Haute Chinois

Chinese scenes decorate the walls in the private dining rooms.
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Hakkasan, a pioneer in modern Cantonese cuisine, made its UAE debut last month

Launched in London in 2001, Hakkasan was initially envisaged as a ‘Chinese Nobu’. Nearly ten years on and the brand is recognised as having set new standards in Chinese cuisine and haute Chinois design. The original Michelin-starred London location has since spawned sister restaurants in locations as far reaching as Miami and most, recently, Abu Dhabi.

The name Hakkasan pays homage to the hakka people of the New Territories of Hong Kong, while san is a respectful form of Japanese address. As the name suggests, the restaurant is rooted in the culinary traditions of China – but not restrictively so.

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Modern authenticity

Founder, Alan Yau, has defined the Hakkasan concept as such: “The fundamental principle that has essentially determined the DNA of Hakkasan emerged early on: modern authenticity, encapsulating a paradox in that the traditions of the past are acknowledged, yet there is no fear of change.

“It is this spirit that infuses every aspect of the restaurant, from its design and ambience to service and, of course, cuisine. The fusion of authentic and modern engenders a freedom to pick and choose what is worth retaining and what is in need of change.”

Located in Abu Dhabi’s landmark Emirates Palace, the newest addition to the Hakkasan family opened on June 1. With a capacity of 165, the restaurant is anchored by chef Lee Kok Hua from Hakkasan London, who has worked under the guidance of Hakkasan head chef Tong Chee Hwee for five years. New dishes specifically designed for the UAE market sit alongside Hakkasan classics such as Peking duck with Royal Beluga caviar and grilled wagyu beef with king soy sauce.

The aim was to create a venue in Abu Dhabi that could rival – or even surpass – the London mothership. “We want customers coming here who have been to the London outlet and saying: ‘This is as fantastic as London, or even better than London’,” said Didier Souillat, chief operating officer, Hakkasan Limited. “There, we turn 500 covers on a good Saturday night, and we hope to do the same here.”

Recreating the Hakkasan ethos in a UAE setting fell to Paris-based design firm, Gilles & Boissier, which was also responsible for the interiors of the Hakkasan restaurant in Miami, as well as the W Hotel in Pudong, Shanghai and the Hotel 1850m in Courcheval. “We were asked to bring the London urban spirit to Abu Dhabi, while creating a modern authentic Chinese experience. It had to be elegant and sophisticated, creating a new level of luxury dining in the emirate,” said founder and CEO of Gilles & Boissier, Patrick Gilles.

According to Gilles, Hakkasan blends the traditions of authentic Cantonese cooking with a modern flair and opulent style. “Hakkasan revolves around immaculate attention to detail, from what you find on your plate to the space that surrounds you. Everywhere you look, you must feel the exquisite craft that went into the ambience, just as with every bite you take, you feel the passion and love that went into the food.”

Bringing back the dragon

The Hakkasan design ethos centres on the slogan ‘bring back the dragon’, a response to the way in which Chinese restaurant design has shifted away from its colourful cultural roots towards a stark modernism. As a reaction to this, the décor of Hakkasan has sought to regain a distinctive Chinese-ness, with rich, sensuous overtones. This has become a fundamental component of the Hakkasan interior concept, which also promotes a sexy, nightclub feel.

Core elements of the Hakkasan brand, which are also evident in the Abu Dhabi restaurant, include blue glass, a caged dining area, and a contemporary European reinterpretation of Orientalism in the design of furniture, fittings and equipment. The overall impression is one of cool charm.

Based on the same design thinking as the original London venue, the 1,000m² Abu Dhabi restaurant is divided into restaurant, lounge and bar sections, through the clever use of carved wooden lattice screens.

On arrival, diners are greeted by an entrance desk composed of a stainless steel, mirror-polished console with a marble top. A rectangular, white silk pendant hangs overhead.

The dining area is cocooned in a woodwork structure surrounded by blue glass, with a back-lit, stainless steel frame. This is the first real taste of China – reiterated elsewhere in the form of traditional patterns, Chinese forms recreated in marble, and hand- and custom-made Chinese pots that double up as candle holders. Furniture is finished in a fish-skin embroidery.

“The eye must play around with the different layers of the dining room, which has a cage-like feel. The deep blue is an electroshock of colour,” Gilles maintained.