Why you should experience Bomaki Sempione in Milan, Italy.
Bomaki Sempione is an exuberant Japanese-Brazilian restaurant where Sempione's cosmopolitan dining corridor meets Giuseppe Grasso, Francesco Zambon and Jeric Bautista's original uramakeria, tropical culinary combinations and a 2025 reinvention built around sushi, robata and direct kitchen interaction.
Set along Corso Sempione near Via Francesco Melzi d'Eril and just steps from the grand axis leading toward Arco della Pace, the restaurant occupies a western Milan corridor shaped by nineteenth-century boulevards, early-twentieth-century residences and the vast green expanse surrounding Parco Sempione. A complete 2025 redesign replaced the earlier tropical maximalism with a warmer composition of natural finishes and restrained Japanese references. Preparation islands now enter directly into the dining room, allowing sushi assembly and other kitchen work to become visible components of the room. A dedicated sushi counter strengthens that connection, and modular elements dissolve conventional separation between production and seating across the renovated interior. The result is a Sempione restaurant whose newest design places culinary technique closer to the table without abandoning the cross-cultural premise that established Bomaki at this address.
What you should know about Bomaki Sempione.
Bomaki Sempione is best known for being the original restaurant from which Giuseppe Grasso, Francesco Zambon and executive chef Jeric Bautista developed Bomaki into a multi-city Japanese-Brazilian restaurant group. The three founders opened the Corso Sempione uramakeria in 2013, combining the Portuguese word bom with the Japanese maki to name a format centered on the culinary connections between Brazil and Japan. Bautista brought a particularly consequential path into that concept: born in Bansud in the Philippines in 1982, he completed culinary training there, joined his family in Italy and entered Nobu, where he learned Japanese technique before continuing at Mizu. His partnership with Grasso and Zambon subsequently placed him in charge of Bomaki's culinary development, with interior designer Farida El Tantawy shaping the colorful South American visual character that accompanied the food across the group's early expansion. By early 2022, eight restaurants were operating between Milan and Turin; BIC Capital and Augens Capital then backed an investment group that acquired a 75 percent majority stake, leaving Grasso, Zambon and Bautista with the remaining 25 percent as the business entered a larger expansion phase. Corso Garibaldi became the ninth restaurant soon afterward, and further growth carried Bomaki into Rome and additional formats including Bomaki Rápido. The founders returned to their original Sempione site in 2025 for its most substantial change since 2013, temporarily closing it in August before reopening in the autumn as Sushi & Grill Bistrò. That intervention turned the first Bomaki into the testing ground for the group's next format, adding robata, hand-assembled temaki and a sushi counter to the uramaki concept that had begun at the same address twelve years earlier.
Bautista's uramaki expose the Japanese-Brazilian premise through combinations that move between precise raw-fish preparation, tropical fruit, acidity and richer sauces. Salmone Mango pairs salmon and avocado with mango gazpacho, giving the fish a sweet-acidic tropical layer, and Tonno Wasabi combines tuna and avocado with fresh wasabi and yuzu-miso sauce. Salmone e Gambero Rosso places salmon carpaccio over red prawn and avocado with ponzu and extra-virgin olive oil, moving from soft fish and shellfish toward citrus and fat. The renovated format introduces robata grilling for skewered meat, seafood and vegetables, bringing smoke and direct heat into a repertoire historically dominated by raw and rolled preparations. Hand-roll temaki arrive as separate crisp nori sheets and fillings for assembly at the table, shifting texture as the seaweed meets rice and fish immediately before eating. Caipirinha remains the principal Brazilian drinking reference in classic, mango and maracuja versions, with cachaça, lime and tropical fruit carrying the South American component from the food into the glass.
How to fold Bomaki Sempione into your trip.
Bomaki Sempione works as the dining endpoint for an afternoon tracing the Sempione district through Napoleonic performance, imperial architecture and the engineering ambitions of Milan's twentieth-century design culture.
Begin at Arena Civica Gianni Brera, commissioned from Luigi Canonica in 1805 as Napoleon's government reshaped the enormous territory behind Castello Sforzesco for ceremonies and public entertainment. Canonica drew on ancient Roman circuses for the elliptical amphitheater and reused stone from demolished fortifications; its 1807 inauguration included a naumachia staged by flooding the central field, turning Neoclassical architecture into infrastructure for imperial performance before the arena later became a major site for Milanese sport. Continue to Palazzina Appiani, where Canonica created the imperial gallery attached to the Arena as a privileged viewing position for Napoleon and his court. Andrea Appiani, Napoleon's official Italian painter, supplied the decorative program for the principal loggia through a continuous chiaroscuro frieze modeled to resemble sculpted relief, binding painting to Canonica's architecture within one of the few surviving components of the abandoned Foro Bonaparte ambitions. Conclude at Torre Branca, designed by Gio Ponti for the fifth Milan Triennale and erected in 1933 with engineers Cesare Chiodi and Ettore Ferrari as a slender steel structure rising 108.6 meters above Parco Sempione. The tower went out of service in 1972 before Fratelli Branca financed its restoration; reopening followed in 2002, preserving Ponti's hexagonal steel construction as a surviving piece of the Triennale's experiment with modern architecture and engineering. The progression moves from Canonica's amphitheater for Napoleonic mass performance through Appiani's imperial viewing pavilion into Ponti's steel experiment for the 1933 Triennale, compressing more than a century of Milanese architecture and public entertainment into the district surrounding Bomaki Sempione.
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