The 1-3-5 rule that every restaurant needs to know by heart to retain customers' 'emotions'
Above The secret to creating unforgettable experiences lies in the dishes that Chef Christian has transformed into artistic icons
At La Maison 1888, the secret to creating unforgettable experiences lies in the dishes that Chef Christian has transformed into artistic icons. If Foie Gras En Galets is a dramatic spaghetti dish with its noodles coiled around a rich, aromatic sauce, then Givré Laitier is a study in monochrome, a dessert shaped through the quiet science of fermentation. Yet the most singular of them all is Spaghetti Debout, the creation that propelled Chef Christian into culinary renown. Within the upright strands of pasta, unusual yet recognisable to connoisseurs of haute cuisine, lies the painstaking precision and patience of a true master. Only through such dedication can the dish reach its peerless level of execution. The noodles are carefully arranged to form a structured tower that quickly softens when bathed in the creamy mushroom sauce, poured tableside by the chef himself, rich with truffles and delicate slices of premium cold cuts.
Above Foie Gras En Galets is a dramatic spaghetti dish with noodles shaped around a fragrant sauce.
One principle at the heart of La Maison 1888's culinary artistry is the steadfast focus on ingredients, an approach championed by Chef Florian Stein in his pursuit of pure flavour. 'For us, a meal always begins with the eyes and gradually unfolds in the mouth. Ultimately, what we aim for is a sensory experience that touches the deepest emotions of our guests,' he shares.
See also: Eating history: Where to experience Asia's most revered culinary traditions
In the end, our goal is to craft a sensory journey that stirs the deepest emotions of our guests.
- Chef Florian Stein -
The journey of culinary discovery in matching the 1-3-5 rule continues with Chef Kien, the creative force behind SÓNO, a celebrated restaurant where Vietnamese cuisine is reimagined with bold, modern flair. His philosophy centres on creating a sense of comfort, while preserving the refinement and elegance essential to the fine dining experience.
To him, an inspiring dish often begins with serendipity—an accidental mishap in the kitchen, a pickled cucumber in a humble street snack, or a fleeting moment in daily life that sparks a new culinary idea. Such details, once transformed, can become the most memorable flavours. Pho, currently the third course on SÓNO's tasting menu, was born from such a moment. Reinventing this beloved Vietnamese staple with an avant-garde spirit is a bold step into uncharted territory.
One lasting impression – three emotional beats – five senses awakened
- Tatler Vietnam -
Here, the familiar pho broth takes an unexpected turn, reimagined as a rich, concentrated seafood velouté. The traditional proteins of beef or chicken are replaced with sweet mackerel, carefully wrapped in cabbage leaves. A final flourish: a delicate layer of caviar to crown the dish. With each component reinvented, SÓNO's Pho becomes a surprising revelation both for local gourmands and international guests alike. 'What matters is not whether diners immediately understand the dish, but how it lingers in their memory afterwards,' the chef reflects.
To round off this exploration of food as visual art, we arrive at Esta Saigon, a restaurant known for elevating native Vietnamese ingredients with a rustic yet refined touch. Here, each creation is presented as a piece of art, served on hand-carved wooden trays or artisanal ceramics. At Esta, a dish does more than please the palate—it becomes the emotional centre of the meal, where the purity of local flavours intertwines with the story the restaurant wishes to tell.
Above From left, clockwise: Dessert Givré Laitier – La Maison 1888; puff pastry with green apple scallops – SÓNO; Beef Wellington – Maison de Rêves Saigon; smoked Stracciatella cheese with pomelo vinegar molasses, pomelo jelly and pomelo leaves – Esta Saigon
For instance, the Nha Trang lobster with kimchi bisque sauce and sesbania flowers is a signature of Esta. The dish paints a rich culinary tableau, journeying from ocean depths to fertile delta, evoking the spirit of distant regions. At its heart is the lobster, fresh, sweet, and vivid, grilled over glowing coals, allowing the smoky perfume to gently infuse the meat. Alongside it, sesbania flowers, a symbol of abundance from the Western Delta, provide a golden visual accent. The true alchemy lies in the kimchi sauce, made from shrimp-shell broth—lightly spicy, richly sour, with depth and heat layered across every bite. A final touch of cinnamon tea oil brings a quiet, fragrant close to the composition, like a whisper sealing the message of the dish.
Every chef has their own secret. For Chef Kien, it's one he refuses to reveal: 'A secret is only good when it is not revealed.' Chef Thao Na, on the other hand, embraces the idea of 'subtle contrasts' and 'unexpected ingredients'. These contrasts appear in dishes like her deceptively simple chicken wings, concealing a generous stuffing of luscious crab meat, served with garlic mayonnaise and a dusting of perilla powder. The art of quiet pairing continues in Esta's wind-dried wild duck, slowly roasted by hand over charcoal and plated with black garlic and dried lavender creating a rustic presentation that remains visually striking.
Above Bubble tartelette, one of the signature appetisers at La Maison 1888 restaurant
Whatever the form, one thing remains certain: presentation is never merely the final flourish. It is woven into the dish from the beginning, an unspoken intention, like the design of ancient Babylon, crafted to draw the eye and stir the spirit. And that is the power of the true culinary artist—chefs who reach the hearts of their guests from the very first glance, and hold them there through every lingering note of flavour.
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Images: Maison Des Reves Saigon; La Maison 1888; SÓNO; ESTA
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EVN Report
a day ago
- EVN Report
'Ges-ges', Half-Hidden, Half-Lost: Talking About Hamshen Armenians Without Labels
'Do you think this is cultural appropriation?' my friend asked as he watched the dancers. The scene at Cascade was unexpected: on a warm Friday evening, hundreds had gathered to perform Armenian dances. The dancers and the crowd represented a rich diversity—both professional and amateur performers of various ages showcased traditional dances from Western and Eastern Armenia. While most participants were clearly locals, some had come from the diaspora to join in. The highlight of the evening, for me, was the traditional Hamshen ring dance, accompanied by bagpipes. Non-Hamshen Armenians were visibly captivated by the distinctive ground-kicking movements and unique melodies—so unlike other Armenian traditions. As perhaps the only Hamshen Armenian there that evening, I caught the curious glance of my anthropologist friend watching the dances beside me. When other Armenians perform or adopt Hamshen dances and music, does it constitute cultural appropriation? Do Hamshen Armenians represent a minority within a larger Armenian 'majority' or 'dominant' group? When other Armenians embrace these traditions, are they simply perpetuating historical power imbalances or expressing solidarity with Hamshen Armenians? But let's start with the basics: Who are Hamshen Armenians? And what makes their dance and music traditions distinctive? Let's talk about history. Hamshen Armenians have lived in the mountainous regions of the Black Sea coast, in cities like Rize and Artvin in contemporary Turkey—areas that were once part of the Pontus Empire. The Pontic culture shaped Hamshen Armenians for generations, influencing their traditional music, dances, and language, traces of which are still visible today.[1] Yet perhaps the most significant shift—or rupture?—occurred during the Ottoman Empire, at least from our modern perspective. After the fall of the Pontus Empire and the rise of the Ottomans, the Christian subjects of Pontus—Hamshen Armenians and their neighbors and local competitors, including Laz, Georgians, and other ethnic groups—experienced gradual but significant political changes. Ottoman authorities alternately cooperated and clashed with local groups to assert control. During this transitional period, the region witnessed a wave of conversions to Islam. Christian Laz, Georgians, and Hamshen Armenians likely converted for several reasons: heavy taxation on non-Muslims, mob violence from Muslims, marginalization within the Ottoman legal and political system that favored Muslims, or the desire to maintain local status amid increasing competition.[2] However, not all converted—some Hamshen Armenians had the financial means to remain Christian, while others maintained their faith through strong ties to the Armenian Church and authorities, which provided them power and security. In the Ottoman millet system, Muslim and Christian Armenians clearly operated under different conditions: they answered to different religious and legal authorities, were subject to different laws and social norms, and did not enjoy the same economic and political rights or security. They were subjects of the same empire, but under significantly different terms. However, the Ottoman system's strict religious hierarchy had an unexpected benefit—it also allowed many groups to maintain their language, culture, and some degree of autonomy and political power. The Hamshen Armenians, whether Christian or Muslim, continued speaking Armenian. Muslim Hamshen Armenians even preserved some of their Pagan/Christian customs or blended them into their Islamic practices. Until very recently, many Muslim Hamshen families celebrated the New Year on January 5, the date of Christian Armenian Christmas, whether or not they acknowledged its Armenian Christian origins. In the 19th century, the Ottoman Empire became increasingly hostile toward Christians and Armenians. They were not equal citizens—in many places, they faced double taxation from both Ottoman and local Muslim authorities, and suffered attacks and massacres by local mobs. During the prolonged Russo-Ottoman wars, Ottoman authorities began deporting the local population from the Eastern Black Sea coast. While Muslim Hamshen Armenians could return to their homes after the clashes, Christian Hamshen Armenians were forced to migrate to the Russian Empire.[3] Some of their descendants still live in Krasnodar or Abkhazia, while others later migrated to Armenia. Muslim Hamshen Armenians who remained in the Ottoman Empire witnessed the massacres and, ultimately, the genocide of Armenians and other Christian minorities in the region. They experienced state violence and political pressure under both the Ottoman Empire and later the Turkish Republic. Through firsthand and secondhand experiences, generations learned that their Christian and Armenian heritage drew suspicion from both Ottoman and secular Turkish authorities, creating security concerns for their families. Despite these constant threats of state violence and marginalization, Muslim Hamshen Armenians preserved their language, customs, and local culture—though without explicitly identifying them as 'Armenian.' It could be argued that Armenian heritage and identity became a taboo, while their local identity of 'Hamshen' (or 'Hemshinli' in Turkish) strengthened. This strategic distancing under the identity of 'Hamshen' did not fully protect them from the wrath of the authorities. The Turkish Republic was built on the vision of a homogeneous Turkish nation, where all ethnic groups were forced to 'forget' their differences and become Turkified. Due to geographical isolation and local political dynamics, Hamshen Armenians near the Georgian border managed to preserve their local Armenian dialect. In many families, including my own, people spoke this Armenian dialect without recognizing it as 'Armenian.' Self-recognition is important, yet how others perceive you also matters. Even before the genocide and the establishment of the Turkish Republic, there are some significant historical accounts on how other Armenians viewed Muslim Hamshen Armenians. These accounts remain valuable for understanding how Hamshen Armenians are perceived today. Christian-ruled European empires took great interest in the religious structure and minorities of the Ottoman Empire. They regularly sent priests, travelers, and scholars to study the social and religious fabric of the declining empire. These missions, which sometimes evolved into missionary activities, included both European-commissioned Armenian priests and Ottoman Armenian religious authorities. One of their tasks was to assess the number and the economic-political value of Christian Armenian subjects. Multiple reports mention 'ges-ges/kes-kes' Armenians—those who appeared Muslim outwardly while maintaining Christianity inwardly. Priests visiting the Hamshen regions reported that many Muslims asked them to perform baptisms, pray in inactive churches, or bless deceased relatives at cemeteries.[4] While it is impossible to verify these accounts or fully understand how successive generations embraced Islam, one fact remains certain: much like the earlier conversion from paganism to Christianity, many Christian customs, beliefs, and rituals persisted among Muslim Hamshen Armenians, albeit in modified forms. Vartavar, for example, is still celebrated in the region without explicit pagan or Christian references. The image of being 'ges-ges'—possessing 'lost' or 'forgotten' qualities and waiting to be found and made complete again—persists today. A review of literature and recent visual materials about Hamshen Armenians shows frequent use of words like 'mystery', 'forced', 'hidden' and 'identity crisis'. The desire to determine how Armenian they really are persists as well. An Istanbul Armenian colleague once shared a telling incident: A group of Hamshen Armenian artists and civil society representatives, along with Istanbul Armenians, visited Armenia for what was planned as a rich cultural program. Their guide, an American-Armenian living in Armenia, insisted they spend the week visiting as many churches as possible and take photos lighting candles. In another troubling incident, a diaspora Armenian scholar visiting Hamshen communities along Turkey's Eastern Black Sea coast, attempted to collect DNA samples from locals. In most cases, he did this without clearly explaining his intentions or getting permission, aiming to 'prove' their Armenian genetic heritage. In contrast to these extreme examples of objectification, there are more inclusive ones. A 2018 survey showed that one-third of respondents from Boston, Cairo, Pasadena and Marseille saw no barrier to being both Armenian and Muslim.[5] Similarly, the 2022 Diaspora Survey found that only one-third of participants felt that being Christian was essential to being Armenian.[6] I increasingly meet Armenians—both in the diaspora and in Armenia—who maintain friendships with Hamshen Armenians from Turkey or engage with their cultural contributions in music, film, journalism and literature. This suggests that religious affiliation and background are becoming less central to Armenian identity. The real difference between past and present encounters between Hamshen Armenians and other Armenians is that Hamshen Armenians are no longer merely subjects of others' narratives and definitions. Today, Hamshen Armenians in Turkey are an incredibly diverse community, most having moved beyond their traditional Hamshen homeland. They hold a wide range of political, religious and social views and values, including varied opinions on what it means to be Hamshen or Hemshin. While some are eager to preserve their ancestral Armenian dialect, others maintain they have Turkic origins from Central Asia. Similarly, some individuals and organizations openly embrace their Hamshen and Armenian heritage, while others strongly reject Armenian connections—even the Armenian dialect they've inherited. Some are devout Muslims, while others are steadfast atheists, with many indifferent to religion as a whole. However, even if they experience greater acceptance by other Armenians as they are, two supposedly secular states with closed borders—Turkey and Armenia—share a common perception of Hamshen Armenians: If they want to be recognized as Armenians, they must (re)convert to Christianity. In Turkey, Hamshen Armenian children cannot attend Armenian schools to learn Armenian without being baptized under the Armenian Church's authority. Similarly, Hamshen Armenians seeking Armenian citizenship must provide proof of baptism, even if they speak Armenian—and even then, citizenship is not guaranteed. The complex experience of Hamshen Armenians challenges nation-states' vision of homogenous populations. The Hamshen dialect has survived through religious conversions, imperial rule, forced migrations, mass violence, and symbolic violence––yet it now stands as one of the 15 endangered languages in Turkey. Despite dedicated efforts by activists and families to preserve it, the dialect faces extinction without state policies supporting multilingualism and Turkish Republic's foundation rests not only on the cultural genocide of Ottoman Christians but also on the assimilation of all language and dialect groups into Turkishness. Under the Treaty of Lausanne (1923), only non-Muslim minorities—Armenians, Greeks and Jews—have limited rights to maintain bilingual schools. Under brutal assimilation policies of the past century, the Hamshen Armenian dialect has relied heavily on oral tradition, lacking the canonized literature, historiography, and institutionalized cultural transmission that enabled diaspora Armenians to preserve Western Armenian language and culture(s) through Armenian Studies and history departments at universities. Most research on Hamshen Armenians—both Christian or Muslim—has been conducted by non-Hamshen Armenians, leaving contemporary Hamshen Armenian priorities and perspectives, particularly in Turkey, largely unrepresented. The hierarchy between researcher and research 'object' is apparent in two ways: when Hamshen Armenians' bodily autonomy is violated through unsolicited DNA swabs, and when they are labeled and 'revealed' by others as 'Islamized,' 'forced,' 'hidden,' or 'true' Armenians—or reduced to mere folkloric elements frozen in time, stripped of contemporary value. Studies funded by Armenian universities or conducted by diaspora Armenian scholars rarely engage with Hamshen Armenian civil society or academic and cultural professionals. This approach leads to problematic research and biased results, as researchers filter Hamshen Armenian practices, behaviors, beliefs, and experiences in Turkey through their own cultural framework and Armenian identity. But back to the original question: Is it really cultural appropriation when people dance to traditional Hamshen Armenian music at Cascade? Historical and social scientific research on Hamshen Armenians raises questions about whether these communities gain genuine voice and agency through such studies. Greater self-reflection about power imbalances and the integration of Hamshen Armenians as equal research partners would help reduce hierarchies between researchers and the communities they are likely willing to support. Meanwhile, Hamshen Armenian artists and musicians have been visiting Armenia, sharing their music and dances both online and in person with other Armenians and engaging in cultural exchange. Despite limited institutional support and resources, they have preserved and reshaped their oral and cultural traditions amid ongoing political pressure in Turkey. Learning and sharing Hamshen Armenian music and dance represents one of the many ways to celebrate their complex history and support their cultural resilience. As long as they join the crowd at Cascade and beyond, more music and dance can be produced. The more the merrier. Author's note: This text is based on a review of and reflections on a Hamshen Armenian language cafe event organized by Akebi e.V. (a network and association of activists with Turkish background in Berlin) and an Armenian Movies Day organized by Tamar Sarkissian and Mischa Badasyan. The event featured Hamshen Armenian filmmaker Özcan Alper and Hamshen Armenian writer Mahir Özkan, bringing together speakers of Hamshen Armenian, Western Armenian, Eastern Armenian, Kurdish and Turkish. I can only wish for more events that bring together people with shared histories and languages to talk about their differences. Footnotes : [1] Kuznetsov, Igor 'Hemsin Ermenileri ile Hemsillerin Kültüründe Pontus Mirası' [Pontus Heritage in the Hamshen Culture], in Hemsin ve Hemsinli Ermeniler: Konferans Makaleleri [Hamshen and Hamshen Armenians: Conference Papers], ed. H. Alvrtsyan, A. Melkonyan, R. Hovhanisyan, E. Petrosyan, and S. Vardanyan (Yerevan: National Academy of Sciences of Armenia, 2007), 185–200. [2] Mouradian, Claire, 'Islamization of Armenians in the Ottoman Empire: The Hamshentsi/Hemshinli Case,' in Armenian Pontus: The Trebizond–Black Sea Communities, ed. Richard G. Hovannisian (Costa Mesa, CA: Mazda Publishers, 2009), 137–58. [3] Hovannisian, Richard G., 'The Armenian Pontus,' in Armenian Pontus: The Trebizond–Black Sea Communities, ed. Richard G. Hovannisian (Costa Mesa, CA: Mazda Publishers, 2009), 1–36. [4] Simonian, Hovann H., 'Hemshin from Islamization to the End of the Nineteenth Century,' in The Hemshin: History, Society and Identity in the Highlands of Northeast Turkey, ed. Hovann H. Simonian (London: Routledge, 2007), 52-99. [5] Tchilingirian, Hratch, ed., Armenian Diaspora Public Opinion (1): Armenian Diaspora Survey 2019 (Argentina, Lebanon, Montreal, Romania) (London: Armenian Institute, 2020). [6] Tchilingirian, Hratch, ed., Armenian Diaspora Public Opinion (3): Armenian Diaspora Survey 2022 (United States of America / Ontario, Canada) (London: Armenian Institute, 2023).
Tatler Asia
5 days ago
- Tatler Asia
Wimbledon style moments: 9 royals and celebrities who served effortless elegance
David Beckham David Beckham delivered perfection in a cream-coloured double-breasted suit from Boss. The impeccable tailoring featured sharp peak lapels, while a contrasting chocolate brown tie added depth. The sports icon's ability to carry classic menswear with ease proves his status as the undisputed king of courtside dressing. Princess Beatrice Above Princess Beatrice offers a fresh interpretation of classic stripes in a Sandro blue-and-white shirt. (Photo: Ray Tang / Anadolu / Getty Images) Princess Beatrice offered a fresh interpretation of classic stripes in a blue-and-white shirt with a matching skirt by French label Sandro. The design featured white floral cutouts with beads on the shoulders and sleeves, unexpected details that elevate the timeless pattern. The royal, who attended Wimbledon with her mother, Sarah Ferguson, Duchess of York, showcased how traditional elements can feel thoroughly chic with the right touches. Cate Blanchett Above Cate Blanchett shows how contemporary tailoring can feel both commanding and comfortable. (Photo: Karwai Tang / WireImage/ Getty Images) The Academy Award winner delivered a masterclass in power suiting with her double-breasted pantsuit by Giorgio Armani. The blue-and-white patterned set featured a relaxed silhouette that radiated ease. Paired with mirrored aviator sunglasses, Blanchett's look was a certified ace, showing how contemporary tailoring can strike the perfect balance between commanding and comfortable. Don't miss: Nicole Kidman at 58: 8 incredible fashion moments stitched with confidence and elegance Priyanka Chopra Jonas Above Priyanka Chopra Jonas aces modern elegance in a halter-neck dress with oversized sunglasses. (Photo: Karwai Tang / WireImage/ Getty Images) Priyanka Chopra Jonas brought Hollywood glamour to Centre Court in a white halter-neck Ralph Lauren dress. Styled with oversized sunglasses—and joined by husband Nick Jonas, also in Ralph Lauren—she embodied sophistication that balanced contemporary flair with classic Wimbledon elegance. Sienna Miller Above Sienna Miller captures summer romance in a floral mini dress with sweet details. (Photo: Karwai Tang / WireImage/ Getty Images) True to her signature boho-chic sensibility, Sienna Miller chose a floral ruffled mini dress by Alessandra Rich that perfectly captured summer romance. The white dress featured delicate purple and orange roses with charming puffed sleeves and a sweet bow detail at the neckline. Her animated courtside reactions showed how the right dress can move beautifully with its wearer, proving that comfort and style need never be mutually exclusive. Eddie Redmayne Above Eddie Redmayne, with his wife Hannah Bagshawe, offers classic charm in an off-white double-breasted linen suit. (Photo: Karwai Tang / WireImage/ Getty Images) The British actor, accompanied by his wife Hannah Bagshawe, exemplified quintessential summer elegance in an off-white double-breasted linen suit by Ralph Lauren. Worn with a pop of colour, via the red dial of his Omega Aqua Terra Shades timepiece, the ensemble demonstrated classic charm while remaining seasonally appropriate. Redmayne's choice represented the gold standard of summer tailoring—sophisticated enough for the Royal Box yet breathable for Britain's unpredictable weather. Sophie, Duchess of Edinburgh Above Sophie, Duchess of Edinburgh, opts for the practicality of a crisp white blazer over a maxi dress. (Photo: Karwai Tang / WireImage / Getty Images) The Duchess demonstrated masterful layering in a floral maxi dress by Proenza Schouler, topped with a crisp white blazer by Altuzarra. This polished ensemble addressed the practical needs of a British summer event while maintaining impeccable sophistication. Andrew Garfield Above Andrew Garfield crafts an effortless look with a head-to-toe white ensemble. (Photo: Karwai Tang/ Getty Images for Ralph Lauren) Andrew Garfield mastered studied ease in a head-to-toe white ensemble by Ralph Lauren. A combination of linen shirt, trousers and cable-knit sweater casually draped over the shoulders created his effortless look. His monochromatic approach shows how simplicity, when executed with precision, can feel incredibly sophisticated. Credits This article was created with the assistance of AI tools
Tatler Asia
5 days ago
- Tatler Asia
The 1-3-5 rule that every restaurant needs to know by heart to retain customers' 'emotions'
When it comes to the artistry of plating, Executive Chef Christian Le Squer of La Maison 1888 (InterContinental Danang Sun Peninsula Resort) holds the secrets like a master perfumer or couture designer. At this singular internationally recognised destination, every dish is conceived as a visual poem, a moment to pause and savour. His standout creation? Les Délicates Bouchées: an opening act masquerading as a simple canapé, but layered with delicate contrasts. Crisp, lightly tart, and subtly bitter, it's dusted with fine Fleur de Sel. From the first bite, it draws the diner in. And as the scented menu is unfurled from its soft cloth, one is gently ushered into the refined world of French culinary expression, guided by the 1-3-5 rule. Above The secret to creating unforgettable experiences lies in the dishes that Chef Christian has transformed into artistic icons At La Maison 1888, the secret to creating unforgettable experiences lies in the dishes that Chef Christian has transformed into artistic icons. If Foie Gras En Galets is a dramatic spaghetti dish with its noodles coiled around a rich, aromatic sauce, then Givré Laitier is a study in monochrome, a dessert shaped through the quiet science of fermentation. Yet the most singular of them all is Spaghetti Debout, the creation that propelled Chef Christian into culinary renown. Within the upright strands of pasta, unusual yet recognisable to connoisseurs of haute cuisine, lies the painstaking precision and patience of a true master. Only through such dedication can the dish reach its peerless level of execution. The noodles are carefully arranged to form a structured tower that quickly softens when bathed in the creamy mushroom sauce, poured tableside by the chef himself, rich with truffles and delicate slices of premium cold cuts. Above Foie Gras En Galets is a dramatic spaghetti dish with noodles shaped around a fragrant sauce. One principle at the heart of La Maison 1888's culinary artistry is the steadfast focus on ingredients, an approach championed by Chef Florian Stein in his pursuit of pure flavour. 'For us, a meal always begins with the eyes and gradually unfolds in the mouth. Ultimately, what we aim for is a sensory experience that touches the deepest emotions of our guests,' he shares. See also: Eating history: Where to experience Asia's most revered culinary traditions In the end, our goal is to craft a sensory journey that stirs the deepest emotions of our guests. - Chef Florian Stein - The journey of culinary discovery in matching the 1-3-5 rule continues with Chef Kien, the creative force behind SÓNO, a celebrated restaurant where Vietnamese cuisine is reimagined with bold, modern flair. His philosophy centres on creating a sense of comfort, while preserving the refinement and elegance essential to the fine dining experience. To him, an inspiring dish often begins with serendipity—an accidental mishap in the kitchen, a pickled cucumber in a humble street snack, or a fleeting moment in daily life that sparks a new culinary idea. Such details, once transformed, can become the most memorable flavours. Pho, currently the third course on SÓNO's tasting menu, was born from such a moment. Reinventing this beloved Vietnamese staple with an avant-garde spirit is a bold step into uncharted territory. One lasting impression – three emotional beats – five senses awakened - Tatler Vietnam - Here, the familiar pho broth takes an unexpected turn, reimagined as a rich, concentrated seafood velouté. The traditional proteins of beef or chicken are replaced with sweet mackerel, carefully wrapped in cabbage leaves. A final flourish: a delicate layer of caviar to crown the dish. With each component reinvented, SÓNO's Pho becomes a surprising revelation both for local gourmands and international guests alike. 'What matters is not whether diners immediately understand the dish, but how it lingers in their memory afterwards,' the chef reflects. To round off this exploration of food as visual art, we arrive at Esta Saigon, a restaurant known for elevating native Vietnamese ingredients with a rustic yet refined touch. Here, each creation is presented as a piece of art, served on hand-carved wooden trays or artisanal ceramics. At Esta, a dish does more than please the palate—it becomes the emotional centre of the meal, where the purity of local flavours intertwines with the story the restaurant wishes to tell. Above From left, clockwise: Dessert Givré Laitier – La Maison 1888; puff pastry with green apple scallops – SÓNO; Beef Wellington – Maison de Rêves Saigon; smoked Stracciatella cheese with pomelo vinegar molasses, pomelo jelly and pomelo leaves – Esta Saigon For instance, the Nha Trang lobster with kimchi bisque sauce and sesbania flowers is a signature of Esta. The dish paints a rich culinary tableau, journeying from ocean depths to fertile delta, evoking the spirit of distant regions. At its heart is the lobster, fresh, sweet, and vivid, grilled over glowing coals, allowing the smoky perfume to gently infuse the meat. Alongside it, sesbania flowers, a symbol of abundance from the Western Delta, provide a golden visual accent. The true alchemy lies in the kimchi sauce, made from shrimp-shell broth—lightly spicy, richly sour, with depth and heat layered across every bite. A final touch of cinnamon tea oil brings a quiet, fragrant close to the composition, like a whisper sealing the message of the dish. Every chef has their own secret. For Chef Kien, it's one he refuses to reveal: 'A secret is only good when it is not revealed.' Chef Thao Na, on the other hand, embraces the idea of 'subtle contrasts' and 'unexpected ingredients'. These contrasts appear in dishes like her deceptively simple chicken wings, concealing a generous stuffing of luscious crab meat, served with garlic mayonnaise and a dusting of perilla powder. The art of quiet pairing continues in Esta's wind-dried wild duck, slowly roasted by hand over charcoal and plated with black garlic and dried lavender creating a rustic presentation that remains visually striking. Above Bubble tartelette, one of the signature appetisers at La Maison 1888 restaurant Whatever the form, one thing remains certain: presentation is never merely the final flourish. It is woven into the dish from the beginning, an unspoken intention, like the design of ancient Babylon, crafted to draw the eye and stir the spirit. And that is the power of the true culinary artist—chefs who reach the hearts of their guests from the very first glance, and hold them there through every lingering note of flavour. Credits Images: Maison Des Reves Saigon; La Maison 1888; SÓNO; ESTA
