Once the stomping ground of sailors and the Corsican mafia, Marseille’s oldest district, Le Panier, has evolved into a tourist hub and creative neighborhood. Its winding streets are peppered with ateliers (like blade smiths, chocolatiers and painters) and the 17th-century facades are canvases for colorful murals. One of them, a powerful black-and-white image of a couple kissing, faces the funky cantine and concept store, Ahwash. Its owner, Amar, commissioned the Alberto Ruce work – a sign of the artistic energy infused throughout his unique place. Named for the traditional Berber dance in which men and women mix together, Ahwash is a blend of Amar’s worlds – of Morocco and France, of art and cooking. “Eating here is like coming to my house,” he smiles, serving tagines to patrons sitting at vintage tables topped with glowing candles, their dripping wax embodying the restaurant’s romantic and relaxed ambiance.

Chefs have long touted – and scientific research has confirmed – that we “eat with our eyes.” Hence the swishes and swirls of plating. Yet the importance of visual stimulation extends beyond food to include restaurant design, a point that is not lost on the all-day café Monsieur Madame. The eye-catching space is so full of ‘60s and ‘70s knick-knacks that you might mistake it for a vintage shop. Vinyl records are used as placemats on the brightly colored Formica tables. Shelves overflow with old cameras and plastic figurines. From wooden crosses to mounted fish heads, the walls offer a visual feast – so chock-a-block with mementos the vivid print wallpaper is somehow mellowed.

After the Vietnamese War, many of the refugees bound for France landed in Paris. A minority spread out to other French cities like Toulouse, Lyon and Marseille, the latter being a ville refuge (refuge city) due to its bustling port. The small community in Marseille used to be concentrated near Joliette, before its building boom. But now they’re scattered across the city, taking their cuisine with them. No matter, for we know exactly where to go whenever we’ve got a hankering for Vietnamese: We join the line of people waiting for a bowl of pho outside Nguyen-Hoang.

When ordering a café in Marseille, keep your eye out for sugar packets and espresso cups lined in yellow and white. These diagonal stripes are the sign of Café Luciani, a logo inspired by the red and white panels on truck tailgates. Yet while those stripes implore you to be careful and hang back, Luciani encourages the opposite – they want you to dive head first into your cup of coffee The father-and-son coffee company began in 1863 as the Phocéenne de Torréfaction (the Phocaean Coffee Roaster), named after the lineage of the sailor who founded Marseille. Pascal Escudier’s locally roasted coffee was reputed for its “exquisite aromas” in an era when the petit noir was more about consumption than the quality of its composition.

One of the many charms of daily French life is the ability to eat and drink well without needing beaucoup bucks. The best place to put this in practice is at a bar à vin. Since one never drinks alone in France – literally and figuratively – these bars always offer something to snack on. Sometimes, it’s simply a plate of cheese or charcuterie to soak up the wine. Other times there are more substantial plates that alone are worth a visit. The unpretentious Les Buvards, one of our favorite bars à vin in Marseille, exemplifies the latter – an impressive feat since the kitchen is barely wider than a wine barrel.

Anise-based liqueurs are as ubiquitous as outdoor terraces across the Mediterranean. Long prized for its medicinal benefits, anise is the ideal antidote to the region’s sweltering temps, especially when sipped in tall glasses with refreshingly chilled water, as is common practice. From Turkey’s rakı to Italy’s heavily sweetened sambuca, each country has its own recipe. France has two, anisette and pastis, with the latter having licorice root thrown into the mix. Born in Marseille, pastis is the republic’s most popular aperitif, but both beverages are poured at bars around town, whose shelves are stocked with bottles from a variety of producers. There’s one brand, though, that deserves special attention: Cristal Limiñana, one of the city’s last distilleries.

At a typical pâtisserie orientale, the front window is often stacked with towers of sweets – honey-soaked visual merchandising to entice passersby to pop inside. Some pastry shops line their walls with colorful geometric tiles and Moorish arches, the icing on the Maghreb cake. Pâtisserie Orientale Journo goes for a decidedly more subtle approach. Though located a block from Marseille’s main drag, the Canèbiere, this unassuming shop is somewhat lost in the shuffle of the pedestrian Rue de Pavillon. The few tables scattered out front suggest that there’s food to be found inside but the open storefront is bare – save for a giant five-gallon water jug propped on a stool, with a hand-scrawled sign “citronnade – 2 euros” beside it. That’s all the advertising needed for a pastry shop that has survived by word of mouth for 60 years.