Dining in

Cooking for six in Cockatoo

Featured in

  • Published 20250204
  • ISBN: 978-1-923213-04-3
  • Extent: 196 pp
  • Paperback, ebook. PDF

In 2019, a tiny, six-seat restaurant in a one-bedroom Brunswick apartment swiftly became one of Melbourne’s most sought-after dining experiences. With its degustation menu of traditionally prepared Korean cuisine and its uniquely cosy surrounds, CHAE soon had a string of awards and a waitlist of more than 8,000 people. Four years on, the business may have relocated – chef Jung Eun Chae and her partner, restaurant manager Yoora Yoon, moved to the Victorian town of Cockatoo in 2022, where they now run CHAE from their house in the mountains – but its guiding principles remain the same: to make guests feel at home as they experience the dynamism of Korean cuisine and culture. In this interview with Griffith Review Editor Carody Culver, Chae shares her story of culinary connection.

CARODY CULVER: Where did you grow up in South Korea, and what are your most enduring memories of the food you ate when you were a child?

Already a subscriber? Sign in here

If you are an educator or student wishing to access content for study purposes please contact us at griffithreview@griffith.edu.au

Share article

About the author

Jung Eun Chae

Originally from South Korea, Jung Eun Chae, formerly of Cutler & Co., launched CHAE in late 2019 from her apartment in Melbourne’s north. In...

More from this edition

Safe as houses

IntroductionSometimes, if I can’t get to sleep, I imagine I’m back in the house where I grew up... I like to go back there in my mind’s eye, conjuring the slightly crooked hallway, the doors that never neatly fit their frames, the tiny kitchen with its overwhelmingly wheaten spectrum of 1980s browns. Like handwriting on old foolscap, the more specific details have long faded with time, but the feeling remains: that ineffable sense of calm and familiarity that I associate with being home.

Follow the road to the yellow house

Non-fictionI first visited Varuna in 1994. I had just left my job as the Aboriginal Curator at the Australian National Maritime Museum, where I was involved in establishing the first gallery dedicated to addressing Aboriginal and Torres Strait Islander maritime history. I remember that visit well – even then I felt at home. I grew up in the Blue Mountains. My parents bought our family home there in the early 1970s. It was built in the 1940s, which means that it has a similar interior to Varuna, with ornate cornices, creamy white bathroom tiles, a green basin and bath, Bakelite door handles and even an old black phone.

More than maternity

Non-fictionPrinciple among art-history instances of breastfeeding are paintings, sculptures, tapestries and stained-glass art in churches that relay key Biblical moments of the Virgin Mary nursing the baby Jesus. Should you find yourself in the corridors of the Louvre, in the same halls where kings and princes are eternalised, one singular image of breastfeeding will make its way towards you time and time again: that of the Virgin Mary nursing the baby Jesus, which emerged in the twelfth century and proliferated in full bloom from the fourteenth as her cult of worship grew. In art, the nursing Virgin is called the Madonna Lactans, and she is a sanctity. Most of all, as the Church’s model of maternity, she is silent.

Stay up to date with the latest, news, articles and special offers from Griffith Review.