2026亞洲50佳餐廳背后的大實話

[ Asia's 50 Best Restaurants]

亞洲50佳

今年亞洲50佳評選告一段落，

但這只是逗號。

作為一直關注中國餐飲成長的媒體人，

我希望給大家傳遞成功者的經?驗?大實話。

也許明年咱也上了呢？

榜單速覽：“守舊”餐飲占優勢

這次，眾望所歸，香港THE CHAIRMAN“大班樓”榮登2026年度ASIA’S 50 BEST RESTAURANTS“亞洲50最佳餐廳”NO.1寶座。

老板Danny笑說自己的團隊是Vintage（復古）的。官方是這樣評價這支團隊的：“這家備受贊譽的餐廳致力于致敬幾近失傳的華南珍貴食材與粵菜傳統，從去年的No.2攀升至榜首，繼2021年后再度登頂亞洲最佳餐廳。”

本年度第1-50名榜單覆蓋17個城市，8家餐廳新晉上榜，彰顯亞洲餐飲界的卓越成就。

香港在本年度榜單上表現卓越，除The Chairman“大班樓”重新登頂外，Wing“永”位列No.2，餐廳主廚兼店主鄭永麒(Vicky Cheng)以精湛法式廚藝，對中國八大菜系進行創新演繹。

The Best Restaurant in Macau“澳門最佳餐廳”殊榮由位于永利皇宮的Chef Tam's Seasons“譚卉”(No.7)奪得，這家譚國鋒師傅掌廚的餐廳以精致粵菜聞名，排名較去年更進一步。

今年也是中國內地餐廳上榜數量最多的一次，共有7家進入前50，其中3家躋身前10，再次刷新紀錄。分別是遇外灘（上海）第6位，Ling Long （上海）第9位，如院（杭州）第10位。加上港澳，前10名榜單中中國餐廳占據6席，我很驚喜看到那么多中國優秀餐廳能夠站在亞洲餐飲前列。

上海以5家上榜餐廳領跑中國內地，杭州也躋身主榜單。Meet the Bund“遇外灘”延續上升勢頭，從去年的No.14躍升至No.6，再次蟬聯“中國內地最佳餐廳”。現代中餐廳Ling Long“凌瓏”(No.9)于本年度榜單上保持強勢地位。傳統廣府筵席菜102 House“壹零貳小館”(No.29)與去年度排名不變。巴斯克海鮮燒烤餐廳La Bourriche 133(No.48)則首次入圍（他們以本土海鮮為主要食材）。

值得回顧的是：2026亞洲50最佳餐廳中國內地餐廳在第51-100位版圖也擴大了。

2026 Asia's 50 Best Restaurants第51-100名的榜單中，中國餐廳共有13家上榜，占比超過1/4。其中包括中國內地6家（北京2家、深圳2家、杭州1家、成都1家），中國香港4家，中國澳門1家，中國臺灣2家。
譽瓏軒 （澳門，No.80）、金沙廳（杭州，No.85）、 Amber（香港，No.90）等老牌名店重新回歸榜單。
1996 川菜·主廚餐廳（北京，No.52）、晶華軒（臺北，No.64）、Fumée拂鳴（深圳，No.65）、蔻Co-（成都，No.69）新入選。今年北京、深圳、成都均有新餐廳首次上榜，其中成都首次有餐廳登榜。
Ensue（深圳）由去年的No.85升至No.54，上升31位。

值得一提的是：新榮記創辦人張勇榮膺獲標志人物大獎，陳碧琪（Zero Foodprint Asia 零碳足食執行董事）榮獲變革獎。北京的蘭齋飆升33位到第17，榮獲最佳進步獎。福和慧位列第11，目前是中國第一素食。

我發現有一個趨勢，越是強調在地傳統根基的餐飲，越有全球表現力！

另外，還有香港的Neighborhood（第24位）、Estro （第32位）、Caprice（第35位）、Mono （第46位），中國臺灣的Logy （第22位） 、JL Studio （第50位）。同時，我特別認同Neighborhood老板David的個人觀點，年輕餐飲人應該找到自己的風格，而不是盲目“借鑒”。

Asia's 50 Best Restaurants 2026年度榜單曼谷以 9 家入選餐廳領跑，東京以7 家餐廳上榜緊隨其后。

去年的冠軍得主Gaggan今年位居第3，仍然是“泰國最佳餐廳”，主廚 Gaggan Anand與LV品牌合作的Gaggan at Louis Vuitton也排名第8。Chef Ton的Nusara（第5位）和Le Du（第36位）雙雙上榜，他本人則榮獲由同行票選的“廚師之選獎”。

東京上榜的7 家餐廳中，排名最高的是大坂La Cime（第13位），而東京的Sézanne和Sazenka“茶禪華”分別位列第16和21位。

韓國餐飲的流行風潮越來越顯現，Mingles（第4位）再度榮獲“韓國最佳餐廳”，Mosu以41位重返榜單，老牌精致餐飲依然有魅力。今年亞洲50佳榜單加入了更多國家的強勁力量，我們看到亞洲美味的舞臺越來越大。

孟買Masque(No.15)由Aditi Dugar創立，為現代印度美食先驅，第四度獲評為The Best Restaurant in India“印度最佳餐廳”，同時獲頒Art of Hospitality Award“待客藝術獎”，以表彰其卓越待客體驗。位于昌迪加爾與西姆拉之間偏遠山麓的卡紹利，憑借Naar(No.30)首次亮相第1-50名榜單，主廚Prateek Sadhu致力呈現其對喜馬拉雅飲食文化的熱愛。

檳城首次有餐廳入圍第1-50名榜單，Au Jardin(No.39)由主廚兼店主史金福(Kim Hock Su)主理，將法式元素注入馬來西亞精致菜肴之中，獲評為The Best Restaurant in Malaysia“馬來西亞最佳餐廳”。

50Best“50最佳”活動董事總經理Rikki Tidball表示：“本年度榜單匯集了來自17個亞洲城市廣受歡迎的餐廳。我們衷心祝賀所有上榜餐廳，尤其是榮登2026年度亞洲50最佳餐廳No.1寶座的The Chairman大班樓。該餐廳致力于傳承精致粵菜傳統，堅持以食材為本，因而脫穎而出。榜單上所有餐廳對卓越廚藝的追求及對美食邊界的突破，充分展現了亞洲餐飲界的蓬勃發展，以及非凡人才與創新精神。”

我跟大班樓Danny探討的問題，其實是想替國內一直在堅守“傳統”的餐廳去問的。新時代的洪流里，其實有很多傳統餐飲都開始不同程度轉型，有些是“舍棄”了，有些是“融合”了，有些是“美化”了。大班樓代表中國傳統的力量走向世界，其實是很鼓舞的一件事。

從另一個角度，我想說香港的“傳統”早已被國際化進程塑造成一種可被全球市場識別的“標志性資產”，這和內地多數傳統餐廳所處的生態截然不同。香港自開埠以來就是中西文化的交匯點，傳統粵菜在殖民時期就開始與西方飲食體系互動，形成了既有嶺南根基又具國際表達的獨特形態。這種“傳統”不是封閉的老手藝，而是經過市場篩選、語言轉譯和審美校準的文化符號，天然具備跨文化傳播的基因。

時間有限，于是現場我沒有再追問，但線下我需要再問下去。

“會見主廚”媒體圓桌會：可持續是謊言？年輕人太喜歡“抄”？娛樂化可以使“客戶更耐煩”？…

Asia's 50 Best Restaurants 亞洲50最佳餐廳里面，我最喜歡的環節其實是和有態度的主廚們聊天，主辦方稱作“快速約會”。我聆聽他們的故事，可以面對面聊一些平時埋頭吃飯得不到的“干貨”。

? 黎子安（David Lai），Neighborhood——香港

黎子安（David Lai）是一位在香港出生、在美國成長的廚師，最為人熟知的身份是Neighborhood的創始人，這家備受喜愛的小酒館隱居于荷里活道旁。他在北加州開始了他的烹飪生涯，在Masa's和The Ritz-Carlton San Francisco等知名機構磨練，之后返回香港與Alain Ducasse合作開設了Spoon餐廳。

他的烹飪哲學側重于簡單、時令，讓優質食材本身說話。在2014年開設Neighborhood之前，Lai曾領導過香港幾家備受贊譽的餐廳，包括On Lot 10、Kushiyaki Beco、Bistronomique和Fish School。

David以其低調的風格和考究的風味而聞名，已成為香港最受尊敬的廚師兼餐飲主理人之一，深受食客和業內人士的贊賞。

我很喜歡David的率性。剛剛上桌，他經不住說：“We are back to normal like pre-COVID level. So I'm very happy about that.”

“一切都恢復到了疫情前的正常情況，我對此感到非常開心。”

Q：很多年輕的廚師，他們在創作自己的現代料理的時候，會挖掘越來越多的傳統文化，對此您怎么看？

So I think now the thing is too much information on the internet, and the food is the same in London, Copenhagen, New York, Tokyo and Paris. It's because I think especially for young chefs, they get too much information and feel a bit confusing. I think the goal of a chef is to develop their own personality and voice, like a good writer, like Hemingway, he can use the least amount of work to convey very great and clear ideas, like emotions and thoughts. So I think young chefs get carried away by trends because it's so easy to see everyone make a flower on the plate like Noma, and so I don’t think it’s helpful.

我覺得現在的問題是網絡上的信息太多了，倫敦、哥本哈根、紐約、東京、巴黎的餐飲風格都變得趨同。尤其是年輕廚師，接觸的信息過多，難免會感到困惑。我認為廚師的核心目標，是塑造屬于自己的個人風格和表達內核，就像海明威這樣優秀的作家，能用最凝練的方式，傳遞出深刻又清晰的思想，比如情感與觀點。年輕廚師很容易被潮流裹挾，畢竟隨處可見大家都像Noma餐廳那樣，在盤子里做花藝裝飾，我覺得這樣的做法并無益處。

As a chef, I probably stopped looking at other people's cookbooks 10 years ago. Before opening my first restaurant, I told people it’s a French bistro, but when you put a label on it, you are forced to fit in a box. Like if it's a French bistro, I have to stick to it and make something that fits. But if I want to make a paella, people would say that's a Spanish dish and it does not fit in a French restaurant.

作為一名廚師，我大概十年前就不再看別人的烹飪書籍了。開第一家餐廳前，我跟別人說這是一家法式小館，但一旦給餐廳貼上標簽，就會被局限在固定的框架里。比如法式小館，就必須恪守法式風格，做符合定位的菜品。可如果我想做個海鮮飯，別人就會說這是西班牙菜，不該出現在法式餐廳里。

So now I stopped trying to put a label. I just do what I want. I do what I feel like. I go to the market in the morning, I buy ingredients that excite me, and with that excitement, I hope when I cook them, I have more energy, and for customers, they can feel the excitement. I think when they get the emotion I put in, it's my expression to my customers.

所以現在我不再刻意給自己的烹飪貼標簽，只做自己想做的、自己喜歡的菜。我每天早上去市集，挑選那些能讓我心生歡喜的食材，帶著這份熱情烹飪。我希望自己做菜時能充滿活力，也希望食客們能感受到這份心意。我覺得當他們體會到我融入菜品里的情感時，這就是我向食客們的表達。

So I feel like at the end of the day, people remember a meal because they experience emotion. So the highest compliment my customers give me is that when they eat my food, they feel like they know my personality. And for me, I have done my job properly if people eat my food and know me.So I think we have so many techniques and different styles. They are only tools for communication. At the end of the day, it's people feeling the emotion.

我覺得說到底，人們之所以會記住一頓飯，是因為在享用時感受到了獨特的情感。食客能給我的最高贊美，就是說吃到我的菜時，仿佛讀懂了我的性格。對我而言，只要人們品嘗我的菜品，就能了解我，我的工作就做到位了。如今我們有各式各樣的烹飪技法和風格，但這些都只是表達的工具。說到底，烹飪的核心終究是讓人們感受到那份真摯的情感。

Q：Do you have any suggestions for young chefs?

你對年輕廚師有什么建議嗎？

Travel more. Food is about culture. So when you travel around, it's the easiest way for you to have firsthand experience. When you just go on the internet, it's all secondhand experience, but when you travel, it's firsthand feeling. For example, in Hong Kong, I can see how chefs use carrots; when I go to Japan, I see how Japanese people use a carrot; when I go to Europe, I see the same ingredient but with a completely different mentality. So when you see how different people think, you learn how to think.

多去旅行。美食與文化息息相關，旅行是獲得第一手體驗最直接的方式。上網看到的都是二手信息，而旅行能讓你親身感受。比如在香港，我看到當地廚師如何使用胡蘿卜；到了日本，見識到日本人對胡蘿卜的處理方式；到了歐洲，又能看到人們用完全不同的思路對待同一種食材。當你見識到不同的思維方式，才能慢慢形成屬于自己的思考方式。

Q：You mentioned travel, is there a dish you will miss when you are away from Hong Kong for a while？

你提到了旅行，當你離開香港一段時間，會想念哪道菜？

Maybe like wonton noodle.

或許是云吞面吧。

Q：So what do you think is the one core spirit of neighborhoods that can never be replaced？

你認為社區餐廳最不可替代的核心精神是什么？

Me.

是我。

Q：So then have you mainly stayed true to your original vision, or has Hong Kong maybe reshaped the restaurant？

那你是否一直堅守著最初的經營理念，還是香港這座城市重新塑造了這家餐廳？

I think that's a dumb question because I don't think you can escape the influence of living in some place. You are yourself, but do you change? So I think you are always changing. Today you, tomorrow you, are a different person. Yesterday you were a different person. So every day I'm a new person, and that is the most important thing. Be honest about who you are today. Being in tune with your feelings every day is the most important way of living. Honestly. It doesn't matter if you're a writer, it doesn't matter if you're cooking, it doesn't matter. It's easy to tell the difference. I can see how I was different 5 years ago from today. It's easy to say, right? But how were you different yesterday and today? There are differences, and being able to tell the difference is important as a chef. Cooking is mostly about the moment, being inspired, and when working with these ingredients, it's to do it with transparency.

我覺得這個問題沒什么意義，因為人生活在某個地方，就無法擺脫這個地方的影響。你本就是你，但人難道不會改變嗎？我認為人始終都在變化，今天的你、明天的你，都和昨天的你不同。每一天的我都是一個全新的自己，這一點至關重要。要坦誠地面對當下的自己，時刻傾聽內心的感受，這才是最重要的生活方式，真的。無論你是作家、廚師，還是其他人，皆是如此。人是會變的，這一點很容易看出來。我們能輕易說出自己五年前和現在的不同，對吧？但你能說清自己昨天和今天的變化嗎？這些細微的變化真實存在，而作為廚師，能感知到這些變化至關重要。烹飪大多關乎當下的心境，被靈感驅動，而與食材相處的過程，更要帶著純粹的本心去做。

Q：How to understand the word transparency?

該如何理解“純粹”這個詞？

如果你寫東西你寫的好好的，就不用浪費一些廢話，就很清楚的寫出來，用你自己的方式表達你自己的性格，表達你的思想，寫東西去掉形容詞。

Q：您剛才提到您每天早上都會去市場上去找食材，您最近有沒有找到一些讓你覺得非常滿意的？

I don't think one day's ingredient is necessarily better than another's.

我覺得其實每一天的食材，并沒有絕對的好壞之分。

Q：我很喜歡你的菜，但是我有一個問題我想問說Neighborhood從開始開到現在，你覺得最驕傲的事情是什么？然后你最后悔的事情是什么？

I have become more myself, and the food has become more transparent.

我活成了更真實的自己，做的菜也變得更純粹。

沒有后悔的事情。你會發現有些人學習比較快，有些人學習比較慢，比如說有些很年輕的廚師是天才，比如說我朋友他就是很年輕，就很清楚自己的思考和性格。能在那么年輕的時候就那么成熟，了解自己的內心，關鍵在于一個人成不成熟。你成熟了，才有自我。

Q：In your opinion, what makes Hong Kong F&B markets stand out and what kind of challenges does the Hong Kong F&B market face?

在你看來，香港的餐飲市場有哪些亮點，又面臨著怎樣的挑戰？

我覺得這就是香港成本太高了，很多內地的人來香港的時候，會疑惑為什么在大陸吃的東西，環境更好，服務更好，價格卻要便宜一半。還有現在在內地的食材其實已經很發達了，因為物流基本上是全國最好的，云南、東北哪里的最好的材料馬上就可以送達。到香港還要過關，過深圳關，其實我們的食材比內地少很多，但是我們的好處就是外來的食材，比如說歐洲、澳大利亞、日本各地的都有很多。我覺得香港的成本很高，那些小生意受影響，因為獨立的生意才有一些新的思想，我覺得有點可惜的。而且現在年輕人全部都讀大學了，沒有人親自來幫忙做事情，那也是可惜的。所以現在香港其實很多老店，經營者基本上都差不多到了退休的年紀，如果退休了，很多像倫敦或者本地的茶餐廳，基本上退休了就沒有人做了，所以我覺得其實全世界也是一個圈子。全世界也在轉，香港還挺有活力的，但是成本貴就競爭力沒有那么高。像新加坡簽疫情以前其實因為它的地是比較便宜的，所以競爭力比較高，但是現在全部都貴了，他們很明顯這幾年的餐飲活力都沒有了。

因為我的性格是非常內向的，也不懂說話，所以我也奇怪，我也真的不了解看上了我什么。

? 林恬耀（Jimmy Lim Tyan Yaw），JL Studio——臺中

林恬耀（Jimmy Lim Tyan Yaw）是新加坡籍廚師，在臺中開設了JL Studio，并在那里展示了對新加坡風味的現代、極具個人色彩的詮釋。林恬耀在新加坡長大，他的烹飪根基很早就通過家里經營的街頭小吃攤得以塑造。

在全球知名廚房接受訓練后，他移居臺中，在那里他發展出了一種將東南亞傳統與本土食材及現代技術相結合的烹飪風格。2017年，他創立了JL Studio，這家餐廳通過精致、富有想象力的視角，重新構想了如laksa（叻沙）、bak kut teh（肉骨茶）和Hainanese chicken rice（海南雞飯）等經典菜肴。餐廳約90%的農產品來自本地采購，這反映了林恬耀在尊重傳統風味的同時，將美食與當地環境聯系起來的信念。

如今，林恬耀主廚被公認為在國際上塑造現代新加坡美食的領軍人物，他將JL Studio作為頌揚記憶、風土和美食敘事的平臺。

當他被問到世界餐飲炙手可熱的“發酵”，他是如何看待的。他回答：“我覺得更重要的應該是創作者的整個team，整個團隊的philosophy在做的所謂的發酵，我會把它看成是用時間，去怎么養成我們越來越清晰的一個理念出來。”

Q：剛剛您提到你們更喜歡用當季的食材，那怎么在這個時間的存留，我們提到的發酵，你們這邊的理念應該是思維上手法上的累積跟陳化，而不是食材上的？

因為我有時候覺得如果你只食材或菜的方向，它有一點表面，因為幾乎現在社交媒體，30年前我覺得他們是很幸福，他們要學什么東西，其實只要懂得去找哪一個媒體，他們都可以講一下。

Q：我問一個問題，問一些反面的，你在臺灣做到現代料理的創新和經典的傳承，這之間你碰到了什么問題？比如說有什么分寸的問題，或者是它的水土可能更喜歡傳統的問題，有沒有年輕人不肯買單的問題？

這個問題的話我覺得比較深刻的是我剛創建的時候，我一直很想要做道地的味道，新加坡人口味，可是在當地的客人沒辦法接受。所以那時候我就一直在想說我要怎么辦。如果我在做的事情，我不能get message across，那我是失敗的，我一直在想說我要怎么樣去讓他們能夠理解。所以那時候才會做了調整，把味道上做了調整了，讓道地的味道這個東西要往后再來，所以要讓客人先理解我們要傳達或要做的事情。所以我記得兩三年后我才開始慢慢把味道做出來。

這是比較深刻的我遇到的challenge。我覺得不是一種妥協，因為我要先讓你理解，就是我有一個basement，我不能低于我的底線，那它可以退到哪里。可是我的這個退，其實如果你不退的話，你根本沒辦法往前走，因為如果你一直堅持做著我要的東西，可是大家都不明白，其實這complication是被擋住的。那如果我退一步呢，我覺得我退了那一步，我其實再往前走了兩三步。幾年后我再看我這個動作的時候，它其實是讓我往前的一個動作，所以未必退一步是不好的。

Q：前幾年大家對于臺灣的fine dining的現象，因為有很多的local ingredients然后用了太多，但是年輕的主廚他們又還hold不住，就搞得有點不像，然后全部都說臺灣味。然后這幾年就覺得是有進步了。

如果你要說進步的話，我覺得是在回國的年輕人，他們有出去過去，去別的國家，然后他們回來后帶來的新的想法，因為我覺得愚昧的一直在講當地化，在講farm to table這個東西，會變成很多人在盲從這個標題，或者有一陣子是sustainability，大家都一直在做這個東西，真正的核心的sustainability真的有做到嗎？還是只是在做表面？這個是我們也很想要探討要看的核心問題是什么，而不是只做字面上表面的事情。

如果你說真的你在一個城市里面，你要說sustainable我覺得有限，真的是很有限。不可能不用plastic對不對，食材送過來，他們廠商不用這些東西裝嗎？這是我一直在探討的問題，甚至我們也在有去溝通過，說能不能用少一點plastic，或者我們可以用一些不同的材質的東西送來，或一直這樣重復利用…但大部分的是麻煩。所以我在看的話，我就覺得說有時候這sustainability真的有到核心里面去嗎？！

? Chudaree 'Tam' Debhakam 與 Pantila 'Toey' Debhakam，Baan Tepa——曼谷

廚師Chudaree 'Tam' Debhakam與Pantila 'Toey' Debhakam是曼谷Baan Tepa背后的姐妹搭檔，這是一個植根于泰國傳統、本地食材和可持續食品體系的創新烹飪空間。Tam廚師最初在英國諾丁漢大學學習食品科學與營養，隨后在紐約接受烹飪培訓，并在Blue Hill at Stone Barns獲得了寶貴的經驗，深化了她對農場驅動型美食的熱情。之后她返回泰國，于2020年開設了Baan Tepa，旨在通過再生農業的視角重新構想泰國風味。

她的姐姐Pantila 'Toey' Debhakam是Baan Tepa的聯合創始人，并在將她們祖母的三代傳承的曼谷住宅改造成一個城市烹飪綜合體中發揮了核心作用。如今，這個院落包括Tepa廚房、Tepa花園以及修復后的祖宅，這些空間旨在讓客人接觸泰國食材、了解文化故事，并感受孕育了這種美食的土地。

Tam和Toey共同領導著Baan Tepa，使其成為一個泰國風土、創造力和可持續性融合在一起的目的地，體現了她們家族傳承的深刻個人表達。

Q: What are your new projects at Baan Tepa?

Baan Tepa目前有哪些新項目？

We are currently renovating a small space at the back of the property to create a waste management centre. When it is completed, people will be able to visit and take classes to learn how to eliminate food waste and how to manage it properly at home. We want to teach people how to upcycle food scraps for their gardens or farms and show that waste can become something valuable.

我們正在翻新餐廳后院的一處小空間，打造廚余處理中心。建成后，民眾可前來參觀、參與課程，學習如何減少廚余、在家合理處理廚余垃圾。我們希望教會大家如何將廚余廢料再利用，用于自家花園或農場，讓垃圾變廢為寶。

Q: What is your backup plan during inclement weather?

惡劣天氣下有備選方案嗎？

We collaborate with multiple producers who grow similar products in different areas. This allows us to adapt depending on harvest conditions. Our menu must remain flexible — we cannot serve a fixed menu or repeat the exact same dishes. Flexibility allows us to stay sustainable and continue supporting our producers throughout the year.

我們與分布在不同地區、種植同類食材的多位農戶合作，可根據收成情況靈活調整。菜單必須保持彈性，無法采用固定菜單，也不會重復完全相同的菜品。這種靈活性既能踐行可持續理念，也能全年持續扶持合作農戶。

Q: How do you showcase Thai culture while remaining sustainable?

如何在踐行可持續的同時展現泰國文化？

We use traditional Thai techniques such as pickling vegetables and making curry pastes, but we reinterpret them through different methods. For example, our Blackened Curry applies a long fermentation process similar in spirit to mole, but rooted in Thai ingredients. We take what we learn from tradition and apply our own craft.

我們沿用腌菜、制作咖喱醬等泰國傳統技法，再用全新方式重新詮釋。比如招牌黑咖喱，采用長時間發酵工藝，理念近似墨西哥莫雷醬，卻以泰國本土食材為根基。我們從傳統中汲取養分，再融入自身的烹飪技藝。

Q: Can you tell us more about the waste management centre?

能詳細介紹一下廚余處理中心嗎？

We have invested both time and money into learning how to use machines to break down food waste more efficiently. Previously, everything was done by hand. Now, machines help process difficult waste like shells, making composting more manageable. With the help of effective microbes, the waste breaks down into compost and becomes topsoil in about six months. This project is not just about sustainability — it is about understanding what we can do better as a restaurant.

我們投入了大量時間與資金，學習用設備更高效地分解廚余。此前全靠人工操作，如今設備可處理貝殼這類難處理的廢料，讓堆肥更易實施。借助有效微生物，廚余會分解為堆肥，約六個月后轉化為表土。這個項目不止關乎可持續發展，更是探索作為餐廳，我們如何做得更好。

Q: As two women leading a restaurant, do you find the industry restrictive?

作為兩位執掌餐廳的女性，是否覺得行業存在束縛？

Professional kitchens have traditionally been male-dominated, and that can create power imbalances. However, we see change happening. There is a new generation coming in, and more female chefs are emerging. Through collaborations, we see stronger female representation, and we hope the future will continue to improve.

專業廚房向來由男性主導，容易形成權力失衡。不過我們能看到行業正在改變：新一代從業者崛起，越來越多女性主廚嶄露頭角。通過各類合作，女性身影愈發亮眼，我們期待未來行業環境持續向好。

? Hussain Shahzad、Aksha Nair 與 Sameer Seth，Papa's——孟買

Papa's是位于孟買班德拉的一家僅有12個座位的私密Chef's Counter（主廚餐桌）式餐廳，由Hunger Inc. Hospitality團隊創建。由行政總廚Hussain Shahzad、客戶關系主管Aksha Nair以及創始人兼首席執行官Sameer Seth領導，該餐廳以其充滿趣味、注重風味的印度菜以及溫暖、充滿個性的用餐體驗而聞名。

Hussain Shahzad：This is a 50-year-old bakery, and we only offer services four nights a week for 12 people at a time. This gives us the freedom to be uncompromising with our culinary experience. We all grew up working in fine dining restaurants across the world—we’ve worked in New York, for instance. I worked in New York, and we’ve had a wide range of experiences: he’s worked with Danny Meyer, Danny Blue, and at other renowned spots, and I’ve honed my skills at restaurants like 11 Madison Park. We draw on all these collective experiences, keeping only the parts we love the most, the parts that made us enjoy working in this industry. With that in mind, we created this restaurant.

這是一家有五十年歷史的烘焙坊，我們的餐飲服務僅每周開放四晚，每次僅接待12位客人。這讓我們有底氣在打造餐飲體驗時堅守本心、絕不妥協。我們都在世界各地的高端餐廳深耕成長，比如都曾在紐約工作過。我在紐約積累了經驗，我們的經歷各有不同：他曾與丹尼·梅耶、丹尼·布魯等業界大咖共事，也任職于多家知名餐廳，而我則在麥迪遜公園11號這類名店打磨過技藝。我們匯聚所有的集體經驗，只保留其中最熱愛、最能讓我們享受工作的部分，并以此為核心打造了這家餐廳。

Sameer Seth：To give you some context, this is what it’s like: it’s a 12-seat chef’s counter, an intimate space with just one chef leading the experience.

給大家看一下，我們的餐廳是這樣的：一個僅設12個座位的主廚吧臺，一方私密空間，由一位主廚全程主導用餐體驗。

Hussain Shahzad：We take those cherished elements of our past experiences and curate a dining experience for our guests that evolves daily. We study our guests, understand their needs and desires, and tailor the entire experience around them.

我們萃取過往經歷中那些珍貴的精髓，為客人打造每日煥新的定制化用餐體驗。我們了解每位客人的情況，讀懂他們的需求與期許，再以此為核心量身打造全程體驗。

Q：You mentioned staying true to your core while letting go of what you don’t like.So what parts of your life and what kind of dining experience are we talking about?

你剛才提到，要堅守本心，舍棄自己不認同的東西。具體來說，是舍棄了生活里的哪些部分，又想要打造怎樣的用餐體驗呢？

Hussain Shahzad：The parts I never liked about fine dining, especially after a certain point, were that it was becoming too stiff and solemn. We knew we didn’t want to keep those aspects. Going out to eat should be fun, a little adventurous, and entertaining at the same time—those are the parts we’ve kept, and the rest, we’ve let go of. If I had to define Papa's, it’s about fun and being unpretentious. We don’t follow any of the rules of a traditional fine dining restaurant. There are no white tablecloths, no stiffness, no rigid etiquette about how you have to eat. Every part of the experience is fun, unpretentious through and through.

我一直不喜歡高端餐飲的一點是，尤其在某個階段后，它變得越來越刻板、沉悶。這些特質我們堅決摒棄。外出用餐本就該充滿樂趣，帶點冒險感，同時兼具體驗感——這些才是我們保留的核心，其余的便都舍棄了。如果要用關鍵詞定義Papa's，那就是有趣、真誠。我們不遵循傳統高端餐廳的任何條條框框，沒有潔白的桌布，沒有刻板的氛圍，也沒有嚴苛的用餐禮儀。這場體驗的每一個環節，都充滿樂趣，始終保持純粹的真誠。

Aksha Nair：It’s fine without the fuss.

這是褪去繁文縟節的高端餐飲。

Q：What are the few words would you use to describe Papa's style when crafting this dining experience, this creative addition?

那在打造這場用餐體驗、這份創意之作時，你會用哪些詞形容Papa's的風格？

Hussain Shahzad：The few words I’d use to frame it—first and foremost, there are no rules. And it’s unpretentious, not gimmicky at all.

我想用這幾個詞來詮釋這份體驗，首先最核心的，就是打破常規。其次是真誠，毫無刻意的噱頭。

Sameer Seth：I like the word context. Because what always matters is understanding the current landscape: food has always existed, Indian cuisine has always existed, fine dining has always existed. What do today’s diners and guests want? What are they truly interested in? That’s what drives us and keeps us excited. For example, when we were opening the restaurant, we talked about this—all of us here at this table have been fortunate enough to travel the world and eat at the best restaurants. But a formula has emerged: you have to sit for three or four hours, eat 20 courses, and so on.

我喜歡用一個詞：貼合當下。因為真正重要的，是讀懂當下的餐飲格局：美食由來已久，印度料理由來已久，高端餐飲也由來已久。如今的食客們想要什么？他們真正感興趣的是什么？這才是驅動我們、讓我們滿懷熱忱的根源。比如我們籌備這家餐廳時，大家就聊到過這件事——在座的我們都有幸走遍世界，品嘗過各地頂級餐廳的美味。但如今高端餐飲卻形成了固定模式：食客必須坐上三四小時，吃完二十道菜品，諸如此類。

So we asked ourselves, how can we make this more interesting?Akshaand her team do an incredible job of entertaining guests throughout the meal, and there are small, hidden touches woven into the experience as it unfolds. I don’t want to give everything away—I’d rather you come in and experience it for yourselves. But context is so important, and we also tailor the experience for specific diners every single day.

于是我們不禁自問，該如何讓這份體驗變得更有趣？Aksha和她的團隊在用餐全程為客人帶來了妙趣橫生的體驗，用餐的過程中，還藏著許多不期而遇的小驚喜。我不想把所有美好都劇透，更希望大家親自前來感受。但貼合當下的核心始終至關重要，我們也會為每位客人量身打造專屬的每日體驗。

Aksha Nair： If I could add one more word to Papa's, it would be intention—the intention with which we work, the intention with which we connect with our diners. This is especially true for us when it comes to personalized experiences, which we do a lot of. It’s not about being fancy; we simply have the freedom to get to know the guests who are coming in. We don’t spend a lot of money on these touches, just small things: writing a handwritten note and tucking it under a napkin, celebrating their small wins, little gestures of that sort.It’s all about making them feel like we see, and we stay with you.

如果還要為Papa's添一個關鍵詞，那便是用心——做事的用心，與食客聯結的用心。在打造個性化體驗這一點上，我們更是將這份用心做到了極致。這無關花哨的形式，只是我們有幸能去了解每一位前來的客人。我們不會為這些心意花費重金，只是一些小事：手寫一張便簽悄悄壓在餐巾下，為客人的點滴成就送上祝福，諸如此類的暖心小舉動。這一切都是讓客人感受到被重視被看見，讓他們覺得用餐的全程，我們都始終相伴左右。

Sameer Seth：One of my favorite examples of this was a guest who was an artist, someone we knew was coming in. The restaurant has small frames on the walls, so we replaced the artwork in those frames with his pieces. He noticed it mid-meal, suddenly seeing his own art on our walls, and he was obviously so surprised. We’d intentionally planned to surprise him that day. It’s these small things that make the experience so much more memorable and unique. The food is delicious, the drinks are great, the service is amazing—but it’s those little extra touches that make it truly unforgettable.

我印象最深的一件事，是接待一位早已知曉身份的藝術家客人。餐廳的墻上掛著一些小相框，我們便把框里的作品換成了他的畫作。用餐中途，他突然發現墻上掛著自己的作品，那份驚喜溢于言表。這是我們當天特意為他準備的驚喜。正是這些小事，讓用餐體驗變得格外難忘、獨一無二。菜品美味、飲品佳釀、服務周到，而這些暖心的小細節，才讓這份體驗變得真正刻骨銘心。

Q：Let’s bring back to today’s topic: time is the craft. Do you agree with that? Because all this design and all these details—you can only deliver this level of experience if you invest more time in each group, each guest, compared to other fine dining restaurants. Do you think you put in more time than others?

我們回到今天的主題：時間的技藝。你是否認同這個觀點？因為這般設計、這些細節，相比其他高端餐廳，你必須為每一桌、每一位客人投入更多時間，才能打造出這樣的體驗。你認為自己是否比同行投入了更多的時間？

Sameer Seth：I think we do invest a lot of time to be able to do that. We opened two years ago, and Aksha has been here since day one. We only serve 12 guests at a time, so it’s almost like what we were talking about last night—like theater.

我認為我們確實為這份體驗投入了大量時間。我們開業兩年了，Aksha從籌備之初便一直堅守在這里。我們每次僅接待12位客人，這份體驗就像我們昨晚聊到的，宛如一場專屬的舞臺戲劇。

Aksha Nair：I don’t think people go out to eat just to eat anymore; they want to have an experience. We’re extremely fortunate to be able to create that for them, and the restaurant is only open four nights a week, too. I use my three non-operational days wisely: one day is for wrapping up post-service work, and the other two are for learning more about our upcoming guests—what they do, sometimes even looking them up online, just to find out their likes and dislikes. This helps us so much in crafting their experience, and we do invest that time. But trust me, it’s all worth it when we see their reactions—the smiles, the surprise, that’s all we want.

如今的人們外出用餐，早已不只是為了果腹，而是為了擁有一場獨特的體驗。我們無比幸運，能為客人打造這樣的體驗，而我們的餐廳也僅每周開放四晚。我會好好利用每周三天的休業時間：一天處理餐后的收尾工作，另外兩天則用來了解即將到店的客人——了解他們的職業，有時也會在網上看看相關信息，只為摸清他們的喜好與偏愛。這些信息對我們打造專屬體驗幫助極大，我們也愿意為這份用心投入時間。但相信我，當看到客人的反應，看到他們的笑容與驚喜，所有的付出都值得，這就是我們想要的一切。

So our investment of time also enriches the time our guests spend here. The time diners spend in our restaurant feels different from their perspective—it probably feels like a longer, happier stretch of time. Because when you’re in a happy situation, you can go faster or shorter. It's not linear.

我們投入的這些時間，也讓客人的用餐時光變得更有意義。我想在食客眼中，在我們餐廳的時光一定格外特別，或許會是一段更悠長、更愉悅的時光。因為身處美好的情景之中，時間便不再是線性流淌，它會忽而飛逝，忽而緩慢。

Hussain Shahzad：When guests come to Papa’s and spend about three hours with us, that’s a huge responsibility for us—to keep them engaged and delighted for that entire time. And those three hours of their time represent about 30 or 40 hours of our work behind the scenes, because it’s like theater. In theater, you have to practice, do dry runs, make sure everyone knows their role. You’ve seen the space—it’s a really small, tight space. So every detail is measured: the distance between us and the guests, every action we take, every word we say. As I said, everything is done with immense intention and thought. It’s a beautiful performance that you get to be a part of, paired with great drinks and incredible food—simple as that.

當客人來到Papa's餐廳，與我們共度約三小時的時光，這對我們而言是一份沉甸甸的責任，我們要讓客人在這全程都保持愉悅，沉浸在體驗之中。而客人這三小時的體驗，背后是我們三四十小時的幕后付出，因為這份體驗就像一場戲劇。戲劇需要反復排練、彩排，確保每位演員都各司其職。你也見過我們的空間，小巧而緊湊。所以這里的每一個細節都經過精準考量：我們與客人之間的距離，每一個動作，每一句話。正如我所說，一切都飽含用心與思考。這場體驗，就是一場美妙的演出，你是其中的觀眾，伴之而來的還有醇美的飲品與極致的美味，僅此而已。

Q：Just as you mentioned that you strip things down, you don’t follow the so-called fine dining format. From your perspective, how do you build your unique dining experience? Nowadays, Indian chefs are trying to minimize Western influences and maximize Indian influences—including cooking techniques. For example, there’s an Indian restaurant in Bangkok that minimizes Western cooking techniques and uses a lot of Indian techniques to create their modern cuisine.So what about yours? Also, your restaurant is only open four nights a week for 12 guests at a time—how do you keep the business sustainable and busy?

你提到會褪去繁冗，不遵循所謂的高端餐飲固定模式。在你看來，該如何打造獨屬于自己的用餐體驗？如今印度主廚們都在嘗試弱化西方飲食的影響，強化印度本土的飲食特色，這其中也包括烹飪技法。比如曼谷有一家印度餐廳，就弱化了西方烹飪技法的使用，大量運用印度本土技法，打造屬于自己的現代印度料理。那你的理念是怎樣的？另外，你的餐廳每周僅開放四晚，每次僅接待12位客人，該如何讓生意保持穩定經營、實現可持續發展？

Sameer Seth：I can answer that quickly. First, this is actually an 80-year-old bakery. On the ground floor, we run a sandwich shop called Veronicas. It has 28 seats and serves 3,000 to 4,000 people a day. That’s what keeps the business going—it covers the rent and makes the entire operation very sustainable. And Papa’s is hidden inside Veronicas, which allows us to operate it only four nights a week, serving just our intimate group of guests.

我可以簡單回答這兩個問題。首先，這里其實是一家有八十年歷史的烘焙坊，我們在一樓經營著一家名為維羅妮卡的三明治小店，有28個座位，每日接待三千至四千位客人。正是這家小店支撐著整體的運營，支付租金，讓整個品牌實現了可持續發展。而Papa's就藏在這家三明治店里，這也讓我們能做到每周僅開放四晚，只為小范圍的客人打造專屬體驗。

Hussain Shahzad：That’s how we achieve economic sustainability. Now, to answer your question about maximizing Indian influences: earlier on, we didn’t look to the West as much for inspiration, as we were deep in exploring the essence of Indian cuisine. Sorry, that’s a great question, and I’ll elaborate. Once, we were always looking to the West for inspiration and validation, but those days are gone. Now, we’re really proud of our heritage and we want to show it off. As Indian chefs, we have so much more confidence to say, “This is our food, this is our land, this is where we come from, this is who we are.”

這就是我們實現經濟可持續的方式。至于關于強化印度本土飲食特色的問題，其實早些時候，我們就不再過多向西方尋求靈感，而是潛心探索印度料理的精髓。抱歉，這是個很好的問題，我再細說一下。曾經，我們總想著向西方尋求靈感與認可，但那些日子早已過去。如今，我們為自己的本土文化遺產深感自豪，也想要將它展現給世界。作為印度主廚，我們如今擁有足夠的底氣說出：“這是我們的美食，這是我們的故土，這是我們的根，這就是我們的模樣。”

Today, we have the strength of voice to say that, and restaurants like Papa’s give us the platform to amplify that message. Indian food is having a moment on the global stage, and I think Papa’s is a restaurant that’s pushing that forward—standing confidently for Indian food on a global scale.

如今，我們有了發出自己聲音的底氣，而Papa's這樣的餐廳，就是我們向世界傳遞這份理念的平臺。印度美食正站在世界的舞臺上綻放光彩，而Papa's正朝著這個方向努力，讓印度美食在全球舞臺上擁有屬于自己的底氣與光芒。

Sameer Seth：I also don’t think it’s an either/or situation: it’s not about Indian influence versus Western influence. Again, it all comes down to context. For a particular dish, a particular experience, a particular drink—you use what makes sense in that moment. We all have the opportunity to work all over the world, then come back to India, a country we grew up in. Our minds are an amalgamation of all these experiences, so we use what feels right, not because we’re trying to maximize one influence and minimize another. And when what you create feels authentic to you, it feels great to the guests too. That’s what brings joy and delight to the dining experience.

我也始終認為，這并非非此即彼的選擇，不是一定要在印度本土與西方的影響之間二選一。歸根結底，還是要貼合當下的需求。一道菜品，一場體驗，一杯飲品，選擇當下最契合的方式就好。我們都曾有機會走遍世界工作，而后回到生養我們的印度，我們的思維與理念，本就是這些經歷的融合。所以我們會選擇內心認為最契合的方式，而非刻意去強化某一種影響、弱化另一種。當你打造的一切都忠于本心、真實純粹時，客人也能感受到這份美好。而這，就是讓用餐體驗充滿愉悅與驚喜的關鍵。

? Ray Adriansyah，Locavore NXT——烏布

Ray Adriansyah是巴厘島烏布Locavore NXT的印度尼西亞籍廚師兼聯合創始人——這是印度尼西亞最具影響力和以可持續發展為驅動力的餐飲項目之一。Ray出生于雅加達，父母是蘇門答臘人，他通過母親的廚房培養了對烹飪的早期熱情，后來從商科學習轉向在新西蘭基督城接受烹飪培訓。回到雅加達后，他遇到了荷蘭廚師Eelke Plasmeijer，兩人建立的伙伴關系最終重塑了巴厘島的烹飪格局。

他們的最新項目Locavore NXT代表了一次雄心勃勃的進化——將超本地采購、零浪費系統、屋頂食物森林和創新的烹飪研究集于一體。Ray的烹飪體現了對印尼風味的深深敬意、對可持續實踐的堅持，以及為美食打造一個更負責任未來的承諾。

So compared to the old one, the new restaurant is completely different. Like you were saying, we had so many limitations from the old one. When we knew we wanted to open another restaurant, we just missed what we wanted. And then we came up with everything. So in parallel, like you were saying, I guess experience is very important, your favorite lab. We have a bar, of course, a mushroom chamber where we grow our own mushrooms. There are combinations, departments, we are in details. The benefit can be R&D, and we have our own staff campaign, our own wage system, a little garden for the staff, and then the main dining source. Is it hard to book? It's off season right now. So I guess we do have guests from Hong Kong, China, Taiwan, and it's all over the world. It's popular. I hope so.

所以和老店相比，新店完全不一樣。就像你說的，老店有太多局限。當我們決定再開一家餐廳時，就是想彌補之前沒能實現的東西，然后把所有想法都落地。同時，正如你所說，經驗非常重要，這里就像你最愛的實驗場地。我們設有酒吧，還有一間菌菇培育房自己種菌菇。店內功能分區清晰、相互配合，我們非常注重細節。優勢體現在研發上，我們有自己的員工激勵方案、薪酬體系，還有員工小花園，以及主用餐區。位子難訂嗎？現在是淡季。不過我們依然有來自中國港澳臺以及世界各地的客人。餐廳很受歡迎，希望一直如此。

From the old local board to the new ones, I think I like the word "responsibility" a little bit better. That means in every area in the global world, 98% of our immediate ingredients are from local. We focused in Bali, but we've been getting produce from surrounding us. Yeah, but I want to say things a bit better, I think.

從過去的本地經營模式到現在的新店，我更認可“責任”這個詞。也就是說，放眼全球范圍，我們98%的常用食材都產自本地。我們主打巴厘島風格，但食材均取自本地周邊。嗯，我想把這點表達得更恰當一些。

Now the waste system in our restaurant is really better than before. I hope everything is definitely better than before, anything you name it. It's more detail-focused. Now with the accommodation teams, it really helps with dealing with the waste system now more than before. So we tried to make everything significant. But no admissions, the target is to make you feel better than before.

現在餐廳的垃圾處理系統比以前好很多。我希望所有方面都比以前更好，但凡能想到的地方都是如此。我們更注重細節。如今有配套團隊協助，垃圾處理比以往順暢很多。我們力求讓每一處都做得有價值。不對外售票，我們的目標是讓大家的體驗比以前更好。

What's the reason for starting this project? I think the first reason is we all wanted to have a dream restaurant. The old one had about 35 seats. And there's not much happening. There's so much limitation. The space was too small. The dining room was too small. And then for us, I think the sustainability side was not there. The reason is we want to tackle the challenges and the frustrations. And then we wanted to make our own dream projects.

為什么啟動這個項目？首要原因是我們都想打造一家理想中的餐廳。老店只有約35個座位，能做的事情很有限，處處受限。空間太小，用餐區也太小。而且對我們來說，老店在可持續性方面是缺失的。我們想直面這些挑戰與遺憾，打造屬于自己的理想項目。

#50BEST TALKS 扎根亞洲

這個部分，其實是個亞洲50佳餐廳的公開演講環節，跟圓桌會不同的是，各個嘉賓是獨立輸出的，會帶著ppt。雖然互動的樂趣少一些，我就當課聽。

Lesley Liu (Head Sommelier, Odette, Singapore)：

“Roots are not only where we come from. They are how we respond to where we stand.”

劉家旻（新加坡Odette餐廳首席侍酒師）：

“根不僅是我們的來處，更是我們如何回應立足的當下。”

Thanks for spending your beautiful afternoon with us. I’m the first presenter on stage today. My work involves visiting many restaurants in Singapore, which means my job is about drinking wine, thinking about wines, and talking about wines. But today, instead of only talking about wines, I’m here to share with you a topic: Look in Asia.

感謝大家共度這個美好的下午。我是今天的第一位演講者。我的工作需要走訪新加坡的眾多餐廳，這意味著我的日常就是品鑒葡萄酒、思考葡萄酒、談論葡萄酒。但今天，我不想只聊葡萄酒，而是想和大家分享一個主題：放眼亞洲。

Key Highlights:

?Lesley Liu’s understanding of “rooted” begins inNantou, Taiwan, where she grew up surrounded by mountains, water and mist, shaping her earliest connection to place and nature

?Over time, she realised that beyond natural environment, the most important resources arepeople, mentorship and trust, which continue to shape her journey across Taiwan, Shanghai and Singapore

?Early mentorship played a defining role in her development, teaching her that wine is not just about the bottle, but abouthow it is experienced, presented and shared

?At Odette, she was given the trust to build the wine program freely, selecting wines based onquality, origin and story, and aligning them closely with the structure of the menu

?Her approach to pairing reflects personal memory and cultural perspective, where even classical French dishes can be interpreted throughAsian flavour memories and experiences

?This led her to a central question:“What does Asia taste like in the language of wine?”— driving her exploration of wines across the region

?Highlights emerging wine regions across Asia, including Thailand, Japan, China and India, where wines are not imitations but expressions oflocal climate, culture and landscape

?Emphasises that these wines should not be compared to traditional benchmarks, but appreciated for theirown identity and sense of place

?Ultimately, she sees “rooted” as an evolving journey, where her roots begin in Nantou, grow through mentorship, and extend into her belief inAsian wines and their place in global gastronomy

?Through wine, she expresses rootedness as something to beshared, connecting place, people and personal story in every glass

核心亮點

?劉家旻對“根植本土”的理解，始于她成長的臺灣南投——山水氤氳的環境，構筑了她與土地、自然最初的聯結。

?久而久之她意識到，除自然環境外，人、導師的指引與彼此的信任才是最重要的財富，這些始終塑造著她在臺灣、上海、新加坡的職業旅程。

?早期的導師指導對她的成長至關重要，讓她明白葡萄酒不僅是一瓶飲品，更關乎品鑒體驗、呈現方式與分享的過程。

?在Odette餐廳，她獲得充分信任，可自主打造葡萄酒酒單，依據品質、產地與背后故事選酒，并與菜單結構深度契合。

?她的餐酒搭配理念融入個人記憶與文化視角，即便是經典法式菜肴，也能透過亞洲的味覺記憶與體驗來詮釋。

?這讓她提出核心問題：“用葡萄酒的語言，該如何詮釋亞洲的味道？”——這一問題推動著她探索整個亞洲地區的葡萄酒。

?她重點介紹了泰國、日本、中國、印度等亞洲新興葡萄酒產區，這些產區的葡萄酒并非模仿之作，而是當地氣候、文化與地貌的表達。

?她強調，不應將這些葡萄酒與傳統標桿作比較，而應欣賞其獨有的特質與地域屬性。

?最終，她將“根植本土”視為一場不斷演進的旅程：根源始于南投，在導師的指引下成長，并延伸為她對亞洲葡萄酒的信念，以及其在全球美食界的定位。

?她以葡萄酒為載體，詮釋“根植本土”的共享性，讓每一杯酒都聯結起土地、人群與個人故事。

Prateek Sadhu (Founder & Head Chef, Naar, India印度Naar餐廳創始人&主廚):
“Rooted is not nostalgia. It is accountability — to land, to people, to the future.”

“扎根本土并非懷舊，而是一種責任——對土地、對人民、對未來的責任。”

Cooking at 6000ft

The Loudest sound in my kitchen is the wind......

在 6000 英尺烹飪

我廚房里最響的聲音是風聲......（這句話讓我太感動了）

You must get this and I thought after the talk, we will have not maybe just one shot of this. All of this is liquor that I know it’s a spirit that’s 6,000 years old, made from a flower grown in Indonesian communities. It can taste of the land, or taste of the flower itself. So after that, as I said, we’ll go to the back and take a serving of this. But honestly, I was very nervous, and I’ve been studying this topic.

你們必須試試這個，而且我覺得此次分享之后，我們可能不會只喝一小杯了。這種烈酒我知道是一種有6000年歷史的酒，用印尼社群中的一種花釀成。它可以是土地的滋味，也可以是花朵的滋味。所以等下，正如我說的，我們會去后面喝一小杯這個。但說實話，我非常緊張，而且我一直在研究這個主題。

It must be a part of the landscape if people are to understand them, and we often romanticize the idea of “rootedness.” But being rooted isn’t steady, it doesn’t vary structure. If snow blocks the road to our supply chains...

如果人們想要真正理解它，就必須成為這片風土的一部分，而我們也常常把“扎根”這個詞浪漫化了。但扎根并非一種穩定的狀態，它在結構上變化。如果大雪阻斷了通往我們供應鏈的道路…

Key Highlights:

?Prateek Sadhu explores the theme “rooted” through the reality of building and operating Restaurant Naar at 6,000 feet in the Himalayas, where the environment directly shapes every decision

?His journey is grounded in place, surrounded by forests, farms and communities where food traditions have existed long before restaurants, and where sustainability is not a concept but a way of life

?Emphasizes that in a remote landscape, a restaurant cannot exist independently but must become part ofits ecosystem, its people and its natural rhythm

?Reframes “rooted” as something structural rather than aesthetic, where factors such as weather, supply and land conditions directly define the menu and operations
?If roads are blocked, supply stops
?If harvests change, the menu adapts
?If the land suffers, the restaurant is affected

?Introduces a core mindset shift: instead of asking “what to cook,” the question becomes“what will grow here”, with remoteness acting as a filter that drives clarity and purpose

?Anchors his approach intime and place, where seasons are not flexible but directive, and ingredients are used only when they are naturally available

?Advocates for restraint as a form of alignment, choosing not to import luxury ingredients or replicate global trends, but to respect the context of the mountains

?Guided by a simple principle:“Does this make sense at 6,000 feet?”

?Sees constraints as essential to creativity, where discipline, repetition and precision lead to a deeper form of freedom in cooking

?Acknowledges the realities of remote dining, including high costs, logistical challenges and unpredictability, but emphasises that these challenges createstronger connection, clarity and relevance

?Redefines rootedness not as staying still, but as an active process ofparticipation, questioning and evolution, carrying tradition forward with intention rather than simply preserving it

核心亮點

?Prateek Sadhu以在喜馬拉雅山脈6000英尺高地打造并運營Naar餐廳的實際經歷，探索“根植本土”的主題，當地環境直接決定著每一個經營決策。

?他的職業之路深深扎根于這片土地，這里的森林、農場與社群，在餐廳出現前就已有悠久的飲食傳統，可持續發展也并非抽象概念，而是生活方式。

?他強調，在偏遠地區，餐廳無法獨立存在，必須融入當地的生態系統、人群與自然節律。

?他將“根植本土”重新定義為一種結構性的存在，而非單純的美學表達——天氣、食材供應、土地狀況等因素，直接決定了菜單與餐廳運營。

?道路受阻，食材供應便中斷；

?收成變化，菜單便隨之調整；

?土地受損，餐廳也會受到影響。

?他提出核心思維轉變：不再問“該做什么菜”，而是問“這里能生長什么”，偏遠的地理位置如同過濾器，讓經營的目標與方向愈發清晰。

?他的烹飪理念緊扣時空屬性，季節并非可靈活調整的因素，而是硬性指引，食材僅在自然成熟時取用。

?他主張以克制實現與本土的契合，不進口高端食材、不照搬全球潮流，而是尊重山區的地域背景。

?他的行事遵循一個簡單原則：“這在6000英尺的高地合情合理嗎？”

?他認為限制是創造力的核心要素，自律、反復的打磨與精準的把控，能帶來更深刻的烹飪創作自由。

?他承認偏遠地區經營餐飲的現實難題：成本高昂、物流困難、存在諸多不可預測性，但強調這些挑戰讓餐廳與本土的聯結更緊密，經營方向更清晰、更具本土價值。

?他重新定義“根植本土”：并非停滯不前，而是主動參與、不斷質疑、持續演進的過程，以明確的初心傳承傳統，而非單純固守。

Peggy Chan (Champions of Change Award Winner 2026, Zero Foodprint Asia, Hong Kong)：

More being rooted, in place, in soil, in responsibility.

陳碧琪（2026年“變革獎”得主，香港亞洲零碳足食執行董事）：

“更深地扎根，扎根于這片土地、這片土壤，扎根于這份責任。”

Beyond the Plate: Chefs as Architecture in a Regenerative Future

餐盤之外：在可持續發展的未來中，廚師是建筑者

I noticed something uncomfortable. Many organic-certified farms have been working hard, yet their soils are degraded, their yields are unstable, and their costs are rising. In many cases, organic farming has become a substitution model.The same pattern exists in our analysis of some instructional optimization.

我注意到了一些令人不安的現象。許多已經獲得有機認證的農場一直在努力經營，但它們的土壤卻在退化，產量不穩定，成本也在不斷上升。在很多情況下，有機農業已經變成了一種替代模式。在我們對一些指導性優化的分析中，也存在著同樣的模式。

Key Highlights:

?Peggy Chan reflects on “rooted” through a global lens. She was born in Hong Kong and shaped by experiences across Canada, Switzerland, Japan, and Hong Kong, each influencing her approach to food and hospitality

?Emphasises that being rooted in a place carriesresponsibility to people, communities, and ingredients, with Hong Kong making this connection immediate and personal

?Notes that while fine dining has driven creativity and innovation, it has also createdintensity, burnout, and extractive systems, mirrored in today’s food systems

?Calls for a shift from disruption to“care and repair”, reframing food as not just creativity, but alsopower and equity

?Challenges conventional sourcing models, observing that organic systems often leave soil“surviving, but not thriving”, leading her to focus on regeneration

?Introduces a key principle:
?Sustaining maintains
?Regeneration restores

?Advocates for regenerative agriculture to improvesoil health, flavour, and resilience, emphasising that better ecosystems lead to better taste

?Positions chefs as“infrastructure”within the food system, with the ability to influence how and what farmers grow

?Proposes a structural model - a1% contribution embedded into restaurant bills, to support farmer transition and system-wide change

?Highlights proven impact through theRestore Fund, supportingover 100,000 acres of farmland and 30,000 farmersin transition

?Concludes that the future of dining lies incollective responsibility, shifting from individual recognition to building systems that restore land, communities, and the food ecosystem

核心亮點

?陳碧琪以全球視角思考“根植本土”的內涵。她生于香港，在加拿大、瑞士、日本與香港的生活經歷，均塑造了她對飲食與餐飲服務的理念。

?她強調，扎根一方土地，便肩負起對當地民眾、社群與食材的責任，而香港讓這份聯結變得真切而個人。

?她指出，高端餐飲雖推動了創意與創新，卻也帶來了行業高壓、從業者倦怠，以及資源掠奪式的運營體系，這一問題也映射在當下的整個食品體系中。

?她呼吁行業從“打破重構”轉向“呵護與修復”，并重新定義飲食：它不僅是創意的表達，更關乎權力與公平。

?她對傳統的食材采購模式提出質疑，發現有機種植體系往往只能讓土壤“勉強存活，而非蓬勃生長”，這也讓她將工作重心放在土壤再生上。

?她提出核心原則：

?可持續發展，是維持現狀；

?再生農業，是修復重生。

?她倡導發展再生農業，以此改善土壤健康、提升食材風味、增強生態韌性，并強調更優質的生態系統，才能孕育出更鮮美的味道。

?她認為，主廚是食品體系中的“基石力量”，能夠影響農民的種植方式與種植品類。

?她提出一套結構性方案：在餐廳賬單中增設1%的專項費用，用于支持農民向再生農業轉型，推動整個食品體系的變革。

?她著重介紹了“修復基金”的切實成效：該基金已為超10萬英畝農田、3萬名轉型農民提供了支持。

?她總結道，餐飲行業的未來在于集體責任，行業需從追求個人榮譽，轉向構建能夠修復土地、滋養社群、重塑食品生態的體系。

Jason Liu (Executive Chef & Partner, Ling Long, Shanghai):

“Rooted, for me, means knowing where you come from, and that helps you know where you are going.”

劉禾森（上海凌瓏餐廳行政總廚&合伙人）：

“于我而言，根植本土，意味著知曉自己的來處，而這有助于我們知道該走向何方。”

My name is Jason. I'm very happy to be with you all, and to have you here for this. I just made it through from the praise, and everything starts from Ling Long in the first place.

我叫Jason，非常高興能和大家相聚于此，也很感謝各位能到場參與這次活動。我一路走來獲得一片贊譽，而這些贊譽最初便是從Ling Long餐廳開始。

Key Highlights:

?Chef Jason Liu, chef-owner of Ling Long Shanghai, interprets “rooted” through a personal lens shaped by his upbringing in Taipei’s military dependents village, where exposure to people and cuisines from across China formed his early taste memory and inspired the creation of Ling Long.

?Describes Chinese cuisine as“uncut jade”, with roots going back thousands of years, built on accumulated recipes, techniques, and culinary wisdom.

?Sees Ling Long as his way of“carving” this jade— taking traditional Chinese cuisine and presenting it in a way that is clear, modern, and still true to its roots

?His perspective was shaped further through global exchanges, where he found many people associate Chinese cuisine mainly with“fried rice and fried noodles,”highlighting how much of its depth remains underrepresented

?This realisation drives his motivation to bring Chinese cuisine onto a bigger stage，allowing more people to experience not only the food, but also itsstories, techniques, philosophy, and cultural meaning

?At Ling Long, his approach is structured around three key elements he outlined:
?Localisation:using ingredients from across China to reflect the diversity of its regions, including the eight main cuisines (Lu, Chuan, Yue, Su, Min, Zhe, Xiang, Hui)
?Tradition:following a70% tradition, 30% innovationapproachstudying and respecting classic recipes while adapting them to “speak to today”
?Xian (umami):a core concept in Chinese cuisine, understood as natural flavour found in ingredients such as mushrooms, seafood, and dried products, and further developed through techniques like house-made reductions

?Describes Ling Long as a meeting point between“the root and the world, the past and the future,”which he refers to as a“M?bius strip”

?Signature dish“Oyster and Beef”(since 2019) reflects this thinking — inspired by traditional oyster sauce beef, presented in a Western style, but rooted in Chinese marination and flavour

?Emphasises that Chinese cuisine carries a long legacy, and that today many chefs across China are contributing to its ongoing evolution

核心亮點

?上海凌瓏餐廳主廚兼主理人劉禾森，以個人成長經歷詮釋“根植本土”：他成長于臺北眷村，在這里接觸到來自中國各地的人與美食，這份早期的味覺記憶，也成為創立凌瓏餐廳的靈感源泉。

?他將中國烹飪比作“璞玉”，擁有數千年的深厚根基，積淀了無數經典配方、烹飪技法與飲食智慧。

?他認為，凌瓏餐廳的創立，便是自己對這塊“璞玉”的雕琢——萃取傳統中餐的精髓，以簡潔、現代的方式呈現，卻始終堅守其本源。

?海外交流的經歷讓他的認知更為深刻：他發現許多外國人對中餐的印象，仍停留在“炒飯、炒面”，這也讓他意識到，中餐深厚的底蘊仍遠未被外界知曉。

?這份感悟成為他的動力，推動他將中餐帶上更大的國際舞臺，讓更多人不僅品嘗到中餐的美味，更能讀懂其背后的故事、技法、飲食哲學與文化內涵。

?在凌瓏餐廳的經營中，他的理念圍繞三大核心展開：

?本土化：選用中國各地的食材，展現中華大地的飲食多樣性，涵蓋魯、川、粵、蘇、閩、浙、湘、徽八大菜系。

?傳統與創新：遵循“七分傳統，三分創新”的原則，在研習、尊重經典配方的基礎上，做出適配當下的調整與創新。

?鮮：這是中餐的核心味覺理念，指食材本身的天然鮮味，常見于菌菇、海鮮、干貨等食材，餐廳也會通過自制濃縮醬汁等技法，進一步提煉鮮味。

?他將凌瓏餐廳定義為“根源與世界交匯、過去與未來相融”的地方，并稱其為一條“莫比烏斯環”。

?餐廳的招牌菜“蠔與牛”（自2019年推出）便是這一理念的具象表達：靈感源于傳統蠔油牛肉，以西式擺盤呈現，卻始終扎根于中餐的腌制手法與味覺精髓。

?他強調，中餐擁有悠久的傳承，如今，中國各地的眾多主廚，都在為中餐的持續發展與創新貢獻著力量。

Chef Thitid ‘Ton’ & Chaisiri ‘Tam’ Tassanakajohn (Co-Owners, Executive Chef & Head Sommelier, Nusara, Bangkok):
“Being rooted is about expressing where we come from, in every detail, from the food to what we pour in the glass.”

Chef Ton & Tam（曼谷Nusara餐廳聯合主理人，行政總廚&首席侍酒師）：

“根植本土，意味著在每個細節中表達我們的來處，從盤中的美食，到杯中的佳釀。”

I promise it's not gonna be long. I'm very excited. It’s the first time in almost 10 years that we’ve kept the best, and you guys asked me to do this again this year. I’m really happy to be in the Top, it’s an extra joy for me. So we’re gonna be talking about the roots. I think you can look at this in many ways, and for us, we’re like a family. I think the roots are something extremely important that you cannot leave out. Without them, a language can’t really survive, and I think it’s the same for us humans. As you might know, our restaurant is named after my grandma. That’s basically where we started.

我保證不會占用太久時間，此刻我滿心激動。這是近十年來我們首次將這份美好延續，而今年，你們依舊邀請我來做這件事。能躋身前列，我由衷開心，這對我而言更是一份額外的喜悅。接下來我想和大家聊聊“根”，我想大家對此會有諸多理解，而于我們而言，我們就像一家人。在我看來，“根”是至關重要、不可或缺的存在，就像語言失去根基便無法傳承，我們人類亦是如此。或許大家有所了解，我們的餐廳以我的祖母命名，這便是我們一切的起點。

Many of you may not know about our father, he passed away when we were very young. I was maybe 4 years old, and my mom was a single parent and worked very hard to raise us three boys on her own. That’s why my grandma stepped in. She was the one who really took care of us. We were very young then, and that created a very special bond between us. When I think about the roots, I think about three things. First, and most importantly, family. Second is the ocean, and third is the land. Let’s start with family. Family is the most important aspect of our humanity, and this is our family.

許多人不曾知曉我們的父親在我們很小的時候就離世了，那時我約莫四歲，母親成了單親媽媽，獨自辛苦打拼撫養我們兄弟三人長大。也正因如此，祖母接過了照顧我們的重擔，是她一直用心照料著我們。那時的我們尚且年幼，這份經歷也讓我們之間結下了無比深厚的羈絆。當我思索“根”的含義，腦海中會浮現三樣東西，第一也是最為重要的便是家人，第二是海洋，第三是大地。我們就從家人開始說起，家人是我們人性中最核心的部分，而此刻，在座的各位就是我的家人。

Key Highlights:

?At Nusara, “rooted” begins with a shared philosophy that extends beyond food to the entire dining experience, where food, wine, space and service are designed to speak the same language

?Chef Ton cooks from memory, while Tam builds the wine program around it, creating a connection betweenmemory and what belongs alongside it

?Their approach to wine reflects this idea of rootedness, placing emphasis onThai winealongside international selections as a natural extension of cuisine grounded in Thai soil, seasons and ingredients

?This commitment has been part of Nusara’s vision since the beginning, not as a trend, but as a way to express local identity within a global dining context

?Producers such asGranMonte in Khao Yaiexemplify this philosophy, with wines shaped by local terroir including red clay soils, limestone and a monsoon climate

?These wines are not intended to replicate Old or New World styles, but to express a character thatbelongs to Thailand, reflecting its climate and landscape

?For example, GranMonte’s Viognier shows tropical aromatics and fruit profiles that naturally align with Thai cuisine, enhancing balance and depth in pairing

?Thai wine is increasingly part of the global conversation, as part of theNew Latitude wine movement, gaining recognition for its quality and distinct identity

?At Nusara, storytelling starts withplace, connecting wine and cuisine through shared geography and seasonality

?Ultimately, Nusara expresses “rooted” through a unified experience wherememory, place and Thai identityare reflected consistently across every element on the table

核心亮點

?在Nusara餐廳，“根植本土”是貫穿始終的核心理念，且不止于美食，而是融入整個用餐體驗：菜品、酒飲、空間設計、服務體系，皆秉持同一種表達邏輯。

?主廚Ton以味覺記憶為靈感進行烹飪，而Tam則圍繞這份記憶打造葡萄酒酒單，讓味覺記憶與杯中美釀產生深度聯結。

?他們的酒單設計充分詮釋了“根植本土”：在甄選國際葡萄酒的同時，將泰國本土葡萄酒作為核心，使其成為根植于泰國土地、季節與食材的餐飲體驗的自然延伸。

?這份堅守從Nusara創立之初便融入品牌愿景，并非追隨潮流，而是希望在全球餐飲語境中，表達屬于泰國的本土身份。

?考艾山的格蘭蒙酒莊便是這一理念的典范，其釀造的葡萄酒深植于當地風土——紅黏土、石灰巖地貌，還有季風氣候，皆塑造了酒品的獨特特質。

?這些泰國葡萄酒并非刻意模仿舊世界或新世界的風格，而是凝練出獨屬于泰國的風味特質，映射著當地的氣候與地貌。

?例如，格蘭蒙酒莊的維歐尼葡萄酒，帶有濃郁的熱帶果香與芳香，與泰國菜的味覺特質天然契合，能為餐酒搭配增添平衡感與層次感。

?作為“新緯度葡萄酒運動”的重要組成，泰國葡萄酒正逐漸走入全球視野，其品質與獨特的本土標識也獲得了國際認可。

?在Nusara餐廳，美食敘事始終以土地為起點，通過共同的地域屬性與季節特征，讓葡萄酒與菜品產生深度聯結。

?最終，Nusara餐廳以一場渾然一體的用餐體驗，詮釋了“根植本土”的內涵：味覺記憶、土地情懷與泰國的本土身份，皆在餐桌的每一個細節中，得到一致的表達。

Rachael Hoggfrom 50 BEST

We will be exploring the profound influence of place, landscape, memories, flavors, and communities that define who we are and how we cook. Inspiration can come from the most unlikely places, but often it comes from what's right in front of you. The quiet of a mountainside finds its counterpart in the city center. The musical hues of autumn, the constant postings in an online urban streetscape. No matter where you are from, the sights and sounds you take in every day shape your perspective. I mean, they are everything to you.

我們將探索地域、風景、記憶、風味與社群的深遠影響——正是這些塑造了我們的身份與烹飪方式。靈感或許源自最意想不到的地方，但它往往就藏在你眼前的日常里。山間的靜謐，與都市中心的喧囂遙相呼應；秋日的斑斕色彩，如同樂章般流轉；城市街巷里的線上動態，時刻鮮活。無論你來自何方，每日映入眼簾、傳入耳畔的一切，都在塑造你的視角。對我而言，這些就是生活的全部。

Today, the industry is searching for our roots, looking inward from the local flavors that have been here for nine years and more. The coastline and fields have inspired us all. So how do you think that interpretation translates into our cooking?

如今，餐飲行業正努力尋找我們的根基，從這片土地上延續了九年乃至更久的本土風味中向內探尋。海岸線與田野喚醒了所有人的靈感。那么，你認為這種對根源的詮釋，最終會如何呈現在我們的料理之中？

我想，答案會在明年持續揭曉。

神 婆 問

你 喜 歡 亞 洲 美 食 嗎 ？

“把精力放在一切能向上生長的事物上。”

——神婆

Food Bless You！

《風味人間》顧問

《神一樣的餐桌》主人

《食野中國》《人間值得369》制片人