Paris: April 2023

There is a symphony of flavours at L’Arpège, where chef Alain Passard conducts a culinary experience transforming vegetables into dishes with artistic flair. Explore with us the maestro’s ever-evolving dance with the seasons, as we delve into the secrets of la cuisine légumière and the poetic mind of Passard himself. Welcome to a restaurant where nature composes its own cookbook.

Please excuse the spirited prose, but a proper introduction to L’Arpège required some musical grandiosity. In this long and thorough article, we will dive into several topics:

The making of Alain Passard

So much has been written (and filmed) about Alain Passard’s biography that for once we don’t feel the need to write much more. We recommend reading Food Snob’s 2009 thorough article, if you are interested in more details.

As a short summary, Alain Passard started his career under Breton chef Michel Kéréver and learned classical cuisine. He then worked with Gérard Boyer, Alain Senderens, and then earned two Michelin stars at Le Duc d’Enghien and the Carlton in Brussels while directing the kitchens. Passard bought L’Archestrate from Senderens in 1986 and renamed it L’Arpège, inspired by his love for music. He gained his third star in 1996. In 2001, after an existential crisis, he decided to focus his cuisine on vegetables and created his own organic gardens. As a famous rôtisseur, this change would shock gastronomy.

At the height of success

But what has happened in L’Arpège in the last 15 years? Unlike many of his peers, Alain has not expanded his brand by opening a chain of restaurants. This decision stems from his preference for being present in the kitchen and personally greeting his customers, who appreciate seeing the chef in action. Drawing a parallel with a master painter or sculptor who works tirelessly until the end of their lives, Alain finds fulfilment in his life between his ever changing gardens and the kitchen.

Thus, there is no that much to report from 2010 onwards. The fact that progress in the French gastronomy is slower than elsewhere does not help either. Nevertheless, there have been noteworthy changes and creations.

One of them is the bouquet de roses, a dessert made of apple petals arranged in the shape of roses within a thin pâte sablée tart. It’s an attempt to ‘give the apple its nobility back’ by trying to make it as beautiful as a flower. It was also his largest commercial venture outside his restaurant in Paris. He even patented the procedure and tools required to industrialise the recipe in 2008. It was manufactured in his home village La Guerche-de-Bretagne by Traiteurs de Paris. However, the project was unsuccessful.

Much better was his first proper book¹, En cuisine avec Alain Passard. The concept of presenting a book on L’Arpège as a graphic novel or comic, with the collaboration of Christophe Blain, is original and engaging. The narrative, in the first person, gives us an insight into Alain’s kitchen for over two years. Instead of pretentious essays, we witness how the chef’s philosophy was applied in the daily operations of the restaurant. And, occasionally, we learn some of his recipes.

Throughout this decade, Alain has also pursued his love for art more freely. His passion for art dates back to his childhood, when he grew up surrounded by creative family members: his grandmother was a great cook, his grandfather was a sculptor, his mother loved sewing and his father was a musician. He learned to appreciate the beauty of gestures, materials and forms. He sees art as a way of enhancing his culinary practice and enriching his imagination.

Passard expresses his artistic vision through various mediums, such as books, collages, prints and bronzes. He also transforms everyday kitchen utensils into monumental sculptures that celebrate his craft. In 1996, he created his first sculpture, Le Homard (The Lobster), inspired by his own dish of this crustacean cut in quarters. He would even get to show his work publicly in an exhibition at the Palais des Beaux-arts de Lille a couple of decades later. And in 2021, he presented his ten-meter-high Le Fouet (The Whisk), as part of the festival Les Extatiques in La Défense. Passard explains that he wanted to imagine that the air and the wind as sauces, emulsions and creams.

He sells some of his work, mainly his collages and plates screen-printed with this collages in L’arrière cuisine, a gallery at the back of the restaurant². But as business goes, more impressive has been his huge production of vegetables from his two gardens. They produce almost two times more produce than what they consume at L’Arpège. Since 2010 he sells his surplus at La Grande Épicerie de Paris and his own site, Les Paniers d’Alain.

Alain Passard’s appearance in the Netflix documentary series Chef’s Table in 2016 was a another milestone in his career and his restaurant L’Arpège. The episode showcased his passion for vegetables, his creativity and his artistic sensibility. It focused on his personal journey from being a meat-centric chef to a pioneer of a cuisine of vegetables. The documentary attracted a global audience and increased the international recognition and reputation of L’Arpège as one of the world’s best restaurants.

Lastly, some of the most arresting creations by Passard are the chimeras, a fusion of different animal parts that he carefully selects and stitches together with a large needle and thread. Then, he cooks them slowly in butter and herbs. These chimeras started with a cross of duck and chicken around 2014, and evolved in 2019 to mix of a lamb and pigeon inspired by a sculpture from Thomas Grünfeld. We have even seen a chicken and eel chimera (see above). The full recipe can be found here. Ironic that a chef who had in 2000 had a repulsion towards meat and blood, has now become a 21st century Frankenstein. Will we ever see an ostrich-cow chimera³?

L’Arpège’s philosophy

Alain Passard’s culinary journey began under the tutelage of esteemed chefs such as Michel Kéréver, Gérard and Gaston Boyer, and Alain Senderens, and was further influenced by his creative family, where he learned the value of using his hands. He likens the early years of culinary training to learning solfège in music. Here, developing a culinary language involves honing one’s senses and mastering the precision of gestures. This process teaches aspiring chefs to cook by ear, appreciate the nuances of different ingredients, and attune their senses to the aroma of a sauce. It is the sensory-driven approach that forms the backbone of Passard’s intuitive culinary philosophy.

Passard anchors his cuisine in his own system of rules, referred to as the five écoles: du feu (fire), de l’assaisonnement (seasoning), du geste (gesture), de la sauce, and des achats. He believes that these schools, which correspond to the five senses—hearing, smell, touch, taste, and sight—are essential for any chef to master. Passard contends that contemporary culinary education lacks an emphasis on engaging all five senses, which he considers crucial for creating a harmonious and dynamic dining experience. We must admit that while the coherence of his theory remains open to interpretation, it certainly offers a poetic explanation for his improvisational approach. A sort of rationalisation of his culinary world which allows him to create without jumping into the abyss. There is a solid foundation beneath him.

The école de l’assaisonnement (school of seasoning) focuses on finding the right balance of salt, acid, sweet, and bitter, while the école de la sauce (school of sauce) emphasizes the creation of light, delicate sauces that complement dishes without overpowering them. Mastering these schools enables a chef to develop harmonious flavours and textures in their dishes. The école de feu (school of fire) reflects Passard’s affinity for the transformative power of fire, a technique he learned from his grandmother, who would “cook by ear” and slowly roast her dishes to perfection at low heat.

The école du geste (school of gesture) is perhaps the most poetic aspect of Passard’s culinary philosophy. He views cooking as an art form in which the cook’s hand becomes an artistic instrument. Simple gestures, such as cutting parsley, transform into artistic expressions when executed with grace and intention. This emphasis on the artistry of cooking elevates the entire process, turning each day in the kitchen into a creative adventure. Passard’s ultimate goal is to create dishes with beautiful taste and a profound connection to the senses, capturing the essence of the ingredients and the spirit of the chef’s hand in every plate.

Alain’s gardens

At the heart of Alain Passard’s culinary philosophy lies his commitment to sourcing produce directly from his own vegetable gardens. Eschewing external suppliers, he owns three estates—one in Eure, Normandy, one in Fillé-sur-Sarthe near Le Mans, and an orchard in La Manche. Here, he cultivates around 500 varieties of vegetables and fruits following biodynamic principles, employing a team of approximately ten dedicated gardeners. These skilled individuals work in harmony with nature and the seasons, using no pesticides, chemical fertilizers, or machinery, and enrich the soil with homemade compost crafted from the restaurant’s own peelings and cuttings.

The chef studies the terroir of each estate and experiments with different methods of cultivation to find the best expression of each vegetable. Soil and climate, inclination, wind and sun exposure matter for the development of the plants. Trying to take into account these variables is something that the farm-to-table movement perhaps has neglected. Sourcing locally and respectfully matters, but it will not necessarily yield the optimal vegetable or fruit. Alain Passard here goes a bit further. He even speaks of grand crus for each vegetable. That’s probably part of his lyrical side more than reality. Defining grand crus from three large estates seems completely opposed to the micro-plotting and deeper understanding of terroir that has been developed in the wine industry. Continuing the wine analogy, Alain is following the Bordelais approach, whereas to speak of grand crus one needs to be more Bourguignon. Still, Passard emphasizes the importance of fostering a relationship with the earth. He seeks to elevate the role of gardeners and maraîchers, who are essential in preserving the traditional cultivation methods and stories associated with regional produce.

Passard’s kitchen gardens are not just a source of produce, but also a source of inspiration – ‘Nature has written the most beautiful cookbook’, he keeps repeating. He observes how nature creates harmonious combinations of flavours and colours, such as a peach falling among green beans or a strawberry growing next to garlic. ‘Everything that ripens at the same time is connected.’ Alain then translates these natural associations into his dishes, using only three or four ingredients to highlight their essence. His collages, crafted from cut-outs of coloured paper, further aid his exploration of combinations and compositions, as exemplified in his book, Collages & Recettes.

The seasons play a crucial role in this dynamic, as he believes that nature’s cyclical rhythm provides chefs with a rich range of ingredients and inspiration. This focus on seasonal produce allows Passard to continually reinvent his dishes, ensuring each creation is a novel encounter for both him and his diners. He laments the widespread confusion that consumers face regarding seasonality, as supermarkets often stock produce year-round, leading to a loss of connection with nature’s intended timetable. By embracing the natural progression of seasons and their respective produce, Passard avoids the monotony that plagues many of his contemporaries. The chef argues that every season offers a rendezvous with unique ingredients, such as tomatoes in July or asparagus in April, and that these encounters are essential for maintaining chefs’ enthusiasm for their craft.

Not a single tomato will cross the door of my kitchen before early July!

Alain Passard

This passion for seasonality manifests in the meticulous sourcing of ingredients from his own gardens. Vegetables are harvested each morning and transported to his Parisian restaurant within hours, ensuring optimal freshness, texture, and aroma without ever encountering a fridge or freezer.

Passard’s cuisine

Alain Passard defines la cuisine légumière by its remarkable diversity, seasonality, and an artistic interplay of colours, textures, and flavours. This culinary approach showcases the brilliance and transparency of vegetables, elevating them from mere side dishes to the primary focus of the plate.

Articulating Passard’s intuitive style is no simple task. The most perceptive portrayals of his work can be found in the series of fifty recipe videos he produced in collaboration with Le Point. In these, we can see the geste of each recipe, his insistence on using white latex gloves, his obsession with the sauce left at the bottom of the saucepan and, above all, his panache, an element that the well-known Netflix documentary fails to convey.

Passard has a unique lexicon in the kitchen. Expressions such as ’ceinturer l’assiette’ (to decorate, enrich, and make luxurious), ‘avoir des papilles au bout des doigts’ (be able to create a dish without tasting it) and ‘gommer le geste’ (to minimize the techniques and elaborations), encapsulate his beliefs and the approach in his cuisine. He always refers to his staff as ‘monsieur/madame’ echoing Alain Senderens’ respectful approach. Many of his protegés, trained at L’Arpège, still employ these terms nowadays.

He holds a great disdain for what he refers to as ‘molecular cuisine’. ‘All the students I’ve had, there is not one who touches that’, he says. From this statement, it is clear that he has never set foot in his former sous-chef David Toutain’s restaurant⁴. This aversion to techno-emotional cuisine seems to stem from a certain form of incomprehension or ignorance. Alain, do yourself a favour and go to Disfrutar. You are missing out.

To diners, Passard’s food exudes a sense of lightness, freshness, and delicacy. Sauces are applied sparingly, imbuing each dish with an air of purity and refinement. Moreover, his mastery of pastry, from pâte brisée to pâte feuilleté, shines throughout the meal, an unexpected trait from a chef who initially gained renown as a rôtisseur before emerging as a pioneer in the realm of the tissu végétal, as he calls it.

To diners, Passard’s food exudes a sense of lightness, freshness, and delicacy. Sauces are applied sparingly, imbuing each dish with an air of purity and refinement. Part of the artistry of his dishes manifests itself on the combinations and aesthetics on the plates as spontaneity, naturalism and simplicity. During our meal we were also surprised by his mastery of pastry, from pâte brisée to pâte feuilleté, an unexpected trait from a chef who initially gained renown as a rôtisseur, never a pâtissier, before emerging as a pioneer in the realm of the tissu végétal, as he calls it.

The enduring influence of Alain Passard

Few chefs in the history of gastronomy have inspired and mentored as many talented disciples as Alain Passard. He belongs to an elite group that includes Fernand Point, the Troisgros brothers, and Ferrán Adrià. His legacy is evident in the success of his former protégés, who have gone on to develop their own gastronomic projects. Some of the most renowned names in this illustrious list are Pascal Barbot, Claude Bossi, David Toutain, Mauro Colagreco, Bjorn Frantzen, Bertrand Grébault, Tatiana Levha, Magnus Nilsson, Cyril Lignac, and Sven Chartier.

Passard attributes the success of his students to the time he has spent with them, guiding them through their culinary journey for 8 to 10 hours a day. He only has one restaurant, at he is there all the time. This hands-on approach has not only instilled in them a passion for their craft, but also created a strong bond between the master and his disciples. As they worked side by side, the breton’s profound love for his work and the joy he derives from being in his kitchen became a model for his apprentices, inspiring them to embrace their own culinary pursuits with the same level of dedication and enthusiasm.

The influences of L’Arpège extend beyond its own students. La cuisine légumière has had an impact on many of the chef’s inspired by the primarily anglophone social movement known as farm-to-table. Passard does not exactly align with the farm-to-table movement (his produce is not as local as farm-to-table would demand it to be⁵), but his use of the tissu végétal has been truly inspirational to many anglophone chefs like David Kinch, Dan Barber, Merlin Labron-Johnson or Dylan Watson-Brawn.

To be precise, when talking about la cuisine légumière and the farm-to-table movement, the contributions of Michel Bras to vegetarian gastronomy should not be overlooked. Bras had been offering full vegetarian menus as early as 1978. Why then is Passard seen as the figure who revolutionised vegetables in haute cuisine? Mainly because of his dramatic and well-publicized shift from a celebrated rôtisseur to a vegetables virtuoso. This transformation, coupled with his ability to maintain three Michelin stars since 1996, has helped solidify his status as an icon in the culinary world. Crucially, his distinct panache has been instrumental in creating a memorable and influential image, very different from the more discrete and introvert Michel Bras. Bras is more of a philosopher, Passard more of a poet.

The venue

We dined in its newly decorated salon in the 16th-century cellar – the salon Lesage. This intimate space is a tribute to the craftsmanship and creativity of two renowned French houses: Lesage and Goossens.

Lesage, a legendary embroidery house that has collaborated with haute couture designers such as Chanel and Dior, has adorned the vaulted structure of the salon with linen canvases, painted and embellished with pearls. These canvases depict some of Passard’s signature dishes, such as the cucumber and plum carpaccio with basil, the apple “rose bouquet” tart, or the artichoke with white borage flower and lovage.

Goossens, a master goldsmith that has also worked with Chanel and Yves Saint Laurent, has created a delicate vine with golden brass leaves that runs along the walls of the salon. Hidden among the foliage are butterflies and dragonflies, as well as wheat ears that symbolize the house’s emblem. The vine also serves as a support for the lighting fixtures that illuminate the salon with a warm glow.

The result is beautiful, certainly more refined than the bare stone wall of the vaulted 16th-century cellar. Still, were we to choose by ourselves, we would rather be in the main dining room upstairs with its high ceilings and natural light. Maybe next time.

The wine and the service

L’Arpège offers an unrivalled service experience in the realm of fine dining, blending the sophistication of haute cuisine with the warmth of genuine hospitality. The salon Lesage is attentively managed by the same two waiters throughout the meal, who cultivate a rapport with the patrons and enrich the dining experience with a personal touch. With their vast knowledge and engaging personalities, they bring a youthful enthusiasm to the table, complete with welcoming smiles and an ability to make guests feel at ease. Their demeanour is refreshingly unpretentious, an appealing departure from other grandes maisons.

The meticulous attention to detail at L’Arpège extends to the table appointments as well. Guests are presented with elegant Christofle cutlery and a distinctive Laguiole knife, while the plates are the product of a collaboration between Maison Fragile and chef Passard.

The wine list at L’Arpège is equally impressive, reflecting both the traditional and modern expressions of French viticulture. From Alsace to Bordeaux, from Burgundy to Rhone, from Savoie to Jura, the list covers all the major regions and appellations, with a special emphasis on Loire wines, but no old Muscadet, for which we are always on the look. The list also features a good selection of Sherry, including some rare bottles from Navazos. The prices of the wines are on the high end, but not unreasonable for a three-starred restaurant in Paris. Moreover, guests can benefit from the expert advice of one of the waiters who doubles as a sommelier. He had a keen eye for matching wines with dishes, and can also surprise guests with some off-the-list offerings that are not available in the market. After noticing us examining the list for about 15 minutes, he proposed us a vintage sparkling Loire by the famous Jacky Blot that had been aged for 12 years on the lees. Normally only non-vintage, this was a rare treat that we gladly accepted.

The lunch menu in Spring – April 2023

At L’Arpège one can choose bewteen a very expensive à la carte menu, a 490€ tasting menu consisting of eleven servings or a very good value lunch menu for 185€ that includes ten servings, all vegetarian. We opted for the latter.

While consulting the menu and wine list, one is offered a jus of pommes, orange, verveine et carotte. This palate cleanser combines the sweetness of apple and orange with a lively malic and citric acidity. Passard sources his citrous from the great Laurent Boughaba (L’Agrumiste) in Fez.

Soon after placing the order, an amuse-bouche with vegetables from the garden arrives. In spring, it features three varieties of carrots – orange, yellow, and purple – each offering pure flavours with distinct nuances, and a satisfying crunch. The endive, topped with a tangy celery and spinach mousse, is enhanced by a white wine vinegar of excellent quality, which harmonizes with the slight bitterness of the radish. A tartlet, filled with smoked beetroot and cauliflower, was equally delicious, with a very delicate pastry.

Here were were also served a warm baguette, a perfect French lean bread with a hint of yoghurty levain. It was paired with the creamy unpasteurised butter from our beloved Beillevaire, a producer from Normandy.

The hot and cold egg with maple syrup, affectionately referred to as the Passard egg outside L’Arpège, has been delighting diners for 36 years. Scored eggs, preserving the yolk intact, are warmed just enough to lend the yolk a luscious lukewarm consistency. A lavish layer of cold whipped cream, delicately seasoned with fleur de sel, quatre épices, and a dash of sherry vinegar, covers the yolk. A drizzle of maple syrup adds a sweet and aromatic touch, while the chives provide a hint of freshness. The dish offers a sublime contrast of temperatures and flavours, as well as the pleasure of discovering of finding a generous yolk at the bottom.

The next dish was a timeless classic of the house: Trilogie de ravioles au consommé ambré,  an ‘Eden of aromas, transparent watercolours’ as the menu described it. The celeriac broth was both intense and impeccably clear, with its pure flavour intensified by a subtle, warm infusion of rosemary and sage. Each dumpling presented a different filling: the cabbage one had a refreshing touch of mint, the carrot one had a combination of carrot and cumin, and the green one had a nutty and earthy taste of Jerusalem artichoke with a hint of allium. The last one was our favourite.

Sushi légumier au laurier was a reinterpretation of nigiri with strong Mediterranean influences. The first thing that struck us was the aroma of the black olive tapenade, which formed a spiral pattern on the plate. The carrot slice was infused with bay leaf oil, giving it a lasting impression on the palate. A surprising twist was the mustard hidden under the carrot, replacing the traditional wasabi, adding a gentle spice without overwhelming. The dish attempted to highlight the subtle and delicate flavours of the ingredients, but it was not particularly memorable. The main flaw was the rice, which lacked the texture and depth of flavour of authentic shari.

For this dish we were given a beautiful wooden knife, work by blacksmith Grégory Lesimple from île d’Oléron, sourced from a deceased tree from Passard’s potager.

The Parmentier, a traditionally comforting French dish, found a fresh interpretation on our plates this day. The crumble of buckwheat on top added a nutty and crunchy contrast to the creaminess of the mashed potatoes. Beneath this layer, spring onions, leek, and parsley brightened up the dish with a tangy touch, evoking the flavour of lemon or sorrel. Although it didn’t stand out as the most memorable dish of our meal, we did like choice of plate stacking. It’s purely aesthetic without functional advantage, but it adds a touch of elegance to the presentation.

Still, the parmentier was a mere prelude to the main attraction of the meal, a dish that alone would justify a visit to L’Arpège: the Fine dentelle d’oignon doux des Cévennes dorée au Parmigiano Reggiano. Already the first bite provokes an involuntary gasp of pleasure; it is hard to believe that such a seemingly modest dish can produce such a powerful sensation.

With their low sulphur content and natural sweetness, the sweet onions from Cévennes, resemble the American Vidalia onions. They were gently cooked in butter, keeping their flavour intact and avoiding any browning. A sprinkling of Parmigiano Reggiano cheese, toasted under a salamander, gave a savoury, caramelised contrast. The cheese was used sparingly, so as not to overpower the onion’s pure sweetness. Thin strips of fresh lemon added a touch of brightness to the dish, surprising the palate with their refreshing zing from time to time. Finally, a green salad provided some colour and texture, but due to its intensely tangy vinaigrette it would have been best to enjoy separately from the gratin, as a palate cleanser.

Fresh produce shines in its simple elegance once again in the Velouté ivoire de premier chou fleur de printemps. Speck de la ferme de Grumback. The velouté immediately impresses with its purity, capturing the essence of fresh cauliflower, likely accentuated by a short simmering time that retains its fresher and greener ones. Enhanced by the rich and slightly funky notes of Jersey cow milk sourced from Cotentin in Brittany, the dish unfolds a unique nutty and umami richness. A hint of Sarawak pepper adds a gentle sparkle.

The smoky speck complements the cauliflower perfectly, echoing a similar pairing we enjoyed at Maison Sota, with an added twist of contrasting temperatures – the cold speck cream versus the warm cauliflower – that delights the palate.

The next course consisted of a simple green salad that appeared unassuming, but the inclusion of hazelnut praliné was a game changer. The praliné provided a soft crunch and a subtle sweetness, complementing the salty bite of the shredded Parmigiano. We could see this working with other nut pralinés, as a substitute for whole roasted nuts. The basic greens played a supportive role, offering a crisp texture and a canvas for the lively vinaigrette that had a zesty hint, possibly from lemon.

We enjoyed Passard’s latest creation for the spring, Tartelette au brocoli. The presentation celebrates the intricate, fractal design of broccoli florets, an ingenious way to elevate a vegetable that often goes unnoticed in fine dining. The tartlet contains a broccoli mousse that captures and intensifies the flavour of the broccoli on top, creating a harmonious resonance of taste. The richness of the mousse melds beautifully with the pastry, marking this as one of the most opulent dishes on the menu. To finish, the dish is complemented by a smooth spinach emulsion and a sprinkle of Timut pepper, which provides a zesty and slightly numbing sensation.

‘Emotion pourpre acidulée à la moutarde des jardiniers’, or the more straightforward Tartare végétal au couteau, is another of the staples in the menu of L’Arpège since the transition to the cuisine légumière. The delicate texture of the beetroot tartar mimics its meat counterpart remarkably well. Flavourwise, the beetroot is neither overly sweet nor overpowering. Seasoned impeccably like a carnivorous tartare, there’s a hint of mustard lending it a subtle warmth, and an unexpected but delightful kick. Next to it, a generous dollop of a mustard and mirepoix cream, sweetened with a touch of honey, complements this same flavour with a more mellow heat and some tang.

On top of the tartare, a light and creamy horseradish emulsion forms a white layer that resembles an egg white, while a slice of carrot acts as a yolk. This playful imitation of an egg is not meant to be a trompe-l’oeil as they would try in Spain, but rather a light-hearted nod to the original dish. The presentation, although not painstakingly precise, manages to be both elegant and ethereal.

In the final savoury course, we encountered an Endive confite aux pommes caramelisés. With the shape of the endive somewhat resembling that of a fillet of bird’s breast, it cleverly stood in for what traditionally would be a meat course, echoing the role of the beetroot in the previous dish. One is encouraged once more to reimagine vegetables as protagonists rather than supporting actors.

The presentation was elegant and organic. The endive was thoughtfully arranged to hint at a blooming flower, with apple slices interspersed amongst its leaves. Mustard flowers added a pop of colour without distracting from the main ingredients. As the plate was set before us, a warm aroma of caramelized endive wafted up, unexpectedly reminiscent of sweet potatoes. A scent that paired beautifully with our Riesling. 

The flavour combination was straightforward but effective. The caramelised endive brought a mild bitterness, perfectly complemented by the apples’ sweetness and slight tang. A quenelle of carrot and orange mousseline brought more depth, adding a sweet richness and a touch of citrus, tying everything together.

The pastry section in L’Arpège is truly remarkable. The pastry work may look spontaneous and casual, as if they were made by a skilled home cook, but they demonstrate a meticulous attention to detail upon closer inspection. Passard is renowned for the unconventional shapes of the desserts and for incorporating vegetables into his sweet creations. Choosing the carte blanche, we did not know what to expect, and were happy to recognize a favourite: Macaron au topinambour et chocolat. L’Arpège macaron is notably large and usually features a seasonal fruit or vegetable ganache and a glossy glaze. On this occasion, it was a Jerusalem artichoke and vanilla filling, topped with a chocolate glaze. While the consistency of the ganache could have been smoother, the flavour combination was spot on. The chocolate was of excellent quality and the earthy taste of the Jerusalem artichoke complemented the fragrant Madagascar vanilla. Interestingly, it was the generous amount of vanilla that added a slight graininess to the texture. Unlike the soft, ethereal texture of Pierre Hermé’s macaron biscuits (achieved through resting in refrigerator), L’Arpège’s version was fresher and offered a bit more crunch.

The main dessert was the Bouquet des roses, the apple tart that has become one of the chef’s classics. The name aptly described the apple tart that looked like a floral arrangement, with each slice of apple rolled into a delicate rose. It is made with an airy and flaky pâte feuilletée that serves as a nest for the flowers of apples. The technique of wrapping the apple into individual flowers yields two distinct textures: crisp one the top with more bite, while soft and rendered apple on the base like in a traditional pie. Each of the flowers was topped with a piece of almond and some berlingot candy, adorning the rose like jewels in a crown.

A thick apple syrup, made from reduced apple juice, encircled the tartlet. The malic acidity and the sugar are so concentrated that the result is reminiscent of a Tokaj Essencia, with hints of honey, but a more intense apple flavour. A quenelle of rosemary ice cream accompanied the tart, adding a savoury note to the sweet dessert. The flavours were very intense of rosemary and a high quality dairy and the texture of the ice cream was excellent, smooth and dense, like a perfect gelato.

Lastly, we were treated to a selection of petit fours composed of Aiguillettes feuilletées de carottes et orange, rutabaga et poire; Truffe au chocolat à la noisette et à la verveine. The aiguillettes feuilletées were one bite tartlets of pâte feuilletée topped with carrot and candied orange, and swede. The tartlet with pear was based on a chocolate version of the same pastry. All the vegetables and fruits were caramelised and perfectly tender with a lot of umami. The chocolate truffle with hazelnuts was equally delicious, and the addition of verbena provided some unexpected touch of freshness. L’arpègian selection of petit fours was one of the best we have had alongside those from Bras.

Conclusions

L’Arpège is a culinary destination that every gastronomy enthusiast should experience at least once. Passard’s panache and artistic spontaneity are instantly recognizable and hardly replicated anywhere else. Having mentored numerous chefs over the years, his legacy is evident far beyond his own kitchen. However, some of his dishes may seem outdated to the most modern palates, so it’s advisable to come with an open mind, ready to embrace the subtleties of the vegetables. The service stands out, knowledgable, striking the right balance between warmth and professionalism. They know how to persuade you to try their recommendations. The wine list is also impressive.

The lunch menu is a good way to discover Passard’s universe at a more reasonable price. Yet, while the idea of returning seasonally might be tempting, hoping for a revolving seasonal menu, you might find that many dishes like the egg, ravioles, sushi, parmentier, beetroot and the bouquet de roses remain unchanged throughout the year. If we were to return, it would be to explore the full menu, with meat and seafood options like his lobster or sole, the scallops, the chimeras or the millefeuille. Unfortunately, at 500€ per person, we wouldn’t come back often.

Footnotes

1. Collages & recettes was only a compilation of recipes and no photos, only abstractions of the dishes in paper collages.
2. Accessible through 57 rue de Bourgogne.
3. Thomas Grünfeld has been working on his Misfits series for a long time, so there is a great repertoire of ideas still available…
4. Alain avoids eating at his disciples’ establishments, he says that Alain Senderens’ visits to L’Arpège used to make him extremely nervous. He does not want to inflict that on his students.
5. If you are looking for true farm-to-table in Paris, go to Le Doyenné – a restaurant headed by English speaking (of course) Australians James Henry and Shaun Kelly.