The world of cooking is a place of creativity, passion and flavour.

Feb 28, 2024 | Blog edition

The world of cooking is a place of creativity, passion and flavour.

What does it mean to “invent” – or “create” – a new dish today? Let’s try to guess it from the stories of many chefs who explain to us fantasies, ambitions, new functional cognitions and modern interactions within kitchens that are increasingly laboratories of ideas as well as products.

Enrico Bartolini – The palate
Each dish has its own story, its own anecdote. There is therefore no manual that can describe our creative process, as it is singular, subjective, different every time. Sometimes it is triggered by an ingredient, sometimes by an idea, by a traditional dish tasted, by a season. Or maybe by mood. What I can say for sure is that a lot depends on the palate. And in particular when the palate connects to sensitivity, it is he who gives the right suggestions when creating a new dish. And it is always thanks to the palate that a creation continues to evolve over time because creativity does not end at the moment of creation: the dishes that are most successful are those that started from a good initial idea and which then continued to evolve, knowing how to adapt to the time passing. A fluid creativity, spread over time. Being with a dish in the kitchen every day makes it the subject of continuous improvements, evolutions every day compared to the previous day. Perhaps this is also why I don’t like to systematize my creative process. Let’s be clear, I admire those who manage to do it, but as far as I’m concerned, systematization is limiting because for me “creating” basically means breaking any pattern. At most I can define the scheme I used downstream, but only to realize the progress made.

ENRICO CRIPPA CHEF
For me, inspiration is much stronger when I am absorbed in work, the more I engage in everyday life, the more ideas make their way into my mind. Adrenaline brings me creativity. But it is not a fixed condition, perhaps after a trip or after a weekend on a bicycle in contact with nature, I enter the kitchen and jot down the ideas and inspirations arising from these events.

ANDREA BERTON
Moved by curiosity! I am very curious, when I enter a new place I touch all the materials because contact with things often triggers ideas in me, but the same thing goes for the sense of sight, perhaps observing a painting. After curiosity comes necessity, which acts as a guideline: at this moment we need to replace the tomato with a seasonal ingredient, so we are focusing on mushrooms and everything they entail, from the tactile sensation to the memory of a walk in the woods . Obviously, in this concrete case, the creative process starts from an ingredient but if I were to tell you that it is always like this I would be lying. For example, one of our iconic dishes (garlic, oil and chilli ravioli with focaccia and sea cicadas) was born from a traditional recipe where, in my opinion, a little something was missing. In my opinion, with the addition of the crunchy focaccia and the slightly seared cicada broth, I made the taste more complete. And here we arrive at the ultimate goal of the creative process, which must always lead, between one test and another, to complete taste. It’s a question of empiricism.

 

Giuseppe Iannotti – The guest
The beginning of our creative process comes from putting ourselves on the guest’s side, trying to define exactly what we want to convey to him, what the emotion will be, how he will eat that dish, what he expects from our tasting menu since we only offer that. We don’t build dishes, but elements that fit into a journey, where the centrality is given by taste. Zero space for games of style or technique. Each element, then, is made up of one, two, maximum three ingredients, easily recognizable and recognizability is also given by the tone of voice and the information that we will provide to the guest at the time of service. I think it is important to underline that thinking about this aspect is also part of our creative process. Sometimes it happens that if a course requires a lot of explanation, you decide to abandon it: giving too much information makes the experience excessively verbose. Another aspect that fully enters into the creative process is the usability of the dish, at Krèsios we have around seventy different cutlery, but they are not whimsy, it is just the desire to free the guest from any difficulty.