Spazio Maiocchi is a social space where art, design and fashion blend to shape new cultural experiences. Originating from the convergence of visionary founding partners Carhartt WIP and Slam Jam, Spazio Maiocchi is a cross-disciplinary ideas aggregator, house to the studios and exhibition spaces of KALEIDOSCOPE, one of Milan’s most widely recognized enterprises for contemporary art.

1990, SEPTEMBER: CARLA SOZZANI, FORMER FASHION EDITOR AND PUBLISHER, OPENS GALLERIA CARLA SOZZANI FOR PHOTOGRAPHY, ART AND DESIGN IN A CONVERTED GARAGE N° 10 OF CORSO COMO IN MILANO. SINCE THE OPENING,OVER 250 EXHIBITIONS HAVE OFFERED AN INTENSE VARIETY OF CULTURES AND GENRES IN THE WORLDS OF CONTEMPORARY CULTURE. THE GALLERY HAS ITS OWN PUBLISHING COMPANY ALSO DEDICATED TO ART, PHOTOGRAPHY, FASHION AND DESIGN. THE SAME YEAR THE GALLERIA CARLA SOZZANI IS GRADUALLY JOINED BY A GARDEN CAFÈ AND A BOOKSHOP. NEW AND CLASSIC PUBLICATIONS ON ART, ARCHITECTURE, LITERATURE, DESIGN, GRAPHICS AND FASHION, WITH A STRONG EMPHASIS ON PHOTOGRAPHY AND A SELECTION OF MUSIC FROM ALL OVER THE WORLD CAN BE FOUND HERE. BROWSING IS ENCOURAGED...

Tiny traditional restaurant with no reservations. Delicious traditional Milanese food, all cooked in their tiny kitchen. Always a queue so arrive early!

A small family restaurant with very tasty Italian cuisine (be sure to make reservations for the evening)

The Brera Gallery was officially established in 1809, even though a first heterogeneous collection with educational purpose existed already from 1776 – and then increased in the following years – alongside the Accademia di Belle Arti, requested by Mary Therese of Austria to offer the students the opportunity to study lofty masterpieces of art close up. Brera become a museum to host the most important works of art from all of the areas conquered by the French armies. So unlike other important museums in Italy such as the Uffizi, Brera did not start out life as the private collection of a prince or nobleman but as the product of a deliberate policy decision. Paintings confiscated from churches and convents throughout Lombardy with the religious orders’ dissolution began to pour into the museum in the early years of the 19th century, soon to be joined by artworks of similar provenance from other areas of the Kingdom of Italy. This explains why the collection comprises chiefly religious works, many of them large altarpieces, and accounts for Brera’s special aura on which later acquisitions have had only a minor impact.