Why you should experience Bomaki Sanzio in Milan, Italy.
Bomaki Sanzio is a colorful sushi restaurant where De Angeli's early-twentieth-century residential quarter meets Japanese-Brazilian cooking, tropical decoration and Riccardo Poli's large-scale mural created specifically for this branch.
Set along Via Raffaello Sanzio near Via Marghera and just steps from Piazza Piemonte, the restaurant occupies a western Milan pocket distinguished by Casa Verdi, Liberty villas and the century-old Teatro Nazionale. Farida El Tantawy's broader design direction for Bomaki brought South American references into the interiors through azulejo and Caltagirone ceramics, exotic botanical wallpaper, unfinished plaster and brightly colored bentwood-style chairs. Recycled components shaped into pendant lights add another handcrafted layer, drawing inspiration from the Colombian work associated with designer Álvaro Catalán de Ocón. Riccardo Poli gave the Sanzio branch its individual signature through a wall-sized mural, separating this location visually from the other restaurants developed during Bomaki's first Milan expansion. The result is a De Angeli dining room where tropical pattern, ceramics, repurposed lighting and a site-specific artwork give the Japanese-Brazilian premise a vivid physical counterpart.
What you should know about Bomaki Sanzio.
Bomaki Sanzio is best known for carrying Giuseppe Grasso, Francesco Zambon and Jeric Bautista's Japanese-Brazilian restaurant project into its third Milan location during the rapid expansion that followed Bomaki's 2013 debut. Grasso conceived the original Corso Sempione restaurant with Zambon and Bautista, and the founders encoded their cross-cultural premise directly into the name by joining the Portuguese word “bom,” meaning good, with maki, the Japanese sushi form. Bautista became both founding partner and executive chef, making his cooking central to the concept as the first restaurant expanded into Largo la Foppa and then Via Raffaello Sanzio during 2015. Sanzio's arrival turned the young operation into a three-restaurant Milan group within two years of its debut, and Bautista continued developing the culinary combinations across the expanding network. Grasso had approached the project with a strong digital strategy from its August 2013 beginning, using Facebook and Instagram to distinguish Bomaki within a Japanese-Brazilian restaurant category already developing in Milan. A major ownership turn followed in 2022, when investors supported by Augens Capital and BIC Capital acquired a 75-percent majority interest; Grasso, Zambon and Bautista retained the remaining 25 percent and continued participating in expansion. The investment arrived with eight restaurants operating between Milan and Turin and preceded another phase of openings, yet Sanzio remained one of the original trio that established Bomaki's viability beyond its Corso Sempione birthplace. Bautista continues as executive chef in 2026, preserving direct culinary continuity with the founding team more than a decade after Sanzio joined the group.
Gamberi al lime begin with tempura prawns coated in spicy cream, yuzu, chives, sesame and fresh lime, using heat, citrus and frying to establish the Japanese-Brazilian combination in a compact form. EBI Sticks push the fried-prawn format toward teriyaki, spicy cream and curry powder, exchanging the first dish's citrus emphasis for sweetness and spice. Uramaki provide the principal vehicle for richer combinations, bringing raw or cooked seafood together with avocado, tropical fruit, sauces and crisp elements around seasoned rice and nori. Sashimi Exotic takes mixed raw fish into a mango-and-passion-fruit gazpacho, allowing tropical acidity and fruit to interact directly with the clean temperature and texture of sliced seafood. Carpaccio flambé introduces heat through briefly seared tuna, sea bass or salmon finished with ponzu, olive oil and sesame, shifting the fish between raw and cooked textures. Brazilian sweets complete the sequence through brigadeiros based on dark, milk and white chocolate, quindim centered on coconut and egg yolk, and desserts flavored with mango or maracujá, carrying the same Japanese-South American combination from savory dishes into the final course.
How to fold Bomaki Sanzio into your trip.
Bomaki Sanzio works as the dining endpoint for an afternoon through the surrounding De Angeli streets, where Giuseppe Verdi's philanthropy, Mauro Rota's theatrical ambitions and Milanese Liberty craftsmanship transformed a once-peripheral district into an enclave of music and decorative architecture.
Begin at Casa Verdi, conceived by Giuseppe Verdi for musicians facing financial hardship late in life and developed with architect Camillo Boito after the composer discussed the project with Giulio Ricordi during the 1890s. Construction began in 1896 and finished in 1900; Verdi transferred the building to the institution he formally established in 1899, then assigned royalties from his works to support it, with the composer and Giuseppina Strepponi subsequently interred beneath Ludovico Pogliaghi's mosaic decoration in the crypt. Continue to Teatro Nazionale, commissioned by cinema operator Mauro Rota from architect Mario Borgato and inaugurated on December 20, 1924 with Sem Benelli's La cena delle beffe, when Piazza Piemonte still stood near Milan's developing western edge. The theater later accommodated cinema, boxing and performers including Totò, Ugo Tognazzi and Rudolf Nureyev before Stage Entertainment reconstructed it in 2009, increasing capacity to 1,500 and enlarging the stage tower for long-running musical productions. Conclude at Villino Maria Luisa, constructed from 1906 as Milanese Liberty began absorbing neo-Gothic and neo-Renaissance references into residential architecture. Alessandro Mazzucotelli created its wrought-iron gate with flowering vessels and increasingly simplified botanical forms, and the upper façade pairs blue mosaic suggesting a night sky with golden stars, placing one of Milan's foremost iron craftsmen beside a decorative scheme already anticipating the transition away from pure floral Liberty. The progression moves from Verdi and Boito's purpose-built home for musicians through Rota and Borgato's ambitious theater on Milan's western fringe into Villino Maria Luisa's synthesis of mosaic and Mazzucotelli ironwork, revealing how philanthropy, entertainment and decorative craftsmanship shaped the district surrounding Bomaki Sanzio.
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