Move Over, Matcha. Strawberry Milk Is Here.

Long beloved in Japan, the drink is becoming a fixture on cafe menus across the world.

Article by Martha Cheng

At Telescope Coffee in San Francisco, the strawberry milk comes in a berry-shaped cup. Phootgraph courtesy of Telescope Coffee.

As a child growing up on the Hawaiian island of Oahu, Jaron Hanus, 36, a co-owner of the Japanese-inspired cafe Neko Koneko in Honolulu, drank milk with every meal at the insistence of his grandmother. To make it more enticing, she would buy the strawberry-flavored kind from a local Japanese grocery store or make her own by simmering fresh strawberries in milk and honey. Hanus’s wife and business partner, Erin Yonamine, 45, also grew up on Oahu and remembers her grandmother plying her with ichigo (the Japanese word for strawberry) milk and ichigo milk candies from Shirokiya, an erstwhile Japanese department store in Honolulu. When the couple opened Neko Koneko in 2021, they created their own version of their childhood drink — updated with oat milk but just as vibrantly pink.

With the rise of industrial milk production in the mid-20th century, single-serve cartons became a fixture of school lunch trays throughout the United States, but also in countries including France, Korea and Japan. Flavoured milks soon followed. Nesquik introduced strawberry powder for milk around 1960, and the Korean company Binggrae added strawberry milk to its lineup soon after the debut of its banana flavour in 1974. While chocolate milk still dominates the flavoured milk market in the U.S., the margin may be narrowing. Lately, TikTokers have been swirling ruby streaks of fresh strawberry purée into milk, emulating a drink found in Korean cafes (including the country’s Starbucks coffeehouses). And last year, to commemorate the 12th anniversary of Dominique Ansel Bakery’s first location in Manhattan’s SoHo, the pastry shop, which had previously released a strawberry milk-flavoured version of its famous Cronut, collaborated with the Brooklyn fragrance company Joya Studio to produce a strawberry milk birthday candle.

An ichigo (strawberry) spoon
An ichigo (strawberry) spoon accompanies the strawberry milk recipe from Just One Cookbook.Credit. Courtesy of justonecookbook.com

“It’s a classic flavour combination that never goes out of style in Japan,” says Namiko Hirasawa Chen, 47, the Yokohama-born author of Just One Cookbook, a Japanese recipe blog. “It’s a solid part of Japanese food culture.” In the 1960s, when greenhouse cultivation spurred the production of strawberries, the main varieties grown were sour, so people mashed them with milk and sugar. Chen recalls ichigo-milk-flavoured candy — particularly the Sakuma Seika sweets introduced in the 1970s, with strawberry hard candy encasing crispy and creamy mille-feuille — as well as special spoons, flat-bottomed and dimpled, like the berry, used to crush strawberries before pouring milk over them. “Even now, with Japan’s supersweet domestic strawberries, people still enjoy strawberry milk,” Chen says.

Honolulu’s strong ties to Japan — a quarter of its population is of Japanese descent — mean strawberry milk is almost as common a flavor there as matcha (and often combined with it) at cafes and sweet shops. It’s the most popular flavour at the pop-up shave ice shop Chillest Shave Ice, where seeds speckle the strawberry-milk-drenched heap of ice. “The flavour profile to me is very Japanese,” says owner Aaron Wong. At Daily Whisk Matcha, a Honolulu cafe, the strawberry milk was originally introduced as a seasonal drink. “We wanted something fun for the summer,” says owner and clothing designer Summer Shiigi, 38, but it became so popular that it’s now part of the permanent menu. She says families often come in together, the adults ordering the strawberry matcha latte, the children the strawberry milk on its own. “There’s an added level of warmheartedness there.”
Strawberry shave ice
Strawberry shave ice from Chillest Shave Ice in Honolulu.Photograph by Islandbag.
Bottled strawberry milk
Bottled strawberry milk from the cafe Neko Koneko in Honolulu. Photograph courtesy of Neko Koneko Cafe.

Strawberry milk’s pleasing pink isn’t confined to Hawaii. At the Los Angeles bakery Harucake, known for its minimalist Korean whipped cream cakes, owner and baker Ellie You creates a parfait-like cup of strawberry milk as tidy as her confections — an even layer of fresh strawberry purée at the bottom, a layer of strawberry cream sweetened with sugar, and a tall, frothy layer of dairy or oat milk, topped with a strawberry slice. “It’s a connection to my childhood memories in Korea,” she says, but her version leaves out the artificial flavors she remembers, “letting the natural sweetness of the strawberries shine through.”

The strawberry milk at Telescope Coffee in San Francisco looks like a toy. It’s served in a chubby, berry-shaped cup, capped with a green plastic leaf-shaped lid. Jenny Ngo, 30, a pastry chef and the cafe’s owner, roasts fresh strawberries with sugar. “We want to draw out the sweetness and the floral notes of the fruit,” she says. The roasted strawberry purée is then layered with a milk of the customer’s choice, as well as an optional shot of matcha or espresso — the latter makes the drink taste surprisingly like a chocolate-covered strawberry. “I didn’t want a coffee shop with just caffeine. I have a lot of nieces and nephews and I thought this would be a really fun drink for them,” says Ngo. Made with fresh fruit grown in the Monterey Bay region of California, it’s only offered during the summer. Ngo buys the berries from Rodriguez Farm, the same farm that she and her mother patronised, at their local farmers’ market, when she was young.

As Climate Change Intensifies, It’s Time to Change Your Stylistic Choices

T Australia columnist breaks down how to think more ethically about clothing, travel, and food.

Article by Lance Richardson

Ethical fashion choices 2024Image courtesy of Shutterstock.

Style, as a concept, really just refers to the particular way in which a person does something. An author’s style is their word choices, their structure and use of punctuation. A fashion designer’s style is their drape, fabric preferences and silhouette. An architect’s style can be as distinctive as the stripes of a zebra — think of a Frank Gehry building, all crumpled up in seemingly impossible ways. Indeed, even people who are not creative have personal style: the manner in which they dress, the cars they like to drive, the food they serve at a dinner party. When we say that somebody has “no style”, like my family often says about my father-in-law, what we mean is that their style is chaotic. My father-in-law would wear a moth-eaten football jersey to a wedding if it was the only thing clean in his wardrobe.

My own style of dress tends to be fairly conservative. Button-downs or plain T-shirts (prints only rarely), dark jeans and boots. As a writer, I like semicolons and long, syntactically convoluted sentences that are almost like a puzzle. I will serve you fish if you come to my house for a meal, and probably pavlova, regardless of the season. My furniture is midcentury modern, my plants numerous. I have hundreds and hundreds of books, and I make no effort to organise them. I prefer tea to coffee.

Recently, though, I have noticed that my style has begun to change. And the reason for this is the increasingly dire news about climate change. Many of the world’s leading climate scientists now expect global temperatures to rise by some 2.5°C above pre-industrial levels by the end of this century. This year alone has seen record after record broken in alarming ways. My response has been low-grade depression, and occasionally — when I see pictures of the melting Arctic Ocean, or read a book like “Fire Weather”, by John Vaillant, about Canada’s 2016 Fort McMurray fire and its relationship to oil sands — despair.

My response has also been to change the way in which I do many things in my daily life, from drinking oat milk (which has a relatively low greenhouse footprint when compared with dairy), to getting around town on a bicycle.   

In this, I know, I am not alone. When I did need to buy a car a few years ago, I decided it had to be hybrid, if not outright electric. The thought of driving a traditional full-petrol car made me squirm with discomfort. Here in the US, where I live, the demand was so high that I was forced to go on a waiting list. I had friends who owned a hybrid car who were getting calls from dealers offering more than they’d originally paid to sell the cars back to them. Hybrid sales grew by 53 per cent in the US in 2023. In Australia, the situation is lagging behind but quickly catching up. Almost one in four cars sold in May was a full electric or hybrid vehicle. What was once a novelty is now becoming a norm. A major reason behind the rapid adoption is not doubt financial: hybrids save on petrol, after all, which means less spending at the pump. But it is also a question of style. Increasingly, many drivers prefer a car that reflects their environmental consciousness.

In terms of fashion, I find myself buying less, buying vintage and wearing things for longer. When I pull a cotton T-shirt out of my drawers, I am sometimes reminded of the fact that it took 3,000 litres of water to make it. Fast fashion is convenient and affordable, but the real bill is being paid elsewhere. According to the UN, the fashion industry is responsible for up to 10 per cent of annual global emissions. Knowing that fact doesn’t mean I will stop buying clothes, but it does make me more mindful of what I purchase, more inclined to ask myself, “Do I really need this?” It makes me more interested, too, in the creative solutions designers are coming up with these days: Petit Pli, for example, a team of “aeronautical engineers, neuroscientists and designers”, is turning plastic bottles into children’s clothes that expand as the child grows. The Smithsonian Magazine called it “one part Japanese avant-garde, one part medieval armour”.

By far the biggest change to my personal style has to do with the way I travel. Five years ago, if you had asked me what I did for a living, I would have said “travel writer”. I travelled constantly, zigzagging through multiple countries on a single trip. These days I mostly write about other things, and when I do travel it is slow and immersive — one location for an extended period of time. I no longer fly to Switzerland to report on wine for the equivalent of a long weekend. I return to Australia once a year, at most, and stay for a month if I can manage it.

In changing my style of travel, I am inspired by friends who have taken things even further. A writer I know, Louise Southerden, who also built her reputation on travel, had not flown for four and a half years until very recently. “I still have a lot of climate guilt about all the travel I have done over my career,” she tells me (a feeling I know all too well). But aligning her work with her values has brought unexpected benefits. “Not zipping off to somewhere far away every few weeks has grounded me in my home place, the community and the natural environment, the seasons where I live,” she says.

Where Southerden lives is in a “very small house”, a beautiful wooden dwelling on wheels with a floor space of just 25 square metres. In her new book, “Tiny”, she describes her own evolving sensibility, the personal shift that has led her to adopt a lifestyle of considered restraint. Her shower water flows into the garden. Her kitchen sink was salvaged from an op-shop. “I have lots of windows,” she tells me, “and thought long and hard about where to position them to maximise cooling breezes in summer.”

That level of thoughtfulness — literally paying attention to the flow of the breeze — is exactly the kind of style I aspire to achieve for myself. It is the kind of style, I think, that we should all be adopting on our perilously warming planet.

Il Mercato Centrale Opens in Melbourne and a New Tom Tilbury Venture: Three New Venues To Have on Your Radar

Fans of pasta and Golden Gaytimes, read on.

Article by Hollie Wornes

Fabbrica NewtownFabbrica Newtown. Photographs by Trent V / Fabbrica.

Il Mercato Centrale, Melbourne

il Mercato Centrale Melbourne
il Mercato Centrale. Photograph courtesy of il Mercato Centrale.

It’s been over two years since il Mercato Centrale announced its plans to open in Melbourne. Founded by Umberto Montano, who launched the first venue in Florence in 2014, il Mercato Centrale aims to revitalise closed spaces into vibrant hubs for Italian artisans. Fast forward a decade, and locations have popped up across Italy, including Rome, Torino, and Milan, collectively attracting around 12 million visitors each year.

This week, Melbourne finally unveiled its own iteration at 546 Collins Street, housed in the heritage-listed McPherson’s Building, built in 1937. Inside the multi-level warehouse, you’ll find up to 23 vendors, each with its own offering. Start on the ground floor with freshly baked bread and pastries from il forno by Damian Malon, followed by coffee from il caffè by Jerry Lee. Meanwhile, fresh produce is available at la frutta e la verdura by Biviano and Sons.

For a heartier fare, head to level one for pizzas at la pizza napoletana by Valerio Violetti and handmade pasta from La pasta fatta in casa by Annapaola d’Alessio. No Italian feast is complete without something sweet; visit Il Gelato by Rovena Xeba to see the gelato-making process or head to la distilleria by Michael Hickinbotham and Graham Jonas for a strong aperitivo in the cosy cocktail bar. With a liquor licence until 3AM and seating for up to 800, prepare to lose an entire day (and night) at this Italian food haven.

546 Collins St, Melbourne VIC
Phone: 1300 546 566
Open from 7am daily
mercatocentrale.com.au

Fabbrica, Newtown

Fabbrica, Newtown.
Fabbrica, Newtown. Photographs by Trent V / Fabbrica.
Mafaldine pasta
Mafaldine twisted with 'nduja and prawns. Photographs by Trent V / Fabbrica.

Residents of Sydney’s Inner West will be delighted to hear that they can now enjoy Fabbrica’s silky cacio e pepe and squiggly prawn mafaldine pasta without venturing into the city. After closing its Balmain location last year, the beloved Italian diner has reopened at 101 King Street, Newtown.

Guests can expect all the fan favourites from head chef Keir Ballantyne, who has honed his skills at Heston Blumenthal’s three-Michelin-starred The Fat Duck and Kristian Baumann’s Restaurant 108 in Copenhagen. He’s joined by is Scott McComas-Williams, executive chef of the Love Tilly group. In addition to classics, new dishes include Tonnarelli with vongole and bottarga, Rigatoni with guanciale, peas, egg yolk, and Pecorino, and Kingfish puttanesca. For dessert, don’t miss the Ricotta panna cotta, now featuring a delightful yuzu caramel and toasted buckwheat twist.

101 King Street Newtown
Phone: (02) 9129 9210
Open from 7am Monday to Thursday, open from 12pm Friday to Sunday
ciaofabbrica.com

Botanic Lodge, Adelaide

Botanic Lodge Adelaide
Botanic Lodge in the Adelaide Botanic Gardens. Photography courtesy of Botanic Lodge.
Botanic Lodge food
The Tommies sandwich. Photographs courtesy of Botanic Lodge.

If you’ve ever dined at Restaurant Botanic in the Adelaide Botanic Gardens, you’re likely familiar with the chef Jamie Musgrave’s thoughtful approach to native ingredients. He masterfully transforms humble items like the urchin and emu fillet into thoughtful dishes that linger long after the meal is over.

Its newly opened sibling venue, Botanic Lodge, helmed by renowned Australian chef Tom Tilbury continues to showcase the best local produce, but with a more playful approach. Located inside the former Simpson’s Kiosk site, the restaurant pays homage to its predecessor with a mix of nostalgic favourites served with an elevated twist. Enjoy cheesy pasties with a mushroom dipping sauce served on tuckshop bags, or a classic Tommies sandwich on white bread loaded with a generous layer of butter, iceberg lettuce, and mayonnaise. For dessert, there’s a Lamington with quandong jam and coconut ice cream or a “Golden Gaytime” soft serve. 

With floor-to-ceiling windows that flood the space with sunlight and doors that open to the lake, Botanic Lodge is set to be Adelaide’s go-to spot for summer dining.

Main Lake (Kainka Wirra), Adelaide Botanic Gardens, Adelaide
Open from 10am daily

botaniclodge.com.au

Colourful Kitchen Appliances Worthy of Real Estate on Your Bench Tops

Breville teams up with First Nations artists for a worthy cause, while Smeg and Dolce&Gabbana bring a taste of summer to your kitchen year-round. Plus, the Our Place pan that every kitchen needs.

Article by Hollie Wornes

Smeg coffee machineThe Coffee machine. Photograph courtesy of Smeg x Dolce&Gabban.

Thermomixes. Coffee machines. Air fryers. In recent years, the number of kitchen appliances taking up prime real estate on bench tops has expanded well beyond the trusty toaster and kettle. This surge can largely be attributed to the cooking craze that took the world by storm during lockdowns. If you weren’t perfecting banana bread in a bright blue KitchenAid, you were likely experimenting with new recipes in a shiny new air fryer.

Whether it’s finally time to upgrade your well-used 2020 investment or you’re hesitant to add another appliance to your stable, there are several brands producing colourful and quirky collections that are actually worth having on display. Below, find kitchen collections that are guaranteed to add some fun to your cooking — and your kitchen.

Coffee Machine Breville.
The artist Warlimpirrnga Tjapaltjarri painting “Tingari Men and the Ancestral Snake at Wilkinkarra” onto the coffee machine. Photograph courtesy of Breville.
Breville toaster and kettle.
From left: Lucy Simpson's “Women's ceremonies at Marrapinti” adorn the toaster; Yalti Napangati painted “Women preparing Piruwa tea at Kiwirrkurra” on the kettle. Images courtesy of Breville.

Breville’s “Aboriginal Culinary Journey” collection,

When looking to invest in a new kitchen tool, it’s hard to overlook Breville. The Australian brand has established itself as a world leader since it was founded in Sydney in 1932, by Bill O’Brien and Harry Norville (its name a merging of its founders). The appliance company is best known for inventing the jaffle maker and over the years has innovated to include a wide range of products, from countertop ovens to espresso machines and beyond.

Breville’s new “Aboriginal Culinary Journey” collection pays tribute to its roots. Founded on Gadigal land, Breville has collaborated with First Nations people to create a six-piece assortment, donating 100 per cent of profits to three important causes. These includes support for the National Indigenous Culinary Institute to help aspiring chefs with employment opportunities, the “Indi-Kindi Program” by the Moriarty Foundation to promote better childhood nutrition and share Indigenous food culture, and initiatives at the University of Technology Sydney to help create pathways for careers in engineering, technology, and design.

The artworks are exclusive to the appliances, with each artist receiving a royalty for their contributions. The coffee machine features a dot painting by Warlimpirrnga Tjapaltjarri from the Kiwirrkura community in Western Australia. His artwork, “Tingari Men and the Ancestral Snake at Wilkinkarra,” honours the rituals of the Tingari, ancestral beings of the Dreaming, linking coffee to a modern ritual for many Australians. Other artists involved include Lucy Simpson, whose works “Women’s ceremonies at Marrapinti” adorn the toaster and “Fire stick farming” is on the oven. Meanwhile, Yalti Napangati painted “Women preparing Piruwa tea at Kiwirrkurra” on the kettle and “Dreaming at Ngami” on the juicer; and Ukultji (Nolia) Napangati’s Women’s ceremonies at Marrapinti” covers the Barista Pro™ coffee machine, making this collection not just functional but deeply meaningful.

breville.com.

Our Place pan.
Titanium Always Pan® Pro. Image courtesy of Our place.

Our Place, the Titanium Always Pan® Pro

Our Place launched in Australia last year with its colourful pots and pans, quickly earning a spot in the kitchens of top Australian chefs Julia Busuttil Nishimura and Jessica Nguyen — and for good reason. Not only do these pieces look fantastic, but they are also incredibly versatile, literally catering to all your one-pan needs. The Large Always Pan comes in six tasteful colorways, ranging from lavender to sage, and is available in various sizes and bundles. Beyond pans,the US Brand’s offerings extend to pots, bakeware — including stoneware and oven-proof dishes — as well as utensils.

If colour isn’t your thing, Our Place has released the Titanium Always Pan® Pro in sleek gold and chrome options, proving you don’t need pastel hues to embrace your bright side. What sets this design apart is its innovative no-coating nonstick technology, free from harmful chemicals. If there’s ever a time to invest once and invest for life, it’s with this cooking tool. The brand is so confident in its quality that it offers a lifetime warranty (though, we don’t think you’ll need it).

Titanium Always Pan® Pro, $365, fromourplace.com.

The Coffee Set. Photograph courtesy of Smeg x Dolce&Gabban.

Smeg and Dolce&Gabbana, Blu Mediterraneo collection

Smeg and Dolce&Gabbana are no strangers to collaboration. The brand’s first partnership produced “Sicily is my Love,” a vibrant collection celebrating the flavours of southern Italy with hand-painted citrus motifs and traditional Sicilian designs. Now, they’ve joined forces once again for “Blu Mediterraneo,” a tribute to the sea and the joy of morning rituals spent over baked goods.

For this new collection, the brands enlisted Italian artists Matteo Bazzicalupo and Raffaella Mangiarotti, who have adorned each appliance with geometric and floral motifs. Each piece has been meticulously reproduced from the original prototypes, ready to delight their new owners. The collection features toasters, juicers, kettles, an espresso machine, a coffee grinder, a milk frother, and a mini fridge — each guaranteed to bring a touch of luxury and summer vibes into your kitchen year-round.

How Top Aussie Chefs and Suppliers Are Innovating to Minimise Food Waste

At the vanguard of the sustainable food movement, chefs, suppliers and growers are finding delicious uses for invasive species and ingredients deemed too unsightly to sell.

Article by Kara Hurry

From canned tuna to crumbed fish and frozen greens, Simplot is committed to reducing waste. Photograph by Jason Loucas.

From kitchens to paddocks, there’s a new story being written, in which locally available, free-roaming animals are being turned into culinary delights, farmers develop nutrient-rich snacks from wasted produce and our recipe books fill with new techniques that use every part of ingredients. It’s about food being treasured, repurposed and given new life.

The chef Alex Prichard, currently working his magic at Sydney’s renowned restaurant Icebergs, exemplifies this transformation. “The more I engaged with farmers, producers, growers and fishermen, the more I realised how much potential was being left unused,” he says. As culinary director at Icebergs, Prichard pioneers methods that ensure every part of an ingredient is exploited, from scraping tuna bones and curing the meat with spices and chilli to create a spreadable, flavourful appetiser, to using oysters that don’t meet the kitchen’s high presentation standards to craft a unique mayonnaise. Prichard has even used rooster — typically a discarded by-product of the poultry industry — in creative and appealing ways. His ethos of not letting anything go to waste has pushed the boundaries of what can be done in a high-end kitchen, proving that sustainability and high-end dining can work in harmony.

Food Waste Sydney chef Alex Prichard
Sydney chef Alex Prichard, who takes a zero-waste approach at Icebergs restaurant. Photograph by Jason Loucas.

Recently, in collaboration with Icebergs bar director and beverage master Matty Opai, Prichard launched Chell-Oh!, an Australian-made alcoholic drink infused with citrus that’s poised to be the spritz of choice this spring. Available in Yuzucello, Caffè and Limoncello flavours, Chell-Oh! is made from “C-grade” fruit: produce that doesn’t make the cut for retail sale due to blemishes, irregular shapes or discolouration. But it doesn’t stop there. The zest that’s a by-product of making Chell-Oh! is repurposed into a crunchy pastry topping, adding a citrusy note and a honeycomb-like texture that’s perfect on pavlova.

Chefs Vince Trim and Jo Barrett have taken a philosophical and literal step outside the kitchen and into the fields, working hard to address the challenge of invasive species, which is affecting states across Australia. According to the CSIRO, Australia is now home to nearly 3,000 invasive species, costing the nation approximately $25 billion annually in agricultural loss and management. The culling of kangaroos, wallabies, deer and other invasive or overpopulous species is common practice, yet Barrett saw a missed opportunity. “These animals are an untapped resource,” she says. “They’re organic, wild, free-ranging and without hormones or antibiotics, yet we’re not utilising them.” Inspired by her passion for hunting and sustainable food-sourcing, and her connection with Billy Staughton of the sustainable and ethical wild game supplier Discovered Wildfoods, Barrett recognised the potential to turn these animals into something positive. Thus, Wildpie was born — a venture that turns government culling programs into gourmet pies. “If we can create something handmade, gourmet and high-end that the hospitality industry can embrace, then we’re offering a solution,” Barrett says.

Australian Chef Vince Trim
Chef Vince Trim in the central kitchen at Mona, in Tasmania, which services three low-waste dining experiences. Photograph by JESSE HUNNIFORD/COURTESY OF MONA

As executive chef at Mona, Trim is equally committed to using every part of available resources. “The hospitality industry generates a lot of by-products, so it’s crucial that we take responsibility,” he says. “Our green ops team is making significant strides — like diverting more than 750 kilograms of organic matter each week from landfill to composting — and we’re constantly exploring how we can reintegrate more of that back into our food system.”

Tasmania, facing an overpopulation of wallabies, uses widespread culling to protect farmland. Trim describes this as a “loop of craziness”, where perfectly usable animals often go to waste. Thanks to recent legislative changes driven by advocates like Trim, wild-shot meats such as wallaby and deer can now be processed and brought into the food system after undergoing food safety inspections. This not only aids wildlife management but also transforms an ecological challenge into a valuable culinary resource.

Trim has also turned his attention to the ocean, where invasive species like the long-spined sea urchin are wreaking havoc on marine ecosystems. Driven south by climate change, these urchins are destroying kelp forests and disrupting marine life. For Trim, incorporating these problematic species into his cooking is about addressing an unseen ecological crisis by turning these invaders into valuable resources. “People don’t think about what’s happening under the ocean,” he says.

Just as he uses wild deer in his menus, Trim is passionate about transforming sea urchins into star dishes, highlighting the vital connection between our food choices and the health of our planet. “We need to use everything more, recycle, repurpose,” he says. “With effort and creativity, we can turn what’s overlooked into something valuable and exciting.”

Prichard’s pavlova with Chell-Oh! crunch
Prichard’s pavlova with Chell-Oh! crunch. Photograph by Jason Loucas.

John Said, CEO of the fresh-produce supplier Fresh Select and spin-off upcycling company Nutri V, is at the forefront of Australia’s upcycled foods market. Collaborating with the CSIRO, he has developed innovative vegetable powders and snacks that successfully repurpose broccoli, pumpkin and cauliflower that would otherwise be discarded. “We would sit in [Fresh Select] meetings and simply talk basic numbers,” he recalls. “We would plant 10 plants of broccoli and we would only ever harvest seven and a half, eight at the most. Same for cauliflower, same for pumpkin. In other words, our yield was always hovering around 75 to 80 per cent of what we would plant. Before you know it, food waste was a topic. We needed to do something about it.”

The result is a line of nutrient-dense vegetable powders and crunchy vegetable puffs in three delicious flavours and varieties under the Nutri V label. “By investing in research, we can create products that are good for the environment and appealing to consumers,” Said says, articulating a vision of a world where nothing is wasted and everything is valued.

Simplot is another family-owned Australian company that’s delving deeper into the entire food system. For those unfamiliar with the name, just check your pantry — from Birds Eye and Edgell to Leggo’s and Providore d’Italia, it’s likely you have something from Simplot at home. Simplot has been a key participant in End Food Waste Australia’s Australian Food Pact, a collaborative initiative aiming to halve the nation’s discarded food by 2030. “At Simplot we employ a zero-loss mindset, continually striving to be more efficient and do more with less,” says Phoebe Dowling, Simplot’s head of global food sustainability.

One of the company’s key initiatives is a partnership with the waste broker Nationwide Waste Solutions to ensure that any damaged or otherwise non-consumable products are managed sustainably, drastically reducing what ends up in landfill. Dowling also highlights its collaboration with the hunger relief agency Foodbank Australia, noting, “We constantly work with them to build food rescue into our product design and manufacturing processes, ensuring that as much surplus food as possible is redirected to where it’s needed most.”

Simplot’s commitment to sustainability extends to its products, such as the frozen bean category, where they’ve challenged traditional defect tolerances to reduce unnecessary rejections, contributing further to their goal of minimising what gets discarded. These efforts, Dowling says, are part of a broader strategy, recognising that “minimising food loss is multidimensional — it can financially benefit manufacturers and farmers, reduce greenhouse gasses and address food insecurity”.

Mandy Hall, a former “MasterChef Australia” contender known for championing fermentation before it became cool, is now the campaign director for End Food Waste Australia. Hall emphasises the urgency of a collective wake-up call for Australians akin to the Cancer Council’s “Slip, Slop, Slap” campaign that launched in 1981 and changed our behaviour around sun safety. “We need that same level of awareness when it comes to food waste,” Hall says. She regards the change as a grassroots movement, “something positive, relatable and empowering. Something easy. Something that can even be a source of pride for people to own and talk about.

Nutri V vegetable powders
Nutri V vegetable powders served at the NGV for the Telstra Creativity and Innovation Series event “The Future of Food”. Photograph by MICHAEL PHAM.

“It’s about asking ourselves, can we use this ingredient in a different way?” Hall continues. “Can we support restaurants that are committed to reducing waste? It’s time to take ownership of the food we consume and make sustainable choices part of our everyday routine.”

The path towards zero waste is strewn with obstacles, but its advocates are undeterred. Their work is a testament to the idea that with passion, creativity and a commitment to doing better, we can turn waste into something worth cherishing. Perhaps as we cook up a storm tonight, we can remember that true luxury lies not in what we discard in the pursuit of perfection but in what we save and transform. This is the new frontier of food: it’s not just about sustainability, but redefining how we use our resources.