The century old White Chapel Gallery is still a Mecca of contemporary art

Mayfair is so 2012. The future of London retail, art, cuisine, and trends, is east, on the grimy streets of Shoreditch, Hoxton and beyond. Kitty Valentina Harris selects her favourite boutiques and also quizzes John Skelton, founder of cult Dalston fashion store Late Night Chameleon Café, on the secrets of his success

Nelly Duff

‘Not on your Nelly!’ Even the name, rhyming slang for life, oozes cool and conjures intrigue like the treasure chest that the gallery is. Located in a small pocket of East London, Nelly Duff was brought into the world by Jessie Dyer and Cassius Colman to serve a purpose. Its calling: ‘to exhibit emerging and explosive talent.’ They buy the artwork that evokes an emotional response and pieces ‘that will feather the nest that is their home’. The lino-cut work of Baltimore’s social muralist Gaia and Obama’s favourite Ben Eine are a few gems cloistered in this truly original and precious artistic hub. nellyduff.com

I Boundary, where London and Paris fashions meet

11 Boundary

Born and bred in East London, Debra Winstanley dreamed of owning her own boutique. Spotting a niche in the market for a womenswear store, 11 Boundary is now ‘a chic London boutique with a Parisian edge.’ Filled with diverse and exciting labels, the store is refreshing to wander around in. When she buys she goes for ‘versatile pieces that are wardrobe staples.’ Her perfect customer would be Keira Knightley or Sienna Miller as she already stocks lots of the labels they wear. Labels range from Tom Ford sunnies to American Vintage. 11boundary.com

Tatty Devine is all about fun to wear, original design jewellery

Tatty Devine

In 1999 after graduating from Chelsea School of Art, Harriet Vine and Rosie Wolfenden came across a bin liner of discarded leather and decided to create their own cuffs to sell on a market. Now their shop in Brick Lane is ‘fun, original and all about jewellery.’ They look for pieces that are different and that excite them and ‘more importantly things they want to own.’ Currently they are focusing on Tatty Devine’s own collection. In celebration they throw a party in traditional Holi Style from which everyone emerges covered head-to-toe in powder paint. tattydevine.com

Present, from retro to the latest in men’s fashion

Present

 On entrance Gwilym, the world barista champion, is there to hand-pull you an espresso and while you wait one can flick through an issue of Monocle or take in the fantastical, fanciful smells of their candles such as one titled ‘Mars’. Further into the store the walls are adorned with one off items collated from around the world. The sophisticated and fun shopping arena houses both international and British brands such as Bass Weejuna leather shoes and Hartford clothing. Founders of the new age store, Steve Davies and Eddie Prendergast, balance their stock with both established and niche brands. It captures oldschool retro with new school swarve bringing men’s fashion into the present. present-london.com

Start Store is the latest edition to Start’s growing empire

Start

Where to begin? One has to choose where they wish to start; in the newest addition to Mrs Brix and Mr Philip Start’s: Mr Start’s store empire, in the Suits Store, in Start for women, or in Start for men across the street. Start cherry picks their buys with items from designers such as Helmut Lang and Rick Owens, and if you are puzzled how to piece them together, don’t panic! All the staff are trained stylists. Coming in July is the Mr Start Woman AW13 range; expect structured slim fit trousers with soft, plush jumpers and elegant overcoats. The bonus of a visit to the shop is meeting the fashion famous Gladys and Pixie. These are Brix’s (who was a guitarist and lead singer respectively in post-punk cult bands The Fall and The Adult Net) precious pugs that were the faces of the Christmas scarf last year. start-london.com

A Child of The Jago

Expect the unexpected is generally a good mindset to approach this store with. Founded in 2007 by Joseph Corre and Simon ‘Barnzley’ Armitage (who has now left for Peru) it resides in a former Victorian slum and is described as ‘a child of the street. The destitute and illegitimate progeny of a hopelessly rundown environment.’ ACJ seeks to cause trouble while it interrupts the status quo of menswear with high quality garments ruling over pre-packaged trends. Made in Britain, in nearby Clerkenwell, these pieces are limited and unique as they are dependent upon the length of the different British fabrics they source. achildofthejago.co.uk

The Tunnel at LN-CC

MEETING THE CHAMELEON

A hybrid of creativity and determination that is rapidly becoming a global discovery icon, Late Night Chameleon Café is an evolutionary anomaly in the retail biosphere. Its arena is the up and very becoming Dalston and its camouflage is a cave like structure in what appears to be a derelict building. The benefit of such a misleading exterior: one is transported to another realm of outspoken luxury. LN-CC’s cofounder John Skelton became Selfridges’ youngest buying team member at age 20 before moving to Harrods two years later. Now as LNCCs Creative Director, Skelton takes a birds eye view and hands-on approach to styling shoots, market perception and brand direction. LN-CC.com

Where does the name Late Night Chameleon Café come from?

John Skelton: LN-CC stands for late night chameleon café. The name comes from a variety of places, and is kind of tongue-in-cheek but at the same time is a true reflection of how we came about and what we are about also. The idea of LNCC was born over many late nights, mostly music related and just coming up with ideas in the early hours and developing them through the very early hours over the course of years I guess. I like the idea that a chameleon is constantly changing and is such an interesting creature and we had always planned to have a library, a club, and a café so it just stuck. It just felt right, and it still does.

Why did you choose Dalston for LN-CC’s home?

J.S: Dalston is a place where most of us were living or have lived over the past 8 years, and when we decided to launch LN-CC it was a very natural choice. Even though there was nothing around here three years ago when we secured our space, we knew the area was ready for something like LNCC. In the last year the area has exploded with new stores, bars, galleries and restaurants opening up weekly. Initially people told us an appointment only space carrying some of the most expensive products in the planet would never work in a run down area like Dalston. We believed in it and it’s been an incredible ride.

Now revamped how would you describe the vibe at the hub that is LN-CC? J.S: I think the beauty of LN-CC is the simplicity of what we are doing. Yeah, sure our store may be seen as a concept store however I don’t believe what we do to be overly conceptual, or conceptual at all for that matter. I’ve spoken about this with Dan (Mitchell) the other half of the creative here at LN-CC and our concept essentially is to put all the things we love whether it be clothing, music, books etc in an environment that is interesting to us. That is quite simply our concept. The good thing about us is that we get bored very easily so were always looking to progress, create, re-create and keep moving the project forward from all angles as to keep ourselves interested. The vision is quite simply that, to excite ourselves, as if we can do that then you will excite and interest others also.

How has your original vision changed over time?

J.S: I don’t think the vision has ever changed, we have just evolved and moved things in the direction that feels right at as we develop. Our main aim is to keep pushing things forward and keeping everything we do on the front foot as to push not just our concept forward but retail in general.

LN-CC’s Light Room

With LN-CC in mind and on a broader scale where do you see the future of retail going?

J.S: Retail is quite simply in the hands of retailers and it can go anywhere they want to push it. At the moment it is very easy to make an impact and do something new and interesting as the mass majority of retailers’ offerings are so safe that there is a lot of room and scope for development in the sector.

Which designers do you see leading the way?

J.S: It’s hard to say really. The future of retail is about carving your own niche, a world for people to come and get inside. The formula for that is to put your own selection of brands together in a way that is personal to you and then to develop the customer base as you grow. This therefore means that you will benefit from doing something different as opposed to just selling the hot brands of the moment.

Which designers do you currently carry and can you tell us a little bit about them?

J.S: In terms of brands that I think are in a good stage of development and will become more relevant for the future, I think Yang Li is currently leading the pack. For a new designer his production and fabric choice is second to none and has a very strong idea of where his brand is going. I also have to say that I think JW Anderson’s womenswear is developing into a really strong brand and will be a force to be reckoned with going forward.

Bottle Apostle, one of the city’s finest independent wine shops

JOHN SKELTON’S SELECTION OF MUST SEES IN DALSTON

Trangallan

This restaurant has been set up by 2 young (very nice) Spanish couples who have a real love of food/wine/culture. The food is delicious, very interesting yet refined Spanish cuisine, and the wine list is great also. It obviously has a great selection of Spanish wines; a lot of them on the front foot but offers the best of the French and Italian staples also. In the basement they have a space that they use for more cultural events and have done all kinds of things from independent film screenings, offbeat music projects, etc, etc. trangallan.com

 Trullo

Restaurant For those who know the area and are into food then they will obviously know about this place, but if you don’t, then you should go. You’ll need to book a few weeks before. The food is (in my opinion) the best Italian food you will eat in east London and as a full package is amazing. The staff are friendly and knowledgeable, the atmosphere is relaxed and very comfortable (ask if you can have a table upstairs; downstairs feels a bit like sitting on a dancefloor full of tables as the lighting isn’t quite right) and the wine list is diverse, extremely well considered and not crazy expensive. They do however have a specials wine board which has more expensive and really good staples and experimentals. trullorestaurant.com

 Bottle Apostle

This wine store in Victoria Park is a great little independent. It covers everything from the best of the Italian and French (which it does extremely well) but also has some very interesting Portuguese, Swiss, Hungarian and many more that are very well edited and curated. They also have supper clubs downstairs with guest chefs and wine pairings which are really good also. bottleapostle.com

A couple of years after The Arts Club shook up London’s already buzzing members’ club scene, Hong Kong is getting its own world-class den of artistic cool. Duddell’s is a new type of space for the city, with its laid-back interior design by Ilse Crawford (of Soho House fame), impeccable arts credentials courtesy of Yana Peel, co-founder of the Frieze Outset Art Fund, and ahead-of-the-curve founders. Alan Lo and hyper-restaurateur Paulo Pong are among the dream team behind the venue in Central, near all the best galleries. And the presence of Pong, one of Asia’s most respected wine traders, also ensures the wine is as good as the art. Now get yourself nominated as a member!

duddells.co

Technology fairs are not just about geeks comparing chips. A raft of collaborations between the art and science worlds means tech fairs can be as wild as a festival. Caroline Davies presents six of the best

Kinetica Art Fair, Titia Ex The Walk 2

Kinetica Art Fair
Kinetica is the galleries’ tech art fair. Bright lights, a pulsating spiky suspended ball and an agressive looking, electronically operated boar’s skull all fought for attention at this year’s show with exhibitors from Singapore to the States, Russia to Indonesia. The fair encourages independent and student artists to exhibit alongside established galleries making it a good place to pick up unique art works.
London,UK, Febuarary/March 2014 kinetica-artfair.com

Ars Electronica’s exhibition centre

Ars Electronica
First started in 1979, Ars Electronica is the techwhizz– kid grandfather of technology art festivals. 2013 is the year of ‘Total Recall: The Evolution of the Memory’, but AE is far more than just a fair. Its annual competition, Prix, spots the talent before the markets do: previous winners included Pixar, Wikipedia and Wikileaks. Their exhibition centre draws year round crowds with their interactive exhibits on everything from media art to prosthetics and the cinematic sounding ‘future lab’ supports experts in art, design, architecture and virtual reality that will change the way we interact with the world.
Linz, Austria, 5-9^th September 2013 aec.at

Art Futura
The first place to see entertainment innovation. Originally held in Barcelona in 1990, Art Futura holds 13 festivals simultaneously across different Spanish speaking cities. If digital technology connects the world, it makes sense that a fair does too. Last year’s central event was held in Uruguay. Focusing on new media, interactive design, videogames and digital animation, previous participants include Brian Eno, MIT Media Lab and Pixar. International. November 2013 artfutura.org

Barcelona’s OFFF Festival highlights film, art, design and music

Offf
As bohemian as tech gets, OFFF is all about the arts, not the funding. A post-digital culture festival, it showcases films, art, design and music and holds its own market, lounge, gallery and classroom. Independently curated, it is free of the big corporate atmosphere and has more of an extended family vibe. Conferences are so popular, guests sometimes sit on the floor to hear speakers.
Barcelona and international, 6-8thJune 2013 offf.ws

Dutch Electronic Art Festival – DEAF
Founded under the dramatic title ‘Manifestation for the Unstable Media’, DEAF is the biennial art and media technology fair run by interdisciplinary art and media centre, V2_. Aimed at pulling in a new, diverse audience, the fair is another way of sparking debate for the group who also publish works by the great minds of technology today. Expect to hear the big questions, even if you don’t always find the answer.
Rotterdam, Holland, Next in 2014 deaf.nl

Paul Friedlander, The Enigma of Light

Festival de Arte Digital – FAD
The quirky art tech festival in Brazil was set up by Tadeus Mucelli, aka DJ Tee, and Henrique Roscow, the fair encourages young creators to experiment with digital technology. A pioneering idea in their state, the fair began in 2007 as a way of informing the public and exciting artists. Today the fair is concerned with democratising information on new technologies so that everyone can make the best use of the new digital world.
Belo Horizonte, Brazil. October 2013 festivaldeartedigital.com.br 

Ronald Ventura is already a record breaker. When his piece, ‘Grayground’ went on sale at Sotheby’s Modern and Contemporary Southeast Asian Paintings auction in Hong Kong in April last year, the result astounded onlookers. Met by a whirlwind of bids, the piece sold for $1.1 million, the highest for Sotheby’s in its bracket. A year later and now back in Hong Kong, Ventura opened his solo show “Voids and Cages” at Galerie Perrotin this spring. Combining disconnected imagery and references, his work is a mixture of traditional craft and tales, informed by a wide array of artistic inspirations from old masters to Japanese anime and horror films. Ventura, who one days hopes to open a contemporary art museum in Manila, has recently begun the painful business of buying his own art – which is appreciating rapidly in value – back from buyers for his own collection. Today, he holds on to one piece from each solo exhibition so he won’t be stung again. With his work in high demand from solo shows across America, Europe and all of Asia, Ventura is one to watch, particularly for aficionados of southeast Asian art, which is growing in influence each week.

A young model shows off Kenzo’s SS13 designs

DESIGNERS ARE SETTING THEIR SIGHTS ON THE NEXT GENERATION, AS THE FIRST GLOBAL KIDS FASHION WEEK IN LONDON PROVED

High fashion for little people. The first ever Global Kids’ Fashion Week, in association with designer children’s outfitters AlexandAlexa.com, was held in London’s Freemason’s hall this spring.

With not a miniature fashion faux pas in sight, the catwalk featured designs from Chloé, Junior Gaultier, Supertrash and Little Marc Jacobs to scratch the surface.

With ambassadors including model, Portia Freeman and founder of my-wardrobe.com Sarah Curran and Jodie and Jemma Kidd on the front row, no one could deny that the show had style. Taffeta party dresses, neon laced new rave trainers and real indie kids tiptoed and clomped down the catwalk, cooed and snapped by well-heeled mothers and fathers. But how much sartorial elegance does an eight year old need?

Opinion may differ on having children on the runway, but the show wasn’t a solely commercial exercise; all proceeds from the SS13 public fashion show were donated to Camila Batmanghelidjh’s highly respected Kids Company charity, which works with dispossessed children a million miles away, metaphorically, from the privilege of the party. globalkidsfashionweek.com 

The grand finale

Marco Lodola, Aladin

As Bowiemania takes over the world, our columnist tells how he is putting on a particularly original, global tribute to the multifaceted cultural icon. JEAN-DAVID MALAT

The current exhibition on David Bowie at London’s V&A, sponsored by Gucci, is an interactive hi-tech exhibition featuring more than 300 objects – handwritten lyrics, original costumes, fashion, photography, film, music videos, set designs, personal instruments and original album artworks, brought together by the V&A for the very first time in order to give visitors a more comprehensive insight into the life, career and mind of David Bowie. One would ask “why such mass enthusiasm for the artist?”, to which only one answer is possible: because he is a legend and his influence on contemporary creative society is exemplary and will be remembered.

Bowie has sold close to 136 million albums, and ranks among the ten best selling acts in UK pop history. In the BBC’s 2002 poll of the ‘100 Greatest Britons’, Bowie ranked 29 – that’s Britons of any type.

Bowie’s avant-garde artistic aura is what made him the legend he is, and art has played a large part in his life. Andy Warhol, probably the most famous artist of the pop art movement, was one of Bowie’s greatest inspirations. In 2003, in an interview with Performing Songwriter magazine about the song he wrote about Warhol, Bowie explained that he took the song to The Factory (Warhol’s studio and workshop) when he first visited America and that Andy Warhol hated it. After this unfortunate event, Bowie got to know Warhol and they became friends.

In 1996, David Bowie even played the part of Andy Warhol in Julian Schabel’s film ‘Basquiat.’ So, in parallel to the Victoria and Albert Museum exhibition, in 2013, the Opera Gallery is opening a visual artistic tribute exhibition on the legendary musician and icon.

Over twenty contemporary artists, from the US, the United Kingdom and the rest of Europe have been asked to create an artwork that pays homage to the singer, in their own style and technique.

The list of participating artists include Spanish portraitist Lita Cabellut – whose large-scale portraits fascinate the viewers with striking depth and colours; French stencil artist C215 who usually makes portraits of the poor 01 and homeless but eagerly accepted the challenge to depict the iconic singer for this exhibition.

British street artists Bob and Chaz from The London Police (TLP) collective are also taking part in the exhibition ‘The Many Faces of David Bowie.’ Famous for their lovable & iconic ‘Lads’ characters that have been seen on streets all over the world, they will bring a new dimension to the tribute display thanks to their unique back-to-basic black and white ink drawing technique. Other street artists from the British scene were selected to take part in the exhibition, such as Bristol-born Nick Walker, who emerged from the graffiti scene in the early 1980s and is now famous for his style and humour that have gained him worldwide recognition. Finally, Mac1 is a photo-realistic graffiti artist who came out of Birmingham’s innovative scene in the 1980s & 90s. He is a selftaught artist who deals mainly with acrylics, oils and inks. Inspired by pop and comic art as well as iconic figures from the past and present, Mac1 has been painting for 19 years, mainly with aerosol paint.

Nick Gentry presents a portrait in his very own recycling-upcycling technique that consists in painting with oil on a background made of floppy disks and cd-roms

And British visual artists Zoobs continues to incorporate different cultures and their representations into breath-taking iconic images that are often themed with death, love, pain, celebration and magic. His images, verging on the surreal, are haunting and sinister yet fashionably contemporary. There is no doubt that his take on a portrait of music and fashion icon Bowie, right up Zoobs’ street, will be strikingly edgy and sensual.

Eduardo Guelfendein, David Bowie

From the French scene, we are delighted to welcome Kan and Blo, from the ‘Da Mental Vaporz’ collective, as well as Hisham Echafaki and Jef Aerosol.

Initially from the south of France, Kan joined the Da Mental Vaporz crew in 2000. Blo, on his side, discovered graffiti at the age of 14, inspired by the urban landscape and hip-hop culture of his childhood. Following his first personal exhibition in 2003, Blo’s work evolved towards a more contemporary approach, yet remaining firmly attached to the codes of his graffiti background. Moving to Paris in 2005, he further developed his figurative style on a variety of mediums. Integrating various techniques and influences, the art of Blo earned him respect from the graffiti community as well as recognition in the contemporary art world, allowing him to display his work in prestigious venues such as Paris’ Grand Palais in 2008.

Jef Aerosol is a main proponent of the first generation of French street artists who started working on the streets in the early 1980s. A legend himself, he will take on the challenge of paying tribute to the British legend David Bowie in the recognisable stencil and collage style that he is famous for.

Mr Brainwash, Bowie Triptych

From the rest of the world, the exhibition will showcase works by the infamous Los Angeles based Mr Brainwash, moniker of Paris-born Thierry Guetta who became famous thanks to Banksy’s film ‘Exit Through The Gift Shop’ and who was introduced to the London public in the summer of 2012 when he took over the Old Sorting Office to present his large-scale installations, murals and stencils largely inspired by the iconic pop culture imagery.

Canada will be represented by painter André Monet, who blends collage of old newspapers and books, and paints portraits over this specially-made background. The traits of his characters are recreated with such precision that one might see a realistic photography arising from a distance. This new technique reveals the strengths and weaknesses of individuals appearing on the canvases.

In the mixed media category, the Italian sculptor Marco Lodola, who participated in the Venice Biennale several times in the past, will illuminate the exhibition with a neon and aluminium sculpture depicting David Bowie as Aladdin – the alter ego hero of his sixth album ‘Aladdin Sane’.

Joe Black, the London genius who describes himself as an ‘image-maker’ rather than an artist, features in the exhibition as well. Famous for his portraits made out of toy soldiers, badges, Lego and other small mundane objects, he will present a portrait of David Bowie entirely made with painted test tubes, proving once again that his ingenuity and resourcefulness are endless when it comes to depicting figures that inspire or have inspired him.

Finally, the most famous Scottish contemporary sculptor, the Royal Academician David Mach, who works with postcards, coat hangers, match-heads and pin-heads to create monumental installations, sculptures and collages, will create a new piece for the purpose of this exhibition, and to render homage to one of the most beloved singers and musicians of our times.

Jean-David Malat is director of the international Opera Gallery group; operagallery.com

David Bowie Is, V&A 23 March to 11 August 2013
The many faces of David Bowie, Opera Gallery London 20 June to 31 August 2013. After London the exhibtion will tour in Opera Gallery venues in Hong Kong, Singapore and Seoul.

Stacey Teo

For the conscientious chef, sustainability is more than just a fashionable catch phrase, as our columnist explains, it is both a moral obligation and our best chance for the future. STACEY TEO

I am not a professional writer, I’m a chef, but I do know that when writing an article it is good to grab the readers attention right away. How’s this for an attention grabber? According to the World Wildlife Fund, over 73 million sharks are killed each year just to feed consumer’s demand for sharks fin soup. That’s not a typo. 73…million. It’s a shocking number and the saddest part is that in most cases the shark is pulled from the water, its fin is hacked off and the rest of the majestic animal is unceremoniously dumped back into the sea.

More numbers? According to the Food and Agricultural Organization of the United Nations, 85% of the world’s fisheries are either fully exploited, over exploited, depleted, or recovering from depletion. It’s no wonder. Singapore alone consumes an average of 100,000 tons of seafood each year and the global seafood market is expected to grow another 50 million tons by 2025. On land things aren’t much better. Millions of tons of food go to waste each year. It is estimated that in the US, 14% of food purchased at the grocery store is thrown away. This is an incredible waste of resources – not just to produce the food but also to ship, process and store it, all for nothing.

Something needs to be done and as chefs I believe that we are part of the problem but hopefully, we’re also part of the solution. For too long we have been abusing our resources and it is now time we start thinking about how we can stop destroying the raw materials we need to run our businesses. We have to set the example for our clients to follow. Yes, we face difficult questions and tough steps will need to be taken, but I am confident that if professionals and clients work together, we will not only sustain but actually begin to replenish.

This is the goal towards which we have already taken some important steps at our newly opened Montigo Resort, Nongsa. Before we opened our doors we began reaching out to area farmers to purchase as much locally produced food as possible. On the property itself we use organic fertiliser and we are planning to create our own gardens where we will grow vegetables, herbs and fruits to use in our restaurant.

We do not have items like cod and instead of industrially caught tuna we serve a locally caught variety. Salmon is occasionally served but we have replaced it on the menu with similar types of fish as often as possible.

Finally we do our very best to only buy what we will be using. Many restaurants over-buy which is not only environmentally wasteful but also bad for the bottom line. We ask our suppliers to deliver our products in minimal packaging without compromising on freshness and sanitation. Aubergine really does not need to be individually wrapped the way it is in the supermarket.

Sustainability can be achieved without compromising on flavour

When planning the menus I thought long and hard about how to make each dish sustainable. To  be truly sustainable you need to do more than just strike an item like shark fin soup from the menu. Buying locally sounds great but the reality is that not everyone starts out on an equal playing field. In Batam the main agricultural product is cassava leaves. That doesn’t give you a lot of menu options. Limited local crop variety means chefs have to become much more creative to develop a menu that offers a bit of variety but there is only so much one can do. Relying on local, seasonal harvests also means certain products are not available during certain times in the year. In consequence dishes need to be changed more often leads to more menus printed which adds to the restaurant’s overall costs and increases the carbon footprint.

It’s also difficult for a chef to select the right local farmers. Not many use organic compost these days and it’s difficult to keep track of who is using what in their growing cycles. To be sure a chef has to keep a list of farmers who support sustainable initiatives but how many of us have time to check-up on these things.

One thing we can control is the education of our staff. At Montigo, having everyone on the same page and fully understanding the reasons behind our initiatives is key. We are hopeful that some may start coming up with their own ways to help the cause and that it will carry over to their home lives and they will help spread the message if they ever decide to change jobs. Our guests also need to be aware that the future depends in great part on what they order when they are out and what they cook at home. As industry professionals, we are just the tip of the ice berg. We need to lead by example but it is up to our clients to follow. Ultimately our goal is not only to sustain but regain.

Want to help? There are a number of things you can do. First take a stand against unsustainable fishing by pledging to buy MSC (Marine Stewardship Council) certified seafood. It is still not readily available everywhere so if you can’t find seafood with the MSC label in your local store, please ask for them because businesses do listen to their customers. Next, inform yourself. You can find a lot of great information on the WWF website. There are sites for every area in the world. I love the Singapore site. It has useful information on what you can do to help preserve the area’s waters, from taking a Save the Sharks Pledge, to seeing what restaurants are shark-fin free and best of all, you can download an easy to carry guide to sustainable seafood shopping. I also like to check in at the Marine Stewardship Council’s website where apart from a lot of useful info on sustainable fishing there are some tasty recipes. Stacey Teo, Executive Chef at KOP Hospitality

wwf.org, msc.org 

SWEDEN IS CELEBRATING ITS OWN, UNIQUE GASTRONOMIC CULTURE LIKE NEVER BEFORE, AS Caroline Davies DISCOVERS ON A TOUR OF THE CAPITAL

Sweden is going back to its own. No longer satisfied with following the dictates of the French, the demands of the Spanish, the inventions of the Americans, Swedes are making a stand. Organic, traditional, simple, smoked, foraged and served, the Swedish food movement is embracing its homegrown tastes and getting its hands dirty. In more than one way, they are going back to their roots.

My visit to Sweden starts in twilight, at 3pm in the afternoon on a winter’s day. By the time my friend Rory, a discerning foodie, and I arrive in the city known as the “Venice of the North”, night has fallen. We bumble our way through the old town streets of Gamla stan, pausing to take in the view across the lakes, ornate pristine facades and street lights reflected in the water, or to peer past the curtained covered windows of cafes promising bowls of hot chocolate.

At the unlikely location of a motorway junction, we find our first stop. Strömmingvagnen, the herring stand, is the Swedish equivalent of a burger van. For over 20 years, the small trailer under a large golden fish has served herring in different forms to late night snackers and adventurous tourists. Ravenous from the journey, we examine the faded images displayed behind the counter and opt for rye bread, gravalax, dill and herring. Warm, gooey, salty and sweet, it is impossible to eat neatly and without noises of appreciation. Hands still a little sticky, we head for our hotel.

Hotel Rival, owned in part by Benny Andersson of Abba fame, is a converted cinema. The huge theatre, filled with 700 red velvet covered seats, is still used for screenings – Abba, the movie was premiered here – theatre productions and comedy nights. On performance evenings the foyer and bar are lively and the hotel has more spirit than most. Swedes love their coffee shops, a welcome escape from the winds that whip across the waterways, and Hotel Rival’s cosy art house style cafe tucked in the corner is a good spot to grab something smothered in cinnamon.

Each room is decorated with a wall sized print of a famous golden moment in cinematic history, a teddy bear and, of course, an Abba “The Greatest Hits” Album. Unsurprisingly, the sound system is not only crystal clear, but available in a variety of guises. If you haven’t had enough after singing along to “Dancing Queen” in the shower, you can request a speakerphone pillow from the menu and allow Benny, Agnetha, Björn and Anni-Frid’s dulcet tones to sing you to sleep. Buoyed by the burst of Swedish pop, we head out for our first taste of the food.

Volt is discreet. Situated on an elegant street in Ostermalmstorg we walk past it a couple of times before noticing that the clean framed front with elm branches in the window is the entrance. The decor – black carpet with white walls, the occasional pencil sketch hung on the wall – sounds stark, but is surprisingly relaxing, even comforting. Perhaps it is the quiet friendliness of the staff, who are so closely involved in the restaurant they pick everything from the art on the walls to the berries used in the tea at the end of your meal, that makes the restaurant feel familiar. Their music choices, which sounds as though they should be the soundtrack to an indie film, mummer in the background. Brass pipes cross geometrically along the walls with the occasional tap, used to refill the jugs with icy cool water.

The six course tasting menu, paired carefully with wine from Germany and France, focus on in season ingredients. Plates are balanced, but flavoursome with interesting pairings; smoky tinges are encouraged but not dominant, berries present but used sparingly. The Normandy cider, made only from fallen apples from a Michelin starred producer was a confident match with the cheese plate from local farms. With understanding and careful delivery, the menu wins even initial sceptics round.

“This place is one gravedigger short of Elsinore.” Rory says as we wander the isolated path towards the nursery gardens in Djurgården.

There is something Hamlet-esque about the Rosendals Trädgård in winter. Black mud sucks in the green tendrils of the grass and stains the solid grey boulders, silver birches hold cawing ravens. The bright light of daytime cuts the outlines of the surroundings into clear focus, so that we can see a horse drawn cart dragging its way through the mud in the distance with distinct clarity. We come across an art installation, the words “this is the corner of a larger field” written in swirling handwriting, created in white wire 10ft long, its stand planted solidly in the marshy ground giving the impression that it has been scrawled across the landscape.

The gardens are in the stately home of Rosendal palace. An organic haven, they grow seasonal produce for local restaurants and their own cafe, an expansive, steamy greenhouse with painted blue picnic benches laden with plates of Swedish biscuits and rosehip tea. In summer the gardens are full, but in the colder months, the cafe is filled with dog walkers and knowledgeable foodies. It is a curiosity, not quite bleak and not quite twee. We wander the garden’s paths past artistic bamboo structures and carefully pruned topiary to find a locked greenhouse, empty but for a leaf strewn dinner table, decorated for a dinner party that never came or is perhaps yet to arrive.

Henrik Norström is viewed as the pioneer of the Swedish food movement. Formerly a chef at a Michelin starred restaurant in central Stockholm specialising in French and Spanish cuisine, Norström decided that he was tired of meals dominated by flavours from other countries. He wanted his dishes local. In 2003, he opened Lux, a converted staff canteen for the Electrolux company, overlooking the lake on the small island of Lila Essingen. In 2004, they won a Michelin star.

“From here you can see the changes in the season,” he says. “If you have a restaurant in the city you have your four walls and you cannot see if it’s summer, winter, autumn or spring.”

Even a trained eye might find it difficult to spot the distinction between each of Norström seasons; there are 16. He is an innovator in tune with his subject.

“If you came back here this time next year there would be different items on the menu,” he says. “I use the same produce, but I never go back and use old dishes.”

Over the past decade Norström has developed a relationship with each of his suppliers, be they the fisherman, apple growers or reindeer farmers in the northern reaches of Sweden. Not unlike its owner, the restaurant is elegant and understated; the focus is on the food and a lifestyle, not brash gimmicks.

Back in central Stockholm, Swedish restaurants are fast becoming a la mode. With the food’s hunter gatherer ethos, some restaurants have adopted a macho edge. Ekstedt is bold. Red brick walls, black granite surfaces, bare light bulbs and a scorching fire behind wisely placed glass barrier, this is a hearty restaurant. Dishes are smoked, sizzled and grilled at the flame before being prepared by chefs in leather aprons at the central table and presented carefully on slate plates and wooden charred slats. The food is rich and creamy, the meat tender and the flavours strong. Butter soft reindeer meat, baked in ember and served with truffle proves a highlight, and their lemon ice cream with smoked almonds and salty caramel mixes textures well. The chef and creator behind it, Niklas Ekstedt, researched traditional methods to give his food the authentic Swedish edge; you can certainly imagine that their five-course tasting menu would sustain you through a long winter.

Full to the brim and as it is our final night in the city, we wrap up and meander through the old streets of Gamla stan past churches and narrow passages. Heading for home, we find ourselves in front of the big golden fish over the small trailer. We pause. There is always a little room left for herring.

Volt: restaurangvolt.se

Ekstedt: ekstedt.nu

The Rival Hotel: rival.se

Info: visitstockholm.com 

Grande Cuvée Brut, the product of as many as 1,000 tastings

THERE ARE CHAMPAGNES, VINTAGE CHAMPAGNES, PRESTIGE CHAMPAGNES, AND, FOR A NUMBER OF CONNOISSEURS, THEN THERE IS KRUG. OUR COLUMNIST, HIMSELF A LEGEND IN THE WINE TRADE, EXAMINES WHAT IT IS THAT MAKES THIS CHAMPAGNE SO SPECIAL

“Bring anything you like as long as it starts with K and ends with G.” So I was instructed before a dinner at which only the best would do and it was up to me to bring champagne. So why is Krug considered by true connoisseurs to be the best among many fine champagne houses? To help answer this question I was invited to Krug on a cold winter morning. In contrast to the many splendid champagne ‘Maisons’ in Reims, France, the Krug headquarters is an unprepossessing building that does not prepare you for the splendours inside. I was invited to a special tasting by Margareth Henriquez, the president of Krug. We were joined at the tasting by Eric Lebel, the chef de cave.

The wines to be tasted were Krug Grande Cuvée, Krug 1996, Krug Clos du Mesnil 1996, Krug Clos d’Ambonnay 1996 and Krug 1998. The wines were very different yet all had some things in common. First was a core of firm acidity, the backbone of Krug. All had a very fine mousse and were wonderfully fresh. All were richly aromatic with multi-faceted flavours that danced across the palate, suggesting perhaps grilled nuts for a moment, then a touch of honey followed by toasted brioche or dark red fruits. The sensations went on and on. All had an impression of size and volume yet were so elegant that the aromas and flavours seemed to be balanced on the point of the finest needle. Finally, a long finish that lasted minutes rather than seconds. The wines could be enjoyed on two levels; immediate pleasure certainly, but they also repaid contemplation when so much more was revealed. They are not showy wines but really quite cerebral.

The two wines closest in style were the Krug Grande Cuvée and the Krug 1996. The Clos du Mesnil, a 100% Chardonnay champagne, reminded me of a young Montrachet, but the flavours were much finer. Totally harmonious, very complex and like a ballerina poised on tip toe, supremely elegant. The Clos d’Ambonnay 1996, made entirely of Pinot Noir, had the same Krug backbone as the Clos du Mesnil but its taste profile was entirely different. The texture silkily smooth, the bouquet and flavours hinting at dark red fruits, a touch of toasted brioche, dark chocolate and as Eric Lebel suggested “that classic burgundian feature, sous bois”. There is no equivalent word in English: ‘boskiness’ gets about 20% of the way there. The richness and power of the fruit perfectly balanced by the firm acidity which is a feature not only of Krug but also of 1996. The taste went on and on, the long finish was of almost symphonic complexity. Among wine snobs it is common to look upon the Grande Cuvée as a sort of entry level Krug, a mere nonvintage wine. This is a great error.

So how does Krug achieve such outstanding quality? Apart from insisting on only the best for every small decision that has to be made during the whole process there are several key factors that elevate Krug above their competitors.

Of utmost importance is the raw material. As their own vineyards provide just 40% of their needs, the remaining 60% have to be bought in. The source of their grapes is not a few very large vineyards but dozens of tiny plots, some no larger than a large garden. Each terroir being subtly different, this brings great complexity to the final blend. The growers keep the yields low and the contracts with Krug often go back many generations. Several growers told me that it is considered an honour to supply Krug with grapes. It should be noted that Krug buy only grapes, never wine. Every parcel bought is kept separate. Many Champagne houses mix the many lots bought in large tanks. Not so at Krug. Amazingly, the grapes from each plot of land from each grower are fermented separately. There is a severe triage and the wines are fermented in old 205 litre oak casks. Krug is the only great Champagne house that still ferments all its wines in oak. The casks are old because the aim is not to add tannins but to allow a slow interaction between the must and the tiny amount of oxygen that the casks allow through. This method ensures a long, slow evolution of the wine and contributes enormously to its legendary longevity. A further contribution to longevity is that the malolactic fermentation is never induced. In March the growers come and taste their wines at Krug. It is quite possible to find, from one grower for example, that one wine is fine and fruity, one more structured while the third is over-ripe. This last wine will be rejected by Krug and sold elsewhere.

The most difficult task of all is the assemblage, especially for the Grande Cuvée. For a vintage Champagne, those casks whose characteristics best represent the unique character of the year will be set aside. But for the Grande Cuvée where consistency is paramount, Krug can call upon its amazing array of reserve wines which are stored in stainless steel. For the blending, Olivier Krug and a tasting committee of seven spend five months with as many as 1000 tastings, seven wines at each tasting. They will have as many as 7000 tasting notes. These are all reviewed by Lebel who will then suggest certain blending combinations to the committee until that special Krug character, taste and quality is achieved.

Clos du Mesnil

Krug use about 15-20% Pinot Meunier in their blends. Some find this surprising as it is often considered to be an inferior variety. It was explained to me by Eric Lebel and Margareth Henriquez. “The character of Pinot Meunier is the most variable of the three grape varieties. It is not so much Pinot Meunier per se that we seek but a little touch of spice or fruitiness or je ne sais quoi that a certain grower in a certain village can produce,” said Margareth. It is incidental that it happens to be Pinot Meunier. It also acts to enhance and enrich the other two varieties so that the final blend is a more complex, exciting and harmonious wine.

They have a similar attitude to grand and premier cru rated villages. The tasting committee never discusses the benefits of adding say a little more grand cru village wine, preferring to suggest perhaps a little more Chardonnay from a certain grower in say Trépail for its extra elegance and finesse or a little more Pinot Meunier from a grower in Sainte Gemme whose Pinot Meunier has, say, an extra charm, fruitiness or spiciness. In other words, the grapes used depend solely on their quality and character regardless of what the grape variety is or which village it comes from. There is no formula though it almost always ends up with Pinot Noir being the most used followed by Chardonnay and then by Pinot Meunier.

Krug is not afraid of modernity. They use giro pallets for the riddling of the standard sized bottles but for all other sized bottles the riddling is done traditionally by hand. A rosé wine is also produced as is Krug Collection which is a vintage wine. This is exactly the same wine as the standard vintage wine. However it has been stored in Krug’s cellars for at least 20 years prior to being released. This guarantees the provenance and therefore the freshness and condition of the wine. The actual date when Krug Collection is released depends on when the wine attains a new phase in its life story, a sort of second life when new flavours of maturity emerge. One will pay accordingly.

As Olivier Krug told me, “there are no short cuts to quality and at Krug every tiny detail is carefully considered and has only one aim which is to make the best possible Champagne in that totally unique Krug style”.

Howard Ripley founded his eponymous wine merchant while practicing as a dentist in London. He became a global legend among connoisseurs for his deep relationships with some of the most important producers of Burgundy’s wines.. He is now retired.