Homer Laughlin:
Designing A New Future for
A Legendary American Brand
A Conversation with E. C. Wonder, Director of Design at Homer Laughlin China
Several months ago, we scheduled a visit with HLC Dinnerware’s Director of Design, Edwin Wonder to discuss the industry, his company, and the design thinking on its various hospitality tabletop brands, Homer Laughlin, Hall China, and RAK Porcelain. Little did we know that a couple of seismic changes would happen between our agreeing to the meeting with Ed and the recent day the meeting finally took place.
A new look….a new feel……and, yes, just maybe a breath of new, fresh air, has arrived at the Homer Laughlin China Company.
First of all, industry veteran Gene Williamson has been hired as the new VP, Sales & Marketing for the hospitality and foodservice portion of HLC business. Skilled in nearly all aspects of foodservice tabletop, perhaps Williamson’s best skill is simply getting things accomplished. Known to be hard working and relentless, Williamson will bring an experienced level of energy and tenacity to the entire foodservice business at HLC. That was one major change from the time that Ed had agreed to meet with us.
The second major change came very recently, with the naming of a new president of Homer Laughlin and HLC Dinnerware, with former president Joe Wells III moving to the Chairman’s role after guiding the company so deftly as President and a wide variety of other capacities for the past 50 years. If the focused, engaging personality, and high energy level displayed in a brief meeting with new President Liz McIlvain is any sign of things to come, the foodservice business of Homer Laughlin is about to become a bit more up-tempo and forward thinking. Clearly, a new era in leadership of Homer Laughlin and its foodservice business is emerging.
A new look….a new feel……and, yes, just maybe a breath of new, fresh air, has arrived at the Homer Laughlin China Company.
First of all, industry veteran Gene Williamson has been hired as the new VP, Sales & Marketing for the hospitality and foodservice portion of HLC business. Skilled in nearly all aspects of foodservice tabletop, perhaps Williamson’s best skill is simply getting things accomplished. Known to be hard working and relentless, Williamson will bring an experienced level of energy and tenacity to the entire foodservice business at HLC. That was one major change from the time that Ed had agreed to meet with us.
The second major change came very recently, with the naming of a new president of Homer Laughlin and HLC Dinnerware, with former president Joe Wells III moving to the Chairman’s role after guiding the company so deftly as President and a wide variety of other capacities for the past 50 years. If the focused, engaging personality, and high energy level displayed in a brief meeting with new President Liz McIlvain is any sign of things to come, the foodservice business of Homer Laughlin is about to become a bit more up-tempo and forward thinking. Clearly, a new era in leadership of Homer Laughlin and its foodservice business is emerging.
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So, while our visit to Homer Laughlin had a decidedly different backdrop from when we first discussed scheduling our meeting, we appreciated that company design guru Ed Wonder kept the focus on design when we sat down to have a conversation about the creative component of HLC Dinnerware.
“Most of the world knows us as Fiesta, which is only 1 shape out of 18 separate dinnerware lines that we do,”commented Wonder. “We do all these other great things and people say ‘oh- you do that, too?’ Through design, we think we truly differentiate our company.” And make no mistake about it, when Ed Wonder speaks about design, he speaks about design being patterned and undecorated china, about design in shapes and forms and throughout the conversation, he weaves in how colored glaze is actually a pattern design, along with the particular body color of undecorated china….all a part of the idea of dinnerware design at Homer Laughlin. |
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Through his many years in the dinnerware business, Ed Wonder knows that tabletop is critical to the operator in helping distinguish their restaurant for their guests, “In the hospitality business, I believe if you’re going to do anything to differentiate your restaurant establishment, it’s got to be on the tabletop. Perhaps only the person you are having your meal with and the food itself are more important….after that, what you see and retain more than anything else is what’s on the table in front of you. And the dinnerware can absolutely improve the guest's perception of the meal without any changes to the menu itself.”
So, what makes Homer Laughlin different from the many other companies that supply dinnerware to the hospitality industry? If you speak more than a few minutes to someone with the passion that Wonder has been bringing to the industry for more than 36 years, you will hear words like “responsibility” and “trust”.
So, what makes Homer Laughlin different from the many other companies that supply dinnerware to the hospitality industry? If you speak more than a few minutes to someone with the passion that Wonder has been bringing to the industry for more than 36 years, you will hear words like “responsibility” and “trust”.
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“We have a first responsibility to provide product that restaurateurs can count on to be functional, practical, and that is going to perform for them – day in and day out. That sense of responsibility is the first thing I think of at Homer Laughlin because when people hear our name, they expect it to be a product they can trust,”says Wonder. “That practicality requires a certain mindset when you approach the design of a new piece or shape. At Homer Laughlin a design is just an idea until someone is actually using it".”
While performance is a cornerstone of Homer Laughlin’s heritage, style and design are key parts of the creative process for Wonder and his team, as well. “The other part of our responsibility is the entertainment factor – that’s always the fun part,” he commented. “Our ability to take a standard dinner plate and do something different with it through color, decorating, embossment, or some other design aspect is where the fun comes in. Even juxtaposing certain tabletop items together in unique combinations that you haven’t seen before can elevate the level of the food and the dining experience. And, while it’s fun to be different on the high-end aesthetically with avant-garde, cutting edge products….I’m not always sure that’s what our responsibility is at Homer Laughlin.” Being a totally “in-house” American manufacturer affords Homer Laughlin both great flexibility and quality control versus other dinnerware companies that might have to outsource parts of the design, color development, decorating, and manufacturing processes. Homer Laughlin does the entire process in their single location, a 37 acre facility that employs over 800 people in Newell, West Virginia. An interesting point also is that everything backstamped Homer Laughlin is actually made at Homer Laughlin, everything backstamped Hall China is actually made at Hall and, finally…. everything marked RAK Porcelain is actually made at the RAK factory. Flexibility and control runs throughout all three of the brands of HLC. |
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Inspiration for Ed Wonder and his design team comes from a variety of sources including marketplace trends and also from internal reviews to see where there might be gaps in the company’s wide range of products. Gaps might be hard to find as you consider the breadth of products that HLC has to offer to the foodservice and hospitality customer. With the addition of Hall China and RAK Porcelain to the already wide range ofHomer Laughlin products, it seems there is hardly room for gaps.
“Our collections are good and we aren’t interested in fads,” says Wonder. “Although, we may do something to respond to a food trend that’s happening at the moment, we know that going in. We’re much more interested in trends that are building over the long term that we can creatively support with new items, patterns or colors.”Homer Laughlin also utilizes relationships with its wholesaler network, chain restaurants, and chefs as sources for new designs whether they be pattern or shape. In the last ten years, Wonder feels chefs have become much more of a source of inspiration and feels that will only continue to grow. “As artists themselves, chefs now sit with dinnerware designers as equal partners – and deservedly so - in the creative process. That is inspiring and exciting to both sides”
As we wound up our hour-long conversation with Ed Wonder, the veteran dinnerware designer commented,“These are pretty exciting times at Homer Laughlin. And these things tend to build on themselves. New people, fresh ideas, new energy, new ideas…..it’s going to be fun.”
We couldn’t agree more. With a 140-year legacy as American’s largest dinnerware manufacturer, several world class brands added to their portfolio, and a new energetic leadership team for foodservice….it looks like fun is on the drawing board for the future at Homer Laughlin.
“Our collections are good and we aren’t interested in fads,” says Wonder. “Although, we may do something to respond to a food trend that’s happening at the moment, we know that going in. We’re much more interested in trends that are building over the long term that we can creatively support with new items, patterns or colors.”Homer Laughlin also utilizes relationships with its wholesaler network, chain restaurants, and chefs as sources for new designs whether they be pattern or shape. In the last ten years, Wonder feels chefs have become much more of a source of inspiration and feels that will only continue to grow. “As artists themselves, chefs now sit with dinnerware designers as equal partners – and deservedly so - in the creative process. That is inspiring and exciting to both sides”
As we wound up our hour-long conversation with Ed Wonder, the veteran dinnerware designer commented,“These are pretty exciting times at Homer Laughlin. And these things tend to build on themselves. New people, fresh ideas, new energy, new ideas…..it’s going to be fun.”
We couldn’t agree more. With a 140-year legacy as American’s largest dinnerware manufacturer, several world class brands added to their portfolio, and a new energetic leadership team for foodservice….it looks like fun is on the drawing board for the future at Homer Laughlin.
Greg Kirrish: Is Market Research The Answer?
You don’t need be reminded that the table top supply industry is facing major challenges and that many of the issues are deeply entrenched. You also don’t need to be reminded that the trend among operators to favor “plain white” dinnerware is at the root of many of those problems. Moreover, you clearly don’t need to be told that the prevailing “white is right” philosophy, coupled with sluggish overall foodservice sales, is commoditizing table top products, thus blurring differentiation, and ultimately, eroding your margins. Instead, you just want to know what it’s going to take to get ahead, right?
Unfortunately, no one seems to have any clear cut answers to get out of this trough. If there was any “magic bullet” solutions, everyone would have already jumped on board. However, I’ve given it lots of thought and have expanded on my previous columns by throwing out some more ideas that you might find thought provoking. In this instance, I’m looking at the power and limitations of market research and what it could do for you. To start off, here are two things to keep in mind.
1. First and foremost, never undertake any market that you are not fully ready to act upon.
I’ve seen too many people, both in and outside the foodservice industry, invest lots of money, time and energy into finding answers that end up just “collecting dust” in some file cabinet or hard drive. No one likes to get bad news, but be glad you’re aware of it and take appropriate action.
2. Be prepared for answers that might be surprisingly good or bad.
Most, if not all of the stakeholders involved with me in about 30 years of market research had a pretty good idea of the outcome of their respective projects before they undertook them. (It’s clear in hindsight that in many cases, those stakeholders were looking largely for validation.) However, there were the occasional surprises. The good surprises usually spurred immediate and aggressive action. Conversely, bad surprises were often met with disbelief and complacency. (See #1 above.)
With those two points as guides, let’s focus directly on table top issues. Most broadly, I’ll wager that there are lots of table top related ideas and practices that are going unchallenged and that could be cleared up to the suppliers’ advantages with some solid market research. For example, what does the foodservice marketplace really know about the functionality of white dinnerware?
Under the supposition that dinnerware is merely the “canvas” and that food provides the “drama,” many chefs and operators prefer the simplest (i.e, “plain white”) backgrounds they can find. However you probably know that their food, and therefore the overall dining experiences they generate, might be actually enhanced by at least a splash of color…and in turn, add value to your products.
Would it make sense to test designs on your target operator’s actual customers (or a group with similar demographics and psychographics) to find out what they prefer? Would that information help you sway dinnerware purchasers and influencers opinions to think beyond “plain white?” Wouldn’t the effort build a stronger relationship with that operator even if “plain white” was the final spec?
Incidentally, you don’t need to worry about “bad news” from the research in this area because science is on your side. Food does indeed appear more appetizing on plates adorned with some color, which makes the “plain white” trend especially perplexing ….and vulnerable. So why not approach your customer prospects as “partners” and prove to them with “rock solid” data that your dinnerware designs will help them build their brands?
I challenge you to ask yourself where else some “hard” information, when shared with the designers, chefs, buyers and everyone else involved in the dinnerware decision process, might help your cause. After all, everyone involved should be aiming for the same positive outcomes.
On the other hand, market research is not infallible. For example, I’ve found that it’s often unhelpful to ask people about their unmet needs because they don’t know what they are, beyond “lower price.” For that reason…..and I’m probably over simplifying…..the late Steve Jobs seldom initiated research asking “what else customers wanted.” Instead, he (and presumably his Apple team) decided what those customers wanted then went away and built it.
Similarly, I can envision many operators claiming that they have no unmet dinnerware needs (other than lower price). However, I can also envision that if some novel new product became available that was proven to economically enhance dining experiences, they would line up to purchase it. Maybe some market research can help you determine those unmet needs without directly asking the question.
Market research, when done properly, is hard work. It takes lots of thought and imagination to tease out the answers you need to know. However, those answers can be very persuasive. They may actually help end the “plain white” log jam.
Unfortunately, no one seems to have any clear cut answers to get out of this trough. If there was any “magic bullet” solutions, everyone would have already jumped on board. However, I’ve given it lots of thought and have expanded on my previous columns by throwing out some more ideas that you might find thought provoking. In this instance, I’m looking at the power and limitations of market research and what it could do for you. To start off, here are two things to keep in mind.
1. First and foremost, never undertake any market that you are not fully ready to act upon.
I’ve seen too many people, both in and outside the foodservice industry, invest lots of money, time and energy into finding answers that end up just “collecting dust” in some file cabinet or hard drive. No one likes to get bad news, but be glad you’re aware of it and take appropriate action.
2. Be prepared for answers that might be surprisingly good or bad.
Most, if not all of the stakeholders involved with me in about 30 years of market research had a pretty good idea of the outcome of their respective projects before they undertook them. (It’s clear in hindsight that in many cases, those stakeholders were looking largely for validation.) However, there were the occasional surprises. The good surprises usually spurred immediate and aggressive action. Conversely, bad surprises were often met with disbelief and complacency. (See #1 above.)
With those two points as guides, let’s focus directly on table top issues. Most broadly, I’ll wager that there are lots of table top related ideas and practices that are going unchallenged and that could be cleared up to the suppliers’ advantages with some solid market research. For example, what does the foodservice marketplace really know about the functionality of white dinnerware?
Under the supposition that dinnerware is merely the “canvas” and that food provides the “drama,” many chefs and operators prefer the simplest (i.e, “plain white”) backgrounds they can find. However you probably know that their food, and therefore the overall dining experiences they generate, might be actually enhanced by at least a splash of color…and in turn, add value to your products.
Would it make sense to test designs on your target operator’s actual customers (or a group with similar demographics and psychographics) to find out what they prefer? Would that information help you sway dinnerware purchasers and influencers opinions to think beyond “plain white?” Wouldn’t the effort build a stronger relationship with that operator even if “plain white” was the final spec?
Incidentally, you don’t need to worry about “bad news” from the research in this area because science is on your side. Food does indeed appear more appetizing on plates adorned with some color, which makes the “plain white” trend especially perplexing ….and vulnerable. So why not approach your customer prospects as “partners” and prove to them with “rock solid” data that your dinnerware designs will help them build their brands?
I challenge you to ask yourself where else some “hard” information, when shared with the designers, chefs, buyers and everyone else involved in the dinnerware decision process, might help your cause. After all, everyone involved should be aiming for the same positive outcomes.
On the other hand, market research is not infallible. For example, I’ve found that it’s often unhelpful to ask people about their unmet needs because they don’t know what they are, beyond “lower price.” For that reason…..and I’m probably over simplifying…..the late Steve Jobs seldom initiated research asking “what else customers wanted.” Instead, he (and presumably his Apple team) decided what those customers wanted then went away and built it.
Similarly, I can envision many operators claiming that they have no unmet dinnerware needs (other than lower price). However, I can also envision that if some novel new product became available that was proven to economically enhance dining experiences, they would line up to purchase it. Maybe some market research can help you determine those unmet needs without directly asking the question.
Market research, when done properly, is hard work. It takes lots of thought and imagination to tease out the answers you need to know. However, those answers can be very persuasive. They may actually help end the “plain white” log jam.
Domenica Catelli: Celebrity Chef Discusses The Influence and Future of Tabletop As She See It
TJ: Having grown up in Northern California’s Sonoma County, how did that influence you and how would you describe your style of cooking and food presentation? What other major influences have you had for both your style of cooking…and your style of presentation?
DC: I grew up in an Italian family in the wine country. I describe my food as Italian influenced California food. I use Italian principles but have other ethnic influences that show up in my dishes. I lean towards Latin and Asian outside of Italian. There is little French in my food. I love olive oil, fresh herbs, garlic, etc. Not much butter or cream. Clean flavors with sweet, salty and spicy hits depending on the dish. Rustic and natural would be my approach to presentation.
TJ: What role in the overall guest experience do feel that tabletop – dinnerware, glassware, and cutlery – plays?
DC: I believe that tabletop makes a great impact on overall dining experience. I love using pieces in different ways…small cutting boards for appetizer or meat presentations, canning jars for candle holders or drinks, chargers for dinner plates, etc. I like simple plates in white or a fun pop of color that would pop out the ingredients of a dish. I rarely like busy borders on plates because I feel like it distracts from the food.
DC: I grew up in an Italian family in the wine country. I describe my food as Italian influenced California food. I use Italian principles but have other ethnic influences that show up in my dishes. I lean towards Latin and Asian outside of Italian. There is little French in my food. I love olive oil, fresh herbs, garlic, etc. Not much butter or cream. Clean flavors with sweet, salty and spicy hits depending on the dish. Rustic and natural would be my approach to presentation.
TJ: What role in the overall guest experience do feel that tabletop – dinnerware, glassware, and cutlery – plays?
DC: I believe that tabletop makes a great impact on overall dining experience. I love using pieces in different ways…small cutting boards for appetizer or meat presentations, canning jars for candle holders or drinks, chargers for dinner plates, etc. I like simple plates in white or a fun pop of color that would pop out the ingredients of a dish. I rarely like busy borders on plates because I feel like it distracts from the food.
TJ: We know you are a proponent of healthy cooking and eating….how does that influence the way you might present a particular dish?
DC: I think the healthy aspect is reflected in the natural elements I’m drawn towards. Using herbs and flowers as garnish on platters, again, wood boards, plates in solid white or solid colors.
TJ: How do you keep up with tabletop trends and learn about new tabletop products?
DC: From magazines to trade shows to eating out all over the country (and out of the country) is what brings me exposure to trends. I also tend to create new mixes of items for my home and restaurant tabletops.
TJ: You are so creative with your plate presentation…..how do you stay equally creative with your use of glassware and cutlery?
We are located in a small wine country town but feel we are ahead of many trends. I spend time in New York, Chicago and San Fransisco which all seem to be catalysts for tabletop trends. I see bits and pieces of things that spur new ideas for myself and my restaurant. But many times it’s just seeing a glass or a color or a texture that gives me a new idea or use for something.
TJ: Do you have a favorite plate, platter, glass, or flatware piece?
DC: Plate:white hand thrown ceramic dish by soleil, glass:antique baccarat scotch glasses inherited. Flatware:anything heavy and stainless and simple or antique mixed silver. Handmedown original turquoise fiesta ware platters from a great aunt.
DC: I think the healthy aspect is reflected in the natural elements I’m drawn towards. Using herbs and flowers as garnish on platters, again, wood boards, plates in solid white or solid colors.
TJ: How do you keep up with tabletop trends and learn about new tabletop products?
DC: From magazines to trade shows to eating out all over the country (and out of the country) is what brings me exposure to trends. I also tend to create new mixes of items for my home and restaurant tabletops.
TJ: You are so creative with your plate presentation…..how do you stay equally creative with your use of glassware and cutlery?
We are located in a small wine country town but feel we are ahead of many trends. I spend time in New York, Chicago and San Fransisco which all seem to be catalysts for tabletop trends. I see bits and pieces of things that spur new ideas for myself and my restaurant. But many times it’s just seeing a glass or a color or a texture that gives me a new idea or use for something.
TJ: Do you have a favorite plate, platter, glass, or flatware piece?
DC: Plate:white hand thrown ceramic dish by soleil, glass:antique baccarat scotch glasses inherited. Flatware:anything heavy and stainless and simple or antique mixed silver. Handmedown original turquoise fiesta ware platters from a great aunt.
TJ: Where do you see the future of tabletop – dinnerware, glassware, and cutlery – going from here?
DC: I see the mix of retro and natural with a bit of eighties bling soon to be coming back around.
TJ: Since you seem like someone who would enjoy music, please tell us what music is on your iPod and what have you been listening to most recently?
DC: Lana Del Rey, Lady Gaga, Adelle, U2, Coldplay, Justin Timberlake.
DC: I see the mix of retro and natural with a bit of eighties bling soon to be coming back around.
TJ: Since you seem like someone who would enjoy music, please tell us what music is on your iPod and what have you been listening to most recently?
DC: Lana Del Rey, Lady Gaga, Adelle, U2, Coldplay, Justin Timberlake.
Chef Domenica Catelli - bio
As a Celebrity Chef and spokesperson, Domenica Catelli has positively influenced the way millions of families eat and prepare food across the United States with her tasty, easy and healthy approach to cooking. Chef Catelli is also a recurring judge on Iron Chef America, a regular guest on CBS News, Oprah and Friends and Dr. Oz on XM radio. She has been featured in Vegetarian Times, Southern Living Magazine, and on Oprah.com. Domenica Catelli's first cookbook, Mom-a-licious: Fresh, Fast, Family Food for the Hot Mama in You! was an instant hit across the nation. More than a cookbook, Mom-a-licious captures the heart of healthy eating for families and a "stick with it" mentality that leads to less fussy eating for children.
Chef Catelli is the national spokesperson for the Organic Trade Association and is currently the brand ambassador and spokesperson for Safeway's O Organics line. Domenica Catelli was a featured chef on Fox News in Houston for years on the Fox Grill, educating viewers with her ingenuity and humor, and her culinary talents have led her to cook for such celebrities as Oprah Winfrey, Julia Roberts, Thandie Newton, and John Travolta.
Chef Domenica Catelli is a member of the Chef Advisory Board - along with other celebrity chefs, including Jamie Oliver, Paula Deen, and Tyler Florence - of the non-profit organization Common Threads.
Domenica Catelli served as Executive Chef of the organic restaurant Raven's at the Stanford Inn, featuring recipes from the estate's three-acre garden and she also runs her family restaurant, Catelli's in the heart of California's wine country with her brother, Nicholas.
As a Celebrity Chef and spokesperson, Domenica Catelli has positively influenced the way millions of families eat and prepare food across the United States with her tasty, easy and healthy approach to cooking. Chef Catelli is also a recurring judge on Iron Chef America, a regular guest on CBS News, Oprah and Friends and Dr. Oz on XM radio. She has been featured in Vegetarian Times, Southern Living Magazine, and on Oprah.com. Domenica Catelli's first cookbook, Mom-a-licious: Fresh, Fast, Family Food for the Hot Mama in You! was an instant hit across the nation. More than a cookbook, Mom-a-licious captures the heart of healthy eating for families and a "stick with it" mentality that leads to less fussy eating for children.
Chef Catelli is the national spokesperson for the Organic Trade Association and is currently the brand ambassador and spokesperson for Safeway's O Organics line. Domenica Catelli was a featured chef on Fox News in Houston for years on the Fox Grill, educating viewers with her ingenuity and humor, and her culinary talents have led her to cook for such celebrities as Oprah Winfrey, Julia Roberts, Thandie Newton, and John Travolta.
Chef Domenica Catelli is a member of the Chef Advisory Board - along with other celebrity chefs, including Jamie Oliver, Paula Deen, and Tyler Florence - of the non-profit organization Common Threads.
Domenica Catelli served as Executive Chef of the organic restaurant Raven's at the Stanford Inn, featuring recipes from the estate's three-acre garden and she also runs her family restaurant, Catelli's in the heart of California's wine country with her brother, Nicholas.
Chef Emil Minev Shangri-La Villingili Resort Maldive Islands Talks Tabletop
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Recently, TabletopJournal had the privilege to ask a few of questions of Chef Emil Minev, from the Shangri-La Villingili Resort in The Maldive Islands. Chef Minev uses a variety of tabletop pieces to compliment his culinary creations so we thought we'd see where he gets his inspiration, how it is to work in such a resort location, and his overall thoughts on how important tabletop is to food presentation.
Hong Kong-based Shangri-La Hotels and Resorts is Asia Pacific's leading luxury hotel group, We are also regarded as one of the world’s finest hotel ownership and management companies.With 72 hotels and resorts throughout Asia Pacific, North America, the Middle East, and Europe, the Shangri-La group has a room inventory of over 30,000. In addition, new hotels are under development in Canada, mainland China, India, Philippines, Qatar, Turkey and United Kingdom. |
1. You were born in Bulgaria, trained and worked in London, UAE, and The Maldives, so how would you describe your style of cooking and food presentation? What/who have been your major influencers?
I always find it hard to label my style of cooking, and give it a name. However the food I cook is contemporary, but based on the foundations of classic cuisine. I would not say that I keep it simple, because no food at this level of cooking can be simple. I am very keen to use local ingredients whenever possible and apply them to more cutting edge techniques. In the end when it comes to food, it has to taste good and that is the most important no matter what the style of cooking is.
The food I cook also progresses as I move to different parts of the world. If I live and cook in my home country, I would use a lot of fresh herbs and mushrooms from the nearby mountain, fruits and vegetables from the Farmers Market, freshly made yoghurt etc.
Here in Shangri-La’s Villingili Resort and Spa, Maldives, our focus is on our own grown fruits and vegetables. Together with the local community we are growing over 35 different fruits and vegetables and we keep developing this project. Our dream is one day to be able to produce 100% of the fresh fruits and vegetables that we use on the Resort. Our main fish and seafood supply is from the local fishermen, who deliver to us daily.
When it comes to influence, I would say what really changed my vision and my entire perception of cooking was when I first came across the Spanish Vanguard Chefs and their way of thinking and approach the cooking in general. However inspiration also comes from a product, a person, place or just a simple memory from my childhood.
I always find it hard to label my style of cooking, and give it a name. However the food I cook is contemporary, but based on the foundations of classic cuisine. I would not say that I keep it simple, because no food at this level of cooking can be simple. I am very keen to use local ingredients whenever possible and apply them to more cutting edge techniques. In the end when it comes to food, it has to taste good and that is the most important no matter what the style of cooking is.
The food I cook also progresses as I move to different parts of the world. If I live and cook in my home country, I would use a lot of fresh herbs and mushrooms from the nearby mountain, fruits and vegetables from the Farmers Market, freshly made yoghurt etc.
Here in Shangri-La’s Villingili Resort and Spa, Maldives, our focus is on our own grown fruits and vegetables. Together with the local community we are growing over 35 different fruits and vegetables and we keep developing this project. Our dream is one day to be able to produce 100% of the fresh fruits and vegetables that we use on the Resort. Our main fish and seafood supply is from the local fishermen, who deliver to us daily.
When it comes to influence, I would say what really changed my vision and my entire perception of cooking was when I first came across the Spanish Vanguard Chefs and their way of thinking and approach the cooking in general. However inspiration also comes from a product, a person, place or just a simple memory from my childhood.
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2. What role in the overall guest experience do feel that tabletop – dinnerware, glassware, and cutlery – plays?
The table top is not only a part of interior design of a restaurant these days, but to me it is an essential part of the food concept. At Shangri-La’s Villingili Resort and Spa, we select our dinnerware only after we indentify the culinary concept of the restaurant. For example, at our signature restaurant Dr Ali’s, we serve authentic Indian, Chinese, Vietnamese and Arabic cuisine prepared by the respective chefs. We purchase custom-made plates, designed for us to match the style of cooking of each individual chef. In our fine dining restaurant Fashala, where we serve contemporary European cuisine based on the locally grown ingredients, we use a very modern, neat and sleek line of chinaware 3. We’re told that you are fond of using glass to serve your culinary creations. What is your thinking on glass versus porcelain – or any other type of - serving pieces? I like to use not only glass, but pieces of wood, lava stones and slides. It gives diversity to the whole experience. To me it is like an opera or theater, as the spectacle progresses, the actors also change their costumes. We have just recently renovated our fine dining restaurant, Fashala which is located on the beach and has breathtaking views across the beautiful blue Ocean. So, we choose a glassware line which completed the surroundings . 4. You are so creative with the plates…..how do you stay equally creative with your selections of glassware and cutlery? Well, there are a great number of top high end tableware producers these days and I am constantly on the lookout for items with a new design and we always welcome new ideas. But once again, when the certain dish is finalized, the next step is to decide where we are going to plate it? What kind of shape, color or material we have to use in order to complete the dish? Choosing the right tableware is an important part of the creative process. |
Gazpacho: Roma tomato and water melon gazpacho, soft egg and smoked paprika emulsion, tomato and orange marmalade, Bell pepper "Paper"
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5. Where do you see the future of tabletop – dinnerware, glassware, and cutlery – going from here?
When it comes to luxury hotels and fine dining restaurants I personally believe we will see more and more of the artistic element on the table top and a cleaner and neat design of the plates, whether it is glass, fine bone china or ceramic.
Chef Emil Minev bio - Emil Minev was born in raised in Bulgaria and started his culinary career in the kitchen of the New Otani (now Kempinski Zografski). From there, Minev moved on to Sheraton Luxury Hotel Collection in Sofi and developed their Capital Bar and Dinner restaurant as one of the top places in the city. With the next stop London, Minev gained training at Le Cordon Bleu and additional training under the watchful eye of Pierre Koffman, who has served as mentor to a number of the England top culinary figrues such as Marco Pierre White, Gordan Ramsay, and Tom Aikens.
Stints at La Tante Claire, The Ritz-London, El Bulli, and Jumeriah Emirates Tower Hotel in Dubai and time at Alain Ducasse Formacion in Paris have all helped form Chef Minev’s unique style of dish presentation.
You can visit Chef Emil Minev's website by going here: http://www.emilminev.com/
When it comes to luxury hotels and fine dining restaurants I personally believe we will see more and more of the artistic element on the table top and a cleaner and neat design of the plates, whether it is glass, fine bone china or ceramic.
Chef Emil Minev bio - Emil Minev was born in raised in Bulgaria and started his culinary career in the kitchen of the New Otani (now Kempinski Zografski). From there, Minev moved on to Sheraton Luxury Hotel Collection in Sofi and developed their Capital Bar and Dinner restaurant as one of the top places in the city. With the next stop London, Minev gained training at Le Cordon Bleu and additional training under the watchful eye of Pierre Koffman, who has served as mentor to a number of the England top culinary figrues such as Marco Pierre White, Gordan Ramsay, and Tom Aikens.
Stints at La Tante Claire, The Ritz-London, El Bulli, and Jumeriah Emirates Tower Hotel in Dubai and time at Alain Ducasse Formacion in Paris have all helped form Chef Minev’s unique style of dish presentation.
You can visit Chef Emil Minev's website by going here: http://www.emilminev.com/
How Dinnerware Saved the World:
Building Abundant Cash Flow and Profit Through Tabletop Differentiation
Greg Kirrish
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By Greg Kirrish
Staring at a blank computer screen can be daunting. Imagine being asked to write “something meaningful, entertaining and engaging about foodservice dinnerware.” No matter how passionate and involved you are in the business, and I am, it’s tough to get a handle on the request. However, throughout 27 years working all over the world in the foodservice business, I have made some tabletop related observations and developed a couple corresponding growth recommendations that seem to reside somewhere outside the norm that I’d like to share. I promise to be brief and try to provide some thought provoking ideas that may help you refine your plans, or at least possibly amuse you with their overreaching generalizations and quaint, homespun simplicity bordering on naiveté. Plus, you may be hearing more from me on this site in months (years?) to come. In any case, I’m definitely not your classic “tabletop” guy. So before delving into my pithy witticisms and anecdotes, I should introduce myself. If you’re still with me but want to skip the “up close and personal,” let’s reconnect after the next three paragraphs. See you there. |
Fate has landed me in many facets of the foodservice world. My career started in the mid-1980’s conducting face-to-face, primary market research and developing strategic recommendations for major manufacturers and a wide array of operators. Along the way my focus became very tabletop-centric, with multiple assignments for clients like Corning and Villeroy & Boch. Projects focused on market sizing, competitor assessing, product developing, distribution analyzing and line rationalizing. In short, I did a lot of work trying to help dinnerware companies grow their businesses and squeeze out more profits. Similarly, I helped operators analyze all aspects of their brand, including the tabletop domain.
From consulting I jumped into marketing positions in Europe, Asia and in the US with Sara Lee, Kraft and other foodservice food and beverage suppliers. At this point you may be beginning to ask, “So what?” Well, even though Sara Lee, for example, was a coffee roaster, my “tabletop“ background helped me better understand the foodservice market, identify opportunities, and ultimately, grow the business. The same held true for my positions managing A.1., Grey Poupon and other products and brands. Ultimately, you can’t serve much coffee or steak sauce without cups and plates. Conversely, you can sell lots more beverages and condiments with the right tabletop accruements.
The next major phase of the foodservice whirlwind brought me to the National Restaurant Association where I helped develop and manage eight annual NRA Shows. Through several positions with the Association, the goal was always to connect operators with the services, information, contacts, services and products, including tabletop products, they need to improve their businesses. Most recently, I was responsible for the Show’s culinary demonstrations and education sessions, many of which were focused on tabletop, ambiance and decor issues. I’m now back where I began as a consultant focused on all aspects of the foodservice marketplace with my own firm, Kirrish & Associates, in green-leafy Kenilworth, Illinois.
From consulting I jumped into marketing positions in Europe, Asia and in the US with Sara Lee, Kraft and other foodservice food and beverage suppliers. At this point you may be beginning to ask, “So what?” Well, even though Sara Lee, for example, was a coffee roaster, my “tabletop“ background helped me better understand the foodservice market, identify opportunities, and ultimately, grow the business. The same held true for my positions managing A.1., Grey Poupon and other products and brands. Ultimately, you can’t serve much coffee or steak sauce without cups and plates. Conversely, you can sell lots more beverages and condiments with the right tabletop accruements.
The next major phase of the foodservice whirlwind brought me to the National Restaurant Association where I helped develop and manage eight annual NRA Shows. Through several positions with the Association, the goal was always to connect operators with the services, information, contacts, services and products, including tabletop products, they need to improve their businesses. Most recently, I was responsible for the Show’s culinary demonstrations and education sessions, many of which were focused on tabletop, ambiance and decor issues. I’m now back where I began as a consultant focused on all aspects of the foodservice marketplace with my own firm, Kirrish & Associates, in green-leafy Kenilworth, Illinois.
Although it all may seem somewhat disjointed and removed from the tabletop, the experiences have provided unique “tabletop” perspectives, and hopefully lend some credibility. Now that you have a better understanding of my point-of-view, or skipped over it, let’s dive in, starting with the big takeaway that overrides every other observation:
1. Profitably managing a foodservice business is tough.
You already know foodservice is a tough battleground, but it’s worth repeating because it sets the tone for every related discussion. I have tremendous respect for anyone that can successfully run a foodservice operation. I can’t think of another job that requires so many smarts in so many different areas.
You know that operators need to wear marketing, accounting, human resources, nutritionist, sanitarian, interior designer and untold other hats to consistently serve up the “total dining experiences” that their increasingly fickle clientele demands. You should also know that dinnerware can make their lives better. More later about how dinnerware can help.
2. The more things change, the more they stay the same.
Looking back twenty-five-plus years, the issues plaguing restaurateurs and other foodservice operators were clear.
· Shortages of skilled, motivated, affordable labor
· Increasing rules & regulations with associated fees and requirements
· Constantly changing guest tastes and expectations
· A broad range of rising costs including those for mainstay food & beverages and equipment & supplies
· Healthcare
· Economic and political uncertainties clouding the horizon
Fast forward to 2012. Does this scenario sound familiar? Although today’s pace of change is arguably much greater and the stakes are much higher, operators are still dealing with most of the same basic challenges. See #3.
3. The list of challenges is not going to get smaller or easier.
The costs of gas and energy, water, and food commodities are high and expected to increase. Regulations and legislation are multiplying and tightening. Although the economy is showing glimmers of recovery, disposable income is still in short supply. As the list goes on, foodservice operators are coming under increasing pressures
4. Operators tend to jump on bandwagons.
Given all the challenges foodservice operators face, it’s no wonder that restaurants represent the highest failure rate of any U.S. business sector. It’s therefore also not surprising that operators tend to jump at fads, grasping to catch hold on any idea that could boost profits.
Were you around to remember when Chef Paul Prudhomme started the “Cajun” craze, blackening everything in sight, including Red Fish until they were driven to the edge of extinction. (No disrespect to the legendary Chef Paul intended.) How about the salad bar tidal wave? Quiche? Ferns? Perrier bottles as bud vases? Perhaps a little closer to home, big plates, small plates, decorated plates and then, just plain white plates? The list goes on and on with some fads becoming classic trends embedded in our culture, but most withering away and making room for the next in an unending cycle.
5. Guests are becoming increasingly sophisticated.
Food culture in general has obviously gone through a revolution. Who would have thought 25 or maybe even 10 years ago that chefs and restaurateurs could achieve rock star status? The media is serving up related news and entertainment 24/7 and the growing legions of foodies are devouring it. Along the way, everyone is now a “food expert” demanding “more and better” from their dining experiences.
These phenomena can be viewed by operators two ways, namely is the demitasse cup half full or half empty? Those that choose not to address the changes will probably not be around much longer. However, those that embrace the changes and properly address them have growth opportunities galore.
Let’s recap.
· It’s tough for operators to make a profit.
· It’s probably going to get tougher.
· Operators are stretched in many directions, trying to build their brands and deliver dining experiences.
If you thought that everything I’ve mentioned to this point is blatantly obvious, you’re probably not going to be surprised by my next revelation: The tabletop represents the essence of the operator’s brand and that’s where success, or failure, starts. However, it’s worth reminding ourselves about this basic tenant because the concept keeps getting taken for granted or lost in the jumble.
Regardless of your foodservice role or experience, it’s always good to take a moment to reflect and to become one with the all important tabletop. Close your eyes, take a deep breath, get zen-like and focus. Think of the tabletop as a palate from which you can project any mood or image you want.
Many operators miss untold opportunities because they fail to fully define their brand and think through how their tabletops can project and enhance it. Granted, it’s easier said than done, but that little piece of real estate holds untold power and opportunities. It’s the heart and soul of the place. Everyone involved should be focused on how it can be fully leveraged to reel customers in, engage , and ultimately satisfy them. Don’t just settle.
With that “settling” in mind, perhaps the pendulum has swung too far toward a “plain white” philosophy. Yes the food is the star, but there may be ways to make the food shine even brighter and the meal more enjoyable than against a minimalist backdrop. In any case, “plain white” has largely become the easy knee jerk decision. The operator feels comfortable with it and wants to make a decision and move on. The manufacturer and the dealer are darn glad to get the order and don’t want to make waves. The designer may want to pick other battles to fight. Plus, white goes with everything, right? Maybe or maybe not.
In all seriousness, I urge everyone to take a step back. What exactly are you trying to convey? Contemporary, Traditional, Ethnic, Hot, Cool, Casual, Elegant, Up, Down, North, South, East, West? The tabletop is where the rubber hits the road. It’s where guests are firmly ensconced and interacting. Everything - tablecloth, napkins, glassware, dinnerware, etc. etc. etc., - sends a message.
Maybe “plain white” might be perfect for a particular operation’s brand, but it should be a well thought out decision, and not just some flippant gesture. Maybe adding a galvanized metal pail to hold paper napkins and cutlery is the proper addition. Maybe decorated dinnerware coordinates well the rest of the décor. Maybe that Perrier bottle bud vase I mentioned earlier makes perfect sense. Maybe including something as novel as a “The Chork” (go ahead and google it) adds a fun addition. Maybe a special “tequila” glass makes the proper statement.
Successful examples can be found everywhere. My friend Bruno Loubet opened his aptly named Bistro Bruno Loubet in London’s trendy Zetter Hotel last year to incredible reviews. However, he took some heat from some quarters for serving bread in flowerpots. Fast forward to today and those whimsical flowerpots now represent his modern approach to traditional French bistro cuisine. I’m sure that his dinnerware provider would have preferred their products to those of a garden & lawn care purveyor, but the solution seems to have worked to everyone’s benefit. Last time I was there, the flowerpots were front and center.
The point is: If you’re a manufacturer, dealer or designer, take the time to look around, brainstorm and don’t be afraid to push the envelope. Also, don’t be afraid to allow other brands or products beyond yours to be included in the mix. Obviously, you can’t make or carry everything and in the end, you win with a satisfied, successful customer.
If you’re an operator, you especially need to be thoughtful and open. Yes it’s a scary world and the challenges I listed (and many more) are growing. However, the tough environment also presents opportunities. Everything you do, every decision you make, is brand defining. Everyone wins if they just put their heads together, starting with the tabletop. Stand tall and apart from the crowd. That doesn’t necessarily mean “go crazy.” Instead, I simply suggest that you take the chance to differentiate, differentiate, and differentiate some more, at the level that makes sense for your brand. If you take away just one thing from this encounter, it’s “brand differentiation starts with the tabletop.”
This topic is like peeling an onion, with layer upon layer of ideas and concepts to explore. Who would have thought that tabletops are the basis for life as we know it? I have more to say, but I’m ecstatic that you’ve kept up with me this far and hope this encounter is a springboard for further and deeper dialogue between us.
I welcome comments and ideas and look forward to the next time we meet.
Importance of Glassware in A Bar's Success - Massimiliano Matté
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A well thought-out bar concept -including the glassware - is key for the success of a bar, especially because of the fast-growing market and extensive competition in the business. In this regard, the importance of glassware needs a completely new perspective.
The design of glassware is comparable to the business card of any company. It is the first visible impact of the delivered product and should be aligned with the business concept. The “right“ glassware can promote a drink or product by its presentation to customers, and can be very useful in upselling more consumptions. Additionally, using the right glassware for products can bring more stylishness and appeal to the customers who want to be associated with what is in vogue through its color, shape, style and texture. It can highlight current trends, fulfill the expectations of the customers even more, and attract a more sophisticated crowd that appreciates the art of mixology. Consequently, the type of clientele you want to attract determines the style of glasses used to present your drinks. |
Massimiliano Matté
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The choice of glassware is crucial because it attracts the curiosity of customers to order a certain kind of beverage. Presenting drinks in suitable glassware can also support or enhance a product experience. Serving a specific varietal wine in the most appropriate glassware has a surprising amount of impact on how the wine tastes. The same can be said of the mixed drink. It can reflect the creativity and the uniqueness of a bar. The establishment‘s creative product portfolio can give deeper insight into the philosophy of the mixologist or the thought behind every cocktail concoction.
Mixologists pay a lot of attention in choosing the right ingredients for their creations to make them delicious. At the same time, they give great importance to using the right glass to make the drink something that is luxurious, elegant, and trend-setting upon presentation. Sometimes a creation becomes exclusive to an establishment...a signature drink for which the bar becomes known and sought out by customers. Why does the final presentation matter so much? Because the first visual the customer gets is very impactful. The simple reason is that our eyes are eating, drinking and enjoying as well. Glassware has the same importance to the bartender for his creations and for any bar business in the same way cutlery or dinnerware has for a creative kitchen chef, his plates and for any restaurant. |
Besides that, there is another major aspect when it comes along to the choice of glassware. For your clients, the choice of glassware is like a mirror that reflects the character and creativity of every mixologist. Even more so, it is a vehicle he can use to express his passion for what he is doing and his professional approach to the business.
Well-chosen glassware adds beauty to an establishment.
It makes it look more professional and stylish, and expresses the service standards of the business.
In the hospitality business, it is essential to be keen on such particularities, as the glassware reflects an important image of your establishment. “Haute-Couture presentation of your creative concoctions“ is how Massimiliano Matté desribes the importance of selecting the correct glass for each drink.
Massimiliano Matté bio Massimiliano Matté has been specializing in creating exclusive taste experiences in the form of drink-collections combined with innovative ideas and attentive service, achieving a perfect interaction between products and service, which increases operator sales and profits for the past sixteen years. After rising to the level of International Master and nominated "Perfect Barman de Paris in 2007", Massimiliano worked at projects for the Coca-Cola Company and Christian Dior through Dorchester Group and for some of the most world's most prestigious hotels in Paris, Rome, New York, Copenhagen.
In 2007 Massimiliano founded the Bar Consulting Company umami.bar.improvement, a leading worldwide company in the creation of unique and innovative bar and beverage concepts. Along with international recognition and award wining bar concepts, Matté develop the branch umami.design and the umami.business.school, which is an official partner of the department of further education and trainings of the teaching staff at the hospitality schools in North Italy and Austria. Additionally, he has worked with Alain Ducasse, Heinz Beck and Daniel Boulud and got a close-up on the work of Jean-Francois Piege to support their hospitality projects and get them even more uniqueness and differentiation.
After his early studies in France and the UK, Massimiliano Matté achieved a Bachelor Degree in Management & Hospitality from Kaiserhof Hospitality Academy in Italy.
You can learn about Massimiliano Matté and his company by going here: http://www.umami-improvement.com/
Well-chosen glassware adds beauty to an establishment.
It makes it look more professional and stylish, and expresses the service standards of the business.
In the hospitality business, it is essential to be keen on such particularities, as the glassware reflects an important image of your establishment. “Haute-Couture presentation of your creative concoctions“ is how Massimiliano Matté desribes the importance of selecting the correct glass for each drink.
Massimiliano Matté bio Massimiliano Matté has been specializing in creating exclusive taste experiences in the form of drink-collections combined with innovative ideas and attentive service, achieving a perfect interaction between products and service, which increases operator sales and profits for the past sixteen years. After rising to the level of International Master and nominated "Perfect Barman de Paris in 2007", Massimiliano worked at projects for the Coca-Cola Company and Christian Dior through Dorchester Group and for some of the most world's most prestigious hotels in Paris, Rome, New York, Copenhagen.
In 2007 Massimiliano founded the Bar Consulting Company umami.bar.improvement, a leading worldwide company in the creation of unique and innovative bar and beverage concepts. Along with international recognition and award wining bar concepts, Matté develop the branch umami.design and the umami.business.school, which is an official partner of the department of further education and trainings of the teaching staff at the hospitality schools in North Italy and Austria. Additionally, he has worked with Alain Ducasse, Heinz Beck and Daniel Boulud and got a close-up on the work of Jean-Francois Piege to support their hospitality projects and get them even more uniqueness and differentiation.
After his early studies in France and the UK, Massimiliano Matté achieved a Bachelor Degree in Management & Hospitality from Kaiserhof Hospitality Academy in Italy.
You can learn about Massimiliano Matté and his company by going here: http://www.umami-improvement.com/
New York Chef John DiLeo: Tabletop As A Signature
Since graduating from the famed Culinary Institute of America, New York's Chef John DiLeo has been creating great tabletop theater in a variety of venues from Pittsbugh to Moscow.
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The tabletop we set is oten the first thing guests notice when they sit down to dine in our retaurant, setting the tone for the entire meal. And, in the end, our tabletop becomes a representation of ourselves - or part of our signature.
I am sitting at a table, when I open my eyes, the table is set with small earthen colored share plates, bamboo cups holding napkins and small dishes holding not sea salt but togarashi....I must be at an Izakaya or some type of Asian inspired restaurant! How you set your table and what you serve your food on should tell a story or at least give a hint of what's to come. This is how a restaurant's brand or style is reinforced!!
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Concepts based on French, Italian, Spanish, Japanese, what have you should be accented by traditional or pieces specific to those regions or foods. Think copper pans, cazuelas, tajines, wood platters, the list goes on and on. Some concepts might focus on the spaces architectural elements by using similar materials such as brick (clay), glass and tile as service pieces. Concepts can also have some fun, think of New York based Chef/Owner David Burke and some of the whimsical things he's done over the years using stands, bottles, even toys to present his food and concepts!
In the end, what we present on our tables is really a representation of ourselves and a signature of our work.
John DiLeo bio
John DiLeo’s fascination with the culinary arts started at an early age, while cooking at his Great Aunt’s side in his family’s Long Island home. After graduating from The Culinary Institute of America, Chef DiLeo worked with such culinary talents as Christian Delouvrier, Jean Jacques Rachou, and Ed Brown. John has helped open a diverse array of restaurants such as Zoe (NYC), Steelhead Grill (Pittburgh), Brant Point Grill (Nantucket), and the Marriott Grand Hotel (Moscow), while also re-establishing such classics as Restaurant Lafayette (NYC) and The Grand Tier at the Metropolitan Opera House in New York.
John joined China Grill Management in 2007 and has held a variety of positions from Executive Chef at Hudson Cafeteria to team leader in the conversion to Tanuki Tavern at The Gansevoort Hotel and the opening of Carte Blanche.
In the end, what we present on our tables is really a representation of ourselves and a signature of our work.
John DiLeo bio
John DiLeo’s fascination with the culinary arts started at an early age, while cooking at his Great Aunt’s side in his family’s Long Island home. After graduating from The Culinary Institute of America, Chef DiLeo worked with such culinary talents as Christian Delouvrier, Jean Jacques Rachou, and Ed Brown. John has helped open a diverse array of restaurants such as Zoe (NYC), Steelhead Grill (Pittburgh), Brant Point Grill (Nantucket), and the Marriott Grand Hotel (Moscow), while also re-establishing such classics as Restaurant Lafayette (NYC) and The Grand Tier at the Metropolitan Opera House in New York.
John joined China Grill Management in 2007 and has held a variety of positions from Executive Chef at Hudson Cafeteria to team leader in the conversion to Tanuki Tavern at The Gansevoort Hotel and the opening of Carte Blanche.
John Schroeder: 5 Tips to Building Your Restaurant Brand with Glassware
Whether you are opening a new restaurant, looking to refresh an established one or are running a “finely tuned machine”, a lot of time and resources are spent on branding. Rightfully so, as according to the American Marketing Association, “Branding is important to not just get your target market to choose you over the competition, but brand is also the personality of a product or service and how it relates to its’ key customers”. This “personality” aspect of brand is what builds customer loyalty and repeat business.
Important aspects of brand that no successful restaurateur would ignore include the obvious; exterior/interior décor, logo, theme and of course the actual food & beverage product. Additional areas that need to be addressed include lighting, employee dress code and advertising. All contribute to creating a unique and memorable dining experience.
One important area that is often overlooked is the table-top itself. And, in particular, the glassware that is used on that table or in that bar. It’s easy to settle for standard, commodity type glassware and “check it off your list”. If you take that approach, you’re missing a cost effective opportunity to connect with your customers, create loyalty and build brand equity by spending a bit more time on your glassware selection.
Important aspects of brand that no successful restaurateur would ignore include the obvious; exterior/interior décor, logo, theme and of course the actual food & beverage product. Additional areas that need to be addressed include lighting, employee dress code and advertising. All contribute to creating a unique and memorable dining experience.
One important area that is often overlooked is the table-top itself. And, in particular, the glassware that is used on that table or in that bar. It’s easy to settle for standard, commodity type glassware and “check it off your list”. If you take that approach, you’re missing a cost effective opportunity to connect with your customers, create loyalty and build brand equity by spending a bit more time on your glassware selection.
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Here are a few tips that can help you both create a unique look and one that sets your establishment apart:
1. Mix & match - Using the same product line for On the Rocks, Beer and Wine is outdated and tiresome. Capture the spirit of your brand by coordinating different lines from a variety of manufacturers. The “custom” combinations are endless and allow you to create your very own unique “glass signature”. 2. Get creative - If you’re proud of your 15 micro-brews on tap why serve them in a standard pint glass? There have never been more choices offered in the market so get creative and have some fun. There are several stylish and unique beer glasses from a variety of manufacturers available but I like breadth of Bormioli Rocco’s extensive collection. They cover it from a Belgian to their Stacking Rock Bar line. |
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3. Ask for a test market - If you want to give a product a test run do not hesitate to ask your dealer for promotional samples. In most cases the manufacturer will be happy to provide these. Here’s an idea: Try a Scotch Tasting in a standard tasting glass. The next month do the same tasting using the Stolzle Glen Cairn glass. Not only is it a better presentation, but a much better way to taste a complex liquid like Scotch due to the aeration and design of the glass.
4. Do not be afraid of crystal - If your brand has anything at all to do with wine you should be using crystal wine stems! The durability of crystal has increased and the market has more choices than ever, making it an affordable, upscale way to present wine. And nothing supports a price point, or validates a purchase decision more than attractive crystal stemware with your special wines. 5. Romance your signature product - Allow your customers to escape the everyday by adding a little panache. Think about using glassware authentic to the featured product. Not only will your guest remember it but it is sure to catch the eye of other guests. The selection of unique products available in today’s market is almost endless. I really like these new but traditional margarita glasses from Aztecas Design. |
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For beverage service nothing has a higher value perception than glassware. And, including glassware in your branding strategy is easy and flexible. It’s an important, creative and fun way to set your establishment apart, help drive sales, and promote customer loyalty.
John Schroeder bioJohn Schroeder has been in the foodservice table-top industry since 1996 in a variety of Sales and Marketing roles working with brands like Libbey, Stolzle, Bormioli Rocco and Anchor Hocking. He has traveled the world working with manufacturers in Europe, Asia and South America. Born and raised in Toledo, Ohio glassware has been a lifelong passion.
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James Schulze: Transforming Your Tabletop
The economy is starting to pull out of the doldrums, and restaurant sales are slowly picking up. For 2012, the firm Fitch Ratings is expecting same-store sales growth of 2% to 3%.
As consumers are dining out with greater frequency, the smart restaurateurs realize their patrons’ returns will stretch the acceptance of the “same old, same old”. If a consumer hasn’t dined out as much and visited a favorite restaurant as often, the customer may be more open to trying new venues. The smart operator will welcome patrons back with upgrades – upgrades in menus, service, or tableware. New dinnerware in particular is an easy way to enhance and elevate the dining experience from the mundane to the unexpected.
As consumers are dining out with greater frequency, the smart restaurateurs realize their patrons’ returns will stretch the acceptance of the “same old, same old”. If a consumer hasn’t dined out as much and visited a favorite restaurant as often, the customer may be more open to trying new venues. The smart operator will welcome patrons back with upgrades – upgrades in menus, service, or tableware. New dinnerware in particular is an easy way to enhance and elevate the dining experience from the mundane to the unexpected.
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In spite of the gradual economic recovery, margins are still at an all time low. Food costs are spiraling, health care is getting more expensive, and energy cost increases have not yet abated. How can an executive chef or restaurateur afford new dinnerware in this environment? Is it irresponsible to even suggest making such an investment?
The answers are: A) it is more affordable than imaginable to make an impact; and B) it is irresponsible to not wow returning guests in the face of stiff competition. |
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Enter the idea of “transforming your tabletop” with a few, simple pieces. The first question the operator should ask is, “what is the body color of my dinnerware?” This is an important question to answer in order to offer a consistent presentation to the guests. Fortunately one doesn’t have to be a tabletop guru to find an answer. There are three basic choices – bright white, American white, or bone white. The correct whiteness allows the operator to seamlessly transition in a couple complimentary pieces adding the required “pop” to exceed customer expectations. One also doesn’t need to be a ceramic engineer to determine the type of china to purchase, just recognizing body color will work.
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Body colors: Left: Bright White Center: American White Right: Bone White |
Bright white is defined by its description – the starkest white, almost with blue grey hues, to the point of being cold in appearance. When perusing dinnerware catalogs, look for porcelain or “super white” products as perfect choices to blend in with the current dinnerware inventory of bright white china.
American white is the traditional color of long standing dinnerware lines like Buffalo China. It is creamier, slightly darker, and typically thicker than other dinnerware products. There is a warmth to an American white body a lot of consumers find appealing.
Bone white is many times called soft white and is characterized by a consistent lighter creaminess almost the color of linen. Bone white is a warm color, like American white, but lighter in tone. Most bone colored commercial dinnerware is either “high alumina” china or bone china.
Once a basic body color is determined, catalogs and websites can be reviewed for item ideas, and then samples can be ordered. All reputable dinnerware companies gladly provide samples. The best way to get a catalog and sample is by working with your foodservice distributor. Unlike a direct seller of tabletop, the distributor sales rep is an independent authority that can assist you in making the best choice. Just ask your foodservice sales professional for catalogs with dinnerware of the correct body color, and after selecting items to sample your dealer sales rep can order the samples on your behalf. If electronic media is preferred, your dealer sales rep can offer many options on websites to visit. Again, samples can be ordered after reviewing choices on line.
When looking at the catalogs or websites, there are many options on different shapes and styles. Three of the most popular to consider are “deep plates”, geometrics and coupe plates.
American white is the traditional color of long standing dinnerware lines like Buffalo China. It is creamier, slightly darker, and typically thicker than other dinnerware products. There is a warmth to an American white body a lot of consumers find appealing.
Bone white is many times called soft white and is characterized by a consistent lighter creaminess almost the color of linen. Bone white is a warm color, like American white, but lighter in tone. Most bone colored commercial dinnerware is either “high alumina” china or bone china.
Once a basic body color is determined, catalogs and websites can be reviewed for item ideas, and then samples can be ordered. All reputable dinnerware companies gladly provide samples. The best way to get a catalog and sample is by working with your foodservice distributor. Unlike a direct seller of tabletop, the distributor sales rep is an independent authority that can assist you in making the best choice. Just ask your foodservice sales professional for catalogs with dinnerware of the correct body color, and after selecting items to sample your dealer sales rep can order the samples on your behalf. If electronic media is preferred, your dealer sales rep can offer many options on websites to visit. Again, samples can be ordered after reviewing choices on line.
When looking at the catalogs or websites, there are many options on different shapes and styles. Three of the most popular to consider are “deep plates”, geometrics and coupe plates.
The name “deep plate” describes the item itself. It is a flat plate with sides that flair up dramatically from the verge or inner well. The higher sides focus the attention on the food and beautifully frames the chef’s creation. Deep plates are very versatile and can be used for every course on the menu.
Geometric shapes are still super trendy and an easy way to offer a memorable difference in presentation to the guest. Squares plates have remained popular for some time, and like deep plates are versatile enough to be used for a variety of courses. Rectangles are also a great shape to consider based on new food trends. Longer presentations are very chic, and rectangles perfectly match this style.
The third option when looking for a specialty piece to transform your tabletop is a coupe style plate. Coupe plates have no rim – it is all plating surface. The food should be the star of the meal, and a simple, clean coupe plate makes this a reality. The plate is so plain, so unadorned, the food will certainly be the most memorable part of the guest’s experience.
After picking the correct body color and a couple stylish pieces to enhance the menu and mood, it is time to make the purchase. The good news is these guidelines are suggested with an eye on cost. By matching body color of the current dinnerware to the accessory pieces, 2 new plates can dramatically change the tabletop. Here is a great guideline in selecting the number of pieces to buy, along with costs.
Geometric shapes are still super trendy and an easy way to offer a memorable difference in presentation to the guest. Squares plates have remained popular for some time, and like deep plates are versatile enough to be used for a variety of courses. Rectangles are also a great shape to consider based on new food trends. Longer presentations are very chic, and rectangles perfectly match this style.
The third option when looking for a specialty piece to transform your tabletop is a coupe style plate. Coupe plates have no rim – it is all plating surface. The food should be the star of the meal, and a simple, clean coupe plate makes this a reality. The plate is so plain, so unadorned, the food will certainly be the most memorable part of the guest’s experience.
After picking the correct body color and a couple stylish pieces to enhance the menu and mood, it is time to make the purchase. The good news is these guidelines are suggested with an eye on cost. By matching body color of the current dinnerware to the accessory pieces, 2 new plates can dramatically change the tabletop. Here is a great guideline in selecting the number of pieces to buy, along with costs.
Let’s assume the restaurant has 120 seats and does 2 turns per meal. The goal is to give each patron sharing a table a different look for one course. This fictitious restaurant will serve 240 meals nightly to 240 guests. A purchase of 80 plates of one style, and 80 of another will give the operator the ability to mix the new inventory in with the old, thus transforming the tabletop and guest experience. The current inventory is still used, the operator simply adds to it with the new items. At an average cost of $15 per plate, this is a $2400 purchase. With 240 meals a night, five nights a week, if the operator can increase cost $0.40 per menu item the new inventory is paid for in a month. Most importantly, the operator has enhanced the guest experience driving customer loyalty and return visits.
The final detail is how to buy the new dinnerware. The best avenue is through a food service tabletop dealer. A dealer sales representative can coordinate samples, delivery, and is invested in the service after the sale more than a direct seller or retail store. A foodservice dealer can also help with subsequent reorders, keep an order history, and will make sure all your purchases are from a reputable manufacturer that can guarantee quality and availability.
To wow your customers on their next visit, transform your tabletop today. It’s as easy as one – two – three. Select body color, pick out some fun pieces, and place an order with a foodservice dealer.
To wow your customers on their next visit, transform your tabletop today. It’s as easy as one – two – three. Select body color, pick out some fun pieces, and place an order with a foodservice dealer.
James Schulze Bio -
James Schulze has been in the foodservice industry since 1996 as manufacturer's rep, dealer sales rep, owner and now senior management with Oneida Ltd.. Schulze has spent his career specifying brands at all price points into foodservice operators ranging from diners to five star hotels. Besides specifying and selling product, Schulze has worked closely with fine tableware factories worldwide manufacturing both foodservice and retail tableware.
James Schulze has been in the foodservice industry since 1996 as manufacturer's rep, dealer sales rep, owner and now senior management with Oneida Ltd.. Schulze has spent his career specifying brands at all price points into foodservice operators ranging from diners to five star hotels. Besides specifying and selling product, Schulze has worked closely with fine tableware factories worldwide manufacturing both foodservice and retail tableware.
Glassware Q & A with David Vareille, Sommelier at Bar Boulud, London
We've received a number of inquiries and discussions about glassware, particularly wine glassware and its is important in the overall postioning of a restaurant's brand. So, we thought we would ask an expert in wines and branding.
David Varielle has been working as sommelier since 18 years, initially in his native France. His first job was in Auxerre near Chablis as apprentice sommelier in a Michelin starred restaurant which specialized in fish and fruit de mer with no meat at all. Following this experience David worked selling Baccarat and Saint-Louis crystal in a luxurious shop for art de la table. After 2 years David moved back to being a sommelier and worked in various place like L’esperance, Marc Meneau (3 Michelin stars), La Cotes Saint-Jacque of the frere Lorain (3 Michelin stars, as well) and various places in Tours and Bordeaux.
Vareille’s UK experience began 5 years ago when he was appointed head sommelier at L’enclume in Cartmel, Lake District and then moved to become Sommelier in the Hotel de vin group for the newly opened Hotel du vin in Cambridge. Three years ago Vareille was named Head Sommelier for the Bleeding Heart restaurant in London. Finally, and most importantly, David Vareille joined Bar Boulud, London at the Mandarin Oriental Hotel in Hyde Park last year for the anticipated opening in May 2010 and has been the Sommelier there since.
David Varielle has been working as sommelier since 18 years, initially in his native France. His first job was in Auxerre near Chablis as apprentice sommelier in a Michelin starred restaurant which specialized in fish and fruit de mer with no meat at all. Following this experience David worked selling Baccarat and Saint-Louis crystal in a luxurious shop for art de la table. After 2 years David moved back to being a sommelier and worked in various place like L’esperance, Marc Meneau (3 Michelin stars), La Cotes Saint-Jacque of the frere Lorain (3 Michelin stars, as well) and various places in Tours and Bordeaux.
Vareille’s UK experience began 5 years ago when he was appointed head sommelier at L’enclume in Cartmel, Lake District and then moved to become Sommelier in the Hotel de vin group for the newly opened Hotel du vin in Cambridge. Three years ago Vareille was named Head Sommelier for the Bleeding Heart restaurant in London. Finally, and most importantly, David Vareille joined Bar Boulud, London at the Mandarin Oriental Hotel in Hyde Park last year for the anticipated opening in May 2010 and has been the Sommelier there since.
Q: What role – if any – in the overall branding of a restaurant does its glassware play? How does the glassware help (if, indeed, it does help) a restaurant differentiate its dining experience from other restaurants?
A: First of all, the glassware has to be representative of the product you serve in your restaurant – a luxurious venue deserves luxurious branding. The wine glasses have to reflect the type of beverage that you serve and it’s proven that the shape of some glasses can improve the wines – but not all of them. And bigger is not always better.
A: First of all, the glassware has to be representative of the product you serve in your restaurant – a luxurious venue deserves luxurious branding. The wine glasses have to reflect the type of beverage that you serve and it’s proven that the shape of some glasses can improve the wines – but not all of them. And bigger is not always better.
Q: Glassware has nearly become a commodity. What differentiates one wine glass from another in your viewpoint?
A: The quality. As a professional, breakage is my prime concern and a solid glass with a strong stem is required. The shape is also very important and, of course, the price. When you find the perfect compromise, you are happy…and, in turn, your guest will be, as well.
Q: We see very specific glass shapes for a specific wine (special shape for Bordeaux, another for Burgundy, etc.)…this seems complicated in a restaurant setting. Does it make a discernable enough difference?
A: Not all Bordeaux wines need a special glass. It seems that sometimes the guest will expect a special glass with the most expensive wines to make the experience even more special – even if the decantation is sufficient enough from the wine’s point of view. It’s the same with the type of grapes or wine – some will need a special glass to extract the best of their flavors. For others, a special glass will not be needed, but is requested or desired anyway.
Q: What are the criteria for selecting a range of glassware that restaurateurs should use?
A: For the restaurant…..price, shape, strength. For the glasses, elegancy and accuracy in terms of shape.
Q: If you were giving advice to glassware manufacturers – what one piece of advice would you give them to help them develop a better product for restaurateurs and sommeliers like yourself?
A: Try to create something new and different rather than copying the main luxury brands. Don’t cut costs when producing as the guests will be able to tell when the quality is poor.
A: The quality. As a professional, breakage is my prime concern and a solid glass with a strong stem is required. The shape is also very important and, of course, the price. When you find the perfect compromise, you are happy…and, in turn, your guest will be, as well.
Q: We see very specific glass shapes for a specific wine (special shape for Bordeaux, another for Burgundy, etc.)…this seems complicated in a restaurant setting. Does it make a discernable enough difference?
A: Not all Bordeaux wines need a special glass. It seems that sometimes the guest will expect a special glass with the most expensive wines to make the experience even more special – even if the decantation is sufficient enough from the wine’s point of view. It’s the same with the type of grapes or wine – some will need a special glass to extract the best of their flavors. For others, a special glass will not be needed, but is requested or desired anyway.
Q: What are the criteria for selecting a range of glassware that restaurateurs should use?
A: For the restaurant…..price, shape, strength. For the glasses, elegancy and accuracy in terms of shape.
Q: If you were giving advice to glassware manufacturers – what one piece of advice would you give them to help them develop a better product for restaurateurs and sommeliers like yourself?
A: Try to create something new and different rather than copying the main luxury brands. Don’t cut costs when producing as the guests will be able to tell when the quality is poor.
For more information on Bar Boulud in London, located in the spectacular Mandarin Oriental Hotel in Hyde Park (a stone's throw from Harrod's!)
go here:
http://www.danielnyc.com/barbouludLondon.html#intro
Bargreen Ellingson: Tabletop As A Part of The Branding Process
For restaurateurs, this may a great time to be looking to buy tabletop because of the variety that is available while competition among suppliers has kept the prices low. However, for manufacturers and dealers it is a challenging time to be able to grow their top line sales and do so at a profit. So how does the tabletop leader in America’s northwest view the tabletop category?
Bargreen Ellingson is one dealer who is aggressively and creatively pursuing the tabletop category for multiple reasons. Bargreen Ellingson is an approx. $140MM dealer (according to FES Magazine list of distribution giants) headquartered in Tacoma, WA.
TabletopJournal.com recently spoke with Bargreen Ellingson’s VP, Sales, Tim Irey about the current state of the tabletop market and how Bargreen Ellingson uses tabletop to help with its branding efforts.
Bargreen Ellingson is one dealer who is aggressively and creatively pursuing the tabletop category for multiple reasons. Bargreen Ellingson is an approx. $140MM dealer (according to FES Magazine list of distribution giants) headquartered in Tacoma, WA.
TabletopJournal.com recently spoke with Bargreen Ellingson’s VP, Sales, Tim Irey about the current state of the tabletop market and how Bargreen Ellingson uses tabletop to help with its branding efforts.
There’s no doubt that the tabletop category has lost its way a bit but there are a lot of factors involved,” commented Irey. “At Bargreen Ellingson, we spend a lot of time with the staff to help them decipher how we flatten out all the commoditization. We train our sales people to ask their customer questions and to help their customers understand the cost of investment vs. the cost of ownership”.
In the past several years, the types of dinnerware that Bargreen Ellingson’s customers are buying is echoing much of the rest of the country with trends going towards white, simpler china. “We used to sell a lot of personalized and decorated china, but lately I’ve even had customers say that they view china as a disposable, saying ‘It all breaks, high-end, or low-end’ so at Bargreen-Ellingson, we continue to sell a lot of white china, so having our customers understand value is important” says Irey.
In the past several years, the types of dinnerware that Bargreen Ellingson’s customers are buying is echoing much of the rest of the country with trends going towards white, simpler china. “We used to sell a lot of personalized and decorated china, but lately I’ve even had customers say that they view china as a disposable, saying ‘It all breaks, high-end, or low-end’ so at Bargreen-Ellingson, we continue to sell a lot of white china, so having our customers understand value is important” says Irey.
When it gets to the idea of brand positioning or branding of the Bargreen Ellingson experience, Irey is clear about what makes the difference. “Sure, we have mountains of inventory, we carry thirteen thousand standard skus, we’re willing to order virtually anything and we will work with customers to set up stocking agreements,” says Irey, “But ultimately, it comes down to your staff. You have to have a terrifically educated salesforce and a wonderful operations team that works closely together.” Recognizing the value of a brand, Irey spoke at length about how hard the overall Bargreen Ellingson sales team works to protect their company’s brandname and are very protective of the company’s identity in the various marketplaces that it serves. At a time when many dealers and distributors are trying to get larger shares of the foodservice marketplace by being all things to all people and going after sales in any way they can, Irey is focusing his team’s efforts on doing what they are good at. With 18 branches in 8 northwestern states and western Canada, Bargreen Ellingson has just opened up its newest branch in Denver and is about to have people in Alaska, as well. “We’re making between 7-8000 sales calls per week, “ says Irey, “So, if we’re not sales rock stars and educated about china, glass, silver, linens, and how it all goes together – we’re just another ordinary dealer or distributor, standing in line to waste the restaurateur’s time.”
So, how does Tim Irey and Bargreen Ellingson differentiate its tabletop efforts and develop ways to use the tabletop category as a brand positioning tool for their company? Well, one way is through the education process of their sales people. This August, Irey will have representative salespeople from each branch come to a 2-day tabletop summit meeting with key manufacturers. According to Irey, “We won’t necessarily be bringing in our ‘best’ tabletop people, but rather we’ll bring in those that might offer us the best potential to improve their particular branch.” With a “train the trainer” approach, it’s hoped that the participating salespeople will then transmit much of what they learned to their branch colleagues, along with a “playbook” and a vision for the tabletop category (ie, what types of tabletop products work well in certain types of operations, how to talk to customers who might be ‘stuck’ on undecorated china, how to talk to customers about customization or personalization, selling the guest experience).
Sounding like a man on a mission, Irey states “We’re looking to have 2 full days of breaking the category down to nuts and bolts, to see if we can get our customers to get off the commodity wagon and we can show them how tabletop can improve their guests’ overall dining experience.”
Another huge tool for separating Bargreen Ellingson from its competition are its test kitchens. “We’ve got beautiful facilities with a corporate chef which gives us the ability to engage not only our own sales staff, but our customers, as well. Bringing in manufacturers to assist with this helps both salespeople and customers learn better and gain an understanding of the overall tabletop category and they become almost ‘mini’ trade shows,” claims Irey. Bargreen Ellingson’s Portland, OR test kitchen is approximately 3000 square feet and not long ago was set up with banquet tables around the perimeter and a complete buffet line set up to help show personnel from a large Oregon B & I feeder exactly what Bargreen Ellingson was proposing for their dining facility. Using the test kitchen and this full set-up approach helped their client understand the value and turned what was originally a $50K project into a $300K project. Clearly, Bargreen Ellingson works hard at positioning themselves as the tabletop leader in the northwest.
Bargreen Ellingson also uses their test kitchens to further differentiate themselves from competitors by showcasing their in-house woodshop and metal fabrication shop. These two in-house resources to build tables and countertops allow Irey to show a potential customer exactly what his team’s vision is for each of their restaurant customers. Such custom fabrication allows Bargreen Ellingson to also offer a complete package beyond the tabletop to their customers.
Sounding like a man on a mission, Irey states “We’re looking to have 2 full days of breaking the category down to nuts and bolts, to see if we can get our customers to get off the commodity wagon and we can show them how tabletop can improve their guests’ overall dining experience.”
Another huge tool for separating Bargreen Ellingson from its competition are its test kitchens. “We’ve got beautiful facilities with a corporate chef which gives us the ability to engage not only our own sales staff, but our customers, as well. Bringing in manufacturers to assist with this helps both salespeople and customers learn better and gain an understanding of the overall tabletop category and they become almost ‘mini’ trade shows,” claims Irey. Bargreen Ellingson’s Portland, OR test kitchen is approximately 3000 square feet and not long ago was set up with banquet tables around the perimeter and a complete buffet line set up to help show personnel from a large Oregon B & I feeder exactly what Bargreen Ellingson was proposing for their dining facility. Using the test kitchen and this full set-up approach helped their client understand the value and turned what was originally a $50K project into a $300K project. Clearly, Bargreen Ellingson works hard at positioning themselves as the tabletop leader in the northwest.
Bargreen Ellingson also uses their test kitchens to further differentiate themselves from competitors by showcasing their in-house woodshop and metal fabrication shop. These two in-house resources to build tables and countertops allow Irey to show a potential customer exactly what his team’s vision is for each of their restaurant customers. Such custom fabrication allows Bargreen Ellingson to also offer a complete package beyond the tabletop to their customers.
The first of three test kitchens opened in the headquarters Tacoma branch in 2003 and according to Irey, gets used in 3 distinct ways to help position Bargreen Ellingson as both and industry and community leader.
· Educate Customers: using a “try it before you buy” approach, chefs are able to try out equipment, tabletop products, and all types of smallwares; some chefs also utilize the test kitchen for menu development concepts if their kitchen isn’t ready yet on new restaurants or if they don’t have the right type of facility;
· Staff Training: the up to date communications set up allows presentations done in the Tacoma test kitchen to be broadcast out to all branches making it very efficient for internal seminars and manufacturers to make sales presentations to the Bargreen Ellingson sales force;
· Community Development: Bargreen Ellingson, while being sensitive to not compete with its customers, sometimes donates the space to charitable local organizations;
Seattle and Portland branches also have test kitchens with each being a little unique in their layout causing each to be used slightly differently, giving the company maximum flexibility. Given their success, company executives would like to expand the idea of test kitchens to possibly Denver or Vancouver, BC in the future.
A final component to the branding building of Bargreen Ellingson is, according to Irey, is realizing what you are good at. “Being truly honest to yourself and your organization is critical. Finding that ‘sweetspot’ for your company and not trying to be all things to all people is very important,” says Irey. The example that Irey cites is that while Bargreen Ellingson does a nice business with national chains, its skills and philosophy really play well with independent and regional operators where building person-to-person relationships truly matter. The Bargreen Ellingson customer relationship difference is often the help in understanding and solving customer problems that Irey’s staff provides.
“For instance, we don’t build a relationship with owner Tom Douglas’ restaurants in Seattle – we build it with Tom himself. Andy Juhl, who calls on Tom works with our Seattle branch G.M. Jeff Gentling, and Jeff Winter our contract sales guy helps build Tom’s restaurants. And, of course, we have our great operational machine behind them and it all works to create a great overall relationship,” says Irey. While Irey doesn’t feel that you have the same ability to develop those kind of deep, strong relationships with chain restaurants, he says they do work with chains in each of their branches. Using their relationship building skills and then backing those relationships up operationally is clearly a major point of differentiation for Bargreen Ellingson. With their people trained to do whatever it takes for the customer – above all costs for the customer, it’s easy to understand why Bargreen is so strong with independents and other operator where understanding needs and providing solutions are keys. All this reinforces the Tim’s earlier comments about his organization being the defining point of difference between Bargreen Ellingson and its competitors.
Tim Irey also believes that tabletop product companies are changing and becoming much more brand conscious. “With dinnerware brands sometimes getting their products from the same factories - and sometimes even coming from the same production lines – these companies need to become marketing machines,” concludes Irey. Strong branding efforts from manufacturers is critical to helping trend toward higher margin levels and reducing the emphasis on price alone as the primary selling feature.
With respect to the branding and brand positioning of the Bargreen Ellingson brand, Irey contends that it is a continuing effort. “We sure are trying hard. It’s not perfect, but we have a vision going forward and we are constantly trying to re-invent. Not necessarily go away from our roots, but continuing to course-correct as we move forward.” With customers in such diverse markets as Billings, Montana and Portland, Oregon, Bargreen Ellingson keeps the customer always at the center of its focus. “Helping customers realize that, through our actions, we want to be an extension of their own business – to view our staff as an extension of their staff – is our goal.”
With a customer centric approach, backed by such operational tools as test kitchens, in-house construction shops, strong inventories, and a clear vision for the future, it becomes easy to understand how Tim Irey and the team at Bargreen Ellingson have differentiated themselves and are the market leaders in restaurant tabletop and beyond in America’s northwest.
· Educate Customers: using a “try it before you buy” approach, chefs are able to try out equipment, tabletop products, and all types of smallwares; some chefs also utilize the test kitchen for menu development concepts if their kitchen isn’t ready yet on new restaurants or if they don’t have the right type of facility;
· Staff Training: the up to date communications set up allows presentations done in the Tacoma test kitchen to be broadcast out to all branches making it very efficient for internal seminars and manufacturers to make sales presentations to the Bargreen Ellingson sales force;
· Community Development: Bargreen Ellingson, while being sensitive to not compete with its customers, sometimes donates the space to charitable local organizations;
Seattle and Portland branches also have test kitchens with each being a little unique in their layout causing each to be used slightly differently, giving the company maximum flexibility. Given their success, company executives would like to expand the idea of test kitchens to possibly Denver or Vancouver, BC in the future.
A final component to the branding building of Bargreen Ellingson is, according to Irey, is realizing what you are good at. “Being truly honest to yourself and your organization is critical. Finding that ‘sweetspot’ for your company and not trying to be all things to all people is very important,” says Irey. The example that Irey cites is that while Bargreen Ellingson does a nice business with national chains, its skills and philosophy really play well with independent and regional operators where building person-to-person relationships truly matter. The Bargreen Ellingson customer relationship difference is often the help in understanding and solving customer problems that Irey’s staff provides.
“For instance, we don’t build a relationship with owner Tom Douglas’ restaurants in Seattle – we build it with Tom himself. Andy Juhl, who calls on Tom works with our Seattle branch G.M. Jeff Gentling, and Jeff Winter our contract sales guy helps build Tom’s restaurants. And, of course, we have our great operational machine behind them and it all works to create a great overall relationship,” says Irey. While Irey doesn’t feel that you have the same ability to develop those kind of deep, strong relationships with chain restaurants, he says they do work with chains in each of their branches. Using their relationship building skills and then backing those relationships up operationally is clearly a major point of differentiation for Bargreen Ellingson. With their people trained to do whatever it takes for the customer – above all costs for the customer, it’s easy to understand why Bargreen is so strong with independents and other operator where understanding needs and providing solutions are keys. All this reinforces the Tim’s earlier comments about his organization being the defining point of difference between Bargreen Ellingson and its competitors.
Tim Irey also believes that tabletop product companies are changing and becoming much more brand conscious. “With dinnerware brands sometimes getting their products from the same factories - and sometimes even coming from the same production lines – these companies need to become marketing machines,” concludes Irey. Strong branding efforts from manufacturers is critical to helping trend toward higher margin levels and reducing the emphasis on price alone as the primary selling feature.
With respect to the branding and brand positioning of the Bargreen Ellingson brand, Irey contends that it is a continuing effort. “We sure are trying hard. It’s not perfect, but we have a vision going forward and we are constantly trying to re-invent. Not necessarily go away from our roots, but continuing to course-correct as we move forward.” With customers in such diverse markets as Billings, Montana and Portland, Oregon, Bargreen Ellingson keeps the customer always at the center of its focus. “Helping customers realize that, through our actions, we want to be an extension of their own business – to view our staff as an extension of their staff – is our goal.”
With a customer centric approach, backed by such operational tools as test kitchens, in-house construction shops, strong inventories, and a clear vision for the future, it becomes easy to understand how Tim Irey and the team at Bargreen Ellingson have differentiated themselves and are the market leaders in restaurant tabletop and beyond in America’s northwest.
About Tim Irey
Born and raised in the Pacific Northwest, Tim Irey has been a territory salesman in Bellevue, Washington, a branch general manager in Portland, Oregon and Vice President of Sales for the past eight years all while working for Bargreen Ellingson during his 15 year career. He is married to Heather with two wonderful children. Irey is an avid cyclist and is passionate about customer service.
Tabletop: Simple Pieces, Part of The Larger Picture by Chef Ed Brown
What makes a great table top currently is simplicity and geometric design.
The entire package of china, glass & silver as well as the extras i.e., salt & pepper, sugar caddy, vase, candle holder, etc… Every piece on the table plays a part in the bigger picture and must be considered as such. In some cases, china may have small amounts of etchings or reliefs or the most decoration used. The current trend serves me well as I have focused my food to be simpler, cleaner, less complicated. This is a natural for me when preparing my specialty, seafood.
In the past I used to use a huge array of designed / patterned china and often designed food specifically for that plate usually inspired by the plate design itself. I believe there is still a market for those plates, albeit toned some toned down versions. The highly designed plates are appropriate for a restaurant that has a fun atmosphere or theme…..no longer to be found in fine dining. I also agree there is room for small elegant design in fine dining, especially custom design where a restaurant can set itself apart from anyone else. Everything we do as restaurateurs affects our guests experience and make them want to return which is our goal. We are in the restaurant BUSINESS, not the restaurant HOBBY. Every touch that makes our restaurant unique, further promotes loyalty.
I think fine dining is alive, I am happy about that… but has a new face. Gone, for the most part, are the stuffy over wrought, precious dining rooms, snob service and table top settings. The new face still can have elegant appointments with some small amounts of design, but offered in a much more casual style and with a much more familiar atmosphere.
Bottom line for me is, great food, nice table top, great hospitality with technically proficient service with a warm friendly atmosphere….and maybe you are wearing slacks and a polo shirt!
Best Fishes!
I think fine dining is alive, I am happy about that… but has a new face. Gone, for the most part, are the stuffy over wrought, precious dining rooms, snob service and table top settings. The new face still can have elegant appointments with some small amounts of design, but offered in a much more casual style and with a much more familiar atmosphere.
Bottom line for me is, great food, nice table top, great hospitality with technically proficient service with a warm friendly atmosphere….and maybe you are wearing slacks and a polo shirt!
Best Fishes!
Chef Ed Brown's bio:
Edward G. Brown Chef/Collaborator, Ed’s Chowder House :
For more than 25 years, Chef Ed Brown has cultivated a culinary prowess by working in some of the most celebrated kitchens in the world. His passion and considerable talent in regards to all things seafood have earned him wide acclaim including numerous New York Times stars and a Michelin star. Brown’s skills, creativity and expertise with the finest seasonal ingredients are now on regular display at his latest venture, Ed’s Chowder House located on Manhattan’s Upper West Side.
Brown’s professional life in the kitchen began shortly after his graduation from the Culinary Institute of America in 1983, when he joined Le Parker Meridien Hotel at its New York Times three-star Maurice Restaurant as Sous Chef working beside Chef Christian Delouvrier and Chef/Maitre Cuisinier Alain Senderens. Two years later, he traveled with Senderens to Paris to work at the famous Michelin three-star Lucas Carton as Chef de Partie Tournant. It was during this time that Brown was introduced to the cuisines of the world and the variety of techniques that are still evident in the combinations, flavors and simplicity of his cooking style today.
In 1990, Brown joined the venerable Restaurant Associates (RA) to open Tropica, the organization’s first project in New York’s MetLife building complex, eventually overseeing the culinary programs at all of RA’s restaurants in the building. After a brief stopover at Judson Grill, Brown returned to the RA family in 1994 to serve at the helm of The Sea Grill. During his 14 years as Executive Chef Esquire magazine called The Sea Grill “one of the best restaurants in the world” and Brown, “perhaps the most impressive talent in his field.” Throughout Brown’s impressive career, he has earned 14 stars from The New York Times for such properties as Marie Michelle, Tropica, Judson Grill and The Sea Grill.
In 2008, Brown fulfilled his lifelong dream of owning a restaurant, and opened Eighty One. The Upper West Side eatery was an immediate hit and earned a highly coveted Michelin star. In March 2010, in light of a tumultuous economy and shifting demands from the neighborhood, Brown made the decision to close the restaurant and pursue other opportunities.
Following the opening of Eighty One, Brown teamed up with restaurateur Jeffrey Chodorow in 2009 to launch Ed’s Chowder House, a casual, yet authentic, seafood eatery showcasing the bounty of the East Coast. Brown developed the restaurant’s menu, which features a few of his signature dishes such as the Scallop Ravioli, and his continued presence—both in the kitchen and on the floor—cements Ed’s Chowder House as one of the most creative and delectable dining establishments in New York City.
Brown’s venerated status as one of the country’s best chefs is not limited to the confines of the kitchen. He also shines in the media world with frequent appearances on such outlets as NBC’s The TODAY Show and CBS’ Early Show, as well as competing on Iron Chef America in 2010 and providing numerous contributions to culinary publications. Additionally, Brown authored The Modern Seafood Cook (Clarkson Potter, 1995), a comprehensive look at how to buy, handle and prepare seafood. He also participated as a contributing author for the new Joy of Cooking (Scribner, 1997), updating its fish and shellfish section, and wrote the foreword for celebrated Chef Pierre Franey’s 60 Minute Gourmet (Clarkson Potter, 2000).
Edward G. Brown Chef/Collaborator, Ed’s Chowder House :
For more than 25 years, Chef Ed Brown has cultivated a culinary prowess by working in some of the most celebrated kitchens in the world. His passion and considerable talent in regards to all things seafood have earned him wide acclaim including numerous New York Times stars and a Michelin star. Brown’s skills, creativity and expertise with the finest seasonal ingredients are now on regular display at his latest venture, Ed’s Chowder House located on Manhattan’s Upper West Side.
Brown’s professional life in the kitchen began shortly after his graduation from the Culinary Institute of America in 1983, when he joined Le Parker Meridien Hotel at its New York Times three-star Maurice Restaurant as Sous Chef working beside Chef Christian Delouvrier and Chef/Maitre Cuisinier Alain Senderens. Two years later, he traveled with Senderens to Paris to work at the famous Michelin three-star Lucas Carton as Chef de Partie Tournant. It was during this time that Brown was introduced to the cuisines of the world and the variety of techniques that are still evident in the combinations, flavors and simplicity of his cooking style today.
In 1990, Brown joined the venerable Restaurant Associates (RA) to open Tropica, the organization’s first project in New York’s MetLife building complex, eventually overseeing the culinary programs at all of RA’s restaurants in the building. After a brief stopover at Judson Grill, Brown returned to the RA family in 1994 to serve at the helm of The Sea Grill. During his 14 years as Executive Chef Esquire magazine called The Sea Grill “one of the best restaurants in the world” and Brown, “perhaps the most impressive talent in his field.” Throughout Brown’s impressive career, he has earned 14 stars from The New York Times for such properties as Marie Michelle, Tropica, Judson Grill and The Sea Grill.
In 2008, Brown fulfilled his lifelong dream of owning a restaurant, and opened Eighty One. The Upper West Side eatery was an immediate hit and earned a highly coveted Michelin star. In March 2010, in light of a tumultuous economy and shifting demands from the neighborhood, Brown made the decision to close the restaurant and pursue other opportunities.
Following the opening of Eighty One, Brown teamed up with restaurateur Jeffrey Chodorow in 2009 to launch Ed’s Chowder House, a casual, yet authentic, seafood eatery showcasing the bounty of the East Coast. Brown developed the restaurant’s menu, which features a few of his signature dishes such as the Scallop Ravioli, and his continued presence—both in the kitchen and on the floor—cements Ed’s Chowder House as one of the most creative and delectable dining establishments in New York City.
Brown’s venerated status as one of the country’s best chefs is not limited to the confines of the kitchen. He also shines in the media world with frequent appearances on such outlets as NBC’s The TODAY Show and CBS’ Early Show, as well as competing on Iron Chef America in 2010 and providing numerous contributions to culinary publications. Additionally, Brown authored The Modern Seafood Cook (Clarkson Potter, 1995), a comprehensive look at how to buy, handle and prepare seafood. He also participated as a contributing author for the new Joy of Cooking (Scribner, 1997), updating its fish and shellfish section, and wrote the foreword for celebrated Chef Pierre Franey’s 60 Minute Gourmet (Clarkson Potter, 2000).
StudioWilliam - William Welch: Sensory Dining - By Design
StudioWilliam may not be a name that’s known to America’s restaurant tabletops….but it soon will be.
This boutique, design-led, high quality flatware company is about to begin ushering in what it hopes will be a return to an era of dining rather than mere eating. After working closely with chefs in the U.K., continental Europe, Dubai, and Australia, owner and head designer William Welch has set his sights on the U.S. foodservice market. “If you are looking for unique flatware products to set your restaurant aside from everyone else, then we are there for you,” states Welch, whose industrial design background includes a Masters Degree from the famed Royal College of Art. “Our products have lots of details that customers love to learn about. They are all very ergonomic, with soft-edged handles, and they’re all very well-balanced.”
This boutique, design-led, high quality flatware company is about to begin ushering in what it hopes will be a return to an era of dining rather than mere eating. After working closely with chefs in the U.K., continental Europe, Dubai, and Australia, owner and head designer William Welch has set his sights on the U.S. foodservice market. “If you are looking for unique flatware products to set your restaurant aside from everyone else, then we are there for you,” states Welch, whose industrial design background includes a Masters Degree from the famed Royal College of Art. “Our products have lots of details that customers love to learn about. They are all very ergonomic, with soft-edged handles, and they’re all very well-balanced.”
Noted U.K. designer William Welch intends to bring life back America's restaurant tabletops through is inspired flatware designs
While a majority of the StudioWilliam line designs are made from premium quality 18-10 stainless, they also offer silver plated and gold plated flatware. In terms of its designs, StudioWilliam line would be considered “transitional” meaning their designs tend to be trending towards more modern and contemporary, but with some classical features. But, StudioWilliam’s look is anything but traditional classical designs of flatware. The website for the company states:
“We take pride in creating forms that stimulate every sense. We research the experience of dining, we take time to understand perceptions, and we study human responses to our designs. We don't simply design cutlery, we design sensory forms”
Sensory forms, indeed.
In the designing process, Welch and his design colleagues start with the design of fork, the knife, and the spoon for any new shape. With these three key items designed simultaneously thereby insuring proportionality, the remainder of a shapes items flow from there. Ranges sometimes have as many as 32 pieces in a range with U.S. sized teaspoons, fish forks and fish knives, along with all the continental sized items, as well. “We come from an artistic background of sketching and sculpting,” says Welch. “We believe we have put together a collection of flatware that fits most architectural styles and the diversity of our line provides shapes that most customers will like.” In addition, the company has many pieces purposely designed to partner with the smaller portions that are often used in tasting menus where smaller dinnerware pieces are used and normal flatware sizing is not proportionate. It seems that at StudioWilliam, even the smallest details have been considered.
With such unique shapes and items, StudioWilliam’s primary target is the white tablecloth segment of the restaurant business. But they also utilize thinner gauged ranges to pursue non-white tablecloth segments as well. In the U.K. , the customer base for StudioWilliam ranges from #10 Downing Street to gastro pubs, and horse racing course clubhouses. They even supply flatware for the Manchester City Football Club. The company also collaborates with noted U.K. (3 Michelin stars) chef Heston Blumenthal.
With his products being design-led and inspired from nature, Welch’s description of his products and what they bring to the tabletop borders on sensual and is certainly sensory. Welch states, “We feel and, in fact, are often told that we have beautiful, elegant flatware. Our forkheads are thinner and can be seen as more elegant when resting on the table. We’re trying to elevate the dining experience and have the chef’s food be enjoyed more. We want to get away from simply ‘shoveling’ the food into people’s mouths”.
“Hardly anyone calls flatware beautiful,” says William Welch. “We want people to notice how really beautiful our flatware is.” Listening to Welch, you get the feeling that with his passion for elegant and beautiful flatware, he is trying to move us away from simply eating and towards a return to an improved dining experience and a more enjoyable meal. Restaurant operators looking to make a unique statement and add character to their tabletop should look to StudioWilliam to bring their table to life. Dining guests at restaurants using StudioWilliam flatware often ask about the flatware and so the company provides operators with information cards on each flatware pattern’s design and background.
Currently, the company is interviewing and establishing a U.S. rep and dealer network to facilitate better distribution. For those interested in finding out more about the StudioWilliam line, please click on this link to their website:
www.studiowilliam.com
“We take pride in creating forms that stimulate every sense. We research the experience of dining, we take time to understand perceptions, and we study human responses to our designs. We don't simply design cutlery, we design sensory forms”
Sensory forms, indeed.
In the designing process, Welch and his design colleagues start with the design of fork, the knife, and the spoon for any new shape. With these three key items designed simultaneously thereby insuring proportionality, the remainder of a shapes items flow from there. Ranges sometimes have as many as 32 pieces in a range with U.S. sized teaspoons, fish forks and fish knives, along with all the continental sized items, as well. “We come from an artistic background of sketching and sculpting,” says Welch. “We believe we have put together a collection of flatware that fits most architectural styles and the diversity of our line provides shapes that most customers will like.” In addition, the company has many pieces purposely designed to partner with the smaller portions that are often used in tasting menus where smaller dinnerware pieces are used and normal flatware sizing is not proportionate. It seems that at StudioWilliam, even the smallest details have been considered.
With such unique shapes and items, StudioWilliam’s primary target is the white tablecloth segment of the restaurant business. But they also utilize thinner gauged ranges to pursue non-white tablecloth segments as well. In the U.K. , the customer base for StudioWilliam ranges from #10 Downing Street to gastro pubs, and horse racing course clubhouses. They even supply flatware for the Manchester City Football Club. The company also collaborates with noted U.K. (3 Michelin stars) chef Heston Blumenthal.
With his products being design-led and inspired from nature, Welch’s description of his products and what they bring to the tabletop borders on sensual and is certainly sensory. Welch states, “We feel and, in fact, are often told that we have beautiful, elegant flatware. Our forkheads are thinner and can be seen as more elegant when resting on the table. We’re trying to elevate the dining experience and have the chef’s food be enjoyed more. We want to get away from simply ‘shoveling’ the food into people’s mouths”.
“Hardly anyone calls flatware beautiful,” says William Welch. “We want people to notice how really beautiful our flatware is.” Listening to Welch, you get the feeling that with his passion for elegant and beautiful flatware, he is trying to move us away from simply eating and towards a return to an improved dining experience and a more enjoyable meal. Restaurant operators looking to make a unique statement and add character to their tabletop should look to StudioWilliam to bring their table to life. Dining guests at restaurants using StudioWilliam flatware often ask about the flatware and so the company provides operators with information cards on each flatware pattern’s design and background.
Currently, the company is interviewing and establishing a U.S. rep and dealer network to facilitate better distribution. For those interested in finding out more about the StudioWilliam line, please click on this link to their website:
www.studiowilliam.com
 StudioWilliam's Mulberry Mirror pattern, used at 10 Downing Street |
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