New York: February 2022

Hidden within a supermarket in Hell’s Kitchen, Manhattan, Chef’s Table at Brooklyn Fare emerges as a culinary wonder. Guided by chef César Ramírez, a master of his craft, the restaurant displays an uncompromising devotion to quality and creativity. Ramírez sources the finest ingredients from around the world – from the best fish and beef from Japan, to Norwegian langoustines, Spanish lágrima peas or Californian squab. Grounded in French foundations, but gleaming with Japanese precision and Spanish technical innovations, it promises a distinctive and unforgettable dining experience.

Post-publication update (late August 2023): Chef’s Table at Brooklyn Fare appears to have shut down in July 2023. This article in Business Insider reveals the dramatic downfall of this project in vivid detail. It also exposes the appalling behaviour that César Ramírez allegedly comitted towards his staff, customers and employers. We are uncertain about Ramírez’s future, but he did sign a lease at another location in July 2023.

César Ramírez’s career

Born in Cuernavaca, Mexico in 1972, Ramírez and his family relocated to Chicago when he was just four years old. He’s not one to divulge much about his childhood, but instead of attending culinary school, he began working in Chicago restaurants in his late teens. It was there that he encountered a French chef who became his mentor.Between 1991 and 1996, having wed a French woman, Ramírez regularly travelled between the US and France. The exact nature of his activities during this span remains elusive. Yet, by 1999, his culinary skills had undeniably matured. That year, he took up a position at the newly founded Tru in Chicago, under the guidance of the Rick Tramonto.

David Bouley, having noticed the gifted chef at Tru, invited him to join the team at his newly opened restaurant, the Danube, in New York City. This establishment, with its strong leanings towards Austrian cuisine, could expand Ramírez’s skillset. Simultaneously, Bouley’s main restaurant Bouley Bakery would receive a prestigious four-star review from William Grimes of The New York Times. In its origin, Bouley’s cuisine had a heavy French influence reflective of Bouley’s tutelage under gastronomic giants such as Roger Vergé, Paul Bocuse, Joël Robuchon, Gaston Lenôtre, Frédy Girardet and Paul Haeberlin. The move to New York felt promising.

With Ramírez now an integral part of the team, the Danube was awarded with a three-star review from the same critic in 2000. During his eight-year tenure with at Bouley’s group, Ramírez explored various of its restaurants, getting exposed to a diverse range of culinary techniques and philosophies. This was a crucial phase in his professional growth, as he soon rose to the positions of sous-chef at the Danube and later chef de cuisine at Bouley.

In the early 2000s, Bouley formed a close bond with the Japan’s Tsuji Culinary Institute in Osaka. As a part of Bouley’s leadership team, Ramírez had the opportunity to immerse himself in Japanese cuisine, an experience that left a lasting imprint on his culinary style. Indeed, this connection manifested in 2005 with the launch of Upstairs, featuring a sushi bar staffed by Japanese chefs. It is probable that Ramírez, given his leading position within Bouley’s establishments, played a role in this venture.

As he would tell us in person, his culinary pilgrimage also took him to Spain for a couple of years, with a period in Zuberoa in the Basque Country as well as Comerç 24 from Carles Abellán (ex elBulli) in Barcelona. However, these details are hard to verify, as Ramírez is notoriously media-shy and rarely shares his personal story. He also spent some time in Italy, likely intensifying his love for exceptional produce – a hallmark of Bouley’s philosophy.

By 2006, the fruits of their labour were recognised by the Michelin Guide, with both Danube and Bouley Bakery receiving two-star accolades. The following year, Ramírez took the reins at Bar Blanc, a new Bouley venture aiming to infuse the charm of a French brasserie in Greenwich Village. Their efforts were quickly recognised by Frank Bruni from the New York Times who bestowed two stars upon them in December 2007.

Nevertheless, it was not a match made to last. By July 2008, Ramírez parted ways with Bar Blanc. Though details surrounding his departure are scant, it was reportedly tinged with acrimony, prompting Ramírez’s resolve to maintain a distance from corporate restaurant groups in the future.

The beginning of Chef’s Table at Brooklyn Fare

His new venture, Chef’s Table at Brooklyn Fare, started modestly within a gourmet grocery store that opened in April 2009. A sharp pivot from the brasserie sophistication of Bar Blanc, Ramírez began crafting simple lunches for grocery shoppers. During this time, he described his work as ‘market American comfort food’ —a far cry from the formal dining experiences that he would later be known for. By February 2010, the space had morphed into a more sophisticated supper club, establishing stringent protocols such as a strict no-photos policy and a jackets-only dress code. This contradicted Ramirez’s previous remarks from August 2009 that customers preferred informal dining experiences, and even his 2007 proclamation, ‘I love flavour, but I don’t believe in stuffiness.’ The ethos of the restaurant seemed to have taken a more ‘stuffy’ turn, yet the changes seemed to resonate positively with the clientele.

The success of his approach soon became apparent. Despite Bar Blanc closing its doors in mid-2010, Ramírez’s own venture, the Chef’s Table at Brooklyn Fare, was on the upswing. The quality of his culinary creations had not gone unnoticed, with the restaurant earning two Michelin stars in October 2010. The next year turned out to be even more eventful. Chef’s Table was awarded its third Michelin star and also received three stars from Sam Sifton of the New York Times. Interestingly, all these accolades came while the restaurant operated without a full liquor license, leading to a BYOB (Bring Your Own Wine) policy until they managed to procure the license in 2012.

Despite its success, he restaurant had a subdued media presence due to its strict protocols and limited online activity. This shifted in December 2016 when they moved to Brooklyn Fare in Hell’s Kitchen, Manhattan. Around this time, the photography restrictions were relaxed, leading to an increased visibility of the restaurant. The reasoning behind this change in philosophy is not entirely clear, but its influence was unmistakable.. The digital age had finally caught up with Chef’s Table, and in 2020, they launched an Instagram account, sharing glimpses of their celebrated dishes.

A cuisine driven by quality, opulence and restraint

The beginnings of Chef’s Table as a humble lunch spot owe much to the aesthetic of David Bouley, a legacy from Ramírez’s tenure at Bouley’s kitchens. A glimpse into the early years, particularly 2009, reveals many similarities with Bouley’s 2007 repertoire – a clear nod to its chocolate desserts, sorbets, and seafood dishes.

Nevertheless, the culinary vision at Chef’s Table is firmly rooted in French cuisine, with a special focus on intricate sauces. The inclusion of contemporary techniques like foams and gelées is likely a nod to Ramírez’s time in Spain, where he witnessed the emergence of these techniques. Yet, it’s Bouley’s dedication to prime produce that leaves the most significant mark on Ramírez. A prime example is the Canadian milk-fed porcelet, which he first served at Bar Blanc and has been reinventing at Chef’s Table since its inception in 2009.

From the selection of ingredients to the use of Japanese techniques, Ramírez also demonstrates a deep affinity for the Japanese culinary tradition. This stems from his travels to Japan and his collaborations with the Tsuji Institute in Osaka nearly 20 years ago. In a rare interview, Ramírez names Kiyomi Mikuni’s 1986 book, ‘Yourself on a Plate,’ as his favourite. It’s not surprising that this book, which presents recipes in a wordless visual format – he doesn’t talk much either – has a profound impact on his gastronomic journey.

A dish that embodies Ramírez’s Japanese inspiration is his chawanmushi, a custard that he has been serving even before Chef’s Table and has become an indispensable part of his tasting menu. A perfect canvas for the season’s freshest offerings, the delicacy and purity of this elaboration showcases the Japanese respect for authenticity and the ingredients that resonates so highly in Chef’s Table’s cuisine.

Between 2010 and 2011, Ramírez’s cuisine underwent an evolution. Dishes became more intricate, featuring a multitude of elements within a single plate, echoing the prevailing organic aesthetic popularized by the likes of Michel Bras. However, this style gradually adopted a more minimalist aesthetic in the following years. Given the tasting menu’s extensive 12-course offering, the dishes became bite-sized, offering a seamless transition from one flavour experience to the next. Nigiris and tartlets emerged as common vessels for showcasing these work in a single or two bites.

This minimalist transformation culminated around 2014-2015, with a mature aesthetic that contrasts vibrant colours and beautiful china with sophisticated sculptural shapes, sharp presentations and a very measured approach. Ramírez’s cuisine focuses on delivering pure, precise flavours, skilfully pairing unusual combinations that never clash but rather, titillate the palate with elegance and finesse. The attention to detail is palpable everywhere – a sign of the chef’s perfectionism.

As Chef’s Table achieved resounding success, the variety and quality of ingredients incorporated into the menu increased. The repertoire rages from Stonington Maine lobster, Washington State Black cod, and Norwegian or Faroe Islands langoustine, to Spanish bluefin tuna, Alba white truffle, and wagyu from Miyazaki or Kagoshima, even extending to Hokkaido uni and kinmedai from Shizuoka. The menu is constantly evolving, adapting to the availability of these precious ingredients, which are served in generous portions to evoke a distinct sense of luxury. While each dish has a core concept that lasts for a month or so, the components may vary depending on what the suppliers deliver. For example, one day the amadai may be replaced by akamutsu from Nagasaki, or the Comté sauce that accompanies your wagyu may turn into a Langres sauce.

Locavore vs globalist opulence

At first glance, this trend might seem antithetical to the current locavore movement in fine dining, but in a city as globally hyper-connected as New York, importing high-quality ingredients from around the world does not feel completely out of place. Especially in a gourmet supermarket that seeks to showcase the best the world has to offer.

There is a good intention when trying to minimise so-called ‘food-miles’, but the effect of this on the environment stays inconclusive. Sustainability seems to depend more on the food choices (a more plant-based diet) than transport. Farm-to-table approaches may have a bigger impact in gastronomy through freshness and flavour of the produce. The vegetables are chosen for their taste and not their yield, and they are harvested at the right time, just before consumption. The challenge of being locavore is that your region’s terroir will limit the quality of your produce. The same land that grows great potatoes might be terrible for growing tomatoes.

In this context, Chef’s Table offers a metaphorical journey around the world’s top produce, freshly flown into town, all from a restaurant located at the end of an alley of a supermarket in Manhattan. Yes, it’s for the wealthy, but unfortunately so is art. Fine dining is riddled with ethical dilemmas, paradoxes, and hypocrisy. Ask your favourite locavore, farm-to-table, zero-kilometer chef if that caviar or truffle on your plate is from around the corner.

The venue and the experience

Located at the very back of Brooklyn Fare supermarket, by the bread aisle, lies NYC’s best-kept dining secret. For those discovering it for the first time, the surprise is genuine. As they walk past the star-shaped salami in the charcuterie aisle, it becomes clear – that isn’t the only star attraction in this market.

In its former life in Brooklyn, the restaurant started as a counter where diners could enjoy an intimate and interactive experience with the chef. After relocating to Hell’s Kitchen in Manhattan, the space grew. The renowned Chef’s Table counter now holds 18 seats, complemented by additional tables for a similar number. During our visit, the pandemic had introduced a another temporary change, with the total covers reduced to 24. César Ramírez, orchestrates two sittings per evening, with impeccable timing and precision to ensure the experience is 2h30min long. The dishes arrive at the perfect moment, and the pauses are carefully calibrated.

The venue’s interior design combines modern elements with a respect for French culinary tradition. The kitchen, decorated with numerous copper pots, is a hub of activity in contrast to the subdued elegance of the dining area. The Chef’s Table counter, carved from a dark wood, possibly chestnut, is deliberately plain, a simple backdrop for the culinary theatre to unfold. Guests here sit slightly elevated on stools, while table diners are pampered with soft tablecloths and plush banquet seating.

César’s selection of tableware matches the venue’s aesthetics  – a particularly striking plate, with the ream punctured with holes, comes to mind: elegant and modern. Most, if not all, of these dishes and bowls are crafted by the German design company Hering Berlin. Likewise, the Zalto glasses show a discerning taste for quality and a refusal to compromise on anything less than the best.

The setting carefully curates a serene atmosphere that allows the guests to focus on the cuisine. The staff is serious and concise, giving only the essential information about our dishes. Very different when compared to Eleven Madison Park. Yet, the background music of classic rock and pop hits adds some liveliness to the ambiance – from The Rolling Stones’ Gimme Shelter to The Who’s Pinball Wizard, The Police’s Every Breath You Take or Elton John’s Rocket Man. As ‘VIPs’ for the evening, we sat closer to the pass of the kitchen, at one of the sides of the counter, where we could see the careful and quiet choreography of the chefs. Ramírez is a chef patron that is proud to cook, and was constantly in action. We had a chance to engage in a tête-à-tête throughout the meal with the man himself, which added a touch of personal charm to the overall experience.

The only minor inconvenience, perhaps, is the restaurant’s dress code, particularly its insistence on a jacket for men. While the rationale behind this remains elusive, they do offer a lending service for those who arrive unprepared.

Taking notes or photos

Prior to 2016, the restaurant held a firm stance against note-taking or photography. Ramírez ardently claimed that the experience should be relished and appreciated in the moment, without digital interruptions. However, we believe that documenting the experience can enhance appreciation, highlighting nuances typically overshadowed by the casual conversation typical of a more relaxed dining. In any case, this policy has since been revised, perhaps as an acceptance of our modern proclivity to immortalise experiences or even a nod towards transparency.

The shift possibly reflects a maturing outlook on the part of the restaurant, understanding that while the recipes and style could be mimicked, true innovation cannot be copied. Drawing from Ferrán Adrià’s observation – ‘If a chef doesn’t say that he can’t give you the recipe, well, he’s an idiot’. In the high-stakes arena of fine dining, the real mastery lies in continual innovation and evolution. Once a dish is served, it’s part of the past, a stepping-stone to the next innovation. Photos and notes, then, are but snapshots of a chef’s ongoing culinary journey, unable to reveal the imagination, expertise, and experimentation that lie ahead.

A place that finally pays attention to the art of wine pairings

Along with Mugaritz and El Celler de Can Roca, Chef’s Table is one of the few restaurants that stands out for its ability to complement or enhance the dishes with the wines they serve. The wines in the pairing were not all remarkable, but they fulfilled their role as a complement to the food. In our opinion, when ordering a pairing this should be the main objective. Of course, the experience can be taken to another level if the wines are exceptional (as we experienced in Mugaritz), but that is not always a requirement or a possibility. If the customer wants to enjoy a more premium or rare wine instead of the pairing, they should still be able to choose from the wine list or consult with the sommelier.

Chef’s Table demonstrates this philosophy adeptly. The wine pairing featured some great selections like Chave’s Hermitage “Farçonnet” 2015 or a 2014 village blend from Château de Puligny Montrachet. Still, more rare or intriguing wines could be discovered in the list. They even offered Enric Soler’s Improvisació. The by-the-glass options were diverse, featuring Riesling GGs, grower Champagne, Sancerre from Cotat, Burgundy, Côtes-du-Rhône, Etna Rosso, and more.

The carte blanche experience in February

The carte blanche menu, which consisted of dishes named after their main elaboration or ingredient, started with Salmon. Elegantly layered, the dish commences with a vibrant display of trout roe nestled atop perfectly diced pieces of smoked salmon belly. Yet, the focal point of the dish is the salmon belly. Its subtle smokiness and tender texture truly shined through. To balance the richness, horseradish and citrus elements add a touch of spice and acidity, respectively.

The tartlet serves as more than just a vessel; its impeccable crispness, which quickly yields and dissolves, is an experience in itself. Although we were slightly disappointed with the fact that the trout roe’s distinct texture is somewhat overshadowed by the tart crunch, as the dish progresses, it becomes evident that it’s the succulent, tender salmon belly that rightfully commands centre stage.

Aji at first glance appears to be a reinvention of the traditional gunkan, but the thought behind it elevates it to a realm of its own. Enveloped in a crisped nori seaweed cup, shaped much like a tartlet, it comfortably nested a cushion of koshihikari rice. As with the salmon before, on top of the rice, an emulsion of wasabi and shiso leaves introduced another dose of sharp heat with a distinct citric note. However, the pièce de résistance was the Japanese jack mackerel (aji in Japanese) sourced from Okinawa, beautifully scored and lightly seared with a smouldering binchotan. This preparation gave the fish a texture that married melt-in-the-mouth tenderness with the crispness of the nori. Meanwhile, the rice, with its gentle sweetness, softened these dominant flavours.

The intense but clean flavour profile of the mackerel found its balance in the sharpness of wasabi and the citric notes of shiso, with a mild undertone of fried oil from the nori. Once again, Ramírez demonstrates his talent for creating harmonious equilibriums on the plate.

The Caviar offering from Chef’s Table is outstanding, featuring Kaluga Queen caviar with veal tartare and oyster gelée. The staff advised us to scoop deep with our spoons, ensuring a complete bite that encompasses all the layers. We were impressed by the generous amount of caviar in the dish – a rare sight in most caviar dishes that tend to use it sparingly as a garnish. These large, luxurious pearls allowed us to appreciate their full flavour and texture. Beneath the caviar and the veal tartar, a brunoise of potato croutons added a delicate crunch, while the oyster gelée at the bottom enhanced the dish’s natural brininess. The veal tartare also contributed a smooth texture and an extra umami dimension. A drizzle of basil oil adorned the dish, providing an aromatic lift, injecting a brightness and freshness that married with the richer elements.

César Ramírez presents yet another signature canapé, this time centred on Uni from Hokkaido. Upon arrival, one is immediately met with the inviting aroma of brioche interlaced with subtle truffle undertones. Serving approximately eight tongues of sea urchin roe, each piece is crowned with a black truffle disk – whose presence is more aromatic than gustatory, held in place by a delicate dot of truffle paste and finished with a lustrous shoyu (Japanese soy sauce) glaze. The umami-rich flavour of the uni dominates every bite; its essence, reminiscent of a potent mussel paste (as a note for those who have not had the chance of trying sea urchin before), boasts a luxurious fatty texture akin to scallop roe or monkfish liver. A subtle, hazelnut-like aftertaste lingers in the palate.

Having decided to go along with the wine pairing, this was accompanied by Weingut Vollenweider – Wolfer Goldgrube Riesling Kabinett 2015, whose ripe aromatic character and subtle petrol notes were capable of standing up to the uni‘s intensity.

This was followed by another seafood serving with Japanese influence, Hiramasa, Japanese’s name for yellowtail amberjack. The broth, emblematic of César’s inventive approach, brought forth the peppery and coriander overtones of Mexican yerba porosa with an oil, dispersed in minute droplets over a light buttermilk base. The visual presentation was undeniably captivating, with the the pale pink fish immersed in the aromatic broth. Its wine accompaniment, a Punset – Langhe Arneis, with its lemony and floral notes, enhanced the herbal undertones, creating a delightful marriage of flavours.

The sashimi-grade fish, sliced in the traditional Japanese style, was served lukewarm immersed in the broth. Its clean, tender flesh is subtly sweet, setting the stage for a variety of toppings: a julienne of pickled shallots, a purée of coriander, ginger and dill (although it could have also been a yerba porosa paste) as well as turnip slices whimsically carved into stars (a playful nod to Michelin’s three-star rating – we guessed).

The Custard, a continuation of his ode to Japanese culinary craftsmanship, was presented as an intricate interplay of chawanmushi and dashi, underscored by a trio of foie gras, lobster, and a quail egg that surprises with its explosive texture. Each bite transported us into an ocean of umami, courtesy of the textbook execution of the dashi – delectable, imbued with a light smokiness, and given a touch of zest from lemongrass. This citrus note reflected a common motif in many dishes of the night.

Each component submerged within this broth —ranging from the richness of foie gras and the sweetness of the lobster and the sweet potato, to the earthiness of truffle and crunch of black fungus—was harmoniously unified, their flavours elevated by the embrace of the subtle umami of the dashi. This was paired with a Japanese sake, Hyaku Moku – Junmai Ginjo.

The seafood dishes constitute a significant part of the Ramirez’s carte blanche, ranging from canapés to main courses, and all of them were equally excellent. For the main fish course, the chef proposed Amadai (Japanese tilefish), a seasonal specialty of Kyoto. We had the opportunity to taste it at the peak of its freshness during our visit to the Chef’s Table. The traditional preparation of amadai involves filleting the fish with the skin and scales intact, and then pouring very hot oil over the skin, to crisp up the scales while barely warming up the flesh. Ramirez’s version seemed to be inspired by the visual aspect of this technique, but he experimented with different textures and ingredients. He cooked the fish until it achieved a perfect nacré, while the skin remained almost gelatinous.

Instead of scales, he used pieces of tender octopus that resembled the appearance of the crispy scales. These octopus flakes created a contrast with the traditional amadai, even though they lacked crispiness. To balance the flavours, Ramírez nappéed the fish with a textbook a beurre blanc, which had a shiny and silky consistency.

The wine that accompanied this dish was Château de Puligny Montrachet – Puligny Montrachet 2014, the finest wine we had tasted so far. With dominant notes of apple and lemon, it had great concentration and acidity, and well-integrated oak. It complemented the sauce beautifully, creating a harmonious pairing.

Passing to the meat courses, one of our favourite dishes of the night arrived, the Californian Squab. As the plate was placed before us, the wafting scents were nothing short of intoxicating – with strong hints of gamey, roasted pigeon aromas that stirred one’s appetite immediately. The squab itself was a masterclass in preparation: the leg, beautifully rendered to the point where it falls apart under the slightest touch, with its skin crisped to perfection. As for the breast, it was seared to a perfect medium-rare, achieving a tenderness that rivals some of the best preparations, reminiscent of the Joan Roca’s version from 1989 served at Mas Marroch in Girona. Interspersed were mulberries, which provided a break to the meat with their bursts of sweetness and tartness.

As for the accompaniments, flanking the pigeon was a stuffed morel, filled with red meat and herbs like rosemary and thyme that evoked the idea of roast chicken. Beneath an intriguing morel air – a delicate light foam – one discovers sautéed red cabbage leaves, lovingly caramelised to enhance their depth of flavour. Still, what truly captured our attention was the squab jus. Its purity of flavour was nothing short of captivating, rendering one wishing for a piece of bread just to savour every last drop.

Regarding the pairing, the choice of J.L. Chave Selection – Hermitage “Farçonnet” 2015 was excellent. Although still young, its notes of blackberry and dark cherries, the powdery tannins and crisp acidity melded well with the squab’s profile, even if the wine lacked the classic black peppery punch.

The final main, Wagyu, ends luxuriously with slices of A4 Kagoshima wagyu, accompanied by Comté, St. George’s mushrooms, and garlic chives. The plate is a veritable celebration of flavour and texture, where every component compliments the other. The Comté sauce, reminiscent of a Mornay, is cleverly spread beneath the slices of wagyu, providing a creamy umami boost to the beef. Nestled alongside are sautéed garlic chives, their gentle pungency marrying well with the beef, while a glossy beef jus and an herbal oil, perhaps made with lovage, encircle the wagyu. The beef itself is a study in opulence. Its texture, true to wagyu standards, dissolves like butter on the palate. Yet, it’s also the gentle kiss of smoke from the binchotan grill that elevates the meat’s depth and intensity.

Before the desserts arrived, a bowl of Sorbet was served as a transition from the savoury courses – a yuzu sorbet with coconut granita. The sorbet had a vibrant citrus acidity that effectively served as a palate cleanser. The coconut granita added a touch of sweetness and creaminess, as well as a contrasting texture of crunchy ice crystals. The flavour combination was delicious, showcasing the tropical and exotic notes of both ingredients. This was paired with a Braida – Brachetto d’Acqui, asparkling sweet wine with notes of strawberries an roses, a perfect match for the yuzu and coconut flavours.

The Frozen Soufflé, another signature at Chef’s Table since 2018, felt for us like a nod to some techniques pioneered by elBulli. The soufflé’s ethereal quality, which we suspect arises either from a vacuum-pulled frozen foam or an aeration technique employing a fish tank air pump, offers an experience reminiscent of consuming freshly fallen snow. It’s so delicate that the very utensil provided for its consumption is provided frozen to ensure the integrity of this fleeting texture. While the flavours rotate seasonally, the February almond iteration was subtle, harmoniously underpinned by an Amaretto ice cream base and adorned with a sprinkling of amaretti dust.

To accompany the soufflé, the botrytis of the young Château Roûmieu-Lacoste – Sauternes 2018 worked surprisingly well with the almond notes, creating a great synergy of flavours. We had also ordered a sobacha, which also offered a good match.

After the frozen soufflé, a Milk Tea Cake followed. It intended to provide a similar flavour and textural profile as the soufflé, looking for an airy, nutty and creamy profile, but with a richer and more intense taste. The cake was shaped like a flat cylinder, with a minimalistic and sculptural look that enhanced its visual appeal. A thin layer of shiny gelatine coated the cake, hiding a whipped ganache infused with Hong Kong-style milk tea. At the core of the cake, a sponge soaked in a syrup with a floral note added a touch of freshness. The textures were very delicate, delivering again that a melt-in-the-mouth sensation that we have described a few times in this meal.

The meal concluded with an assortment of Petit Fours, arranged from left to right: a passion fruit and chocolate tart, a soy caramel profiterole and a key lime pie. The choice of these miniature desserts was well-suited for the meal. The chocolate tartlet had a rich and decadent taste, balanced by the tangy passion fruit that evoked Pierre Hermé’s renowned Mogador macaron. The profiterole combined sweet and savoury flavours with a soy caramel filling, while the key lime pie offered a refreshing and addictive contrast. It is very hard to find chefs specializing in both cuisine and pâtisserie, yet here the quality of the pastry work was as remarkable. It was apparent that Ramírez puts a lot of importance on the sharp and seamless appearance of the pastry. Each of the petit fours was an exemplary representation of its kind; such as the impeccably even and crunchy pâte brisée; the spotless, perfectly round pâte à choux; or the smooth and glossy Italian meringue.

Conclusions

César Ramírez has undoubtedly carved out a niche in the culinary world with his artful and meticulously composed menus that champion the world’s finest produce, with a leaning on Japanese seafood. His personal approach to flavour pairings and aesthetic is evident in every plate, making his version of fine dining distinctively his own. This is punctuated by an extreme precision in plating and a zeal for perfection in the cuissons. We’ve seldom encountered such a conscientiousness to this level elsewhere. The adeptness of the sommelier further elevates the dining experience, establishing truly noticeable synergies between wine and cuisine.

However, the exclusivity of Chef’s Table at Brooklyn Fare, manifested in the difficulty to book with the phone-only reservation system challenges and the considerable final bill, deters us from coming back often. Especially when there are so many other restaurants to explore and revisit.