Forward Journal, Summer 2017 | Issue #9 by Ward Village

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Photo: AJ Feducia

About FORWARD Journal is a curated exploration of the people shaping Ward Village, a new community located in the heart of Honolulu. With a focus on artful living, innovating entrepreneurs, and community stewards, this publication reflects a neighborhood grounded in its past, but passionate about its future.

In this issue, we’re talking story with two crewmembers of the Hōkūle‘a to get a first-person perspective of their legendary journey across the world in a Hawaiian voyaging canoe. To round out the issue, we’re shining a light on Ezekiel Lau, a professional surfer who's committed to spreading Hawaiian culture to the world. We’re also heading into the kitchen with Brian Chan, chef/owner of Ward Village’s Scratch Kitchen and Meatery, to find out how a boy from Chinatown became a Soul Food aficionado. And that’s just getting us started.

T A B L E

O F

C O N T E N T S

THE VOYAGERS

EMBRACING RESPONSIBILITY

CONSCIOUS DESIGN

OF SOUL AND SPIRITS

WITH A PISTOL AND A

EVENTS CALENDAR

BULLWHIP

ON THE COVER Hōkūle‘a crew member Austin Kino seeks respite from the rain. Photo: Jason Patterson

The Voyagers Reflections on Hōkūle‘a’s Monumental Journey Interview by Beau Flemister Images by Polynesian Voyaging Society and ‘Ōiwi TV (unless noted)

s a symbol of Hawaiian history –ku –le‘a has and culture, Ho famously used traditional sailing techniques coupled with a mastery of celestial navigation to chart their beloved doublehulled sailing canoe through the Pacific for the last 40 years. Sailing thousands of nautical miles, the all-star crew of this legendary vessel has proven that the early Hawaiian voyagers who made their way to these treasured islands were as adept navigators as anyone. Along their way, they’ve helped to revive a pride in Hawaiian history, creating leagues of future voyagers in the process.

–ku –le‘a—along with their support canoe, In 2014, Ho Hikianalia—embarked on their biggest voyage yet: a three-year mission known as “Ma-lama Honua,” which saw the crew circumnavigate the globe, visiting a myriad of cultures along the way. With stops in Africa, the American East Coast, and –ku –le‘a continued to Australia, the crew aboard Ho connect our culture with the rest of the world, making Hawai‘i proud all along the way. To gain a better understanding of what went into this extraordinary experience, we interviewed two young crew members, Austin Kino (who served as an apprentice navigator and rescue swimmer) and Jason Patterson (who worked as a crew photographer and also as an apprentice navigator) about the most pivotal moments on their voyage. Beginning on June 18, the people of Hawaii are –ku–le‘a. thrilled to officially welcome home Ho Following their homecoming, the crew will be involved in a series of educational and outreach events, sharing their wisdom and insight with the people of Hawai‘i. We welcome you to join us as we welcome home the brave members involved in this inspiring journey.

AUSTIN KINO

Apprentice Navigator

“Looking back, there were definitely some moments that really stood out to me. I remember when we left Hawai‘i on the very first leg to Tahiti. There were just so many people at the departure ceremony supporting us. Ho-ku-le‘a is Hawaii's canoe; it's not your project even though you worked really hard. You’re truly representing Hawai‘i. It was just an amazing experience, realizing that you were a part of something bigger than yourself, something ancestral, that 1

everyone identifies with being uniquely Hawaiian. ‘Sailing in the wake of our ancestors’ suddenly became real.”

really cut out for this?’ But after pushing through that initial shock, you realize that you are.”

new land. That’s when you really feel like you’re sailing in the wake of your ancestors.”

“Following that departure ceremony, we left land full of joy and hope, but then we got out and met the sea and half of us became seasick. I seriously started questioning if I was going to be able to handle it. The ocean is a rough environment, so there was definitely some real fear settling in, like, ‘Am I

“When you sight land…that’s a special thing. It’s like, ‘Holy crap: It worked! We pulled an island out of the sea.’ And that kind of success as a navigator only builds confidence. Your sea legs grow longer, you’re more assured of yourself on the deck, your whole skillset just expands from finding

“I remember having a very special moment on the voyage. We’d been at sea for a while and I was on my back looking up at the stars at night. I knew that I was staring at the same stars that so many of my ancestors had looked at countless years ago. I really couldn’t find an experience in today’s context

that could have brought me closer to them, to feel what they must have felt as they voyaged through the ocean in their canoe.”

For more information on the Hōkūle‘a and its many adventures around the world, visit hokulea.com

Photo: Austin Kino

JASON PATTERSON

Apprentice Navigator / Photographer

“The green water off that coast in the Atlantic was pretty different for us, too. It was really ominous with all that fog around. But one of those mornings, the wind died and a 5, maybe 6-foot mako shark came swimming up to us through the fog and plate-glass water. It swam right up to us, looked at us with this big black eye, said ‘Hi,’ then swam away. That was pretty cool.” 5

“One of the scariest moments for me

was on the first leg down to Tahiti. We had a great night of wind and clear skies, but the support boat was pretty far behind us. The Leeward side of the canoe—where everyone uses the bathroom—was getting submerged with each swell, so the catwalk was fairly slick. I started thinking about what could happen if someone slipped off. But those are the moments we are trained for, being vigilant of our crew members on board.”

“Going up the East Coast of America, we took the Inter-Coastal Waterway, and we’d be going under bridges or passing people’s houses and people would actually recognize us. Little ferries and barges would be put-putting along and ask us, ‘Is that the Ho-ku-le‘a?’ And we’d be like, ‘Yeah! It is!’ They’d read about us and the sailing community is really informed about vessels sailing around the world or in their area, so that was very cool 7

to see the support up the entire Eastern Seaboard. They had some really decent knowledge of our journey, which was really impressive.” “I can remember being incredibly anxious and nervous on whether I was able or cutout to take on this incredible adventure the night before we left. I was filled with doubt, but at the same time I knew I couldn’t back out; now was the time to walk the walk and just 8

do it. By the next morning all those feelings had gone away and transitioned into confidence."

Photo: Ramsey Cheng

Conscious Design With her sophisticated yet approachable apparel line, Rumi Murakami has quickly become a rising star in Honolulu’s fashion world. Not only is her work both creative and wearable, but by creating lines that are manufactured right here in Hawai‘i, she’s helping to prop up an entire industry. In the interview below, Murakami discusses how she went from burning the midnight oil behind her mother’s Singer as a young girl to holding her own fashion show at Ward Village. Interview by Jeff Mull

LET’S START WITH YOUR BACKSTORY. WHERE’D YOU GROW UP? My parents immigrated from Japan with my older sister while my mom was pregnant with me. I was born shortly thereafter in San Jose, California. We moved to the Bay Area when I was 6. My dad was a Buddhist minister, so I grew up in church, surrounded by the culture of Japanese Americans in the ’70s and ’80s. At the same time, I was running around the streets of Berkeley and was fascinated with the counterculture of that era. I’VE READ THAT YOU USED TO SPEND HOURS AS A YOUNG GIRL RECREATING DESIGNS YOU SAW IN YOUR MOTHER’S BAZAAR MAGAZINE, USING ONLY AN OLD SINGER AND A LOT OF IMAGINATION. My mom made a lot of her own clothes and would make us dresses with the scraps. She had great taste and taught me a lot about proper fit, use of color, and the importance of the right proportions. I used to beg my mom to teach me to use her machine. She finally did when I was about 8. I used to stay up late into the night, hand-cranking the machine so I wouldn’t wake anyone up. When I was in high school I did some research and found FIDM (Fashion Institute of Design and Merchandising) in San Francisco. All I cared about in high school was graduating so I could attend a design school so you could say I was slightly obsessed with the idea of being a designer as a career. I did consider architecture briefly until I decided the idea of designing a permanent structure was too daunting and that fabric was so forgiving. AFTER GRADUATING FROM FIDM, DID YOU IMMEDIATELY ENTER THE FASHION INDUSTRY? The school was basically a feeder into the local industry and I started working as soon as I graduated, first as an assistant designer then pattern maker. My time in LA was extremely valuable in that I was exposed to the world of high volume, fast-paced production. It was also the era of Madonna and punk so the fashion scene was pretty interesting. I left LA in 1990 and started working

Rumi's latest line includes men's and women's wear. Photo: Ramsey Cheng

for an independent designer named Diana Slavin in San Francisco. I was her first employee and my time with her was hugely influential. She produces very limited runs of each item, travels abroad to work directly with her fabric mills, and has incredible integrity as a business owner. AT WHAT POINT DID YOU GO OUT ON YOUR OWN AND BEGIN YOUR OWN LINE? It took a long time for me to develop my own brand. Being from San Francisco, I wore a lot of suits, trousers, boots, layers. I had to keep simplifying and stripping away layers and structure to have my designs make sense for the climate here. Finally, in 2013, I launched my first collection. It consisted of five dresses and one jacket. My concept was to dress a modern, local, fashionconscious, professional woman. I think there’s a tendency to be too casual in some situations, so I wanted easy pieces that would look polished but not overdone. TO FURTHER THAT LAST QUESTION, HOW DID YOU MAKE YOUR WAY OUT TO HAWAI‘I FROM THE MAINLAND? After my parents finished raising us, they moved around to Canada and Australia before settling in Hawai‘i. I’d been with Diana Slavin for more than five years and was ready for a change. So I thought, “Why not try Hawai‘i?” I arrived in 1996 and wanted to get a feel for what was happening here in the industry. At the time it was really still aloha wear and boardshorts. I freelanced, doing mostly pattern cutting and production management for local companies. My personal life took me off my fashion course when I ended my first marriage in ’97. Through my experience of surviving an abusive relationship, I ended up seeking counseling through a local social service agency. The services proved to be so valuable that I started counseling other women and eventually became the supervisor. I found my way back to designing almost 10 years later, but the advocacy and counseling community is one I will always support. HOW WOULD YOU DESCRIBE YOUR LINE? I call it “modern, soft tailoring.” As a woman I think it’s always about the pieces I’m missing in my own wardrobe, or thinking about how I want to dress in my professional life. I’m also inspired by other creative people and like seeing how women put my pieces together with what’s already in their closet. I UNDERSTAND THAT APARTMENT 155, LOCATED IN WARD VILLAGE'S SOUTH SHORE MARKET, CARRIES A LOT OF YOUR WORK. HOW'D YOU MAKE THAT CONNECTION? My studio is part of the BoxJelly coworking spaces that’s connected to Fishcake. Maura Fujihira of Fishcake is a fan of my designs and offered to carry the collection on her

At work in her studio. Photo: AJ Feducia

We use a “slow fashion” production method which allows the seamstress to complete a garment from start to finish. That lends a roundness or threedimensional quality to

Making the Cut • As a designer, Murakami makes a point to manufacture her line in the islands, making a conscious decision to support local workers and keep money in our economy.

Sophisticated and comfortable, Murakami’s line is a perfect fit for Hawai‘i. Photo: Ramsey Cheng

• Apartment 155, located at Ward Village's South Shore Market, houses an assortment of Rumi's collection.

the clothes that you can’t achieve with mass production.

Murakami in the production planning process.Photo: AJ Feducia

showroom floor. When they opened at South Shore Market I was fortunate enough to be given some space in Apartment 155. It’s been a great way for new people to be introduced to my brand. I UNDERSTAND THAT CREATING YOUR LINE IN HAWAI‘I IS VERY IMPORTANT TO YOU, AS IS SUPPORTING OTHER TALENTED PEOPLE IN THE INDUSTRY WHO ARE MANUFACTURING HERE IN HAWAI‘I. The most rewarding part of creating Rumi Murakami is the connection to the people I work with and having people be excited to work together for a common goal. Creating opportunities for people in the community will benefit everyone, not just the company.

• In between stints working in fashion, Murakami also served her community as a counselor at a local social service agency. • in 2013, Murakami launched her first collection, consisting of five dresses and one jacket. For a more detailed look at her latest collection, go to RumiMurakami.com.

We use a “slow fashion” production method which allows the seamstress to complete a garment from start to finish. That lends a roundness or three-dimensional quality to the clothes that you can’t achieve with mass production. In large-scale production, a factory worker will sew one part of the garment and pass the lot onto the next worker. The finished item is then pressed quickly, giving it a very flat, one-dimensional look. Our method also means the seamstress is being paid to complete the whole garment. It’s definitely not the most economical way of doing it but I think it’s worth it. The seamstress is able to take pride in seeing the finished product in a way that doesn’t happen in a large factory. Aside from the common complaints about being a small business in Hawai‘i (high overhead, taxes, lack of workspace, and access to goods and resources) there is an ever-dwindling pool of talented sewers. Many of the sewers are retiring and training a new workforce takes time and resources. There are some initiatives toward workforce development, and I’m very interested in being a part of the solution.

DO YOU ENVISION A STRONG FUTURE FOR APPAREL PRODUCTION IN HAWAI‘I? I do! Hawai‘i has such an allure around the world. It’s a special place both culturally and geographically. AND LASTLY, HOW DO YOU ENVISION YOUR BRAND GROWING IN THE NEXT FIVE YEARS? This season I introduced a few men’s pieces and the response has been really positive. I can also envision creating other products such as shoes and bags. As a small business, I think it’s important to reach beyond Hawai‘i to be sustainable. I’d love to explore markets in Asia and Europe.

Every designer will tell you that the beauty is always in the details. Photo: AJ Feducia

Photo: Ward Ohana

With a Pistol and a Bullwhip Lucy Ward, An Early Advocate for the Protection of Animals Text by Matt Luttrell

In the early 20th century, Lucy Kaiaka Ward would have been one of the most recognizable women in all of Honolulu. As a Humane Agent (an official law enforcement officer at the time) for the Hawaiian Humane Society, Ward wore a badge, wielded a bullwhip, and packed a pistol—a female Indiana Jones, if you will. Quite simply, she was a force of nature when she patrolled the streets of Honolulu, looking out for the welfare of animals in the state.

Extraordinary Life of Lucy

The

• As one of seven daughters from Victoria and Curtis Ward, Lucy is credited with steering the Hawaiian Humane Society in its early years. • Nearly 100 years since she helped found the Hawaiian Humane Society, Lucy's compassion for Hawai'i's animals continues to resonate. • Through her decades of work, Lucy reshaped the public’s perception on animal abuse and child welfare.

Lucy Ward was delivered in a four-post bed to Victoria and Curtis Ward in the mid 1870s. As one of seven daughters from one of Honolulu’s most influential families, everyone in town was familiar with the Ward sisters. And just like their mother Victoria, they each had a musical gift. The sisters would often perform recitals, playing a range of instruments that included the violin, the piano, and even the banjo. But Lucy was different, she had a passion for animals that ran deep. Growing up in the sprawling family home known as “Old Plantation,” Lucy was constantly surrounded by animals and became infatuated with them at an early age. Set among a vast coconut grove (estimated to be 6,000 coconut trees), with a fishpond and plenty of pasture land for their cattle and horses, Old Plantation had many of the elements one might expect to find on a small farm or ranch. Lucy’s father, Curtis, was an avid equestrian and truly loved his horses. It should be noted that, at the time, Honolulu was awash in horses, and not just for transportation either. The people of Hawai‘i—especially Lucy and her sisters—lived to ride. “To the Hawaiians, the recreational aspect of horseback riding made the greatest appeal,” wrote historian Ralph Kuykendall in The Hawaiian Kingdom, Volume II, 1854-1874. “They became enthusiastic and expert equestrians and to an appreciable extent horseback riding took the place of swimming and surf-riding in the life of the people.” As Lucy became a young woman, it was clear that she wasn’t the type to stay at home. She was passionate about protecting animals and empowered to make a difference. With her influence and charisma, Lucy Ward began working with the Hawaiian Humane Society in 1913. Particularly concerned with the welfare and treatment of horses, she became a near mythic character patrolling Honolulu. Armed with her bullwhip and pistol, Lucy would ride around Honolulu on her horse. Later she swapped the horse for a Model T, but that didn’t dampen her reputation. In the book Poi Dogs and Popoki, George Engebretson writes, “Lucy was a familiar sight around town—dressed in her straight-brimmed sailor hat and shirtwaist dresses, sweeping into the police station to bring charges against violators, into the grand jury room to help prosecute them, into the newspaper offices to report on some recent injustice. By her tireless efforts she won countless converts to the cause of animal and child welfare.” Lucy’s mother, Victoria, donated land in Kaka‘ako in 1925 for a new Hawaiian Humane Society. Incidentally, the same year that Lucy tried to retire from the Humane Society. Engebretson writes that upon hearing the news, “the mayor’s office received a petition with more than 500 signatures requesting that she continue on in her position at the Humane Society.” Lucy eventually became the Humane Society’s executive director, retiring in 1932 to take care of her mother. After Victoria passed away in 1935, Lucy and her sister Kathleen took over managing the family estate. Lucy and her sisters Kulamanu and Kathleen never married and the trio continued living at Old Plantation. On March 20th, 1954, at 80 years old, Lucy passed away. Despite not having an heir herself, the Hawaiian Humane Society has continued Lucy’s tireless work. Ward Village proudly supports the Hawaiian Humane Society and their commitment to Hawaii’s animals. In addition to creating a pet-friendly environment throughout our grounds, Ward Village’s support of the Hawaiian Humane Society continues as we work with the non-profit on their Pet Walk at Magic Island in October and on Santa Paws in December. When it comes to summing up Lucy’s contribution to both the animals and the culture of Hawai’i, Pamela Burns, current president of the Hawaiian Humane Society, sums it up best: “Lucy Ward is not only one of the pioneers of the Hawaiian Humane Society, she was a legendary public crusader, working tirelessly to fight for the rights of the voiceless.”

Photo: Tony Heff

Embracing Responsibility The Kuleana of Zeke Lau Text by Daniel Ikaika Ito

Progressive and powerful, Zeke joined the elite ranks of the World Tour this season. Photo: Quiksilver

When a Kānaka Maoli (Native Hawaiian) embraces their kuleana (responsibility) they can organically achieve success. Look no further than professional surfer Zeke Lau for the proof. At 23, Zeke made his debut on the World Surf League this season and, with his characteristic power surfing leading the way, he’s already garnering talk to be named Rookie of the Year. To boot, he’s also the only Kānaka Maoli competing on the World Tour, effectively upholding the values of the people who originally gave rise to the sport.

Although the Native Hawaiians invented he‘e nalu (wave sliding), they are underrepresented in professional surfing. While that fact could be seen as an affront to some, Zeke takes it as an honor to represent his culture and heritage around the world. For this young Kānaka Maoli, his mission is more than just displaying his brand of technical power surfing and winning heats in a fluorescent-colored jersey. Rather, Zeke’s career is also about inspiring the next generation of Hawaii’s surfers to give back and embrace the international surf community by highlighting Hawaiian culture. Zeke, who honed his game at Kewalos, serves an inspiration for the next generation of young surfers in Hawai‘i. Photo: Quiksilver

WHAT WAS YOUR HOMEBREAK, KEWALO BASIN, LIKE WHEN YOU FIRST STARTED SURFING THERE? Zeke Lau: It was way different than it is today. There weren’t any groms back in the day. The crowd there was pretty rugged: kids weren’t allowed to surf the main break and grown men were getting sent in. Kids were unseen. We kind of broke that seal and really got to know all the uncles. They embraced us and took us in under their wing. Things are way different now. If you go down there today, you’ll see kids and parents and uncles alike, all having fun. WHAT DID IT FEEL LIKE TO FINALLY QUALIFY FOR THE WORLD TOUR AND LIVE YOUR DREAM?

Upholding his culture is of the utmost importance to Zeke. Photo: Mark Holladay

It felt like it was something that I’ve dreamt of for so long. I’ve visualized these moments for as long as I can remember, wondering what it must feel like to get to this level. But I feel like I belong here and I’m comfortable because I’ve visualized it so many times. This is where I wanted to be, and this is a dream come true, but I’ve put in a lot of work to get here and I’m very grateful. YOUR MOM, DAINA, PLAYED VOLLEYBALL FOR THE UNIVERSITY OF HAWAI‘I AT MANOA, AND YOUR DAD, LEONARD, PLAYED FOOTBALL AT U.H. AS WELL. HOW DID YOUR PARENTS’ BACKGROUND AS COLLEG ATHLETES INFLUENCE THE WAY YOU APPROACH SURFING? We approach it like any other job. We have fun and we do what we gotta do but we put in the work and we find that if you want something bad enough, you’re gonna love every bit of it. You’re gonna love the pain, the hard parts, the good parts, and everything that comes with the success. There’s nothing wrong with being different from what the crowd is doing and never shy away from putting in the work. WHY DID YOU CHOOSE #86 FOR YOUR JERSEY?

Zeke leads surfers and visitors through a medley of games at his Makahiki festival. Photo: Mark Holladay

I had this joke in high school that I was going to play football. But my dad said I’m definitely not gonna play football. All I wanted was to walk out of the tunnel on a Friday night with the lights and my uniform on. And I said my number would be 86, because his high school number was 85 and I wanted to be one better. I obviously never got to do that, but I had to pick a number for the World Tour. There was no other number I could think of and no other number I wanted. I mean, I already put it on my license plate so I had to make it mean something. YOU BOTH GREW UP ON CAMPUS AT KAMEHAMEHA AND GRADUATED FROM THERE AS WELL. HOW DID YOUR EXPERIENCE THERE MOLD YOU?

Last winter, Zeke and his support crew hosted the inaugural Zeke Lau’s Makahiki event on the North Shore at Kuilima (Turtle Bay). The intention of the one-day event was to give local kids a free day of fun, food, and music while sharing Hawaiian culture with the visiting surfers. With the support of the Office of Hawaiian Affairs, Kamehameha Schools, as well as Zeke’s sponsors, friends and family, the event celebrated the shared ancestry of Kānaka Maoli and the international surf tribe by playing traditional Makahiki games and showcasing cultural demonstrations by local practitioners from the North Shore. Zeke Lau’s Makahiki was so successful that the WSL (professional surfing’s governing body) reached out to the World Tour rookie to grow the event as an opening ceremony for the Triple Crown of Surfing at Ali‘i Beach Park this year. Not only will this support allow for more keiki to participate in the games, but it will also give the visiting surfers a sense of place and reverence for the Hawaiian culture through protocol and practice. Clearly, it’s a heavy responsibility to embrace, but Zeke’s fortitude runs deep and he’s appreciative of everything that comes with his career and culture. We caught up with him at home over dinner days before he flew to Brazil to compete in the Oi Rio Pro. While grinding laulau, kālua pig, and poi we got to talk about his humble beginnings and his even brighter future.

I think it molded everything about me. They bring you up in the Hawaiian culture and teach you to embrace it, be proud of where you come from, and you take that everywhere you go in your life, whatever you’re going to do. I’m very proud to be Hawaiian and Kamehameha really helped me figure out time management and the importance of being on time and being able to balance a schedule and having structure in your life. WHAT DOES IS MEAN TO BE A KANAKA MAOLI ON THE WORLD TOUR? That means everything to me, that’s the whole reason why I wanted to be on tour was to represent where I’m from and my culture and heritage. I feel like that’s where I needed to be, too. I needed to be on that platform representing my people and that’s my whole goal right now. HOW DOES IT FEEL TO HAVE ZEKE LAU’S MAKAHIKI SO WELLRECEIVED BY THE WSL—TO THE POINT IT’S GOING TO BE THE OPENING CEREMONY FOR THE TRIPLE CROWN OF SURFING? I think it’s great! I’m really surprised that we’ve actually come this far and we’ve created something that these people are interested in, and that’s not why we did it. We just did it because we felt like it was something that needed to be done and we would do it regardless. WHAT DOES SUCCESS MEAN TO YOU AT THIS POINT? Success to me is not about winning titles or competitions or anything like that, it would just be to someone that is in a position to inspire other people with the things that I do and to be in a position to give back.

Of Soul and Spirits Inside the world of Scratch Kitchen’s

Brian Chan proudly stands before his latest restaurant, Scratch Kitchen and Meatery, located at South Shore Market.

Brian Chan

a far cry from the Eastern flavors he grew up eating. Chan’s conscious decision to break the mold paid off in spades. The original Scratch Kitchen and Bake Shop in Chinatown proved to be so successful that he opened a second location, with a focus on meat and bold, smoky flavors, in Ward Village’s South Shore Market this spring. It’s clear that Chan’s conscious decision to avoid Asian flavors wasn’t meant as a snub to his heritage, but was a choice to challenge himself and his team.

Text by Megan Tomino Photos by Petey Ulatan

“In this industry, it seems like there’s a new restaurant opening every day, and you tend to see similar menus across the board. Anything we make in our kitchen has to be unique for Scratch to stand-out. We try to stay creative and keep moving in the other direction of everyone else,” says Chan.

rian Chan came of age folding wontons and dumplings in his family's restaurant in Honolulu. In 1975, Chan’s parents, Jennifer and Kenneth Chan, immigrated to Hawai‘i from Guangzhou, China and brought with them their knack for hospitality and delicious recipes. The couple opened their first restaurant in 1984, serving handmade Hong Kongstyle dim sum. Beginning as early as 7 years old, Chan helped out in the small restaurant off King Street, performing repetitive, tedious, and seemingly pointless tasks. The work was endless: after years of bussing tables, manning the register, and washing dishes, Chan vowed to never open a restaurant of his own.

Fast-forward to 2002. Chan, a recent graduate of University of Hawai‘i, enrolls in culinary school after a career in sales felt like a poor fit. After graduating from KCC’s culinary program, he moved to Las Vegas to try his skills as a professional poker player. When his stint in Sin City eventually came to a close, he returned to O‘ahu and to restaurant work. After each turn in life, the restaurant industry always welcomed Chan back with the familiar grueling hours and tasks that he had learned to take with ease and a few grains of salt.

Now, coming up on several months of opening his new location in Ward Village, Chan is fine-tuning his kitchen and his most ambitious program to date, his meatery. Outfitted with chef’s dream appliances and gadgets, the new Scratch will be launching a meat-centric dinner menu before the end of summer. In true Scratch form, everything for the meatery program will be done in-house. For months the team has been tinkering with recipes, going back to the drawing board each time until the final product meets Chan’s standards. Dry-aged local steaks wait in the fridge, developing a more concentrated and intense taste as time passes. Smoke envelops pork shoulders and bacon, imparting irresistible flavor that immediately transports you to the South. Spices are measured and mixed, fat is added and subtracted until the succulent sausages and cured meats are just right. This relentless attention to detail and high standards for quality and consistency keep guests coming back for more. Day in and day out you can find Chan in the kitchen wearing his go-to uniform of a fitted cap, black tee, and apron, plugging away at new dishes, working the line, and encouraging his team to give it their all. It’s apparent that a childhood spent helping run a family eatery taught Chan to revel in hard work. For a young chef who vowed to never open a restaurant, it’s difficult to imagine Hawai‘i’s food scene without him.

“At that time, I was always working the front of house, like my mom. My mom has a big personality, she knew every customer and her goal was to just make them happy,” recalls Chan. Chan felt at home in the front of the house, just like his mom. He was a natural at running the bar and making conversation with patrons, but when a need arose at his first Chinatown restaurant, Epic, his world was flipped quite literally. “When we opened Epic, we always had people missing their shifts in the kitchen, until finally, I had to go back there and do it myself,” he says with a laugh. And just like that, a rising star in Hawaii’s culinary world was born.

Scratch Kitchen's famous Kim Chee Bloody Mary and Chilaquiles make for a perfect brunch.

Making the move to the back of the house was a more seamless transition than Chan had anticipated. He felt an instant gratification after sending out a dish and watching a guest’s palate light up with every bite. After Chan took to the kitchen, one might say he was following in his parents’ footsteps, but that isn’t exactly the case. Chan, who as a kid promised himself he would never open his own restaurant, swears off another thing that many would expect to come naturally to him: Asian flavors. When he opened the original and wildly successful Scratch Kitchen and Bake Shop in Chinatown a few years ago, it may have come as a surprise to some that this young chef with a pedigree in Asian fare was cooking up authentic Southern-inspired cuisine. Noticeably absent are teriyaki sauces, ginger-sesame dressings, and shoyubased braised meats. Instead, his food is distinctly influenced by Southern, Mexican, and Mediterranean flavors. On his menu, you’ll find the likes of creamy loaded grits, chilaquiles with tender, shredded chicken, and a New Orleans-style Muffaletta sandwich to name just a few. Not to mention his famous Milk & Cereal pancakes—all

Looking for something a little sweet? Order the Milk & Cereal pancakes, trust us on this one.

Korean artist Choi Jeong Hwa’s Blossoming Lotus, displayed at the IBM Building, proved to be a crowd favorite for the first-ever Honolulu Biennial. Here's Inu, a handsome Corgi about to make his debut on the cat walk for a doggie fashion show, held at New Wave Friday. You can follow Inu the Corgi—of course he has his own Instagram account— at @InuTheBeachBoy. It’s often the little moments that produce the most beautiful photos. Unscripted and unaware—a candid photo peels back our facades and shows us as we really are. No pretenses, just real. And that’s a beautiful thing. Urban silhouettes abound in Ward Village, lending themselves to the imagination of photographer and artist Diliaur Tellei.

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# WE ARE WARD

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A collection of village moments

Ward Village Community Calendar KAKA’AKO FARMERS’ MARKET EVERY SATURDAY FROM 8 AM TO 12 PM WARD WAREHOUSE Local farmers, merchants, and food vendors gather to sell fresh fruits, vegetables, and an array of other delicious items at the Kaka‘ako Farmers’ Market. Admission is free and ample parking is available throughout Ward Village. COURTYARD YOGA EVERY THURSDAY FROM 5:30 TO 6:30 PM IBM BUILDING COURTYARD Held in partnership with CorePower Yoga, we're offering free yoga classes to the first 50 participants. Classes often fill up quick. COURTYARD CINEMA IBM BUILDING COURTYARD SECOND THURSDAY OF EVERY MONTH Courtyard Cinema, a free movie showing at the IBM Building, is presented in partnership with the Hawai’i International Film Festival (HIFF) and Consolidated Theatres. Guests are treated to complimentary popcorn, food vendors, and activities celebrating the theme of the film. (Admission is free but tickets must be reserved online.) Please go to WardVillageShops.com/events to learn more.

SUNDAY SESSIONS WARD WAREHOUSE AMPHITHEATER STAGE EVERY SUNDAY AT 1 PM Performances by ha- lau hula, hip hop dance groups, choirs and taiko. This event is free and open to the public. Check out the calendar listing at WardVillage.com/Events. FREE COUNTRY LINE DANCE CLASSES WARD WAREHOUSE AMPHITHEATER STAGE EVERY TUESDAY NIGHT AT 6 PM Kick the dust off your dancing boots and get ready for an evening of free country line dancing, hosted by O‘ahu Line Dancers. Staying active, having fun, and learning a new step never felt so good. FREE HULA LESSONS WARD WAREHOUSE AMPHITHEATER STAGE EVERY THURSDAY NIGHT AT 5 PM Learn the art of hula every Thursday. Beginner’s classes start at 5 pm and go until 6 pm, while intermediate and advanced classes run from 6 to 7 pm.

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WARD & WIN WARD VILLAGE JUNE 1 – JULY 31 Back by popular demand, the Ward & Win game returns to Ward Village June 1 with more Instant Win and Collect & Win prizes up for grabs! Shoppers receive one game piece for their purchase (one per person, per transaction, per day, per store excluding Nordstrom Rack, T.J. Maxx and Nobu Honolulu) for a chance to win amazing prizes, such as dining and shopping gift cards, trips for two to Las Vegas, or the grand prize of 10 roundtrip tickets to any Alaska Airlines destination. Score 10 game pieces when you use your Alaska Air Visa Signature® Card. Visit WardandWin.com for more details.

EIGHTH ANNUAL HAWAII RICE FEST WARD CENTRE SEPTEMBER 9 FROM 5 PM TO 9 PM Come celebrate Hawai’i’s beloved grain at the 8th Annual Hawaii Rice Fest. The FREE event is being held on Auahi Street fronting Ward Centre from 3-9pm, filled with activities, including cooking and eating competitions, live entertainment, yummy rice dishes, and more! Brown rice donations will be accepted for Lanakila Pacific’s “Meals on Wheels” program, which benefits our kupuna (seniors).

NEW WAVE FRIDAY SOUTH SHORE MARKET JUNE 9, JULY 14, AUGUST 11, SEPTEMBER 8, 2017 Join us for our new Pau Hana shopping event at South Shore Market – held on the 2nd Friday of every month through November, 5-9pm. Enjoy live entertainment, great food, drink bar (hosted by award-winning REAL a gastropub), special merchant activations, and so much more. Visit WardVillage.com/ events for more details.

808.591.8411 | wardvillage.com