During his expiring term at Loewe, Jonathan Anderson has fostered a collaborative spirit for the brand.
The Irish designer has propelled Spanish marque to unexpected territories: in Switzerland, Loewe has boujee-fied On trainers; in Japan, it's embraced the whimsy of Studio Ghibli's trio of standout IPs; in Ibiza, it's partnered (and partied) with Paula's to re-introduce bohemianism to luxury fashion.
Final stop: France.
Cognac, to be specific—just a hop, skip, jump and nine hour drive (it's all relative) from Loewe city, better known as Madrid.
As hinted by the region's name, we're getting an Anderson brandy.
A Hennessy Paradis (Jonathan's version), to be precise.
Patently inspired by one of Anderson's most popular collections for the fashion casa—the uber-outdoorsy Loewe men's Spring/Summer 2023—each bottle of Loewe x Hennessy Paradis is cocooned in a handcrafted leather nest.
The design is inspired by the cupule (or burr) of a chestnut since Hennessy traditionally employs chestnut wood as part of its cognac production. In brown, the stimulus is obvious, but the “nest” is available in two alternative colours that nod to Anderson's fantastical artistic choices.
And it wouldn't be Anderson-era Loewe without some special packaging.
To salute the odyssey that has been Anderson's incumbency, each bottle arrives in a moving crate.
Why?
Well, as my mother (of a father from County Leitrim) taught me, recent trips to Dublin's EPIC The Irish Emigration Museum and Boston's North End confirmed and Anderson's adiós has verified, the Irish have never been very good at staying put.
To secure one of the limited-edition Hennessy Paradis x Loewe bottles, head to the Hennessy website to fill out an access form.
Originally published on Esquire UK
MOGĀ at Pullman Singapore Hill Street has never been about tradition. The name itself, is short for "modern girl" or modan gāru (モダンガール), which refers to the women who adopted Western stylings after WWI (a war that definitely does not deserve a sequel). In those days, these women were seen as defiant, going against the societal and gender norms of Japan’s Taisho era; which is the sort of spirit that MOGĀ wants to uphold, especially with its new menu, Breaking the Norm.
The brainchild behind the menu is bar manager, Gavin Teverasan, who has a decade's worth of experience working at many illustrious local bars like 28 HongKong Street, Neon Pigeon, Nutmeg & Clove. With the new menu, Teverasan wants to spark "curiosity and excitement among guests”.
The "Breaking the Norm" menu presents eight "Izakaya" cocktails that showcase a reimagining of the classic flavours of Japan. There's the Martini with a Japanese twist: the Dirty Saketini. This sake-shochu martini is laced with house-made pickling brine, which leans into its saltiness.
Then, there's the Frozen Drink, which wins no awards for originality for its name and looks like something from a '70s diner but will hold the interest of the adults thanks to its alcoholic properties. It's a whisky milkshake that blends taro liqueur, cream, azuki beans, and matcha; there's even a wafer biscuit and a Pocky stick to chew on. Speaking of munching…
Leon Quek, MOGĀ's head chef, complements the "Breaking the Norm" menu with some new bar snacks like the Spicy XL Clams that bring layered heat with chilli bean paste, saikyo miso, and coriander. There is the Crispy Squid, an unassuming dish; dusted with sansho-spiked fish sauce, kizami yuzu, and green chilli, it cuts straight through with its sharp profile.
(Aside from a new menu, expect guest shifts at MOGĀ as it hosts some of the biggest names in the region like Vender from Taichung and The Curator from Manila.)
We see what MOGĀ is doing with its menu. We don't know how much of the envelope the place pushes but it's a start. And besides, nothing like bucking conventions other than with a whisky milkshake in a bar setting.
MOGĀ is located at Pullman Singapore Hill Street, 1 Hill Street, Singapore 179949.
It started with White Lyan. When it first opened in 2013, Ryan Chetiyawardana revolutionised the cocktail scene by eschewing the use of perishables—no ice, fruits, and garnishes—all in the bid to prioritise sustainability.
His efforts proved fruitful; White Lyan garnered the Best New Bar in the World award from Tales of the Cocktail Foundation the following year. Chetiyawardana's innovations into sustainability further redefined his career. With accolades like Imbibe's Innovator of the Year(2014, 2016) and the launch of many bars, Chetiyawardana continues to be a fierce advocate for sustainability.
Recently, in town to promote Belvedere 10 via a masterclass (about luxury martinis, natch), we took the opportunity to talk to the multi-hyphenated award-winning bartender, author, and consultant.
How did your association with Belvedere Vodka come about?
I've been close to the brand for several years, but I have also been a passionate champion of the vodka category (and that of the evolution of luxury). I was super excited by Belvedere exploring a brand new showcase of the vodka world, and to really push into something that redefined the idea of a luxury vodka. I've been friends with the team for a long time, so hearing firsthand from Mike [Foster, Belvedere Vodka's global trade engagement & customer experience manager] and [others] about how the product came to life was super exciting.
You applied Belvedere 10’s historic 1910 recipe for your martinis.
I wanted to translate the story of the product into something delicious, and something that could really demonstrate the unique facets of Belvedere 10.
My focus was to talk about scarcity, luxury and provenance so combined it with other single-origin products, but also looked to lift both sides of the spirit. There's the rich weight and texture and cacao notes, as well as the cleaner, bright citrus aspects. Given the body of the vodka, a martini made perfect sense as a canvas to do this. I wanted something that balanced rich storytelling with something that pushed what a martini could behave like.
What’s something that didn’t work out but profoundly impacted your career?
We purposefully leave a lot of room in our work to allow for failure—it's a key part of R&D. From a business point of view, these failures are teachable moments. From being insensitive about how I told the team we were going to close/evolve Dandelyan, to launching products hoping the premise and flavour alone would carry them through to investing too much into a development before gauging the right return timelines.
A good idea is meaningless if you can't connect people to it, and trying to force the timing will inevitably end in failure.
What's an unexpected fact people don't know about you?
That the balance of arts and sciences has been a constant in my style. I have also been very open about my belief in learning from as wide a range of sources as possible. How everything from my time in the kitchens to how you run aseptic technique in a lab has influenced my movements behind the bar.
I didn't realise until it was pointed out by my siblings was the influence of music (how I hold things) and kung fu (the steps used to move between points) have shaped the way I bartend.
Who would you collaborate with outside the food and drink industry?
We always used Grace Jones as our inspirational character when we developed Lyaness (especially after having served her as a young bartender). And I always wanted to make a drink for David Bowie.
But I'm always fascinated by those in any field who look at the world differently, and there are many that fulfil these spots. I think there's scope for a truer collaboration when you have a sense of connection. Like Isamaya Ffrench, who is friends with my sisters and does some super cool, and very diverse work; it would be very fun to collaborate with her.
How do you create the ideal atmosphere in your bars?
It's all about the people. Of course, we spend so much working with Jacu Strauss from an interior design perspective, and with friends on the music and programming. We work on our graphic design with Magpie Studio but the part that really brings things to life is the team; we work hard to give them the structures and confidence to be themselves.
What was your first martini experience like?
I was so blown away by the sophistication, elegance and style of it. Even though I didn't understand it, I found it beautiful, nonetheless.
Are there any cocktail trends you see that are problematic to the industry?
There's a homogenisation where people are erasing their own personalities to chase what's popular, or what would get them awards or recognition. The brandification of all things in an "all things to all people" approach is not only boring, it's dangerous.
How would you create a drink menu if the budget, ingredient sources, and resources were limitless?
[We'll keep to] the same process that we currently do. But it would be amazing to give everyone—our graphic design partners, our teams, those who source ingredients, glassware, etcetera—free reign to really push their ideas.
I believe in creative restriction, but there's also something amazing that happens when you allow ideas to snowball (not just go for bling) and money alleviates pressures around this.
What’s the most unexpected or unconventional inspiration for a drink you’ve ever had?
The first time Dave Broom gave me ambergris. It was totally different to any ingredient that I'd ever encountered. It's magical and speaks to time, boundaries and connection in a totally unique manner.
In your opinion, what do you expect to see in the cocktail industry in 2025?
I'm hoping for more focus on a sense of locality—both in terms of ingredients and sense of place. But also in terms of outlook, culture and style.
What's a question you wished someone had asked you?
"Can I help you with that?"
If you're looking for a Chinese New Year article, check out this one about Year of the Snake themed Spirits.
Sake occupies this liminal space where it's both a heritage built upon generations of craft, but also a liquor that wouldn't seem entirely blasphemous to add flavour to. Pineapple Chili Whisky will just have to remain a pipe dream for now.
When we first got wind of MÙA Craft Saké, its unique editions beyond conventional Japanese fruits easily roused curiosity. Guava Kumquat, Passionfruit Cubeb... it all seemed kinda regional. Then came the double whammy discovery that the brand was founded in Vietnam; which made it all make sense.
While flagship product The Classic uses standard Japonica rice strain, someone must have figured it would be a pity for Vietnam's first craft sake brewery not to harness Vietnamese-grown Indica rice. ST25, what we like to think is the long grain's hood name, marks the labels of the specialty range.
It's Japanese craftmanship meets Vietnamese ingredients. We say this because Japanese koji mold is what kickstarts the fermentation process, and the yeast strains are imported directly from the brewing institutes of Japan. For those concerned with the water, the local source is stripped of impurities to ultra-clean perfection.
Interestingly, MÙA falls under the Namanama subcategory of sakes that do not undergo two typical rounds of pasteurisation. Instead, the single pasteurised spirit is fruit-based filtered to enhance the blend and round the flavours. So really, meticulous standards of Japanese brewing techniques matched with the best of Vietnamese cultivation.
The current range spans
It's great when a product actually lives up to its description. With Pineapple Chili, you can discern hints of the fruit and an obvious spice on the palate in a way that is balanced and not overwhelming. The Yuzu Dragon is equally light and easy when neat, almost taking away the guilt of drinking.
We also got to savour the Pure Rice, which is the first 15% ABV of the range. That's nearly double the ABV of Pineapple Chili but honestly, it was too smooth to tell. If you happen to be familiar with Niigata's Hakkaisan sakes, its taste profile resembles the 3 Years Snow Aged Junmai Daiginjo. Again, proceed with caution because my god does it go down effortlessly.
The Pure Rice earns a dedicated spot on the board with a cocktail of Calpis, peach tea, and lime. Peach Please (SGD18) is available until 31 December.
Sake Saturdays brunch programme will host the array of Pineapple Chili, Passionfruit Cubeb and more in taproom-style, complete with three-liter party kegs. Cause you know, brunch hard or go home.
MÙA Craft Sake also stocks at Omu Nomu for seasonal releases, Good Luck Beerhouse, and Sushi Zushi.
As we contemplate the light-amber liquid in our long-stemmed tasting glasses, Shinji Fukuyo uses a surprising word to describe the delicate flavours in his latest creation: antique. Fukuyo is the chief blender for House of Suntory, the esteemed Japanese whisky producer perhaps best known to non-aficionados as the brand that brought Bill Murray to Tokyo as its pitchman in the 2003 movie Lost in Translation. Here in an elegant hotel dining room in midtown Manhattan, it is very much Suntory time again. And my lucky fellow tasters and I are about to sample a rare new bottle—with a price tag that’s hard to fathom.
Fukuyo has come to New York to introduce the Hibiki 40-Year, the oldest “expression” ever offered of Suntory’s premium blended-whisky brand. It combines five different whiskies from three separate distilleries. Just 400 bottles of the Hibiki 40-Year are being made available for sale globally at a retail price of SGD47,000 each.
While I inhale the fruity nose—do I detect notes of lychee and apricot?—I’m subconsciously trying to calculate the value of the thimbleful of spirit I’m about to sip. I take a taste. The finish is long, subtle, and warm. Fukuyo compares the Hibiki to golden cups made hundreds of years ago in Buddhist temples. “The gorgeous golden color has gone,” he says, “but it’s still very beautiful, with a very antique flavour.” I buzz with an appreciation of wabi-sabi, the evolution of beauty over time.
A quick confession: I’m no whisky expert. Do I enjoy savouring the occasional glass of good stuff? Sure. But as I glance around the room at others using their trained palates to parse out, say, hints of spice and sandalwood, I feel a little inadequate. Here’s what I can report: The Hibiki 40-Year is delicious. Worth the money? That’s tougher to say.
The SGD47,000 Hibiki is not a market anomaly but rather part of a marketing trend in which whisky makers are releasing very old limited-edition bottles at price points appealing to oligarchs and people who bought bitcoin in 2015. One extreme example: The Macallan recently introduced the Time:Space Collection, which pairs an 84-year-old single malt Scotch with a bottle of newer vintage—and retails for an eye-popping USD190,000.
“I think that these bottles are more of a marketing ploy than necessarily an enthusiast’s attraction, because obviously the target market is the ultrarich,” says Tim Fischer, a spirits expert who offers his insights online as the Whisky Influencer. “I’m sure the experience of drinking the whiskies is remarkable, but for the average consumer it’s unattainable. It grabs headlines, though. So it draws eyes to their brand.”
A couple days after tasting the Hibiki, I find myself in a suite on the 41st floor of the Ritz-Carlton NoMad to try another ultra-expensive whisky. In honour of its 200th anniversary, The Glenlivet has produced a 55-year-old single malt Scotch called The Glenlivet Eternal Collection, First Edition. Just 100 bottles would be for sale worldwide at a cost of USD55,000 each.
Our tasting guide is Sandy Hyslop, a voluble Scot who, as the master blender at Chivas Brothers, oversees The Glenlivet. He spent six years planning this expression, ordering special sherry casks for the project and nurturing the whisky carefully. “This word gets used far too much these days, but it was a bespoke process,” says Hyslop. “The sherry cask was bespoke, the testing, everything was hands-on. Myself and the team were all over it every month. We were making sure that we were just nursing it along this journey, because we knew that there was going to be a lot of chat about it being the oldest expression from the distillery. It was going to be a lot of scrutiny, and what we wanted was to make sure that everybody was just completely wowed with the flavour.”
As we sip and savor the 55-year-old, Hyslop’s enthusiasm is infectious. He points out notes of dates, pears, cloves, Seville orange, ginger, and bitter dark chocolate. “It’s sweet, it’s spicy, it’s dancing on the tongue,” he says delightedly. “For something that’s over half a century old, how amazing is that on the palate?”
Indeed, it’s hard to put a price on it.
Originally published on Esquire US
Nothing is simple in life. There has to be some snag or obstacle thrown in; the proverbial monkey wrench, the fly in the ointment. But if other people’s stories have taught us, at the end of the ordeal, the taste of victory tastes much sweeter than the bitterness of the trials preceding it. Or in Larry Peh’s case, it is his first-ever brewed sake with his creative collective, NORMAT.
Co-founded by the two-time President’s Design Award winner, NORMAT is about “marrying traditional craftsmanship with contemporary design in a truly unique way”. The collective name—NORMAT—is cribbed from “normative”; with the “ive” taken out to adhere to the “out-of-the-box” thinking.
For Peh, he wanted to create a sake that could “harmonise with the diverse range of local and international culinary experiences”. A bold jumping-off point as it took years to persuade a Japanese brewery to work with him. The result is three sakes that are versatile, that can pair effortlessly with a gamut of Asian cuisines. (The third sake, the Nakadori Junmai Daiginjo is a premium sake that’s made from the “middle press” method—a portion of the sake is collected after the first flow of the sake mash. This middle cut is considered as the “heart of the pressing process” and the Nakadori Junmai Daiginjo is limited to 120 bottles.)
It’s a bold claim, so we sampled the Tokubetsu Junmai and Junmai Daiginjo bottles with dishes from The Coconut Club. Brewed with a unique blend of Gohyakumangoku and Tsukiakaririce, tasted alone, the Tokubetsu Junmai is light on the palate with a refined finish. It goes great with the Gohu Ikan starter, which is a coconut dressing and kermagi oil drizzled over Hamachicrudo. The heavier body of the Junmai Daiginjo (brewed with Koshitanrei rice and Niigata mountain water) fits with the nasi lemak (ayam goreng berempah; chilli) and quite frankly, this writer was draining the glass of Junmai Daiginjo more quickly than the Tokubetsu Junmai.
So, yes. The tasting proves the compatibility of the Tokubetsu Junmai and Junmai Daiginjo and the menu at The Coconut Club. We can’t speak for other cuisines like chicken rice or char kway teow; dishes with wok hey or with the headiness of chicken curry. But we leave that conclusion to you. Experiment, do your own critical studies. Even without the pairing of dishes, the drinks stand on their own.
NORMAT’s “Against the Grain” sakes are sold online
From founding the menswear label, Faculty, and leading the branding consultancy &Larry, Peh now channels his attention (and love for sake) into his latest venture, NORMAT. The brand, developed under Archivist—a company he co-founded with Craig Neo and Keith Ong—launched its inaugural line of sake, offering a modern twist on a tradition. Peh’s dedication led him to Japan, where he personally visited breweries to pitch his vision. We sat with him at ÁTIPICO | ROOM #15 to discuss his journey into sake and the launch of NORMAT.
ESQUIRE: How did you first come across sake?
LARRY PEH: I can’t remember exactly. Maybe around 15 years ago. I’ve never been a fan of wine, especially red wine, probably because I’m sensitive to tannins. Maybe less so from super expensive wine.
ESQ: What happens when you drink alcohol or wine?
LP: I get headaches and can’t function the next day (laughs). I had a billionaire client from Tokyo who loves sake. He had breweries exclusively making sake for him, different kinds for different meals or events, like meetings, lunches, dinners or celebrations. One night before a big presentation, the company threw a huge celebration and I had a lot of sake. I didn’t notice the amount I had until one of the clients asked if I’d be okay for the presentation the next morning. That’s when I recalled I had to be up early for it, but, of course, I said yes.
ESQ: How did you feel the next day?
LP: I completely forgot about the drinking and went ahead with my presentation. I did great and people applauded. As I was leaving, the same client from the night before said he had a great night. That’s when I made a connection ” Oh my God, this is actually my superpower.”
That’s how my obsession with sake started. I travelled around Nagano, and Hiroshima in Japan, supporting local sake breweries. Every manufacturer will have its own nuances and a different way of brewing. I would try different types and get drunk as a tourist walking around with small bottles but that’s how I discovered the brands I love.
ESQ: What brands do you like?
LP: The first one was Shichiken, which won some awards. To be honest, I didn’t know much at first, but just like every layman, I saw the award label and thought, “wah... it's award-winning, have to buy". I bought one bottle, drank it in my hotel room while doing some work and went on as usual the next day.
ESQ: How did the name NORMAT come about?
LP: It’s based on the word “normative,” meaning to make something a norm. I shortened it to NORMAT because I wanted to take something traditional, put it in a modern context, and set a new standard. For example, fried chicken and beer became a norm thanks to Korean culture. I want NORMAT to be the same. Whether it’s Indian food or Char Kway Teow, let’s pair it with NORMAT. That’s my hope for the name.
ESQ: So what’s your approach to sake?
LP: I wanted to create a sake that is both complex and simple, something anyone can enjoy. But most importantly, I wanted it to pair well with more than just Japanese food. Singapore has a global cuisine like French, Italian, Peranakan, Indian dishes, you name it. My sake should work with all of them. I remember I experimented by ordering all kinds of food and trying different sake pairings during COVID-19. I mean I had nothing better to do, it was lockdown season.
ESQ: Was there a baseline of cuisines to experiment with?
LP: I didn’t have a baseline. I never knew what my wife would cook or what friends might bring over, so I’d try different sakes with whatever came. Sometimes it worked, sometimes not. I took notes and figured out what kind of sake would work best.
ESQ: So a lot of trial and error?
LP: Yes definitely, and eventually I realised I had something. I created a sake that could work with almost any dish. That’s how NORMAT sake came to be. I didn’t want to focus on pairing, like “this sake goes with this dish.” I wanted harmony, a sake that balances with the food, not clashes.
ESQ: It’s like a new discovery.
LP: Yeah exactly, I kept looking at the market and I saw a gap. Nobody was really doing what I wanted to do. So I kept working on it until I got it.
I talked about pairing earlier, which comes from the culinary world like wine and sake pairing. Sake has gotten into this pairing trend, but to me, that felt more like a burden. When you talk about pairing, it’s like me with you, or A with B, but I thought what if we stop thinking about pairing and look for some kind of harmony instead? A balance where sake doesn’t clash with whatever you’re eating. If it clashes, forget it, drink water or something else.
So that is why we created the one-of-a-kind NORMAT sake. I couldn’t make one bottle to go with everything, so I made two. Maybe next year we’ll have a third. But for now, these two can go with almost everything.
ESQ: You’re very confident. What makes you so sure?
LP: Some dishes will work beautifully and harmoniously. For others, it’ll just be nice to go with. If you take the idea of pairing out, there are a lot of things these two sakes can do. I’ve even tried them with pastries and coffee. I’m going against the grain. The Japanese might say, “You can’t do that with this,” but why not? I’m basically slowly pushing boundaries—not breaking them—but seeing where and how far sake can go.
ESQ: Did you get your ideal sake on your first try?
LP: What’s interesting is you can’t just add things and get it right, you have to brew it first. There was a lot of communication during the process. I had to get the trust and blessing from the farmers, that’s how it works traditionally. The brewery helps the farmer in summer, and the farmer helps the brewery in winter. I had to explain what kind of sake I wanted, and the farmer would tell me which rice would be best.
We drank a lot of sake to map out what we liked—notes from one, umami from another. I’d say, "The alcohol percentage is too low here, let’s mix this rice." Based on their experience and what I felt, we planned it all out, then we made it together. The first time I tasted it was straight from the tank, unpasteurised, undiluted. There’s a video online of my partner Craig and I tasting it and saying, “Yes, this is it.”
ESQ: How long did it take?
LP: Working with them took two years, but the actual brewing took about three to six months. We weren’t there all the time. After we planned everything, the brewing started, and we were there whenever they needed help.
ESQ: Are you able to replicate this process in other batches as well?
LP: Yes yes, it’s not a problem because it’s quite scientific for them. Also, I had the chance to farm on the land, which was a once-in-a-lifetime experience.
ESQ: How long did you farm for?
LP: Just for a day (laughs). But a lot of it is automated. We drove in a vehicle that couldn’t fit into some areas, that’s when the farmers manually planted it.
They created a beautiful logo using rice; you can see it on our Instagram. It changes colour with the seasons—from summer to autumn, winter and then [the leaves go] "botak" (Malay word for bald). You can see the logo transform through the seasons. I realised through working with them that trust and becoming like family are what make things happen. It’s different from just talking about money.
ESQ: Did you have to learn Japanese to communicate with them?
LP: I tried but I didn’t have time for formal lessons. My Japanese is bad and I can't speak much but I have a natural flair for understanding people even if I don’t speak the language. I use a translator, body language, and a few words I’ve picked up. They don’t always speak their minds so I pay attention to certain words or gestures to understand if I’m on the right track.
ESQ: What did you do when you were looking for a brewery to work with?
LP: I narrowed it down to a few brands I loved but everybody turned me down. Including Kubiki who finally agreed to work with me. They were one of the many who initially said no.
ESQ: Why did you go back to the brewery after they rejected you?
LP: It’s interesting because there are many sakes that I love, but Kubiki Shuzo wasn’t on my original list. I didn’t know about them and hadn’t tried their sake. A friend of a friend took me to Niigata to see some breweries and as usual, they refused.
We visited a bronze sculptor on the last day and he asked if we had tried Kubiki Brewery. I had never heard of it until he started praising it, saying he had tried every sake in Japan but always came back to Kubiki. I tried it and wasn’t sure at first. I returned to Singapore and continued trying other sakes but I couldn’t stop thinking about that brewery. I ordered more bottles and kept returning to them. There was something about their sake—this lingering aftertaste—the umami that stays with you. I went back again and again, proposing new ideas. Eventually, I think they were charmed by my sincerity and after many months, they finally said yes.
ESQ: Why do you think so many breweries rejected you?
LP: First of all, I'm an outsider. Secondly, they stick to tradition, and they probably thought I wasn’t serious. They didn’t tell me this directly, but I could feel it. Thirdly, maybe it was insulting to say I wanted to create a type of sake I couldn’t find. When I said that, it likely put them off—like, what do you mean we don’t have this kind of sake? They’d offer other sakes instead, thinking they already had what I was looking for. It felt more like competition than cooperation, rather than looking at my idea and saying, “You’re right, there’s a gap. Let’s create something new together.”
ESQ: What was your vision for working with sake?
LP: I wanted to create a brand that bridges traditions and modern design. The idea was, that if we love these traditional things, we can do something to keep them relevant so they don’t disappear. That’s how NORMAT started. When I sit with my parents or older folks, they always talk about how things used to be, and I hear the same from the Japanese.
ESQ: But sake isn’t going to die out, is it?
LP: It’s actually declining in Japan. There are about 1,700 breweries now, and only 1000 are still active.
ESQ: Why is that?
LP: Sake is typically seen as an old man’s drink in Japan and is mainly tied to Japanese food. The younger crowd prefers champagne and other “cool” drinks. Many first encounters with sake are bad experiences, like cheap sake, bad taste. Sake is growing globally but declining in Japan. For instance, Singapore is now ranked sixth in the world for premium imports, even though we’re a small country. The rest of the world is catching up while Japan lags behind.
As a sake sommelier myself, I still find it confusing when looking at sake. Especially from lesser-known brands with descriptions that require Google Translate. Many sake brands have become more modern with English labels but even so, there's still a bit of "mumbo jumbo" to figure it out. I thought what if I could create a sake that is complex yet simple enough for anyone to enjoy?
ESQ: You're known for collaboration in your design work. What’s special about collaborating with others?
LP: It’s the classic Singaporean story. We’re a small country so I can’t do everything in-house. I work with people who are experts in their fields and we share knowledge to create something new. It’s not about exploiting each other; if we both bring something strong and relevant, something great can happen. That’s how I’ve always worked, whether it was for &Larry or for NORMAT. The brewery saw my point of view and agreed it was worth experimenting and working to create something new.
ESQ: Does this mean the sake is only suited to Singaporean climates?
LP: No, one thing I’m proud of is its versatility. My favourite way to drink it is straight, which goes against the usual advice from breweries or sommeliers. Sake is traditionally meant to be paired with food but I wanted it to be something you can enjoy on its own. Whether you’re alone, watching Netflix, or at a small gathering, it should work. I told the brewery that they needed to check all these boxes. It was a tough brief, but they made it happen.
ESQ: It sounds almost too good to be true that a sake can fit so many palates.
LP: I think so, I’m confident in it but you have to try it for yourself to see how it behaves with different foods. One is more elegant and slightly sweet, while the other is drier and more acidic, so it pairs well with more complex dishes. Some people have described them as more masculine or feminine. You don’t need to be a sommelier to tell. Everyone’s taste buds are different, but either one won’t fail you. It’s about finding harmony.
Photography: Jaya Khidir
How old are you?
To describe or identify someone, age is often a key virtue. Which is strange, given that it’s an attribute that changes every—hold on, let us check—365 days, according to the Gregorian calendar. The abstraction of time is what made it so interesting. It meanders through different phases, slipping us into a new skin at each stage: Son, husband, father. And at a certain point, all three simultaneously integrate into your persona. Not to get excessively metaphorical on you but that isn’t too far of a journey from The Macallan. While we will probably never get to be 200 years old (though at the rate science is going), you can imagine how many guises a bicentennial would have embodied in his lifetime. For The Macallan, its two centuries of storied malt and wood, gleaming copper stills and possibly tartan-covered marketing meetings.
Still, you don’t dominate the world’s single malt market by accident. The Macallan began in 1824 as a modest operation. It wasn’t until the 80s when whisky suffered through the “whisky loch” that The Macallan arose against the odds. Demand crashed, distilleries shuttered… but while others sang their swan songs, The Macallan leaned into the pivot.
With their ample stock of mature casks, they launched legendary bottles like the Anniversary Malts, shifting focus toward single malt production and embracing a distinct identity. The 25- and 50-year-old releases became instant collector items and by the early 2000s, the brand had set—and broken—several world records for the most expensive bottles of whisky. Its sheer dominance and stability anchor whisky investment indexes in present time. Unfazed by the volatile market, the mainstay is much like gold in the stock world—a sure bet that consistently upholds pure value.
Today, The Macallan’s 200th anniversary might just be its finest achievement. The infinity symbol a representation of many full-circle milestones. Because for a distillery with serious staying power, whisky is not just aged—it’s ageless.
The road to making great whisky may be a laborious process but it’s well-earned. And like the efforts that go into whisky-making, so does The Macallan’s relationship with the bars. For this endeavour, time and space is paramount: time spent to earning the bar’s trust and the space where the bartenders can work their magic with The Macallan’s whiskies.
As a topper to the year-long celebration of The Macallan’s 200th anniversary, 12 bars were chosen to give their take on the brand’s past, present and future. Visitors can patronise the bars and order a speciallycreated flight of three drinks, each made from The Macallan’s base whiskies.
We have highlighted a cocktail from each bar and talked about the inspiration for the cocktail. For the rest of the flights, we’ll leave it to you to discover when you pay them a visit.
After all, what’s a little mystery in one’s life?
Every flight at each bar consists of three base whiskies from The Macallan: The Classic Cut 2024; A Night on Earth in Jerez; Harmony IV Vibrant Oak.
You don’t have to be a whisky purist to know there are two ways to savour a dram: neat and on the rocks. Taste it full at cask strength for its unfiltered intensity and/or "cut" it with water to unlock its hidden facets. Two modes of enjoyment, if you will.
The eighth edition of this range nods heavily toward tradition. Aged in European Sherry-seasoned casks and ex-bourbon barrels, casks are selected under the holy gaze of Macallan’s Master of Wood. Crafted to exacting standards, the oak barrels infuse the spirit with natural hue and flavour; where the contrast between power and refinement allows for the experience to evolve with each unfolding layer.
Let the burst of vanilla, orchard fruits, and marzipan surprise in its unadulterated state. Watch it transform under the influence of water; your palette awashed with baked custard, milk chocolate, and sweet green apple, balanced by oak spice.
As is the purpose of most good liquors, celebration is always at the heart of it. At the threshold between the final chapter of a year and the start of a new one, “A Night On Earth” is The Macallan’s way of ringing in the well-wishes. The third release in this selection lands us in the heart of Spanish winemaking—Jerez de la Frontera. Not only is it the birthplace of the greatest single contributor to the house’s signature Sherry but it's also where New Year is more than just a countdown.
Capturing both Andalucían vineyards and festivities, this expression marks a moment where sun-soaked grapes destined to create wines ultimately season the oak casks that define The Macallan. The casks are more than vessels, they are time capsules that carry the whisky’s natural profile.
Each whiff smells like a kitchen filled with holiday treats and aromas: Honey-coated pestiños, sweet raisins, cinnamon, and a pop of citrus zest. On the palate: a crescendo of white grapes and honey-glazed almonds, dashed with vanilla and subtle rosemary. The finish recalls a warm buzz from an evening's party. A joy of shared moments and traditions.
No chronological passage is complete without the future. As individuals march forward in life, so does humanity move in contemplation for the next generation. This special line explores the potential The Macallan can embrace for the next 200 years.
The Harmony Collection’s fourth release is a statement beyond eco-conscious elegance. It proposes to be a whisky that's not simply consumed but an ode to beauty reproduced from waste. Previously a by-product of the brand's iconic oak casks, discarded oak chippings are reborn as packaging for the single malt.
On the nose, a blend of vanilla bean, sweet sherbet, and lime—an introduction that evolves into delicate pears nestled within creamy panna cotta. Tastewise: a buttery shortbread with a sprinkle of lightly toasted coconut is brought to the table, balanced with almond brittle and apple.
Hints of orchard and artisanal dessert are underpinned, of course, by sweet oak; your tasting journey ends on a note that feels both familiar and refined; a testament to the days to come.
161 Lavender Street, #01-12,
Singapore 338750
This reimagined Old Fashioned is the brainchild of Zack Lee, mixologist and founder of Lunì. Called Echoes of the Woods, this cocktail channels the essence of ancient forests. The Macallan Classic Cut 2024 provides a rich, oak-forward depth, balanced by the comforting sweetness of homemade vanilla syrup. Benzoin tincture adds resinous, aromatic intrigue, while the orange zest enhances the sensory experience, blending its bright, citrus scent with the benzoin’s earthy warmth. Each sip evokes the timeless allure of woodlands, warm and mysterious.
28Hongkong Street,
Singapore 059667
Lukas Kaufmann, general manager of the lauded 28 HongKong Street, returns to basics with this drink. Highlighting the flavour profile of The Macallan Classic Cut 2024, Kaufmann serves up an Old Fashioned—a perfect tribute to the nascent days of cocktail-making. Noting that The Macallan Classic Cut 2024 single malt was matured in a combination of sherryseasoned European and American oak, and ex-bourbon casks, Kaufmann adds PX sherry to bring out the nutty notes that are also complemented by chocolate bitters. For a finishing touch, this Old Fashioned is paired with a toasted butter wafer.
333 Orchard Road, Level 5,
Singapore 238867
Conceptualised as parts of a dinner course, Michael Mendoza, head mixologist of Ginger.Lily, meant for the “Starter” cocktail to be a simple and refined way to enjoy The Macallan Classic Cut 2024. A splash of water unlocks the subtle fruit and caramel spice notes; a dropper of soda draws from the classic Highball, enhancing the drink with refreshing fizz; a touch of cranberry levels out the sweetness and tartness: this is an encapsulation of the whisky’s bold character coupled with a satisfying kick.
1 Cuscaden Road, #01-02
Conrad Singapore,
Singapore 249715
“The inspiration [for my version of the Rob Roy] came from one of my favourite classics and also one of the first cocktails I learnt that sparked my interest when I started out in the bar.” – Mark Ng, bar manager
10 Claymore Road, Level 11
Garden Terrace,
Singapore 229540
“Sherry Cherry celebrates The Macallan’s A Night on Earth in Jerez. Blending its rich sherry-cask heritage with the vibrant sweetness of cherry purée. Fino sherry gives it a dry, nutty depth, while sumac provides a modern tang, creating an elevated and celebratory twist on a classic whisky sour.” – Leslie Kuzmenko, bar manager
16A Duxton Hill,
Singapore 089970
Putting a modern twist on the Godfather (a ’70s classic made from Scotch whisky and Amaretto), Jungle Ballroom’s bar manager, Adrian Besa sees this cocktail as an Old Fashioned with an attitude. Because why use sugar when you can use flavoursome liqueur or spirits? Replacing the Amaretto with peanut butter rum for that nutty element, Besa also added an Asian Salted Caramel Vodka and Chocolate bitters for structure and complexity to the drink. “In the present world where we are presented with the rise of boutique liqueurs and spirits from the Asian region, we now have the opportunity to explore new flavour combinations with classic spirits that have a new character like The Macallan [A Night on Earth in Jerez],” says Besa.
43 Tanjong Pagar Road, #01-02,
Singapore 088464
Playing with the idea of fleeting time, Night Hawk’s chief bartender and owner, Peter Chua, reimagines the Rob Roy. The Macallan A Night on Earth in Jerez is poured neat with an ice cube that’s made out of Pedro Ximinez and Fino sherry, raspberry puree, Angostura bitters, chocolate liqueur and a frozen raspberry fruit—ingredients that made up the Rob Roy component. As the ice melts, it slowly releases the flavours over time, allowing the drinker to taste The Macallan A Night on Earth in Jerez on its own before the rest of the flavours come in to complete the Rob Roy variation—the passing of time reveals another unexpected moment.
29 Tanglin Road, The St
Regis Singapore, Lobby Level,
Singapore 247912
This is Cleven Pacarat’s (Astor Bar’s bartender) reimagined take on the classic eggnog. Christened the AI Greek Eggnog, it uses The Macallan A Night on Earth in Jerez and is fat-washed with peanut butter to derive a nutty flavour to complement the Frangelico. Instead of heavy cream and milk, Pacarat uses yoghurt for that bit of tartness and maple syrup for the sweetness. Finally, this dessert cocktail gets a sprinkling of clove powder and garnished with candied raspberry leather.
8 Raffles Avenue, Level 4
Esplanade Mall,
Singapore 039802
The future is what you make of it. With that in mind, Baia’s bar manager, Adonis Reyes, chose a path of experimentation into sustainability that led to a delightful dessert. Inspired by the horchata drink (traditionally made with toasted rice, cinnamon sticks, and the optional cream or milk). Taking the base flavours of horchata, Reyes incorporates them into an ice-cream that’s added to the whisky, inviting guests to luxuriate in a new sensorial experience.
3 Neil Road, #01-01,
Singapore 088805
Named Philoso’Me, this drink is a true reflection of Side Door’s co-founder and head of beverage, Bannie Kang’s philosophy on cocktail crafting. Harmonising her unique perspective with the essence of The Macallan Harmony IV Vibrant Oak, Philoso’Me exemplifies simplicity while paying homage to the classic Rob Roy. Enhanced by an Asian twist of winter melon, it delivers a perfectly balanced, rounded, and elegant experience in every sip.
21 Carpenter Street,
Singapore 059984
It’s an eternal battle to maintain the give-and-take relationship of our time on the planet. As the future showcases possibilities, there needs to be efforts taken in trying to ensure that there is a future. Kee’s goal (like all the bars featured here) is to minimise wastage and use repurposed ingredients for their cocktails. Glynn Tay, Director of Food & Beverage explains that working with the culinary team is the first step towards any cocktail. This drink honours the earthy, coastal notes of shio kombu with the sherry-seasoned oak-aged richness of The Macallan Harmony IV Vibrant Oak. The result: an umami-forward cocktail with the briny kombu complementing the whisky’s vanilla, citrus and sweet oaky notes. To further the enjoyment of the journey, Tay suggests taking a sip before and after tasting the kombu cereal salt on the rim.
7 Raffles Boulevard, Level 1 Pan
Pacific Hotel, Marina Square,
Singapore 039595
Moving towards the future, with the ideology that “less is more”, PLUME’s head mixologist, Ong Jun Han crafts a drink that looks simple but, in its making, isn’t. Using avant-garde techniques to craft the mango soda, Ong, brings out the tropical notes of “Future Bloom” from The Macallan Harmony IV Vibrant Oak’s expression.
Text: Joy Ling and Wayne Cheong
Photography: Jaya Khidir
Art Direction: Joan Tai
Styling: Gregory Woo
Photography Assistants: Nowo Kasturi and Tawfiq Ismail
Styling Assistant: Justin Neo
A year is a long time and it's even longer when you break it down like the cast of Rent ("Five hundred twenty-five thousand, six hundred minutes", anyone?). Now, put that in terms and it might seem like a very wordy beginning of "Seasons of Love" but that's nothing for Nikka Whisky, who rolls out the fruit of their long labour: the Nikka Nine Decades.
Since its founding by This limited-edition release screams excellence and exclusivity. Only 4,000 bottles of the Nikka Nine Decades are crafted and are made from a blend of the whiskies of Nikka's 90-year history. From Nikka’s six storied distilleries—Yoichi, Nishinomiya, Miyagikyo, Moji, Satsumatsukasa and Scotland's Ben Nevis distillery—this is the culmination of a very comprehensive expression of Nikka's legacy.
(Although, give it another 10 years and we are willing to bet good money that Nikka will release a Nikka Ten Decades bottle.)
Made of over 50 whisky batches, from the oldest malt reserves from Yoichi and Miyagikyoto the newer grain whiskies from Moji and Satsumastukasa, the Nikka Nine Decades is non-chill filtered (this fully preserved the smell and texture) and bottled at 48 per cent ABV.
On the nose, you get the sweetness of raisins and apples that evolve into a slight smokiness of aged wood. At first sip, you get a hit of oak, followed by spicy cinnamon, roasted nuts, and a dark chocolate profile before that well-deserved finish of a pleasant acid.
Matching its divine content, we have an exterior that deft hands had worked on. A Nikka emblem is etched onto the decanter via “Edo-bori”; which in our research is a Tokyo (the former name of "Edo")-styled version of sandblast carving. Each bottle comes in an elegant wooden box signed by the eight Nikka master blenders—from founder Masataka Taketsuruto the present-day maestros. As you open the box, inside mirrors reflect the back of the bottle, giving it an austere presentation.
Released in July for Nikka’s 90th anniversary, there are 140 bottles of the Nine Decades in the Southeast Asia region. Retailing at SGD3,300, it's a small substantial price to pay for whisky history.
What is the world’s finest bourbon whiskey? Woodford Reserve lays claim to that title. But what accolades do they have to back it up? Let’s dig into their trophy cabinet.
For decades, from San Francisco to New York and LA, their bourbon has collected gold and silver medals at prestigious spirits competitions. The coveted Liquid Gold Award from Jim Murray's Whisky Bible? Check—with an impressive 96 points. Ultimate Spirits Challenge gold medals in back-to-back years? They got those too. If your curiosity has been piqued, you’re not alone. You can procure a bottle for yourself to judge here.
Now, that legendary bourbon is put to work in Woodford Reserve's annual The Wonderful Race, in honour of Old Fashioned Month in November. In what seems like a creative battlefield for bartenders, the challengers are required to reinvent the classic Old Fashioned using the brand's bourbon.
The Singapore leg of the competition occurred 3 November at Side Door. Ten bartenders, from bars like Stay Gold Flamingo and Night Hawk, showcased their artistry and innovation to judges for their claim for the title of national champion. And who emerged victorious? It's Kelvin Saquilayan from Republic Bar.
Saquilayan chose "Umami Wildwood" as his theme. Infusing Hojicha tea leaves into a bitter reduction before mixing it with Woodford Reserve Rye, Saquilayan paired it with a slice of beetroot coated in maple syrup with shaved roasted pines.
Colton Payne, the Asia marketing director at Brown-Forman said that this year's finalists have met the bar raised in last year's race. "The level of creativity was beyond our wildest imagination, and we had a hard time picking a champion. Every finalist brought something unique to the table. Ultimately, it was Kelvin's ingenuity of exploring the boundaries yet being able to stay rooted to the core elements of Old Fashioned that clinched the title."
Not only do Saquilayan get bragging rights, he will fly down to the Woodford Reserve Distillery in Kentucky and have a chance to guest shift in the region.
Previously on the Stories Range...
We learned about the many traditions the 130 year-old Single Malt continues to uphold, but more importantly, the power of stories when it comes to whisky. Especially when the signature technique of cask finishing (allowing the whisky to mature in a second cask type) was pioneered within this very house.
As poetically penned in Pursuit, a specialised brand book: This is when the more complex flavours are created, as spirit and oak enter a dialogue. Besides embodying further nuances, each expression carries an anecdote of how they came to be. This could originate from suggestions on a whim, or even pure accident. Which also means production volume is highly limited.
Think of it this way. If previous collections of the series belonged to a Season 1 of sorts under esteemed former Malt Master David C. Stewart MBE, The Balvenie now introduces you to Season 2 Episode 1: A Collection of Curious Casks.
As new Malt Master Kelsey McKechnie steps into the spotlight, the latest range celebrates her working partnership with Warehouse Master George Paterson. Honestly, the term 'new' is only customary when both craftsmen have been with the brand for a decade, and young McKechnie closely shadowing David C. Stewart MBE up to this point.
Between her inherited instincts for selecting casks and Paterson's extensive knowledge come these great stories.
The first of the two we got to savour is the American Bourbon Barrel 14. Originally destined for Single Barrel 12, the 14-year dream in Bourbon cask was distilled just after peat week, resulting in a whisper of smoke. We say whisper because it reads more of deep vanilla, roasted malt and the familiar candied orange peel.
The French Pineau Cask 18 carries a complex profile with layers of rich sweetness that we wouldn't describe as creamy but certainly dark and smooth like chocolate. It was in fact David C. Stewart MBE who commissioned the experimental choice of French Pineau casks, which never quite reached a suitable maturity. Eight years later under his apprentice's keen watch, the result was a wait that paid off.
Alongside Hungarian Red Wine Cask 11 and New Spanish Oak Cask 17, these are stories that showcase the enduring influence of time, a spirit of innovation and how a collaboration of a new generation can spell out a great future beyond the classics.
Bright, bright, BRIGHT green, that should be the colour of your matcha powder. Think electric green, almost neon. And yeah I know, it sounds counterintuitive; usually the ultra-bright colours signal lower quality and food colouring. But for matcha, it's the opposite: the brighter, the better. If it's a dull, army green, or even a bit yellowish, that's when you gotta get a refund.
It might seem tedious, but spotting good matcha spot isn't that hard once you know what to look for. Before you start showing off your newfound matcha knowledge, let me introduce you to one of the OG spots, where their matcha are bright—like, BRIGHT green.
Since its debut in Paris in 2014, Café Kitsuné has carved a niche as one of the forerunners of the matcha movement. Known for its distinct blend of Japanese and French influences, Café Kitsuné sources its matcha directly from Kagoshima, Japan (that's when you know it's gonna be reaaal good.) Their matcha powder boasts a smooth, creamy texture, pronounced umami, and a delicate balance of flavours with reduced bitterness.
This month, Café Kitsuné marks its 10th anniversary with a sale of their matcha powder at The Capitol. So now you can flaunt not only your matcha knowledge but the real deal itself.
Running until 1 November, Café Kitsuné will showcase its rich heritage and expertise in matcha with a limited-time menu crafted just for the occasion. Expect inventive desserts like Matcha Strawberry Shortcake, Matcha Canelé, and Matcha Chocolate Loaf Cake. Obviously, there are exclusive matcha drinks like the Matcha Strawberry Latte, Matcha Jasmine Coconut, Matcha Coconut Cloud, and the refreshing Bergamot and Jasmine Matcha Fizz.
Located at 13 Stamford Road, #01-11, Singapore 178905, open daily from 10am to 10pm.
Matcha powder (30g) is priced at SGD59 and is also available online.
