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b i s c u i t Leisure issue 1.

B I S C U I T Most of my childhood memories are of family holidays. My mother, the inveterate traveller, espoused the values of seeing the world. She insisted every school break was spent somewhere different. She perceived that life was not meant to be lived in one place, and to this day, regards travelling as a means of staying inspired by the people, places and spaces around us. That inimitable impression of having done and seen a million things within just a few short days allows you to discern time more fully. That’s the notion she’s referring to. She inculcated a sense of curiosity and adventure that’s become a defining characteristic of who I am; a wanderluster who will always make time to get away, even if it’s just for the weekend, to step outside my comfort zone and gain a sense of place in an unusual setting. It’s this process of seeking knowledge and experiences in unfamiliar territories that we find most interesting at Biscuit. In this first leisure issue, you will find stories about food, travel and design. For me, food forms an intrinsic part of travel, and thus will always have a place within our pages. A foray into design also makes an appearance in this issue. As such, this selection with a focus on white and grey hues, is a clear reflection of our clean, minimal style. If I had to single out an indelible moment in the creation of this volume, it would unequivocally be my day at Tsutaya Books in the Daikanyama district of Tokyo. Discovering a tranquil place to sit and read, shrouded in the ethereal mist of the busy city, caught me completely off guard, and that element of surprise is my favorite part of travel.

Lynn Rutnavimon EDITOR









04. Tsutaya Books

10. Lemon Sheet Cake

18. White

27. Geometry

20. Thom Browne

14. Caramel Cream Pie jars

24. The Selfmade Modernist

29. Thai contemporary

07. Kitsune Cafe

35. Typography


Tsutaya Books by Klein Dytham architecture Words & Photos: Lynn Rutnavimon Klein Dytham architecture have recently created a rather unique ambiance surrounding the Tsutaya Books, which opened up in the upscale Daikanyama shopping district of Tokyo. The concept can best be described as a “library in a forest,� as the space is highlighted by lush greenery, then embodying the aesthetic of a vintage library. Tsutaya Books is then neighbored by a variety of shops, restaurants and other forms of entertainment to further entice customers to its quarters.



Inside Maison Kitsuné and Kitsuné Cafe Tokyo Kitsuné recently opened the doors of the Maison Kitsuné flagship store and Kitsuné Cafe, both located in Tokyo’s upscale Aoyama neighborhood. Calling in French architectural firm FHC, Kitsuné founders Masaya Kuroki and Gildas Loaëc sought to include hints at the original Parisian boutique but while giving the space a decidedly local flavor. The shop is spacious and luxurious with a Japanese cedar parquet floor underlining sparsely arranged racks and displays. Traditional touches to the otherwise Western-looking space include tailor-made colored tatami and custom bamboo and rice sliding doors. As for the accompanying café located further down the street, it is certainly more intimate with its heavy use of natural materials to convey a kinship with more traditional Japanese buildings. Aside from being just as much an additional retail space as it is a place to relax, the café also has an outdoor terrace surrounded by a bamboo fence for guests to relax in.



LEMON SHEET CAKE WITH BLUEBERRY AND COCONUT WHIPPED CREAM Recipe: Shota Tashiro Photos: Parker Fitzgerald Lemon cakes are associated with weekends in France. The smell of the cakes baking would get the children excited with anticipation that there would be a weekend trip or vacation in the not-so-distant future. In France, whenever plans are made to go out of town with friends or family for the weekend, lemon cakes are baking at home. These cakes were very popular in the store I worked at in France. This recipe—inspired by a special recipe I learned from my mentor (Sébastien Bouillet)—has a few variations, such as using Japanese lemons, to help create my own version of the classic holiday-themed dessert. I even imagined bringing this cake along on a weekend trip, and had my best friends design the wrapping paper. It makes me want to spend time camping in the mountains with my best friends.





1 cup plain flour

1. Preheat the oven to 180C. Grease and line a 20 x 20 cm tin, extending 2 cm off the sides. In a large bowl, sift the flour, baking powder, coconut and salt.

1 tsp baking powder 1/4 tsp salt 1/2 cup + 2 tbsp (150ml) coconut milk 1/4 cup raw sugar 1/2 cup coconut sugar 1/4 cup coconut oil 150ml applesauce 1/3 cup desiccated coconut zest + juice of 1/2 a lemon 1 tsp vanilla extract 1 can full-fat coconut milk 1/4 cup icing sugar 1 tsp vanilla extract 3/4 blueberries 1 tsp rosewater 1/4 cup ground pistachios

2. Whisk together the coconut oil, coconut milk, raw sugar, coconut sugar, vanilla extract, lemon juice and zest. Pour the wet into the dry and whisk until smooth. Bake for 20-25 minutes. Set aside to cool completely. 4. Place the blueberries and rosewater in a small saucepan and cook until the blueberries are soft and slightly mushed. Set aside to cool completely. 5. Remove the chilled can from the fridge and flip it upside-down, pour out the coconut water. Scoop the coconut fat into a bowl and whip until light and fluffy, whip in the vanilla extract and icing sugar. 6. Swirl in the blueberry sauce into the whipped cream and pour on top of the cake, spreading the mixture out to the sides of the cake. Sprinkle with ground pistachio and refrigerate for at least 1 hour.



RAW SALTED CARAMEL BANANA CREAM PIE JARS Words: Kathryn Bacalis Photos: Andrew Olson A few years into our relationship, I mentioned jokingly to my husband, Shaun, that we shouldn’t even consider having kids until he could make half a dozen or so classic breakfast dishes on demand. I grew up with a father who, upon waking on Saturday mornings, worked the stove like a line cook taking orders for poached eggs, waffles, pies, etc. Mom got some reprieve and the kids took note that being a family meant sharing the responsibility of a homestead. The Raw Salted Caramel Banana Cream Pie Jar—kind of a sweet popover thing that’s also called a German pie, or a Bismarck—was Shaun’s first contribution to the “future dad” list: easy, and a platform for all kinds of good stuff. I prefer fruit and cream, but when Shaun practices you’ll find his dripping in Nutella.






1. In a food processor blend the walnuts into a fine meal. Add dates and process until crumbly. Divide the mixture between 5 small jars and press up/into the sides. Cover and refrigerate.

1 cup raw walnuts 2 medjool dates Salted caramel: 3-4 medjool dates 1/3 cup warm water Pinch of Himalayan salt Banana cream: 1 cup raw cashews 2 small bananas 2 medjool dates 1/4 cup almond milk 1 tsp lemon juice Pinch of Himalayan salt

2. Mash the dates with a fork until they turn into a paste. Add 1 tbsp of water and mash until smooth. Scrape date mash into a small bowl and stir in remaining water until combined. 3. Pass through a fine mesh strainer then stir in salt. Transfer caramel to an air tight jar and refrigerate until ready to use. 4. Add the cashews and bananas to the base of a high speed blender, and blend for 30 seconds. Add dates, milk, lemon juice, and salt; mix on high speed for 30-45 seconds. 5. Divide the cream mixture between the jars and drizzle with salted caramel. Top with banana slices and walnut pieces before serving.



Why white never gets boring Words: Ivania Carpio Photos: Josh Geneva White has less connotation than other colors. When seeing red for example, automatically all cliches come to mind; red hearts, Santa Claus, the devil, tacky tight dresses, coca cola, valentines day... I don't get this with white. White evokes more of a feeling; fresh, clean, pure, empty but mostly a feeling of 'there are possibilities'. And because so little concrete images to mind when seeing white, I can project my own personality and mood onto it. Colors are so specific, every shade brings its own very specific associations. When putting on a colored shirt it almosts feels like putting on a certain mood that comes with the color. With white, grey and black it is the other way around; you put the mood on the garment After wearing a colored piece of clothing a couple of times, I get bored of it. It is so specific that it becomes limited. Non colors on the other hand, are so general and nonspecific that the possibilities are endless, they aren't connected to any seasons, they are appropriate for all occasions and moods. With white, black and everything in between I've created a bit of a uniform for myself; I can grab clothes out of my closet with my eyes closed and it almost always works together. When tailoring clothes, the first patterns are also made in a creamy or white fabric. I think these early stages of garments are beautiful. By not adding any color or print all attention is directed to the technical details and fit, that is what interests me most in fashion.



Thom Browne Fall/Winter 2014 Words: Jane Herman Bishop Thom Browne recently unveiled its Fall/Winter 2014 collection at Paris Fashion Week. The collection chose two drastically different directions centering around nature. The first was primarily abstractions of classic tailoring in mostly grey hues with the most notable feature on many items being exposed and frayed seams. The other adopted a completely experimental approach, featuring high contrast blends of black and white plant motifs across puffed-up and re-balanced silhouettes.


The initial challenge was a riff on the classic, diagonally striped men’s repp tie. “This idea is used in the way that pieces are seamed, not always in contrasting colors, which is traditional, but with contrasting pieces of fabrics that act like diagonal stripes, and that then spiral around the body,” Browne explained. Of course, the mixing of menswear with womenswear is a house hallmark. So it’s not surprising that the repp tie fabrics of Browne’s tightly bodiced dresses are legit. “They are true tie fabrics, developed in the same Italian mill in Como that makes all of the material for our men’s repps,” Browne said. Above these two foundations float a number of dreamy embellishments, like a jacket’s curious and innovative dropped shoulder, which essentially does to the arm what a peplum does to the waist (that is, drop it and flatter it via illusions of proportion). “There’s a little bit of padding,” Browne says of the shoulder’s construction. When asked how the jacket fit in with the rest of the ladylike collection, Browne threw it over the nearest striped dress, which had an especially swingy skirt. “A men’s piece worn with something really feminine is just always nice,” he said.


THE SELF-MADE MODERNIST Words: Tina Minami Dhingra Photos: Hideaki Hamada Although her tiny Tokyo house has a modern facade, Mariko has made a concerted effort to use natural materials in the building process, referencing her nation’s past and preparing it for the future. “I’m looking forward to five or ten years from now. When it comes to trees, plaster and iron, time is not the enemy: It works to our advantage instead,” she says. Just as the materials lend themselves to an eternity of enjoyment, she has kept her home personal and current by bringing together objects from people around her. The entire blueprint was designed by one of her dear friends from college, and the kitchen, bathroom and studio space were constructed by an architect she’d always admired. It was made using shikkui plaster, which is popular in traditional Japanese homes, to keep the summer humidity out, as well as a significant amount of wood to create a certain kind of softness. Featuring an atelier at the top of their slanted staircase (where Mariko spends most of her day) and plenty of floor-to-ceiling windows, they take advantage of letting as much light as possible flood into their little space. Just like anyone who’s crafted their own home from the ground up, she has learned a thing or two about how to construct more than just walls: “Creating a home is about really knowing what makes you feel good. Would you like your room to have sunlight pour in or is it about having a place you can relax at night?” she says. “It’s about knowing yourself and what your priorities are: That is what’s important.”




The goal of my first piece was to create a black and white pattern using geometric shapes: circles, triangles and squares. Using the Comme des Garçons logo as my inspiration, I created a pattern of geometric hearts by combining circles and squares. This piece conveys the two facets of love, as well as its uncertainty, through the use of colour and placement. For my second pattern my reference inspiration was Pablo Picasso’s works, plaid patterns and fruit loops. Plaid is comprised of straight lines - simple and straightforward, representing clarity and certainty. I then used the shape of fruit loops as it was a big part of my childhood and it symbolizes an innocent and carefree lifestyle. I was also influenced by Picasso’s painting “Girl before a mirror”, and used the concept of distortion in my work. The final pattern expresses my interpretation of growing up, realizing, and going through the different stages of life and its instabilities.

Thai Contemporary

I created these Thai patterns in six different colour schemes, according to the colour harmonies. The first design,“Alienated”, uses the complementary colour scheme. The pair green and pink to represent isolation and peculiar feelings. “Blue mood” is in the analogous colour scheme using shades of purple and blue. The colours elicit the same harmonious feeling of loneliness. The triadic colour scheme is used in “Summer loving”. I used pink, yellow and blue as vibrant, bright and fun colours that remind me of summer. The fourth design, “Confident” is in the split-complementary colour scheme - yellow, green and purple. The colours have a strong visual contrast, but has less tension than complementary schemes. “Daydreaming” comprises of four colours in the rectangle (tetradic) colour scheme: pink, yellow, blue and green. The variation expresses endless possibilitiess and imagination. The last design, “Anxious”, uses the square colour scheme. Purple, green, yellow and pink are combined to convey uncertainty and nervousness because of the unique feelings each colour brings to the design.

In my contemporary Thai design, I chose to use a combination of the lotus flower and the elephant to portray Thai characteristics. The lotus flower is very common in Thailand and is often connected to Buddhism, spirituality, and rebirth.

My first piece incorporating color was done in the complementary scheme. I used yellow and purple to symbolize spirituality and religion. In my analogous color scheme, I used shades of pink and orange to give off a kind and honest vibe. The triadic color scheme consists of purple, yellow and blue - faithful, contentment and wisdom. Next, the split-complementary color scheme of greens, purples and yellows is natural, otherwordly and optimistic.

My idea was to bring together and contrast two of Thailand’s most eminent symbols - the fragility of the lotus flower and the power of the elephant. I incorporated a contemporary design to these traditional Thai values with the use of The rectangle (tetradic) color fragmentation. scheme uses four colors: The tones I used later in my purple, orange, blue and red. color schemes were inspired This design is intense, ratioby Thai artist Sriwan Janehut- nal, strong and full of certaintakarnkit, and one of her ty. Lastly, I used blue, green, famous paintings “By Night�. purple and orange. For me, it Instead of using a normal is calm, yet warm at the same color wheel, I selected a color time. The green in this version wheel that had light, pastel represents serenity, whilst tones to balance out the strong purple represents power. edges in my design.



My inspiration for this font was honeycomb. For me, honey is linked to feelings of youth and sweetness. I am constantly reminded of a Disney favorite of mine when I was younger Winnie the Pooh, when I think of honey. Honeycomb consists of a pattern of hexagons, which is the basis of this font. I used the shape to create a simple font that embodies my personality best. After finishing the foundation, I layered more hexagons on random parts of the letters in contrasting colors for an added dimension.

“Temporary” was based on the font family “Perpetua Titling”. I adapted it to look like ice, the main theme of my design. After creating my font, I produced this design of a melting ice cube to convey the concept of impermanence. To me, this design illustrates the universal law that everything changes, and nothing remains without

change. This law suggests that a melted ice cube, such as in my design, can return back to its normal form but it may never be the same ice cube it once was. It applies to everything we face in our daily lives. We are constantly dealing with change, and adapt and learn to grow from our experiences.

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Tsutaya Books

b i s c u i t

KitsunĂŠ Cafe Lemon sheet cake Salted Caramel Pie Thom Browne