The Journey

Seven days
for one evening.

The heart of the method

This is not a restaurant.
It is an inquiry.

Before any plate, the Chef invites you to introspection: ten questions that do not ask what you want to eat, but who you are. Memories, colours, seasons, silences. Not a menu — a self-portrait. It is from those words that the dinner begins to exist.

Question 1

What childhood memory still brings you, to this day, the scent of a kitchen?

Question 2

If your character were a colour, what would it be?

Question 3

What do you seek in a gastronomic experience that you have not yet found?

Begin your introspection

I / VI

The Request

You fill in the form and tell the occasion: an anniversary, a dinner among friends, a moment that deserves a work. No commitment — it is only the beginning of the conversation.

The Pact

The Chef opens your atelier and invites you to introspection: a questionnaire that does not ask what you want to eat, but who you are.

III

The Introspection

Ten questions, one at a time, without haste. Memories, colours, seasons, silences. Your words become the weft of the plate.

The Study

A week. The Chef notes every reflection in the diary of the experience: studies of ingredients, sketches, interpretations of your character. You can read the diary as it takes shape.

The Quote

The menu built upon you arrives — not a price list, but a primary work with its own value. The quote is born from the study and from the complexity of the experience.

The Dinner

The chef arrives at your home. The plate you watched being born in the diary takes shape before you. A theatre performed only once, with you in the lead role.

The atelier that opens

After the request,
the chef opens your atelier.

What you see here is a taste — example voices, not yours. When you request the dinner, the Chef opens a private space where your answers become the diary of the experience. Only you and he can read it, as it takes shape.

The diary, in preview

Four phases in seven days: study, sketch, interpretation, construction. Every annotation is dated and signed by the Chef's hand.

I
StudyDay I
I am reading her answers. She wrote «blue» — but not the colour of the sky, the blue of her grandmother's ceramics. I seek the blue that can be eaten.
II
SketchDay III
Lobster, for now. His energy is in the shell: the red that comes after. But something raw is missing — he is also that.
III
InterpretationDay V
He is not a man of contrasts. He is a man of passages. The plate must cross the raw and the cooked without a seam. Tagliatelle, then, with a lobster stock that cooks slowly.
IV
ConstructionDay VII
The menu is written. Six courses, each with a colour of his life. The last is the dessert: his mother's mandarin, the one she peeled in winter.

The door

The atelier is private. It opens only after you have requested the dinner — and only for you.

The introspection questions, the diary, the menu sketches: none of this is public. It is the space where your dinner begins to exist, a week before it is cooked.

Request your dinner

The demonstrations

Where the East
meets the West.

Five sample menus — starter and first course, fish as the guiding thread. Every dinner is unique; these are only sketches, to show how far the interpretation can reach.

The Mandarin and the Tigris

The silk of saffron

Starter

Sea bass tartare, citrus, toasted almonds

First course

Saffron risotto, red prawns, green cardamom

Saffron — a spice of the East — meets the rice of the West. An encounter on the Silk Road, served on a plate.

Sea and Zen

The silence of dashi

Starter

Raw langoustines, yuzu oil, black sesame

First course

Sea urchin spaghetti, dashi, chives

Japanese dashi embraces Italian spaghetti. Two cultures, one sea, one silence.

III

The Spice Route

Lemongrass and clams

Starter

Dentex carpaccio, ginger, lime, coriander

First course

Tagliolini, clams, lemongrass, coconut milk

Thailand perfumes the Naples of the gulf. The East brings the aroma, the West gathers the shell.

The Garden and the Sea

Mint, pistachio, amberjack

Starter

Amberjack ceviche, almond milk, fresh mint

First course

Fish cappelloni, pistachio cream, bottarga

The Mediterranean garden — mint and almond — embraces the amberjack of the open sea. Sicily and the Levant in the same spoon.

Shadow and Light

Matcha tea, sea bream, hazelnut butter

Starter

Sea bream sashimi, matcha tea oil, Maldon salt

First course

Carnaroli risotto, hazelnut butter, nori powder

The Japanese tea ceremony meets Italian risotto. The green shadow of matcha, the light of hazelnut butter.

The routes of the menus

The plates you see being born in the diary have a geography. Every ingredient arrives from a point in the world and meets another: it is here that East and West recognise each other.

The gesture that precedes

A scent
before the plate.

Seven days before the dinner, a small box reaches your home. Inside, a card: not the menu, but the essences that will inhabit it.

Yuzu, saffron, cuttlefish ink, toasted almond. Fragrances sealed in Japanese paper, to be opened one at a time. It is not a preview of taste — it is a training of memory. When the evening arrives, you will recognise the plate before even tasting it: you will have already dreamt it.

A ritual that sells nothing — it gifts an anticipation. The olfactory box is a gift of the study, not a commodity.

Olfactory Quiz

Eight questions to understand your nose

There is no judgment, only listening. Choose between two scents — the one that calls you, not the one you think you should choose. The result will help the Chef design a menu that resembles you.

The value

Every dinner is a unique work: the price is born from the study, from the number of guests, from the complexity of the interpretation.

My sources

The books that
cooked me.

Every plate carries centuries of thought. These are the texts the Chef draws from — ancient recipe books where cooking was already philosophy, long before it was technique.

The Cook of Baghdad

Muḥammad al-Baghdadi · 1226

The oldest known Arabic recipe book. One hundred and sixty-four recipes from the last splendour of the Abbasid caliphate: sweet-and-sour stews, saffron, almonds, citrus, pomegranate. From here the East began to perfume the cuisine of Europe.

De re coquinaria

Marcus Gavius Apicius · 1st c. AD

The recipe book of ancient Rome. Complex sauces, garum, spices from the East: the first text in which cooking becomes literature.

Kitāb al-Ṭabīkh

Ibn Sayyār al-Warrāq · 10th century

Three centuries before the Cook of Baghdad, already in Baghdad over six hundred recipes were gathered. An encyclopaedia of flavours, health, and table etiquette.

Libro de arte coquinaria

Maestro Martino da Como · ca. 1465

The cook of the Italian Renaissance. His recipes marked the passage from medieval to modern cuisine, and inspired every cook who came after.

Opera dell'arte del cucinare

Bartolomeo Scappi · 1570

Cook to Pope Pius V. Over a thousand recipes and the celebrated engravings of the papal kitchens: the summit of Renaissance gastronomy.

The routes of the menus

The garden of herbs

Twenty-four aromatic herbs, from damp woods to Mediterranean gardens. Each plant is a voice, a scent, a use.

Visit the herbarium

The gallery

The repertoire,
in black and white.

Starters and first courses where fish meets the East. No meat — interpretation. These are demonstrations of the aesthetic, not of the menu: every dinner is built upon you.