Frantzén 9789113097183

Citation preview

Contents Prelude

18

Philosophy

24

Calle Forsberg: Analogue asymmetry

28

Chapter one: March/ April/ May

36

Ebba von Wachenfeldt: Controlled coincidence

72

"The trip"

80

Chapter two: June/ July/ August

82

Erik Mossnelid: Musical woodworks

118

Pleasure without borders

126

Chapter three: September/ October/ November

130

Joyn Studio: Architecture and design for all six senses

168

Chapter four: December/ January/ February

188

Stefan Andersson: Throwing plates

228

Recipes

March/April/May

244

June/ July/August

254

September/ October/ November

264

December/January/ February

278

Petits fours

292

The Basics

300

PRELUDE

Energy, detail & pure beauty

It was a few years ago that Twas invited as one of the guest chefs at Bjorn's restaurant, along with some other respected colleagues. Frantzen 2.0 had just opened-it had two Michelin stars at that time-and I arrived in Stockholm with local Zeeland produce that Tbrought with me on the plane. Little did I know that I was about to have one of my deepest ho! istic sensory e)(periences ever ... I go back to that moment as I am writing this, and I feel a shiver down my spine when I think about my first visit to this very special place. That's how vivdly I remember each and every Iittlc detail. The feeling already sta1ts outside on the sidewalk, right before the doorstep. The most beautiful storefront you've ever seen just fills you with anticipation, like a promise that everything aher will be even better. Everybody remembers the elevator ride. It's got the best music you've ever heard in one. When you arrive on the top floor you feel like you are entering a super cool apartment and right there you fully meet the team's energy and professional passion. As soon as you arrive you get your apcritif and appetizers, each one popping and exploding with power. Aher that you're welcomed to the floor below, where the open kitchen is and where you feel the energy of the music, the open fire, and the confidence and pride of the kitchen and service staff. And the details ... all the details ... everywhere the details. E-ve-ry-thing is detail at F:rantzcn! The food is pure understated class with a balanced taste structure, refinement, individuality, and a Japanese touch. The overall experience lifts you up and takes you to another dimension in a state of intoxication.

This feeling goes far beyond any restaurant experience. It's a bomb! Realizing how extraordinarily unique and magical the night I had just experienced was, I went back upstairs to thank Bjorn with tears in my eyes. Right there I whispered in his ear that soon he wou Id receive his third star.Twas not kidding-soon after it was official. Everything in this world that is related to food is related to me, and this beliefis very rooted in me. Creative energy is what makes me tick, and because of that I easily connect to people whose energy I share. Bjorn is such a man and for sure he's one ofmy biggest culinary heroes. I keep the magic that he and his team performed very close to my heart. Dear Bjorn, I am honored to write this foreword for you. You are a great chef, a true friend, a gentleman, and a great source ofinspiration for every generation. You deserve every bit ofmy respect!

With lots oflove,

Sergio Herman X

PHILOSOPHY

Everything at its very best

Seasons arc not limitations, but moods. Micro-seasons arc our instruments. Great memorable taste can never be compromised-it is alive and must be treated carefully. Our responsibility to flavor is first and foremost. The gateway to the finest and most unexpected Aavors is provided by small producers in Sweden and in neighboring countries and regions, but also from all over the world. The small farmers, the original cra�smen, the dedicated sustainable fishermen, the finest caviar pushers and sought-a�er winemakers. The artisans, the lunatics, the perfectionists. We respect their work and the fact that they are smal I and completely immersed with their hands in every step,just like we are. There is hardly any waste in this process, if hands are always touching and minds are always working. Our products and ingredients are sourced from all over the world. We take gTeat pride in this, and we believe that we contribute to a global understanding of food as a common language and ingredients as an exchange of ideas. As a very small restaurant, we don't expect or even need large quantities of anything. Instead, we search for the exceptional. And the broadest possible variations of the best basic components that only a few others even dare to get their hands on-or nobody else. Our tentacles go wide and deep. The world is changing by the minute and we are always ready to try something different, from anywhere, as long as it is in prime condition. There is always a season somewhere for everything. Constant discovery, relentless cycles of improvements, tests, and h·ials. Something that tastes good is not the same as great, or outstanding. Mediocre or pedestrian ingredients have no place in our house. The format or style of serving at Frantzen is via a procession of dishes, primarily inspired by the kaisel,i tradition of Kyoto restaurants but with our very

own and very Nordic interpretation. Rkh in decorations, precision in all the details, poetic and varied, all the pieces of this puzzle paint a beautifully coherent landscape for all the senses as the guest moves through the various phases of the meal. Everything has a stunning purpose, a live intervention, where all the trust and confidence arc with the chef. The fifth flavor, umami, is present in so many nuances throughout. Umami is actually not one flavor but a whole range of dimen­ sions; it's a palate we take great care to e:xpand on and balance. All the way from the salty and sour beginnings to the bitter and sweet end. Umami has a heart and a soul; we will never stop exploring the deep ends of Japanese expressions. Unique flavors don't just shine due to the excellence of the product; they come to light with the help of others. Supporting actors, villains, and friends, in a mix. Breaking off, or playing side by side. Layer upon layer, our flavors always ap­ pear from these dynamics. We seek these contrasts and juxtapositions, and for us this constitutes the si>.1:h flavor. Our signature, or gesture, is to aim for surprise. Not one flavor, one clement, one story, but several. In careful combinations, in each 1 ittle bite. We keep track of everything we do, and what we've done in the past. Every season or cycle returns next year, and our database feeds us information on hundreds and hundreds of interesting combinations in our history that we continue to play with in the future. Nothing is lost, everything is sacred. Sustainability and efficiency, art and science. Textures in a dish, or a procession of dishes, make the flavors three-dimen­ sional. The te>.1:ures arc almost equally as vital as flavors-only a bit more difficult to describe. They move you physically, and the interplay bel:\veen taste and texture reveals something more than what could only be imagined. This complexity

comes from careful consideration and trials: no dish is ready until it has passed through a multitude of incarnations and versions.

Tuiles, the classic curved, thin biscuit crisps that originate from sweet pastry cuisine, are something we have experimented a lot with in our savory dishes The tiny luile withjust the right Aavors can provide backbone and structure to a recipe, if it's gently crafted. A change of texture can alter a dish completely, tilt the balance from good to great to excellent-or exactly the opposite. Textures can be spectacular surprises, so they arc really worth considering before a dish is complete in the making. A hot dish with elements of a la minute cooking will be very disappointing if it's not served immediately. Eight out of ten ofour main dishes are fresh from pots and pans, or just kissed by the heat from glowing embers. It changes everything to have access to real fire in a kitchen. Tempo increases, skills are mastered, and the very last touch is an act of heightened perception and love. The fire makes the food richer and more primal. Rich and bold; maximalism is underrated. Modernism has no value unless it is put in a historic context,just like minimalism can be boring without passionate spirit. Progress in cooking comes from technique and ideas. Our team researches everything that is available to mankind in order to attain a contemporary expression. Sometimes that also means using ancient or classical techniques, if there is no modern way or means to improve on. We aim to be audacious and recognizable, but never technical just for the sake of being technical. Bold and daring cooking needs no literal master plan or manual. Just blasting energy and the combined team effort and talent to move the spirit forward, day by day.

CALLE FORSBERG

Analogue asymmetry "Chefs create art, the way painters work. I create the frames, hopefully frames that gently support the art," says Cal le Forsberg, who came to the craft of ceramics quite late in life. ln his forties he stopped his teaching career and dived back into his teenage passion for clay. The legendary ceramicist Hertha Hillfon was a close relative, and she had let him try his hands with clay when he wasjust 14 years old. "Then came the 1970s, and I wanted to change the world. I regret that now," he laughs and pauses. "It's a fantastic feeling to eat on plates and from bowls you've actually made yourself. That in itself is a small revolution." For Calle, making plates for restaurants started back in the] 990s. The National Museum ordered some large plates for serving in their restaurant. Around 2012 it really took off. Suddenly, the New Nordic movement was in full swing and many restaurants wanted something handmade,just for themselves. Ceramics, stoneware, experimental shapes. Perfect bright white porcelain from the prestige-brand factories of Europe? No, never. Calle had the pole position due some early exposure at Konsthant:verkarna and Norrgavel, and suddenly chefs and restaurants were calling him up, wanting more, challenging him, expecting and directing, buying and boasting. "It has something to do with identity and character," he says of this sudden trend, "because if you as a chef are looking to invent your own style of cooking, instead ofjust following classic recipes, and taking care of the ingredient producers on the land and sea around you, and instead of only importing everything, then sooner or later you will also want the goods you're serving your food on to be personal and unique. Without this, the experience is not really complete." Ceramics are analogue. Just like the space in between the

IL:) afantasLic.fc>eling Lo eat on plates and.fi�on1 bowls you\Je aclual(v 111acle yourse(J: That in iLse(/is a small revolution.

notes is where the magic happens in music. "I see the difference between hand­ made ceramics and factory-made porcelain as the difference between having a real drummer in your band and using a drum machine," Calle concludes. Bjorn Frantzen and Calle met often during those years, working together and having conversations. "l fe is like a designer himself, a creator in every sense," he says about Bjorn, "and in the beginning he was mostly watching my vvork, observing and analyzing, asking questions. But as time went by, he grew more intense, started throwing ideas at me, giving me little challenges, pushing my boundaries, and breaking rules. He really developed me. Made me think and look in different directions." Calle recalls a specific plate, with a clear purpose: "Bjorn wanted to serve beef. And he wanted the plate to reflect the impression or perhaps emotions of beef. Brutal. 1 t's a dead animal, let's face it. Let's not hide that, let's instead reinforce that." The plate in their minds was heavy and bold, with a rough surface, dark and unforgiving, rustic and like no any other plate out there. Calle had to bash and bang it into shape. Small plate but intense and dense and heavy. "That plate made me reflect more on the purpose, perhaps the poetic purpose of the frame around the artwork. It was intensely hard work to make, but it gave this beef dish another dimension; it somehow brought I ife to the dead meat." Calle refuses when clients ask him to simply copy objects they have brought along. He instead encourages them to browse in his sh1dio; all corners arc filled with trial pots and error plates, test versions of bowls, and various other failed attempts. This sparks their imagination, and the game begins again. "Asymmetric shapes interest me more and more. Maybe because of my work with Frantzen. I never created anything perfectly round and thin for them. I did before in my career,

a lot, but I don't think I will ever return to that. Al I the excitement comes from tiny nuances. When those nuances are barely detectable but still noticeable, I am on the right path." "I imagine that the chefs want to get closer to the contextual experience, of giving the guest a personalized and unforgettable memory of a dinner. Not just with the actual food, which is obvious, but also with the tactile impressions. This is where handmade plates make perfect sense. They suddenly play a part on a stage, like actors in a theater." "Time is crucial in pottery and ceramics. You can do a hundred little things, make a hundred tiny decisions, in just two weeks. Everything interacts, every conversion can play a part. It's hugely exciting and I want to show and discuss each part. Some shapes and forms happen almost by themselves, seemingly out of my control, others become exactly the way l intended them from the beginning. It's always a symbiosis of thoughts and actions." ''I'd like to make much bigger things in the future. Huge pots for gardens. Bigger experiments, bolder expressions. More time, new woodfire ovens and kilns, different horizons. Creation never stops."

IIOSIIIGAKI

Dried.fi·uits, qf'all kinds, are delicacies in the Afiddle East and eastern Asia. In Japan, there is a tradition clpicking ripe Ilachiya persimmons in the winter: they are care.fit!ly peeled, Lied up in strings, and allowed to dry.fcJr a week. Then they are giving a daily massage until the desired consistency is achieved. \Ve decided Lo honor this Lradilion. And also Lo let them hang in our open kitchenfor eve1yone Lo see, almost like bright orange lights in winter darkness. Uc.;ed in desserts, they are a sweet seasonal surprise when cul or shaved thinly.

CHAPTER ONE

March/ April/ May

Spring, a slow ritual. A gently ascending spiral. Tiny abstract in1ages of light in prevailing darkness, scents and sounds of animals returning. J n Stockholm the arrival of spring mostly means no longer waking up every 111orning ,vith the darkness of outer space outside our windows. Progress is fast; the subtle differences are tangible, day by day. c;ray turns into soft yellow. Wet streets, vvinds fron1 the Baltic, familiar shapes start to reemerge fron1 the shadows. Winter is always hard; spring is a warm handshake. We avvait the lambs, we dig up the roots, we reach 7 for the shoots. 1 he huge fish from the wild seas cannot escape us. We caress them all very gently, \Ve bring them forward, and we twist them into n1onuments of desire.

FOIE GRAS & LICORICE PARFAIT

anise hyssop, crispy carrot, salted lemon & PX gelee

w1 NTER TOUCH ES SPRING. Like licorice touches lemoi1; some sharp little dark­ ness enriches the tangy fresh brightness.

Foie gras at Frantzen? Pleasure and ethics, always sourced from Eduardo Sousa in Badajoz, Spain. Raised, but never force-fed, on fields full of acorn and wild lupines. Natural fat, yet mild and invigorating flavor. We whip it into lightness, always a luscious start. Recipe, p. 245

CHARRED BROCCOLI, TOASTED NORI

Swedish stracciatella, wild trout roe & broccoli flowers

They should stay light, stay crisp, but shouldn't break before it's time. These precious shells carry something more important than themselves.

TARTLETS, TRICKY EQUATIONS.

We go far beyond the classic pate brisee here, instead making them from broccoli and cauliflower purees-for a cleaner and fresher note than the buttery standards. Crystallization of sugars is key in the making, and low, slow oven heat. There are many variables in this Aexible idea and recipe. The purity of the vegetables sup­ ports and lifts the heavier actors. W ild trout roe ikura, raw and untouched, we brine it carefully for extra texture. Soothing and sour buffalo stracciatella, like they do it in farmhouses in Puglia. From Oja Gard, one of very few existing buffalo farms in Sweden. Stracciatella of this kind adds an incredible asymmetrical feeling, a cooling go-between for the effervescent roe and the we Icoming vegetables. Broccoli tops and Rowers, same but very different, torched a la minute. Nori powder, "the hidden Aavor." A whispering ingredient that make all the others speak so clearly.

Recipe, p. 246

"PELLE JANZON"

dry-aged Swedish beef, smoked eel, tellicherry black peppercorns & vendace roe

PELLE JANZON WAS A NINETEENTH-CENTURY opera singer, a baritone with a profound, wide repertoire. A genius of his time. But he didn't care much about sticking to protocol or strict traditions. He was seen as frivolous, a boisterous free spirit who often wore costumes and masks in private, a dominating figure on the Stockholm social scene of the era. He adored parties and soirees and personally entertained his friends with his own cooking skills. His name as pioneering opera singer has since long been forgotten. But one aspect of his artful life has remained in every Swede's consciousness: an ingenious little dish. Slices of finest beef sirloin, beaten and gently pressed, served with egg yolk, grated horseradish, and Kai ix vendace roe. Voita, a perfect late-night snack, elegant enough for parties after the opera. Many bistros and brasseries all over Sweden still serve this classic dish as it was intended back then.

We love Pelle Janzon. And his old recipe. But most of all, we love his creative spirit. So we decided to be as freewheeling as he was in our tribute to his peculiar little snack. Tacos are weekend treats in modern Swedish families-that's right, Mexican tacos. So that was our starting point. We introduced hand-diced beef loin, hung for 45 days. And the egg yolk became a cream. The finest silver eel from sustainable farms adds a touch of depth and surprise, before we perfume this very large bite with lemon zest, chive blossoms, and a la minule sliced chives. If Pelle were around today, he would gulp this clown like a hungry wolf, costumed and masked and all. Tt's a little love bomb.

Recipe, p. 246

SCRAMBLED DUCK EGGS

yuba, black truffles & smoked maple syrup

us, MEANS TRUFFLED EGGS. Fresh, innocent eggs-in this scenario they are luxurious duck eggs-will take on the pungent scents from black truffles if you nestle them in a tightly sealed box for a few days and nights. The achtal scrambling of the eggs is joyous and uplifting. A heated transformation that we simply stop just before serving by gently introducing some whipped creme fraiche. Yuba, or milk skin, our secret weapon, adds layer upon layer of texture. We add a touch of grated nutmeg, for its aromatic nose, to match up the strongest truffles we can shave. And house-smoked maple syrup, for extra decadence.

SCRAMBLED EGGS, TO

Recipe, p. 247

SAKE-CURED MACKEREL

salted tomato jujce, Tokyo turnips, wasabi & spring onion oil

RAW, BUT REFINED. Mackerel is at its very prime in the cold spring. It should really speak for itself. We let it rest in a sake solution with Peruvian amarillo pepper for no more than 45 minutes,just enough to enter a slightly different dimension. Patted dry before chopping and serving. Dripped and drizzled with tomato water. Racy, spicy acidity, clean but mahirc. Tokyo turnips arc lifesavers; their cool and firm freshness caress and uplift.

Recipe. p. 247

CHAWANMUSHI

steamed king crab, seared chilled foie gras & wilted bear's garlic in truffle broth

11 S TEAM ED cu P." Variation on a theme. Like a jazz standard that we tweak differently according to seasonal moods. It's not a soup, and it's not a cake. It's a firm but loose umami twilight zone between the two. Mild mannered and all-encompassing, it's mild yet surprising.

Truffle broth based on aged pork and shiitake dashi. King crab, or actually Stalin crab, a beast with huge muscular arms, caughtjust off the darkness-ridden northern coast of Norway, bringing textural excitement and bright showstoppingjuiciness. Foie gras partnership, pan roasted, for depth and comfort.

Recipe, p. 248

POHK AGED FOil l00 DAYS

Dashi, a Japanese slock or bouillon, is normally made wilh dried and smo/;ed Luna (kalsuoboshi), in very Lhin.floky shavings. Plus seaweed and hol wale,: ft'..., Lhe hearl (fmuch Japanese cooking, wilh ils dislinclive umami.flavor as a base. \Ve decided Lo make our own kalsuoboshi./(Jr our dashi. But with pork instead (f luna..Same thin.flaky shavings, bul with a slightly d(iferenl .flavor dimension and powe1: The pigs we work with grow up al 1Vibble Gdrd, where S'ven-f,'rik.feeds them acorns and ivild thyme. They slay outside as much as they wanl. J\ healthy 120 kilos is the weight we look.Jc)/: 1\fier slaughle1: we genlly marinale Lhe pork in soy sauce and mirin, be.fbre Lhe actual aging begins al Franlzen.

POACHED HALIBUT

caviar, walnuts, razor clams, attika & yogurt whey

Halibut from the Atlantic yields a supple Aesh, ideal for experimenting with marinated cooking. Just dare to brine it first with kombu seaweed, water, and salt for 12 hours-this delicately meaty fish needs it.

EASILY THE LARGEST FLATFISH OF THE OCEAN.

Poached before serving and heated gently to 38 degrees, it should be eaten just before it reaches a feverish temperature. Razor clams bring distinct iodine umami to the yoghurt whey sauce, purposefully bringing even more of the sea to the forefront. Walnut sprouts and walnut oil: an unusual playground for caviar. Restrained and pure, a light balance.

Recipe, p. 248

ROASTED SCALLOPS

preserved black truffle, teardrop peas, smoked butter & shiro kombu

SCALLOPS AND TRUFFLES-just like chess or checkers, there is

harmonious tension in the movements and differences. A classic combination, and we simply twist and turn.

Peas like tears, only sweeter than imaginable, and with a caviar pop to the teeth. Extraor­ dinary, highly seasonal, and as far as we know only the Basque have so far mastered the art of growing these very sensitive and emotional specialties. A reference that has to be experienced to believe it. Chlorophyll ragu, the final cut. Recipe, p. 249

GRILLED WHITE ASPARAGUS

young coconut, pistachios, roasted coffee & lemongrass veloute

THE MIGHTY WHITE ASPARAGUS TRULY SIGNALS SPRINGTIME.

finest threads and fabrics: coconut, lemongrass, coffee.

Wedress itup in the

Ponzu, pistachio, the apple-sweet Roscoff onion. Flavors and teA.1:ures like wearing a teehnicolor dreamcoat-a celebration fit for a king.

Hecipe, p. 249

BLUE LOBSTER

yuzu & amarillo pepper beurre blanc, sea buckthorn oil & aged pork fat

All around the world, depending on their habitat, lobster flesh will taste and behave in various ways. Our preference is for the blue lobsters caught off the cold coasts in Brittany and further up north in Europe. Sweet and full, never dull I ike cotton wool.

THESE BEAUTIFUL BEASTS EAT DIFFERENTLY.

Champagne vinegar, coconut cream, sea buckthorn oil. Together as twisted beurre blanc. Yuzu lwsho is essentially a magic little potion where we mix the intense aromatics and acidity from the ripe yuzu fruit, with the heat and spiciness of chili. Fire and ice, in amalgamation.

Served with aged pork fat, mild but not shy. Recipe, p. 250

ROASTED GUINEA FOWL

oxidized yellow wine, grilled jus & schmaltz

vou WANTED TO DESCRIBE the guineafowl withabit ofimagination to someonewho has never tasted it, you could say that it is partly chicken and partly duck Dark meat with golden fat, yet tender and light. However, it's actually a unique species with no relation to either. A natural runner, great legs. Domesticated fairly recently, the guinea fowl deserves a salutation for allowing us humans to breed it.

IF

Maturation is key. A fat fowl sits perfectly in om downstairs dry-ageing cabinet for about 10 days. Stronger flavors, tighter meat, fat begins to integrate. We wash them carefully, soak them in salt, then roti-grill gently. Vin jaune, reduced with miso and soy, becomes a fluffy sabayon. Add touches ofschmaltz for extra effect, and a tight glaze made from roasted and smoked chicken wings. Depth and power. Recipe, p. 250

DRY-AGED SPRING LAMB

"blanc de blanc," wasabi raita, legumes & charred cucumber jus

WHITE LAM e.

A traditional specialty from the Pyrenees. Forty days young. Fed only with mother's milk. ·white meat. Tender and subtle, the size of a large rabbit.

We match it carefully with a perfumed and herbaceous raita, pan-toasted spices, to start it all off. Nori and mint oil to complete. Wasabi? As a whisper.

Recipe, p. 251

SALTY CARROT

caramelized popcorn brittle, preserved blueberries with Batak pepper & tea, tea, tea

Boldbut cold. Carrots treated as nougat, blueberries from last year's sunshine. Salinity and caramel.

SPRING 1s NOT SUMMER.

Real crunch, popcorn becomes a brittle comfort zone. Thai tea ice cream andEarl Grey mousse, a wake-up call.

Recipe, p. 252

WILD STRAWBERRIES

iced cantaloupe, nasturtium cress, lemon verbena & champagne

OVERRI PE FRUIT. Flavors intensify. And the flesh, to the point of softness,just before it melts away. Works wonders in a sorbet.

Lively and uplifting, nasturtium cress and champagne. Verbena oil to taste. Wild strawberries, from Malaga, a 3D postcard from the seasonal future that lies ahead.

Recipe, p. 253

EBBA VON WACHENFELDT

Controlled coincidence

The crah and art of blowing glass was invented a couple of thousand years ago. Not much has changed technically since then. But the ideas and shapes keep moving forward. "My journey started already as a young girl in the 1970s, when l had a summer vacation job repairing and restoring church windows in Brittany in France. I saw the light, so to speak. Glass became my vocation, my life." Ebba von Wachenfeldt tells her life's story through the material she loves the most: "Glass is my language, it's how T speak. When I am in the glassblower chair, I become one with the hot glass mold-in fact, I am the glass." She continues: "1 am at a stage where I let things run quite freely, I trust my understanding now. The pipe I'm blowing into is rotating, I'm sculpting, and the glass on the other end follows me all the way. It's very satisfying; nothing else around me exists, it's meditation to me now. I give it my fullest attention, I disappear into the glass, and I must thread very carefully because the glass is 1,130 degrees Celsius by now and the air that I'm blowing out is making the glass thinner and thinner, I have to be constantly two steps ahead." Ebba's chair is only two meters away from the intense heat. She is used to it by now. She explains the complexities of glassblowing with a simile: "It's like skipping ropes as a child,jumping in perfect synchronicity, and at the same time playing the piano. Looks impossible, but when you know how, it practically flows by itself." "Bjorn Frantzen understands my capacity. He is very fascinated by the materials and understand them very well. Our collaboration started many years

Ifands have n1en1ories. E.,veryone wilh a lifetime in crafts knows the value of this.

ago; he wanted a red plate ,vith a golden rim, for a specific dish. I wasn't personally very sure at the time if this was such a great idea, but I went along and created it. It turned out much better than I could ever have imagined. I'm very thankful that he pushed me in this direction. I learned a lot from this, and I think he did too," Ebba recalls. Her fascination for Japan and its crafts began in 1994, when she lived in Hokkaido and worked with the local craftsmen in Sapporo. "I started appreciating asymmetry there in a way I hadn't done before. Restrictions and different ways of seeing. Asymmetry is peaceful to me. It's very human, after all we are all very different so asymmetry exists everywhere in nature. I started at Orrefors back in 1983, when everything was about symmetric perfection, so I knew this more Western classical approach very well already. In the beginning of the 1990s we started experimenting with uneven shapes so I really wanted to learn more, dig much deeper. Japan gave me some of those answers, and at least my soul hasn't left since." "For Frantzen I made lamps. Spherical lamps, to create the impression of moving under water. The special technique I used was to blow them as unevenly as possible, while still retaining that spherical shape. It takes time and a lot of risk to succeed with this. Basically it's the opposite of a lightbulb, between 1 and 5 millimeters in thickness all around. Precision and free flowing at the same time. I had to blow hard and excessively, to create this effect, or it wouldn't even register. W hen the lights are on, the impressions of waves come naturally. Thankfully it worked out well, and we all learned something even this time," Ebba says with pride. "The controlled coincidence is my philosophy. Creating the right circum­ stances for une)..1)ected expressions. Being careful and detailed, and at the same

time free flowing. I do both crafts and arts. Sometimes they touch each other, but generally they are a bit different. Craft is about respect and attention. Art is un­ compromising and unique. As I am approaching a new era in my work now, I want to be more eccentric. Taking even more risks. I find a lot of inspiration in folklore and Jean-Michel Basquiat; my desire for experimentation is endless."

"The trip" It's not even a dinner. Or a lunch as you know it. Eating at Frantzen is a long-haul flight. Do make sure to prepare yourself in advance. Cool your boots the day before. No heavy hands.Mind on the matter. Food as passionate minimalism. Juice yourself, anticipate, sleep. Wake up, senses wide open. Only for today, breakfast will not be your most important meal. Take a walk, rest. No pressure. Then immerse yourself. Hard to find, cager to open. The f ront door at Frantzen reveals no clues, doesn't swing and hit your face, small window and gray. Yet so tactile, blond wood, gilded name. l t's a door, it's a kiss. Let go. Dive in. Luxury is to do what you want to do, without fearing any consequences. You're on stage now, it's your damn show. Eyes and ears, fingertips tingling, blood vessels e:,(panding, respiration on adrenalin, smiles and admiration, teeth and textures, forging f riendships, social cannibalism, rushing bubbles, colors and dimensions unknown, taps on shoulders, scents from above and beyond, flavors in wow directions, no helmet or seatbelt. Exit is never and all] ights on you you you. Boom. Termination. Arrival. Steady, maybe coffee or tea. Too early for memories yet. Wait, stop, listen. It's within you now. Cherish, rejoice, relax. Return to the night of preparations and anticipations. Notice, compare the contrasts. References altered, you won, you gained, and now you're in a completely different place. Luck is for those who prepare themselves for it.

CHAPTER TWO

June/ July/ August

Sumn1er, a dance. Everything is golden. We forgive and forget, \Ve suck the marrow from the bone. The symphony of ,vinds as the trees burst out their foliage in celebration of perpetual sunshine. Shoes without socks. Sunglasses for 1nuch more than shovv. Madness and dreams, vegetables kissed by rays from above, the spectrum is completely open, we can see for miles and miles. Speed is key. (]rab in an instant. Gone tomorrow. Don't vvait in line. Attention to variety, more is more and too much to choose from, darling killers. The hit list is endless.

GREEN PEA TARTLET

homemade smoked ricotta, black currants & basil blossoms

We make ours every morning, with milk and cream f om the island of Gotland. With a touch of cold-smoking at the end. The texture of clouds, disappearing gently.

RICOTTA CAN BE INCOMPARABLY FRESH AND LIGHT. r

Dried black currants for chewing acidity. Green peas as a sunny greeting.

Recipe, p. 255

SWEET CORN MACARON

bitter cacao, rye, whipped foie gras & cherry compote

Cherry compote and foic gras mousse, compare and contrast. Sweet corn dominance with a bitter bite of cacao and rye.

LIGHT EMOTIONS, BIG FLAVORS.

Disappears in a snap, but long lasting.

Recipe. p. 255

WHITE BEER-POACHED CRAYFISH

smetana, sake-washed roe & flowering dill

CRAYFISH PARTIES ARE ALMOST SACRED seasonal feasts in Sweden. A hedonistic ritual dedicated to singing and sitting close together.

Crayfish from the rivers and lakes. Dill from the shores. Our tribute is an attempt to improve. Sake instead of snaps. Remove and add. Trout roe added, it belongs so perfectly well. Rethink and refine. Without losing the sacred soul.

Recipe, p. 256

COMTE CROUSTADE

artichauts aux anchois & chrysanthemums

1T's LIKE ALCHEMY:

turning humble ingredients into gold.

The croustades are so easy on the eye. So thin, so majestic. Pure pleasure, crushing and crashing them. But so complicated to make. Dipping the scorching hot iron into the batter-and deep-fry until golden-that's the abracadabra. Hecipe, p. 257

06/11/2020 -19:43

OTORO

radish, fermented strawberry & coffee vinaigrette & myoga

OTORofrom bluefin tuna make it unforgettable on the palate. The precious flesh between these fatty lines almost evaporates when you taste it. It's sought after by the finest sushi shokunin (artisans) of Japan, hence its goldlike status. We source our otoro from sustainable fishing practices off the scenic coast oflbiza. Simply the highest qua Iity, and from within a reasonable geographical distance.

THE OILY LINES OF THE

But we don't serve it as sushi. Aged for a week in cold temperature, changing its cloth daily. Sliced thinly just before serving, dressed up inyuzu kosho and a little lime zest. The search for partners to this outstanding product was long and winding. Otoro at Frantzen is elevated by the contrasting flavors of fermented strawberries and coffee oil. Turnips and black radishes, for the kick. Just like a great perfume has a head and a heart, this dish is an interplay between a few flavors and nuances that come and go, at intervals. Finally we all arrived. Recipe, p. 257

LIGHTLY HEATED SCALLOPS

raw matsutake, galangal root oil, blood lime & pine shoots

But theystand up perfectlyto challenges. They shine at their fullest when they're as fresh as dew in the morning. Ours are from Hitra in Norway. Dived for. Alive on our doorstep within a day.

SCALLOPS DON'T ASK FOR MUCH.

We 've created an aioli for them . It's a small component but potent and complex, to match the subtle and sweet originalityof the scallops. Matsutake to finish, raw and victoriously fragrant. Galanga! oil and nasturtium oil, blood lime and pine shoots,just to frame it all.

Recipe, p. 258

CHAWANMUSHI

l 00-day aged pork broth, chives & caviar

The golden caviar. It's extracted f om a farmed sturgeon and it has truly disrupted the old-fashioned ideas of what could be considered the best. vVe honor it by serving it in huge and generous portions. Created and matured in special conditions for six months, to our personal specifications. For a fuller taste. Tailor-made, if you will.

IN THE CAVIAR AFICIONADO TRADE, IT'S CALLED SCHRENK/I. r

Each bite has its own revelation. Gentle but softly popping. Not too salty, naturally acidic, never ever fishy. Just a remembrance of the sea, a quick picture of tiny bubbles. Like a Polaroid snapshot that beautifully changes and slowly disappears. Indulging in caviar is a here-and-now moment; eve1ything around you is suddenly blacked out. Nothing will focus your tastebuds as much as a spoon of schrenl,ii. Our chawanmushi is highly unconventional. Instead of the traditional tuna or bonito Aakes that comprise the core of its dashi, we found that if we beef it up with aged pork instead, we would arrive at a different profile that actually suits the caviar even better. Clarity and depth,juicy but velvety.

Recipe, p. 258

DOUBLE l\lAHIXATED BEEF

The inlention was lo creale charculerie.fiwn beef S'(di and genlle lexlure, wilh much less sail lhan conventional pork-based clwrculeries. A darkerJ!avOJ: yet lighl cmd.fi'esh. f

\Ve allow the bee lo malure.fn1 the place within. ft: