Written by David J Constable

With yesterday’s announcement of France’s winners and losers in the coveted little red book, came as much applause as it made tears. Still very much considered to be the most successful and prestigious restaurant guidebook in the world, the Michelin Guide has risen to gastronomic bible status, a hefty on-the-road manual spawning legions of checklist gourmands. In doing so, the guide has both blighted and elevated the lives of chefs.

One of the biggest shocks of the French culinary guide for 2019, was Auberge de L’Ill losing its third star, an accolade the famed Alsace restaurant held for 51 years. “It’s hard for the team, it’s hard for everyone – the customers, the family – it’s very hard,” said Chef Marc Haeberlin, a champion of contemporary Alsatian cuisine. “I don’t know how to explain this loss,” said Haeberlin, whose culinary mentor, the legendary chef Paul Bocuse, died last year.

Another shocking announcement was Maison des Bois losing its third star. Chef Marc Veyrat – known as much for his wide-brimmed black hat as his love of mountain ingredients – confirmed that his Alpine restaurant had fallen from three to two stars. “I’m disappointed. I can’t understand it at all,” said Veyrat, who only earned the third-star last year. “I will stay combative and present with the team in my kitchen,” Veyrat said, blasting the decision as “unfair”. Chef Pascal Barbot, whose Parisian restaurant l’Astrance has held three stars for 11 years, also dropped down a notch to two stars in the 2019 guide.

Chef Julia Sedefdjian and the staff of Restaurant Baieta
Credits: Restaurant Baieta Instagram

More shock news occurred as it was announced that two-stars had been awarded back to Le Suquet, located in the Aveyron region, the restaurant operated by Chef Sebastian Bras who famously asked to have his stars returned in 2017. The guide left the three-star restaurant out of the 2018 publication only to award them with two-stars in the 2019 release. The chef admitted to being “surprised” to see the restaurant back in the 2019 guide having cited the “huge pressure” that came with Michelin recognition when he asked in 2017 for his three-star restaurant to be left out of the 2018 guide.

Meanwhile, a record 75 restaurants earned new spots in the one, two or three-star rankings, an expected increase given the guide’s new international director Gwendal Poullennec had promised to breathe new life into its pages, celebrating more female chefs and young talent. Eleven female-led restaurants were awarded, among them 24-year-old Chef Julia Sedefdjian, who won a star for her new restaurant Baieta in Paris, and Chef Stephanie Le Quellec, who claimed her second for the Parisian restaurant La Scene. “This year, more than any other, the MICHELIN Guide France is demonstrating a gastronomic France that excels on all fronts,” says Poullenec. “From remarkable regional dynamism to showcasing new talented youngsters, and to an unprecedented number of new star-studded restaurants led by women, the 2019 vintage shines brightly in many ways”.

Mauro Colagreco
Credits: Bob Noto (photo from Cook_inc. 11)

The biggest celebratory news of the evening, however, was the award of three-stars to Chef Mauro Colagreco of Mirazur in Menton and Chef Laurent Petit of Clos des Sens restaurant in Annecy-le-Vieux. Born in Argentina, Colagreco becomes the only foreign chef in France to hold three-stars. “So many emotions. Thank you! I’m so honoured,” the chef told the audience at the awards ceremony in Paris. Colagreco continued, “How can I begin to express such overwhelming emotion and gratitude! Gratitude firstly towards my team for their dedication over the years; gratitude towards my family, for their sacrifice and support; gratitude towards our loyal guests for their continued support; gratitude towards our local purveyors providing us with the best products of the region; gratitude towards Michelin and their guide for recognising our work from the beginning; and finally gratitude towards France — a country where I chose to express myself, that adopted me, transmitting its values of “Liberty, Equality, Fraternity”.

Words by Redazione Cook_inc.

Photos by David Yorath (Apollo PR)

Known for his dedicated work with native Australian communities and ingredients, as well as for his culinary talent – brilliantly showcased, for example, in his Orana restaurant in Adelaide – Scottish chef Jock Zonfrillo was awarded the Basque Culinary World Prize on November 22nd for the positive impact his project has had. The prize gala saw him victorious against nine other finalists, all of whom were shortlisted for their commitment to transform the world through gastronomy. Having been selected by a prestigious jury, headed by Spanish chef Joan Roca and further consisting of some of the world’s most influential chefs, Zonfrillo was given the prize money of €100.000 to continue his work with the self-founded Orana Foundation, databasing native Australian ingredients.

During his Australian adventure, Zonfrillo spent more than seventeen years dedicating his life to the discovery and defence of aborigine culture, visiting hundreds of native communities, learning about their ingredients and traditional food. Having researched these products and given a voice to the communities and their knowledge, he opened Orana restaurant to quite literally welcome – this being the English translation of the word Orana – every element of Australia’s cuisine. While the food variety, history and nutritional properties of indigenous ingredients are honoured in the restaurant’s menu, the regularly missing respect towards Aborigines and their general exclusion from the national culinary identity in the country brought Zonfrillo to launch the Orana Foundation in 2016 with the goal of “giving back more than you take.”

He saw his task in assisting indigenous communities by supporting them in researching, documenting, commercialising and promoting their native foods, as well as training them in skills like growing, cultivating and harvesting these ingredients in order to minder their social and economic disadvantage. Considering traditional Australian food as a way of understanding and appreciating all aspects of Australian culture, one of Zonfrillo’s main objectives was the documentation of native ingredients and the investigation of their uses, which he started last year with the help of a multidisciplinary research team. It is this endeavour, that he also wants part of the prize money to go towards, enabling him to extend his database to 15.000 native ingredients over the next couple of years: “100% of the prize money is being invested into Indigenous community projects that will see a long term and sustainable impact on their community and financial security and make positive change on their terms”, Zonfrillo said, naming a community packing shed and the farming of freshwater prawns as examples.

Expressing his pride and honour at having been chosen as the winner of the Basque Culinary World Prize, he describes the award as an “instrumental part of the wave of change” in his acceptance speech, indicating the efforts of the Basque Culinary Centre and the Basque Government, who have held the prize since 2016. Striving to look beyond the culinary qualities of gastronomic professionals and honouring instead the positive impact chefs can have in fields such as culinary innovation, health, nutrition, education or the environment, the Basque Culinary World Prize, like Jock Zonfrillo, aims to transform the world through gastronomy.


October 1st and 2nd 2018, Berlin, Germany

Words by Mokki Hsiao

Photos by Rolling Pin Magazine 

Chefs step onto the stage like rock stars, they talk confidently with shining smiles, as if they were young deities and wave their hands as though using invisible wands, making creatures into food. There must exist magic-like power within them or how else could these charming dishes appear in minutes without any hesitation? During CHEFDAYS 2018 in Berlin the idea of magic does not seem wholly impossible.

Organized by Rolling Pin magazine*, CHEFDAYS is the biggest gourmet event in the German speaking world. In 2018, 25 well-known chefs were invited to exhibit their innovative ideas and present their beliefs through their dishes – among them, Taiwanese chef Alain Huang, representing restaurant RAW from Taipei. The one-star Michelin restaurant was founded by well-known chef André Chiang and belongs to the HASMORE limited restaurant group. RAW is the only Asian restaurant having been invited to the event. André used to own also a signature two-star restaurant in Singapore and had been the Diners Club winner of Asia’s Best 50 Award in 2018. The press even praised him as “the greatest chef in the Indian Ocean”. But, if charismatic André is described as the brain and eye of RAW, chef Alain is the hands and feet. Alain is a meticulous chef, who built the castle from scratch, creating cuisine to connect with season, locality and tradition.

Defining the flavour of locality

Alain and André brilliantly picked two seasonal dishes, kept in black and white colour, which bring to mind the ancient philosophy of Ying and Yang, to interpret the “Flavour of Taiwan”. Ebony is a special species of Poulet, whose dark colour stretches from vessels and muscles to the skin. Taiwanese believe that this weird looking chicken can nourish the human body more than others. Ivory is freshly made tofu, which the chefs describe as vegan cheese to the audience. Moreover, they adopted Taiwanese umami ingredients: dried squid, shiitake, black beans and dried fish to create a “black umami ketchup”. The RAW chefs tried to use all ingredients as much as possible, collecting vegan-based whey while making the tofu and later made it into a soup. Alain said, “People discard products only when they don’t know how to use them. We are devoted to developing knowledge for every part of the food, so we are not easily throwing away anything with flavour.”

To construct locality in cuisine, is more than a symbolic puzzle game for smart chefs. Firstly, they must have a shared image of fine cuisine in mind and need to understand the value of locality and season well. They also have to be familiar with the niche expectations from their customers. Pairing extraordinary skills and selected materials, they can then make their idea into an edible compresence. That’s why Alain and André put truffles into the fresh tofu. It is an iconic autumnal fungus and it also reminds gourmets of the most luxurious and precious ingredients the world has to offer. Furthermore, it is completely vegan.

Revealing the taste of nature, no matter the seasonal variations or the characteristic of the place, trying to let the food tell its stories, is the lesson to be learnt from CHEFDAYS 2018. This concept holds true, not only with the Taiwanese chefs, but with some of the coolest Berlin chefs like super star Tim Raue and Austrian up-and-coming red-bearded chef Lukas Mraz. They spoke about territory, an alias for locality and about the city of Berlin. Celebrity chef Tim mentioned how he went out of the city and into the world to introduce what a Berliner’s cuisine truly was, while bringing back spices and seasoning inspirations from Asia. Lukas Mraz, the son of Markus, who owns the two-Michelin-starred Mraz & Sohn in Vienna, especially enjoys the natural wines whenever he is in Berlin. He used to be the head chef of Cordobar, which was said to have been Berlin’s first and most important natural gastro-wine bar and is in the process of transforming into a restaurant at the moment. Natural wine is still an upcoming trend in this city that provides a liberal attitude towards the red wine tradition. All in all, Berlin and CHEFDAYS can be described as providing niche tastes in niche places, while never forgoing the concept of locality.

* Rolling Pin is an Austrian food magazine, which has hosted CHEFDAYS since 2014. Starting in Vienna, the event moved to Graz in 2015, adding the event in Berlin from 2017, alongside the annual one in Austria.


Words from Redazione Cook_inc.

Photo from Culinaria

Between the 29th and 30th of September, Trastevere – located on the west bank of the river Tiber in Rome – hosted the arena for an extraordinary fusion between the worlds of art and cooking that was Culinaria – il Gusto dell’Identità. Over these two days, the beautifully light-flooded WE GIL building – a remnant of fascist times – was filled with notable culinary talent and creatively thought-out exhibitions, thus proving how well both components could work together in creating an unprecedented event. Already featured on Culinaria’s promotional posters, Thomas Duval’s photography line “Bondage vegetale” was notably one of the most important parts of the exhibition. Furthermore, a melting chocolate sculpture done in collaboration between Francesca Pinzari and Walter Musco, Andrea Tortora and Pere Gifre’s masterpiece of dough enclosed in a structure and, bound into a unique book, the blend of food and fashion by Nicoletta Lanati were joined, among others, by the works of Giuseppe Guanci, Ria Lussi, Lorenzo Cicconi Massi and late Andrea Salvetti. Throughout it all, the artistic detail was designed to work together with the ideas and dishes of the respective partner chefs and made for ingenious pairings, enjoyable for the general public and positively eye-opening and inspiring for art and food lovers.

For one couple, however, the connection between artist and cook runs much deeper than of colleagues alone. Lukas and Manuel Mraz are brothers and put the Sohn (eng. son) in their father’s restaurant Mraz & Sohn, coincidentally located on the western bank of the river Danube in yet another beautiful European capital: Vienna, Austria. Together they took the stage towards the end of Day One and captivated the audience with each of their talents – one cooked, while the other one had prepared a painting – combined perfectly with a pinch of the famous Wiener Schmäh, the typical Viennese humour. Talking about how their father’s amazing cooking abilities balanced out the five times their mother might have cooked for them, how Vienna has so much amazingly fresh spring water that even the toilets are flushed with it and about how the imperial castle Schloss Schönbrunn is perfectly equipped with its own orangery, which provides Viennese kitchens with citrus fruits from all over the world – and Lukas’ plate. The star of the cooking show, however, was the enokitake mushrooms, which made an appearance on the plate not just once, not even twice, but in three different versions: first steamed as the quintessential noodles in the reinvented Roman “cacio e pepe” dish prepared on stage. Secondly, rehydrated and reduced to an intensely flavoured sauce and as a third trick dried and ground like black pepper and acting just like the spice in the final dish: “We usually do this step [adding the mushroom powder] in front of the customer and whenever they decline pepper, we just keep going”, Lukas recounts smiling mischievously. And indeed, while the mysterious dark specks taste decidedly peppery, they add the promised mushroom note too.

After the dish is prepared and handed out to the hungry and curious audience, the show continues with yet another highlight: Manuel’s painting – until then facing backwards and displaying the words “Moment’s Notice” – is turned around to reveal a portrait of his brother, which – to the soundtrack of the spectator’s gasps – Manuel promptly covers in white paint again. The reason: moments are fleeting, and one should always remember to notice – better yet, to really live – each minute life is presenting us with. This idea, taken from Manuel’s experience as a jazz player and his respect for legendary saxophonist John Coltrane and his “Moment’s Notice” song from 1957, was showcased beautifully, depicting Lukas’ cooking as the moment itself.

In the end, it is as if the whole event unwittingly stood under the mantra of noticing moments, for both, the aforementioned chocolate structure and the dough changed continuously and bigger shows, like Nicoletta Lanati’s presentation of “Food in Fashion” – combined with the Il Giglio boy’s oyster – and the photography works of Thomas Duval and Lorenzo Cicconi Massi, worked hard at immortalizing feelings on the pages of a book, a canvas or within the pixels of a picture, catching moments for the world to experience even after the event had finished.

Take a look at this video

Words and Photos by Carla Capalbo

“Climate change – and global warming – are the biggest thing that has ever happened in human history”, said Amitan Ghosh during Terra Madre – Salone del gusto 2018 (read more about it here).

What are some of the solutions proposed at Terra Madre? Returning to low-impact ancestral methods of crop cultivations that don’t impact so negatively on the soils. Banning poisonous pesticides and weedkillers, and of course monocultures of genetically modified and sterile seeds. Eating more plants and definitely much less meat. (Indeed, the hope is to reduce the west’s consumption of meat by 50%). Use crops that have natural resistance to heat and scarcity of water rather than those that need constant irrigation in areas with limited water resources. Fonio, a forgotten ancient grain from sub-Saharan Africa, is such an ingredient, and has become the project of chef Pierre Thiam in New York who sees it as one of the nutritional super-foods of the future.

For chefs, one solution may be to rethink the use of meat as the main attraction in a meal. “You need to reinvent yourself completely, and to forget everything you learned before because it was based on fossil fuels,” says chef Xavier Hamon from France, who heads the French Slow Food Chef’s Alliance. “We long ago decided to work responsibly, in particular on the use of meat in the plate. This does not always mean reducing the amount of meat in a dish, though of course that’s part of it, but also changing the way we cut and store it using ancestral methods of salting, smoking and drying.”

Multi-starred French chef, Olivier Roellinger, is spearheading a joint venture between Relais et Châteaux and Slow Food to develop a manifesto for the kitchens of the world’s top tables. “The world’s larder is in extreme danger, and chefs can and must make a difference too with big changes in their attitudes, reducing waste and saving energy,” he says. “In haute cuisine there is plenty of room for imagination to be applied to this approach to food,” says Anatoly Kazakov, one of Russia’s foremost young talents who cooks at Selfie in Moscow. “In Russia we face challenges from embargoes and unsustainability but we have used them to help us focus more on local ingredients – such as tiny cucumbers and seafood obtained from free diving – that are available within a radius of 100 to 200 kilometres from Moscow.” He showcased three delicious and subtly complex dishes that each featured just four of these natural ingredients, including fermented green tomatoes, sweet raw scallops, sour sorrel and young almonds.

Slow Food took the opportunity at the Salone to bundle many of these initiatives into its climate-change programme, called Food for Change (#foodforchange). “We need to communicate and share these ideas, regardless of what our leaders do,” says Richard McCarthy, Slow Food’s executive director in the USA. They range from reducing food waste and eating local, to meatless weeks and celebrating local food-producing communities, as well as to the well-established Ark of Taste (for saving endangered foods and their makers) and many other key projects. The Università Diffusa is a notable new project that will see students learn not only from academics but also from people with traditional skills in producing food and working the land. Chef Alice Waters is working on a proposal that would see all the schools in her area in California (and then hopefully many other states) offer free lunches to all their students from ingredients that are sourced locally and produced sustainably.

“These ideas are strong and easy to communicate,” says Carlo Petrini, Slow Food’s creator and president. “We need to take on health, climate change and other big themes using the political and social biodiversity that the Terra Madre network brings if we are to fight for the dignity and survival of our planet. We can’t accept our politicians’ defense of national interests in a struggle that challenges our global community. We will join with chefs and farmers in resisting their denial that climate change is happening.”




Words and Photos by Carla Capalbo

“To cook is to be a revolutionary today” Olivier Roellinger

With a large part of the 5-day activities back in their original home at Lingotto, this year’s Terra Madre-Salone del Gusto was easier to navigate, even if some of the local colour and charm from Turin’s streets were missing. The Oval is Terra Madre territory, with contadini, fisherwomen and other small-scale food producers from dozens of countries around the world showing and telling about their native ingredients and foods. The Terra Madre Cucina featured a list of wonderful cooks and chefs from this network. I ate delicious meals from Algeria, Malaysia, Portugal and beyond.

As I have been to every Salone since the initial one 24 years ago, I now use Terra Madre as an opportunity to attend the conferences and forums where I can listen to the food activists, economists, climatologists and other expert accounts and learn firsthand what the challenges to our food production – and lives – are. This year’s message was an incredibly bitter and frightening one to absorb. (And it was underscored by the unheard-of high temperatures in Turin in those late September days, of 30°C.) As Amitan Ghosh, the Indian author who has written extensively on the problems facing his continent put it: “Climate change – and global warming – are the biggest thing that has ever happened in human history.”


Every conference theme reinforced this assertion. Whether it was the issue of climatic immigration, desertification of land, uncontrollable flooding, the harm created by industrial livestock programmes, the acidification of the oceans, the impact of cement-production on the CO2 levels in China, the fight for water and land rights…the message everywhere was the same: We all have to address climate change in a more proactive way, and we have to do it now. Or it really will be too late. The focus has changed from a timetable that foresaw the rise in global warming reaching the 2°C that the Paris Accord is seeking by the end of the century, to something much much more urgent.

“We cannot continue with this ‘business as usual’ attitude,” says Luca Mercalli, one of Italy’s most prestigious climatologists. “If we don’t make radical changes now, it will be 5°C by the end of the century and that means a catastrophe for humans and every other living thing on our planet.” Too many governments are in denial about this (including the USA, obviously, though individual states such as California have decided to take matters into their own hands and not wait for federal action). The problems are so vast that they can seem overwhelming. Yet if we react now, as many people throughout the world are doing, we may be able to at least slow the tide.


What are some of the solutions proposed at Terra Madre?

Continue to read here.

Words and pictures by Redazione Cook_inc.

The children were first; first to investigate the big wine vat standing in the middle of the field; first to indulge in its special brand of magic, energy and excitement by reaching their little feet into the berries; first, too, to take the exercise to the next level, landing head first among freshly squeezed grapes, drenching themselves and their cloths in wine-coloured juice. Most importantly, though, they also come first in the eyes of Famiglia Cotarella, who recently opened the doors of ‘Fattoria Tellus’ – a special project, designed to reacquaint children and nature – for their little guests.

What may, at first, seem an unlikely combination loses all its abstruseness, as soon as one hears the Cotarella Sisters speak about the program, its friendly mascot, grandfather figure Nonno Enos, or the workshops they have conducted with and centred around children. Already then, Enos helped children to understand the importance of the land by introducing the world of wine in a playful and sporty way, by teaching them to transform the grapes into food products and finally, by having them draw out their multi-sensory experience on paper. These paintings – some done by “my own son, Giovanni”, Dominga recounts with a smile and breaks into the anecdote – later found themselves as the labels of a limited edition Tellus Syrah, whose proceeds went to IRIS, an association that helps women, who suffer from neoplastic diseases, thus combining the children’s artistic work with a good cause.

These Falesco values, notable even in naming their wine after the Roman goddess of the earth, are also taught to children at ‘Fattoria Tellus’. Topics like environment, health, time, sport, game and respect are being passed on by Nonno Enos through rugby games, sensory labs and other fun activities in the didactic farm. As a family-owned winery it is the last value, the word famiglia (eng. family), however, that runs through the whole undertaking like the proverbial red thread. Already in its third generation, the Falesco winery, has seen the switch from founders Antonio and Domenico Cotarella to their sons Renzo and Riccardo and, subsequently, to the current all-female line-up: daughters Marta, Enrica and Dominga. Though cousins by blood, the three grew up as sisters and are today combining the love of a family, the power of friendships and the effectiveness of strong business women into one energetic whole.

The result of such female energy could be seen on September 9th, when Dominga Cotarella, responsible for the winery’s communication and marketing sector, introduced their new project to the public, inviting fellow founders of children related programs to talk about the importance of outdoor activities, sport and nature and thus underlining the powerful drive behind ‘Fattoria Tellus’. Following their presentation (#SeiUnForzadellaNatura), a traditional harvesting feast could be attended by young and old, featuring beautiful Alta Tuscia products prepared by AgriChef in collaboration with Coldiretti, Campagna Amica and Slow Food, Falesco wines, music and – the highlight of the day – the wine vat. When I finally joined the children playing in the grapes, it all started to make sense to me, a new realisation popping into my head like the berries underneath my feet: today’s children are the activists of the future and in a world that so desperately needs people to reconnect with local quality products and the earth they are living on, one cannot start educating early enough.

Azienda Vinicola Falesco s.r.l.

Loc. San Pietro, snc

05020 Montecchio (TR)

Tel. +39 0744 9556

Fax +39 9744 951219

Email: info@falesco.it




 Words and pictures by Gloria Feurra

The first information is a quantitative one: to make a liter of colatura you need about 1,650 anchovies. As I observe the sober 100 ml glass bottle, I picture 165 small fishes piled next to the laptop and I gasp. The second information is an aesthetic one: inside the vault where the product ages, one of the most vigorous and enigmatic whiffs overwhelmed my sense of smell like nothing has ever done before, disorienting and captivating it. Today, I attempt to decrypt it: it is the scent of a deep sea, salty and rocky, harnessed inside antique wooden casks.

At 64 Corso Umberto I, in Cetara, the Giordano family’s shop and laboratory, whose blueish sign asserts: Nettuno, prodotti ittici conservati (preserved fish products), has resided since 1950. I visit them on a late August Friday, after an epic drive along the renowned turns of the Amalfi Coast, still in its balmy golden season. Giulio is waiting in his workshop and, after a vigorous handshake, immediately points out that although on their website and sign one can read since 1950”, his family’s activity dates back to much more remote times. Before his father Raffaele, there was his namesake, grandfather Giulio, and one could continue backwards through this circularity of names in a loop perhaps as old as the colatura itself. His family heritage awakens a fresh memory: “In Cetara colatura was once only eaten in winter, when you did not have fresh fish; you would eat it on Christmas Eve, to season pasta, whereas now restaurants serve it year-round, thankfully!”

Credits: www.nettunocetara.it

While starting from the ‘90s its consumption has spread over 365 days per year, the production of Nettuno’s colatura tradizionale, which proudly carries a Slow Food snail of approval, strictly complies with the rules of the biologic calendar, rather than the market ones: in the Gulf of Salerno, between April and August (or according to other beliefs between March 25th, the Annunciation, and July 22nd, Saint Magdalene’s Day) large schools of anchovies approach the coast to lay their eggs. In the dead of the night, boats equipped with fishing light attractors (locally called cianciolo) fill their nets with a silver prize. “Before six in the morning we have them here in the workshop”, says Giulio, and from that point on a story that will last for two years begins. The procedure prescribes for anchovies to be immediately decapitated and eviscerated (scapezzate), and left for the following 24 hours in a wood container filled with salt, “so they lose water”. What follows, if one were to hear it before tasting the final result – what are you waiting for? Shame on you! – would likely sound impossible to work. It is a fermented fish juice, and it is ancestral, mysterious, marvelous, exquisite. To summarize: the anchovies, now partially dehydrated, are ready to be arranged testa-coda (heads-to-tails) inside the terzigni (keg-sized, open-top chestnut barrels), in between abundant layers of salt. The last layer sketches the corona (crown), a sunburst of tiny fishes acting as the colatura maker’s signature, this one being Nettuno’s:

frame from the video: https://www.youtube.com/watch?v=PON9sILM9bc

The corona will be first copiously covered with salt, then capped by the tombagno – a wooden disk with smaller diameter than the barrel’s opening – on top of which “river stones taken from the sea” will rest, smooth and heavy, gathered by the grandfathers and washed only once in freshwater before touching forever and exclusively saltwater. Roughly 25 kilograms of fish lie inside each terzigno. Seasons become accomplices to the rest of the production process: salting in Summer, with its generous temperatures, triggers the fermentation of the anchovies that, mashed by the stones’ weight and by the salt’s action, slowly release an amber liquid to the surface, leaving their solid component on the bottom.

Months pass and the liquid grows, gradually browning. Giulio allows me to snoop into the 70-year-old terzigni, while pointing out the different stages of maturation of what cannot, yet, be defined as colatura. At least two more Springs have to pass before the liquid retraces its path: poking the bottom of the barrel with a corkscrew key (vriale) will promote the descent of the fluid through the layers of fish and salt, further flavoring it and finally filtering it. Drop after drop, colatura is collected.To close the circle, what remains of the fish, now plundered of its essences, goes back to the sea to become feed in aquacultures.

It is impossible at this point to ignore the connection to the Roman garum so dear to Apicius. Sure, but if you let Giulio tell the history of this incredibly versatile flavor infusion, he would trace it back to the second half of the XIII century. It is thanks to the proverbial and accidental monastic luck in food preservation that colatura, originally the by-product of fish stored in forgotten salt-filled barrells, was born. And we, gratefully, thank both the absentmindedness of the Cistercian monks of the Amalfi hills and those devote fishermen who, homaging the clerics, begat a food surplus in the monasteries’ pantries which was crucial to light the fuse of their creative techniques.

Speaking of versatility, if I were to hazard a comparison, I would relate the colatura to monosodic glutamate, yet without the Chinese Restaurant Syndrome’s psychosis lurking. Umami, iodiny. To be used in deliciously simple recipes such as spaghetti – but the Gragnano ones, and rehydrated in unsalted water – with EVOO, garlic and parsley, or steamed vegetables (Giulio suggests potatoes and aromatic herbs), or even on fish itself. Something bolder? O’ sang ‘e Maria, the Cetarese version of a Bloody Mary created by chef Pasquale Torrente from Il Convento, where colatura replaces salt, would be an emblematic example. Here are some tips that you will not find on the label: how to better preserve it, for example. Giulio docet, rule #1: outside the fridge. And don’t turn up your nose if within some weeks the colatura will brown, turning to a mahogany shade. It’s the oxidation process that – how lucky – not only doesn’t spoil the product, but enriches its flavour with further depht and longevity of taste . Once it’s opened, you can throw away the supplied cap: an unpeeled garlic clove or an oregano sprig will work even better. Herein I didn’t say everything: for instance how Giulio is a natural born communicator, how dedicated he is to his work, or how infectiuos his humor is. But I can say this: from the 20th to the 24th of September you will find him in Turin for the Salone del Gusto.If I were you, I would drop in.


Corso Umberto I, 64 – 84010 Cetara (SA)

Tel: +39 089 261147