GARNISH

Garnish and Presentation Theory and Practice Introduction Most of the dining public would not actively place a lot of value on garniture, not consciously, anyway. But the reality of the situation is that, psychologically speaking, we eat with our eyes first – if a dish is not well-presented, and does not appeal to the guest on at least one level (preferably more); subconsciously, the diner will make a judgment that the flavor also will not be appealing. Conversely, it stands to reason that a dish that reflects an artistic sensibility and skilled presentation would likely be lovingly prepared, properly seasoned, and expertly cooked. As such, the study of garniture and its methodology are the raison d’être to the contemporary chef.

Definition There are several identifiable elements which will comprise what we consider garniture: architecture, focal point, color, texture, motion, plate composition, and plate selection.

First of all, let’s begin with a basic definition of garnish: Garnish is a decorative, edible (in most cases) accompaniment that is added to a finished dish for eye appeal, such as a swath of sauce, a sprig of herb, or sprinkle of spice. The garnish that must be removed prior to enjoying the meal is no longer a garnish – it becomes an obstacle.

The purpose of garnish is primarily decorative, however a garnish should contribute flavor as well. If the garnish does contribute flavors, it should be that the flavors are appropriate and do not clash with the inherent flavors of the dish. In many cases, the garnish will contrast the flavor (and/or color) of the dish to which it will accompany.

Keep in mind that when dealing with taste, there is a dramatic difference in the terms clash and contrast. As an example, a sprinkle of cayenne pepper will ruin the subtle flavors of fines herbes while a drizzle of balsamic vinegar will add a new dimension to grilled vegetables dressed with olive oil.

That being said, don’t add garnish components to a dish simply for color without regard to flavor. As a rule of thumb, try to be sure there is a “bridge of flavor” from the food to the garnish… some degree of relevancy that allows the garnish to make sense within the context of the whole plate.

Architecture Many chefs will refer to a dish as having a “third dimension,” often quite literally… two dimensional presentations are most often boring and reflect little imagination. When referring to architecture in a dish, it is simply the manner and means of structuring a dish, not necessarily the extent to which it is elevated above the rim of the plate. The term architecture can also be used to describe the integrity of design. Keeping this in mind, do not make a practice of stacking elements high as a matter of routine, as it tends to lead to the sacrifice of stability. According to Alice Waters, the practice of stacking presentations to a fault is an inherently male trait. Even the most ornate of elevated dishes will amount to nothing if the dish cannot be safely transported to the dining table. Ideally,

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the architecture of a dish should be both practical and aesthetically pleasing; as the saying goes, “form follows function.”

Focal Point It makes a great deal of sense that the manner in which many restaurants and chefs construct plates is described in terms of positions on a clock face: 12:00, 3:00, 6:00, and 9:00, as shown in the diagram below, where 6:00 is facing the guest. As it happens, research has shown that the eye of the average guest tends to move around the plate in a similar fashion.

It is to the cook’s benefit to take advantage of such peculiarities. Another case is the predilection of the American diner to focus on the protein component of a dish. Given that the guest will likely focus on the grilled chicken, seared steak, or poached fish, it is well-advised to face the guest with the protein.

Color Color is the obvious component of garniture: the natural colors of fresh foods and vegetables stimulate the appetite. The colors red, green, and yellow – the “stop-light” colors – are those that are most commonly associated with food. Meanwhile the blues, indigos, and violets, excepting red cabbage, blueberries, or blue potatoes, are far less common. We can derive a likely pattern by looking at a color wheel, where the letters R, O, Y, G, B, I, and V represent the colors red, orange, yellow, green, blue, indigo, and violet, respectively.

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In the first diagram, the colors red, yellow, and green are indicated. The second example of violet, green, and orange reflects the same characteristics. Notice that the colors tend to oppose each other on the wheel - these opposing colors contrast and accentuate each other. It is these principles applied to plate presentation that will make a dish literally jump to life with colors that pop.

For a more subdued effect, another approach is quite common: often referred to as scaled colors. Imagine varying shades of the same color, or a layered effect of white, pale green, dark green, and black… the colors of white, black, and brown being neutral in nature.

Motion Motion, in respect to plating has nothing to do with the plate or any component of it physically moving – it is a reference more to the implied or suggested motion within… although such things are indeed possible(a well made Lobster a L’Americaine may still be twitching!). In the same sense that the eye moves across a plate in the search of a focal point, that motion can be funneled or controlled. There are many different types of motion that can be referenced, whether circular, linear, or chaotic in nature. The diagrams below give many examples of motion in plating.

Texture Texture contrasts within a dish are often disregarded, or given only secondary consideration in plate presentation. Their importance should not be disregarded – if texture wasn’t important to us, we’d all be eating baby food. Consider for a moment that most fried foods are often accompanied by a sauce that is cool, tangy, and creamy. As another example, smooth cream soups often contain chunks that offer a degree of textural contrast. And even within something as simple as a sauce, there are textures that are pleasing, textures that are gritty and undesirable, and textures that are flaccid and weak (lack of texture or consistency). To not consider textures and their contrasts is a mistake, as many foods are within themselves contrasts of texture, which is a characteristic which makes them tactile and sensually appealing.

Plate Composition Plate composition and architecture are closely associated, both having to do with the manner in which the plate is designed. Composition, however deals more with balance and the use of available space than it does structure. The mantra in contemporary kitchens as it relates to plate composition is “high and tight,” meaning that the

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components of the dish are kept well-centered and elevated, keeping the focal point directly in the center of the dish.

As always, there are exceptions to every rule – and it is the avant garde chef who will often be the one to break stride and bend the rule. The rule of balance still exists however, as the diagrams below will illustrate.

Note that the first diagram, labeled “high & tight” represents a contemporary standard.

The center diagram, “negative space,” shows the dish’s main components off-center, effectively leaving a good portion of the plate vacant. However, a well-placed sauce garnish makes use of the negative space of the dish, bringing the plate back into balance.

The third diagram, titled “balance,” implies symmetry, which according to many chefs, is not necessarily a good thing. One of those aforementioned breakable rules is the “rule of odds.” The often unspoken rule implies that given the option, numbers of items on a plate (points of radiation, rotation, numbers of components, etc, etc) should be odd, for inexplicable reasons. The plate should have appeal to the eye, before than attempting to conform to some unfounded standard… ask yourself, “does it look good?”

Sauces Sauces add flavor, moisture and texture to a dish, as well as color and aroma. There are a few principles to consider when applying sauces to foods Maintain the temperature of the sauce, be sure that hot sauces are served hot, warm emulsion sauces are as warm as possible without danger of breaking, and cold sauces remain cold until they come in contact with hot foods. The temperatures of the sauce, the food being sauced, and the plate temperature should all be carefully monitored.

If the food being served has a crisp or otherwise interesting texture, it is good idea to find some means of protecting that texture from a sauce – whether that means that the sauce is served on the side or pooled away from the item.

Some items benefit from a little "cover" – meaning that the sauce is often ladled or napped over the product, as with braised items. This is not always the case. As an example, it does not befit a steak cooked to rare or mid-rare and presented in red slices.

The beautiful color of the steak will be masked, not to mention par cooked if the sauce is as hot as it should be. Let common sense guide you.

Try not to over-sauce. There should be enough for the guest to enjoy the flavor of the sauce with each bite, but not so much that the dish looks a la nage, or ‘swimming in Revised 1/1/06 J. Reynolds

sauce.” Not only does this disturb the balance between the items on the plate, it also makes it difficult for your wait staff to carry the food from the kitchen to the table without at least some of the sauce running onto the rim, or worse, over the edge of the plate.

Sauces should be carefully applied to foods, but they should never look as if they were labored over. Foods should appear fresh and as natural as possible.

The rim of the plate should be clean and free of any dribbles of sauce, herbs, fingerprints, or other garnish. Sorry Emeril, but the rim should be clean so that the hands of the wait staff remain clean… so try to resist the urge to “BAM!” Plate Selection What does the canvas have to do with the painting?... the answer is quite a bit, in regards to food. A purist would tell you that the classic stark white ceramic plate is the only way to go. Which indeed it may be, but why is it round? Why can it not be triangular, square or rectangular? Wouldn’t this cream sauce really stand out on a red plate? Or black?

Don’t feel that you have to be limited to plain white, round plates, especially when there is a myriad of other possibilities. On the other hand, one could make the argument that learning to produce aesthetically pleasing dishes on such a plain medium is an exercise in imagination and perhaps enhances the creative energy.

Where to go from here Your best bet is to get out into the industry. For culinary students, there is always the stage (pronounced “stahj”), which is a common practice among fine dining restaurants in which the stagière works “off the books,” often in return for a meal. This relationship benefits not only the student in terms of experience and exposure, but the chef. There aren’t many chefs out there who will turn down someone willing to learn and work hard all for the cost of a meal.

Industry magazines, such as Food & Wine, Saveur, and Art Culinaire are great sources for inspiration. Not to mention the fact that they tend to accurately reflect industry trends. High end cookbooks like The French Laundry or the Charlie Trotter series are a great resource as well.

Not every presentation is appropriate and not every cuisine is accommodating to these concepts. But who gets to say what the rules are? Most of us are in agreement that many foods in and of themselves are inherently beautiful, and as chefs we strive to preserve that beauty in the cooking process – in short, first make it taste good, then make it look good.

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