At Estro, André Fu Goes Italian Maximal
At Estro, André Fu channels Chef Antimo Merone’s Neapolitan cooking into earthy, organic shapes, bold autumn hues and whimsical touches that evoke the traditional ‘salotto’
Estro, meaning ‘inspiration’ in Italian, is the brainchild of Chef Antimo Merone (formerly of 8 ½ Otto e Mezzo Bombana), opened in partnership with JIA Group and designed in close collaboration with Hong Kong’s André Fu. ‘It’s a chef-driven experience rather than a concept-driven experience,’ says Fu. Both chef and designer are quick to point out that Estro isn’t a thematic restaurant; instead, it’s inspired by Merone’s personality — ‘he’s a very expressive, somewhat eclectic person,’ says Fu — cooking and culture, tempered with Fu’s own recollections and impressions of Italy.
Here, Fu’s design enchants and transports. It’s an immersive tapestry of evocative references and memories, encapsulating the colours, character and styling of a luxurious salotto, or sitting room, in a traditional villa. The rambunctious yet refined southern Italian style marks a departure from Fu’s typical aesthetic. ‘I’m hoping to express a different side of me,’ he says. ‘I want to show what I can offer in terms of expanding my design language.’ What this looks like is generous swathes of pattern and colour and obscure, fluid shapes and forms, where organic and formal, geometric and floral clash and swirl.
At the entrance, the bare concrete corridor is reminiscent of any alley in Merone’s hometown, but it gives way to fine marquetry details on the front door, hinting at the refined residence beyond. In the reception area, the atmosphere begins to change: traditional wallpaper in green and turquoise with a velvet finish welcomes guests before a stately iron gate, framed in floral swirls and shapes, opens onto the main dining room.
In this space, it’s the colour scheme that first impresses — rich salmon-orange walls wrap the space, accented with deep burgundy and turquoise and more sage green — and then the curves, as the walls appear to billow in and out, introducing a symmetry that gives the space its shape. Flanking the entrance are two nooks with murals by Hong Kong-based Elsa Jean de Dieu, their Cocteau-like forms evoking a sense of movement and romance; that they also look like silhouettes of passers-by adds to the residential feel.
Curvaceous timber-framed mirrors punctuate the hand-painted stucco walls, while a central pink Calacatta marble island anchors the dining room, and domed lamps bring more of that measured sense of whimsy. ‘We looked to a lot of Italian silhouettes from the 40s and 50s for inspiration, and evocative materials that aren’t often used anymore,’ Fu explains. ‘The pink marble, for example, is the kind of material that appears in old family homes. It’s an intimate, familiar scene for those who’ve been in that type of home.’
And as in any Italian home, the kitchen takes centre stage — after all, the cuisine is the heart of the Estro experience. A highlight is the chef’s table: unlike more traditional layouts, here the table is an extension of the humming kitchen, through which guests walk to this private dining room, making it feel more like a part of the kitchen itself. The same flooring and wall materials continue from the kitchen, and the door can be left open to experience the kitchen atmosphere or closed for privacy.
‘This is a space I’ll see every day for a long time,’ Merone adds, ‘and the kitchen is part of the restaurant. I love this place — the warmth I’m looking for in the dining experience is truly represented by what André has created.’ At Estro, Merone’s dishes and Fu’s style come together in a singular space that is rich but not overwhelming, inspired but not a pastiche, and contemporary while staying true to Merone’s roots.
Text / Simone Schultz
Images / Common Studio, courtesy of JIA Group
