Last November in Milan’s Brera district, the former private residence of Santo Versace opened as a members’ club named The Wilde. Marking the beginning of a new era in cultural hospitality, the 1,800-square-meter space on Via dei Giardini was transformed into a next-generation cultural salon—part private club, part creative sanctuary. At the heart of its transformation is the visionary interior designer Fabrizio Casiraghi, whose design approach has redefined the contours of Milanese elegance for a new, international audience.
Courtesy of The Wilde.
Courtesy of The Wilde.
Known for his ability to blend classic sensibilities with contemporary ease, Casiraghi approached The Wilde with a masterful eye, reinterpreting the architecture originally envisioned by Carlo De Carli and Antonio Carminati. The result is a space that is both cohesive and multifaceted, filled with layered, tactile environments of walnut furnishings, pink lacquered wood, velvet upholstery, travertine, striped textiles, and artworks—curated by Ed Tang of Art Bureau and including names like Diane dal Pra, Danh Vo, Vojtěch Kovařík, Nikolai von Bismarck, and Adrian Paci—galore. Each corner of The Wilde, from the leather-wrapped cigar lounge to the sun-drenched rooftop restaurant AVA, has individual character, while still adhering to a holistic vision.
In advance of the concept preparing to expand to other cultural capitals like New York, London, and Los Angeles, Whitewall spoke with Casiraghi about the inspiration behind his design, the art of balancing boldness and sophistication, and how The Wilde captures the spirit of Milan.
Courtesy of The Wilde.
WHITEWALL: In Santo Versace’s former family home, originally built in 1954 by architects Carlo De Carli and Antonio Carminati, The Wilde opened in Milan. How—through decor and interior design details like materials, colors, and textures—did you want to embrace the history of this space?
FABRIZIO CASIRAGHI: I approached the project by thinking more broadly about Milan—its heritage, its materials, its codes of interior architecture—rather than being too tied to the specific building. I have to be very sincere: it’s not the most remarkable building in the city center. Rather than trying to align the interiors with the exterior, I thought it would be more interesting to create a sense of surprise—a disconnect between what you see outside and what you discover once you open the door. It’s a very Milanese idea: discreet from the outside, sophisticated within. I was more influenced by Milan’s 1940s rationalist spirit, by places like Villa Necchi, than by the building’s original architecture or its previous owner. I wanted the interiors to feel timeless and rooted in the city’s deeper, quieter elegance
WW: The member’s club features three dining concepts, a co-working lounge, a cigar lounge, and more. How did you approach designing each space to have individual character yet remain cohesive to an overall vision?
FC: Each space needed a distinct identity while still feeling part of a whole. For the Italian restaurant, we kept the language very clear and architectural, but introduced a textured, geometric floor with some artistic interventions—something very Mediterranean in spirit. The South American restaurant is much more vibrant, with strong colors, lively patterns, and a richness in materials. The lounge, where members work during the day, is calmer and more neutral to create a sense of focus. And the bar shifts the mood again—it’s sexier, more playful, with pink lacquered walls and a backlit ceiling that transforms the space as night falls.
“It’s sexier, more playful…”
—Fabrizio Casiraghi
Courtesy of The Wilde.
WW: You’re known for your unconventional approach to design, filled with surprising contrasts that achieve balance and sophistication. What do you typically play with to achieve this distinct atmosphere?
FC: For me, the starting point is always the idea of timelessness. I try to avoid anything that feels trendy or tied to a particular moment. It’s important that the spaces still feel right in fifty years. I also think layering is essential—mixing different textures like velvet, cotton, patterns, plain colors—and combining pieces from different periods. I love references from the 1920s, 30s, 40s, sometimes even a touch of the 70s, alongside contemporary art. It’s this layering of materials, colors, and eras that creates a richer, more enduring atmosphere.
“The starting point is always the idea of timelessness.”
—Fabrizio Casiraghi
WW: Tell us a bit about sourcing what fills the space—including textiles by the local Milanese textile brand, Arjumand’s World, American walnut furnishings, fabrics from Jim Thompson, art curated by Art Bureau, and more.
FC: Idarica is a personal friend and someone whose sophistication and good taste I admire deeply. His work is inspired by years of travel, especially across India and the Middle East, where he recorded details from palaces and reinterpreted them into wallpapers and fabrics. The result is something completely unique— authentic, grounded in a specific culture and aesthetic tradition. The furnishings are largely in American walnut, a wood I love for its Milanese spirit but also for its nautical associations. It reminds me of the Riva boats—this beautiful, glossy, lacquered wood—which is a reference that often appears in my projects. The art was curated by Art Bureau, an incredible team of young, talented people I really enjoy collaborating with. It was important to me that the art didn’t simply blend into the interiors.
I wanted a real contrast: timeless, slightly old-world interiors paired with strong, contemporary pieces. I believe that in the homes of true collectors, the art and the interior are never too aligned. If you look at someone like Yves Saint Laurent’s apartment in Paris, the setting is very Art Deco, rich with wood and elegance, but the art collection brings together African masks, Impressionist paintings, and contemporary works. It’s that kind of dialogue— and sometimes tension—that makes a space truly alive. That was exactly the effect I hoped to achieve here.
“It was important to me that the art didn’t simply blend into the interiors.”
—Fabrizio Casiraghi
Courtesy of The Wilde.
Courtesy of The Wilde.
WW: When you’re not at The Wilde, how do you like to enjoy Milan? Any favorite hotels, bars, restaurants, shops, places to see art, or relax?
FC: When I’m not working, or not at The Wilde—I just came from Milan Salone and spent almost every day there with friends and clients—I do have a few places I love to go. Rovello 18 is a favorite for its mix of Piedmontese cuisine and its excellent selection of high-end natural wines. I also really enjoy Trattoria Milanese on Santa Marta—a very historic restaurant where you can still find traditional Milanese dishes that are hard to come by today. It’s a place I always return to with friends. Then, of course, there’s Giacomo’s—a huge classic, a real institution. It’s where I used to celebrate some of the most important moments of my life with my family: my graduation, my first job signature, the day I moved to Paris. Every time we have something to celebrate, we go to Giacomo.
Fioraio Bianchi is another place close to my heart—a spot where I would often spend the entire day, from breakfast through aperitivo. It was partly because it was close to my office, but also because I loved its Italian-French atmosphere. The owner, who is French, still recognizes me after more than ten years every time I visit. For pastries, I love Ranieri on Via della Moscova. It’s a very typical Milanese pastry shop—nothing too fancy, nothing over-designed. I really dislike when desserts are too streamlined or contemporary; I much prefer traditional cakes, biscuits, chocolates—something very real—and that’s exactly what I find every time I go to Ranieri.
Courtesy of The Wilde.
