I recently had the delightful privilege of dining at Atelier Crenn in San Francisco.
Dominique Crenn has been a foodie her entire life. I learned a great deal about her from her cookbook, Metamorphosis of taste, including how to make our first bite. But I am not here to talk about her extraordinary food journey, I am here to memorialize, and to share, my memories of this one glorious evening.
Dinner begins not with food but with poetry. Chef Crenn named her restaurant Atelier, which is French for studio, in memory of her father’s art den, a lifelong and beloved hobby tucked into a little shed behind their home. She believes that art and food are inseparable, and so the first peek at the “menu” is not a list of ingredients and arrangements, but a series of poetic impressions. Though I prefer my poetry in more traditional rhyming meters, it’s a stunning touch, a sign before even seeing the food that a tremendous amount of thought and love has gone into not only each dish, but each component of each dish.
First: a trio of small bites. The Kir Breton, a single bite and a nod to the signature cocktail of her homeland. Presented a perfect globe of creamy white chocolate and cocoa butter, with a dot of rich red cassis gel on top. Inside the sphere is reduced apple cider from Brittany. I let it sit on my tongue a moment, hoping the shell would melt and cider caress my tongue as it slipped out, but impatience won and I gave it the gentlest bite (some of you know the one I’m talking about). It shattered in a most delightful explosion, the cider lighter than I expected, and cool.
Then an acorn, made of a dozen ingredients, mushroom forward, soft, with a crisp oak leaf on top made of more mushroom. A single bite, delightful, but overshadowed by the next.
I have a soft spot for gougers. Little balls of cheesy eggy dough, crisp on the outside and filled with whatever you wish. Topped with three perfect slices of truffle and an edible flower, it wasn’t the prized fruits of the forest that wowed me, it was the popover itself. The kitchen had piped in a rich, creamy, cheesy mornay sauce, and a similarly creamy, but fruity and fresh, apple butter. Apples and cheese make an excellent pair, but they’re usually served as slices, crisp, cool, salty, and fresh. In this iteration, the two together played off each other more intimately. Instead of them blending together gradually as I chewed, they burst onto the scene in unison within the delicate, nutty, crisp shell; spurring my first “wow!’ Of the night.
Next: oysters. I know they can be a divisive food but I love them, and these gently poached little pearls of the sea were lovely, so lovely that they disappeared into my mouth before I remembered to take a photo!
Scallops can also be a divisive matter of taste, and of texture. Easy to overcook, and soft when raw, these had been sliced into short wide ribbons and arranged in concentric circles around a bright vinegar sauce, studded, as most dishes were, with micro greens and small flowers. Chamomile I remember, and nori chips for a bit of crunch. Each bite of scallop, dipped in the vinegar, gave a whisper of resistance to the tooth, and tasted both bright and creamy.
On to my next “WOW”: a brick of tuna. This perfect, miniature rectangle had been thinly sliced and then reassembled, interspersed with rectangles of kohlrabi cut wafer thin, abutting a generous dollop of black sesame paste, in a tiny lake of soy. Oddly enough, it was the chopsticks I marveled at the most. The tuna was buttery soft, melting in my mouth, the nutty sesame adding body and the kohlrabi crisp for contrast. But the chopsticks, with slender metal tips, surprised and impressed me. They clung to the tuna as it moved from plate to palate, but the sensory experience of them leaving my mouth is hard to describe. They offered no resistance whatsoever leaving my mouth, and their thinness evoked an incredibly delicacy.
A note on the dinnerware. Every dish is served with it’s own conveyance, whether that’s a three tined fork, a small wooden spoon, a hammered copper knife, or nothing at all, that choice is as much a part of the dish as the ingredients inside it. What made me mark this choice in particular was another recent experience with metal tipped chopsticks. Phryne and I, finished dress shopping for this very occasion, wanted a little bite. We chose Din Tai Fung and ordered bok choy with scallion oil, cucumber salad, and fried rice. The options for silverware were metal tipped chopsticks or a large ceramic spoon. I think I lasted through two instances of dropping the slippery greens before I shrugged and resorted to my hands. The chopsticks were large and bulky, designed for a commercial dishwasher, and Xiao long bao, not for oiled vegetables. They were comically bad for the food we ordered, and both of us laughed off our clumsiness.
So when my experience with these chopsticks was so wildly different, so soon after, I noticed, and I marveled, and I made my way through some of the most excellent tuna I’ve ever had with ease and grace and joy.
Moving on to the crab cakes. And oh dear lord were they good crab cakes. Touched with a light creamy dressing, each bite slightly acidic from capers, rich in a buttery sauce, salty with caviar, and garnished under a perfect ring of baby nasturtium leaves. Face over the bowl, I gathered in the aroma of nutty fried fish, the freshest, sweetest crab in California. But the real piece de resistance, for me, was the seafood broth, served alongside in a tiny ornate glass. It. Was. Amazing. I would have taken home a gallon of it just to sip as I read a book or took a walk. I love tea. I love meat. Broths are just meat tea, and so combine two of my favorite foods. Which means I’ve had a decent amount of broth just on its own, and this one blew my fucking mind. Hearty without being heavy, flavorful without being overpowering, dark, dark brown while staying crystal clear… and so came my third “WOW. Wow wow wow” of the night.
This was also one dish where I really noticed the wine pairing. I love pairings. Wine can really enrich the experience of eating, and I am in love with the fact that NA pairings are becoming more common, given that my two closest personal friends are sober. But wine doesn’t always add to the experience, so when it does in a meaningful way, I notice. The dry champagne in this pairing, sipped after each bite/broth circuit, did something marvelous. As it washed over my tongue, it picked up all the butter from the sauce and swept it up and away. From a creamy coating on my tongue, the sweet and savory flavors lifted and suddenly hit me in a different way. Volatiles in the dish rose to my soft palate and, for a single moment, I tasted it all again, but lighter and fresher. I love a pairing that dramatic!
The next dish was lovely: a brilliant orange flower on crisp squid ink tuile, over rich potato pudding and garnished with trout roe. Salty and sweet, creamy and crunchy, it was lovely, but it was as if Queen opened for Chapel Roan at a concert. Yes, it’s that good, but also…
Next: bread! Delicate brioche loaf, tear and share style, set beside a little log of herbed butter. It was spectacular bread. Crisp but melt in your mouth soft on the outside, buttery and pillowy on the inside, and enough to have a few bites unadorned, then sop up sauce from the next few courses. I love bread, and this iteration reminded me of the rice flour rolls from Eleven Madison Park. If I had access to bread like this on a regular basis, I think I’d need to do a lot more hiking!
The next dish was fascinating: deconstructed French onion soup, a nod to Chef Crenn’s Breton heritage. First: perched on an icy glass pillow, savory sorbet, with onion pearls (not pearl onions) arranged in a little necklace around it. They surprised me with their pop and potency, oniony and caramelized, pure without being raw or harsh at all. In the bowl: a cheesy dumpling under hot broth at the center of an onion flower, garnished with a profusion of bright yellow flowers. Instead the usual arrangement: cutting through a thick crust of bread and melty cheese to get to the dark onion broth, you had to go through the broth to get into the cheese. As a nod to Chef Crenn’s ocean muse, the “croutons” came on the side, a coral-shaped tuile, light brown and toasty. My dining companion, a tremendous fan of the late Thierry Rautureau’s French onion soup recipe, enjoyed it quite a lot, almost certainly more than I did. Sometimes food is like that: the dish can be ingenious, excellent, but the memories it evokes, or not, make the difference between “mmmm” and “WOW.” I think that’s part of what Chef Crenn hopes to inspire with her poetry menu, and what she offers each diner in turn.
Atelier Crenn is pescatarian these days, so instead of moving toward meatier dishes at this point in the meal, we stay light, with black cod: poached, served with foams made of broccoli and yogurt, and of course micro greens. Tarragon in this case, I think, and nasturtium. Of course it was cooked perfectly, tender and flaky without being dry in the least bit.
Next we enjoyed a turbot custard, firm on the tongue, decorated with a paper-thin, crisp wheel of squid ink tuile, and a mussel foam. To be honest I don’t remember this one as much. It was good, like everything else, but my fourth and final “WOW” came immediately next and cast a long shadow.
As an entre into dessert, they gave us salad. French cuisine often serves salad last, so it fits, and what a salad it was! Inside a spinach merengue bowl that fit easily in the palm of my hand, they piped olive oil jam and a vinegar cream, then topped it with a dense profusion of the ever-present micro greens. Served with no silverware, you just pick it up, pop it in your mouth, and try to mumble your WOW around it without being rude. Crisp, herbaceous, so slightly sweet, creamy, juicy… I would take a dozen of them home with me and find it nowhere near enough. I remember being surprised at how clearly I could detect the different flavor components. The spinach of the merengue, the herby-ness of the greens, the sweetness of the jam… all in perfect harmony, honed by a dozen repetitions a day for years. (There is a similar recipe in her book, for the curious.)
Next was olive sorbet, shaped and tinted to resemble it’s main ingredient, stuck with an olive twig as a handle. I found it a refreshing, almost savory bite, in fitting with the salad. Served alongside it was yuzu custard in an eggshell, like a soft boiled egg, but sprinkled with tiny puffed quinoa crunches and tiny bits of crystallized ginger. Sweet, but tangy and citrusy.
Their newest dessert, served that night for the first time, came inside a halved wine bottle. Cake, under a pear compote, with champagne foam and champagne pearls. This is an instance where I am sad these dinners are few and far between. As a new dish, it wasn’t fully formed yet. The cake could have had a lot more spices, and the other flavors hadn’t really come through. I think in two or three months, going back and trying it again would be marvelous. They asked for our impressions and feedback, and I got the strong sense that what we said mattered, and would influence it moving forward. Every diner that evening had a hand in shaping the future of the dish, and I would be fascinated to see where that leads them.
Finally, a few chocolate covered items: a wasabi pea coated in white chocolate, a hazelnut robed in milk chocolate, and a dark chocolate espresso bean. I do love a good chocolate covered espresso bean, but I’d never seen a wasabi pea in sweets before. I don’t generally like them much, and I think the pairing here was more interesting than delicious. But that’s part of the joy of a tasting menu! Let the chef expose you to things you wouldn’t normally try, and enjoy what comes.
That crab bouillon and the merengue salad will live next to the tomato from Eleven Madison Park and the Consommé from the French Laundry as some of my favorite dishes in my silly, passionate, and frivolous pursuit of Michelin stars. I have been incredibly fortunate to have these experiences, and I am looking forward to the next, and the next, and hopefully many more.