Interior designer Chahan Minassian has built a practice defined by a refined sensitivity to history, craftsmanship, and the lived experience of space. Founder of Chahan Gallery, he is known for interiors that feel collected rather than composed, where each element carries a sense of narrative and intention. Having made Venice his home over the past several years, Minassian brings a uniquely global perspective—merging Middle Eastern roots with European elegance—into dialogue with the city’s layered past.
In a place like Venice, where time seems to accumulate rather than pass, his approach finds a natural resonance. The city’s palazzos, ateliers, and hidden interiors offer not just aesthetic reference points, but a way of thinking about space as something continuously evolving—never fixed, always in conversation with those who inhabit it. For Minassian, this sensibility translates into rooms that privilege atmosphere over statement, and comfort over spectacle, without sacrificing rigor or refinement.
His recent work with Fortuny at the Palazzina Fortuny reflects this balance. Rather than imposing a new identity, the project unfolds as a quiet dialogue between past and present, where textiles, light, and proportion guide the experience. It is an approach rooted in respect—of materials, of context, and of the rituals that define how a space is lived in. In speaking with Whitewall, Minassian reflects on how Venice continues to shape his thinking, and how design, at its best, becomes a way of extending the life of a place rather than redefining it.
Chahan Gallery at the Palazzina Fortuny
Courtesy of Chahan Gallery.
Courtesy of Chahan Gallery.
WHITEWALL: You’ve described spaces as something you “bring to life” rather than simply decorate. How did Venice, and specifically the Palazzina Fortuny, shape that approach?
CM: The choice of living in Venice or visiting Venice is already an appreciation and a thirst to be inspired and influenced by what we see around us. It’s a historical city that has been very well maintained, preserving its beauty and its diversity of architecture—and, of course, its interiors.
Knowing the importance of the city and its visual culture, it is important that any interior—especially an existing one we are approaching—has a soul, a story, or a scale that dictates how to enhance it or embellish it with the aesthetic we wish to bring.
WW: Your collaboration with Fortuny bridges heritage and contemporary vision. How do you navigate honoring a legacy while pushing it into new territory?
CM: This is a very enriching process because it’s not only about a designer expressing his residential or cultural approach within an interior. In this case, there is already a collection, a product, and a designer’s heritage—a material: the fabric collections by Mariano Fortuny, which become tools to express oneself.
Working with Fortuny collections—whether historical, which are extremely rich and important, or newer ones—is the exercise within this palazzina. Rather than creating a showroom, it is about sharing a vision of interior comfort through these collections.
Walking into a palazzina with its own story—one that had already been reimagined in the 1950s by Contessa Gozzi—it was very important for Fortuny and for me, as an interior designer, to take the place in hand, preserve as much as possible of its original beauty, and adapt it to today’s codes and functions, always maintaining the soul of the house.
WW: The Fortuny universe is rooted in craftsmanship, secrecy, and time. How do these values influence your own creative process today?
CM: I feel very connected to the concept of Fortuny as one man’s vision—spanning artistry, photography, clothing, and fabrics. It is a singular vision with a constant, progressive creative production.
The sense of secrecy, as well as the historical legacy, is important. It has always been part of the DNA of the company and continues to be maintained today by Mickey and Maury Riad. It is also the only industry still producing in Venice, in its original factory. These are very strong historical foundations.
The palazzina has always reflected a way of life centered around Fortuny fabrics, as the owner lived there. My intervention is to bring my signature and my vision. This collaboration came naturally, and that’s why it is called Fortuny + Chahan—two entities, two signatures, coming together in a new expression for the space.
For me, it is an opportunity to work with these rooms, the collections, and my own curation, offering visitors an immersive lifestyle experience.
Chahan Minassian on Life in Venice
Courtesy of Chahan Gallery.
WW: Venice has long been a crossroads of cultures and ideas. How do you see the city’s evolving role today, especially as it attracts a new generation of international creatives?
CN: As someone living in Venice—not just visiting for the Biennale or passing through as a tourist—I think it is very important for newcomers to respect the soul of the city and its history. Venice is more than 1,600 years old, and from the beginning, it has been an international, multicultural place shaped by trade and exchange.
While we are in Italy, in Venice today, we must remember that its identity was built through many cultures coming together. The Venetian spirit must remain, and Venetians themselves must continue to be part of that story.
There is nothing new in Venice—everything has, in some way, already existed. The piano nobile spaces were once showrooms and merchant spaces, sometimes seasonal, sometimes permanent. Venice is a merchant city and a place of invention, from glassmaking to trade.
Today, many of these spaces have become residences—palazzinas and apartments with a sense of opulence. But the Venetian lifestyle is something that must be preserved. It can evolve aesthetically, but it should always embrace the historical value of the buildings.
“The Venetian lifestyle is something that must be preserved,”
—Chahan Minassian
Best of the Venice Biennale
WW: During the Biennale, when Venice becomes a global stage, what are you most looking for—emotionally, creatively, or intellectually?
CM: The Biennale has existed for a long time and is part of a major cultural calendar. It brings together many different artistic expressions and social reflections, starting with the national pavilions but extending across the entire city.
What is interesting today is how collectors, artists, and foundations use Venice as a platform to share contemporary and collective creativity with the public. However, it is important that the city does not become defined only by the Biennale for a week or even six months. Venice is a living city all year round.
“Venice is a living city all year round,”
—Chahan Minassian
Of course, tourism plays a role—it always has—but Venice is not just a destination. It is a culturally rich and historically layered place. The goal should be to continue this aesthetic and cultural dialogue without overwhelming the city or turning it into a temporary showcase.
We don’t want a city of showrooms or constant turnover. What matters is working with local artisans, fabric makers, and craftspeople—preserving that knowledge while bringing new perspectives. It’s about creating something meaningful, respectful, and of its moment, without losing the essence of Venice.
Courtesy of Chahan Gallery.
