We love our meals to be fully seasoned. How we prepare them, the diversity of our ingredients (as well as knowing where they come from), the proper tools needed to create the ultimate presentation are super important. We caught up with Chef Jacqueline Blanchard, chef/owner of Sukeban an izakaya in New Orleans as well as at Coutelier NOLA which has an array of tools, cookbooks, and pantry goods that professional chefs, home chefs, and enthusiasts can enjoy when making their epic meals.
We wanted to know more about her culinary journey that took her from Southern Louisiana to noted Michelin starred restaurants including The French Laundry, Benu, and Blue Hill at Stone Barns where she continued to create dishes with a discerning eye. When she returned to her home state, this led to her taking her experience and relationships to illustrate her passion for Japanese cuisine and to showcase the ultimate crafstmanship in Japanese cutlery. We found out more about these businesses, why this Japanese artistry is one that needs to be continued to pass down for generations to come, and more.
ATHLEISURE MAG: When did you fall in love with food?
CHEF JACQUELINE BLANCHARD: At a very young age. I’m from a very big Cajun family. Food is just the center of most gatherings – pretty much all gatherings from the South. I’m from South Louisiana from Bayou Lafourche – I have very deep Cajun roots. My family has been down here since the late 1700’s, so big French background. Whether it’s been crawfish boils or food in general, food has always been a centerpiece. So for me, I’ve always been cooking at a very young age, My grandparents had a small outdoor kitchen and we would always make breakfast in there. It’s probably my earliest memories. Back in the day, those houses didn’t have a lot of air conditioning so they put small kitchens outside so it was a matter of keeping houses cool and that sort of thing.
I definitely got my roots from tugging at my grandmother's aprons - gumbo, all of the Southern staples and that just kind of stuck with me my whole life. I kind of knew pretty early that I wanted to pursue cooking professionally at a pretty young age. It's kinf of been with me the whole time!
AM: Wow! Tell us about your culinary journey from culinary school to kitchens that you trained in. I know that you were at The French Laundry and were at one of our favorite places, Blue Hill at Stone Barns which is such a fave!
CHEF JB: Yeah! That’s awesome! Totally!
I was lucky enough to go to Chef John Folse Culinary Institute at Nicholls State University which has an amazing culinary school. I think that it’s still the only state school in the country that you can get a 4 year culinary degree in Bachelors Arts that is not a private university. It’s very rare that that exists. I had applied and gotten into all the fancy culinary schools: CIA, Johnson & Wales, and all of that. But when it came down to it, Louisiana would pay for my tuition if I kept my grades at a certain level – they had this program called the TOPS (Taylor Opportunity Program or Students) program, and plus I had a soccer scholarship as well. So it made sense for me to stay in state. So I was pursuing culinary arts at the same time that I was pursuing soccer at the collegiate level. I kind of kept my discipline together for sure and then I blew my knee out my sophomore year and then decided to just focus on culinary. During that period of time, I felt that it was a pretty revolutionary time in the food industry and in restaurants where things were really starting to get out there and to take hold. This was like the early 2000’s. I went to culinary school between 2002 – 2006 and then frickin’ Katrina happened my senior year in college in 2005. So by the time that I graduated, I had been working in restaurants all throughout New Orleans in college and the city was just in really bad shape in the months leading after the storms so I felt that it was a really good time for me to sort of leave and to branch out.
The French Laundry cookbook had just come out while I was in college and that was a big source of inspiration for me. I think that the reason that I decided to go to Yountville – I just graduated and got in my car and went to California. I never thought that I would come back to Louisiana - ever. I had an amazing foundation built there, networks out there, it was a great launchpad for the next phase ofmy career. From there, I went to Frasca in Boulder, I was a French Laundry alumni and the restaurant had just opened. It was definitely an amazing experience and Bobby Stuckey (The Little Nell, The French Laundry, Scarpetta Wine) is a master sommelier and I really wanted to know more about wine in the same thread in learning about food. Then I went to Blue Hill and then it was back to New Orleans around I think 2010. I worked with John Besh (Besh Steak, Shaya, Willa Jean) at Restaurant August, I was the Exec Sous there for several years. Then I took on a position as a sous chef at Benu in San Francisco where we got 3 Michelin stars while I was there which was a really exciting time. I was also kind of burned out at that point!
AM: Can definitely imagine as you were moving to so many places!
CHEF JB: Yeah, I was traveling a lot and I was around 30/31 at that time and decided that I would move back home so that I could open Coutelier NOLA which is the knife shop and it gave me kind of a break from the grueling kitchens that I had been in all of those years. I still had my finger on the pulse of what the industry needed and places around that had all of these amazing tools and accessories that we had only been able to access online and you never know what you’re really getting a lot of times. Those were the earlier days of ecommerce. I wanted something kind of tangible where you could go and hold a knife. I had been exposed to these amazing Japanese knife makers throughout my career and with people that I worked with and that was great exposure. So it made me understand why Japanese knives are something that we prefer and it’s the Japanese craftsmanship. It’s the handmade nature of them, it’s the diligence to craft that the Japanese have that is basically unparalleled – whether it’s flower arranging, sushi, ceramics, whether it’s knife making. Everything that they do is with the utmost focus and diligence. It really makes their product stand out. So, I think that that was something I really liked and the relationships for me were important and diving as deep as I could into Japanese culture and really respecting the culture and just absolutely giving in the attention to detail that it deserved as well as the reverence. It's such a deep ocean of history! It’s hard for a foreigner – even as deep as I am into it now, you still feel that you are always going to be an outsider kind of thing.
The relationship that evolved out of this that has grown and the networks are really incredible because that’s how it works. That’s just such an important part of the business relationship to them. That’s why I travel there a lot. I really do everything that I can to dive deep in heavily at first into it as I possibly can. You know, along that wave, my food preferences definitely shifted and what I wanted in a restaurant started to shift. I had this idea that I wanted for so long and that completely morphed into what I hadn’t expected, and I decided that I really wanted to open Sukeban which is temaki based you know, doing 1 or 2 things really well like sashimi and temaki. It’s definitely something that everyone thought that it would be a high end tasting restaurant, but it’s certainly a little more casual than that. I’ve been able to bring all of my experience and my focus in that from a Michelin level to the food which makes it stand apart a little bit more in this town. It certainly isn’t the kind of sushi that most people are used to, but that all kind of evolved from the Japanese relationships. The nori, the seaweed that we get, I have a very close relationship with a seaweed farmer in the Southern part of Kyushu in the Ariaki Sea and you know we’re the 3rd restaurant in the US to get their seaweed as a non-Japanese person for our restaurant. We couldn’t get that kind of access to those products without those relationships unless I was going out there and doing those meetings with people. That’s why it is so important to have this access because of the relationships. It’s amazing ingredients from these small producers that do 1 thing really well their entire life. Like, that focus, they have been doing this for generations.
I have a knife maker down in that area that actually helped me link up with this seaweed farmer and they have been around since the 1200’s and their story and their history is just insane. It’s hard for us to wrap our heads around that, especially Americans being so young as a country. It’s just the kind of stuff that blows your mind! The soy sauce makers, the brewers, the sake producers, the people that make miso - every time I go out there, I’m doing a workshop with somebody. I’m making miso, I’m learning how to brew, learning soy sauce. Not that I am doing it over here, but I’m learning that process, and I’m really happy to be able to explain that process to customers and my staff which I think is really important in the long run.
AM: The first time that I went to Japan a few years ago, I was struck exactly by what you just said. I would see modern buildings and then nearby, I’d see a building or structure that had been around so many centuries ago. You’re really struck by how we’re little babies compared to all this history!
CHEF JB: Yeah, it’s so silly!
AM: It is! It makes you think that when we’re here in the US, it’s only been x amount of years.
CHEF JB: Oh yeah, it’s just a blip.
AM: I love the fact that you have really immersed yourself into this and bringing that heritage so that people can have an opportunity to see it. When I think of Blacksmiths, I think of Paul Revere types.
CHEF JB: Yeah!
AM: What are the Blacksmiths of Japan – how are they different, are they using different techniques?
CHEF JB: Yeah I mean, there are different techniques that you see in different parts of Japan and that’s one of the biggest things that I have noticed. Because certain areas have older traditional methods that have been passed down. Certain areas do it one way while others may do it in another way. They all sort of source their steel from 2 similar companies. So steel a lot of times is the baseline and the common denominator, but the forging technique is certainly the difference. It’s like giving 5 different chefs a tomato and then to tell them to make something with it, you’re going to get 5 different products. So it’s the same kind of thing in knife making: heat treating, approach – everyone is an expert in there area. There’s a guy that forges the blade out. There’s a guy that grinds the blade down to its shape, there's someone who sharpens it, there's someone who puts a handle on it, and it's definitely more of an efficient process.
These guys are doing it on their own from start to finish. People ask here in America why knives are so expensive and it’s because they are importing Japanese steel. In Japan, the process is more efficient. You get more production level out of it even though it’s still very handmade and piece by piece.
We ended up in this town a few years ago that was our last trip before COVID. We met a sword maker who was part of this area that is very historically relevant in katana sword making for the shogunate during the time when feudal lords were running the country. This area was very prolific in sword making for that kind of stuff. So, because the river itself had a lot of iron sand in it, they would extract it, melt it down, and then make a steel called tamahagane and that tamahagane steel is very dense and very heavy. It almost feels like a meteorite when you hold it. That was the steel that was originally used, I mean Japan doesn’t have a lot of resources when it comes to steel. So that’s how they made it, they extracted it from the river. There’s a guy there that we met who is making his own tamahagane steel in the old way and you don’t see that any more. You can’t really even buy that steel.
You can in a very sort of limited allotment be part of a family heritage to get it. The fact that this guy is doing that and we were able to watch him and we had dinner with him, he was an unassuming guy who we met when we were going to our knife makers and they let us know about this sword maker who was going to hang out with us. From him randomly joining us, it ended up being a huge highlight of our trip. He only makes a certain amount of chefs knife’s a year, and now we have access to those. That’s where that stuff is born out of. He trusts us and we have a mutual relationship with one another. We have been buying knives from him. It will be the first time that I have seen him from that drip before COVID. So that will be really Exciting! His method of forging is so different than anyone else’s and it’s really hard to describe because he’s a sword maker and that’s the method that he was taught. It wasn’t necessarily meant for culinary style knives in the tradition of sword making. That’s how it was so interesting to see him forged.
These knives are incredibly well made which makes them pricey. People get disgruntled about the price points of some of these. They wonder why the knives that they see in their IG ads are $14.99 and these are $40. We have to create an incentive for this next generation to keep making knives. These knives makers weren’t really making a good living and they weren't charging enough for what they were doing. So we’ve come into this new era where we’re telling them that they have to charge more if they want to make a living as well as to encourage the next generation to be able to keep making knives. A lot of these guys are very old and their sons, because of the time frame when the Japanese economy was booming because of cars, electronics, and plastics – post war WWII, there wasn’t a market for culinary knives from Japan. It just wasn’t a market. Everyone was buying German steel and French knives. That was in the 70’s/80’s/90’s – it wasn’t until the last 20 years where people began paying attention to Japanese cutlery in a lot of ways. It’s not to say that they weren’t making these, they definitely were and there was a market for it in their own country, but they were not exporting. So, a lot of their sons, because there was no – I mean many of these families for 8 generations had these makers, but their son decides to go to off to Tokyo or Osaka to get a salary job because that’s where the money was and that’s where the market and the economy were shifting. So there’s this lost generation right now where the grandfather’s or just that much older and they don’t have the patience to teach. At this point, they should have been with them for their whole life to learn the trade. You’ve got this new group of people who are the younger generation in our age group that are in their 30’s/40’s where this group is trying to revive it and to continue it on.
Some of these guys die and it dies with them. We want this to continue on and we want for people to understand that that’s part of the deal and that they’re handmade, imported, there is a level of craftsmanship that is unparallel, and you have to support a reason for this industry to continue. If they’re not going to be able to make a living, then why will they continue? So that's the kind of shift that we have been noticing too. A lot of times, it takes us to be able to say, you should be charging more for these. I don’t mind paying more for them because I know that I will be able to get it on our side on the retail end and at the same time, we need to make sure that they are supported and continue on. We don’t want to lose this craft.
AM: What are the trends that you’re seeing in cutlery, in the knives right now and are there 3 knives that everyone should have in their home kitchens?
CHEF JB: Yeah! I think that the trend is definitely towards Japanese and I see a lot of marketing towards big Japanese products that are actually not made in Japan and produced in maybe a factory in China. It’s just a Japanese name so it sounds like you’re getting what you’re looking for. Education to us is the most important thing because a lot of that exists out there that you would not otherwise know. I think that the biggest trend is Japanese knives. I think that more and more people are catching on to it. It’s more like, we have to do our diligence to the educational part because you can get lost in the sauce if you really don’t know sort of what you are getting into.
That being said, I think that the 3 knives I would say in everyone’s kit, which even that changes because everyone is so different and knives are so personally. You definitely want to keep in mind what you cook the most of. It may not be the same as what I use or what I cook the most of. So those knife preferences shift and a lot of the Japanese knives are very task centric and they are not limited to those tasks, but they are very specific to the task. So I would say for sure, a Petty Knife and that name derives from the French – petite so it’s a small knife. It’s kind of an everyday utility, it’s a little more utilitarian. I think a lot of people got used to Pairing Knives. To me Pairing Knives, they have their role, but I think you can get more utility out of a Petty Knife and those come in anywhere from 4”-6”. They’re a little slimmer and you can do all of the daily tasks. They’re the ones that you keep on your cutting board.
Another one would be a Santoku - san means 3 and toku means virtues in Japanese. So the 3 virtues in the kitchen are fish, meat, and vegetables so that knife is kind of like the everyday for everything kind of knife. I don’t really use the Santoku a lot, but I think that the bulk of people know that name and they understand that shape. It’s a very approachable size and style.
Then the third one can really be a mixture of a few things. For me, instead of a Santoku, I would use a Bunka. Bunka is just a similar shape, but Bunka Bocho means like everyday house knife in Japanese. It’s got a more extreme tip that I would say verses a Santoku that has more of a rounded off tip and it kind of slumps off. But a Bunka, has more of a very sharp top drop point. So you get a lot more precision in the tip when you’re doing fine scallions. Those little things to me are important and that’s just me over analyzing it – ha! I enjoy a Bunka and that would be my second one and I think for a lot of people the Santoku is a lot more approachable.
The 3rd one could be an 8” chef knife, a Gyuto – gyu is cow in Japanese and uto means cow cutter, so that comes down to what they slice beef with traditionally. This knife is a traditional chef’s knife that’s 8.5” for the everyday.
That third knife could also be a Nakiri that boxy flat edged vegetable knife. It’s the shape of a small cleaver, but it’s not a cleaver for meat. It has a thinner blade meant for vegetable chopping and it has a flatter edge. It’s a more scaled down version of what you would see in a Chinese Cleaver. The Chinese Cleavers are used in Chinese cooking a lot for everything! The Nakiri is more of a very stealthier, scaled down version, more wieldy and easier to use. It’s not as big and it has a flatter edge. It’s better for chopping up and down, not meant for rocking. If you’re a rocker, rocking back and forth, everyone cuts differently.
So it could be one of those, or it could be a slicer. That third knife is kind of a variable within what you do.
AM: Whatever you lean towards in what you’re cooking.
CHEF JB: Exactly. Not to over complicate it!
AM: In addition to knives being offered, what are other items that are carried at Coutelier NOLA whether in your brick-and-mortar or online?
CHEF JB: We’ve got a myriad of products for everyday cooking at home, for professionals, and we wanted home cooks in South Louisiana who are very serious and fancy themselves as professionals at home, they wanted access to these same sort of things. So it’s really nice aprons, the knife rolls, the tool rolls, all of the very curated small tools that we use – the peelers, the microplane, etc. The things that I have used my entire career in the kitchens that I have worked in – everyone is using the same tools and that’s what we wanted to be able to bring people. We wanted a curated scaled down version, because you couldn’t necessarily find it in a one stop shop. You could find the spatulas and these small tools and accessories and items for your everyday kit. We have beautiful hand carved walnut spoons and spatulas from my buddy Kylee Thatcher up in Kentucky, she does Boothill Kitchen and I designed a Roux Spatula Paddle for making Gumbo with her, several years ago. That’s been one of our bestsellers especially down here. We packaged that with Mosquito Supper Club Cookbook which has been one of the bestselling Cajun cookbooks that have come out of South Louisiana in years! Melissa Martin, she has won several awards for it. So we’re catering to our culture in general and of course the overall scope of the tools that we have used. We also have Konro Grills, the Japanese firebox grills that everybody is using now in kitchens. We’ve got a whole pantry section filled with amazing ingredients and Japanese pantry items from very small producers all over Japan and some in the US. We have a lot of tinned seafood and I think that COVID made us pivot to have this pantry section because people were starting to cook at home more and have better ingredients, cooler snacks, and things like that. We try not to get too crazy into it and to still be very diligent about our selections. Like the sesame seeds and the sesame seed products that I use at the restaurant, the Wadaman family in Osaka, I just visited them this past May. They’re 5th generation sesame family who make these wonderful products and we sell it at the shop and we use them in our restaurant. Those are very intentional type of things and we have an incredible cookbook section as well and very dialed in.
AM: I know and myself included, a lot of people enjoy watching Top Chef and 5 Star Chef and all of these different competition shows. It seems like the one thing in addition to flavors and putting it together and that’s plating! The use of plating teasers is always something that we see. What are your tips that we should know when we’re using these tools?
CHEF JB: So I think it’s to the task. Like we have several different ones, we have 4 different sizes. Some are straight, some are offset so whatever is kind of comfortable for you. I have always used them in professional kitchens because you’re dealing with delicate products and delicate placement. I still use them everyday at the restaurant when I am doing sashimi dishes. The larger ones I use on the grill because I don’t like to use big tongs as they’re bulky and clunky. They can also kind of indent your food with the big teeth on the front. So we have these really cool 30mm Tweezers that you can use. I use them on the grill exclusively, but you can also use them for pasta making when you're making spaghetti or anything like that. I use them a lot in just my everyday approach to cooking and grilling. Sometimes they’re not going to be as practical, but you can use them to get into the pickle jar and all of those kinds of things. I use them to prune some of my houseplants. They really do have a good span of use. I keep them in kind of a ceramic crock with the rest of my tools at home and in the kitchen as well as work. I think that they are extremely utilitarian. You don’t want to get your hands too dirty and when you are dealing with delicate ingredients and their placement, they’re great so that your fingers aren’t smudging everything. Especially in a post COVID world, we try to keep our fingers out of things as much as possible and to still have a delicate touch to things.
AM: We talked a little earlier about your restaurant that recently opened. What does the name mean and what can people expect when they are coming in to dine?
CHEF JB: We opened July of last year, so it’s a little over a year now. Sukeban roughly translates to “woman boss” or “girl boss” because there used to be this time in the 70’s/80’s in Japan where there were these women that kind of formed these girl gangs around Tokyo and Osaka. They would meet up after school and women weren’t allowed to be in the male group of anything. So it was a time when women were forming their own independence. Japan is very patriarchal and set in tradition and social roles as well as social norms. So this was a time in Japan where women were coming out of their shell and it was almost like a women’s lib movement that was happening. The Sukeban was the leader of the gang and they formed these little motorcycle groups and they were just these little after school groups. Everybody in Japan wears the same school uniforms and it’s like a little navy sailor attire. After school, they would put these little pieces of flair to distinguish themselves in their group. They were not violent and I thought that it was a cool part of Japanese culture and it sort of died out. It’s represented in films they’re known as Pinky Grindhouse or Tokyo Grindhouse films. The Sukeban has definitely been taken to a fictional level in certain ways. I don’t know if you have seen Quentin Tarantino's (Pulp Fiction, Jackie Brown, Once Upon a Time in ... Hollywood) Kill Bill, but the scene where Uma Thurman is trying to get to Lucy Liu and kill 200 people in that room, and she gets to that girl right before her, that’s a Sukeban with the ball and chain.
AM: I was thinking that when you said it. She’s my favorite!
CHEF JB: Yes! So one of my dear friends, she’s a Japanese chef and a woman of many things. She’s a renaissance woman. She’s a graphic designer, she’s a fashionista, she’s a chef and she’s amazing. We met when she stajed with me in New Orleans probably 15 years ago and we became immediate friends. She was a large part of me getting deeply into Japanese culture as I am. She had her café and she wondered what it was that I was going to do? I mentioned this thought and felt that the name was kind of cool and she said that it absolutely made sense. Sometimes the older Japanese people give you a weird reaction, but the younger generation thinks that it totally makes sense. I wanted to make sure that it was kosher and I certainly didn’t want to piss anybody off. Then she ended up designing my logo and really helped me with that process and it kind of represents me in all of the things that I have done and she felt that it was me incarnate. Just like breaking the norm, a lot of times, I was the only woman in the kitchens that I worked in. I took it upon myself to open these businesses. It was kind of born out of that.
What you can expect from us is a really high level and it’s infancy, it’s a Japanese handroll bar. It’s an izakaya and an izakaya literally means, a stay drink place so people have an izakaya that comes in thousands of iterations. It’s usually a pretty late night kind of situation. It’s a bar where you get snacks and things like that. When I go to Japan, we go izakaya hopping at night. We bounce around and everybody kind of does their one thing well and then you go to the next one. The common denominator is that there are drinks involved and it’s a small and calmed down atmosphere and I wanted to create the aesthetic of a lot of the places that I had experienced and to work with my architect on that. It came out to this beautiful space with an L shape bar and very much so the aesthetic that I have been experiencing.
Louisiana is such a huge seafood area and I thought that the parallel between Japan and South Louisiana with the seafood and the rice, and the drinking culture – these are like 3 pillars in a lot of ways. We are a huge rice producing region here, I don’t use Louisiana Rice because we haven’t quite developed the right one yet for sushi, but I do work with a Japanese American family in California, the Koda family at Koda Farms, we use their rice. They’ve just got this amazing story as well. For me, that was the draw. I have always been a big seafood head. Rice growing up as a Cajun is as much a staple as someone who grew up in Japanese culture. We would just eat buttered rice sometimes and we would have these cravings. It was kind of silly, but in a lot of the same ways, it was as important to a Cajun table as it would be to a Japanese table. I’ve always been obsessed with rice and all rice is different and cooks differently and then you look at how to really dial that in. So I wanted to feature that, I wanted to feature seafood besides gulf and Louisiana seafood, we do fly some stuff in from Japan once a week from the Tokyo fish market. We use other amazing domestic fishermen and fisherwomen around the US, sustainable products all over. So our scope on the fish purveyors is pretty wide. Bringing that level and quality of seafood with that nori, that we went to the bottom of Japan for – it’s harvested for us, it’s baked for us, it’s shipped for us. It’s incredibly crunchy and crispy and is good for you. It’s a superfood as well. This food is incredibly healthy as well as premium quality. I really wanted to focus on doing those things well and letting those ingredients speak for themselves. That was the biggest part for me. I didn’t want to over complicate it by putting in too many sauces because oftentimes, you can’t taste the fish or what the star of the dish is. So for me, that is the biggest part of what I wanted to do and to do that really well – sashimi and temaki rolls. That can sound very simple, but when you take the attention and the time to source those things and to make sure that all of these hyper quality ingredients are all in one bite, that for me is everything.
We’ve got a few little apps and starters and things like that. We wanted to have a place where you could get great sake and it’s hard to find great sake down here. Whether it hasn’t been sourced well or whatever, a lot of people would say that they didn’t really like sake because so many people have had bad sake here. Or maybe it’s always served warm and that’s not the only way to consume it. Warm sake does exist, but oftentimes here, it’s a mass shitty sake. So cold sake, we exclusively do cold sake here and I’m constantly going to sake breweries in Japan to understand the process and to better source better sake. I think that in the next 5 years, we’re going to see a mega wave of sake hit the way that we kind of see it coming. You know, there’s a certain kind of underground where a lot of us have this idea in mind of what we’re helping to shape as far as that. It’s like when Natural Wines started having its moment.
It's a similar thing. My friend Shawn Williams, she’s a sake aficionado here in town and we do a lot of small events together. She and I went to a sake event in NY, a few weeks back and went to Le Bernardin and we wanted to see the kinds of sake that they had on the menu. We decided to just drink sake with the whole meal. They had 2 bottles on the menu and that was it. It blew my mind. They were really good and we had both of them and then the somm ended up talking to us for awhile and then he ended up coming as he was off the next night and he went to the event with us.
AM: Yeah, you’re talking about the Joy of Sake?
CHEF JB: Yes, the Joy of Sake. Yeah and that was Brendan Kimball, one of the somms at Le Bernardin. So he came with us and we ended up tasting all night and enjoying sake and then we went to dinner after and now he’s saying it’s ridiculous that they only have 2 sakes when there are so many amazing ones out there. It’s the little stuff like that where I’m excited to see where it goes. There are some sake breweries in Brooklyn, and it’s happening. I think that the biggest part of it is water and that’s number 1 when it comes to sake. That’s why Japan has such great sake – the great water. Here, it’s hard because if you’re not sourcing directly from well, an aquafir or spring water, it’s really difficult when you’re just using filtered water to make sake. It’s kind of creating dead sake without much flavor profile and that’s the difficult part in America that we’re going to have to get over as we’re used to just turning on the faucet. I think that that’s the thing that I learned in Japan. All of these places I visited, there were 300/400 year old sake breweries that are all lined along a river watershed and there’s a reason for that. It’s rice #2 – so it’s water quality and rice quality. The biggest consumer of sake is the Japanese people. If it’s small batches or if they limit out what they can produce a season, the Japanese will consume it all. Oftentimes, we’re left with what’s left and I think that that’s all changing. I think that that besides the temaki and that we did that well, I wanted to make sure that we had an incredible sake selection so it can change people’s ideas on what sake is.
“Louisiana is such a huge seafood area and I thought that the parallel between Japan and South Louisiana with the seafood and the rice, and the drinking culture - there are like 3 pillars in a lot of ways ... For me, that was the draw. I have always been a big seafood head. Rice growing up as a cajun is as much a staple as someone who grew up in Japanese culture ... [I]t was as important to a Cajun table as it would be to a Japanese table.”
AM: I totally agree and I love drinking it with so many different things!
CHEF JB: Right, same! Pizza!
AM: For sure! Pizza, tacos, chicken wings, steak, there are so many amazing pairings that are perfect for it beyond what many believe to be the fit. I’ve had friends raise an eye when I had it with something that they didn’t think it was meant to be paired with it. Here in NY, there are a lot of options and yet there aren’t.
Right before the pandemic, I feel that 2 or 3 years right ahead of that, people were really big here in NY on cider and cider production and it was having an entire moment and I went to a few places in Brooklyn that were focused on that.
CHEF JB: Right!
AM: I kind of agree with you that sake is the next one that will have that really big effort I hope.
CHEF JB: Exactly! I hope it's not fleeting!
AM: With so much that you do with your restaurant, you have your store, you have these amazing buying and research trips that you’re doing, are there other projects that you're doing that are food event oriented or a cookbook or any of these kinds of things that we should keep an eye out for?
CHEF JB: Not right now. I think that I have mellowed out a lot. I think right now just focusing on the knife shop and the restaurant and not getting myself into too much, too fast – it’s about balancing and that whole dichotomy. Right now, my focus is on travel so I think that the next thing that I would want to do is to host trips in Japan. I think that’s a big part of what I see coming up next for myself and I know that every time I go, people say that they want to go to the next trip and the next trip. You just have this line of people that want to go with you. That’s awesome, but you can’t bring huge groups, but certainly a smaller handful of people. You want to share it with people and it’s hard for me to articulate it to people if they’re not there to experience it. You want to definitely have some shared experience with that. For me, that’s the next big thing. I don’t have a book in the works right now, but maybe down the line. It would be cool to see another location of Sukeban somewhere. I think it’s built to be able to replicate in that way, but not in a franchisee situation. To be able to bring that to another town or another city and that experience is pretty special. My focus is to continue to dial in my relationships and to find more incredible ingredients, more incredible makers. I’ve already been twice this year and I’ll be back a third time in Oct.
I think that for me, that’s the biggest thing. I would like to and I think with the travel aspect, it’s a huge part of it and a bit more immersive for people that don’t know how to access a lot of the things that I have had the privilege of accessing through the years of doing it. I’m more of a simple girl. But now that the restaurant has been there for a year, people are always reaching out for projects and things like that. So local food events like I’m going to do Oyster South out in Georgia this Oct when I get back from Japan. It's a really cool event with a bunch of chefs about sustainable oyster production in the South and things like that. More awareness about sustainable seafood and I’m trying to be more about that conversation and movement a little bit more.
AM: If we were to come to your home, what are 3 spices or ingredients that you have always at the ready at home that can make the most versatile dishes that you enjoy making?
CHEF JB: I definitely think that furikake is one of those – the rice seasoning. It’s sesame, seaweed, a little salt, a little sugar, a little katsuobushi flakes, and bonito flakes. I think that that’s something that I put in a lot of stuff. I go through a lot of it. Definitely chili crisps for sure. Japanese chili crisps are absolutely my favorites and there are a million in one of those things out there now. There’s one in particular that I really love and use and it’s a huge staple that I kind of roll through. I think that tamari, tamari is more on the gluten-free style soy sauce. To me, it's kind of almost a thicker consitency - not syrupy – but thicker than what you use for soy sauce. But it’s this sweet umami packed flavor. You can use it on anything. I use it dress tomato salad, cucumbers, you don’t have to even with just Japanese things. It can be a marinade for chicken, fish, or whatever. It’s just one of those incredibly versatile ingredients. We have it in the shop and the same one that we use in the restaurant is the one that I use at home. It's incredible and I think that it’s one that people don’t think to use a lot. It doesn’t have a dark nature soy sauce or color scheme to it. It’s lighter, but it’s also gluten-free so if you have gluten issues, I’m not, I don’t have them – I just prefer that. Of course the Wadaman sesame seeds just to throw in a fourth. I use them on everything. I roll through that stuff!
AM: I’m sure you do! I would love to have a plate at your house to see what you’re making!
If we were coming over for brunch as we’re still in summer, what would be the meal that you would cook?
CHEF JB: Hmm brunch! It would probably be a crawfish étouffée just to be real. As that’s a very frenchy sort of thing. It’s on the stove all morning and by the time you look at it, it’s ready to go! That or man, that could shift! It could be a crazy bagel and lox spread with Ikura, the Japanese Salmon Caviar or like Trout Roe, stuff like that. I would probably do something along those lines.
PHOTOGRAPHY COURTESY | Chef Jacqueline Blanchard
Read the AUG ISSUE #92 of Athleisure Mag and see HOMAGE TO CRAFTSMANSHIP | Chef Jacqueline Blanchard in mag.
