Copy of 7. TrooRa The Roots Soul Spirit Issue Autumn ‘20

THE ROOTS SOUL SPIRIT ISSUE

Lucid Motors Luxury mobility company reimagining what a car can be.

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The Art Of Wearing

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Emerald Green Silk Deju Photographed by @theginstarp Styled by @isaintlu.co for @lucostudiong Model @officialglitzz @litmodelsng

Makeup @jogis_artistry Accessories @zeriluxury

The Art Of Wearing

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Emerald Green Silk Deju Photographed by @theginstarp Styled by @isaintlu.co for @lucostudiong Model @officialglitzz @litmodelsng

Makeup @jogis_artistry Accessories @zeriluxury

The Art Of Wearing

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Emerald Green Silk Deju Photographed by @theginstarp Styled by @isaintlu.co for @lucostudiong Model @officialglitzz @litmodelsng

Makeup @jogis_artistry Accessories @zeriluxury

Transform To Transcend

MMXIV

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JEANETTE SMITH CONTRIBUTING EDITOR

PHOTOGRAPHY BY GILBERT ASANTE @GILBERTASANTE MAKEUP BY SANDRA DON ARTHUR TROORA MAGAZINE THE ROOTS SOUL SPIRIT ISSUE Story Behind the Cover

Who Are You? BY JEANETTE THE WRITER

@ALEXANDRINAMAKEUP HEADPIECE BY WENDY @WENDYLARTISANE MODEL BY RUTH QUARSHIE @RUTHQUASHIE

G ilbert Asante is an Award winning Fashion & Commercial Photographer based in Ghana. At the age of 19, a journey to the Japanese art centers became a source of inspiration for his creative drive. Upon his return to Ghana, he developed skills in web & graphic designing. However, six years later a gradual transition into the glamorous world of fashion photography high level of expertise in photography, Gilbert has managed to build a large clientele across Ghana and beyond. A few of his collaborations include Nestle, Havas, Vodafone, Guiness, Max took place. Due to his

Dear Reader, Welcome to our “Roots Soul Spirit” issue! When you think of “roots,” what comes to mind? Maybe you’re envisioning the strong, deep roots of your family tree. Or perhaps you’re imagining the small, tender roots of a fresh seedling as you plant yourself somewhere new. Whether your life is rooted in your culture and traditions or you’re creating new roots all your own, every person has a right to feed who they are deep down in their soul. After all, the passions we carry inside are what fuel us to create, to make change, to follow our own paths—conventionality

be damned. Those who are not true to their soul or have yet to discover their soul’s identity often feel lost and unfulfilled. Socrates taught that self-examination can lead to self-fulfillment. Having purpose and self-actualization of that purpose is the top tier of Maslow’s Hierarchy of Needs. Even Stephen Covey says we must find our “yes,” that passion we follow above all others. Brilliant minds throughout history have continued to encourage people to find their true soul. But that’s not enough. Now we must take what’s in our souls and show it to the world through our spirit. A spirit of joy can uplift others. A spirit of cooperation can fuel innovation. A spirit of generosity can inspire others to follow suit. Our spirit is the face we show to the world and it comes across in the actions we take. In this issue, we are exploring the Roots, Soul, and Spirit of our Rare gems. In our featurette on Karlic Tartufi, we explore the figurative and literal roots of truffle hunting in Croatia. We put a spotlight on people like Frankie Tavares, a plus-size model and Instagram influencer who marches to the beat of her own drum and helps readers and followers embody her spirit in her line of Frankie’s Tees. We even look at how rituals in witchcraft lead to a reconnection with the roots of other traditions. It’s times like these when we should reflect on our traditions, our beliefs, our actions in order to root ourselves in a place we feel at home, discover who we are in our true souls, and decide how we will share the spirit of our personality with the world. Enjoy!

international, New African Magazine, and several Celebrities. Gilbert is highly involved in the creative direction of all aspects from planning to execution. With his keen attention to detail and team of brilliant creatives, he is able to produce exceptional imagery with unexpected dramatic elements. He is currently the Creative director of Laceup Media Ltd. a full force production house.

“ She is a true warrior She is ...... LOVE & PAIN A crown full of Roses & Tears of Gold”

In this shoot he wanted to show woman as the true warriors they truly are.

Photographers Credit OF THIS ISSUE

B-D BUREAUX CARY WONG CÔME TOUVAY G GREG COX GILBERT ASANTE I-K INIS MEAIN KARLIC TARTUFI KARMA BENNETT

M MICHAEL DAKS R ROBYN J. WHITAKER T TRI PTYQUE

V VANESSA OHAHA VICNATE

Magazine

TrooRa Magazine LLC • A Fortunest Group PO BOX 152 • Brisbane CA 94005 • 833∙755∙7273 hello@trooramagazine.com trooramagazine.com The magazine is available for download and print copies may be purchased on our website, The sister publications Rare Living and Rare Luxury Living (currently on special annual release) further support the important mission of Rare Magazine. For more information, visit us on the web: raremagazine.com Rare Magazine is a digital and print publication curated around the undiscovered, rare talents of underrepresented creatives and entrepreneurs.

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Roots Soul Spirit Issue

HOME DESIGN & DECOR 36 CHRISTMAS WITH ALGRIA FERREIRA- WATL ING MANDY ALLEN Contents CUL INARY 46 FRANCISCO MOGOYA CARY WONG Art and science - Chef Francisco Migoya and the amazing Modernist Cuisine series 54 Christmas with Algria Ferreira- Watling

great area for truffles

ART MUSIC FI LM 74 COME TOUVEY INTERVIEW MICHAEL DAKS Come Touvay

80 DANCING FAMILY

INTERVI EW MICHAEL DAKS

Michael Daks Interviews Tatiana de Ricard, co- founder of Dancing Family Records, marketing guru Ida Fevrier, and the label– first signing, Haroun Yamou. 88 TAYROC INTERVIEW MICHAEL DAKS An Interview with Tayroc owner Gemma Noble

JUST IN SUTHERLAND CARY WONG

Chef Justin Sutherland

NIVEN KUNZ CARY WONG

Chef Niven Kunz, his fiancé/ business partner, Virginie van Bronckhorst, and their restaurant Triptyque 66 HUNTING TRUFFLES IN CROATIA - KARLIC TARTUFFI CARY WONG Why is Istria in Croatia a

96 SARAH LOUISE COLE

MICHAEL DAKS Eden Dancewear founder Sarah Louise Cole SPECIAL INTEREST 108 JESUS WASN’T WHITE: HE WAS A BROWN-SKINNED, MIDDLE EASTERN JEW. HERE’S

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Mate Masie Curations: Thato Choker Material: Wood Beads and Ribbon Nikki E Designs: The Caté Ear Jacket multi way earring. Wardrobe: White Jacket Charlie Mub Coutoure Stylist: Angelica Garde Model: Deja Peters Photographer: Laura Tillinghast MUA: Celestine Pearl Creative Direction: Brian Esterle Style Curation| Creative Direction: Trystanne Cunningham Produced by: TrooRa Magazine LLC A Fortunest Group

116

Holiday Issue 2020

WHY THAT MATTERS ROBYN J. WH I T AK ER Why it matters that Jesus wasn’t white By Robyn J Withaker TRAVEL 116 RARE STAYS IN THE SINTRA-

IN THE SPIRIT OF WELLNESS DANIELLA SCHOEMAN In the spirit of wellness, Daniella Schoeman delves into some of her favorite spiritual wellness practices. FASHION & ACCESSORIES 158 VICNATE FEATURE VANESSA OHAHA Fashion Designer Vicnate from Lagos Nigeria

158

CASCAIS NATURE PARK IN PORTUGAL DANIELLA SCHOEMAN

168

162 A NIGERIAN HOLIDAY VANESSA OHAHA Rare Contributing writer Vanessa Ohaha’s Nigerian Holiday PLAYL IST 168 RARE HOLIDAY PLAYL IST KARMA BENNETT Holiday Gems Playlist

Sintra-Cascais Nature Park In Portugal

WELLNESS 136 RI TUALS KARMA BENNETT

Rethinking Ritual: Creative Ways to Celebrate Your Goals

144

Comfortable Durable Glamorous Dancewear

Eden DanceWear: Active Zip Leotard Pastel Pink Model: Jessie Williams (Dancer) Photographer: Michael Daks

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Contributors OF THIS ISSUE

04 MANDY ALLEN Home Design/ Decor Contributing Writer 05 DANI ELLA

SHCOEMAN Travel Editor/ Contributing Writer 06 SHERDELLAH ANUNCIADO Editorial Design Director 07 KARMA BENNETT Writer

01 MICHAEL DAKS Contributing Writer/ Photographer 02 CARY WONG Culinary Contributing Writer 03 VANESSA OHAHA Fashion & Beauty Contributing Writer

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Imagination will take you everywhere

GABS: Bag G3 print Trip shopper convertible Size L 465 Stockist: Bulo Shoes San Francsico, California Model: Deja Peters Photographer: Laura Tillinghast

MUA: Celestine Pearl Stylist: Angelica Garde Creative Direction: Brian Esterle

Style Curation| Creative Direction: Trystanne Cunningham Produced by: TrooRa Magazine LLC A Fortunest Group

Warmth from the edge of the world

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Alpaca Aran Crew Neck 20% Silk | 80% Baby Alpaca

This Aran island sweater design is inspired by the highly decorated styles that islanders

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Plant-based designs bringing the outside in & celebrating the natural world

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Various wine and cordial bottles have been filled with water and fynbos springs, then used to hold taper candles. Seen in several shots is a door garland made with fynbos and a dried protea flower that has been spray painted an antique gold. Black leather cord and gold craft wire holds the composition together while imparting shine and striking contrast to the natural shades and textures. Blue gum seed pods have been given the same treatment and are used throughout the Christmas scheme to add a bit of understated bling.

WWW.BUREAUX.CO.ZA CHRISTMAS WITH ALGRIA FERREIRA-WATLING

TEXT MANDY ALLEN/ BUREAUX STYL ING SHELLEY STREET PHOTOGRAPHS GREG COX/ BUREAUX FLORAL DESIGN STORM ROSS / THEHOLLOWAYSHOP.COM

Silent Night Matt textures, lay- ered tablescapes and A bleached-out palette, raw finishes and an aesthetic that borders on the monastic are the hallmarks of this captivating home in Cape Town’s central and historic Tamboerksloof neighbourhood. What makes this sanctuary-like habitat even more

whispers of earthy colour provided by nature make for a serene Christmas setting in Algria Ferreira-Watling’s Cape Town home

remarkable – given the complete absence of bright colours or lustrous textures – is that its owner, Algria Ferreira-Watling, is one of South Africa’s most in- demand make-up artists whose portfolio of clients includes Solange Knowles and Charlize Theron. It would be fair to assume that someone in the business of ‘painting faces’, as Algria refers to her artistry, would have a predilection for colour as well as materials and objects underpinned by a glamorous artifice. But Algria has always had a rebel spirit, manifesting not only in her professional signature typified by a look that is pared-down, fresh and innately edgy, but also her instinctive rejection of trends, mass consumerism and aspirational yearnings.

Wider view of living room. Loosely structured fynbos wreaths on the wall are made from black wire hoops (available from florist warehouses and craft shops). Gold craft wire and hemp string have been used in their construction. A jug of flowering fynbos is displayed on an old milking stool and a string of fairy lights is left on the floor in the corner of the room.

Gifts are displayed on an African daybed used as a low-level table. The Christmas tree is an agave plant with its sculptural form given a single coating of old gold spray paint and ‘planted’ in a clear glass vase filled with beach sand. Gifts have been wrapped in brown Kraft paper and plain white newsprint that has been crinkled into tight balls to mimic the appearance of crushed linen. They have been finished with loosely wrapped twine and embellished with an assortment of fynbos and woody herb sprigs and gold spray painted seed pods. Images 14 and 15 show details of the agave plant that is used as a Christmas tree and has been sprayed a burnished old gold for a festive flourish.

* The hand-dyed throw and cushions on the sofa as well as the handmade felt pots are from LIM <Less Is More lim.co.za>

Bare walls in bone and grey hues, original wooden features that have been sanded down and left unvarnished, a limited but meaningful selection of personal effects and decorative objects displayed in thoughtful vignettes as well as low-key luxuries in the form of candles that perfume the air with notes of amber and gently worn pure linen throws culminate in a whole that is effortlessly layered and emotionally affecting. The source of Algria’s inspiration can be traced to her childhood, ‘I come from a poor background. We didn’t have material possessions,

but there was always so much love,’ she explains. ‘I work in an industry founded largely on traditional notions of beauty and consumption, but I’ve never desired “things”. My dream was only ever to live with my family in a modest house that had a feeling of tranquillity. Why would I desire a palace when what I have is perfect?’ While Algria purposely keeps the house in a state of visual consistency throughout the year, Christmas brings with it the occasion to create a seasonal atmosphere for her husband Derek, son Dax and close friends and family – a mood that is festive while staying true to her serene aesthetic. No flashy store-bought trinkets or tinsel here, no pine or fir in the corner of the living room, and no table centrepieces composed of roses, poinsettias or hydrangeas. Instead, the

customary tones and accoutrement are substituted by the muted greens and otherworldly forms of fynbos (indigenous shrub and heath) and woody herbs displayed as free-form wreaths, floating in repurposed clear glass bottles holding elegant taper candles, and as aromatic flourishes on gifts that have been wrapped simply

in white or brown Kraft paper and finished with twine. Traces of shimmer – this is Christmas, after all – serve to highlight rather than overwhelm and bring to mind the flash of a dragonfly wing: a fine dusting of edible copper glitter on a ‘naked’ cake; gold craft wire binding hand-made fynbos garlands left hanging from doorknobs;

dried Protea flowers and seed pods from the blue gum tree, spray-painted in antique gold; and vintage King’s Pattern cutlery, polished only slightly so as to retain the charm of its mottled patina. And instead of a tree, an agave plant with its sculptural form, given a single coating of gold spray paint and ‘planted’ in a clear glass vase filled with beach sand. ‘Things found in nature, objects that have had many lives already, the soft wrinkle in a piece of linen… this is a constant source of inspiration for me,’ says Algria. ‘Christmas calls for luxury, but there’s no right or wrong interpretation of what that means. Faded and evocative or full-on and festive, as long as what you see makes you happy’ .

My Christmas Style Tips 1. Fill clear white wine and cordial bottles with boiled or distilled water (to stop the water from clouding too soon) and place sprigs of fybos, heather or woody herbs inside. Use as holders for elegant taper candles on your tablescape or wherever you want atmospheric lighting. 2. Source fynbos and create whimsical free-form wreaths and garlands. Use gold and copper craft wire and black leather cord for contrast and a hint of shine.

The monastic influence is seen throughout the space with its muted palette with an emphasis on greys and whites. The dining area, seen here, leads off a quite courtyard area.

The courtyard is the scene of the Christmas gathering. The tablescape is anchored by an oversized Russian linen tablecloth. There is no fixed centrepiece, rather clear glass wine and cordial bottles of varying sizes have been filled with water, some used to hold taper candles and others to display sprigs of fynbos. Black handmade ceramic crockery and recycled glass drinking glasses have a textural appeal, as do the rough-edged linen napkins tied with twine. Antique King’s Pattern cutlery has been lightly polished so as to retain its aged patina. Gifts are wrapped simply, in brown and white paper and finished with sprigs of fynbos and twine. Gold spray-painted seed pods do the job of adding a glamorous festive flair. The seating is a combination of monastic benches and vintage wire garden furniture, gently rusted by the elements. The whimsical garland on the wall is fynbos and found flora, lashed together with twine and gold craft wire. The entire scene is a study in serene, cool greens, greys and bone whites punctuated in dramatic fashion by roughly-textured black and barely there flashes of gold. Place a wrapped gift at each setting to emphasise the festive nature of the gathering.

This deconstructed ‘naked’ cake is made from two classic sponges (one large, one medium) that have been trimmed into circular shapes. Layer only the tops of each cake with buttercream frosting (hence the term ‘naked’) and sprinkle on a fine layer of edible glitter. Embellish with springs of fynbos or woody herbs.

The cretestone finish of the floors and walls, as with most of the house, has been left to weather without any intervention. The freestanding staircase leads to son Dax’s bedroom.

The minimalist nature of the bedroom and the gentle, filtered light is a study in serenity. Gorgeous Russian bed linen and air perfumed by distinctive French home fragrance add layers of sensory luxury.

Pillar candles wrapped with gold craft wire are immensely usable long after Christmas has passed. Here they are displayed on an inherited chest of drawers.

The bathroom walls are made from a mix of beach sand and concrete and juxtapose with the modern stainless steel fittings. trickles down to the smallest details, such as toothbrushes, toiletries and body products. Algria’s pared- down aesthetic

3. Spray paint is an easy way to indulge your creativity. Coat found objects from nature such as seed pods and dried flowers in antique gold and copper for an understated glow. Fynbos, spray painted black, is an edgy interpretation of the idea. Apply the same technique in creating the garlands using gold and copper craft wire. 4. Keep gift-wrapping simple and rustic. Crinkle brown Kraft paper and plain newsprint into tight balls and then spread out for use. You’ll be left with an organic, crushed linen look. Give each present its own unique treatment: experiment with white and brown twine and use fynbos – plain or spray painted – as well as spray painted seed pods as embellishment. Wrap the twine casually so as to have a more informal appearance.

5. Strings of fairy lights are a Christmas essential: left in vases, in the fireplace, draped over the mantle, around door frames or hanging from the ceiling in the corner of a room. 6. Approach a monochromatic table setting like a fashion designer focusing on layering and texture: think shades of chalk, grey, charcoal and bone; anchor the scheme with a beautiful linen tablecloth; set places with vintage silver-plated cutlery, rough-edged linen napkins tied with hemp string and handmade crockery (black adds drama); arrange a mix- and-match assortment of upcycled glassware for sprigs of fynbos and candles; and add final flourish in the form of gold and copper spray painted seed pods.

7. Serve your guests a deconstructed ‘naked’ cake: make two classic sponges (one large, one medium) and trim them into circular shapes. Layer only the tops of each cake with buttercream frosting (hence the term ‘naked’) and sprinkle on a fine layer of edible glitter. Embellish with springs of fynbos or woody herbs. 8. Wrap thick pillar candles of varying sizes with gold or copper craft wire for a personalised style flourish.

Delightful Surprises and Cultivating Gratitude

PERSONALIZED GIFTING.

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Delightful Surprises and Cultivating Gratitude

PERSONALIZED GIFTING.

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Art and Science - Chef Francisco Migoya and the amazing Modernist Cuisine series BY CARY WONG

B aking is definitely having a moment. It seems like everyone and their mother has taken to the oven during the pandemic. Just take a scroll through Instagram and pictures of breads and cakes infinitely fill one’s virtual screen. For amateurs and professionals alike, Chef Francisco Migoya has been one of the best innovators and teachers in this field. From creating tasty treats at top restaurants, writing best-selling books, and teaching at The Culinary Institute of America, to his current role as the head chef at Modernist Cuisine, he has never stopped pushing the envelope. TrooRa Magazine is honored to be able to speak with the legend himself. Wong: So Chef, we can start by talking a little bit about yourself? Migoya: My name is Francisco Migoya. I am the head chef at Modernist Cuisine in Seattle, Washington and basically,

have many influences from all these diverse cultures. Basically, it was like a window into the world of food, where there was just a lot of it. It wasn’t like just one type of food that we ate every day. There was a lot of variety. That did have a tremendous influence just on that alone and it helps if you have parents who really love food. Wong: And tell us about when you first started working with pastry. Migoya: I moved to New York City in 1998. I moved there to work in restaurants because at that moment, New York City was very important gastronomically. When I moved there, I started a job working in the restaurant. It was an absolutely awful experience that made me start looking for options. There was a position open for pastry cook at a restaurant that still exists, called the River Cafe. And from day one, I’ve been doing pastry. So, that’s how I started with pastry. Wong: And what came next? Migoya: I was a pastry chef at the French Laundry in California. My daughter was born during that time. After she was born, I realized I hadn’t really seen her because I was working sixteen to eighteen hours a day and when I got home she was sleeping. That is what I think is very dysfunctional about the restaurant industry is that you have to pick between family and work. For me, it was clear that I wanted to pick something where I was going to be able to be in my daughter’s life. So when the opportunity to teach at the Culinary Institute of America came to be, it was a bit of a godsend. And after eight years, I think I had reached the end of my desire to be a teacher, and so I opened a chocolate shop. Basically, in the morning, I would go to work, I would leave at two o’clock, and I would go straight to my chocolate shop, it was called Hudson chocolates, for twenty-hour days. I was getting close to turning forty and it’s just not

I’m in charge of developing all the recipes and content for the books that we publish. Our most recent published book was Modernist Bread, as you mentioned, and we have a book coming out next year, titled Modernist Pizza, which we’ve been working on for the last almost four years now. We’re winding that project down and we’re starting to work on one that I’m very excited about, which is pastry. We haven’t outlined it yet, but it’s going to take a few years. Wong: Let’s start in the beginning, early on in your life. You have a very interesting background. How did that impact your culinary preference and approach? Migoya: I was born in Mexico City. My father is from Spain and my mother is Italian American, and so at home, we

the same anymore when you’re forty than when you’re twenty or thirty. You can’t work twenty-hour days. Then, I got a phone call from a recruiter from Modernist cuisine and eventually, I started working here. Professionally, I think it’s one of the best things that’s ever happened to me. Nathan Myhrvold is my boss. He’s an amazing, brilliant person and he provides everything that we need to write these books. We have a beautiful kitchen and we have all the equipment you can imagine. I almost feel guilty sometimes but it’s definitely been a fantastic opportunity and we’re gonna hopefully write many more books. Wong: Yes, all the books are masterpieces. Regarding the Modernists series, each one takes a lot of care in terms of the rigorous and logical approach. Everything is investigated, measured, and documented. Do you find that very different from a normal kitchen, and does that create any challenges for you? Migoya: No, you know, it was easier to transition into this type of kitchen than if you had to do it the other way around. Mostly because if you’re in a production environment, you

That’s why a handful of restaurants have started R&D kitchens, which are separate from day-to-day operations. If you think of Noma, Fat Duck, or Mugaritz in Spain, they all have chefs that specifically work on developing new menu items and they’re given the resources to do them so that they can free up the chefs. Wong: It certainly sounds like a very different environment. A thing I find interesting is that a lot of cooking and baking has a lot of tradition that goes with them. Everybody has their own little twist or little things that they do. The Modernist series often goes against these traditions scientifically. How do you decide which ones to investigate and to improve upon? Migoya: When you have experience cooking, also if you have some experience with scientific knowledge; there are ways of discerning whether something is true or if it might be a myth. For example, there are a lot of mythologies around bread. Before we

understood what was happening, we thought it was almost like sorcery, right? You mix water and flour and it starts to bubble. One of the things that we heard was people were passing down their sourdough starters from generation to generation. Or people saying, my sourdough starter is one hundred years old. That sets off an alarm to any scientist. Were the conditions the same for one hundred years that whatever micro-organisms were in there have been the same for a hundred years? Or more likely than not, the conditions have changed and that sourdough starter is not in the same spot where it was first created. So it turns out that it doesn’t matter how old your sourdough starter is. It could be two weeks old, or it could be five hundred years old. They can both produce really good bread. And if your grandma held onto it from the old country and she came to the new country with it, it’s not the

don’t have a lot of time to test stuff. There’s only so much food that can go to waste when you’re trying to develop something before it becomes too cost- prohibitive. So moving here, you have the time, space, resources, and people to work on all those tests. I have two people that work in the kitchen and a food scientist. There are learning experiences and failures, but if we had to do what we do here in a restaurant environment, it just would be impossible.

Migoya: For me, the perfect food is ice cream, it always has been ice cream. It’s sweet enough but it looks like more than what it is. It is just satisfying in so many ways and there’s just so many variations you can do. So I think for my ice cream and Mexican food will always be on my top list because there’s so much variety. Wong: Just to close, tell us about a little bit what the new book is going to be planned to be about. Migoya: We’re really thinking deeply about how we’re going to tackle this. We have to think about how we’re going to categorize everything because if we

same thing anymore. Why? Because micro-organisms adapt. If something sounds like it’s too mythical and too implausible, it really catches our attention. Then we perform a series of experiments to see whether we’re right or wrong. Wong: That is very cool. And to you, what is a particular discovery at Modernist Kitchen that made you go “Wow, that’s really interesting, I didn’t know about it”? Migoya: A very interesting thing that I’m still excited about is when you’re making bread, let’s say you forgot about it and you came back to an over-proofed balloon of a dough. What we discovered is that you can actually take that dough, reshape it, de-gas it, shape it again, and you can proof and ferment it again. By de-gassing it, you’re getting all that CO2 and ethanol out of the dough, making those bubbles strong again, because you

have provided new food for the yeast and lactic acid bacteria to consume. So, the dough will start to ferment again. You can do it up until ten times. Wong: Sounds like they are very resilient! Migoya: It’s such a resilient system, and it works better with commercial yeast. These yeast granules that you buy at the grocery store are basically a concentrated form of the same yeast that exists in sourdough. Just your sourdough starter is not as concentrated as the commercial one, but it’s the same thing. They are not poison or not as good. It’s just one is purified, concentrated, and the other one is less reliable because there’s less of it. Wong: Are there any particular things that make you feel comforting or you know, just feel at home in general food-wise?

give every important subject matter its due we’re talking about ten volumes. Frozen desserts or ice cream... that’s ten volumes in and of itself. Once we decide that, then we can get started. I’m hoping before the end of the year we’ll be ready to start moving forward, or the beginning of the next year. Hopefully, we’ll have an outline or schematics of how to get started.

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Food during challenging times - Chef Justin Sutherland

I n a tumultuous year, everyone is trying to find their bearings and move forward in the best way possible. Chef Justin Sutherland has been doing that better most, managing five restaurants and adding to his impressive TV resume while being a positive role- model in the community. He took time out of his insane schedule to chat with TrooRa Magazine about how he did all these things in the middle of a difficult year. Wong : Let’s start with introducing yourself to our readers. Sutherland : I’m Justin Sutherland, from St. Paul, Minnesota. Pre-COVID we were operating nine restaurants and unfortunately had to shut them all down and now have five back up and active. I also did a lot in the food TV space with Top Chef and Iron Chef. Just recently I got done shooting a new show that I can’t talk about yet. But there are some other fun projects on the horizon.

Wong : Great! There are a lot of changes this year, how do you handle them? For example, with COVID and Black Lives Matter going on, how do you cope with all these different challenges? Sutherland : It’s difficult for sure. I think it’s trying to stay innovative, positive, being able to pivot as we can’t really predict the future. Everything we do right now is very much a risk, but just trying to stay ahead of it all. I think a lot of the restaurants that are kind of falling off were afraid to make changes when they needed to be made, you know? We’ll get through this pandemic but I think the dining scene has been forever changed. So, it’s really just trying to stay with that. Wong : How did you change and how do you see that COVID impacted the restaurant industry? Sutherland : It’s obviously affected the restaurant industry globally and locally. I think close to fifty-percent of the restaurants that are closed now will never reopen. A lot of the changes we made were on fine dining food. A lot of chefs have just been afraid of the takeout. You never know how it’s going to be delivered; you never know what the end product, when it arrives to that house, what that food is going to look like. So, adapting to the takeout model and learning how to put as much effort as you would with somebody dining in your restaurant as you would for takeout because this is how a lot of people are eating now. Getting creative with packaging, testing to make sure that food travels well, making menus that are conducive to take out, and doing cook-at-home meals. I’ve done a lot of box food, or box programs with raw products that can either have recipes or links to online videos where I can cook it alongside you. Other things include embracing outdoor dining, getting creative with outdoor dining spaces, and rearranging dining rooms so that

people feel comfortable in indoor spaces. Especially here in the Midwest, we dropped down to fifty-something degrees today and it’s going to continue to plummet. Soon we’ll be in the middle of winter, which is another sWong bridge that we’re gonna have to cross. Wong : You were running nine restaurants before and now down to five. Are there any particular food directions that you are switching towards or is it a continuation of what you have done before? Sutherland : It’s definitely changing with models and mindsets for restaurants. I’m doing a lot more with quick service and counter service. Still trying to do the same high- quality food, just not necessarily in a fine dining setting. I think people are moving away from fine dining. They don’t want to sit in an enclosed space for three hours along with the personal contact or tableside touches that come along with it. We are getting to a point where there’s less human interaction, unfortunately. Wong : Now you’re involved heavily in management. Obviously, there are a lot of hiring and personnel decisions you have to make. A lot of the line cooks and staff members are from the Black or Latino communities or minorities in general and they work in quite stressful conditions. What do you think that the industry as a whole can do to provide them with better healthcare, well-being, and salary? What can be done to elevate and empower them through promotions or other ways? Sutherland : I think first it’s just awareness. Somebody has to be aware that it’s an issue then some sort of change needs to happen. Then from there, broadening the pool when you’re searching for employees. If you’re always fishing in the same pond, you’re always going to catch the same thing. From a broader community standpoint, it’s letting other groups of people know that these jobs are out there and

grab on to, things that make them feel good. People just want that peace of comfort. They want that security. So a lot of us are moving towards that kind of comfort food model. Again, it doesn’t necessarily mean that it’s dumbed down or that it’s not as good you can make. Really, it’s creating food that people can have some sort of emotional connection to. There’re so many things happening in the world that are making people not happy. I think food is one of those things that everybody can hold on to, that everybody has a positive memory about. Wong : That is very inspiring. Recently, your knife roll was stolen and then they got returned. What is in there that would be your most prized possession? Sutherland : My grandfather recently passed away and he was really big on his knives and keeping them sharp. So when he passed, I got his knives handed down from him that I still use on a daily basis, especially his fillet knife. Then my grandmother’s brother was a chef in Japan. And when he sold his restaurant, he mailed me his knives. A couple of them were over a hundred and twenty years old, just irreplaceable, passed down from generations. So, it was a set of knives in there that no amount of money could have replaced. That’s pretty incredible to get those back. Wong : That’s nice to hear! In closing, any new things for you coming up? Sutherland : I got a few more restaurant projects on the way right now, nothing too much to talk about yet because they’re very much in developmental stages. Just excited to be back to work, have the restaurants back open, and trying to get through this year. Wong : Everyone can’t wait until 2020 is over. One way or the other. Sutherland : One way or another. We gotta get out of it.

when he turns on the TV or opens a magazine or goes into a restaurant, all he probably sees is old white guys. So, then as a kid, you’re like, ‘oh, that must be a job for them.’ That really inspired me just to constantly be out there and be an advocate for people that don’t have that. Wong : Going back to the food. You have a very interesting culinary background. Tell us a bit about that. Sutherland : I have a grandma from Japan and another grandma whose husband is from Mississippi and grew up in a lot of soul foods. Those two women are whom I hung out with in the kitchen. One was heavy soul food; one was heavy Japanese food. Wong : How do you work with these very different influences? Sutherland : I try to find a way to fuse those together sometimes, and sometimes I keep them completely separate. I love Southern food and soul food because it’s this food of struggle. It started with food that was gonna get thrown away that was given to slaves to figure out how to use. We make these collard greens that nobody wanted, turn them into something that tastes good. The scraps, different pieces of the pig, and all these undesirable foods, that was what those people were able to make very, very well. I’m always just experimenting and figuring out how to marry the two cultures. I’ve got Southern ramen on one of our menus where we take smoked ham hocks and make this really bourbon-y and smoky soulful ramen broth. Topping it with pickled collard greens and different Southern flavors on a traditional ramen. And the first thing when making those fusions is to find the similarities and then figure out how to mimic each other. It’s fun. Wong : Looking ahead, do you see any sort of change in trends? Sutherland : Right now, people are very desperately looking for things to

available and welcoming to them. It’s very difficult to walk into any situation and see nobody that looks like you and then want to spend all of your time there. Our work is where we spend, probably fifty-percent or more of our life outside of home. So, if you’re going to go into a situation where nobody shares the same experiences with you, nobody looks like you, and nobody relates to you, why would you want to go do that job? Wong : You volunteer for a lot in different organizations like the Boys and Girls Club. Is that something that’s important to you? Sutherland : Absolutely. Community activism and volunteer work is something that’s always been huge for me, especially when it comes to kids and underserved youth from communities of color that are underserved. I’ve been fairly blessed in my career and been afforded some

opportunities. I just want to make sure that everybody knows that they are welcome and has the ability to better their lives and to do things. I speak to a lot of kids in schools, especially with inner-city youth. I remember when I first started doing the speaking and I walked into the classrooms and did a cooking demo with fifth or sixth graders in the inner city. I had my chef coat on, I walked in the front of the classroom, and this little kid stands up and he’s like, “Are you a chef?” And I was like, “Yes. Yes, I am.” and he’s like, “No, you’re not, chefs are white.” The thing was, this kid doesn’t even think that he could be a chef. He doesn’t think that everything in the world is available to him, just because of the things he’s presented with on a daily basis. It’s not his fault that he doesn’t think that. It’s not his fault that he thinks all chefs are white. But

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Blazing a new path: Restaurant Triptyque and the New Dutch Cuisine

B ikes. Canals. Clogs. Windmills. Total Football. Perhaps throw in Van Gogh and Heineken. We do not often associate culinary excellence with The Netherlands. But Chef Niven Kunz, his fiancé/business partner, Virginie van Bronckhorst, and their restaurant Triptyque are determined to change that.

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Wong: Describe to us what typical Dutch food is like. What are the food traditions and culture? Kunz: Unfortunately, we don’t have a food culture like in Spain, Italy, or France. Typical Dutch food is mashed potatoes with vegetables like sauerkraut or kale and meat on the side. We are also known for our licorice. The typical Dutch food that I really love is Dutch eel! It is all very nice, but Dutch people, most of the time, do not have the same passion for food culture as some other countries do. I think the love for food is growing though. Wong: Are there specific Dutch culinary emphases at your restaurant? And what was your thinking behind it? Kunz: We always try to buy as much local food as we can. We use Dutch products and create dishes with pure flavors. “Het Westland” is our backyard; there are so many fresh and good local products for us to buy. Not only vegetables, but also our yellowtail fish is from Zeeland here in the Netherlands. Even the Tomasu soy sauce we buy is local. It is from Rotterdam and is really good. Wong: Being the youngest ever Dutch chef at twenty-four-years-old to receive a Michelin star at ‘t Raethuys, you started cooking professionally early. When and how did you know you want to be in this industry? Kunz: I started working when I was young, after school or during vacations, on the beach. I liked that very much. When I was seventeen, I just decided that I wanted to work at de Librije, which is now one of the two three-starred Dutch Michelin restaurants. I applied for an internship and luckily the owners, Jonnie and Thèrese Boer, accepted me. Working there motivated me a lot. So much so that I returned there to work even after leaving a year to work

at De Bokkedoorns, a Michelin two- starred restaurant. Both restaurants and the chefs taught me a lot and motivated me to work hard and eventually earn my own Michelin star. Wong: Due to Coronavirus, your previous restaurant Restaurant Niven went bankrupt at the end of March. That must be a very difficult time. Was that the most challenging thing you’ve had to overcome professionally? Kunz: It was a difficult time and decision, but it was for the best. We did not have a lot of other options. Luckily, we are blessed with very supportive family and friends who pulled us through. But I think this is a difficult time and it’s hard on everybody. We can’t complain despite the bankruptcy as everybody we love is still healthy during this pandemic. We’re very thankful for that. Wong: Your fiancé Virginie is very supportive of your work. You also have a very strong team that moved with you to the new restaurant. Is that something that’s important to you and how did you build it? Kunz: That is a very important thing to me. Virginie and I built this restaurant together along with our previous one and we are equal business partners. We have so much fun working together, we are a real team, in good and bad times, in work, and in private. We complement each other very much. I think that is very special and unique. We are also very lucky with the team we have. We were so happy that they wanted to be a part of the new restaurant. They do such great work and are very important to us and the restaurant. We have fantastic chemistry with the whole team. Our guests are also very happy to see them in the new restaurant. We are very proud of them.

Wong: Having worked in the industry for such a long time, do you have a dream goal? Kunz: I always have a dream to get better and have fun working. My dream is earning more than one Michelin star in the future—although one is already fantastic to have. Right now we have to wait until January to hear if we earned our Michelin star back. That would be fantastic.

Kunz: My third cookbook is postponed to 2021 because of COVID-19. But we are very much looking forward to working further on that project. It is going to be a table book, full of beautiful pictures of the dishes. And of course, there will also be recipes in the book for the cooking fanatics. We also want to improve our quality and make it even more special for our guests. Our team and I are working hard on perfecting our menu and service. Wong: What is the one food that’s the most comforting and you miss most often?

Wong: In addition to your third cookbook, what else are you working on?

is an equal partner and inspiration herself. A medical doctor, interior designer, stylist, and entrepreneur, it is impressive how she manages to juggle all these responsibilities. We get to give deeper as she shared more of her life with us. Wong: When did you start working with Chef Kunz? van Bronckhorst: Niven and I have been together for ten years. As the years passed by, I got more involved with the previous restaurant. I think that you can say we’ve been “working together” since 2013. When we had to let the previous restaurant go at the beginning of the Coronavirus crisis, we decided that we still wanted to continue our dream and business together. To make it better than it was. I believe it is good to have a goal and strive to be better. We got a fresh start in this strange and difficult time, and Triptyque was born. Wong: What made you want to get involved in the venture? van Bronckhorst: I always liked cooking. I grew up with fresh-cooked food. My parents and grandparents always cooked with fresh food and herbs. I liked cooking as a child and learned a lot from my parents. ‘Till this day, I like cooking with fresh ingredients a lot. It also happens that I love going out for lunch or dinner and I really like to organize and manage. What better than combining the things I love in my work? Niven and I both love to work in and for the restaurant. We are a great team and have a clear division of roles. He manages the kitchen and creates the dishes together with our kitchen chef, Maarten. I take care of the interior design and styling of the restaurant, as I did in our previous restaurant, as well as social media. Together we are both responsible for the overall organization and management of the restaurant.

Kunz: I really love Indonesian food. You can wake me up in the middle of the night for some good Indonesian food. Virginie learned it from her mother, father, and grandfather. And I learned a little Indonesian cooking from them as well. I really enjoy it when Virginie or her family cook that for me. Wong: What do you love most about being a chef? Kunz: Creating. I love to create with our team, whether it is for a new dish or an experience for the guest. I can put my creativity in the dishes and I do that together with my kitchen chef, Maarten Westerhout. Wong: Where do you draw your creative inspiration from? Kunz: I get a lot of inspiration from the new products of our suppliers. It is very important for me to visit the greenhouses and be close to the source of our products. I also get a lot of inspiration from the seasons and seasonal products. Maarten and I like to work with products that are in-season. You automatically get a good variation throughout the year in dishes because of the changing products, but we also like to do this from a sustainable point of view. Wong: Do you see any new food trends that are happening now? Kunz: I think that replacing meat for a vegetarian or even vegan option is a big trend right now. I’ve worked with the eighty/twenty vegetables-meat rule for a long time already, but I am pleased to see that more chefs and people at home are using the same rule. It is better for the climate and eating less meat is also healthier. You can do so much with vegetables. It is a good thing that people are more conscious and aware about what they are eating and where the product comes from. For her role, Virginie van Bronckhorst

Wong: What is a typical day like for you? van Bronckhorst: A typical day for me is to start my consultations at eight-thirty AM until about five PM. I go home, cook dinner with fresh ingredients and then go back to work for our restaurant. During the week I do this from home on my laptop; during the weekends I am always in the restaurant.

Wong: You are a medical doctor. You do interior design as well as the styling of the restaurant. How do you combine your job as a doctor and as an entrepreneur? van Bronckhorst: I think the key ingredient is having fun and loving what you do. I really love my work as a doctor and also love my work as an entrepreneur. The combination and variety are great and they give me a lot of energy. Interior designing and styling is a big hobby of mine; I feel relaxed when I am searching and looking for new things and styles.

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WHY IS ISTRIA IN CROATIA A GREAT AREA FOR TRUFFLES? WHEN ARE THE SEASONS? Central Istria—if you want I can send you a map of the truffle zone in Istria—is a great region for truffles because we have amazing weather. Here, the Mediterranean climate has sun about half of the year and the other half has rain. It is a perfect mix for truffles to grow. In addition, we don’t have any big factories here, so the soil and natural environment are perfect for the best truffle quality. The black truffle season is year-round and white truffle season is from September to January.

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