By Diana Andrews
 

Not too long ago, Susan Stockton, Senior Vice President, Culinary Production at Food Network, was a culinary arts student at ICE. I first met Ms. Stockton when she spoke about Food Network and Cooking Channel at the school in August 2012. As a recent graduate, I immediately began to imagine how inspiring it would be for current ICE students, prospective students, and other alumni to hear a bit more about her incredible journey, experiences, and accomplishments in the food industry.

 

When I contacted her to request an interview on behalf of ICE, Ms. Stockton graciously accepted. We met at the Food Network offices at Chelsea Market. Here’s what she had to say:

 

FNMI’ve heard that you’ve had previous careers in film, as a florist, a caterer, and a graphic designer. What made you decided to make another career change and attend culinary school?

 

I had a 12-year-old graphic design firm based in Boston in the late 80’s. At that time, Boston was in a recession, much like we are now. Clients were cutting budgets left and right. I’d also just met my husband. It felt like a good time to jump start a new life with this new person—who had a new job offer in New York City!

 

The last thing you want to do is open up a New York design studio in a recession. That forced me to stop and ask myself what I wanted to do next. What made me happy? I’d had other careers, been schooled in fine arts and writing and had landed a job as an art director for a small film company. After a few years, I opened a tropical plant store in Boston with movie posters collected from that job and called it “Hollywood & Vine”. I always tell career-changing students, everything you learn from past careers can help you leverage your next career. Just be sure to follow your passion. So, that’s what I did.

 

I’d always loved cooking and entertaining. I got that from my family. Every get-together revolved around huge spreads of food. And I’d been casually catering dinner parties for friends in Boston and really enjoyed it. So when it came time to move to New York, I felt the desire to begin again.

 

How did you figure out a game plan?

 

I didn’t! I had to stop one career. I passed along my business in Boston to someone who worked for me, which was very convenient, and Rick and I moved to New York. I realized I had to re-educate myself, so I threw myself back into school. I knew how to cook. I had been catering, but I was cooking from family recipes and cookbooks. I didn’t know proper techniques. I’d watched Julia Child’s The French Chef for inspiration. Once I arrived in New York, I heard that ICE (it was “Peter Kump’s New York Cooking School” back then) presented a fast track intensive that was very appealing to me. So I signed up for the professional cooking program and retooled my career.

 

My original idea was to open a restaurant. Back in the late 80’s, there weren’t as many culinary career options as today. I worked in a small restaurant in the Village with long hours and loved it. But I knew I had to do something with better hours or I wouldn’t stay married for long, so I started pounding the pavement.

 

I had a photography background from my graphic design days (plus, my father was a photographer, and I knew how to style food), so I wound up doing some freelance work for the Times for their Wednesday Dining & Wine section. From there, I started networking, just meeting as many people as I could, and doing whatever I could in the industry: catering, food styling, testing recipes…

 

When Food Network came on the scene, I was drawn like a moth to the flame. After freelancing for a while, I was hired as chef in their midtown studio kitchen, where I had the honor of cooking with amazing chefs and cookbook authors. as well as a team of passionate foodies who were also drawn to the network. In the beginning, it seemed as if we were really making the TV part of it up as we went along.

 

Today, people come out of culinary school figuring they’ll immediately land some really plum job. But, what I look for and long to see are the people who are willing to try everything, really branch out and experience as much as they can, and then figure out what they excel at. Don’t refuse to do anything; take time to learn. Experience your professional life fully. That’s kind of an old school way of looking at things, but that’s how I see it.

 

How did you decide that ICE/Peter Kump’s New York Cooking School was best for you?

 

Well, back then, you could go stage in a restaurant or you could attend a four year program like CIA. But I already had a degree, and prior careers, so I didn’t want to do that. When I got to New York, I just started talking to people in the industry. After a bit of research, I chose Peter Kump’s New York Cooking School. It was pretty scrappy in those days – in a good way!

 

The first dot-com crash had just happened and a lot of people in my class were looking to retool themselves. They had dreamt of a career in digital and were forced to realize that was not going to happen. So, they decided that they’d be the next great chef, and I remember how shocked many were when they heard what a starting salary for a prep cook was!

 

It was hugely disturbing for people in my class to understand that you just had to pay your dues, having had some business experience, I knew that. You have to save enough money to enroll in the program, and to have a little bit of running room after, to stage around or whatever you have to do to get into people’s kitchens and just learn as much as you can in order to find your place. And there weren’t that many places! In those days, being a woman in the kitchen wasn’t that comfortable either, but I lucked out and ended up working for a woman chef.

 

As far as ICE/Kump, you get out of it what you put into it. I knew I was going to have to stop everything and totally apply myself. And I just loved it.

 

What’s your role right now at Food Network/Cooking Channel and how do you see the business evolving?

 

I’m Senior Vice President, Culinary Production here at Food Network. I have the pleasure of heading up the amazingly talented Food Networkkitchen team. Just like home, our kitchen really is the heart of our network. The 32 culinary professionals on staff live our brand and contribute to every facet to keep us on trend. I have to say, I finally have my dream job!

 

Food Network has boomed since its early days. Originally, the kitchen was responsible for working on set with talent as well as cooking, styling, and scripting what happened behind the scenes for our TV food demos. Then our website grew, and much later our magazine launched, and the kitchen also focused on developing recipes, tips, and other food content for the home cook.

 

As the network gained popularity, fans wanted more ways to engage with our brand. So our new business team brought us in to co-develop new ideas. In the past few years, we’ve launched an award-winning line of wines with Wente Vineyards called “Entwine” that was blended specifically to pair with food. The kitchen not only participates in the blending process, but they also feed a website with wine pairing recipes. We also develop and test cookware for our Food Network branded product line at Kohl’s.

 

Our latest big news is that we just opened our first Food Network Kitchen restaurant in the Jet Blue terminal of Florida’s Fort Lauderdale Airport. We’re using this as a prototype for more in other cities. Our dream is to give travelers a taste of the town they’re flying to (or through) by building menus of our own recipes that are inspired by local favorites. Getting people to pull up a chair and actually taste the brand is pretty cool. We’ve never been able to do that before.

 

 

One of our challenges was how to stay local/sustainable while growing locations across the country. We addressed that by mapping out a 60-mile radius around the airport and sourcing ingredients and growers to make our dishes. We also like to curate the best food artisans from these locations and let travelers know where to taste some great product while they’re in town. Actually, this is nothing new for us; Food Network programs have celebrated regional food for years. Needless to say, our kitchen team is never bored.

 

It took Food Network a while to actually produce a magazine, which is interesting because it’s diverse and doesn’t have the same feel as the other food magazines out there. How did that evolve?

 

Hearst is the answer. They are an amazing partner for us. Maile Carpenter is our Editor in Chief. It took a lot of getting together to figure out what the magazine’s voice and look would be, and how we could work well together. Maile totally gets us. Her husband’s a chef, so it’s a very comfortable relationship.  Our test kitchen and the Hearst editorial team work closely on each issue.

 

Plus, Food Network is pretty unique in its food diversity, and I think the magazine reflects that. We’re a mash-up of home cooks, chefs, and a huge base of Food Network fans so the magazine must talk to a lot of people with varying skills and interests. That audience ranges from busy moms looking for weeknight solutions, to parents and kids who like to have fun in the kitchen, and also includes people who may have a bit more time on weekends to make something more challenging.

 

Our test kitchen shoots roughs of dishes they’ve developed and sends them to Hearst where they’re re-shot for the magazine. We proof every issue and test every recipe – even the recipes from chefs – just to be doubly certain they’ll work for our reader. There’s nothing worse than asking someone to invest money and time in a recipe that doesn’t work well or taste delicious.

 

Do you have people putting their feelers out there doing research for you, listening to the industry?

 

Sure, we have a research department as well as a culinary researcher. Our talent also tells us what’s happening in their worlds, so they add to our information gathering as well. My team travels quite a bit for work and when they’re in the field they naturally check out the local food scene in restaurants, food trucks, and grocery stores. We want our shows and recipes to reflect what our audience is craving, while also being relevant to everyone with ingredients they don’t have to search high and low for.

 

We have a real mixed bag of cooks in our kitchen; people passionate about a specific cuisine, bakers, as well as people from different parts of the country and different ethnic upbringings. We try to reflect the diversity of our viewers. I’m originally from Chicago, so I have a different perspective than someone raised here in Manhattan. I know everything doesn’t revolve around New York (laughs)…usually (laughs).

 

What’s the most exciting thing going on at Food Network right now?

 

Lots. After nearly 20 years at Food Network, it seems like we’re running on all cylinders. Our website is on top of its game and the digital team has launched some amazing apps, which the kitchen has supported: check out Cupcakes, Soups, and Cookies. We’re looking forward to a number of new shows launching on Food Network very soon, and we’re in the process of writing a cookbook for one of our top competition shows.

 

What is your fondest memory of Food Network?

Hmm. There are so many. But, I especially liked the camaraderie between chef, kitchen, band, and crew during Emeril Live. The pilot of this show was a revelation. The audience brought a new element to cooking shows. Cooking had become truly entertaining, and everyone, especially Emeril, was having a great time!

 

We all know the food industry is big on giving back, but another memory (post-Katrina), was discovering that Scripps (our parent company) is a very charitable place to work. We spent a lot of time shooting in New Orleans, so when Katrina hit we were all just kind of blown away. One of the guys in our kitchen asked me, “What can we do? These people are hungry and no one is helping them.” That spurred me on to call corporate and say, “We’d like to do something…I don’t know what or how yet, but we’ll figure it out.” I mean, the Red Cross wasn’t even there yet, and Scripps said OK. I was very impressed that our company not only had a good heart, but was also willing to take action.

 

We weren’t able to enter NOLA, but we heard Gulfport, Mississippi needed assistance for first responders, police, and rescue teams who were devastated by days end. The parts of town that hadn’t been blown away had been evacuated, so we set our small group of cooks in a grammar school cafeteria and cooked comfort food all day long. We had to cook with the pars in the school pantry, which was pretty bad! You know, huge cans of who knows what. At that point we called Sysco and talked them into bringing a truckload of fresh food through roadblocks to Gulfport.

 

Next, chefs were offering to come down to cook. Alton Brown and Ming Tsai were first on the scene dishing out food in the cafeteria line and cheering people up. Working for a company that supports social responsibility left a lasting impression on us all.

 

What charitable organization do you feel most strongly about?

 

Share Our Strength. I find them to be a very grass roots organization that works through strong partnerships with chefs and corporations to find solutions to big problems. Billy Shore announced No Kid Hungry in 2007-2008, and made us all focus on the fact that there’s a new face of hunger – right here in our own country. Food Network is Share Our Strength’s media partner. If you haven’t seen our documentary Hunger Hits Home, you should check it out.

 

I also noticed that most of the Food Network chefs are paired up with this charitable organization as well.

 

Well, chefs are an amazingly charitable lot; you know that. We’re all in the industry of feeding people and making people happy. Taste of the Nation (also a Share Our Strength event) has been around for years. So, chefs got in on the ground level helping Share Our Strength with their mission.

 

Another recipient of Share Our Strength support is Food and Finance High School. I’m on their Board of Advisors. It’s a public school in Hell’s Kitchen that accepts kids from all over the city who are interested in building a career in food. Amazingly, there’s a fish farm on the lower level growing tilapia and a hydroponics farm on the second floor growing pineapples – not your typical public school. Cornell has contributed to these labs, but the school needs a ton of support to keep running. It’s a pretty rough and tumble school, with guards and metal detectors at the door. But many chefs donate their time to teach and take interns into their kitchens. Students come away with a lot of learning about the future of food.

 

I was there once showing somebody around the school, and I was trying to get one of the kids warmed up to talk a little bit, because they’re just so wonderful, and I said, ‘So, there’s a professor in the basement growing tilapia, and you have aquaponics two floors up, and I understand a connection will soon be made between the two systems so that the fish will be fed from the byproducts of the plants and vice versa.’  I asked him, ‘Why are they doing that?’ He answered, ‘How else do you expect to grow food on Mars?’

 

What do you think is the most serious food related issue facing this country today?

 

Obesity. Love it or hate it, I think Bloomberg really built awareness to the fact that we’re consuming way too many empty calories. I think moderation and education is where we need to focus. Through the 90’s and 00’s, we’ve literally blown ourselves up in size. So, I think it’s time to become a little more rational about what we eat and how much of it.

 

What cookbook are you cooking from right now?

 

Yotam Ottolenghi’s Jerusalem. His lovely way of cooking is really on my mind right now. He has a couple of restaurants in London and a largely veggie repertoire. He’s really capturing Mediterranean and healthful whole, fresh, gorgeous food and crossing borders in a very non-political way, which is very interesting for a chef to do right now.

 

What’s one thing you wish people knew about Food Network and Cooking Channel, something that people don’t ask you about that you wish they did?

 

A lot of people don’t realize that there’s actually a real world, working Food Network kitchen. We’re really committed to food, so we have experts who are cooking, writing, developing delicious recipes, designing product and researching for our website, shows, and magazine to give our brand credibility and strength.

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By Carly DeFilippo

dholzmanWhat’s it like to be the co-owner and executive chef at one of New York’s most buzzed about restaurants? Just ask Daniel Holzman of The Meatball Shop.

As Daniel shared with current ICE Culinary Management students, his road to food fame was hardly a smooth one. His self-proclaimed “bad attitude” resulted in his being fired from many of his previous jobs. It’s hard to imagine the affable, funny Holzman as such a controversial personality, and he credits his shift in perspective and maturity, in large part, to his experience at TMS.

Holzman entered the restaurant world at the age of 14 and, from the beginning, was working through the ranks of high-end kitchens, including that of Le Bernadin. When it came time to choose a career path, however, he realized that only his ego aspired to become the executive chef at a fancy restaurant. In truth, Holzman knew he’d be much happier in a less grueling, more fun work environment – like that of The Meatball Shop. He explained that only a select few chefs have the tireless work ethic, talent and drive to survive in a top tier environment. Luckily, as Holzman proves, there are many kinds of culinary success.

Speaking of success, Holzman credits his to a number of different factors. He opened his restaurant with his best friend – a risky decision, but one that ultimately panned out, due to their complementary strengths. His partner, Michael Chernow – “the cool one”, in Holzman’s words – is more of a front-of-house personality, while Holzman oversees the kitchen. Daniel cautions that partnerships are like marriage, and he and Chernow went so far as to attend couples counseling for several years. He insists that you need to join forces with someone you like, that you can be brutally honest with and that you won’t hide behind if things go wrong. But Holzman’s most resonant advice regarding partnership was this: choose carefully what you fight for. There will be potential for arguments at every turn, and its best to save your influence for the times when it matters most to you. He went on to add that many things he has “let go” ultimately worked out the way he would have hoped.

To that point, Holzman finds, “Decisions are like money.” Running a small business, if you don’t have the ability to up employees’ pay, you can increase their stake in the business by providing them with more influence and responsibility. In fact, Holzman’s goal was always to create a business that wasn’t dependent on one person’s creativity, talent or personality. The employees who run his three – Lower East Side, Williamsburg and West Village – locations are as essential to TMS’ success as Holzman himself.

Another predicting factor of the shop’s success, for Holzman, was the business plan. He had been working for months on the elaborate idea of a Byzantine restaurant, but was struggling to write up a comprehensive plan. Once he and Chernow finally fell upon the meatball concept, writing a business plan became “easy”, and almost fun. To boot, because the duo wrote their own plan, (instead of relying on the guidance of a financial advisor or other mentor) they were able to persuasively respond to the questions of potential investors, who responded enthusiastically to the idea.

When it comes to growth, Holzman cautions against being too hasty. He and Chernow were very familiar with the LES neighborhood where they opened their first shop, but in moving to the West Village, they struggled to anticipate the habits and expectations of their clientele. Knowing a neighborhood is just one of the elements of thoughtful, slow growth that Holzman advises. He also suggests to try own as much as you can of each subsequent location, because the more investors you have, the more pressure there is to expand at an accelerated pace. In addition to managing multiple locations, press appearances and other engagements can interfere with the day-to-day management of a restaurant. To ensure smooth operation, Holzman knows he has to invest time on-site, working side-by-side with his staff.

When asked about hiring, Holzman referenced the old adage: to predict someone’s future, you can only look at their past. But good-natured, passionate and transparent, Holzman seems to have surpassed even his own expectations. Who knew opening a restaurant could be such a transformative experience?

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By Virginia Monaco

Yesterday evening, students and alumni welcomed back ICE Alumni Hall of Fame inductee Chef Ivy Stark for a demonstration of Oaxaxan Chichilo mole and Agua Fresca. Stark attended ICE when it was Peter Kump’s New York Cooking School and got her start at the renowned Border Grill. She is currently the executive chef of Dos Caminos and is thrilled to cook her beloved regional Mexican cuisine every day.

ivystark

Chef Stark has spent significant time in Mexico, touring the distinct regions and gathering recipes along the way. She shared with students many of her insider tricks, the kind that you can only learn by spending time with Mexican locals who have been passing these recipes down for generations. One was reserving the seeds from dried chilies to be toasted on top of a burning tortilla, adding a smokiness and spice to the finished mole. Another was the particular type of chilies that were vital to the mole recipe: chilhuacle negro chilies, which only grow outside of a particular small town. She praised Mexican cooks as extremely resourceful – using leftover bones for stocks and lard for fat, as well as their choice to make a beautiful sauce based on chilies, vegetables and spices the star of the plate, instead of more expensive cuts of meat. Restaurant chefs and home cooks alike can learn valuable lessons in conservation and sustainable cooking from the efficiency of this regional style. It may have been born of poverty, but it has continued, due to a proud tradition and growing global appreciation of Oaxacan delicacies.

mole

In Mexico, moles are a celebratory food made for birthdays, weddings and christenings. They are labor-intensive and require the perfect balance of dozens of ingredients. It is thus a very proud cook who can produce a smooth, shiny, well-balanced sauce.  Moles contain many essential culinary lessons for burgeoning chefs. Each ingredient must be carefully toasted or charred to gradually build flavor. It also provides the opportunity to build and train one’s palette by using and balancing many exotic ingredients. Making mole is usually a two day process, and shortcuts produce an inferior result. Due to this unique mix of complexity and patience, a cook can feel a great sense of pride when a carefully cooked and balanced mole is complete. Ivy herself beamed at the smooth, glossy texture of her finished Oaxacan Chichilo mole, and her time, hard work and pride were certainly savored by all the lucky attendees as they cleaned their plates of the last bit of sauce.

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By Carly DeFilippo

In the European tradition, aspiring chefs would learn their trade through apprenticeships. Even in this age of professional culinary schools, all ICE graduates fulfill this traditional on-site training as part of their graduation requirements. Daniel Boulud’s DBGB is just one of the Dinex Group restaurants where ICE Culinary Arts and Pastry & Baking Arts students serve as externs. Executive Chef Eli Collins represented the group at a recent cooking demo, featuring DBGB’s “Espagnole” – a fresh chorizo sausage with piperade and basil oil.

chefseliaurelien

Central to the creation of said sausage is Chef Charcutier Aurélien Dufour, who joined Collins for the live demo. Dufour manages the production of more than twenty signature sausages for DBGB alone, in addition to overseeing the entire charcuterie program for Chef Boulud’s other New York locations.

As Chef Dufour began to grind the pork shoulder and belly for the chorizo links, Collins explained that he chose the piperade because it was a traditional recipe, featuring simple ingredients, elevated by skill and technique. While preparing the tomato concassé, for example, he described how different ways of cutting vegetables changes how they cook, affecting the taste of the finished dish. He also reflected on the importance of an apprenticeship, in that it provides the opportunity to perfect a technique or the flavors of a dish through repetition. For example, small details – like cooking tomato paste long enough to reduce its bitterness or gently puncturing sausage with a fine casing pricker – can determine the ultimate success or failure of even the most rustic dish.

sausage twist

As the room filled with the smells of sautéing midnight vegetables, Dufour deftly twisted the fresh sausage into links, with the metered regularity of a true craftsman. It was a pertinent demonstration of the skill one only gains through repetition, of the progression from apprentice to master.

The finished piperade was, as promised, a comforting classic. But far from the simple home-cooking of France’s Basque Country, it had transformed into a restaurant-worthy dish. Even under the unfamiliar time constraints (and the watchful eye of forty aspiring chefs), Chefs Eli and Aurélien produced a truly enviable plate.

dbgbsausage

Piperade

Ingredients

  • 2 roma tomatoes
  • 3 tbsp chorizo oil
  • 5 piquillo peppers
  • 6 cloves garlic, minced
  • 2 medium red onions, cut in large dice
  • 1 tbsp piment d’espelette
  • 1 teaspoon paprika
  • 1 tbsp tomato paste
  • 4 red bell peppers, peeled, seeded and cut in large dice
  • 4 yellow bell peppers, peeled, seeded and cut in large dice
  • 5 piquillo peppers, seeded and cut in large dice
  • 2 tbsp sherry vinegar
  • 2 tbsp chopped fresh basil
  • 1 tbsp chopped oregano
  • salt and ground white pepper

To serve:

  • 6 fresh chorizo sausage links
  • 1/4 cup basil oil

Instructions:

  1. Bring a small pot of water to a boil over high heat, and set a bowl of ice water on the side.
  2. Using a small knife, remove the stem of the tomatoes and score the ends. Boil tomatoes for 10 seconds, then chill in the ice water.
  3. Peel the tomatoes, cut in half, remove the seeds and cut the remaining flesh into a small dice.
  4. Warm the chorizo oil in a large saucepan over medium heat. Add the garlic, onion and a sprinkle of salt and pepper, and gently sweat for 10 to 15 minutes.
  5. Add espelette pepper and paprika and cook, stirring to toast, 1 to 2 minutes.
  6. Add the tomato paste, peppers and continue to cook for about 10 minutes, until softened.
  7. Stir in the sherry vinegar, basil, oregano and diced tomatoes, and adjust seasoning with salt and pepper as needed.
  8. To serve, grill or sear the sausages in a large saute pan until cooked through. Serve on top of warm piperade with drizzled basil oil for garnish.

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chef chad militaryBy Carly DeFilippo

Chad Pagano’s backstory isn’t that of your average pastry chef. Long before he spent his days instructing in the art of kneading dough, he was serving in the United States Army’s 10th Mountain Division, utilizing his recreational hunting skills as a scout/sniper. After leaving the army, Pagano enrolled in culinary school, where he discovered a passion for natural, earthy and organic foods.

Rising through the ranks of the New York restaurant scene, Chef Chad served in a number of restaurant and hotel kitchens, eventually landing a leading role as Executive Pastry Chef at renown New York caterer Great Performances, before joining the ranks of ICE’s Pastry & Baking Arts instructors in 2002.

chef chad2Ten years of flour-laden work later, Chef Chad is bringing his hunting and foraging past to the forefront. After a guest appearance on Culinary Arts instructor Erica Wides’ radio show, Let’s Get Real, he set his eyes on bigger game, launching his own radio series, Wild Game Domain: from the Hunt to the Hearth, on Heritage Radio Network.

Every Tuesday at 11AM, tune in to hear Chef Chad’s thoughts on hunting, harvesting and the sustainable consumption of wild or foraged foodstuffs. You can also download MP3s of past episodes, including today’s pilot.

Looking for a more hands-on experience? Whip up recipes from Chef Chad’s wild game repertoire – while listening to his favorite hunting stories – in his brand-new recreational class.

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How does an aspiring marketing professional become one of New York’s top bakers? Like many of our students, Amy Scherber was a career changer, motivated by her passion for food.

amy2

Amy introduces ICE Culinary Management students to her Chelsea Market store.

In the 1990s, New York was far from the bountiful paradise of bakeries that we find today. When Amy’s Bread opened in Hell’s Kitchen, it was a pioneering force in a bread wasteland, a powerhouse concept that has flourished over more than twenty years of business. It’s no wonder that when Culinary Management instructor Alan Someck decided to take his Culinary Management students on a bakery fieldtrip that Amy’s was the obvious choice.

After a brief tour and tasting at Amy’s Chelsea Market outpost – including her signature semolina bread with golden raisins and fennel seed – students got to ask the nitty-gritty questions. As it turns out, Amy had just signed a lease for another space when the opportunity to open in Chelsea Market came on her radar. She lost money in the deal, but knew that the then-empty warehouse would provide the opportunity to fulfill her vision: to open a bakery where customers could see the bread-making process. Today, most of Amy’s baking has been outsourced to a large space in Long Island City, but she intends to maintain this transparent mission. The oven from her original Hell’s Kitchen location was recently installed in the Chelsea Market space, and her staff will resume on-site bread baking in the near future.

amy1

Shoppers look on as Amy takes ICE students behind the oversize windows of her signature store.

Amy also shared insight into the trials and joys of expanding her business. Certain products, like her olive twists, were as much a product of exhaustion and accident as proactive innovation. That kind of exhaustion can fuel creativity, but many bakers fail to overcome such odds. As Amy explained, the price margin in bakeries is much smaller than in restaurants. For example, her strawberry shortcake – made with high-quality ingredients such as greenmarket berries – can only retail for a meager $4-5, whereas a restaurant might charge $12 for the same product. Moreover, starting a new small business is more expensive than most owners anticipate, as it takes time to build credit.

In addition, Amy explained that it’s important to know your stores. Her West Village customers buy the most coffee, Chelsea Market moves the most bread and Hell’s Kitchen is a hotspot for sweets. But where other owners might stop there in calibrations, Amy strategizes to the day. If Wednesday afternoons show a trend toward increased sweet consumption, but Monday is more of a morning bread crowd, she adjusts and re-adjusts to fit her customers’ needs. And let’s not forget – on top of retail customers, she has over 300 wholesale accounts to attend to.

When asked expressly for advice, Amy urged Alan’s class of budding entrepreneurs to spend time working in the type of business they would like to open themselves. While aided by her study of Economics in college and time baking in restaurant kitchens, Amy admits she wishes she had spent more time working specifically in bakeries before starting her business. Last but not least, she underscored the importance of a coherent concept. Even if someone has a fully-developed business idea, it is essential that the consumer can effortlessly grasp it – from the name to the decor, the service style, the product, etc.

class w amy

ICE Culinary Management students, Amy Scherber and Professor Alan Someck.

Looking out onto the eager eyes peeking into Amy’s oversize windows, it’s clear that she applied this final lesson early on. Her famous oversize windows breed a connection between staff and those they serve, an honesty and intimacy that has been an underpinning of Amy’s philosophy from day one.

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01_JonathanWaxman[1]By Kiri Tannenbaum

It’s difficult to sum up the accomplished culinary career of Jonathan Waxman. His is one that has spanned two continents, more than three decades and multiple mediums. His first foray into the American restaurant scene was after returning from training in France to his hometown of Berkeley, California, where he cooked at the pioneering restaurant, Chez Panisse. It was there that he forged a strong friendship with Alice Waters and grew more attached to fresh-from-the-soil ingredients. After a brief stint at Michael’s in Santa Monica, he left the West Coast thirty years ago and headed to New York City where his first mentor was none other than the legendary chef of Lutèce, André Soltner. Waxman himself has mentored many celebrated chefs including Tom Colicchio and Bobby Flay. He is considered an innovator and one of the founding fathers of new-American cuisine, earning him comparisons in the music world to Eric Clapton by Los Angeles Times critic, Jonathan Gold. More recently chef Waxman returned to the limelight with appearances on Bravo TV’s Top Chef Masters where he was eliminated in the penultimate episode, coming in fourth place. He spoke to us just after Hurricane Sandy pummeled the east coast about the unexpected challenges restaurant owners face, his thoughts on the current role chefs play in pop culture, and the key to longevity in the industry.

We have to start with the front-page news. Your restaurant Barbuto is one block from Zone A. How did you fare during Superstorm Sandy?

I think we were sort of unprepared for how devastating this storm surge was. I looked at every weather report and I thought we knew what we were doing. But what we had in mind was what had happened last year with Irene, and we were a little bit taken by surprise. The amount of water that came up 12th Street was phenomenal—it was like a mini-tsunami. We had covered up all the storm hatches and I picked everything up, and it was dry. My dining room was dry, and then we went down to the basement and there was about eight to ten inches of water. But since the power was off, we actually had to get it out by hand. My staff was fantastic. But the problem was it was saltwater and it kept coming back.

I read, despite power outages, the restaurant managed to do dinner service?

We did a little neighborhood thing on Tuesday night to feed people because no one could eat. Everyone was walking up 19 floors to their apartments in pitch black and we were able to get food deliveries, so we were able to feed people—and everybody can eat chicken. It was a nice thing to do, but then I realized the next day that the neighborhood was getting too dangerous for my staff. It was a ghost town and it was just really scary.

Speaking of challenging situations, you have been a cheftestant on Top Chef Masters twice. How did that come about?

Sarah Abell, from Baltz and Co., and I have done a lot of events together and I just adore her. She called me up and said, “I want you to do Top Chef Masters” and I basically said, “Go take a flying leap.” And she said, “No, no, Jonathan, you should do it.” She kept bugging me, and I kept saying, “No, no, no.” And one day, she just got really frustrated, and she called [Tom] Colicchio up and Colicchio called me up and said, “Just [expletive] do it.”

So are you glad you did it?

Honestly, it was a wonderful experience. There are a lot of reasons why I said it’s wonderful. Number one, I got to hang out with my buddies in a very intimate environment for a long time. Number two, it wasn’t that difficult. Number three, the production crew at Magical Elves is an amazing group. They really took care of us and made sure we were having a good time. It was a good experience, soup to nuts.

What have been the long-term effects of being on the show?

People actually know who I am again. Mary Sue Milliken and I had this whole conversation about it, and she said, “Do we have to be on national TV to sort of prove our merit as chefs?” And I said, “In a funny way, yes.” That’s kind of what it is. That’s how you get on people’s radar. That’s not a bad thing, not a bad thing at all.

Years ago, when Bobby Flay started getting popular on TV, and obviously, he worked with me for a long time, people would come up to me and say, “Well, aren’t you jealous of Bobby?” I would say, “The exact opposite, I’m so happy for him.”

He also was the person that carved the pathway for everybody else. You know, I just did something for my son’s school today and as I was leaving this little kid comes up to me, maybe in second grade, and says, “I wanna be a chef one day!” Isn’t that the cutest thing in the world? But think about it: It is so good for the industry to have this kind of exposure where kids in America can look at being a chef as a great profession. It really is amazing.

Stills from Waxman's December "Mastering the Art of Butchery" class at ICE.

Stills from Waxman’s December “Mastering the Art of Butchery” class at ICE.

And now you’ve crossed into television drama with your appearance on HBO’s Treme. Was it odd to pretend to dine with your fellow chefs?

It was kind of funny. You’re with a production crew that is phenomenal. There’s such an amazing connection between the talent and the production and the ergonomics of how they film things and lighting and everything else—I was really privileged, to be honest with you.

There are a lot of similarities between television production and the restaurant business in terms of organization. How do you think the two mirror each other?

I think you hit the nail on the head. The best restaurants are 100 percent collaborative. A restaurant really is a dictatorship at the end of the day, it’s one person’s vision. But, one person who understands how to get people to work together and have a common goal.

How do you view chefs’ current role in pop culture? Are chefs stepping too far out of the restaurant kitchen?

If you get to a certain point in your career and people know who you are, and you have certain notoriety—you are an ambassador. No matter how you think about it. The best ambassador in the world is Alice Waters. She’s going around the country, and around the world, talking about edible gardens and eating beautiful foods and celebrating farmers and all this stuff. It’s a different role than cooking on the line and creating dishes, but it’s kind of the same thing. It’s just a different way of approaching it. But they are part and parcel of the same, I believe. When I used to watch Julia Child or Graham Kerr they were really ambassadors in a different way, introducing America to food.

Jams, your first restaurant in New York, opened nearly three decades ago. If you were to rewind the clock to 1983 what do you cherish most about those times?

It’s funny, I’m actually writing a little bit of my memoirs right now. You always look back with rose-colored glasses, that’s just the way life is. But what I do remember is how naïve we were. How we had to figure things out for ourselves because we had no access to information. Now with TV and with everything else, there’s so much access to different kinds of information. In 1983, did I know anything about Thai cuisine, or did I know anything about real Mexican cuisine? No. We would discover little bits and pieces of it. There were no ingredients to be had. You had to fight to get anything. Fresh fish was a huge problem. Getting a whole spring lamb? Forget about it, where the hell did you get that in those days? Now people almost yawn when they talk: “Well, yeah, I got these little baby suckling pigs and I’ve got this special balsamic vinegar from this little limited production in Modena.” Back in the day, you were lucky to even know what balsamic vinegar was.

Do you think some of that discovery element is missing now?

I think what’s missing a little bit, especially when I go to France, are the traditions. I miss the regionalism of what France was. I’ll go to these restaurants and everybody serves eclectic cuisine. I really want to go to places and have Cassoulet. I think that will come around. But what I’m afraid of is that a lot of people, especially in France, basically all want to be venture capitalists in Silicon Valley rather than work in a restaurant. I understand that. It’s more exciting! Who wants to work in a kitchen? With long hours and sweating. I think we’ll go back to what I call “artissimo effects” of wanting to learn how to make the perfect confit of duck. Or back to Italy and making that gorgeous pasta by hand.

What was that moment for you?

I think the greatest joy for me was finding that perfect peach from Frog Hollow Farms. Alice [Waters] had found this great peach and she let me taste it and it was the greatest thing I ever ate in my life. It was perfect.

Your original focus was on seasonal, New-American cuisine, as with your restaurant Washington Park. Then you opened Barbuto which is decisively Italian and recognized as your sweet spot. Now you’re also a consultant at Rosa Mexicano. How important is it for a chef to diversify?

I think it’s really up to the individual chef. Some people are going to cook one way their whole life, and they’re never going to change. Some people would be scared to stick in one vein; they would become claustrophobic. When I give cooking classes to people, what I say is, always try to get outside your comfort zone. Try to challenge yourself.

Is that the key to your success? To go outside of your comfort zone?

Maybe in a way. I’m never satisfied with what I do. I’m always hyper self-critical. I think that’s what drives me along. Like a person who makes fried chicken and makes it the same way every time; that’s boring to me. How can you be satisfied with that? I remember when I was at Chez Panisse, we used to sit around late at night and drink champagne (we always drank champagne) and talk about food and how important it was to re-imagine it. Try to always think out of the box.

Does that come from within you?

It comes from within, but it also comes from without, because I think you have to have stimuli. I always say the ingredients talk to me. I know that sounds weird, but they do. I also think that it’s important to learn from your colleagues. That’s why I love young chefs. I love going to see the people that take risks and do crazy stuff. I love breaking rules.

What advice do you have for young chefs?

Know yourself. Know who you are. Know your strengths. Know your limitations and don’t try to exceed those things. Ask a gazillion questions. When I first got into New York, André Soltner was my mentor, he taught me everything. Where do you get this, where do you get that, how much did you pay for this, how much should I not pay for this? He was fantastic. And you have to be humble.  If you’re cocky, it ain’t going to work.

I think lastly, the most important thing, which is hard, is you have to be able to be honest when you make a mistake–live with it and change. Don’t get freaked out by mistakes, mistakes are okay. Everybody makes them, we all do. I was always taught that the greatest science came from mistakes and the ability to think about things and try them out and if they backfire, they backfire. I think with cooking if you play it too safe people will just get bored. I really do.

So then what is the key to longevity in this industry?

My career has been blessed. I just had my 62nd birthday and, you know it’s really been an amazing thing. I was a musician for a long time, and I really think the reason musicians live long and interesting lives is that they just love what they do. And I think cooking is the same way. You won’t become rich, but you’ll be happy.

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By Carly DeFilippo

Mere steps from our Flatiron teaching kitchens, Silk Road Tavern has become a favorite watering hole of ICE students, chef instructors and staff alike. Yet it’s more than proximity that has inspired this affinity for Chef Leo Forneas‘ latest venture. As he demonstrated in yesterday’s demo for career students and alumni, the secret to his addictive comfort foods is a careful mix of spice, creativity and culinary cultures.

Chef Forneas prepares Singapore Chili Crab Pot Pies in the ICE demo kitchen.

Chef Forneas prepares Singapore Chili Crab Pot Pies in the ICE demo kitchen.

The concept behind Silk Road Tavern is to reimagine classic recipes from both Asian and American culinary traditions. The end result? Innovative combinations of multi-national ingredients, flavors and techniques. For example, in his masterful take on mac ‘n’ cheese, Forneas substitutes Korean rice cakes for macaroni. He explained that rice absorbs more flavor than pasta, making the most of his carefully built béchamel sauce and duo of cheddar cheeses.

Chef Forneas prepares crab stock.

Chef Forneas prepares crab stock.

A similarly clever take on Singapore-style chili crabs turned the spice-driven stew into an indulgent pot pie. While preparing the dish, Forneas asked students to taste a range of different hot sauces, from traditional toban djan to kimchi base. The flavor ranged from wildly hot to surprisingly “funky”, proving that spice – as Forneas’ repeated through the demo – is a matter of personal preference.

chili crab pot pie

Topping the Singapore Chili Crab stew with a puff pastry crust.

For his last dish, Forneas reinvented Chinese spare ribs, opting for beef instead of pork and adding smoked chipotle to his homemade barbecue sauce. The fall-off-the-bone result rivaled the city’s best ribs – Chinese or otherwise. For those students who hadn’t yet sampled Forneas’ food, the response was unanimous: “We’ll be there tomorrow”.

Silk Road Tavern's addictive spare ribs.

Silk Road Tavern’s addictive spare ribs. 

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Greer Nuttall

The Main Course is ICE’s school newsletter. Published three times a year, it includes all the latest updates from around ICE and acts as the catalog for our recreational cooking classes. In addition, it includes a look at the lives and experience of our faculty. For the April issue, Editor Kiri Tannenbaum spoke with one of the newest members of the ICE Culinary Arts team, Greer Nuttall. Here is the profile of her exciting career.

Growing up in the South, Greer Nuttall remembers days gardening with her father, eating fresh peppers straight off the vine, visiting farm stands for the ripe melons, and baking banana bread with her grandmother. Food was always a central part of family life. While an undergrad at Guilford College, she landed her first job in the industry at a goat dairy where she made cheese. Working close to the land had a huge impact on this budding chef and soon after she found herself working in the gardens at Ballymaloe House, one of Ireland’s premier resorts. Upon her return to the States she enrolled in culinary school and after graduation in 2001 she landed in the famed kitchen of Chez Panisse. Alice Waters saw something in Nuttall and sent her to the American Academy in Rome to develop a sustainable food program for academics in residence. More…

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