
Chef To Kwok Wai: Merging tradition and innovation at Yu Yuan
'It is about rooting myself in tradition while constantly innovating to reinvent the contemporary dining experience. I believe in respecting traditional methods and recipes, but also in evolving them with the times and in response to the expectations of diners,' says To Kwok Wai, defining his culinary philosophy.
To is the head chef of Yu Yuan, the Cantonese fine-dining restaurant at Four Seasons Hotel Seoul. By focusing on accentuating the natural taste of the ingredients, just as traditional Cantonese food emphasizes, he and his team succeeded in winning back the restaurant's Michelin star in 2025 after four years without the coveted award.
'While upholding this philosophy, I also aim to enrich the cuisine with a modern sensibility and refined presentation, striving to satisfy both depth of flavor and aesthetic appeal. The key lies in achieving sophistication through simplicity, and to do so, I believe every step, from ingredient selection to cooking methods and plating, must be organically interconnected.'
To shared with The Korea Herald that the most memorable moment in his culinary career was when his Yu Yuan team won back the Michelin star.
'It wasn't just about regaining a star — it was a deeply meaningful recognition that our collective efforts were fairly acknowledged. Having undergone numerous changes and challenges, including a full menu overhaul, team training, and redefining ingredient and cooking standards, the sense of accomplishment was even greater. Above all, I take immense pride in how our team persevered together toward a shared goal throughout the process.'
The biggest challenge in earning back the Michelin star was sourcing essential ingredients and spices for Cantonese cuisine, which required To to either import directly from China or find local substitutes.
'Ingredients such as abalone, blue crab and Hanwoo beef offer rich potential, but the key lies in how naturally they can be integrated into Cantonese cooking techniques. I carefully adjust elements such as cooking temperature, timing and cutting methods to suit each ingredient's unique characteristics. In doing so, I strive to preserve the authenticity of Cantonese cuisine while creating dishes that feel approachable and familiar to local diners,' Chef To explained.
His culinary style is reflected in his signature dish at Yu Yuan: wok-fried lobster with red onion, scallions and shallots.
The dish highlights the distinct 'wok hei' of Cantonese cuisine, focusing on drawing out the lobster's natural freshness and flavor with minimal seasoning. Ingredients like red onion, scallions and shallots are used to balance aroma and texture, while traditional Cantonese wok techniques bring out layered, complex flavors.
Chef To is also introducing two of the four great delicacies of China — bird's nest and dried sea cucumber — as part of Four Seasons Hotel Seoul's exclusive 'Four Hands Dining Experience' promotion.
Two Michelin-starred chefs, To from Seoul's Yu Yuan and Charles Zhang from Suzhou's Jin Jing Ge, collaborate for this special two-day dining event on Friday and Saturday, blending Cantonese and Jiangsu cuisine with seasonal Korean ingredients.
To's dishes for the event include: Golden bird's nest with crab roe, sea cucumber braised with glutinous millet sauce and crispy fried red crab claws with hawthorn sauce.
'To bring out the perfect harmony between premium bird's nest and female crab roe, the natural flavors must shine without any off-putting odors, which requires meticulous preparation and precise temperature control. Such premium dishes demand strict standards at every stage, from carefully selecting bird's nest based on shape, clarity and texture, to ensuring the crab roe is exceptionally fresh and flavorful. We rigorously manage cooking temperature and timing to create a clear, profound taste with perfect balance and no unwanted flavors.'
To has spent decades walking the path of a chef, which he began at just 15 years old, and building his career across diverse cities including Singapore, Jakarta, and Beijing, but says there is still much more to learn.
'I want to continuously learn and grow as a chef. My immediate goal is to introduce the essence of Cantonese cuisine to more diners through Yu Yuan and achieve greater success together with my team. Ultimately, I hope to open my own restaurant that embodies my personal philosophy and presents dishes bearing my name to the world.'

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Korea Herald
12 hours ago
- Korea Herald
Korean expertise vital for Egypt's sustainable aviation: minister
Egypt is eyeing closer cooperation with South Korea for the country's transition to a sustainable and smart aviation system, said Sameh El-Hefny, Egypt's minister of civil aviation, in an interview with The Korea Herald. El-Hefny visited Incheon to attend the International Conference on Aviation Cooperation (CIAT 2025), Korea's leading triennial aviation conference for global cooperation and the future of air transport. 'South Korea possesses advanced expertise in smart technologies and transport systems," said El-Hefny, expressing his willingness to work with Korean companies to modernize Egypt's aviation system. Referring to Egypt's progress toward green infrastructure, he cited Borg El Arab International Airport, located 40 kilometers southwest of Alexandria, Egypt, as a 'pioneering model' for environmentally friendly development in the region. Borg El Arab serves as the main international gateway for Alexandria, Egypt's northern coast and the Nile Delta, with capacity to handle 3.5-4 million passengers and 10,000 tons of cargo annually. El-Hefny highlighted the airport's focus on reducing carbon emissions and generating solar energy, calling it a key step toward sustainable infrastructure, featuring advanced technology and reinforcing Egypt's role as a global aviation hub. According to El-Hefny, partnering with South Korea will enhance tourism, boost regional connectivity and advance Egypt's Vision 2030 for sustainable development. El-Hefny was in South Korea to attend CIAT 2025 last week, hosted by South Korea's Ministry of Land, Infrastructure and Transport. On the sidelines of the event, he held bilateral talks with his Korean counterpart, Transport Minister Park Sang-woo. He described the visit as 'a manifestation of civil aviation diplomacy,' highlighting Egypt's push for digital transformation and sustainability while strengthening aviation ties with South Korea.


Korea Herald
16 hours ago
- Korea Herald
'All you need is a phone and your voice': Adoo's TikTok rise is just the beginning
Once overlooked by the industry, Korean singer Adoo is capturing global attention on TikTok — and chasing her dream of making it onto Billboard Adoo, whose real name is Choi Sory, always dreamed of becoming a singer. But her path to success has been anything but easy. Now in her late 30s, Adoo is finally gaining recognition — not through music programs or major entertainment companies, but through TikTok. "Ever since I was a child, I loved singing," she said during an interview with The Korea Herald on July 21. "But I wasn't the most confident person." From idol setbacks to viral resurgence Her first experience in the music industry came by chance. She was asked to help as a guide vocalist for a hip-hop track, and the song ended up being recorded and released with her voice. This was back in 2014, when she featured on "The Sun Never Rises" by the group Holla Dang. A year later, she debuted as a member of a girl group called Baby Boo. The group made appearances on TV music shows, but faced hardships and disbanded after just six months. "I didn't get paid and the experience left me disappointed," she recalled. Still, Adoo couldn't give up on singing. She shifted to trot music under the stage name Sarangi and performed at local events. But the COVID-19 pandemic shut down live stages, leaving her feeling stuck. "I realized there was no way for me to actively do anything." That's when she turned to TikTok. Building a career one livestream at a time Adoo uploaded her first video in 2019. Unlike Instagram or Facebook, TikTok felt free and anonymous. "I failed several times, so I was very conscious of how people around me saw me. But TikTok gave me a chance to show my true self without worrying about others' opinions." Her first viral moment came in 2022 with a dance challenge video shot in Haeundae in Busan. Her followers grew quickly, and she began to understand how the platform works. "The more I posted, the more confident I felt. I met people who supported me for who I am. It gave me hope," she said. TikTok also taught her life skills. Without any previous work experience, Adoo said she learned about human relationships through her followers. "I gained courage from people who cheered for me without expecting anything in return," she added. This motivation led her to participate in TikTok's music contest "Gimme The Mic" in 2024, where global users compete by performing songs on live broadcasts. Her strong performance in local music events such as TikTok's 'DIA Karaoke' earned her a spot in the main global competition. Despite little support and no company backing, she pushed through rounds of voting and gifting, eventually finishing third out of 150,000 contestants. "I was the only Korean finalist," she said. "I never thought I could make it to the Top 3. But when one contestant dropped out, I decided to invest in myself for the first time." With her rising fame, she released a song titled "Kiss Like This" as part of her winning prize. Though the production schedule was tight, the music video gained over 1.2 million views. She also released other tracks such as "Gravity" and "Hello, Goodbye," each one holding deep personal meaning. Reclaiming identity, rewriting destiny Adoo is now more active than ever. She broadcasts five to six hours daily, often turning on the camera while doing makeup, picking outfits or simply chatting with fans. Her audience spans across Southeast Asia and the Middle East, with fans from Japan, Vietnam and the Philippines supporting her. Through TikTok, she transformed herself from a passive dreamer into an active creator. "Before TikTok, I thought I needed a company or a fanbase to succeed. Now, I know passion and effort are enough." Looking ahead, Adoo wants to chart on Billboard. "That's been my dream since I was young," she said. She is currently working on two songs, one titled "I Do." She hopes her story will inspire others. "There are so many people who want to become singers but don't know where to start. I want to be proof that you can make it, even without a company or connections," the singer said. Adoo believes TikTok can be a powerful tool for any creator. "You don't need fancy equipment — just a phone and your voice." "People didn't believe me when I said I wanted to reach Billboard," she said with a smile. "But now, they do."


Korea Herald
5 days ago
- Korea Herald
Liquid Sound strips traditional street performance to its core
Performance collective reimagines pungmul through contemporary movement In pungmul, a traditional Korean form of folk music and dance, the performer leading the troupe wears a hat called sangmo topped with a long paper streamer known as piji that can stretch nearly 180 centimeters. As the drumming builds and the rhythms swell, the streamer whirls in perfect arcs and waves, never tangling, serving as a kinetic emblem of pungmul's identity. But what happens when you take away that visible identity, wondered Lee In-bo, director of the performance collective Liquid Sound. What remains in the body? And how can it expand from there? To find an answer, Liquid Sound deconstructs elements of pungmul and rebuilds them through the language of contemporary dance in 'OffOn: Yeonhee Project 2,' presented Friday and Saturday at Seoul's Sejong Center for the Performing Arts as part of its summer festival, Sync Next. Yeonhee, also spelled yeonhui (literally "play" or "performance" in Korean), is a broad term for traditional performing arts such as pungmul, mask dance, shamanistic rituals, puppet theater, traditional circus and folk music, and dance often rooted in folk rituals and community celebrations. 'From the very beginning, we asked our performers, 'What if we took away your instruments, your costumes — everything you're most confident in. Could you still exist onstage, purely as movement?'' Lee said in an interview with The Korea Herald last week. He called their creative process the 'OffOn' approach: taking something 'off' from traditional performance and attaching it 'on' to something new, in search of what Lee calls the DNA of traditional performance. It is the group's second contemporary dance project following 'Long: Yeonhee Project 1,' which they showcased last year at the Aurillac International Street Theatre Festival in France. In this genre-crossing Yeonhee Project series, traditional pungmul artists and dancers deconstruct movements that once flowed instinctively, studying them bit by bit, without the familiar music, rhythms, costumes or instruments. 'It's challenging even for seasoned performers,' said choreographer Shim Ju-young. 'They have to search for the movement itself — down to the core of their bodies. But it's also fascinating: you realize that spinning the sangmo requires precise, rhythmic head movements executed in distinctly different ways.' The show draws on various elements of pungmul and folk performance. One segment focuses on seoljanggu, traditionally a solo janggu drum showcase, reinterpreting its rhythmic footwork through hand gestures. Another segment references piroji, a moment in folk performance when female dancers take the stage, but here, male dancers join them, layering the rhythm with new textures. Shim, who trained in both Korean and contemporary dance, said she was fascinated by the possibilities. 'Even just visually, there's so much to play with. Each traditional element holds endless creative potential once you break it apart.' Founded in 2015, Liquid Sound aims to explore traditional Korean arts with diverse genres, from melding avant-garde gugak with electronic music, to contemporary dance, installation art and Western classical traditions. The name Liquid Sound reflects the group's sensory ambition of merging tactile fluidity with the auditory experience of music. 'It's about how we meet the audience,' Lee said. 'Traditional performers used to approach audiences in very direct, interactive ways. We're asking how to do that now — whether by adopting new methods or, sometimes, returning to older, simpler ones.' Next year, the company plans to continue its experimental exploration of traditional performance with the third edition of the Yeonhee Project. The two envision a future performance in which yeonhee artists and dancers blend so seamlessly that they create an entirely new genre. 'Rather than a technical blending of traditional and modern elements, I hope for a day when the fusion is so natural that you can't tell them apart," Shim said. Liquid Sound will take its work to several major festivals later this year, including the Busan Street Art Festival in September, the Performing Arts Market in Seoul in October, and an outdoor performance in Myeongdong hosted by the National Theater Company of Korea.