Raito Fantastic Fusion, Milan

Why you should experience Raito Fantastic Fusion in Milan, Italy.

Raito Fantastic Fusion is an exuberant fusion restaurant where Brera's creative character, East Asian culinary traditions, Mediterranean ingredients and a deliberately unconventional approach to sushi converge along Via San Marco.

Set along Via San Marco near Via Solferino and just steps from Chiesa di San Marco, the restaurant occupies the northern reaches of Brera, where historic churches, narrow streets and nineteenth-century buildings extend toward Moscova before opening into the galleries and cultural institutions surrounding Via Brera. Tropical vegetation, saturated lighting, oversized floral forms and neon transform the deep dining room into an immersive urban jungle conceived as a visual counterpart to the food. Sushi remains central, yet the kitchen repeatedly crosses into Italian ingredients, Chinese preparations, plant-based reinterpretations and dishes built specifically around culinary fusion. The result is a Brera restaurant where an unusually expansive menu treats fusion as the principal creative mechanism rather than a peripheral collection of specialty rolls.

What you should know about Raito Fantastic Fusion.

Raito Fantastic Fusion is best known for a culinary program built specifically around crossing Japanese and Chinese forms with ingredients and preparations drawn from contemporary Italian cooking, an approach established when the restaurant opened on Via San Marco in 2024. Its arrival introduced a format that joined an all-you-can-eat structure with dishes conceived beyond the conventional sushi repertoire, and the restaurant marked its second anniversary in May 2026 after two years in Brera. Carbonara di mare became one of the clearest statements of the concept, placing udon inside an egg cream with katsuobushi, prawns and smoked salmon and translating the structure of an Italian pasta dish through Japanese noodles and preserved fish. Another preparation turns toward Milan itself through rice gnocchi finished with saffron and prawns, bringing the spice inseparable from risotto alla milanese into an East Asian rice-based form. Salmon nigiri advances the same idea through seared tuna and sea bass joined by French-style grain mustard, shifting a familiar sushi construction through European seasoning. Blossom moves further into Mediterranean territory through zucchini flowers, stracciatella, raw prawn and truffle oil, joining an Italian vegetable and fresh cheese with uncooked shellfish. The kitchen developed a substantial plant-based branch alongside these seafood combinations, using alternatives to salmon and prawn across sushi while vegetables, avocado, mango and other ingredients support preparations conceived independently from the fish repertoire. Raito expanded its creative calendar during Milan Design Week in April 2026 through Jelly Sofà, a berry mousse formed as a miniature sculptural armchair and served for two days as an edible response to the citywide design program. The restaurant's second anniversary the following month reinforced the continuity of a concept that had spent its first two years treating Italian references, East Asian techniques and visual experimentation as interconnected parts of the same culinary project.

Sashimi establishes the raw-fish foundation before nigiri begins changing it through rice, searing and unconventional garnishes, allowing salmon, tuna, sea bass, amberjack and shellfish to move across distinct temperatures and textures. Blossom opens the fusion sequence through the softness of stracciatella against raw prawn, with zucchini flower and truffle oil pushing the combination toward ingredients strongly associated with Italian cooking. Carbonara di mare then moves into hot food through udon coated in egg cream, where smoked salmon and prawns meet katsuobushi whose thin shavings contribute concentrated cured-fish depth. Rice gnocchi with saffron and prawns shift the fusion mechanism toward Milan, placing the familiar aromatic profile of saffron against the dense chew of an East Asian rice preparation. Uramaki extend the kitchen through salmon, tuna, prawns, avocado, fruit, sauces and crisp components, then fried maki change the temperature and exterior texture through direct immersion in hot oil. Tartare and carpaccio return seafood to uncooked preparations through different knife work before tataki applies intense surface heat while retaining the center at a contrasting temperature. Vegan sushi follows its own sequence through plant-based salmon and prawn alternatives, vegetables, avocado and mango, moving the restaurant's fusion approach beyond seafood without reducing the selection to simple vegetable rolls. Jelly Sofà completes the restaurant's more experimental direction through berry mousse shaped into furniture, extending the same appetite for crossing culinary categories into dessert.

How to fold Raito Fantastic Fusion into your trip.

Raito Fantastic Fusion works as the meal anchor for an afternoon tracing Brera through medieval religious power, Sforza patronage and the eighteenth-century transformation of a monastic precinct into one of Milan's principal centers of science and culture.

Begin at Chiesa di San Marco, where Lanfranco Settala established an Augustinian church in 1254 near Milan's medieval walls and created what became the order's general house and, before the completion of the Duomo, among the city's largest churches. Later centuries brought Baroque alterations and an exceptional musical chapter: Giovanni Battista Sammartini served as organist, the young Mozart stayed in the adjoining canonica for three months, and Giuseppe Verdi personally conducted the first performance of his Messa da Requiem there on May 22, 1874, one year after Alessandro Manzoni's death. Continue to Santa Maria presso San Satiro Incoronata, where an existing medieval church entered the orbit of Francesco Sforza after his accession as Duke of Milan in 1450 and received major expansion through his patronage. Bianca Maria Visconti commissioned a second adjoining church in 1460, creating the unusual paired composition later unified into a single building, while the associated Augustinian complex passed through subsequent religious and institutional changes before the convent's suppression in 1805. Conclude at Orto Botanico di Brera, whose grounds served the Umiliati from the fourteenth century and the Jesuits from the sixteenth before Maria Theresa of Austria converted the garden into a botanical institution in 1774 and 1775 as part of her wider reorganization of Palazzo Brera. Fulgenzio Vitman directed the new garden and organized its cultivation for medical and pharmaceutical teaching; exotic and ornamental species expanded during the Napoleonic period, the University of Milan assumed responsibility in 1935 and later restoration returned the five-thousand-square-meter garden to public use while preserving two centuries-old ginkgo trees and its eighteenth-century basins. The progression moves from San Marco's medieval Augustinian foundation and nineteenth-century musical importance through Francesco Sforza and Bianca Maria Visconti's paired churches at Santa Maria Incoronata into Maria Theresa and Fulgenzio Vitman's conversion of Brera's monastic cultivation ground into an institution devoted to botanical science.

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