Sepia - The Cuisine of Martin Benn

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CONTENTS COVER TITLE INTRODUCTION

THE PREPARATION MENU ONE THE DREAM MENU TWO THE WINE PROGRAMME MENU THREE THE THEATRE MENU FOUR THE SWEETEST THING DESSERT BASICS GLOSSARY INDEX ACKNOWLEDGEMENTS COPYRIGHT

INTRODUCTION By Martin Benn This is a book about a restaurant. Our unique style of cuisine and service, the people who make it all happen each day, and the story of how we got to where we are now. It is also a celebration of what we have achieved in five years within the Sydney dining scene, and of a restaurant that is constantly evolving. When we opened Sepia in 2009, we really wanted to introduce a new style of dining where we could serve fine food in a more relaxed and comfortable environment, and to change the perception of what fine dining was. My experiences as a young chef have had a profound impact on the way I wanted to run my own restaurant and business. This book will give you an insight into what it was really like to work as a young chef within fine dining restaurants and how this influenced my own values. The recipes are presented in five different menus, with around fourteen dishes in each menu. These dishes have all appeared on Sepia’s menus throughout the last five years and are a representation of the kind of dishes we serve. With these menus, I would like to inspire you to create your own dishes. Do not take the menus literally and feel free to experiment with your own ideas.

The final menu is dedicated to desserts only. I have certainly gained a fond appreciation for desserts over the past few years and get a lot of enjoyment from creating them. Desserts are where you can let your imagination run wild and anything is possible. All that I aspire to achieve is that every dish is delicious, with just that little bit of magic.

WHO IS THE HAPPIER MAN, HE WHO HAS BRAVED THE STORM OF LIFE OR HE WHO HAS STAYED SECURELY ON SHORE AND MERELY EXISTED?

HUNTER S. THOMPSON

You can’t succeed at anything in life until you learn what not to do. Understanding the elements of failure is as important as the retention and the way you use, knowledge. What makes up our personal story is created by much more than our hunger and will. What inspires us, what drives us—good and bad— helps define the footprint we leave behind, but there are always unplanned moments that alter our paths along the way. Of course, growing up in the small fishing village of Hastings on the southeast coast of England, I never imagined, not in my wildest dreams, that I would end up in Sydney, Australia with Vicki Wild and our very own restaurant. It’s mind-blowing.

Y

ou see, I come from a family of builders. My father, Ray, a bricklayer by trade, started his career at the age of fifteen. He didn’t have any formal training; rather, he was taught on the job for five years by his first boss, Jack Ralph. Strict on time keeping, and a perfectionist, Jack would inspect my father’s work and kick it down if he wasn’t happy with the quality. My father learnt quickly and says he owes a lifetime of experience to this man. My father is an inspirational man. He has taught me many valuable life lessons, particularly that I should never be afraid of hard work. ‘You only get out what you put in, son,’ he used to say. Although I knew I never wanted to follow in his footsteps, my father’s work ethic certainly rubbed off on me. I don’t know what it was, but even as a young boy something was driving me to a life in food. My mother, Lin, is a great cook, taught by her mother, who was taught by hers—the traditional way. She is very passionate about food, and when I was growing up we always had a great meal on the table, every night. Never afraid to experiment, she entertained friends regularly. I know this is where my cooking roots are from. On Sundays, while my father and older brother were in the garage tweaking cars and motorbikes, I would be in the house preparing the Sunday roast with my mother. By the time I was twelve, my mother let me make the entire lunch by myself—roast beef, Yorkshire puddings, roasted pheasant with all the trimmings, pavlova, strawberry cheesecake—I was in my element. Every Friday during school holidays we would go to the local fish market to check out the catch of the day. I was so excited to see all the different types of fish available, and we would always choose the freshest to cook that night. Our family meal was served at 5.30 pm sharp, every night. The whole family sat together, sharing food, solving dilemmas and discussing what was to come the following day. It brought us all together.

THE SMUGGLER’S INN

While cooking just came naturally to me, my parents thought I was completely mad when I told them I wanted to be a chef. But I had no doubts. I’ve always found that inner peace in the kitchen. At the age of thirteen I took a job in the local public house, The Smuggler’s Inn, under the watchful eye of publicans Graham and Barbara. Graham was a big man—cigarette in one hand, beer in the other. Always. A laugh like a hyena and a stare that pierced right through you. Barbara, his wife, ran the kitchen and was the first cook I had ever met. On busy Sunday lunches, the pub would turn out about 100 meals. The buzz was unreal, and it was my first taste of the frenetic energy of a commercial kitchen. I loved it. My job was to collect glasses and plates from around the beer garden, changing over barrels in the cellar, just general helping out. But I was fascinated by the kitchen. Graham and Barbara’s son, Steve, was a head chef in a hotel in Maidenhead, just outside London. He’d visit every so often to help out his mother. The first time I met him, he was cooking dinner for a special guest in the dining room. While I was out the back changing the barrels I could smell this amazing aroma coming from the kitchen. I could see Steve through the open doors so I climbed closer and sat on the barrels to listen to him explaining what he was doing to some of the other cooks. I was kind of star-struck. He was explaining Lobster Thermidor. Wow, lobster—it was the first time I had ever seen one. As I got closer, I knocked over a pile of soft drinks propped up next to the door, sending them crashing all over the cellar floor. ‘You bloody idiot, what’re you doing?’ I heard Graham shout. I looked up and he was standing over me. As I got up I saw Steve looking over at me from the kitchen. ‘Oh, give him a break, Dad, he’s only interested.’ Later that night Steve asked me whether I was interested in cooking. ‘Yes!’ I said. ‘I really want to be a chef.’ ‘OK, what if I was to ask your parents if you could come and work at the Grovefield in Maidenhead in the school holidays, to really see what it’s like to be a chef?’

I couldn’t believe my luck. I begged my parents to let me go.

THE GROVEFIELD HOTEL Later that year I was off to Maidenhead for a couple of weeks. My parents drove me to Steve’s home where I stayed for the duration. I remember walking into the kitchen on the first day and just looking around in awe at what was my first real commercial-size kitchen. The brigade consisted of about six chefs, all busy preparing food for service. It was hot, sweaty and loud with the chefs shouting from one side of the kitchen to the other—‘Hey Lardo, get your fat arse over here. Gotta get this stock off now before we hit lunch.’ At this point, Steve took me over to the stock that had just come off the stove. He asked me if I knew what it was. ‘Looks a bit like a giant soup,’ I replied. ‘It’s a veal stock,’ he said, ‘made from 200 pounds of veal bones cooked for ten hours overnight on the side of the stove.’ He took a ladle of the piping hot stock, poured it into a pan and placed it into the centre of the stove to reduce it. He grabbed a spoon and asked me to taste it—‘Remember the taste,’ he told me. I’d never tasted anything like it before. It was just incredible. Steve sprinkled a tiny amount of sea salt into the stock, stirred it around and gave me another spoonful. ‘OK, try it now.’ I couldn’t believe how the taste had changed so much. It had suddenly become richer and more intense. Next, he took a little spoonful of butter, and stirred it through the reduction until it melted. ‘Try it now,’ he said. Again the taste had changed—to a smooth silky, still rich, but rounder taste. ‘Remember the taste,’ he said again. ‘This is cooking. You can build layers onto layers.’ He’d given me a lesson on how to use my tastebuds, to understand how to manipulate the flavours of what you have. I was hooked immediately. I was certain then that I wanted to be a chef. I had to be.

YOU FAILED By the age of fourteen, I was moving into my fourth year at secondary school. We had to choose our preferred subjects and, knowing I wanted to be a chef, I chose home economics and French. Unfortunately, I was completely rubbish at French and had a major disaster in home economics. As part of the home economics curriculum I was required to write on a specialised food subject, and I chose meat butchery as my topic. Each Saturday morning I’d read through old butcher books and develop my essay. It took months of solid work, including drawings of livestock, full cut breakdowns and best cooking techniques for each. I thoroughly enjoyed every part of it and I learnt so much about animal anatomy. When I handed this huge body of work to my teacher she looked at me as though I was some kind of mad man. Months passed and I still hadn’t heard a word back from my teacher, so I decided to ask her what was happening. She told me she had no record of my essay, and didn’t believe I had handed it in. As a result, this meant that I failed the whole year. I’d put everything into the paper, and I was devastated the whole thing had been lost. Fortunately though, I didn’t need school qualifications to get into catering college, only a good attendance level and good character references. I felt there was nothing else I could do about my results, I just had to get on with it. At that stage I had already won my place in catering school at Hastings College of Arts and Technology. It was time to get my hands dirty.

HASTINGS COLLEGE AND THE ROYAL VICTORIA HOTEL I started my two-year, full-time culinary school qualifications at Hastings College of Arts and Technology in September 1990. I was sixteen and ready to absorb as much information as I could. I didn’t really enjoy the classroom theory, but I thrived on the

practical—filleting fish, meat butchery, making sauces, baking bread. The first year flew by and I hit a full credit with distinctions. Meanwhile a friend of mine at college had landed a summer job at the close-by Royal Victoria Hotel, a stunning period hotel built back in 1828. This was high-end dining for Hastings with full silver service, twenty-four-hour room service and plush crisp tablecloths. The chef was a confident and loud Irishman who loved a drink (or ten) in the kitchen most nights. I started in the summer season of 1990 and worked the entire school holidays, often six or seven days a week—split shifts from 10 am to 2 pm, four hours off and then back again for dinner service between 6 and 10 pm. In truth, most days I worked through the split shift so that I could learn as much as I could from the other chefs. The food was typical of regional English grand hotels at the time: pâté with Melba toast, melon and Parma ham, smoked salmon and sour cream, roast chicken breast with spinach and creamy mushroom sauce, or grilled sole meunière, and all mains served with buttered Jersey royal potatoes and a panache of vegetables. Although there were only five of us in the kitchen, there was a real sense of camaraderie and team spirit—something I would soon realise was vital to the success of a kitchen, and similarly for a restaurant. If we were not working together, we would be at the pub drinking together. Once the school holidays were over I asked if I could stay on at the hotel and work nights straight after college, and on weekends too. I soon became a fully-fledged member of the team, working my way through the vegetable section to larder and finally helping out on the main courses. But by June 1991, I’d completed my second year at Hastings College and London was calling.

THE BIG SMOKE From the moment I wanted to be a chef my mother told me I had to think beyond Hastings. ‘You need to go to London to learn and be the best at what you do. You’ll never achieve anything here.’ I decided to write to as many hotels in London as I could to see if any would take on a second commis chef, just out of culinary

school. In May 1992, on my eighteenth birthday, I received a letter from Le Méridien Hotel in Piccadilly Circus offering me a position at the Terrace Garden Brasserie Restaurant. I was over the moon but scared as hell. Mum and Dad drove me to London on a Sunday afternoon, and I still remember my poor mum’s face. I think she was more scared than I was. On my first day at the Terrace Brasserie, Executive Chef David Chambers walked me through the winding back corridors and the maze of kitchens, up a small goods lift, past the butchery and up the back fire stairs towards the Terrace kitchen. We passed so many chefs on the way, I felt small and insignificant. It was a huge operation. Finally we got to the kitchen, which looked like a ship’s galley. The ceiling was very low, and you had to duck under the door on your way in. I was introduced to one of the sous-chefs in charge of the restaurant, Mark—a tall lanky lad, straight faced, hard talking and in your face. His chef’s pants were too short for his long legs, and I could see his white-as-white knee length socks. He had my résumé and read through it in front of me. ‘I see best in class, hey? Won loads of awards have you? Think you’re pretty special, do you? Well, do you?’ ‘No.’ I replied. ‘No, Chef!’ Mark barked back. ‘Start tomorrow 8 am sharp. You’re on larder.’ The next day I met the other sous-chef, Barrie, who seemed to take a liking to me and took me under his wing. He was a quirky kind of guy who loved his old-time rock music. A day would not go by without him singing a Captain Beefheart and his Magic Band number or a Frank Zappa tune. Lunch was crazy with 120 guests all in and out within an hour and a half. Six chefs on a service. Dinner was a little slower paced, but it packed in 180 guests over four hours. It always seemed a struggle to be ready for service. The service kitchen was far away from the other kitchens, which meant we had to constantly race between kitchen departments to get produce.

One day I was setting up and one of the chefs asked if I was ready. ‘Yes, Chef. Just need to pick through the salad leaves and I’m done’, I replied. ‘What about the crushed ice in the freezer. It’s not fresh, is it?’ he asked. ‘No, sorry, Chef, I forgot.’ With that he picked up a large olive oil tin and smacked it into the back of my head. ‘Remember it now!’ he barked. The bruise only lasted a few days, but my confidence took a hit. I never forgot the fresh ice again. I began to dread turning up to work. Not because of the actual work, sure the hours were long, but because each day seemed like a struggle with constant shouting, verbal abuse and other chefs always out to stitch you up. Then, after two months of working solidly, slogging it out every day, my mother called to invite me home to a family christening. I was to be a godfather to my cousin’s son. My shift finished early on the Saturday and I caught the train home feeling homesick, knowing I’d have to catch the train back straight after the christening the next day to be ready for work on Monday morning. Back in Hastings, it was very clear to my parents that something was wrong, I wasn’t happy. My mother turned to me on the train platform and said, ‘You don’t have to do this, you know. It is OK to leave and come home.’ I was very young. Every day I was nervous about getting it right in the kitchen. I couldn’t sleep and anxiety took its hold on me. I knew I could cook, but I really needed to learn how to deal with the pressure, ‘man up’ and earn my right to move up the kitchen ranks. I had to keep going. I thought about it the whole train trip back to London. I was beginning to realise that cheffing, as much as anything, is a lesson in what not to do—whether it’s communication or cookery. Whether it’s the way you treat your fellow chefs, or knowing the pitfalls of certain dishes—learning what not to do refines your understanding of getting things right.

Later that month Chef Mark resigned. It was as if my new attitude was given a leg-up. A new sous-chef arrived—Jeremy. From the start, he was a generous leader, who nurtured rather than ruled with an iron fist. He was a hard-working, really honest, nice guy, who wanted to get the best out of his chefs. Not only that, he was the most skilful chef I had ever met. In truth, I was in awe of him. He helped me to regain direction, focus and belief, and became an amazing mentor for me.

THE OMELETTE After three months on the larder section I was moved to vegetable and garnish. It was the most feared section in that kitchen. It was blood, sweat and random tears. We made the pomme sauté for the saucisson de lyon blanch, green beans for the salad niçoise, fries for the steaks, sautéed spinach for the salmon and beurre blanc sauce. The one dish, though, which was the make all or end all for every chef was the seasonal omelette. This may sound absurd, but if you could not master this dish then you would end up going down every service without fail. You’d also lose the respect of the kitchen. There was one prized cast-iron omelette pan, which was treated like gold. It had to be seasoned every day with lots of salt in the pan, heated slowly until it was roasting, then left on the flame for about an hour. After this the salt was removed and it was wiped clean, filled with clarified butter and heated until almost smoking, then drained and repeated with more butter. The omelette itself was made in the classic French way—three whole eggs lightly whisked in a bowl, soft fluffy egg, no colour, and slightly runny. Basically you tip out the butter, wipe out the pan, place it back onto the heat, add a little clarified butter and heat it until it just starts to smoke. Then you add the eggs, using a fork to whisk, but making sure the fork doesn’t scrape the bottom of the pan—this would make the eggs stick to the base and ruin the omelette.

When nearly cooked but with no colour on the underside of the egg you quickly tap the pan on the underside of the bench and let the egg mixture slide a little over the edge of the pan. Then, using the back of a fork, you push the edges back in and flip half of it back so it folds over itself. Finally, you flip the thinner part over and under, then a final tap, and the omelette should be rolled nicely. It should look a little like a thick cigar shape—thin at the tip and bottom and thick and plump in the middle. This was a lot easier said than done, especially during service. It seemed to haunt me and every day when I heard the call for an omelette aux asperge my heart would sink. I felt I could just never get it right. Ever. The interesting thing about food is that it’s true, you really can taste love in food. Conversely, you can taste when the pressure has become too much for a chef. It doesn’t matter how good a cook anyone is, when service hits, if you can’t deliver under pressure, then you may as well pack up your knives and give something else a go. The throes of service are when it matters. That’s when a guest decides whether you’ve made their night and if they will return. Learning to cope with pressure comes with experience, and oddly enough, being thrown into the deep end. One day, we had a lunch with 140 guests on the books. Jeremy was the sous-chef, and was all fired up for a big lunch. Straight off the bat we were getting hammered, dockets flying everywhere. Mid-way through service Jeremy shouted, ‘Check on, straight up two grilled sole, one chef’s salad, and one omelette up in 10 minutes please.’ ‘Yes, Chef!’ The dreaded omelette! At that moment I turned to my left and who would be standing next to me? Executive Chef David Chambers, waiting to watch me cook the omelette. Jeremy looked at me and shouted, ‘Come on Marty, let’s have it.’ So I took the pan, took a deep breath and began the omelette. Pressure. I could feel Chef Chambers watching every move. At that moment, nothing else seemed to matter—it was imperative

that the chef knew I had it in me. He knew the omelette was a tough dish, and I suspect he knew it was a nightmare for me. It all felt like slow motion. I whisked, tapped, flipped and tapped the pan on the side of the stove once more, and the omelette flipped over to the most perfect-shaped omelette I had ever made. I slid it onto a plate and handed it to Jeremy. He looked at me, we both looked at Chef Chambers who gently pinched the centre of the omelette with his fingers. ‘Perfect, bloody perfect.’ Then he looked at me, nodded and walked off. I couldn’t believe it. Nor could Jeremy. It was like it just happened without thinking about it. It might not seem like much, but it was the first time Chef Chambers acknowledged my cooking. It also felt like I’d found a zone of concentration while under pressure. That’s what you do as chefs. You find the pocket of the zone in service and ride it until the last docket. That moment had a huge impact on my self-belief. My growing confidence justified my move to London, and within six months an opportunity opened to work on the sauce section. I spent most of my time at the Terrace Garden Brasserie Restaurant working on the sauce and grill section, and after my first year in London I was promoted to first commis chef at the age of nineteen.

MOVING UP I told Jeremy that my goal was to move from the Terrace Garden Restaurant to the Oak Room, the Michelin starred restaurant downstairs. He didn’t discourage me, and said that if I worked hard enough there could always be an opportunity. But, just as I was getting my hopes up, news filtered through that Mark would be returning to the hotel as the executive souschef. My heart sank. Jeremy told me not to worry, but I felt that all that I had achieved could be undone. About a week later I was busy setting up my section when Jeremy said that Mark would be spending lunch in the kitchen and I had better be ready. I made sure everything was set, checked it again, and again.

Then he appeared. Standing on the other side of the pass. ‘Hello Martin, I hear that you have improved a lot since I have been away. Well, let’s see how good you are then, shall we?’ Great. No pressure at all. Service started with a bang. Dockets streaming in, the printer in an endless stream. I was more confident by then and, in truth, I was enjoying the challenge to prove Mark wrong. Everything seemed to flow, the adrenalin took over and before I knew it service was finished. Mark walked over to me, shook my hand and said, ‘Well done, great job.’ Everything had changed. I couldn’t believe it. ‘I heard you want to go and work downstairs in the Oak Room’, he continued. ‘Yes, Chef.’ ‘I’ll work on it’, he said. Within four months I found myself in the kitchen of the famed Oak Room.

THE OAK ROOM The Oak Room was the prized jewel of the hotel. A one Michelin star fine dining establishment, overseen by French chef Michel Lorain of the prestigious La Côte Saint Jacques just outside of Paris. The restaurant itself was a forty-seat grand formal dining room, and some say it was one of the most beautiful and elegant rooms in London of its time. The kitchen was full of French chefs who, of course, only talked to each other in their native tongue. If only I’d done better in French lessons after all! I was still just nineteen and put to action on the fish section working alongside the senior chef de partie. My job was to help him on the fish, which really meant I pretty much did it all. One of the French chefs had imaginative ways of making it look as though he was busy. His whites would stay pristine and crease free, not a hair out of place. On his break he went to the gym for a bodybuilding session. He would constantly be in my ear telling me to do this and do that.

One day I was bending down into the oven and my chef jacket had risen up my back to expose my skin. That chef was basting a piece of fish in a pan with foaming butter and decided to place the hot spoon on my back to prove a point that my skin was showing in a kitchen. It scalded and blistered, and I still wear the scar to this day. He thought it was hilarious. A junior sous, Marc, ran the meat section at the time. He was a firm but fair man, and quick to tell you what you needed to do to improve your service. His dedication was hard to fault and he took it personally if you made a mistake, often continually talking it over with you even in the pub after service that night. I worked extensively, six days a week, 8 am to 11 pm for the next two years, and gained an understanding of classic and nouvelle French cuisine that, I have no doubt, shaped my career for the better. It was proper cooking, and not a day went by that I didn’t learn to do something a little better. Executive Chef Chambers sat in the office right next to the fish section, and often ordered freshly steamed dorade royale fillet or sea bass for his lunch, accompanied with a bottle of sparkling water. It was great encouragement. Although I didn’t realise it at the time, a decision by a friend of mine, George, would eventually shape not only my career, but my personal life as well. About halfway through my time at the Oak Room my friend told me he was planning to migrate to Australia. George’s brother lived in Melbourne and loved it. I also happened to be seeing an Australian girl who was travelling around Europe using London as a base, and had heard a lot about Australia. After discussing it with George, we both decided to apply for Australian residency. We had been told the process could take two years or more before being approved, so we thought, why not, it couldn’t hurt?

THE CRITERION After almost three and a half years at Le Méridien Jeremy contacted me. He’d left Le Méridien eight months earlier to work at Marco Pierre White’s The Canteen, and he wanted to know if I’d consider leaving the Oak Room to work at another Marco Pierre White restaurant, soon to be opened in Piccadilly Circus—the Criterion. It was May 1995 and I was spending time staging around some of London’s top restaurants like Nico at Ninety and the Dorchester, trying to get an idea of what I should do next. Jeremy’s call couldn’t be more timely. The Criterion was the most anticipated opening of the year. Jeremy arranged a meeting with one of the head chefs, Peter, set to run the restaurant. The interview went well and I got the gig. The restaurant opened in a blaze of glory. Every A-lister in town wanted to be there because, as with all of Marco’s restaurants at the time, it was the place to be seen. Celebrities, footballers, high rollers, TV personalities—it was an amazing restaurant to be part of. Open seven days a week, lunch and dinner with an average of 300 covers per service. The Criterion was a machine. The brigade consisted of about twenty-eight guys that had either come from The Canteen, or had been recruited via people they knew. At the beginning, we all worked with only a day off per week. One week I worked 110 hours in a six-day stint. That would never happen these days. I was up at 5.30 am and onto the tube for a 6.30 am start. I worked until 1.30 am, then caught the night bus home to Acton, before making it into bed, and waking at 5.30 am to repeat the process. It took its toll. My role at The Criterion was to man the hot entrée section covering around twelve menu items: three soups, three pastas, three risottos and three other dishes of the day.

SQUID INK RISOTTO I learnt very fast. You had to at The Criterion. It was a necessity for survival. After a couple of months the restaurant had settled and the kitchen had divided into two teams.

One time on switchover the earlier chefs told us that we were all good and kitchen prep was complete. They marched us to the walk-in refrigerator to show us the containers of squid ink risotto base and various other items that had been done. We took it as ready. Service kicked off as always with dockets rolling in one after the other. At about 6.30 pm I headed to the fridge to grab some squid ink rice. I opened the door, pulled the first 4 litre container from the shelf and it felt incredibly light. I pulled the lid off and realised the chefs had just smeared the black ink on the inside wall of the container, making it look full from the outside. I grabbed another container and the same thing—they were all practically empty. We had been stitched up! We had to cook 6 kilos of risotto rice from scratch for that service. Not the best way to start your week, especially as the risotto was one of Marco’s signature dishes. The rice and ink is first cooked together for 8 minutes, with the rice remaining very firm, but taking on the black ink colour. It’s then cooled on large trays before being packed into the 4 litre containers. The rice then needs to cook for a further 4 minutes, to order, as that is really all the time you have to get the dish to the table. The timing is critical. The dockets started banking up as more and more guests were left waiting. Guests only had two hours to dine, and then they had to leave. This restaurant turned over three times a night. We got pulverised that service, but as all chefs know, what doesn’t kill you makes you stronger.

SYDNEY A year had passed. It was mid-May 1996 and my visa for permanent residency had been granted by the Australian Government. I was exhausted, pale from not seeing much sunlight. I was socially awkward, spending most of my time talking to chefs in a kitchen, and my hands were blistered and callused from cutting and peeling shellfish all day long. I was also undernourished, and in truth, pretty much over cooking.

I resigned from The Criterion and booked myself a one-way ticket to Australia. First I travelled for six months in Europe and Africa before finally landing in Sydney on 17 November 1996. I was ready to get back into the kitchen. I knew nothing about Australian cuisine, and so the first thing I did when I landed was grab a restaurant guide. I wrote to all the Three Hat restaurants, but heard nothing. My finances were tight and I was getting desperate to land a job, so I moved on to contacting the five-star hotels. Still nothing. Fortunately, after about a month I received a call from Restaurant Forty One in the heart of the city. I did a stage and landed a chef de partie position starting in the new year. Although Forty One was certainly a different style of cuisine than I had been exposed to, the environment itself was similar to what I had experienced in London. Half of the chefs were from Europe, the other half were Australians who had worked in Europe. The food was a mix of world cultures from India to Singapore, from France to Mexico. It was a melting pot that seemed, at first, hard to follow. So, I just knuckled down and fell into autopilot. Soon I began to wonder why I had come all this way if I was just going to plod along. I wanted something inspirational. I loved Australia, but I needed to get my hands dirty and cut my teeth at another restaurant. By March 1999, I knew I needed a new challenge in my life. I still didn’t know enough about Australian cuisine, but the influence from Asia intrigued me. Australia, after all, is part of Asia. During my time in Sydney I had been closely watching the young chef Tetsuya Wakuda. I was amazed at the totally different style of food he was creating compared to the rest of the country.

TETSUYA’S The idea of this new Asian-influenced cuisine emerging in Australia, courtesy of a little restaurant in the inner-west suburb of Rozelle, was exciting to me. Only problem was, I knew very little about Japanese food. Oddly enough, back in college one of the first professional cookbooks I ever bought was titled Japanese Garnishes: The

Ancient Art of Mukimono. I have no idea why I bought it at the time (in truth, I think it was because I liked the cover), but it was a book I’d flick through from time to time. I hit the Sydney bookstores and picked up a book called Japanese Cooking: A Simple Art by Shizuo Tsuji. I read it cover to cover. I became fascinated by the whole Japanese philosophy. Ingredients. Technique. It was like an awakening. I decided then and there I must get a job at Tetsuya’s at all costs. I rang Tetsuya’s Restaurant and tried to get to talk to Tetsuya himself. I left message after message and heard nothing back. Why would I? No one knew who I was, and I’m sure every chef wanted to work there at the time. I didn’t know what to do. Then, one day, I was talking to the reservations manager at Forty One and she mentioned that she’d heard I was looking for a job at Tetsuya’s. I was shocked because I hadn’t told a soul. She assured me it was all OK, then explained that her cousin worked at Tetsuya’s and she’d put in a good word for me. I was over the moon! This was my big chance and I wanted this more than anything. In May 1999 I received a call from Tetsuya’s assistant, Vicki Wild, to arrange a meeting at the restaurant office. Vicki tells me how shy and quiet I was that autumn morning, but to be honest, I was scared as all hell and can’t remember what we spoke about. Whatever it was, though, we hit it off straight away and Vicki was impressed enough to set up a meeting with Tetsuya. I took a gamble and resigned from Forty One without confirmation of a job at Tetsuya’s. Before, in fact, I had even met him. I turned up at the restaurant for the meeting and was waiting outside for Tetsuya. Suddenly, the roller shutter door came flying up and Tetsuya ran out and across the road to the fruit barn. Next minute, he came running back past me with fruit and vegetables and slammed the roller shutter door down again. I stood there not knowing what to do. The roller door flew open again and Tetsuya stuck his head out. ‘Martin?’ he asked. ‘Yes, Chef,’ I said.

‘Call me Tets. Now go in the front door of the restaurant and wait for me there,’ he said. We sat at a table and chatted for about an hour. It didn’t seem like an interview, we simply discussed food—nothing about whether I could actually cook, or where I had worked. Tets just loved to talk about the food. When we had finished I asked if he wanted me to do a stage at the restaurant. ‘What for? You have the job,’ he said. ‘But surely I have to do a day so you can see what I can do?’ I asked. ‘If you must, but I would rather you come in for dinner.’ The next day I did the stage at lunch, and then had dinner that evening in the restaurant. It was the most perfect meal I had ever experienced. I was hooked. After dinner Tets came and sat with me and we talked until about 3 am, like old friends do. It was the start of something special. I started at Tetsuya’s restaurant on 6 July 1999. The head chef at the time, David, had pretty much been with Tets since he was an apprentice and worked his way up. The kitchen was tiny— impossible to have more than five chefs in at any given moment. We served a degustation only menu, twelve courses. I watched, I learnt and absorbed everything I could. After twelve months, Tets announced that David would be leaving. There was a special VIP lunch coming up that Tets was attending, and he asked if I would write the menu—a degustation of my own that was typical of his style and cuisine. I relished the opportunity and set about creating eight courses. After the lunch, Tets came bounding through the door to tell me it felt as though he had cooked it himself. ‘It was amazing,’ he said. The next day he arranged a meeting with me in his office. ‘Martin, you love to cook don’t you?’ ‘Yes of course.’ ‘I can see it. You cook with your mind and your heart. I can see that cooking is your life, I want you to become head chef for my restaurant, what do you think?’

THE MOVE

About a week later I heard that Tets was about to sign on the biggest deal of his life. The old Suntory Japanese restaurant in Kent Street in the city had been vacant for some time, but was now on the market for sale. Tets had always loved the site and now was his opportunity to get his dream. The restaurant in Rozelle was a small terrace with an extension on the back. It sat around fifty-five guests at a squeeze. Five in the kitchen brigade, six waiters on the floor. It was truly like a small family. The deal was done. Kent Street was a restaurant unlike any other restaurant in Australia. It was a mansion—three floors with underground cellar, five dining rooms on the ground floor with a bar, three large spaces upstairs, staff quarters and centralised office system. The plan was to close the doors on the Saturday night, move the entire restaurant to the new Kent Street site during the two days we were closed, and then reopen for service on the Tuesday night as if nothing had changed except the location. We hired a van, every team member got involved and by some kind of miracle we managed the move in one weekend. Tets told me not to worry, we would do the same number of covers for the first week to help settle into the new space and get used to larger numbers. The first night we opened we actually did ninety-two covers. Tetsuya’s was a powerhouse among Sydney restaurants, a restaurant Australia had never experienced before. It was reviewed in April 2001 and received 19/20 from the Sydney Morning Herald’s Good Food Guide. In 2002, it won the Guide’s Restaurant of the Year. In 2003, it was honoured to be on the World’s 50 Best Restaurants at number 36. This was a huge achievement, and for me, personally, it was incredible to be a part of it. It was around this time that my relationship with Vicki began to sparkle. We had been great friends for the past three years and really got on well together in and out of work. It just seemed inevitable that we would end up together. My life in Australia had fallen into place.

The kitchen brigade had grown considerably from the day we first moved into Kent Street. By 2003, the staff in the kitchen hit eighteen, with two overseas stages, four kitchen hands, three glass polishers, twenty waiters, three on reservations and an onsite accountant. We were doing all degustation and were always fully booked. There was a sense of camaraderie between the kitchen and the floor, and this was something that I particularly enjoyed. It was this level of mutual respect that made Tetsuya’s so magical for guests. It was truly amazing. After four years, however, I hadn’t had a break and I was tired. In fact, I was completely worn out. I loved my work, but I was not sure how much more I could put in. Tets was away from the restaurant for stretches at a time and I cared for the restaurant as if it was my own. But it wasn’t my own. My team was loyal and worked extremely hard, but I found myself asking, ‘Who am I? What am I about?’ I began to think that it was time for me to break away and do something for my own profile and my own reputation. In 2004, Tetsuya’s moved up on the World’s 50 Best Restaurants list, and here I was getting itchy feet. I had to leave. I had something to prove to myself.

THE BOATHOUSE The position of head chef had come up at one of Sydney’s iconic seafood restaurants, The Boathouse on Blackwattle Bay, in the inner-city suburb of Glebe. It had consistently scored well in the guides and it was a restaurant where you knew you would always be served quality seafood. But the problem was it had just come off the back of a scathing review. I met with the owner, an ex-chef himself, and we talked for about two hours about how we could save The Boathouse’s reputation, and how I could leave one of the best restaurants in the world. It was going to be a really difficult move for me, but I decided that I would take the plunge. Resigning from Tetsuya’s was the hardest thing I had ever done in my life. Tets was extremely upset but to his credit he said, ‘You have just got to do what you have got to do!’ I took over The

Boathouse as head chef in July 2004 with a vision focusing on seafood and the experiences of what I had learnt at Tetsuya’s—to use local seafood matched with Japanese flavours and technique. I met with Frank Theodore, a seafood specialist from De Costi Seafoods, the restaurant’s supplier, and dear friend of mine. We discussed my specifications on the fish and the way I like them packed—it was all to be whole fish only, and no fillets. (It amazes me how many chefs cannot fillet a fish correctly. To me, this should be fundamental to every chef’s skill base.) Then I changed the way the fish was cut and stored for service at the restaurant. These are the small things that can make a difference. I got to know George Costi, owner of De Costi Seafoods, through dealing with Frank. George popped in for dinner from time to time and we would joke about opening a restaurant together. Still though, The Boathouse was in disarray. It seemed to me that the mindset of the entire team needed to change in order to make it a highly successful restaurant again. On day one, I went in and called a kitchen meeting, telling the chefs that it was only going to be one way, my way, and if they didn’t like it there’s the door. All the chefs were up for the challenge and the first thing we did was strip the kitchen and scrub it from top to bottom. This was not because it was dirty, but as a sign of respect for our workplace. The front-of-house staff, though, were less than willing to take on change. During service, I noticed that when the fish was cooked for a table it was plated and placed on the pass, waiting to be sauced. When I asked the chef de partie why he didn’t finish the dish, he said he had to wait until the floor staff were ready to take it out. I was stunned. The manager then came into the kitchen and asked for a table that was not yet plated, demanding that the kitchen do it straight away. ‘What?!’ I said. ‘You have to be joking. What about the rest of the dishes here waiting to go out to the guests?’ ‘They can wait, they will be just fine.’ ‘The point of cooking fish to order,’ I explained, ‘is so that the guest gets it cooked perfectly and there is a fine line with fish. I

suggest you take it NOW!’ ‘No, no, no, that’s not the way we do it here’, he replied. ‘And that’s exactly why you are where you are today, take it!’ I said in a firm voice. It was obvious that the floor was running the kitchen and this had to stop. I worked solidly for the next two months changing and tweaking the food and kitchen with different service ideas and brigade formats. Soon enough, the Good Food Guide Awards were looming and I had an invite to go. The Boathouse was reviewed for the Guide, and I couldn’t believe it. We scored 16/20. I was thrilled and so was the team. We went into the Christmas period with the restaurant fully booked and a strong team. In late May 2005, Tetsuya made contact with me for the first time since I had left the previous June. He wanted me to come back in a new role as executive chef. I thought about it carefully and agreed to go back to Tetsuya’s on a few conditions. We would utilise all the kitchens in the restaurant. I could start a research kitchen, and my role would be to oversee the day-to-day running of the kitchen with the head chef rather than cooking. Tets agreed and I returned to the restaurant in July 2005.

THE RETURN In 2005, Tetsuya’s climbed to number four on the World’s 50 Best Restaurants list, holding at number five for the next two years. This was an amazing achievement, but my return to the restaurant hadn’t gone as I’d expected. I found myself back in the kitchen doing full-time cooking every service. At the end of 2006 Vicki and I were approached by an industry supplier with a new career opportunity. A high-end restaurateur in Hong Kong and China was looking for consultants to help set up new restaurants in Shanghai and Beijing. Vicki and I thought about it over Christmas, and spoke with the owners to find out exactly what they were looking for. The plan was to open two restaurants within one year. One was to be located in Shanghai, in one of the most beautiful and stunning

settings on the Bund River. It was on the top floor of the original Hong Kong and Shanghai Banking Corporation where they proposed to open an eighty-seat fine dining restaurant with a flamboyant and extravagant bar in the front dome of the building. The other would be in Beijing, and would open within months of opening in Shanghai. This all seemed very exciting to Vicki and me. We were intrigued. For me, working at Tetsuya’s was one hell of a journey. It was relentless, rewarding, physically punishing and an incredible emotional roller coaster that helped shape me into the chef I am today. For that, I will be eternally grateful. But, for both of us, it was time to move on and do something completely different. I rang my friend Frank from De Costi to give him the news. I figured he might be able to supply fresh Australian seafood into China for me. To my surprise he simply replied, ‘Oh no, I think George Costi was going to call you about opening a restaurant together!’ We’d signed the contract though. We were bound for Hong Kong.

HONG KONG I was employed as the group executive chef of Western cuisine and Vicki as director of sales and marketing. I was in charge of four outlets, and at the same time tasked with writing a business strategy for the new restaurants in China, including menu formats, costing and kitchen design. Vicki was on the other end of town working out of the head office. In July of 2007, I was to hold seven dinners at the Hong Kong flagship restaurant and to prepare a degustation menu of ten courses for each night, followed by the grand finale dinner on the eighth night to be sold as an exclusive event. I could see a pattern emerging. It also became apparent that they wanted me to take on the position as head chef of their flagship—a role I had indicated I wasn’t interested in from the start. Meanwhile, we were informed that the restaurants in China were behind schedule and that we would have to stay in Hong

Kong a lot longer than we had anticipated. In fact, there was no indication of when or if they’d be ready at all. I felt so let down and so did Vicki. We left the best restaurant in Australia for this? For me, the Hong Kong adventure was a lesson in what not to do in restaurateuring. Vicki and I both resigned and made plans to come back to Australia. I rang Frank in Sydney and soon after George Costi called me. He told me to come home. It was time to open a restaurant.

SWORDFISH FINGER LIME WASABI ‘SUSHI NIGIRI’ COBIA TOMATO ROCKET TUNA DASHI CUSTARD PORK BONITO CHICKEN NORI PRAWN TEMPURA CRÈME FRAICHE MATCHA CRAB EGG RICE SCAMPI SUDACHI SHISO URCHIN ROE MISO EGGPLANT SEAWEEDS PIGEON BLACKCURRANT SHICHIMI BLUE CHEESE ENDIVE MACADAMIA STRAWBERRY CHAMPAGNE PISTACHIO GINGER RICE RASPBERRY APPLE MERINGUE BUCKWHEAT TOFFEE

CURED SWORDFISH BELLY WITH FINGER LIME AND TASMANIAN WASABI FLOWERS AND LEAVES WINE SUGGESTION: Extra Brut Champagne SERVES 8

SWORDFISH BELLY 200 g (7 oz) sashimi-grade swordfish belly, about 12 x 8 x 4 cm (4½ x 3¼ x 1½ in) block 200 g (7 oz) flaked sea salt 75 g (22/3 oz) caster (superfine) sugar 2 lemons, zest only, finely grated using a microplane 50 g (1¾ oz) ginger, grated Place the swordfish belly on a board and, using a sharp knife, remove any blood lines. Mix the salt, sugar, zest and ginger in a mixing bowl until evenly combined. Using a bowl that will fit the swordfish belly snugly, add one-third of the salt mixture and then place the swordfish belly on top. Cover the sides and top of the swordfish evenly with the remaining salt. Leave the swordfish to cure at room temperature for 2–2½ hours, depending on the thickness of the belly. Remove the swordfish from the salt mixture and lightly rinse under cold water. Pat the swordfish dry with paper towel, wrap in fresh paper towel and then refrigerate for 1 hour. Remove the swordfish from the fridge and discard the paper towel. Rewrap the swordfish in plastic wrap and place in the freezer for 4–5 hours until frozen. Remove the swordfish from the freezer and unwrap. Place the swordfish on a slicing machine and cut into thin slices—allow 2–

3 slices per person. Place the swordfish slices onto pre-cut pieces of non-stick baking paper, stack and refrigerate until required.

TO SERVE 2 teaspoons freshly grated Tasmanian wasabi 1 teaspoon virgin white sesame oil 1 finger lime, pearls removed 32 Tasmanian wasabi flowers 40 Tasmanian baby wasabi leaves Combine the wasabi and white sesame oil in a small bowl. Arrange the swordfish belly slices on each plate, making sure not to lay them flat. Add a few pearls of the finger limes, followed by 4 wasabi flowers. Add 5 wasabi leaves per portion and finish with a small amount of the wasabi and sesame oil paste on the side. Serve immediately.

‘SUSHI NIGIRI’ SASHIMI TUNA, SEARED SMOKED OCEAN TROUT AND POACHED BANANA PRAWN WINE SUGGESTION: Junmai-Ginjo Sake SERVES 8

SUSHI RICE CREAM 100 g (3½ oz/½ scup) sushi rice 60 g (2¼ oz) sushi vinegar Place the rice in a bowl and fill with cold running water. Use your fingers to agitate the rice and then pour off the water. Repeat 4– 5 times to remove the excess starch. Place the rice in a saucepan and add 800 ml (28 fl oz) of water. Bring the rice to the boil, cover with a lid, and then reduce the heat to as low as possible (or leave the pan over the pilot light). Cook for 40 minutes, stirring occasionally. Strain the rice through a sieve, reserving the cooking water, and leave for 10 minutes to remove the excess water. Put the cooked rice in a blender and purée on medium–high speed. Add 150 ml (5 fl oz) of the cooking water and blend until smooth. Add the sushi vinegar and blend to combine. Pass the mixture through a chinois and pour into a squeeze bottle. Set aside until required.

APPLE AND SAKE JELLY 2 green apples 1/ teaspoon ascorbic acid, plus extra pinch 8 0.75 g (3/100 oz) gold strength gelatine leaves 75 ml (2¼ fl oz) sake 1/ teaspoon sodium citrate 8

0.85 g (3/100 oz) agar powder Cut the apples into small pieces, including the skin, and discard the core. Put the apple and ascorbic acid into a blender and mix until completely puréed, then strain the pulp through a fine sieve lined with an oil filter, squeezing out as much juice as possible. Measure out 75 ml (2¼ fl oz) of the fresh apple juice and set aside. Spray a 24 x 18 x 2 cm (9½ x 7 x ¾ in) baking tray with baker’s spray and wipe over with paper towel. Soak the gelatine in iced water until hydrated. Pour the sake into a heavy-based saucepan and add the sodium citrate and agar. Bring the sake mixture to the boil, cook for 5 seconds and then remove from the heat. Squeeze out the excess water from the gelatine and stir into the sake mixture. Add the apple juice and stir well. Add a pinch more ascorbic acid and stir again. Pass through a fine chinois. Pour 150 ml (5 fl oz) into the prepared tray and leave to set at room temperature, then refrigerate until required. Cut the jellies into 5.5 x 2.5 cm (2 x 1 in) rectangles before serving.

PICKLED SHISO JELLY 42 g (1½ oz) shiso vinegar 8 g (3/10 oz) kishibori soy sauce 8 g (3/10 oz) mirin 92 g (3¼ oz) still mineral water 0.75 g (3/100 oz) gold strength gelatine leaves 0.85 g (1/8 oz) agar powder Mix the shiso vinegar, soy sauce, mirin and mineral water together in a bowl and leave to infuse for 2 hours. Spray a 24 x 18 x 2 cm (9½ x 7 x ¾ in) baking tray with baker’s spray and wipe over with paper towel. Soak the gelatine in iced water until hydrated. Pour the shiso mixture into a heavy-based saucepan and add the agar. Bring to the boil over high heat, boil for 5 seconds and then remove from the heat. Squeeze out the excess water from

the gelatine and stir into the shiso mixture. Pass through a fine chinois. Pour 150 ml (5 fl oz) into the prepared tray and leave to set at room temperature, then refrigerate until required. Cut the jellies into 5.5 x 2.5 cm (2 x 1 in) rectangles before serving.

SOY AND WASABI JELLY 125 ml (4 fl oz) ichiban dashi or water ½ teaspoon freshly grated Tasmanian wasabi 20 g (¾ oz) tosa soy sauce 5 g (1/8 oz) mirin 0.75 g (3/100 oz) gold strength gelatine leaves 0.85 g (3/100 oz) agar powder Pour the ichiban dashi into a heavy-based saucepan and bring to a simmer. Add the wasabi, cover, and leave to infuse for 5 minutes. Pass the dashi mixture through a fine chinois and then season with the soy and mirin. Spray a 24 x 18 x 2 cm (9½ x 7 x ¾ in) tray with baker’s spray and wipe over with paper towel. Soak the gelatine in iced water until hydrated. Pour the seasoned dashi into a clean heavy-based saucepan. Mix in the agar and bring to the boil over high heat, boil for 5 seconds, then remove from the heat. Squeeze out the excess water from the gelatine and stir into the dashi mixture. Pass through a fine chinois. Pour 150 ml (5 fl oz) into the prepared tray and leave to set at room temperature. Place in the refrigerator until required. Cut the jellies into 5.5 x 2.5 cm (2 x 1 in) rectangles before serving.

SASHIMI TUNA 300 g (10½ oz) sashimi-grade tuna, about 11 x 5 x 5 cm (4¼ x 2 x 2 in) block, trimmed 40 ml (1¼ fl oz) tosa soy sauce 8 soy and wasabi jellies (see previous page)

40 ml (1¼ fl oz) sushi rice cream (see previous page) 6 g (1/5 oz) puffed sushi rice ½ teaspoon nori powder Place the tuna block, lengthways, on a board and cut into 8 thin slices, about 2 mm (1/16 in) thick. Place the slices on a tray, brush with the tosa soy sauce, and then roll each piece into a cylinder shape. Lay the soy and wasabi jellies out on a board with the baking paper side on the bottom. Add a little of the sushi rice cream to each of the jellies and spread out evenly with a palette knife. Sprinkle the puffed sushi rice onto each jelly so that the sushi rice cream holds the rice and jelly together. Using a fine sieve, dust the nori powder over each of the jellies to lightly coat. Using the palette knife, remove the jelly from the baking paper and place on the rolled tuna. Repeat with the remaining jellies.

SEARED SMOKED OCEAN TROUT 1 side cold smoked ocean trout, about 600 g–1 kg (1 lb 5 oz–2 lb 4 oz) 8 apple and sake jellies (see previous page) 40 ml (1¼ fl oz) sushi rice cream (see previous page) 6 g (1/5 oz) puffed sushi rice ½ teaspoon nori powder Trim the smoked trout to a 200 g (7 oz) block, about 11 x 5 x 3 cm (4¼ x 2 x 1¼ in). Place the trout block on a board, lengthways, and cut into 8 thin slices, about 2 mm (1/16 in) thick. Place the slices on a tray, and then roll each piece into a cylinder shape and arrange them next to each other. Using a blow torch, lightly sear the top of each roll of trout. Lay the apple and sake jellies out on a board with the baking paper side on the bottom. Add a little of the sushi rice cream to each of the jellies and spread out evenly with a palette knife. Sprinkle the puffed sushi rice onto each jelly so that the sushi rice cream holds the rice

and jelly together. Using a fine sieve, dust the nori powder over each of the jellies to lightly coat. Using the palette knife, remove the jelly from the baking paper and place on the rolled seared smoked ocean trout. Repeat with the remaining jellies.

POACHED BANANA PRAWNS 8 banana prawns, about 40 g (1½ oz) each 16 baby shiso leaves 8 toasted nori seaweed strips, about 9 x 1 cm (3½ x ½ in ) each 8 pickled shiso jellies (see previous page) 40 ml (1¼ fl oz) sushi rice cream (see previous page) 6 g (1/5 oz) puffed sushi rice ½ teaspoon nori powder Peel the prawns and remove the heads. Discard the heads and shells or reserve for another application. Using a sharp knife, cut down the back of the prawn and remove the intestinal tract. Continue to cut through the back of the prawn until two-thirds of the way through. Lay a 25 x 25 cm (10 x 10 in) sheet of plastic wrap on the bench and place the prawn towards the bottom of the plastic wrap, cut side up. Place 2 leaves of shiso into the cut prawn and then shape back together so that it looks like a whole prawn again. Roll the prawn in the plastic wrap so that it holds its shape and tie off each end to secure it. Repeat the process with the remaining prawns. Poach the wrapped prawns in a saucepan at 70°C (158°F) for 4 minutes, then remove and set aside to cool. Unwrap the prawns and trim the base of each prawn so that they will be secure on the plate. Lightly brush the toasted nori strips with a little water, then wrap the nori around the middle of each prawn. Lay the shiso jellies out on a board with the baking paper side on the bottom. Add a little of the sushi rice cream to each of the jellies and spread out evenly with a palette knife. Sprinkle the puffed sushi rice onto each jelly so that the sushi rice cream holds the rice and jelly together. Using a fine sieve, dust the nori powder over each of

the jellies to lightly coat. Using the palette knife, remove the jelly from the baking paper and place on the rolled poached banana prawns. Repeat with the remaining jellies.

TO SERVE Place one of each sushi onto each plate. Serve immediately.

WILD COBIA WITH SPICED TOMATO NECTAR, ROCKET AND SAKE OIL, AND ROCKET FLOWERS WINE SUGGESTION: Unoaked Koshue SERVES 8

ROCKET AND SAKE OIL 500 g (1 lb 2 oz) wild rocket (arugula) 400 g (14 oz) grapeseed oil 20 ml (½ fl oz) sake (preferably yaki no bosha yamahai junmai ginjo) Bring a large saucepan of salted water to a rolling boil. Add the rocket and blanch for 1 minute. Drain the rocket and plunge in iced water to refresh. Squeeze as much water from the rocket as possible. Lay the blanched rocket on a dehydrator tray and dehydrate in a food dehydrator at 55°C (130°F) for 48 hours. Remove the rocket from the dehydrator and place in a vita-prep (or high-speed blender). Add the grapeseed oil and blend on high speed for 6 minutes—the oil will heat up from the friction of the blend, which will help to infuse the oil. Drain the rocket oil through a fine sieve lined with an oil filter, and then refrigerate overnight. Whisk 80 ml (2½ fl oz/1/3 cup) of the rocket oil and the sake together in a bowl until emulsified. Pour into a small-nozzle squeeze bottle and store in the freezer until required.

KOMBU-MARINATED COBIA 2 kombu strips, each about 15 cm (6 in) long 300 ml (10½ fl oz) sake (preferably yaki no bosha yamahai junmai ginjo) 1 cobia fillet (wild kingfish), about 700 g (1 lb 9 oz)

Soak the kombu in water until softened and tripled in size. Put the kombu and sake in a bowl and leave to marinate for 20 minutes. Meanwhile, place the cobia on a board and cut down either side of the pin bone, following the shape of the fillet. Remove the skin and any blood line. Discard the bones. Pat the kombu strips dry with paper towel and then place them side by side in a baking tray. Lay the cobia on the kombu and wrap it around so that it covers the fish completely. (You can wrap plastic wrap around the kombu to hold it in place.) Refrigerate the cobia for 30 minutes to marinate. Remove the kombu wrapping from the cobia and discard. Take the back quarter of the fish and, cutting lengthways from head to tail, cut into 1 cm (½ in) thick slices to make 3 long flat pieces of cobia. Lay a slice of cobia on its side and cut lengthways again from head to tail, into a long, evenly thick strip that tapers at the tail end. Repeat this with the other 2 pieces of cobia to make 6 even slices. Next, take the (smaller) belly quarter and repeat the process to make 1 slice. Cut in half to make the 2 remaining portions required.

TO SERVE 20 g (¾ oz) tomato powder 1 litre (35 fl oz/4 cups) liquid nitrogen 400 ml (14 fl oz) spiced tomato nectar 40 rocket (arugula) flowers Put a bowl in the freezer to chill. Place the cobia portions onto a tray, side by side. Using a sieve, lightly dust the tomato powder over the surface of the cobia to evenly coat. Clean the sides of each portion, making sure that the tomato powder is only on the top. Place the cobia in each serving bowl, slightly off-centre. Pour the nitrogen into a nitro bowl and leave it to freeze for 1 minute until the bowl tempers to the nitrogen and the nitrogen stops boiling. Shake the bottle of rocket and sake oil so that it is well emulsified together. Drip the oil into the nitrogen so that it freezes little

pearls of the oil. Remove the frozen oil with a slotted spoon and transfer to the chilled bowl. Pour 50 ml (12/3 fl oz) of the spiced tomato nectar into each bowl beside the cobia. Sprinkle over the frozen oil. Add the rocket flowers and serve immediately.

YELLOWFIN TUNA WITH DASHI CUSTARD, WASABI AND SOY JELLY, POPPED PORK AND ELK LEAVES WINE SUGGESTION: Altesse SERVES 8

POPPED PORK AND NORI SALT 1 teaspoon fine sea salt 50 g (1¾ oz) ginger, sliced 1 rosemary sprig 500 g (1 lb 2 oz) pork loin skin 1 litre (35 fl oz/4 cups) vegetable oil 20 g (¾ oz) nori salt Put 4 litres (140 fl oz/16 cups) of water in a large saucepan and bring to the boil. Add the salt, ginger, rosemary and pork skin, reduce to a simmer and poach for 1–1½ hours until the skin is soft enough to be pierced easily with the tip of a knife. Remove the skin from the water and leave to rest for 10 minutes or until cool enough to handle. Using a sharp knife, start to remove the fat from the loin. Then, using a spoon, scrape the remaining fat away to leave a clean skin. Rinse the skin under cold running water, pat dry with paper towel, then cut into 3 pieces. Lay the pork skin on a dehydrator tray in a food dehydrator and dehydrate at 55°C (130°F) for 36–48 hours, until completely dry. Break the pork skin into small pieces. Pulse a little of the dried pork skin in a blender to make roughly even-sized pieces, then transfer into a container. Repeat with the remaining skin. Line a sieve with filter paper and place another sieve on top. Place the sieves over a saucepan large enough to hold the oil.

Pour the vegetable oil into a deep heavy-based saucepan, no more than one-third full, then heat to 170°C (325°F). Carefully add about 20 g (¾ oz) of the pork skin and fry until the skin puffs up. Pour the oil through the sieves to strain out the puffs and then tip the puffs onto a tray lined with paper towel to absorb the excess oil. Season well with the nori salt. Repeat with the remaining pork. Keep warm until required.

SOY AND WASABI JELLY 275 ml (92/3 fl oz) ichiban dashi 50 ml (12/3 fl oz) tosa soy sauce 50 ml (12/3 fl oz) mirin 1 teaspoon shiro dashi 1 g (1/25 oz) agar powder 3 g (1/10 oz) iota freshly grated Tasmanian wasabi, to taste Mix together the ichiban dashi, soy, mirin and shiro dashi, and then pour into a small saucepan. Add the agar and iota and whisk together lightly. Place the pan over high heat and bring to the boil, whisking constantly. When the mixture is boiling, pour into a container and leave to cool. Refrigerate for about 4 hours, until set. Remove the jelly from the fridge and spoon into a bowl. Add the wasabi to the jelly, to taste, and whisk to combine. Refrigerate again until required.

AVOCADO CREAM 2 Shepherd avocados 30 g (1 oz) quality fresh whole milk pinch fine sea salt pinch white pepper pinch cayenne pepper

Cut the avocados in half and remove the stones. Using a spoon, scrape the flesh from the avocados, including all the green part beneath the skin, to make 300 g (10½ oz) of flesh. Put the avocado, milk, salt, pepper and cayenne pepper in a blender and purée on high speed until the mixture is smooth and creamy. Pass the avocado cream through a chinois and season to taste. Pour into a squeeze bottle and refrigerate until required.

DASHI CUSTARD 2 organic eggs 200 ml (7 fl oz) shojin dashi 10 g (¼ oz) tosa soy sauce Preheat a combi oven on steam to 84°C (183°F). Whisk the eggs in a bowl and add the dashi. Add the soy sauce and pass the egg mixture through a fine chinois. Measure 40 ml (1¼ fl oz) of the egg dashi mixture into eight ovenproof bowls (with a base area 6 cm/2½ in wide) and wrap each bowl tightly in plastic wrap. Place the bowls in the combi oven and steam for 7 minutes or until just set. Remove from the oven and leave to rest, still covered with the plastic wrap, for 10 minutes.

MARINATED TUNA 350 g (12 oz) sashimi-grade yellowfin tuna (skinned and trimmed weight) 35 ml (1¼ fl oz) olive oil 30 ml (1 fl oz) organic tamari soy sauce 30 ml (1 fl oz) mirin 2 tablespoons finely chopped eschalots 2 tablespoons finely chopped chives pinch freshly ground white pepper

Place the tuna on a board and cut into 1 cm (½ in) cubes. Put the diced tuna in a bowl and coat evenly with the olive oil. Season the tuna with the soy sauce and mirin, turning the tuna over gently with a spoon. Add the eschalots, chives and pepper, and mix together gently. Set aside until required.

TO SERVE 16 elk leaves Unwrap the dashi custards and spoon the marinated tuna over the top. Add the avocado cream between the marinated tuna, to fill any gaps. Spoon the soy and wasabi jelly over the top and then sprinkle with the popped pork and nori salt. Garnish with the elk leaves and serve immediately.

SASHIMI OF BONITO WITH FLAVOURS OF ROASTED CHICKEN, UMEBOSHI, UPLAND CRESS, MATCHA TEA AND NORI WINE SUGGESTION: Rich Verdicchio SERVES 8

CRISP ROASTED CHICKEN SKINS skins from 4 corn-fed chickens 2 litres (70 fl oz/8 cups) vegetable oil 15 g (½ oz) fine sea salt 15 g (½ oz) nori powder Preheat the oven to 100°C (200°F/Gas ½). Place the chicken skins on a board and, using a sharp knife, scrape away most of the excess fat. Reserve the fat for the green tea and nori powder (see following page). Line four heavy-based baking trays with non-stick baking paper. Spread the chicken skins out neatly on the lined trays and bake for 2½ hours. Change the paper halfway through the drying process and dab with paper towel to remove the excess fat. Remove from the oven and place the skins on paper towel to absorb the excess fat—the skins should be crisp and dehydrated, but slightly pliable. Leave to cool at room temperature. Pour the vegetable oil into a deep heavy-based saucepan, no more than one-third full, then heat to 190°C (375°F). Break each skin in half to make 8 pieces, then carefully add the chicken skins to the hot oil, one at a time, and fry until the skin puffs. Remove from the oil, season with the sea salt and dust with the nori powder while still hot. Place on a rack and keep warm.

ROASTED CHICKEN CREAM TO MAKE THE WHOLE ROASTED CHICKEN STOCK:

1 corn-fed chicken 100 g (3½ oz) unsalted butter 1 tablespoon olive oil fine sea salt and freshly ground black pepper 1 large carrot, peeled and roughly chopped 1 onion, peeled and roughly chopped ½ leek, split, white part only, washed and roughly chopped 1 celery stalk, washed and chopped 5 garlic cloves, crushed 1 bay leaf 4 thyme sprigs 5 whole black peppercorns 200 ml (7 fl oz) riesling 1 litre (35 fl oz/4 cups) chicken stock Preheat the oven to 160°C (315°F/Gas 2–3). Remove the wings and neck from the chicken and place in a roasting tray. Reserve any excess fat from the cavity of the chicken for the green tea and nori powder (see following page).Loosen the skin from the chickens by pushing your fingers up and under the neck between the skin and flesh. Cut the butter into 2 slices and push between the skin and flesh. Rub the skin with the olive oil and season the bird with salt and pepper. Add the chopped vegetables to the roasting tray and toss to combine with the wings and neck. Add the garlic, herbs, pepper and wine, then place the chicken on top. Cover the chicken with foil and roast for 45 minutes. Remove the foil and increase the oven temperature to 180°C (350°F/Gas 4). Baste the chicken with its juices from the roasting tray and then roast for a further 30 minutes, until the chicken is golden brown. Remove from the oven and leave to rest for 20 minutes. Break the chicken into small pieces and place in a large saucepan. Pour all the juices, including the fat, into the pan and then add the chicken stock to cover. Simmer gently for 45 minutes, without

skimming off any fat, until the stock is golden—don’t worry if the stock is cloudy. Pass the chicken through a potato mouli to push all the juices from the chicken into the stock. Strain the stock through a chinois to remove any small pieces of chicken. TO MAKE THE CHICKEN CREAM:

500 g (1 lb 2 oz) whole roasted chicken stock (see previous page) 200 ml (7 fl oz) cream (35% fat content) fine sea salt 4 g (1/10 oz) agar powder 2 g (1/10 oz) gellan gum 50 g (1¾ oz) tosa soy sauce Pour the whole roasted chicken stock and the cream into a heavybased saucepan and bring to a simmer. Continue to cook until the chicken cream has reduced to 500 ml (17 fl oz/2 cups) and then remove from the heat. Using a hand-held blender, blend the salt, agar and gellan through the chicken cream. Add the soy sauce, place back over the heat and bring to the boil. Boil the cream for 1 minute, whisking constantly, then pour into a clean container set over iced water. Refrigerate for 3 hours to set completely. Break up the chilled cream with a hand-held blender, then place in a thermomix and blend for 3–4 minutes at 50°C (120°F) on 7–8 speed, or until smooth and creamy. Pour the roasted chicken cream into a squeeze bottle and keep warm until required.

GREEN TEA AND NORI POWDER TO PREPARE THE SPICED ROASTED CHICKEN FAT:

150 g (5½ oz) reserved chicken fat and skin ½ star anise ½ bay leaf 1.5 g (1/20 oz) black peppercorns

1 g (1/25 oz) fennel seeds Heat all the ingredients in a small heavy-based saucepan over medium–low heat. Once the fat starts to render, increase the heat to medium–high and cook until the fat begins to turn golden brown. Continue to cook until all the fat is rendered. Strain through a fine sieve lined with an oil filter and refrigerate until required. TO MAKE THE POWDER:

50 g (1¾ oz) spiced roast chicken fat (see above) 30 g (1 oz) tapioca maltodextrin 5 g (1/8 oz) aonori 3 g (1/10 oz) matcha green tea powder 3 g (1/10 oz) fine sea salt Warm the chicken fat in a small saucepan to 50°C (120°F). Slowly whisk in a third of the maltodextrin. Transfer to a bowl and whisk in the remaining maltodextrin. Carefully whisk through the aonori, tea and salt. Transfer to a bowl and set aside at room temperature until required.

SPRING ONION RINGS 4 spring onions 150 ml (5 fl oz) sake 200 g (7 oz) unsalted butter Remove the green part from the spring onions and remove the first two outer layers of the onion. Slice into rounds 4–5 mm (¼ in) thick and then remove the centre piece of the onion to make about 40 onion rings. Place the onion rings in a container and set aside. Bring the sake to the boil in a small heavy-based saucepan and continue to cook until the liquor has reduced by half. Dice the butter and whisk in, a little at a time, until completely combined.

Pour the butter over the spring onion rings and keep warm until required.

SASHIMI BONITO STRIPS 1 bonito fillet, about 1 kg (2 lb 4 oz) Place the bonito on a board and cut down either side of the pin bone. Discard the bones. Take the back quarter and, cutting lengthways from head to tail, cut into 1 cm (½ in) thick slices to make 2 long flat pieces of bonito. Cut each piece lengthways again from head to tail into long strips to make 4 even pieces. Next, take the belly quarter and repeat the process to give you another 4 pieces. This should make 8 even strips of bonito fillet, about 20 x 1 x 1 cm (8 x ½ x ½ in). Place the fillets on paper towel and refrigerate until required.

TO SERVE 2 litres (70 fl oz/8 cups) katsuobushi-infused clarified butter 100 ml (3½ fl oz) smoky rice wine vinaigrette 20 g (¾ oz) umeboshi paste (salted plum paste) fine sea salt 32 upland cress leaves Heat the katsuobushi-infused clarified butter in a saucepan to 70°C (158°F). Pour the melted katsuobushi into a deep-sided heavy-based roasting tray and maintain the temperature over a very low heat. Place the bonito into the warm butter and poach for about 45 seconds. Remove the fish from the butter and drain on paper towel. Whisk the vinaigrette with the umeboshi paste. Dress the bonito with the dressing and season lightly. Pour a circle of the roasted chicken cream onto the centre of each plate. Lay the dressed bonito next to the cream. Place 5 spring onion rings onto each piece of bonito. Break each piece of the crisp roasted chicken skin into 3 pieces and place them on each of the bonitos. Garnish 4 leaves of upland cress in and around the chicken skins.

Finish by sprinkling the green tea and nori powder over the entire dish. Serve immediately.

SCARLET PRAWNS WITH SHELLFISH JELLY, WHITE CUCUMBER, CRÈME FRAICHE, TEMPURA BATTER AND MATCHA TEA OIL WINE SUGGESTION: Muscadet SERVES 8

SHELLFISH CONSOMMÉ JELLY TO MAKE THE CONSOMMÉ:

1 litre (35 fl oz/4 cups) shellfish stock 8 g (3/10 oz) gold strength gelatine leaves Warm the shellfish stock to 80°C (175°F) and then remove from the heat. Soak the gelatine in iced water until hydrated and then squeeze out the excess water. Add the gelatine to the shellfish stock and stir to combine. Leave to cool, transfer the stock to a shallow tray so that it sits about 2–3 cm (¾–1¼ in) deep, cover with plastic wrap then freeze for 24 hours. Line a perforated tray with muslin (cheesecloth) and place it over another, deeper tray. Remove the frozen stock from the freezer and place it onto the lined tray. Cover, and place the tray in the refrigerator for 2 days. The gelatine should clarify the stock to give a brilliant golden-brown consommé. TO MAKE THE JELLY:

300 ml (10½ fl oz) shellfish consommé (see above) 6 g (1/5 oz) gold strength gelatine leaves Warm the consommé in a saucepan to 65°C (150°F). Soak the gelatine in iced water until hydrated and then squeeze out the excess water. Stir the gelatine through the consommé and then

pour it into a container. Place in the refrigerator for 2–3 hours to set.

MATCHA GREEN TEA OIL 250 g (9 oz) grapeseed oil 50 g (1¾ oz) matcha green tea powder Pour the grapeseed oil and green tea powder into a thermomix bowl. Attach the butterfly attachment and blend for 7 minutes at 70°C (158°F) on speed 5. Strain the warm grapeseed mixture through a fine sieve lined with an oil filter and leave to hang for 2 days. Transfer to a squeeze bottle until required.

YUZU GEL 200 ml (7 fl oz) yuzu juice 120 g (4¼ oz) still mineral water 85 g (3 oz) caster (superfine) sugar 4 g (1/10 oz) agar powder 0.75 g (3/100 oz) sodium citrate Pour the yuzu juice, mineral water and sugar into a heavy-based saucepan and bring to a simmer, stirring occasionally. Whisk in the agar and sodium citrate, bring to the boil and cook for 30 seconds. Pour the yuzu mixture into a container and refrigerate for 3–4 hours to set. Break up the gel with a hand-held blender, transfer to a vita-prep (or high-speed blender) and blend on high speed until smooth. Pour into a medium vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Pour into a squeeze bottle until required.

TEMPURA BATTER TO MAKE THE PRAWN SALT:

10 g (¼ oz) fine sea salt 22.5 g (¾ oz) shell powder Grind the ingredients together using a mortar and pestle. Set aside to season the tempura batter. TO MAKE THE BATTER:

50 g (1¾ oz) cornflour (cornstarch) 75 g (22/3 oz) plain (all-purpose) flour 5 g (1/8 oz) baking powder 2 litres (70 fl oz/8 cups) vegetable oil 20 g (¾ oz) prawn salt (see above) Mix the cornflour, plain flour and baking powder together in a mixing bowl with your hand. Add 150 ml (5 fl oz) of iced water and mix together gently so as not to overwork the gluten in the flour. Keep the batter cold. Pour the vegetable oil into a deep heavy-based saucepan, no more than one-third full, then heat to 170°C (325°F). Dip your fingers into the batter and sprinkle over the hot oil—being careful not to splash the oil. The batter will sink to the bottom of the oil before bubbling and rising to the surface. Cook until crisp but not coloured, then remove with a sieve and place on paper towel to absorb the excess oil. Repeat with the remaining batter. Season with a little of the prawn salt. Keep warm until required.

SCARLET PRAWNS 48 scarlet prawns 50 ml (12/3 fl oz) shellfish oil 50 g (1¾ oz) unsalted butter, diced 2 tarragon sprigs, chopped fine sea salt and freshly ground black pepper

Peel the prawns. Discard the shells or reserve for another application. Lay the prawns onto paper towel to dry. Heat the shellfish oil and butter in a large frying pan so that the butter melts and begins to bubble. Reduce the heat to low, add the prawns and stir gently to coat in the oil. Sauté gently for 1 minute, add the tarragon and season with salt and pepper. Drain the prawns and keep warm until required.

TO SERVE 8 finger-sized white cucumbers 100 g (3½ oz) crème fraiche 8 cucumber flowers Cut the cucumbers into 2 mm (1/16 in) slices, then cut out with a 1 cm (½ in) round cutter to make 56 circles. Place the crème fraiche in a bowl and gently stir through 25 ml (¾ fl oz) of the matcha green tea oil. Place a spoonful of the mixture onto the centre of each plate. Break up the shellfish consommé jelly with a hand-held blender and place onto the crème fraiche. Place 6 scarlet prawns and 7 slices of cucumber, per plate, on top of the crème fraiche mixture. Add small dots of yuzu gel in and around the prawns and cucumber. Sprinkle over the tempura batter so it falls loosely over the plate. Finish by adding a few dots of the remaining matcha green tea oil to each plate and a cucumber flower on top. Serve immediately.

SPANNER CRAB AND EGG YOLK RICE WITH JAPANESE LAND SEAWEED AND AONORI SALT WINE SUGGESTION: Junmai-Daiginjo Sake SERVES 8

SLOW-COOKED EGG YOLKS 8 organic eggs, at room temperature 200 g (7 oz) clarified butter Heat a circulating water bath (or a saucepan filled with water) to 62.5°C (145°F) . Add the eggs and cook for 1 hour. Remove the eggs from the water bath and leave to cool at room temperature. Gently warm the clarified butter in a saucepan to 45°C (115°F). Crack the eggs and remove the egg yolks without breaking them. Place the egg yolks in the clarified butter and maintain the temperature at 45°C (115°F) until required.

TOASTED AONORI 10 g (¼ oz) aonori Dry-toast the aonori in a frying pan over medium heat for 20–30 seconds. Set aside to cool.

AONORI-SALTED PUFFED SUSHI RICE 3 g (1/10 oz) flaked sea salt 3 g (1/10 oz) toasted aonori (see above) 0.5 g (1/50 oz) yuzu kosho powder 1.25 g (1/25 oz) Japanese hot mustard powder

60 g (2¼ oz) puffed sushi rice Grind the sea salt using a mortar and pestle. Add the aonori, yuzu and mustard powder and grind into a fine powder. Season the puffed sushi rice with the aonori salt mixture to taste. Use as much or as little as you like—the saltier the rice the better, as the crab is very rich.

TO SERVE 100 g (3½ oz) unsalted butter, diced 400 g (14 oz) picked spanner crab meat 12 organic egg yolks 320 g (11¼ oz) cooked sushi rice ½ bunch tarragon, chopped flaked sea salt and freshly ground black pepper 32 Japanese land seaweed sprigs (This recipe is best done in two pans for a more even cooking.) Using two large frying pans or risotto pans, heat the butter over medium heat until it melts and bubbles. Divide the crab meat between the two pans so that it covers the base of the pans. Sauté the crab over medium heat for 2 minutes or until about two-thirds cooked—the crab meat will still be a little opaque. Remove the pans from the heat, add 6 yolks to each and gently break up using a spatula. Place the pans back over medium heat and let the yolks spread over the crab meat—like making an omelette. Once the eggs are halfcooked, remove from the heat and, using the spatula, turn over the egg so that small ribbons form. Place the pans back over the heat and cook for a further few seconds so that the crab is just cooked and the egg is still slightly soft. Divide the cooked sushi rice between the pans and gently separate the grains with a spatula. Fold through the tarragon and season to taste. Spoon the crab and egg yolk rice into each bowl, leaving a small indent in the centre. Drain the slow-cooked egg yolks and place in the

centre of the rice. Place 4 sprigs of the Japanese land seaweed around each egg yolk. Sprinkle with aonori salted puffed sushi rice, and dust the toasted aonori around the plate. Serve immediately.

CHARCOAL-GRILLED NEW ZEALAND SCAMPI WITH SUDACHI, SHISO AND BLOOD ORANGE CARAMEL, AND MITSUBA WINE SUGGESTION: Lean Viognier SERVES 8

MITSUBA POWDER 2 bunches baby mitsuba Pick the leaves from the mitsuba. Blanch in boiling water for 30 seconds, then refresh in iced water. Squeeze out excess water. Place the leaves onto a dehydrator tray in a food dehydrator and dehydrate at 55°C (130°F) for 24 hours or until fully dehydrated. Place the dried mitsuba leaves in a spice grinder and grind into a fine powder. Pass the powder through a fine chinois and store in an airtight container until required.

SUDACHI GEL 215 ml (72/3 fl oz) sudachi juice 175 ml (52/3 fl oz) still mineral water 125 g (4½ oz) caster (superfine) sugar 6 g (1/5 oz) agar powder 1 g (1/25 oz) sodium citrate Pour the sudachi juice, mineral water and sugar into a saucepan and bring to a simmer over high heat. When all the sugar has dissolved, whisk in the agar and sodium citrate and bring to the boil. Boil for 30 seconds then strain into a container. Chill over iced water in the refrigerator for 3–4 hours until set.

Break up the sudachi gel with a hand-held blender. Pour into a vitaprep (or high-speed blender) and blend on high speed until smooth. Pass the sudachi through a fine sieve and pour into a medium vacuum bag. Seal in a chamber vacuum sealer on full to remove any air. Pour into a squeeze bottle and refrigerate until required.

SHISO AND BLOOD ORANGE CARAMEL 5 blood oranges 120 g (4¼ oz) caster (superfine) sugar 175 g (6 oz) shiso vinegar Zest all the oranges and then squeeze out the juice. Pour into a saucepan and reduce by two-thirds over medium–high heat. Remove from the heat. Strain out the zest and discard it. Set the infused juice aside. Make a dry caramel with the sugar by heating a quarter of the sugar in a clean saucepan over medium heat. When the sugar has melted, add in another quarter and heat until it melts. Repeat until all the sugar has been added. Continue to heat until the sugar turns a golden-brown colour, then carefully add the shiso vinegar to stop the caramelisation. Add 30 g (1 oz) of the blood orange reduction, bring to the boil, and then remove from the heat. Leave to cool and then reserve at room temperature until required.

SCAMPI TAILS 16 scampi, about 60–80 g (2¼–2¾ oz) each Peel the scampi by removing the head then gently squeezing the central body shell and wriggling it side to side—the sections should become loose, allowing you to remove the top and bottom parts of the shell. Make a tiny cut at the base of the tail and remove the intestinal track using a pair of tweezers. Place the scampi on paper towel and refrigerate until required.

TO SERVE 5 logs Japanese charcoal (binchotan) 50 ml (12/3 fl oz) shellfish oil fine sea salt 50 ml (12/3 fl oz) kabayaki sauce 24 baby shiso leaves 24 white linaria flowers Fire up the charcoal by burning it over a gas flame for 30 minutes, then transfer to a hibachi (barbecue grill). Leave the hot charcoal to burn for 15 minutes before using, and place a grill or wire rack on top to heat. Brush the scampi tails with shellfish oil and season with salt. Place the scampi, belly side up, on the grill and cook for 20 seconds, brushing the bellies with the kabayaki sauce. Turn over and grill the belly side for 8 seconds, glazing the back of the scampi. Turn over one more time, and grill and glaze for 10 seconds. Remove from the heat and keep warm. Place 2 scampi tails on each plate. Add two dots of the sudachi gel. Drizzle with the shiso and blood orange caramel. Dust with some mitsuba powder, and then garnish with the shiso leaves and linaria flowers. Serve immediately.

RED SEA URCHIN ROE WITH SLOWCOOKED EGG YOLK, SMOKED MISO EGGPLANT AND HIJIKI SEAWEED WINE SUGGESTION: Ripe Chasselas SERVES 8

BRAISED HIJIKI SEAWEED 20 g (¾ oz) dried hijiki seaweed 150 ml (5 fl oz) tosa soy sauce 70 ml (2¼ fl oz) mirin 30 ml (1 fl oz) shiro dashi Put the hijiki in a bowl and cover with cold water. Soak for 1 hour. Put 1 litre (35 fl oz/4 cups) of water in a heavy-based saucepan. Add the tosa soy, mirin and dashi and bring to a simmer over high heat. Drain the hijiki and then add to the soy mixture and bring back to the boil. Remove from the heat and pour into a container. Leave to cool to room temperature, then refrigerate until required.

BRAISED ARAME SEAWEED 30 g (1 oz) dried arame seaweed 150 ml (5 fl oz) tosa soy sauce 100 ml (3½ fl oz) mirin 25 ml (¾ fl oz) shiro dashi Put the dried arame in a bowl and cover with cold water. Soak for 30 minutes. Meanwhile, put 1 litre (35 fl oz/4 cups) of water in a heavy-based saucepan. Add the soy sauce, mirin and dashi, and bring to the boil over high heat. Turn off the heat.

Drain all the water from the arame and add to the soy braising liquor. Bring the seaweed back to the boil over high heat, and then turn off the heat. Leave to cool in the cooking liquor, then pour into a container and refrigerate until required.

SMOKED MISO EGGPLANT 5 logs Japanese charcoal (binchotan) 3 medium–large eggplants (aubergines) 1 litre (35 fl oz/4 cups) ichiban dashi 100 ml (3½ fl oz) tosa soy sauce 60 ml (2 fl oz/¼ cup) mirin pinch xanthan gum 50 g (1¾ oz) saikyo miso paste 20 ml (½ fl oz) hazelnut oil Fire up the charcoal by burning it over a gas flame for 30 minutes then transfer to a hibachi (barbecue grill). Leave the hot charcoal to burn for 15 minutes before using, and place a grill or wire rack on top to heat. Meanwhile, cut two of the eggplants into quarters, lengthways. Remove the seeds and spongy part, leaving the skin and about 2 cm (¾ in) of flesh. Discard the seeded part. Cut the eggplants into an even dice. Place the 2 diced eggplants into a saucepan with the ichiban dashi, tosa soy and mirin, and then bring to a simmer. Cover with non-stick baking paper, then place a plate on top of the eggplant to keep it submerged. Braise gently for 20 minutes, or until the eggplant is very soft. Drain off the eggplant and reserve the cooking dashi. Place the remaining eggplant over the charcoal and cook for about 30 minutes, turning to cook on all sides. The eggplant should burn and become crisp on the skin and really soft in the centre. Place the chargrilled eggplant on a rack over a tray and cover with foil. Leave for 30 minutes—this will let the bitter juices run out of the eggplant.

Next, cut the eggplant in half, lengthways, then scoop out the centre seeds and discard. Roughly chop the eggplant and add to the braised eggplant. Place all the cooked eggplants into a vita-prep (or high-speed blender) and blend together. Add a little of the cooking dashi mixture and blend on high speed to make a purée. Add the xanthan gum and continue to blend until smooth and silky. Blend in the miso paste and hazelnut oil and then pass through a fine chinois. Keep warm until required.

NORI JULIENNE 2 A-grade nori sheets Toast the nori sheets on the konro (barbecue grill) by gently waving them over the charcoal for about 1 minute. (Alternatively, you can toast the nori over a gas flame.) Using a sharp knife, cut the sheets in half and then into thin strips about 10 cm (4 in) long. Place the nori strips in an airtight container and store in a cool dry place until required.

SLOW-COOKED EGG YOLKS 8 organic eggs 200 g (7 oz) clarified butter, warmed to 40°C (105°F) Heat a circulating water bath (or a saucepan filled with water)to 62.5°C (145°F), add the eggs, and then cook for 45 minutes. Remove the eggs and leave to cool at room temperature. Break the eggs over a bowl and separate the whites. Gently rinse the egg yolks under running water to remove any excess white, then place into 8 dariole moulds or small cups. Pour 25 ml (¾ fl oz) of the clarified butter over each egg yolk and keep the eggs warm at 50°C (120°F) until required.

SEA URCHIN ROE 6 red sea urchins 1 teaspoon fine sea salt Hold the sea urchin in a tea towel (dish towel) in one hand so that the spines are facing down and the mouth is up. With the other hand, take a pair of heavy-duty kitchen scissors and cut a small hole in the centre of the sea urchin mouth, then cut about 3 cm (1¼ in) outwards in a straight line towards the outside of the shell. Next, cut a circle around the urchin shell. This should make a 6 cm (2½ in) diameter hole. Use a spoon and gently scoop the roe out into a bowl. You need 24 roe. Fill a small bowl with water, add the salt and stir to dissolve. Carefully rinse the roe in the salted water and then place on paper towel to absorb the excess water. Refrigerate until required.

TO SERVE Separately, heat the braised hijiki and arame seaweeds in a little of their braising liquor to warm through. Drain the seaweeds and keep warm. Spoon 1 tablespoon of the smoked miso eggplant onto the centre of each plate. Nestle a warm slow-cooked egg yolk onto the eggplant, then place 3 pieces of the sea urchin roe on top of the egg. Starting with the hijiki, shape the seaweed around the bottom to cover the eggplant, intertwining the strands. Repeat the process with the arame to build around the egg and encapsulate the roe. Finally, place the nori julienne on top of the seaweeds. Serve immediately.

SEARED PIGEON WITH COCONUT YOGHURT, CHOCOLATE BOUDIN NOIR, BLACKCURRANT AND SHICHIMI WINE SUGGESTION: Zinfandel SERVES 8

COCONUT YOGHURT 1 litre (35 fl oz/4 cups) coconut cream (Kara UHT) 1 dose SYAB1 non-dairy yoghurt culture Preheat a combi oven on dry heat to 40°C (105°F). Pour the coconut cream into a saucepan and heat to 42°C (110°F). Add the non-dairy culture and whisk to combine. Pour the coconut cream mixture into a shallow tray and cover with a lid. Place the tray in the combi oven for 12 hours. Remove the yoghurt from the combi oven and set aside to cool for 4 hours at room temperature. Transfer the coconut yoghurt into a container and refrigerate for 24 hours until required.

SHICHIMI TOGARASHI PEPPER 15 g (½ oz) dried orange peel, ground to a powder 15 g (½ oz) dried lemon peel, ground to a powder 15 g (½ oz) dried yuzu peel, ground to a powder 1 tablespoon sansho pepper 1 tablespoon white poppy seeds 1 tablespoon sweet paprika 2 teaspoons black sesame seeds 2 teaspoons white sesame seeds 1 tablespoon crystallised wakame seaweed 1 tablespoon green flake aonori

1 teaspoon chopped shiro kombu ½ teaspoon garlic powder ½ teaspoon ginger powder pinch cayenne pepper Grind the ingredients together using a mortar and pestle and store in an airtight container until required.

PIGEON 4 pigeons (squab), about 500 g (1 lb 2 oz) each 4 g (1/10 oz) transglutaminase 160 ml (5¼ fl oz) olive oil Place 1 pigeon on a chopping board and run a knife down each side of the breastbone. Follow the knife along the bone, removing the whole breast and the leg in one go. Separate the breast and legs, then repeat with the remaining birds. FOR THE LEGS: Once all the birds are broken down, take the legs and remove the thighbones. Lay a leg on a 30 x 20 cm (12 x 8 in) sheet of plastic wrap and dust the flesh side with a little of the transglutaminase. Roll the leg in the plastic wrap into a lollipop shape. Tie each end and repeat with the remaining 7 legs, then refrigerate for 24 hours. Heat a circulating water bath (or a saucepan filled with water) to 65°C (150°F) . Put the legs in a small vacuum bag, seal in a chamber vacuum sealer on full to remove any air, and then cook in the water bath for 5 hours. Transfer the vacuum bag to a bowl of iced water and leave to cool. Remove the pigeon from the bag and remove the plastic wrap from each leg. Use a knife and French-trim the knuckle joint to give a clean neat bone. Place the legs in a vacuum bag, seal in a chamber vacuum sealer on full to remove any air, and then refrigerate until required. FOR THE BREASTS:

Clean the excess fat from each breast—leaving as much skin attached as possible. Individually pack each breast in a small vacuum bag and add 20 ml (½ fl oz) of olive oil to each. Seal in a chamber vacuum sealer on full to remove any air, and then refrigerate until required.

BLACKCURRANT AND CARAMELISED HONEY 200 g (7 oz) honey 375 ml (13 fl oz/1½ cups) blackcurrant consommé 6 g (1/5 oz) agar powder 2 g (1/10 oz) sodium citrate Pour the honey into a heavy-based saucepan, place over high heat and cook until it caramelises at 154°C (310°F). Add the blackcurrant consommé and 125 ml (4 fl oz/½ cup) of water and bring to a simmer. Shear in the agar and sodium citrate, while whisking, simmer for 30 seconds and then strain through a chinois into a container. Set aside to cool, then refrigerate for 4 hours or until set. Break up the gel with a hand-held blender and then place it in a vita-prep (or high-speed blender) and blend on high speed until smooth. Pass through a fine chinois and then pour into a medium vacuum bag. Seal in a chamber vacuum sealer on full to remove any air, pour into a squeeze bottle and refrigerate until required.

BOUDIN NOIR AND COCOA CRUMB 125 g (4½ oz) pork fat 250 ml (9 fl oz/1 cup) pig’s blood 15 ml (½ fl oz) rice wine vinegar 25 ml (¾ fl oz) sake 1 garlic clove, finely diced 2½ eschalots, finely diced 65 g (21/3 oz) cooked sushi rice

50 g (1¾ oz) finely diced granny smith apple 1 g (1/25 oz) sansho pepper olive oil, for frying 100 g (3½ oz) cocoa crumbs Finely chop 100 g (3½ oz) of the pork fat, then heat in a small saucepan over low heat until rendered. Strain the fat through a chinois and weigh out 75 g (22/3 oz). Strain the pig’s blood through a chinois into a bowl, and then stir through the vinegar and sake. Leave to stand for 45 minutes. Meanwhile, heat the rendered pork fat in a small heavy-based saucepan and add the diced garlic and eschalot. Sweat gently until the garlic and eschalot become tender and translucent, then leave to cool. Dice the remaining 25 g (1 oz) of pork fat, add to the pig’s blood mixture and stir through well to combine. Add in the cooked rice, apple and sansho pepper, and rest for 20 minutes. Preheat a combi oven on steam to 75°C (165°F). Divide the blood mixture into two 165 x 225 mm (6½ x 8½ in) vacuum bags, seal in a chamber vacuum sealer on full to remove any air, then place on perforated trays. Put the trays in the combi oven and steam for 30 minutes, turning over after 15 minutes to ensure even cooking. Remove the blood mixture from the oven and rest at room temperature for 30 minutes, then refrigerate for 24 hours. Heat a frying pan over medium heat and add a little olive oil. Remove the boudin from the vacuum bag while still cold and add to the pan. Caramelise on both sides, but do not overcook. Put the boudin in a bowl and break into large crumbs. Add the cocoa crumbs and mix well. Keep warm until required.

POACHED BABY BEETROOT 16 baby purple beetroot (beets) 100 ml (3½ fl oz) sushi vinegar

Trim the beetroot and rinse the stems under running water. Place the beetroot in a saucepan and cover with 1 litre (35 fl oz/4 cups) of water. Add the sushi vinegar and bring to a simmer, then cook for 20 minutes or until tender. Pass the cooking liquor through a fine chinois. Using a sharp knife, peel the skin from each of the beetroot and place back into the poaching liquor. Place in the refrigerator until required.

BEETROOT SAUCE 200 g (7 oz) beetroot (beets), peeled 1 tablespoon sushi vinegar 40 g (1½ oz) unsalted butter, diced Juice the beetroot and strain through a fine sieve lined with an oil filter. Pour the beetroot juice and vinegar into a saucepan and bring to the boil. Reduce the liquid by two-thirds then whisk in the butter and keep warm until required.

TO SERVE 6 logs Japanese charcoal (binchotan) 1 litre (35 fl oz/4 cups) vegetable oil fine sea salt Fire up the charcoal by burning it over a gas flame for 30 minutes then transfer to a hibachi (barbecue grill). Leave the hot charcoal to burn for 15 minutes before using, and place a grill or wire rack on top to heat. Heat a circulating water bath (or a saucepan filled with water) to 62°C (145°F) . Add the pigeon leg vacuum bag and warm through for 10 minutes. Using a deep-sided heavy-based saucepan, pour in the vegetable oil to no more than one-third full, then heat to 180°C (350°F). Remove the legs from the water bath and remove from the bags. Pat dry with

paper towel and then fry in the oil until golden brown. Drain on paper towel and season with salt. Keep warm until required. Place the breast meat vacuum bags in the water bath and cook for 6 minutes. Remove the breasts from the vacuum bags and season the skin side with salt. Place the breasts skin side down onto the rack and cook over the charcoal for 1 minute to crisp up the skin. Transfer to a tray, skin side down, and keep warm. Heat the beetroot in a saucepan with a little of the poaching liquor and keep warm. Sprinkle the shichimi togarashi pepper onto each plate, and then add a spoonful of boudin noir and cocoa crumb. Stand a pigeon leg on the plate and add 2 poached baby beetroot next to the leg. Spoon some of the blackcurrant and caramelised honey and the coconut yoghurt on the plate. Brush the flesh side of the breast meat with the beetroot sauce and place on top of the boudin noir and cocoa crumb. Serve immediately.

SAINT AGUR AND MASCARPONE CHEESE WITH CRYSTALLISED MACADAMIAS, CELERY CRESS AND ROASTED ENDIVE GRANITA WINE SUGGESTION: Sweet Pacherenc du Vic-Bilh SERVES 8

ENDIVE GRANITA TO CARAMELISE THE ENDIVES:

600 g (1 lb 5 oz) white endive (chicory) 150 g (5½ oz) unsalted butter, diced pinch fine sea salt pinch sugar pinch freshly ground black pepper Preheat a combi oven on steam to 85°C (185°F). Cut the endive in half and place in a medium vacuum bag. Add 100 g (3½ oz) of the diced butter and the salt, sugar and pepper and seal in a chamber vacuum sealer on full to remove any air. Steam in the combi oven for 45 minutes until soft. Strain off the endive and discard the liquid. Pat dry with paper towel. Heat a large frying pan and add the remaining 50 g (1¾ oz) of diced butter. Add the endive and sauté until golden brown and well caramelised. Set aside to cool. TO MAKE THE GRANITA:

500 g (1 lb 2 oz) caramelised endives (see above) 500 g (1 lb 2 oz) sugar syrup (20 per cent) fine sea salt

Place the endive into a thermomix and blend on high speed to break it down. Add the sugar syrup and salt to taste, and then blend on full for 1 minute. Strain the liquid through a filter bag in a chinois over a bowl to remove all the fibres. Press to get all the liquid out. Pour the endive liquid into shallow trays and freeze for 12 hours. Scrape the endive granita with a fork and store in a container in the freezer until required.

CRYSTALLISED MACADAMIA NUTS 100 g (3½ oz) whole macadamia nuts 100g (3½ oz) caster (superfine) sugar Heat a frying pan over medium heat and add the macadamia nuts. Gently toast the macadamias until golden brown. Remove from the heat and leave to cool, then cut into quarters. Heat the sugar and 50 ml (12/3 fl oz) of water in a clean small saucepan, stirring to dissolve the sugar, and then boil until the temperature reaches 118°C (245°F). Add the nuts and stir continuously until the sugar starts to crystallise and coat the nuts. Pour the crystallised macadamia nuts onto a tray and set aside to cool.

SAINT AGUR AND MASCARPONE CHEESE 100 g (3½ oz) St Agur cheese 100 g (3½ oz) mascarpone cheese (store-bought) Place the St Agur in a bowl and leave at room temperature for 30 minutes. Add the mascarpone and, using a palette knife, gently fold through. Set aside at room temperature.

TO SERVE 80 celery cress sprigs

freshly ground black pepper Spoon the St Agur and mascarpone onto the centre of each plate and press down gently. Place the crystallised macadamia nuts on top. Sprinkle over the celery cress. Top with the endive granita and pepper. Serve immediately.

FROZEN STRAWBERRY AND CHAMPAGNE CHIBOUST WITH ALPINE STRAWBERRY JELLY, STRAWBERRY SHERBET AND PISTACHIOS WINE SUGGESTION: Lillet Rosé SERVES 8

PISTACHIO CRUMB 250 g (9 oz) pistachio nuts 25 g (1 oz) tapioca maltodextrin 85 g (3 oz) caster (superfine) sugar 7.5 g (1/5 oz) matcha green tea powder 5 g (1/8 oz) fine sea salt 125 g (4½ oz) unsalted butter, softened 45 g (1½ oz) organic egg whites 60 g (2¼ oz) rice flour Put the pistachio nuts into a thermomix and blend on full for 30 seconds to make a coarse crumb. Add the maltodextrin, sugar, green tea powder and salt and pulse to combine well. Transfer to a bowl. Add the butter and rub through with your hands. Next, add the egg white and mix to a wet dough. Stir through the rice flour and leave to sit for 30 minutes. Roll the dough into a sausage shape, wrap in plastic wrap and freeze for 24 hours. Preheat the oven to 120°C (235°F/Gas ½). Place a silicone baking mat on a baking tray. Remove the frozen dough from the freezer and grate, using a microplane, in an even layer over the silicone mat. Bake for 20 minutes until the dough becomes crumbly. Remove from the oven, leave to cool and then break up with a fork to form a crumb. Store in an airtight container until required.

STRAWBERRY SHERBET POWDER 150 g (5½ oz) pure icing (confectioners’) sugar, sifted 20 g (¾ oz) fizzy textures 2.4 g (1/10 oz) dried lemon peel, ground to a fine powder 9 g (3/10 oz) freeze-dried strawberry powder Combine all the ingredients in a bowl and mix together well. Store in an airtight container until required.

ALPINE STRAWBERRY JELLY 150 ml (5 fl oz) strawberry consommé 4 g (1/10 oz) gold strength gelatine leaves 50 ml (12/3 fl oz) Fragoli strawberry liqueur Pour 100 ml (3½ fl oz) of the consommé into a saucepan and warm to 50°C (120°F). Soak the gelatine in iced water to hydrate. Squeeze out the water from the gelatine and add to the warmed consommé. Stir until dissolved, then add this mixture to the remaining strawberry consommé. Stir to combine completely. Add the strawberry liqueur and then pour into a container and leave to set in the refrigerator for 4–5 hours. Break up the jelly with a whisk and then refrigerate again until required.

CHAMPAGNE CHIBOUST 120 g (4¼ oz) organic egg yolks 40 g (1½ oz) caster (superfine) sugar 230 g (8¼ oz) cream (35% fat content) ½ vanilla bean, scraped 200 ml (7 fl oz) Champagne, reduced to 100 ml (3½ fl oz) 4 g (1/10 oz) gold strength gelatine leaves 150 g (5½ oz) Italian meringue

Place the egg yolks and sugar in a bowl and whisk until pale. Pour the cream and vanilla into a medium saucepan and bring to a simmer. Temper the boiled cream into the egg yolk mixture, whisking constantly, and then pour back into the pan. Add the champagne reduction and bring to 84°C (183°F) to cook the eggs. Hydrate the gelatine in iced water, squeeze out the excess water, and then stir through the cream mixture. Pass the mixture through a chinois into a bowl over iced water and leave to cool to 30°C (85°F). Pour the cooled mixture into an electric mixer bowl and whisk on medium for 1 minute. Add the Italian meringue and whisk until light and airy. Pour the mixture into a container and leave to set for 3 hours. Knock back the cream with a spatula and fold until smooth. Scoop the chiboust into a piping (icing) bag fitted with a number 7 nozzle. Refrigerate until required.

FROZEN STRAWBERRY SHELL 3 litres (105 fl oz/12 cups) liquid nitrogen 250 ml (9 fl oz/1 cup) strawberry consommé 1 teaspoon ground marco polo dried tea leaves Press together a strawberry-shaped silicone mould and secure with an elastic band. Pour the liquid nitrogen into the mould to the top and allow to freeze for a few seconds. Pour the nitrogen back into the remaining nitrogen. Pour the strawberry consommé into the mould to the top then pour out again. Repeat the process with the nitrogen by filling to the top of the mould and then pouring out again. Pour the strawberry consommé into the mould to the top and out again. Repeat the process to make three layers of frozen strawberry. Remove from the mould and place the strawberry shell in the freezer. Repeat to make 24 strawberry shells. Dust the frozen strawberry shells in the ground tea leaves. Keep in the freezer until required.

TO SERVE 60 g (2¼ oz) puffed sushi rice 6 g (1/5 oz) matcha green tea powder 200 g (7 oz) cocoa crumbs 24 baby lemon balm sprigs Using a mortar and pestle, grind the puffed sushi rice into a rough crumb. Add the green tea and stir though. Next, add the pistachio crumb and stir together well. Place a spoonful of the wild strawberry liqueur jelly onto each plate and then spoon the strawberry sherbet powder over the top. Cover the sherbet in the puffed sushi rice and pistachio crumb mixture and cocoa crumb. Remove the frozen strawberry shells from the freezer and place into an egg carton with the hole facing up. Pipe the champagne chiboust into the top of the strawberry shells to fill completely. Place a lemon balm sprig into the top of each of the strawberries, and then place 3 per plate onto the pistachio and cocoa crumb. Serve immediately.

NORI CONE WITH CANDIED GINGER, TOASTED RICE CREAM AND RASPBERRY PEARLS WINE SUGGESTION: Recioto di Soave SERVES 8

CANDIED GINGER 500 g (1 lb 2 oz) young ginger 500 g (1 lb 2 oz) caster (superfine) sugar 1.5 g (1/20 oz) citric acid Peel the ginger and then, using a mandolin, slice into 5 mm (¼ in) slices. Blanch the ginger slices in a saucepan of boiling water for 2 minutes. Make a syrup by bringing 500 ml (17 fl oz) of water and the sugar to the boil in a medium saucepan. Add the citric acid and stir well to combine. Add the ginger slices and bring to 106°C (220°F) over medium–low heat. Remove from the heat, transfer to a container and set aside overnight. Pour the ginger and syrup back into a saucepan and then boil until the temperature reaches 108°C (223°F). Remove from the heat and rest overnight. Repeat again. Rest overnight. On the fourth day, pour the ginger and syrup into a saucepan and then boil until the temperature reaches 110°C (225°F). Remove from the heat and leave the ginger to cool in the syrup until required. NOTE: The remaining candied ginger can be used to flavour ice cream and other desserts, and can be stored in the refrigerator for 1 month.

TOASTED RICE MILK ICE CREAM TO MAKE THE TOASTED RICE MILK:

100 g (3½ oz/½ cup) sushi rice 20 g (¾ oz) slivered almonds 430 ml (15 fl oz) quality fresh whole milk Place the rice into a frying pan and toast over low heat until golden. Add the almonds and continue to toast together until evenly golden. Transfer the rice and almonds to a saucepan and add the milk and 150 ml (5 fl oz) of water. Bring to the boil, then reduce the heat and simmer for 15 minutes. Pour the toasted rice milk into a container, leave to cool to room temperature, then refrigerate for 24 hours. Pass through a chinois and set aside. TO MAKE THE RICE ICE CREAM:

500 ml (17 fl oz/2 cups) toasted rice milk (see left) 80 g (2¾ oz) cream (35% fat content) 50 g (1¾ oz) organic egg yolks 105 g (32/3 oz) caster (superfine) sugar 1 g (1/25 oz) ice cream stabiliser Pour the toasted rice milk and cream into a saucepan and bring to the boil while stirring. Put the egg yolks and half the sugar into a bowl and whisk together until pale and creamy. Temper in the boiled rice milk mixture, whisking constantly to combine. Pour the mixture back into the saucepan and heat to 50°C (122°F), stirring constantly. Meanwhile, mix the remaining sugar with the ice cream stabiliser, then shear into the rice milk mixture while whisking. Bring the mixture to 84°C (183°F), stirring continuously. Pass the mixture through a fine chinois into a bowl and then cool over ice. Refrigerate overnight. Churn the matured rice milk mixture in an ice-cream machine according to the manufacturer's instructions. Put the rice ice cream into a piping (icing) bag with a star nozzle and place in the freezer for 1–1½ hours before using.

NORI CONE 4 nori sheets, about 20 x 20 cm (8 x 8 in) 200 ml (7 fl oz) sugar syrup (100 per cent) Cut a sheet of non-stick baking paper into 16 triangles, measuring 21 x 17 x 17 cm (8¼ x 6½ x 6½ in). Wrap the baking paper triangles around 16 metal cream horn cones and staple to secure. Cut the nori sheets into four 10 x 10 cm (4 x 4 in) squares. Brush each piece of nori with sugar syrup and then wrap around the baking paper-covered metal cones. Place the cones on a dehydrator tray in a food dehydrator and dehydrate at 55°C (130°F) for 12 hours until completely dry and crisp. Carefully remove the nori cones from the metal cones, leaving the baking paper inside the nori cone. Working very carefully with one hand, hold and twist the baking paper and, using the other hand, hold and twist the nori cone to remove the baking paper—the cones are very fragile and will crack if a lot of care is not taken. Place the cones in a container with silicone beads and cover tightly with a lid until required.

RASPBERRY PEARLS 50 g (1¾ oz) tapioca pearls 100 g (3½ oz) raspberry consommé Bring 1.5 litres (52 fl oz/6 cups) of water to a rolling boil over high heat. Add the tapioca pearls and boil for 11 minutes. Remove from the heat and drain, then rinse quickly under cold running water. Place the tapioca in a bowl and pour over the raspberry consommé to completely cover. Refrigerate overnight so that the tapioca absorbs the raspberry consommé. Drain off the raspberry pearls and leave to dry slightly at room temperature until required.

TO SERVE

30 g (1 oz) puffed sushi rice Select the best 8 nori cones (they are fragile and some may have cracked) and place them in a cone holder so that they can be easily filled. Drain off 80 g (2¾ oz) of the candied ginger from the syrup and cut into a fine dice. Divide the ginger between the cones (about 10 g/ ¼ oz each) and push the ginger to the bottom of the cone using a skewer. Pipe the toasted rice milk ice cream halfway up each cone, then add the puffed sushi rice on top. Continue to pipe the rice cream to the top of the cone to give a soft serve appearance. Finish the cones with a small amount of the raspberry pearls. Serve immediately.

'AUTUMN LEAVES' CARAMELISED APPLE WITH CLOTTED CREAM, MALTED MERINGUES AND SALTED BUCKWHEAT TOFFEE WINE SUGGESTION: Tokaji Aszú SERVES 8

CLOTTED CREAM 600 g (1 lb 5 oz) cream (54% fat content) (see note) Heat the cream in a heavy-based saucepan and bring to the boil. Continue to boil for 4 minutes. Preheat the oven to 80°C (175°F). Pour the cream into a deep ovenproof dish so the cream is 2–3 cm (¾–1¼ in) deep, and leave to cool to 80°C (175°F). Place the dish in a water bath so that the water comes halfway up the side of the dish, cover with a lid, and cook for 12 hours, checking occasionally to make sure the water bath is half-full at all times. Remove the cream from the oven and leave to cool at room temperature for about 4 hours. Refrigerate for at least 24 hours until required. NOTE: Use store-bought clotted cream if you prefer.

CARAMELISED APPLE unsalted butter, for greasing 0.5 g (1/50 oz) pectin NH 150 g (5½ oz) caster (superfine) sugar 10 g (¼ oz) lemon juice

0.5 g (1/50 oz) fine sea salt ½ vanilla bean, seeds scraped 8 kanzi apples Lightly butter a 24 x 14 cm (9½ x 5½ in) baking dish. Mix the pectin and 10 g (¼ oz) of the sugar together and set aside. Make a dry caramel by heating a little of the remaining 140 g (5 oz) of sugar in a clean saucepan over medium heat until it melts. Continue to add the sugar a little at a time until all the sugar has melted and is golden in colour. Add the pectin and sugar mixture and stir until dissolved. Add the lemon juice, salt and vanilla to make an emulsion. Keep warm. Preheat the oven to 150°C (300°F/Gas 2). Peel the apples, place on a Japanese slicer and spin into a continuous strip of thinly sliced apple (or slice thinly using a mandolin). Arrange the apple (cutting as needed) so it is 2 layers thick in the bottom of the baking dish, and then pour over a little caramel. Place 2 more layers of apple and another layer of caramel. Continue, to make 6 layers of apple. Leave the apple to sit for 30 minutes then, using a tray, press down on the apple and drain off as much of the liquid as possible. Place the baking dish in the oven and bake for 1½ hours, or until soft. Remove from the oven and press again with a weight until the apple is completely cooled. Cover with plastic wrap and store in the refrigerator until required.

MALTED MERINGUES 50 g (1¾ oz) organic egg whites 50 g (1¾ oz) caster (superfine) sugar 50 g (1¾ oz) pure icing (confectioners’) sugar 5 g (1/8 oz) egg white powder 5 g (1/8 oz) malt powder Put the egg white, both sugars and egg white powder in a bowl and lightly whisk together. Heat over a double boiler to 40°C (105°F). Pour the mixture into an electric mixer bowl, attach the whisk and whisk

until soft peaks form. Put the mixture in a piping (icing) bag, fit with a plain nozzle and pipe 30 small rounds onto a baking tray lined with a silicone baking mat. Dust the top with malt powder and leave for 20 minutes. Preheat a combi oven on dry heat to 86°C (187°F). Put the baking tray in the combi oven and bake for 2½ hours, or until crisp. Remove from the oven, set aside to cool, then place into a sealed container until required.

JAPANESE LOVE APPLES 1.2 kg (2 lb 10 oz) sugar 4 cloves 1 cinnamon stick 2 star anise 10 Japanese love apples Place 1 litre (35 fl oz/4 cups) of water in a saucepan. Add the sugar and spices, and bring to a simmer. Cover and leave to infuse for 15 minutes. Strain the syrup and leave to cool to 50°C (120°F). Place the apples in the basket of a gastrovac and cover with the syrup. Set the gastrovac at 0.9 bar and 54°C (129°F) and cook for 40 minutes, releasing the pressure every 10 minutes. Leave the apples to cool in the syrup, then place in jars and refrigerate until required.

MACADAMIA NUT MILK LEAVES TO MAKE THE MACADAMIA NUT MILK:

500 g (1 lb 2 oz) macadamia nuts Preheat the oven to 180°C (350°F/Gas 4). Place 200 g (7 oz) of the macadamia nuts on a baking tray and cook for 10 minutes until golden. Put all the macadamia nuts in a food

processor or blender with 750 ml (26 fl oz/3 cups) of water and blend on high speed for 1 minute. Transfer to a bowl and leave to soak for 24 hours. Strain the milk through a fine sieve lined with an oil filter, squeezing out as much milk as possible. Keep refrigerated until required. TO MAKE THE LEAVES:

500 g (1 lb 2 oz) macadamia nut milk (see above) 5 g (1/8 oz) agar powder 0.5 g (1/50 oz) xanthan gum 95 g (3¼ oz) isomalt 0.5 g (1/50 oz) fine sea salt 10 g (¼ oz) malt powder Pour the macadamia nut milk into a heavy-based saucepan. Add the agar, xanthan, isomalt and salt and blend together well. Bring to the boil over medium heat, continue to boil for 1 minute, and then pour into a container and leave to set for 3 hours. Transfer the milk gel into a vita-prep (or high-speed blender) and blend on high speed until smooth. Add the malt and blend again until smooth and the colour is golden brown. Spread out a thin layer of the malt milk mixture onto acetate sheets using a stencil in the shape of a leaf. Place the acetate sheets with the purée into a food dehydrator and dehydrate at 55°C (130°F) for 12 hours. Remove from the dehydrator, warm the leaves under a heat lamp and press in a silicone leaf mould until set.

BLACKCURRANT LEAVES 200 g (7 oz) blackcurrant consommé 40 g (1½ oz) caster (superfine) sugar 65 g (21/3 oz) apple juice 3 g (1/10 oz) agar powder 0.4 g (1/50 oz) sodium citrate

Pour the blackcurrant consommé, sugar, apple juice, agar and sodium citrate into a heavy-based saucepan. Bring to the boil, whisking constantly, and then pour into a container. Refrigerate for 4 hours to set. Break up the gel using a hand-held blender and then place in a vita prep (or high-speed blender). Blend on high speed until the blackcurrant is smooth. Pass the mixture through a chinois and then pour into a medium vacuum bag. Seal in a chamber vacuum sealer on full to remove any air. Spread out a thin layer of the blackcurrant mixture onto acetate sheets using a stencil in the shape of a leaf. Place the acetate sheets with the purée into the food dehydrator and dehydrate at 55°C (130°F) for 20 hours. Remove from the dehydrator, warm the leaves under a heat lamp and press in a silicone leaf mould until set.

MUSCOVADO LEAVES 100 g (3½ oz) unsalted butter, diced 65 g (21/3 oz) honey 150 g (5½ oz) muscovado sugar 125 g (4½ oz) organic egg whites 100 g (3½ oz/2/3 cup) plain (all-purpose) flour 2 g (1/10 oz) fine sea salt 5 g (1/8 oz) matcha green tea powder Put the butter, honey and muscovado sugar in a heavy-based saucepan and heat until melted well together. Remove from the heat and leave to cool slightly. Lightly whisk the egg whites in a bowl to break them down. Slowly add the whites to the sugar mix, whisking to temper them in. Add the flour a little at a time and whisk until smooth, then add the salt. Leave for 30 minutes. Meanwhile, preheat the oven to 165°C (330°F/Gas 2–3). Spread a thin layer of the sugar mixture onto silicone baking mats using a stencil in the shape of a leaf. Place the sheets in the oven and bake for 5–6 minutes until cooked but pliable. Remove from the oven and

press in a silicone leaf mould until set. The leaves will cool quickly, so keep the unmoulded leaves warm while you work. Dust with green tea powder and place in a sealed container until required.

SALTED BUCKWHEAT TOFFEE SAUCE 150 g (5½ oz) caster (superfine) sugar 140 g (5 oz) liquid glucose 200 ml (7 fl oz) cream (35% fat content) 40 g (1½ oz) unsalted butter, diced 5 g (1/8 oz) fine sea salt 4 tablespoons puffed buckwheat Make a dry caramel by heating a little of the sugar in a heavy-based saucepan over medium heat until it melts. Continue to add the sugar a little at a time until all the sugar has melted and is golden in colour. Add the glucose and stir well to combine. Continue to heat until the sugar turns golden brown, then gradually add the cream to stop the caramelisation. Bring the caramel and cream to the boil to make sure all the sugar has melted. Remove from the heat and leave to cool for a few minutes. Whisk in the butter and salt. Keep warm and only add in the buckwheat when ready to serve.

TO SERVE 48 red vein sorrel leaves Preheat the oven to 110°C (225°F/Gas ½). Cut the caramelised apples into 8 even portions, about 10 x 3 cm (4 x 1¼ in), and place on a tray. Place in the oven for 4 minutes, or until just warmed through, then put an apple portion on each plate. Add the puffed buckwheat to the warm salted buckwheat toffee sauce, then spoon this mixture over the caramelised apple. Scoop the clotted cream with a warmed spoon and place on the buckwheat and apple. Add 3 malted meringues to each plate. Add 6 each of the

muscovado, macadamia nut milk, blackcurrant and sorrel leaves to each plate, and then add the poached Japanese love apples. Serve immediately.

IF YOU HAVE NO CRITICS, YOU’LL LIKELY HAVE NO SUCCESS.

MALCOLM X

Once you have worked in a commercial kitchen— lived and breathed the frenetic rush of service, and revelled in the comedown after the storm—you soon become addicted to its energy. You watch and listen. You begin to ask, how would I do things better? What would I do differently? When I dine out, what do I expect? And then it’s not long before you start to dream of having a restaurant of your very own. Of course, having the skills, the confidence, the business nous and the money to build your own restaurant isn’t as easy as snapping your fingers. The truth is, while some people are great chefs and others great restaurant managers, they aren’t necessarily great business operators. Most restaurateurs find out on the run, if they can cut it.

I

t always bewilders me how people outside the industry have this perception of grandeur and opulence when it comes to owning a restaurant. Sure, the experience we try to offer is just that, but in the background it’s all hands on deck by dedicated and passionate people with big hearts and a hunger to please. To create a proper restaurant costs a lot of money. It takes a lot of hard work. It’s relentless, and it’s unlikely to make you rich. It’s every waking and sleeping hour. It’s not just a numbers game or a job for us—it’s our lives. You do it because you love it and you wouldn’t have it any other way. When Vicki and I left Tetsuya’s we weren’t following a dream to become restaurateurs, we just needed to get some air. We thought if we don’t make a change now, we never will. But our experience in Hong Kong made us realise it was time.

THE SEARCH As soon as we returned to Sydney in early March 2008, we arranged a meeting with George Costi. It was the first time we’d actually sat down with George and his wife, Andrea, to discuss opening a restaurant together. The four of us walked away from that dinner as friends, and inspired. We knew we were actually going to open a restaurant together. No ifs, no buts. George told us to go and find a site that suited our idea and come back to him with the figures. I knew I didn’t want to buy an old restaurant site. Sometimes there are just too many negatives attached to an old site: the perception of its history, its name, and old equipment that you may have to replace anyway. I felt we were better off starting from scratch, creating a restaurant in a site we wanted. Developing our own vision and history. We scoured the city, came close on a couple of sites, but nothing really felt right. One day Vicki and I were driving through the city down Sussex Street and I noticed this sign on a closed-up site—‘For Lease Ring Rino’ and a mobile number. Housed in a corporate office tower, we found out the site had been vacant for three-and-a-half years and all that was left was an office in one corner, a cool room in the other and a wall of fridges at the back. The front had a wonderful

curvaceous facade and beautiful large windows. The main area was a large cavernous room with giant structural pillars. That was it. The site was right on the fringe of the city. We realised, it could serve as a restaurant for business lunches and dinners. We brought George and Andrea in and as soon as they saw it we all knew this could be the place—the quintessential city restaurant.

THE PINK FLAMINGO? We found the site in May 2008 and it took six months of intense negotiations until finally, in October, it was ours. It took another six months to set up, with the last half paying rent and wages for a restaurant that wasn’t even open. It was the most stressful of scenarios. Not knowing when the actual build would be over. Trying not to lose the vision and, even worse, being aware of the risk of not even making it to opening. Getting the opportunity to create a restaurant that embodies your ethics, standards and perception of what is ‘value’ is rarer than you might think. Being a head chef in someone else’s restaurant couldn’t be further from the realities of actually becoming a restaurateur. Everything matters when it’s your business. Everything. The building was an art deco inspired construction, and both Vicki and I love that style. We wanted to make an interior that was never going to date. When diners walked in we wanted them to feel they were in any city, anywhere. With no view, the focus needed to be on the room. And it needed to feel timeless. That was imperative. Vicki and I became obsessed with the design of the entire space. In truth, we had many a heated discussion about kitchen versus dining room space. I wanted enough room to be able to deliver and execute the food to the highest level, and Vicki wanted enough space to ensure a spectacular experience for guests, as well as getting the right amount of seats to turn a profit without cramming everyone in. It came to loggerheads late one evening. We were at home and it was about midnight. We panicked, jumped in the car and drove

to the restaurant to visualise what each of us wanted. The room was bare at that stage, so we grabbed some tape and physically marked where everything was going to be with the tape on the ground—ovens, workbenches, fridges, tables, chairs, bar— everything. We needed to envisage how it could all work. Where to build the wall between the kitchen and the dining room? How the space would function in the heat of service. How we could make the dream happen not just for us, but we hoped, for our guests too. It was a long night, but it brought us to the point of a singular direction and in complete agreement on what we needed to do.

After to-ing and fro-ing with different designers and consultants we finally found a team who understood our brief exactly. They got it. And importantly, they understood us too. When they presented their ideas to us in George’s boardroom, we knew it was exactly what we wanted. They created a foyer space with a gorgeous French antique lantern that would take you away from your world, and prepare you to step into ours. They suggested we put the bar in the middle of the room, right in front of guests when they arrived, allowing the dining room to peel off on either side. With dark brown moody tones throughout, comfortable banquettes, studded champagne bubbles on the wall and stunning deco tiles through the bar, it was a sophisticated design. It was timeless. Which brought us to our final issue—naming the restaurant. We had no idea what we wanted to call it, we just knew we didn’t want to use our own names. We were thinking of using an ancient Greek word as George and Andrea are Greek, maybe the name of an ancient Greek god. We kept throwing around names, but couldn’t settle on any of them. George kept saying, ‘Let’s call it The Pink Flamingo!’ but we pretended not to hear him and were determined to find a name we’d all be happy with. Vicki and I decided we might get some inspiration by researching the actual site, and started going through the City of Sydney historical archives, but nothing appropriate came up . . . Except, the images were all in sepia tones. So I said ‘How about Sepia?’ Vicki looked at me and said, ‘That’s it!’ As well as sepia suggesting the classic timelessness we wanted the restaurant to be about, and matching the tones and colours we were creating with the interior design, we did some further research and found out that sepia is the Greek word for cuttlefish. We knew then that even though George had always wanted to call it The Pink Flamingo he would be happy with this. It was meant to be.

THE KITCHEN

I didn’t want to have a galley kitchen. I don’t like them. They’re old fashioned, they’re messy, plus I wanted to have a lot of bench space. If you do a degustation for a group you need the space to plate each course up at the same time. I wanted two really long benches as the pass and a walkway through the middle into the kitchen, and although I wanted a lot of shelving on the walls I didn’t want any shelving whatsoever above the pass. We needed heat lamps, but I wanted individual lamps hanging like light fixtures from the ceiling that could be pulled down when needed, and lifted up out of eyesight when they weren’t being used. It was important that the kitchen be as open and filled with as much light as possible. I didn’t want the brigade to feel like we were in a prison, or to feel like we couldn’t talk to the waiters properly because there was shelving and heat lamps in our faces. Communication is vital between back and front of house and it was missing in almost every restaurant I had ever worked in. The stupid thing is that you are all working towards the same goal— customer satisfaction—so you should never work against one another, it should be as seamless as possible. I measured it all out, exactly. The space I wanted between the stoves and benches, where I needed everything to be, the easiest way for different sections to work together. I wanted islands for each section, all lined up running down the kitchen—the fish in the far corner, meat opposite. Hot entrée next, larder across the back, pastry in the corner and then the pot wash. The kitchen was one thing, and getting the right team was just as important. About six weeks into the build I assembled a team of chefs together that I knew I wanted to work with. I was hoping an old friend from England, Graeme, would take the role of head chef, but as it turned out he couldn’t arrive in Australia until the following year. Meanwhile, a former apprentice chef of mine, Dan, who had gone on to run his own kitchen, was in between roles. He came on board for the opening. I also had a call from another former apprentice, Terry, from the Tetsuya days, who I had hired when he was just seventeen. He had worked with me for four years and then moved to the

restaurant Quay, where he had been ever since. He was keen. He joined the team and is still with us—rising to the level of head chef, and doing an amazing job too. Terry isn’t the only staff member that has been with us since the beginning though—sommeliers Rodney and Benjamin; chef Zachary; and Puraches have also been at Sepia since the start. We finally had the restaurant how we wanted it and the team to execute our dream. We opened in the May of 2009. We had everything right. Or so we thought.

THE FIRST REVIEW Sepia’s first review had a profound impact on Vicki and myself, and our determination to succeed. We knew we had been reviewed. The Sydney Morning Herald’s food critic at the time, Simon Thomsen, had been in and we’d had the photo shoot to accompany his words. We told all the staff the review would be out on Tuesday and we were hoping for a 16/20. This was the score we’d need for the restaurant to receive ‘Two Chef Hats’ in the Good Food Guide. We decided we’d all go out Monday late at night and get the first copies of the paper and have a read together. However, on the Monday morning one of my former apprentice chefs rang and said he’d just read the review. It turned out that Good Food Month launched that day and attendees received an advance copy of Tuesday’s ‘Good Living’ liftout containing our review. I couldn’t believe it. It was such an anticipated review and I felt devastated. Simon had deemed his experience a 15/20—One Chef Hat. In retrospect, the review actually read beautifully. It read like a Two-Hat experience. George thought it was fantastic. But I was adamant and I told him, ‘George, it’s not a good outcome.’ Vicki and I stood there not knowing what to do. I went into a dark place for about two weeks, going over and over the review in my head. I decided to ring Simon and ask him why he felt we were a 15. Simon praised everything we did, but he told me there were a few things missing and he believed the food was under-seasoned. I told him that I was disappointed but I could be better than that, and

ever since we’ve done everything a little better every day. It was a turning point. Looking back, I know he was right. The food was very safe when we first opened. It was tasty, to a point, but it was too safe. I guess I had it in my mind to be more casual, more accessible—get the restaurant up and running and ensure the business crowd were happy at lunch. I wasn’t focused enough on what I could do. A tough thing when you are deflated by a review is that, in one breath, you start to worry that your business might be affected. The hardest thing, though, is fronting up to your staff and keeping them motivated. We decided, as a team, that we’d get better and fight for this. Every single staff member got behind us and together we made a goal to be the best Two Hat restaurant in Sydney the following year. That first year was incredibly tough. We were in the business end of the city, putting on business lunch menus that we soon discovered no one in the area wanted. We had One Hat, we weren’t busy, and we were doing maybe fifteen covers a night. You can’t survive for long like that and the business was leaking money. We could have cut staff, but we felt if we started doing that it would affect the integrity of everything we did. Vicki and I would leave work early, get home around midnight and then walk around our neighbourhood wondering what we needed to do. It really felt like the end was nigh. We had our first-year anniversary coming up and Graeme would be arriving from England soon. It was our opportunity to create some traction. The Herald called about writing an article on the new make-up of the team. I panicked. I realised we needed to create a special menu. I told the journalist we’d be doing a full month of degustation dinners every Friday and Saturday night to celebrate. I would create two dishes, Graeme would do two, Dan would do two, and then two desserts to finish. That pressure created arguably my most well-known dish —Chocolate Forest Floor. The article published and the bookings went through the roof. Seventy people every night. Bang. Even though the dinners were a short-term success, we soon found that we didn’t achieve the long-term traction out of them we

had hoped for. Soon we were back to just fifteen covers a night, and at risk of becoming just another restaurant statistic. But then something special happened.

WHEN IT ALL CHANGED There was a shifting of the guard in Sydney food journalism. Terry Durack and Jill Dupleix returned to Sydney from London to write for the Sydney Morning Herald, with Terry as the chief restaurant critic. And it wasn’t long before they came in for dinner. We were nervous. We felt that people didn’t quite know where to place us as a restaurant—were we too casual to be a real fine diner—but after a few visits from Jill and Terry we knew they understood what we were doing and this gave us the confidence to keep going. Terry reviewed us and it appeared in the Herald’s ‘Good Living’ the day the 2011 Good Food Guide hit the shelves. It was unbelievable. The review was titled ‘A Room of His Own’, Sepia received 17/20, and it was the first time I’d ever been described as something other than former Tetsuya’s head chef in the press. At the actual awards we were given Two Chef Hats and I was named Chef of the Year for 2011.

It was without doubt the most incredible, influential and humbling moment in my life. This was our award—Vicki’s, the team’s and mine. Winning the awards changed our business immediately and the acknowledgement gave us confidence, and it gave customers confidence and a sense of anticipation and excitement to come here. It changed everything. We arrived early at work the next day because Vicki wasn’t sure if she had left the answering machine on. Neither of us wanted to miss out on any bookings. We turned the computer on and the online bookings were rolling in like a slot machine. Hundreds and hundreds of emails. We just couldn’t keep up. The phone didn’t stop. That day we had 27,910 hits on our website. In just a few days, we were booked out until Christmas. Four months. Solid. We had wanted to become the best Two-Hat restaurant we could be, and had achieved it, thereabouts. We were finally on par with some amazing restaurants that were doing simply incredible things. But we didn’t want to stop there. We had a staff briefing the day after the awards to congratulate everyone and set a new agenda. I wanted everyone focused on the future, so I said, ‘Our next goal is to win Restaurant of the Year.’ I knew they thought I was mad. But I knew we had the team to make it happen, and if it didn’t happen, we’d have a pretty bloody good restaurant anyway. I’ve always believed the key to success is to never give anything less than your best. Besides, if you’re not trying your hardest, then what’s the point? You can’t rest on your laurels just because you’ve won an award. I think that’s the danger—you get a review or win an award, which is amazing, but then you relax and stop the momentum that gave them the success in the first place. That’s where things start to go wrong. You can’t stop. Ever.

NEW DIRECTION Winning Chef of the Year gave me more confidence and took us in a new direction in the kitchen. I have always had a passion for Japanese techniques and ingredients and saw this as an opportunity to focus even more on the Japanese aspect of my

cooking. Terry Durack’s review had described my food ‘like the love-child of Tetsuya Wakuda and Rene Redzepi of Noma; a Nordic kaiseki’. Our restaurant is not like Tetsuya’s, or Noma, nor is my food like theirs, but the sentiment made sense, and set me off on a Japanese odyssey. Vicki and I took many trips to Japan. We did a lot of research, a lot of eating out—from robata grills and yakitori, through to classic Japanese kaiseki and contemporary dining as well. The result changed the way we approached everything from the food, to cutlery, table settings and even beverages. We added yakitori to the bar menu and it gave Sepia a really unique persona. We worked on creating service sequences to make it easier for the guests—less interruptions, less chaos. Great service is when you don’t notice anything. It all just happens and all of a sudden you have been talking and eating and it’s the end of the night. I’ve been in restaurants where they lay out four sets of cutlery in front of guests before they’ve even arrived. To my mind, it just clutters up the table. We decided we would place cutlery down moments prior to the next course arriving. People don’t want clutter all over the table. They want to relax. The year flew by. We’d been too busy to notice. And suddenly it was the Good Food Guide Awards for 2012. Leading into the awards night I was nominated for Chef of the Year again, and we were also nominated for Restaurant of the Year. We were confident of holding onto our Two Hats, because we knew how much hard work we’d put in, but we were still incredibly nervous. When we arrived I was whisked away by the organisers and taken out the back for some photos behind the stage. I was with Peter Gilmore (Quay), Mark Best (Marque), Peter Doyle (est.) and Tony Bilson (Bilson’s)—all of these prodigious chefs with Three Chef Hat Restaurants. I said to Peter Gilmore, ‘Mate, I shouldn’t be here.’ He replied, ‘Yes Martin, you should.’ At the ceremony the organisers read out the One Hat restaurants, then the Two Hats. We weren’t named. For a moment there it ran through my mind that perhaps we had no Hat—or they’d forgotten us. I was shaking and couldn’t handle the suspense.

Finally they announced the Three Hat restaurants and we were the final restaurant named—Sepia, Three Hats. I’m sure it’s the same for everyone in these moments, but it felt like the room erupted with joy. And it’s a moment Vicki and I have never forgotten. Just as we were getting our breath back, we were named Restaurant of the Year 2012. Vicki was rendered speechless. I was shaking. I couldn’t even hold my glass. I didn’t know what to say in that speech. In fact, I still have no idea what I said. The feeling though, above actually winning, was the warm embrace from the room. Vicki and I were overwhelmed by the reaction of our industry—our peers celebrating and genuinely being happy for us. I think it was the proudest moment either of us has ever had. We had dinner with George and Andrea, and the staff, that night. It’s something we do every year after the awards now. Without them, we’d be nothing. Sepia’s success is as much to do with our staff as anyone. Winning Restaurant of the Year and gaining Three Hats was a confirmation that we were doing things right, and it put us on the map in Sydney. These awards mean you cannot be complacent. We had to refine, adapt and change. We had to keep delivering. And we couldn’t let it go to our heads either. The moment it does, for you or your staff, is the moment your guests don’t get the experience they came for. The reasons that make you a great restaurant in the first place are the things you should never lose sight of. We expanded our wine list and started to invest in wine that we could cellar and use in the future, rather than buy for the now. Sepia’s head sommelier, Rodney Setter, is brilliant. He took on the ownership of the list and has been incredible in delivering a wonderful array of drinking options for our guests—not just wines one might expect to see, but wines that you may see nowhere else in Australia. I’m not sure if anyone could have done a better job. The next year at the Good Food Guide Awards Rodney was named 2013 Sommelier of the Year and Sepia maintained its Three Hat status. It was an incredible and truly deserved

achievement for Rodney, and a great honour for us as well. Without staff that care that much, Sepia could never have become a success.

OUR RESTAURANT Five years on and Sepia has become more than we ever imagined. Over the years we’ve progressively evolved and enhanced, but we’ve always kept the focus on our guests—the more you give your diners the more they’ll want to return. The best marketing you can ever do is ensuring that by the time a guest leaves your restaurant they can’t wait to come back. That’s the point of a successful restaurant. The 2014 Good Food Guide Awards night arrived but, after the achievements of the previous three awards nights, we had no particular expectations. We just went to see friends and to have a great night. We just hoped that we’d hold onto our Three Hats. Thankfully we did, and we were named 2014 Restaurant of the Year as well. Strangely, it was probably our most satisfying accolade. We’re confident in what we do now. We know our team is full of incredible individuals who believe in our vision too. And to be honest, winning Restaurant of the Year the second time around was better because it meant the first time we won wasn’t a fluke. Interestingly, it changed all of us in a way I wasn’t expecting. Winning that award for the second time made all of us determined to enjoy working more, rather than it just being hard work all the time. It’s allowed us to celebrate in being part of something truly magical, and that we’ve all made happen. Restaurants take a long time to build, to mature, to grow into their shell and deliver what they are truly capable of—to fulfil their promise. We have shaped Sepia into a beautiful thing that we are incredibly proud of and have set ourselves up with a restaurant that is well known in Australia and even beyond. It’s just surreal. We still have to pinch ourselves. But the dream never ends.

TROUT ROE CHERRY TOMATO BONITO LEMON MYRTLE KATSUOBUSHI SWORDFISH OXTAIL YUZU TUNA JAMON QUAIL EGG COD WAKAME TONBURI WHITEBAIT OX CHEEK PALM HEART SQUID MISO WASABI CRAB BUCKWHEAT MUSTARD EEL URCHIN ROE BLOOD ORANGE WAGYU CHESTNUT MUSHROOM PONZU GOAT’S CHEESE TRUFFLE PEAR BLACKCURRANT APPLE CARAMEL THE GOLDEN EGG YUZU WHITE CHOCOLATE SALT MILK

SMOKED OCEAN TROUT CONSOMMÉ WITH SMOKED ROE AND VINE-RIPENED CHERRY TOMATOES WINE SUGGESTION: Blanc de Noirs Champagne SERVES 8

SMOKED OCEAN TROUT CONSOMMÉ MARBLES TO MAKE THE CONSOMMÉ:

20 ml (½ fl oz) olive oil ½ fennel bulb, chopped ½ leek, white part only, washed and chopped 3 eschalots, chopped 2 garlic cloves, chopped 6 thyme sprigs 100 ml (3½ fl oz) sake 10 fennel seeds 1 star anise 1 bay leaf 10 black peppercorns 10 coriander seeds 15 saffron stamens 500 g (1 lb 2 oz) smoked ocean trout trimmings and skin Heat the olive oil in a heavy-based frying pan over medium heat. Add the fennel, leek, eschalot, garlic and thyme and gently sauté until softened. Deglaze the pan with the sake and reduce the liquid by half. Add the spices and saffron, then place the smoked trout trimmings and skin on top. Pour in 2 litres (70 fl oz/8 cups) of water to cover the fish and aromatics. Bring the stock quickly to a simmer and then gently cook for 1 hour.

Strain the stock through a fine sieve lined with an oil filter into a bowl and cool over iced water. Pour the chilled stock into a deep tray, cover, and place in the freezer. Freeze for 24 hours or until completely frozen. Line a perforated tray with muslin (cheesecloth) and set over a deeper tray. Remove the frozen stock from its tray and place into the muslin. Wrap the frozen block of stock in the cloth and then cover with a lid. Refrigerate for 48 hours so that the consommé slowly melts and becomes clarified. TO MAKE THE MARBLES:

150 g smoked ocean trout consommé (see left) 4.5 g (1/5 oz) gold strength gelatine leaves 40 g (1½ oz) smoked ocean trout roe Heat 50 ml (12/3 fl oz) of the smoked trout consommé in a saucepan to 60°C (140°F). Soak the gelatine in iced water until hydrated and then squeeze out the excess water. Add the gelatine to the warmed consommé and stir through until dissolved. Add the remaining consommé and stir well. Using sixteen 25 mm (1 in) diameter two-piece sphere moulds, place the bottom half of each mould on a tray and half fill with consommé. Add 6 pieces of the smoked roe to each sphere and then refrigerate for 2 hours to set. Remove the consommé jelly from the fridge, place the top onto the sphere mould and fill the spheres with the remaining consommé. Push 6 more of the smoked roe into each sphere and refrigerate for at least 4 hours to set.

HEIRLOOM TOMATO JELLY MARBLES 8 vine-ripened cherry truss tomatoes 100 g (3½ oz) spiced tomato nectar 2.4 g (1/10 oz) gold strength gelatine leaves

Bring a saucepan of salted water to a rolling boil. Blanch the cherry truss tomatoes for 15 seconds. Drain the tomatoes and plunge into iced water to refresh. Peel off the skins, drain on paper towel and then refrigerate for 1 hour. Using a small pointed knife, cut out the core of the tomatoes and carefully use tweezers to remove the seeds and juice. Remove any membrane from inside the tomatoes, leaving just the shell of the tomato flesh. Refrigerate on a paper towel-lined tray until required. Heat 50 g (1¾ oz) of the tomato nectar in a small saucepan to 50°C (120°F). Soak the gelatine in iced water until hydrated and then squeeze out the excess water. Add the gelatine to the warmed tomato nectar and stir through until dissolved. Add the remaining tomato nectar and stir through. Chill the nectar to 20°C (68°F) then, using a syringe, fill each of the hollowed-out cherry tomatoes to the top. Refrigerate the filled tomatoes for at least 2 hours to set.

TO SERVE 20 g (¾ oz) tomato powder Roll the heirloom tomato jelly marbles in the tomato powder to coat. Place 2 smoked ocean trout consommé marbles and 1 tomato jelly marble on each plate. Serve immediately.

SEARED BONITO WITH JAMON AND LEMON MYRTLE JELLY, PICKLED RED RADISH AND SHAVED KATSUOBUSHI WINE SUGGESTION: Gewürztraminer SERVES 8

PICKLED RADISHES 8 baby red radishes, about 1 cm (½ in) wide 8 baby purple radishes, about 1 cm (½ in) wide 1 teaspoon flaked sea salt 100 ml (3½ fl oz) sushi vinegar Wash the radishes and remove any dirt. Place the radishes in a bowl, rub with the sea salt, and set aside for 5–10 minutes. Rinse, then put the radishes in a small vacuum bag. Pour in the vinegar and then seal in a chamber vacuum sealer on full to remove any air. Refrigerate for 2 days.

JAMON AND LEMON MYRTLE JELLY FOR THE JAMON AND LEMON MYRTLE STOCK:

5 cm (2 in) kombu strip 250 g (9 oz) iberico jamon, thinly sliced 20 g (¾ oz) shiro dashi 5 fresh lemon myrtle leaves 3 teaspoons shibanuma soy sauce 3 teaspoons teraoka shiro shoyu white soy sauce Pour 2 litres (70 fl oz/8 cups) of water in a container and add the kombu. Put the lid on and refrigerate for 24 hours.

Heat the kombu and soaking water in a saucepan over low heat to 60°C (140°F). Maintain the temperature for 30 minutes and then remove the kelp. Add the jamon to the pan, heat to 85°C (185°F), reduce the heat to very low and maintain the temperature at 85°C for 1½–2 hours, or until the stock has reduced by half. Be careful not to boil. Once the stock has reduced, remove from the heat and add the shiro dashi and lemon myrtle and leave to infuse for 20 minutes. Strain the stock through a chinois and season with the two soy sauces to make 1 litre (35 fl oz/4 cups) of base stock. NOTE: This recipe makes 1 litre (35 fl oz/4 cups). You need to make the full amount of stock to achieve the correct flavour profile. The leftover stock can be used as a soup base and stored in the freezer for up to 3 months. TO SET THE JELLY:

300 ml (10½ fl oz) jamon and lemon myrtle stock (see left) 1.4 g (1/20 oz) agar powder 2 g (1/10 oz) gold strength gelatine leaves Pour the jamon stock into a saucepan and add the agar. Bring to the boil and then remove from the heat and leave to cool slightly. Soak the gelatine in iced water to hydrate. Squeeze out the excess water from the gelatine, add to the stock and stir to combine. Pour the stock equally into two 24 x 18 x 2 cm (9½ x 7 x ¾ in) trays, leave to set at room temperature, and then refrigerate for 30 minutes to firm. Using an 8 cm (3¼ in) round cutter, cut the jelly into 8 discs. Place the jelly rounds on a tray between two pieces of non-stick baking paper and refrigerate until required.

CANDIED LEMON PEEL 2 lemons 120 g (4¼ oz) caster (superfine) sugar

Bring a small saucepan of water to the boil. Use a peeler and remove the zests in 5 cm (2 in) strips from the lemons. Remove all the white pith from the underside of the zests and then cut into thin strips. Blanch the zests in the boiling water for 20 seconds, plunge in iced water to refresh and then drain. Juice the lemons and strain. Place the lemon juice, 300 ml (10½ fl oz) of water and the sugar in a small saucepan over medium–high heat and bring to the boil. Add the zests and cook for 8–10 minutes, until the zests are tender and the syrup is sticky. Transfer to a preserving jar and store until required.

MINTED BUTTERMILK GEL ½ bunch mint 500 ml (17 fl oz/2 cups) buttermilk 6 g (1/5 oz) agar powder fine sea salt Tear up the mint and combine with the buttermilk in a large vacuum bag. Seal in a chamber vacuum sealer on full to remove any air. Refrigerate for 24 hours. Strain the infused buttermilk through a chinois into a mixing bowl and discard the mint. Sprinkle in the agar and blend, using a handheld blender. Put the buttermilk mixture in a small saucepan, bring to a simmer over high heat and whisk for 30 seconds. Remove from the heat and season lightly with salt to taste. Strain the buttermilk through a chinois into a clean container set over ice and leave to cool. Refrigerate for 4 hours to set completely. Break up the gel using a hand-held blender and then place into a vita-prep (or high-speed blender) and blend on high speed until smooth. Strain the gel through a chinois, pour into a squeeze bottle and set aside until required.

PEARL ONIONS

2 pearl onions 100 ml (3½ fl oz) sushi vinegar 1 teaspoon olive oil Peel the skins from the pearl onions and then thinly slice using a mandolin. Pour the vinegar into a bowl, add the pearl onions and leave for 5 minutes to pickle. Drain the onions, drizzle with olive oil, and cover until required.

SEARED BONITO FILLET 1 bonito fillet, about 800 g–1 kg (1 lb 12 oz–2 lb 4 oz) 1 tablespoon olive oil 2 teaspoons flaked sea salt 1 orange 3 lemon thyme sprigs freshly ground black pepper Preheat a chargrill plate over high heat and rub with an oiled cloth. Place the bonito on a board and cut down either side of the pin bone to make back quarter and belly quarter fillets. Discard the bones. Place the fillets on a tray, skin side up, rub the skin with the olive oil and season with the salt. Rub a separate tray with olive oil and, using a microplane, grate the orange zest onto the tray. Pick the thyme leaves and sprinkle over the zest, and then season evenly with black pepper. Place the back quarter fillet on the grill, skin side down, and sear the skin until charred. Remove the fillet from the grill and place on the orange zest tray, skin side down—the hot skin will warm the oils in the orange and thyme and infuse into the bonito. Repeat with the belly fillet. Cover the tray with foil and leave to rest at room temperature for 20 minutes. Cut the cooled bonito fillets into 2 cm (¾ in) cubes, keeping the two fillet portions separate. Return them to the tray and rest until required.

TO SERVE 1 tablespoon miso mustard (hot variation) 24 Australian native violets 24 red mustard cress leaves 16 salad burnett cress leaves 32 candied lemon peel strips (see previous page) 16 katsuobushi shavings Place the jamon and lemon myrtle jelly in the centre of each plate. Place 3 cubes of back quarter seared bonito fillet and 2 cubes belly fillet bonito onto the edge of the jelly. Add the pickled radishes and pearl onions around the bonito. Pipe dots of the minted buttermilk gel and the hot miso mustard in between the bonito. Garnish with the violets and leaves. Finally, add the candied lemon peel and katsuobushi shavings. Serve immediately.

GRILLED SWORDFISH BELLY WITH OXTAIL CONSOMMÉ JELLY, YUZU, SPROUTS AND DAIKON RADISH WINE SUGGESTION: Verdelho Madeira SERVES 8

FRESH SPROUTS 50 g (1¾ oz) barley 50 g (1¾ oz) caviar lentils 50 g (1¾ oz) linseed Line a deep tray with two layers of paper towel. Use a spray bottle filled with cold water and dampen the paper towel well. Rinse the barley quickly under cold running water and then shake off the excess water. Lightly sprinkle the barley over the paper, leaving plenty of room between the grains. Place two more sheets of paper over the top of the barley and spray with water to make the towel very damp. Sprinkle over more barley until lightly covered again. Repeat until all the barley has been used—this should also use a whole roll of paper towel. Repeat the process with the caviar lentils and linseed. Cover the three trays with foil and place in a dark warm spot (around 26°C/79°F is ideal). Leave for 3–4 days to sprout, respraying the paper towel if it begins to dry. Pick the sprouts and place into three individual containers and refrigerate until required.

OXTAIL CONSOMMÉ JELLY TO MAKE THE CONSOMMÉ:

50 ml (12/3 fl oz) vegetable oil 1 kg (2 lb 4 oz) oxtails, cut into sections

¼ teaspoon freshly ground white pepper ½ onion, cut into quarters 1 carrot, peeled ½ celery stalk 2 cloves 6 black peppercorns ½ star anise 1 thyme sprig 120 ml (4 fl oz) shibanuma soy sauce 100 ml (3½ fl oz) mirin 100 ml (3½ fl oz) port wine 600 ml (21 fl oz) ichiban dashi Heat a large saucepan over high heat. Dust the oxtails with the ground white pepper, add some vegetable oil to the pan and then cook the oxtail in batches, adding more oil as you go, until golden brown on all sides. Remove the oxtails from the pan and drain off the excess oil. Place the oxtails in a large saucepan and add 3 litres (105 fl oz/12 cups) of water and the remaining ingredients, except the ichiban dashi. Bring to a simmer and skim the fat from the surface. Reduce the heat and simmer gently for 2 hours until the oxtails are tender. Remove the oxtails from the broth and reserve for another application. Remove the vegetables and spices, and discard. Strain the stock though a fine sieve lined with an oil filter to make about 1.2 litres (42 fl oz) and then cool over an ice bath. Add the ichiban dashi to the cooled stock and then refrigerate overnight. Remove any surface fat and then transfer the stock to a shallow tray so that it sits about 2–3 cm (¾–1¼ in) deep. Place the tray in the freezer and freeze for 24 hours. Line a perforated tray with muslin (cheesecloth) and place it over another, deeper tray. Remove the stock from the freezer and turn out the frozen block of oxtail stock into the muslin. Cover and refrigerate for 2 days—this will clarify the stock to give a brilliant golden-brown consommé. Keep refrigerated until required.

NOTE: This recipe makes 800 ml (28 fl oz). You need to make the full amount of stock to achieve the correct flavour profile. The leftover stock can be used as a soup base and stored in the freezer for up to 3 months. TO MAKE THE JELLY:

250 ml (9 fl oz/1 cup) oxtail consommé (see previous page) 1.3 g (1/20 oz) agar powder 2.5 g (1/10 oz) gold strength gelatine leaves Heat the consommé and agar in a small heavy based-saucepan over high heat, whisking constantly. Bring to the boil and then boil for 30 seconds. Remove the stock from the heat and strain through a chinois into a clean measuring jug (pitcher). Soak the gelatine in iced water until hydrated. Squeeze out the excess water, add to the consommé and stir well to dissolve the gelatine. Lightly spray two 24 x 18 x 2 cm (9½ x 7 x ¾ in) trays with baker’s spray and then evenly pour in the consommé. Leave to set at room temperature for 30 minutes, then refrigerate for 1 hour to set completely. Leaving the jelly in the tray, use a ruler and knife to cut into eight 12 x 8 cm (4½ x 3¼ in) strips. Refrigerate again until required.

DAIKON RADISH STRIPS 200 g (7 oz) piece daikon radish Peel the daikon and then place on a Japanese slicer and spin into a continuous strip of thinly sliced daikon (or slice thinly using a mandolin). Roll into a cylinder shape and, using a sharp knife, cut very thin strands of the daikon. Place the daikon strips into a container of iced water and refrigerate for 3–4 hours until required.

YUZU DRESSING 4 fresh yuzu 30 g (1 oz) caster (superfine) sugar 60 g (2¼ oz) sushi vinegar 10 g (¼ oz) tosa soy sauce 10 g (¼ oz) mirin 130 g (42/3 oz) olive oil Using a microplane, grate the zests of the yuzu and then squeeze out the juice. Mix the zests and juice together in a bowl. Add the sugar and mix well. Once the sugar has dissolved, add the sushi vinegar, tosa soy and mirin, and stir well to combine. Slowly add the olive oil, whisking constantly. Pour the dressing into a squeeze bottle and set aside until required.

GRILLED SWORDFISH BELLY 800 g (1 lb 12 oz) swordfish belly midsection 500 g (1 lb 2 oz) sushi vinegar 500 g (1 lb 2 oz) still mineral water 1 tablespoon olive oil flaked sea salt 100 ml (3½ fl oz) yuzu dressing (see left) Place the swordfish on a board, skin side up, and using a sharp knife, cut into a 12 x 10 x 4 cm (4½ x 4 x 1½ in) block—don’t let the skin come in contact with the board as it contains bad bacteria. Remove the skin and any blood lines. Mix together the sushi vinegar and mineral water and place into a container. Add the swordfish belly block and leave to marinate for 15 minutes. Remove the swordfish from the marinade and pat dry with paper towel. Tightly wrap the swordfish belly in plastic wrap and freeze for 4–5 hours. Cut ten 15 x 15 cm (6 x 6 in) sheets of non-stick baking paper. Remove the swordfish from the freezer and unwrap. Place the

swordfish on a slicing machine and cut into 10 thin slices (including 2 spares) about 2–3 mm (1/16–1/8 in) thick. Place the swordfish slices on the baking paper. Place a chargrill plate over high heat. Rub the swordfish with the olive oil and season with some sea salt. Place a slice of the swordfish onto the hot grill and grill one side only for 6 seconds, to grill-mark well. Remove the swordfish from the grill and place, grill-mark side down, on a clean tray. Shake the yuzu dressing squeeze bottle well and then dress the swordfish belly. Repeat with the remaining swordfish slices.

TO SERVE 1 teaspoon finely chopped chives fine sea salt and freshly ground black pepper Place the grilled swordfish belly, grill-mark side down, on a board. Take one of the oxtail consommé jellies and place it on top of the swordfish—it should overlap on each side but not be as long. Place the fresh sprouts in a bowl and add the chopped chives. Dress lightly with the yuzu dressing and season with salt and pepper. Place an even line of the dressed sprouts across the oxtail jelly. Carefully roll the swordfish over so that it covers the jelly and sprouts. Place the rolled swordfish in the centre of the plate. Repeat with the remaining grilled swordfish. Drain the daikon radish strips from the iced water and pat dry with paper towel. Loosely place the daikon on top of the rolled swordfish. Serve immediately.

SASHIMI OF YELLOWFIN TUNA WITH IBERICO JAMON, QUAIL EGG, WHITE SOY AND DASHI JELLY, AND WASABI POWDER WINE SUGGESTION: Demi-sec Vouvray SERVES 8

WHITE SOY AND DASHI JELLY 630 ml (21½ fl oz) ichiban dashi , freshly made 115 g (4 oz) teraoka shiro shoyu white soy sauce 15 g (½ oz) shiro dashi 4.5 g (1/5 oz) kelp extract 17 g (3/5 oz) gold strength gelatine leaves Pour the still-warm ichiban dashi into a bowl and season with the soy, shiro dashi and kelp extract. Soak the gelatine in iced water to hydrate and then squeeze out the excess water. Stir the gelatine into the dashi to dissolve. Strain the dashi through a chinois and pour into a 29 x 19 x 4 cm (11½ x 7½ x 1½ in) tray to a depth of 2 cm (¾ in). Using a blowtorch, remove the foam or bubbles on the surface of the mixture. Refrigerate the dashi for 5–6 hours to set. Remove the white soy and dashi jelly from the fridge and, using a 2 cm (¾ in) round cutter, cut at least 16 small cylinders of jelly. Place the jellies on a cold tray and refrigerate again until required.

DASHI ONION CREAM 10 g (¼ oz) unsalted butter 3 teaspoons olive oil 300 g (10½ oz) onions, finely sliced 1 garlic clove, finely sliced 1 thyme sprig

fine sea salt 50 ml (12/3 fl oz) quality fresh whole milk 100 ml (3½ fl oz) cream (35% fat content) 250 ml (9 fl oz/1 cup) ichiban dashi 2.7 g (1/10 oz) gellan gum Heat the butter and olive oil in a small heavy-based saucepan over medium heat. When lightly bubbling, add the onion, garlic and thyme. Cover and sweat gently for 3 minutes. Season with salt and continue to sweat, stirring occasionally, until the onion is tender. Add the milk, cream and ichiban dashi to the onions, and increase the heat to a simmer. Simmer for 5–10 minutes, or until lightly thickened and then pulse using a hand-held blender until smooth. Strain the onion cream through a fine chinois and adjust the seasoning. Measure out 400 ml (14 fl oz) of the cream and leave to cool slightly. Whisk in the gellan and then place back in the pan over medium heat. Bring to a simmer. Remove and strain through a chinois into a bowl over iced water and leave to set. Place the cream gel into a vita-prep (or high-speed blender) and blend until smooth. Pour into a squeeze bottle and set aside until required.

TUNA AND JAMON BLOCKS 350 g (12 oz) sashimi-grade yellowfin tuna, about 12 x 8 x 4 cm (4½ x 3¼ x 1½ in) block 12 very thin slices iberico jamon, about 50 g (1¾ oz) 40 ml (1¼ fl oz) kishibori soy sauce Place the tuna block, lengthways, on a board and cut into fourteen 5 mm (¼ in) slices. Place the slices on a tray. On a separate tray, place a slice of tuna then top with a slice of iberico jamon trimmed to the same size as the tuna. Continue to layer the tuna and jamon to make six layers of jamon and seven layers of tuna. Repeat the process with the remaining tuna and jamon to make a second stack.

Carefully place the tuna stacks into two separate medium vacuum bags and seal in a chamber vacuum sealer on full to remove any air, maintaining the block shape. Place the tuna in the freezer and freeze for 4–5 hours until firm. Remove the tuna blocks from the freezer and unwrap. Place on a board and, using a sharp knife, cut each block across the grain into 4 even small blocks. Place the blocks on a tray and set aside to cool to room temperature. Before serving, brush the top of each piece of tuna with the kishibori soy.

POACHED QUAIL EGGS 8 quail eggs 30 ml (1 fl oz) olive oil Bring the quail eggs to room temperature before cooking. Heat a circulating water bath (or a saucepan filled with water) to 63.5°C (147°F). Place the eggs on a perforated tray, immerse in the water and cook for 45 minutes. Remove the eggs and leave to cool at room temperature. Peel the eggs, place in a bowl and lightly coat with the olive oil to prevent them sticking together. Keep warm until required.

WASABI POWDER 1 litre (35 fl oz/4 cups) liquid nitrogen 2 teaspoons freshly grated Tasmanian wasabi 2 green shallots, roughly chopped Place a small metal bowl and spoon in the freezer. Pour the nitrogen into a nitro bowl and leave it to freeze for 1 minute until the bowl tempers to the nitrogen and the nitrogen stops boiling. Add the wasabi and shallots, and leave for 1 minute to freeze completely. Using a slotted spoon, remove the wasabi and shallots and place in a wet and dry grinder. Grind the wasabi and shallots into

a fine powder. Working quickly, pour the powder into the prepared frozen metal bowl and place back in the freezer until required.

TO SERVE flaked sea salt 2 tablespoons puffed buckwheat 24 red elk leaves Place a tuna and jamon block in the centre of each plate. Squeeze different sized dots of the dashi onion cream on and around the tuna. Place a warm poached quail egg on top of the tuna and season with sea salt. Sprinkle the puffed buckwheat on and around the tuna. Add 2 white soy and dashi jellies to each plate. Using the frozen spoon, take a little of the frozen wasabi powder and sprinkle over the tuna. Garnish with the red elk leaves and season with the salt. Serve immediately.

POACHED MURRAY RIVER COD WITH SOFT WAKAME CRUST, BUTTER DASHI, FRIED TONBURI AND PUFFED SKIN WINE SUGGESTION: Old Hunter Valley Semillon SERVES 8

TONBURI AND WAKAME SEAWEED CRUMB 100 g (3½ oz) tonburi (Japanese mountain caviar) 500 ml (17 fl oz/2 cups) grapeseed oil 50 g (1¾ oz) crystallised wakame seaweed 7 g (1/5 oz) aonori Place the tonburi on dehydrator trays and dehydrate in a food dehydrator at 60°C (140°F) for 12 hours. Separate the individual dried seeds by rubbing through your hands. Pour the grapeseed oil into a deep heavy-based saucepan, no more than one-third full, then heat to 190°C (375°F). Add the tonburi and deep-fry in two batches for 5 seconds, until golden brown—being careful not to let the seeds burn. Quickly strain the fried tonburi through a chinois over a clean saucepan, and then drain on paper towel. Set aside to cool to room temperature. Using a mortar and pestle, grind the crystallised wakame until small shards are formed. Place in a bowl and combine with the dried tonburi and aonori, and then set aside until required.

WAKAME-CRUSTED MURRAY RIVER COD TO MAKE THE WAKAME PASTE:

100 g (3½ oz) fresh wakame seaweed, rinsed 20 g (¾ oz) sugar syrup (100 per cent)

Pat the wakame dry in paper towel. Put the wakame into a blender and purée on high speed for 20 seconds. Continue to blend, adding the sugar syrup, until the wakame is emulsified—being careful not to over-blend. Pass the wakame paste through a coarse drum sieve and refrigerate for about 1 hour. TO PREPARE THE COD:

wakame paste (see above) 2 Murray River cod, about 1 kg (2 lb 4 oz) each, filleted into four 180 g (61/3 oz) individual fillets Remove the wakame paste from the fridge and leave to soften for 20 minutes. Remove the skins from the cod and reserve for the puffed cod skin (see following page). Place the fish on a board and, using a sharp knife, cut down the fillet between the pin bones and the back quarter. Reserve the belly quarter for another application. Split the back quarter in two, lengthways, and then repeat with the remaining 3 fillets to make 8 long portions. Trim the fillets into neat rectangular pieces and place on a tray. Using a palette knife, spread a 5 mm (¼ in) thick layer of wakame paste over the top of each piece of cod, keeping the sides clean from the paste. Cover with plastic wrap and refrigerate for at least 30 minutes before cooking.

PUFFED COD SKIN 4 reserved Murray River cod skins (see previous page) 100 g (3½ oz) fine sea salt 2 thyme sprigs, leaves only 100 ml (3½ fl oz) olive oil freshly ground black pepper 2 litres (70 fl oz/8 cups) vegetable oil fine sea salt sansho pepper

Clean the cod skins by scraping away any flesh from the underside of the skins, using a knife. Turn over the skins and scrape away any scales. Mix 1 litre (35 fl oz/4 cups) of water and the salt in a container, and stir to dissolve. Rinse the skins through the salt water and then pat dry with paper towel. Fold the skins in half, scale side out, and place in a medium vacuum bag. Mix the thyme, olive oil and black pepper together in a bowl and then add to the bag. Pour the oil mixture into the bag and seal in a chamber vacuum sealer on full to remove any air, and ensure that the cod is evenly coated. Preheat a combi oven on steam to 65°C (150°F). Place the vacuum bags on a perforated tray and cook for 6–8 minutes or until the skins become slightly soft. Remove from the oven and leave the skins to cool in the bag. Line two dehydrator trays with non-stick baking paper. Remove the skins from the vacuum bag and pat dry using paper towel, removing any excess herbs. Cut each skin in half, lengthways. Lay the skins flat on the trays, place in a food dehydrator and dehydrate for at least 12 hours at 57°C (135°F)—excess oil may seep from the skins while drying, so pat dry occasionally with paper towel. To puff the skins, pour the vegetable oil into a deep heavy-based saucepan, no more than one-third full, then heat to 190°C (375°F). Carefully add the skins, one at a time, and fry until the skins puff. Remove the puffed skins with a sieve and place on paper towel to drain. Season the skins with salt and sansho pepper and set aside to dry in a warm place.

BUTTER DASHI 250 ml (9 fl oz/1 cup) ichiban dashi 30 g (1 oz) shiro dashi 30 g (1 oz) kishibori soy sauce 150 g (5½ oz) unsalted butter, diced Heat the ichiban dashi in a small saucepan and bring to a light simmer. Add the shiro dashi and kishibori, and then whisk in the

butter. Blend together well using a hand-held blender until smooth and creamy and then keep warm until required.

TO SERVE 2 litres (70 fl oz/8 cups) katsuobushi-infused clarified butter 1 teaspoon Murray River salt flakes 8 pieces crystallised wakame seaweed Heat the katsuobushi-infused clarified butter in a saucepan to 72°C (160°F). Add the wakame-crusted Murray River cod, crust-side up, and poach for 6–7 minutes, ensuring the crust is covered with butter, until just cooked. Remove the cod and drain on paper towel. Season the crust with the salt. Place the cod on each serving plate. Spoon a little of the butter dashi next to the cod. Top the cod with puffed cod skin, the crystallised wakame seaweed and a small spoonful of the tonburi and wakame seaweed crumb. Serve immediately.

NEW ZEALAND WHITEBAIT WITH BRAISED OX CHEEK DASHI, PALM HEART, YUZU, HIJIKI AND PARSLEY WINE SUGGESTION: Namazake SERVES 8

OX CHEEK DASHI 50 ml (12/3 fl oz) vegetable oil 3 kg (6 lb 12 oz) ox cheeks ¼ teaspoon freshly ground white pepper 1 onion, cut into quarters 2 carrots, peeled 1 celery stalk 2 cloves 10 black peppercorns 1 star anise ½ bunch thyme 2 dried bay leaves 10 cm (4 in) kombu strip 250 ml (9 fl oz/1 cup) shibanuma soy sauce 150 ml (5 fl oz) mirin 100 ml (3½ fl oz) port wine 65 g (21/3 oz) katsuoboshi flakes (store-bought bonito flakes) Heat a large saucepan over high heat. Dust the ox cheeks with the ground white pepper, add some of the vegetable oil to the pan and cook the ox cheek in batches, adding more oil as you go, until golden brown on all sides. Remove the ox cheeks from the pan and drain off the excess oil. Place the ox cheeks in a clean, large saucepan, and add 5 litres (175 fl oz/20 cups) of water and the remaining ingredients, except the

katsuoboshi. Bring to a simmer and skim the fat from the surface. Reduce the heat and simmer gently for 2–3 hours until the ox cheeks are tender. Remove the ox cheeks from the broth and reserve for another application. Remove the vegetables and spices, and discard. Strain the stock though a fine sieve lined with an oil filter to make about 2.5 litres (87 fl oz/10 cups). Pour into a clean saucepan and bring back to a simmer. Add the katsuoboshi, cover with a lid and leave to infuse for 10 minutes. Pass the stock through a fine sieve lined with an oil filter and then cool over ice. Remove any surface fat that may have set on the top of the stock and transfer to a shallow tray so that it sits about 2–3 cm (¾–1¼ in) deep. Place the tray into the freezer and freeze for 24 hours. Line a perforated tray with muslin (cheesecloth) and place it over another, deeper tray. Remove the stock from the freezer and turn out the frozen block of ox cheek stock into the muslin. Cover and refrigerate for 24–36 hours—this will clarify the stock to give a brilliant golden-brown consommé. Keep refrigerated until required. NOTE: This recipe makes 800 ml–1 litre (28 fl oz–35 fl oz/4 cups). You need to make the full amount of stock to achieve the correct flavour profile. The leftover stock can be used as a soup base.

BRAISED HIJIKI SEAWEED 20 g (¾ oz) dried hijiki seaweed 150 ml (5 fl oz) tosa soy sauce 70 ml (2¼ fl oz) mirin 30 ml (1 fl oz) shiro dashi Put the dried hijiki in a bowl and cover with cold water. Soak for 1 hour. Put 1 litre (35 fl oz/4 cups) of water in a heavy-based saucepan. Add the soy, mirin and dashi, and bring to a simmer over high heat. Drain the hijiki, add to the pan and bring back to the boil. Remove

from the heat and pour into a container. Leave to cool to room temperature, then refrigerate until required.

PALM HEART DISCS 1 palm heart, about 10 cm (4 in) ¼ teaspoon ascorbic acid (or 1 teaspoon lemon juice) Using a mandolin, slice the palm heart into 2 mm (1/16 in) slices. Using a 1 cm (½ in) round cutter, cut into 60 circles. Place the palm heart rounds into a bowl with 200 ml (7 fl oz) of water. Add the ascorbic acid and soak until required.

SPRING ONION DISCS 24 spring onion (scallion) bulbs 50 ml (12/3 fl oz) olive oil 40 g (1½ oz) unsalted butter Trim the onions and remove the tops and outside layers. Cut the onions in half, across the grain to reveal the individual circles of onion. Heat the olive oil in a frying pan over medium heat. Add the onions, cut side down, and cook until golden. Turn over the onions and reduce the heat to low. Add the butter and cook gently for 8–10 minutes. Keep warm until required.

TO SERVE 200 g (7 oz) New Zealand whitebait 30 g (1 oz) olive oil 20 g (¾ oz) unsalted butter 1 yuzu 40 baby flat-leaf (Italian) parsley sprigs extra virgin olive oil

Warm 450 ml (16 fl oz) of the ox cheek dashi in a saucepan to 80°C (175°F). Drain the whitebait on paper towel. Warm the olive oil in a large frying pan over medium heat. Add the butter and melt until it begins to bubble. Add the whitebait, cook for 1 minute, gently stirring into the butter and oil—being careful not to break up the whitebait. Remove from the heat and, using a microplane, zest the yuzu onto the whitebait. Pour the whitebait onto a tray lined with paper towel to absorb the excess oil. Divide the whitebait into each bowl, add the cooked spring onion discs and pour over the dashi. Drain the hijiki seaweed and add some to each bowl. Top with palm heart discs and a few sprigs of parsley. Finish with a few drops of olive oil. Serve immediately.

BUTTER-POACHED PORT LINCOLN SQUID WITH BARLEY MISO-CURED EGG YOLK AND WASABI FLOWERS WINE SUGGESTION: Osteiner SERVES 8

BARLEY MISO-CURED EGG YOLKS 1 kg (2 lb 4 oz) barley miso (mugi miso) 200 ml (7 fl oz) sake 100 g (3½ oz) caster (superfine) sugar 100 g (3½ oz) shibanuma soy sauce 4 organic egg yolks Mix the miso, sake, sugar and soy together in a bowl until the sugar has dissolved. Spread half the mixture into the bottom of a container. Carefully place the egg yolks, 1 cm (½ in) apart, on top of the miso mixture. Cover with the rest of the miso mixture and then refrigerate for 4 days to cure. Remove the egg yolks from the container and wipe off any remaining miso with paper towel. Place each yolk between two sheets of non-stick baking paper and roll out until wafer thin. Roll a cured yolk around a 14 x 2 cm (5½ x ¾ in) cannoli mould and press the join so that it sticks together. Using a sharp knife, cut into 1 cm (½ in) thick circles and remove the cannoli mould. Repeat with the remaining yolks to make 24 rounds. Cover and store in a cool dry place until required.

POACHED SQUID 8 Port Lincoln squid, about 200–250 g (7–9 oz) each 2 kg (4 lb 8 oz) katsuobushi-infused clarified butter

fine sea salt Clean the squid by first removing the head and tentacles and setting them aside for another application. Remove the wings and skin from the squid, and remove the gut and cartilage to leave a cleaned tube. Place the squid onto a board and, using a sharp knife, cut open from head to tail to make 1 flat piece. Use a cloth to remove any excess sinew and trim each squid into a 12 x 10 cm (4½ x 4 in) piece. With the skin side down, use a sharp knife to cut the squid, one at a time, into fine strips, 2 mm (1/16 in) wide. Using a 14 x 2 cm (5½ x ¾ in) cannoli mould, wrap the squid around the mould, ensuring there are no gaps between the strips. Place on a tray. Repeat with the remaining squid and keep separated. Heat the clarified butter in a large saucepan (or circulating water bath) to 68°C (154°F). Place the squid, still wrapped around the cannoli moulds, into the butter and poach for 2 minutes. Remove the squid and drain on paper towel. Holding the cannoli mould firmly in one hand, use the other hand and push off the squid in one movement. The squid strips should stay stuck together as 1 piece. Season the squid with salt and keep warm.

TO SERVE 30 g (1 oz) lemon-infused oil 10 g (¼ oz) dried lemon powder 8 sprigs wasabi flowers 16 wasabi leaves Warm the serving plates. Add a drizzle of lemon-infused oil to each plate and, using a tissue, lightly rub the oil to evenly cover. Sprinkle the plate with lemon powder. Place the poached squid in the centre of the plate and brush with lemon oil. Add the barley miso-cured egg yolks, and garnish with wasabi flowers and leaves. Serve immediately.

SPANNER CRAB AND BUCKWHEAT RISOTTO WITH GRAIN MUSTARD AND TARRAGON BUTTER, AND SHELLFISH ESSENCE WINE SUGGESTION: Assyrtiko SERVES 8

GRAIN MUSTARD AND TARRAGON BUTTER 250 g (9 oz) unsalted butter (softened at room temperature) 20 g (¾ oz) dijon mustard 50 g (1¾ oz) grain mustard cayenne pepper 20 ml (½ fl oz) shibanuma soy sauce 20 ml (½ fl oz) mirin 10 g (¼ oz) finely chopped chives 10 g (¼ oz) finely chopped tarragon Place the butter in an electric mixer bowl, attach the whisk, and whisk on high speed until light and fluffy. Add the mustards and whisk on medium to combine. Season with the cayenne pepper, add the soy and mirin, and continue to whisk until well combined. Using a spatula, fold the herbs through the mixture and then scrape into a clean container. Set aside at room temperature, until required.

SHELLFISH ESSENCE 1 litre (35 fl oz/4 cups) shellfish stock 150 g (5½ oz) unsalted butter, diced 4 g (1/10 oz) lecithin powder fine sea salt

Pour the shellfish stock into a small deep saucepan and bring to a simmer. Reduce the stock for 1 minute. Add the butter, remove from the heat and blend through with a hand-held blender. Leave to cool for 2 minutes. Add the lecithin and blend again to make a stable foam. Season the shellfish essence with salt to taste. Keep warm until required.

BUCKWHEAT RISOTTO 120 g (4¼ oz) raw buckwheat 30 ml (1 fl oz) olive oil 40 g (1½ oz) confit eschalots 100 ml (3½ fl oz) shellfish stock 200 g (7 oz) picked raw spanner crab meat 50 g (1¾ oz) mascarpone cheese (store-bought) 1 tablespoon chopped tarragon 1 tablespoon chopped chives fine sea salt and freshly ground black pepper Bring 3 litres (105 fl oz/12 cups) of salted water to the boil in a large heavy-based saucepan. Add the buckwheat and boil for 8 minutes until the buckwheat is just tender. Strain the buckwheat in a sieve and place under running water to refresh and rinse off the excess starch. Drain the buckwheat well and refrigerate until required. Heat the olive oil in a medium heavy-based saucepan over medium heat. Add the confit eschalots and warm through. Add the cooked buckwheat and stir to combine. Add the shellfish stock and bring to a simmer. Cook the buckwheat until it swells and becomes tender, then add the crab meat and remove from the heat. Stir gently for 1 minute to cook the crab meat in the hot buckwheat, and then add the mascarpone, tarragon and chives. Return to the heat and stir to combine. Season the risotto with salt and pepper.

TO SERVE 20 g (¾ oz) tomato powder Spoon the buckwheat risotto into a tight mound in the centre of each bowl. Using a hot teaspoon make a quenelle of the grain mustard and tarragon butter and place it on top of the risotto. Dust with a little tomato powder. Use the hand-held blender to re-foam the shellfish essence. Scoop some of the shellfish foam from the pan and place on the risotto to finish. Serve immediately.

KABAYAKI FRESHWATER EEL WITH SEA URCHIN CUSTARD, ARAME SEAWEED, SORREL AND BLOOD ORANGE WINE SUGGESTION: Unoaked Treixadura SERVES 8

PUFFED ANDEAN GRAINS fine sea salt 100 g (3½ oz) Andean grain mix (white, red and black quinoa and amaranth) 1 litre (35 fl oz/4 cups) vegetable oil Bring 2 litres (70 fl oz/8 cups) of salted water to the boil in a saucepan over high heat. Add the grains and lightly simmer for 15–16 minutes until the grains start to split. Drain the grains and refresh under cold water, then drain in a sieve. Spread the grains out on a dehydrator tray in a food dehydrator and dehydrate overnight at 55°C (130°F). Pour the vegetable oil into a deep heavy-based saucepan, no more than one-third full, then heat to 190°C (375°F). Lower a fine sieve into the oil, add in a quarter of the grains and move the sieve slightly so that the grains separate. Fry for 3–4 seconds until the grains puff up and then transfer onto paper towel. Season the grains while hot and leave to cool. Repeat with remaining Andean grains. Transfer to a container and store until required.

ORANGE AND NORI POWDER 2 teaspoons dried aonori seaweed 1 teaspoon dried orange powder Heat a small saucepan over medium heat. Add the aonori and toast for 1 minute. Grind the aonori into a fine powder using a mortar and

pestle. Transfer to a bowl and add the orange powder. Mix together well and then store in an airtight container until required.

SMOKED SEA URCHIN CUSTARD TO MAKE THE SMOKED EEL CONSOMMÉ:

2 organic egg whites, refrigerated 1 litre (35 fl oz/4 cups) smoked eel stock Put the chilled egg whites in a clean bowl and whisk until stiff peaks form. Pour the chilled stock into a clean tall skinny saucepan. Add the whisked whites and gently mix through. Place the pan over high heat and quickly bring to a simmer, being careful not to let the mixture boil. Continue to simmer for 20 minutes to concentrate the flavour. Strain the consommé through a sieve lined with an oil filter into a container over iced water. Refrigerate until required. TO MAKE THE CUSTARD:

250 g (9 oz) cream (35% fat content) 50 g (1¾ oz) organic egg yolks 125 g (4½ oz) smoked eel consommé (see above) 20 g (¾ oz) dijon mustard 20 g (¾ oz) sea urchin roe fine sea salt and freshly ground black pepper Place the cream in a small saucepan over medium heat and bring to a simmer. Reduce the heat and reduce to 125 ml (4½ fl oz/½ cup). Place the egg yolks in a bowl and whisk until light and airy. Bring the eel consommé to a simmer in a small saucepan over high heat, and then temper in the egg yolks, adding a little at a time and whisking constantly. Add the reduced cream, whisk to combine, and then pour the mixture into a heavy-based saucepan. Cook the custard over medium heat to 84°C (183°F), and then maintain the temperature for 2 minutes. Remove from the heat and, using a hand-

held blender, mix in the mustard and sea urchin roe. Season, and then strain the mixture through a fine chinois. Pour the mix into a 500 ml (17 fl oz/2 cups) syphon and place the lid on. Charge twice with nitrous oxide. Shake well between each charge. Keep warm until required.

BRAISED ARAME SEAWEED 15 g (½ oz) dried arame seaweed 75 ml (2¼ fl oz) soy sauce (preferably shibanuma) 50 ml (12/3 fl oz) mirin 2 teaspoons shiro dashi Put the dried arame in a bowl and cover with cold water. Soak for 30 minutes. Meanwhile, put 500 ml (17 fl oz/2 cups) of water in a heavy-based saucepan. Add the soy sauce, mirin and dashi, and bring to the boil over high heat. Turn off the heat. Drain all the water from the arame and add to the soy braising liquor. Bring the seaweed back to the boil over high heat, and then turn off the heat. Leave the arame to cool in the cooking liquor, then pour into a container and refrigerate until required.

GLAZED SMOKED EEL 350 g (12 oz) filleted and pin-boned smoked eel (reserved from making smoked eel stock,) 100 ml (3½ fl oz) kabayaki sauce 2 teaspoons smoked eel consommé (see previous page) 20 g (¾ oz) unsalted butter, diced 1 blood orange, peeled, segmented and diced 10 chives, finely chopped ½ eschalot, finely diced

Dice the eel into 1 cm (½ in) cubes. Bring the kabayaki sauce and smoked eel consommé to the boil in a small saucepan over medium heat. Add the butter and stir to emulsify. Add the diced eel and gently stir to coat in the glaze. Leave the eel to cook for 1 minute, until the soy becomes sticky. Fold the diced blood orange through gently, and then mix in the chopped chives and diced eschalots. Keep warm until required.

TO SERVE 40 baby amaranth leaves Spoon the glazed smoked eel into a 7 cm (2¾ in) wide ring on each plate, leaving the centre empty. Drain the braised arame seaweed from the cooking liquor and place on top of the eel. Sprinkle over a little of the puffed Andean grains and add the amaranth leaves. Fill the centre of the eel with the smoked sea urchin custard so that it is level with the arame seaweed. Finally, dust with the orange and nori powder. Serve immediately.

CHARCOAL-GRILLED ROLLED DAVID BLACKMORE WAGYU BEEF, OBA, CHESTNUT MUSHROOM CREAM AND PONZU WINE SUGGESTION: Mature Rioja Tinto SERVES 8

POTATO AND ONION CRUMB TO MAKE THE POTATO CRUMB:

800 g (1 lb 12 oz) desiree potatoes 1 litre (35 fl oz/4 cups) vegetable oil fine sea salt Using a mandolin, thinly slice the potatoes. Put the potatoes in a container, cover with water and refrigerate for at least 24 hours. Rinse the soaked potatoes under cold running water and then pat dry with paper towel. Pour the vegetable oil into a deep heavy-based saucepan, no more than one-third full, then heat to 170°C (325°F). Deep-fry the potato chips in batches until golden brown, remove, season with salt and then set aside on paper towel until completely cooled. Place the chips in a thermomix and pulse to break down into crumbs. TO MAKE THE CARAMELISED ONION CRUMB:

50 g (1¾ oz) unsalted butter 25 g (1 oz) olive oil 250 g (9 oz) onions, peeled and thinly sliced ½ teaspoon thyme leaves fine sea salt

Place the butter in a medium saucepan over medium heat and cook until it begins to bubble. Add the olive oil and stir to combine. Add the onions and thyme and stir to coat. Add a little salt and then cover with a lid. Cook the onions for 10–12 minutes or until tender, stirring occasionally. Remove the lid and reduce the cooking liquor until completely evaporated. Try not to colour them too much. Drain and pat dry the onions, and then place on a dehydrator tray. Place the tray in a food dehydrator at 55°C (130°F) for 48 hours until the onion is crisp and brown. Place the onion on a board and break up with a sharp knife, then transfer to the thermomix and blend to a fine crumb. TO MAKE THE COMBINED CRUMB: Add the potato crumb to the caramelised onion crumb and blend until the onion and potato crumbs are mixed together well. Put the crumbs in an airtight container and store in a warm dry place until required.

PONZU GEL 150g (5½ oz) ponzu vinegar 100 g (3½ oz) caster (superfine) sugar 85 g (3 oz) shibanuma soy sauce 3 teaspoons white soy sauce (preferably teraoka shiro shoyu) 3.5 g (1/10 oz) agar powder Place all the ingredients in a small heavy-based saucepan over high heat. Bring to the boil, whisking constantly. Boil for 2 minutes and then strain through a chinois into a container. Leave to set overnight. Put the ponzu gel into a vita-prep (or high-speed blender) and blend on high speed until smooth. Pour the mixture into a medium vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Pour the ponzu into a squeeze bottle and set aside until required.

MUSHROOM CREAM

250 ml (9 fl oz/1 cup) chestnut mushroom stock 125 ml (4 fl oz/½ cup) cream (35% fat content) 125 ml (4 fl oz/½ cup) quality fresh whole milk 5 g (1/8 oz) gellan gum Pour the mushroom stock, cream and milk into a medium heavybased saucepan. Sprinkle in the gellan and use a hand-held blender to combine completely. Bring the mushroom stock and cream mixture to the boil, simmer for 30 seconds, and then pass through a chinois into a tray. Leave to cool slightly and then refrigerate for 4 hours until set. Break up the gel with a hand-held blender, transfer to a thermomix and pulse until smooth. Strain the cream through a chinois into a small saucepan and warm through. Keep warm until required.

WAGYU BEEF ROLL 400 g (14 oz) trimmed David Blackmore wagyu beef 8 oba leaves Place the waygu in the freezer for 1 hour. Line a tray with non-stick baking paper. Using a slicer, cut the chilled wagyu into 20 g (¾ oz) slices, about 1 mm (1/32 in) thick. Place the slices, separated, on the tray, add more baking paper and continue to slice and layer to make 16 slices of beef, with a layer of baking paper on top. Refrigerate for 1 hour. To roll the beef, prepare the oba leaves by cutting out the stem to make 2 half leaves. Lay two slices of the wagyu beef on a board, lengthways, just overlapping, with the fat side on the outer edges. Place the sliced oba leaf in the middle then fold the edges of the beef into the centre. Roll the beef from the bottom to the top, to make a pillow shape. Repeat with the remaining 14 slices of beef and then refrigerate until required.

TO SERVE 5 logs Japanese charcoal (binchotan) fine sea salt and freshly ground black pepper 40 baby chestnut mushrooms 20 g (¾ oz) unsalted butter, diced fine sea salt and freshly ground black pepper 8 g (3/10 oz) salted konbu fujicco shio 16 chives Fire up the charcoal by burning it over a gas flame for 30 minutes then transfer to a hibachi (barbecue grill). Leave the hot charcoal to burn for 15 minutes before using, and place a grill or wire rack on top to heat. Remove the wagyu beef rolls from the fridge 15 minutes before cooking. Season with the salt and pepper, then place over the charcoal. Grill for 1 minute until caramelised then turn over and grill the other side for a further minute. Remove the beef from the grill and transfer to a rack to rest. Keep warm. Remove the stems from the mushrooms and reserve for later use. Heat the butter until it begins to bubble and is completely melted. Add the mushrooms and sauté for 30 seconds. Season and drain. Place a spoonful of the warm mushroom cream on each plate. Sprinkle the potato and onion crumb over the top. Sprinkle a little of the salted konbu fujicco shio over the crumb. Place the baby chestnut mushrooms next to the mushroom cream. Add a dot of the ponzu gel to the plate and then flick it with a small palette knife. Place the beef on the plate next to the cream and then garnish with the chives. Serve immediately.

GARROTXA WITH GOAT’S CHEESE AND SAKE DUMPLINGS, TRUFFLE, CELERIAC CREAM AND NASHI PEAR WINE SUGGESTION: Perry SERVES 8

GOAT’S CHEESE AND SAKE DUMPLINGS 250 ml (9 fl oz/1 cup) quality fresh goat’s milk 50 ml (12/3 fl oz) sake 3 black peppercorns 1 bay leaf 150 g (5½ oz) Holy Goat La Luna goat’s cheese 1 teaspoon flaked sea salt 1 teaspoon shibanuma soy sauce 1 teaspoon mirin ¼ lemon, zest only, finely grated using a microplane 56 g (2 oz) kuzu starch 1 teaspoon fine sea salt Put the goat’s milk, sake, peppercorns and bay leaf in a heavy-based saucepan and bring to a simmer. Reduce the heat to a gentle simmer and let the mixture infuse for 2 minutes. Cut the goat’s cheese into small manageable pieces and add to the hot milk. Whisk in to combine. Season the milk with the salt, soy and mirin, and then add the lemon zest. Remove from the heat and stand for 5 minutes. Strain the milk through a fine chinois into a bowl to yield 350 ml (12 fl oz), and cool over ice. Dilute the kuzu in a little of the milk to make it lump-free, and then add to the goat’s milk mixture. Pour the milk into a clean saucepan and bring to the boil over medium heat, stirring constantly—the mix will thicken and become

stretchy. Continue to boil for 30 seconds and then remove from the heat. Leave to cool slightly. Line a bench with a 50 x 30 cm (20 x 12 in) sheet of plastic wrap. Transfer the goat’s milk mixture into a piping (icing) bag and squeeze 120 g (4¼ oz) of the mixture along the bottom edge of the plastic wrap, leaving about 6–7 cm (2½–2¾ in) on each side. Roll the mixture in the plastic wrap to form a cylinder about 1 cm (½ in) thick and 30 cm (12 in) long. Tie off each end of the plastic wrap and then place in iced water for 1 hour to set. Repeat twice to make 3 wraps. Remove the wraps from the ice, discard the plastic and cut the mixture into 2 cm (¾ in) pieces to make 4–5 dumplings per person. Put 200 ml (7 fl oz) of water and the salt in a bowl. Stir until the salt is dissolved. Place the dumplings into the salt water solution and refrigerate until required.

CELERIAC CREAM 375 g (13 oz) peeled celeriac, finely sliced 125 g (4½ oz) unsalted butter, diced 40 g (1½ oz) chicken stock (quality store-bought) 10 g (¼ oz) fine sea salt Preheat a combi oven on steam to 95°C (200°F). Place the celeriac, butter, chicken stock and salt in a medium vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Place the bag in the oven and cook for 1 hour or until soft. Remove the celeriac from the oven and drain the celeriac butter. Pour the butter into a saucepan over medium heat and cook until the butter splits away and becomes lightly caramelised. Place the celeriac into a thermomix and blend on full. Gradually add the melted butter until the celeriac is smooth and emulsified. Check seasoning and then pour into a squeeze bottle. Keep warm until required.

TO SERVE

1 nashi pear 1 truffle, about 20 g (¾ oz) 80 g (2¾ oz) unsalted butter, diced 350 g (12 oz) garrotxa, rind removed Slice the nashi pear into 2 mm (1/16 in) thick pieces and then cut out 24 rounds using a 3 cm (1¼ in) round cutter. Set aside. Repeat the process with the truffle and set aside. Put 80 g (2¾ oz) of the goat’s cheese and sake dumpling soaking water and the butter in a saucepan and heat, whisking constantly, to emulsify. Add the goat’s cheese and sake dumplings and gently warm through. Divide the warmed dumplings between each plate. Spoon over a little of the butter and milk mixture to coat each dumpling. Add a few dots of the celeriac cream between the dumplings, and then add the nashi pear and truffle rounds. Finally, using a microplane, grate the garrotxa over the entire plate so that all the elements are covered. Serve immediately.

BLACKCURRANT AND CARAMELISED HONEY WITH APPLE CARAMEL BUTTER WINE SUGGESTION: Quarts de Chaume SERVES 8

BLACKCURRANT, HONEY AND APPLE MOUSSE 135 g (4¾ oz) honey 250 ml (9 fl oz/1 cup) blackcurrant consommé 100 ml (3½ fl oz) apple juice 35 g (1¼ oz) caster (superfine) sugar 100 g (3½ oz) cream (35% fat content) 4 g (1/10 oz) gold strength gelatine leaves Pour the honey into a heavy-based medium saucepan and heat to 150°C (300°F), then add the blackcurrant consommé to stop the caramelisation. Add the apple juice and sugar, bring to the boil and then stir well to combine. Add the cream, bring back to the boil and then remove from the heat. Soak the gelatine in iced water to hydrate, then squeeze out the excess water. Add the soaked gelatine to the warm blackcurrant cream and stir well to combine. Strain the mixture through a chinois into a bowl. Pour the mixture into a 500 ml (17 fl oz/2 cups) syphon and place the lid on. Charge twice with nitrous oxide. Shake well between each charge. Place the syphon in iced water and refrigerate for at least 2 hours until required.

APPLE CARAMEL BUTTER 200 g (7 oz) granny smith apples 250 g (9 oz) caster (superfine) sugar

¼ vanilla bean, seeds scraped 40 g (1½ oz) calvados 10 g (¼ oz) freshly squeezed lemon juice 125 g (4½ oz) unsalted butter, diced Peel and core the apples, and cut into 2 cm (¾ in) pieces. Make a dry caramel by heating a little of the caster sugar in a wide-based saucepan over medium heat until it melts. Continue to add the sugar a little at a time until all the sugar has melted and is golden in colour. Add the apples to the pan and cook for 10 minutes until they are well coated in the caramel. Add the vanilla and calvados and continue to cook until the apples start to break down. Pour the caramel and apples into a thermomix and blend at speed 6–7 until smooth. Leave the caramel to cool to around 60°C (140°F) and then mix in the lemon juice. Slowly add the butter, blending continually until the mixture is creamy and smooth. Strain the caramel through a chinois, set aside to cool to room temperature and then refrigerate until required.

BLACKCURRANT AND APPLE FROZEN SHELL TO MAKE THE BLACKCURRANT AND APPLE SHELL MIXTURE:

200 ml (7 fl oz) blackcurrant consommé 60 ml (2 fl oz/¼ cup) clear apple juice 40 g (1½ oz) caster (superfine) sugar Pour the blackcurrant consommé and apple juice into a medium saucepan and bring to the boil over high heat. Add the sugar and 60 ml (2 fl oz/¼ cup) of water and stir to dissolve. Strain the mixture through a fine chinois and leave to cool completely. Check the sugar density of the blackcurrant juice—it should be around 18 Brix. If the Brix are too high just add a little water to lower the sugar percentage. Refrigerate until required. TO MAKE THE FROZEN SHELLS:

200 ml (7 fl oz) blackcurrant and apple shell mixture (see above) 10 water bomb balloons 2 litres (70 fl oz/8 cups) liquid nitrogen Add 20 ml (½ fl oz) of the blackcurrant shell mixture to a water bomb balloon. Fill the balloon with air from a compressor to the size of a golf ball and tie off the end. Repeat the process with the remaining balloons, to make 8 balloons (including 2 spares). Pour the nitrogen into a nitro bowl and leave it to freeze for 1 minute until the bowl tempers to the nitrogen and the nitrogen stops boiling. One at a time, place the balloons in the nitrogen and roll— keeping it moving will make the blackcurrant freeze to the outer edges of the balloon. When the balloons are completely frozen, transfer to the freezer and leave for 6 hours to bring the blackcurrant shell to -18°C (0°F). Remove the balloons, one at a time, from the freezer and remove the balloon by cutting it away from the frozen blackcurrant. Heat an apple corer over a gas flame until it glows hot. Use the corer to melt a hole at the end of the blackcurrant shell where the balloon was tied. Place the shell back into the freezer and repeat with the remaining balloons. Keep in the freezer until required.

TO SERVE 20 g (¾ oz) blackcurrant powder 8 melissa cress (or baby lemon balm) sprigs Spoon a little of the apple caramel butter onto the centre of each plate. Working quickly, remove the blackcurrant and apple frozen shells from the freezer and place into an egg carton, hole-side up— this will stop the shells from melting. Shake the blackcurrant, honey and apple mouse syphon well and then fill each shell. Place 1 shell, hole side down, onto the apple caramel butter. Dust with dehydrated blackcurrant powder and top with melissa cress sprigs. Serve immediately.

’THE GOLDEN EGG’ HACHIYA PERSIMMON AND COCONUT WINE SUGGESTION: Greco di Bianco MAKES 8 EGGS

EGG WHITE 200 g (7 oz) caster (superfine) sugar 8 g (3/10 oz) sorbet stabiliser 145 g (5¼ oz) yuzu juice 220 g (7¾ oz) coconut cream (Kara UHT) 100 g (3½ oz) Italian meringue Mix the sugar and stabiliser together in a bowl. Pour 200 g (7 oz) of water into a medium saucepan. Add the yuzu juice and coconut cream and bring to 40°C (105°F). Whisk in the sugar and stabiliser mixture and heat to 80°C (175°F). Remove from the heat, transfer to a bowl and leave to cool over iced water. Refrigerate overnight. The next day, pour the mixture into a pacojet container and freeze at –18°C (0°F) for 24 hours. Place the Italian meringue on top of the yuzu and coconut mixture and freeze again for 6 hours. Process the mixture in the pacojet and then return to the freezer for 2 hours. Transfer the mixture into a piping (icing) bag fitted with a size 9 nozzle and return to the freezer for 30 minutes before serving.

EGG YOLK 2 very ripe hachiya persimmons 0.5 g (1/50 oz) xanthan gum

Remove the centre stalk of the persimmons. Use a ladle and push the flesh through a fine chinois. Pour the persimmon purée into a vitaprep (or high-speed blender) and mix. Add the xanthan to thicken to a runny egg yolk consistency. Strain the purée again and then place the smooth purée into a large vacuum bag. Seal in a chamber vacuum sealer on full to remove any air. Set aside until required.

GOLDEN EGGS 300 g (10½ oz) mannitol 4 g (1/10 oz) edible gold powder Place the mannitol in a small heavy-based saucepan and heat to 160°C (315°F)—it should become silky and fluid. Add the gold powder and stir through until evenly distributed. Carefully pour the golden mannitol liquid into a 4.5 cm (1¾ in) wide by 7 cm (2¾ in) high egg-shaped silicone mould and leave for 15 seconds. Carefully pour the golden mannitol liquid out of the mould back into the pan, and maintain the temperature at 160°C. Leave the mould for 3 minutes to cool and then carefully de-mould the egg. Repeat to make 8 eggs. Place the eggs in an airtight container. Keep in a safe cool place until required.

PICKLED GINGER CREAM 250 g (9 oz) cream (35% fat content) cream 40 g (1½ oz) pickled ginger (store-bought) 50 g (1¾ oz) caster (superfine) sugar 0.75 g (3/100 oz) iota 40 g (1½ oz) organic egg yolks 1 g (1/25 oz) gold strength gelatine leaves Pour the cream and pickled ginger into a medium heavy-based saucepan. Add 30 g (1 oz) of the caster sugar and bring to the boil. Whisk in the iota and return to the boil.

Whisk the egg yolks and remaining sugar together in a bowl until well combined. Temper in the boiled cream mixture, then return the cream to the heat and cook out to 84°C (183°F), stirring constantly. Soak the gelatine in iced water until hydrated and then squeeze out the excess water. Add the gelatine to the custard mixture and stir well to combine. Strain through a fine chinois into a container and cool over an ice bath. Before serving, whisk the pickled ginger cream until airy, transfer into a piping (icing) bag and refrigerate until required.

VIOLET CANDY CLOUD 150 g (5½ oz) Azuleta (texturas) (violet sugar) Just before serving, warm the elements of a cotton candy machine for 2 minutes. Add the sugar, a quarter at a time, and, using a wooden stick, remove the cotton candy from the machine and shape into a nest. Place on a serving plate. Repeat to make 4 nests.

TO SERVE Place the golden eggs in an egg carton with the hole side facing up. Remove the ‘egg white’ (yuzu and coconut cream meringue) from the freezer and pipe into 1 golden egg, about a quarter full. Using a syringe with a long large opening, take the ‘egg yolk’ (hachiya persimmon purée) and two-thirds fill the egg, on top of the ‘egg white’. Top up the egg with more of the yuzu and coconut frozen meringue. Repeat with remaining 7 eggs. Cap off each egg with the pickled ginger cream so that the frozen meringue does not leak out. Make a nest from the violet cotton candy on each plate. Place the golden eggs into the nests and serve immediately—crack the egg with a spoon and let the persimmon yolk run out.

YUZU WITH WHITE CHOCOLATE AND ELDERFLOWER, SALT MILK ICE CREAM, AND CRYSTALLISED SEAWEEDS WINE SUGGESTION: Maury Blanc SERVES 8

YUZU, WHITE CHOCOLATE AND ELDERFLOWER GANACHE FOR THE ELDERFLOWER SYRUP:

40 g (1½ oz) sugar 50 g (1¾ oz) fresh elderflowers Heat 200 ml (7 fl oz) of water and the sugar in a medium saucepan over medium heat to 60°C (140°F). Stir well until the sugar is completely dissolved. Trim the excess stalks from the elderflowers and then place in a container. Pour the heated syrup over the flowers, then seal with a tight-fitting lid. Leave at room temperature for 2–3 hours and then refrigerate for 2 days until required (see note). NOTE: We make our elderflower syrup in bulk in the late summer and autumn and then leave them in sealed jars in the fridge for months to mature in flavour. FOR THE YUZU CURD:

110 g (3¾ oz) yuzu juice 110 g (3¾ oz/½ cup) caster (superfine) sugar 120 g (4¼ oz) organic egg yolks 250 g (9 oz) unsalted butter, diced 2 g (1/10 oz) fine sea salt

Put the yuzu juice, caster sugar and egg yolks into a thermomix and blend on speed 4 until smooth. Add the butterfly attachment, set the heat to 85°C (185°F) and the speed to 3–4. Once the mixture reaches 85°C, maintain the temperature for 1 minute. Turn off the heat and mix on speed 3 for 3 minutes. Gradually add the diced butter, continuing to mix. Add the salt and combine, and then transfer the curd to a mixing bowl. Cool to room temperature, stirring occasionally, and then refrigerate until required. FOR THE WHITE CHOCOLATE AND ELDERFLOWER SYRUP:

140 g (5 oz) elderflower syrup (see above) 250 g (9 oz) white couverture chocolate Pour the elderflower syrup into a saucepan and bring to the boil. Chop the white chocolate into small pieces and place in a mixing bowl. Pour one-third of the boiling elderflower syrup over the chocolate. Using a spatula, starting from the centre, stir in small circles and work your way out until all the syrup has emulsified into the chocolate. Repeat two more times until all the syrup has been added. Set aside to cool at room temperature, stirring occasionally, and then refrigerate until required. To make the ganache: When the yuzu curd and the chocolate syrup are both chilled, remove from the fridge and leave for 30 minutes. Mix together with a spatula until smooth and creamy. Transfer into a piping (icing) bag and tie off the end. Refrigerate until required.

SALT MILK ICE CREAM 600 g (1 lb 5 oz) quality fresh whole milk 200 g (7 oz) cream (35% fat content) 100 g (3½ oz) glucose powder 100 g (3½ oz) caster (superfine) sugar 5 g (1/8 oz) fine sea salt 6 g (1/5 oz) ice cream stabiliser

Heat the milk, cream and glucose in a medium saucepan over low heat to 40°C (105°F). Mix the sugar, salt and stabiliser together in a bowl until they are evenly combined. Shear the sugar mixture into the warm milk and cream, and whisk well to combine. Increase the heat to medium and bring the mixture to 85°C (185°F), then remove from the heat. Leave to cool completely, then divide between 2 pacojet containers and freeze for 24 hours. Process the milk ice cream and freeze again until required.

HARD MERINGUE SHARDS 100 g (3½ oz) organic egg whites 100 g (3½ oz) caster (superfine) sugar 100 g (3½ oz) pure icing (confectioners’) sugar, sieved 1 yuzu Pour the egg whites into an electric mixer bowl and attach the whisk. Whisk the whites to soft peaks and gradually add the sugar. Continue to whisk until the egg whites reach medium to stiff peak. Gradually add the sieved icing sugar, in 3 batches, and fold through gently. Once completely smooth, grate in the yuzu zest, using a microplane, and then spread the meringue over silicone baking mats about 2–3 mm (1/16–1/8 in) thick. Place the mats onto dehydrator trays in a food dehydrator and dehydrate at 55°C (130°F) for 12 hours. Break the dehydrated meringue into shards and store in an airtight container until required.

SESAME AND HONEYCOMB ROCKS FOR THE WHITE SESAME PASTE HONEYCOMB ROCKS:

170 g (6 oz) sugar 110 g (3¾ oz) fondant patissiere 100 g (3½ oz) white sesame paste Heat the sugar and fondant in a heavy-based saucepan to 160°C (315°F). Let the mixture cool to 155°C (310°F) and then quickly add the sesame paste. Stir with a heatproof spatula until the sugars seize, and then transfer onto a tray lined with a silicone baking mat. Leave to cool completely and then break into small pieces. FOR THE BLACK SESAME PASTE HONEYCOMB ROCKS:

170 g (6 oz) sugar 110 g (3¾ oz) fondant patissiere 100 g (3½ oz) black sesame paste For the black sesame honeycomb rock, repeat the process from above.

MATCHA SUGAR 150 g (5½ oz) fondant patissiere 75 g (22/3 oz) liquid glucose 75 g (22/3 oz) isomalt 1 tablespoon matcha green tea powder Preheat the oven to 160°C (315°F/Gas 2–3). Heat the fondant and glucose in a small clean saucepan over medium–low heat until completely melted. Add the isomalt and continue to heat until dissolved. Increase the heat to high and bring to 162°C (325°F). Transfer to a tray lined with a silicone baking mat and leave to cool completely. Break up the hard sugar, place in a grinder, and grind into a fine powder. Add the green tea powder and grind again until well

combined. Line another tray with a silicone baking mat and then sieve the sugar over the mat in a thin even layer. Put the tray in the oven for 4–5 minutes and allow the sugar to melt. Remove the tray from the oven and set aside to cool slightly. When the sugar is still hot, but cool enough to handle, stretch the sugar into seaweed shapes. Leave to cool completely, then place in an airtight container until required.

YUZU SHERBET 50 g (1¾ oz) fizzy textures 250 g (9 oz) caster (superfine) sugar 2 limes, zest only, finely grated using a microplane Place the fizzy in a grinder and grind to a fine dust. Heat the sugar and 100 g (3½ oz) of water in a small deep heavy-based saucepan to 130°C (250°F). Mix together the lime zest and the fizzy so that they are evenly distributed. Add the lime mix to the hot sugar and mix together well with a heatproof spatula—being careful as the hot sugar will rise up. Pour the mix out onto a tray lined with a silicone baking mat and leave to cool slightly. When the sherbet is cool enough to handle, break into chunks and transfer to an airtight container until required.

SOFT POACHED MERINGUES 180 g (61/3 oz) organic egg whites 120 g (4¼ oz) caster (superfine) sugar 1 teaspoon cornflour (cornstarch) 1 teaspoon white vinegar 2 litres (70 fl oz/8 cups) quality fresh whole milk 1 vanilla bean, halved lengthways and seeds scraped Place the egg whites in an electric mixer bowl and whisk on medium speed until soft peaks form. Gradually add the caster sugar, in 3 batches, followed by the cornflour and vinegar. Turn up the speed to

full for a few seconds to completely incorporate the egg whites and then turn off the machine. Bring the milk and vanilla to 78°C (172°F) in a heavy-based widebased saucepan. Whisk the milk to break up the seeds from the vanilla and remove the pod. Using a spoon, scoop some meringue into the milk, making a droplet shape, and poach on each side for 2 minutes. Remove the cooked meringue and transfer to a tray lined with a silicone baking mat. Repeat to make 24 meringues and then leave to cool at room temperature until required.

TO SERVE 16 pieces crystallised coral seaweed 16 pieces crystallised wakame seaweed 16 pieces crystallised aka seaweed Pipe 3 large dots of the yuzu, white chocolate and elderflower ganache onto the bottom of each plate. Use a spoon and place 3 of the soft poached meringues in between the ganache. Place the hard meringue shards into the soft meringue and curd. Add chunks of yuzu sherbet and sesame and honeycomb rocks so that they fall into any spare gaps. Scoop the salted milk ice cream and nestle into the centre of the dessert so that it is stable. Finally, place the matcha sugar and crystallised seaweeds on top, pointing upwards. Serve immediately.

COMPROMISES ARE MADE FOR RELATIONSHIPS . . . NOT WINE.

SIR ROBERT SCOTT CAYWOOD

By Rodney Setter Eclectic. It’s not the sort of term normally used by restaurateurs when briefing a sommelier on the type of wine list they desire. It may seem a little vague, but having a licence such as this is just the kind of opportunity a sommelier dreams of. Eclectic is one thing, but the reality is that there are still boundaries. Guests need to have wine that appeals to them, the restaurant needs to make a profit, and the wine needs to work with the food.

A

wine list should never be about the sommelier, and the list at Sepia is not about me. A wine list needs to be an expression of the sommelier’s understanding of wine and how it works within the framework of a particular restaurant. So, amazingly, my task in the lead-up to the launch of Sepia, was to create a list that matched the restaurant’s persona. The original brief was simple and direct—eclectic. With lots of half bottles. I had a month, a draft copy of Martin’s opening menu and a relatively tight budget. We were opening amid the doom and gloom of 2009’s Global Financial Crisis, so there was also some self-imposed pressure to balance a risk-taking list with commercial viability—something all good sommeliers need to manage at all times. It’s a real test for a sommelier—brand-new restaurant, making a list from scratch, and finding a common ground with the owners on a clear and defined understanding of the brief, and therefore the restaurant too—in this case understanding their interpretation of ‘eclectic’. As I often do, I found myself haunting some of my favourite wine bars in Melbourne for inspiration. On one autumn afternoon, I scrawled out a first draft of the list in about an hour in one such bar. It’s a moment I’ll never forget and it’s a document I still cherish because it embodies the principles which have allowed the list at Sepia to continually grow and give our guests an exceptional yet different wine experience. Each sommelier approaches their list in a different way. I take the view that a good wine list should not be a dry recitation of the bottles available in an establishment at a given point in time. Rather, it must be provocative in the positive sense of the word. It should stimulate dialogue between the diner and server, to the mutual enjoyment of both. A great list encourages both parties to confidently explore, to learn more about the complex world of wine. As a sommelier I think it’s imperative to always keep an open mind and keep

tasting. There’s a different vintage every year and always another region to research. I don’t have favourite wines. My favourite is my next discovery, and that’s why I find wine so enthralling, and what I want to share with people when they come to Sepia. So with all that in mind, I arranged the list by variety first, country second and appellation/vintage third, from the Old World to the New World. This was probably not the easiest approach, but I did it to show that there is more to wine than just the expected and the classic. It highlights the incredible diversity of contemporary winemaking, bringing a global perspective to the table. Each of the bottles on the list, however surprising, has been chosen for its value as a true expression of its origin—the place, the vintage, the variety and the style of the vigneron. The wine by the glass programme is a good example of this diversity, offering much more than the usual suspects and at a rapidly changing pace. There is a marked predominance of aromatic whites and medium-bodied reds—a selection driven by a menu built around predominantly seafood, prepared with a combination of Japanese and modern European techniques. I look for wines with the structure to enhance these unique dishes—wines balanced between fruit, acidity, extract and alcohol so that they never overwhelm the purity of flavour and delicacy of texture in the dish. Which brings us to the issue of Australian wine. Yes, we like a lot of it and have many, but preferably not the blockbuster styles which seem to have become the standard-bearers on the international market. I am not convinced those big, fat, heavy wines really allow you to taste this kind of cooking properly. And after all, if you see yourself not as an Australian restaurant, but as a contemporary restaurant fortuitously located in Australia, then surely you have the freedom to select only the most appropriate wines from this country?

From the very beginning we have had a representation of many of the benchmark regions of Europe with vintage depth. These are, generally, the archetypes upon which our perceptions of fine wine are founded. This was not easy at first, but as our cellar has expanded, so has this component of the list. Not just France, but also Italy, Spain, Germany, Austria, Hungary . . . whatever mature bottles I can find from better years. What has also been important in the restaurant’s development has been our insistence on having people dedicated to wine service only. Otherwise, I don’t think you can offer a truly eclectic selection of wine. You just can’t. If you want to offer unusual wines then you have to have people who know the wines intimately and have time to talk to guests about them. It’s been a long and challenging adventure creating the wine programme for Sepia. It is the culmination of more than two decades of working in restaurants in Sydney, constantly thinking about food and wine, wine and food. I have made every mistake you could possibly make in wine service. You name it, I’ve done it. But, that’s how you learn, refine, adapt and succeed. Have I fulfilled the original brief? Well, no wine list is perfect, but we certainly do have a lot of half bottles!

FOOD AND WINE PAIRING For the sommelier, there is no other area of work fraught with as much tension as pairing wine with food. Everyone tastes and thinks differently. We all have a different perspective on what creates a successful match between a dish and a wine. Even I believe it’s a completely subjective experience each and every time you dine. The hardest question I get asked during service is, ‘We have ordered these dishes, can you suggest a wine to go with them?’ The problem with this question is that we have thousands of wines, we have no idea what kind of wine each particular guest

enjoys, and wine works in different ways with different dishes for different people. There are a large number of tomes available offering all sorts of opinions on how to go about the task of marrying wine and food, but what I would like to do here is offer some thoughts on how I attempt to find a pairing for the wonderful dishes created at Sepia—particularly in the context of our unique weekly degustation menus. At its most basic, wine is a lubricant, a substitute for water, but it also cleans the palate—its acidity providing refreshment and renewing the appetite. Its aromatics can emphasise the aromatics in the cooking, teasing out subtle flavours, and its components can balance the stronger elements of a dish—as a fruity wine might temper a dish rich in umami. At the same time, particular foods can flatter particular wines—as protein can soften the tannin in young red wine, and fat can seemingly lessen the acidity in some whites. These kinds of principles are generally accepted, and for me constitute the only absolute rule in pairing—which is to avoid a clash. If it is possible to analyse the structure of a dish, then it is possible to use your knowledge of the structure of a wine to create not just a harmony, but a synergy. So I always look at the dish first— its weight and textures, the intensity of its flavours—and then I think about what type of wine might complement it without confusing the essential taste of the dish. From this initial analysis, I will probably head straight for the most classic match if it already exists, but then, because I do like to do things differently, once this idea is established I will almost always travel elsewhere to find an equally successful substitute. I’ve never, for example, used Burgundy as a pairing at Sepia. While I accept unreservedly that great Burgundy of either colour can provide some of the most sublime food and wine matches it’s possible to experience, to me it seems almost lazy as a sommelier to suggest them. It’s been done a million times before and we all know that it works.

Take, for example, the recipe for the Eel with Sea Urchin Custard on without doubt, one of the trickiest dishes I’ve ever had to devise a pairing for. This dish calls for a little sweet fruit and bright acidity to cut the intensity of the smoked and soyglazed eel itself, which suggests an aromatic white like Riesling … but then consider the sea urchin, which tends to strip wine of fruit and make it uncomfortably metallic if the acid is too firm, a real problem for most Riesling with its steely backbone. This is the kind of food and wine pairing that fascinates me, and that I think our guests find so intriguing about our work at Sepia.

THE DEGUSTATION MENUS The recipes in this book are presented in the form of four special menus that may represent an experience at Sepia. I have opted to suggest wine styles rather than specific wines as pairings. They are not meant to be definitive matches, merely an exploration of the possibilities enabled by our philosophy of diversity in wine. Because each dish dictates the accompanying wine, you can consider the match in isolation, but it is also interesting to examine how we go about composing a progression of wines to work with a sequence of dishes. Seasonality plays a part, not just in the availability of produce for the dishes, but in the psychology of diners. It can be rather hot and steamy in summer in Sydney, so lighter styles of wine can offer more refreshment; conversely, while our winters are generally mild, we all tend to crave richer wines with richer food. Of course Champagne is the perfect apéritif, particularly if you have oysters to start. Just as the menus take the guest on a journey, we attempt to always use wines from different countries and vintages as pairings, opening up all sorts of curious bottles from the depths of the cellars. It’s meant to be a global tour of probably lesser-

known regions and varieties to really demonstrate our philosophy of being eclectic. It’s worth noting, too, that although I refer to these matches as ‘wines’, we often use other types of beverage to pair with dishes. The versatility of Junmai saké with seafood continues to amaze me, while lighter styles of umeshu and yuzushu can be brilliant with fruit-based desserts. Classic wine-based apéritifs, and artisanal cider and perry also offer really interesting alternatives. As the menus progress, and dishes vary and change in intensity, so too the wines in weight and texture. It’s fairly conventional to serve lighter whites first then heavier red wines with the final savoury courses, but sometimes fuller bodied wines may come earlier and sometimes there may be only one medium-bodied red. It all depends on the individual dishes. Traditional progressions of light to heavy wines have their place, but you don’t need to limit yourself to this approach. When it comes to cheese courses we always pair something with some sweetness to balance the saltiness of the cheese, and often gently sparkling to carry the satiny texture of the cheese itself. And then the sweet courses, where we like to use equally sweet wines, but never any which are too viscous or heavy. Great sweet wines are, I think, never cloying or ‘sticky’. And as the final dessert is often composed around an element of chocolate, we have the chance to explore some of the world’s great fortified styles. In all of this, I have to acknowledge the role of the chef. Without Martin Benn’s generosity and encouragement in exchanging ideas and tastes, none of this would be possible. What our guests experience at the table, the ‘theatre’, is the result of a long process each week, a dialogue between chef and sommelier that I feel very fortunate to be a part of. I am continually humbled by the brilliance and the passion of the people I work with—the chefs and the waiters, the winemakers and wine merchants. Hopefully, when you dine

with us, you will also sense their dedication in the precision of our wine service. Life really is too short to drink dull wine.

IN VINO CIVILITAS—CONFESSIONS OF A SOMMELIER A sommelier has knowledge—please use it. We’re here to add value to your experience, to take you on a journey. Don’t be intimidated, tell us what you want and we’ll find something that suits. At Sepia, it’s all about surprise. Free your mind. Don’t worry if you’ve never tried Timorasso before, we have, and it can be quite delicious. Delicious is a word I use an awful lot. Champagne is the perfect drink. Complex, subtle, light, intense, appetising, refreshing, cerebral, luxurious, celebratory, adult, magnificent. Although there is also gin . . . We’ve tried really hard to write a really diverse and eclectic wine list. This may not include your favourite wines. Sorry. We thought you were here for something different because, hey, this food is unique. The wine list at Sepia is not about me. I’m not embarrassed to list wines I don’t actually like to drink. If they make you happy then that makes me happy. No wine list is perfect. I’m afraid I kind of judge people by their ability to use a table of contents. And I loathe spelling mitsakes. If you find any, kindly let me know.

Sophisticated wine bars are important. No grown-up city should be without them. Just for the record, sake is not a spirit and I really don’t believe you’re allergic to rice, water and yeast. Cocktails must have bite. A well-chosen selection of half bottles is the opportunity for so much fun. If only more Australian wine was about place, not a formula. I guess we’ll get there. Travel is essential. Not just for sommeliers. Research is crucial. The time it takes can be exhausting. Unlike travel. I talk very rapidly and use a lot of adjectives. I’m just trying to give you a thumbnail picture of the wine without boring you. You’re only as good as the hundreds of people you depend on. Chef, chefs, assistant sommelier, waiters, wine waiters, managers, accountants, the people who wash and polish all those dirty glasses; vignerons, wine makers, wine merchants, wine writers; your peers in the industry; the list goes on and on. I’ll never forget this: ‘The restaurant is the theatre for fine wine.’ Thank you, Angelo Gaja.

KINGFISH BACON TROUT ROE PONZU ‘SCALLOP SUSHI’ CHÈVRE BEETROOT RYE TUNA MISO MUSTARD DASHI WHITING WATER CHESTNUT NAMEKO CRAB HIJIKI HEIRLOOM TOMATO PRAWN JAMON MITSUBA YUZU EGG YOLK TRUFFLE CAULIFLOWER PARTRIDGE NORI CHESTNUT MUSHROOM WAGYU SEA URCHIN WASABI CHEDDAR PLUM APPLE LEMON LEAF MERINGUE LEMON ASPEN FENNEL LICORICE SHEEP’S YOGHURT RICE PUDDING WHITE CHOCOLATE HONEY VIOLET

KINGFISH BACON WITH SMOKED OCEAN TROUT ROE AND PONZU DRESSING WINE SUGGESTION: Rosé de Saignée Champagne SERVES 8

YUZU-INFUSED OIL 150 ml (5 fl oz) olive oil 4 yuzu, zest only, finely grated using a microplane Heat a circulating water bath (or a saucepan filled with water) to 70°C (158°F) . Pour the olive oil and zest into a small vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Place the vacuum bag in the water bath and cook for 12 hours. Remove and refrigerate until required. Strain the oil through a sieve lined with an oil filter when ready to use.

KINGFISH BACON 1 large hiramasa kingfish fillet, about 800 g–1 kg (1 lb 12 oz–2 lb 4 oz) 14 thin slices iberico jamon 30 ml (1 fl oz) yuzu-infused oil (see above) For this recipe you use the back quarter loin only—approximately 30 cm (12 in) long and 400–450 g (14 oz–1 lb). Reserve the remainder for another application. Place the kingfish loin on a board and remove the skin and excess blood line. Cut the loin into 3 even 10 cm (4 in) blocks. Working with 1 block at a time, thinly slice the kingfish into strips the length of each

piece, to make about 6–7 slices per block. Repeat with the other 2 kingfish loins to produce 18 slices. Lay 1 slice of the kingfish on the bench, trim, and arrange a slice of jamon to cover it. Next, cover with a slice of kingfish. Repeat the process to make a block with 8 layers of kingfish and 7 layers of jamon. Trim the edges to make a neat block, about 10 cm (4 in) high. Repeat with the remaining kingfish and jamon slices to make a second layered block. Carefully place the kingfish blocks in individual vacuum bags and seal in a chamber vacuum sealer on full to remove any air. Place the bags in the freezer and freeze for 4–5 hours until firm. Meanwhile, cut nine 12 cm (4½ in) squares of non-stick baking paper. Brush each sheet with a little yuzu-infused oil and set aside. Remove the kingfish blocks from the freezer and unwrap. Place the kingfish on a slicer with the strips of kingfish and jamon facing the direction of the blade. Set the thickness to 1–2 mm (1/32–1/16 in), then cut a thin slice and place it on the tray. Brush the slice of kingfish and jamon with a little yuzu-infused oil and then place another sheet of the baking paper on top, with the oiled side facing up. Continue to slice and place the kingfish until you have the best 8 slices of kingfish bacon layered between 9 sheets of non-stick baking paper.

PONZU DRESSING 50 g (1¾ oz) ponzu (preferably Fukuizumi) 33 g (1¼ oz) caster (superfine) sugar 25 g (1 oz) shibanuma soy sauce 10 g (¼ oz) ichiban dashi or use water ½ fresh yuzu, juice and zest, finely grated using a microplane Pour the ponzu into a bowl and add sugar. Whisk until all the sugar has dissolved and then add the soy, dashi and yuzu. Refrigerate until required.

TO SERVE 20 ml (½ fl oz) yuzu-infused oil (see left) 120 g (4¼ oz) smoked ocean trout roe 1 teaspoon chopped chives flaked sea salt Remove the top layer of non-stick baking paper from the kingfish bacon and discard. Take the next sheet of non-stick baking paper with the kingfish on it and place it, centred on a serving plate. Remove the baking paper and discard. Repeat with the remaining 7 plates. Mix the ponzu dressing and the yuzu-infused oil together in a bowl. Brush the kingfish with the dressing in one gentle movement, being careful not to distort the jamon. Mix the smoked ocean trout roe and chives together in a bowl. Place the roe and chives onto the sliced kingfish bacon in two straight lines. Drizzle with a little of the remaining dressing and season with sea salt. Serve immediately.

‘SCALLOP SUSHI’ NORI-ROLLED SEA SCALLOPS WITH AVOCADO CREAM, PICKLED GINGER AND PUFFED SUSHI RICE WINE SUGGESTION: Mosel Kabinett Riesling SERVES 8

NORI ASH 12 A-grade nori sheets, about 18 x 20 cm (7 x 8 in) each 100 ml (3½ fl oz) sugar syrup (100 per cent) 2 g (1/10 oz) fine sea salt 10 g (¼ oz) carbonised bamboo powder (optional) Line a bench top with plastic wrap and lay out 3 of the nori sheets. Use a pastry brush and brush each sheet with the sugar syrup. Place another nori sheet on top of the 3 sugar-coated nori sheets and brush with sugar syrup. Repeat to make 4 layers. Place the nori sheets on dehydrator trays, place in a food dehydrator and dehydrate at 55°C (130°F) for 24 hours until very crisp. Break up the crisp nori sheets and place into a grinder. Add the salt and grind to a fine powder. Sift the powder through a chinois. Measure 30 g (1 oz) of the powdered nori into a bowl and add the carbonised bamboo powder (if not using, the ash will not be as dark). Mix together well and then transfer to an airtight container until required.

PICKLED GINGER GEL 300 ml (10½ fl oz) pickled ginger juice (from good quality jars of Japanese pink-pickled sushi ginger)

3.2 g (1/10 oz) agar powder Put the ginger juice in a small heavy-based saucepan over high heat and bring to the boil. Whisk in the agar. Bring back to the boil, whisking constantly, and cook for 30 seconds. Pour the hot ginger mixture into a container, leave to cool completely, and then refrigerate for 4–6 hours until completely set. Break up the ginger gel using a hand-held blender and then place in a vita-prep (or high-speed blender). Blend the gel on high speed until smooth. Pour the gel into a medium vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Pour the gel into a squeeze bottle and refrigerate until required.

AVOCADO CREAM 2 Shepherd avocados 30 g (1 oz) quality fresh whole milk pinch fine sea salt pinch white pepper pinch cayenne pepper Cut the avocados in half and remove the stones. Using a spoon, scrape the flesh from the avocados, including all the green part beneath the skin, to yield 300 g (10½ oz). Put the avocado, milk, salt, pepper and cayenne pepper in a blender and purée on high speed until the mixture is smooth and creamy. Strain the avocado cream through a chinois and taste for seasoning. Pour into a squeeze bottle and refrigerate until required.

NORI-ROLLED SEA SCALLOPS 40 g (1½ oz) nori ash (see left) 24 large sashimi-grade scallops, at room temperature 60 ml (2 fl oz/¼ cup) vegetable oil

Place the nori ash in a bowl, add 1 scallop and evenly coat in the powder. Place the scallop on a tray and repeat with the remaining 23 scallops. Heat a non-stick frying pan over medium–low heat. Add 1 tablespoon of the vegetable oil to coat the base of the pan. Add 8 scallops and cook slowly over low heat on 1 side for about 2 minutes. Turn over the scallops and cook for the same amount of time. Be careful not to overcook the scallops. Remove the scallops and place on paper towel to drain off the excess oil. Season with sea salt and keep warm. Clean the pan. Repeat with the remaining oil and scallops in 2 batches. Keep warm until required.

TO SERVE 20 g (¾ oz) puffed sushi rice 24 Australian native violets 8 heartsease violets 16 red nasturtium leaves 24 red vein baby sorrel leaves 16 marigold petals 8 begonia flowers 8 borage flowers Dot the avocado cream on each plate in varying large and small amounts. Repeat with the pickled ginger gel. Spoon small amounts of the puffed sushi rice onto the avocado cream. Place the nori-rolled sea scallops on the plate around the avocado cream and ginger gel. Finish by scattering the flowers and herbs in and around the avocado cream and ginger gel to garnish. Serve immediately.

GOAT’S MILK CHÈVRE WITH BEETROOT BUTTER, RHUBARB, BEETROOT RYE AND DRIED GOAT’S MILK WINE SUGGESTION: Alsatian Pinot Gris SERVES 8

HOMEMADE CHÈVRE 4.5 litres (157 fl oz/18 cups) quality fresh goat’s milk, aged for 4 days in the fridge 1 sachet C20G chèvre culture 20 g (¾ oz) fine sea salt Reserve 500 ml (17 fl oz/2 cups) of the fresh goat’s milk in the fridge for the goat’s milk foam. Heat the remaining 4 litres (140 fl oz/16 cups) of milk in a saucepan over low heat to 34°C (93°F). Remove from the heat and add the culture and salt, and stir well for 30 seconds. Place the milk in a clean sterilised container and leave at room temperature (ideally at 24°C/75°F) for 16 hours. Put the cheese in a muslin-lined (cheesecloth-lined) sieve placed over a bowl and refrigerate for 6–8 hours to drain. Pass the cheese through a fine drum sieve and refrigerate until required.

BEETROOT GLASS TO MAKE THE BEETROOT REDUCTION:

3 kg (6 lb 12 oz) peeled beetroot (beets), cubed 2 tablespoons sherry vinegar Place the beetroot in a thermomix and blend on high speed until puréed. Strain the pulp through a fine sieve lined with a triple layer of

muslin (cheesecloth) and squeeze out as much of the juice as possible to make about 2 litres (70 fl oz/8 cups) of beetroot juice. Add the sherry vinegar, pour into a saucepan and bring to the boil. Continue to boil to reduce the juice by half, then remove from the heat and leave to cool completely. TO MAKE THE GLASS:

500 ml (17 fl oz/2 cups) beetroot reduction (see above) 6 g (1/5 oz) agar powder Cut eight 20 x 6 cm (8 x 2½ in) sheets of acetate and set aside. Pour the beetroot reduction into a small saucepan over high heat. Add the agar and bring to the boil, whisking constantly. Boil for 30 seconds and then strain the beetroot mixture into a container over iced water, and refrigerate for 3–4 hours until set. Break up the gel using a hand-held blender and then pour into a vita-prep (or high-speed blender). Blend the beetroot on high speed until smooth and then strain through a fine chinois. Place the beetroot gel into a high deep container and seal in a chamber vacuum sealer on full to remove any air. Lay the pre-cut acetate sheets on the bench top. Spread the beetroot gel over the acetate in an even layer, about 1 mm (1/32 in) thick. Place the acetate on dehydrator trays in a food dehydrator and dehydrate at 55°C (130°F) for 48 hours until dry and crisp. Leave in the dehydrator until required.

BEETROOT RYE 1 loaf seeded rye bread, crust removed 500 ml (17 fl oz/2 cups) beetroot reduction (see beetroot glass recipe left) Using a slicer, cut the bread into 2 mm (1/16 in) thick pieces. Pour the beetroot reduction into a shallow container. Add the slices of rye bread, one at a time, and leave to soak for 40 seconds. Drain the rye,

place on a dehydrator tray in a food dehydrator and then dehydrate at 60°C (140°F) for 24 hours. Transfer to an airtight container until required.

RHUBARB GEL TO MAKE THE RHUBARB JUICE REDUCTION:

1.4 kg (3 lb 2 oz) rhubarb 200 g (7 oz) sugar Wash and remove the green leaves from the rhubarb. Cut the rhubarb into 2–3 cm (¾–1¼ in) lengths and then place into a thermomix and blend for 1–2 minutes on high speed until completely juiced. Strain the rhubarb through a fine sieve lined with a triple layer of muslin (cheesecloth) and squeeze out as much juice as possible to yield 1 litre (35 fl oz/4 cups) of rhubarb juice. Place the juice and sugar into a large heavy-based saucepan over medium–high heat. Bring the juice to a simmer and then turn the heat to very low. Skim any scum from the surface and reduce the rhubarb by half. TO MAKE THE GEL:

500 ml (17 fl oz/2 cups) rhubarb juice reduction (see above) 6 g (1/5 oz) agar powder 5.5 g (1/8 oz) sodium citrate Pour the rhubarb syrup into a medium saucepan over medium–high heat. Add the agar and citrate and bring to the boil. Boil for 30 seconds and strain the syrup through a chinois into a container over iced water. Refrigerate for 3–4 hours until set. Break up the gel with a hand-held blender then pour the rhubarb gel into the vita-prep (or high-speed blender). Blend the rhubarb on high speed until smooth, and then pass through a fine chinois. Place the rhubarb gel into a high deep container and seal in a chamber

vacuum sealer on full to remove any air. Transfer the gel to a squeeze bottle and refrigerate until required.

GOAT’S MILK FOAM 500 ml (17 fl oz/2 cups) reserved aged goat’s milk 500 ml (17 fl oz/2 cups) quality fresh whole milk 55 g (2 oz) liquid glucose Preheat the oven to 90°C (195°F). Pour both milks and the glucose into a medium heavy-based saucepan and bring to the boil. Remove from the heat and leave to cool slightly. Using a hand-held electric whisk, whisk the mixture until it foams and holds its volume. Spoon the mixture into two 30 x 20 x 5 cm (12 x 8 x 2 in) trays. Cook for 1 hour until the milk is dry and crisp—it will collapse slightly.

BEETROOT BUTTER 355 g (12½ oz) peeled and diced beetroot (beets) 125 g (4½ oz) unsalted butter, diced 1 g (1/25 oz) fine sea salt Preheat a combi oven on steam to 90°C (195°F). Place the diced beetroot in a medium vacuum bag with the diced butter and salt. Seal in a chamber vacuum sealer on full to remove any air and then cook for 45 minutes or until tender. Remove the cooked beetroot from the vacuum bag and drain the beetroot from the cooking butter, reserving the beetroot butter juices, and then transfer the beetroot into a vita-prep (or high-speed blender). Pour the drained beetroot butter into a saucepan over high heat and reduce until all the milk solids are cooked out. Start blending the beetroot on high speed and gradually add the butter. Blend until the beetroot is smooth and creamy. Season to taste, transfer to a container, and refrigerate until required.

APPLE BALSAMIC 300 ml (10½ fl oz) balsamic vinegar

300 ml (10½ fl oz) strained fresh green apple juice Pour the balsamic vinegar and apple juice into a saucepan and bring to the boil over high heat. Reduce the vinegar and juice by two-thirds or until thick and syrupy. Set aside to cool to room temperature. Pour into a squeeze bottle and refrigerate until required.

GLAZED BABY BEETS 16 purple baby beetroot (beets), washed, trimmed and with root attached 4 cm (1½ in) kombu strip 100 ml (3½ fl oz) rice wine vinegar 150 g (5½ oz) caster (superfine) sugar 20 g (¾ oz) unsalted butter fine sea salt and freshly ground black pepper Using a small scrubbing brush, scrub the beetroot under cold running water. Pour 1.5 litres (52 fl oz/6 cups) of water into a saucepan over medium heat. Add the kombu, heat to 60°C (140°F) and maintain the temperature for 30 minutes. Remove the kombu and discard. Add the beetroot and bring to a light simmer. Cook for 20–30 minutes until the beets are tender, then remove from the heat. Leave to cool slightly. Once the beets are cool enough to handle, strain through a chinois, reserving the cooking juices. Peel the beets and keep the roots intact. Place the beets in a container and refrigerate until required. Measure 200 ml (7 fl oz) of the cooking liquor into a heavy-based saucepan over high heat. Add the rice wine vinegar and sugar and reduce the liquid by half. Add the butter and whisk to emulsify. Put the beetroot into the glaze and warm through. Season with salt and pepper. Cover and keep warm until required.

TO SERVE 8 baby beetroot leaves 8 baby silverbeet (Swiss chard) leaves

Put the beetroot butter in a small saucepan and warm through gently. Transfer to a squeeze bottle. Spoon some of the homemade chèvre into the centre of each plate. Place 2 of the glazed baby beets around the cheese. Add a few dots of the warmed beetroot butter around the chèvre. Repeat with the chilled rhubarb gel. Drizzle a little of the apple balsamic over the beetroot butter and rhubarb gel, but not the chèvre. Break the beetroot rye into long shards and place them in the cheese. Repeat with the goat’s milk foam and the beetroot glass. Garnish with a baby beetroot leaf and baby chard leaf, and serve immediately.

YELLOWFIN TUNA WITH GOAT’S MILK FROMAGE BLANC, MISO MUSTARD AND ICHIBAN DASHI JELLY WINE SUGGESTION: Junmai-Ginjo Yamahai Saké SERVES 8

ICHIBAN DASHI JELLY 320 g (11¼ oz) ichiban dashi 30 g (1 oz) shibanuma soy sauce 20 g (¾ oz) shiro dashi 20 g (¾ oz) mirin 1.8 g (1/20 oz) agar powder 3 g (1/10 oz) gold strength gelatine leaves Pour the ichiban dashi into a small saucepan and add the soy, shiro dashi and mirin. Whisk in the agar. Bring the mixture to a simmer and cook for 20 seconds. Remove from the heat and leave to cool slightly. Soak the gelatine in iced water to hydrate. Squeeze out the excess water and then add the gelatine to the pan and mix well to combine. Clean and dry three 23 x 17 cm (9 x 6½ in) trays. Strain the dashi mixture through a chinois and pour into the trays to make about 130 ml (4¼ fl oz) per tray. Refrigerate for 1 hour to set. Pre-cut nine 12 cm (4½ in) squares of non-stick baking paper. Using a round 10 cm (4 in) cutter, cut out 3 discs of jelly from each tray to make 9 discs (including 1 spare). Use a palette knife and transfer the rounds onto the baking paper squares. Place the discs on a clean tray and refrigerate until required.

TUNA TARTARE

500 g (1 lb 2 oz) sashimi-grade yellowfin tuna, back quarter fillet centre cut 2 tablespoons olive oil 40 g (1½ oz) kishibori soy sauce 25 g (1 oz) mirin pinch freshly ground white pepper 1 teaspoon finely chopped eschalots 1 teaspoon finely chopped chives 1 tablespoon salted capers, rinsed and chopped Put the tuna block on a board and dice into neat 1 cm (½ in) cubes. Place the diced tuna in a bowl, add the olive oil and mix gently to coat. Add the soy sauce and mirin, and gently stir through, being careful not to overmix. Sprinkle over the white pepper, eschalots, chives and capers and gently mix through. Set aside until required.

TO SERVE 100 ml (3½ fl oz) tamari soy sauce 10 g (¼ oz) ultra tex 8 160 g (52/3 oz) goat’s milk fromage blanc (store-bought) 80 g (2¾ oz) miso mustard 32 red mustard cress leaves 32 shiso leaves 32 amaranth leaves 32 land cress leaves 50 katsuobushi shavings Pour the tamari into a small bowl. Use a small sieve and sift in the ultra tex 8 while whisking. Place the mixture in a vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Leave to rest for 30 minutes and then pour the thickened tamari sauce into a squeeze bottle. Preferably using shallow coupe-shaped bowls, place a 7 cm (2¾ in) ring mould in the centre of each bowl and add a spoonful of the

fromage blanc. Fill the centre of the mould with the tuna tartare, to cover the fromage blanc. Press down lightly to make sure it is nice and even. Pipe a little miso mustard and thickened tamari in between the cracks of the tuna dice. Remove the ring from around the tuna. Place the ichiban dashi jelly, baking paper side up, centred, on top of the tuna. Peel off the baking paper and repeat with the remaining jellies. Garnish around the base of the tuna with the leaves. Place the katsuobushi shavings on top of the leaves and jelly. Serve immediately.

KING GEORGE WHITING WITH TASMANIAN TRUFFLE JELLY, WATER CHESTNUT, NAMEKO MUSHROOMS AND PEA SPROUTS WINE SUGGESTION: Châteauneuf-du-Pape Blanc SERVES 8

CHESTNUT MUSHROOM JELLY 300 g (10½ oz) chestnut mushroom consommé 1.7 g (1/20 oz) agar powder 2 g (1/10 oz) gold strength gelatine leaves Pour the consommé into a small saucepan over high heat and whisk in the agar. Bring to a simmer and cook for 30 seconds. Soak the gelatine in iced water until hydrated. Squeeze out the excess water, add the gelatine to the consommé, and then strain the mixture through a chinois. Measure the liquid equally into two 24 x 18 x 2 cm (9½ x 7 x ¾ in) trays. Leave to set at room temperature for 30 minutes, and then refrigerate for 30 minutes to set completely. Cut the jelly into 8 rectangles large enough to cover the whiting. Line a tray with non-stick baking paper. Using a palette knife, place the jellies on top. Cover with another layer of baking paper and then refrigerate until required.

CONFIT GARLIC EMULSION FOR THE CONFIT GARLIC:

1 garlic bulb, cloves separated and peeled 250 ml (9 fl oz/1 cup) olive oil 1 thyme sprig

4 whole peppercorns 1 bay leaf Place the garlic into a small heavy-based saucepan and completely cover with the olive oil. Gently cook for 30 minutes over low heat or until the garlic is soft. Remove from the heat and leave to cool. Strain through a fine sieve lined with an oil filter. Reserve the garlic cloves, and measure out 100 ml (3½ fl oz) of the garlic-infused olive oil. Set aside, separately, until required. FOR THE EMULSION:

3 organic eggs 15 g (½ oz) dijon mustard 50 g (1¾ oz) reserved confit garlic cloves (see above) 15g (½ oz) chardonnay vinegar 5 g (1/8 oz) freshly squeezed lemon juice 2 g (1/10 oz) fine sea salt pinch freshly ground white pepper 100 ml (3½ fl oz) garlic-infused olive oil (see above) 75 ml (2¼ fl oz) extra virgin olive oil Heat a circulating water bath (or a saucepan filled with water) to 63.5°C (147°F). Add the whole eggs in their shells and cook for 1 hour. Remove and set aside to cool. Peel the cold eggs, remove the yolks, and discard the whites. Place the egg yolks, confit garlic cloves, mustard, vinegar and lemon juice in a high-speed blender and blend on high speed until smooth. Add the salt and pepper and blend again. Combine the 2 oils in a measuring jug (pitcher) and slowly pour into the blender, blending constantly. Continue to blend on full until the mixture is thick and creamy. Season to taste and then pour into a squeeze bottle and refrigerate until required.

KING GEORGE WHITING

8 King George whiting, about 350 g (12 oz) each 2 kg (4 lb 8 oz) katsuobushi-infused clarified butter 4 g (1/10 oz) truffle salt (store-bought) 1 black truffle, about 30 g (1 oz) 8 chestnut mushroom jellies (see previous page) Fillet the whiting and remove the skins and pin bones. Lay a sheet of plastic wrap on the bench top and then lay 2 fillets from the same fish head to tail and shape together. Roll in the plastic wrap and leave to set together. Repeat with the remaining fillets. Refrigerate for 2 hours. Preheat the oven to 100°C (200°F/Gas ½). When ready to serve, heat the infused butter into a deep heavybased saucepan to 68°C (154°F). Cut the ends off the plastic wrap, place all the wrapped fillets in the hot butter, and poach for 6–7 minutes. Remove the fish, unwrap and place on a baking tray. Season with truffle salt. Thinly shave the truffle and place the slices over the fillets. Lay a sheet of chestnut mushroom jelly over the truffle. Place the tray in the oven for 30–45 seconds to warm the jelly.

NAMEKO MUSHROOMS 40 g (1½ oz) unsalted butter, diced 20 g eschalots, finely diced 200 g (7 oz) nameko mushrooms, trimmed and cleaned 20 g (¾ oz) smoky rice wine vinaigrette fine sea salt and freshly ground pepper Heat a medium heavy-based frying pan over medium–high heat. Add the butter and heat until foaming. Add the eschalots and cook quickly for 10 seconds. Add the cleaned nameko mushrooms and sauté until just tender. Deglaze the pan with the smoky rice wine vinaigrette. Season with salt and pepper, drain into a bowl, and keep warm.

TO SERVE 4 fresh water chestnuts, shaved 8 snow pea tendrils 8 white pea flowers 8 pink pea flowers Place the poached King George whiting on the centre of each plate at a slight angle. Spoon the nameko mushrooms from top to bottom of the plate, crossing the King George whiting. Add dots of the confit garlic emulsion around the fish. Place two shavings of water chestnuts in and around the fish and mushrooms. Finally, finish with the snow pea tendrils and the pea flowers. Serve immediately.

POACHED KING CRAB WITH GREEN TOMATO AND LEMON VERBENA, HIJIKI AND HEIRLOOM TOMATO MOUSSE WINE SUGGESTION: Albariño SERVES 8

GREEN TOMATO AND LEMON VERBENA NECTAR 1 kg (2 lb 4 oz) green tomatoes 1 Lebanese cucumber ¼ celery stalk ½ garlic clove 1 eschalot 6 lemon verbena leaves 4 g (1/10 oz) fine sea salt 10 g (¼ oz) caster (superfine) sugar 100 ml (3½ fl oz) sushi vinegar Cut the green tomatoes into small pieces and place in a deep tray. Chop the cucumber, celery, garlic and eschalot into a small dice and then mix through the tomato. Tear the lemon verbena leaves and add to the tomatoes and vegetables. Add the salt, sugar and vinegar and mix together well, squashing the tomatoes with your hands. Cover and refrigerate for 24 hours, turning the tomatoes with a large spoon after 12 hours. Put the macerated tomato mixture through a mincer, mincing using a coarse blade. Replace the blade with a finer blade and repeat. Strain the mixture through a fine sieve lined with an oil filter over a bowl and leave to drain for 24 hours, to extract a clear green nectar.

GREEN TOMATO AND LEMON VERBENA JELLY

400 g (14 oz) green tomato and lemon verbena nectar (see above) 8 g (3/10 oz) gold strength gelatine leaves Pour the nectar into a mixing bowl and measure 50 ml (12/3 fl oz) into a very small saucepan. Heat over low heat to 50°C (120°F). Soak the gelatine in iced water until completely hydrated. Squeeze out the excess water and add the gelatine to the warm nectar. Stir until completely dissolved. Pour the warm gelatine nectar into the remaining nectar and whisk to combine. Pour the mixture into a container and refrigerate for 4 hours until set. Break up the jelly with a whisk and then refrigerate again until required.

SPICED TOMATO MOUSSE 200 g (7 oz) spiced tomato nectar 3 g (1/10 oz) gold strength gelatine leaves Pour the spiced tomato nectar into a mixing bowl and measure 50 ml (12/3 fl oz) into a very small saucepan. Heat over low heat to 50°C (120°F). Soak the gelatine in iced water until hydrated. Squeeze out the excess water and add the gelatine to the warmed nectar. Stir well until the gelatine is combined. Pour the warm gelatine nectar into the remaining nectar and whisk to combine. Pour the mixture into a 500 ml (17 fl oz/2 cups) syphon and place the lid on. Charge twice with nitrous oxide. Shake well between each charge. Set the syphon over a bowl of iced water and refrigerate for at least 3 hours until required.

HIJIKI SEAWEED 20 g (¾ oz) dried hijiki seaweed 150 ml (5 fl oz) tosa soy sauce 70 ml (2¼ fl oz) mirin

1 tablespoon caster (superfine) sugar 30 ml (1 fl oz) shiro dashi Place the hijiki in a bowl, cover with cold water and leave to soak for 1 hour. Put 1 litre (35 fl oz/4 cups) of water and the tosa soy, mirin, sugar and shiro dashi in a medium heavy-based saucepan, and bring to a simmer over high heat. Drain the hijiki, add to the pan and bring to the boil. Remove from the heat, pour into a container and leave to cool at room temperature. Refrigerate the hijiki, in the liquid, until required.

FROZEN TOMATO NECTAR SHELLS 300 ml (10½ fl oz) spiced tomato nectar 10 water bomb balloons 2 litres (70 fl oz/8 cups) liquid nitrogen Place a tray in the freezer to chill. Using a syringe, measure out 30 ml (1 fl oz) of the nectar. Half fill a balloon with air, hold the top closed with your fingers and then insert the syringe. Inject with the nectar into the balloon, release the balloon slightly so it deflates to about 4.5 cm (1¾ in) and then tie off the end. Pour the nitrogen into a nitro bowl and leave it to freeze for about 1 minute until the bubbles stop on the surface. Roll the balloon in the nitrogen, keeping it moving at all times to make the tomato nectar freeze to the outer edges of the balloon. When the balloon is completely frozen, transfer to the freezer. Repeat with the remaining balloons (including 2 spares). Remove the balloons, one at a time, from the freezer and remove the balloon by cutting it away from the frozen tomato nectar. Return to the freezer. Heat an apple corer over a gas flame until it glows hot. Use the corer to melt a hole at the end of the tomato shell where the balloon was tied. Place the shell back into the freezer and repeat with the remaining balloons. Keep on the tray in the freezer until required.

KING CRAB 1 live king crab, about 4 kg (9 lb) 8 litres (280 fl oz/32 cups) court bouillon Place the crab in the freezer for 1 hour. This will send it to sleep. Bring the court bouillon to a rolling boil in a large saucepan. Add the crab and cook for 14 minutes, then plunge into iced water to refresh. Leave to cool. Remove the legs from the crab and set aside. Pick the crab meat from the body, place on paper towel in a container and refrigerate until ready to serve. Remove the shell from the legs, keeping the meat in whole pieces as much as possible. Place the leg meat on paper towel in another container and refrigerate until required. FOR THE KING CRAB LEGS:

1 teaspoon lemon zest, finely grated using a microplane 60 ml (2 fl oz/¼ cup) smoky rice wine vinegar 1 teaspoon white soy sauce (preferably teraoka shiro shoyu) 1 teaspoon mirin 100 g (3½ oz) unsalted butter, diced 400 g (14 oz) reserved cooked king crab legs shelled (see above) fine sea salt and freshly ground white pepper Mix the lemon zest, vinegar, white soy and mirin together in a bowl. Heat the butter in a medium saucepan over medium heat until it begins to bubble lightly. Add the crab legs and baste in the butter until the meat is warmed through and a dark red pigment is visible. Remove from the heat, add the lemon mixture and coat the crab legs well. Season with the salt and pepper and keep warm until required.

TO SERVE 20 ml (½ fl oz) extra virgin olive oil 20 g (¾ oz) tomato powder 24 sprigs lemon verbena flowers

Place the king crab legs in a circle in the centre of each plate, with the reserved picked crab meat from the body in the middle. Add a spoonful of the green tomato and lemon verbena nectar jelly into the centre of the crab. Drain the hijiki seaweed and sprinkle on top of the crab and around the plate. Add a few drops of olive oil. Working quickly, remove the frozen tomato nectar shells from the freezer. Shake the spiced tomato mousse syphon well and then fill the inside of each frozen shell. Place the tomato shells back on the chilled tray, hole side down, and dust with tomato powder. Place the upside down filled tomato shells on top of the tomato jelly in the centre of the plate. Garnish with lemon verbena flowers. Serve immediately.

TIGER PRAWN SKIN WITH IBERICO JAMON DASHI, BABY FENNEL, MITSUBA, YUZU AND SEA SPRAY WINE SUGGESTION: Falanghina SERVES 8

MITSUBA POWDER 2 bunches mitsuba Pick the leaves from the mitsuba and reserve the stems for the jamon dashi (see below). Place the leaves onto a dehydrator tray in a food dehydrator and dehydrate at 55°C (130°F) for 36 hours or until fully dehydrated. Place the dried leaves into a grinder and grind into a fine powder. Sift the powder through a fine sieve and then store in an airtight container until required.

JAMON DASHI 10 cm (4 in) kombu strip (rishiri) 300 g (10½ oz) thinly sliced jamon 2 bunches reserved mitsuba stems 60 g (2¼ oz) katsuobushi flakes (store-bought bonito flakes) 25 g (1 oz) shiro dashi 15 g (½ oz) white soy sauce (preferably teraoka shiro shoyu) 15 g (½ oz) organic Shoda soy sauce Place 3 litres (105 fl oz/12 cups) of water and the kombu in a large bowl and leave to soak for 30 minutes. Pour the hydrated kombu and soaking water into a heavy-based saucepan and heat to around 62°C (144°F). Maintain the temperature for 30 minutes.

Remove the kombu from the pan and discard. Add the sliced jamon to the pan, increase the temperature to 90°C (195°F) and simmer gently for 2 hours to reduce the liquid to about 1.5 litres (52 fl oz/6 cups). Add the mitsuba stems and cook for a further 15 minutes. Remove the stock from the heat and strain through a fine chinois. Put the katsuobushi in a bowl. Strain the hot jamon stock, again, over the katsuobushi to refresh the dashi. Season the stock with the shiro dashi and the 2 soy sauces. Set the bowl over iced water to cool and refrigerate until required.

TIGER PRAWN SKIN 8 tiger prawns, about 60 g (2¼ oz) each Remove the heads and peel the shells from the tiger prawns and set aside for another application. Working with 1 prawn at a time, place the prawn on a board, with the belly facing upwards. Using a sharp knife cut down the belly of the prawn from head to tail until you get to the intestinal tract. Pick out the tract, and the prawn should look like it has been butterflied open. Preheat a combi oven on steam to 63°C (147°F). Score the prawn meat, criss-crossing with a sharp knife, and then place into a 165 x 225 mm (6½ x 8½ in) vacuum bag. Seal in a chamber vacuum sealer on full to remove any air. Using a meat tenderiser (or a rolling pin), flatten the prawns on the flesh side only. Using a rolling pin, roll the prawn so it thinly extends across the whole bag. Repeat with the remaining prawns. Place the prawn sheets in a single layer on a perforated tray. Place the tray in the combi oven and cook for 5 minutes. Refresh the prawn sheets in iced water and then refrigerate until required.

SHAVED FENNEL 4 finger fennel

Remove the fennel tops and wash the fennel under cold running water to remove any dirt. Thinly slice the fennel on a mandolin and then place in iced water until required.

TO SERVE 1 yuzu 20 ml (½ fl oz) virgin white sesame oil 8 sea spray sprigs Preheat the combi oven on steam to 50°C (120°F). Warm 800 ml (28 fl oz) of the jamon dashi in a medium saucepan to 80°C (175°F). Just before serving, carefully cut away the edges of the vacuum bag around the tiger prawn skin. Place the sheets in a single layer on a perforated tray and cook for 3 minutes. Warm eight deep bowls, drain the water from the fennel and place a few slices into each bowl. Once the prawn skins are warmed through, peel away the top sheet of plastic and place 1 skin into each bowl. Pour about 100 ml (3½ fl oz) of the hot jamon dashi over each portion. Microplane a little of the yuzu zest over each of the prawn skins. Using a small sieve, dust the mitsuba powder over the entire dish. Finish with a few drops of the sesame oil and a sprig of sea spray seaweed. Serve immediately.

SLOW-POACHED EGG YOLK AND TASMANIAN TRUFFLE WITH MUSHROOM DASHI JELLY, SAIKYO MISO AND CAULIFLOWER WINE SUGGESTION: Petite Arvine SERVES 8

SLOW-POACHED TRUFFLE EGG YOLK 8 organic eggs 1 Tasmanian black truffle, about 80 g (2¾ oz) Place the eggs in a jar and add the truffle. Seal the jar and refrigerate for 48 hours. Heat a circulating water bath (or a saucepan filled with water) to 62.5°C (145°F). Remove the eggs from the jar and reserve the truffle (see right). Place the eggs in the water bath and cook for 60 minutes. Remove the eggs and leave to cool at room temperature.

MUSHROOM DASHI JELLY 450 g (1 lb) chestnut mushroom consommé 2.5 g (1/10 oz) agar powder 3 g (1/10 oz) gold strength gelatine leaves Pour the consommé into a saucepan and whisk in the agar. Bring to a simmer and cook for 30 seconds. Soak the gelatine in iced water until hydrated and then squeeze out the excess water. Add the gelatine to the pan and stir to combine. Clean and dry three 24 x 18 x 2 cm (9½ x 7 x ¾ in) trays. Strain the consommé through a chinois and pour into the trays to make about

140 ml (4¾ fl oz) per tray. Leave to set at room temperature and then refrigerate for 2 hours. Cut ten 12 cm (4½ in) square sheets of non-stick baking paper and set aside. Using a round 10 cm (4 in) cutter, cut out 3 discs of jelly from each tray to make 9 discs (including 1 spare). Use a palette knife and transfer the rounds onto the baking paper squares. Stack the jellies, with the baking paper between each jelly layer, and then place the jelly stack on a clean tray and refrigerate until required.

CAULIFLOWER MISO CREAM 375 g (13 oz) cauliflower florets 125 g (4½ oz) unsalted butter 50 g (1¾ oz) saikyo miso paste fine sea salt Preheat a combi oven on steam to 90°C (195°F). Place the cauliflower, butter and miso in a medium vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Place the cauliflower in the combi oven and steam for 45–60 minutes, or until the cauliflower is tender. Remove the cauliflower from the oven and strain through a chinois into a saucepan. Reserve the drained cauliflower and heat the miso butter in a saucepan over medium heat, and then reduce until the butter splits and becomes caramelised. Put the cauliflower in a vitaprep (or high-speed blender) and blend on high speed, gradually adding the melted miso butter. Blend until the cauliflower is smooth and creamy, and then season to taste. Strain the cream through a chinois and keep warm until required.

TO SERVE 200 g (7 oz) clarified butter 80 g (2¾ oz) reserved black truffle (see left) 10 g (¼ oz) flaked sea salt

1 punnet garlic shoots, trimmed Preheat a combi oven on steam to 55°C (130°F). Break the slow-poached truffle eggs into a bowl and remove as much of the egg white as possible. Place each egg yolk in a small cup and place on a perforated tray. Heat the clarified butter in a small saucepan to 60°C (140°F) and then pour a little over each of the eggs to cover. Place the eggs in the combi oven and warm for 5 minutes. Take the truffle and, using a slicer, cut 64 neat slices. Finely chop the remaining truffle and any uneven slices and mix with the sea salt. Place 2 spoonfuls of the cauliflower miso cream in the centre of each plate. Place a mushroom dashi jelly over the cauliflower miso so that it encapsulates the purée. Lay 8 slices of truffle on top of each of the jellies so that they overlap slightly to create a layer of truffle. Remove the egg yolks from the steamer and drain off the butter. Place an egg yolk on top of the truffle slices and sprinkle with the truffle salt. Finally, lay 12 garlic shoots next to the eggs. Serve immediately.

GLAZED PARTRIDGE BREAST WITH TOASTED NORI SEAWEED, BRAISED CHESTNUT MUSHROOMS AND MOREL BUTTER WINE SUGGESTION: Barbaresco SERVES 8

MOREL BUTTER 30 g (1 oz) dried morels 50 ml (12/3 fl oz) olive oil 150 g (5½ oz) eschalots, finely chopped 20 g (¾ oz) garlic, chopped 10 g (¼ oz) thyme leaves, chopped 150 g (5½ oz) Madeira 500 g (1 lb 2 oz) unsalted butter, softened 50 g (1¾ oz) chives, chopped Soak the morels overnight in 200 ml (7 fl oz) of water. Remove the morels and drain. Strain the soaking water and reserve 100 ml (3½ fl oz). Heat the olive oil in a small saucepan over medium–low heat. Add the eschalots, garlic and thyme, and sweat gently until soft and translucent. Roughly chop the morels, add to the pan and stir to coat. Deglaze the mixture with Madeira and reduce until all the liquid has evaporated. Add the morel soaking water and reduce again until almost all the liquid has evaporated. Remove from the heat and leave to cool slightly. Pour the morel mixture into a vita-prep (or high-speed blender) and blend on high speed until smooth. Put the butter in a bowl and beat with a spatula until smooth. Add the morel purée and chives, and continue to beat until evenly

combined. Roll the butter in non-stick baking paper and then wrap in foil. Refrigerate until required for the roast partridge breasts (see right). NOTE: Leftover morel butter can be served with steak, or added to sautéed mushrooms to provide extra flavour.

ROAST PARTRIDGE BREAST BALLS 8 A-grade nori sheets, about 6 x 6 cm (2½ x 2½ in) each 8 partridges, about 350 g (12 oz) each 160 g (52/3 oz) morel butter (see left) 4 g (1/10 oz) transglutaminase 3 litres (105 fl oz/12 cups) chicken stock (roasted bones and wings variation) 500 ml (17 fl oz/2 cups) port wine 60 ml (2 fl oz/¼ cup) vegetable oil fine sea salt and freshly ground black pepper 160 g (52/3 oz) unsalted butter, diced Toast the nori sheets over a gas flame and then set aside. Place a partridge, breast side down, on a board and, using a sharp knife, cut through the skin following the backbone. Use your fingers to separate the skin from the flesh, being careful not to tear the skin. Remove the skin completely and set aside. Remove the two breasts from the partridge and weigh to make about 80–100 g (2¾–3½ oz) of breast meat. Remove the morel butter from the fridge and cut eight 20 g (¾ oz) blocks. Sandwich the morel butter between the partridge breast meat, making sure there are no gaps around the edge. Set aside. Lay the partridge skin out on the board, feather side down. Clean carefully and remove any excess fat from the skin. Place the nori sheet on the skin and then dust the outer edge of the skin with some transglutaminase. Place the partridge breast on top. Pull the skin

around the breast meat to completely seal it in. Place the partridge on a piece of plastic wrap and roll into a tight ball so that the skin seals in the meat. Repeat with the remaining 7 partridges. Tie off the plastic wrap and refrigerate for 2 hours to rest. Place the chicken stock in a large heavy-based saucepan over high heat. Skim the surface regularly and reduce the stock to 1 litre (35 fl oz/4 cups). Meanwhile, pour the port into a small saucepan and reduce over medium–high heat to about 100 ml (3½ fl oz), until the port is thick and syrupy. Mix the reduced chicken stock and the reduced port together and bring to a simmer. Reduce together to about 500 ml (17 fl oz/2 cups) until the jus is thick and glossy. Keep warm until required. WHEN READY TO SERVE: Heat a circulating water bath (or a saucepan filled with water) to 63°C (145°F). Place the wrapped partridge breasts in the heated water and cook for 25 minutes. Remove and leave to rest for 10 minutes. Divide the vegetable oil between two frying pans over high heat. Remove the roast partridge breast balls from the plastic wrap and season with salt and pepper. Place 4 partridge balls in each pan and roast in the hot oil, sealing the joined skin (or underside) first, then turning over to roast the nori side until golden all over. Remove the partridge balls from the pans. Drain off the oil from the pans and divide the butter between the pans. When the butter foams, return the partridges to the heat and baste for 1 minute. Drain off the butter and add 75 ml (2¼ fl oz) of the chicken and port jus to each pan, coating the skin of the partridge as it reduces until a glaze is formed. Remove the partridges from the pans and rest on a rack for 10 minutes.

CHESTNUT MUSHROOMS 40 chestnut mushrooms, including the stems 2 tablespoons olive oil 40 g (1½ oz) unsalted butter, softened 2 teaspoons dried porcini mushroom powder (store-bought)

1 thyme sprig fine sea salt and freshly ground black pepper Heat the circulating water bath (or a saucepan filled with water) to 85°C (185°F). Remove the caps from the chestnut mushrooms and set aside. Brush the stalks to remove any dirt. Place the mushroom stalks in a small vacuum bag and add the olive oil, half the butter, the porcini powder, thyme, salt and pepper, and then seal in a chamber vacuum sealer on full to remove any air. Place the mushroom stalks in the water bath and cook for 10 minutes. Remove from the bag and drain off the liquid. Heat the remaining 20 g (¾ oz) of butter in a large frying pan over medium heat until foaming. Add the stalks and sauté until slightly golden. Add the mushroom caps and toss gently to coat. Sauté for 30 seconds until they are just cooked. Season and drain.

TO SERVE 16 baby silverbeet (Swiss chard) leaves 16 red mustard leaves 16 amaranth leaves 32 garlic chive shoots 1 teaspoon black flaked sea salt Place the chestnut mushroom stalks around the centre of each plate to resemble branches. Add a few caps into the centre of the chestnut mushroom stalks. Add the leaves and garlic chive shoots through the mushroom stalks. Place the roast partridge breast balls into the centre of the mushrooms and then sprinkle the top of the partridge with black sea salt. Serve immediately.

CHARGRILLED HATCHO MISO WAGYU BEEF RUMP WITH GARLIC CHIPS, AND SEA URCHIN AND WASABI BUTTER WINE SUGGESTION: New World Malbec SERVES 8

MISO-MARINATED WAGYU RUMP CAPS 250 g (9 oz) hatcho miso 125 g (4½ oz) saikyo miso 75 g (22/3 oz) mirin 150 g (5½ oz) ichiban dashi 800 g (1 lb 12 oz) trimmed wagyu beef rump, sinew removed Mix the misos, mirin and ichiban dashi together in a bowl until smooth. Place the rump in a large vacuum bag and coat with the miso marinade. Seal in a chamber vacuum sealer on full to remove any air. Massage the miso so that the meat is completely covered and then refrigerate for 7–10 days to marinate.

SEA URCHIN AND WASABI BUTTER 250 g (9 oz) unsalted butter, softened 12 g (2/5 oz) chives, chopped 12 g (2/5 oz) tarragon, chopped 25 g (1 oz) dijon mustard 30 ml (1 fl oz) soy sauce 30 ml (1 fl oz) mirin 90 g (3¼ oz) freshly grated Tasmanian wasabi (or 60 g/2¼ oz wasabi paste) 50 g (1¾ oz) sea urchin roe

Place the butter in an electric mixer bowl, attach the whisk and whisk on high until light and fluffy. Mix in, one at a time, the chopped chives, tarragon, mustard, soy and mirin. Add the wasabi and whisk again until well combined. Add the sea urchin roe and whisk for another 30 seconds. Lay a 50 x 30 cm (20 x 12 in) sheet of foil on the bench and spoon on the wasabi and sea urchin butter. Roll the butter in the foil to create a sausage shape about 7 cm (2¾ in) thick. Refrigerate for 12 hours until the butter sets completely. Using a serrated knife, cut eight 2 cm (¾ in) thick slices of butter. Place the sliced butter on non-stick baking paper and refrigerate until required.

TO SERVE 6 logs Japanese charcoal (binchotan) 80 fried garlic chips (elephant garlic variation) 16 wasabi leaves Remove the miso-marinated wagyu rump caps from the bag. Remove the excess miso and reserve. Cut the rump cap into 4 steaks. Leave to come to room temperature. Fire up the charcoal by burning it over a gas flame for 30 minutes then transfer to a hibachi (barbecue grill). Leave the hot charcoal to burn for 15 minutes before using, and place a grill or wire rack on top to heat. Preheat the oven to 50°C (120°F). Brush the wagyu with the reserved marinade and then place over the charcoal. Grill for 3–4 minutes until caramelised then turn over and grill the other side for the same amount of time. Continue to baste occasionally. Remove the steaks from the grill, rest on a rack and keep warm. Warm the serving plates in the oven. While the beef rests, place a slice of sea urchin and wasabi butter on the warmed plates and leave to melt slightly. Caramelise the butter under a preheated grill (or use a blowtorch) until golden brown. Carve the beef in half, lengthways, and then trim the sides slightly to make a

strip of beef. Repeat this with the other 3 steaks to make 8 strips. Place the beef next to the butter on each plate. Add the garlic chips around the beef with a few wasabi leaves. Serve immediately.

PYENGANA CHEDDAR WITH JAPANESE PLUM WINE AND APPLE PECTIN, CAPERS AND MITSUBA WINE SUGGESTION: Cider SERVES 8

PLUM WINE AND APPLE PECTIN 5 g (1/8 oz) apple pectin 180 g (61/3 oz) caster (superfine) sugar 1.5 g (1/20 oz) citric acid 120 g (4¼ oz) fresh green apple juice, strained through muslin (cheesecloth) 120 g (4¼ oz) Japanese plum wine 35 g (1¼ oz) liquid glucose ¼ teaspoon yukari (salted shiso) Place the pectin, 17 g (3/5 oz) of the sugar and the citric acid in a bowl and mix together well. Spray a 24 x 18 x 4 cm (9½ x 7 x 1½ in) tray with baker’s spray and line with go-between. Pour the apple juice and plum wine into a small saucepan, add the pectin mixture and blend together, using a handheld blender, until smooth. Bring the mixture to the boil over high heat and then add the glucose and remaining sugar. Bring back to the boil and cook until the temperature reaches 107°C (223°F). Remove from the heat, add the yukari, and then pour into the prepared tray. Leave the pectin to cool at room temperature and then refrigerate for 4 hours to set. Cut the pectin gel into eight 10 x 3 cm (4 x 1¼ in) strips and refrigerate again until required.

FRIED CAPERS

TO MAKE THE KOMBU SALT:

25 g (1 oz) flaked sea salt 18 g (3/5 oz) dried ground kombu Toss the salt in a small frying pan over low heat until it dries out. Grind the salt, using a mortar and pestle, until fine. Mix in the ground kombu. Store in an airtight container until required. TO PREPARE THE CAPERS:

2 tablespoons salted capers 1 litre (35 fl oz/4 cups) vegetable oil pinch kombu salt (see above) Rinse the capers under cold running water to remove the salt, and then soak in a bowl with fresh water for 10 minutes. Drain and pat dry with paper towel. Place the capers on a dehydrator tray in a food dehydrator and dehydrate at 60°C (140°F) for 4 hours or until the capers are dry but still moist in the centre. Pour the vegetable oil into a deep heavy-based saucepan, no more than one-third full, then heat to 180°C (350°F). Meanwhile, line a tray with dry paper towel. Put the capers in the hot oil and quickly fry until they become crispy and puff slightly. Remove the capers and drain, then place on paper towel. Season lightly with the kombu salt and leave in a warm place until required.

FRIED MITSUBA ½ bunch mitsuba (or Italian/flat-leaf parsley) ½ punnet micro mitsuba (or micro parsley) leaves 1 litre (35 fl oz/4 cups) vegetable oil pinch kombu salt (see left) Wash the mitsuba and pick off the individual leaves. Pat completely dry with paper towel. Finely julienne the leaves, then spread out on paper towel.

Quickly wash the micro mitsuba leaves, place on paper towel and pat dry. Pour the vegetable oil into a deep heavy-based saucepan, no more than one-third full, then heat to 170°C (325°F). Meanwhile, line a tray with dry paper towel. Put the julienned mitsuba in the hot oil and quickly fry until they become crisp. Remove the mitsuba and drain, then place on paper towel. Season lightly with the kombu salt and leave in a warm place until required. Repeat with the micro mitsuba leaves.

ROASTED NORI SHEETS 4 A-grade nori sheets, about 20 x 18 cm (8 x 7 in) each 2 tablespoons mirin Preheat the oven to 150°C (300°F/Gas 2). Lay 1 sheet of nori onto a board and brush over lightly with mirin. Place another sheet of nori on top and press down. Cut the nori stack into four 12 x 4 cm (4½ x 1½ in) strips (to make strips slightly longer and wider than the pectin). Repeat with the remaining 2 sheets of nori. Line a heavy-based metal tray with non-stick baking paper and lay on the strips. Place another sheet of baking paper over the nori and then place another tray on top to weigh it down. Cook for 7 minutes. Remove the nori from the oven and leave to cool slightly before removing the top tray. Leave to cool completely and then place the nori in an airtight container until required.

PYENGANA CHEDDAR 150 g (5½ oz) Pyengana cheddar cheese, rind removed Cut the cheddar into manageable blocks and then grate, using a fine microplane, into a bowl. Refrigerate until required.

TO SERVE Lay a strip of the plum wine and apple pectin on each plate. Place a rectangle of the roasted nori sheets on top of the pectin so that one side is flush with the pectin and the other side overhangs slightly. Remove the cheddar from the fridge and, using a fork, place it on top of the nori, keeping it light and fluffy. Sprinkle over the fried capers and fried mitsuba julienne and leaves. Serve immediately.

LEMON LEAF ICE AND YUZU SHU MERINGUE WITH CANDIED LEMON ASPEN AND FENNEL POLLEN WINE SUGGESTION: Limoncello di Capri SERVES 8

LEMON LEAF ICE TO MAKE THE LEMON LEAF SYRUP:

1 litre (35 fl oz/4 cups) sugar syrup (20 per cent) 45 g (1½ oz) lemon leaves Place the syrup in a medium saucepan over medium heat and bring to 80°C (175°F). Pour the syrup over the lemon leaves and cover with a lid. Leave the leaves to cool at room temperature for 4–5 hours and then refrigerate for 2 days to infuse. Strain the lemon leaf syrup and refrigerate until required. TO MAKE THE ICE:

800 ml (28 fl oz) lemon leaf syrup (see above) 160 ml (5¼ fl oz) freshly squeezed and strained lemon juice Mix the lemon leaf syrup and juice together in a bowl, and then pour into a deep 15 x 10 cm (6 x 4 in) metal tray (or plastic container). Wrap in plastic wrap and freeze for 24 hours. Remove the tray from the freezer and, working quickly using a fork, scrape the lemon and leaf ice block in long lines to create shards of ice crystals. Place the scraped ice back in the tray and freeze again until required.

CANDIED LEMON ASPEN

800 g (1 lb 12 oz) sugar 40 fresh lemon aspens Pour 800 ml (28 fl oz) of water and the sugar into a saucepan and bring to the boil. In a second saucepan, bring 2 litres (70 fl oz/8 cups) of water to a rolling boil and then blanch the lemon aspens for 30 seconds. Drain the lemon aspens and plunge in iced water to refresh. Add the aspens to the boiling syrup and bring the temperature to 106°C (220°F). Immediately remove from the heat and leave to cool overnight at room temperature. Place the syrup and aspens back on the heat and bring the temperature to 108°C (225°F). Remove from the heat, leave to cool for 1 hour and then pour into a container and set aside at room temperature until required.

BAKED YUZU ZEST 12–14 whole yellow yuzu, about 1.1 kg (2 lb 7 oz), washed Preheat the oven to 160°C (315°F/Gas 2–3). Place a large sheet of foil (about 50 cm/20 in square) on the bench. Place another sheet on top to double the thickness. Place the washed yuzu onto the foil and wrap to create an airtight pouch. Cook the yuzu in the oven for 2 hours. Remove the wrapped yuzu from the oven and set aside for 1 hour, then open the foil and leave to cool completely. Cut the yuzus in half and squeeze out the juice into a sieve to yield around 190 g (6¾ oz) of strained juice. Reserve. To remove the zests from the yuzus, place the yuzu halves on a board and cut in half again. Place zest side down and scrape the pith out with a knife, discarding as much of the pith as possible. Reserve the zest.

YUZU SHU BUTTER 100 g (3½ oz) baked yuzu zest (see above)

190 g (6¾ oz) yuzu juice (see above) 120 g (4¼ oz) bottled yuzu juice 170 g (6 oz) caster (superfine) sugar 100 ml (3½ fl oz) yuzu shu 250 g (9 oz) unsalted butter, diced Place the baked yuzu zest into a saucepan with both yuzu juices. Add the sugar and 145 g (5¼ oz) of water and bring to a simmer. Gently cook for 5 minutes, then remove from the heat. Pour the mixture into a thermomix and purée on high speed. Continue to blend on high until the temperature reaches 50°C (120°F). Temper in the yuzu shu and continue to blend until the temperature decreases to 40°C (105°F). Reduce the speed to 4 and then slowly add the butter, one dice at a time, until all the butter is added and the mixture is silky. Pass the mixture through a chinois, transfer to a container and refrigerate until required.

TO SERVE 300 g (10½ oz) yuzu shu butter (see above) 8 lemon leaves lemon-infused oil 150 g (5½ oz) Italian meringue 8 fennel pollen flowers Remove the yuzu shu butter from the fridge 1 hour before serving. Rub the lemon leaves with a little lemon-infused oil until they become shiny. Place a leaf on each plate. Gently mix together the yuzu shu and Italian meringue so that they are still separated but make a swirl. Spoon a heaped tablespoon of yuzu shu meringue onto each leaf. Add 2–3 candied lemon aspens. Finally, add the lemon leaf ice, and finish with a fennel pollen flower on each. Serve immediately.

FROZEN FENNEL WITH LICORICE, MEYER LEMON AND YUZU BUTTER, AND SHEEP’S YOGHURT SORBET WINE SUGGESTION: Vendange Tardive Gewürztraminer SERVES 8

SHEEP’S YOGHURT SORBET 113 g (4 oz) caster (superfine) sugar 2 g (1/10 oz) sorbet stabiliser 20 g (¾ oz) inverted sugar 20 g (¾ oz) glucose powder 10 g (¼ oz) milk powder 380 g (13½ oz) sheep’s milk yoghurt Mix the caster sugar and sorbet stabiliser together in a bowl. Pour 178 g (61/3 oz) of water into a heavy-based saucepan, add the inverted sugar, and shear in the sugar and stabiliser, whisking constantly. Add the glucose powder and milk powder, and whisk to combine. Place the pan over medium–high heat and bring to a simmer. Remove from the heat and strain the mixture through a fine chinois into a clean container. Leave to cool completely. Mix the syrup base with the sheep’s milk yoghurt and then pour into a pacojet container. Freeze at –18°C (0°F) for 24 hours. Process the sheep’s yoghurt sorbet in the pacojet 1 hour before use.

MEYER LEMON AND YUZU BUTTER 6 meyer lemons 4 yuzu

100 g (3½ oz) large pieces meyer lemon zest (removed from above lemons) 40 g (1½ oz) large pieces yuzu zest (removed from above yuzu) 172 g (6¼ oz) strained meyer lemon juice (from above lemons) 15 g (½ oz) strained yuzu juice (from above yuzu) 50 g (1¾ oz) bottled yuzu juice 112 g (4 oz) caster (superfine) sugar 1.75 g (1/20 oz) sodium citrate 6 g (1/5 oz) agar powder 85 g (3 oz) unsalted butter, softened Bring 2 litres (70 fl oz/8 cups) of water to a rolling boil. Blanch the lemon and yuzu zests for 1 minute, then remove and place into iced water. Drain the zests and place in a saucepan with the lemon and yuzu juices, sugar and 85 g (3 oz) of water. Bring to a simmer and cook for around 6–8 minutes or until the zests are tender. Pour the zests and juice into a vita-prep (or high-speed blender) and purée on high speed. Pass the entire amount of lemon and yuzu purée through a chinois and weigh out the strained amount to yield about 500 g (1 lb 2 oz). Add the citrate and the agar and whisk to combine. Bring to the boil and cook out for 1 minute. Pass into a clean container and leave to cool over ice. Refrigerate the lemon yuzu gel overnight to set. Scrape the lemon and yuzu gel into a blender and blend in the butter for about 5 minutes on high speed until smooth and creamy. Pour the meyer lemon and yuzu butter into a piping (icing) bag and refrigerate until required.

FENNEL MOUSSE 3 x 250 g (9 oz) fennel bulbs 3 g (1/10 oz) ascorbic acid 50 g (1¾ oz) unsalted butter 2 g (1/10 oz) fine sea salt

80 g (2¾ oz) caster (superfine) sugar 35 g (1¼ oz) Pernod 4 g (1/10 oz) gold strength gelatine leaves 100 g (3½ oz) Italian meringue Finely chop 1 fennel and set aside. Roughly chop the remaining 2 fennel bulbs and dust with ascorbic acid. Place the roughly chopped fennel into a vita-prep (or high speed blender) and blend into a juice. Squeeze out the juice through a filter bag and collect 250 g (9 oz) of the juice. Heat the butter in a heavy-based saucepan until it begins to foam. Add the finely chopped fennel and salt, and cook gently over low heat until the fennel is tender. Add the caster sugar and continue to cook until the sugar makes the fennel become syrupy. Mix the fennel juice and Pernod together and then add to the fennel syrup. Simmer for a further 3 minutes. Pour the mixture into a blender and blend until smooth. Pass the purée through a chinois into a bowl. Soak the gelatine in iced water until hydrated. Squeeze out the excess water and add the gelatine to the purée. Stir until dissolved. Cool the mixture over ice. Pour the mixture into a 500 ml (17 fl oz/2 fl oz) syphon and add in the Italian meringue. Place the lid on and charge twice with nitrous oxide. Shake well between each charge. Refrigerate until required.

TO SERVE 2 litres (70 fl oz/8 cups) liquid nitrogen 300 g (10½ oz) ginger and sansho pepper crumb 2 tablespoons licorice powder 8 bronze fennel fronds Put the serving plates and a metal bowl in the freezer 1 hour before serving. Remove the syphon from the fridge and shake well. Pour the nitrogen into a nitro bowl and leave it to freeze for 1 minute until the bowl tempers to the nitrogen and the nitrogen stops boiling. Freeze

the fennel mousse in the liquid nitrogen by gently pulling the trigger on the syphon gun and adding 10 tablespoons of the mousse. Freeze the mousse completely for about 1 minute. Remove the chilled plates and place 1 spoonful of the meyer lemon and yuzu butter in the centre of each. Add the ginger and sansho pepper crumb to cover the meyer lemon and yuzu butter. Make a quenelle of the sheep’s yoghurt sorbet and place on top of the ginger crumb. Then, working quickly, remove the frozen fennel mousse and place into a wet and dry spice grinder. Grind the mousse into a fine powder. Pour the frozen powder into the chilled metal bowl and add the licorice powder. Stir through and then spoon over the sorbet. Freeze the bronze fennel fronds in the liquid nitrogen for 10 seconds then place onto the fennel and licorice powder. Serve immediately.

‘JAPANESE RICE PUDDING’ UMEBOSHI AND WHITE CHOCOLATE ICE CREAM, GOLDEN HONEY, VIOLET AND COCONUT WINE SUGGESTION: Côteaux du Layon SERVES 8

UMEBOSHI AND WHITE CHOCOLATE ICE CREAM 500 g (1 lb 2 oz) quality fresh skimmed milk 65 g (21/3 oz) organic egg yolks 10 g (¼ oz) inverted sugar 30 g (1 oz) umeboshi paste (salted plum paste) 20 g (¾ oz) caster (superfine) sugar 40 g (1½ oz) glucose powder 250 g (9 oz) white couverture chocolate, chopped 130 g (42/3 oz) cream (35% fat content), chilled Heat the milk in a heavy-based saucepan over medium–high heat and bring to the boil. Place the egg yolks and inverted sugar into a bowl and whisk together. In another bowl, mix the umeboshi, caster sugar and glucose powder together. Add the umeboshi mixture to the egg yolk mixture and whisk well to combine. Whisk the boiling milk into the egg yolk mixture, a little at a time, to temper in. Return the milk and egg mixture to the saucepan and place over medium heat, stir, and bring to 84°C (183°F). Immediately remove the milk and egg mixture from the heat and add the white chocolate. Stir to melt the chocolate and incorporate completely through the mixture. Strain the mixture through a chinois into a bowl and chill over ice. Once completely cold, add the cream, straight from the fridge, and stir through until well combined. Pour the mixture into a pacojet container and freeze for 24 hours.

Process the mixture in the pacojet 1 hour before using and keep in the freezer until required.

VIOLET GLASS TUILE 465 g (1 lb ½ oz) sugar syrup (20 per cent) 7 g (1/5 oz) agar powder 40 g (1½ oz) violet syrup 1 g (1/25 oz) violet colour Place the syrup in a small heavy-based saucepan over high heat and bring to the boil. Whisk in the agar and boil for 10 seconds. Strain the syrup through a chinois into a container and add in the violet syrup and colour. Stir well. Place the container over iced water and refrigerate for 3–4 hours until set. Break up the gel using a hand-held blender. Pour the gel into a vitaprep (or high-speed blender) and blend on high for 1 minute into a smooth gel. Pour the gel into a medium vacuum bag then seal in a chamber vacuum sealer on full to remove any air. Make a 12 cm (4½ in) circle stencil. Spread the gel over the round stencil onto acetate sheets to make eight circles. Place the violet circles on the acetate onto a dehydrator tray, place in a food dehydrator and dehydrate at 55°C (130°F) for 24 hours. Carefully remove the dry violet circles from the acetate. Using a heat lamp, shape the violet into eight large flower petals. Leave to cool at room temperature, then store in an airtight container until required.

COCONUT MILK SHARDS 450 g (1 lb) coconut cream (Kara UHT) 4.5 g (1/5 oz) agar powder 0.5 g (1/50 oz) xanthan gum 95 g (3¼ oz) isomalt

1 g (1/25 oz) fine sea salt Pour the coconut cream into a thermomix bowl. Add the agar, xanthan, isomalt and salt and blend well together. Turn on the heat element and heat to 90°C (195°F). Cook for 1 minute. Pass the hot mixture through a chinois into a container and leave for 3–4 hours to set. Transfer to a vita-prep and blend for 1 minute on high until smooth. Spread out a thin layer of the mix onto two 40 x 40 cm (16 x 16 in) sheets of acetate. Place the acetate sheets with the purée on a dehydrator tray in the food dehydrator at 55°C (130°F) for 12 hours. Break the dried coconut milk sheets into shards and store in an airtight container until required.

WHITE SUGAR SHARDS 160 g (52/3 oz) isomalt 6 g (1/5 oz) titanium dioxide Pour a quarter of the isomalt into a heavy-based saucepan and heat gently to melt. Continue to add the isomalt until all the isomalt is added, then heat the isomalt to 160°C (315°F). Leave the sugar to cool to 135°C (275°F) then add the titanium dioxide and mix completely through. Using an 8 cm (3¼ in) wide metal ring, dip the ring into the sugar using pliers. Carefully lift the ring from the sugar and blow the sugar through the ring to create a blown sugar tube. Carefully disconnect the sugar from the ring and break into irregular lengths. Store in a cool dry place until required.

CHOCOLATE AND VIOLET GANACHE 120 g (4¼ oz) dark couverture chocolate (72% cocoa solids), chopped 150 g (5½ oz) cream (35% fat content) 30 g (1 oz) inverted sugar

2 drops violet essence Place the chocolate in a bowl. Bring the cream and inverted sugar to the boil in a small saucepan over medium heat. Pour one-third of the hot cream over the chocolate and stir, using a spatula, working from the inside in small circular motions. Continue to add the cream, onethird at a time, then add the violet essence. Gently stir until well incorporated and the chocolate is shiny and smooth. Leave to cool at room temperature for 1 day then transfer to a piping (icing) bag with a plain size 5 nozzle. Tie off the end of the piping bag and leave the ganache to firm up for around 1 hour before using.

GOLDEN HONEY 200 g (7 oz) fingerlime blossom honey 3 sheets edible gold leaf 1 teaspoon edible gold dust Warm the honey in a small saucepan over medium–low heat until it becomes runny and pourable. Remove from the heat and carefully add in the gold leaf and gold dust. Stir, using a fork, to break the gold through the honey. Pour into a container and leave at room temperature until required.

SUSHI RICE PUDDING 100 g (3½ oz) sushi rice 800 g (1 lb 12 oz) quality fresh whole milk Rinse the sushi rice under cold running water until all the excess starch is rinsed away. Place the washed rice in a medium saucepan and add the milk. Cook the rice very slowly over low heat, until all the milk is absorbed and the rice is tender to the bite and rich and creamy. Keep warm at around 35°C (95°F) until required.

TO SERVE Warm the sushi rice pudding to about 35°C (95°F). Pipe the chocolate and violet ganache onto the centre of the plate. Place a scoop of umeboshi and white chocolate ice cream onto the ganache, then, working quickly, spoon the sushi rice pudding onto the ice cream so you can see that the ice cream is encapsulated in the rice. Place the coconut milk shards over the plate to completely cover the entire dish, so you can’t see any of the rice or ice cream. Carefully, place the violet glass tuile on top of the shards, and push gently to make it stable. Pour the golden honey into the centre of the violet tuile, so that it spills over slightly and resembles the nectar from a flower. Finally, add a white sugar shard to the top of the violet petal. Serve immediately.

AMBIENCE IS TO PLACES WHAT CHARISMA AND SEX APPEAL IS TO PEOPLE: YOU EITHER HAVE IT OR YOU DON’T.

KEITH WATERHOUSE

Anticipation. Excitement. Entertainment. Magic. These are the perceptions and expectations every great restaurateur must manage for any success. It is up to your team to deliver on the promise of such. If everyone has done their job, your guests will remember the night forever. It’s what we strive for every day at Sepia. But taking guests from reality into a magical world is no mean feat, and in truth you don’t always get it right. Eating should never be confused with dining. Eating is simply consuming energy to fuel our bodies. When you’re dining you’re being taken on a journey into new sights and sounds, whisked away from your everyday life. It is a form of entertainment, of escapism—leave your troubles at the door and embrace the whim of an experience —creating that sense of theatre.

I

n my opinion, restaurants have to be exciting. It’s a performance, but every night is different. The basic script might be the same, but the cast and the scenes change the story of every service. It is never the same, and that is why those that work in the industry thrive on its energy—you really don’t know what to expect each night. The ‘theatre’ is an intangible feast in itself. We always wanted to have a restaurant that was about good food, but our real goal was that it had to be an exciting place—a place where people were enthralled and couldn’t wait to come back. People’s first impression of a great restaurant stems from the notion of being excited to be going there in the first place, that sense of experiencing something special. It’s that sense of anticipation that means we have to deliver something for everyone who enters the restaurant—and that isn’t easy because people’s expectations can differ wildly.

CREATING THE MAGIC For most people, dining at Sepia is a special occasion or celebration, so it’s important that we show them a good time. And if you can exceed their expectations, then that’s the magic you are trying to deliver each service to each individual. It’s certainly our goal. We always hope that people get that sense of excitement about coming to Sepia, and of course once they sit down, then the rest is up to us. The reality of a great restaurant is that if you deliver on your promise, it can be a moment in someone’s life that they will never forget. The ‘theatre’ of a great restaurant happens organically—it’s a combination of the attitude and expectation of your guests, as much as it is about the design of the space, the ambience, the staff and the food. It is essentially, the sum of these parts and more.

Sepia isn’t just about one single staff member. For it to work it needs to have its own persona, with everyone playing their part. Sure people come to your restaurant in part for the food, but they are here to mark an occasion, to have a night out with friends, a romantic evening, a celebration. To give guests that experience the glass polisher is as important as the kitchenhand, as is the sommelier, the apprentice and head chef. Everyone plays an important role in ensuring a guest has a great night. Confidence is another major part of being able to deliver the magic in a restaurant. If truth be told, I’m quite a shy person, but thanks to the acknowledgement from guests and media alike, I have become the chef I am today. The evolution and growing sense of belief within our team has given us an amazing platform to do the things we believe in, but the moment any of us start to rest on our laurels, well, that’s when things start to change. I don’t care how good a cook anyone thinks they are, if you can’t get the balance right and your service isn’t spot on then people won’t come back. It’s as simple as that. The way you train front-of-house staff (or not train them as it were), has a huge impact on the theatre you create for guests. We want all our staff to just be themselves—sure we expect a certain level of professionalism, but if they can’t act naturally then the experience can feel false for guests as well. We don’t want our front-of-house staff to be robotic, scripted or hover awkwardly with hands behind their backs awaiting a command from a diner. Rather, they must know when to give more, give less, always remain expert at what they do but use their own personality to help create a relaxing and exciting environment for the guest. The way the team works together is interesting. In a strange way, sometimes that is the entertainment—the way staff interacts can create an atmosphere too. When the waiters are on song there’s an indescribable buzz in the room. Our number one rule for the front of house is eye contact. Every staff

member must continually communicate to each other and to guests with their eyes. There is nothing worse than dining in a restaurant and, to get a waiter’s attention, you practically need to stand and wave a flag or send up a flare. Communication and being able to read every situation is imperative to the delivery of your promise. Sure, it can sometimes look chaotic, but it’s a professional chaos—a positive energy. It is difficult to quantify how you create theatre for the guest, but there are simple things you can do in the background to give your restaurant every chance of being magical. The design of our restaurant, with the dining room left and right of the bar, helps to create a sense of stepping into another world. It’s a panoramic sensory hit. Dark wood tones, dim lighting, sleek lines and a comfortable hum from happy diners all create a defined and confident space. Our tables run in a line and are quite close to each other, but not so close that you couldn’t have a private conversation without the table next to you hearing. We never wanted to have a restaurant where you could hear a pin drop or you felt as if the waiters were breathing on you. No one wants to speak in hushed tones in a restaurant. People want to relax, be themselves, embrace the experience and enjoy the evening. Many guests take this a step further and end up having conversations with people at the table next to them. Every single night you will see one table talking with another table— about the food, the wine, news of the day, just about anything. A former Prime Minister was in one evening. He was on a table of four, but he spent a good part of the night talking to the table next to his—a young couple who had saved up all their money for a special night out. In a wonderful way the couple had no idea who he was, and they shared stories of the different dishes they’d had in common. That’s the strange beauty of a restaurant—these are people from all different walks of life who will most likely never cross paths again, but are all there in the same small space for the same experience. There are break-ups, marriage proposals, anniversaries,

friends getting together, families, tourists—tears and laughter. Every walk of life, from every demographic. That’s what is unique about restaurants. Unlike a real theatre, where your role is a passive one, in a restaurant everyone participates in some way. One of the beautiful elements of Sepia’s evolution has been the idea of creating somewhere casual but professional. As we have refined and raised the bar, it has allowed us to ignore the formulaic notions and stuffiness of traditional fine dining. The turning point came after winning Restaurant of the Year in 2012 and being ranked number three nationwide in Australian Gourmet Traveller magazine—acknowledgements that represented what each and every staff member had put into Sepia. We felt immediate pressure to raise the stakes in how we delivered an experience. I know I certainly felt a pressure in the kitchen, but we’ve never let go of that important notion of being a relaxed and comfortable dining experience. So we wanted to focus on that and make it more fun, being mindful to maintain the professionalism, but to take it to the next level too. When guests arrive you can see that they are relaxed immediately. Some aren’t quite sure what to expect. Our tables are bare—there’s no white linen anywhere, no cutlery upon arrival. Some guests think we’ve forgotten to set the table but the idea though, is that we build the table around you. Times are different now. When guests are seated the first thing they do is put down their keys, phone, paperwork. They spread out, especially business diners, because it’s going to be their space for the next few hours. And I think that this casual feeling we’ve created, along with the smart food, is why we’ve captured people’s attention. We’ve gradually raised the bar each day, but our ethos has remained the same. Another thing that has been important for us is including music to add to the buzz and energy. We felt that music could add to the experience for guests and alter the experience as

well. Our music is relaxing, happy, without being elevator music, but conducive to that post-postprandial state that we go to restaurants for—it just works with our food and decor. I realise it’s quite a modern thing to open up your kitchen for the diners to see, and I’ll concede the theatre of watching an open kitchen is mesmerising. We wanted the kitchen to remain backstage. I think it’s nice for guests to only see the magic on the plate without giving away too many secrets. Everyone wants to go and see a magician suspended in midair from the ceiling, but they don’t necessarily need to see the strings that are holding him up. If you know the tricks, there’s no point. You can’t wow a diner if they know your secrets. You are simply taking away that sense of magic. The dining room is set up like a stage. Off stage in the kitchen we prepare the next act. Waiters are in and out of the kitchen all evening and when they leave they know it’s like going on stage—it’s integral to the theatre and how we create it every day.

NUMBER 81 Jon Osbeiston, the legendary wine expert is a dear friend of ours. He has travelled to France on many occasions over many years and one of his favourite restaurants is La Table d’Héloïse in Burgundy, France. He is such a regular there, ensuring he visits every year. He knows the owners quite well and on one occasion they gave him a gift—the Number 81 made of brass. It was a gesture, as in ‘this is your table’ kind of thing. So when we opened Sepia, Jon gave the Number 81 to us for luck and told us, ‘I want you to keep this in the restaurant and every time I come in, that’s my table number regardless of where I sit.’ And rest assured, every time he comes in the brass Number 81 is placed on his table. It brings Jon luck, and I think it’s brought us some too.

THE MIDNIGHT COWBOY

It’s fair to say most restaurants get their fair share of all walks of life. Some nights it can get so strange here you’d think Sepia was the setting for a film. One evening we had a booking of six for dinner. Five people arrived first and they were an oddlooking motley crew—and by that I mean the women were dressed in short leopard-print skirts, cowboy boots and cleavage clearly on show, while the men dressed like they thought they were rockstars. We knew from the moment they walked in that it was going to get interesting. Some groups just have that energy about them. Sure enough, it didn’t take long to find out that they were all in the pornography industry in one way or another. And they were all very vocal about it. A man and a woman from the group got into quite a loud argument before the female rose from her chair and wandered across the room and sat at another table, that of a single diner —an American guy from the army. They struck up a conversation and it wasn’t long before they disappeared into the bathroom together. When they returned the man who had been arguing with this lady got up and stormed out of the restaurant. There was nothing subtle about any of it and just when we thought it couldn’t get any weirder the final guest for the group strutted in—a huge man, with the biggest, shiniest set of white teeth you’ve ever seen, wearing cowboy boots and a black tengallon hat. It was like we were suddenly in an episode of Dallas. He joined the group and he was obviously Mr Fixit. When the table had returned to some level of calm, two of the women got up and moved to the bar where they spent the rest of the night in a passionate embrace. Sometimes fact is stranger than fiction.

TEDDY BEARS’ PICNIC One evening a delightful couple in their fifties came in to dine— the male on the banquette, the female on the chair opposite.

While perusing the menu the man reached into his bag and pulled out a number of teddy bears, which he sat along the banquette next to him. It’s not the sort of thing you usually see in a restaurant so most people in the room were quite intrigued. When the first course arrived the man put one of the bears on the table and started pretending to feed him. The other diners couldn’t stop looking, and one grabbed our waiter Ben and asked, ‘Isn’t it past Teddy’s bedtime?’

A LESSON IN LONE DINING We have a lot of lone diners. We always wanted the restaurant to be welcoming to all group sizes, but it took some constructive criticism from a regular guest to understand how to make it a great destination for those dining alone. At first we thought that lone diners would feel more comfortable if they sat at the rear of the restaurant. We had one regular guest who often came in as part of a group, but sometimes dined alone too. On one such occasion we sat him at table 42 at the back of the room and at the end of the meal he wrote a really long note on the back of the bill, saying how wonderful the food was but that he was really upset that as a lone diner he was sat down the back. He also felt that our staff didn’t engage with him enough. We were devastated, and he didn’t come back for six months. In a way we are glad that he shared that feedback with us, because we learnt a valuable lesson about lone diners. As well as the food, they have a right to play a part in the theatre of the evening and need to feel encouraged to have a great evening. Making lone diners, and particularly lone women diners, feel comfortable is something we go out of our way to achieve and, funnily enough, they are the diners that staff love the most. Guests who dine alone sit in the middle of the restaurant now, and all of our staff make sure they have a magical evening. One particular lone diner, Adrian, has dined with us every week since opening. He knows our food so well that we are

able to talk openly and honestly about dishes with no offence taken. His comments are invaluable and he has taught me a lot. Thank you, Adrian.

OBA MACKEREL YUZU KOSHO HAMACHI DUCK SKIN KARASUMI ONIONS GARLIC TUNA TAMAGO WASABI APPLE BLACK COD ARTICHOKE TONBURI PUMPKIN GRAINS TOFU CUTTLEFISH SAMPHIRE SEA PARSLEY MARRON GINGER DAI DAI CRAB MISO POMELO ROSEMARY VENISON MYOGA CHERRY WASHED RIND HAZELNUT CHINESE ARTICHOKES ‘THE PEARL’ MANDARIN CHEESECAKE THYME TRUFFLE SOFT MERINGUE ROSEMARY MALT

OBA LEAF, SASHIMI MACKEREL, PANCETTA AND YUZU KOSHO CREAM WINE SUGGESTION: Blanc de Blancs Champagne SERVES 8

SMOKED PANCETTA AND YUZU KOSHO CREAM 200 g (7 oz) smoked pancetta, finely diced 250 g (9 oz) ichiban dashi 90 g (3¼ oz) cream (35% fat content) 130 g (42/3 oz) quality fresh whole milk 3.5 (1/10 oz) yuzu kosho 5 g (1/8 oz) shiro dashi 5 g (1/8 oz) tosa soy sauce 4.5 g (1/5 oz) gellan gum Heat a saucepan over medium heat and add the pancetta. Cook down slowly for 5–7 minutes to render out all the flavour of the pancetta and to give a little colour. Pour in the ichiban dashi, cream and milk, and bring to a simmer. Add the yuzu kosho and cook for 4– 5 minutes, add the dashi and tosa soy, and then strain through a fine chinois into a bowl. Add the gellan and mix thoroughly using a handheld blender. Pour the mixture back into the saucepan and bring to the boil, whisking constantly. Cook for a further 30 seconds, pass through a chinois into a container, set aside to cool and then refrigerate for 3–4 hours until set. Break up the pancetta cream with a hand-held blender, pour into a vita-prep (or high-speed blender) and blend on high speed until smooth. Pass through a fine chinois, then pour into a squeeze bottle and refrigerate until required.

MARINATED MACKEREL 10 cm (4 in) kombu strip 300 ml (10½ fl oz) sake 300 g (10½ oz) whole blue mackerel, filleted and pin bones removed Soak the kombu in cold water for 30 minutes until hydrated. Put the sake in a bowl, add the kombu and leave for 1 hour. Remove the kombu from the sake and pat dry with paper towel. Lay the mackerel fillets, skin side down on a tray and cover with the kombu. Leave to marinate for 30 minutes at room temperature. Remove the kombu from around the fillets and discard. Place the fillets on paper towel and refrigerate until required.

TEMPURA OBA LEAVES 50 g (1¾ oz) cornflour (cornstarch) 75 g (22/3 oz/½ cup) plain (all-purpose) flour 5 g (1/8 oz) baking powder 2 litres (70 fl oz/8 cups) vegetable oil 10 oba leaves (including 2 spares) fine sea salt Mix the dry ingredients together in a bowl using your hand. Add 150 ml (5 fl oz) of iced water and mix gently, being careful not to overwork the gluten in the flour. Keep the batter cold. Pour the vegetable oil into a deep heavy-based saucepan, no more than one-third full, then heat to 170°C (325°F). Working with 1 leaf at a time, dip the back of the oba leaf (the rougher side) into the batter to coat that side only, and then carefully place into the oil, batter side down. Fry until crisp but not coloured, then remove with a sieve. Place on paper towel and season with salt. Keep warm. Repeat with the remaining leaves.

TO SERVE

1 tablespoon osietra caviar Remove the marinated mackerel from the fridge and place on a board. Using a sharp knife, cut 16 slices of the fish and set aside. Place the tempura oba leaves on each plate, then add 2 slices of the marinated mackerel. Add a few dots of the smoked pancetta and yuzu kosho cream to each leaf. Finish with a half teaspoon of caviar on top of the mackerel. Serve immediately.

YELLOWTAIL HAMACHI WITH PICKLED PURPLE VEGETABLES AND SPICED DUCK SKIN WINE SUGGESTION: White Pineau des Charentes SERVES 8

MALTOSE GLAZE 4 star anise 40 g (1½ oz) maltose 20 g (¾ oz) rice vinegar 10 g (¼ oz) sake Mix all the ingredients and 2 teaspoons of water in a saucepan over low heat to dissolve completely. Set aside.

SPICED DUCK SKIN 200 g (7 oz) duck skins, from the breast meat only 2 star anise ½ cinnamon stick 2 g (1/10 oz) sansho pepper 80 g (2¾ oz) maltose glaze (see above) fine sea salt Place the duck skins on a board and, using a sharp knife, remove most of the fat. Reserve the skins. Using a small saucepan, render the duck fat with the star anise, cinnamon stick and sansho pepper over low heat for about 15 minutes. Pass the fat through a fine filter and reserve only the liquid fat.

Line two heavy-based baking trays with non-stick baking paper. Spread the duck skins out neatly on the lined trays, feather side up. Brush the skins evenly with the glaze, and leave to dry in a cool place overnight. Preheat the oven to 65°C (150°F/Gas ¼). Place a sheet of baking paper over the duck skins and place heavy-based trays on top of each to keep the skins flat. Cook for 30 minutes. Remove the top trays and covering baking paper and set aside. Continue to cook for another 30 minutes to dry the surface of the skins. Warm the spiced duck fat gently and brush onto the skins, then lightly sprinkle with salt. Increase the temperature to 160°C (315°F/Gas 2–3). Place the baking paper and top trays back over the skins and cook for a further 6 minutes. Remove and place the skins in a warm place until required.

PICKLED PURPLE CARROT 8 baby purple carrots 80 ml (2½ fl oz/1/3 cup) sushi vinegar Bring a saucepan of salted water to a rolling boil. Clean and trim the carrots using a small knife, scraping around the top of the carrot to remove any dirt, then rinse under cold running water. Blanch the carrots in the boiling water for 30 seconds, then remove and plunge in iced water. Drain and pat dry with paper towel. Place the carrots in a medium vacuum bag with the vinegar, then seal in a chamber vacuum sealer on full to remove any air. Leave to pickle for at least 24 hours. Remove the carrots from the vacuum bag and pat dry with paper towel. Cut the tops off the carrots so that they are able to stand up when plating. Store in the fridge until required.

BEETROOT ROE 200 ml (7 fl oz) beetroot juice reduction

20 g (¾ oz) salmon roe Place the beetroot juice reduction in a bowl and add the roe. Cover and refrigerate overnight. Drain and refrigerate again until required.

YUKARI-CURED HAMACHI 1 yellowtail hamachi fillet, about 900 g (2 lb) 50 g (1¾ oz) yukari 2 g (1/10 oz) freeze-dried beetroot (beet) powder Place the hamachi on a board and cut down either side of the pin bones. Remove the belly quarter and reserve for another application. Remove the skin and any blood line from the loin—you should have about 500 g (1 lb 2 oz) of loin. Wrap in paper towel and refrigerate. Pass the yukari through a fine sieve into a bowl. Add the beetroot powder and mix well. Remove the hamachi from the fridge and unwrap. Place on a tray and liberally dust 1 side of the fish with the yukari mix. Press the mix into the fish, wrap tightly in plastic wrap, and then refrigerate for 6 hours.

PICKLED AKA SEAWEED 8 pieces aka seaweed (either fresh or dried and rehydrated in water) 100 ml (3½ fl oz) sushi vinegar Place the seaweed in a bowl and completely cover with the vinegar. Refrigerate for 6 hours before use.

PICKLED BEETROOT GEL 300 ml (10½ fl oz) beetroot juice reduction 50 ml (12/3 fl oz) sushi vinegar 3 g (1/10 oz) agar powder ½ teaspoon sodium citrate

Pour the beetroot juice reduction and vinegar into a saucepan and bring to the boil. Reduce together to 300 ml (10½ fl oz) and then remove from the heat. Whisk in the agar and sodium citrate and bring back to the boil for 10 seconds. Strain through a chinois into a container, and refrigerate for 3 hours until set. Break up the gel with a hand-held blender, and then pour into a vita-prep (or high-speed blender) and blend on high speed until smooth. Place the gel in a medium vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Transfer the gel to a squeeze bottle or piping (icing) bag and refrigerate until required.

PICKLED BEETROOT RIBBONS 1 beetroot (beet) 20 ml (½ fl oz) sushi vinegar Peel the beetroot, then spin on a Japanese slicer to produce a long ribbon. Roll the ribbon up tightly and place in a medium vacuum bag with the vinegar. Seal in a chamber vacuum sealer on full to remove any air, and then refrigerate for 3 hours. Remove the beetroot and drain off the excess vinegar. Roll back up tightly and then cut the beetroot roll into thin slices to make 8 ribbons. Place the beetroot ribbons on a tray, cover, and refrigerate until required.

PICKLED BEETROOT JELLY DISCS 150 ml (5 fl oz) beetroot juice reduction 40 ml (1¼ fl oz) sushi vinegar 4 g (1/10 oz) gold strength gelatine leaves Pour the beetroot reduction into a small saucepan and bring to the boil. Add the sushi vinegar and boil for 1 minute. Meanwhile, lightly spray a 24 x 18 x 2 cm (9½ x 7 x ¾ in) baking tray with baker’s spray and wipe over with paper towel. Soak the

gelatine in cold water until softened, then squeeze out the excess water. Remove the beetroot from the heat, stir through the gelatine until dissolved, and then pass the jelly mixture through a chinois onto the prepared tray. Refrigerate for 2 hours until set. Using a 2 cm (¾ in) round cutter, cut the beetroot jelly into discs and place on a baking tray lined with baking paper. Refrigerate until required.

PICKLED PURPLE BELLE RADISH 2 purple belle radishes 20 ml (½ fl oz) sushi vinegar Thinly slice the purple belle radishes on a mandolin and soak in iced water. Lightly brush with vinegar just before serving.

TO SERVE 8 society garlic flowers 8 purple sage flowers Remove the hamachi from the plastic wrap and, using a sharp knife, cut into 16 slices about 1 cm (½ in) thick. Clean the knife with a damp cloth between each slice. Place 2 pieces of yukari-cured hamachi close together on each plate—one standing up and one lying down. Place the spiced duck skin between the hamachi so that it is able to stand upwards. Place a slice of pickled purple belle radish next to the skin and hold it in place with pickled purple carrot. Lay the pickled beetroot ribbon in front of the carrot and add the pickled aka seaweed and pickled beetroot jelly discs. Add a few pieces of the beetroot roe and a dot of the pickled beetroot gel. Garnish with society garlic and sage flowers. Serve immediately.

KARASUMI WITH PEARL ONIONS, ROASTED RED ONION, WASABI AND SOCIETY GARLIC WINE SUGGESTION: Vermentino di Sardegna SERVES 8

KARASUMI 2 mullet roe, about 150–200 g (5½–7 oz) each (see note) 100 g (3½ oz) sea salt, plus 300 g (10½ oz), extra, for curing 200 g (7 oz) wood chips, for smoking 1 tablespoon olive oil Rinse the roe under cold running water, and then place on paper towel to drain. Mix 1 litre (35 fl oz/4 cups) of water and the 100 g (3½ oz) salt in a container, and stir to dissolve. Place the roe in the brine and refrigerate for 12 hours, or overnight. Remove the roe from the brine and place on paper towel to dry. Heat the wood chips in a frying pan. When they start to smoke transfer to a heat-proof container and place in a smoker. Light the chips using a blowtorch, then burn down until just smouldering. Place a metal tray over the chips to put out the flames then, working quickly, place the tray with the roe into the smoker and close the lid. Leave the roe to smoke for 20 minutes. Remove the roe from the smoker, place in a bowl and lightly coat with the olive oil. Put the 300 g (10½ oz) curing salt on a tray, place the roes in the salt and coat evenly. Put the salt-covered roe on a silicone baking mat and set aside at room temperature (ideally around 22°C/70°F). Pat dry occasionally with paper towel to remove the moisture from the roe. Leave to cure for 2–3 days. Brush off all the salt from the roe, place in a vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Refrigerate

until required. (The roe will keep for many months so it is worth making the full recipe.) NOTE: You could use store-bought bottarga as an alternative to making this recipe.

ROASTED RED ONION JUICE 5 red onions 100 ml (3½ fl oz) olive oil fine sea salt and freshly ground black pepper 30 g (1 oz) unsalted butter 2 teaspoons freshly grated wasabi Preheat the oven to 200°C (400°F/Gas 6). Peel off the first layer of skin from the onions and place the onions in a large bowl. Pour the olive oil over the onions and season well with salt and pepper. Put the onions on a rack placed in a baking tray. Cover the tray with foil and roast for 1 hour, until tender. Remove the onions and rest at room temperature, covered with the foil, for 30 minutes. Remove the foil. Line a bowl with muslin (cheesecloth) and add the onions. Pull the corners of the muslin into the centre to completely cover the onions and tie off the cloth. Place the muslin-wrapped onions in a sieve over a bowl. Put another bowl, filled with water, on top of the onions to press down and extract the juice, and refrigerate for 24 hours. This should make 350 ml (12 fl oz) of juice.

PEARL ONIONS 40 baby spring onions (bulb onions) 500 ml (17 fl oz/2 cups) olive oil 2 garlic cloves, sliced 5 thyme sprigs, picked fine sea salt and freshly ground black pepper

Preheat a combi oven on steam to 85°C (185°F). Trim and clean the spring onions so that they are around 1.5 cm (5/8 in). Divide the spring onions and the remaining ingredients evenly into four vacuum bags. Seal in a chamber vacuum sealer on full to remove any air. Place the bags in the combi oven and steam for 35–40 minutes, or until just tender. Remove from the oven and leave to cool, then refrigerate until required.

ROASTED RED ONION SAUCE 350 ml (12 fl oz) roasted red onion juice (see left) 30 g (1 oz) unsalted butter 1–2 teaspoons freshly grated Tasmanian wasabi Pour the onion juice into a saucepan, bring to the boil and then reduce by half. Add the butter and freshly grated wasabi to taste. Keep warm until required.

TO SERVE fine sea salt and freshly ground black pepper 24 fried garlic chips (elephant garlic variation) 24 society garlic flowers Pour the roasted red onion sauce into the centre of each plate. Drain the pearl onions from the olive oil. Heat a medium saucepan over medium–low heat and add the onions. Warm through and season lightly. Stand the onions in the red onion sauce. Add the fried garlic chips and garlic flowers. Using a microplane, grate the karasumi over the top. Serve immediately.

SHAVED TUNA WITH DASHIMAKI-TAMAGO WHITE SOY AND APPLE JELLY, WASABI AND APPLE SHERBET WINE SUGGESTION: Godello SERVES 8

DEHYDRATED APPLES AND WASABI 2 green apples, peeled and core removed 2 g (1/10 oz) ascorbic acid 200 g (7 oz) wasabi paste Dice the apple and place in a bowl with 500 ml (17 fl oz/2 cups) of water and the ascorbic acid, and soak for 15 minutes. Drain the apple and place on a dehydrator tray. Place the tray in a food dehydrator and dehydrate for 48 hours. Spread out the wasabi paste on another dehydrator tray, place in the dehydrator and dehydrate for 28 hours. Grind the apple and wasabi, separately, and store in separate airtight containers until required.

WASABI AND APPLE SHERBET 50 g (1¾ oz) pure icing (confectioners’) sugar 2 g (1/10 oz) tapioca maltodextrin 1 g (1/25 oz) dried lemon peel, ground to a fine powder 12 g (2/5 oz) fizzy textures 24 g (4/5 oz) dehydrated green apple (see above) 15 g (½ oz) dehydrated wasabi paste (see above) 25 g (1 oz) freeze-dried apple powder Place all the ingredients in a thermomix (or in batches using a spice grinder) and blend into a fine powder.

Sift through a fine chinois and store in an airtight container until required.

MARINATED BIG-EYE TUNA 500 g (1 lb 2 oz) piece sashimi-grade big-eye tuna, trimmed Wrap the tuna in paper towel and refrigerate for 4 hours. Remove the tuna from the fridge and discard the paper towel. Rewrap the tuna in plastic wrap and place in the freezer for 4–5 hours until frozen. Cut 24 sheets of non-stick baking paper a little bigger than the tuna block and set aside. Remove the tuna from the freezer and unwrap. Place the fish on a slicing machine and cut into twenty-four 2 mm (1/16 in) thick slices. Place the slices onto the individual pieces of baking paper, stack, and refrigerate until required.

WHITE SOY AND APPLE JELLY 250 g (9 oz) ichiban dashi 50 g (1¾ oz) white soy sauce (preferably teraoka shiro shoyu) 1.7 g (1/20 oz) agar powder 3 g (1/10 oz) gold strength gelatine leaves 1 teaspoon ascorbic acid 2 green apples Place the dashi, soy and agar in a heavy-based saucepan and bring to a rolling boil. Boil for 10 seconds then remove from the heat. Soak the gelatine in iced water until hydrated. Squeeze out the excess water, add to the saucepan and stir to dissolve completely. Lightly grease two 24 x 18 x 2 cm (9½ x 7 x ¾ in) deep trays, then wipe dry with paper towel. Divide the dashi mixture between the trays, place on a flat surface and leave to set. Refrigerate the jelly

trays for 2 hours. Using a ruler, cut the jelly into 24 x 2 cm (9½ x ¾ in) lengths. Repeat to make 8 strips. Refrigerate again until required. Pour the ascorbic acid and 300 ml (10½ fl oz) of water into a widebased container and mix until dissolved. Place the apples on a Japanese slicer and spin into a continuous strip of thinly sliced apple. Cut the apple strip into a length 26 x 2 cm (10½ x ¾ in) wide. Repeat to make 8 strips. Place the apple strips in a large vacuum bag and just cover with ascorbic water. Seal in a chamber vacuum sealer on full to remove any air and leave for 5 minutes. Remove the apple from the bag, drain off the excess juice and then pat dry with paper towel. Lay the apple strips on a chopping board and place the white soy jelly strips on top. Roll the apple strip around the jelly to make a pinwheel effect. Line a tray with non-stick baking paper, place the rolled apples on the tray and refrigerate until required.

STEAMED DASHI OMELETTE 10 organic eggs 200 ml (7 fl oz) mirin 100 ml (3½ fl oz) ichiban dashi 100 ml (3½ fl oz) white soy sauce (preferably teraoka shiro shoyu) fine sea salt Preheat a combi oven on steam to 79°C (174°F). Pour all the ingredients in a container and, using a hand-held blender, blend until smooth. Pass the mixture through a fine chinois and remove any foam on the surface. Pour the entire amount into a 30 x 20 x 4 cm (12 x 8 x 1½ in) Swiss roll tin lined with go-between. Cover with plastic wrap, place the tray in the combi oven and cook for 20–25 minutes until set. Remove the plastic wrap as soon as the egg is cooked. Leave to cool completely. Cut the steamed egg into eight 15 x 2 x 2 cm (6 x ¾ x ¾ in) strips. Cover and refrigerate until required. (Leftover tamago can be kept in the fridge for 1 more day.)

GREEN APPLE AND SHEEP YOGHURT CREAM 750 g (1 lb 10 oz) granny smith apples, peeled, diced and soaked in ascorbic acid or lemon juice 225 g (8 oz) unsalted butter, diced 5 g (1/8 oz) malic acid 50 g (1¾ oz) fructose fine sea salt 1 g (1/25 oz) xanthan gum 150 g (5½ oz) sheep’s milk yoghurt, drained overnight in a sieve lined with an oil filter Preheat a combi oven on steam to 95°C (200°F). Drain the apples and place in a vacuum bag. Add the butter, malic acid and fructose, and add a little salt. Seal in a chamber vacuum sealer on full to remove any air. Place the vacuum bag in the combi oven and steam for 45 minutes, or until the apples are very tender. Remove the bag and leave the apples to cool. Drain off the butter and reserve. Place the cooked apples in a vita-prep (or high-speed blender). Whisk the drained butter to emulsify and then add 100 g (3½ oz) to the apples. Blend the apples on high speed, adding in the xanthan gum. Strain the apple purée through a chinois into a bowl, cover and refrigerate for 3 hours. Remove the chilled apple purée from the fridge and whisk through the sheep’s milk yoghurt until smooth. Refrigerate again until required. NOTE: Leftover yoghurt can be served as an accompaniment with glazed eel.

TO SERVE 20 g (¾ oz) white soy sauce (teraoka shiro shoyu) 40 wasabi flowers

Preheat the combi oven on steam to 50°C (120°F). Transfer some of the green apple and sheep yoghurt cream to a squeeze bottle. Warm the dashi omelette in the combi oven. Place 1 strip of the warm omelette on each plate and squeeze 3 lines of sheep yoghurt cream on top. Remove the marinated big-eye tuna from the fridge and brush with the white soy. Carefully drape the individual slices of tuna over the tamago and sheep yoghurt. Repeat to evenly layer 3 pieces of tuna per serve. Place the white soy and apple jelly next to the tuna. Garnish the dish with the little white wasabi flowers. Finally, add the wasabi and apple sherbet to the top of the tuna. Serve immediately.

CHARCOAL-GRILLED MISO BLACK COD WITH JERUSALEM ARTICHOKE SKIN, WASABI CREAM AND TONBURI WINE SUGGESTION: Smaragd Grüner Veltliner SERVES 8

MISO-MARINATED BLACK COD 250 g (9 oz) mirin 250 g (9 oz) sake 500 g (1 lb 2 oz) saikyo miso 1 side Alaskan black cod, about 1 kg (2 lb 4 oz) Place the mirin and sake in a heavy-based saucepan and bring to a simmer. Continue to simmer and burn off the alcohol, then remove from the heat to cool completely. Pour the mirin and sake mixture into a bowl. Add the miso and whisk until completely smooth. Place the cod on a board, skin side down. Using a sharp knife, cut out the centre pin bones to leave a back quarter and belly quarter of cod. Place both fillets in a large vacuum bag. Pour in 750 g (1 lb 10 oz) of the marinade to cover the fillet completely, reserving and refrigerating the rest of the marinade for grilling. Seal in a chamber vacuum sealer on full to remove any air. Place the vacuum bag on a tray, making sure the miso marinade covers the fish, and refrigerate for 4 days. Remove the fillets from the bag and discard the miso. Portion the fillet into sixteen 50 g (1¾ oz) pieces (see note) and then refrigerate again until required. NOTE: Leftover fish can be kept in the fridge for up to 2 days.

WASABI CREAM 400 ml (14 fl oz) cream (35% fat content) 200 ml (7 fl oz) quality fresh whole milk 25 g (1 oz) Tasmanian horseradish, freshly grated 20 g (¾ oz) wasabi paste fine sea salt 5 g (1/8 oz) gellan gum Pour the cream and milk into a medium saucepan and bring to the boil. Remove from the heat, whisk in the horseradish and wasabi, then cover and leave to stand for 10 minutes. Strain the cream mixture through a chinois and season to taste with salt. Whisk the gellan into the cream, bring to the boil and cook out for 30 seconds. Pour into a container and place over iced water to set. Break up the set cream with a hand-held blender and place in a vita-prep (or high-speed blender). Blend until smooth, then pass the cream through a chinois. Cover and set aside until required.

JERUSALEM ARTICHOKE SKIN TO STEAM THE JERUSALEM ARTICHOKES:

2 kg (4 lb 8 oz) Jerusalem artichokes Preheat a combi oven on steam to 100°C (210°F). Place the Jerusalem artichokes on to a perforated tray and steam in the combi oven for 30 minutes. Leave to cool slightly then peel away the skins, reserving enough flesh and skin for the Jerusalem artichoke skin (see below). TO MAKE THE SKIN

300 g (10½ oz) steamed Jerusalem flesh (see above) 300 g (10½ oz) steamed Jerusalem artichoke skin (see above) 200 ml (7 fl oz) still mineral water fine sea salt 1 litre (35 fl oz/4 cups) vegetable oil

Place the steamed Jerusalem artichoke flesh and skins in a thermomix and start to blend on speed 6. Add the mineral water and a pinch of salt and continue to blend until a paste is formed. (There should still be skin pieces visible.) Carefully pass the artichoke mixture through a drum sieve to remove the skin and any lumps. Add the skin back to the purée. Preheat a combi oven on dry heat to 110°C (230°F). Spread the artichoke purée over two trays lined with silicone baking mats, 1 mm (1/32 in) thick, and cook in the combi oven for 45 minutes, or until dry, with the fan setting on low. Pour the vegetable oil into a deep heavy-based saucepan, no more than one-third full, then heat to 170°C (325°F). Carefully tear off a shape of the artichoke skin and fry quickly. Quickly put the artichoke crisp between two pieces of paper towel to remove any excess oil on the surface. While still hot, stretch the skin into a chip shape. Repeat to make 8 chips. Store in a dry place until required.

TONBURI AND WASABI DRESSING 50 g (1¾ oz) tonburi (Japanese mountain caviar) 2 tablespoons finely chopped chives 50 ml (12/3 fl oz) smoky rice wine vinaigrette 1 teaspoon freshly grated Tasmanian wasabi Place the tonburi, chives and vinaigrette in a small bowl. Mix together well. Add the wasabi just before serving and mix together well. The wasabi will cause the vinaigrette to emulsify and become thick.

TO SERVE 6 logs Japanese charcoal (binchotan) 2 kg (4 lb 8 oz) katsuobushi-infused clarified butter 100 g (3½ oz) reserved miso marinade, for grilling miso-marinated black cod

fine sea salt Fire up the charcoal by burning it over a gas flame for 30 minutes then transfer to a hibachi (barbecue grill). Leave the hot charcoal to burn for 15 minutes before using, and place a grill or wire rack on top to heat. Heat the katsuobushi-infused clarified butter to 70°C (158°F) in a deep heavy-based saucepan, then add the miso-marinated black cod fillets. Cook the cod portions in the butter for 4 minutes, until halfcooked. Remove and drain the cod portions on paper towel to remove the excess butter. Brush the cod with a little of the miso marinade that was reserved for grilling, and season with salt. Place the cod on the barbecue and grill until caramelised on both sides. Remove from the grill and keep warm. Place 2 pieces of the cooked cod onto each serving plate. Warm the wasabi cream in a small saucepan, transfer to a squeeze bottle and squeeze on the plates next to the cod. Stand a Jerusalem artichoke skin chip behind the cod fillet. Finally, mix the tonburi and wasabi dressing and spoon onto the side of the plate. Serve immediately.

ROASTED PUMPKIN TERRINE, GRAINS AND SEEDS, TOFU, BUTTER AND PUMPKIN VINAIGRETTE WINE SUGGESTION: Gamay SERVES 8

SILKEN TOFU FOR THE SOY MILK:

500 g (1 lb 2 oz) dried organic soy beans Put the soy beans in a bowl, cover with water, and soak for 2 days at room temperature. Drain the soy beans and rinse under cold running water. Put the soy beans in a high-speed blender with 2 litres (70 fl oz/ 8 cups) of fresh water and blend until completely broken down. Pour the water and soy beans into a saucepan, bring to the boil, stirring occasionally. Cook for 40 seconds then remove from the heat and leave for 5 minutes. Pour the soy beans through a filter (or tofu cloth), and squeeze out as much of the soy milk as possible. Keep the soy milk in a bowl and then put the beans back in the high-speed blender, add 500 ml (17 fl oz/2 cups) of water and blend. Squeeze again and put the soy milk in a separate bowl. Save the soy bean pulp and set aside for another application. Take the Brix of the first soy milk which should read around 14 Brix, then add the second weaker soy milk to the first so that the Brix are around 12 Brix. Refrigerate the soy milk for 24 hours before use. FOR THE TOFU:

250 g (9 oz) chilled fresh soy milk at 12 Brix (see above) 1.6 g (1/20 oz) liquid nigari (magnesium chloride)

Preheat a combi oven on steam to 68°C (154°F). Mix the chilled soy milk (directly from the fridge) with the nigari. Pour into a metal or porcelain bowl (so that it is about 1 cm/½ in deep) and cover with plastic wrap. Place the soy milk in the combi oven and steam for 30 minutes until set. Remove from the steamer and leave to cool, then refrigerate for 4 hours. Cut the silken tofu into a 1 cm (½ in) square dice and refrigerate until required.

PUMPKIN TERRINE 1 jap pumpkin, about 1.5–2 kg (3 lb 5 oz–4 lb 8 oz) 200 g (7 oz) confit eschalots 1 bunch rosemary, picked and finely chopped fine sea salt and freshly ground black pepper Cut the pumpkin into four quarters, and then remove the seeds and skin. Cut the quarters in half again into neat blocks about 5 cm (2 in) wide and around 10 cm (4 in) long. Using a mandolin, cut the pumpkin into slices about 3 mm (1/8 in) thick. Preheat the combi oven on steam to 85°C (185°F). Line a 30 x 5 x 5 cm (12 x 2 x 2 in) terrine mould with go-between. Place a layer of the pumpkin slices in the mould so that they overlap slightly. Add 1 small spoonful of the confit eschalot and a sprinkle of the rosemary. Season with salt and pepper. Add another layer of pumpkin on top, and another layer of eschalot and rosemary. Do not season this layer. Repeat the layering process, adding seasoning every 3 layers. Fill the terrine to about 1 cm (½ in) above the terrine mould. Close the go-between over the pumpkin and press down. Wrap the terrine tightly in a 50 x 35 cm (20 x 14 in) sheet of foil, pressing down as much as possible. Place the terrine in a large vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Place the terrine in the combi oven and steam for 20 minutes. Remove the terrine from the steamer, place a weight on top to press and leave to cool. Refrigerate overnight to set.

Remove the terrine from the vacuum bag and foil, and place on a chopping board. Split the terrine down the centre lengthways to expose the layers. Cut each half into four 7 cm (2¾ in) long blocks to make 8 portions. Refrigerate until required.

ROASTED PUMPKIN 1 small–medium jap pumpkin, 700–800 g (1 lb 9 oz–1 lb 12 oz) 100 ml (3½ fl oz) olive oil fine sea salt and freshly ground black pepper Preheat the oven to 250°C (500°F/Gas 9). Place the whole pumpkin on a wire rack in a roasting tray, lined with foil. Rub the pumpkin with olive oil and season well. Bake for 1½ hours, or until the pumpkin is tender. Place the roasted pumpkin in a large bowl, cover with plastic wrap and set aside to cool. Remove the skin and any dark flesh. Cut out the seeds and place the pumpkin into a sieve placed over a bowl. Refrigerate for 24 hours to drain. Reserve the roasted pumpkin and juices for the pumpkin purée and vinaigrette below.

PUMPKIN PURÉE 500 g (1 lb 2 oz) roasted pumpkin (see above) 60 g (2¼ oz) unsalted butter, softened fine sea salt and freshly ground black pepper Place the pumpkin into a thermomix and blend on high speed. Add the butter and blend until smooth. Adjust the seasoning and refrigerate in a sealed container until required.

ROASTED BUTTER AND JAPANESE PUMPKIN VINAIGRETTE 200 g (7 oz) jap pumpkin juice (see above) 50 g (1¾ oz) unsalted butter, diced 10 g (¼ oz) sherry vinegar fine sea salt 1 rosemary sprig

Place the pumpkin juice in a saucepan, bring to the boil and reduce by half. In a separate saucepan, heat the butter until it turns golden brown. Whisk the melted butter into the reduced pumpkin juice. Add the sherry vinegar, season to taste and pour into a squeeze bottle. Bring a saucepan of salted water to a rolling boil. Pick the leaves from the rosemary and blanch for 20 seconds. Drain the rosemary and plunge in iced water to refresh. Pat dry with paper towel and then finely chop. Refrigerate the vinaigrette and rosemary separately until required.

TOASTED GRAINS AND SEEDS 1 tablespoon fennel seeds 2 tablespoons pumpkin seeds (pepitas) 1 tablespoon black sesame seeds 2 tablespoons sunflower seeds fine sea salt 100 g (3½ oz) oats 1 tablespoon olive oil 2 tablespoons honey 2 tablespoons puffed quinoa 2 tablespoons puffed sushi rice 2 tablespoons puffed buckwheat 2 tablespoons puffed mustard seeds 1 teaspoon aonori Preheat the oven to 150°C (300°F/Gas 2). Place all the seeds in a frying pan and toast over medium heat until golden brown. Season with a little salt and leave to cool. Place the oats in a bowl. Warm the olive oil and honey together in a frying pan until well combined and fluid. Pour over the oats and mix together until well coated. Spread out the oats on a tray lined with a silicone baking mat and bake for 30 minutes or until golden. Remove from the oven and leave to cool.

Break up the oats with your hand and place in a bowl with the toasted seeds. Add the remaining puffed ingredients and the aonori, and mix well. Store in a cool dry place until required.

TO SERVE 100 ml (3½ fl oz) olive oil Heat the olive oil in a frying pan over medium–high heat. Add 4 pumpkin terrine portions to the pan and cook for 4 minutes on each side, until golden brown. Remove and keep warm. Repeat with the remaining terrines. Warm the pumpkin purée in a saucepan over medium heat, then add 1 spoonful to the centre of each plate, flattened slightly. Place a terrine on top of the purée and press down slightly to fan out the pumpkin. Add 1 spoonful of toasted grains and seeds on to 1 side of the fanned terrine. Add a line of the roasted butter and Japanese pumpkin vinaigrette and sprinkle on the rosemary. Finally, finish with 3 squares of the silken tofu. Serve immediately.

CUTTLEFISH SILKS, SAMPHIRE, SEA PARSLEY AND SEAWEED CONSOMMÉ WINE SUGGESTION: Aligoté SERVES 8

SEAWEED CONSOMMÉ 2 litres (70 fl oz/8 cups) still mineral water 30 g (1 oz) aonori 10 cm (4 in) kombu strip (rishiri) 100 g (3½ oz) wakame seaweed, washed Heat the mineral water in a heavy-based saucepan over medium heat. Add the aonori, kombu and wakame and bring to 62°C (144°F). Maintain the temperature for 2 hours. Strain the seaweed stock through a fine filter into a bowl and cool over ice. Refrigerate overnight to settle and mature. Gently pour off the top two-thirds of the stock to leave behind the sediment, reserving the clear consommé. Refrigerate for up to 2 days until required.

CUTTLEFISH SILKS FOR THE CUTTLEFISH INK SEE NOTE:

220 g (7¾ oz) fresh cuttlefish ink sacs 1.5 litres (52 fl oz/6 cups) riesling 1.5 kg (3 lb 5 oz) cuttlefish, head and tentacles 2 litres (70 fl oz/8 cups) chicken stock Place the ink sacs into a heavy-based saucepan. Add the wine and, using a wooden spoon, break up the sacks to release the ink. Wash the cuttlefish head and tentacles to remove any brown intestinal parts and then add to the pan with the ink sacs and wine.

Place over high heat and bring to the boil. Simmer until the liquid reduces by half. Add the chicken stock and bring back to the boil. Turn down to a simmer and reduce for about 1 hour until a thick consistency is achieved. Pass the ink through a fine chinois into a clean pan and continue to simmer until reduced to a thick paste. Cool completely and then refrigerate until required. NOTE: Alternatively, you could use store-bought cuttlefish ink. FOR THE WHITE SILKS:

500 g (1 lb 2 oz) cleaned cuttlefish 1 organic egg white 3 g (1/10 oz) titanium dioxide Place the cuttlefish in a thermomix and blend on high speed to a fine purée. Add the egg white and continue to blend until the mix is smooth and stiffened. Remove half the cuttlefish purée and set aside for the black silks (see below). Add the titanium dioxide to the remaining mixture and blend again until evenly white and smooth. Pass the cuttlefish purée through a drum sieve and then rest over ice for 1 hour. Place 30 g (1 oz) of the cuttlefish purée in a 165 x 225 mm (6½ x 8½ in) vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Repeat to make 8 sheets of cuttlefish. Place the bags into a bowl of iced water and rest for 12 hours or overnight to rest the cuttlefish. FOR THE BLACK SILKS:

250 g (9 oz) reserved cuttlefish mixture (see above) 85 g (3 oz) cuttlefish ink (see left) Place the cuttlefish in a thermomix bowl and blend again to loosen the meat. Add the reduced cuttlefish ink and continue to blend until the mixture becomes firm and is evenly black and smooth. Pass the

cuttlefish mixture through a drum sieve and then rest over ice for 1 hour. Place 30 g (1 oz) of the black cuttlefish mixture into a 165 mm x 225 mm (6½ x 8½ in) vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Repeat to make 8 sheets of cuttlefish. Place the bags into a bowl of iced water and rest for 12 hours or overnight to rest the cuttlefish. Heat a circulating water bath (or a saucepan filled with water) to 64°C (148°F). Add the bags of rested cuttlefish sheets and cook for 6 minutes. Remove the silks and plunge in iced water to refresh. Refrigerate the cuttlefish silks until required.

TO SERVE 8 sea parsley sprigs 24 samphire sprigs virgin white sesame oil Preheat a combi oven to 60°C (140°F). Place the cuttlefish silk bags on a board and slice off 3 of the edges. Place the bags on perforated steamer trays and warm through for about 8 minutes. Remove the cuttlefish from the oven and carefully peel the bag from the black silks. Loosely lay the black silks into each bowl. Repeat with the white silks, loosely intertwining them with the black silks. Warm the seaweed consommé to 60°C (140°F) and then pour over the silks. Place the sea parsley and samphire sprigs over the silks. Add a few dots of white sesame oil to the consommé and serve immediately.

CHARCOAL-SMOKED MARRON WITH NORI PURÉE, YOUNG GINGER, SHELLFISH AND DAI DAI EMULSION WINE SUGGESTION: Bandol Rosé SERVES 8

YOUNG GINGER GEL 100 g (3½ oz) young ginger, finely grated using a microplane 240 g (8½ oz) still mineral water 100 g (3½ oz) mirin 20 g (¾ oz) caster (superfine) sugar 12 saffron threads 4 g (1/10 oz) fine sea salt 3 g (1/10 oz) agar powder Place the ginger, mineral water, mirin, sugar and saffron in a saucepan and bring to 80°C (175°F). Steep for 20 minutes, uncovered, then cover with the lid and leave to infuse for 30 minutes more. Maintain the temperature throughout. Strain the ginger infusion into a bowl through a fine chinois, and then stir through the salt. Measure out 300 ml (10½ fl oz) of the infusion into the pan and whisk in the agar. Bring the mixture back to the boil, boil for 30 seconds, and then pour into a container placed over a bowl of iced water. Refrigerate until set. Break up the ginger gel using a hand-held blender and then place in a vita-prep (or high-speed blender). Blend the gel on high speed until smooth. Pour the gel into a medium vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Pour the gel into a squeeze bottle and refrigerate until required

NORI PURÉE 20 g (¾ oz) dried arame seaweed 430 ml (15 fl oz) ichiban dashi 15 g (½ oz) mirin 15 g (½ oz) tamari soy sauce 50 ml (12/3 fl oz) soy sauce 5 g (1/8 oz) cooked kombu (reserved from the ichiban dashi above) 2 A-grade nori seaweed sheets (each 18 x 20 cm/7 x 8 in) 30 g (1 oz) olive oil Soak the arame in iced water for 30 minutes until hydrated and trebled in size. Pour the dashi, mirin, tamari and soy into a saucepan and bring to 60°C (140°F). Add the arame and bring to a simmer. Reduce the heat to low, add the kombu and cook for 5 minutes. Add the nori sheets, bring the temperature to 62°C (144°F) and cook for a further 5–6 minutes until all the seaweeds are tender. Remove from the heat, and strain, separating the seaweed and dashi liquid. Put the seaweeds in the vita-prep (or high-speed blender) and start to blend on full. Slowly add enough of the cooking dashi to create a smooth purée. Finally, add the olive oil and blend until emulsified well. Pass the purée through a fine sieve and keep warm until required.

SHELL AND RICE COATING 15 g (½ oz) puffed sushi rice 60 g (2¼ oz) shell powder 7 g (1/5 oz) tomato powder Crush the puffed sushi rice lightly. Mix all the ingredients together in a bowl.

SHELLFISH AND DAI DAI BUTTER EMULSION TO MAKE THE PRAWN BUTTER:

1kg (2 lb 4 oz) unsalted butter 500 g (1 lb 2 oz) fresh prawn heads (or scampi heads) Cut the butter into small cubes. Heat the butter in a large deep saucepan over medium heat until completely melted. Add the prawn heads and stir to coat. Increase the heat to high and cook the prawn heads and butter until golden brown and fragrant. Remove from the heat and leave to infuse for 1 hour. Gently ladle off the roasted prawn-head clarified butter and strain through a fine sieve lined with an oil filter into a clean container. Leave to cool. TO MAKE THE EMULSION:

6 organic egg yolks 60 g (2¼ oz) dai dai juice 30 g (1 oz) sushi vinegar fine sea salt 50 ml (12/3 fl oz) shellfish stock 450 g (1 lb) prawn butter (see above) 20 g (¾ oz) shellfish oil Combine the yolks, dai dai, vinegar, salt and shellfish stock in a thermomix bowl and attach the butterfly attachment. Set the speed to 5 and blend all the ingredients together well. Turn on the heat and bring to 80°C (175°F), and then cook the eggs for 8 minutes to make a light sabayon. Put the prawn butter in a saucepan and warm to about 40°C (105°F). Slowly drizzle the warm prawn butter into the thermomix, blending until all the butter is incorporated and the emulsion is thick and glossy. Finally, mix in the shellfish oil and season to taste. Keep warm until required.

POACHED MARRON 8 live marrons, about 160 g (52/3 oz) each

4 litres (140 fl oz/16 cups) court bouillon Place the live marrons into the freezer for 20 minutes. This will send them to sleep. Meanwhile, bring the court bouillon to the boil in a large saucepan. Place a marron on a board and push the point of a large knife through the back of the head. This will kill the marron instantly. Repeat with the remaining marron. Place 4 of the marrons into the boiling court bouillon using a pair of tongs and cook for 2 minutes. Transfer the cooked marron into a bowl of iced water and leave for 5 minutes to cool completely. Repeat with the remaining 4 marrons. Peel the cold marron by removing the head, cracking the shell and then peeling off each section of shell. Remove the intestinal tract. Crack the claws to remove the claw meat and set the tail and claws to one side. Cover with damp paper towel and refrigerate until required.

TO SERVE 6 logs Japanese charcoal (binchotan) 2 litres (70 fl oz/8 cups) shellfish stock, reduced to 1 litre (35 fl oz/4 cups) 250 g (9 oz) unsalted butter, diced 16 red vein sorrel leaves 8 chickweed sprigs Fire up the charcoal by burning it over a gas flame for 30 minutes then transfer to a hibachi (barbecue grill). Leave the hot charcoal to burn for 15 minutes before using, and place a grill or wire rack on top to heat. Heat the shellfish stock in a saucepan to 80°C (175°F). Whisk in the butter until completely combined. Remove the stock from the heat, add the marrons and leave for 2 minutes to warm through. Drain each of the marrons, and then place them on the grill and cook for 1 minute on each side. Meanwhile, put the claw meat in the stock to warm through. Grill the claw meat for 30 seconds on each side.

Spoon some nori purée onto each plate and add a dot of the young ginger gel on top. Add a few more dots of the ginger gel around the plate, and then place the marron on top of the nori purée with the claw meat on the side. Spoon the shellfish and dai dai butter emulsion over the marron to coat. Sprinkle with some of the shell and rice coating, and garnish with the sorrel leaves and chickweed. Serve immediately.

SPANNER CRAB WITH SAIKYO MISO MOUSSE, POMELO, FRIED GARLIC AND ROSEMARY AND GARLIC FLOWERS WINE SUGGESTION: Kerner SERVES 8

POMELO CELLS ½ ripe pomelo 2 litres (70 fl oz/8 cups) liquid nitrogen Remove the skin and pith from the pomelo with a sharp knife. Cut out each segment and set aside. Pour the nitrogen into a nitro bowl and leave it to freeze for 1 minute until the bowl tempers to the nitrogen and the nitrogen stops boiling. Place the pomelo segments in the liquid nitrogen and freeze for about 2 minutes. Remove the frozen segments with a slotted spoon. Place the pomelo segments in a tea towel (dish towel) and wrap completely. Using the back of a rolling pin, break the segments apart to make individual cells of fruit. Refrigerate until required.

ROASTED CHICKEN AND SAIKYO MISO MOUSSE TO MAKE THE CREAM:

150 g (5½ oz) sake 500 g (1 lb 2 oz) chicken stock (roasted bones and wings variation, or quality store-bought) 200 g (7 oz) saikyo miso paste 500 g (1 lb 2 oz) cream (35% fat content) 25 g (1 oz) shiro dashi 25 g (1 oz) shibanuma soy sauce 10 g (¼ oz) gellan gum

Pour the sake into a medium saucepan and bring to the boil over high heat. Flame the sake to burn off the alcohol and reduce the liquid by half. Add the chicken stock and bring to a simmer, and then reduce the mixture by one-third. Add the miso paste and whisk through completely. Bring back to the simmer, then turn off the heat. Cover with the lid and then leave the miso to infuse for 10 minutes. Strain the miso stock through a fine chinois into a clean saucepan. Add the cream, bring to the boil and reduce for 2–3 minutes. Add the shiro dashi and soy sauce to season, and then gradually whisk in the gellan. Use a hand-held blender and blend the cream. Bring back to the boil and cook out for 30 seconds. Pour the miso cream into a container set over ice and leave to cool to room temperature, then refrigerate for 4 hours to set. Break up the miso cream using a hand-held blender. Put the cream into a vita-prep (or high-speed blender) and blend until smooth. Pass the cream through a chinois into a container and set aside until required. TO MAKE THE MOUSSE: Warm 900 g (2 lb) of the miso cream in a saucepan to about 65°C (150°F) and then pour into a 1 litre (35 fl oz/4 cups) syphon. Connect the top with a plain nozzle and charge twice with nitrous oxide. Shake well between each charge. Keep warm until required.

TO SERVE 1 kg (2 lb 4 oz) katsuobushi-infused clarified butter 320 g (11¼ oz) raw spanner crab meat 50 ml (12/3 fl oz) smoky rice wine vinaigrette ½ teaspoon chopped rosemary 1 teaspoon finely chopped chives fine sea salt and freshly ground black pepper 4 tablespoons puffed quinoa seasoned with nori salt 65 g (21/3 oz) fried garlic chips 160 rosemary flowers

48 society garlic flowers Warm the butter to 70°C (158°F) over a circulating water bath (or in a heavy-based saucepan). Add the crab meat and poach for 4–5 minutes, until cooked. Remove the crab meat and drain on paper towel. Dress the crab meat in the smoky rice wine vinaigrette and add the chopped herbs. Stir together well and season to taste. Keep warm. Add half of the pomelo cells to the crab meat and stir through. Divide the crab meat into the centre of each plate. Shake the warm roasted chicken and saikyo miso mousse syphon well and, holding it directly above the crab, gently pull the trigger and coat the meat. Sprinkle over the puffed quinoa, and then add the fried garlic chips so that they completely cover the miso mousse. Add the remaining pomelo cells to the top of the garlic chips. Finally, add the rosemary and garlic flowers to finish. Serve immediately.

SANSHO-SEARED MANDAGERY CREEK VENISON WITH PICKLED MYOGA, CHERRY AND LICORICE WINE SUGGESTION: Sforzato di Valtellina SERVES 8

PICKLED MYOGA 8 myoga ginger 500 ml (17 fl oz/2 cups) sushi vinegar Rinse the myoga under cold water and pat dry with paper towel. Put the vinegar in a small saucepan and bring to the boil. Sterilise a 750 ml (26 fl oz/3 cup) preserving jar (or mason jar) by placing it in boiling water for 30 seconds. Carefully remove, and then leave to cool. Place the myoga in the jar and then pour over the hot vinegar. Cover with a lid (while still hot) to vacuum seal and refrigerate until required. NOTE: Unopened pickled ginger can be kept in the fridge for 2–3 months.

CHERRY PURÉE 1 kg (2 lb 4 oz) fresh cherries, pitted 60 g (2¼ oz) caster (superfine) sugar 1 juniper berry, crushed ½ lemon, juiced Place the cherries in a bowl, and mix through the sugar, juniper berry and lemon juice. Leave to macerate for 24 hours, mixing approximately every 6 hours.

Pour the macerated cherries, with the juices, into a wide-based saucepan and cook gently over medium–low heat for 1–1½ hours until the cherries are soft and rich in colour. Transfer to a blender and purée until smooth. Pass the purée through a fine chinois into a container and refrigerate until required.

VENISON 1 Mandagery Creek venison fillet, about 500 g (1 lb 2 oz) Place the venison on a board and remove the sinew. Separate the chateau from the main fillet. Roll the fillet and the chateau separately in plastic wrap to make 2 rounds. Rest the venison in the fridge for 12 hours until required.

TO SERVE 2 kg (4 lb 8 oz) clarified butter 30 g (1 oz) sansho pepper, plus extra for dusting fine sea salt 2 teaspoons licorice powder 8 young sansho leaves Remove the cherry purée from the fridge 30 minutes before serving. Heat the clarified butter to 58°C (137°F) in a medium saucepan (or a circulating water bath). Remove the venison from the fridge and remove the plastic wrap. Place the venison in the clarified butter and warm through for 20 minutes. Remove the venison, drain on paper towel and then coat with a little of the sansho pepper and season with salt. Heat a large frying pan over medium–high heat. Add the venison and sear on all sides so that it is evenly caramelised. Remove from the pan and rest for 5 minutes. Carve the venison fillet into 7 even slices and the chateau into 1 portion to make 8 slices. Place a leaf stencil onto a serving plate and dust over the extra sansho pepper. Repeat with each plate.

Add a slice of venison next to the sansho pepper. Remove the myoga from the pickle and pat dry with paper towel. Cut the myoga in half, lengthways, and place next to the venison. Add a spoonful of the cherry purée and then sprinkle with licorice powder. Garnish with the young sansho leaves. Serve immediately.

BAKED MOUNTAIN MAN CHEESE WITH RYE, HAZELNUT AND PICKLED CHINESE ARTICHOKES WINE SUGGESTION: Sparkling Shiraz SERVES 8

PICKLED CHINESE ARTICHOKES 32 Chinese artichokes 500 ml (17 fl oz/2 cups) sushi vinegar Rinse the Chinese artichokes under cold water and pat dry with paper towel. Heat the vinegar in a small saucepan and bring to the boil. Sterilise a 750 ml (26 fl oz/3 cup) preserving jar (or mason jar) by placing it in boiling water for 30 seconds. Carefully remove, and then leave to cool. Place the artichokes in the jar and then pour over the hot vinegar. Cover with a lid (while still hot) to vacuum seal, and refrigerate until required. NOTE: Unopened pickled artichokes can be kept in the fridge for 2–3 months.

HAZELNUT CRUMB 35 g (1¼ oz) hazelnut oil 25 g (1 oz) tapioca maltodextrin Pour the hazelnut oil into a bowl and whisk through the maltodextrin. Once combined, use your fingers to clump the mixture together into small rock-like shapes. Place a frying pan over medium–low heat and

add the hazelnut and maltodextrin mixture. Swirl the pan to make the hazelnut rocks smoother. Pour onto a tray and set aside to cool.

TOASTED RYE 1 loaf seeded rye bread 100 g (3½ oz) unsalted butter, melted Preheat the oven to 150°C (300°F/Gas 2). Place the bread on a slicing machine and cut into 1 mm (1/32 in) slices (or as thin as you can) to make 10 even slices. Cut the slices into 10 x 7 cm (4 x 2¾ in) rectangles and brush with melted butter. Lay each slice of rye over a 2.5 cm (1 in) diameter and 6 cm (2½ in) long metal cylinder to make a long half-tube of bread, brush again with butter and hold in place with a spoon or egg cup to stop them rolling over. Place on a tray and bake for 7–8 minutes until golden. Quickly remove from the oven and check that they are set around the cylinder. Remove the cylinders and leave the oven on.

MOUNTAIN MAN CHEESE 1 round Mountain Man washed rind cheese, about 500 g (1 lb 2 oz) Leaving the rind on, cut the Mountain Man cheese into eight 8 x 4 cm (3¼ x 1½ in) blocks (about 60 g/2¼ oz).

TO SERVE 40 g (1½ oz) hazelnuts, toasted Rest the cheese at room temperature for 30 minutes before serving. Microplane the toasted hazelnuts into a bowl and set aside. Place 1 slice of the Mountain Man cheese into each of the toasted bread tubes. Put the stuffed rye in the heated oven and warm for 1–2 minutes until the cheese just starts to melt. Remove from the oven and turn off the heat.

Working quickly, place the rye with the cheese onto each plate. Drain the pickled Chinese artichokes and add 4 artichokes to each plate. Mix the grated hazelnuts together with the hazelnut crumb and dust over the cheese. Serve immediately.

‘THE PEARL’ FINGER LIME AND GINGERADE WINE SUGGESTION: Yuzushu SERVES 8

LIME AND GINGER SYRUP 2 limes, zest finely grated using a microplane 100 g (3½ oz) freshly squeezed lime juice 45 g (1½ oz) ginger, finely grated using a microplane 300 ml (10½ fl oz) sugar syrup (100 per cent) 6 g (1/5 oz) gold strength gelatine leaves 100 g (3½ oz) Italian meringue Mix the lime zest, lime juice, ginger and sugar syrup together in a bowl and leave to marinate for 24 hours. Strain the mixture through a chinois and squeeze the ginger and lime to extract all the juice. Pour 50 ml (12/3 fl oz) of water into a saucepan and bring to 60°C (140°F). Soak the gelatine in iced water until hydrated and then squeeze out the excess water. Add the gelatine to the warmed water and stir until dissolved. Pour the gelatine water into the ginger and lime mixture and stir until well combined. Gradually fold through the Italian meringue, until soft and glossy, then pour the mix into a 500 ml (17 fl oz/2 cups) syphon and place the lid on. Charge twice, shaking well between each charge, and then chill in iced water. Refrigerate until required.

PEARL SHELLS 300 g (10½ oz) mannitol 2 g (1/10 oz) edible silver powder

Pour the mannitol into a saucepan over medium heat and bring to 180°C (350°F) or until the sugar melts. Remove from the heat but keep warm at 160°C (315°F). Dust inside eight 5 cm (2 in) wide silicone sphere moulds with half the silver powder and then seal together tightly. Add the remaining silver powder to the warm mannitol mixture and stir through gently. Carefully pour the mixture into the prepared moulds, one at a time. Once filled, carefully pour the mannitol back into the saucepan. Maintain the temperature at 160°C (315°F). Leave the moulds to cool completely—the mannitol coating should set inside the moulds. Once cooled, carefully pull apart the moulds to reveal the silver spheres. Carefully remove the spheres and place into an egg carton with the hole side up. Heat an apple corer over a flame until it glows red hot. Use the apple corer to melt the small hole into a bigger hole. Repeat the process to make eight pearl shells. Store in a cool dry place until required.

LIME CREAM 250 g (9 oz) cream (35% fat content) 1 lime, zest only, finely grated using a microplane 50 g (1¾ oz) caster (superfine) sugar 0.75 g (3/100 oz) iota 40 g (1½ oz) organic egg yolks 1 g (1/25 oz) gold strength gelatine leaves 20 g (¾ oz) lime juice Pour the cream into a heavy-based saucepan, add the lime zest and 30 g (1 oz) of the caster sugar and bring to the boil. Whisk in the iota and return to the boil. Whisk the egg yolks and the remaining 20 g (¾ oz) of caster sugar in a bowl until well combined. Temper in the boiled cream mixture, continuing to whisk, then return the cream back to the heat and cook out to 84°C (183°F), stirring constantly.

Soak the gelatine in iced water until hydrated and then squeeze out the excess water. Add the gelatine and lime juice to the custard mixture and stir well to combine. Strain through a fine chinois and cool over a bowl of iced water. Whip the cooled cream until airy, place in a piping (icing) bag and refrigerate until required.

TO SERVE 1 g (1/25 oz) edible silver dust 2 litres (70 fl oz/8 cups) liquid nitrogen 4 finger limes, pearls removed Dust each plate with silver dust. Remove the lime and ginger syrup syphon from the iced water and shake well. Pour the liquid nitrogen into a nitro bowl and leave to cool for 30 seconds. Disperse the lime and gingerade into the bowl and freeze for 1 minute, making sure that it is completely covered in nitrogen. Place the finger lime pearls into a small sieve and then add to the nitrogen. Stir to keep them separate, and let them freeze. Put 1 teaspoon of frozen finger lime into the sugar sphere. Repeat with the remaining spheres. Break up the lime and gingerade with a metal spoon and place into a wet and dry blender. Blend into a fine sherbet snow. Spoon the snow into the pearl shells, above the finger lime, almost to the top. Pipe the lime cream into the hole to seal it and stop any sherbet coming out. Add a little lime cream to the centre of the plate and then place the pearl on top. Serve immediately.

CANDIED WHOLE MANDARIN WITH GOAT’S MILK AND CRÈME FRAICHE CHEESECAKE, AND THYME FLOWERS WINE SUGGESTION: Muscat of Samos SERVES 8

MANDARIN ZEST SYRUP 10 mandarins, zest microplaned, and 500 g (1 lb 2 oz) peeled mandarins reserved for the mandarin jam (see right) 333 g (11¾ oz) caster (superfine) sugar 1–2 drops mandarin oil Place the mandarin zest, 1 litre (35 fl oz/4 cups) of water and the sugar in a medium saucepan and bring to the boil. Reduce the heat and simmer gently for 15 minutes. Using a hand-held blender, blend the syrup to evenly break up the zest. Pass the syrup through a fine chinois, pressing out any excess liquid, and reserve the zest for the mandarin powder (see below). Stir through the mandarin oil. Pour the syrup into a bowl and cool over ice. Refrigerate the cooled syrup until required for the mandarin zest custard (see following page).

MANDARIN POWDER 60 g (2¼ oz) reserved mandarin zest (see above) 7 g (1/5 oz) pure icing (confectioners’) sugar 1 g (1/25 oz) citric acid 1 g (1/25 oz) flaked sea salt Spread the mandarin zest over a silicone baking mat place in a food dehydrator and dehydrate at 55°C (130°F) for 30 hours.

Put the dried mandarin zest and remaining ingredients into a spice grinder. Blend until smooth, strain through a fine-mesh sieve and store in an airtight container until required.

MANDARIN JAM 500 g (1 lb 2 oz) reserved peeled mandarins (see left) 300 g (10½ oz) caster (superfine) sugar 1 g (1/25 oz) apple pectin Put the mandarins, including the pips, and 375 ml (13 fl oz/1½ cups) of water into a heavy-based saucepan and bring to a simmer. Mix the sugar and pectin together in a bowl and then shear into the mandarin and water. Whisk well to combine. Cook the mandarin mixture until the temperature reaches 107°C (223°F), then remove the jam from the heat and pass through a fine chinois into a container. Leave to cool at room temperature and then refrigerate for 24 hours to set firmly. Whisk the set jam until smooth and glossy. Put back into the container and refrigerate until required.

CANDIED MANDARINS 8 firm mandarins 4 litres (140 fl oz/16 cups) sugar syrup (100 per cent) 4 litres (140 fl oz/16 cups) sugar syrup (150 per cent) Bring a large saucepan of water to the boil. Add the mandarins and blanch for 1 minute. Remove and plunge into iced water to refresh. Drain off the mandarins and place in a clean saucepan. Add 2 litres (70 fl oz/8 cups) of the 100 per cent sugar syrup to just cover and then slowly bring to a simmer. Remove from the heat and leave to cool. Remove the mandarins and drain, discarding the cooking syrup. Place the mandarins into a clean pan and cover again with the

remaining 100 per cent sugar syrup. Slowly bring to a simmer, and then leave to cool completely. Put the mandarins, with the cooking liquid, in a container and refrigerate overnight. Drain off the syrup and place the mandarins in a saucepan. Cover with 2 litres (70 fl oz/8 cups) of the 150 per cent sugar syrup and slowly bring to a simmer. Remove from the heat and leave to cool. Remove the mandarins and drain, and then repeat with the remaining 150 per cent sugar syrup. Refrigerate in the syrup, in a container, until required. NOTE: To make this amount, you will need to increase the ingredient quantities by 8.

MANDARIN JELLIES 9 g (3/10 oz) gold strength gelatine leaves 300 g (10½ oz) freshly squeezed mandarin juice fine sea salt 100 g (3½ oz) Mandarine Napoléon liqueur Soak the gelatine in iced water to hydrate. Warm 100 g (3½ oz) of the mandarin juice in a saucepan to 70°C (158°F). Squeeze out the excess water from the gelatine and add to the warmed mandarin juice. Add a pinch of salt and stir well to dissolve completely. Add the remaining mandarin juice and mandarin liqueur and stir well to combine. Pour the juice into mandarin segment-shaped silicone moulds—to make around 40 jellies. Leave to set for 3 hours. Remove the jellies from the moulds when ready to serve.

FROMAGE BLANC AND CRÈME FRAICHE CHEESECAKE MIX 150 g (5½ oz) goat’s milk fromage blanc 40 g (1½ oz) caster (superfine) sugar

¼ teaspoon freshly scraped vanilla seeds 50 g (1¾ oz) quality fresh whole milk 4 g (1/10 oz) gold strength gelatine leaves 100 g (3½ oz) crème fraiche 1 organic egg yolk Whisk the fromage blanc and sugar together in a bowl until the sugar dissolves. Add the vanilla seeds and whisk to incorporate. Heat the milk in a very small saucepan over low heat to 50°C (120°F). Soak the gelatine in iced water until hydrated and then squeeze out the excess water. Add the gelatine to the warm milk, and stir to dissolve. Leave for 1 minute to cool slightly. Pour the milk into the fromage blanc and whisk until smooth. Add the crème fraiche and egg yolk and whisk until smooth. Pour the cheesecake mix into a container and refrigerate for 24 hours to set. Remove the cheesecake mix and scrape into a bowl. Whisk until soft and airy, and then pour into a piping (icing) bag. Refrigerate until required.

MANDARIN ZEST CUSTARD 250 ml (9 fl oz/1 cup) mandarin zest syrup (see above) 250 ml (9 fl oz/1 cup) cream (35% fat content) 100 g (3½ oz) organic egg yolks 4 g (1/10 oz) gold strength gelatine leaves Pour the mandarin zest syrup and the cream into a small heavybased saucepan and bring to a simmer over medium heat. Whisk the egg yolks in a bowl and temper in the boiled mandarin and cream mixture. Whisk well to combine, then pour back into the pan and bring to 84°C (183°F). Remove from the heat. Soak the gelatine in iced water to hydrate. Squeeze the excess water from the gelatine and add to the mandarin custard. Whisk well to combine then pass through a fine chinois into a bowl. Pour the custard into a syphon and charge twice, shaking well between each

charge. Chill the syphon over iced water in the refrigerator for 3 hours.

TO SERVE 40 freeze-dried mandarin segments (store-bought) 120 thyme flowers Remove the candied mandarins from the syrup and drain well. Use a knife and gently peel away the zest, trying to keep it intact as much as possible. Reserve the zest on paper towel. Pipe a 6 cm (2½ in) circle of the fromage blanc and crème fraiche cheesecake mix into the centre of each plate. Place the candied zest on the cheesecake mix and open it out like a mandarin that has just been peeled. Spoon some of the mandarin jam into the centre of the candied zest with a little running out onto the plate. Shake the mandarin zest custard well and then carefully syphon the custard into the centre of the candied zest, on top of the jam. Loosely place the mandarin jellies and freeze-dried mandarin segments onto the custard. Sprinkle with the thyme flowers and finish with a dusting of the mandarin powder. Serve immediately.

SOFT TRUFFLE MERINGUE WITH TRUFFLE ICE CREAM, MACADAMIA NUT PRALINE, ROSEMARY AND MALT WINE SUGGESTION: Botrytis Chardonnay SERVES 8

TRUFFLE ICE CREAM 100 g (3½ oz) organic egg yolks 233 g (8½ oz) cream (35% fat content) 233 g (8½ oz) quality fresh whole milk 100 g (3½ oz) caster (superfine) sugar 50 g (1¾ oz) liquid glucose 30 g (1 oz) Tasmanian black truffle 5 g (1/8 oz) truffle salt Mix the egg yolks and cream together in a bowl until completely incorporated. Pour the milk into a heavy-based saucepan and bring to 35°C (95°F). Add the sugar and glucose, and stir well to dissolve. Bring the temperature to 45°C (115°F). Finely slice the truffle on a truffle slicer and add to the warm milk and sugar. Cover and leave to infuse for 10 minutes. Add the egg and cream mixture to the warm milk and bring the temperature to 85°C (185°F), stirring constantly. Remove from the heat and stir in the truffle salt. Pour the mixture into a pacojet container and leave to cool. Freeze for 24 hours at –18°C (0°F). Process 30 minutes before serving and store in the freezer until required.

ROSEMARY SUGAR

85 g (3 oz) caster (superfine) sugar 5 g (1/8 oz) rosemary leaves, finely chopped Using a spice grinder, grind the sugar with the rosemary until fine. Put the sugar and rosemary on a silicone baking mat on a dehydrator tray and place in a food dehydrator. Dehydrate for 12 hours at 55°C (130°F). Sieve the dehydrated rosemary sugar into an airtight container and store until required for the rosemary and vanilla shortbread (see right).

MACADAMIA NUT PRALINE 100 g (3½ oz) macadamia nuts 200 g (7 oz) caster (superfine) sugar Preheat the oven to 180°C (350°F/Gas 4). Line a heavy-based baking tray with non-stick baking paper and set aside. Place the macadamia nuts on a separate baking tray and roast for 10 minutes, tossing the nuts every few minutes to ensure an even colour. Remove and set aside until cool enough to handle, then roughly chop. Make a dry caramel by heating a little of the caster sugar in a saucepan over medium heat until it melts. Continue to add the sugar, a little at a time, until all the sugar has melted and is golden in colour. Add the toasted macadamia nuts and stir through with a spatula so that the nuts are well coated in the caramel. Carefully pour the nuts and caramel onto the prepared tray and leave to cool completely. Break up the nuts, using your hands, place in a food processor and blend to a coarse mix. Transfer to an airtight container until required.

ROSEMARY AND VANILLA SHORTBREAD 82 g (2¾ oz) rosemary sugar (see left) 225 g (8 oz/1½ cups) plain (all-purpose) flour

3 g (1/10 oz) fine sea salt ½ vanilla bean, seeds scraped 192 g (6¾ oz) unsalted butter, diced Place the rosemary sugar, flour, salt and vanilla bean in an electric mixer bowl. Using the paddle attachment, mix on medium and quickly add the butter. Mix the shortbread until a dough forms then remove from the mixer. Roll out the dough between two sheets of non-stick baking paper to make a 2–3 mm (1/16–1/8 in) thick sheet of dough. Place the rolled dough onto a tray and freeze for 30 minutes. Meanwhile, preheat the oven to 170°C (325°F/Gas 3). Line a heavy-based baking tray with a silicone baking mat. Remove the shortbread dough from the freezer and remove the baking paper from one side. Place the shortbread dough on the silicone mat and remove the second sheet of baking paper. Bake for 11 minutes, or until the shortbread is softened but not browned. Remove from the oven and cut 8 circles using a 6 cm (2½ in) cutter. Put the shortbread rounds in the oven and continue to bake for another 3–4 minutes until just golden. Remove from the oven and leave to cool on the tray, then store in an airtight container until required.

ROSEMARY-INFUSED TRUFFLE HONEY 4 rosemary sprigs 300 g (10½ oz) macadamia nut honey 30 g (1 oz) black truffle, finely grated using a microplane 3 g (1/10 oz) truffle salt Heat a circulating water bath (or a saucepan filled with water) to 65°C (150°F). Place the rosemary, honey, truffle and truffle salt in a vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Put the vacuum bags in the water bath and heat for 2 hours. Remove and set aside at room temperature until required.

STEAMED MERINGUES 180 g (61/3 oz) organic egg whites 120 g (4¼ oz) caster (superfine) sugar, plus extra, for dusting 1 teaspoon cornflour (cornstarch) 1 teaspoon white vinegar unsalted butter, softened, for greasing Preheat a combi oven on steam to 78°C (172°F). Place the egg whites into an electric mixer bowl and whisk on a medium setting until soft peaks form. Gradually whisk in the caster sugar in three stages, and then whisk in the cornflour and vinegar. Turn up the speed to full for a few seconds to completely incorporate the egg whites, then turn off the mixer. Lightly brush eight 7–8 cm (2¾–3¼ in) stainless steel domes with butter and then dust with caster sugar. Spoon the whipped egg whites into the domes and smooth off the surface. Place the domes on a perforated tray and steam for 2 minutes. Remove from the combi oven and set aside until required.

TO SERVE 2 truffles, about 50 g (1¾ oz) each 50 purple violas (petals picked) 50 rosemary flowers 30 g (1 oz) malt powder Using a truffle slicer, finely slice the truffles and set aside—you should have about 80 slices. Using a spoon, hollow out the inside of a steamed meringue and discard. Scoop the truffle ice cream and place into the hollowed-out meringue. Place 2 slices of the truffle over the ice cream to seal the hole. Next, place 1 of the rosemary and vanilla shortbreads over the truffles—this will help secure the ice cream into the meringues when turning out. Return to the freezer. Repeat with the remaining 7 meringues.

Unmould the meringues and place on a tray in the freezer, shortbread side down. Dust each plate with the macadamia nut praline and then spoon over some of the rosemary-infused truffle honey. Add a mixture of the violas and the rosemary flowers. Remove the meringues from the freezer and place in the centre of the plate. Dust each meringue with malt powder. Finally, add the remaining truffle slices on top of the meringue. Serve immediately.

PATIENCE IS BITTER, BUT ITS FRUIT IS SWEET.

JEAN-JACQUES ROUSSEAU

I’m not a pastry chef. I’ve never been formally trained in the discipline, and I don’t possess all the skills of this precise form. Back at school, my college lecturer told me I’d never be a pastry chef, and I held on to that comment for a long time. When you’re young, you often avoid doing something because you are told you can’t do it. You end up knuckling down at the things you excel at, or alternatively, get praise for. As a result, desserts and the art of pastry was an area I deliberately avoided . . .

T

hat, of course, was a long time ago, and when it comes to desserts and the art of pastry, I understand the role it plays within the context of a dining experience, and it’s how I personally like to finish a meal. When you are getting towards the end of a meal, it is imperative to keep the dining experience as exciting (if not more so) as it was when your guest first walked through the door. In a degustation you can get to a point in the meal where you start to get tired. You need something interactive and enlightening to re-energise you for the final courses. That is a critical point for all of us as diners. Desserts offer the chance to wow guests with the unimaginable. Pre-desserts are where the second part of the diner’s evening begins, and it’s important that whatever you deliver excites—offering something really different that they’re not expecting, not just another sorbet. It’s about transferring their mindset and enlivening the senses, as much as it is about creating something delicious. The Pearl is a great example of this. It offers an initial visual excitement, an interaction in smashing through the shell, a wow factor with the palate cleanse, and then you’ve tempted diners into an anticipation for what’s to come. Desserts, more than anything else in food, bring out the child inside you. Desserts are a chance to have fun. And they should be fun. Whimsical even. They should bring back that feeling of being a child again, experiencing something new for the first time—like being in a sweet shop.

CHANGING THE FORMULA Sometimes my desserts are inspired by the memories of being a child back in England. I have an idea in my minds-eye of what I want to create. It might be a shape—I might want to represent a strawberry, a peach, even an eggplant. I might be inspired by scenery—like Mount Fuji, a woodland floor, a coral reef. It might start with a texture in mind or an ingredient. But the starting

point is always different. Then, once I have an idea I’ll wait until an ingredient or an experience pops up that then drives the initial idea forward. Nothing is ever as simple as forming an idea and then applying a technique upon it in the kitchen straight away. It wasn’t until I moved to The Boathouse on Blackwattle Bay that I started to gain confidence in my own dessert ideas. Until then I’d chosen to steer clear, but my new role as head chef meant that I had to create them. Back then my immediate thought process was, okay, what desserts have I seen in my life that I’ve liked? It was wintertime so I thought I would do a tarte tatin—a classic that I’ve always loved. The way I looked at it though, I thought if I am going to make a tarte tatin, I don’t want it to be like any classic tarte tatin I’d ever seen or tried. Instead of doing it with apples, I decided I’d try it with pineapple. To accompany it, I made a sherbet ice cream with ginger. We kept the round shape of the pineapple, cut the centre out and put the ginger sherbet ice cream in the centre. It was caramelised, rich, sticky, and balanced nicely with the sourness of the sherbet ice cream. It became quite a popular dish and it gave me confidence within the discipline for the very first time. I have had four qualified pastry chefs here in the time at Sepia, and they could all make the classics, no problem, which is great. But that’s not what I want. I want to break down the elements and think outside the square. You’re not re-inventing the wheel, but you are re-inventing the way you have come to understand combinations—how you look at it and how you eat it. Thinking of a classic in another way. The Chocolate Forest Floor is another example—known flavours that work together but with new combinations—which was the turning point in our approach to pastry at Sepia. I realised through that dessert that I could actually create desserts that not only worked with flavour, balance and texture but that had a visual aesthetic that was just as important to the guest’s experience. That dish made me realise that I didn’t want

to simply put a piece of pastry on a plate. It has to be different. In a restaurant like this, it has to be exciting. I always like to keep my desserts as light as possible, have a bit more savoury than sweet, and be as far removed from the usual suspects you usually see on a menu. What’s the point of doing what everyone else is doing? I always add salt. Always. To everything. Even vanilla ice cream. Salt transforms the sugar into a more savoury flavour, removing too much overt sweetness, when used in the right amount. When you eat it, it lingers more at the back of your palate. It’s the same as adding salt to savoury food. Salt has an amazing effect on all food in the way it brings out flavours, or adds dimensions. With savoury courses it is very difficult to be whimsical, and you can’t do that for every dish anyway. Bringing savoury into dessert is important to me, but there’s a fine line. It is very easy to get it wrong and if you’re not careful desserts can be incredibly offensive. Along with this I like to add three or four textural elements to a dessert, and any course for that matter. Puffing grains gives you the texture, but I look at other things too. Shaving nuts, even freezing fruit—like a raspberry in liquid nitrogen that is smashed down to its little cells and you serve them frozen—can also add extra excitement to a dish. Temperature is also vital—the difference between hot and cold, and having both at the same time. That can be quite tricky to do, but the success of a dish can depend on how you manage temperatures. When you work with something like liquid nitrogen it is so cold that you have to consider how you deliver the other elements on the plate, and how it will interact with them. For the fennel dessert, for instance, we Pacojet the ice cream to order, but then when we quenelle it to plate it, it is soft. Then we spoon over the liquid nitrogen frozen fennel powder. It sets the ice cream to the perfect texture. The most important thing that I have come to understand about dessert is to try not to be too clever with your flavour

combinations. The flavours are there already, they have been done, proven and work together for a reason. Even when I write a degustation menu for Friday and Saturday nights I only ever try to include one dish, at most, that is a bit controversial. You can take it on the chin if someone says it didn’t really work for them, but if you push eight or nine dishes too far for some guests, they’re not going to come back. It’s important to try and put your own mark on your dishes too. Think how to present flavours that complement each other, but consider delivering them in a different way. I always have ideas about presentation, but I also have to consider how to execute them in a busy service as well. If you only had ten guests, sure, but if you have eighty guests and you need to plate up around the same time, then that is going to have an impact on the way you present your dishes. You have to have the technique and the ability in your team to be able to approach dish creation from an alternative method. We’ve been lucky to have talented pastry chefs who have executed every brief with proficiency and style— technically sound chefs who are able to change a technique, or use a different one, for a better application of an ingredient in the context of that dish. The premise is simple: I want guests to walk away from Sepia saying they’ve never had something like that in their life. And with that goal, there’s a chance you create a little bit of magic for your guests. My team are amazing to bounce ideas off and help create the magic in our desserts. Every idea I throw at them, they always seem up for the challenge to try to make it happen. They understand where I am coming from and are great at taking that idea then working with the pastry chefs, to execute the elements. The pastry team is great too. They are not precious about whose idea it is. They execute the elements brilliantly, then we get together and construct the dessert as a group. As much as anything it’s about giving the team confidence to contribute. Soon enough, they’ll be offering ideas and solutions you would have never dreamed of.

THAT BIT OF MAGIC While it’s important to be professional, we try not to take ourselves too seriously at Sepia. People come to restaurants to have a good time, to enjoy the food and wine, and relax. No matter how serious you are about what you do, you should never forget the reasons why guests are there. They aren’t there to worship at a temple. While we can spend hours, days even, in the kitchen on a dessert—once it is served at the table we can only hope that it is momentarily marvelled at before it is consumed. Something that can be painstaking to create for the team can be just a brief moment for a guest. So we need to make sure our efforts are not in vain, and that that moment is a magical one. The best part about Sepia, and it isn’t just about desserts, is when you have, say, a table of four all talking and enjoying themselves, and then the waiter arrives, puts down a course and says what it is. The conversation begins again, people start eating, and then all of a sudden their faces light up, and the conversation shifts for a moment to discuss the dish. To have something as simple as food have that impact on people is why we walk through the kitchen door every morning. For someone who was told as a young chef that he couldn’t and shouldn’t do pastry, I’ve somehow found a way. I’m still anxious when it comes to desserts—I have no idea what I am going to do next. But that sense of the unknown, that pressure to do it better tomorrow, is intoxicating. And strangely, I’m probably most well known for desserts, more than anything else. Ain’t that the sweetest thing.

FLOWERS BEE POLLEN BLACKBERRIES DAI DAI SUGARED ALMONDS MANGO VANILLA SESAME BRITTLE NASTURTIUM BEETROOTS HIBISCUS YOGHURT ROSE NECTARINE NOUGAT MACADAMIA STRAWBERRIES MANGOSTEEN MERINGUES PEACH RASPBERRY YUKARI SHISO YUZU RASPBERRY CHOCOLATE FOREST FLOOR JAPANESE STONES

CRYSTALLISED FLOWERS WITH JASMINE AND BEE POLLEN CREAM, AND HIBISCUS SYRUP WINE SUGGESTION: Demi-sec Champagne SERVES 8

CRYSTALLISED FLOWERS 2 organic egg whites 10 begonias 32 Australian native violets 32 marigolds 32 white linaria flowers 32 yellow linaria flowers 32 purple linaria flowers 4 lavender flowers 8 blue cornflowers 200 g (7 oz) caster (superfine) sugar Place the egg whites in a bowl and whisk until light and airy. Using a pastry brush, lightly brush each of the flowers with the egg whites until just dampened. Put the sugar in a bowl and lightly dust the flowers until evenly coated. Place the flowers on a dehydrator tray in a food dehydrator and dehydrate at 45–50°C (115–120°F) for 24 hours. Store the crystallised flowers in an airtight container until required.

JASMINE AND BEE POLLEN CREAM 400 ml (14 fl oz) cream (35% fat content) 15 g (½ oz) loose leaf jasmine tea 8 g (3/10 oz) bee pollen

1 g (1/25 oz) gold strength gelatine leaves 32 g (1 oz) caster (superfine) sugar 1.1 g (1/25 oz) iota 40 g (1½ oz) organic egg yolks Heat the cream in a small saucepan over medium heat until it begins to simmer. Add the jasmine tea leaves and bee pollen, remove from the heat and leave to steep for 10 minutes. Bring the cream back to a simmer and then strain through a chinois into a bowl. Discard the tea leaves. Pour the cream back into the saucepan and set aside. Mix the sugar and iota together, and then add to the hot cream. Whisk in the egg yolk and heat to 83°C (181°F), stirring constantly. Soak the gelatine in iced water until hydrated, and then squeeze out the excess water. Remove the pan from the heat, add the gelatine and stir through to combine. Using a hand-held blender, blend the mixture until the cream is smooth. Pour the mixture into a container, leave to cool at room temperature and then refrigerate for 12 hours. Break up the jasmine and bee pollen cream with a fork and then place in an electric mixer bowl. Attach the whisk and mix until light and airy. Transfer the cream into two piping (icing) bags—1 with a number 9 star nozzle, the other with a number 3 star nozzle—and then refrigerate until required.

ROSE WATER AND VIOLET JELLY 200 ml (7 fl oz) rose water 1 tablespoon violet liqueur (Crème de Violettes) 2 g (1/10 oz) agar powder Pour the rose water and violet liqueur into a medium heavy-based saucepan over high heat. Stir in the agar and then bring to the boil. Boil for 10 seconds and then remove from the heat. Strain the mixture through a chinois into a small high-sided container and then refrigerate for 4 hours.

Remove the jelly from the fridge and cut into 2 mm (1/16 in) cubes. Refrigerate again until required.

ROSE WATER GEL 300 ml (10½ fl oz) rose water 2 g (1/10 oz) agar powder Pour the rose water and agar into a heavy-based saucepan over high heat. Bring to the boil, whisking constantly, boil for 10 seconds and then remove from the heat. Pour the mixture into a container, leave to cool at room temperature and then refrigerate for 4 hours. Break up the gel using a hand-held blender and then place in a vita-prep (or high-speed blender) and blend on high speed until smooth. Pass the mixture through a chinois and then pour into a medium vacuum bag. Seal in a chamber vacuum sealer on full to remove any air and then transfer to a squeeze bottle and refrigerate until required.

HIBISCUS SYRUP GEL 200 ml (7 fl oz) hibiscus syrup pinch xanthan gum Bring the hibiscus syrup to the boil in a small saucepan, continue to boil and reduce the syrup by half. Add the xanthan gum and whisk well to combine. Remove from the heat and leave to cool completely, then transfer to a squeeze bottle until required.

TO SERVE Pipe 4 medium star shapes of jasmine and bee pollen cream closely together on each plate. Arrange the crystallised flowers over the cream to cover. Add a spoonful of the diced rose water and violet jelly. Pipe 2 smaller star shapes of the jasmine and bee pollen cream

next to the crystallised flowers. Add a few dots of the rose water gel and a few dots of the hibiscus syrup gel. Serve immediately.

THORNLESS BLACKBERRIES WITH DAI DAI CURD, WHITE CHOCOLATE, SUGARED ALMONDS, LEMON BALM AND ELDERFLOWER WINE SUGGESTION: Moscato d’Asti SERVES 8

LEMON BALM JELLY TO MAKE THE SYRUP:

100 g (3½ oz) caster (superfine) sugar 20 g (¾ oz) picked lemon balm leaves Heat 500 ml (17 fl oz/2 cups) of water and the sugar in a saucepan over medium heat to 60°C (140°F). Stir well to dissolve the sugar. Place the lemon balm leaves in a plastic container. Pour the warm syrup over the leaves, then seal with a tight-fitting lid. Leave to cool at room temperature for 2–3 hours and then refrigerate for 24 hours. Strain the infused syrup through a fine sieve lined with an oil filter. Do not squeeze through. TO MAKE THE JELLY:

400 ml (14 fl oz) lemon balm syrup (see above) 8 g (3/10 oz) gold strength gelatine leaves Heat 100 ml (3½ fl oz) of the lemon balm syrup in a saucepan to 60°C (140°F). Soak the gelatine in iced water to hydrate, then squeeze out the excess water. Add the gelatine to the warm syrup and stir to dissolve completely. Pour the gelatine syrup into the remaining syrup and stir well. Strain the lemon syrup through a chinois into a clean container and then refrigerate overnight.

SUGARED ALMONDS 72 blanched almonds 200 g (7 oz) mannitol 30 g (1 oz) freeze-dried raspberry powder 30 g (1 oz) freeze-dried blackberry powder 30 g (1 oz) freeze-dried plum powder Preheat the oven to 180°C (350°F/Gas 4). Place the almonds on a baking tray and lightly toast for 10 minutes. Heat the mannitol in a heavy-based saucepan over medium–high heat to 180°C (350°F) until the mannitol becomes liquid. Divide the toasted almonds into 3 groups of 24. Place the freezedried berry powders into 3 separate containers. Put the first 24 almonds into the mannitol and stir to coat. Working one almond at a time, remove the almonds from the mannitol with a pair of tweezers and place them into the raspberry powder. Shake the container to coat the almond evenly, then remove and place onto a dehydrator rack. Repeat with the two groups of almonds and the containers of blackberry powder and plum powder. Place the trays of coated almonds into a food dehydrator and dehydrate at 55°C (130°F) for 12 hours. Leave the sugared almonds to cool completely and then store in an airtight container until required.

DAI DAI CURD 90 ml (3 fl oz) dai dai juice 40 g (1½ oz) caster (superfine) sugar 90 g (3¼ oz) organic egg yolks 200 g (7 oz) unsalted butter, diced 1 g (1/25 oz) fine sea salt Add the dai dai juice, sugar and egg yolks to a thermomix and attach the butterfly attachment. Heat to 80°C (175°F) on speed 4 and then cook for 8 minutes at 80°C. Turn off the heat, and continue to blend

on speed 4 until it cools to 50°C (120°F). Gradually add the diced butter, and continue to blend until the curd is smooth and creamy. Add the salt and combine. Pour the mixture into a container and refrigerate until required.

WHITE CHOCOLATE ROCKS 200 g (7 oz) white couverture chocolate, chopped 34 g (1¼ oz) tapioca maltodextrin Melt the chocolate over a double boiler to around 40°C (105°F). Add the maltodextrin and, using a whisk, mix through until the chocolate starts to clump together. Use your hands and pinch off little rock-like pieces. Heat a medium frying pan over medium–low heat and add the white chocolate pieces. Swirl the pan to heat through and make the rocks smooth and firm. Remove the pan from the heat and leave to cool. Transfer to a container and set aside until required.

TO SERVE 32 baby lemon balm sprigs 40 thornless blackberries 24 elderflower sprigs Remove the dai dai curd from the fridge and leave to warm to room temperature for 1 hour. Place a tablespoon of the dai dai curd into the base of each bowl. Using another spoon, scoop small pieces of the lemon balm jelly onto the plate, over and around the curd. Add a few spoonfuls of the white chocolate rocks on top of the curd and jelly. Place 4 baby lemon balm sprigs onto the white chocolate and scatter 5 blackberries onto the plate. Finish by adding 3 each of the different sugared almonds and the elderflowers. Serve immediately

MANGO AND VANILLA WITH SESAME BRITTLE, YUZU SHERBET AND NASTURTIUMS WINE SUGGESTION: Late Harvest Tokaji SERVES 8

MANGO AND VANILLA TO MAKE THE VANILLA CUSTARD:

100 g (3½ oz) organic egg yolks 233 g (8½ oz) cream (35% fat content) 233 g (8½ oz) quality fresh whole milk 1 vanilla bean, split lengthways and scraped 100 g (3½ oz) caster (superfine) sugar Whisk the egg yolks and cream together in a bowl until completely combined. Heat the milk and vanilla in a medium heavy-based saucepan over very low heat to 35°C (95°F). Add the sugar and stir to dissolve. Increase the temperature to 45°C (115°F). Add the egg and cream mixture, and bring the temperature to 85°C (185°F), stirring constantly. Remove from the heat and leave to cool completely. Strain through a chinois and then pour into a pacojet container. Freeze for 24 hours. TO MAKE THE MANGO CUSTARD:

150 g (5½ oz) organic egg yolks 180 g (61/3 oz) cracked and whisked organic eggs 115 g (4 oz) caster (superfine) sugar 500 g (1 lb 2 oz) mango purée (Boiron) 16 g (3/5 oz) gold strength gelatine leaves 250 g (9 oz) unsalted butter, diced

Whisk the egg yolks, whisked eggs and sugar together in a bowl, and then add the mango purée. Transfer to a heavy-based saucepan and heat to 69°C (157°F), stirring constantly. Soak the gelatine in iced water to hydrate, squeeze out the excess water, add to the mango custard and stir well to combine. Remove from the heat and leave for the temperature to reduce to 40°C (105°F). Gradually add the butter, whisking constantly, until combined. TO MAKE THE MANGO AND VANILLA BAR: Line a 30 x 20 x 4 cm (12 x 8 x 1½ in) Swiss roll tin with plastic wrap. Pour in the frozen mango custard into the lined tin, and refrigerate for 3 hours to set. Transfer the chilled tin to the freezer and freeze for 2 hours. Meanwhile, process the vanilla ice cream in the pacojet and place in the freezer for 30 minutes. Remove the frozen custard and ice cream from the freezer. Carefully spoon the ice cream into the tin on top of the mango custard and smooth off the top. Wrap tightly in plastic wrap and freeze for a further 24 hours. Remove the ice cream from the freezer and remove from the tin. Cut the ice cream into eight 16 x 3 cm (6¼ x 1¼ in) wide bars and place on a tray. Cover with plastic wrap and freeze again until required.

DRIED MANGO DISCS 2 mangoes Using a slicing machine, cut the mangoes, one at a time, into 1 mm (1/32 in) paper-thin slices. Place the slices on a board and, using a 5 cm (2 in) round cutter, cut into discs. Cut as many slices to obtain 40 circles. (The first few slices will be too small from each mango.) Select 40 similar-sized mango discs and place on a dehydrator tray. Place the tray in a food dehydrator and dehydrate at 50°C (120°F) for 12 hours. Remove the mango discs and store in an airtight plastic container until required—the mango discs should be firm but flexible, and hold

their shape when scrunched.

SESAME SEED BRITTLE 80g (2¾ oz) white sesame seeds 250 g (9 oz) caster (superfine) sugar 50 g (1¾ oz) liquid glucose 60 g (2¼ oz) unsalted butter, diced 4 g (1/10 oz) fine sea salt 3 g (1/10 oz) bicarbonate of soda (baking soda) Place 2 silicone baking mats on a clean cold surface, such as a marble slab. Place the sesame seeds in a frying pan and toast until lightly golden. Heat the sugar, glucose and 75 g (22/3 oz) of water in a medium heavy-based saucepan to 130°C (250°F). Quickly add the sesame seeds and continue to heat to 150°C (300°F). Remove from the heat and whisk in the butter and salt until combined. Whisk in the bicarbonate soda and then, working quickly, pour the mixture onto a baking mat. Place the second mat on top and then, using a rolling pin, press the top mat down and roll the mixture into a 2–3 mm (1/16– 1/ in) thick sheet. Leave to cool. 8 Preheat the oven to 140°C (275°F/Gas 1). Transfer the sesame seed brittle to a baking tray lined with baking paper and warm for 3–4 minutes until it becomes pliable. Remove from the oven, cut into 16 x 3.5 cm (6¼ x 11/3 in) wide strips and leave to harden. Store the sesame seed brittle in a container until required.

YUZU SHERBET 15 g (½ oz) caster (superfine) sugar 1.5 g (1/20 oz) citric acid 1 g (1/25 oz) bicarbonate of soda (baking soda) 10 g (¼ oz) dried yuzu peel, ground to a fine powder

Mix the sugar, citric acid and bicarbonate of soda together in a bowl until evenly combined. Pour all the ingredients (including the yuzu peel) into a spice grinder and grind until a fine powder is formed. Store in a container until required.

SUDACHI FOAM 200 g (7 oz) sugar syrup (100 per cent) 100 g (3½ oz) strained sudachi juice 30 g (1 oz) strained yuzu juice 4 g (1/10 oz) lecithin powder Mix the ingredients and 180 g (61/3 oz) of water together in a cylinder (or small deep-sided saucepan) and then blend, using a hand-held blender, until it begins to foam, tilting the cylinder to froth the top of the liquid.

TO SERVE 40 nasturtium petals Spoon a line of yuzu sherbert at the bottom of each plate. Blend the sudachi foam mixture again, if necessary, so that it is stable and then leave to rest. Place the sesame seed brittle above the sherbet. Remove the mango and vanilla from the freezer and place on top of the sesame seed brittle. Scrunch the mango discs into interesting shapes and then place 4–5 on top of the ice cream. Place the nasturtium petals between each of the mango slices. Finally, add the sudachi foam on top of the nasturtium and mango on each bar. Serve immediately.

CANDIED BABY BEETS AND BEETROOT SPONGE WITH HIBISCUS, RHUBARB, YOGHURT, ROSE AND VIOLETS WINE SUGGESTION: Sloe Gin SERVES 8

CANDIED BABY BEETS TO POACH THE BEETROOT:

16 purple baby beetroot (beets), washed and stems trimmed, roots left attached 1.5 litres (52 fl oz/6 cups) hibiscus syrup Place the beetroot in a medium saucepan and pour over the hibiscus syrup to cover. Bring to a simmer over high heat then poach gently for 30–40 minutes until tender. Remove from the heat. Leave to cool and then transfer to a container. Leave the beets in the syrup and refrigerate for at least 2 days before use. TO BAKE THE BEETROOT: Remove the beets from the syrup and place on a wire rack over a tray. Put the beetroot syrup into a saucepan over high heat and bring to the boil. Continue to boil until the syrup reduces, and is thick and sticky. Preheat the oven to 75°C (165°F). Brush the beetroot with the syrup and place the rack in the oven. Bake for 30 minutes, basting every 10 minutes, until the beetroot are shiny and sticky. Keep the candied baby beets warm until required.

YOGHURT SORBET 500 g (1 lb 2 oz) Greek-style yoghurt

75 g (22/3 oz/1/3 cup) caster (superfine) sugar 100 g (3½ oz) glucose powder fresh lemon juice, to taste Combine all the ingredients with 200 g (7 oz) of water in a bowl and whisk together well. Transfer to a pacojet container and freeze for 24 hours. Process the yoghurt sorbet in the pacojet and then return to the freezer for 1 hour before using.

BEETROOT CRUMB TO MAKE THE SALT-BAKED BEETROOT:

5 beetroot (beets), about 60–80 g (2¼–2¾ oz) each 4 organic egg whites 1 kg (2 lb 4 oz) fine sea salt Preheat the oven to 240°C (475°F/Gas 8). Wash the beetroot well under cold running water. Pour the egg whites into a bowl and whisk lightly until light and airy. Add the salt to the egg whites, a little at a time, and fold through to form a paste. Place some of the salt mix on a baking tray and then place the beetroot on top. Cover the beetroot with the remaining salt mix and then bake for 20 minutes until the crust becomes golden brown. Reduce the heat to 150°C (300°F/Gas 2) and cook for a further 20 minutes or until the beetroot is tender. Place the tray on a rack and leave the beetroot to cool completely in the salt crust. Remove the salt crust and discard. Peel the skin from the beetroot and discard. Place the beetroot in a vacuum bag and seal in a chamber vacuum sealer on full to remove any air. TO MAKE THE CRUMB:

50 g (1¾ oz/½ cup) almond meal 15 g (½ oz) unsalted butter, softened 25 g (1 oz) salt-baked beetroot (see left)

0.5 g (1/50 oz) fine sea salt 10 g (¼ oz) freeze-dried beetroot powder Place the almond meal and butter in a bowl and mix together with a wooden spoon. Grate the salt-baked beetroot using a microplane and add to the almond meal and butter. Mix together until it forms a wet dough. Add the remaining ingredients and then roll in plastic wrap and freeze for 24 hours. Preheat the oven to 140°C (275°F/Gas 1). Line a heavy-based baking tray with a silicone baking mat. Remove the dough from the freezer and, while still frozen, grate the beetroot dough over the baking mat, using a microplane, in an even layer. Bake for 10 –15 minutes until a biscuit crumb texture is formed. Leave to cool and then transfer the beetroot crumb into an airtight container. Break up into crumbs with a fork and then set aside until required.

BEETROOT SPONGE 12 g (2/5 oz) beetroot juice reduction 100 g (3½ oz) salt-baked beetroot (see left) 125 g (4½ oz) organic egg whites 80 g (2¾ oz) organic egg yolks 50 g (1¾ oz) caster (superfine) sugar 2 g (1/10 oz) fine sea salt 50 g (1¾ oz/½ cup) almond meal 65 g (21/3 oz) plain (all-purpose) flour Place the beetroot juice reduction and the salt baked beetroot in a vita-prep (or high-speed blender) and blend on high speed until smooth. Add the egg whites and yolks, sugar and salt, and continue to blend into a smooth liquid. Pour the mixture into a bowl and fold through the almond meal and flour. Pour the batter into a 500 ml (17 fl oz/2 cups) syphon and place the lid on. Charge twice with nitrous oxide, shaking well between each charge, and then refrigerate for 24 hours.

Cut 3 small 5 mm (¼ in) triangles in the base of eight 220 ml (71/3 fl oz) disposable plastic cups. Fill four cups, one-third full, with the batter and microwave for 30 seconds on high—check and cook for a further 30 seconds if needed. Turn upside down on a rack to cool. Repeat with the remaining four cups.

ROSE PETAL FLUID GEL 300 ml (10½ fl oz) rose water 80 g (2¾ oz) organic red rose petals 3 g (1/10 oz) agar powder Bring the rose water to the boil in a small saucepan and then add the rose petals. Remove from the heat, cover with the lid, and leave to steep for 10 minutes. Strain the mixture through a chinois and reserve a quarter of the rose petals. Discard the rest. Place the syrup and petals into the vita-prep (or high-speed blender) and purée on high speed until smooth. Strain the puréed mixture through a chinois to remove the rose pieces. Place the syrup and agar in a small saucepan over high heat. Bring to the boil and boil for 1 minute, then pour into a container. Leave to set for at least 4 hours until the gel is firm to touch. Break up the gel with a hand-held blender and then place in the vita-prep. Blend the rose gel until smooth. Pour the gel into a medium vacuum bag and seal in a chamber vacuum sealer on full to remove any air, and then refrigerate until required.

RHUBARB AND YOGHURT MOUSSE 1.2 kg (2 lb 10 oz) trimmed rhubarb 10 g (¼ oz) gold strength gelatine leaves 50 g (1¾ oz) sheep’s milk yoghurt 100 g (3½ oz) organic egg whites 40 g (1½ oz) caster (superfine) sugar 100 g (3½ oz) cream (35% fat content)

Wash the rhubarb and chop into small manageable pieces. Place the rhubarb in a thermomix (or high-speed blender) and blend on high speed until puréed. Strain the rhubarb through a fine sieve lined with a triple layer of muslin (cheesecloth) to make 800 ml (28 fl oz) of rhubarb juice. Place the rhubarb juice in a small saucepan and bring to a simmer over medium–high heat. Skim any impurities from the surface and reduce to 400 ml (14 fl oz). Strain the juice through a chinois into a bowl and set aside to cool. Soak the gelatine in iced water to hydrate. Heat 50 ml (12/3 fl oz) of the rhubarb juice in a very small saucepan over low heat to 50°C (120°F). Squeeze out the excess water from the gelatine, add to the warmed rhubarb juice, and stir until dissolved. Pour into the bowl with the remaining juice and stir well to combine. Cool the mixture to around 30°C (85°F) over iced water. Whisk the sheep’s milk yoghurt through the rhubarb and gelatine mixture to combine well. Pour the mixture into a container and refrigerate for 1 hour until it just starts to set. Pour the egg whites into an electric mixer bowl and attach the whisk. Whip the egg whites and sugar together until soft peaks form and then fold through the rhubarb and yoghurt mix. Whip the cream in a separate bowl and then fold through the rhubarb and yoghurt mix. Pour into a 15 x 15 cm (6 x 6 in) square container and cover with the lid. Refrigerate for 2 hours before serving.

HIBISCUS AND BEETROOT WHIP 90 g (3¼ oz) hibiscus syrup 10 g (¼ oz) beetroot juice reduction 0.75 g (3/100 oz) versa whip 1.25 g (1/25 oz) xanthan gum Place the ingredients in a bowl and whisk until stiff peaks form.

TO SERVE 10 g (¼ oz) freeze-dried beetroot (beet) powder 10 g (¼ oz) crystallised violets (crushed) Tear the beetroot sponges into 8 even small chunks and place on a tray. Dust the beetroot powder over each sponge to coat lightly. Place the sponge onto each serving plate. Add the warm candied baby beets next to the sponge, with the roots facing upwards. Using a warmed dessert spoon, scoop the rhubarb and yoghurt mousse and place on a tray to make 8 individual mousses. Dust each mousse with a little beetroot powder and then place on the plate next to the sponge. Spoon some of the hibiscus and beetroot whip over the beetroot sponge. Sprinkle 50 g (1¾ oz) of the beetroot crumb over the hibiscus whip and sponge. Mix the crushed violets through the rose petal fluid gel and then spoon the rose petal gel at the base of the sponge. Using a warm spoon, add a quenelle of yoghurt sorbet on top of the sponge. Serve immediately.

WHITE NECTARINE ROSE WITH SOFT NOUGAT, CARAMELISED PUFF PASTRY, VANILLA CREAM AND MACADAMIAS WINE SUGGESTION: Muscat de Beaumes de Venise SERVES 8

CRYSTALLISED ROSE PETALS 200 ml (7 fl oz) sugar syrup (100 per cent) 4 fresh organic red roses, petals removed 1 tablespoon pure rose water (store-bought) 100 g (3½ oz) pure icing (confectioners’) sugar Heat the sugar syrup in a small heavy-based saucepan over high heat and bring to the boil. Place the rose petals in a chinois, blanch in the boiling syrup and immediately remove and plunge into iced water to refresh. Place each petal onto paper towel and pat dry. Dip the petals, one at a time, in the rose water and then place on a dehydrator tray. Dust heavily with icing sugar, then dehydrate at 60°C (140°F) in a food dehydrator for 24 hours until completely dry and crisp.

ROSE PETAL FLUID GEL 300 ml (10½ fl oz) rose water 6 fresh organic red rose petals 3 g (1/10 oz) agar powder Heat the rose water in a small saucepan over medium heat to 60°C (140°F). Add the rose petals, remove from the heat and refrigerate for 1 hour to infuse. Place the rose water and the petals in a vita-prep (or high-speed blender) and purée until smooth. Strain the mixture through a chinois

to remove the rose pieces. Place in a small saucepan over high heat. Bring to the boil. Add the agar, then boil for 5 seconds. Pour the rose water into a container and set over ice, then refrigerate to set for at least 4 hours until the gel is firm to touch. Break up the gel using a hand-held blender and then pour into the vita-prep. Blend on high speed until smooth. Pour the gel into a small vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Transfer to a squeeze bottle and refrigerate until required.

SOFT NOUGAT 4 rice paper sheets 90 g (3¼ oz) organic egg whites fine sea salt 125 g (4½ oz) honey 225 g (8 oz) liquid glucose 190 g (6¾ oz) caster (superfine) sugar Line a 30 x 20 x 4 cm (12 x 8 x 1½ in) tray with the rice paper, trimming to size as required. Place the egg whites and a pinch of salt into an electric mixer bowl. Attach the whisk, and whisk on medium speed until soft peaks form. Heat the honey in a small saucepan over medium–high heat. Add 175 g (6 oz) of the glucose, stir to combine, and then heat to 130°C (250°F). Increase the speed on the mixer to high and slowly pour the hot glucose down the inside of the bowl. In a separate small saucepan, heat the remaining glucose, the sugar and 50 g (1¾ oz) of water over high heat. Stir to dissolve and heat to 170°C (325°F), then carefully pour into the whipping egg whites and whip to combine. Pour the egg white mixture into the lined tray while still hot, and spread out evenly. Cover with rice paper and leave to cool at room temperature for about 30 minutes, then refrigerate for 4 hours to set.

Transfer the nougat to the freezer and leave overnight. Cut the frozen nougat into 5 mm (¼ in) cubes and then freeze again until required.

WHITE NECTARINES WITH ROSE WATER 8 white nectarines (not overly ripe) 200 ml (7 fl oz) rose water Wash the nectarines under cold water and dry with paper towel. Place a nectarine on a Japanese rotary slicer and spin into a continuous strip of thinly sliced nectarine, including the skin. Repeat this with the remaining nectarines. Place the nectarine strips, individually, into small vacuum bags and add 25 ml (¾ fl oz) of rose water in each bag. Seal in a chamber vacuum sealer on full to remove any air. Refrigerate for 1 hour to infuse before using.

CARAMELISED PUFF PASTRY DISCS 175 g (6 oz ) puff pastry (quality store-bought) 20 g (¾ oz) clarified butter 30 g (1 oz) pure icing (confectioners’) sugar Preheat the oven to 180°C (350°F/Gas 4). Line a large baking sheet with non-stick baking paper. Roll out the puff pastry until it is 2 mm (1/16 in) thick. Transfer onto the lined sheet. Melt the butter in a small saucepan. Brush the puff pastry evenly with the butter. Using a sieve, dust the icing sugar over the puff pastry to evenly coat. Cover the pastry with baking paper and place a baking sheet on top. Flip the sheets over so that the bottom sheet is now on top. Remove the top sheet and peel off the baking paper, and set aside. Brush the puff with the clarified butter and dust with the icing sugar. Cover again with the baking paper and put the sheet on top. Bake for 15 minutes until caramelised. Remove the puff pastry from the oven and remove the top baking sheet and baking paper. Using a 6 cm (2½ in) round cutter, cut the

hot pastry into 8 circles. Remove the discs and place on a wire rack to cool for about 1 hour. Store the caramelised puff pastry discs in an airtight container until required.

THICKENED VANILLA CREAM 250 g (9 oz) cream (35% fat content) 75 g (22/3 oz) organic egg yolks 45 g (1½ oz) caster (superfine) sugar 2 g (1/10 oz) gold strength gelatine leaves Place the cream in a small saucepan and bring to the boil. Put the yolks and sugar in a bowl and whisk until light and fluffy. Temper the boiled cream into the egg yolk mixture, whisking constantly, and then pour back into the pan and cook over low heat until the mixture reaches 84°C (183°F). Remove from the heat and strain through a chinois into a clean bowl. Soak the gelatine in iced water until hydrated. Squeeze out any excess water, add to the cream and stir to dissolve. Refrigerate for 4 hours to set. Whisk the custard until smooth and silky. Transfer to a piping (icing) bag and refrigerate until required.

CRYSTALLISED MACADAMIAS, YOGHURT AND COCONUT TO MAKE THE CRYSTALLISED MACADAMIA NUTS:

60 g (2¼ oz) macadamia nuts 40 g (1½ oz) caster (superfine) sugar Preheat the oven to 190°C (375°F/Gas 5). Spread the nuts on a baking tray, place the nuts in the oven and toast for 7–8 minutes until golden. Remove and when cool cut the macadamia nuts into halves. Place 10 g (¼ oz) of water into a very small heavy-based saucepan and add the sugar. Bring to the boil and heat to 116°C (240°F). Add

the macadamias, remove from the heat and stir well to coat and crystallise in the sugar.

TO FINISH: 60 g (2¼ oz) crystallised macadamia nuts (see above) 20 g (¾ oz) freeze-dried yoghurt flakes 20 g (¾ oz) freeze-dried coconut flakes Place all the ingredients into a food processor and pulse coarsely together.

TO SERVE Squeeze the thickened vanilla cream into the centre of each plate, to make a 5 cm (2 in) circle. Place a caramelised puff pastry disc on top of the vanilla cream. Drain the white nectarines from the rose water, then roll each strip into a rose shape. Lightly place the nectarine rose on top of the puff pastry. Scatter the soft nougat and crystallised rose petals around and in between the nectarine. Pipe the centre of the rose with the rose petal fluid gel to resemble a bud. Finally sprinkle over a little of the crystallised macadamias, yoghurt and coconut. Serve immediately.

ALPINE STRAWBERRIES AND MANGOSTEEN WITH CHAMPAGNE CHIBOUST, STRAWBERRY MERINGUE AND STRAWBERRY SHERBET WINE SUGGESTION: Brachetto d’Acqui SERVES 8

STRAWBERRY MERINGUE STICKS 200 g (7 oz) cornflour (cornstarch) 100 g (3½ oz) organic egg whites 100g (3½ oz) caster (superfine) sugar 100 g (3½ oz) pure icing (confectioners’) sugar, sifted 10 g (¼ oz) egg white powder 15 g (½ oz) freeze-dried strawberry powder Preheat a combi oven on dry heat to 70°C (158°F)—zero humidity and no fan. Dust the cornflour generously onto four trays lined with silicone baking mats. Put the egg whites, sugars and egg white powder into a bowl and whisk together lightly. Heat over a saucepan of simmering water to 40°C (105°F). Pour the warm egg mixture into an electric mixer bowl, attach the whisk, then whisk until soft peaks form. Add 10 g (¼ oz) of the strawberry powder and whisk until combined. Put the mixture into a piping (icing) bag fitted with a number 9 plain nozzle and pipe one hundred and twenty 20 cm (8 in) long sticks onto the prepared trays. Dust the sticks with the remaining strawberry powder and leave to sit for 20 minutes, then bake for 2 hours, or until dry and crisp. Remove from the oven, leave to cool for 30 minutes and then store the strawberry sticks in an airtight container until required.

PLAIN MERINGUE STICKS 100 g (3½ oz) cornflour (cornstarch) 50 g (1¾ oz) organic egg whites 50 g (1¾ oz) caster (superfine) sugar 50 g (1¾ oz) pure icing (confectioners’) sugar, sifted 5 g (1/8 oz) egg white powder 5 g (1/8 oz) freeze-dried strawberry powder Preheat the combi oven on dry heat to 70°C (158°F)—zero humidity and no fan. Dust the cornflour generously onto two trays lined with silicone baking mats. Put the egg whites, sugars and egg white powder into a bowl and whisk together lightly. Heat over a saucepan of simmering water to 40°C (105°F). Pour the warm egg mixture into the electric mixer bowl, attach the whisk, then whisk until soft peaks form. Put the mixture into a piping (icing) bag fitted with a number 9 plain nozzle and pipe seventy 20 cm (8 in) long sticks onto the prepared trays. Dust the sticks with a little of the strawberry powder and leave to sit for 20 minutes, then bake for 2 hours, or until dry and crisp. Remove from the oven, leave to cool for 30 minutes and then store the meringue sticks in an airtight container until required.

CHAMPAGNE CHIBOUST 200 g (7 oz) Champagne 230 g (8¼ oz) cream (35% fat content) ½ vanilla bean, seeds scraped 100 g (3½ oz) organic egg yolks 40 g (1½ oz) caster (superfine) sugar 4 g (1/10 oz) gold strength gelatine leaves 150 g (5½ oz) Italian meringue Place the Champagne in a saucepan over medium heat and bring to a simmer. Continue to cook until the Champagne reduces to 100 ml (3½ fl oz) and then remove from the heat and set aside.

Heat the cream and vanilla in a medium saucepan over high heat and bring to a simmer. Place the egg yolks and sugar in a bowl and whisk until pale. Temper the boiled cream into the egg yolk mixture, whisking constantly, and then pour back into the pan. Add the Champagne reduction and heat to 84°C (183°F). Hydrate the gelatine in iced water and then squeeze out the excess water. Add to the cream mixture and stir to combine. Strain the mixture through a chinois into a bowl, place over a bowl of ice and cool to 30°C (85°F). Pour the cream mixture into an electric mixer bowl, attach the whisk and whisk on medium speed for 1 minute. Add the Italian meringue and whisk until light and airy. Pour the mixture into a container and refrigerate for 3 hours to set. Pour the chiboust into a bowl and whisk until smooth. Pour the mixture into a piping bag fitted with a number 12 nozzle and refrigerate until required.

STRAWBERRY SHERBET POWDER 150 g (5½ oz) pure icing (confectioners’) sugar 20 g (¾ oz) fizzy textures 2.4 g (1/10 oz) dried lemon peel, ground to a fine powder 10 g (¼ oz) freeze-dried strawberry powder Combine the ingredients in a thermomix and blend on high speed until fine. Sift the powder through a chinois and store in an airtight container in a cool dry place until required.

TO SERVE 8 small mangosteens 112 alpine strawberries Peel the mangosteens and remove the stones.

Pipe a little of the Champagne chiboust onto the centre of each plate. Place one mangosteen in the middle of the chiboust. Continue to pipe the Champagne chiboust around the mangosteen until it is completely covered. Dust over a little of the strawberry sherbert powder. Break the strawberry meringue sticks into different size pieces, from 5 to 20 cm (2–8 in), and set aside. Repeat this process with the plain meringue sticks. Layer the sticks, mixing the colours and sizes so that they cross each other, into a stack. Place the alpine strawberries on the plate, in and around the sticks. Dust over the top with the strawberry sherbet powder. Serve immediately.

WHITE PEACH MOUSSE WITH PEACH JELLY, RASPBERRY AND YUKARI WINE SUGGESTION: Beerenauslese Riesling SERVES 8

CRUSHED RASPBERRY SPONGE butter, for greasing 2 organic eggs 40 g (1½ oz) raspberry liqueur 110 g (3¾ oz) caster (superfine) sugar 75 g (22/3 oz/½ cup) self-raising flour 20 g (¾ oz) cornflour (cornstarch) 15 g (½ oz) unsalted butter, melted 200 ml (7 fl oz) raspberry consommé Grease a 30 x 20 x 4 cm (12 x 8 x 1½ in) Swiss roll tin with butter and line with non-stick baking paper. Preheat the oven to 160°C (315°F/Gas 2–3). Place the eggs, raspberry liqueur and sugar in an electric mixer bowl placed over hot water and whisk together to 60°C (140°F). Connect the bowl to the electric mixer and whisk for 3–4 minutes, until it holds ribbons and a sabayon is formed. Sieve the flour and cornflour together three times to combine well, then fold through the sabayon mixture. Finally, fold in the melted butter. Pour the mixture into the prepared tin and bake for 23 minutes, or until the sponge springs back when pressed. Remove from the oven and leave to cool slightly. Turn the sponge out onto a rack and leave to cool completely. Cut the sponge in half, lengthways, reserving one portion for another application. Cut the remaining portion into 1 cm (½ in) thick slices. Pour the raspberry consommé into a bowl and add the sponge slices to soak for about 1 minute—the sponge will break up a little.

Carefully place the soaked sponge on a dehydrator tray and dehydrate in a food dehydrator at 55°C (130°F) for 20–24 hours . The sponge should be both crunchy and fudgy. Break the dried raspberry sponge into small pieces, put into a container and set aside at room temperature until required.

PEACH JELLY TO MAKE THE PEACH SYRUP:

300 g (10½ oz) caster (superfine) sugar 5 g (1/8 oz) ascorbic acid 12 white peaches Heat the sugar, ascorbic acid and 1.5 litres (52 fl oz/6 cups) of water in a tall saucepan over high heat and bring to a rolling boil. Blanch the peaches in the boiling sugared water, one at a time, and then plunge into iced water to refresh. Peel off the skins and reserve the peeled peaches for the white peach purée. Add the skins back to the boiling syrup and simmer for 5–10 minutes, being careful not to reduce the liquid too much. Strain the peach syrup through a fine sieve lined with an oil filter and then set aside to make the jelly. TO MAKE THE JELLY:

450 g (1 lb) peach syrup (see above) 2 g (1/10 oz) agar powder 3 g (1/10 oz) gold strength gelatine leaves Pour the syrup into a saucepan and whisk in the agar. Place the pan over low heat, bring to a simmer, and then cook for 30 seconds. Soak the gelatine in iced water until hydrated and then squeeze out the excess water. Add the gelatine to the hot syrup mixture and stir to combine. Strain the syrup through a chinois into a measuring jug (pitcher), and then pour 140 ml (4¾ fl oz) into three 24 x 18 x 2 cm

(9½ x 7 x ¾ in) trays. Leave to set at room temperature for 15 minutes, and then refrigerate for 2 hours. Cut ten 12 cm (4½ in) square sheets of non-stick baking paper. Remove the jelly from the fridge and, using a 10 cm (4 in) round cutter, cut out eight 10 cm (4 in) rounds. Stack the jelly discs between the baking paper squares and refrigerate until required.

WHITE PEACH MOUSSE TO MAKE THE WHITE PEACH PURÉE:

12 reserved peeled peaches (see previous page) pinch ascorbic acid Select the best 4 peaches and reserve for serving (see right). Remove the stones from the remaining 8 peaches and discard. Place the peaches in a thermomix and blend for 3–4 minutes on high speed, until smooth and creamy. Pass the mixture through a chinois and reserve. TO MAKE THE MOUSSE:

250 g (9 oz) white peach purée (see above) 150 g (5½ oz) cream (35% fat content) 100 g (3½ oz) Italian meringue Mix the ingredients together and pour into a 1 litre (35 fl oz/4 cup) syphon. Charge once with nitrous oxide. Shake well and refrigerate.

FROZEN RASPBERRY MOUSSE MIXTURE 50 g (1¾ oz) unsalted butter 200 g (7 oz) fresh raspberries 100 g (3½ oz) powdered fructose 6 g (1/5 oz) gold strength gelatine leaves 200 g (7 oz) raspberry consommé 10 g (¼ oz) freeze-dried raspberry powder

40 g (1½ oz) raspberry liqueur Heat the butter in a medium saucepan over medium heat until it begins to bubble lightly. Add the raspberries and coat in the hot butter. Cook for 3–4 minutes until the raspberries begin to break down. Stir in the fructose and continue to cook until the raspberries disintegrate. Meanwhile, soak the gelatine in iced water until hydrated. Pour the cooked raspberries into a thermomix and lightly blend for 1 minute on speed 4. Squeeze out the excess water from the gelatine and add to the raspberries, then blend again to dissolve the gelatine. Add the raspberry consommé, raspberry powder and raspberry liqueur. Continue to blend until the mixture is completely smooth and then pass through a fine chinois. Pour the mixture into a 1 litre (35 fl oz/4 cup) syphon and place the lid on. Charge twice with nitrous oxide. Shake well between each charge. Chill the syphon over ice for 2 hours.

FROZEN RASPBERRY SEGMENTS 200 g (7 oz) fresh raspberries 2 litres (70 fl oz/8 cups) liquid nitrogen Pour the nitrogen into a nitro bowl and leave it to freeze for 1 minute until the bowl tempers to the nitrogen and the nitrogen stops boiling. Add the raspberries and leave for 30 seconds to freeze completely. Using a slotted spoon, remove the raspberries and wrap in a clean tea towel (dish towel). Crush the raspberries within the tea towel using a rolling pin. All the segments should separate. Put the segments in a bowl and place in the freezer until required.

TO SERVE 4 reserved peaches (see left), diced to 5 mm (¼ in) 32 shiso sprigs 2 litres (70 fl oz/8 cups) liquid nitrogen

½ teaspoon yukari Divide the diced peaches into the centre of each plate. Dispense the white peach mousse to cover the diced peaches. Place a circle of the peach jelly over the mousse to completely encapsulate it, and then add 4 shiso sprigs on top. Dispense the frozen raspberry mousse mixture in the nitrogen by first shaking the syphon well, and then dispersing about 8 tablespoons into the nitrogen. Freeze for 1 minute and then, using a slotted spoon, transfer the mixture into a wet and dry blender. Blend until a fine powder is achieved. Mix the raspberry powder with the frozen raspberry segments and 4 tablespoons of the raspberry sponge pieces. Add in the yukari and mix well together. Spoon the mixture over the peach jelly and shiso leaves. Serve immediately.

YUZU AND RASPBERRY BOMB WINE SUGGESTION: Umeshu SERVES 8

LIQUID RASPBERRY CENTRE 200 ml (7 fl oz) raspberry consommé 30 g (1 oz) raspberry liqueur 0.5 g (1/50 oz) xanthan gum Mix the raspberry consommé and raspberry liqueur together in a bowl. Add the xanthan gum and blend with a hand-held blender—the raspberry should be thick but runny. Place the liquid raspberry in a deep bowl in a chamber vacuum sealer to remove the excess air. Fill eight 1 cm (½ in) wide sphere moulds with the raspberry syrup and place in the freezer for 24 hours until completely frozen. Remove the frozen raspberry centres from the moulds, place on a tray, and freeze again until required.

YUZU CURD 90 ml (3 fl oz) yuzu juice 40 g (1½ oz) caster (superfine) sugar 90 g (3¼ oz) organic egg yolks 200 g (7 oz) unsalted butter, diced 1 g (1/25 oz) fine sea salt Add the yuzu juice, sugar and egg yolks to a thermomix and attach the butterfly attachment. Heat to 80°C (175°F) on speed 4 and then cook for 8 minutes at 80°C on speed 4. Turn off the heat and continue to blend on speed 4 and cool to 50°C (120°F). Slowly add the butter and blend until smooth and creamy. Add the salt and mix to combine. Pour the curd into a clean container and then refrigerate for 6 hours.

Remove the curd from the fridge, place in a bowl and whisk until the mixture is smooth and creamy. Transfer to a piping (icing) bag with a number 9 plain nozzle and refrigerate again until required.

YUZU SPHERES 300 g (10½ oz) mannitol Fill the bottom halves of eight 4 cm (1½ in) diameter sphere moulds with the yuzu curd. Remove the raspberry spheres from the freezer and place in the centre of the curd, pressing in gently so that it is half submerged. Place the top on the sphere and then continue to fill the mould, through the hole, to the top with the yuzu curd so that the raspberry is completely covered by the curd. Place into the freezer and freeze for 24 hours. Remove the curds from the spheres and place back in the freezer. Heat the mannitol in a saucepan to 180°C (350°F) over medium heat, then cool to 170°C (325°F). Remove the curd spheres from the freezer, one at a time, and skewer with a bamboo stick. Carefully submerse the curd in the mannitol so that it coats in the sugar. Remove and then quickly dip a second time. Place the spheres into an egg carton with the bamboo sticks still inserted. Leave at room temperature for 30 minutes then remove the sticks slowly by twisting and pulling—being careful not to break the sugar coating. Leave at room temperature for 1 hour to completely defrost the centres.

TO SERVE 20 g (¾ oz) freeze-dried raspberry powder Dust each of the spheres in the freeze-dried raspberry powder. Serve immediately.

CHOCOLATE FOREST FLOOR WINE SUGGESTION: Maury Rouge SERVES 8

I never intended this dessert to be what it is now, but it has evolved into one of our most popular dishes, and is arguably the defining dish for Sepia. At the time of its inception it was our restaurant’s first-year anniversary. We had decided to change to degustation-only menus on Friday and Saturday nights. A small story had been written in the newspaper about this and our phones were ringing like crazy. We were booked solid for the dinners. As a result, there was an increased sense of anticipation about what guests would expect from the experience we offered. I felt we needed a dramatic ‘wow’ to end their experience on, to ensure guests left feeling more excited than when they first stepped through the door. We’d been experimenting with many different dessert ideas for the anniversary menu, but nothing was really coming together the way I wanted. Frustrated, I worked on ideas all weekend and started experimenting. I put some cream in a piping bag, and piped three mounds on the centre of a plate then sprinkled some crumb over the top for texture. Once I put it together we all thought it looked like soil from the ground. Then it dawned on me: why don’t we make it look like a woodland floor? So we started adding textures to represent features one would associate with a woodland floor: jellies to represent lost jewels in the undergrowth, fennel fronds that look like ferns and chocolate to look like twigs that have fallen down. I

thought maybe we could have some sort of fruit that has fallen out of a tree, so I picked up a candied cherry, dropped it on the top and said, ‘There’s the cherry that’s just fallen off the tree.’ We were going to have the golden cherry at first, but in the end it became a cherry sorbet to work texturally and from a temperature perspective. It’s not just about the forest floor. There is all the roughage on the top, but what’s underneath it? We thought we could do three very different, rich custards underneath. To cover the custards under the forest floor, we made a tempered chocolate disc that you crack through—so essentially you are digging through the earth to eat your dessert. The dish changes with the seasons, whether it’s the sorbet, or the creams underneath. They could be rose, geranium, almond, chocolate . . . anything. It has been a hit from the first night we served it and is still our guests’ favourite. I’m not sure they will ever let us take it off the menu. I am so proud of this dish and it really was a turning point for me as a chef. SOUR CHERRY SORBET 148 g (5½ oz) glucose powder 114 g (4 oz) caster (superfine) sugar 8 g (3/10 oz) sorbet stabiliser 1 kg (2 lb 4 oz) sour cherry purée (Boiron) (sieved weight) Put the glucose powder and 435 ml (15 fl oz) of water in a saucepan and heat to 40°C (105°F). Meanwhile, mix the sugar and sorbet stabiliser together in a bowl. Whisk the sugar and sorbet stabiliser through the warm glucose and water mixture, and bring the temperature to 80°C (175°F).

Put the cherry purée in a bowl, pour over the heated sugar mixture and mix together using a hand-held blender. Cover and set aside in the fridge. Churn in an ice-cream machine following the manufacturer’s instructions.

LAVENDER CREAM 400 ml (14 fl oz) cream (35% fat content) 1 g (1/25 oz) lavender 40 g (1½ oz) organic egg yolks 60 g (2¼ oz) caster (superfine) sugar 1 g (1/25 oz) gold strength gelatine leaves 1 g (1/25 oz) iota 1 g (1/25 oz) flaked sea salt Heat the cream in a small saucepan over medium heat until it approaches a simmer. Add the lavender, turn off the heat and steep the cream for 10 minutes. Bring the cream back to a simmer and then pass through a chinois and discard the lavender. Pour the hot cream into a vita-prep (or high speed blender) and turn on low to create a vortex. Add the egg yolks and the sugar to the centre of the vortex and mix to combine. Soak the gelatine in iced water until completely hydrated. Squeeze out the excess water from the gelatine and add to the lavender cream. Add the iota, then add the salt. Blend for 1 minute, transfer to a container and refrigerate for 2–3 hours to set. Break the lavender cream up with a whisk, and then continue to whisk until a smooth cream is formed. Pour the cream into a piping bag and refrigerate until required.

ALMOND AND PRALINE CREAM 165 g (5¾ oz) blanched almonds 33 g (1¼ oz) glucose syrup

100 g (3½ oz) pure icing (confectioners’) sugar 85 g (3 oz) praline paste 2 g (1/10 oz) fine sea salt 50 g (1¾ oz) quality fresh whole milk 400 g (14 oz) cream (35% fat content) 4 g (1/10 oz) gold strength gelatine leaves Preheat the oven to 170°C (325°F/Gas 3). Line a tray with a silicone baking mat. Put the almonds and glucose in a bowl, and stir well to coat the almonds. Place the coated almonds onto the silicone mat and bake for 12 minutes, stirring after 6 minutes, until golden and caramelised. Remove the tray from the oven, transfer the nuts into a thermomix and blend for 5 minutes on high speed, gradually adding the icing sugar in small batches. Continue blending until a very smooth paste is formed. Add the praline paste and salt and blend until completely combined. Heat the milk and cream in a medium saucepan over medium–high heat, bring to the boil and then remove from the heat. Soak the gelatine in iced water to hydrate, squeeze out the excess water, and then stir into the cream and milk mixture until dissolved. Pour the hot cream and milk into the thermomix and blend on low until well combined with the nut paste. Transfer the mixture into a bowl over iced water to cool, then refrigerate for 6 hours to set. Spoon the nut cream into an electric mixer bowl and attach the whisk. Whisk the cream for about 2 minutes until soft peaks form and then place in a piping (icing) bag and refrigerate until required.

SOFT CHOCOLATE CREAM 260 g (9¼ oz) cream (35% fat content) 250 g (9 oz) dark couverture chocolate (70% cocoa solids), finely chopped 60 g (2¼ oz) caster (superfine) sugar 0.8 g (3/100 oz) agar powder 0.8 g (3/100 oz) iota

1 g (1/25 oz) gold strength gelatine leaves Boil the cream in a small saucepan over medium heat. Put the chocolate and sugar in a bowl and then pour in the hot cream. Whisk together until completely dissolved and then set aside. Place the agar, iota and 300 g (10½ oz) of water in a cylinder (or plastic beaker) and, using a hand-held blender, blend until smooth. Transfer the mixture to a small saucepan and bring to the boil over medium–high heat. Cook out for 1 minute then remove from the heat and leave to cool slightly. Soak the gelatine in iced water until completely hydrated. Squeeze out the excess water and then stir into the warm agar mixture until dissolved. Pour the agar over the chocolate mixture and stir until completely combined. Refrigerate for 2–3 hours to set. Break up the chocolate gel with a fork, place in an electric mixer bowl and continue to whisk until a smooth cream is formed. Pour the soft chocolate cream into a piping (icing) bag and refrigerate until required.

TEMPERED CHOCOLATE DISCS TO TEMPER THE CHOCOLATE:

500 g (1 lb 2 oz) dark couverture chocolate (70% cocoa solids), finely chopped Melt 400 g (14 oz) of the finely chopped chocolate in a bowl over a water bath—making sure that the flame doesn’t come up around the side of the bowl to scorch the chocolate and the base of the bowl is not in contact with the water. Stir the chocolate occasionally so that it heats evenly and agitate intermittently—making sure that the chocolate does not exceed 50°C (120°F). Remove the chocolate from the water bath, and gradually begin adding in the remaining chopped chocolate, stirring constantly. Continue stirring and adding the chocolate until entire chocolate mass has cooled to around 29–32°C (85–90°F). There should be few to no unmelted lumps of chocolate. If unmelted lumps remain, heat the

chocolate gradually to remove them, then cool chocolate again to 29– 32°C (85–90°F). Once the smooth bowl of chocolate has reached the desired temperature, dip a piece of baking paper or a metal spatula into the bowl to check for proper temper. Allow the paper or spatula to cool for 5–10 minutes at room temperature to set. If the chocolate is properly tempered, it will set with a smooth, shiny finish and have a hard, snappy texture. If lines of cocoa butter appear on the surface, or if the chocolate does not set up, it has not been tempered. In this case, most likely the chocolate has not been cooled enough, or has not been stirred enough to properly emulsify. While working with tempered chocolate, it is important to stir regularly, as the sides of the bowl will begin to set. As lumps begin to form, gradually warm the chocolate to eliminate them and continue to test for proper temper, as it is easy to overheat chocolate. NOTE: While there are multiple ways to temper chocolate, the method that yields the most stable emulsion of cocoa butter is called the seeding method. This method also has the advantage of being far more hygienic, because the chocolate is never spread onto a second surface, it stays in the bowl. Chocolate pistoles fresh from the manufacturer are tempered to a precise alignment of cocoa butter crystals, and will help to spread this proper emulsion to your bowl of chocolate. TO MAKE THE DISCS:

200 g (7 oz) tempered dark couverture chocolate (70% cocoa solids) (see above) Using a palette knife, spread the chocolate out, about 2 mm (1/16 in) thick, over a sheet of acetate. Using a 6 cm (2½ in) cutter, mark out 8 discs of chocolate. Leave the chocolate to crystallise for a few hours. Reserve the remaining tempered chocolate for the chocolate twigs (see right).

Remove the crystallised chocolate discs from the acetate sheet and store in an airtight container until required.

CHOCOLATE TWIGS 100 g (3½ oz) reserved melted tempered dark couverture chocolate (70% cocoa solids) 250 g (9 oz/21/3 cups) cocoa powder Pour the tempered chocolate into a piping (icing) bag and cut a very fine hole off the end. Pour 125 g (4½ oz) of the cocoa powder, in an even layer, into a deep baking tray. Pipe the chocolate into the shape of branches onto the tray and then dust over the remaining cocoa powder. Place the tray in the refrigerator for 30 minutes to set. Use a fork to carefully remove the branches from the tray. Shake off the excess cocoa powder and then refrigerate again on a clean tray until required.

CHOCOLATE SOIL TO MAKE THE CHOCOLATE CRUMBLE:

65 g (21/3 oz) cocoa butter, finely chopped 125 g (4½ oz/1 cup) pure icing (confectioners’) sugar 125 g (4½ oz/1¼ cups) almond meal 75 g (22/3 oz/½ cup) plain (all-purpose) flour 50 g (1¾ oz) cocoa powder 2.5 g (1/10 oz) fine sea salt Heat the cocoa butter in a very small saucepan over low heat until melted. Place all the other ingredients in a thermomix on medium speed. Slowly stream in the warm cocoa butter and blend until it binds together. Roll into a sausage shape, wrap in plastic wrap, and freeze for 4–5 hours. Preheat the oven to 150°C (300°F/Gas 2).

Line two baking trays with silicone baking mats. Using a grater, coarsely grate the mixture onto the mats. Bake for 12–14 minutes or until dry and crumbly. Remove the crumble from the oven and set aside to cool. Transfer to an airtight container and refrigerate until required. TO MAKE THE CARAMELISED FENNEL SEEDS:

50 g (1¾ oz) fennel seeds 40 g (1½ oz) caster (superfine) sugar 2 g (1/10 oz) fine sea salt Heat a frying pan over low heat and add the fennel seeds. Toast for 3–4 minutes until fragrant and then remove from the heat. Heat the sugar and 10 ml (¼ fl oz) of water in a very small saucepan to 118°C (245°F) and then add the toasted fennel seed and salt. Stir the mixture and remove from the heat. Pour out onto a silicone baking mat and leave to cool completely. Break up the caramelised fennel seeds and then crush lightly using a mortar and pestle. TO MAKE THE ANISEED PRALINE MIXTURE:

55 g (2 oz) praline paste 150 g (5½ oz) paillete feuilletine 12 g (2/5 oz) caramelised fennel seeds (see previous page) 10 g (¼ oz) licorice powder 1.5 g (1/20 oz) flaked sea salt Lightly warm the praline paste in a bowl over simmering water until it becomes soft and pliable. Gently toss through the feuilletine until the feuilletine becomes tacky. Toss through the remaining ingredients and then store in a container at room temperature until required. TO MAKE THE SOIL:

220 g (7¾ oz) chocolate crumble (see previous page) 220 g (7¾ oz) aniseed praline mixture (see above)

Place all the ingredients in a bowl and mix together well. Set aside until required.

GREEN TEA MOSS 25 g (1 oz) caster (superfine) sugar 25 g (1 oz) unsalted butter, softened 25 g (1 oz) plain (all-purpose) flour 25 g (1 oz/¼ cup) almond meal 7.5 g (1/5 oz) matcha green tea powder Cream the sugar and butter together in a bowl using a spatula. Fold through the flour and almond meal and then mix in the tea. Roll the paste into a log, wrap in plastic wrap and then place in the freezer for 5 hours. Preheat the oven to 120°C (235°F/Gas ½). Line a baking sheet with a silicone baking mat. Lightly grate the frozen green tea paste over the silicone mat using a microplane. Bake the tea paste for around 8 minutes or until dry and crumbly. Store in an airtight container, and refrigerate until required.

ALMOND BRITTLE 100 g (3½ oz) caster (superfine) sugar 72 g (2½ oz) glucose syrup 115 g (4 oz) blanched almonds ¼ vanilla bean, seeds scraped 2 g (1/10) fine sea salt 10 g (¼ oz) unsalted butter 1 g (1/25 oz) bicarbonate of soda (baking soda) Heat the sugar, glucose and 42 g (1½ oz) of water in a medium saucepan over medium–high heat to 115°C (240°F). Add the almonds and vanilla bean and continue to cook, stirring constantly, until the temperature reaches 155°C (310°F). Remove the pan from the heat,

add the salt, butter and bicarbonate of soda and stir to combine. Pour the nut brittle onto a silicone baking mat and leave for 30 minutes to cool completely. Chop the brittle into very small pieces and store in an airtight container until required.

FIRM CHERRY BRANDY JELLY 180 g (61/3 oz) cherry brandy 3 g (1/10 oz) agar powder Put the cherry brandy and 120 g (4¼ oz) of water in a small saucepan over medium–high heat and bring to the boil. Add the agar and cook for 1 minute, then strain through a chinois into a container and refrigerate for 3 hours. Cut the jelly into 5 mm (¼ in) cubes and return to the fridge until required.

CRYSTALLISED FENNEL FRONDS 1 organic egg white 1 bunch fennel fronds 50 g (1¾ oz) caster (superfine) sugar Line a tray with non-stick baking paper. Using a fork, lightly break down the egg white in a bowl. Dip a pastry brush in the egg white and lightly brush the fennel fronds. Sprinkle over the caster sugar, making sure it doesn’t clump. Place the fennel on the prepared tray and leave to dry and crystallise at room temperature for 3–4 hours until required.

TO SERVE 2 elderflower stems 2 finger limes, pearls removed

Using 8 deep bowls, pipe a spoonful of lavender cream, soft chocolate cream, and almond and praline cream into the base of each bowl. Sprinkle the almond brittle over the creams. Place a tempered chocolate disc on top and press down lightly. Pipe another amount of the chocolate cream in the centre of the chocolate disc to help hold the chocolate soil in place. Sprinkle the chocolate soil evenly over the chocolate disc and chocolate cream to form a small mound. Add a teaspoon of the firm cherry brandy jelly evenly over the plate. Sprinkle a little of the green tea moss evenly over the soil and then add the crystallised fennel fronds around the plate. Place the chocolate twigs around to resemble fallen branches. Pick the flowers from the elderflower twigs and scatter in and around the forest. Top with small clumps of finger lime pearls. Finally, add a quenelle of the sour cherry sorbet. Serve immediately.

JAPANESE STONES WINE SUGGESTION: Malmsey Madeira SERVES 8

Originally this dish was technique-based rather than actually about the stones, their meaning or their purpose in the context of Sepia. The idea was to make a dessert that looked like a boulder, a rock, or, in fact, a stone. It was January of 2011 when, during a brief break from the restaurant, I first began thinking about the idea and how I could possibly make it come to fruition. But, like many of my ideas, it sat in the back of my mind, waiting for an ingredient or a technique to cross my path and help it all fall into place. Then, on 11 March, 2011 an earthquake of magnitude 9.0 struck off the Pacific coast of Tōhoku, Japan and caused a tsunami with catastrophic ramifications. It would come to be known locally as the Great East Japan Earthquake. The death toll numbered in the tens of thousands and the impact on lives and land of the region was almost immeasurable and irreparable. Japanese food and culture has probably had the most profound and cerebral impact on me as a person, and as a chef. I knew there was not a lot I could do in regards to this horrific natural disaster, but I wanted to do something, even if it was to make people think. In Japanese culture, rock gardens and water gardens are incredibly important, particularly in restaurants. They represent peacefulness and tranquillity. Suddenly, the notion of making Japanese stones made sense, so I got back in the kitchen and started working out the idea.

I experimented with freezing a fruit purée in nitrogen by using two spoons and hovering it in liquid nitrogen to create a stone-like shape. But alas, it looked nothing like a stone, until I accidentally dropped the purée off the end of the spoon and it fell into the nitrogen. I quickly retrieved it and the shape that had been created surprised me. It didn’t look exactly like a stone, but it was curvaceous. I took the formation and dipped it into liquid chocolate and cocoa butter. The silky properties of the chocolate lavished it with a smooth shininess, and it looked like a pebble. The process had also given it a hard outer layer and a soft, runny centre. I needed to make the pebble look like a stone, and I knew I had some bamboo ash from a previous dish so I mixed it through the chocolate and cocoa butter and tried it again. So that was where the idea started working. I wanted to use as many Japanese elements as possible on the outside, so it looked like a rock garden, but to make the filling unexpected and fun. Originally I made coconut, chocolate and cherry stones, but the flavours always change with the seasons. An homage to Japan. GREEN TEA AND MINT MOSS 50 g (1¾ oz) caster (superfine) sugar 50 g (1¾ oz) unsalted butter, softened 50 g (1¾ oz/1/3 cup) plain (all-purpose) flour 50 g (1¾ oz/½ cup) almond meal 15 g (½ oz) matcha green tea powder 5 g (1/8 oz) mint powder Cream together the sugar and butter in a bowl, using a spatula. Fold through the flour and almond meal and then mix in the tea and mint

powder. Roll the paste into a log, wrap in plastic wrap and set in the freezer overnight. Preheat the oven to 120°C (235°F/Gas ½). Line a baking sheet with a silicone baking mat. Lightly grate the frozen green tea paste over the silicone mat using a microplane. Bake the green tea and mint paste for around 8 minutes until dry and crumbly. Store the green tea and mint moss in a container, in the fridge, until required.

EDIBLE FLAVOURED STONES TO MAKE THE CHERRY STONE FILLING:

175 g (6 oz) sour cherry purée (Boiron) 30 ml (1 fl oz) cherry brandy 30 g (1 oz) caster (superfine) sugar 1 g (1/25 oz) xanthan gum Mix the cherry purée, cherry brandy and sugar together in a bowl until the sugar dissolves. Add the xanthan and blend with a hand-held blender for 5–7 seconds until it hydrates and thickens the purée. Refrigerate for 1 hour. TO MAKE THE COCONUT CREAM STONE FILLING:

70 g (2½ oz) quality fresh whole milk 70 g (2½ oz) cream (35% fat content) 70 g (2½ oz) coconut cream (Kara UHT) 30 g (1 oz) caster (superfine) sugar ¼ vanilla bean, split and scraped 20 g (¾ oz) desiccated coconut 1 g (1/25 oz) gold strength gelatine leaves 0.3 g (1/50 oz) iota 0.1 g (1/250 oz) xanthan gum fine sea salt

Heat the milk, cream, coconut cream, sugar and vanilla in a small saucepan over medium heat. Bring to a simmer, then remove from the heat and leave to infuse for 5 minutes. Strain the mixture through a chinois into a bowl. Add the desiccated coconut, pour back into the pan and bring back to a simmer. Soak the gelatine in iced water until completely hydrated and then squeeze out the excess water. Pour the milk and cream mixture into a vita-prep (or high-speed blender) and turn on low speed for 1 minute. Turn the speed up to form a vortex and then add in the iota, xanthan, gelatine and a pinch of salt. Turn up the speed to high and blend for 1 minute until light and airy. Pour into a container over ice, and refrigerate to cool completely. TO MAKE THE SALTED PASSIONFRUIT AND WHITE CHOCOLATE STONE FILLING:

105 g (32/3 oz) passionfruit purée (Boiron) 10 g (¼ oz) yuzu juice 160 g (52/3 oz) cracked whole organic eggs 130 g (42/3 oz) caster (superfine) sugar 2 g (1/10 oz) gold strength gelatine leaves 40 g (1½ oz) white couverture chocolate, chopped 95 g (3¼ oz) unsalted butter, softened 3 g (1/10 oz) fine sea salt Heat the passionfruit purée and yuzu juice in a medium heavy-based medium saucepan over medium heat and bring to the boil. Whisk the eggs and sugar together in a bowl, add the passionfruit and yuzu and whisk to combine. Pour back into the pan and cook to 84°C (183°F). Soak the gelatine in iced water until hydrated. Squeeze out the excess water and then add to the passionfruit mix, stirring until dissolved. Combine the white chocolate and softened butter in a bowl. Strain the passionfruit mixture into the chocolate and butter and stir until the chocolate has melted and the mixture is thick and homogenised. Stir

in the salt and leave to cool over iced water until set. Refrigerate until required. TO MAKE THE COCOA BUTTER SHELL:

200 g (7 oz) cocoa butter, finely chopped 50 g (1¾ oz) white couverture chocolate, chopped 0.5 g (1/50 oz) carbonised bamboo powder Melt the cocoa butter in a small saucepan over medium–low heat. Add the white chocolate and mix through with a whisk until melted and smooth. Add the bamboo powder and whisk until completely absorbed by the cocoa butter. Keep warm—between 35°C (95°F) and 40°C (105°F) for best coating texture—until required. TO MAKE THE STONES:

4 litres (140 fl oz/16 cups) liquid nitrogen Whisk the cherry stone filling in a bowl until it is smooth. Repeat with the coconut cream stone filling and salted passionfruit and white chocolate stone filling. Refrigerate until required. Pour the nitrogen into a nitro bowl and leave it to freeze for 1 minute until the bowl tempers to the nitrogen and the nitrogen stops boiling. Add a slotted spoon to the nitrogen and leave to freeze completely. Line a tray with non-stick baking paper and set to one side. Take a dessert spoon of the cherry gel and release it from the spoon with your finger into the nitrogen, then leave it to freeze for 15– 20 seconds. Remove the frozen gel with the slotted spoon and drop it into the warmed cocoa butter shell mix and coat completely. Using tweezers or a fork remove the cherry stone and place it onto the lined tray. Repeat to make 12 cherry stones, and then refrigerate. Repeat the process using the coconut cream by spooning it in to the nitrogen and freezing the mix for only about 10–15 seconds. Make 12 coconut stones and refrigerate. Repeat the process using the salted passionfruit and white chocolate to make 12 stones, and then refrigerate.

Keep refrigerated for 4 hours before serving.

YUZU GELATINE 4 g (1/10 oz) gold strength gelatine leaves 225 ml (71/3 fl oz) sugar syrup (20 per cent) 30 g (1 oz) yuzu juice Soak the gelatine in iced water until completely hydrated. Warm 200 ml (7 fl oz) of the syrup in a saucepan to 65°C (150°F). Add the gelatine and stir to dissolve. Pour the remaining syrup into the pan and stir well to combine. Add the yuzu juice and stir well to combine. Pour the mixture into a container and set over ice for 3 hours to set. Break up the jelly with a whisk and refrigerate until required.

CRYSTALLISED BLACK SESAME SEEDS 30 g (1 oz) sugar 50 g (1¾ oz) black sesame seeds Heat the sugar and 5 g (1/8 oz) of water in a very small heavy-based saucepan over medium–low heat. Heat to 118°C (245°F) and then add the sesame seeds. Remove from the heat and stir to coat. Place the pan back on the stove and heat for 5–10 seconds until the sugar crystallises. Once the sesame seeds begin to separate, remove from the heat. Spread out onto a baking tray and leave to cool.

CRYSTALLISED FEUILLETINE WITH VIOLETS 25 g (1 oz) caster (superfine) sugar 25 g (1 oz) paillete feuilletine 15g (½ oz) crystallised violets

Heat the sugar and feuilletine together in a very small saucepan over medium–high heat and cook until the sugar has melted and the feuilletine toasts, stirring constantly. Remove from the heat and continue to stir while the mixture cools, to stop the flakes sticking together. Meanwhile, crush the crystallised violets using a mortar and pestle. Place the feuilletine into a mortar and grind into a rough powder. Mix in the crystallised violets and then store in an airtight container until required.

TO SERVE (WITH TWO PEOPLE SHARING EACH DISH) Whisk the yuzu gelatine so that it breaks up and becomes a soft textured jelly. Using 4 serving bowls, spoon the yuzu gelatine into the centre of each bowl. Place 2 of the salted passionfruit and white chocolate stones and 2 of the coconut cream stones on top of the yuzu. Sprinkle a teaspoon of the crystallised black sesame seeds over the first set of stones—this will help to hold the other stones in place. Next, stack 1 more of the salted passionfruit and white chocolate and 1 more of the coconut cream and 1 of the cherry on top of the first set of stones. Sprinkle about 1 teaspoon of the crystallised black sesame seeds over the stones. Finally, place the last 2 cherry stones carefully onto the other stones. Sprinkle over a little more of the crystallised black sesame seeds. Add 1 teaspoon of the crystallised feuilletine with violets. Finish the stones with a sprinkle of the green tea and mint moss. Serve immediately.

BASICS BEETROOT JUICE REDUCTION Makes 1 litre (35 fl oz/4 cups) 2.5 kg (5 lb 8 oz) beetroot (beets), peeled and cut into blocks 2 tablespoons sherry vinegar Place the beetroot into a thermomix and blend for 3 minutes on high speed until puréed. Strain the pulp through a fine sieve lined with a triple layer of muslin (cheesecloth), squeezing out as much juice to make about 2 litres (70 fl oz/8 cups). Add the sherry vinegar and pour into a saucepan. Bring to the boil and then cook until the beetroot juice reduces by half, then remove from the heat and leave to cool completely. NOTE: Stored in a container, beetroot juice reduction will keep for 5 days in the fridge and 3 months in the freezer.

BLACKCURRANT CONSOMMÉ Makes 500 ml (17 fl oz/2 cups) 1.2 kg (2 lb 10 oz) frozen blackcurrants 120 g (4¼ oz) pure icing (confectioners’) sugar Place the frozen blackcurrants in a metal bowl and dust with the icing sugar. Cover with plastic wrap and place above a saucepan of simmering water. Leave for 1–1½ hours until all the juices have run out. Carefully remove the bowl from the heat and leave to cool, then refrigerate overnight. Strain the blackcurrants through a fine sieve lined with an oil filter into a bowl and leave overnight to fully drain. Measure out 500 ml (17 fl oz/2 cups) of the blackcurrant juice into a container. Refrigerate until required.

NOTE: Stored in a container, blackcurrant consommé will keep for 5 days in the fridge and 3 months in the freezer.

BLACKCURRANT POWDER Makes 100 g (3½ oz) 400 g (14 oz) blackcurrants, strained from making the blackcurrant consommé (see above) Place the blackcurrants on dehydrator trays and dehydrate in a food dehydrator for 36 hours at 55°C (130°F). Place the dried blackcurrants in a thermomix and blend on high speed until a powder is formed. Strain the powder through a fine drum sieve. Reserve the fine powders, discarding the coarse powder. NOTE: Stored in an airtight container, blackcurrant powder will keep in the fridge for 2–3 weeks.

CHESTNUT MUSHROOM CONSOMMÉ Makes 750 ml (26 fl oz/3 cups) 2 organic egg whites, refrigerated 1 litre (35 fl oz/4 cups) chestnut mushroom stock (see below), refrigerated Put the chilled egg whites in a clean bowl and whisk until stiff peaks form. Pour the chilled stock into a clean tall skinny saucepan. Add the whisked whites and gently mix through. Place the pan over high heat and quickly bring to a simmer, being careful not to let the mixture boil. Continue to simmer for 20 minutes to concentrate the flavour. Strain the consommé through a sieve lined with an oil filter into a container over iced water. Refrigerate until required. NOTE:

Stored in a container, chestnut mushroom consommé will keep in the fridge for 2–3 days.

CHESTNUT MUSHROOM STOCK Makes 1.25 litres (44 fl oz/5 cups) 5 cm (2 in) kelp strip 1 kg (2 lb 4 oz) chestnut mushrooms 700 ml (24 fl oz) chicken stock 1½ tablespoons dried porcini mushroom powder 165 ml (51/3 fl oz) shibanuma soy sauce 66 ml (21/3 fl oz) mirin 33 ml (1¼ fl oz) shiro dashi fine sea salt freshly ground white pepper Pour 1 litre (35 fl oz/4 cups) of water into a medium saucepan and add the kelp. Leave to soak for 30 minutes, then place over low heat and bring to 60°C (140°F). Maintain the temperature for 30 minutes then remove the kelp. Blend the mushrooms in a food processor on high speed for 3 minutes until broken down, and then add to the kelp water. Add the chicken stock and mushroom powder and bring to a simmer. Simmer gently for 30 minutes, then add the soy, mirin and dashi, and cook for a further 5 minutes. Season to taste. Remove from the heat and leave to stand, covered, for 10 minutes. Strain the stock though a chinois into a bowl over iced water and then refrigerate until required. NOTE: Stored in a container, chestnut mushroom stock will keep in the fridge for 5 days.

CHICKEN STOCK Makes 3 litres (105 fl oz/12 cups)

3 kg (6 lb 12 oz) chicken bones, excess fat removed 1 kg (2 lb 4 oz) chicken wings 2 onions, chopped 2 celery stalks, chopped ½ leek, white part only, washed and chopped 1 dried bay leaf ½ bunch thyme 10 peppercorns Rinse the chicken bones under running water. Remove the fat from the bones and remove and discard any internal organs from inside the carcasses. Drain the bones and place in a stock pot. Rinse the chicken wings under cold running water and add them to the pan. Fill the pan with 8 litres (280 fl oz/32 cups) of water, ensuring the water is 5 cm (2 in) over the bones. Place the pan over high heat and bring to the boil. Skim off the impurities and reduce the heat to a gentle simmer. Cook for 1 hour, skimming the stock regularly. Add the vegetables, herbs and spices and continue to simmer for a further 2– 3 hours. Remove the stock from the heat and leave to stand for 30 minutes. Strain the stock through muslin (cheesecloth) or an oil filter into a container over iced water. Cool completely and then refrigerate for up to 3 days until required. NOTE: To make the chicken stock for thesee Glazed Partridge Breast with Toasted Nori Seaweed, Braised Chestnut Mushrooms and Morel Butter and the Spanner Crab with Saikyo Miso Mousse, Pomelo, Fried Garlic Chips and Rosemary and Garlic Flowers the chicken bones and wings need to be roasted at 180°C (350°F/Gas 4) for 45– 60 minutes, or until golden brown, before using.

CLARIFIED BUTTER Makes 2 kg (4 lb 8 oz) 3 kg (6 lb 12 oz) unsalted butter

Cut the butter into small cubes. Heat the butter in a large deep saucepan over medium heat until completely melted. Remove from the heat and leave in a warm place for 1 hour until the milk separates. Gently ladle off the clarified butter and strain through a fine sieve lined with an oil filter into a clean container to separate the butter from the milk solids. Leave to cool and then refrigerate until required. NOTE: Stored in a container, clarified butter will keep in the fridge for 1 month.

COCOA CRUMBS Makes 200 g (7 oz) 100 g (3½ oz) cocoa powder 40 g (1½ oz) caster (superfine) sugar 2.5 g (1/10 oz) fine sea salt 70 g (2½ oz) unsalted butter, softened 30 g (1 oz) organic egg whites Preheat the oven to 150°C (300°F/Gas 2). Sift the cocoa into a bowl. Add the sugar and salt and combine well. Add the butter and egg whites and mix to a dough. Roll the cocoa dough into a sausage shape, wrap tightly in plastic wrap, and freeze for 6 hours. Place a silicone baking mat on a baking tray. Grate the frozen dough, using a microplane, in an even layer onto the silicone mat. Place the tray in the oven for 20 minutes until dry and crumbly. Remove from the oven, leave to cool, and then break up with a fork. Store in an airtight container until required. NOTE: Stored in an airtight container, cocoa crumbs will keep in a cool dry place for 1 week.

CONFIT ESCHALOTS Makes 200 g (7 oz) 100 g (3½ oz) eschalots, finely diced 20 g (¾ oz) garlic, finely grated using a microplane 2 tablespoons chopped thyme leaves 100 g (3½ oz) olive oil Heat the eschalots, garlic, thyme and olive oil in a small saucepan over low heat for 20–30 minutes, until the eschalots are just tender and translucent. Remove from the heat and leave to cool. Transfer the eschalots in the oil to a container and refrigerate until required. NOTE: Stored in a container, confit eschalots will keep in the fridge for up to 3 days.

COOKED SUSHI RICE Makes 660 g (1 lb 7 oz) 300 g (10½ oz) A-grade sushi rice 150 g (5½ oz) sushi vinegar Wash the rice in a bowl under cold running water, running your hands over the rice so that it agitates the rice to release the excess starch. Drain the water and repeat this process three times. Drain the rice again and then add 320 g (11¼ oz) of fresh water. Leave to soak for 30 minutes. Cook the rice in a rice cooker following the manufacturer’s instructions. Once the rice is cooked turn it out and place in a bowl. Using a wooden spoon, spread out the cooked rice in the bowl and fan to cool it to stop it from becoming dry from evaporation. Add the sushi vinegar, little by little, folding over the rice between each addition and making sure that the vinegar is absorbed before adding in more. Once all the vinegar is added place a damp warm towel or cloth into a bowl and add in the rice. Cover the rice with the

cloth completely and store in a warm place (38°C/100°F is ideal) until required. NOTE: This recipe makes more than the recipes in the book require but you have a more evenly cooked rice from this amount.

COURT BOUILLON Makes 8 litres (280 fl oz/32 cups) 2 onions, sliced 6 celery stalks, sliced 2 leeks, white part only, sliced 1 fennel bulb, sliced 4 garlic cloves, sliced 2 thyme sprigs 2 bay leaves 8 Italian (flat-leaf) parsley stalks 12 black peppercorns, crushed 12 coriander seeds, crushed 16 fennel seeds, crushed 750 ml (26 fl oz/3 cups) dry white wine Pour 8 litres (280 fl oz/32 cups) of water into a large heavy-based saucepan. Add the vegetables, herbs and spices and bring to the boil over high heat. Reduce the heat and simmer gently for 20 minutes. Strain the stock through a chinois into a clean saucepan. Discard the vegetables, herbs and spices. Add the wine and continue to simmer for 5 minutes. Transfer to a container and store in the fridge until required. NOTE: Stored in a container, court bouillon will keep for 3 days in the fridge.

CRÈME FRAICHE

Makes 250 g (9 oz) 250 ml (9 fl oz/1 cup) cream (35% fat content) 30 ml (1 fl oz) buttermilk Heat the cream in a small saucepan over low heat to 34°C (93°F). Removed from the heat, add the buttermilk and stir to combine. Sterilise a 300 ml (10½ fl oz) preserving jar (or mason jar) by placing it in boiling water for 30 seconds. Carefully remove, and then leave to cool. Pour the cream and buttermilk mixture into the jar and leave in a warm place, without the lid, for 36 hours—the ideal temperature is 24°C (75°F). The cream should form a crust and become firm. Put the jar in the fridge to cool completely before placing on the lid. Refrigerate until required. NOTE: Stored in the jar, the crème fraiche will keep in the fridge for up to 8 days.

CRYSTALLISED AKA SEAWEED Makes 100 g (3½ oz) 100 g (3½ oz) frozen salted aka seaweed 50 ml (12/3 fl oz) sugar syrup (20 per cent) Place the seaweed in a colander and rinse off all the salt under cold running water. Place the seaweed in a bowl and temper in water around 32°C (91°F). Once the seaweed is covered, drain quickly and rinse under cold running water. Repeat the process, but with the water temperature at 34°C (93°F). Rinse. Line a dehydrator tray with non-stick baking paper. Place the seaweed on the tray and brush with the sugar syrup to coat well. Shape into separate strands, place in a food dehydrator and dehydrate at 60°C (140°F) overnight. Transfer to an airtight container and store until required.

NOTE: Stored in an airtight container, crystallised aka seaweed will keep in a cool dry place for 2 weeks.

CRYSTALLISED CORAL SEAWEED Makes 100 g (3½ oz) 20 g (¾ oz) dried coral tenax seaweed 1 litre (35 fl oz/4 cups) sugar syrup (100 per cent) 500 g (1 lb 2 oz) caster (superfine) sugar Put the dried seaweed into a large container, fill with water and leave to soak overnight. Drain the seaweed. Pour the sugar syrup in a saucepan and heat to 80°C (175°F). Add the rehydrated seaweed, remove from the heat and leave to cool. Remove the seaweed and place in a bowl with the caster sugar. Dust the seaweed to coat completely, then transfer to a wire rack. Leave to dry at room temperature for 3 days. Store in an airtight container until required. NOTE: Stored in an airtight container, crystallised coral seaweed will keep in a cool dry place for 2 weeks. NOTE ON SEAWEED: The reason we rehydrate the seaweed in this way is because all the moisture has been removed from the seaweed in the drying process and we need to rehydrate it. Be careful not to overheat the seaweed, otherwise it will become slimy and have an unpleasant aroma. NOTE ON THE SUGAR SYRUP: To make the amount of sugar syrup required for this recipe, you will need to double the quantities in the sugar syrup (100 per cent) recipe.

CRYSTALLISED WAKAME SEAWEED Makes 100 g (3½ oz)

100 g (3½ oz) fresh wakame seaweed, packed in salt 100 ml (3½ fl oz) sugar syrup (20 per cent) Place the seaweed in a colander and rinse off all the salt under cold running water. Place the seaweed in a bowl and temper in water around 32°C (91°F). Once the seaweed is covered drain quickly and rinse under cold running water. Repeat the process, but with the water temperature at 34°C (93°F). Rinse. Continue this process four times until the wakame has increased in size. Drain the wakame and pat dry with paper towel. Line a dehydrator tray with non-stick baking paper. Place the seaweed on the tray and brush with the sugar syrup to coat well. Shape into separate strands, place in a food dehydrator and dehydrate at 60°C (140°F) overnight. Store in a warm dry place until required. NOTE: Stored in an airtight container, crystallised wakame seaweed will keep in a cool dry place for 2 weeks.

DRIED LEMON PEEL Makes 25 g (1 oz) 7 lemons, peels only Place the lemon peels on a dehydrator tray in a food dehydrator and dehydrate at 60°C (140°F) for 24 hours. Place in an airtight container and store in a cool dark place until required. NOTE: Stored in an airtight container, dried lemon peel will keep in a cool dry place for 2 weeks.

DRIED LEMON POWDER Makes 20 g (¾ oz)

20 g (¾ oz) dried lemon peel (see above) 10 g (¼ oz) pure icing (confectioners’) sugar 1.5 g (1/20 oz) citric acid 1 g (1/25 oz) flaked sea salt Place the dried lemon peel in a spice grinder and grind to a fine powder. Sift the lemon powder through a fine sieve and weigh out 18 g (3/5 oz). Place the measured lemon powder in a bowl and then sift in the icing sugar. Mix well to combine. Put the citric acid and sea salt in a spice grinder and grind to a fine powder. Add the citric and salt powder to the lemon powder and combine well. Place in an airtight container and store in a cool dark place until required. NOTE: Stored in an airtight container, dried lemon powder will keep in a cool dry place for 1 month.

DRIED ORANGE PEEL Makes 25 g (1 oz) 3 oranges, peels only Place the orange peels on a dehydrator tray in a food dehydrator and dehydrate at 60°C (140°F) for 24 hours. NOTE: Stored in an airtight container, dried orange peel will keep in a cool dry place for 2 weeks.

DRIED ORANGE POWDER Makes 20 g (¾ oz) 20 g (¾ oz) dried orange peel (see above) 10 g (¼ oz) pure icing (confectioners’) sugar 1.5 g (1/20 oz) citric acid

1 g (1/25 oz) flaked sea salt Place the dried orange peel in a spice grinder and grind to a fine powder. Sift the orange powder through a fine sieve and weigh out 18 g (3/5 oz). Place the measured orange powder in a bowl and then sift in the icing sugar. Mix well to combine. Put the citric acid and sea salt in a spice grinder and grind to a fine powder. Add the citric and salt powder to the orange powder and combine well. Place in an airtight container and store in a cool dark place until required. NOTE: Stored in an airtight container, dried orange powder will keep in a cool dry place for 1 month.

DRIED YUZU PEEL Makes 25 g (1 oz) 10 yuzus, peel only Place the yuzu peels on a dehydrator tray in a food dehydrator and dehydrate at 60°C (140°F) for 24 hours. NOTE: Stored in an airtight container, dried yuzu peel will keep in a cool dry place for 2 weeks.

DRIED YUZU POWDER Makes 25 g (1 oz) 20 g (¾ oz) dried yuzu peel (see above) 10 g (¼ oz) pure icing (confectioners’) sugar 1.5 g (1/20 oz) citric acid 1 g (1/25 oz) flaked sea salt

Place the dried yuzu peel in a spice grinder and grind to a fine powder. Sift the yuzu powder through a fine sieve and weigh out 18 g (3/5 oz). Place the measured yuzu powder in a bowl and then sift in the icing sugar. Mix well to combine. Put the citric acid and sea salt in a spice grinder and grind to a fine powder. Add the citric and salt powder to the yuzu powder and combine well. Place in an airtight container and store in a cool dark place until required. NOTE: Stored in an airtight container, dried yuzu powder will keep in a cool dry place for 1 month.

FRIED GARLIC CHIPS Makes 65 g (21/3 oz) 30 small garlic cloves, peeled (see note) 500 ml (17 fl oz/2 cups) quality fresh whole milk 1 litre (35 fl oz/4 cups) vegetable oil flaked sea salt Thinly slice the garlic cloves on a mandolin. Pour the milk into an airtight container and add the sliced garlic. Cover and refrigerate for 24 hours. Pour the milk and garlic into a saucepan and quickly bring to a simmer to blanch the garlic. Drain the garlic and discard the milk. Pat dry the garlic with paper towel. Pour the vegetable oil into a deep heavy-based saucepan, no more than one-third full, then heat to 150°C (300°F). Add the garlic, in 2 batches, and fry gently for 5 minutes, until golden. Remove and place on paper towel to absorb the excess oil. Season with salt and keep warm until required. NOTE: To make the fried garlic chips for the karasumi with pearl onions, roasted red onion, wasabi and society garlic or the chargrilled hatcho

miso wagyu beef rump with garlic chips, and sea urchin and wasabi butter, use 8 cloves elephant garlic. This will make 40 g (1½ oz).

GINGER AND SANSHO PEPPER CRUMB Makes 300 g (10½ oz) 60 g (2¼ oz) golden syrup 50 g (1¾ oz) muscovado dark sugar 50 g (1¾ oz) unsalted butter 175 g (6 oz) self-raising flour 2 teaspoons ground ginger 2 teaspoons sansho pepper Preheat the oven to 160°C (315°F/Gas 2–3). Place the golden syrup, muscovado sugar and butter in a saucepan and heat gently until completely melted and combined. Put the flour and spices in a bowl, add the golden syrup mixture, and mix until the dough comes together. Line a baking tray with non-stick baking paper and then roll the dough onto the tray about 1 cm (½ in) thick. Bake for 15 minutes, until golden. Remove the tray from the oven and leave to cool. Once the biscuit has cooled and becomes brittle, break into small chunks. Grind to a small crumb using a mortar and pestle. Keep in an airtight container in a dry cool place until required. NOTE: Stored in an airtight container, ginger and sansho pepper crumb will keep in a cool dry place for 2 weeks.

GOAT’S MILK FROMAGE BLANC Makes 850 g (1 lb 14 oz) 4 litres (140 fl oz/16 cups) quality fresh goat’s milk 1 drop MO 036 culture 6 drops calcium chloride

6 drops fresh rennet 1 tablespoon fine sea salt Pour the fresh milk into a saucepan and warm gently to 33°C (91°F). Remove from the heat and strain through a chinois into a plastic container. Add the MO 036 culture and stir through. Add the calcium chloride, rennet and salt and stir for 30 seconds. Place a loose cloth over the container and leave in a warm place (the ideal temperature is 28°C/82°F) for 12 hours. Do not let the temperature drop below 22°C (72°F) or the culture will die. The curds and whey should separate to leave a block shape. Ladle the curds and whey gently into a colander lined with muslin (cheesecloth). Suspend the muslin over a bowl and refrigerate overnight. Spoon the fromage blanc into 200 g (7 oz) pieces and place into individual small vacuum bags. Seal in a chamber vacuum sealer on full to remove any air. Refrigerate until required. Can be stored in the fridge for up to 10 days. NOTE: The whey can be reserved for another application.

HIBISCUS SYRUP Makes 2 litres (70 fl oz/8 cups) 750 g (1 lb 10 oz) caster (superfine) sugar 75 g (22/3 oz) dried hibiscus flowers Place 1.5 litres (52 fl oz/6 cups) of water and the sugar in a large saucepan over high heat and bring to the boil. Remove from the heat, add the dried flowers and cover with the lid. Leave to cool for 2 hours and then transfer to a container and refrigerate for 24 hours until required. NOTE: Stored in a container, hibiscus syrup will keep in the fridge for 2 weeks.

ICHIBAN DASHI Makes 1.25 litres (44 fl oz/5 cups) 12 cm (4½ in) dashi kombu strip (rishiri) 40 g (1½ oz) bonito flakes (store-bought) Pour 1.5 litres (52 fl oz/6 cups) of water into a clean container and add the kombu. Seal and refrigerate for 24 hours. Pour the mixture into a saucepan and heat over low heat to 60°C (140°F). Maintain at that temperature for 1 hour. Remove the kombu, increase the heat to high, and bring the water to a rolling boil. Add the bonito flakes, remove from the heat, cover with the lid and leave to stand for 10 minutes. Gently ladle the bonito flakes from the bottom of the pan and discard. Strain the stock through a fine sieve lined with an oil filter. Use immediately. NOTE: Stored in a container, leftover ichiban dashi can be kept in the fridge for 1 day.

ITALIAN MERINGUE Makes 300 g (10½ oz) 100 g (3½ oz) organic egg whites 200 g (7 oz) caster (superfine) sugar Whisk the egg whites in an electric mixer bowl on a low–medium speed until soft peaks form. Meanwhile, heat the sugar and 30 ml (1 fl oz) of water in a medium saucepan to 116°C (240°F). Stream the sugar steadily into the whipped whites, while the mixer is on medium–high speed. Continue whipping on medium–high until the whites have cooled. Transfer the mixture to a piping bag and keep chilled until required. NOTE:

Stored in a piping (icing) bag, Italian meringue can be kept in the freezer for up to 1 month.

KABAYAKI SAUCE Makes 100 ml (3½ fl oz) 200 ml (7 fl oz) soy sauce (preferably shibanuma) 165 g (5¾ oz) soft brown sugar 100 g (3½ oz) smoked eel stock (optional) 50 g (1¾ oz) mirin 50 g (1¾ oz) sake Pour the soy sauce into a small heavy-based saucepan and bring to the boil. Add the sugar and eel stock and stir until dissolved. Bring the liquid back to a simmer and reduce over medium–low heat for about 15 minutes, until the liquid thickens. Add the mirin and sake, and continue to reduce until thick and syrupy. Remove from the heat and leave to cool. Transfer to a container and refrigerate until required. NOTE: Stored in a container, kabayaki sauce will keep in the fridge for 2 weeks.

KATSUOBUSHI-INFUSED CLARIFIED BUTTER Makes 2 kg (4 lb 8 oz) 3 kg (6 lb 12 oz) unsalted butter 250 g (9 oz) katsuobushi flakes (store-bought bonito flakes) Cut the butter into small cubes. Heat the butter in a large deep saucepan over medium heat until completely melted. Remove from the heat and leave in a warm place for 1 hour until the milk separates. Gently ladle off the clarified butter and strain through a fine sieve lined with an oil filter into a clean container, to separate the butter from the milk solids. Put the butter back in the saucepan, heat to 60°C (140°F), and then add the katsuobushi. Remove from the heat

and leave to infuse for 30 minutes, then strain through a chinois. Leave to cool and then refrigerate until required. NOTE: Stored in a container, katsuobushi-infused clarified butter will keep in the fridge for 1 month.

KATSUOBUSHI SHAVINGS Shave only as much as you need for the recipe 300–350 g (10½–12 oz) katsuobushi Set up a katsuo kezukiriki (bonito shaver) on the bench, allowing plenty of room around. Remove the lid, and make sure that the blade is facing towards you. Check the thickness to make sure that it is not too thick otherwise it will jam when slicing. Hold the katsuobushi with both hands with the head of the katsuobushi furthest away from you. Push gently with a small amount of pressure like you would do if you were planing a piece of wood. Keep shaving so that you get lots of fine shavings. Remove the blade and gently place the shavings into an airtight container. Use immediately.

LEMON-INFUSED OIL Makes 150 ml (5 fl oz) 150 ml (5 fl oz) olive oil 2 lemons, zest only, finely grated using a microplane Heat a circulating water bath (or a saucepan filled with water) to 70°C (158°F). Pour the olive oil and zest into a small vacuum bag and seal in a chamber vacuum sealer on full to remove any air. Place the vacuum bag in the water bath and cook for 12 hours. Remove and refrigerate until required. Strain off the oil through a sieve lined with an oil filter when ready to use (see note).

NOTE: You need to make the full amount to achieve the recipe. Stored in a container, lemon-infused oil will keep in the fridge for 3 months.

LICORICE POWDER Makes 120 g (4¼ oz) 50 g (1¾ oz) black olives in brine 50 g (1¾ oz) brown sugar 30 g (1 oz) almond meal 8 g (3/10 oz) star anise, toasted and ground Pit the olives, then rinse under cold running water. Squeeze in a cloth to remove any excess water. Place the olives on a dehydrator tray in a food dehydrator and dehydrate at 55–60°C (130–140°F) for 1–2 days. Place the brown sugar on a dehydrator tray in the food dehydrator and dehydrate at 55–60°C (130–140°F) for 12 hours. Place the dried brown sugar and olives in a thermomix and pulse into a fine crumb. Transfer to a bowl and add the almond meal, a little at a time. Add the star anise, to taste. Store in an airtight container until required. NOTE: Stored in an airtight container, licorice powder will keep in a cool dry place for 1 month.

MASCARPONE CHEESE Makes 640 g (1 lb 7 oz) 1 litre (35 fl oz/4 cups) cream (35% fat content) 2.75 g (9/100 oz) citric acid Heat the cream in a medium saucepan over medium heat to 90°C (195°F) and then cook for 2 minutes at that temperature. Remove

from the heat, add the citric acid, and stir for 1 minute until completely mixed through. Leave to rest at room temperature for 1 hour—the cream should thicken. Pour the cream into a fine sieve lined with an oil filter, suspended over a bowl and leave to hang in the fridge for 24 hours. Remove the cream from the filter bag into a bowl, being careful not to touch the cream with your hands, and stir the soft and hard creams together. Pour the cream back into a clean filter bag and hang for a further 24 hours. Store in a container in the fridge until required. NOTE: Stored in a container, mascarpone cheese will keep in the fridge for 5 days.

MISO MUSTARD Makes 100 g (3½ oz) 65 g (21/3 oz) saikyo miso 20 g (¾ oz) dijon mustard 20 g (¾ oz) still mineral water Mix the ingredients in a bowl and whisk into a smooth paste. Transfer to a squeeze bottle. FOR HOT MISO MUSTARD: Add ½ teaspoon Japanese hot mustard powder to 2 teaspoons hot sake and dissolve to make a paste. Then mix the paste through the miso mustard above. NOTE: Stored in a squeeze bottle, the mustard will keep in the fridge for 1 week.

NORI POWDER Makes 45 g (1½ oz)

12 A-grade nori sheets 100 ml (3½ fl oz) sugar syrup (20 per cent) Line a bench with plastic wrap and lay out 3 of the nori sheets on top. Use a pastry brush and brush each sheet with the sugar syrup. Place another nori sheet on top of each of the first 3 and repeat the process with the sugar syrup. Repeat with the remaining nori to make 3 stacks of 4 layers. Place the nori stacks on a dehydrator tray in a food dehydrator and dehydrate at 55°C (130°F) for 24 hours until very crisp. Break up the dried nori sheets and place in a spice grinder. Grind to a fine powder, and then sift through a sieve into an airtight container and store until required. FOR NORI SALT: To make the nori salt, grind the dried nori sheets with 10 g (¼ oz) of flaked sea salt. NOTE: Stored in an airtight container, nori salt will keep in a cool dry place for 1 month.

PUFFED BUCKWHEAT Makes 50 g (1¾ oz) 100 g (3½ oz) raw buckwheat 1 litre (35 fl oz/4 cups) vegetable oil 3 g (1/10 oz) fine sea salt Bring 2 litres (70 fl oz/8 cups) of salted water to the boil in a saucepan over high heat. Add the buckwheat and lightly simmer for 13–14 minutes until the grains start to split. Drain the buckwheat and refresh under cold water, then drain in a sieve. Spread the buckwheat out on a dehydrator tray in a food dehydrator and dehydrate at 55°C (130°F) for 6–8 hours, until dry on the outside but still moist in the middle. Pour the vegetable oil into a deep heavy-based saucepan, no more than one-third full, then heat to 190–200°C (375–400°F). Lower a fine

sieve into the oil, add in a quarter of the buckwheat and move the sieve slightly so that the buckwheat separates. Fry briefly for 3 seconds until the buckwheat puffs up. Transfer onto paper towel and season the hot buckwheat. Repeat with the remaining buckwheat. Leave to cool and then transfer to a container until required. NOTE: Stored in a container, puffed buckwheat can be kept in a cool dry place for 3–4 days.

PUFFED MUSTARD SEEDS Makes 50 g (1¾ oz) 50 g (1¾ oz) mustard seeds 1 litre (35 fl oz/4 cups) vegetable oil 2 g (1/10 oz) fine sea salt Bring 2 litres (70 fl oz/8 cups) of salted water to the boil in a saucepan over high heat. Add the mustard seeds and cook for 35–40 minutes. Drain the seeds and refresh under cold water, then drain well in a sieve. Spread the mustard seeds out on a dehydrator tray in a food dehydrator and dehydrate at 55°C (130°F) for 6–8 hours. Pour the vegetable oil into a deep heavy-based saucepan, no more than one-third full, then heat to 190–200°C (375–400°F). Lower a fine sieve into the oil, add in a quarter of the seeds and move the sieve slightly so that the seeds separate. Fry for 4–5 seconds, until the seeds puff up. Transfer onto paper towel and season the hot mustard seeds. Repeat with the remaining seeds. Leave to cool and then transfer to a container until required. NOTE: Stored in a container, puffed mustard seeds can be kept in a cool dry place for 6–8 days.

PUFFED QUINOA

Makes 50 g (1¾ oz) 100 g (3½ oz) quinoa 1 litre (35 fl oz/4 cups) vegetable oil 3 g (1/10 oz) fine sea salt Bring 2 litres (70 fl oz/8 cups) of salted water to the boil in a saucepan over high heat. Add the quinoa and cook for 45 minutes. Drain the grains and refresh under cold water, then drain in a sieve. Spread the quinoa on dehydrator trays in a food dehydrator and dehydrate at 55°C (130°F) for 6–8 hours. Pour the vegetable oil into a deep heavy-based saucepan, no more than one-third full, then heat to 190°C (375°F). Lower a fine sieve into the oil, add in a quarter of the quinoa and move the sieve slightly so that the grains separate. Fry for 3–5 seconds until the grains puff up. Transfer to paper towel and season the hot quinoa. Repeat with the remaining grains. Leave to cool and then transfer to a container until required. NOTE: Stored in a container, puffed quinoa can be kept in a cool dry place for 3–4 days.

PUFFED SUSHI RICE Makes 100 g (3½ oz) 100 g (3½ oz) sushi rice 1 litre (35 fl oz/4 cups) grapeseed oil Rinse the sushi rice under cold water for 1 minute. Bring a saucepan of salted water to a rolling boil. Add the rinsed sushi rice and bring back to the boil. Simmer for 20–25 minutes until the rice is overcooked. Drain the rice and then rinse under cold running water until the water runs clear. Drain the rice well, and then spread the rice out on a dehydrator tray in a food dehydrator and dehydrate at 55°C (130°F) for 6–8 hours. Do not over dry.

Pour the grapeseed oil into a deep heavy-based saucepan, no more than one-third full, then heat to 190°C (375°F). Lower a fine sieve into the oil, add in a fifth of the rice and move the sieve slightly so that the grains separate. Fry for 3–5 seconds until the rice puffs up. Transfer onto paper towel and season the hot rice. Repeat with the remaining rice. Leave to cool and then transfer to a container until required. NOTE: Stored in a container, puffed sushi rice can be kept in a cool dry place for 3–4 days.

RASPBERRY CONSOMMÉ Makes 500 ml (17 fl oz/2 cups) 1 kg (2 lb 4 oz) frozen raspberries 100 g (3½ oz) pure icing (confectioners’) sugar Place the frozen raspberries in a metal bowl and dust with the icing sugar. Cover with plastic wrap and place above a saucepan of simmering water. Leave for 1–1½ hours until all the juice has run out. Carefully remove the bowl from the heat and leave to cool. Strain the raspberries through a fine sieve lined with an oil filter into a bowl and refrigerate overnight to fully drain. Measure out 500 ml (17 fl oz/2 cups) of the raspberry juice into a container. Refrigerate until required. NOTE: Stored in a container, raspberry consommé can be kept for 5 days in the fridge and 1 month in the freezer.

ROSE WATER Makes 500 ml (17 fl oz/2 cups) 100 g (3½ oz) caster (superfine) sugar

8 organic roses (preferably red), to make about 60 g (2¼ oz) of rose petals Heat 500 ml (17 fl oz/2 cups) of water and the caster sugar in a clean medium saucepan over medium heat to 60°C (140°F). Stir well until the sugar is completely dissolved. Remove the petals from the roses and place in a container. Discard the buds and stems. Pour the heated syrup over the rose petals, then place a tight-fitting lid on to the container. Leave at room temperature for 2–3 hours and then refrigerate for 2 days until required. NOTE: Stored in an airtight container, rose water will keep for 5 days in the fridge and 1 month in the freezer.

SHELL POWDER 50 ml (12/3 fl oz) olive oil 20 prawn shells and heads (or 10 scampi heads and claws) Heat the olive oil in a saucepan over medium–high heat. Add the shells, and pan-roast until golden. Drain off the oil and place the shells and claws on a dehydrator tray. Put the tray in a food dehydrator and dehydrate for 24 hours at 60°C (140°F). Place the dehydrated shells and claws in a thermomix and blend on high speed into a fine powder. Pass the shell powder through a fine chinois and store in an airtight container until required. NOTE: Stored in a container, shell powder can be kept in a cool dry place for 10 days.

SHELLFISH OIL Makes 500 ml (17 fl oz/2 cups) 100 ml (3½ fl oz) vegetable oil

400 g (14 oz) scampi heads and claws (or prawn heads and shells), crushed 1 eschalot, chopped 1 finger fennel, chopped 1 garlic clove, chopped 1 tarragon sprig 1 dried bay leaf ½ cinnamon stick 4 black peppercorns ½ star anise 80 ml (2½ fl oz/1/3 cup) riesling 120 g (4¼ oz) tomato paste (concentrated purée) 500 ml (17 fl oz/2 cups) grapeseed oil Heat the vegetable oil in a saucepan over high heat, add the crushed scampi shells and cook for about 10–15 minutes, stirring occasionally and scraping the caramelised shells from the bottom of the pan. Add the chopped vegetables, herbs and spices and continue to cook for 10 minutes. Add the wine and reduce until completely evaporated. Add the tomato paste and stir to coat the shells and vegetables. Cook for 5 minutes, add the grapeseed oil and reduce the heat to low. Infuse for 1 hour around 100–120°C (200–235°F) and then strain the mixture through a chinois. Strain again through a fine sieve lined with an oil filter. Pour the oil into a clean container, separating any water, and refrigerate for 2 weeks to mature in flavour. Transfer to a jar and refrigerate until required. NOTE: Stored in a jar, shellfish oil can be kept for 1 month in the fridge and 3 months in the freezer.

SHELLFISH STOCK Makes 2 litres (70 fl oz/8 cups) 2 kg (4 lb 8 oz) scampi, prawn or crab shells

1 onion, chopped 1 celery stalk, chopped 1 leek, white part only, chopped 3 garlic cloves 1 tablespoon vegetable oil 500 g (1 lb 2 oz) tomato paste (concentrated purée) 1 thyme sprig 1 bunch tarragon 8 peppercorns 10 tomatoes, chopped 350 ml (12 fl oz) dry white wine Preheat the oven to 180°C (350°F/Gas 4). Place the shells on two roasting trays and roast for 25 minutes until evenly coloured. Smash the shells a little and then place in a large saucepan. Place the vegetables in a roasting tray with the vegetable oil and roast for 20–25 minutes until golden brown. Add the tomato paste over the vegetables and continue to roast until brown, stirring occasionally until the paste is cooked out. Add the vegetables and tomato paste to the pan with the shells, and add the aromatics and chopped tomatoes. Reduce the white wine in a separate saucepan over high heat until a quarter of its original volume. Add the reduced wine to the scampi pan. Fill the pan with 4 litres (140 fl oz/16 cups) of water to cover the shells by 5 cm (2 in). Bring to the boil, skim off the impurities, then reduce the heat to a gentle simmer and cook for 1 hour, stirring occasionally and skimming the top. Strain the stock through fine muslin (cheesecloth) into a clean pan and reduce the liquid by a third, skimming occasionally. Remove from the heat and cool in a container over ice. Refrigerate until required. NOTE: Stored in a container, shellfish stock will keep in the fridge for 3 days.

SHOJIN DASHI

Makes 450 ml (16 fl oz) 40 g (1½ oz) dried shiitake mushrooms 4 cm (1½ in) kombu stick Place the mushrooms in a container with 300 ml (10½ fl oz) of water, cover and leave to soak for 12 hours at room temperature. Repeat the process with the kombu and an additional 300 ml (10½ fl oz) of water. Pour the kombu water with the kombu into a saucepan and heat to 60°C (140°F). Maintain the temperature for 1 hour. Pour the shiitake mushrooms and water into the pan and then strain the stock through a fine sieve lined with an oil filter into a container and refrigerate until required. NOTE: Stored in a container, shojin dashi will keep in the fridge for 3 days.

SMOKED EEL STOCK Makes 1 litre (35 fl oz/4 cups) 2 smoked eels, about 450 g (1 lb) each 75 ml (2¼ fl oz) sake 3 eschalots, finely chopped ¼ leek, white part only, finely chopped 3 black peppercorns 1 bay leaf Preheat the oven to 200°C (400°F/Gas 6). Remove the skin, fillets and bones from the eels and set aside. Remove the pin bones from the fillets to yield about 350 g (12 oz) of meat, then reserve the fillets for another application (see note). Place the eel skin and bones on a baking tray and roast until golden brown and the fat has rendered. Remove the skin and bones from the oven, transfer to a large saucepan and set aside. Pour off the excess fat from the tray and then deglaze the tray with the sake over medium heat. Scrape the

tray to remove all the caramelised eel and then pour into the pan with the skin and bones. Add the eschalots, leek, peppercorns, bay leaf and 1.5 litres (52 fl oz/6 cups) of water, and bring to a simmer over medium–high heat. Skim off the excess oil, reduce the heat and simmer gently for 30 minutes. Strain the stock through a fine sieve into a container placed over iced water and then refrigerate until required. NOTE ON REMAINING FILLETED EEL: The reserved meat can be used for the kabayaki freshwater eel with sea urchin custard, arame seaweed, sorrel and blood orange. NOTE: Stored in a container, smoked eel stock will keep in the fridge for 3 days.

SMOKED OCEAN TROUT ROE Makes 140 g (5 oz) 140 g (5 oz) trout roe 150 ml (5 fl oz) cold ichiban dashi 250 g (9 oz) pine wood chips, for smoking Place the trout roe into a tray and cover with cold ichiban dashi. Place in a smoker and smoke for 30 minutes. Once the roe is smoked, drain from dashi and discard the liquid. Place the roe in an airtight container and refrigerate until required. NOTE: Stored in a container, smoked ocean trout roe will keep in the fridge for 3 days.

SMOKY RICE VINEGAR Makes 250 ml (9 fl oz/1 cup) 250 ml (9 fl oz/1 cup) sushi vinegar 20 g (¾ oz) katsuobushi flakes (store-bought bonito flakes)

Place the vinegar in a saucepan and bring to a simmer. Add the bonito, cover, remove from heat and leave to stand for 10 minutes. Pour through a fine sieve lined with an oil filter into a container and leave to cool. Refrigerate until required. NOTE: Stored in a container, smoky rice vinegar will keep in the fridge for 5 days.

SMOKY RICE WINE VINAIGRETTE Makes 220 ml (71/3 fl oz) 80 ml (2½ fl oz/1/3 cup) smoky rice vinegar (see left) 50 ml (12/3 fl oz) sparkling mineral water 20 ml (½ fl oz) shibanuma soy sauce 70 ml (2¼ fl oz) olive oil Pour the vinegar, mineral water and soy into a squeeze bottle. Add the olive oil and shake to emulsify. NOTE: Stored in a squeeze bottle, smoky rice wine vinaigrette will keep in the fridge for 5 days.

SPICED TOMATO NECTAR Makes 1.5 litres (52 fl oz/6 cups) 2.5 kg (5 lb 8 oz) ripe heirloom tomatoes 1 garlic clove ½ celery stalk 3 g (1/10 oz) black peppercorns 3 g (1/10 oz) fennel seeds 1.5 g (1/20) celery seeds 1.5 g (1/20) coriander seeds

8 g (3/10 oz) fine sea salt Cut the tomatoes and place in a large container. Chop the garlic and celery into small pieces and mix through the tomatoes evenly. Place the spices in a frying pan over medium heat and toast gently until fragrant. Place the toasted spices in a spice grinder and grind into a fine powder. Pour the spices into a bowl and mix with the sea salt. Sprinkle the salt and spice mix over the tomatoes and mix together well. Leave to stand for 5 minutes to lightly macerate. Line two chinois with filter papers and place over tall containers. Blend the tomatoes in a food processor until smooth and then pour into a separate chinois and pass using a small ladle into the containers. Divide the tomato liquid into the two lined chinois and leave to hang over bowls in the fridge for 2 days until required. NOTE: Stored in a container, spiced tomato nectar will keep in the fridge for 5 days.

STRAWBERRY CONSOMMÉ Makes 500 ml (17 fl oz/2 cups) 1 kg (2 lb 4 oz) frozen strawberries 100 g (3½ oz) pure icing (confectioners’) sugar Place the frozen strawberries in a metal bowl and dust with the icing sugar. Cover with plastic wrap and place above a saucepan of simmering water. Leave for 1–1½ hours until all the juices run out. Carefully remove the bowl from the heat and leave to cool, and then strain the stawberries through a fine sieve lined with an oil filter into a bowl and refrigerate overnight to fully drain. Place in a container and refrigerate until required. NOTE: Stored in a container, strawberry consommé will keep for 5 days in the fridge and 1 month in the freezer.

SUGAR SYRUP (20 per cent) Makes 1.1 litres (38½ fl oz) 200 g (7 oz) caster (superfine) sugar Heat 1 litre (35 fl oz/4 cups) of water and the sugar in a clean medium saucepan over medium–high heat. Stir well until the sugar is completely dissolved. Bring to a simmer and then remove from the heat. Leave to cool then transfer to a container and refrigerate until required. NOTE: Stored in a container, the sugar syrup will keep in the fridge for 2 days.

SUGAR SYRUP (100 per cent) Makes 500 ml (17 fl oz/2 cups) 300 g (7 oz) caster (superfine) sugar Heat 300 ml (10½ fl oz) of water and the sugar in a clean medium saucepan over medium–high heat. Stir well until the sugar is completely dissolved. Bring to a simmer and then remove from the heat. Leave to cool then transfer to a container and refrigerate until required. NOTE ON QUANTITIES: To make the candied whole mandarin with goat’s milk and crème fraiche cheesecake and thyme flowers you will need to adjust the quantities (x 8) to make 4 litres (140 fl oz/16 cups). To make the crystallised coral seaweed you will need to adjust the quantities (x 2) to make 1 litre (35 fl oz/4 cups). NOTE: Stored in a container, the sugar syrup will keep in the fridge for 2 days.

SUGAR SYRUP (150 per cent) Makes 4 litres (140 fl oz/16 cups) 3.15 kg (7 lb 1 oz) caster (superfine) sugar Heat 2.1 litres (71 fl oz) of water and the sugar in a clean medium saucepan over medium–high heat. Stir well until the sugar is completely dissolved. Bring to a simmer and then remove from the heat. Leave to cool then transfer to a container and refrigerate until required. NOTE: Stored in a container, the sugar syrup will keep in the fridge for 2 days.

SUSHI VINEGAR Makes 750 ml (26 fl oz/3 cups) 750 ml (26 fl oz/3 cups) rice wine vinegar (preferably yokoi shira-yuri) 15 g (½ oz) fine sea salt 225 g (8 oz) caster (superfine) sugar 4½ cm (1¾ in) kelp strip Combine all the ingredients together in a container and stir to dissolve the salt and sugar. Leave for 3 days, then remove the kelp. Store in an airtight container in a cool dark place until required. NOTE: Stored in a container, sushi vinegar will keep in the fridge for 3 months.

TOMATO POWDER Makes 20 g (¾ oz) 25 vine-ripened tomatoes

Bring a saucepan of salted water to a rolling boil. Wash the tomatoes and then blanch for 10 seconds. Drain the tomatoes and plunge into iced water to refresh. Remove the skins from the tomatoes and reserve the flesh for another application. Pat the skins dry with paper towel and then place on a dehydrator tray. Place the tray in a food dehydrator and dehydrate at 60°C (140°F) for 24 hours. Place the dried tomato skins in a grinder and grind to a fine powder. NOTE: Stored in an airtight container in the fridge, the tomato powder will keep for 2–3 weeks.

GLOSSARY JAPANESE FOOD ITEMS AONORI A green dried laver seaweed flake. ARAME (or sea oak) A type of kelp, mild and sweet, it has a firm texture, fried or braised.

BARLEY MISO OR MARUKAWA MUGI MISO An organic artisan miso from the Fukui prefecture.

CARBONISED BAMBOO POWDER An odourless, tasteless powder that has excellent absorption qualities and can purify and intensify the taste of other ingredients.

DAI DAI An Asian variety of bitter orange, used in New Year’s celebrations.

DAIKON A giant white radish, an important vegetable in Japanese cookery used braised, grated or pickled.

FUJICCO SHIO KOMBU A selected kombu from Hokkaido, Japan that is carefully braised in soy sauce to give a great texture with a rich umami flavour.

GOMA Sesame seeds GOMA ABURA A high-quality virgin sesame oil. GOMA PASTE A paste made from black, white or toasted sesame seeds with a nutty taste.

HATCHO MISO A rich, dark miso made with soy beans from Nagoya.

HIJIKI A seaweed found on the coastline in Japan; high in iron, calcium and magnesium.

KABAYAKI SAUCE A traditional glaze for unagi freshwater eel. Made from soy, mirin, sake and sugar.

KARASUMI Cured dried (sometimes smoked) mullet roe simular to bottarga.

KATSUOBOSHI Bonito that is boiled then smoked and mould cured, used in Ichiban dashi.

KISHIBORI SOY SAUCE An artisan style premium soy brewed in 100-year-old cedar barrels for one year.

KOMBU Japanese kelp from Hokkaido in the northern seas of Japan. Varieties include: Ma Kombu—long thin strip in shape, brown in colour; Rausu Kombu—wide and thin fronds for easy release of flavour; Rishiri Kombu—harvested from islands at the top of Japan, considered superior for dashi making; Hidaka Kombu—softer, long dark strands that are great for dashi and cooking.

KUZU STARCH Starch made from the root of a vine from Pueraria (from the pea family), used to thicken and also produce jelly-like textures.

MATCHA TEA A powdered green tea—different qualities used for drinking and also baking.

MIRIN OR HON MIRIN Known as the true mirin this is a sweetened rice wine used for drinking and cooking.

MITSUBA Japanese parsley or white chervil, but, not related to either. The word ‘Mitsuba’ in Japanese literally means three leaves (from its three-leaf shape).

MYOGA A type of ginger that is less hot, but more fragrant, use fresh or pickled.

NAMEKO An autumn mushroom with gelatinous characteristics that thicken a broth.

NIGARI Magnesium chloride extracted from sea water for the coagulation of soy milk to make tofu.

OBA A green shiso leaf used for its fragrance and freshness. Commonly used in tempura.

PONZU Made from citrus juice such as dai dai, Kabosu or sudachi, mixed with soy and served as a dipping sauce.

RICE WINE VINEGAR A very mild and mellow vinegar that has a low acidity. Made from rice and sake lees.

SAIKYO MISO A white Miso from Kyoto that is made from rice rather than soy beans and is sweeter in taste.

SANSHO A Japanese pepper from the prickly ash. An aromatic and numbing sensation on the tongue.

SHIBANUMA SOY SAUCE A good all-round soy sauce. SHICHIMI Literally means seven flavours. Consists of a sevenspice mixture that includes dried citrus, sesame seeds, poppy seeds and sansho.

SHISO Also known as beefsteak plant or perilla. Cultivated with a green or red leaf. The red leaf is used in pickles for its colour, and the green for its freshness in rice and salads.

SHISO VINEGAR A rice vinegar infused with shiso leaf or beefsteak plant.

SHODA ORGANIC SHOYU SOY SAUCE An organic soy sauce with a deep rich flavour.

SHODA TOSA SHOYU SOY SAUCE A naturally brewed soy sauce that is infused with Bonito flakes.

SUDACHI A small sour Japanese citrus used like lime. Can be used green or yellow when ripe.

TAMARI SOY SAUCE A wheat-free soy sauce with a deep colour and viscosity.

TERAOKA WHITE SOY SAUCE Brewed with a higher ratio of wheat to soy beans, rich in umami and depth of flavour.

TONBURI A seed from Japan that is also referred to as mountain caviar. The black green seeds are dried, boiled then soaked and rubbed to remove the outer skin.

UMEBOSHI A dried, salt-pickled Japanese apricot. Usually coloured red from the shiso leaves.

WAKAME A sea vegetable/lettuce with a mild and sweet taste used for salads and soups.

YUKARI Shiso salt used as a seasoning for rice. YUZU A Japanese citrus used mostly for its zest which has the most unforgettable delicate aroma but it also yields little juice.

YUZU KOSHO A fermented paste made from green or red chilli, yuzu peel and salt. Also available in powder form.

OTHER USEFUL FOOD PRODUCTS AGAR AGAR Extracted from a type of red algae, used as a gelling agent in Japan since the fifteenth century. It forms a brittle gel that can also be used to make hot gelatines, or blended to make soft gels.

APPLE PECTIN Pectins are natural setting agents, and apples have a high concentration of pectin. Apple pectin is widely used to make jams and jellies.

CITRIC ACID This acid from citrus fruit is used to balance the Ph levels in solutions. Also gives an acidic zing.

FIZZY TEXTURES These are long, thin granules with a neutral flavour that can be used as is or dissolved in water. They provide a fizzy, effervescent quality to foods.

GELLAN GUM A versatile, fast-setting gelling agent that can produce a variety of textures.

INVERTED SUGAR Also known as trimoline, inverted sugar is a syrup made up of 75 per cent glucose and 25 per cent fructose. It won’t crystallise so it is a great choice if you want to give foods a smooth texture.

IOTA A type of carrageenan, iota is a natural gelling agent extracted from red seaweed that is used to form soft and flexible gels in the presence of calcium.

MALIC ACID The principal acid from tart apples, that is more sour than citric acid.

MALTO A product based on maltodextrin, a carbohydrate obtained from cornstarch molecules, in this case those of tapioca, which have been broken down. Able to absorb oils when combined together to create powders or sand-like textures.

MANNITOL A white crystalline sweetener that has several industrial uses, but is most commonly used to produce tablets of medicine. When heated it melts and cools to form a hard shell-like coating.

SODIUM CITRATE The salt derived from citric acid and used in the process of spherification. Sometimes used as an acidity regulator.

SORBET STABILISER A combination of glucose syrup, locust bean gum and carrageenan that is used to prevent crystals forming as liquid sets, giving a smoother mouthfeel to sorbets and ice creams.

TITANIUM DIOXIDE This white pigment powder is used in confectionery work to give foods such as marshmallows an opaque, bright whiteness.

TRANSGLUTAMINASE Also known to chefs as ‘Meat Glue’, this is an enzyme used to bond two proteins together.

ULTRA TEX 8 A thickener made from tapioca starch that comes in different strengths. This is a thickener used in a similar way to xanthan gum in a cold solution. It has a neutral taste and retains the colour of the original liquid that is thickened.

VERSA WHIP A soy protein used for whipping to give shavingfoam textures and can be dried like meringue.

XANTHAN GUM A strong gluten-free thickener and stabiliser that is used to stabilise liquids, airs and foams. Soluble in a cold water solution.

EQUIPMENT BINCHOTAN Japanese white charcoal. A very pure high-carbon charcoal made from oak. Prized due to its high carbon content and completely odourless, enabling you to enjoy the natural flavours of the food. Binchotan is produced by firing in a sealed kiln at a low temperature for a long period. It is then refined at a very high temperature—over 950°C (1740°F)—for a short period. After firing it is removed from the kiln and smothered with sand, ash and soil giving it its white appearance. The binchotan from the Kishu region is said to be the best quality of all.

BRIX METER Brix is a measure of the sugar concentration in food and drinks such as fruits, vegetables, juices and wine.

COMBI OVEN A combi steamer oven is a professional cooking appliance that combines the functionality of a convection oven and steam cooker with the ability to adjust the humidity.

GASTROVAC An appliance used for cooking at low temperatures under pressure — it cooks in a gentle way that protects the integrity of the food, retaining texture and flavour.

JAPANESE ROTARY SLICER A slicer that cuts long ribbons of fruits and vegetables in a continuous length.

KATSUOBUSHIBAKO A wooden box with a blade for shaving Katsuoboshi or bonito.

KONRO Japanese Yakitori Grill. LIQUID NITROGEN A liquid gas that, at atmospheric pressure, boils at –196°C (–321°F) used to freeze food items quickly and at a very low temperature to produce different textures and shapes.

PACOJET Used as a food processor to make purées and also sorbets and ice creams. If you don’t have a Pacojet, the ice creams and sorbets in this book will work in a domestic ice-cream machine.

RONER (also known as a thermo circulator or water bath) A precise temperature-controlled bath of water that has many applications, not only for use with sous vide cooking.

THERMOMIX A specialist blender that also heats and cooks at the same time.

VACUUM CHAMBER Used to remove the oxygen and other gases from food items for shelf life and reduced humidity. It is also used for cooking sous vide and also hygiene control and storage.

VITA-PREP HIGH-SPEED BLENDER A high-speed commercial blender that makes easy work of purées.

INDEX A agar agar Aka seaweed crystallised pickled almonds Almond brittle Almond and praline cream Sugared almonds Alpine strawberries and mangosteen with Champagne chiboust, strawberry meringue and strawberry sherbet Andean grains, puffed aonori seaweed Aonori-salted puffed sushi rice Toasted aonori apples Apple balsamic Apple caramel butter Apple and sake jelly Blackcurrant, honey and apple mousse Caramelised apple with clotted cream, malted meringues and salted buckwheat toffee Green apple and sheep yoghurt cream Japanese love apples Plum wine and apple pectin Wasabi and apple sherbet Arame seaweed, braised artichokes Jerusalem artichoke skin Pickled Chinese artichokes ‘Autumn Leaves’ Caramelised apple with clotted cream, malted meringues and salted buckwheat toffee Avocado cream

B Baked Mountain Man cheese with rye, hazelnut and pickled Chinese artichokes Barley miso-cured egg yolks beef Charcoal-grilled rolled David Blackmore wagyu beef, oba, chestnut mushroom cream and ponzu Chargrilled hatcho miso wagyu beef rump with garlic chips, and sea urchin and wasabi butter beetroot Beetroot butter Beetroot crumb Beetroot glass Beetroot juice reduction Beetroot roe Beetroot rye Beetroot sauce Beetroot sponge Candied baby beets and beetroot sponge with hibiscus, rhubarb, yoghurt, rose and violets Glazed baby beets Hibiscus and beetroot whip Pickled beetroot gel Pickled beetroot jelly discs Pickled beetroot ribbons Poached baby beetroot Benn, Martin Blackberries, thornless, with dai dai curd, white chocolate, sugared almonds, lemon balm and elderflower Blackcurrant and caramelised honey Blackcurrant and caramelised honey with apple caramel butter Blackcurrant consommé Blackcurrant, honey and apple mousse Blackcurrant leaves

Blackcurrant powder The Boathouse bonito Sashimi of bonito with flavours of roasted chicken, umeboshi, upland cress, matcha tea and nori Sashimi bonito strips Seared bonito with jamon and lemon myrtle jelly, pickled red radish and shaved katsuobushi Boudin noir and cocoa crumb buckwheat Buckwheat risotto Puffed buckwheat Salted buckwheat toffee sauce Butter, clarified Butter dashi Butter-poached Port Lincoln squid with barley miso-cured egg yolk and wasabi flowers Butter and pumpkin vinaigrette Buttermilk gel, minted

C Candied baby beets and beetroot sponge with hibiscus, rhubarb, yoghurt, rose and violets Candied ginger Candied lemon peel Candied whole mandarin with goat’s milk and crème fraiche cheesecake, and thyme flowers Capers, fried Caramelised apple with clotted cream, malted meringues and salted buckwheat toffee Caramelised puff pastry discs Carrot, pickled purple Cauliflower miso cream Celeriac cream Champagne

Champagne chiboust Charcoal-grilled miso black cod with Jerusalem artichoke skin, wasabi cream and tonburi Charcoal-grilled New Zealand scampi with sudachi, shiso and blood orange caramel, and mitsuba Charcoal-grilled rolled David Blackmore wagyu beef, oba, chestnut mushroom cream and ponzu Charcoal-smoked marron with nori purée, young ginger, shellfish and dai dai emulsion Chargrilled hatcho miso wagyu beef rump with garlic chips, and sea urchin and wasabi butter cheese Baked Mountain Man cheese with rye, hazelnut and pickled Chinese artichokes Candied whole mandarin with goat’s milk and crème fraiche cheesecake, and thyme flowers Garrotxa with goat’s cheese and sake dumplings, truffle, celeriac cream and nashi pear Goat’s milk chèvre with beetroot butter, rhubarb, beetroot rye and dried goat’s milk Mascarpone cheese Pyengana cheddar with Japanese plum wine and apple pectin, capers and mitsuba Saint Agur and mascarpone cheese with crystallised macadamias, celery cress and roasted endive granita Yellowfin tuna with goat’s milk fromage blanc, miso mustard and ichiban dashi jelly Chef of the Year cheffing cherries Cherry purée Firm cherry brandy jelly Sour cherry sorbet Chestnut mushrooms consommé jelly

stock chicken Chicken stock Crisp roasted chicken skins Roasted chicken cream Roasted chicken stock Sashimi of bonito with flavours of roasted chicken, umeboshi, upland cress, matcha tea and nori chocolate Chocolate forest floor Chocolate and violet ganache Soft chocolate cream Tempered chocolate discs Clarified butter katsuobushi-infused Clotted cream Cobia, wild, with spiced tomato nectar, rocket and sake oil, and rocket flowers Cocoa crumbs coconut Coconut yoghurt Coconut milk shards Hachiya persimmon and coconut cod Charcoal-grilled miso black cod with Jerusalem artichoke skin, wasabi cream and tonburi Poached Murray River cod with soft wakame crust, butter dashi, fried tonburi and puffed skin Confit eschalots Confit garlic emulsion Coral seaweed, crystallised Costi, George Court bouillon crab Poached king crab with green tomato and lemon verbena, hijiki and heirloom tomato mousse

Spanner crab and buckwheat risotto with grain mustard and tarragon butter, and shellfish essence Spanner crab and egg yolk rice with Japanese land seaweed and aonori salt Spanner crab with saikyo miso mousse, pomelo, fried garlic and rosemary and garlic flowers Crème fraiche The Criterion Crystallised aka seaweed Crystallised coral seaweed Crystallised flowers with jasmine and bee pollen cream, and hibiscus syrup Crystallised wakame seaweed cucumber: Scarlet prawns with shellfish jelly, white cucumber, crème fraiche, tempura batter and matcha tea oil Cured swordfish belly with finger lime and Tasmanian wasabi flowers and leaves Cuttlefish silks, samphire, sea parsley and seaweed consommé

D dai dai Dai dai curd daikon Daikon radish strips dashi Butter dashi Dashi custard Dashi onion cream Ichiban dashi Ichiban dashi jelly Jamon dashi Mushroom dashi jelly Ox cheek dashi Shojin dashi Steamed dashi omelette

degustation menus desserts dressings Apple caramel butter Beetroot butter Butter and pumpkin vinaigrette Celeriac cream Grain mustard and tarragon butter Morel butter Pickled ginger cream Ponzu dressing Sea urchin and wasabi butter Smoky rice wine vinaigrette Tonburi and wasabi dressing Yuzu dressing duck: Spiced duck skinw Dumplings, goat’s cheese and sake

E eel Kabayaki freshwater eel with sea urchin custard, arame seaweed, sorrel and blood orange Smoked eel stock Eggplant, smoked miso eggs Barley miso-cured egg yolks Poached quail eggs Slow-cooked egg yolks Slow-poached truffle egg yolk Steamed dashi omelette Elderflower syrup Endive granita equipment

F

fennel Crystallised fennel fronds Fennel mousse Frozen fennel with licorice, meyer lemon and yuzu butter, and sheep’s yoghurt sorbet Shaved fennel Finger lime and gingerade fish food and wine pairing Frozen fennel with licorice, meyer lemon and yuzu butter, and sheep’s yoghurt sorbet Frozen strawberry and Champagne chiboust with Alpine strawberry jelly, strawberry sherbet and pistachios

G garlic Confit garlic emulsion Fried garlic chips Garrotxa with goat’s cheese and sake dumplings, truffle, celeriac cream and nashi pear gels Hibiscus syrup gel Minted buttermilk gel Pickled beetroot gel Pickled ginger gel Ponzu gel Rhubarb gel Rose petal fluid gel Sudachi gel Young ginger gel ginger Candied ginger Ginger and sansho pepper crumb Lime and ginger syrup Pickled ginger cream

Pickled ginger gel Pickled myoga ginger Young ginger gel Glazed partridge breast with toasted nori seaweed, braised chestnut mushrooms and morel butter Goat’s milk chèvre with beetroot butter, rhubarb, beetroot rye and dried goat’s milk Goat’s milk foam Goat’s milk fromage blanc ‘The Golden Egg’ Hachiya persimmon and coconut Grain mustard and tarragon butter Grains/seeds, toasted Green apple and sheep yoghurt cream Green tea and mint moss Green tea moss Green tea and nori powder Green tomato and lemon verbena jelly Green tomato and lemon verbena nectar Grilled swordfish belly with oxtail consommé jelly, yuzu, sprouts and daikon radish

H Hachiya persimmon and coconut Hastings College Hazelnut crumb Hibiscus and beetroot whip Hibiscus syrup Hibiscus syrup gel Hijiki seaweed braised honey Blackcurrant and caramelised honey Golden honey Hong Kong

I ice cream Salt milk ice cream Toasted rice milk ice cream Truffle ice cream Umeboshi and white chocolate ice cream, golden honey, violet and coconut Ichiban dashi Ichiban dashi jelly Italian meringue

J jamon Jamon dashi Jamon and lemon myrtle jelly Kingfish bacon Japanese cuisine Japanese love apples ‘Japanese Rice Pudding’ Umeboshi and white chocolate ice cream, golden honey, violet and coconut Japanese stones jellies Apple and sake jelly Firm cherry brandy jelly Green tomato and lemon verbena jelly Heirloom tomato jelly marbles Ichiban dashi jelly Jamon and lemon myrtle jelly Lemon balm jelly Mandarin jellies Mushroom dashi jelly Oxtail consommé jelly Peach jelly Pickled beetroot jelly discs

Pickled shiso jelly Rose water and violet jelly Shellfish consommé jelly Smoked ocean trout consommé marbles Soy and wasabi jelly White soy and apple jelly White soy and dashi jelly Wild strawberry liquor jelly Jerusalem artichoke skin

K Kabayaki freshwater eel with sea urchin custard, arame seaweed, sorrel and blood orange Kabayaki sauce karasumi Karasumi with pearl onions, roasted red onion, wasabi and society garlic katsuoboshi Katsuobushi-infused clarified butter Katsuobushi shavings King George whiting with Tasmanian truffle jelly, water chestnut, nameko mushrooms and pea sprouts Kingfish bacon with smoked ocean trout roe and ponzu dressing kombu Kombu-marinated cobia

L Lavender cream Leaves blackcurrant macadamia nut milk muscovado lemon Candied lemon peel Dried lemon peel

Dried lemon powder Lemon balm jelly Lemon-infused oil Lemon leaf ice and yuzu shu meringue with candied lemon aspen and fennel pollen Licorice powder lime Cured swordfish belly with finger lime and Tasmanian wasabi flowers and leaves Finger lime and gingerade Lime cream Lime and ginger syrup liquid nitrogen lone dining

M macadamias Crystallised macadamia nuts Macadamia nut milk Macadamia nut praline mackerel: Oba leaf, sashimi mackerel, pancetta and yuzu kosho cream Malted meringues Maltose glaze mandarins Candied mandarins Mandarin jam Mandarin jellies Mandarin powder Mandarin zest custard Mandarin zest syrup Mango and vanilla with sesame brittle, yuzu sherbet and nasturtiums mannitol marron: Charcoal-smoked marron with nori purée, young ginger, shellfish and dai dai emulsion

Mascarpone cheese Matcha green tea oil Matcha sugar meringue Hard meringue shards Italian meringue Malted meringues Meringue sticks Soft poached meringues Steamed meringues Minted buttermilk gel miso Cauliflower miso cream Miso-marinated black cod Miso mustard Smoked miso eggplant mitsuba fried Mitsuba powder Morel butter Muscovado leaves mushrooms Morel butter Mushroom cream Mushroom dashi jelly Nameko mushrooms see also chestnut mushrooms Mustard seeds, puffed

N Nameko mushrooms nectarines: White nectarine rose with soft nougat, caramelised puff pastry, vanilla cream and macadamias New Zealand whitebait with braised ox cheek dashi, palm heart, yuzu, hijiki and parsley

nori Nori ash Nori cone with candied ginger, toasted rice cream and raspberry pearls Nori julienne Nori powder Nori purée Nori-rolled sea scallops with avocado cream, pickled ginger and puffed sushi rice Orange and nori powder Roasted nori sheets Sashimi of bonito with flavours of roasted chicken, umeboshi, upland cress, matcha tea and nori

O Oak Room oba Oba leaf, sashimi mackerel, pancetta and yuzu kosho cream omelette-making omelette pan onions Confit eschalots Dashi onion cream Pearl onions Potato and onion crumb Roasted red onion sauce Spring onion discs Spring onion rings oranges Dried orange peel Dried orange powder Orange and nori powder Shiso and blood orange caramel Osbeiston, Jon Ox cheek dashi

Oxtail consommé jelly

P Palm heart discs partridge: Glazed partridge breast with toasted nori seaweed, braised chestnut mushrooms and morel butter peaches: White peach mousse with peach jelly, raspberry and yukari ‘The Pearl’ Finger lime and gingerade Pearl onions Pearl shells persimmon: Hachiya persimmon and coconut Pickles aka seaweed beetroot gel beetroot jelly discs beetroot ribbons Chinese artichokes ginger cream ginger gel myoga ginger purple belle radish purple carrot radishes shiso jelly pigeon: Seared pigeon with coconut yoghurt, chocolate boudin noir, blackcurrant and shichimi Pistachio crumb Plum wine and apple pectin Poached king crab with green tomato and lemon verbena, hijiki and heirloom tomato mousse Poached Murray River cod with soft wakame crust, butter dashi, fried tonburi and puffed skin ponzu Ponzu dressing Ponzu gel

pork Boudin noir and cocoa crumb Popped pork and nori salt Potato and onion crumb prawns Poached banana prawns Prawn salt Scarlet prawns with shellfish jelly, white cucumber, crème fraiche, tempura batter and matcha tea oil Tiger prawn skin with Iberico jamon dashi, baby fennel, mitsuba, yuzu and sea spray Puffed mustard seeds Puffed quinoa Puffed sushi rice pumpkin: Roasted pumpkin terrine, grains and seeds, tofu, butter and pumpkin vinaigrette Pyengana cheddar with Japanese plum wine and apple pectin, capers and mitsuba

Q Quail eggs, poached Quinoa, puffed

R radish Daikon radish strips Pickled purple belle radish Pickled radishes raspberries Crushed raspberry sponge Frozen segments Raspberry consommé Raspberry pearls Yuzu and raspberry bomb

Red sea urchin roe with slow-cooked egg yolk, smoked miso eggplant and hijiki seaweed reductions Restaurant Forty One Restaurant of the Year restaurant-owning creating theatre kitchen design reviews wine list Rhubarb gel Rhubarb and yoghurt mousse rice see sushi rice Roasted pumpkin terrine, grains and seeds, tofu, butter and pumpkin vinaigrette rocket: Wild cobia with spiced tomato nectar, rocket and sake oil, and rocket flowers Rose petal fluid gel Rose petals, crystallised Rose water Rose water and violet jelly Rosemary sugar Rosemary and vanilla shortbread Royal Victoria Hotel

S Saint Agur and mascarpone cheese with crystallised macadamias, celery cress and roasted endive granita sake Apple and sake jelly Rocket and sake oil salt Salt milk ice cream Salted buckwheat toffee sauce

Sansho-seared Mandagery Creek venison with pickled myoga, cherry and licorice Sashimi of bonito with flavours of roasted chicken, umeboshi, upland cress, matcha tea and nori Sashimi tuna, seared smoked ocean trout and poached banana prawn Sashimi of yellowfin tuna with Iberico jamon, quail egg, white soy and dashi jelly, and wasabi powder sauces Beetroot sauce Kabayaki sauce Roasted red onion sauce Salted buckwheat toffee sauce ‘Scallop Sushi’ Nori-rolled sea scallops with avocado cream, pickled ginger and puffed sushi rice scampi: Charcoal-grilled New Zealand scampi with sudachi, shiso and blood orange caramel, and mitsuba Scarlet prawns with shellfish jelly, white cucumber, crème fraiche, tempura batter and matcha tea oil sea urchin Red sea urchin roe with slow-cooked egg yolk, smoked miso eggplant and hijiki seaweed Sea urchin and wasabi butter Smoked sea urchin custard seafood Beetroot roe Butter-poached Port Lincoln squid with barley miso-cured egg yolk and wasabi flowers Charcoal-grilled miso black cod with Jerusalem artichoke skin, wasabi cream and tonburi Charcoal-grilled New Zealand scampi with sudachi, shiso and blood orange caramel, and mitsuba Charcoal-smoked marron with nori purée, young ginger, shellfish and dai dai emulsion Cured swordfish belly with finger lime and Tasmanian wasabi flowers and leaves

Cuttlefish silks, samphire, sea parsley and seaweed consommé Grilled swordfish belly with oxtail consommé jelly, yuzu, sprouts and daikon radish Kabayaki freshwater eel with sea urchin custard, arame seaweed, sorrel and blood orange Karasumi with pearl onions, roasted red onion, wasabi and society garlic King George whiting with Tasmanian truffle jelly, water chestnut, nameko mushrooms and pea sprouts Kingfish bacon with smoked ocean trout roe and ponzu dressing New Zealand whitebait with braised ox cheek dashi, palm heart, yuzu, hijiki and parsley Nori-rolled sea scallops with avocado cream, pickled ginger and puffed sushi rice Oba leaf, sashimi mackerel, pancetta and yuzu kosho cream Poached king crab with green tomato and lemon verbena, hijiki and heirloom tomato mousse Poached Murray River cod with soft wakame crust, butter dashi, fried tonburi and puffed skin Red sea urchin roe with slow-cooked egg yolk, smoked miso eggplant and hijiki seaweed Sashimi of bonito with flavours of roasted chicken, umeboshi, upland cress, matcha tea and nori Sashimi tuna, seared smoked ocean trout and poached banana prawn Sashimi of yellowfin tuna with Iberico jamon, quail egg, white soy and dashi jelly, and wasabi powder Shaved tuna with dashimaki-tamago white soy and apple jelly, wasabi and apple sherbet Shellfish consommé jelly Shellfish and dai dai butter emulsion Smoked ocean trout consommé with smoked roe and vine-ripened cherry tomatoes Spanner crab and buckwheat risotto with grain mustard and tarragon butter, and shellfish essence

Spanner crab and egg yolk rice with Japanese land seaweed and aonori salt Spanner crab with saikyo miso mousse, pomelo, fried garlic and rosemary and garlic flowers Wild cobia with spiced tomato nectar, rocket and sake oil, and rocket flowers Yellowfin tuna with dashi custard, wasabi and soy jelly, popped pork and elk leaves Yellowfin tuna with goat’s milk fromage blanc, miso mustard and ichiban dashi jelly Yellowtail hamachi with pickled purple vegetables and spiced duck skin see also prawns Seared bonito with jamon and lemon myrtle jelly, pickled red radish and shaved katsuobushi Seared pigeon with coconut yoghurt, chocolate boudin noir, blackcurrant and shichimi Seaweed consommé Sepia Three Hats Two Chef Hats Sesame and honeycomb rocks Sesame seed brittle Setter, Rodney Shaved tuna with dashimaki-tamago white soy and apple jelly, wasabi and apple sherbet Sheep’s yoghurt sorbet Shell powder Shellfish consommé jelly Shellfish and dai dai butter emulsion Shellfish essence Shellfish oil Shellfish stock shichimi Shichimi togarashi pepper shiso

Pickled shiso jelly Shiso and blood orange caramel Shojin dashi Silken tofu Slow-poached egg yolk and Tasmanian truffle with mushroom dashi jelly, saikyo miso and cauliflower Smoked eel stock Smoked ocean trout consommé with smoked roe and vine-ripened cherry tomatoes Smoked ocean trout roe Smoked pancetta and yuzu kosho cream Smoky rice vinegar Smoky rice wine vinaigrette The Smuggler’s Inn Soft chocolate creamq Soft truffle meringue with truffle ice cream, macadamia nut praline, rosemary and malt sommeliers Sour cherry sorbet soy Silken tofu Soy and wasabi jelly White soy and apple jelly White soy and dashi jelly Spanner crab and buckwheat risotto with grain mustard and tarragon butter, and shellfish essence Spanner crab and egg yolk rice with Japanese land seaweed and aonori salt Spanner crab with saikyo miso mousse, pomelo, fried garlic and rosemary and garlic flowers Spiced tomato nectar Spring onion discs Spring onion rings Sprouts, fresh squid

Butter-poached Port Lincoln squid with barley miso-cured egg yolk and wasabi flowers squid ink risotto stock Chestnut mushroom Chicken Roasted chicken Shellfish Smoked eel strawberries Alpine strawberries and mangosteen with Champagne chiboust, strawberry meringue and strawberry sherbet Frozen strawberry and Champagne chiboust with Alpine strawberry jelly, strawberry sherbet and pistachios Strawberry consommé Strawberry sherbet powder Wild strawberry liquor jelly sudachi Sudachi foam Sudachi gel sugar Matcha sugar Rosemary sugar sugar and salt Sugar syrup (20%) Sugar syrup (100%) Sugar syrup (150%) Sugared almonds White sugar shards ‘Sushi nigiri’ Sashimi tuna, seared smoked ocean trout and poached banana prawn sushi rice Aonori-salted puffed sushi rice Cooked sushi rice Puffed sushi rice Sushi rice cream

Sushi rice pudding Toasted rice milk ice cream Sushi vinegar swordfish Cured swordfish belly with finger lime and Tasmanian wasabi flowers and leaves Grilled swordfish belly with oxtail consommé jelly, yuzu, sprouts and daikon radish Sydney

T tea Green tea and mint moss Green tea moss Green tea and nori powder Matcha green tea oil Matcha sugar Tempura batter Terrace Brasserie, London Tetsuya’s Thomsen, Simon Thornless blackberries with dai dai curd, white chocolate, sugared almonds, lemon balm and elderflower Tiger prawn skin with Iberico jamon dashi, baby fennel, mitsuba, yuzu and sea spray tomatoes Green tomato and lemon verbena jelly Green tomato and lemon verbena nectar Heirloom tomato jelly marbles Spiced tomato mousse Spiced tomato nectar Tomato powder Tonburi and wakame seaweed crumb Tonburi and wasabi dressing trout

Seared smoked ocean trout Smoked ocean trout consommé with smoked roe and vine-ripened cherry tomatoes Smoked ocean trout roe truffles Garrotxa with goat’s cheese and sake dumplings, truffle, celeriac cream and nashi pear Slow-poached truffle egg yolk Soft truffle meringue with truffle ice cream, macadamia nut praline, rosemary and malt tuna Sashimi tuna Sashimi of yellowfin tuna with Iberico jamon, quail egg, white soy and dashi jelly, and wasabi powder Shaved tuna with dashimaki-tamago white soy and apple jelly, wasabi and apple sherbet Tuna tartare Yellowfin tuna with dashi custard, wasabi and soy jelly, popped pork and elk leaves Yellowfin tuna with goat’s milk fromage blanc, miso mustard and ichiban dashi jelly

U umeboshi Umeboshi and white chocolate ice cream, golden honey, violet and coconut

V Vanilla cream, thickened veal stock venison: Sansho-seared Mandagery Creek venison with pickled myoga, cherry and licorice Violet glass tuile

W

Wagyu beef roll Wagyu rump caps, miso-marinated wakame Crystallised wakame seaweed Tonburi and wakame seaweed crumb Wakame paste wasabi Cured swordfish belly with finger lime and Tasmanian wasabi flowers and leaves Sea urchin and wasabi butter Soy and wasabi jelly Tonburi and wasabi dressing Wasabi and apple sherbet Wasabi cream Wasabi powder White nectarine rose with soft nougat, caramelised puff pastry, vanilla cream and macadamias White peach mousse with peach jelly, raspberry and yukari White sugar shards whitebait: New Zealand whitebait with braised ox cheek dashi, palm heart, yuzu, hijiki and parsley whiting: King George whiting with Tasmanian truffle jelly, water chestnut, nameko mushrooms and pea sprouts Wild cobia with spiced tomato nectar, rocket and sake oil, and rocket flowers Wild, Vicki

Y Yellowfin tuna with dashi custard, wasabi and soy jelly, popped pork and elk leaves Yellowfin tuna with goat’s milk fromage blanc, miso mustard and ichiban dashi jelly Yellowtail hamachi with pickled purple vegetables and spiced duck skin yoghurt

Coconut yoghurt Green apple and sheep yoghurt cream Rhubarb and yoghurt mousse Sheep’s yoghurt sorbet Yoghurt sorbet yuzu Baked yuzu zest Dried yuzu peel Dried yuzu powder Smoked pancetta and yuzu kosho cream Yuzu curd Yuzu dressing Yuzu gel Yuzu gelatine Yuzu-infused oil Yuzu and raspberry bomb Yuzu sherbet Yuzu shu butter Yuzu with white chocolate and elderflower, salt milk ice cream, and crystallised seaweeds

ACKNOWLEDGEMENTS

T

o all the people that made this book come together from the beginning of my career to present. ‘It’s a pleasure to dance in your glory’—Martin Benn

A SPECIAL AND HEARTFELT THANK YOU TO VICKI WILD I would like to take this opportunity to firstly thank my gorgeous lady, Vicki Wild. Vicki is my partner in life and crime and has worked tirelessly with me over the past five years at Sepia and together for over the past twelve years. Without Vicki’s vision, passion, commitment and determination I would not be the chef I am today and this would not be the book that I have always wanted. Vicki, you are a true inspiration to me, and I would like to thank you for the very best years of my life. I cannot do what I do without you by my side — we make a great team. You make me a better chef every day. Thank you from the bottom of my heart. Marty

A THANK YOU TO ALL OUR STAFF Thank you to our staff past and present; each and every one of you has contributed to the success that has made Sepia the restaurant it is today. In particular, I would like to thank my head chef, Terry Robinson, who has been with me since his first year in apprenticeship all those years ago. Your loyalty, commitment and talent have made working together pure joy, and I thank you for that.

To our restaurant manager, Nadine Olischer, thank you for your drive and enthusiasm, grace and style. Finally, to our sommelier, Rodney Setter, a tireless commitment to the Sepia wine program and for bringing your wit, intelligence and geeky depth of knowledge; you are a true encyclopaedia in which we ponder: where does it all come from?

A THANK YOU TO MY FAMILY Thank you for just understanding me, and being there. Mum and Dad, Linda and Ray Benn, and my brother, Dean Benn. Mother- and father-in-law, Judith and Peter Wild.

A THANK YOU TO OUR BUSINESS PARTNERS George and Andrea Costi, thank you for letting us realise our dream and for the faith that you entrusted in us. I could not have ever imagined what an amazing partnership and, most importantly, friendship this would become. Frank Theodore, a personal and heartfelt thank you for making this all happen in the way it did. You are truly a rare breed indeed!

A THANK YOU TO MY CLOSE FRIENDS You really know who your friends are when you open a restaurant: Sue Elliott, Craig McGill, Hayden and Koren Winch, Jon Osbeiston, Annie Fitzpatrick, Peter Murphy, Leona Szeto, Stephen Bonnitcha, Hiroko Hosomi and Jamie and Renee Samaha.

A THANK YOU TO OUR GUESTS Thank you to all our guests over the past five years for all your support and belief in me. Your loyalty and honesty has taught me a lot. Especially these ones: Adrian Lo, Geoff Reiser, Doug

and Magda Sheerer, Erick Harmon, Allan and Marie Bonney, Kim Harding and Irene Miller, Alan Edwards, David Cross.

A THANK YOU TO MY SUPPLIERS Thank you for meeting all of the unrealistic demands that I set you throughout the past five years, for your beautiful and amazing produce that you supply the restaurant and your passion and enthusiasm, which keeps us all inspired every day: Jason Craus, Anthony Puharich, Con Nemitsas, Vinnie Tesoriero, Paul Stenmark, Sebastien Burot, Leigh Hudson, Atsushi Nakaizumi, Hayden Druce and Erika Watson, Karen Borg, Keiko Shibata, Mika Nishimura, Tim Terry, Leonie Poile, Tim Hansen, Robert and Lynda Erskine, Fiat Malaniyom, Stephen Walsh, Kazuki Araoka, Tami Ohnuki, Tony Mann, Steven Adey, Tim and Liz Johnstone, and Steve Adey.

PEOPLE WHO INFLUENCED MY EARLY LIFE Thank you for all your experiences that you passed on to me throughout my life. You have taught me values and skills that have shaped me into the chef I am today, and I am truly thankful for all your time: Steve Cooper, Jeremey Hollingsworth, Barrie St Clair and Marc Brown.

THE PEOPLE WHO WORKED ON THIS BOOK Thank you to my publishers, Murdoch Books and Allen & Unwin, for making our story come to life in pictures and in print. We knew that this would not be an easy book to make and wanted a point of difference that takes true professionals to make come to life: Sue Hines, Diana Hill and the wonderful Debra Billson. A massive thank you to the amazingly talented photographer Jennifer Soo, whom I have worked with over the past 14 years. As I said back then, you make my food come to life unlike any other photographer—that is even more relevant now. I would

not have had anyone else work with me on this book. You are a true perfectionist. Thank you. Photographer Garry Heery, we are truly blessed to have even been given the time to work alongside an Australian icon such as yourself. I feel very honoured, as do the Sepia team, to have had a portrait taken by Australia’s best. Your energy, craziness and sheer brilliance is second to none. Anthony Huckstep, you are a legend. Thank you for putting my words down on paper, you truly understand what makes me tick and that ain’t easy, I know. Even I don’t understand me sometimes. Dearest Sonia Greig, I cannot believe we worked together on this book. We first met a lifetime ago back in London. It was a real pleasure to work with you.

AND FINALLY . . . Thanks to Simon Thomsen for the criticism at the time. Thank you to Terry Durack and Jill Dupleix for the confidence that you instilled.

Published in 2014 by Murdoch Books, an imprint of Allen & Unwin

Murdoch Books Australia 83 Alexander Street Crows Nest NSW 2065 Phone: +61 (0) 2 8425 0100 Fax: +61 (0) 2 9906 2218 www.murdochbooks.com.au [email protected]

Murdoch Books UK Erico House, 6th Floor 93–99 Upper Richmond Road Putney, London SW15 2TG Phone: +44 (0) 20 8785 5995 Fax: +44 (0) 20 8785 5985 www.murdochbooks.co.uk [email protected]

For Corporate Orders & Custom Publishing contact Noel Hammond, National Business Development Manager, Murdoch Books Australia Group Publishing Director: Sue Hines Publisher: Diana Hill Photographers: Gary Heery & Jennifer Soo Design manager: Miriam Steenhauer Designer and cover designer: Debra Billson Editor: Emma Hutchinson Food styling: Martin Benn & Vicki Wild Food editor: Sonia Greig Editorial manager: Katie Bosher Production: Mary Bjelobrk Narrative text: Anthony Huckstep Text © Martin Benn 2014 The moral rights of the author have been asserted. Design © Murdoch Books 2014 Photography © Gary Heery 2014 All other photography © Jennifer Soo 2014 Champagne bubble illustration © Susan Elliott and Craig McGill All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher.

A cataloguing-in-publication entry is available from the catalogue of the National Library of Australia at www.nla.gov.au. A catalogue record for this book is available from the British Library. Colour reproduction by Splitting Image, Clayton, Victoria IMPORTANT: Those who might be at risk from the effects of salmonella poisoning (the elderly, pregnant women, young children and those suffering from immune deficiency diseases) should consult their doctor with any concerns about eating raw eggs. LIQUID NITROGEN: Always follow proper safety procedures when working with liquid nitrogen. Avoid using glass bowls. Wear appropriate protective eyewear and gloves. Avoid splashing liquid nitrogen on your body and take particular care with your eyes. Never consume liquid nitrogen directly. OVEN GUIDE: You may find cooking times vary depending on the oven you are using. For fan-forced ovens, as a general rule, set the oven temperature to 20°C (35°F) lower than indicated in the recipe. MEASURES GUIDE: We have used 20 ml (4 teaspoon) tablespoon measures. If you are using a 15 ml (3 teaspoon) tablespoon add an extra teaspoon of the ingredient for each tablespoon specified.

PORTRAITS BY GARY HEERY: Vicki Wild and Martin Benn Vicki Wild Martin Benn George and Andrea Costi Nadine Olischer Terry Robinson Benjamin Brown Rodney Setter Zachary Ng Ben Torrance Michelle Paschali

Damian Trinco Vicki Wild and Martin Benn