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At Le Chêne, Classic French Technique Refuses Translation

Alexia Duchêne and Ronan Duchêne Le Mays’ West Village debut rejects brasserie pastiche in favor of Parisian flea-market finds, intricate preparations, and allegiance to tradition.

By Andrew Bui

Le Chêne

Location: New York City

Designer: Frederique Mortier

On Offer:

The bistro-heavy borough of Manhattan has a new West Village entrant, one that sidesteps Americanized expectations of French restaurants. Le Chêne, the first project from wife-and-husband duo Alexia Duchêne (Frenchie, Margot) and Ronan Duchêne Le May, skews retro without opting for Belle Époque flourishes. Instead, tradition steers this ship.

To step through the arched entryway is to enter the Duchênes’ world; the cream lime-washed walls and crown moldings of the 50-seat dining room emulate the couple’s Parisian apartment. Vintage plates sourced from flea markets and exposed brick walls lend a lived-in feel, while curated accents reveal an eye for detail.

Tiered, mid-century Murano glass sconces cast their glow upon a lineup of Jean-Michel Basquiat prints and Warhol originals. Eagle-eyed guests might spy “Je t’aime” embroidered inside the placket of the waiters’ crisp ivory dress shirts—as they drop a dirty martini at the table.

Standout Features:

Alexia Duchêne’s menu sets its own terms, doling out virtuosic dishes made personal. The repast kicks off with a complimentary half-boule from StuyTown bakery Bread Story with compound butter, whipped with lemon thyme and espelette pepper—or marjoram and honey, depending on the season.

Tangy goat cheese and mint leaves are scattered throughout bright melon and cucumber salad. A coupe of near-translucent potato chips accompanies a harissa-spiced wagyu tartare. The spécialité de la maison, a savory pithiviers layered with potato gratin, pork farce, and smoked eel, is itself an ode to technique. The finale: an off-menu clafoutis, bursting with summer cherries and accompanied by goat’s milk ice cream.

By Andrew Bui
By Andrew Bui
By Andrew Bui
By Andrew Bui
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