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An Interview with Ernesto Padilla
Q: That ended the maduro? A: That pretty much ended that. But then I met a guy with a
small factory, Pepin [Garcia]. I smoked his cigars–I thought they were great. I was impressed. And
we got to talking about the possibility of making a brand. But I was always looking around saying,
"Jeez, how many cigars can we make?"
Q: So you were concerned with the size of the factory? A: That, tobacco availability–he
was extremely small at the time and I didn't know if he was going to survive. I was talking to
different people, different factories, nothing was really hitting me, and then when I saw the
construction on Pepin's cigars, and the flavor, I said, "Wow. This is really unique." There was
nothing like it at the time. There were cigars out of Nicaragua that were full bodied, but they
lacked refinement.
Q: What did you tell Pepin that you wanted? Describe the process. A: I came to him and I
was looking for something that was rich. I didn't know what he could do. I knew his style. Before
coming to Miami he worked in Nicaragua, and he got to play with Nicaraguan tobacco and really
learn how to work it. I wanted something that was Cubanesque.
Q: Did you know that you wanted a cigar with Nicaraguan tobacco? A: Yes. That's where
the flavor was.
Q: 2003 was your first year–how many cigars did you make? A: Maybe 50,000.
Q: How many are you making now? A: Close to a million cigars. It's not a lot.
Padilla says he makes his cigars to his own taste.
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Q: Were you happy with that first year's production? A: Yeah, it was just myself. I
would go out there, try to sell to a cigar store, come back, pack it myself, go out and do it
again.
Q: What's your philosophy with cigars? A: I want to be synonymous with traditional
cigars. I see people around me making bigger ring gauge cigars. I've never come out with a bigger
ring gauge, because I don't think the blend is interesting in a bigger ring gauge. If I were to
take that blend you're smoking, the 1932 Corona Gorda, and try to make it bigger, it wouldn't
taste the same. And it feels awkward in your mouth. I don't recall ever in the history of cigars,
things being that big. The toughest size to make is a lancero. I offer that in every brand I make.
I think the blend really rocks in those sizes–it's really harmonious, it blends really well. You
can really feel the ligero a little more.
Q: Speaking of sizes, let's talk about the Padilla 1932 La Perla, which is a really small
cigar. A: I haven't smoked one in a while. [He gets up, takes the short walk to his
inventory room and comes back with a box of 50.] It's 4 1/2 by 40. This is the perfect example of
how a little cigar can have a lot of flavor. It's a punchy little cigar–I really love it. I didn't
think it was going to do so hot commercially, [but] this size has been meteoric. [He lights the
cigar.] That's going against the current right now. I know the bigger European companies are
trying to get guys to smoke cigarillos, but to me it's not really the same thing–this is actually
a cigar.
Q: You made the Padilla brand in tribute to your father. Let's talk about what the numbers
mean. A: '32 is when my father was born. I wanted a cigar to commemorate his birth date.
1948 is when he published his first book of poetry. 1968 he published Fuero del Juego.
Q: Can you describe your brands, and how they differ in strength? A: To me, none of them
are extremely full-bodied cigars. I think they're just rich. Maybe if you haven't been smoking for
a while it's not the cigar for you, but if you want to experiment with something richer in flavor
and complexity, these cigars are a good way to start. I'd say the 1932 is probably one of the
fuller ones.
Q: I'm smoking the '32 now–I'd say it's a medium-plus body. A: Five to seven years ago
people would probably have considered that a full body. I think the Miami and the '32 are,
strengthwise, what a Cuban is.
Q: And the '48? A: For me it's a milder smoke. I smoke it earlier in the day.
Q: How many cigars do you smoke a day? I think you've smoked three so far during the time we've
been together. A: On average? Probably six to maybe sometimes 10. I lose track.
Q: When do you like your first cigar? A: About 8:30 [a.m.]. I smoke before I even eat
anything sometimes. It's been a while since I've felt [dizzy] from a cigar. And I don't like it
when people say "that cigar kicked my ass." If you want your ass kicked, go hang out with Mike
Tyson. [He laughs] You really want to get into it, really enjoy the flavors. And a lot of people
confuse strength with flavor.
Q: For a small company you have cigars made in a variety of places. The Hybrids are made in the
Dominican Republic, the Miamis are obviously made in Miami, the Habanos and some of the 1932s are
made in Nicaragua. What about the '68? A: The '68 is made in Honduras, but it uses no
Honduran tobacco. The factory is called Tabacalera Aguilar. It's a father-and-son team, very
similar to Pepin; they have a small production. I made the Padilla Habano in Nicaragua [at Oliva
Cigar Co.] because I wanted something in a more accessible price range. What the Olivas do is they
make a very good medium-bodied cigar. Very solid.
Q: Do you ever worry about having the production spread out like that? You have them
all–Dominican Republic, Honduras, Nicaragua and Miami. A: I think for me it allows me to
keep that boutique thing. Yes, they're made in different factories, but they're all within a
certain standard. I like to challenge myself and work with different people and see what I learn
from these people.
Q: The Padilla brand has only been around since 2004–how do you feel looking back? You've come
a long way in a short time. A: I'm glad that people are accepting the cigars. I'm glad that
in such a short time we've shown that these cigars can fit in. Yes, it's a business, but the
collective philosophy is: make a living doing something you can enjoy. That's what I set out to
do. I don't want to make a cigar I can't live with. Hopefully boutiques keep going. Because I
think that's the little engine that keeps things interesting. Bigger companies have to
please the biggest audience. My goal is to look for a certain audience, and I limit myself not
only in the sizes that I make but in the profiles that I make. That can be not only a weakness but
a strength. I love the fact that my cigars are triple-capped. I love the construction. I love to
see other people now starting on that trend. I like to smoke other people's cigars. I enjoy
smoking cigars–new Cubans, old Cubans, non-Cubans. There's a lot of good stuff out there. We've
gone through the mild thing, I think we hit the peak of the full-bodied thing, now it's more about
flavor and consistency.
Photos by Amy Eckert
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