NOVEMBER 2015
How to...
CAN WE RELY ON THE GROWTH IN THE RESTAURANT SECTOR? I
S
But when well-established restaurant
dynamic rate of growth and innova-
groups introduce new concepts to the
on in the restaurant industry—and
market, they are doing so on the basis
2015 has been a red le$er year in
of calculated risk—and on the expecta-
this regard.
tion that they will make money.
It is no secret that our economy
Reliable statistics for the industry
is in the doldrums, and that the
are hard to come by—a few market
world economy is not faring much
research surveys don’t tell us much.
be$er—with both emerging and de-
But it would seem that the story at the
veloped economies seeing growth
lower end of the market is the same—
rates slumping, including China. A
from groups like Chesa Nyama, to the
worrying scenario.
grassroots informal sector to food
And yet, this year we have seen
trucks and food markets.
launch a+er launch of new restau-
Is it simply the case the old chest-
rants, new concepts—homegrown
nut holds true—even in troubled times
and interna onal—and we have seen
people always need to eat? And that
our local restaurant groups expand-
the foodservice industry offers oppor-
ing their footprint overseas and into
tunities for entrepreneurs to create
other African countries.
jobs that otherwise aren’t there.
Make no mistake, I know that
Or can we take from all this a glim-
there are many restaurant failures and
mer of hope that while economists may
many struggling franchisees—we don’t
have given up on 2016, the rest of us
get the press release about these.
simply have to make it happen?
PUBLISHER AND EDITOR Hila ry Wa rd 082 330 1981 hila ry@rbmag.co.za
Restaurants ADVERTISING SALES
4
Restaurants in the news.
Hila ry Wa rd 082 330 1981 hila ry@rbmag.co.za
Cover Story
6
Our guide for chefs and restaurants on how to publish your own cookbook in South Africa.
Ni ck Ferris 0717858732
Chef
22
Lucas Carsten and Pete Goffe-Wood transform the CONTACT
menu at Makaron restaurant.
PO Box 1346 Cres ta 2118 Joha nnesburg +27 011 782 8636 088 011 782 8636 www.rbmag.co.za @res taurantbusinessmag @resbizmag
Restaurant BusinessTM ma gazi ne is published by Ci ma rron Media & Ma rke ng Co. Reg. 2011/101976/07 © Copyri ght reserved
ON THE COVER: Cookbooks by chefs and restaurants are seldom big money-spinners, unless they achieve iconic status, but they can help build your brand and communicate your vision. See Page 6. Photo: From Babel—The Cookbook by Babylonstoren wine farm and hotel.
TEF SGHIEFJK SHK ELMKNFKO’P LOKNFLM
restaurants and its impressive fare in-
restaurant–known for its delectable
cludes succulent meat cuts, seafood,
buffet–has reopened its doors fol-
stir-fry, carvery, curries and casseroles.
lowing a R3.7 million refurbishment. The hotel’s flagship restaurant,
The restaurant is headed by execu ve chef, Shaun Munro, who says:
now boasts new furnishings, ligh ng
“Two exci ng addi ons include our
and decor as well as the addi on of a
tandoori oven and curry corner,
“curry corner” to the buffet.
which offers tradi onal Durban cur-
Lingela’s remodel has transformed the restaurant into a contemporary environment,” says GM, Sa-
ries beau fully presented in imported copper chafing dishes.” Lingela has also revitalised “live
mantha Cro+. Lingela is one of Dur-
ac on cooking ” to give guests a taste
ban’s renowned tradi onal buffet
of food theatre.
So, you want to publish your own cookbook… COOKING
THE
BOOKS
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BOOK CONTRACT IS A WAY TO MEET THE
COSTS OF GETTING A VISION INTO PRINT ...
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for many chefs and restaurants, who produce a product and experience that is ul mately as a transient as the me it takes to eat it—which is o+en not even as long as the me it takes to prepare it. Pueng that vision in print gives the chef’s art a permanence that it otherwise doesn’t really have— besides being a great way to estabLinda de Villers, Publisher at Stru-
lish a celebrity brand and personal
ik Lifestyle, says: “A few years ago,
food philosophy. Having developed a
I would have said that consumers
signature style, built up a thriving
buy cookbooks by chefs and res-
restaurant, been proďŹ led in print and
taurateurs because they want to
on TV and generally become estab-
cook like the professionals. But
lished in the culinary industry, many
now I believe buyers have had
chefs and restaurateurs are turning
their ďŹ ll of TV cookery shows—
from the kitchen to the keyboard to
they are no longer a novelty. It’s
stamp their food visions on paper.
me-consuming and expensive to
Unlike traditional recipe books,
cook like a chef. Now, I think,
chef-authored cookbooks are as much
these books are bought as a me-
a celebration of the author’s passions
mento of a great meal or favour-
as instructions for preparing dishes.
ite restaurant rather than be-
Celebrity chefs have made cooking
cause the buyer actually wants to
sexy, although achieving great flavours
cook from them.�
still takes time and effort.
GETTING STARTED
Great recipes remain, of
For the most part, wri ng a cook-
course, central to the project. And
book comes from an enthusiasm for
the cookbooks that become classics
food and lifestyle. For Seline van der
contain recipes that don’t just look
Wat, who with her sister and co-
good, but which have been carefully
author Leandri got her break into the
and thoroughly tested to succeed.
industry in the 2013 season of Mas-
Recipes also need to be careful-
terchef South Africa, wri ng their
ly selected to provide the right mix
book Two was the culmina on of a
of inspira on, aspira on and do-
lifelong dream.
ability. They must also adhere close-
“We wanted to do it since we
ly to the concept of the book. Are
were kids. We watched cooking
they aimed at consumers wan ng to
shows and collected recipe books
spice up family dinner mes, for the
from a young age. We wanted to
sophis cated home cook or to
write something that we could be
showcase the skills of the chef? For
proud of, and that told our story.”
restaurants, the ul mate aim of a
Michael Broughton of Terroir in
cookbook might be geeng bums on
Stellenbosch authored his epony-
seats rather than inspiring guests to
mous cookbook with a twofold mo -
cook at home.
va on: “Why did I write it? Part personal fulfilment. The idea was to cre-
GETTING IT DONE
ate a memoir, recalling a passion for
To get the publica on process under
food. The other part was for mar-
way, the aspirant author typically
ke ng and branding – hence the tle
approaches a publisher, although it
of the book. The book also served to
is not unknown for this to happen in
co-brand us with Kleine Zalze, where
reverse if the chef has made an
we’ve been for the past 11 years.”
impression on the right people.
Libby Doyle of Quivertree Publi-
All of this will be governed by a
ca ons says a lot hinges on having a
contract. This will specify the royal-
strong concept that publisher can buy
es to be paid, and the obliga ons of
into. “You can’t just get away with a
the publisher and author. Probably
selec on of recipes,” she says.
the most important s pula ons are
Even so, as impressed as a pub-
the deadlines it sets; these are the
lisher may be, the concept will s ll
lifeblood of the publishing industry
need to be worked through with an
and are seldom nego able. For
eye to what is viable in the market.
someone who is not a trained writer,
Jackie Cameron of the Jackie Cameron School of Food and Wine, says: “I went to Johannesburg and sat with the
and who is working full me, this can be very taxing. Publishers offer support to writ-
publishers. We discussed what the mar- ers, although to what extent and ket needs. I recognised that I was inex-
how effec ve this is varies from case
perienced in this field and needed their
to case—it helps to be self-
help; they were the professionals. The
mo vated and draw on formal and
hardcover sold out in three months.”
informal support from colleagues
This might mean a significant reengineering of the author’s original ideas. Broughton approached his pub-
and friends to provide alterna ve perspec ves on the work. Says Cameron: “Have a team – a
lishers with a dra+ manuscript, but
lot of people who can help you. It’s
had to adapt it to their requirements.
quite easy to make the mistake of
“Publishers look at from a completely different perspec ve,” he says.
taking on too much by yourself. Listen to people with open ears.”
“It’s their job to understand what peo-
Photography is another crucial
ple will read and how to make that ap-
part of the work. Spreads of colour
pealing.”
photos are an essen al requirement.
Cookbooks are inspira onal—the
Publisher Libby Doyle says the mar-
reader needs to see the finished
ket for buying cookbooks is rela vely
dishes beau fully styled and present-
small. A South African cookbook will
ed. Fortunately, there is a wealth of
sell around 3 000 copies in a year – a
local talent available in food styling
very successful one perhaps 5 000.
and food photography, and publishers are able to arrange this.
There are occasional exceptions of course. The Real Meal Revolution co-authored by Prof Tim Noakes, chef
AND THE MONEY?
Jonno Proudfoot and dietician Bridget
One of the biggest challenges in
Surtees, is one of the best-selling
geeng a book published is the deci-
South African cookbooks of all time. It
sion about whether it will make an
has sold 250 000 copies so far, and is
acceptable profit in an environment
the best selling digital work of all time.
of shrinking print runs, according to
Far more importantly, a book
Linda de Villiers. Book publishing is
contract can meet the costs of getting
not a lucra ve field in South Africa.
a vision into print—something beyond
While individual cases differ, De
the reach of most chefs.
Villiers puts authors’ royal es at around 7.5% to 15% of net receipts,
AND NOW IT’S HERE…
varying according to their contribu-
Once the book comes off the press,
on. So, if an author only produces
it must be publicised. Launch
text, earnings will be in the range of
events, book tours and media expo-
7.5% to 10%, while handling photog-
sure are crucial. One option is to
raphy can push this to 15%. In prac -
look at major book chains to host
cal terms, with a print run of around
events. This can be effective for
3 000 copies, this won’t produce
reaching a large audience and get-
enormous returns.
ting sales going.
THE AUTHORS WHO SELL ARE THE ONES WHO ARE PREPARED TO GET BEHIND THEIR BOOKS AND DO THE HARD WORK OF MARKETING THEM. Cameron chose to go a different
cally-sourced or home-grown ingre-
route, preferring to direct her energies
dients, or on reducing carbon foot-
towards smaller towns and out-of-the-
prints. Interest is growing in par cu-
way venues to mirror her commitment
lar culinary lifestyles, such as the low
to suppor ng local suppliers.
-carb high-fat diet, as is interest in so
The possibili es of social media are immense. Seline and Leandri van
-called superfoods. Ul mately, whatever the idea,
der Wat encourage readers to send in
the key ingredient in the process is
pictures of their a$empts at the dish-
the author behind the project: being
es in Two – both successes and flops.
proac ve, deadline driven, willing to
This gives their fans an opportunity to
take advice and the ability to work
interact with them and with others,
well independently and in a team are
making people’s food journey fun.
all important assets for producing a book. You also need to take the long
THE NEXT BIG THING?
view: a book begins with an idea that
So what’s next? Predic ng trends is
continues long after it is in the stores.
always specula ve (“I wish I knew!,”
Says Seline van der Wat: “To get
jokes De Villiers), but there are some
your book no ced, you need to be
robust trends that could catch on with
dedicate a lot of me and effort to
the foodie public.
marke ng it, and giving it the publici-
Health and environment aware-
ty it needs. And don’t expect the re-
ness opens up some interes ng op-
ward to be in money; it’s in seeing
ons, such as cookbooks based on lo-
your dream realised.”
COOKBOOK TAKEOUT 1.
A chef-authored cookbook tends to be less about cooking than about the lure of celebrity and lifestyle;
2.
You won't make money o it;
3.
That said, it helps with reputa on and branding and is o+en largely about personal goals;
4.
Beau fully-styled professional food photography is essen al;
5.
It's a rela vely simple process, but demands commitment, as it is me-consuming and hard work in terms of the quality of conceptualisa on required.
LUCAS CARSTENS & PETE GOFFE-WOOD AT MAKARON
“With its loca on in one of Stellenbosch’s most desirable resi-
den al areas, Makaron lends itself to CEF]P PFIF GG]]F-WGG_ MK_ LHYMP
being an invi ng neighbourhood lo-
Carstens have been working in close
cal, rather than a fine-dining des na-
collabora on to bring an invi ng,
on,” says Goffe-Wood, who is well-
and altogether more approachable,
known for his no-nonsense approach
direc on to dining at Makaron res-
to delicious, fuss-free food
taurant at Majeka House hotel . As newly-appointed head chef,
The idea is to make Makaron’s lmenu more substantial, and to devel-
Carstens is tasked with revamping
op a common thread linking the lunch
the menu and style of food, with
and dinner menus. Above all, there
Goffe-Wood in a consul ng role.
will be a shift in emphasis to special, rather than special-occasion dining. “We’re into food that’s more about origin than process. If you take a beau ful braised shoulder of lamb as an example, it definitely won’t be manipulated in seven different ways. The aim is not to dazzle or in midate diners, but to create a relaxed, invi ng environment in which to enjoy a delicious plate of food that relies on excellent sourcing.”