That of sushi has frequently been described as a revolution that has swept through the entire global gastronomic world, introducing new and fruitful concepts that have become an integral part of international cuisine.
A key element of sushi innovation has been to bring the aesthetic dimension of food to the forefront. Sushi, like the rest of food preparations today, must not only be good and attractive to the taste, but also beautiful to look at. With Mame Nori imported by Nipponia, a brand of Rome-based Gourmet line srl, we go a step further: sushi is not only good but also more beautiful. It can be art and communication.
A sushi seaweed company commissions a research agency to carry out a project to find an innovative way to innovate the world of sushi. The result is a highly innovative idea: thin sheets the size of nori seaweed but produced from soy milk colored with natural ingredients. The genius idea to increase the color palette in a recipe already characterized by sophisticated design with the added bonus of a taste-neutral alternative. In fact, mame nori are tasteless, so they have enabled the emergence of sweet sushi rolls that were once impossible with seaweed with too distinctly marine flavors. Mame nori have broken down limits, the boundaries of sushi chefs’ creativity. Turning dishes into canvases on which sushi chefs compete in gastronomic design color contests.
Sushi rolls thus become colors to be composed in contrast. The right term for this new product is Sushi-Art, colorful sheets in the hands of real food designers.
Nipponia immediately saw in this invention an innovation that could revolutionize the world of sushi and decided to initially import only two colors, green and pink sakura, the cherry blossom. Thus sushi, in addition to being multicolored on the inside because of the filling, can also be multicolored on the outside.
It opens up a new frontier of sushi that involves not only the aesthetic and presentation aspect of the food anymore, but, as mentioned, the communication aspect as well.
