logo
Why people love Hong Kong-style egg waffles and best places to eat them

Why people love Hong Kong-style egg waffles and best places to eat them

Hong Kong-style egg waffles are one of the city's most beloved street snacks.
Advertisement
Called gai daan zai – 'little chicken eggs' – in Cantonese and also simply 'egg puffs' in English, these golden treats have been around in Hong Kong since the 1950s.
Unlike Western waffles, which have a grid-like pattern, Hong Kong's egg waffles are covered in small oval-shaped bubbles, which may have inspired the name 'little eggs'.
The batter is typically made with eggs, flour, sugar and evaporated milk. When cooked just right, the waffle has a thin, crispy layer on the outside and a deliciously contrasting soft and chewy texture inside, as well as little air pockets where the 'bubbles' are.
An egg waffle from Master Low-Key in Shau Kei Wan. Photo: Instagram/master_low_key_food_shop
The street snack is a uniquely Hong Kong one that occupies a special place in many Hongkongers' hearts.
Advertisement
'I used to beg my mom for egg waffles after school,' says Queenie Chan, a 46-year-old Hongkonger who still buys them occasionally to relive her childhood memories.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Rising hopes of a revival in Filipino cinema
Rising hopes of a revival in Filipino cinema

South China Morning Post

timean hour ago

  • South China Morning Post

Rising hopes of a revival in Filipino cinema

Filipino cinema made a resounding statement at this year's Cannes Film Festival, signalling a potential return to the global stage for a country with a rich, yet often overlooked, cinematic history. Five Filipino-produced films graced the Croisette, including acclaimed director Lav Diaz's feature-length production Magellan , Japanese co-production Renoir, and short films Bleat! and Ali. Advertisement The festival marked a historic moment for Filipina filmmakers. Kyla Danelle Romero became the first Filipina filmmaker to compete for the Palme d'Or in the 'Short Films in Competition' section with her 15-minute film Agapito, a poignant story about an impoverished family working as pin-setters in an old bowling alley. Her director of photography, Geia de Vera, also made a statement as one of the first Filipina cinematographers featured in the same category. The news is a welcome sign that Filipino cinema may be ready to make an international comeback and shows 'a renewed interest in what artists from this side of the world have to offer in terms of cinematic storytelling,' according to Anne Frances Sangil, associate professor at De La Salle University. While Filipino films may not boast the same global renown as those from regional powerhouses such as Japan or South Korea, the country has long enjoyed 'a definitive, strong national cinema,' declares Sangil. During its 1950s heyday, the local film industry produced hundreds of films. The very best received international acclaim – Manuel Conde's Genghis Khan earned a technical achievement citation at the 1952 Venice Film Festival. Despite its lack of overseas influence, Filipino cinema has been quietly flourishing domestically for some time. Advertisement 'The new era of Filipino cinema began long ago, with the coming of the New Wave [around the millennium],' says Parichay Patra, a film critic, academic and co-editor of Sine Ni Lav Diaz, the first book-length study of Lav Diaz. 'With more dedicated festivals, short and independent works, it could acquire more visibility on the international scene.'

Hong Kong Palace Museum offers magic carpet ride from Islamic empires
Hong Kong Palace Museum offers magic carpet ride from Islamic empires

South China Morning Post

timean hour ago

  • South China Morning Post

Hong Kong Palace Museum offers magic carpet ride from Islamic empires

We're all familiar with Aladdin's magic carpet, but have you ever wondered from which corner of the Islamic world it might hail? The Hong Kong Palace Museum 's latest exhibition might provide some clues. Organised in collaboration with the Museum of Islamic Art in Doha, Qatar, 'Wonders of Imperial Carpets' presents around 100 masterpieces collected from the Safavid dynasty in Iran (1501-1736), Mughal dynasty in India (1526-1857) and Ottoman dynasty in Turkey (1299-1923), illustrating the rich cultural and artistic exchange that took place between epochs and regions. Often crafted under royal patronage, imperial carpets were made using traditional Arab techniques and materials such as pashmina wool, silk and gold and silver thread, reflecting a cultural heritage dating back to at least the 7th century BC. A mid-13th century silver-and-gold-inlaid brass basin, from the Ayyubid dynasty or the Mamluk Sultanate, Syria. Photo: courtesy The Museum of Islamic Art, Doha The creation of these artefacts was a years-long process, employing highly skilled artisans and the finest materials and dyes sourced from across the Arab world. These carpets were not only functional but also served as symbols of power and artistic achievement, featuring elaborate patterns such as floral motifs, medallions and calligraphic elements that evolved over centuries. The most precious examples were treasured in royal households and used in ceremonial contexts, often being gifted to kings and emperors in acts of tribute and statecraft. Also on display at the exhibition are the Shah Sulayman 'hunting' carpet, a gift from the Safavids to Francesco Morosini, leader of the Republic of Venice in the late 17th century, and the Kevorkian Hyderabad carpet, which at almost 16 metres is one of the longest Islamic carpets in a museum collection anywhere in the world. Around 100 treasures from the Museum of Islamic Art in Doha have been loaned to the Hong Kong Palace Museum. Photo: courtesy The Museum of Islamic Art, Doha Other highlights include the Çintamani prayer rug from the Ottoman court, decorated with the auspicious çintamani motif, and a floral Xinjiang carpet from the Qianlong period (1735-1796).

Where a 3-Michelin-star restaurant chef in Hong Kong eats simple and fancy food
Where a 3-Michelin-star restaurant chef in Hong Kong eats simple and fancy food

South China Morning Post

time2 hours ago

  • South China Morning Post

Where a 3-Michelin-star restaurant chef in Hong Kong eats simple and fancy food

Hideaki Sato is the chef and co-owner of three-Michelin-star French-Japanese restaurant Ta Vie in Central, Hong Kong. He spoke to Andrew Sun. I was so picky about food when I was young, before I started my career. I wouldn't eat most vegetables or pork, and I was more focused on football, drawing, or making something than eating. Now, I enjoy casual food. I really like honest food that is not fancy and without gimmick. This is Ta Vie's 10th year. In my early years, I tried to create dishes which only exist at Ta Vie, so I forced myself to do a mixture of Japanese, French and Chinese cuisines. But during Covid, I started creating dishes more naturally from my own sense and background, and was concerned more about harmony. I'm trying to avoid doing one course that is very French, the next that is very Chinese and then Japanese. They all should have different flavours and textures but still be consistent in concept. Shirako with ponzu at Kyoto-Oden Masa, in Causeway Bay. Photo: Susan Jung One of my favourite restaurants is Jean May (Shop A, 14 Gresson Street, Wan Chai, tel: 9180 6778). Chef Tiff Lo's cuisine is so straightforward, and she understands and respects classic French culinary tastes. I also like Kyoto-Oden Masa (19/F, L' Hart, 487-489 Lockhart Rd, Causeway Bay, tel: 2891 1530). Food here is very simple and casual, but the flavour of the oden broth and other details are at a very high level, like in a Kyoto kaiseki restaurant.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store