Nunchi is a new creative neighbourhood of restaurants and boutique born from the vision of Cedric Naudon, a self-confessed gastronome. The Italian startup follows his ambitious project to create an entirely new creative neighbourhood of food realities, fashion boutiques and design stores in Le Marais, Paris.
Nunchi intends to frame and connect all of Cedric Naudon’s gastronomic projects. The first of which is a reimagining of Edouard Nignon’s classic cookbook L’Heptameron des Gourmets, originally published in 1919 and now a rare collector’s item. This new edition brings the unique collection of recipes and stories to a contemporary audience by way of a unique collaboration with box, textile and paper makers, engravers and printers. This is accompanied by a second book, La Dive Cocagne, which gives the reader valuable insights into the creation of L’Heptameron des Gourmets.
Nunchi’s visual identity, designed by Swedish studio Bedow, establishes a graphic framework and continuity for all of the projects that will fall under the Nunchi brand. Both L’Heptameron des Gourmets and La Dive Cocagne serve as the first surfaces in which identity begins to reveal itself, the former being a rigorous exploration of design and artist craft and collaboration, a form of Gesamtkunstwerk, and the latter providing insight into this unique confluence of skills, also brought to life through short-form documentaries. Bedow were responsible for visual identity and the art direction and design of both books.
The intention was to develop a visual identity that was quiet but always present. Where Nunchi’s first publication displays a pronounced and remarkable level of detail, visual identity is marked by its modernity. A conceptual abstraction that have a strong personality and usefulness.
Nunchi is a Korean concept that describes the subtle art and ability to listen and gauge the moods of other. The Western equivalent would be the notion of emotional intelligence. That this is then used to represent and connect material objects with historical, cultural, social and gastronomic value feels thoughtful.
L’Heptameron des Gourmets displays a material language of layers. Thresholds in which to pass and engage with the craft of each of the collaborators. In the many layers, in the sequenced nature of unboxing, a richer story and total project is constructed. That each of these is expressed by way of a short-form documentary, is smart. Where the material qualities of packaging are rendered ubiquitous by the glass of the digital screen, moving image seeks to retain and impart a story of physical production.