An elegant family retreat in Milan

Your home dates back to the 1930s. What was it like when you first saw it? 

Alessia Bossi: When I first stepped into the apartment, it felt like time had paused. The light, the high ceilings, the original floors, it all had a kind of poetic stillness that I instantly connected with. 

Alberto Nespoli: We were looking for a place with a sense of history, something we could appreciate and enhance. We realised that this house had a story we could build upon – which is something that also aligns with my studio’s philosophy: rather than disrupting the past, our philological approach creates a dialogue, sometimes through parallels, sometimes through contrasts.

What kind of changes did you decide to make?

AN: The apartment originally had just one bathroom and a large eat-in kitchen. But contemporary living calls for different needs than in the late 19th century, so we opened up the layout to create a seamless flow between the kitchen and the living room. And since Alessia wanted a proper bathroom, we transformed the former kitchen into a spacious one, complete with a bathtub and every comfort. The apartment had remained mostly true to the original, except for the windows and doors, which had been replaced in the 1970s. The doors you see now were salvaged from a neighbour’s cellar, we restored them to their original condition. 

AB: We didn’t want to erase the apartment’s soul, just reinterpret it. We opened up the spaces, softened the transitions between rooms, and worked with a palette of materials that felt tactile, timeless, lived-in. The goal was to honour the history while making it reflect who we are today.

The contrast between past and present seems to be a recurring theme. Which materials or finishes feel most authentic to you, and why did you choose them?

AN: We opted for both traditional materials and contemporary finishings. On the walls, we used lime plaster (grassello di calce) – a soft, textured surface that reflects light beautifully. On the floors, an anthracite resin sits alongside the original Milanese herringbone parquet flooring. It’s a contemporary solution that lets you preserve the original old floors while adding warmth and softness underfoot.

As for textiles – Alessia, do you think your eye for fabrics, shaped by your fashion background, influenced the choices you made for your home?

AB: Absolutely. Fabric is memory, it’s what makes a space intimate. My background in fashion taught me how a weave can evoke a feeling, how a curtain drapes like a dress, how linen softens over time, like your favourite shirt. I chose textiles with that same sensibility: natural, layered, imperfectly perfect.

Alberto, the kitchen clearly plays a central role. This is not just because you use it often, but also because you seem fascinated by it from a design perspective. How did you approach it?

AN: For me, the kitchen is the heart of a home, a place for gathering, not just cooking. It should be functional, of course, but also blend harmoniously into open-plan spaces, coexisting with lounge areas for reading and relaxation. My idea was to create a unified, refined environment. We built a metal threshold between the kitchen/dining and living room using waxed iron – a raw, unpainted material treated only to prevent oxidation. The kitchen is made entirely from MDF, a modest material elevated through CNC milling. Then there are mirrored elements in champagne-toned stainless steel, which add a note of modernity and contrast beautifully with the lime plaster. They also help visually expand the space.

From a designer’s perspective, what are the main questions one should ask before renovating or designing a kitchen?

AN: Every client has different needs, but after nearly 25 years of experience, we’ve developed a language and a set of principles at Eligo Studio that we infuse into every project. The kitchen must be functional, so we always recommend practical solutions: large, easy-glide drawers, generous fridge space, wide induction hobs. At the same time, function must blend with form, especially in open-plan settings. We tend to avoid overhead cabinets and prefer to hide appliances, so the kitchen can easily become a dining space. It’s about merging usability and elegance.

The apartment preserves original 1930s features but also includes very contemporary elements, like the appliances. How did you balance these two identities?

AN: I actually chose to build the oven into the cabinetry – but honestly, I could have left it visible. Its design is so refined, and that simplicity is the result of real research. Simplicity, in this case, equals perfection. I remember speaking with V-ZUG’s Head of Design in Milan, and drawing parallels to Dieter Rams, Apple, Steve Jobs – people who made simplicity the most complex form of beauty. In my kitchen, I prioritised the feel of the dining space. Still, I know that behind that door lies a fantastic appliance. And again, you don’t have to show off something beautiful. Sometimes it’s enough to know it’s there. That’s true luxury.

Why did you choose V-ZUG?

AN: It was a lucky encounter. We instantly fell in love with the full V-ZUG suite: washing machine, dryer, induction hob, and oven. Since we eat out a lot for work, home cooking is how we treat ourselves. It’s a form of subtle luxury, which is exactly what V-ZUG embodies: top performance in an elegant, understated design.

And what about your personal way of experiencing the kitchen? Is there a recipe or a ritual that best captures your approach?

AB: The scent of a slow-cooked tomato sauce on Sundays, the sound of coffee brewing early in the morning. I don’t see cooking as performative, but as an act of care – often intuitive, sometimes messy, always shared. I love simple rituals: setting the table with linen, peeling fruit for Ennio, lighting a candle even when it’s just us. They anchor me in the moment.

Are there any objects or pieces that have followed you over the years and now live in this space? What about art?

AB: Many. A ceramic vase I bought at a market years ago. My grandmother’s mirror, now hanging in the hallway. I don’t like to buy objects, I prefer when they find me. As for art, I’ve chosen pieces that carry emotion rather than prestige. Some are by friends, others are vintage finds, but each one speaks to something I’ve been through.

AN: The house is a mix of old and new, inherited and hand-picked. I come from a family of art dealers, so some pieces come from the family gallery. The Le Corbusier armchairs in the living room were a wedding gift to my parents.

What does this house mean to you, beyond being the place you live in?

AB: It’s a lens through which I understand myself. A safe space, but also a place for movement and reinvention. It holds the traces of who we are, what changes and what remains. I see it as a living archive of love, work, growth, and everyday poetry.

AN: We love this house. But we also believe nothing should be permanent – you should change homes, even studios, every five years to keep evolving.

Milan is the city you’ve chosen. What ties you to this place, and what continues to inspire you here?

AN: I chose Milan after living abroad for several years –in Japan, Australia, and the Netherlands. It was in Amsterdam that I had the idea for Eligo Studio, together with Domenico Rocca. We wanted to tell the story of Italian craftsmanship not through clichés, but through a fresh, outward-looking lens. Milan is ideal for that. It’s open to talent regardless of background. It’s competitive, but also full of opportunity.

AB: Milan is contradictions, elegance, friction. I love how it hides its soul. It doesn’t seduce easily, you need to look deeper. I’m inspired by its quiet resistance to trends, by its layered history and contemporary pulse. It grounds me, but it also keeps me curious.

How has the home – and the way you experience it – changed since your son Ennio was born?

AB: It’s become softer, more alive, more open to the unexpected. Ennio has taught me to see beauty in the unplanned. Spaces that once felt styled now feel lived-in. And that’s the most precious transformation of all.

AN: The layout was already designed to be flexible. We simply transformed the walk-in wardrobe into his room, creating an environment where everything has its place, and supports his development. We use Montessori furniture – low beds, accessible storage – knowing that everything will evolve. That flexibility reflects a more Eastern, particularly Japanese or Chinese, approach to space. It’s not about minimalism, but functionality.