Chef Alex Stupak of Empellón Cocina in New York City dazzled judges with a menu that expressed a modern philosophy through the classical Mexican preparations.

  • The 2013 Culinary Masters Competition kicked off its New York series of dinners at the SoHi Room, 46 floors above the city in the Trump SoHo New York. Chef Alex Stupak created a menu based on the creative Mexican cuisine he serves at his downtown restaurant Empellón Cocina.
  • Judging booklets were distributed to each guest. Every course was scored on a 100-point scale, on the basis of presentation, flavor, execution, and originality.
  • Canapés, clockwise from top: Guacamole, Pistachios; Lamb Tartare, Avocado Leaf, Pasilla Oaxaqueña, Guaje Seeds; and Sliced Mango, Lime, Chile Powder, Peekytoe-Crab Salad.
    Dom Pérignon Vintage 2004
  • First Course: Roasted Carrots
    Mole Poblano, Yogurt, Watercress
    Dom Pérignon Œnothèque Œnothèque 1996
  • Second Course: Halibut Ceviche
    Squash-Blossom Crema, Tomatoes
    Saintsbury Sangiacomo Chardonnay, clone 809, 2011
  • Third Course: Lobster
    Sweet Corn Esquites
    Saintsbury Brown Ranch Pinot Noir, block D, clone 667, 1996
  • Fourth Course: Carne Asada
    Bone-Marrow Salsa
    Saintsbury Brown Ranch Pinot Noir 2010
  • Fifth Course: Strawberries
    Mezcal Toffee
  • Chef Stupak delicately arranges the blossoms and other elements in his halibut ceviche dish.
  • Lalique, a sponsor of the competition, decorated each table with stunning black Tourbillions vases and Mossi votives. Dom Pérignon, the official Champagne of the Culinary Masters Competition, was served in graceful stemware from Lalique's new 100 Points collection.
  • Master Chef Jean-Georges Vongerichten and his Culinary Masters nominee, Alex Stupak.
Lobster dishes can be somewhat monochromatic. But this was - boom! - incredibly flavorful and exciting. -Howard Camay

At his downtown restaurant, Empellón Cocina, Stupak used to hang a motivational quote in full view of everyone who walked through the doorway: “Think of and look at your work as though it were done by your enemy. If you look at it to admire it you are lost.” Stupak seems to never stop thinking about his work—modern Mexican cuisine that is at once rustic and cerebral, tightly based on classic preparations and yet thoroughly original. His competition menu stunned judges with dishes such as one called Roasted Carrots, which is built on mole poblano, the traditional Mexican sauce that requires three days and 29 ingredients to make. Instead of serving the sauce in a puddle, Stupak painted it on the inside of a bowl to create a wood-grain effect. In place of chicken, he roasted tiny carrots in mole and arranged them in the bowl like a still life, interspersed with peppery watercress, toasted sesame seeds, yogurt enriched with brown butter, and “tuiles” that shattered into intense mole flavor and recalled Stupak’s background as a pastry chef at Alinea in Chicago and WD50 in New York City.

His lobster course was jolted to life with sweet corn esquites, a version of the classic Mexican corn dish with arbol chilies, lime, Cotija cheese, and epazote. His carne asada, made with Japanese wagyu beef, was dressed in a salsa roja rich with bone marrow. Even his three canapés were cause for meditation: One juiced up Vongerichten’s famous crab-mango salad with lime and spices. Another transformed Oaxacan barbacoa, in which lamb is roasted with red chili and avocado leaves, into a hauntingly delicious lamb tartare spiced with pasilla chilies, guajes (the licorice-flavored seeds of the acacia tree), and avocado leaf. The third elevated guacamole by adding pistachio oil and chopped pistachios. “I was very anti-guacamole for a while,” Stupak says. “But now I use it as a way to get you in the mood for Mexican flavors.”

It is no exaggeration to state that Jean-Georges Vongerichten revolutionized French cooking in the United States. The nouvelle movement had already lightened up the classics by the time he became the chef at Lafayette in the late 1980s, but he added new dimensions by switching from sauces to flavored oils, broths, and vegetable juices, incorporating Asian accents and ingredients, and generally adopting a more playful approach to this genre of cooking. In 1991, he became the first four-star chef to break away from formality and open a bistro, JoJo. The establishment quickly became a benchmark not just for its clever menu–which included a much-imitated molten-chocolate cake–but also for its relaxed townhouse location and jazzy ambience, which took the starch out of fine dining.

Twenty-two years later, Vongerichten oversees 38 restaurants around the world, including 10 in New York City alone. Jean Georges, his flagship venue, holds three stars from Michelin and is among only five restaurants with four stars from The New York Times. He has published five cookbooks and won awards from the James Beard Foundation, Gayot, and many other organizations.

Vongerichten began cooking in his native Alsace 40 years ago at the age of 16, training under Paul Bocuse and Louis Outhier. But working in Bangkok, Singapore, and Hong Kong changed his life and palate. While he is known internationally for his fluency with flavors from East and Southeast Asia, his latest project, ABC Cocina, offers his own creative take on Latin cuisine, Vongerichten's inspiration for this particular restaurant was a young chef named Alex Stupak, who is also his Robb Report Culinary Masters Competition nominee.

The 33-year-old Stupak is reimagining Mexican cookery at Empellón Taqueria and Empellón Cocina, eateries that he opened with his wife, Lauren Resler, in the last three years. He earned acclaim for his prowess with pastry under such modernist chefs as Grant Achatz, at Chicago's Alinea, and Wylie Dufresne (a Vongerichten protégé), of WD50 in New York, before shifting to the savory side at Empellón. Taqueria serves more classic preparations, while Cocina reinterprets Mexican ingredients and sauces: At Empellón Cocina, guacamole comes with both bacon and a black-pepper salsa; tacos stuffed with short-rib pastrami are served with pickled cabbage and mustard-seed salsa; and queso fundido incorporates lobster and fried tomatoes. Empellón, which is Spanish for "push" or "shove," is an appropriate moniker, given that Stupak is impelling Mexican cuisine in a whole new direction. –Regina Schrambling

JEAN-GEORGES VONGERICHTEN:
You are a big inspiration to me. I love your flavors, the balance of the way you do things, the texture of the tacos, the combination of flavors. Empellón is probably the restaurant I go to most in New York City.

ALEX STUPAK:
This is all surreal for me, to be sitting here. I came to New York like seven years ago, and so much has happened.

J-GV:
Only seven years ago?

AS:
I moved here from Chicago, but I'm from Massachusetts and wanted to come back to the East Coast. In my first job as a sous-chef, they asked me if I could do pastry when they had to let the pastry chef go. I faked it [as a pastry chef] with Ken Oringer, then Grant Achatz, and then with Wylie at WD50. I swore I wouldn't leave there until I got my own place. I wanted to go back to savory but do it in a very different way.

J-GV:
You're focused.

AS:
To me, creating something new was most important. I had to do something very different. I had never had the opportunity to cook what I felt like eating. Working in these hypermodern restaurants, the food had to be delicious but had to be a weird flavor combination or a new technique. I enjoyed that pressure. But sometimes I like just learning about a dish and making it well.

J-GV:
Why Mexican flavors?

AS:
I began eating it more. My wife is Mexican, and she's a chef as well. She's from L.A., and she took me out to eat at a Mexican restaurant there. I had a fresh tortilla taken off the comal and served right there. It was epiphanic. It's like, you live in America and have had baguettes and croissants, and then you go to France and taste them and realize you have no idea what French cooking is. That's what that tortilla was. Then I took a vacation to Oaxaca, and that changed everything. There are chilies only of that region, certain spices, avocado leaf–it was like being in a kitchen the first time someone hands you a black truffle.

J-GV:
I think the whole world is hooked on those flavors.

AS:
The other part of "why Mexican?" is that I think it has more places to go. If you sit in a French restaurant, they're making beurre monté, mincing shallots–they're using French technique; but if they throw in some lemongrass or tamarind, people don't think twice about it. It's the same with Italian: It can be pizza, pasta, anything. But if you delve out of Mexican, it starts to upset people. Mexican still means omni-regional, guacamole-driven cuisine. So with Mexican, I could stick with it forever. There's so much to be done with it. I'm starting to look for a third space.

J-GV:
In two years!

AS:
This is why chefs expand. Sometimes your team gets so good that you have to expand or you're going to lose them. Sometimes you have a menu with dishes you can't take off–you have to open a new house to do anything new.

J-GV:
I always say to my cooks that it's easier to open a new restaurant than to change the menu.

AS:
The first year, I was very much "change for the sake of change." But you begin displacing what people wanted in the first place.

J-GV:
They complain, "They took this off the menu." That's everywhere. At JoJo, my first restaurant, 50 percent of the menu is the same as when we started 23 years ago! The chickpea fries, the chicken with olives and ginger. I'm sick and tired of it, but it's like a riot if I take it off. But then, I go to Nobu for the same 10 dishes. The day they take them away, I don't go back.

AS:
You can't ignore your neighborhood. Places go out of business if they ignore the neighborhood. And New York City is so competitive as well. It's why I love working here. Every day, you hear about a restaurant opening up. I eat everywhere.

J-GV:
What is beautiful today is how social media is really helping the restaurant business. Before, you were depending on two newspapers, two magazines. Now, it's the people's voice. You just have to have someone listening to what they say.

AS:
If you put social media in your own hands, you can control the message. We just started a Tumblr page [http://empellon.tumblr.com]. Every Wednesday, a video goes up of me making a dish so I can explain it my own way. You can see it and think, "That looks delicious," but also think about why I'm making it.

J-GV:
You make the videos yourself?

AS:
Yeah. Things are changing. Restaurants are not like, "I need a sommelier, I need a pastry chef." I need a full-time videographer and designer so I can produce these things quickly. The economics of the kitchen are changing. Less and less restaurants need a sommelier to sell wine, a pastry chef to sell dessert. You need Twitter, Tumblr, and a website. And you need to do it with a chef's integrity.

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