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Michelin-Starred Chef Sergio Herman Discusses the Art of Plating

The visionary also shares the inspiration behind his Inku Collection in collaboration with Serax

Ross Belfer

8 November 2024

Known as one of the leading and most talented chefs based in Antwerp, chef Sergio Herman began his career with the restaurant Oud Sluis in the small town of Sluis near the Belgian-Dutch border. Under his creative direction, Oud Sluis achieved three Michelin stars and was named one of The World’s 50 Best Restaurants for eight years. The town of Sluis was transformed it into a culinary destination, as well.

As part of his evolution in the table and culinary design world, Herman created collections of kitchenware with Serax including the coveted “Inku” series. Known for their partnerships with leading culinary and lifestyle brands, including Ottolenghi, Marni and Raphael Navot (Uncharted), Serax is an acclaimed design brand based out of Antwerp and sold internationally.

“With Inku tableware, we can not only decorate the plate nicely but complete tables with blossoms in ceramics,” says Herman, who will use the tableware in Le Pristine brasserie in Antwerp. “I don’t just view it as our task to inspire people from a culinary perspective, but I also want to create that with table decoration.” To make that picture completely perfect, the collection is augmented by fine glassware.

When plating a dish, what guides you on the composition? 

It varies. It could be the color, the product or even some beautiful flowers picked fresh in the morning. But balance is always key. The composition needs to feel organic and alive. Although I like things to be perfect, I’m fascinated by the concept of ‘wabi-sabi’—the beauty in imperfection. I approach every dish differently. Sometimes the plate itself guides me, other times it’s an ingredient. It’s all about the interaction between colors, textures, and shapes.

What is a simple way cooking enthusiasts at home can elevate their own plating techniques?

Don’t overcomplicate things. Less is more. Focus on clean lines and use white space on the plate. Another great tip is to think about height and layers—don’t just spread food flat. A few contrasting colors can also elevate the presentation without making it overly complex.

What key concepts about plating do you think are needed to make a dish stand out?

A well-plated dish should draw the eye to a focal point and make the ingredients shine. After more than 30 years in this industry, I’ve learned to focus on the essentials. Early in your career, you want to show everything at once. But over time, you learn to leave out what’s unnecessary and go straight to the core. One thing that never changes, though, is that the visual journey starts before the tasting.

How would you define imperfect perfection? 

Imperfect perfection is about creating visual tension. It’s the flaws and irregularities that give something its unique character. Perfection can sometimes feel sterile, while imperfection adds warmth and authenticity. It’s also subjective—my idea of perfection or imperfection may be different from yours, and that’s as it should be.

How do you translate this definition of imperfect perfection into plating a dish? 

I make sure the dish feels organic and alive, but I also let certain things just be. A sauce has its own natural flow, and greens don’t always have the same green. It’s about giving the dish a sense of life and movement while maintaining overall balance.

How do you believe your culinary career has helped shape your collection of tableware and glassware? 

My culinary career, travels, and the many restaurant visits I’ve made throughout my life have given me a deep understanding of the relationship between food and presentation. From an early age my parents would take me to the best restaurants on their days off, giving me a lifetime of experiences to draw from. As a chef, I know what chefs need in tableware—not just something visually appealing, but pieces that are functional and practical in professional kitchens and at home.

How do you connect the Inku collection with the local landscape and aesthetic of Japan?

The Inku collection is very personal, guided by my very own feelings, experiences and understandings in Japan. The subtle textures, like the ridges and flowing lines, were inspired by the shapes of petals, leaves and water. The plates lay horizontal with these patterns, while the glasses show those same vertical lines differently. It’s that sense of presence—not just the literal play of textures—that to me, reflects Japan.

Are there any other countries that you find yourself drawing inspiration from? 

There’s so much to be inspired by. In recent years, I’ve traveled extensively, something I couldn’t do while running Oud Sluis. I was so focused and disciplined, constantly pushing myself to improve, and that ultimately led to the three Michelin stars. But now, I have much more freedom to explore, and I find inspiration from all over the world. Each place has something unique to offer—whether it’s a color palette, a food culture, a texture or a design approach that informs my work and I’d like to state that I am a chef in the very first place, everything else comes after.

From a culinary perspective, is there a particular type of dish that served as guidance while creating this collection during your travels? 

When the design team at Serax and I were developing the Inku collection back in 2017 and 2018, I was also deep in the conceptualization of my restaurant Le Pristine in Antwerp. So, when designing, I always start with the entire table setting in mind—complete with people, ambiance, and the overall vibe. From there, we deep dive into the details.

Do you have a favorite piece in the Inku collection or a piece in the collection that you would consider your “go-to” for plating?

I envisioned the solid brass brasserie pots alongside the delicate shapes and forms of the Inku tableware, specifically the 12 piece tableware set in green. For example, the Orecchiette Zeelandaise dish with seafood from my home region, Zeeland, which is now a signature dish at Le Pristine, was part of that vision.  

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Dewar’s Double Double 38 Year Old Sets a New Standard for Blended Malt Scotch Whisky

This limited edition liquid, a partnership with two-Michelin-star chef Gabriel Kreuther and a new global campaign mark a premiumization of the category

David Graver

4 November 2024

Many generations of whisky drinkers look to Dewar’s for its superlative reliability, passing down an appreciation for the scotch like an heirloom. With the recent release of the Dewar’s Double Double 38—a high-age-statement blended scotch whisky, with a flavor profile that’s certain to tantalize aficionados—the historic scotch producer has gone one step further and released an heirloom quality liquid. The limited edition Double Double 38 follows last year’s Double Double 37, an introduction to Dewar’s four-part Collector’s Series, which will continue with next year’s 39 and 2026’s 40. And the blend of each new release contains an allotment of the liquid released the year before.

Each of the four Double Double expressions will honor one of Scotland’s famed whisky-making regions. The Double Double 38 shines a spotlight on the Upper Highlands thanks to a finishing process in an ex-Pedro Ximenez sherry cask that previously held Royal Brackla Single Malt Whisky, one of the covetable heart notes of Dewar’s. The result is an flavorful bouquet of notes familiar to Highland scotch drinkers—floral and citrus aromas; vanilla and almond initially on the palate, with lingering notes of fig and plum, as well as a lengthy finish of creamy dark chocolate.

As with the 37, the 38 marks an ambitious step into premium categorization for a scotch producer known for its accessibility. A first sip affirms that these efforts are successful, beyond expectation. “With our Dewar’s 38-Year-Old Blended Malt, we are exploring one of the many futures of blended scotch—a category that is premiumizing and evolving with the times,” Dewar’s Vice President North America, Brian Cox, tells COOL HUNTING. “Our unique four-stage aging process elevates the whisky’s complexity by expanding the depth but also breadth of flavor notes that are traditionally found in scotch whisky.” This process was devised by Dewar’s award-winning master blender, Stephanie Macleod—who, this year, was named Master Blender of the Year by the International Whisky Competition for a record-breaking sixth consecutive time.

To underscore the excellence of Dewar’s Double Double 38, the house partnered with Gabriel Kreuther, the two-Michelin-star chef of an eponymous Manhattan restaurant. Kreuther, a Dewar’s drinker himself, utilized drops of the 38 within custom chocolates—designed to be enjoyed alongside the rare whisky, or savored alone. The collaborative chocolates are currently available online now—as a box of 19, or in sets of six.

It was at Gabriel Kreuther Restaurant that we first tried the Dewar’s Double Double 38, alongside a pairing menu designed by the chef to accompany various Dewar’s releases, some woven into imaginative, unexpected cocktails. Throughout the evening, we explored the ways the notes of world-class cuisine and whisky could converse. For many, the ease, and excitement, and the learning behind it all—that Dewar’s (and blended scotch whisky) could harmonize with the courses of a Michelin-star meal—came as a welcome surprise.

“This release makes Dewar’s a standout innovator in the luxury whisky segment, and it reflects the same dedication to craftsmanship and whisky exploration as our recently launched ‘Here’s to the Story’ brand platform,” Cox continues, acknowledging the brand’s global campaign, which was unveiled this October. “It celebrates the richness of our traditions while inviting whisky lovers to savor and enjoy new moments of discovery.”

“Here’s to the Story” warrants attention for one primary reason: it acts as a bridge between the Dewar’s identity of the past (where everyone has a place at the table to forge a memory) and their commitment to the present and future (underscoring their impeccably crafted and sought after scotch). “‘Here’s to the Story’ is more than just an ad campaign; it’s a long-term vision and brand belief to connect with the modern whisky drinker, Misha Semiz, Dewar’s global brand vice president, tells us. “It’s a celebration of the rich, authentic heritage of Dewar’s and the meaningful moments behind every pour—embracing both history and the untold stories waiting to be made. For those just discovering Dewar’s, it means becoming part of a legacy rooted in craftsmanship and the appreciation of life’s enriching discoveries.”

Of course, “Here’s to the Story” also honors the brand’s 180 years of history—during which time Dewar’s helped to popularize scotch whisky on a global scale. To watch the campaign’s filmic centerpiece—which features drone footage of a sprawling table, stretched across a verdant, mountainous landscape, with people settling in to enjoy a dram of Dewar’s—is to understand their mission and the way it focuses on shared experiences.

“The individuals chosen for ‘Here’s to the Story’ reflect today’s modern whisky drinker—one who shares the curiosity, and authenticity that defines the Dewar’s brand,” Semiz continues. “They represent a range of people but all share a desire to make the most of life, sharing their enriching moments of discovery with the people around them. Each story speaks to a unique journey, capturing a spirit of discovery that mirrors Dewar’s own approach to whisky-making.” Altogether, the campaign, the partnership with Kreuther and the Double Double 38 work in concert to set high expectations for the next chapter of Dewar’s.

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Redbreast 18 Takes Flight

Midleton Distillery celebrates the newest aged expression from Ireland’s most awarded single pot still whiskey

Julie Wolfson

28 October 2024

The team that makes Redbreast have been waiting for the ideal time to debut Redbreast 18. With Redbreast 12 and 15 at the top of many Irish whiskey enthusiasts’ lists and the 21 and 27 Year Old finding their perch in coveted collections, the 18 Year Old now takes its spot as the newest member of the flock from the Midleton Distillery. This new expression is crafted from both malted and unmalted barley and aged in ex-bourbon barrels as well as casks seasoned with oloroso sherry, cream sherry and ruby port. The results burst with berry fruit, hazelnut chocolate and caramelized stone fruit.

“It’s something that we couldn’t have brought out before,” explains master blender Dave McCabe, during a recent gathering of friends and colleagues at the distillery. “If we had come out with an 18 before now, it would have been using similar stock, which means a similar taste profile as the 15. Over the last 10 to 12 years, and even longer, we’ve been accumulating other types of casks that we haven’t used before for Redbreast 18. We’re also using a small amount of whiskey aged and ruby port barrels, which we use a lot of in the Redbreast 27.” This gives the Redbreast 18 its own edge of flavor that isn’t in the others. In particular, the inclusion of cream sherry casks, rarely used by Redbreast in the aging process adds complexity.

Working alongside Redbreast master blender emeritus Billy Leighton, McCabe’s challenge was to understand the complexity of the flavors to be able to create something that’s unique that they had enough inventory to be able to replicate going forward. For the 18, he searched for a clear identity within the existing range. “I did not want it too dry. I still wanted a little tannic and a little kind of red wine and bitter chocolate,” says McCabe.

The goal was to create a full-bodied whiskey with oak tannins complementing grapes and autumn fruits, ginger and licorice. All of this comes to life alongside the wine-seasoned oak influences of dried fruits, berries and citrus peel with pot still spices. “Because I think that’s a nice change from the stone fruits, peaches and tropicals I get in the 21 or the herbal character and almost a fudge, butterscotch sweetness in the 15,” McCabe adds. “I wanted to just create that bit of a disruption there. But I did want those ripe fruits within it, and that’s where that small percentage of ruby port casks came in.”

Redbreast’s journey to its current popularity began in 1857, when W&A Gilbey was founded in London, adding branches in Ireland and Scotland, eventually amassing the largest stock of Irish whiskey outside of the distilleries themselves. By 1887 they began marketing John Jameson & Son’s whiskey and by 1912 the first documented appearance of “Redbreast” J.J. Liqueur Whiskey 12 Years Old. The name, from a Robin Redbreast bird, was a nod to the chairman of Gibley’s hobby as a bird enthusiast. Gilbey’s sold the name to Irish Distillers in 1985 leading to the reintroduction of Redbreast in 1991 and to the range of whiskeys they have crafted leading up to this debut of the Redbreast 18.

McCabe says, “I like to say, we don’t make whiskey to look at. We make it to drink. And I think of 18 as one that you will drink because you know you can buy it again. It’s one that you can share with people every day and on special occasions.”

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The Macallan Honors 200 Years with The TIME : SPACE Collection

With their new TIME : SPACE Mastery release, the prestigious single malt scotch brand continues a milestone celebration

David Graver

17 October 2024

Earlier this year, The Macallan made headlines with the first release in their TIME : SPACE Collection in celebration of their 200 anniversary. Bottled in one circular, dual-chamber vessel, TIME : SPACE ingeniously coupled a 1940 single malt scotch whisky vintage with the first-ever release (distilled in 2018) from The Macallan’s new distillery. For the prestigious Speyside scotch house, this debut marked more than one exclamatory 84-year-old whisky. Rather, it was a metaphor for the relationship between whisky and time, and the way The Macallan always looks back at what was laid in warehouses before, and continuously distills for what will be utilized in the future. Limited to 200 bottles worldwide, TIME : SPACE represents the pinnacle of single malt scotch whisky.

Last week in New York City, The Macallan unveiled the second expression in their TIME : SPACE Collection, known as TIME : SPACE Mastery. Though this release also lives within a distinct circular vessel (and was also produced in The Macallan’s signature “curiously small stills”), the similarities stop there. Whereas the former centers two liquids from disparate points in the aging process, this new whisky integrates aged single malt scotch drawn from European oak sherry seasoned casks, American oak sherry seasoned casks, American oak bourbon casks and even refill casks. In fact, to achieve the flavorful layers of the liquid, Euan Kennedy, lead whisky maker for TIME : SPACE Mastery, tapped into single malt scotch from 14 different cask types.

The Macallan’s master whisky maker, Kirsteen Campbell, says conversations began around the entire TIME : SPACE collection more than three years ago. It was determined then that the focus would be time travel. “It’s not just about looking back and celebrating our wonderful 200-year heritage, it’s about the future. That’s why we are talking about being 200 years young,” she tells COOL HUNTING.

To understand TIME : SPACE Mastery requires a deeper dive into TIME : SPACE, The Macallan’s oldest whisky ever released. “That was the whisky that I led on,” Campbell continues, “and with our initial conversations around it, I knew I had to dig deep into our inventory and pull from some exceptional casks. I knew of two from 1940—one first-fill American sherry seasoned butt and one second-fill European sherry seasoned butt.”

The aged liquid was undeniably impressive, but The Macallan team reflected on it and realized it only represented time travel into their history; they wanted to highlight their future as well. “I mulled over it and thought that we actually time travel forward regularly in the sample room,” Campbell says. In addition to sampling whisky for use in their current releases, they also sample younger liquids to see how they’re maturing. “We had been sampling some very special stock from 2018, the year of first distillation in our new stills. We knew there was a fantastic parcel of stock, so we did something The Macallan has never done before—we release a whisky five years old. It’s a one-off and it’s an opportunity to time travel forward,” Campbell says, adding, that “it also shows continuity from our past to our future.”

TIME : SPACE is a very much a time machine—and, ideally, the whiskies could be sipped side by side. “I think that would be an incredible experience,” Campbell says. “I’m often asked which order to do them in and I am kind of torn. I’d probably start with the 2018. It’s got lovely vibrancy. It still has some of the new make [whisky just off the stills] character—orchard fruits, apples and pears—but it’s a single cask, matured in an American sherry hogshead, so you’ve also got a vanilla and honeycomb sweetness and an incredible mouthfeel.” When asked about the notes of the elder whisky, she references the evocative term, “antique oak.”

For TIME : SPACE Mastery, Campbell explains that it is really “a celebration of our 200 years and everything we’ve learned from our predecessors. [On the palate] we wanted to bring together the entirety of our inventory. European sherry sits at the heart. You get that immediately on the nose—dried fruits and soft spices. As for the American sherry, you get the baked peaches. From the bourbon barrels, you get the tropical notes. It’s very complex from its vibrancy to its depth and richness.” There’s a finessed mouthfeel, and immense length. Those who have long loved The Macallan will relish the fact that TIME : SPACE Mastery sings with some of their most beloved notes.

Ultimately, Campbell says it’s about centuries of obsession with quality. “For years we’ve been setting specifications on our sherry casks. It’s natural color, as well. It makes our job harder as a whisky team but again it’s all a marker of quality,” she says. This was evident in New York City, where a week-long TIME : SPACE Experience walked visitors through the heritage and allowed them access to a dram of TIME : SPACE Mastery, and nearby a public art exhibition invited all to learn more.

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The Return of The Dalmore’s Cask Curation Series

Limited to 150 sets, The Port Edition is a stunning trio featuring The 27 Year Old, The 30 Year Old and The 43 Year Old

David Graver

7 October 2024

In conjunction with the onset of autumn, single malt scotch whisky brands often announce some of their most spectacular annual releases. Among this year’s slate, The Dalmore has unveiled the second entry in their Cask Curation Series, known as The Port Edition. Sold as a set of three whiskies, and limited to 150 sets worldwide, this trio of age-statement single malts honors Graham’s, one of their illustrious barrel partners. It’s a rarity in the world of single malt scotch to name specific barrel partners, but The Dalmore is well aware of the heritage of Graham’s, and the quality of the barrels they have received. The Dalmore’s legendary master distiller, Richard Paterson OBE, worked with the Scottish Highland whisky’s house character (reminiscent of a chocolate orange) and utilized three rare barrels from Graham’s to produce extraordinary liquid.

“For these four years we will celebrate our very best partnerships with wineries and [sherry wine] bodegas, which we have nurtured over the decades to ensure we have ongoing access to casks that you won’t see anywhere else in the industry,” Craig Bridger, the Vice President of Sales and Advocacy for The Dalmore in the US, tells COOL HUNTING, over a tasting of The Port Edition trio. This exclusive set debuts after last year’s critically acclaimed trilogy, which was finished in proprietary casks from González Byass Sherry in Spain.

To represent the spirit of collaboration with Graham’s, The Dalmore incorporated the signature green of the port producer’s labels into the textured package design of this Cask Curation Series. The ultra-luxe teal green leather case, which is meant to evoke the golden age of trunk travel on trains and steamships, was meticulously hand-assembled by artisans in Italy’s AB Florence. “It also calls to mind the journey from different ports of call for these casks to Scotland,” Bridger adds.

As with last year’s debut, this set is also limited to 150—with only 26 coming to the US. “Last year, we launched in early October and my 26 sets were spoken for 12 days,” Bridger says. “A lot of those collectors, when they were made aware that this will be a four-part series, they wanted to make sure they get every one.”

All three whiskies speak for themselves. Each was drawn from one single cask and bottled at cask strength without chill filtration. The color is natural, as well. “Of all the things that we can talk about at The Dalmore, my favorite thing to tell people about is our program of exquisite cask curation,” Bridger continues. “It’s something that we are really proud of. It sets the whiskies apart. It’s not even necessarily about the wood so much as the wine that was in those casks. At the end of the day, our proposition is casks that held better wine. That’s why you’ll hear us talk so much about the different kinds of wine. All of those details are part of our story.”

Having had the privilege of sampling all three, we can affirm the flavorful nuance—as well as the fact that all three are so different from one another. Of course, with its milestone marquee age statement, we were most curious about The 43 Year, which—after four decades in bourbon—was finished for three years in a 1952 single harvest vintage tawny port pipe. The result is a scrumptious sweet orange taste with notes of almond, baked pear and plum. A lengthy finish extends the spicier flavors.

It’s maple that defines The 30 Year Old, though the maple notes transform to molasses on the palate. It’s dessert-like, with an elegant deliciousness. After 27 years in ex-bourbon barrels, this liquid aged for three years in a 1994 vintage single harvest port pipe. With an ABV of 43.9%, the finish is unyielding. Counter to that, The 27 Year Old spent 24 years in ex-bourbon before finishing in a 1997 single harvest port pipe. Even though it was bottled at 49.3% it does not nose of heat. Rather, it emits aromas of honey, cherrywood and citrus. On the tongue, there’s a melange of raisins, toffee, baking spice and roasted pineapple. Individually, any one of these liquids can tantalize collectors; together, they’re an exquisite homage to valued partner as well as a microcosm of The Dalmore’s capabilities.

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September Scotch: Laphroaig Transforms NYC’s Governors Island into Islay, Scotland

A transportive night to celebrate 30 years of the Friends of Laphroaig whisky program

David Graver

30 September 2024

As representatives from around the world made their way to New York City for the United Nations General Assembly, another transportive international event brought guests to Governors Island, the verdant 172-acre locale eight minutes from Lower Manhattan by ferry. It was here that the team behind Laphroaig Single Malt Scotch Whisky replicated the splendors of Islay, Scotland, where their beloved liquid is produced. Under light rainfall, rather reminiscent of Scottish weather, the illustrious single malt scotch whisky brand celebrated the 30th anniversary of Friends of Laphroaig, their whisky club (which is free to join with the purchase of any bottle, or if you sign up here). For the latest installment of our September Scotch series, we made the trek across New York Harbor to learn more about the program.

To create “Governors Islay,” as the event was endearingly entitled, Laphroaig took over Collective Retreats—a rustic glamping outpost with uninterrupted views of the Statue of Liberty and the Lower Manhattan skyline. Here, amidst a smattering of tents, an outdoor cocktail bar and a great lawn populated with lawn games, guests were welcomed with mixed drinks (or drams) served to the tune of bagpipes. Simon Brooking, Laphroaig Brand Ambassador and Senior Ambassador Scotch Heritage at Suntory Global Spirits, soon after took the stage. “The ferry ride on Islay is a wee bit longer than the one that we took here today,” he announced, “but it can be a daunting journey at times.”

Brooking regaled everyone with the tale of Iain Henderson who, in 1989, was made the Laphroaig distillery manager. “30 years ago, whisky tourism did not exist,” Brooking said. “Iain not only welcomed travelers to the Laphroaig distillery but because the whisky enthusiasts had made the arduous journey to Islay, Iain himself would take these guests on the tour of the distillery and, occasionally, if they were nice enough, they’d end up joining Iain and his wife at their supper table.” Henderson realized customers were becoming more and more interested in the people who made the product and the method behind it. 

Henderson began traveling all over Europe to increase Laphroaig brand awareness and help international audiences understand more about Islay, Scotland. “Iain would say that whisky was made of four ingredients: barley, water, yeast and, the fourth secret ingredient, people. It was his love of people that inspired Ian Henderson to launch friends of Laphroaig in 1994,” Brooking said. It was Henderson’s idea to offer Friends of Laphroaig their very own square-foot plot on Islay, along with other exclusive benefits.

“Like many a successful idea, Friends of Laphroaig began with a simple gesture—an outstretched welcoming hand, a thank you in the form of an invitation to claim a plot of land on the island of Islay, along with periodic handwritten messages from Iain Henderson himself,” Brooking explained of the program’s early days. Henderson’s simple gestures worked. Today, Friends of Laphroaig counts more than 620,000 members throughout over 170 countries.

For 30 years now, the Friends of Laphroaig whisky club has demonstrated that connoisseurs and the whisky curious are both looking for community. “I think people get into it initially for the whisky,” Brooking says to COOL HUNTING, “but it’s really a group of friends that have developed over the years. You know who your neighbor is, with your square foot of land in Islay. You feel like you’re part of an international network that’s rooted in history. It’s about the sharing of drams, too, because whisky is not meant to be drunk alone.”

Many guests at “Governors Islay” were Friends of Laphroaig who had flown in from around the United States. Some shared drams together for the first time. As the light rain subsided, dinner was served and campfires were lit. Secretly Laphroaig team members ushered a handful of guests at a time into a tasting tent to try exclusive expression—from Lore to the Laphroaig 25 and the covetable Elements 2.0. As a last treat, Laphroaig 30 was served prior to guests ferrying away from Laphroaig’s pop-up Scottish dreamscape and back into the pulse of Manhattan.

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September Scotch: The Glenlivet Eternal Collection, First Edition, 55 Year Old

The acclaimed Speyside distillery’s oldest single malt release ever comes housed in a sculptural vessel by artist Michael Hansmeyer

David Graver

27 September 2024

To commemorate their 200th anniversary, acclaimed Speyside single malt scotch whisky brand The Glenlivet has released their oldest expression thus far—one that they’ve carefully matured (and monitored) for more than five decades. The Glenlivet Eternal Collection, First Edition, 55 Year Old is the latest in a series of ultra-high-age-statement scotch whiskies to garner headlines, but beneath its eye-catching numbers (only 100 bottles, each sold at $55,000) is the type of covetable liquid that collectors dream of. Further, the scotch has been nestled into a distinct, hand-sculpted and gold-plated jesmonite vessel from pioneering artist and computational architect Michael Hansmeyer. To learn more, we spoke with The Glenlivet’s cask master, Kevin Balmforth, for our September Scotch series.

Perhaps the greatest takeaway from our discussion was how hands-on Balmforth; director of blending, Sandy Hyslop; and their team were throughout the entire developmental process of the precious liquid. “We’ve been looking after these casks for decades,” Balmforth tells us. “But it was probably around four or five years ago that we decided we wanted to use them for the 55 year old, to celebrate the 200th anniversary.”

Balmforth and Hyslop pulled aged liquid from a number of casks. “We wanted to elevate its flavor a bit further,” he says. “We thought a sherry cask could do that. We knew we needed something that would move a whisky that was already rich. Finishing it in something more delicate would not have had the impact we wanted. It wouldn’t have even scratched the surface.”

The Glenlivet team reached out to their Spanish barrel partner and requested samples of all of their sherries. Then, they conducted a flavorful test in Scotland. “We narrowed our selection down to Oloroso, Pedro Ximénez and Palo Cortado,” Balmforth says. “Then we made a blend of the three to our own specifications and sent the recipe back to Spain. They conditioned our barrel with it before we used it for the 55 year old.”

For The Glenlivet Eternal Collection, First Edition, 55 Year Old, they only drew a small portion of single malt from the finishing cask—enough for 100 bottles. For the next three consecutive years, Balmforth plans to release another edition from the same source. As for this luscious edition, the liquid noses of ginger, nutmeg, cinnamon and orange—but on the palate those baking-spice notes swirl into flavors of pear, tropical fruits and chocolate creaminess. The long, full finish is reminiscent of the earlier citrus notes. It represents a precise balance between single malt, wood, and time.

To put it all into perspective, the maturation duration of The Glenlivet Eternal Collection, First Edition, 55 Year Old is about one-quarter of the distillery’s staggering two centuries in near continuous operation. That alone is reason enough to pay attention—but it would be nothing more than a milestone gesture if the single malt scotch itself wasn’t as delicious as it is.

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Elvis, a French-Inspired Cafe and Wine Bar, Imbues a Legendary NoHo Venue with Joie de Vivre

Two acclaimed hospitality groups partner on an enchanting addition to Great Jones Street

David Graver

24 September 2024

For years, a bust of Elvis Presley welcomed guests to Great Jones Cafe, a storied NoHo establishment that served Cajun-Creole cuisine alongside a drinks menu fit for a lively neighborhood hangout. It’s this legendary bust that lends Elvis, a new French-influenced cafe and wine bar in the former Great Jones Cafe space, its fittingly nostalgic name. Equally appropriate is the burnt caramel orange of the interior, another nod to the original watering hole which opened in 1983 and shuttered, to the dismay of New Yorkers, in 2018. Everything else, however, has been thoughtfully reimagined and reinvigorated thanks to a partnership between downtown Manhattan pioneers: Jon Neidich’s Golden Age Hospitality alongside Eric Kruvant and Darin Rubell’s Paradise Projects. Together, they’ve paired a concise, satisfying list of natural wines and carefully constructed cocktails with delectable culinary contributions from executive chef Nicole Gajadhar.

“These blocks have such a distinct feel. They’re their own little pocket of downtown Manhattan, with their own charming appeal,” Kruvant says of Great Jones Street and neighboring Bond Street. Prior to the development of Elvis, Kruvant lived directly above it and fell in love with the area. When the restaurant space at 54 Great Jones Street became available, he immediately sought it out. “We had a lot of ideas, at first,” he tells COOL HUNTING. “We didn’t think that we could make a restaurant work and bringing back something like Great Jones Cafe seemed impossible. We wanted to create a hybrid, a neighborhood spot like Great Jones Cafe, but in our own style, casual with a serious focus on food and wine.”

Neidich was also no stranger to the neighborhood. In fact, Golden Age Hospitality helped to define the developing scene—first with the opening of ACME more than a decade ago and then through the upscale addition of The Nines in 2022. “When ACME opened in 2012, we thought it was an A location. Great Jones and Bond St. have always been two of the coolest streets in NYC for me,” Neidich tells COOL HUNTING. “They’re central to everything, and yet the fact that they are both only two blocks long is special. Since ACME, there have been a slew of openings in both restaurants and retail. NoHo has evolved into a destination and probably New York’s most sought after neighborhood.”

Neidich frequented Great Jones Cafe during the construction of ACME. “It was an escape from many stressful days,” he says. “I watched the space over the years and remember when it became available for the first time. It wasn’t the right time for me then.” Acclaimed restaurateur Gabriel Stulman took over the space in 2018, first transforming it into the Jones and then another concept, Jolene. Earlier this year, Stulman shuttered the latter. “I was immediately interested this time because I was spending so much time there with The Nines, and because the neighborhood had become a destination post-pandemic. I also really wanted to bring some life back to the address,” Neidich adds.

The structural design of the petite space, which can welcome a total of 34 people, is quite different from the past iterations. “The layout was influenced by the Parisian-style wine bar café, where everything is at standing height,” Neidich explains. “In Europe, you would actually have fewer stools because it’s more of a standing culture, but in New York, people like to have a place to sit. We wanted the space to be versatile and allow people to eat and drink for various occasions.”

There’s also an elevated, inherent warmth. “Regarding the interiors, bringing back a version of the original Great Jones orange color to the walls and storefront was essential to me,” Neidich says. Kruvant shares that the original orange along with the old blue door were selected by the previous owner, Phil Hartman, because he was a Mets fan. To find their own orange, the team painted patches of various hues on the walls and sat with them until they had to make a decision. They also selected a luscious red and married them with design elements. “We didn’t want to replicate any other place,” Kruvant says. “We wanted to make sure it was its own thing. In a small space, you can see everything. All the details are noticeable. We had to use every inch thoughtfully.”

French cuisine manifests as a trio of flavorful fromages with accoutrements, delicious duck rillettes, as well as exemplary tartare de boeuf and gaufre, and so much more. Anyone familiar with Golden Age Hospitality outlets (like Deux Chats and Le Dive) understands how important this culinary category is to Neidich—and how well it’s executed at his venues. “I guess I’m a Francophile at this point, right?” he asks. “For me, it is two-fold. First, my parents loved France; growing up and through my formative years, my family spent a week in Paris, a week in the south, and another week or two in another French-speaking country. It reached the point where, after high school, I decided to learn French, so I spent a month for a couple of summers in an intensive language program and living with a French family. Then, I lived in Paris for a semester—not going to school, just hanging out. I feel very at home in French culture.”

French restaurants are very much part of the fabric and history of New York culture and social life more than any other cuisine.

“There is something incredibly New York about French restaurants,” he adds. “They defined a whole generation of cuisine in the 1970s and ’80s and have anchored/created numerous neighborhoods. French restaurants are very much part of the fabric and history of New York culture and social life more than any other cuisine.”

Kruvant connects the menu with the changing nature of dining in New York City, where people prioritize flexibility. “We’d like people to be able to use the space as they want,” he says. “If you want to pop in for a glass of wine and have no food, you’re welcome to do that. If you want to have a drink with a snack or two—where you wonder, ‘is this dinner, or is it not’—you can do that. Or, you can come here, order several of the dishes and finish with some gelato and leave feeling full.” He adds that the interior design and ambiance align with this. “The music volume is low. You can settle in and chat,” he says. “Our goal here was to build a place where we want to be—where our friends want to be.”

Though there are nostalgic touches, this is far from a replica of a lost icon. There’s new energy, elegant cuisine and cozy design. Amidst this successful confluence, situated in the current cocktail list is one additional holdover: the Shaggy. For those who may not recall, the Shaggy was Great Jones Cafe’s Dark & Stormy variation, and the recipe remains the same—Navy Strength Rum, Reed’s Extra Ginger Beer and lime. Anyone who wants a taste of the past can start here, but Elvis makes the a substantial case to try something new next.

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The Importance of Sustainable Cooking at Heckfield Place

From their intimate Home Farm Suppers to the farm-to-table philosophy of their Green-Michelin-starred restaurant, Marle

Lucrezia Worthington

10 September 2024

Every evening, a herd of deer bounces merrily across the fields of Heckfield Place during dinner. There seems to always be a sprinkle of magic—you can almost imagine Alice in Wonderland sitting amid the mauve-tinted moorland, enjoying a cup of tea. And yet among this otherworldly setting lies a very tangible, red-brick Georgian mansion in the heart of Hampshire, a mere hour away from London. 

The property, rooted in the 18th century, was first built for Jane Hawley and later expanded with the Shaw-Lefevre family. It was among the latter that the landscapes grew extensively, with Charles Shaw-Lefevre, also known as Lord Eversley, commissioning horticulturist William Wildsmith to develop the grounds. Wildsmith created an arboretum in the ancient woodlands that today treasures the largest specimen of Monterey pine in the United Kingdom. Furthermore, he choreographed an ornamental lake and fragrant walled gardens that are loving unkempt. He was so integral to Heckfield Place that the natural skincare line created with botanicals on-site—offered in the rooms, at the spa and on sale in the little shop—is named after him. 

Today, Heckfield Place thrives under the helm of Gerald Chan, who purchased the property in 2002 and, after ten years of extensive renovations, reopened the estate as what we see today. Set upon 438 acres of land, the estate coexists with nature, as well as the piglets, chickens, sheep and Guernsey cows that live on the farm. 

Interiors were also reimagined by British designer Ben Thompson (who also worked with Ilse Crawford at Ett Heim in Stockholm). Thompson transformed the spaces into a contemporary country cottage with mid-century furnishings and a calming palette of sage, forest green and blush rose. Within the 45 bedrooms, including the luxurious, 186-square-meter Long Room, British craftsmanship takes centre stage, with bespoke ceramics, carpets and the most beautiful handwoven pieces by one of the UK’s last remaining rush weavers, Felicity Irons. 

Essentially, the concept is to stay as close to home as possible; in fact, Heckfield Place embodies a deep commitment to sustainability that transcends the property (they even have a biomass energy center for heating and hot water). One of the most notable examples is the cuisine. Overseen by culinary director Skye Gyngell, supported by head chef Frederick Page, each of the three culinary outlets are bound by the rhythm of nature, with produce arriving directly from the biodynamic market garden and the organic home farm. As Frederick mentions, “everything starts at the farm.” It is therefore the seasonal produce, readily available, that defines the menu. 

The farm-to-table philosophy steers the Green-Michelin-starred restaurant Marle, in which simple preparations are enhanced by the raw, natural flavor of the ingredients, among which 70% come from the property. Here, the Heckfield Lamb with Ratatouille takes center stage. Thanks to the flavor-packed vegetables, the simplicity of the ratatouille becomes just as important as the lamb itself. Truly admirable at Marle is the Earth Menu: a seven-course dinner prepared with the food waste and surplus created throughout the day, celebrating, through creative recipes, the often overlooked and unloved ingredients typically discarded.

Similarly, intimate Home Farm Suppers are another initiative at Heckfield Place. They are a monthly appointment of tablescapes, wholesome ingredients and a communal gathering held from June to September (the last set-date is 22 September) in which diners can share delicious recipes made with the very best summer ingredients from the Home Farm. At Hearth, the concept is similar, although everything is centered around an open fire. Set in a warm, inviting space to the subtle scent of charcoal, dried herbs hang on the wall. Here, diners enjoy a collection of sharing dishes prepared at the chef’s table with freshly picked ingredients.

Whether it is waking up to grassy aroma of freshly mowed lawn or the buzzing of the bees while overlooking the bountiful nature that sways to the rhythm of the breeze, a day or two at Heckfield Place is all it takes to feel a deep connection with the landscape, leaving you with a full heart—and belly.

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September Scotch: Introducing Glenfiddich Grand Château

This limited edition 31-year-old single malt scotch matured for nine years in Bordeaux red wine casks

David Graver

5 September 2024

In the age of permanent portfolio expansions, annual experimental expressions and limited edition releases, the world of single malt scotch whisky is continuously complicated and its audience often divided. Since the introduction of Grand Cru in 2019, however, Glenfiddich’s Grand Series has been a north star in the market—a series of reliably exquisite age-statement releases that have tapped into the flavorful potential of unexpected casks from around the world. Today, Glenfiddich announced the latest in the highly awarded Grand Series, Grand Château, a boldly sophisticated 31-year-old single malt scotch that spent 22 years aging in American oak and then nine maturing in Bordeaux red wine casks. This lengthy finishing process has produced a scotch whisky that’s both recognizably Glenfiddich, and yet unlike any other aficionados may have tasted before.

In advance of the release, COOL HUNTING ventured to Speyside, Scotland to sample the 47.6% ABV liquid for our annual September Scotch series. Inside the Glenfiddich distillery, alongside others in the Grand Series (including the aforementioned Grand Cru, the 26-year-old Grande Couronne and the 21-year-old Gran Reserva—though not the limited edition 29-year-old Grand Yozakura finished in rare ex-Awamori casks), we nosed and sipped a dram of Grand Château. The rich, reddish single malt’s initial aromas of almond and vanilla yielded to luscious cherries flavors, with a touch of apple and pear. A long finish then introduced baking spices to a toasted oak undercurrent. Perhaps unsurprisingly, the sensory experience felt full-bodied—much like certain tannic red wines.

Grand Château, ultimately, surprised and delighted—a signifier of the Grand Series, which has been architected from the beginning by Brian Kinsman, Glenfiddich’s Malt Master. Kinsman explains that releases in the series are born in two ways. “Occasionally,” he says, “there will be a very deliberate concept that we want to make a whisky for. At this age, 31 years old, however, it’s typical that everything is underway and it slowly morphs into the concept. It’s in play already.” 

There was substantial risk involved, putting a 22-year-old liquid into a series of Bordeaux barrels for nearly a decade. To this, Kinsman says that for his team, research and development is done through practice. “Grand Château is the result of building up this knowledge bank,” he says, “not just with me but with our technical team and the cooperage. We were doing Age of Discovery releases matured in wine casks 15 or 20 years ago. We were bringing in Malbec casks and trialing them. Over the years, we’ve been maturing and finishing in different types of oak from different types of regions and figuring out what works and what doesn’t work. If you’ve got a big intense cask, like these from Bordeaux, you need a big intense whisky to cope with it—otherwise it gets crushed.” That’s why Kinsman started with the 22-year-old single malt.

Consumers often look to age statements for guidance. When asked what a 31-year-old single malt scotch whisky signifies, Kinsman looks back upon his extensive tenure in the industry. “You never know if something is complete,” he says. “Would it have been even more amazing as a 34 year old? We don’t know. But it’s pretty amazing as a 31 year old. It’s our job to see when it feels right and this felt right. It’s 31 years old but it’s got a flavor profile that I don’t think anyone has tasted before—with this exact, deep maturity.” Kinsman hopes people cherish it, but on an even more fundamental level he hopes that they don’t squirrel it away but rather open it and share it with people that they love.

To emphasize the artistry of the release, Glenfiddich partnered with beloved French artist André Saraiva for two limited edition Grand Château packages. One features a charming watercolor print on the inside the box; the even more exclusive iteration (with only 24 bottles set to arrive in the US), entitled The Artist Edition, incorporates a traditional Toile de Jouy print accented with Saraiva’s signature motifs on the front.

Though the Grand Series deserves headlines, Kinsman refers back to the core collection when discussing the brand in 10 to 15 years time. “It will be exactly as it is today,” he says. “There are two parts to my role and two parts to the distillery. One is maintaining the history and the heritage and doing things right. Our expansion at the distillery is stunning and features beautiful architecture, but fundamentally it operates as it did 40 or 60 years ago. Complementing that, we will be doing even more unusual things around Grand range. The identity will be identical but it will evolve into something new.” And both sides of this assessment are worth eager anticipation.