新高轮格兰王子大酒店

The chef, once dedicated solely to Cantonese cuisine, expanded his repertoire as he honed his craft in Hong Kong and Shanghai. Prix fixe menus incorporate traditions from regions across China, using ingredients selected from a broad purview. The chef focuses not only on seasoning but also on the natural flavours of the ingredients; dried abalone simmered in water alone testifies to his conviction. After dinner the chef serves Chinese tea, conveying gratitude to guests as he converses with them.

The chef has devoted his life to the path of the tempura craftsman. He watches his pot in silence, focusing on the sound of the oil. Frying his tempura on high heat, he teases out moisture to concentrate the flavour. Creative flourishes are avoided, letting the deliciousness of ingredients in season speak for itself. Batter thickness and flame heat are continually adjusted to produce a light and airy tempura. A traditional Japanese tea-house carpenter created the interior, transforming it into a graceful space.

The pet theory here is that French cuisine does not add but multiplies: dishes are the product, not the sum, of their ingredients. The speciality is an espuma of sea urchin and Jerusalem artichoke, which is replaced with onion during summer. Food from sea and mountain mix, aiming at just the right temperature to melt in the mouth. To ensure consistency, vegetables are harvested from the chef’s own garden. Financier, served after the meal, offers a wry nod to the restaurant’s name, with a play on both the pastry and the financier as one who benefits from gold, echoing the alchemist’s quest to t

The name derives from an image of a Jizo, the guardian spirit who looks over children, which the chef received from a Buddhist temple. The character for ‘sushi’ is an unusual choice, harking back to the fermented fish from which modern nigirizushi originated. The chef is deeply interested in literature and the classics. As snacks were not part of a sushi shop’s menu in the days of food stalls, the chef presents the range of toppings available before starting to form his sushi. Gizzard shad is moulded in the shape of the Edo-era Katsuyama hairstyle. In a relic of traditional practice, shrimp on

For Joël Robuchon, ‘emperor of French cuisine’, this eponymous restaurant is the jewel in the crown of the company. Kenichiro Sekiya, recipient of the prestigious Meilleurs Ouvriers de France (MOF) and heir to both the spirit and cuisine of his famous mentor, uses Japanese ingredients to breathe new life into French gastronomy. His interpretation of Le Caviar Imperial evolves from generation to generation. Even the trolley service is the pinnacle of luxury. A table of magnificence as befits the hall of the emperor.

Tomoya Kawada sees cooking as a reconciliation between nature and humanity. He names his approach Sazenka, which literally means ‘tea-Zen-Chinese’, out of a desire to create Chinese fare that mediates between the worlds of tea and Zen. His cuisine harmoniously combines the techniques he learned in China with the soul and spiritual features of Japan – ‘wakon-kansai’ is the theme. Japanese ingredients in season are used in spring-roll fillings and Sichuan stir-fries, lending a seasonal dimension to Chinese cuisine.

The name combines two of the four characters of Haruhiko Yamamoto’s name. The chef’s approach to cuisine and commitment to entertaining guests were both learned from his mentor in Gifu. He is also enthusiastic about guiding the next generation, as shown by the smiles and positive attitude of his young crew. Yamamoto may surprise with innovative dishes, but with wansashi—the pairing of sashimi and soup, considered the essence of Japanese cuisine—he stays true to tradition. Each item is the product of painstaking effort the customer never sees.