When I was around 25, my mother went to live abroad, and I stayed with one of my brothers. That’s when I had to start cooking at home. Before that, it was never something I was really interested in. I wasn’t the kind of kid who spent weekends with my mother or grandmother baking cakes — I was outside, playing football, climbing trees, doing all the usual stuff. So around that time, I started cooking a bit. At first, nothing serious — just dinners at home with friends. And honestly, my real interest probably came from the fact that it worked quite well socially — especially with girls. It was fun. That’s how I started enjoying it more, experimenting, trying new things. That was really the beginning of my cooking career.
INTERVIEW #5
The quite power of classical technique. A place where you arrive already trusting the level - and still leave gently disarmed by how much more of it can give. French professional training meets palate that keeps listening, adjusting, evolving. It's a kind of confidence that doesn't need to declare itself - you feel it in the rhythm of the room, in the calm of the minimal interior, in flavors that unfold slowly and stay with you longer than expected. Classical foundations, yes. But alive, breathing, and quietly moving forward.
How did you start cooking?
What chefs or kitchens had the deepest influence on your style?
I’d say mainly the chefs I worked with, for different reasons. The first one was the chef who gave me my first opportunity. I didn’t have a culinary background, and he still gave me a chance. It was a small restaurant on the coast between Lisbon and Cascais, quite successful at the time, around 2007. It was a place where everyone had real passion — for hospitality, for cooking, for receiving people.
Later on, the chefs who influenced me the most were Frédéric Simonin, Manuel Martinez, and Jérôme Bonnet in Paris. Jérôme Bonnet actually gave me my first opportunity there, even though I didn’t speak a word of French. At the beginning, we didn’t get along at all, but at some point we connected — and now we’re very good friends. Cooking-wise, those three had the biggest impact on me.
What was the biggest lesson from cooking abroad, especially in France?
It was really about understanding products and processes — and not taking shortcuts. You have to fully understand the basics. In France, it’s always about flavor, respecting the product, and following every step properly. There are no shortcuts — in cooking or in life. You need to do simple things very well. Otherwise, even if the final result looks good, it won’t truly be good.
TALKS: André Lança Cordeiro, Chef at Essencial
"There are no shortcuts — in cooking or in life. You need to do simple things very well."
When working on a dish, what comes first: the product, the technique, or the emotion?
It always starts with the product. It has to be in season — that’s essential for flavor. Then comes the emotion — what you want to express through that product. And finally, technique is just a tool. It’s the way you respect the product and bring out its full potential.
Is there still a flavor or product you’re chasing?
Yes — red cabbage. That’s my Everest.
Do you keep experimenting with it?
Not really anymore. Sometimes I do, but it’s not a priority. I use it in simpler ways now. But I like it — it’s not about disliking a product. For me, there are no bad products, only bad ways of preparing them.
How do you decide when a product needs minimal intervention or more transformation?
It’s all about tasting. Constant tasting. You need to understand the product at every stage — its natural juices, its structure. Whether it needs long cooking to soften it or quick cooking to preserve its texture and flavor. That only comes with experience — tasting again and again.
The staff meals you post — are they part of your testing process?
Sometimes, yes. We either test dishes multiple times until we’re confident, or sometimes a dish doesn’t work as expected for the menu. Then we serve it as staff food so everyone can taste it and give feedback. It helps us refine things.
When building a menu, what matters most: contrast, flavor, or harmony?
There are many factors. First — personal taste. I only serve what I like to eat. Second — seasonality. And of course, the guests. We’re here to give them the best possible experience, so dishes have to resonate with them. At the same time, we keep a few signature dishes — four or five that never really leave the menu. Some are fixed, others are based on a technique, like pâté en croûte, where we change the filling but keep the method. Then there are dishes people come back for — like oven-baked shrimp rice, lobster roll with caviar, or lobster vol-au-vent. And one dessert — the mille-feuille with salted caramel — has been exactly the same since day one. It will never change.
Do you see desserts as a separate discipline?
Not really. For me, it’s all cooking. It’s about understanding products and flavor — whether sweet or savory. I used to feel less comfortable with pastry, but once you learn it, it becomes part of your language. Then the whole menu feels cohesive — like it has one voice.
Would you describe your kitchen in Essencial as more Portuguese or French?
More French in style, definitely. But we mainly work with Portuguese products. Still, some French products are essential for the kind of cooking we do.
What is the concept behind Essencial?
It comes from my time in Paris. Around 2011, Alain Ducasse introduced an “essential” menu — focusing on simplicity and detail. At the table, there was almost nothing — just a napkin and a glass. The idea was to keep all attention on the food and the wine. That’s what we do here. We avoid distractions and focus on what really matters.
Why did you choose an open kitchen connected to the dining space?
It comes from my personal experience.
When I lived in Paris with friends, we had an open kitchen, and weekends were always very lively — cooking, talking, sharing.
I wanted to bring that feeling into the restaurant.
Also, today people want connection. That’s why here, the cook who prepares the dish comes to the table to explain it.
What qualities are essential for someone joining your team?
Focus, passion, and respect. But most importantly — hospitality. It’s not just about cooking, it’s about receiving people. We want guests to feel like they’re at a friend’s house. And attitude matters: respect for colleagues, a positive mindset. It’s a demanding job — better to do it with a smile.
How do you balance consistency and creativity?
It’s difficult. We change dishes very often — almost every week. That means sacrificing some consistency, but it keeps the experience fresh. For me, it’s more important that returning guests always discover something new.
What defines fine dining today?
Mostly service and details. Things like synchronized service, glassware, attention at the door — all those small elements. It’s a combination of many details.
Would you describe Essencial as relaxed fine dining?
Yes — casual, but with emotion. We focus on product quality, precision, and human connection, not on formalities like silverware. For me, the real experience is about people.
Do you think the line between fine dining and casual is still relevant?
Yes, it still exists. But more and more people prefer relaxed experiences. Not because of price — but because lifestyles have changed.
What do you cook for yourself after service?
Honestly — almost nothing. Maybe toast and yogurt.
I’m too tired. And I have kids, so mornings start early.
I cook at home mostly when I have friends over or spend time with my family.
How do you avoid becoming predictable?
By constantly changing things. Sometimes even at the last minute. My team doesn’t always love it, but it keeps us moving forward and adapting. And in the end, guests are often surprised — in a good way.
Lisbon is getting more international attention — can it become a major gastronomic mark?
It’s definitely gaining recognition. Maybe not yet on the level of France or Japan, but it’s getting there. There are many talented chefs doing great work — and it’s well deserved.
Can Portuguese hospitality become a defining element of this scene?
Absolutely. Portugal has a long history of connecting with different cultures, and hospitality is a big part of that identity. It’s natural for us to welcome people.
How do you balance between cooking for tourists and staying true to your identity?
It’s a difficult balance. Tourists tend to book in advance, while locals book at the last minute. So we try to keep some tables for locals — to maintain the real atmosphere of the place. Because when people travel, they want to experience local culture — not just other tourists. That local energy is essential for us.
What role does mentorship play in your work?
A very important one. Being a chef is not just about cooking — it’s about passing knowledge to the next generation. Teaching them to respect the basics, the products, the process — and to understand that there are no shortcuts. Not to create copies of yourself, but to help them grow and eventually become even better than you.
TALKS: André Lança Cordeiro, Chef at Essencial
"There are no shortcuts — in cooking or in life. You need to do simple things very well."
INTERVIEW #5
The quite power of classical technique. A place where you arrive already trusting the level - and still leave gently disarmed by how much more of it can give. French professional training meets palate that keeps listening, adjusting, evolving. It's a kind of confidence that doesn't need to declare itself - you feel it in the rhythm of the room, in the calm of the minimal interior, in flavors that unfold slowly and stay with you longer than expected. Classical foundations, yes. But alive, breathing, and quietly moving forward.
How did you start cooking?
When I was around 25, my mother went to live abroad, and I stayed with one of my brothers. That’s when I had to start cooking at home. Before that, it was never something I was really interested in. I wasn’t the kind of kid who spent weekends with my mother or grandmother baking cakes — I was outside, playing football, climbing trees, doing all the usual stuff. So around that time, I started cooking a bit. At first, nothing serious — just dinners at home with friends. And honestly, my real interest probably came from the fact that it worked quite well socially — especially with girls. It was fun. That’s how I started enjoying it more, experimenting, trying new things. That was really the beginning of my cooking career.
What chefs or kitchens had the deepest influence on your style?
I’d say mainly the chefs I worked with, for different reasons. The first one was the chef who gave me my first opportunity. I didn’t have a culinary background, and he still gave me a chance. It was a small restaurant on the coast between Lisbon and Cascais, quite successful at the time, around 2007. It was a place where everyone had real passion — for hospitality, for cooking, for receiving people.
Later on, the chefs who influenced me the most were Frédéric Simonin, Manuel Martinez, and Jérôme Bonnet in Paris. Jérôme Bonnet actually gave me my first opportunity there, even though I didn’t speak a word of French. At the beginning, we didn’t get along at all, but at some point we connected — and now we’re very good friends. Cooking-wise, those three had the biggest impact on me.
What was the biggest lesson from cooking abroad, especially in France?
It was really about understanding products and processes — and not taking shortcuts. You have to fully understand the basics. In France, it’s always about flavor, respecting the product, and following every step properly. There are no shortcuts — in cooking or in life. You need to do simple things very well. Otherwise, even if the final result looks good, it won’t truly be good.
When working on a dish, what comes first: the product, the technique, or the emotion?
It always starts with the product. It has to be in season — that’s essential for flavor. Then comes the emotion — what you want to express through that product. And finally, technique is just a tool. It’s the way you respect the product and bring out its full potential.
Is there still a flavor or product you’re chasing?
Yes — red cabbage. That’s my Everest.
Do you keep experimenting with it?
Not really anymore. Sometimes I do, but it’s not a priority. I use it in simpler ways now. But I like it — it’s not about disliking a product. For me, there are no bad products, only bad ways of preparing them.
How do you decide when a product needs minimal intervention or more transformation?
It’s all about tasting. Constant tasting. You need to understand the product at every stage — its natural juices, its structure. Whether it needs long cooking to soften it or quick cooking to preserve its texture and flavor. That only comes with experience — tasting again and again.
The staff meals you post — are they part of your testing process?
Sometimes, yes. We either test dishes multiple times until we’re confident, or sometimes a dish doesn’t work as expected for the menu. Then we serve it as staff food so everyone can taste it and give feedback. It helps us refine things.
When building a menu, what matters most: contrast, flavor, or harmony?
There are many factors. First — personal taste. I only serve what I like to eat. Second — seasonality. And of course, the guests. We’re here to give them the best possible experience, so dishes have to resonate with them. At the same time, we keep a few signature dishes — four or five that never really leave the menu. Some are fixed, others are based on a technique, like pâté en croûte, where we change the filling but keep the method. Then there are dishes people come back for — like oven-baked shrimp rice, lobster roll with caviar, or lobster vol-au-vent. And one dessert — the mille-feuille with salted caramel — has been exactly the same since day one. It will never change.
Do you see desserts as a separate discipline?
Not really. For me, it’s all cooking. It’s about understanding products and flavor — whether sweet or savory. I used to feel less comfortable with pastry, but once you learn it, it becomes part of your language. Then the whole menu feels cohesive — like it has one voice.
Would you describe your kitchen in Essencial as more Portuguese or French?
More French in style, definitely. But we mainly work with Portuguese products. Still, some French products are essential for the kind of cooking we do.
What is the concept behind Essencial?
It comes from my time in Paris. Around 2011, Alain Ducasse introduced an “essential” menu — focusing on simplicity and detail. At the table, there was almost nothing — just a napkin and a glass. The idea was to keep all attention on the food and the wine. That’s what we do here. We avoid distractions and focus on what really matters.
Why did you choose an open kitchen connected to the dining space?
It comes from my personal experience.
When I lived in Paris with friends, we had an open kitchen, and weekends were always very lively — cooking, talking, sharing.
I wanted to bring that feeling into the restaurant.
Also, today people want connection. That’s why here, the cook who prepares the dish comes to the table to explain it.
What qualities are essential for someone joining your team?
Focus, passion, and respect. But most importantly — hospitality. It’s not just about cooking, it’s about receiving people. We want guests to feel like they’re at a friend’s house. And attitude matters: respect for colleagues, a positive mindset. It’s a demanding job — better to do it with a smile.
How do you balance consistency and creativity?
It’s difficult. We change dishes very often — almost every week. That means sacrificing some consistency, but it keeps the experience fresh. For me, it’s more important that returning guests always discover something new.
What defines fine dining today?
Mostly service and details. Things like synchronized service, glassware, attention at the door — all those small elements. It’s a combination of many details.
Would you describe Essencial as relaxed fine dining?
Yes — casual, but with emotion. We focus on product quality, precision, and human connection, not on formalities like silverware. For me, the real experience is about people.
Do you think the line between fine dining and casual is still relevant?
Yes, it still exists. But more and more people prefer relaxed experiences. Not because of price — but because lifestyles have changed.
What do you cook for yourself after service?
Honestly — almost nothing. Maybe toast and yogurt.
I’m too tired. And I have kids, so mornings start early.
I cook at home mostly when I have friends over or spend time with my family.
How do you avoid becoming predictable?
By constantly changing things. Sometimes even at the last minute. My team doesn’t always love it, but it keeps us moving forward and adapting. And in the end, guests are often surprised — in a good way.
Lisbon is getting more international attention — can it become a major gastronomic mark?
It’s definitely gaining recognition. Maybe not yet on the level of France or Japan, but it’s getting there. There are many talented chefs doing great work — and it’s well deserved.
Can Portuguese hospitality become a defining element of this scene?
Absolutely. Portugal has a long history of connecting with different cultures, and hospitality is a big part of that identity. It’s natural for us to welcome people.
How do you balance between cooking for tourists and staying true to your identity?
It’s a difficult balance. Tourists tend to book in advance, while locals book at the last minute. So we try to keep some tables for locals — to maintain the real atmosphere of the place. Because when people travel, they want to experience local culture — not just other tourists. That local energy is essential for us.
What role does mentorship play in your work?
A very important one. Being a chef is not just about cooking — it’s about passing knowledge to the next generation. Teaching them to respect the basics, the products, the process — and to understand that there are no shortcuts. Not to create copies of yourself, but to help them grow and eventually become even better than you.
