Why you should experience Gelato e Champagne dal 1906 in Milan, Italy.
Gelato e Champagne dal 1906 is an inventive artisan boutique where Brera's cultivated center meets four generations of Cerdini gelato craftsmanship, the Quenardel family's century-old Champagne house and an unusual pairing of frozen pastry with estate-produced wine.
Set along Via Cusani near Foro Buonaparte and just steps from Castello Sforzesco, the boutique occupies the western edge of Brera where nineteenth-century palazzi connect the district's galleries and design streets with the fortified heart of Renaissance Milan. The interior brings gelato, pastry, chocolate and Champagne into a polished retail setting, with the principal counter exposing changing flavors beside vitrines of macarons and confectionery. Bottles from Maison J.H. Quenardel introduce the second visual component, giving the wine equal presence beside products created by the Cerdini family. A terrace extends the pairing outdoors, shifting the compact boutique format toward seated tasting and aperitivo as the day develops. The result is a Brera address where two multigenerational family crafts occupy one deliberately unconventional format built around temperature, texture and sparkling wine.
What you should know about Gelato e Champagne dal 1906.
Gelato e Champagne dal 1906 is best known for joining the Cerdini family's four generations of Italian gelato and confectionery craftsmanship with Maison J.H. Quenardel, the Champagne producer Henri Quenardel founded in 1906 after deciding to vinify and sell wine from his own grapes. Henri's son Jean entered the business during the 1930s, and another Quenardel generation followed during the 1970s, creating the multigenerational continuity behind the date carried in the Milan concept's name. The Cerdinis originated in Tuscany and developed their work through gelato before returning to the family's pastry and chocolate roots, giving the collaboration three complementary confectionery disciplines. A decades-long friendship between the two families eventually produced the Milan project, developed over nine months after Capri, Courmayeur and Cortina had also been considered as possible locations. Alexandre Quenardel represented Maison J.H. Quenardel, Pierre Cerdini directed brand development for the Cerdini family's Beatrix group and hospitality specialist Matteo Corbetta connected the two businesses operationally, forming the three-person team that brought the concept to Via Cusani in 2018. The Milan opening also became the first Italian monobrand point devoted to J.H. Quenardel, introducing the family's Premier Cru production from Ludes in the Montagne de Reims through a hospitality format created around direct pairing with gelato. Gambero Rosso subsequently included the operation among its selected Italian gelaterias for 2025, extending a family collaboration conceived around two established crafts into national gelato recognition.
Champagne gelato provides the clearest intersection between the two families, incorporating sparkling wine directly into the frozen preparation before a glass of J.H. Quenardel creates a second expression of the same ingredient beside it. Fruit combinations broaden that pairing through flavors such as Champagne with grapefruit or raspberry, using acidity and cold temperature to connect gelato with the wine's freshness. Pistachio and hazelnut move toward roasted richness, and combinations incorporating lemon, basil, mango, orange peel or coriander introduce herbal, citrus and spice notes across the counter. Macarons add crisp almond shells and soft centers, shifting the confectionery work away from frozen texture before chocolate creations deepen the cacao register. The J.H. Quenardel selection extends from Blanc de Blancs and Blanc de Noirs through Blason Rosé, Cuvée Prestige and the 2005 Blason Or, creating distinct wine structures for pairing across fruit, nuts, chocolate and pastry. Gelato, macarons, chocolate and Champagne consequently function as four connected crafts, with the collaboration reaching its most distinctive form when the Quenardels' wine becomes both accompaniment and ingredient.
How to fold Gelato e Champagne dal 1906 into your trip.
Gelato e Champagne dal 1906 works as the sweet endpoint for an afternoon tracing the western edge of Brera and adjoining Roman Milan through an Sforza fortress reconstructed as a civic cultural center, a Renaissance monastic church and surviving structures from the imperial city of Maximian.
Begin at Castello Sforzesco, where Francesco Sforza transformed the earlier Visconti fortress during the fifteenth century before the complex passed through centuries of military use and faced possible demolition during the nineteenth century. Luca Beltrami directed the great restoration beginning in 1892 and completely reconstructed the lost central tower from historic imagery and comparative study of Sforza architecture; inaugurated in 1905, the new Torre del Filarete became the entrance to a complex subsequently adapted for Milan's civic museums, with BBPR directing major postwar exhibition work after the bombing damage of 1943. Continue to San Maurizio al Monastero Maggiore, the church attached to Milan's oldest major Benedictine female monastery, whose early-sixteenth-century interior was divided between public worship and the cloistered nuns by a grand partition. Bernardino Luini and his workshop covered substantial portions with frescoes, Gian Giacomo Antegnati constructed the nuns' fifty-note mechanical organ between 1554 and 1557, and Francesco Pirovano completed the Ornavasso-stone façade in 1574, concentrating painting, music and monastic architecture inside the surviving church. Conclude at Civico Museo Archeologico di Milano, established in the former Monastero Maggiore complex during the 1960s on terrain preserving exceptional structures from imperial Mediolanum. A twenty-four-sided tower surviving to 16.6 meters belonged to the late-third- or early-fourth-century Maximian walls, another Roman tower associated with the circus was absorbed into the monastery as a bell tower, and excavations during museum construction exposed part of a Roman domus, allowing successive imperial, medieval and modern occupations to remain physically legible within one site. The progression moves from Beltrami's reconstruction of an Sforza fortress for civic culture through San Maurizio's union of Benedictine architecture, Luini frescoes and Antegnati music into the archaeological complex where Roman fortifications and circus architecture survive inside later monastic fabric, compressing centuries of Milanese construction around the western edge of Brera.
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