Woodford Reserve has partnered with Australian resortwear label COMMAS to launch a limited-edition garment designed specifically for the growing at-home entertaining occasion.
Woodford Reserve has partnered with Australian resortwear label COMMAS to launch a limited-edition garment designed specifically for the growing at-home entertaining occasion. The collaboration has produced The Host Tux, which combines elements of traditional tailoring and premium loungewear and is positioned as an alternative for consumers looking to dress up without the formality of a traditional dinner party. The partnership reflects changing entertaining habits, with more casual gatherings at home creating opportunities for drinks brands to connect with consumers outside traditional hospitality occasions. Woodford Reserve Brand Manager at Brown-Forman Eulalie Lazaro said the collaboration was designed to celebrate the smaller social occasions increasingly taking place at home. “At Woodford Reserve, we believe the best moments aren’t always the biggest celebrations. They’re often the casual get-togethers where friends come together over great conversation and a thoughtfully made drink. “As more Australians embrace entertaining at home, we wanted to celebrate the occasion itself. Partnering with COMMAS gave us an unexpected way to champion modern hosting, inspiring Australians to elevate their next gathering through the details – from what they wear to what they pour.” Designed by COMMAS and inspired by Woodford Reserve’s focus on craftsmanship, The Host Tux is made from linen twill and combines a traditional notch lapel with the front tie used on the fashion label’s signature robe. COMMAS Founder and Creative Director Richard Jarman said the design was created to bridge the gap between formal tailoring and casual clothing. “You can always tell when a host is comfortable, the whole room relaxes with them. That’s really what this piece is for,” Jarman said. “The question we kept coming back to was what does this moment actually need? And for hosting at home, the answer was something in between. Not a robe. Not a suit. A bit of both.” The Host Tux will be available in a strictly limited run through COMMAS, with each purchase also providing access to an exclusive offer on a bottle of Woodford Reserve. The activation gives Woodford Reserve another way to position bourbon within casual social occasions and encourage consumers to put greater consideration into their drinks choices when entertaining at home. Andy joined Intermedia as Editor of The Shout in 2015, writing news on a daily basis and also writing features for National Liquor News. Now Managing Editor of both The Shout and Bars and Cocktails. More by Andy Young Woodford Reserve has partnered with Australian resortwear label COMMAS to launch a limited-edition garment designed specifically for the growing at-home entertaining occasion. The collaboration has produced The Host Tux, which combines elements of traditional tailoring and premium loungewear and is positioned as an alternative for consumers looking to dress up without the formality of a traditional dinner party. The partnership reflects changing entertaining habits, with more casual gatherings at home creating opportunities for drinks brands to connect with consumers outside traditional hospitality occasions. Woodford Reserve Brand Manager at Brown-Forman Eulalie Lazaro said the collaboration was designed to celebrate the smaller social occasions increasingly taking place at home. “At Woodford Reserve, we believe the best moments aren’t always the biggest celebrations. They’re often the casual get-togethers where friends come together over great conversation and a thoughtfully made drink. “As more Australians embrace entertaining at home, we wanted to celebrate the occasion itself. Partnering with COMMAS gave us an unexpected way to champion modern hosting, inspiring Australians to elevate their next gathering through the details – from what they wear to what they pour.” Designed by COMMAS and inspired by Woodford Reserve’s focus on craftsmanship, The Host Tux is made from linen twill and combines a traditional notch lapel with the front tie used on the fashion label’s signature robe. COMMAS Founder and Creative Director Richard Jarman said the design was created to bridge the gap between formal tailoring and casual clothing. “You can always tell when a host is comfortable, the whole room relaxes with them. That’s really what this piece is for,” Jarman said. “The question we kept coming back to was what does this moment actually need? And for hosting at home, the answer was something in between. Not a robe. Not a suit. A bit of both.” The Host Tux will be available in a strictly limited run through COMMAS, with each purchase also providing access to an exclusive offer on a bottle of Woodford Reserve. The activation gives Woodford Reserve another way to position bourbon within casual social occasions and encourage consumers to put greater consideration into their drinks choices when entertaining at home. Andy joined Intermedia as Editor of The Shout in 2015, writing news on a daily basis and also writing features for National Liquor News. Now Managing Editor of both The Shout and Bars and Cocktails. More by Andy Young Your email address will not be published. Required fields are marked * Comment * Name * Email * Website Save my name, email, and website in this browser for the next time I comment. Notify me of follow-up comments by email. Notify me of new posts by email. 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Esca Group is gearing up to bring Japanese-Peruvian restaurant Amé to Darlinghurst's burgeoning Oxford & Foley precinct this October.
Esca Group – the team behind lauded Sydney restaurants Aalia, Besa, Nour, Itō, and Jōji – is gearing up to bring Japanese-Peruvian cuisine to Sydney’s Oxford Street this October. Amé will join Darlinghurst’s burgeoning Oxford & Foley precinct, which is already home to Aenza and Mecca Coffee, and is poised to welcome Australia’s first Soho House in 2028. The restaurant, led by Executive Chef Erik Ortolani, will draw inspiration from Nikkei cuisine – a fusion born from 130 years of Japanese immigration to Peru. Esca Group Co-Founder and Creative Director Ibrahim Moubadder says the cuisine feels underrepresented in Sydney. “I’ve always loved Nikkei cuisine. It’s incredibly vibrant, layered and exciting,” says Moubadder. “Sydney is one of the greatest dining cities because we don’t just replicate cuisines, our chefs interpret them through the way this city eats, and I don’t think Nikkei has had that moment here yet. That’s what excites us about Amé.” Amé will be located at 84 Oxford Street and open daily for dinner, and for lunch Wednesday to Sunday, from October 2026. For exclusive hospitality news every Tuesday and Thursday, subscribe here or follow us on LinkedIn and Instagram. Sponsored by NNA Sponsored by Comcater Lorem ipsum dolor sit amet, consectetur adipiscing elit. Fusce ac ornare lectus. Sed bibendum lobortis... Lorem ipsum dolor sit amet, consectetur adipiscing elit. Fusce ac ornare lectus. Sed bibendum lobortis... hbspt.forms.create({ region: "na1", portalId: "8838799", formId: "e54699d2-4fed-4c75-a5cb-6e11059ed6d3" });
The doors to the second iteration of Stanley have opened, bringing Cantonese dining to Manly Wharf just in time for the first days of spring.
Louis Tikaram has opened the doors on the second iteration of Stanley, delivering Cantonese dining to Manly Wharf just in time for the first days of spring. The restaurant is the latest to join the Artemus Group’s growing Manly Wharf portfolio, after the group took ownership of the destination in April 2024 for a reported $110 million. It follows the successful launch of Felons Seafood and its subsequent barrel room expansion. The opening marks Tikaram’s welcome return to Sydney after stints in the US and Brisbane. Tikaram grew up in Mullumbimby on the NSW North Coast before moving to Sydney at just 17 and training in some of the country’s most respected kitchens, including Longrain, Bentley Restaurant + Bar, and Tetsuya’s. He stayed in the city for 10 years before jet-setting to LA, where he led acclaimed multi-level restaurant and bar E.P. & L.P. in West Hollywood. In 2019, he returned to Australia. “When I was coming back from LA, I was quite timid about coming back to Sydney. There is so much good Asian food, the standards are so high. I decided to go back to where I grew up around Mullumbimby and around Brisbane which is amazing, it was such a great opportunity,” says the chef. It was during this period that he met Artemus Group Founder and Director Adam Flaskas and conceived of a Cantonese restaurant that would be shaped by his Fijian-Chinese heritage. This vision culminated in Stanley at Brisbane’s Howard Smith Wharves, which drew inspiration from Hong Kong’s seaside Stanley Bay, followed by Stan’s, a bar on the floor above the restaurant. “Fast-forward seven years … to be back in Sydney and now to be finally standing here on opening week is so special,” says Tikaram. “Sydney has a massive, massive place in my heart.” Parts of the menu are directly inspired by local NSW produce – such as the Southern Rock lobsters sourced from Kiama and served with with XO sauce and crispy noodle. “I got to meet the lobster diver the other day,” says Tikaram. “Having this produce that is so fresh and so unique to this area has been really special.” But much of the menu brings “tried and true” dishes from the Brisbane restaurant to Sydney’s shores. These include smaller plates like New Zealand Ōra King salmon with calamansi, sesame, and fennel; cold silken tofu with vegetarian XO sauce and crispy wonton; and cucumber and snow pea salad with enoki and sesame dressing. There’s also a large selection of dim sum, salt and pepper varieties, BBQ platters, and of course, Peking duck. Tikaram is particularly proud of the restaurant’s custom-built duck oven, which is the centrepiece of the 248-seater restaurant. It’s dedicated to Peking duck served with pancakes or ‘imperial style’, where half is carved tableside and the remainder becomes san choy bao. “You have to try the duck. That was a labour of love. It was a Cinderella story getting that thing [the oven] in here, but we did it. You can view it from all sides of the restaurant and you can smell the duck cooking,” he says. Tikaram says you can “choose your own adventure” at the restaurant, thanks to the detailed share-style menu, and extensive wine program led by sommelier Christian Blair, which is displayed on a dedicated cellar wall. The fitout resembles a traditional Cantonese dining room, with dark timber, woven rattan ceilings, and green and crimson tones running throughout, and Tikaram says the space inspires his cooking. “It’s like looking into your living room from your kitchen in your home and seeing people sitting together talking, laughing, and enjoying – that’s just what food is for me.” Flaskas says that the Artemus Group is incredibly proud to have Stanley open in Manly and to welcome Tikaram back to Sydney. “Stanley has been a long time in the making, and so much passion and attention to detail has gone into creating it. Seeing the restaurant finally come to life on the Manly waterfront is an incredibly exciting moment for all of us.” “We’re looking forward to welcoming locals from Manly and right across the Northern Beaches. Bring your friends and family, settle in over some authentic Cantonese cooking, and enjoy the views across Sydney Harbour.” To celebrate the opening, Manly and Northern Beaches guests dining at Stanley until the end of September will receive a complimentary glass of wine or beer with their meal. Stanley at Manly Wharf is now open Wednesday to Friday from 12pm until late and Saturday and Sunday from 11am until late. For more information and bookings, visit Stanley Restaurant. Photography by Will Meppen. For exclusive hospitality news every Tuesday and Thursday, subscribe here or follow us on LinkedIn and Instagram Sponsored by NNA Sponsored by Comcater Lorem ipsum dolor sit amet, consectetur adipiscing elit. Fusce ac ornare lectus. Sed bibendum lobortis... 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Sept. 8, 2026By Cody Profaca New analysis from the IWSR shows that the impact of premiumisation on beverage alcohol has been distorted by the effects of inflation. The global drinks insights provider compared the average price-per-litre of alcohol against Oxford Economics’ inflation measure, and found inflation has significantly outpaced premiumisation over the past four years. The difference was nine percentage points in 2022 and three percentage points in 2023, 2024, and 2025. The IWSR also found increasingly limited consumer willingness to pay more for premium bottles, which it attributed to inflationary pressures along with increased competition across both essentials and discretionary spend categories. The pressure is compounded by an increasingly K-shaped global economy, where the very wealthy remain willing to purchase prestige-plus products, while lower-income consumers cite cost as the number one reason for cutting back consumption. Consumer understanding of ‘premium’ is also shifting, moving towards experience-based purchases, or what the IWSR describes as moving from “show it” to “live it”. Luke Tegner, Global Head of Consulting at IWSR, said the findings have serious implications for drinks businesses globally, including in Australia. “The industry’s premiumisation tailwind has in fact under-indexed versus inflation,” said Tegner. “The idea that the value growth seen in 2022-25 is evidence of a successful premiumisation strategy needs to be revisited on a category, market and brand level, with inflation stripped out.” Premium-plus wine performed better relative to standard products, with value holding steady in 2025 despite total wine volumes falling 2 per cent. However, the overall category remains in structural decline. The IWSR highlighted Australia alongside France, Italy and Spain as markets showing an opportunity for premium-plus wine. It reported that growth is being driven by "domestic pride", with consumers trading up for everyday at-home occasions, offsetting weaker export volume trends. Globally, the strongest evidence of premiumisation in 2025 occurred in RTDs and beer. Premium-plus RTDs grew 15 per cent by volume and 21 per cent by value, and now have the highest average price per serve globally. Premium-plus beer grew 1 per cent by volume and 3 per cent by value – one of the most encouraging data points in an otherwise difficult year for the beer category. The premiumisation of beer and RTD has been clearly identified in Australia. Speaking with Drinks Trade in August, LION CEO Anubha Sahasrabuddhe used the double-digit growth of Stone & Wood, Guinness and Kirin Ichiban “in a beer category that's minus two at best” as examples. “Cost-of-living is incredibly pertinent to our consumers. When they choose to consume, they want something a bit more premium, a bit more of an experience,” she said. Premium-plus spirits fell 6 per cent by volume and 7 per cent by value in 2025, dragged down largely by big losses for baijiu in China. Excluding national spirits, premium-plus spirits declined 1 per cent by both volume and value. Luke Tegner said the rise of RTDs “challenges the argument” that volume decline of spirits or wine is purely a price sensitivity issue, reinforcing that “consumers are looking for value in the truest sense, not cheapness.” He concluded: “The task for the industry is to strip consumer price inflation out of the value growth experienced over the past four years, and then identify what is left of the premiumisation story. Brand owners then need to ask themselves: ‘is our premiumisation strategy a pricing story – or a genuine consumer experience story?’” // Australia’s drinks trade to contract 5% by 2035, forecasts IWSR Share the content Sept. 3, 2026 Aug. 21, 2026 Aug. 19, 2026 Aug. 19, 2026 Aug. 18, 2026 Aug. 17, 2026 Aug. 17, 2026 Aug. 7, 2026 Aug. 4, 2026
Sept. 8, 2026By Cody Profaca Drinks Trade recently hosted its annual Champagne and Sparkling Tasting Panel, with the results set to be published and distributed next week in our special 100th edition. Joining the panel once again was Ed Carr, chief winemaker at House of Arras. Carr is someone who needs little introduction. Widely regarded as one of Australia’s greatest sparkling winemaker, he is credited with helping to pioneer Tasmanian sparkling 30 years ago, and has continued to shape its future ever since. In 2024, he was named the IWC's second non-Champagne Sparkling Winemaker of the Year in the award’s 40-year history. Speaking with Drinks Trade, Ed Carr said he believes Australian sparkling wine is currently entering its "next interesting phase” as producers release older vintage wines and hold more reserve wine “There is more aged wine – in the vintage sector in particular – on the market, and I'm thinking that's a conscious choice by the producers to get more complexity and depth to their styles," Ed Carr told Drinks Trade. “That's what I think is the next sort of interesting phase; to see where producers finally settle with the age of the wines within their brand and for each individual label.” House of Arras has been ahead of the curve, with a catalogue of museum wine dating back more than two decades supporting a now globally recognised portfolio. This includes E.J. Carr Late Disgorged 1998 Magnum becoming the first non-Champagne sparkling wine to receive a 100-point score in the Robert Parker Wine Advocate. While House of Arras has only reported minor changes to its winemaking over the past three decades, the Australian sparkling wine category and the way consumers perceive it have evolved dramatically. “I don't know if other people are doing what we've done,” said Carr. “We've been very fortunate in the way our styles evolved. It's taken a long time to get there. The fortune for us is, with the new management at DMG, we've got a lot of focus on this one brand, and support for the quality.” House of Arras 2025 vintage collection unveiled last September Ed Carr said the next phase of premium Australian sparkling is less about proving quality and more about personal expression and philosophy, much as is true when comparing different Champagne houses. He explained: “The top end of Australian sparkling is going really well. It's well placed. The recognised labels of quality are in the right areas, and they've developed their own house styles and they're sticking to that. For the consumer, there's a lot of choice to look at some very good wines of very similar qualities, and then it's up to the consumer to choose which house style that they really like.” Carr's analogy has some overlap to the concept of terroir. Different producers should be developing different styles based on what the land has given them, with their own personal flair mixed in. “A lot of the producers have their own terroir, and they've built their own house styles on it, and we're seeing a lot of maturity now that have really locked in their styles – consumers can be very confident at the style of wine that they're going to get." Carr continued: “At the top end of town, you've seen all the all the premium cold climate regions showing wines of great depth and character … The quality is there, the diversity is there, and it's really just bringing that to the market. Sparkling is growing in a wine climate that's probably declining overall, so it's still very good news for sparkling.” House of Arras Grand Vintage and Brut Elite (left); Chief Winemaker Ed Carr inspecting chardonnay (centre & right) Years' worth of results, including those from our panel to be published next week, reinforce premium Australian sparkling as a clear competitor to Champagne on quality, while generally offering better value. Ed Carr said, putting the muscat-based budget expressions to one side, Australian sparkling wines should be compared directly against their French peers. “In the traditional three varieties – chardonnay, pinot noir, pinot meunier – I think we should be thinking on a level playing field. We're looking for very similar characters, but still expressing each region or country to show their own terroir and their own individual house styles. Judging on the same characters.” House of Arras is “seeing good growth … up against some pretty tough competition”, said Carr, with its sights firmly set on expanding into more export markets. It is taking a market-by-market approach, noting that sparkling wine varies significantly in different parts of the world. House of Arras’ range spans several premium price points, making this an easier prospect. “Each market we evaluate individually,” he said. “We have a range of price points and styles that different wines will suit different markets for their maturity of that market … A lot of markets to test and find where we sit internationally, but the UK and some markets in Europe and Asia as well are starting to show some green shoots. We certainly hope for those to grow up.” When asked if he had advice to the broader wine trade, Ed Carr said it is about raising consumer awareness, whether through public tastings, entering shows, or otherwise. He concluded by stating he is happy with where House of Arras and Tasmanian sparkling are at. “We chose Tasmania and I think we're getting reward now for the philosophy and the ageing philosophy. Again our policies of making wines of age and depth is really starting to show in the market and it's getting recognised, so we'll be doing much of the same as well just to try and get that out into the sort of recognition of the consumers.” // Interview: Looking to the future with the cellar master of one of Champagne’s oldest maisons ‘Australia has never been so important’: Piper Heidsieck CEO on future direction How a new Champagne brand is tapping the Australian opportunity, differently Share the content Sept. 8, 2026 Sept. 7, 2026 Sept. 7, 2026 Sept. 7, 2026 Sept. 7, 2026 Sept. 4, 2026 Sept. 3, 2026 Sept. 3, 2026 Sept. 3, 2026
Sept. 8, 2026By Markus Patz There are vineyards that produce great wine. There are vineyards that tell stories. And then there are vineyards like El Vinyet, where every vine is a survivor, every trunk a manuscript, and every bunch of grapes another page in a history that almost vanished forever. I arrived there expecting to see old vines. Instead, I found a forgotten civilisation. The road winds gently through the dry hills of northern Lleida. Golden wheat fields shimmer under an unforgiving Mediterranean sun. Olive trees cling stubbornly to rocky slopes. Above everything rises the pale gypsum ridge of the Serra Llarga, part of the great Pyrenean gypsum anticline, Europe's largest gypsum formation of its kind, whose white scars give the wines of Lagravera their unmistakable freshness and saline edge. In the distance stands the Abbey of Santa Maria de Bellpuig de les Avellanes. It has watched over this landscape since the twelfth century. Long before wine critics. Long before appellations. Long before anyone spoke about terroir. Like so many monasteries across Europe, the abbey was once surrounded by vines. Wine was not a luxury. It was daily life. Safer than water. It was medicine. It stood for hospitality. It meant Communion. Payment. Celebration. The Abbey of Santa Maria de Bellpuig de les Avellanes and the dramatic landscape of northern Lleida Every family owned vines. Every village made wine. The hills around Castelló de Farfanya were covered with vineyards. Today they are almost gone. When phylloxera arrived during the late nineteenth century, it devastated European vineyards. Catalonia became one of the first regions to replant using American rootstocks. El Vinyet dates from 1889, making it one of those earliest reborn vineyards after the catastrophe. It represents not survival from phylloxera, but survival because people refused to surrender to it. Then came another threat. Perhaps an even greater one. Progress. The Aragón Canal transformed agriculture. Fruit became more profitable than grapes. Young people left villages. Vineyards disappeared. Stone by stone. Generation by generation. Locals would later describe this region as "the land of erased vines." Yet somehow this tiny vineyard remained. Not because anyone expected to make money from it. Because families could not bear to pull it out. They continued making a little wine for themselves. Year after year. Quietly. Without anyone noticing. Without realising they were preserving a genetic library that no scientist could ever recreate. Walking among these vines today is unlike visiting almost any other vineyard. There are no neat monocultures. No uniform rows. Every vine seems to possess its own personality. Some lean. Some twist. Some almost crawl across the earth. Their trunks resemble ancient olive trees more than grapevines. Their bark records well over a century of droughts, frosts, wars, harvests and forgotten conversations. You don't inspect these vines. You meet them. One vine in particular stopped me in my tracks. It almost looked like a weathered human figure, bent by time yet still carrying fruit. The younger shoots reached skyward while the ancient wood bore the scars of 136 years of life. It struck me as a wonderful metaphor for the wine world itself: every vintage is young, but every great vineyard stands on the shoulders of generations. Head Winemaker Pilar Salillas in El Vinyet (left, centre); and with author Markus Patz Then Pilar Salillas begins explaining what lies beneath the leaves. Twenty-four different grape varieties. Planted together. Growing together. A true field blend from another age. No modern vineyard would ever be designed like this. It belongs to another era. A time when biodiversity was not a philosophy. It was simply farming. Among them are remarkable indigenous cultivars whose names have almost disappeared from modern viticulture. Most of them are not even listed in Jancis Robinson’s et.al. indispensable guide to ‘Wine Grapes’: Isaga, Pirineos 4, Pirineos 17, Trobat Negre, Trobat Blanc, Picapoll Roig de la Noguera, Valencí, Rojal, Mandó, Pansa de la Noguera and Pansa Valenciana. There is also Hebén, one of the great ancestral grapes of the Iberian Peninsula and a genetic parent of varieties such as Xarel·lo, Macabeu and Palomino. Alongside them grow more familiar names including Monastrell, Garnacha Negra, Garnacha Blanca, Sumoll Blanc, Macabeu, Moscatel de Alejandría and Xarel·lo. Although the vines grow intermingled, they are not harvested together. Each variety is picked only when it reaches optimum ripeness, meaning El Vinyet usually requires between three and six separate harvest passes every vintage. The field blend reflects where the vines grow, not when they are harvested. Then comes the sentence that stopped me. "Three of these vines still don't have names." DNA analysis continues. Science has identified them only by research codes: X8, X Avi 1997 and X Avi 2167. To the best of current knowledge, they do not match any known grape variety. Imagine that. Standing beside vines more than 135 years old. Producing grapes every vintage. Making wine. Yet still unknown to modern viticulture. Not rediscovered. Still waiting to be introduced to the world. It is difficult to think of another vineyard where the future of wine may quite literally be growing unnoticed among its past. This is where Lagravera's story becomes much larger than wine. The winery itself began by restoring an exhausted gravel pit into a living vineyard. Today it farms biodynamically, encourages biodiversity through sheep, herbs, insects and compost, and believes that healthy wines begin with healthy ecosystems. But El Vinyet represents something even rarer. Not restoration. Preservation. Rather than replacing history, Lagravera became its custodian. The vineyard was protected. Studied. Respected. Allowed to continue telling its own story. Some of the wines grown at the vineyard Standing beneath one of those immense old trunks, glass in hand, I found myself thinking less about wine than about time. The people who planted these vines never imagined Instagram. Or DNA sequencing. Or biodynamics. Or global warming. They simply hoped their children would inherit healthy vines. Instead, those vines have become a message to ours. Perhaps the greatest wines are not those made from the oldest vines. Perhaps they are those that remind us that vines, like people, become more interesting not despite their scars, but because of them. There is something profoundly hopeful about El Vinyet. It reminds us that agriculture is not merely production. It is stewardship. Every old vine preserved expands our understanding of where wine came from, and perhaps where it should go next. Because once an ancient vineyard is grubbed up, its story is lost forever. Wine loves novelty. New clones. New techniques. New oak. New varieties. Yet perhaps the greatest discoveries still lie hidden inside the oldest vineyards. Waiting patiently. As they have done for more than a century. Here, in a quiet corner of Costers del Segre, among vines planted in 1889 beneath the gaze of an eight-hundred-year-old abbey, that story is still being written. Astonishingly ... Three of its authors still don't have names Share the content Sept. 8, 2026 Sept. 7, 2026 Sept. 7, 2026 Sept. 7, 2026 Sept. 7, 2026 Sept. 4, 2026 Sept. 3, 2026 Sept. 3, 2026 Sept. 3, 2026