Celebrity Life

After holding the reins at Henry for two years, British nose-to-tail chef Nate Green has allied himself with the group behind Octavium for a “contemporary European” restaurant.

Seven years after landing in Hong Kong, Nate Green has at long last opened a restaurant in Central. The British veteran, whose CV includes such stalwarts as 22 Ships, Ham & Sherry and Rhoda, has plied his brand of focused, produce-led cooking across the city’s vast urban gestalt, but his latest (and arguably most personal) venture sees him digging in at a cavernous space beneath Des Voeux Road, marking a much-delayed, highly anticipated return to the world of local restaurant groups.

Having steered Henry – Rosewood Hong Kong’s preeminent eatery for meaty, smokehouse-inspired fare – through a two-year gauntlet marked by political turmoil and the Coronavirus outbreak, Green confides that in 2021 he felt ready to realise his vision for a modern, grillroom-inspired restaurant.

“For a long time, working in a ‘grill’ or ‘steakhouse’ wasn’t desirable for chefs who aspired to be top-level,” says Green. “The prevailing viewpoint was that there simply wasn’t enough ‘kudos’ in something like that.”

With Rex Wine & Grill, however, Green appears determined to counter this narrative: championing, without an ounce of cognitive dissonance, generous platefuls of USDA prime alongside more chef-y creations that draw on his considerable talent for indirect cooking techniques. A month into opening, we grab a seat at the bar with Green and hear how he hopes that Rex will usher in a resurgence of the Grand Grill.

Having played a pivotal role in opening Henry and popularising the smokehouse concept, why did you feel now was the right moment to embark on a new project?

After working with hotel groups for three years, I came to realise I just didn’t belong in that sort of corporate environment. I hold strong opinions about a range of different subjects and always speak my mind. That, coupled with the fact that I’d achieved everything I set out to do with Henry, convinced me it was time for a change.

That’s not to say I didn’t enjoy learning about and bringing to fruition the “American smokehouse” concept, but Rex presents me with the opportunity to put what I feel is the best representation of my cuisine in front of diners. Without wanting to sound wanky, that means modern European food, prepared with a strong nose-to-tail mantra, from the best produce that we can realistically source whole.

Rex is billed as combining Italian flair with American opulence. How will that translate for your diners?

We’ve evolved that concept since I came aboard. The foundation of the cuisine is definitely modern European, but when we use the phrase “American opulence” we’re talking about generosity: real cooking, not piddly little portions. Then, the “Italian flair” is a reference to the level of hospitality being redolent of the great grillrooms of continental Europe. We aren’t necessarily talking about the food that’s going on the plate – there won’t be eight pasta courses on the menu. In fact, early on, one of the first points Octavo management and I agreed on was that we didn’t need another regional Italian concept.

What we’re envisioning is a return to the era of the Grand Grill, in the vein of parliamentary canteens at The Savoy or The Dorchester in London. We want the beauty and attention to detail of traditional European service to come through: whether that’s in the shape of our silver, stemware, or the substantial number of dishes prepared tableside.

Your new venue shares a name and certain stylistic touchpoints with Mauro Vincenti’s pioneering LA restaurant Rex il Ristorante. What inspired you to resurrect such a piece of America’s dining history in Hong Kong?

In a way, Rex is a tribute to chef Umberto Bombana. Back in 1983, Rex in LA was the first restaurant Bombana helmed and his experiences there eventually led him to Hong Kong, where we met. That was an important connection to celebrate when we were discussing what the restaurant should be called.

We also wanted to explore the American restaurant scene as it existed in the 1970s and 1980s, pinpointing what the height of sophistication was during those eras. Many people forget that the idea of an “American” culinary identity, forged by chefs like Jeremiah Tower and Alice Waters, didn’t develop until much later – French and Italian cuisine were the two dominant influences for a long time. If anything, my cooking at Rex shares a certain affinity with modern British cuisine: beyond the “nationality” of our ingredients, we’re interested in the conditions they were produced in and the personalities behind them.

As you’re one of the foremost proponents of nose-to-tail dining in the city, how can we expect your passion for that to take flight at Rex?

Our aim is to keep the menu quite small, populating it with satisfying, classic dishes you’d expect to see at a grillroom-inspired restaurant. On top of that, we offer a house-made sausage; maybe a ragout of lamb shoulder – all of which will be done as specials – and when they’re gone, they’re gone. The way that the menu is set up allows us to utilise almost the entirety of an animal. Even in those situations when we don’t source a whole cow, we’re still championing offal cookery: liver, kidneys and sweetbreads, nothing goes to waste.

Was the decision to compose a shorter signature menu in part to encourage diners to explore the list of specials? To consume a wider variety of dishes?

I’ve always thought the best way to build a menu is to have steady à la carte options, supplemented by a few seasonal dishes. Our aim with Rex is to build a clientèle that includes a core of regulars who come all the time. You can’t sustain a restaurant like this around a business model of “one and done” – though, sadly, that’s an extremely popular attitude among many Hong Kong operators.

I also feel the idea of a steak is fairly self-contained. If you go to dinner for crispy-skinned chicken, you’re not going to order it at a Peking duck restaurant – you’re going to go somewhere that’s best-known for its chicken. Obviously, there’ll always be one or two diners who aren’t like that, but over time our aim is for them to feel so familiar with us that we’re like their canteen. By that, I mean they can be assured they’ll find something delicious on the menu, even if what that is changes weekly.

There’s less wastage, the ingredients we use maintain their optimal freshness, and my team stays engaged because they’re constantly seeing and learning new dishes.

What role will sustainability play in the creation of your new menu and the physical spaces at the restaurant?

I’m always looking at the impact of whatever we buy and use in the restaurant. I don’t think it’s controversial to say that we work in a damaging industry: there’s food waste, plastics and the destructive effect that comes with producing food on an industrial scale. What we need – and it’s something I’m proud we’re doing here at Rex – is a greater willingness to utilise whole animals. Another commitment we’ve made is re-writing our lunch menu every day, which means we can prepare a lot of the larger items that need to be broken down in a succession of different ways.

In a restaurant scene already teeming with premium reserve lists, what aspects of Rex’s beverage programme will be most exciting for seasoned drinkers?

We’ve approached it sensibly. The calibre of the wine list is comparable to what you’ll find at our sister restaurant, Octavium. For cocktails, we’ve kept it along the lines of “really good classics”, albeit with a subtle twist. We’re also specialising more on after-dinner tipples – categories that I personally really enjoy, like whisky and digestifs.

Our killer feature, however, is the wine-locker system: we have 100 available for diners to rent, which is something you don’t often see outside of private members’ clubs. Nothing encourages repeat visits like having a couple of your own bottles on-hand – it’s an opportunity to give our guests exactly what they enjoy.

Considering how diners are becoming increasingly restrictive in their dietary choices, are there elements of the menu that will appeal to those with less carnivorous appetites?

We’re in the business of hospitality. If I’m cooking for a table of 10, there’s a good chance two of those diners will only eat fish, be vegetarian … I’ve got no issue with that. But instead of composing a fully vegan menu, I’d much prefer to come to your table, ask what you enjoy, and prepare something around the seasonal veggies we have available. It’s such a cop-out to say, “You’re a vegetarian? Right, your choice is either salad or gnocchi.” Often, vegetables are where you can afford the most creativity: you can blend them, bake them, pickle them. When you think about a “composed” dish at a Michelin-star restaurant, the plate itself is around 60 percent vegetables. I love that.

Is it necessary for certain elements in the classic steakhouse concept to be “modernised”, so as to better reflect Hongkongers’ dining preferences?

If not, why do you think the traditional idea of a restaurant specialising in wine and steaks has remained so celebrated? Put simply, I think steakhouses are easy for most diners to understand. Whether it’s a business meal or a big celebratory occasion, you don’t necessarily know if everybody at the table is going to enjoy a composed tasting menu. But guess what? Nine out of 10 people are going to love steak. And the beauty of steak is you can make it as simple or complicated as you like. Where I felt Henry was most successful was on the side dishes: we offered 14 of them, and they all went beyond the settled notion of simple accompaniments. You could order a handful of those and not even consider steak.

At Rex, even though we’re working with many of the techniques of a traditional steakhouse, we also add an element of our own creativity: whether it’s a smoked eel and roasted beetroot, a blue cheese bearnaise, or toothfish with artichokes and preserved lemon. I mean, there’s no universal rule that says you have to serve a prawn cocktail in a martini glass, so why not play around with it? A steakhouse is no different – it’s all about paying homage to the classics, with a fresh perspective.

The post Chef Nate Green on REX Wine & Grill, Modern Steakhouses and His Restaurant Values appeared first on Prestige Online - Hong Kong.

Small indie pizza joints have sprouted around Singapore of late. Here are five you should check out.

The post 5 new gourmet pizza joints to savour in Singapore appeared first on The Peak Magazine.

Small indie pizza joints have sprouted around Singapore of late. Here are five you should check out.

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At one-Michelin-star Andō, Argentinian chef Augustin Balbi serves ever changing menus that encapsulate his "third culture" upbringing in Argentina and the years he spent in Japan and other places. Remarkably, the restaurant's food stands out because it's often inspired by specific memories, places and people.

We recently caught up with Balbi, who shared with us some tips to recreate a home-cooked Argentinian feast.

A lot of your dishes at Andō are inspired by your family and heritage. Can you tell us about a typical Summer lunch in Argentina?

Summer for me was going to my aunt’s house. They have fields where cattle just have fun and run around. Every year, during school break, I’d spend time there and live close to nature and experience the proper countryside life to learn to respect life and food.

In Argentina, many of us come from a Spanish and Italian background, so lunches are all about pasta, fresh products, and, of course, the Argentinian Asado. We used to have huge barbecues all together in the outdoor area of the house. Image 40 people eating all together every single part of an animal.

If you were to cook a lunch inspired by your childhood at home, what would it be?

Asado, mate (a caffeine-rich infused drink) and Fernet-Branca with Coke, which is quintessentially Argentinian. In fact, the Italian Liqueur is consumed more in our country than in Italy, and we mix it with Coca Cola. Asado is a cultural thing, we do it to celebrate friendship, family and life.

There’s also lots of dishes at Andō that are inspired by these traditions and specific memories. Like “Holidays with Nacho.” Nacho is my cousin, and the dish sort of tells the story of our time spent together playing in the countryside. We also cook beef on charcoal, which reminds me of the smell of asado, a very strong memory for me that we are trying to recreate for diners.

Can you share some tips and recipes with us to recreate an Argentina-inspired lunch?

The best way to experience it would be a plane ticket to Argentina (laughs). The thing is, the meat is just different there because it’s all about how the cattle are fed and raised - especially in the Pampas. However, you can grill good quality meat and eat it with Chimichurri, which is one of our most popular sauces and gives flavour to any protein. It’s a simple sauce but they tend to add too many ingredients sometimes and make it like pesto. I'll share the authentic recipe with you as well as another traditional sauce. Other than that, just make a lot of fresh food to share with friends.

Augustin Balbi's Chimichurri

INGREDIENTS: 1/2 cup olive oil; 2 tablespoons red wine vinegar; 1/2 cup finely chopped parsley; 3-4 cloves garlic, finely chopped or minced; 2 small red chillies, or 1 red chilli, deseeded and finely chopped (about 1 tablespoon finely chopped chilli); 3/4 teaspoon dried oregano; 1 level teaspoon coarse salt; pepper, to taste (about 1/2 teaspoon)

INSTRUCTIONS: Mix all the ingredients in a bowl. Allow to sit for 5-10 minutes to release all of the flavours into the oil before using. Ideally, let it sit for more than 2 hours if time allows.

Chimichurri can be prepared earlier than needed and refrigerated for 24 hours if needed and it's used to baste meats (chicken or steaks) while grilling or barbecuing. In Argentina, we don't use it as a marinade. However, you can use it as a marinade if you wish. Also, add a couple of tablespoons over your steak to serve.

Augustin Balbi's Salsa Criolla

INGREDIENTS: 1 small red bell pepper finely chopped (I use both red and green); ½ small white onion finely chopped; 1 small tomato chopped; 1 clove garlic minced; ¼ cup olive oil; 3 tablespoons red wine vinegar; 1 teaspoon crushed red pepper; 1 teaspoon minced fresh oregano; Salt and pepper to taste

INSTRUCTIONS: Add the bell pepper, onion, tomato and garlic to a large bowl. In a separate bowl, whisk together the oil and vinegar. Pour it into the first bowl and toss to coat everything. Add the crushed red pepper, oregano and salt and pepper to your preference. Give it a good stir and serve.

The post Augustin Balbi of Andō Takes us Through a Home-cooked Argentinian Lunch appeared first on Prestige Online - Hong Kong.

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With his fresh and modern approach to Southern Italian cuisine, Neapolitan chef Marcello Scognamiglio has given a new identity to Hong Kong’s long-standing dining establishment, Grissini. He talks to us about his culinary journey, the pressure of being a chef and why consistency is key.

As an Italian, discussing food with a Neapolitan chef can be intimidating. The city and its surroundings are home to a millennial culinary tradition that effectively popularised Italian cuisine all over the world.

However, when I meet Marcello Scognamiglio, chef de cuisine at the Grand Hyatt’s Grissini, the conversation flows naturally. Scognamiglio, who’s just 30, is eager to share his philosophy and inspirations, and to talk about the flavours and scents of his beloved Campania.

Since 2019, when he joined Grissini after the restaurant’s much-anticipated revamp, Scognamiglio has completely transformed the atmosphere and menu of the famous dining establishment, which is now into its fourth decade, conquering the hearts of old and new guests alike. He tells me his idea of contemporary food and the public role of chefs.

What’s the idea of contemporary Italian cuisine that you brought to Grissini?

The concept of Grissini is to have an elegant Italian restaurant that serves Mediterranean food, mostly from the South of Italy, which is where I’m from. I try to give a personal touch to every dish on the menu, which isn’t entirely classic, in the sense that the dishes aren’t completely traditional, but in their taste and pairings they do represent the gastronomic history of the South of Italy. The way each dish is conceptualised and then personalised or innovated is always the same, starting from a classic idea or from a specific memory.

Hong Kongers are a tough crowd, especially when it comes to Italian food. Do you feel the pressure of constantly having to come up with new dishes and menus?

Being in the kitchen is a journey. It’s about gradually gaining the confidence to experiment and create new things with common ingredients. Before putting a new dish on the menu, we try it so many times, there’s a lot of trial and error. My process tends to be the same – I start from an ingredient, I think of a specific experience or smell and then I turn it into my own dish. The main thing is that you always have to be ready to take feedback and suggestions. In my opinion, a dish is never fully finished. There’s always room for improvement and adjustments.

The most difficult thing, the real challenge, especially in a big restaurant like Grissini that’s open for lunch and dinner every day, is to be consistent, to maintain the same standard every single time. The more creative you are, the harder it gets to be consistent.

You’re from Campania, a region famous for its flavours. How much of Grissini’s menu is from there?

Everything. Italian cuisine is evolving. In the past years, outside Italy, there’s been more and more regionalisation of our cuisine, which is incredibly diverse. My food is 90 percent inspired by what you’d eat in Campania, whose ingredients are among the most popular and well- recognised all over the world. We do have other things on the menu that aren’t typically from there, of course.

Where did you work before joining Grissini?

I worked for two years at the Mandarin Oriental in Bangkok, in an Italian restaurant. I was 25 and young to be a chef there, so I didn’t experiment as much as I do now. Before that, however, my career was a bit different from that of most fine-dining chefs. At the very beginning, I worked in Michelin-star restaurant in France and Italy.

When I reached 24, I felt a bit stressed and disillusioned about the tough world of haute cuisine and decided to work as a private chef on yachts around the Caribbean. It might sound surprising, but that opened my mind so much. Every morning, you buy ingredients in different islands, markets and places. It was a great experience.

The thing is, you can work in the best restaurants in the world, but to become a chef with your own philosophy and sense of creativity, it takes more than that. You need to understand who you are to then bring it to your dishes. Every day you need to demonstrate you know what you’re doing.

In a city like Hong Kong, an executive chef represents the restaurant and its identity. Do you like this public side of the job?

At some point, when you’re in a restaurant like Grissini, you need to become used to constantly talking to the media and other people in the industry, and to be comfortable representing your restaurant. Nowadays, it’s not just about cooking, it’s about having a presence in the dining room and communicating with your guests.

What are your favourite restaurants in Hong Kong?

After living in Thailand for two years, I often crave Thai food. I usually go to Samsen, which I think is one of the best restaurants in the city. I eat a lot of Japanese food and I love Ronin – I’ve been many times. For Neapolitan pizza, I like Gustaci, the new place in PMQ.

Can you divulge any plans you have for Grissini?

We’re working on a new set menu with seasonal ingredients, and also on how to improve the dessert experience. In Naples, there are lots of sweet street foods that we’d love to bring to the tables of Grissini in an elevated way. We’ll continue to improve our service as well, and come up with new ways of presenting the food and making it interesting.

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PHOTOGRAPHY ALISON KWAN

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