Kahala Winter 2015-2016

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December 2015-june 2016, VOL. 10, NO.2 OAHKA_151200_CoverFINAL.indd 1

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C O N T E N T S Volume 10, Number 2

Fea t u r e s

24 Inspired by the Past

Carl F.K. Pao, one of the most influential and respected artists in the world of Hawaiian art, draws on ancient traditions as inspiration for his work, blending a contemporary aesthetic with primal symbolism.

Story by Thelma Chang Photography by Dana Edmunds

34 The Harold L. Lyon Arboretum


Photographer Dana Edmunds captures Hawaiian artist Carl F.K. Pao at work. Inspired by Hawaiian culture, Pao is renowned for his use of primal symbolism.

Through stunning images, photographer Zach Pezzillo takes us on a visual tour of the spectacular gardens at the University of Hawai‘i at Mänoa, which contain one of the world’s most extensive collections of tropical plants.

Photography by Zach Pezzillo

44 Lilikoi Love Affair

Introduced to the Islands in 1880, lilikoi (or passion fruit) was an instant favorite with Hawaiians who for more than a century have adapted its puckery-tart and intensely sweet flavor in countless dishes, from sweet to savory.

Story by Mari Taketa Photography by Carin Krasner


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C O N T E N T S Volume 10, Number 2


Editor’s Note

Depa r t m e n t s



Chef Hiroshi Inoue brings his evolving culinary style to Hoku’s.

Story by Mari Taketa Photography by Joseph Esser



Dolphin Quest offers guests of The Kahala Hotel & Resort an up-close look at one of the ocean’s most intriguing animals.

Story by Powell Berger Photography by Wayne Levin

Translatio ns





By Chihiro Kitagawa and Mutsumi Matsunobu




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Ed i to r ’s No t e

incredible natural beauty, a rich and vibrant culture and a people of unsurpassed warmth.

—Margaret Martin


Those lucky enough to call Hawai‘i home live in a land blessed with

“Hawai‘i is not a state of mind, but a state of grace,” says author Paul Theroux. Those who, like Theroux, are lucky enough to call Hawai‘i home live in a land blessed with incredible natural beauty, a rich and vibrant culture and a people of unsurpassed warmth. Hawaiians whose ties to the Islands go back hundreds of years find comfort and meaning in their traditions; while those who have made Hawai‘i their adopted home embrace all that the state has to offer, adding their own sensibilities to the mix. Even visitors who remain for only a short time quickly adapt to the Island way of life. In this issue of Kahala magazine we explore these dual themes of adaptation and inspiration, beginning with writer Mari Taketa’s profile of Hoku’s Chef de Cuisine Hiroshi Inoue. Chef Inoue—who grew up in the culinary mecca of Osaka, Japan, and has worked in renowned restaurants there as well as in Tokyo and Atlanta—arrived at The Kahala Hotel & Resorts in the spring of 2014 and immediately began exploring the produce and dishes of his new Island home, adapting local favorites into haute versions that are served at the hotel. He is also a fan of Hawaiian vegetables and is intent on sourcing the best, getting to know the producers and learning from them. Incorporating the traditions and symbols of his native culture, Hawaiian artist Carl F.K. Pao blends a contemporary aesthetic with primal symbolism. As writer Thelma Chang tells us, Pao had at one time thought of becoming an architect but, inspired by the art and spirituality of indigenous cultures, found his true calling as an artist. Today he is one of the most respected figures in the world of Hawaiian art and mentor to a new generation of artists. Nowhere is adaptation more evident than in the plant world. In Hawai‘i, many endemic plants were unable to adapt to the changing landscape as new species were introduced from outside the Islands. The Harold L. Lyon Arboretum on O‘ahu, the subject of our photo essay by Zach Pezzillo, is working to preserve and restore Hawai‘i’s tropical forests. The arboretum itself contains more than 5,000 tropical plant species displayed in themed gardens, a wonderful place to visit for the botanist or those who simply want to be inspired by nature’s beauty. The lilikoi plant was introduced to the Islands in the late 19th century, and while it didn’t prove to be a viable agricultural crop, Hawaiians fell in love with its flavor. Writer Mari Taketa shows us the many ways this puckery tart and sweet fruit has been adapted into dishes both sweet and savory. Finally, writer Powell Berger describes her up-close and personal encounter with Atlantic Bottlenose dolphins in her story on the Kahala’s dolphin lagoon. Dolphin Quest provides this unique, interactive experience to guests or visitors to educate them about the importance of protecting the ocean and the creatures that live in it. A portion of the proceeds support wild dolphin conservation. We wish you a pleasant stay and hope you are inspired to return to Hawai‘i soon.


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The Kahala (Vol. 10, No. 2) is published by Where Hawaii, 1833 Kalakaua Ave, Ste. 810, Honolulu, HI, 96815 CopyrightŠ 2015 by Morris Visitor Publications. All rights reserved. This publication may not be reproduced or transmitted in any form or by any means, in whole or in part, without the express prior written permission of the publisher. The publisher assumes no responsibility to any party for the content of any advertisement in this publication, including any errors and omissions therein. By placing an order for an advertisement, the advertiser agrees to indemnify the publisher against any claims relating to the advertisement. MVP IS A PROUD SPONSOR OF LES CLEFS D’OR USA

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Sensibilities Chef de cuisine Hiroshi Inoue brings his evolving culinary style to Hoku’s STORY BY MARI TAKETA PHOTOGRAPHY BY JOSEPH ESSER


HEN HE WAS 6, Hiroshi Inoue wrote that he wanted to travel the world. When he was 9, his parents took him to a Chinese restaurant at a posh hotel. For a young boy growing up in Japan’s culinary mecca of Osaka, the meal was an epiphany: He knew then he would become a chef. “We used to eat at different restaurants every week, but here, for the first time, I experienced

hospitality,” he says. “It was everything all together—the servers’ intelligence, quickness and warmth, and the delicious food. I realized that happiness can result.” Thirty years later Inoue is well on his way to making good on his promise. He arrived at The Kahala Hotel & Resort in the spring of 2014, the newly appointed chef de cuisine of Hoku’s, the hotel’s fine-dining icon. Twenty years in THE KAHALA 17

Profile Profiles

“ I want to take my time and source the best of everything.”

Chef Hiroshi Inoue creates culinary masterpieces that blend traditional techniques with modern sensibilities. His creations evolve with the seasons and reflect his interest in Hawaiian produce and local dishes.

haute cuisine have seen him rise through the kitchens of Michelin three-starred L’Osier in Tokyo, five-diamond Joel Brasserie in Atlanta and posh Ritz-Carlton kitchens in Osaka and Atlanta. At Resorttrust, the 44-property luxury group that acquired The Kahala, Inoue has won top bragging rights at the chainwide culinary competition five years in a row. This is the perspective he brings to Hoku’s: impeccable cuisine blending traditional techniques with modern sensibilities, delivered to world-class standards. His cooking style is not French, not Italian, not Japanese, he says, but something else that’s continuously evolving. He stepped into Hoku’s and, between its landmark status and the bounty of Hawai‘i’s land and sea, saw endless possibilities. Inoue’s menu is a contemporary showcase of the delicate and the comforting: a hamachi poke shot with truffle oil and ponzu, served in a wine glass; succulent breast of grilled guinea hen, juicy from a sous-vide bath at 168 degrees; grilled

bison rib-eye with roasted eggplant and a hint of rosemary; kurobuta pork and mushroom risotto; poached Maine lobster with an autumn nut vinaigrette. And that’s just his first menu. Dishes will evolve with the seasons as the chef explores the Islands. “I’m impressed by Hawai‘i’s vegetables,” he says. “I want to take my time and source the best of everything. As much as possible, I want to get to know producers and learn things from them.” He’s learning about favorite local dishes, some of which appear in haute versions at The Kahala. Like the loco moco at Plumeria Beach House. And the ahi poke musubi at Hoku’s. At a spot in town he tasted saimin, the humble plantation-era noodle soup unique to the Islands. Another time he experienced Spam musubi at 7-Eleven, whose local stores are renowned for their multiple versions of the snack of fried canned meat atop a hearty cube of white rice. He liked it. Haute sensibilities aside, Inoue’s childhood in Osaka gave him plenty of chances to snack on the city’s legendary takoyaki (grilled dumplings with fresh octopus), kushikatsu (panko-fried skewers of meat, vegetables and cheese) and endless bowls of ramen. Ask him about his favorite home-cooked meal, and he answers with his mother’s nikujaga, a country-style dish of thinly sliced beef and onions in a light simmer of soy, dashi and mirin. Will any of these appear in some form at Hoku’s? That’s still an open question: Inoue says he’s just getting started. “My goal is to get us onto San Pellegrino’s world’s 50 best restaurants,” he says—a ranking currently dominated by Copenhagen’s Noma. “From the time you enter the restaurant until you leave, I want you to have a world-class experience in food, service, atmosphere. For Hoku’s, there is no limit.” ❀


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Dolphin Lagoon Dolphin Quest offers guests an up-close visit with one of the ocean's most intriguing animals.



ust toss it to him,” the trainer tells me as she hands me the slimy (but apparently yummy) squid to feed Kolohe, the Atlantic Bottlenose dolphin I’ve just kissed. “He’ll catch it, I promise.” And catch it he does, even though my toss is more like a curveball that sends Kolohe bobbing sideways for his treat. His eyes meet mine as he gulps it down, and I swear he smiles, seemingly as

fascinated by me as I am by him. He nuzzles a bit closer so I can rub his strong, smooth back. Kolohe, Hoku and all the dolphins in the Dolphin Quest lagoon have been part of The Kahala experience for more than two decades. Maybe you thought Hoku, the 22-year-old dolphin twirling and spinning out there, was named for the Kahala’s famed restaurant. Think again. The restaurant was named after THE KAHALA 21


A portion of the proceeds from the Dolphin Quest experience supports wild dolphin conservation.

(Above and right) Dolphin Quest trainers play with one of their dolphins in The Kahala Hotel & Resort's ocean water lagoon. (Below) A young guest makes friends with one of the lagoon's residents. This unique, interactive experience is both fun and educational, a chance to learn more about and appreciate these marine animals and the work of the Dolphin Quest organization.


the dolphin, who was born right here at the hotel. He’s the guy in charge. The restaurant simply pays homage to his stature as hotel royalty. Dolphin Quest operates in three locations around the world: here at The Kahala Hotel & Resort, on Hawai‘i’s Big Island and in Bermuda. Dolphin Quest provides unique interactive experiences with dolphins and other marine life that educate and inspire guests to help protect our oceans and the animals who live there. This conservation organization is owned and operated by two respected marine mammal veterinarians, and a portion of the proceeds from the Dolphin Quest experience supports wild dolphin conservation. Guests see the sessions between trainers, dolphins and visitors, but much more goes on behind the scenes. Dolphin Quest is a key supporter of the Pacific Marine Life Foundation, and has donated over $3 million to marine research and conservation globally. In Hawai‘i, Dolphin Quest supports the Cascadia Research Collective in its ongoing studies of a variety of whale species to assess critical habitat, boundaries and diving habits. Then there are the Make-A-Wish kids who frequently come to the hotel—and the dolphin lagoon. One of the staff’s favorites,

a three-year-old boy with a bald head and a tube in his nose, swam, played, splashed and kissed the dolphins all day, seeming to forget he was ill. A year later, the staff received a letter from the boy’s mother. He had just died, and she wanted them to know that that one day had been his very favorite in his short life. “Sometimes, when I’m having a challenging day,” Sook Russell of Dolphin Quest says, “I bust open the Make-a-Wish photo album, and …” Her voice trails off for a moment. “I get to do this every day,” she says, wiping away tears. Look in those dolphin’s eyes while rubbing his belly, let him splash you then splash him back, then swim alongside him across the lagoon. You can’t help but be awed by his grace, his amazing abilities and his curiosity for us landlubbers. I definitely can’t do pirouettes like Kohole, but if it’s all the same with him, I’ll skip the slimy squid and head to Hoku’s for dinner. ❀

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INSPIRED BY THE PAST Artist Carl F.K. Pao draws on ancient Hawaiian traditions, giving old symbols new power


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The ability to blend a contemporary aesthetic with primal symbolism to create timeless works has made Carl F.K. Pao one of the most influential and respected aritsts in the world of Hawaiian art today.

It is one of the most striking

artworks in the Bishop Museum: 16 panels in eye-catching colors, a juxtaposition of dark and light depicting humans, flora and fauna, land and sea. “Kumulipo” illustrates the ancient Hawaiian chant of creation that has been passed down orally through the ages. The work is the visual expression of a 21st-century artist who reaches far back into family roots and early Hawaiian traditions for his inspiration, while looking to the future of native Hawaiian art. This ability to blend a contemporary aesthetic with primal symbolism to create timeless works has made Carl F.K. Pao one of the most influential and respected artists in the world of Hawaiian art today. His pieces are displayed in museums, sold in galleries and featured in exhibits and private collections throughout the Islands, on the mainland and overseas. “There is amazing strength in ‘Kumulipo,’ a boldness and great level of interpretation, a holistic view,” says Ryan Sueoka, former events coordinator at Bishop Museum, a statement that could apply to Pao’s work as a whole and to his appeal as an artist. Pao was born and raised in Kailua in a home where creativity was encouraged. His mother was a painter, his father built cabinets and his uncle was a woodworker. During his youth, he enjoyed basketball, body boarding and fishing trips with his father. After graduation from high school, Pao applied to the School of Architecture at the University of Hawai‘i. The timing, however, did not serve him well. “Just before I graduated from Kamehameha, I had missed a computer design course,” recalls Pao. “My interview at the university’s architecture school was brutal, crushing. I had drawn everything by hand. They basically said, ‘This kind of work was done in the ’60s.’ And that was that.” Unsure what to do, Pao turned for support to his friend Herman Pi‘ikea Clark, a well-respected Hawai‘i historian and educator. Pao recalls Clark telling him, “Why go to big-name schools on the mainland? Find something more true to your roots.” It was a pivotal moment for the artist who had, in fact, questioned himself about 26

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emulating Western art—he had long been drawn to the circles, cycles, symbols and spirituality that prevailed in indigenous cultures. “I remembered a 1993 exhibition of Maori artists at the University of Hawai‘i,” recalls Pao. “The artists there decided to use their voices, their history, their belief system, their current issues such as alcoholism, poverty and wellness.” Pao headed for New Zealand and enrolled at the Elam School of Fine Arts at the University of Auckland. He soon became a welcome part of a cosmopolitan community of Maori and other Pacific Islanders, who impressed him with their humility and strength. Inspired, Pao immersed himself in the symbols and traditions of Hawai‘i. “Kumulipo,” which served as his master’s thesis and received top honors from the university, could therefore be considered a seminal piece for Pao. It illustrates his approach of applying kaona and wä in his art. “This presentation shows the multiple layers of kaona, or hidden meanings in the chants,” says Pao. “The wä, or eras, are chapters between the panels. The layers have a spiritual purpose of preparing the space.” Thus, the space between the panels is as important as the panels themselves. Viewed from right to left, the panels of acrylic, paper Pao’s art is inspired by the primal and varnish on fiberboard depict various episodes in the symbolism of Hawaiian culture. creation story. “The first series of panels shows a period He combines these symbols of darkness, the night,” explains Pao. “Certain creatures with bright, strong colors and abound in the later panels such as a cat, dog, pig and one bold strokes, creating works that god becoming two, male and female. Beyond the process express a contemporary aesthetic of evolution, there are stories of migrations, social strucwhile acknowledging the past. tures and political ties.” Over the years, Pao’s art has evolved from works with highly textured layers to more paintings on canvas with stronger colors and strokes. “I found myself painting in a looser, freer and expressionistic way,” says Pao. “After ‘Kumulipo,’ for example, I used more reds, creamy greens, blues, with dark tones made from brown and blue. The art generally became bigger, bolder.” Today, Pao, a multimedia artist, is a popular teacher of ceramics at his alma mater, Kamehameha Schools at the high school’s Kapalama campus. Despite his busy schedule, he finds time to work on his own art nearly every day. His home studio is made up of the lanai and a space underneath his house. There, Pao enjoys some quiet time late at night when he is alone with his thoughts and will work sometimes into the early morning hours. On a wall outside of the lanai he places a canvas, which may be anything from a 1/8-inch-thick piece of plywood to multi-density fiberboard. With this blank slate before him, Pao begins the process of creating his artwork using tools such as builders paper, acrylic paints, Sharpies, shellac and brushes of various sizes, among other items. “I share the space with my dog Tama, a couple of birds in their cages, the hanging laundry and other things out there,” he chuckles. The space under the house is where Pao produces his ceramic pieces, sitting on the dirt floor at a potter’s wheel. “There’s an overhead hanging light and the ceiling is not tall enough for me to stand,” says Pao. “I am accompanied by the occasional cockroach, mouse or feral cats that pass by.” 28

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LEFT: Pao takes a break from painting. The multimedia artist is also a teacher and a mentor to budding artists. BELOW: Pao’s tools of the trade include brushes of various sizes as well as Sharpies, shellac, builders paper and more.

For Pao, it is art, not ego, that is significant. It is a lesson Pao passes on to the next generation. He encourages his students and budding artists to do something new and relevant to their identity, telling them, “Look, look around you, what inspires you? Be true to yourself.”

Indeed, home and family are important to Pao. “Family is key in his work,” says Rich Richardson, executive director of the Hawai‘i Academy of Performing Arts, which featured several of Pao’s abstract paintings during the summer and fall of 2015. “His abstractions reinvigorate traditional ancient visual motifs. He gives old symbols new power.” Take, for example, Pao’s body tattoos. They are a symbol of family and reflect a dream he once had. “My dream was very vivid of a shark biting my leg and octopus ink filling in the bite marks. On my chest is Kiha, another ancestor. I have wedding bands on my wrists. Our aumakua (family god) is the shark, a symbol of strength and protection.” Pao does not sign his works, feeling that an obvious signature detracts from the importance of the art itself. Instead, he uses a watermark within each painting. The watermark is intermittently visible or invisible to the naked eye, an effect similar to that of the “ghost” of Benjamin Franklin on a $100 bill. For Pao, it is art, not ego, that is significant. It is a lesson Pao passes on to the next generation. He encourages his students and budding artists to do something new and relevant to their identity. “I tell them, ‘Look, look around you, what inspires you? Be true to yourself.’ There are some up-and-coming native Hawaiian artists like Cory Taum, also multimedia, and Kupa’a Hee, a sculptor.” Titi, Pao’s five-year-old daughter, may be included in that number of future native Hawaiian artists. “She loves to draw and colors with crayons,” says the proud father. “Titi also works with paper and acrylics.” Like the cycle of life depicted in “Kumulipo,” young Hawaiian artists are discovering their past yet bringing their own experience to their art—art which may prove as timeless as that of Carl F.K. Pao. What is old is new again. ❀


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lush life Photographer and conservationist Zach Pezzillo explores the abundant gardens of The Harold L. Lyon Arboretum, a center for the protection of Hawai‘i’s endangered plants.

The Beatrice H. Krauss Hawaiian Ethnobotanical Garden, one of a dozen themed gardens at the arboretum. 34

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Part of the University of Hawai‘i at Manoa, on O‘ahu, the arboretum conducts research under its Hawaiian Rare Plant Program, including studies in seed conservation as a means for protecting threatened or endangered plant species; there are more than 8 million seeds banked in its Seed Lab. Home to a worldrenowned collection of tropical plants (some 5,000 species) the arbortetum welcomes vistors to explore its Native Hawaiian Garden, herb and spice garden and other themed gardens on its 194 acres. (This page) The white flower of a red ginger. (Opposite, page clockwise from left) Native Hawaiian hibiscus; Walking Buddha; flower of a bromeliad; taro plant. 36

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(This page) Leaf of a monstera, a member of the arum family. (Opposite page) Streams flow throughout the arboretum.

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(This page) Pathway leading to Fern Valley. (Opposite page, clockwise from top left) Flower of a bromeliad; pothos vine; blue ginger; moss growing on the trunk of a palm tree.

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(This page) The pothos vine can reach heights of 65 feet or more. (Opposite page) Monstera leaf.

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L O V E A F FA I R The sweet, tart flavor of passion fruit is used in dishes throughout the Islands

Story by MARI TAKETA Photography by CARIN KRASNER Prop Stylist KIM WONG Food Stylist KAREN GILLINGHAM


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UCKERY-TART AND INTENSELY SWEET, lilikoi is an unforgettable treat.

On hot summer days when the year’s first fruits have ripened, you can eat the pulp straight from the shell—if you’re lucky enough to find any, that is. Lilikoi these days is mostly a backyard or wilderness fruit. But take heart, lilikoi fans. Hawai‘i chefs and foodies have created myriad ways to enjoy its ambrosia. Hawai‘i can thank South America and Australia for its twisting but happy lilikoi history. While the fruit is native to countries like Brazil, it was an Australian who introduced it to the Islands in 1880. By the 1950s, when lilikoi could be found wild on all the Islands, farmers were cultivating the vines, and for a few promising years Hawai‘i had a lilikoi industry. Sadly, lilikoi as a crop proved financially unviable, and as quickly as the vines had flourished on farms, they were gone. But by then Hawai‘i was in love with the flavor of lilikoi. Not to be denied, locals began importing purees and concentrates and making their own preserves and curds, with the happy result that in some form or another, lilikoi is now available all year long. Ask a local about favorite ways to eat lilikoi, and you’ll get a tasty earful. “I grew up on POG,” says Wayne Hirabayashi, The Kahala Hotel & Resort’s executive chef. The passion, orange and guava juice was sold in cartons throughout the Islands, delivering a singular tropical flavor combination to homes and schools. But “when it’s ripe enough to just eat with a spoon,” Hirabayashi says, “there’s nothing like the pulp. It’s so fresh and tart.” Other ways to enjoy lilikoi? Choose it as your next shave ice topping or malasada filling. (You’ll find these treats at Punalu‘u Bake Shop, 95-5642 Mamalahoa Hwy, Hawai‘i Island; or Leonard’s Bakery, 933 Kapahulu Avenue, Honolulu, O‘ahu; flavors vary). Look for it in your next tropical cocktail. Swap out your usual lemon bars for an incredible lilikoi bar atop buttery shortbread, like the ones served at Sconees Bakery, 1117 12th Avenue, Honolulu, O‘ahu. And don’t miss out on lilikoi cheesecake, which in season is often topped with the glistening orange pulp. The claim to the most iconic lilikoi dessert in Hawai‘i goes to, of all places, a generationsold saimin shop. Tucked off a side street in Lihue, Kaua‘i, Hamura Saimin (2956 Kress Street) is equally famous for its signature noodle soup as it is for its old-fashioned lilikoi chiffon pie, which comes topped with a mile-high meringue. At the other end of the spectrum are the constantly evolving lilikoi desserts by MW Restaurant’s Michelle Karr-Ueoka, a James Beard-nominated pastry chef who trained at Alan Wong’s and The French Laundry. Karr-Ueoka bested a field of lauded Rising Star savory chefs with a bruléed creation of lilikoi custard and sorbet layered with tapioca pearls and fresh fruit. Her desserts at MW (1538 Kapiolani Boulevard, Honolulu, O‘ahu) frequently include bright, fresh lilikoi elements. At The Kahala Hotel & Resort, Hirabayashi loves to present Maui Gold pineapples basted with lilikoi, mango and vanilla. “We roast it slow and easy until it’s nice and caramelized. Then we present it at a dessert carving station with ice cream and cake,” he says. “Lilikoi is the main flavor that really makes it pop.” Hirabayashi’s juicy lilikoi pineapple can be found at the Port of Call seafood buffet on Friday and Saturday nights at Plumeria Beach House. But here’s a secret: With some advance notice, Hirabayashi can accommodate special requests. This is how some regulars at The Kahala have lovingly wrapped the taste of lilikoi (Opposite): The Kahala Hotel & Resort’s Chef Wayne Hirabayashi uses lilikoi in his half roasted herb chicken. (Previous spread,from left) Lilikoi flower; Aunty Lilikoi mousse, recipe from cookinghawaiianstyle.com.

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(This page) Chef Wayne Hirabayashi’s lilikoi roasted pineapple. (Opposite page) Lilikoi margarita with li hui ming, recipe from The Little Ferraro Kitchen.


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The traditional chiffon pie gets a tropical twist with the addition of lilikoi juice in this version from cookinghawaiianstyle.com. 50

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into their children’s holiday memories. “We have one family that comes from the mainland every Christmas and orders lilikoi soufflés,” Hirabayashi says. “It’s their tradition.” While occasionally you might find savory dishes incorporating lilikoi, like barbecued ribs or Hirabayashi’s roast chicken glazed with lilikoi, chili and lehua blossom honey, desserts with lilikoi far outnumber savory dishes incorporating the flavor. But whether you’re basting ribs or spooning a tangy topping over ice cream or cheesecake, you’ll get lilikoi’s intense signature flavor whether you use fresh pulp, concentrate or a jar of lilikoi jelly or curd. Puckery-tart and intensely sweet: Simple as it is, that’s the indelible beauty of lilikoi. ❀

LILIKOI FACTS If you’re looking for fresh lilikoi, your best bets will be farmers markets, Chinatown stalls or your neighbor’s backyard. Purple and pale yellow lilikoi grow throughout the Islands. Which is sweeter? That’s hard to say—each has its fans.

The Recipes

Create your own lilikoi treats at home with these recipes.

Half Roasted Herb Chicken

Lilikoi Chiffon Pie

Recipe courtesy of Chef Wayne Hirabayashi, The Kahala Hotel & Resort

Recipe courtesy of cookinghawaiianstyle.com

1 whole chicken 1 oz. fresh thyme sprigs 1 oz. fresh rosemary sprigs Hawaiian salt (to taste) Fresh cracked black pepper (to taste) 1⁄2 teaspoon paprika 2 oz. clarified butter For the lilikoi sweet chili glaze:

2 1⁄2 oz. sugar 3⁄4 cup lilikoi puree 7 1⁄2 oz. mango puree 7 1⁄2 oz. water 1 oz. unsalted butter 1⁄2 piece vanilla bean

4 egg yolks (reserve whites) 1⁄3 cup white sugar 1⁄2 teaspoon salt 1⁄2 cup passion fruit drink (undiluted concentrate may be used) 1⁄4 cup cold water 2 teaspoons grated lemon zest 4 egg whites 1 cup white sugar 6-8 drops yellow food coloring (optional) 9-inch prepared graham crack crust (recipe follows) Whipped cream (recipe follows)

Lilikoi Roasted Pineapple Recipe courtesy of Chef Wayne Hirabayashi, The Kahala Hotel & Resort Ingredients: 2 whole pineapples, skin removed 1 1⁄2 cups lilikoi puree (Boiron brand) 15 oz. mango puree 1 tablespoon yuzu juice 15 oz. water 2 oz. unsalted butter Combine water and sugar. Bring to a boil to melt sugar, then add in the rest of the ingredients. Place in a preheated 350˚F oven. Baste every 15 minutes for 1 1⁄2 hours or until golden brown and you are able to pierce it easily with a knife. Add yuzu for the last 15 minutes of cooking time.

Stabilized Whipped Cream:

Dissolve gelatin in water. Whip cream until soft peaks form; add gelatin and continue beating until cream is stiff. If desired, add vanilla and powdered sugar. Whipped cream will hold for 24 hours in the refrigerator.

Ingredients: 1 1⁄4 cups graham cracker crumbs (about 15 graham crackers) 1⁄4 cup sugar 1⁄3 cup melted butter Stabilized Whipped Cream:

Ingredients: 1⁄2 teaspoon unflavored gelatin 1 tablespoon water 1 cup whipping cream 1⁄2 teaspoon vanilla 2 tablespoons powdered sugar, or to taste Cooking process:

In the top of a double boiler, combine egg yolks, 1⁄3 cup sugar, salt and passion fruit concentrate. Cook over low heat, stirring constantly, until thickened. Dissolve gelatin in cold water, then stir into yolk mixture until gelatin is dissolved. Stir in lemon zest. Remove from heat and allow to cool until slightly congealed. In a large glass or metal mixing bowl, beat egg whites until foamy. Gradually add 1 cup white sugar, continuing to beat until stiff peaks form. Gently fold whites into yolk mixture until no streaks remain. Stir in food coloring, if desired. Spoon into pie crust. Refrigerate for 2 hours, or until firm. Top with whipped cream. Crust:

Preheat oven to 375˚F. Crumble graham crackers into food processor fitted with metal chopping blade and churn 30 seconds. Add sugar and butter and pulse

lilikoi is ready to eat. Until then, the shiny-smooth fruit is as tart as a lemon. They’re crunchy, but yes, you can eat the seeds. To separate them from the pulp, scoop out of the shell and pulse on low in a food processor for a few seconds.

Aunty’s Lilikoi Mousse

Lilikoi gets its English

Recipe courtesy of cookinghawaiianstyle.com

name, passion fruit, from its

⁄ pint whipping cream 1 can sweetened condensed milk 3⁄4 cup Aunty Lilikoi Passion Fruit Juice

Early Spaniards named it the

1 2


Cut chicken in half and place skin side up on a sheet pan. Drizzle with clarified butter. Season to taste with fresh rosemary and thyme sprigs, Hawaiian salt and fresh black pepper. Lightly dust chicken with paprika and bake in preheated 350˚F convection oven for 15-20 minutes. Glaze with lilikoi glaze and finish the last 10-15 minutes glazing at least four times. Roast to 170˚F or until golden brown and juices run clear.

30 seconds until uniformly fine. Press crumb mixture into pie plate as directed. Bake 8 to 10 minutes. Makes 9-inch pie shell.

One thing all agree on: Its wrinkles will tell you when a

With an electric mixer, beat the whipping cream on medium speed for two minutes. Add the sweetened condensed milk and beat on high speed for 30 seconds. Add the Aunty Lilikoi Passion Fruit Juice and beat on high speed for one minute. Place in individual dessert cups or in a medium serving bowl and refrigerate overnight. Garnish as desired and serve chilled.

vibrant, five-petaled flower. “flower of the five wounds” after Christ’s crucifixion. The fresh fruit is not only delicious, it’s good for you. Rich in vitamin C and fiber, it’s also a good source of vitamin A—but be careful! Lilikoi’s intense sweetness comes from a good helping of sugar.

Lilikoi Margarita With Li Hing Mui Recipe courtesy of The Little Ferraro Kitchen Ingredients: 3⁄4 oz. Grand Marnier 1 oz. triple sec 1 oz. tequila 1⁄4 cup lilikoi puree 1 tablespoon simple syrup Ice Li hing mui powder, for rim Orange and lime slices/wedges, for garnish Begin by rimming the glass with a lime or orange wedge. Hold the glass upside down so there is no dripping, then rim the edge of the glass with li hing mui powder. Fill with ice. In a shaker, add everything except the li hing mui and garnish. Shake vigorously and pour into prepared glass. Garnish with more lilikoi pulp, if desired, and orange and lime slices.

PROP CREDITS: (PAGE 45) Kvetna saucer champagne and Pergay Lotus plate from Table Art Los Angeles. Cache golden spoon from Bowers Jewelers La Jolla. (PAGE 46) Furstenberg Colorée Teal dinnerplate and Capdeco faux bamboo flatware from David Orgell Beverly Hills. Kvetna wine glass from Table Art Los Angeles. (PAGE 48) Mario Lucca DOFs and Jacques Pergay flat platter from Table Art Los Angeles. Cache golden spoon from Bowers Jewelers La Jolla. (PAGE 49) Médard de Noblat Ikebana plate from Gearys Beverly Hills and Sambonet satin copper fork from Gumps San Francisco. (PAGE 50) Lynn Chase Monkey Business dessert plate, cup & saucer with Capdeco faux bamboo fork from David Orgell Beverly Hills.


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Kissing Point A stroll to the end of this palm-lined peninsula, one of two that book-end The Kahala Hotel & Resort’s beach, leads to a bench where guests can relax and contemplate the beauty of Windward O‘ahu. So romantic is this spot that it was named “Kissing Point” and makes a lovely backdrop for wedding photos.


©Dana Edmunds

Essential Kahala




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oyster perpetual and gmt-master ii are 速 trademarks.

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