Dialogue with DAISUKE HAYASHI: Pioneering Kaiseki at ROKETSU
Exploring the Mastery with chef DAISUKE HAYASHI of ROKETSU: A Glimpse into the Enchanting World of Kaiseki Cuisine
In December 2021, the first Kyoto-style Kaiseki restaurant in the UK opened its doors. In the heart of London, ROKETSU embodies the epitome of Japanese culinary culture.
With the architectural beauty of Sukiya style and the counter made from a 400-year-old cypress tree. The dishes are served on museum-grade Utsuwa, and the cuisine follows the genuine traditions of Kyoto. Only authentic experiences are offered here, drawing food (and art) enthusiasts every evening, making it a unique Kaiseki destination.
I spoke with Chef Proprietor DAISUKE HAYASHI, a leading figure in introducing Japanese cuisine to the world, with many years of experience at Kyoto's leading long-established restaurant KIKUNOI.
" Five Sekku" and "Seasons" are the Keys
Since ROKETSU's inception, some media outlets have covered Kaiseki.
There's enough foundational information on Kaiseki available in English with just a bit of research.
Therefore, I won't be revisiting the basics here. I aim to delve deeper into Hayashi san's insights and perspectives.
Let's dive in!
Naoko: How would you describe Kaiseki in a nutshell?
:
HAYASHI: Well, you're asking what Kaiseki really is. It's a meal served before tea (at tea ceremony), but there's a fundamental principle in Japanese food culture, and that's indeed the "Go Sekku - five seasonal festivals".
These festivals signify transitions or milestones. It's about the overlapping of odd numbers. In Yin and Yang belief, odd numbers represent yang(active), while even numbers represent yin(passive). When two odd numbers (yang) overlap, it converts to even, or yin, and to counteract this, we conduct ceremonies.
For instance, the Doll's Festival on the 3rd of March, the Boys' Festival on the 5th of May, and Tanabata on the 7th of July. Just last month, we had the Chrysanthemum Festival on the 9th of September.
Welcoming these transitional moments is seen as incredibly important in Japanese food culture. It's like a reset.
Then there are the Seasons. Just as ingredients have their Hashiri (emergence), Shun (peak), and Nagori (afterglow). Take Matsutake mushrooms, for example. The bud-like young Matsutake is in its "Hashiri" phase. When its cap expands to its fullest, marking its "Shun", both its aroma and flavour are at their zenith. During its "Nagori" phase, the cap is fully open, signifying the end of autumn. That's how we experience the seasons.
Feeling the seasons through ingredients is essential, as is experiencing them through the Sekku. It's akin to the act of maintaining a human balance throughout the year. Acknowledging these transitions, it rejuvenates our spirit, it renews our determination to strive again next month. I believe this mindset is extremely crucial.
:
Naoko: In the outside of Japan, where the climate and ingredients are different, how are these Sekku and customs practised? I myself, always wonder how to incorporate them into my life at my home in London. It might be even more unclear for non-Japanese.
:
HAYASHI: These customs have "Okimari - established custom". For each of the seasonal festivals, there are specific foods we eat. For instance, in January, we eat seven-herb porridge. Such traditions are referred to as "Okimari". I wonder if this is a Kyoto term?
For each specific date, there's a designated dish. For the Doll's Day festival, it's clam-based dishes. In May, for the Boys' Day festival, it's Chimaki – rice Mochi wrapped in bamboo leaves. On the 7th July for Tanabata, in resemblance to the Milky Way, we have Somen noodles. September is for the Chrysanthemum festival.
So, in a sense, it's not just about enjoying delicious food, but also about offering our guests a moment to rejuvenate their mindset. That's why it's crucial to strictly adhere to the tradition of Kaiseki. However, we don't just stick to the old ways, we consistently incorporate new elements.
:
Naoko: The idea that it's not just about serving delicious food is eye-opening, isn't it?
:
HAYASHI: What I'm striving to do abroad is introduce Japanese food culture. Essentially, I'm expressing the idea that this is the essence of our culinary spirit in Japan.
:
Naoko: Don't the seasons feel mismatched?
:
HAYASHI: Since about 80% of the ingredients we use are local, as long as we're using what's in season here, there's no feeling of incongruity.
:
Naoko: I see. In that case, how do you use chrysanthemums, for example?
:
HAYASHI: While using the local fish and vegetables here, with chrysanthemums, for instance, I make the most of their fragrance.
:
Naoko: That makes sense.
:
HAYASHI:Since nearly all of the ingredients are from here, I don't really feel much difference between cooking in Japan and in the UK.
:
Naoko: In that regard, while being traditional, there's also a unique character emerging in your dishes!
:
HAYASHI:Yes, indeed. We have a regular customer from Singapore who dines at our restaurant every month. He once mentioned that dishes like ours are not found in either Japan or Singapore. While Singapore has a lot of Japanese ingredients available, Europe, with its strict import regulations and hygiene standards, doesn't quite offer the same.
However, the scarcity of Japanese ingredients here has unexpectedly led to the crafting of distinct dishes. He highlighted that this novelty is what makes it captivating. The guest’s comment was quite enlightening.
Personally, I don't really feel inclined to use ingredients that took many long hours to be delivered.
:
Naoko: So, it's the absence of Japanese ingredients that fosters a fresh take on Japanese culinary culture here. After all, there are plenty of delicious ingredients available locally as well!
:
HAYASHI: However, when compared to Japan, the varieties here are overwhelmingly limited. Given that, we can't change the ingredients, so it becomes a task of altering our techniques.
For instance, the lobsters from the Cornwall are truly delectable. It's a flavour you absolutely can't experience in Japan. However, this necessitates that we think of various cooking methods. Contemplating what can be made with the available ingredients is our job.
:
Naoko: While we're here, we naturally want to taste those top-quality ingredients that are unique to here, don't we?
:
:
:
:
Employing the Art of Aroma
:
:
HAYASHI: Even when using local ingredients, there are certain items indispensable to expressing Japanese culinary culture that I have to source directly from Japan.
:
Naoko: What are the crucial ingredients from Japan?
:
HAYASHI: Yuzu and Sansho pepper. Their aromas are distinctly different.
:
Naoko: Then, what local fragrance do you particularly value?
:
HAYASHI: It's Bergamot. It has an enchanting scent.
:
Naoko: Bergamot! How do you use it?
:
HAYASHI: Exactly like Yuzu. For instance, I might sprinkle bergamot zest on a dish like Furofuki daikon.
:
Naoko: Dashi broth and bergamot! Sounds delightful! It makes me want an aroma candle with that scent for my room (laughs). Indeed, blending the rich perfume culture of Europe with Japanese cuisine is a fascinating endeavour.
:
HAYASHI: Of course, it's not like I use any spices and flavours available here. For instance, I don't often use tarragon because it's too overpowering for Kaiseki cuisine. It's crucial to think carefully about the compatibility of ingredients.
On the other hand, while pink pepper isn't traditionally used in Japanese cuisine, just a touch of it can bring about a profound change. Aromatic ingredients can have fascinating effects when they evaporate.
:
NAOKO: Absolutely. Speaking of evaporation, I've always felt a distinct difference between Japan and Europe every time I've travelled between the two. Japan's high humidity gently and softly diffuses its scents. In contrast, in Europe's dry environment, as experienced in wines for instance, aromas rise sharply and intensely. Considering that, it makes logical sense to use European scents here, doesn't it?
:
:
Europe's Unexpected Love for Bitterness
:
:
HAYASHI: One fascinating thing I've noticed here is that the local diners appreciate the taste of bitterness. In Japan, bitterness isn't typically favoured, so it's quite intriguing.
:
Naoko: Could this possibly stem from the wine culture? The astringency or tannins in red wine are perceived as a source of quality... It's quite fascinating!
:
HAYASHI: In Japanese cuisine, we consider the five primary tastes. These are 'sweetness', 'sourness', 'saltiness', 'bitterness', and 'umami'. While 'sweetness', 'sourness', and 'saltiness' are perceived as single tastes, it's said that there are around 90 different kinds of 'bitterness'. By skilfully harnessing the variety of bitterness, chefs can add depth and breadth to their dishes.
:
Naoko: Ninety different kinds! So, in your dishes, it can be perceived that aroma and bitterness are the key elements.
:
HAYASHI: While there are many other elements to consider, those two, along with texture, are certainly the aspects I place significant emphasis on in my cooking.