Laguiole, Aubrac: November 2022

In times of single-used plastic and instant gratification, it is surprising to find a truly authentic experience. This authenticity comes from a great strength of character and unmovable convictions from Michel Bras. He has conceived a philosophy, a style of cuisine and a restaurant that, together with El Bulli, have had the biggest and most revolutionary impact in gastronomy since Escoffier.

Whereas El Bulli is now a museum, the Bras family is still crafting outstanding experiences in a remote restaurant overlooking the empty green hills of Aubrac. After 6 hours of driving from Girona¹, we made it to dine atop the hill of Le Suquet in the 30th year anniversary of the restaurant.

This is another of those long articles devoted to revealing all those small traits that make these restaurants so exceptional. Feel free to jump through any of the sections:

The remote lands of Aubrac – a green desert of grass

It would be impossible to describe Bras’ cuisine without mentioning its native land first. Situated in the Massif Central, the plateau de l’Aubrac is a place that seems to come straight out of a dream. Remote, and barely inhabited it has something that enchants the soul and captivates the senses. 

Ascending the 500m to the plateau from the lush forests that surround the region’s capital Rodez, Aubrac gives one a spiritual sensation, a feeling of elevation and altitude, as if transcending into another world. A vast and empty land spreads out before you with vibrant green fields undulating with soft, rolling hills. The air is fresh and crisp, and the sun bathes the hills in a warm, golden glow. Among the small forests and cattle and that dot the area, the only visible traces of civilisation are the dry stone walls of that enclose the pastures using the local granite and basalt rocks².

Despite the ruggedness of the environment at an altitude of over 1000m, an unexpectedly rich ecosystem of grasses and herbs have adapted to the challenging climate and poor soils. These grasses support the indigenous Aubrac cattle breed, which is raised for both dairy and meat production. Burons, stone huts dedicated to cheese-making, are the most common building to be spotted in the countryside. It’s not surprising that the largest village, Laguiole, with 1200 people, lends its name to a cheese as well as the region’s famous knife.

The people of L’Aubrac have been forced to do a lot with little, taming the wildness of the land and working hard to build a sustainable life. They have created a culture of resilience and vitality that permeates throughout the region, making it a destination that is sure to captivate and inspire visitors. As Bras, Laguiole, Aubrac, France (2002) says, Aubrac is more than a country; it is a dream that one can live with eyes wide open, in full light and emotion. It is a land that defies boundaries and transgressions and takes you on an internal journey of self-discovery.

Yet, a person with a specially tuned sensitivity is required to undertake this journey of self-discovery and open it to the world. That person would be Michel Bras.

The rise of Michel Bras in Lou Mazuc

Michel Bras was born on November 4th, 1946 in Gabriac, a small village near Laguiole. His mother Angèle was a great country cook and her husband Marcel, a blacksmith.

As the demand for blacksmiths dwindled in Laguiole, Angèle and Marcel acquired an eatery located in an old cheese cellar. They named it Lou Mazuc, which means buron – a stone hut where cheese is made, in the local dialect. In this venue, at the current 5 Place Auguste Prat in Laguiole, they served hearty dishes to the local workers, many of them farmers. They also had one of Laguiole’s first television sets, which drew many curious customers.

Michel assisted his mother in the kitchen from an early age, but he had other ambitions. He dreamt of becoming an engineer. However, when his mother fell ill in 1963, he had to join her full-time at the age of 17. He enrolled in a vocational school in Rodez for three years, where he learned the basics of cooking and won the best young apprentice award. Yet, he felt conflicted between the school’s methods and his mother’s recipes. He preferred her simple but flavourful dishes made with local ingredients such as lamb, tripe, snails and rabbit.

In 1964, they expanded the restaurant with a inn, which could accommodate up to 13 guests. Michel married Ginette in 1967, who soon after joined the restaurant as a waitress and became an integral part of the service. Their first son Sébastien would be born in 1971.

Angèle progressively encourages Michel to make his own recipes, which he featured on the menu as the chef’s suggestions. With a brilliant inquiring scientific mind, Michel started to develop his own style of cooking. He studied each ingredient carefully, posed himself fundamental questions, read the great classics and dined in restaurants across France to learn from other chefs.

Already a more mature chef, Michel was not satisfied with following the trends or copying other chefs. He wanted to create a cuisine that reflected his personality and his environment. Thus, he began to experiment with new techniques, combinations and presentations that challenged the conventions of French cuisine. In 1978, Michel and Ginette took over the restaurant. With Michel now at the helm of the kitchen, while Ginette ran the stone-vaulted dining room of now around 50 covers, the couple would transform Lou Mazuc into a gastronomic destination. The ever hard-working Angèle would stick around in the kitchen, always giving a hand with her famous aligot. Michel would tell the New York Times in 1988: “My mother has always had a marvelous sense of seasoning, Mr. Bras said. She doesn’t completely understand what I’m doing now, but she certainly knows whether it’s good or not.”

Connecting with Aubrac – Finding authenticity

It is when Michel takes control of the kitchen that his conceptual revolution starts. Yet, it was such an organic change that we think that it is hard even for him to verbalise.

It comes from a connection to Aubrac, a connection to nature. Nature beckons us to discover its charms and mysteries. However, its mysteries are only revealed to those who possess a profound desire to understand its harmony. With infinite patience, Michel Bras started to tame the magic of nature. He sought to better comprehend its mysteries.

In this journey of discovery he settles in what he first called the beau et vrai³, and later the Beau et Bon⁴, which integrates aesthetics, ethics, and truth. Although vaguely explained, it can be deduced that the Beau refers to the deep awe that natures inspires. The awe that the aesthetic beauty of Aubrac evokes. The Bon seems to be connected to a search for the values that lead to joy and happiness (bonheur). This integrates the concept of vrai (truth), which is connected to authenticity.

This translated in his cuisine through a series of ideas. First, the rejection of the hegemonic French gastronomic conventions towards the techniques and sensitivities of his mother’s regional cuisine. During his cooking courses he could not feel or believe that the classical Escoffier techniques were the correct way to cook. It wasn’t him. Aubrac’s cuisine comes from the resourcefulness of the Aubrac people to survive with little. And as so, many a time it focuses in the pleasures of the “simple, but good”, be it roasted potatoes with garlic and lard, croutons, offal or tartines de peau de lait. Michel tries to replicate this concept, which he calls “petits riens” (little nothings), in his kitchen. Even nowadays, the first snacks the diner receives in the living room of Le Suquet are heavily inspired on these petits riens.

Second, the logical conclusion of his connection to nature, the search for authenticity in his cuisine and the austerity of Aubrac was a search for purity of flavours and simplicity. As a result, the heavy sauces of the academicist French cuisine are rejected for lighter sauces that allow the produce to shine. Similarly, great rigour is put into achieving perfect cuissons of the ingredients in an attempt to show their purest, their truest version.

Moreover, Michel is probably one of the first to tap into another domain that does not belong to space (Aubrac), but to time. Specifically the time that we tend to remember more fondly and with nostalgia: our childhood. He understood that childhood memories are a powerful medium to evoke emotions. Our senses are great tools at retrieving memories, memories that take us to a distant past where everything felt sage and hardship seemed not to exist. A great example of this is the now world-famous coulant (also known as chocolate lava cake) created to trigger the memory of drinking a cup of hot chocolate in a cold winter day. Writing this in 2023, where certain chefs seem to convert the dining table into Freud’s divan, it feels difficult to decontextualise the cliché into which this concept has turned. Yet, in the 1980s this was unheard of.

Amidst all of these ideas, one stood out as particularly influential. So much so that it evolved into a movement now known as “naturalist cuisine”. In the early 1980s, Michel Bras discovered a new passion: jogging⁵. This practice opened up a new world for him and allowed him to form a deeper connection with nature. Running through the vast open spaces of Aubrac brought him a sense of well-being and awe. The abundance of spring covers the region in a lush greenness. Michel was filled with wonder at every moment by the sounds, colours and scents around him.

As he traversed the trails every day, Michel began to spot wild plants and herbs which sparked his curiosity. He started researching local plants and foraging for ingredients to use in his recipes. Michel honed his ability to listen and observe; to pick and taste. His aim was to immerse himself in nature’s scents and live harmoniously with it. As such, his cooking faithfully reflects Aubrac’s changing flora throughout its seasonal evolution. Each herb or plant appears in his recipes in its own season; adhering to the natural rhythms of the land. 

Already in 1978, Michel pioneered a fully vegetarian tasting menu for the first time in Western haute cuisine. He would meticulously document his botanical discoveries in his own notebook, verifying their edibility with reliable sources before incorporating them into his cuisine. His passion for sharing his knowledge of these plants was so great that he would gift his guests a book, where they could find detailed descriptions and illustrations of each plant they savour.

The culmination of his naturalist philosophy was embodied in a dish that would revolutionize the culinary world. Introduced in the summer of 1980, the gargouillou is a lively composition of vegetables, herbs and flowers that shifts based on seasonal availability. Each element is cooked individually to preserve its distinct texture and flavour before being skilfully arranged on a plate. Crisp, crunchy, tender or even chewy, the diverse preparation and cooking methods result in a variety of changing textures.

With each bite of the gargouillou, we savour the flavors of Aubrac while overlooking its lush pastures. There is a sense of magic in the air – something profound and deeply satisfying that feels just right. That is authenticity.

I have the deep feeling that this plateau has given me the ability to open up to the world. I know today that Aubrac gives access to the universal.⁶

Inspirations and influence

Only a self-taught mind who did not train in other restaurants could have such a revolutionary vision. Michel never received formal training and thus visited other restaurants seeking for inspiration from the nouvelle cuisine. This movement, characterized by freshness, lightness, and clarity of flavour, emerged in France in the 1960s and 1970s. He has acknowledged during these early years the influence of Alain Chapel and Frédy Girardet. Alain was known for being out in the fields in the look for new and better vegetables. He had published his book in 1980 and Michel surely read it. His motto “we must eat the truth⁷” resonates with Michel’s philosophy. Frédy, the chef of the Hôtel de Ville de Crissier, impressed Michel with his spontaneity, his light sauces and his aesthetically stylised presentations. He had also published his first book in 1982.

Still, aesthetically, he does not follow the precise symmetry of the nouvelle cuisine. Bras’ style has a personal artistic sensibility which manifests in the visual appeal of his dishes. As an admirer of abstract art (also an avid collector of Pierre Soulages’ work) and a passionate photographer, he employs contrasting colours and shapes that create a dynamic and vibrant impression. He was the first, we believe, to turn his plates into a canvas where he expressed his artistic vision and his connection with nature through splashes, swirls and dots of sauces, oils and niacs⁸.

Michel Bras is perhaps the only chef, along with Ferrán Adrià, who can be seen as an authentic individual in Sartrean terms. He forged his own path and created a unique style of cuisine that reflects his personal vision and identity. Sartre would be proud. He pioneered the concepts of localism, naturalism, foraging, and the use of vegetables and herbs. The rest just followed (Ferrán Adrià with his El sabor del Mediterráneo, Passard with his vegetarian cuisine, Mugaritz with Clorofilia, Noma with its foraging and organic aesthetics, Blue Hill with farm-to-table and plant breeding, Mirazur, Central…). That makes him even more special. More authentic.

These are not exaggerations. The true magical feeling when visiting Bras is authenticity. You can sense it in every dish, every ingredient, every gesture of the chef and his team. You can feel it in the atmosphere of the restaurant, in harmony with the landscape and the seasons. You can hear it from the emails that Véro, Sébastien’s wife and partner, receives from guests reviewing the restaurant’s: “harmony and authenticity”⁹.

And finally, success

Michel Bras’s achievements would not go unnoticed by critics and customers alike despite the remote location. It would be first discovered by a Gault et Millau inspector in 1978, who gave it a 15/20. In March 1981, he received his first Michelin star. Six years later, he earned his second Michelin star and scored 19/20 by Gault et Millau. Christian Millau, incredulous that such a great restaurant had appeared out of nowhere in Aubrac, gave the score himself and named him Chef of the Year 1986. And thanks to all this, this rarely heard region was starting to get international attention. The New York times would paraphrase Henri Gault: “it’s as if the world had suddenly discovered an Yves Saint-Laurent working in a quiet mountain village”. The following year, Michel was named Chef of the Year by Gault et Millau for the second time and scored 19.5/20, the highest rating ever given by the guide.

Bras’s success was not only due to his culinary skills, but also to his ability to train a talented team around him who shared his vision and passion. One of them is Régis Saint-Geniez, who joined Lou Mazuc as an apprentice in 1984 and has been the head chef since 1992. Régis quietly jokes quoting Pierre Gagnaire: “Michel could be a head of a sect”, his disciples really believe in the cause.

Thanks to this financial success, Michel Bras made a bold choice to close the restaurant in the off-season, from October to March, starting in 1978. This decision displeased his father, who saw Lou Mazuc lose the opportunity to cater to the skiers who flocked to the region. But this was also the period when the cold weather wilted the wild herbs and diminished the availability of fresh vegetables. Rather than compromising on his ingredients, Michel spent these months travelling, researching, writing books and devising new dishes for the next season.

Le Suquet and the role of landscapes

Michel and Ginette always had a dream: to create a restaurant in harmony with nature, where they could showcase the beauty of their land and their cuisine. In 1991, mounting on the wave of success, they decided to move from Lou Mazuc and embark on an ambitious project: to build a hotel-restaurant on a hilltop overlooking Laguiole, the puech du Suquet. And all under a new name now – Michel Bras. The result was a stunning glass-and-stone structure that offered panoramic views of Aubrac. The project was not cheap: it would cost 25 million francs in 1991 (about 5 million euros in 2023), partly funded by regional and European grants.

Initially, the locals did not receive the new restaurant well. They resented the modern design as ostentatious and felt that the location over the town, overlooking the church’s bell tower, was indicative of self-importance and superiority. Despite some financial struggle in the first couple of years, the project was a success. Le Suquet soon became a destination for gourmets from all over the world, who were mesmerized by the panoramic views.

But Bras was not content with just offering a panoramic view of the landscape. Above all, he wanted to capture its essence and translate it into his dishes. Like the large windows of Le Suquet framing the landscapes outside, Bras aimed to frame his own vision of that scenery. He believed that by selecting and choosing what to show, he can reveal more emotion and meaning than by showing everything at once.

Starting in the 1990s he would sketch scenes from nature, trying to abstract them and convey their colours, shapes, textures and emotions. Then he would recreate them on the plate, using ingredients and techniques that reflected his artistic vision. One of his masterpieces is Ombre et Lumière (Shadow and Light), a dish that was documented in exquisite detail in the 2000 documentary L’invention de la cuisine, revealing Bras’s meticulous approach. The dish was born from Bras’s fascination with the interplay of light and shadow on the green hills of Aubrac, where dark clouds cast their fleeting silhouettes. To mimic this effect on the plate, he used a poached white fish (monkfish), a black olive oil and mustard greens, creating a dish that was both visually stunning and delicious.

This innovative approach would influence many chefs around the world. He showed how food could be more than just nourishment or pleasure; it could be a way of storytelling, using food as a metaphor for something deeper and authentic. Every element started from the landscape to finally reach the plate.

This philosophy also guided his family’s future projects, which involved opening restaurants in different locations. Taking a step back to look at the family future projects (Toya, viaduct de Millau, Café Bras, Le Halle aux Grains, Karuizawa; see more below), landscapes framed in great architecture play an essential role in delivering that sensation of awe and authenticity. The Bras have really mastered that.

Michel Bras to Michel et Sébastien Bras

Sébastien grew up in his father’s kitchen, watching him cook with passion and curiosity. He learned from him the importance of being sensitive to the beautiful and the good, as well as respecting the local ingredients and traditions of their region. After graduating from the Paul Bocuse Institute¹⁰, Sébastien decided to broaden his horizons and apprenticed at some of the most prestigious restaurants in France: Michel Guérard’s Les Prés d’Eugénie, Pierre Gagnaire in Saint-Étienne and the chocolate-maker Bernachon in Lyon.

He returned to his father’s side in 1995, ready to take on new challenges as a chef pâtissier. Sébastien had a hard time adapting to the technicalities of pastry making. However, he gradually gained his father’s trust and recognition, especially when one of his first creations – toast with milk skin and rhubarb confit – was served to guests. Soon after, Michel Bras changed the name of the restaurant from ‘Michel Bras’ to ‘Bras’, leaving room for Sébastien’s first name to be added later. Eventually he became his father’s right-hand man, helping him run Le Suquet and developing new dishes together.

However, the idea of staying in L’Aubrac was not always so clear in Sébastien’s mind. In 1997, he felt a restless urge to explore new horizons and escape his father’s shadow. He and his wife Véro took off for a year-long adventure in Argentina, where they opened a casual eatery called Resto with their friend María Barrutia in Buenos Aires. They immersed themselves in the vibrant culture and cuisine of the city, and planned to travel around the country. But their dream was interrupted by an urgent call from Michel: he needed them back at Le Suquet as soon as possible. The restaurant had just endured a tough season and faced more hardships ahead. Sébastien realized that his father was relying on him to carry on the family legacy and that he owed it to Le Suquet and its staff. He also felt a deep attachment to L’Aubrac that he couldn’t ignore. He and Véro packed their bags and flew back to France.

And the 1998 season would indeed mark a turning point in their lives. Sébastien Bras was running Le Suquet while his parents enjoyed a rare vacation. He had no clue that one of his guests was the director of the Michelin Guide, who had come to evaluate his cuisine. He decided to gamble and serve him an improvised dessert: a biscuit de Savoie soaked in almond milk and topped with thyme-candied cherries. Months later, they would hear on the radio that Le Suquet had earned its third star, thanks to his father’s legacy and his own creativity. He felt a wave of joy and gratitude, as well as a sense of responsibility.

The business expands

After earning three Michelin stars for their innovative cuisine in Aubrac, France, Michel and Sébastien Bras embarked a series of projects. In 2002, they opened a remote restaurant in Hokkaido, Japan. The restaurant is located two hours away by train from Sapporo, the nearest city. Perched at 1100 meters above sea level, it overlooks the volcanic caldera lake Toya and, if the day is clear, the Pacific Ocean. Sébastien feels that their philosophy of cooking and living resonates with Japanese culture, where seasonality, hospitality and precision are paramount. He adapted some of the signature dishes like the gargouillou and his sweet potato waffle to suit Japanese palates with less salt. He also incorporated local ingredients[For instance, Bras, Le goût de l’Aubrac (2022) mentions yuba (tofu skin), natto (fermented soybeans), yurine (lily bulb), kinso (golden needle mushroom) and sansho peppercorns.] to create a fusion of Aubrac and Japanese flavours. One of his favourite inventions is an Aubrac miso made from blonde lentils instead of soybeans, which he uses to enhance vegetables, spice up sauces or glaze beef.

They also created two fast food concepts that reflect their culinary vision: honouring nature and culture, while surprising and satisfying the palate. “The respect for others is to offer them something good and accessible on a daily basis,” summarizes Michel Bras. The first concept is the Miwam, a waffle sandwich made with organic cereals and regional products. Inspired by the Japanese pastry taiyaki, it was launched in 2006 by Sébastien Bras and his friends. It is a crispy and savoury bite that appeals to busy urbanites in Lyon, where it is served exclusively. The second one is the capucin, a cone-shaped galette stuffed with fresh produce from Aubrac, developed in 2007 by Michel Bras with his brother and son. It is served only at the viaduct de Millau bridge, where visitors can admire the stunning scenery while savouring a delicious snack. The Miwam and the capucin try to show that fast food can be original, delicious and healthy.

Michel et Sébastien Bras to Sébastien Bras

When Michel Bras announced his departure from Le Suquet’s kitchens in 2007, it took many by surprise. He could have worked for another twenty years, but he knew that Sébastien would need the space to grow and realise his potential. Michel wanted to give Sébastien more freedom and autonomy, while Sébastien wanted to honour his father’s legacy and continue his work. In the most Brassian of approaches, the transition was gradual so that it would feel natural and, thus, it lasted several years.

Slowly, the restaurant went from “Michel et Sébastien” to “Sébastien et Michel” and finally “Sébastien Bras”. The official announcement of the change came in 2009, but Michel stayed in service for another three years on some occasions when Sébastien was not there.

Michel still visits Le Suquet from time to time. In fact, we saw him driving off in his Porsche as we arrived for our dinner. He does various activities related to the development of recipes and finds pleasure in growing produce for the restaurant. He has not retired completely, but he has definitely stepped back from Le Suquet.

Sébastien’s path

Sébastien’s culinary journey continued after he took over Le Suquet. He wanted to explore new horizons and create a different dining experience. That’s why he launched Café Bras with his father and uncle in 2014, a restaurant and café next to the Musée Soulages in Rodez. In this space, designed by same the architecture firm as naturalist restaurant Les Cols in Olot, they offer a creative and casual cuisine that changes with the seasons and the time of day.

Three years later, he made a bold move: he renounced his three Michelin stars that the restaurant had held since 1999. He said that he wanted to cook with more freedom and simplicity, without compromising on quality or creativity. He wanted to escape the pressure and expectations of being rated by such a prestigious guide. To do so, he simply did not apply to be reconsidered by Michelin in 2017, becoming the first chef to manage not to be listed after having three stars.

However, Sébastien’s wish was only granted for one year. In 2018, he was astonished to find out that Le Suquet was still listed in the guide, now with a revengeful two stars¹¹. He said he felt betrayed by Michelin and that he did not understand their decision. He reiterated his desire to be left out of the guide and to cook with his own vision. Michelin said they respected his choice, but they also had a responsibility to inform their readers about the quality of his restaurant. They said they would continue to include Le Suquet in their guide as long as it met their standards.

Some ill-intentioned rumours say that Sébastien knew that the level of his restaurant was not going to be as high that year, so he renounced his stars before they were taken away from him. This is not verifiable.

In 2021, the Bras (father and son) embarked on another adventure: opening Le Halle aux Grains, a new restaurant-café in Paris. The venue is located inside the Bourse de Commerce – Pinault Collection, a museum dedicated to contemporary art. The cuisine is inspired by cereals, which are used in various forms and combinations with other ingredients. The restaurant-café also offers a stunning view of Paris and the glass dome of the museum. 

The following year, Sébastien Bras published his first book: Bras, Le goût de l’Aubrac. Unlike his father’s book from 2002, which was more poetic and obscure, this book offers a clear and comprehensive insight into Maison Bras. The book is organized by seasons and contains honest and simple essays on every aspect of the restaurant and his life as a chef. Michel Bras encouraged his son to write this book, as he recognized his mature culinary vision. He himself had done written his first book at a similar age (45 years old in 1991). 

Nevertheless,the original Le Livre de Michel Bras from 1991 is a true gem¹². As Stephen Harris would say, the first book is always the best. The one written with more passion. Le Livre de Michel Bras follows the rhythm of the seasons in Aubrac. Each season is evoked with lyrical prose and stunning photographs alongside a seasonal signature dish introduced by the critic Christian Millau. These dishes are explained in detail with step-by-step photos that reveal the secrets of its preparation. The book also offers a glimpse into the life and work of Michel’s team, the village of Laguiole and the Rodez market, where the Bras source their ingredients.

Defining Bras’ cuisine in 2023

Michel and Sébastien Bras have created a unique culinary legacy that reflects their deep connection to the land of Aubrac and their passion for sharing happiness through food. Inspired by the traditional cuisine of their rural families, they have transformed the humblest ingredients into dishes of exquisite elegance, challenging the conventional notion of luxury on the table. Rather than relying on expensive and rare products such as lobster or truffle, they have focused on showcasing the natural bounty of their region and creating a sense of conviviality and joy around the table.

Since 2009, when Sébastien took over the kitchen of the restaurant, they have maintained a consistent vision and style that transcends trends and fads. Rather than having distinct phases or periods, their cuisine has evolved organically as a natural expression of their personalities and influences. While Sébastien continues to uphold the high standards and creativity of his father’s cuisine, Michel has simply shifted his focus more on their garden in Lagardelle and the philosophical and poetic side of the restaurant.

The Bras have always remained faithful to their culinary philosophy, even when some critics and peers deemed it unfashionable. They did not succumb to the temptation of embracing the techno-emotional¹³ cuisine revolution in the 2000s, which allegedly made them outdated and stagnant. They continued to create dishes that were rooted in their land and culture, using techniques that were at the service of their cuisine, not the other way around like in El Bulli.

Nonetheless, Sébastien was curious about techno-emotional cuisine and even did an internship with Ferrán Adrià in Spain – the father of modernist gastronomy. He found it fascinating, but he realized that it was not his story. It was not what he wanted to express through his food.

Nowadays, there has been a comeback to their more naturalistic style, which is more authentic and respectful of the products and the environment. Their cuisine has proven to be timeless, inspiring many chefs around the world who seek to reconnect with nature and their origins. If anything, Michel and Sébastien’s resilience has only proven them more authentic.

The venue and the ambiance

Perched on the highest point of le Suquet at 1225m, the restaurant is more than just a culinary destination. It is a tribute to the beauty and harmony of nature and architecture.

The architects Eric Raffy and Phillipe Villeroux were entrusted with the challenge of translating the Bras’ vision into reality. They succeeded in crafting a stunning building that blends seamlessly with the local environment, drawing inspiration from the traditional stone sheds with slate roofs called burons that dot the landscape. The restaurant’s glass walls offer panoramic views of the Aubrac plateau, while the paths that connect the different spaces evoke the ancient trails used by shepherds and cattle.

The interior design of the restaurant, renewed by A+B designers in 2014, is minimalist and elegant, focusing on the essentials. A stream of water separates the kitchen from the dining room, adding a soothing sound and a sense of movement. The monochromatic walls and ceilings create a contrast with the changing light and shadows that filter through the windows. The white tableware is simple yet refined and shows that everything has been thought out with the utmost detail. For instance, Michel never liked the tablecloths draping down from the table, so they are scooped out of the way of your knees with elasticated bands. Similarly, the butter knife from Forge de Laguiole stands elegantly upright on the table keeping the tablecloth free of butter. And a Laguiole knife is provided in a leather sheath alongside your serviette. The leather is embossed with a note that reminds guests to respect the etiquette of using this traditional knife, which should be kept during the whole meal and wiped on a piece of bread crust between each course. Some diners may find this unusual or inconvenient, but we appreciate this gesture of tradition and respect for craftsmanship. Flowers and plants always decorate each table. In late November, cuttings of holly from Ginette’s garden in Lagardelle added a touch of festive colour and warmth.

This attention to detail extends to the restaurant’s architecture which reflects its environment through its use of slate roofs and the basalt and granite walls – materials that mimic natural colours and textures in the region. The fusion of materials and lighting creates an immersive atmosphere that enhances the gastronomic experience.

The service

At Le Suquet, the service is as exquisite as the food. You can enjoy your meal at your own pace and preference, while the staff guide you through the dishes with expertise and courtesy. Unlike some other grandes maisons, the service here is discreet and unpretentious, making you feel comfortable and relaxed. The dining room is led by Véronique and Sergio Calderón, who ensure a smooth and graceful service. The uniforms, designed by A+B, add a touch of elegance and beauty to the scene: suits for the waiters and blue dresses with brown leather shoes for the waitresses. The only minor flaw is that some of the waiters have difficulty speaking English, so some knowledge of French might come in handy to communicate better.

The wine

Another highlight at Bras is the wine service. The restaurant boasts a cellar of more than 30,000 bottles and around 1,800 to 2,000 references, curated by the talented and passionate sommelier Sergio Calderón.

Calderón has been working at Bras for 32 years, becoming the director of the dining room and the cellar. He started his career as a dishwasher in France and learned about wine in Bordeaux and England, where he worked at the prestigious Le Gavroche. He joined the Bras family in 1990 and has been loyal to their philosophy and vision ever since. His work has been widely recognized by his peers, winning the title of “sommelier of the year” by Le Chef magazine in 2010 and more recently the 2021 M.Chapoutier Prize by Les Grandes Tables du Monde for Best Sommelier in the World.

Calderón’s wine list is a reflection of his expertise and personality. He offers a fantastic selection of the great wines of France, covering the classics that might have already become inaccessible (Romanee Conti, Coche-Dury) all the way to the newly fashionable producers that have become so coveted recently (Clos Rougeard, Guiberteau, Clape, Jamet…). But he also has a worldwide view on wine and he includes gems of his native Argentina (Malbec, Pinot Noir from Patagonia, Chardonnay, Cabernet Franc).

The wine service at Bras is attentive and graceful, matching the quality of the cuisine and the beauty of the surroundings. Calderón is always ready to share his knowledge and passion with the guests, guiding them through the wine list and suggesting the best pairings for each dish.

When choosing a single bottle for the whole menu – a practice we have adopted lately in most restaurants – it is important to note that at Bras the vegetable-centric tasting menu demands a white wine. For our meal we opted for a Coche-Dury – Bourgogne Blanc  2008. We had also spotted a well priced Domaine Guibertau Saumur Brezé (which we ended up ordering a few months later at L’Astrance) and a red, a Clape Cornas 2005. Based on what would pair better, Sergio recommended the Chardonnay.

The tasting menu in Autumn 2022

The experience begins in Le Suquet’s living room, a stunning structure that hangs over the hillside and offers panoramic views of the surrounding landscape. As the sun sets casting a golden glow over the hills and pastures, guests are invited to relax and enjoy an aperitif and some amuse-bouches. The living room is designed to evoke a sense of warmth and intimacy, with comfortable sofas, a fireplace and a large bar. It is also a showcase of some of the Bras’ art pieces, featuring works by local artists and craftsmen.

Here is where we get to have out first taste of the Bras family’s cuisine. And this spans all the three generations.La tarte aux cèpes et a la crème de noixwas originally created by Angèle, becoming a dish so popular that it’s still served today. This savoury tarte fine stands out with its paper-thin, very fragile layer of pâte feuilletée, topped with thinly sliced ceps arranged in a harmonious pattern. An article from 1986 in the NYT featuring the recipe reveals that a paste of shallots, ham, walnut and cream was spread over the pastry too. In our 2022 version, we felt that garlic plays a dominant role in that spread. Each bite offers a sublime combination of mushroom, butter and garlic aromas, rich but not heavy, and simply irresistible.

Les oeufs coques avec mouillettes is a snack that Michel (Sébastien) created as a tribute to his (grand)mother. This dish evokes the nostalgic memory of a simple childhood pleasure¹⁴ – soft-boiled eggs with toasted bread. Michel reinterpreted this humble treat as a refined appetizer. The egg was served in its shell, which had a precise cut on the top to allow dipping a soldier of pain d’épices. The egg was accompanied by a savory sabayon sauce, with a subtle egg flavour, seasoned with black pepper and lemon zest. At the bottom of the shell, there were pieces of soft cheese and crunchy celeriac cubes. These delicate flavours contrasted with nuttiness of the the crisp crouton. The pain d’épices had been caramelized in butter for extra crunchiness.

Along with these classic bites, we selected a couple of aperitifs. The first was Fraîcheur de racines, a liquorice and gentiana cocktail that was very floral and delicate with a lingering woody aroma. The second was a rosé Gamay juice that enticed us with its fruity freshness and soft tannins, although it might have been a bit too sweet for some winelovers. Despite the high sugar levels (due to the absence of alcoholic fermentation), the juice had a bright and balanced acidity (from the malic and tartaric acids). Serving grape juice as an alternative to alcoholic drinks is a brilliant idea. In this case, it turned out to be a complex and enjoyable drink with the flavour profile of a fruity Beaujolais.

While enjoying the amuse-bouches, one is presented with the menu and the wine list, curated by Sergio Calderón, the sommelier. He will guide you through the selection of wines that best complement the dishes, and have the bottle ready at the table by the time you move on to the dining room. This warm and comfortable setting ensures that choosing both menu and drinks is a naturally seamless experience, separating the hassle from the typical process. Once you arrive at the dining room, you can dedicate yourself to simply enjoying the banquet that follows. 

Indeed, from the living room, guests are escorted to their tables in the main dining room, where they can admire the modern and elegant architecture of the restaurant. The dining room is spacious and bright, with large windows that let in natural light and offer stunning views of the surroundings.

As soon as we sat down, we were presented with a bread service that was anything but ordinary. The bread was a crunchy cracker that burst with the exotic flavours of Ras el Hanout, a Moroccan spice blend that hinted at fenugreek and pink peppercorn. How did they achieve such a remarkable intensity of taste? Perhaps they infused the oil in the cracker before baking it, we speculated. Alongside the cracker, there was a homemade cru¹⁵ butter that had been shaped while straining its whey through a cheesecloth. We marvelled at the complexity of its dairy aromas and herbal notes. The rich pastures of Aubrac imparted the milk with the magical essence of its wild herbs. Without a doubt, one of the most exquisite butters we have ever tasted. 

For a first timer, after the long journey required to arrived to Aubrac, the long menu Balade seemed like an obvious choice. A list of all the vegetables that will make an appearance in the meal is listed alongside.

As our waiter announced the appetisers: Dos de morue, betterave, parfait de ris d’agneau, we felt a surge of anticipation. This trio represented the kitchen’s current state of affairs. Bras’ creative impetus is still alive and well, transcending the modernity that they pioneered in the 1990s¹⁶. Now in the different frame of the dining room, it was almost a declaration of how the restaurant has evolved from its origins, which had been showcased in the classics served in the living room.

On the left, a slice of salt cod lay under a mound of fennel, ikura, pickled cabbage, chives and parsley. It felt like a nod to Eastern European flavours. The cod was moist and flaky, with a subtle salinity that contrasted with the herbal freshness of the fennel. Small bursts of brininess from the salmon roe accentuated the dominant iodine notes of the serving. Meanwhile, the pickled cabbage added some crunch and acidity.

A beetroot set foam, served with a beetroot-balsamic jus and topped with puffed quinoa was more adventurous. This was a masterpiece of texture and flavour, combining a smooth and light foam that dissolved on our tongue like a soufflé. The foam had a subtle elasticity when touched, but no trace of eggs or curds could be perceived. It was probably an aerated purée set with egg. The beetroot flavour was intense and earthy, complemented by the crispy quinoa. Some beetroot jus at the bottom of the plate added a jammy and fruity touch, balanced by some tangy balsamic vinegar that cut through the richness of the foam.

The third serving was a lamb sweetbread parfait, accompanied by purple sweet potato crisps. It was a decadent and indulgent dish, combining a rich buttery texture with the crunchiness of the sweet potato. The aim here seemed to be highlighting the purity and deep flavours of the sweetbread, seasoning merely with some herbs. It matched perfectly with the Coche-Dury. The sweet potato crisps added some sweetness and colour, making the dish more appealing.

The next dish was the real starter of the menu. A dish that we had been waiting to try ever since we started learning about gastronomy. The gargouillou is truly pivotal to the history of gastronomy and a symbol of the now predominant naturalist movements. Titled as the Aujourd’hui « classique », the gargouillou de jeunes légumes, herbes & graines germées, touche d’huile de basilic d’ici, it has remained a staple of the menu ever since. The name gargouillou comes from an old Auvergne dish made of potatoes and ham cooked in water. It had a cadence that reminded Michel of the joy of spring and the chirping of birds. Bras would reconceptualise this humble dish into a sophisticated and original creation, inspired by his love of gardening and his fascination with nature. He wanted to recreate the beauty and diversity of nature in a dish that would change with the seasons and the availability of ingredients. He would use various vegetables, flowers, seeds, and herbs foraged, from his garden in Lagardelle or the market, sometimes reaching up to 80 different components.  Each element is prepared differently, to enhance its flavour and texture, and arranged harmoniously on a base of sauces, purées and an Auvergne ham broth. 

In this case in November, the sauces included a celeriac purée, a basil oil, a smoked tapenade, a red pepper purée, an avocado sauce with green dots, an aioli with olive oil and a yellow pepper purée. The herbs included mint, parsley and lemon verbena. The dish also had some sprouted lentils for extra texture.

The first thing that struck us was the aroma: the warm purées and the basil oil filled the air with a tantalizing scent. We could not wait to dig in and explore the different combinations of flavors and textures. The purées were velvety smooth and each had a distinct character: the celeriac was earthy and salty, the basil was fragrant and fresh, the tapenade was smoky and savory, the red pepper was sweet and tangy, the avocado was creamy and mild, the aioli was garlicky and rich and the yellow pepper was fruity and spicy. They provided a wonderful contrast to the crisp and tender vegetables, which ranged from sweet (turnips) to bitter (spinach and artichoke) to peppery (celery) to grassy (lettuce) to refreshing (cucumber) to green (broccoli, beans, squash). The herbs added another layer of complexity and freshness: the mint was intense and cooling, the parsley was bright and herbal and the lemon verbena was citrusy and floral. The sprouted lentils added some crunch and nuttiness, while the ham added a saltiness and umami that intensifies the flavours and brings the dish together. The dish was a symphony of contrasts and harmonies, where each bite was different but satisfying.

We enjoyed the freedom of choosing our own combinations of vegetables, sauces and herbs, creating our own mini gargouilloux on our forks. Just like jazzing our own version of a song from a well known riff. We also appreciated the simplicity and purity of each ingredient, which shone with precision and quality. The dish was a celebration of nature’s bounty and diversity, as well as a testament to the Michel’s vision. It is the best vegetable dishes we have ever had. We cannot wait to try it back in July or August, at the peak of the vegetable season. 

It is no wonder that many chefs have tried to replicate the gargouillou¹⁷, but failed to capture its magic. It may look simple, but it requires a lot of skill to layer all the element with such precision so that they are all in harmony. Chefs like Ferrán Adrià, David Kirch, Yannick Alléno and others have attempted their own versions of the gargouillou, but we doubt they feel as authentic as the original.

De Port-En-Bessin, la coquille Saint-Jacques roulée au beurre, lentilles de pays fermentées & haricots coco, chicorée « Pain de Sucre, was a seafood course that showcased culinary artistry. This dish offered more unexpected pairings than many extravagant contemporary fine dining venues with its simple yet elegant combination of scallop, pulses and bitter greens.

The scallops come from the famous commune of Port-En-Bessin in Normandy, praised for its high-quality molluscs. Although we tend to prefer the larger scallops from Cornwall, these had similar sweetness and tender texture. The scallops were cooked in a traditional style, without the fashionable nacré finish that many look for these days. Still, we could not resist the buttery caramelisation of the crust and the succulent and delicate flesh. As the dish is presented, the scent of the scallop mingles with the fragrant notes of dill.

Alongside it, the dish also featured a variety of pulses prepared in diverse ways. The most surprising was a white foam of soy bean that added a burst of freshness and complemented the sweetness of the scallop. The white beans had a similar texture to the scallop, but with earthy and buttery notes. The cuisson was flawless, needless to say. The green lentils came in two forms. The first one was a purée paired with caramelised green Spanish melon. We had first encountered the technique of pan-searing melon at El Celler de Can Roca. It produces a caramelisation similar to the tarte tatin while preserving a firm texture of the fruit. Thanks to that, the flavour of the melon is very concentrated with a distinct caramel aroma. This flavour combined with fermented green lentil purée created a burst of umami with layers of complexity that were rare to find with such simple ingredients. The second lentil preparation was a niac, made with crispy lentils and spices that enhanced the flavour of the dish.

The vegetables also played an important role on the plate. Next to the scallop, there was a ‘Pain de Sucre’ chicory that was gently cooked in butter until just wilted. The chicory, with its bitter and green profile, provided a pleasant contrast to the other flavours. The final touches of red sorrel and finger lime brought all the components together with a tangy and citrusy note.

The 30th anniversary menu of Le Suquet featured anwother historical classic – the Rôti/poché, le foie gras de canard du domaine de Rouilly, billes d’automne & cresson de Lagardelle, « Niac » au citron confit. It is a tribute to the duck foie gras from the domaine de Rouilly, a family-owned farm in Poitou that produces high-quality foie gras that prouds itself for controlling the entire production chain. The foie gras is poached and pan-fried to achieve a caramelized crust and a texture that preserves the integrity and some firmness of the liver, unlike the conventional method of pan-frying it until it resembles a soft, almost melted butter. Here it is cooked much less, obscuring some of the bitter and iron dominant notes of cooked foie gras and maintaining the sweeter side of it.

It was accompanied by spheres of winter root vegetables, such as sweet potato, carrot, pumpkin and celeriac, cooked sous-vide to accentuate their natural flavours and colours. The pumpkin had been spiced with cinnamon berry, a hidden niac to evoke a memory of winter. A quince paste added a touch of sweetness and acidity, while a niac of dehydrated orange zest provided a burst of citrus aroma. The dish was finished with a vinegar reduction gel that balanced the richness of the foie gras. The presentation is elegant, with a contrast of shapes and colors that evoke the autumn season.

If seasonality is a core value of Bras, we were not disappointed by what we saw and tasted next. De saison, sous un voile de butternut, les cèpes de pays au vinaigre, tuile au Laguiole et feuilles de cresson.

Under a air of vinegar hid some puffed buckwheat and pickled porcini mushrooms. In the centre, over a base of a buckwheat and apple sponge lied two butternut squash tuile, rolled into a cylinder and partially filled with a cream cheese, and a cheese crisp, made with Laguiole cheese, a hard cow’s milk cheese from Aveyron with a sharp and tangy flavour.

The dominant note of this dish was vinegar, which was transformed into an airy foam that enveloped the plate. This was an unexpected move from a house that had shunned techno-emotional cuisine when it was fashionable. But here, the use of this technique was subtle and effective, creating a sense of lightness and finesse. Moreover, there was a clear nod to Eastern European flavours once again, with the pickled ceps that are so popular in Poland and the use of the nutty buckwheat that pairs so well with lactic and acetic acid. Our Bourgogne Blanc wine matched this dish nicely, especially with the nutty notes of the kasha and the cheese.

The sweetness was provided by the lightly cooked butternut squash and the buckwheat and apple cake. They offered a soothing counterpoint to the marked saltiness and acidity of the Eastern European fermentations. Texturally, this was also one of the most complex dishes so far: airs, crunchy puffed grains, the crisp wafer of cheese, the firm bite of the semi-raw squash and the springy tofu texture of the sponge with it’s porridge-like interior.

The next dish was a tribute to the local terroir and tradition: Bœuf fermier Aubrac, la pièce marquée à la grillade & piqué au lard affiné, peau de cochon soufflée, racines du moment. A thick slice of Aubrac beef, a breed native to the region known for its tenderness¹⁸, grilled and studded with beef lard, accompanied by puffed pork skin and turnips. 

This dish has been a signature of Le Suquet for over a quarter of a century. The beef is cut from the front of the tenderloin, a cut called oreille, and pierced with thin strips of refined beef lard. The lard imparts some fat to the lean meat, enhancing its juiciness and flavour. The beef is then grilled to perfection, creating a charred crust on the exterior and a pink and succulent interior. It yields a remarkable hybrid of the tenderness of the tenderloin and the deep succulence of a rib-eye steak with a high intramuscular fat content.

The garnish is simple but effective: a glossy meat jus, some leaves, pan-fried turnips and girolles mushrooms. The turnips are especially noteworthy for their purity and sweetness, reflecting the quality of the produce. The girolles contribute an earthy and nutty note as well as a different delicate texture that complements that of the beef and the pieces of puffed pork crackling. Michel Bras was already showcasing his playful approach to pork belly in the documentary ‘L’invention de la cuisine‘ in 2000. He experimented with different ways of crisping and layering the fatty bacon to add it in a different form to this serving. Over the years, this element has evolved a puffed pork skin that resembles puff rice grains as a whimsical touch that adds crunch and saltiness to the dish.

A side dish for the main course that has never left the menu is the aligot, presented as Pépites de l’Aubrac, l’aligot relevé de truffes noires de pays & oignons. Following the original recipe of Mémé Bras, who prepared it daily until she was 85 years old, the aligot consists of potatoes, tomme de Laguiole (a fresh cheese with only two days of affinage), crushed garlic, cream and butter. The proportions are carefully balanced: 60% potato, 20% cheese, 20% cream and butter. The result is a velvety and elastic texture that coats the mouth with the flavour of the cheese. The dish is best enjoyed when warm, as it loses its appeal when it cools down and becomes more solid.

To link the two courses, the dish is adorned with a rich jus of beef and truffle, which moistens and deepens the flavour of the aligot. The truffles, a luxurious and complex ingredient, transform the aligot from a simple peasant fare to a sophisticated delicacy, in a quintessential Brassian manner. A final touch of kibbled onions adds a crunchy and sweet counterpoint to the smooth and savory cheese and potato mixture.

No meal at Bras would be complete without a visit from the cheese cart, which showcases the rich variety and quality of the local cheeses from the Aveyron region. The selection, titled D’ici et d’à côté, les fromages de l’Aveyron (From here and nearby, the cheeses of Aveyron), is categorised by the type of milk used: cow, goat or sheep.

We sampled a generous assortment of cheeses, each with its own distinctive character and flavor. Among them were a tomme of Laguiole, a semi-hard cheese with a nutty and fruity taste; a tomme infused with cistre (the house’s brand and logo), which imparts a herbal flavour to the cheese; a Laguiole AOC, a firm cheese with a sharp and tangy taste similar to cheddar; a Saint-Nectaire, a soft cheese with a creamy texture and a mild and earthy scent; and a soft goat cheese with a charcoal rind that was airy and mousse-like, with a subtle flavour. The cheeses were accompanied by crystallised honey, quince paste and a salad, which provided sweetness and freshness as a contrast to the savoury flavours of the cheeses.

As a dessert that has stood the test of time, the coulant is a culinary masterpiece that has captured the hearts and taste buds of food connoisseurs for over four decades. The dessert, that today we know as a lava cake or molten chocolate cake, was created in 1981 by Michel to evoke the sensation of drinking a hot chocolate after a day of skiing on a wintery day. It has never been taken out of the menu, and in fact it has come through numerous transformations over the years. With new variations coming almost every month, this particular rendition was titled Sur une interprétation du coulant originel de 81, le biscuit tiède à l’huile ‘olive des Orgues, crème glacée au pain grillé.

Despite, we have mentioned that the coulant is the fist ‘molten chocolate cake’, it has nothing to do with it. These two only share the same concept of a warm cake with a crispy exterior and liquid interior. While the molten cake is a compromised, underbaked dessert, the coulant requires much more skills and knowledge.

The exterior of the coulant is a chocolate cake, that is very rich but not overwhelming. On the photo with the cross-section of the coulant, one can see that the chocolate cake serves as a cylindrical box that carries the liquid interior. Its walls are not merged with the interior, like in the molten cake, instead they are separate which allows to have a distinct textural contrast. The chocolate walls are very thin and crispy while the silky olive oil sauce pours out as soon as you dig in with a fork. The olive oil sauce was made with an olive oil from Perpignan. Although the olive oil flavour was not as pronounced at first, as the white chocolate was dominant, it emerges with its fruity aroma as the coulant slightly cools down.

To complement the flavours of chocolate and olive oil, Sébastien suggests grilled sourdough bread that comes in two elaborations. One as a ice cream served on top of the coulant, and the other one as a thin tuile of dehydrated bread. The crispy tuile adds not only a satisfying crunch but also elevates the presentation of the dish, giving it a dynamic appearance.

The sweet part of the menu continued with the following trio of Gourmandises, tous les fruits du moments « préparés » ; jus acidulé yuzu, croustillant noisette et lait de brebis. For the first time in a fine dining restaurant, we were served a bowl of fruit. The only places, that we know of, that tried to implement some fruit on its own at the end of the menu, are Ikoyi, L’Astrance and El Celler de Can Roca. But even then, they always add layers of different ingredients to make them shine. Here, on the contrary, Bras creates the complexity of flavour and textures by selecting a wide range of top quality fruit at their best ripeness. The salad almost resembled a mini version of the gargouillou made with seasonal fruits instead. The variety of the fruit ranged from citrus (orange, finger lime, confit lemon), to stone fruits (custard apple, plum), to berries, to some fruits (pear, compressed apple), to herbs (lemon verbena). The flavours differ from sour to sweet to bitter to floral aroma and herbal notes, all brought together by a yuzu jus. This was a delightful was to finish the meal.

Beside the salad, there were two variations on caramel elaborations. The first one, a spherical tuile suspended on a long metal string, looked quite mysterious. Yet another time, Bras plays with the dynamic presentation and transforms a simple elaboration into an intriguing concept. Crisp, fragile and playful with a pure flavour of caramel, this tuile was a nice sweet touch. Another little bite was a nougatine in the shape of a sandwich. The sandwich was made with paper-thin caramel with little pieces of nuts submerged in it. In between, one could find some sheep’s milk cream and hazelnut praline. The flavours were comforting, balanced and addictive.

As we savoured the last bites of our second dessert, the Canailleries, des cornets garnis au gré de nos envies – we were greeted by Bras’ famous ice cream trolley. The array of ice cream flavours was astounding, and each one sounded more tempting than the next. Alas, our stomachs could only accommodate a small sample. We chose a plum sorbet paired with a white chocolate and hazelnut glace, and a hazelnut ice cream, both nestled in crunchy cones. The plum sorbet was especially memorable. It was our first encounter with this sorbet flavour, and it instantly became one of our favourites. It captured the essence of the juiciest damson plums, with a perfect balance of sweetness and tartness.

Just when we thought the menu had come to an end, the waiter surprised us with more mignardises. We were tempted to their paper-thin chocolate bars scented with citrus, tangerine pâte de fruits and a cistre¹⁹ sablé. The latter one had an interesting anise-like scent with nuances of parsley and lovage. The last one, the most exciting, was a conical shaped rum bonbon. Sébastien mentions these bonbons in his latest book. Apparently, the tool use to make these type of bonbons has been invented by the Bras family –they refer to it as ‘the hedgehog’. The bonbons are made with just sugar, glucose, water and any liquor. But these simple recipes are often the hardest to master. ‘Without this utensil, no meal would have a perfect sweet ending’ – says Sébastien. And we concur. It was indeed a perfect ending. Simply magic.

Conclusions

Nestled in the heart of the Aubrac plateau, Maison Bras is not just a restaurant; it is a destination that epitomizes authenticity. How many places in the world can elicit such a feeling? Perhaps Mugaritz, Disfrutar, or L’Arpège. Bras is undoubtedly the precursor of all of them.

This secluded spot is where the values and concepts that have transformed modern gastronomy were born. The appreciation of local produce, the use of innovative techniques, the homage to its roots and its land, and the pursuit of harmony with nature are all expressed through sophisticated and creative dishes.

Some may contend that this place is stuck in time, that it represents what modernity was in the 90s. We disagree. And we think it is unfair to Sébastien’s contribution to the restaurant. He respects Michel’s legacy, but he also explores new paths and plays with new concepts. What we cannot understand is how this restaurant does not hold tree Michelin stars, even if they might not want them. The place, the food, the wine, the service are all deserving of that distinction.

The classic dishes here are timeless, but ever evolving, adapting to the seasons and the inspirations of Sébastien Bras, who has taken over from his father Michel with talent and freedom. The new dishes are inventive and even incorporate some external influences – indeed, El Bulli’s foams have finally arrived. But they always remain faithful to the core Brassian principles: respect for nature, simplicity, elegance and generosity. The restaurant’s architecture is still striking and timeless too, blending with the landscape and offering stunning views.

We cannot wait to come back in summer to taste all the bounty of the vegetable season. To experience again the magic of Maison Bras. To breathe authenticity.

Footnotes

1. 3h from Montpellier and Toulouse, 4h from Lyon, 5h from Marseille and 7h from Paris. Locals speeding through the winding roads of Aubrac can probably make it there half an hour faster.
2. The secret to the undulating hills of Aubrac comes from its volcanic origin, with eruptions of very fluid lava similar to Hawaiian eruptions, with a base of old eroded granite.
3. Le Livre de Michel Bras (1991).
4. Bras, Laguiole, Aubrac, France (2002).
5. According to New York Times in 1988, he started running in 1982.
6. Bras, Laguiole, Aubrac, France (2002).
7. Il faut manger la verité.
8. What others would call peps, Michel defines his niacs in his 2002 book as structures comprising visual, olfactory, taste and textural elements that awaken the senses. The niac animates, energizes, tones and questions through provocations.
9. Bras, Le goût de l’Aubrac (2022).
10. He was in the very first class that the institute trained.
11. Darker moves from Michelin would be seen later in 2019 against other well established chefs.
12. Also Andoni Luis Aduriz’s favourite book.
13. This term is preferable to molecular.
14. Both Michel’s and Sébastien’s, funny enough have different stories connecting them to this recipe, although this is originally a classic from Michel.
15. Unpasteurised.
16. Here we differ from Regol’s opinion.
17. See this NYT article as an example.
18. It generally has a fine muscle structure.
19. Sometimes known as baldmoney, apparently.