In 2019, hels profiled the unerringly creative Japanese American chef Niki Nakayama.
, a former crime reporter who, in his late twenties, decided to pursue his passion for classical French and Japanese cuisines by opening a cooking school. Tsuji introduced Bocuse to kaiseki, an elaborate, formal meal that is considered the pinnacle of Japanese cuisine. Kaiseki is not a specific dish or technique but a format, often involving a dozen or more tiny courses.
And yet kaiseki does not broadcast its own cleverness. There is no futuristic culinary chemistry or flamboyant tableside showmanship. Its practitioners talk about it almost as a form of service, a subordination of the self. When I met Nakayama, she told me that, in kaiseki, “the ingredients are more important than you, the cooking is more important than you. Everything about the food is more important than you, and you have to respect that.
Hundreds of rules can govern the preparation of a kaiseki meal. Almost all of them serve aesthetic or gastronomic ends, though to a nonexpert they can seem ludicrously fussy. Plates should be arranged with the main element slightly to the rear, so that, to a seated guest looking down, it appears to be centered. Pieces of sashimi should be served in odd numbers. Round food should be served in square vessels, and square food in round vessels.
One recent morning, as I sat with Nakayama and Iida at their sunny kitchen table over a breakfast of miso soup, rice, pickles, and an onsen egg, Nakayama recalled her time working at the inn. When she’s off duty, Nakayama is ebullient and discursive, a quicksilver conversationalist who stretches out her words with a hint of Valley Girl drawl. She described an awakening over a plate of pickled vegetables.
Azami earned appreciative writeups on local restaurant blogs, but Nakayama felt that she was sometimes painted as a novelty for what the Web site LAist called her “girl-powered sushi.” One night, during dinner service, three men came into the restaurant and stood just inside the door. Nakayama recalled, “They were obviously Japanese, obviously businessmen. They saw us”—Nakayama and her female sous-chef—“and they took a pause.
was so captivated that he convinced the chef to partner with him in a new venture, which became the Nobu empire. Even on a Sunday night, when we visited, Matsuhisa was crammed with people. We were at the far end of the counter: my shoulder was pressed up against a wall, and Iida kept being jostled by the animated gesticulations of a broad man to her right. Nakayama, in the middle, kept her chair pulled back to carve out some space.
“At a lot of fine-dining restaurants, the food is so delicate, so small—that’s feminine, right?” she said. She brought up the flagship restaurant of Thomas Keller, where the six top members of the team are all men: “When you look at the food that the French Laundry does, with all the flowery arrangements, it’s so feminine. I don’t see the difference.”
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