Taglio is a cafe, restaurant and shop in the Navigli area. Everything you see on display is for sale. Taglio is using fresh and high-quality products for its delicious dishes. When possible, the ingredients are also locally sourced. 

For paper lovers! One of my fav place in the city is this little cozy place, just 35 square meters all covered by magazines. Basically, you are in heaven. As they say: “Reading Room wants to be a meeting place for fans, collectors, professionals and all those who, intrigued, decide to come in to browse a magazine. A space in Milan dedicated to the dissemination, understanding and appreciation of magazines.”  There you can find magazines about: photography, art, fashion, design, music; more than 200 international titles carefully selected. Reading Room stems from the desire to give voice and visibility to a phenomenon that in recent years, through visionary editorial projects, is redefining the publishing system and the sense of the printed paper at the time of the internet. Plus, they also organize events as project laughing events and talks. https://www.instagram.com/byreadingroom/

Art and design museum in the Parco Sempione. Some permanent and some rotating exhibitions. Definitely visit the Casa Lana installation and the Italian Design permanent exhibit.

Cute cafe designed by Wes Anderson at the Prada Foundation. The interior is in the style of a Milanese bar from the 1950s/60s and has a good selection of sandwiches, coffee and alcoholic drinks.

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.