Friday, February 7, 2014

BAD FRENCH FOOD. OH MON DIEU!, C'EST POSSIBLE!

I love Paris, I love to eat in Paris. Eating is one of the things that I miss about Paris. During my past 2 visits, I had begun to notice a marked decline in the food being served. I was convinced that it was all "sous vide"(the cooking of various ingredients in a plastic pouch) and not made fresh. Dare I say that, it had begun to taste like bad English food from the 1980's, mais non!!
I sheepishly mentioned it to a few Parisian friends who admitted that it was not as good as before but shrugged off that it was "that bad".
"Alors", as we say in French, I have been vindicated, by none other than the New York Times, that bastion of culinary insights. J'adore les New York Times.





France is renowned as a world capital of gastronomy. But these days, odds have grown that a delicious-looking dish or dessert may have been at least partly prepared by an industrial food giant, frozen, then reheated in a kitchen. Alexandre Castagnet, owner of Le Petit Paris, prides himself on only serving dishes prepared with fresh ingredients. Dmitry Kostyukov for The New York Times
PARIS — Sit down at a cute Parisian bistro and the chances are the onion soup, the paté and the boudin blanc set before you weren’t prepared from fresh ingredients delivered that morning.
Even though France is renowned as a world capital of gastronomy, these days, odds have grown that a savory-looking entree or dessert — especially at establishments near tourist attractions like the Eiffel Tower, Notre Dame or Montmartre — may have been at least partly prepared by an industrial food giant, frozen, then reheated in a kitchen. Even the bread, the French bread, may have been made in an industrial bakery.
While this practice is taken for granted in the rest of the industrialized world, to many French it is an astonishing affront to their very culture.
The solution is just as French: Lawmakers are expected to approve this month a consumer protection law requiring restaurants to designate fresh dishes with a “fait maison,” or “homemade” logo. If a dish is unlabeled, some or all of it is presumed to come from an assembly line.
“The use of industrial foods in restaurants is a growing global phenomenon,” said Daniel Fasquelle, a National Assembly lawmaker among those pushing for the label. “But for France, we’re talking about our heritage. If we don’t do anything, in 10 years, real restaurants will be the exception.”
As is often the case in France, however, resolving the issue is not so simple. Restaurant owners behind a fresh-food movement say the government has not gone far enough. They want menus to note every frozen item, citing the right for consumers to know after a European food scandal last year in which frozen beef products were found to contain horse meat.
Pushing back is an influential coterie of agro-food companies. Although the quality of frozen foods has vastly improved, they are concerned that singling them out on a menu could cut into a lucrative business that is expanding as dining habits shift and restaurants seek to improve margins as labor and food costs rise.
The stars of French cuisine like Alain Ducasse and Joël Robuchon are offering their own “Restaurant de Qualité” seal for establishments that meet higher standards for cuisine and atmosphere. Only 10 percent of France’s 100,000 restaurants would qualify, since most “only do industrial cooking,” Mr. Ducasse said while unveiling it last year.
The rest of the world may think the French are gastronomes, but about a third of French restaurants acknowledged using ready-made meals in a recent anonymous survey conducted by Synhorcat, the French hotel, restaurant and cafe operators union. But Xavier Denamur, a leader of the fresh-food faction who owns five restaurants in the Marais, estimates the figure is closer to 70 percent when ingredients like frozen fish are part of an otherwise homemade dish.
On a recent morning at Le Petit Paris, a cozy bistro in the touristy Marais quarter, Alexandre Castagnet wrote out the day’s lunch specials on a blackboard: cauliflower velouté, country ham and other dishes made only with fresh ingredients delivered that morning.
But before he and a partner took ownership, the bistro was serving very different fare. “The previous owners used factory-made foods, stored in two huge freezers,” Mr. Castagnet recalled. “When people ordered, they would pull out a bag of frozen lasagna, blanquette de veau or whatever was on the menu, pop it in the microwave and serve it on a plate,” he said.
“It was disturbing,” Mr. Castagnet added. “Tourists and other patrons had no idea that the French meal they were eating was actually industrially made.”
French patisseries won’t fall under the labeling law, but they are part of the trend. At least half of their tarts, pastries, cakes and other viennoiseries are made in a centralized plant and heated up on site. Up to 80 percent of croissants are made that way, said Philippe Godard, a spokesman for the French bakery and patisserie business federation.
“Businesses are making an economic choice,” said Hubert Jan, a representative of the French restaurant and hotel union UMIH. Labor costs including taxes have increased 40 percent since 2000, accounting for about 45 percent of a restaurant’s costs, while raw materials prices are rising. “So kitchens don’t have as many employees,” he said. In addition, “there is a dearth of skilled kitchen workers and people aren’t willing anymore to rise at 2 a.m. to make bread or pastries.”
The modern French diner is more pressed for time: Most have cut back to two sit-down meals a day, from three. And last year, for the first time, more money was spent in fast-food chains than traditional restaurants, 54 percent of the 34 billion euro French market.
For restaurants eager to maintain a competitive edge, padding a menu with ready-made dishes is economically attractive — even if no one dares to admit it, Mr. Jan said.
One of the biggest telltale signs is a menu with a large range of choices. “If the menu is gigantic, the kitchen would need to be as big as the restaurant for all the food to really be fresh,” Mr. Jan said.
“I have no interest in talking about it,” said Bernard Grateloup, who runs the Café de la Poste in Carmaux, in southern France. He was one of several owners who refused to speak after earlier telling French media that they bought frozen meats, vegetables or other dishes because the quality was good. Lower costs helped them improve tight margins and offer reasonably priced meals to patrons.
The biggest players in industrial food see a growing market. They include Davigel, one of Europe’s largest food providers, owned by the Swiss giant Nestlé; the Brakes Group, owned by the private equity firm Bain Capital; Bonduell, the world’s largest purveyor of prepared vegetables and the German wholesale giant, Metro.
Mr. Castagnet said representatives of almost all the companies had visited his bistro and others, bearing glossy catalogs and profit calculations for items. He said a Brakes salesman recounted how a 50-cent factory-made molten chocolate cake was made to “look homemade,” and could be microwaved and sold for 6 euros. If enough menu items were replaced, he was told, he could even save on the cost of an employee. A spokesman for Brakes declined to comment.

That may be so — but only if restaurants can charge higher prices. At Mr. Denamur’s nearby flagship restaurant, Les Philosophes, the higher cost of workers preparing meals from scratch is passed on to consumers willing to pay more for quality. Duck confit is 25 euros ($34), compared with about 16 euros at a corner cafe, which is lower than restaurants in France’s strict hierarchy of eating establishments.
Mr. Castagnet rebuffed the arguments. “If you run your kitchen right, it is just as cost-effective to use fresh products,” he said.
Nearly 60 percent of Davigel’s 783 million euros in sales in 2012, the latest figures available, came from independent restaurants in France, where it has 66,000 accounts. The Brakes Group had annual sales of 630 million euros in 2012, up 6 percent from 2011.
The companies employ chefs to craft alluring offers — Brake, for instance, has a partnership with Mr. Ducasse to enhance quality and create new recipes. Its lush catalog includes 3,500 items like frozen foie gras with caramelized apples or a precooked kit for gourmet beef stew with sous-vide meat, vegetables and broth.
Mr. Denamur, the activist, is concerned that many such dishes contain additives not found in fresh foods. One morning at Les Philosophes, he brandished an empty container that had held salt cod purée, which he said he had found in a rival restaurant’s trash bin. The ticket was stamped “like homemade,” but it also listed chemical preservatives. “This is why we need transparency,” he said.
But the argument isn’t really about preservatives; it’s about origins. “If a chef uses frozen onions to save time and costs, does that really need to be pointed out?” said Didier Chenet, the president of Synhorcat.
For the industry, the answer is no. “When you identify something as frozen, you put it in the head of the consumer that it might be less good,” said Ignace de Villepin, the marketing director of Davigel, said. “That is wrong, but they may be less inclined to choose it,” he said.
Davigel fought legislation requiring labels for frozen items, and Mr. deVillepin said he doubted that the fresh-foods lobby would succeed in reviving it. The most important thing, he said, was for diners is to know the origin of the food and to feel “that what is on my plate looks and tastes good, that I’m enjoying my experience in the restaurant, and I want to come back.”
Cordelia Dolan, 25, on a recent visit from London with five friends, was skeptical. As they paid the bill at Les Philosophes, they said they favored labels for frozen items — and would probably avoid them.
“You don’t want to eat something that you can buy in a shop,” she said. “That’s not why you go to restaurants.”

Wednesday, February 5, 2014

MAKING A WOVEN PAPER HAT BY MACHINE.


Paper Braid Hats

Do you know the differences between different paper braids that are used to make hats? It is not as simple as it would seem as first. So here is a little background: To make the paper strands that will be woven into the brands, huge rolls of soft colored paper are sliced into thin rolls. Then the thin rolls are unrolled and the flat paper is twisted into strings. The strings are then braided. OK, now that you know the general plan, here are some details: The original idea for making paper braids (Toyo) came from Japan, but now the experts are in Taiwan with the Chinese close behind. There are several different thicknesses of paper that can be used for hats. The lightest is 18 pounds, more common is 22 pounds. 20 pound paper is also possible. In China 18 pound is not currently generally used (it is in Taiwan). The lighter the paper, obviously, the lighter the braid. The heaviness of the braid can also be affected by how wide are the strips that the paper is cut into before they are twisted into twine. it is not unusual for the strips to be 0.7cm to 1.2cm, though some machines can be adjusted to cut strips as thin as 0.6cm. For most hats 0.7 or 0.8 centimeters is common. In addition to the weight of the hat you should be aware of the material going into the braids. The machines that braid the paper usually hold from 9 strands of paper plus 4 strands of thread to 13 strands of paper plus 6 of thread. Some machines that are very rare in China will make a thinner braid of 7 strands of paper and 4 of thread. The thread is cotton or polyester, or it can be a clear monofilament like used for fishing line. The monofilament made from polypropylene (sometimes just called PP). Since it is clear it picks up the color of the paper in the hat, so the thread itself seems to change color. Currently most braid makers are using 22 pound paper and about half the time they use polypropylene for the thread. They say the stiffness of the heavier paper helps the bigger hats keep their shape. (Also in bigger hats for easy shape adjustment the hat maker will run a metal or plastic wire around the edge of the brim.) Some of the more fine hats, including the Rainbow Sombreros we carry are made with very light weight paper and no PP. We use 18 weight paper cut to 0.6cm and only 7 strands of paper and 4 of cotton in our Sombreros. That is why the cost is a little higher than for the run of the mill paper hat!
the paper begins as large paper rolls
the paper is shredded in long strips 


The paper strips are twisted together to form what looks like twine and are then fed through machine to weave hat bodies.



the genisis of a woven paper hat





Here we see a willow stripe being added.


It is quite amazing to see these machines weave hats
Traditional rush roof work area.
Workers trimming the brim edges.








APPLIQUE HAT TRIM

If you liked Madonna and Miley's appliqué trim hats from the "MTV Unplugged" Duet.

Madge is a little old to be pulling of the "sticking my tongue out" pose
But you want a more toned-down-look for daily use, then try these new style from the Callanan fall 2014 collection.

photos by KOITZ.





Monday, January 27, 2014

GRAMMY HAT AWARD FOR 2014

And the winner of the Grammy for best hat is........................................................................................

                                   PHARRELL.

DAMN, JUST LOOK AT THE SIZE OF THAT HAT CROWN.


It has been suggested that it is Arby's inspired.

                Or maybe it was inspired by a state trooper or smokey the bear.



I think it was inspired from Louis Vuitton's fall 2013 hat collection with its smashed oversized crown.



           In any event PHARRELL was the coolest cat in the hat.



Madonna's son David Banda was the Koolest pussy cat while mommy Madge looked a little like Victor Victoria in her suit and cane or maybe she looked like Diane Keaton.


Wille Nelson kept the big hat trend going in his classic cowboy hat.

God bless Willie, God bless America.

Sean Lennon was looking very Sean Lennon. Dude, get a stylist or ask your mom for a little fashion advise.



                                                        Looking good Yoko.



Sunday, January 26, 2014

ICONIC AMERICAN HAT WEARER- EDIE WINDSOR

General George Washington may have worn a tricorn hat



 but Edie Windsor wore a CALLANAN HAT for her triumphant parade down Fifth Avenue, NYC. It was a smart choice as the fuchsia under brim gives a healthy rosie look to the skin. I call it an instant facelift!


BY OUT.COM EDITORS

Lifetime Achievement
Photography by Danielle Levitt
The love story that changed America began when Edie Windsor met Thea Spyer in a New York City restaurant called Portofino. “We made love all afternoon and went dancing at night — and that was the beginning,” Windsor would recall decades later in the documentary Edie & Thea: A Very Long Engagement.For Spyer, the attraction was no less spontaneous: “We immediately just fit — our bodies fit,” she says in the film. That was in 1965, four years before Stonewall and nearly 50 years before their relationship became the foundation for the federal government’s recognition of same-sex marriages.
The couple married in Canada in 2007, but when Spyer died in 2009 after a long battle with multiple sclerosis, Windsor was ordered to pay $363,000 in federal estate taxes that would have been avoided had their marriage been recognized by the United States. It took shrewd lawyers, clear-sighted judges, and one spry, platinum blond octogenarian to revoke that glaring iniquity.
When the 5–4 Supreme Court decision ruling the Defense of Marriage Act unconstitutional was announced on June 26 this year, Windsor was at the apartment of her lawyer, Roberta Kaplan, to receive a congratulatory phone call from President Obama. And then she went to the Stonewall Inn to celebrate. This time, in contrast to 1969, the whole city was there to join the celebration — a testament to the distance we’ve traveled. “The next generation is so far advanced over us,” Windsor says. “I love that a lot of younger people now come out that would never have come out in the old days. Of course, they are born into a community already. They just have to discover it, whereas we were still building it.”
Build it they certainly did. It’s thanks to their efforts — and to the power of love stories — that we’re at this long-awaited point in our history today. As for Windsor, she finally received that check from the government repaying the money it owed her. But she’s been repaid in so many other ways impossible to count.
Photographed at the Plaza Hotel in New York City on September 12, 2013

HAT CARTOONS

The NEW YORKER is always a good source of funny hat cartoons.



Hat haters of the world unite.

She will know thee by your hat.

Saturday, January 11, 2014

HATS BETWEEN ART AND EXTRAVAGANZA

“HATS BETWEEN ART AND EXTRAVAGANCE”: IN FLORENCE THE FIRST MONOGRAPHIC SHOW WITH ITEMS BY FAMED FASHION HOUSES

The Galleria del Costume (Palazzo Pitti, Florence; from December 3, 2013 to  May 18, 2014) opens its doors to an accessory not destined to pass unnoticed. This will be the first monographic show dedicated to hats.  The Museum’s collections of this accessory, attributable to the generosity of many donors, amount to more thanone thousand items usually kept in storage.  Only a part of these will be exhibited. Most of items on show are by famed fashion houses including Christian Dior, Givenchy, Chanel, Yves Saint Laurent, John Rocha, and Gianfranco Ferré.  There will also be a substantial number of items by celebrated international milliners of the present and past, such as Philip Treacy, Stephen Jones, Caroline Reboux, Claude Saint-Cyr and Paulette.  Finally, this will also be the first show to exhibit creations by Italian and Florentine milliners, some of them all but unknown.
The hat thus becomes a ‘work’ of art with its aesthetic harmony consisting in its ‘sculptural’ conformation, chromatic component and ornamental elegance. Superintendent for the Polo Museale Fiorentino, Cristina Acidini writes:  «This exhibition turns its attention to the changeable and subjective hat, the hat as a “work of art”, the hat as an “object of design” of the XX century and of the third millennium.» 
Director of the Galleria del Costume di Palazzo Pitti, Caterina Chiarelli stresses that hats can be studied from the historical-artistic viewpoint or they can be interpreted under the purely aesthetic profile, taking the liberty to formulate judgments or to express oneself using all-inclusive adjectives like “nice”, “imaginative”, “fantastic” and “fun”. The element of play prevails over the educational purpose in this exhibition and this is the message we want to launch and that Katia Sanchioni writes about.
The exhibition presents important loans from Cecilia Matteucci Lavarini, a private collector of haute couture and an illustrious donor of the Galleria del Costume, which are characterised for their value, taste and style.  This is also the opportunity to exhibit the extraordinary sketches MaestroAlberto Lattuada has created especially for the show, as well as to draw attention to the specimens created by Clemente Cartoni, famous Roman milliner in the 1950s and 60s.
The exhibition promoters are:  Ministero dei beni e delle attività culturali e del turismo, Direzione Regionale per i Beni Culturali e Paesaggistici della Toscana, Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze, Galleria del Costume di Palazzo Pitti, Firenze Musei. The show also benefits from the contributions of theConsortium Il Cappello di Firenze (Angiolo Frasconi, bettina®-Raffaello BettiniLuca della Lama produced and distributed  by Facopel Produzione, Grevi, Corti by Cleò, Marzi Cappelli Firenze, Nanà Firenze by MazzantiPiume, Luigi & Guido Tesi, Soprattutto… Cappelli, Trendintex, Memar, Fratelli Reali & C spa, Santelli Francesca, Inverni Firenze 1892, Michelagnoli Giuseppe & Figli, Ambuchi e Bandinelli).  The show will exhibit some of the most characteristic specimens by the major Tuscan firms of the hat-making sector, heirs of the old artisanal production of the Straw Hat of Florence. The catalogue published by Sillabe contains historical-scientific profiles by Simona Fulceri and texts by Katia Sanchioni, Aurora Fiorentini, Dora Liscia Bemporad, and Nicola Squicciarino.