, embracing the extraordinary, and road-tripping with René Redzepi, the greatest chef in the world words by Elliot RAMSEY
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n 2014, René Redzepi, co-owner of the Michelin-starred Danish restaurant Noma and the man considered to be the greatest chef in the world, reached out to meet with Jeff Gordinier, then a food writer at The New York Times. What followed was a four-year journey across the world, from Mexico to Denmark, Australia to America, a cross-continental roadtrip following Redzepi, embracing new adventures, and chronicling his own initiation into the weird and wonderful world of New Nordic cuisine. EJ Tell us about your career in food writing. I actually didn’t start out as a food writer. I tried writing fiction but I was wildly mediocre, I think because I had nothing to say. But I loved to write about other people musicians, politicians, creative lunatics, people obsessed with creating things. I spent a decade at Entertainment Weekly and then another decade at Details, writing profiles of everyone from Tom Cruise and Marilyn Manson to mafia lawyers, until 2011 when I was poached by The New York Times to become a staff writer for their food section. I left the Times to begin writing my book and within 24 hours I’d been offered the job of Food and Drinks Editor of Esquire. What is it that attracted you to food writing? I’m just in love with the theatre of restaurants. For me, it’s like going to see Hamilton or The Book of Mormon - it’s my Broadway. You can go and see a dud play, but you’re still in love with the form, and that’s exactly how I feel about restaurants. As a child, I used to enjoy going out to restaurants with my family and their friends, see- ing how people socialised, how the adults loosened up after their cocktails, the performance of it all.
Hungry (Icon Books) available 3rd October
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Did the opportunity to travel with René Redzepi come at a time when you were both seeking to reinvent yourselves in some way? It was fortuitous dovetailing, really. We were both at inflection points. Mine was, of course, personal. I was going through a divorce, which was painful, enduring the same predictable melancholy, like Groundhog Day, continually gnawing on the same guilt. But René was in the opposite place. He wanted to blow everything up, which to me seemed borderline insane. He could’ve coasted along with Noma if he’d wanted, but René was losing interest. It was a dramatic moment in his career, like Bob Dylan on the verge of going electric.
You’re very frank about your personal circumstances within the book - was it therapeutic for you to document them? Yes, I think that it’s a privilege to be able to examine yourself as a therapy. How often do we get the chance to sit back and actually grieve? We’re so often trapped in a fog, and the act of placing myself in Hungry as a character allowed me to observe myself from a distance and with a renewed sense of perspective. In Hungry, Redzepi has misconceptions of Mexican cuisine and you have your own about New Nordic cuisine. Is it vital to make journeys to move past our initial impressions? Every time you make a trip you change. And, actually, that parallel between Mexican and New Nordic cuisine in the book was accidental - I hadn’t really thought about it in that way before. But before eating at Noma, I did think that New Nordic cuisine was ridiculous, having eaten food in New York that riffed off its style. To me, it’s like going to see a Joni Mitchell imitator while never having seen the real thing. You need to go straight to the source. Has your adventure with Redzepi changed your relationship with food? I definitely crossed a threshold of understanding, and René made that happen. I’d always had my comfort zones when it came to food. Growing up in Los Angeles, the staples of my diet were Mexican, Thai and Chinese food. I never went a week without eating tacos, so René really opened my eyes to a different kind of cooking. What makes New Nordic cuisine so good? Imagine a colour you’d never seen, something off the spectrum that we know. And then imagine seeing a painting involving that colour. It’s eye-opening to see what René has achieved through spearheading the wild food initiative - it’s a thrill to see. What was the best experience of your adventure? Eating at Noma Mexico. It’s hard to shake. It’s not a place that you’d go to every day, but it’s a place you want to keep going back to. Eating at Noma is like being flipped through a portal. It’s like the toilet scene from Trainspotting where Ewan McGregor’s character flushes himself into the hallucination. That’s actually a really good way of putting it, I think.
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COLUMN
Addressing the Table Jake O'Brien Murphy waxes lyrical on the power of flavour, the folly of bar top tribalism, and the eternal, unwavering charm of meat & potatoes
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words by Jake O'BRIEN MURPHY
ur sense of smell and taste that together create our experience of flavour are registered in the oldest parts of our brains. These are the primeval bits of hardware that we share with lizards. It is in the deep recesses of our ancient faculty that memories are made. Our sense of taste and smell have the ability to trigger great thunderstorms of firing synapses that catapult us back to our most cherished memories. Flavour is part of our genetic baggage, it fundamentally changed the brain of early man. We swapped the security of the canopy for a life on two feet and hot dinners. It was our evolutionary trade off for higher thought. Food and drink are now inexorably tied up in our sense of self. We find ways to define ourselves through the narratives of what we consume; it has become much more than simple sustenance. It takes societal meaning beyond the sum of the parts. In my career behind bars I have seen this typified by the ritualistic behaviour of bartenders. A mob of tiki-clad, sleep-deprived bartenders drinking shots of something mouth puckeringly bitter, over proof, or ironically gauche is modern day tribalism. There is a predilection for extremes. A challenge to the conventional tastes of the ‘uninitiated’. The equivalent of our long lost monkey relatives pulling on their genitals and howling into the wind in an effort to be noticed. Is it annoying? Of course. Is it needed? Probably not. Does a small part of my immortal soul wither everytime
'For me, Scouse will always be a Tuesday afternoon on Essex Road, with a loose school tie and dirty knees. Sat in my grandparent’s kitchen on a rickety stool from a pub that was closed well before I was born. Elbow to elbow with chaos.' I witness it? Certainly. In all honesty, I’m probably no better sat here drinking my vodka sodas and looking down on it all. But I do understand where the deep need to belong to this behaviour stems from. In fact, I know the feeling all too well. My own sense of tribal belonging is wrapped up in the regional dish of Liverpool; Scouse. Ostensibly, it is a stew made of potatoes, onions, carrots and meat. But it means so much more. A patchwork representation of the collective history of a mongrel city. Scouse finds origin in traditional dishes from seafaring countries of the North Sea. In Norway it is lapskaus. In Sweden lapskojs. Unsurprisingly, the Danes add a few syllables: skipperlabskovs, and to the pragmatic Germans it is Labskaus. For me, Scouse will always be a Tuesday afternoon on Essex Road, with a loose school tie and dirty knees. Sat in my grandparent’s kitchen on a rickety stool from a pub that was closed well before I was born. Elbow to elbow with chaos. My entire extended family teeming over their seats, in the din of frantic conversation. Condiments and laughter being traded up and down the table. All orchestrated by careful hands with paper thin skin and overseen by pale blue eyes full of love and generosity. This is the real power of food and drink: In the most primeval way, it brings us back to being human. JOB
@jakeobrienmurphy | @presentcompany.bar
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ALL THE TRADITION BEHIND THE
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Masoor Dhal with Tenderstem Broccoli The Delicious Book of Dhal by Nitisha Patel
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Where Showstopping Becomes the Standard
oasted, seasoned and spiced broccoli brings wonderful natural sweetness and texture to this wholesome sea of flavoursome dhal. It’s so simple, yet utterly delicious.
Just four months after
Ingredients
it’s safe to say The
Masoor Dhal 2 tbsp vegetable oil 2 cloves 2 cardamom pods 2.5-cm piece of cassia bark/cinnamon stick 1/2 tsp cumin seeds 1/2 tsp mustard seeds 1 onion, chopped 1/2 tsp fine sea salt 1 tbsp peeled and grated fresh ginger 2 garlic cloves, grated
1/2 tsp ground turmeric 1/2 tsp ground cumin 1/2 tsp ground coriander 1/4 tsp Kashmiri chilli/ chilli powder 2 medium tomatoes, roughly chopped 1 tsp palm sugar/jaggery 200 g masoor dhal 1 litre boiling water 1/2 tsp garam masala 5–6 fresh coriander stems, roughly chopped
Broccoli 200 g tenderstem broccoli, trimmed 2 tbsp vegetable oil 1/4 tsp sea salt flakes
1/4 tsp coarsely cracked black pepper 1/4 tsp dried chilli flakes/ hot red pepper flakes
Method 1 Preheat the oven to 180°C (350°F) Gas 4. For the masoor dhal base, put the vegetable oil into a saucepan over a medium heat. Add the cloves, cardamom pods and cassia or cinnamon stick and fry for 20 seconds until they have released their aroma into the hot oil. Add the cumin and mustard seeds and fry, while gently shaking the pan, for 20 seconds until the seeds have sizzled and popped. Add the onion and salt and fry in the spiced oil for 7–8 minutes until the onion is soft and lightly browned.
its grand opening and Standard London is already home to some fairly extraordinary culinary plate spinning
words by Will HALBERT photography by Charlie MCKAY
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ou’re no doubt familiar with visual metaphor of the circus plate-spinner. A classically-clad, Erich Brenn-esque figure flexing his multitasking skills in all their gyroscopic charm. An odd image to evoke, perhaps, but a fitting visual metaphor for what The Standard does best. Not content with simply doing one thing well, The Standard London pretty much excel in everything they do. Not only is the hotel itself a wondrously Kubrician feat of interior design (courtesy of Shawn Hausman), it’s also home to two diametrically-opposed but equally impressive dining experiences. Helmed by London’s own, award-winning Adam Rawson, both Isla and The Double Standard offer peerless experiences in two very different culinary fields. Isla serves up a light and approachable seasonal menu that sings of the UK’s myriad of flora and fauna. The ‘From the Sea, from the Land and from the Soil’ structuring of the menu elevates the usual dining experience from sit down meal to something more akin to an adventure. Here’s one such adventure: Crab meat with seaweed and papas arrugadas make for a light, from-the-sea selection that paves the way for the from-the-soil Fuzi; a joyous cep mushroom, yolk, black truffle combination that excites without overwhelming. Follow this up with the aged beef chop in green peppercorn sauce for a hefty-yet-herbaceous little foray into from-the-land territory. Stay the course or flit between all three at the same time, the choice is yours. Alternatively, you could ignore my directions altogether, order up a glass of natural wine, and proceed to just off-road the whole thing, getting lost in the sheer, joyous, culinary excellence of it all. Double Standard, on the other hand, is an altogether edgier, sleeker experience. The low light setting and stripped back bar aesthetic hint at something altogether more decadent. Think Mac ‘n Cheese, hotdog sliders, and big-as-your-hand pretzels, all prepared to Adam’s exacting standards. And for the in-for-a-penny-in-for-a-pounders, the cocktail menu offers plenty of opportunity to wash
'The ‘From the Sea, from the Land and from the Soil’ structuring of the menu elevates
2 Stir in the grated ginger and garlic and fry for 1 minute. Add the turmeric, cumin, coriander and Kashmiri chilli/chili powder and mix well to coat the onion in the spices. Add the chopped tomatoes and palm sugar/ jaggery and fry for 4 minutes. 3 Meanwhile, pick through the masoor dhal to remove any stones, then rinse under cold running water and drain well. Stir the washed lentils into the onion and tomato base and fry for 1 minute. Pour in the boiling water and simmer for 20 minutes over a medium heat, until the lentils are falling apart and the water has been absorbed. 4 While the dhal is simmering, cut any larger stems of broccoli in half and place in a roasting pan. Drizzle over the oil and sprinkle over the sea salt, cracked black pepper and dried chilli flakes/hot red pepper flakes. Toss the broccoli in the oil. Roast the broccoli in the preheated oven for 12 minutes or until slightly softened and charred. 5 When the lentils are cooked, stir in the garam masala and chopped coriander/cilantro and simmer for 1 final minute. Divide the dhal between serving bowls and top with the roasted broccoli. Serve with exrtra chilli flakes.
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the usual dining experience from sit down meal to something more akin to an adventure.' things down with a true dose of Double Standard indulgence. Their ‘From the Barrel’ Boulevardier, for instance, offers up a twist on a classic that is, in turn, a twist on a classic. Swapping out the gin in your run-of-the-mill Negroni for a barrel-aged rye whisky, Boulevardier offers the same infamously bittersweet charm of the Italian classic but with an added, American-style bite. So it’s safe to say that The Standard London is spinning a fair few plates, to be sure. And it’s doing so with an enviable style, ease and élan to boot. It doesn’t end their, though. With a third restaurant Decimo (to be helmed by acclaimed Bristolian chef, Peter Sanchez-Iglesias) - in the works for October, perhaps the most exciting thing about the The Standard London is the loud-and-clear message that the show is just getting started. EJ standardhotels.com
The Delicious Book of Dhal: Comforting Vegan and Vegetarian Recipes Made with Lentils, Peas and Beans is available now, published by Ryland Peters & Small, £9.99
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SirGordonBennett.com Pur veyor of Great British Goods
Welcome to a new destination for modern heritage brands. Brands that not only look splendid, are made well and work as intended but come with British provenance guaranteed. Discover a plethora of handcrafted products; from apothecary, grooming and accessories to homeware, kitchenware and workwear. EssentialJournal.co.uk
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On the Grapevine Leading the vanguard of Australia and South Africa’s burgeoning low-intervention wine scenes, Jamsheed and Testalonga are two winemakers on a mission to make wine fun again interviews by Will HALBERT
Gary Mills Founder of Jamsheed Wines, Melbourne seeing their traditional market share being lost to vibrant, small makers who are really capturing the imagination of the drinking public. This is a good thing in my view. The government bodies have triedto crack down a little through changes in tax and other means (through big companies lobbying, etc.) but there is still a great groundswell of support - essentially in the urban centres only of course - for the new breed of wines. It's a fun place to be a consumer as well.
What does natural wine mean to you personally? How would you describe your own approach to winemaking? I’m not a fan of it as a label for winemaking (to me, you can't make good wine 'unnaturally'), although I totally understand why it has garnered such popularity as a response to crap commercial processing. I like transparency in winemaking but I see a lot of bullshit in the natty movement - sometimes as much as the commercial sector. I was really lucky to be tutored by Paul Draper at Ridge Vineyards in the late 90s. He showed me the benefits of respecting the vineyard, using native yeasts and minimal inputs and letting those sites express their terroir fully. So to me 'natural' winemaking is something that I’ve been doing for a long time - before the term became de jour. To me it’s the only way you can make good wine. To that end I guess I describe my winemaking as minimal, lo-fi, or analogue. Maybe ‘honest’ is a good description. I use SO2 in small amounts because I can’t abide mousiness. What’s the wine scene like out in Victoria? Has it opened up to a wider audience in recent years? Melbourne is a great place to make wine these days. The winemaking fraternity and the drinking public have embraced the natty scene wholeheartedly. Melbourne is really quite good at jumping all over a scene. When I first started selling my wine in 2003 I sold pretty much 80% of the whole production to wine bars and restaurants within a 5km circle of my house (I've always lived in the city as opposed to the Yarra Valley) I still sell to most of those venues. It has been a very diverse and open minded city since I've lived here 2002 (and far longer - since about 1998) There has always been a willingness to explore influences from as far as possible in both wine, food and coffee. It's a fun scene and a fun place to live. There does seem to be a good international focus on Melbourne as a liveable city blessed with a legit food and wine scene. You have a pretty well-documented interest in single vineyard wines.
Can you tell us a little about your plans for the upcoming winery? The Urban winery is close to completion - maybe a month away. It's going to be a community space, all are welcome. It definitely won't be the stuffy uptight cellar door connected with most traditional wineries. There's a bar in the middle of the working winery floor, a wood fired pizza oven, loud music (I will be subjecting people to my excessively large vinyl collection), beer and of course a lot of Jamsheed wine. I want more of a warehouse loft dive bar feel. Of course, we will be doing events and parties too.
Why is that so important to you? To me each vineyard has a story to tell. I kind of look at each vineyard as an author and each vintage as their new novel/story. I think the difference in each separate vintage is something to be celebrated. Australia is fortunate to have some very old soils and a widespread viticultural industry and it is fascinating to explore that. It is totally mesmerising to chart the differences between wines made pretty much the same way every year and see the differences between them. On that note, what’s the story behind departures from the single vineyard wines like Candy Flip and Hippy Flip? Can you talk us through
the idea behind them? The Flips are a new range of wines that are very much about drinkability and loosening up the idea that wine needs to be consumed in a restaurant or bar. I have named the range ‘Park Wines’, seeing as they are designed for drinking in the park/backyard/beach or wherever. They can be opened with a cigarette lighter if you want and drunk from a plastic cup, wine glass or necked from the bottle. Very close to where I live is a park called Edinburgh Gardens. On any given warm day it’ll have hundreds of people chilling drinking 'natties', craft beer, chucking frisbees and generally having a great time. That's the idea. The focus is less on terroir and more
on creating a thoroughly enjoyable drink. Have you seen a big shift in winemaking practises since you started up all those years ago? Are we seeing traditions loosening up in favour of a little more playfulness? Yes definitely. Traditions have gone by the wayside. As I’ve mentioned, there is a lot more transparency in the wine trade now. People want to know if what they consume is good for them, good for the world, sustainable etc. We are seeing less manipulation, less SO2 being used, less oak, less bullshit (although sometimes just as much but from a different angle). The big companies are running a little scared and
And lastly, any recommendations from your personal wine lists for those that are new to lowintervention wines? As I have spent a lot of money on this new winery, I haven't had a lot of spare cash to throw at new wines so much. What it has made me do is delve deep into my wine cellar and bring out some of the stash. I've been obsessed with all the 2016 Herve Souhaut wines - can't go wrong. I've been lucky to have a good amount (not any more) and also his Le Marrecos that he makes for his neighbour. Locally, my assistant winemaker has made his own label called Cré Wines. Very small volume, of course, but very good thoughtful delicious wines. We had a trade day in Melbourne last monday and I got to check out Dormilona and Express Winemakers wines - both really f*cking good. Also, Bink Wines, Yetti and the Kokonut, and Geyer Wine Co. from the Adelaide Hills have been ringing my bells. Jamsheed.com.au
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if I could use his nickname as it was the inspiration behind the skin contact wines I was making in South Africa. Testalonga is also a bandit from Sicily - a country I love and which is very similar to South Africa in terms of climate and grape. When I started making skin macerated white wines in 2008, no-one else was bottling in the same way, so it made sense to use the name El Bandito. In 2015, we introduced our baby wines, which was when Baby Bandito was born, and my wife and I went completely solo, purchased some land and began growing vines to make wine. Natural has become quite a hard-to-define phrase - is it fun operating within those grey areas? I love it. I am a bit of an anarchist and I really like the fact that you can’t quite put your finger on it or seek to define it. I think a lot of people are involved in ‘natural’ wines just to appear cool or different, but they’ll eventually be shifted along. Quality will always override any style considerations for us. All we want is to produce good wine that reflects the hard work we put into it, without compromising our direction or integrity. What’s it like farming and winemaking in Swartland? Does the region impart any specific characteristics to your wine? The Swartland region definitely imparts a lot of unique flavours into the wine, the strongest of which is a saltiness that comes through on the palate, particularly in the white wines. Farming wise, it can be tough because of the region’s warm, dry summers. But for organic farming, it’s generally a good region as there is a lot of air movement and very little rain during the growing season.
Craig Hawkins (Founder of Testalonga Wines, Swartland)
First off, what’s your background? How did you get into winemaking in the first place? I got into wine through my older brother Neil back in 2001. I was fresh out of school and needed money for holidays and beer. We’re not from a winemaking family - we’re originally from the east of South Africa where vines don’t grow. I’ll never forget the day my brother brought home a wine magazine and we all laughed at him, and then laughed even harder when he said he was going to study it. Little did we know that we’d both end up falling in love with it. I started working in the vineyards with Neil to earn some extra cash. It started off as a holiday job doing whatever he needed to be done, but then I began to see the transition from vine to wine in the cellar and that’s when I was hooked. I always wanted to work in nature conservation but then switched over to wine. My brother then put me in touch with Eben Sadie who I thought was the most boundary-pushing at the time, and I was fortunate enough to get a job with him. I subsequently did five harvests with him in South Africa and one in Spain, which allowed me to form an idea of where I saw myself in working with wine. Between 2006 and 2011, I travelled extensively between South Africa and Europe. I wanted to work in the Old World to tap into the bloodstream of what, for me, is the source of wine. Tom Lubbe and Dirk Niepoort were massive influences on me and I spent a lot of time working with both of them. My first proper job was making the wine for Dorli Muhr (Dirk’s Austrian Wine Project) and, in 2008, I made my first two barrels of Testalonga’s El Bandito - and that was when it all started. Where does the name Testalonga come from? Testalonga is the nickname of Antonio Perrino who changed the way I thought about wine back in 2007. I asked
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Is it true that you design all your own labels? Is it important for you to bring a little humour and lightheartedness to the bottle? Yes, I design all the labels myself. It’s something I really love doing and it allows me to express my creativity. I adapt a lot of photos that myself, my friends or my wife have taken - I think it allows me to add another layer to our story. Humour is very important for us because the wine world generally takes itself way too seriously. Normally the first thing someone will do when they see our labels for the first time is smile, and that’s the purpose of what we do. How much would you say your own philosophies or methods have changed over time? My initial ideals have not wavered one bit, but my methods have definitely been fine-tuned. For instance, I don’t add any more or less sulphur than when we first started out in 2008, but the wines have definitely become purer and cleaner over time. I always aim to improve what we’re doing along the way. You have to be prepared to make mistakes in order to learn - you can’t just hit it out of the park from the word ‘go’. And if you do, you need to find a bigger park. Do you think drinkers are more interested in knowing exactly what goes into their wines nowadays? Are they asking more questions? Yes, I think that consumers are taking more of an interest. I’m astonished, really, at the amount of growth I see year on year. People are on quests for knowledge of wine nowadays, which is great. But I think there’s a line to toe. People often like wines because they’re motivated by wanting to know everything about it. Sometimes it’s enough to be able to just sit back and enjoy a bottle with your family and friends. And at the end of the day, wine is always at its best when it complements the food it’s served with. Finally, for those just getting into natural wines, which of your own wines would you recommend they try first? I’d have to recommend three. Baby Bandito ‘Keep on Punching’, El Bandito ‘Cortez’ and El Bandito ‘I Wish I Was a Ninja’. rawwine.com/profile/testalonga
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What’s On October – December
Wednesday 2 October 6.30pm Music Room
BlackFest 2019 Celebration Night Saturday 19 October 8pm Music Room
Tuesday 5 November 8pm
Live On Mars – A Tribute To David Bowie Saturday 23 November 7.30pm Royal Liverpool Philharmonic Orchestra
Rising Up: Peterloo 2019
Elton John – 50 Years of Your Song
Wednesday 23 October 8pm Music Room
Thursday 19 December 7.30pm
Liverpool Irish Festival: Visible Women Wednesday 30 October 7.30pm Film
Downton Abbey (cert PG)
Kate Rusby at Christmas Box Office 0151 709 3789 liverpoolphil.com LiverpoolPhilharmonic liverpoolphil liverpool_philharmonic
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COMING SOON ALL THE JINGLE LADIES / ANTI SOCIAL JAZZ CLUB / BERNIE CONNOR BIDO LITO DJS / BUDDY KEENEN / CHE WILSON / CHILDISH GAMBINO PARTY DRE OF THE DEAD / EVERYTHINGS NICE / FAT WHITE FAMILY / IDLES JADE LI / JOE GODDARD (HOT CHIP) / JOSEPH KAYE & ELLIOT FERGUSON KEITH HARING: A RETROSPECTIVE, THE MUSIC OF HIS ERA / LACES OUT PARTY LOST ART SOUNDSYSTEM / LOYLE CARNER AFTER PARTY / MELODIC DISTRACTION NIGHTCRAWLER PIZZA / NEW YEEZY EVE / NO FAKIN DJS SPEAKERBOXXX / SUPERSTITION / WAVERTREE WORLDWIDE
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Architectural Thoughts on
Urban Agriculture For scientists and architects alike, preparing for the future of food production might be a question of looking up, as opposed to looking forward words by Róisín HANLON
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nventive use of soil-free technologies like aquaponics and aeroponics are drastically reducing the square meterage of land required to farm. These growing platforms are allowing designers and scientists to experiment with methods of food production which are environmentally revolutionary, visually striking and symbiotic to modern city life. The use of these technologies in urban agriculture means that roofs, facades and all sorts of leftover spaces can be adapted for food production. By growing vertically and stacking crops, more produce can be harvested from a much smaller space than was traditionally possible. There are many advantages to this, not least because land is at a premium in the 21st century, and with a growing population worldwide, competition for space can only increase. Alternatives to traditional, fertile land will likely be a vital tactic for the future. There are also so many other benefits to bringing food production into cities. Transportation of food between suppliers and vendors contributes to a large percentage of carbon emissions, the shorter this route can be made, the better (with the added benefit of food arriving freshly picked). Like with any park or garden, food production in a city increases the quality of a city – by filtering pollutants from the air, encouraging biodiversity, decreasing urban heat islands, and minimising water run-off. There are successful and thriving examples worldwide. Brooklyn has several operational urban farms including Brooklyn Grange which is currently one of the largest in the world, and uses over 2.5 acres of rooftop to produce vegetables, eggs and honey for local residents and restaurants. Tokyo has a large rooftop farm by the name of City Farm which specialises in growing rice and other water-based crops. Locals can rent a plot and produce food for their own table. Lufa Farm in Montreal entirely covered the top of a warehouse building with greenhouses, allowing the production of food for over 3000 people, even through snowy Canadian winters. Power, heat and water all feed into or from the existing services in the building below. Soon Brooklyn Grange will no longer be the world’s largest. Next spring will see the opening of a vast urban farm in Paris’ 15th arrondissement, which will cover around 3.5 acres of rooftop. The city of Paris is already invested in the idea of urban agriculture, with a commitment to planting 100 hectares of vegetation – a third of which to be urban agriculture – by 2020. The new farm, which is currently under construction, sits atop an exhibition complex at Paris Expo Porte de Versailles. Agripolis, the urban farming company involved heavily in this project, say ‘Our fresh produce will be used to feed the inhabitants across the southwest of the city—either directly, through veg box schemes, or via shops, hotels, and canteens—thereby helping reduce food miles.’ The rooftop will also house a restaurant which will use produce from the project, essentially offering a farm-to-table experience – albeit one with views overlooking central Paris. It’s not just rooftops that are being reinvented to create produce. This summer the world’s first floating dairy opened in Rotterdam. Floating Farm was created in collaboration between Beladon and Dutch architects Goldsmith. The goals of this project were to create a ‘transfarmation’ in terms of animal welfare and sustainability. By bringing milk production into the city, the project reduces transportation costs and emissions, with the milk produced being on sale in city wide Lidls. The company states that 80% of the cow feed comes from the city itself, from sources that are otherwise wasted - such as grass from parks and golf courses, and leftover food such as potato scraps. One of the design reasons to make the farm float is the flooding in the Netherlands that frequently renders farm land temporarily unusable. But this does also have relevance for the rest of the world. As arable land is already becoming scarce, this water-based alternative may have a wider application. Urban agriculture is not just a trend reserved for the larger cities of the world. Closer to home there are several initiatives to explore if you’re interested in eating organic fresh food grown just around the corner, with more cropping up all the time. Sheffield University have transformed an abandoned school into a soil free farm. Bristol’s St James Barton roundabout has a fruit and vegetable garden in its centre, with all food free to be picked by anyone. Liverpool has Farm Urban, who has a few projects in the city including a farm on the top of the Liverpool Guild of Students, which provides produce to the guild café below. Farm Urban has installed three aquaponic systems at Alder Hey Children’s hospital, where the food produced is not only enriching the children’s environments but then also goes into ward meals. On an even smaller scale, GroCycle are a company advocating mushroom farming in your own home. They offer prepared kits that need only water before growing ready-to-eat oyster mushrooms. They also provide step by step tutorials on how to use waste coffee grounds as a way of growing mushrooms. This was exhibited this year at the V&A exhibition FOOD: Bigger than the Plate, where waste coffee grounds from the V&A café were used as a growth medium for the mushroom farm installation, and the harvested mushrooms were then served in meals in the café, ‘closing the nutrient loop’. It is true that realistically we cannot hope to feed a whole city from these small piecemeal farming projects, but the impact will still be remarkable and paves a way to a better understanding of where our food comes from. RH
'Our fresh produce will be used to feed the inhabitants across the southwest of the city—either directly, through veg box schemes, or via shops, hotels, and canteens— thereby helping reduce food miles.'
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attitude
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fter spending 20 years working in advertising, Neil Elliot, a creative director who oversaw campaigns for a range of global consumer goods brands, decided to embark on a dramatic change of career. Disillusioned with the advertising industry, in 2018 Neil established Sir Gordon Bennett, an online retailer specialising in the highest quality British products, fuelled by his desire to showcase the best in craftsmanship and innovation. Inspired by the German company Manufactum, who dedicate themselves to selling skillfully-crafted products made with premium materials, Neil puts a passion for Britain’s playground of craftsmanship at the very fore of his concept, allowing makers to tell stories as diverse as the islands he celebrates. Although the prevailing narrative of today is that Britain’s manufacturing industry is in rapid decline, and while a scaling down of industries and economies has certainly taken place in recent years, Britain is still the ninth biggest manufacturing economy in the world, directly employing 2.7 million people. It is precisely this narrative that Neil wanted to promote through the creation of Sir Gordon Bennett, shifting the focus on to the myriad of home-grown, heritage brands who excel at creating bespoke, quintessentially British products.
"A shift is happening in society, which originally started as a backlash against fast fashion and has continued with food, drink and other industries. Consumers demand provenance now in almost everything, which is why we are championing British craftsmanship products."
Championing Quality British Craftsmanship When it comes to utensils and workwear for the kitchen, balancing style and functionality is one of the central tenets of timeless design. We delve into the world of Sir Gordon Bennett, the online retailer devoted to supporting British manufacturing
words by Elliot RAMSEY
Having always held a certain cachet overseas, British manufacturing has long stood as a byword for quality and excellence. With brands like Burberry, Crockett & Jones and Barbour possessing such a rich history, underpinned by a heritage narrative dating back to the 1800s, there is an incomparable prestige attached to products made in these sceptred isles. And today, more and more British consumers are choosing to invest in products made in the UK, from clothing and accessories to home furnishings and cosmetics. One good reason for this lies in our collective awareness of the environmental implications of buying abroad, but equally, consumers are once again recognising the unparalleled class and character of goods produced on British soil. Some of the most distinctive and prestigious goods that Sir Gordon Bennett stock are produced by British workwear and kitchenware brands who hand-craft in small batches. Risdon & Risdon, the family-run, Shropshire-based premium apron company, create hand-stitched, contemporary denim aprons that exude an air of quality, with their distinctly clean and sophisticated aesthetic. Having been worn by the likes of Jamie Oliver, as well as contestants on BBC's Masterchef and The Great British Bake Off, Risdon & Risdon’s high-grade, durable aprons come at a premium, but the craftsmanship and integrity in design that goes into their creation is something that other fast-fashion brands couldn’t try to compete with. With each of their aprons guaranteed for life, Risdon & Risdon are a uniquely British company doing their part to ensure that quality trumps disposability. Equally, the iconic Richmond Kettle Company, based in the East of England and with a century-long history of traditional craftsmanship, demonstrate that their historic techniques result in incomparably high quality products. Recognised globally for its iconic Edwardian design and constructed by experts in metal spinning, the classic whistling tea kettle has been perfected over generations and is made using the highest grade of pure copper. The Richmond kettle sits firmly as a classic symbol of British culture and heritage, representing the country’s distinguished history of excellence in craftsmanship. As the founder of Sir Gordon Bennett, Neil Elliot, notes: 'A shift is happening in society, which originally started as a backlash against fast fashion and has continued with food, drink and other industries. Consumers demand provenance now in almost everything, which is why we are championing British craftsmanship products. Take Risdon & Risdon, for example. Their aprons come with a lifetime repair guarantee. They’re made better, last longer and because of this, they don’t end up as landfill. Buy once and buy well - you can’t say fairer than that.' EJ
sirgordonbennett.com
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Coffee and Counsel
Adonis Michael Ubiquitous though they now are, there’s more to your morning avocado and afternoon hummus than meets the eye. Adonis Michael talks us through the big journeys that make the small pleasures possible words by Adonis MICHAEL
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’m willing to bet that you don’t give it a second thought when - sat in your favourite bistro or coffeeshop - you pour a helping of extra virgin oil on your side plate, splash on a little balsamic di Modena for good measure, and dip your artisan bread into that little pot of hummus, do you? Nor do you pay any mind when you reach for that hummus and avocado wrap in the shopping aisle. But I can assure you that not too long ago, the tasty little Middle Eastern mix of chickpea, olive oil, garlic, lemon juice and tahini was a complete and utter mystery to most. Now, being the son of a Greek Cypriot restaurateur, I can assure you it was nothing new to me. But it sure is crazy to see how things have changed. Today, hummus is as common on any menu as chips or garlic bread. We really have come on leaps and bounds in terms of gastronomy in recent years, and it's for the better. I’m not talking about the cutting edge of dining experiences to be found at the likes of the Dorcia (so chill out, Pat Bateman), nor am I referring to the Michelle Roux Jnr and Alain Ducasses that helm London’s myriad of Michelin Star restaurants. I’m talking about the amazing little discoveries that now make up our day to day meals. And it's clear to me to whom we owe all of these delicious discoveries. They are, of course, thanks to those who’ve come to our lands over the years and brought a little of their own cultures with them. That’s right, it all comes down to Nigel Farage's favourite word - hold on to your passports, folks: Immigration. Without immigration, we would still be living in a dull and dry gastronomic desert.
'Today, hummus is as common on any menu as chips or garlic bread. We really have come on leaps and bounds in terms of gastronomy in recent years, and it's for the better.' It began in the 1960s with Chinese, Indian, Italian and Greek migrants all arriving in search of betterment bringing recipes from their lands along with them. They set up restaurants and tavernas, small take away hatches and food stalls. They brought with them olive oil, pizza, souvlaki, feta cheese, peking duck, noodles, basmati rice and Dahl. Some of these recipes even morphed into hybrid versions which are now symbolic of British culture than anything else. The nation’s favourite dish, Chicken Tikka Masala, for example, was not born on the streets of Mumbai, it was born here, in Britain (through probably by a Bangladeshi chef). Similarly, you would struggle to find what you would consider Spaghetti Bolognese anywhere in Italy, let alone in Bologna. It’s reported that the Mayor of Bologna was so offended by the idea that he condemned the dish as ‘fake news’, saying it had nothing at all to do with Bologna. Whilst I’m not a fan of these dishes per se, I’m ok with them. They represent a beautiful thing after all: The evolution of food. Some, more cynical, may call them a bastardisation but hey, I’m a nice guy. Combined with immigration is our desire to travel more and further, exposing ourselves to different cuisines more regularly. Immigration has, of course, continued from the 1960s to where we are today, and without getting too political, in terms of its effect on our food and drink, it can only be considered a massive positive. So next time you nonchalantly dip that carrot in that little pot of hummus, spare a thought for the people that brought it with them. Twenty years ago, the idea of walking into a supermarket and finding hummus alongside a ham sandwich (let alone as part of a £3 meal deal) would have been complete fantasy. I’ve no idea what will be on our shelves in another twenty years, but I sure am excited to find out. AM
michaelroseandbaylis.com
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