Markiz Patisserie is a unique meeting point that has left its mark on Istanbul’s cultural history, remembered for its elegance and flavors over the years. Originally opened in 1838 under the name Lebon Patisserie, the venue entered a new era in 1940 when it was purchased by Avadis Ohanyan Çakır. Inspired by Paris’ renowned Marquise de Sévigné chocolate company, Çakır aimed to produce chocolates and confections of the same quality, renaming the patisserie Markiz. The word Marquise, meaning lord, also reflected the refined and distinguished atmosphere of the venue.

Soon, Markiz became one of Istanbul’s most popular gathering spots, attracting not only chocolate and confectionery enthusiasts but also intellectuals, artists, and writers, thanks to its impeccable service. The patisserie was a favored meeting place for prominent literary and artistic figures such as Abidin Dino, Orhan Kemal, Sait Faik, Peyami Safa, Orhan Veli, Mina Urgan, Salah Birsel, Attilâ İlhan, and Haldun Taner. Markiz, which became a symbol of Beyoğlu, played a crucial role in the city’s cultural history as a hub for artists, writers, and poets of its time.

Markiz was also renowned for its refined dining experience, featuring world-famous Limoges porcelain, silver serving sets, and Christofle-insignia dinnerware. It was famously known that casual attire was not permitted—so much so that a shop nearby rented hats for those who arrived without one, as entry without a tie and hat was strictly prohibited. Simply put, visiting Markiz was considered a privilege.

Beyond its culinary excellence, Markiz Patisserie left a lasting impact with its architectural beauty. The Art Nouveau-style seasonal panels L’Automne (Autumn) and Le Printemps (Spring), placed on the wooden walls, were produced in 1905 at the Hippolyte Boulanger & Cie workshops in Choisy-le-Roi, France, inspired by designs by painter J.A. Arnoux. These panels became iconic symbols of the venue. However, two other panels from the same series, L’Hiver (Winter) and L’Été (Summer), were lost, allegedly breaking during transport. Furthermore, the factory that produced these panels was bombed and destroyed during World War I, making them even more valuable antique pieces. In 1945, the venue’s artistic details were further enriched with ornate stuccoes by Cezaliryan Usta and stained glass windows by Mazhar Nazım Resmor, two of which still remain in the entrance corridor of Passage Oriental today.

After Passage Oriental was put up for sale in 1980, Markiz was forced to close its doors. Following a long hiatus, it was restored and reopened in 2003. However, after being operated by various businesses, it gradually lost its former glory and became a fading memory. In 2016, Markiz once again closed, existing only as a lingering echo of the past.

In November 2023, Mehmet Erkul and Tekin Esen took ownership of Markiz, embarking on a journey to bring it back to life. As the venue prepares to reopen at a later date, it is currently breathing once again as an artistic landmark under the leadership of PİLEVNELİ before its full restoration. This process serves as a tribute to Istanbul’s cultural memory, positioning Markiz not merely as a physical space but as a timeless story reclaiming its rightful place in the city’s collective consciousness.