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Why Companies Need Kind Leaders Mario Suglia, general manager “Gentle leadership in companies evolves into collaborative leadership. We discovered the importance of relationships, precisely when physical presence and proximity were taken away from us.” We could say it all started with an elephant. Probably an elephant mother. And with her “gentle” push to the little one – who, to be fair, weighs a ton as soon as he’s born – perhaps using her trunk, guiding him on the right path, teaching him social habits, and encouraging him to make decisions, without wasting time. Above all, to prevent the little elephant, if he were ever aware of it, from asking: why are you treating me badly? The question is the one posed by Guido Stratta, Human Resources Director at Enel, when discussing his book “Ri-evoluzione. The Power of Gentle Leadership,” co-written with psychotherapist Bianca Straniero Sergio (Franco Angeli Publisher). It’s a question he often asked himself at the beginning of his career and one that he has frequently heard from some of his younger colleagues when dealing with their “superior.” Corporate machismo should be put aside, especially when we draw inspiration from pachyderms. The image of the elephant mother and her calf is the one that stays with us on the cover of “Nudge” (the gentle push, indeed), published in 2008 by Richard Thaler and Cass R. Sunstein. Behavioral economics has broken through the barrier of hierarchical and assertive habits that for a long time seemed like the only way to organize and lead work. It is the awareness of fallibility – Thaler’s behavioral economics is based precisely on the “limited rationality” of the decision-maker – that should make us kinder. Stratta is keen to emphasize – in his book and in the conferences, almost always webinars, over the past year and a half, of course – that the kindness he talks about and wants to attribute to the new leadership has nothing to do with etiquette, nor with biology (in the sense of an individual’s more or less natural propensity for cordiality and courtesy). Gentle leadership is a choice. An intelligent choice, meaning a beneficial one. It may seem like a discovery of the post-pandemic era, when we had to adapt to distanced relationships, somehow more diffused, where the outburst of anger – the slammed door or the voice rising by two octaves – is less feasible and even less effective. In “distant” relationships, there is an apparent slowness that rewards kindness; the choice to avoid exacerbating situations, rather, to foster understanding already weakened by communication that had to do without much non-verbal communication. Less instinct and more thought. It takes a bit more time to listen, and time imposes softer choices, ones filled with “positive energy,” as the authors say.In the era of rediscovered sustainability – environmental, social, and organizational – relationships between people who work together are once again central, especially if they are sustainable. Even psychologically. Relationships make and will continue to make all the difference. Without going to the extremes of Johan Huizinga – the great medieval historian argued that friendship was the key difference in relationships between rulers and the ruled – it can be said that in the post-Covid era, relationships are fundamental in the connections between collaborators. One must fiercely compete with oneself, but always collaborate with everyone else. Gentle leadership in companies becomes collaborative leadership. We have discovered the importance of relationships, precisely when physical presence and proximity were taken away from us. We discovered connection when we had to reinvent it beyond the screen of a computer. Kindness is the trait of the relationship rediscovered in its essence. The relationship – between people, between brands and consumers, between brands and stakeholders, between companies and local communities – is growing stronger. Therefore, it requires care, attention, kindness, and, of course, beauty.It is the fate of design. Design is the representation of essence, of the soul once of the object and now of the relationship. It is the representation in a process dimension, and thus in a continuous state of becoming. In this context, brought about by the digital age, brand design combines both material and immaterial dimensions, redefining the sense of community in a contemporary way. It is a much more complex process, impacting everything, and recovering the value-based meaning as the point of connection between those who propose and those who choose, according to principles focused on dialogue. This is why, today, the brand plays a very important role. In a time of crisis, many companies are looking to the future with the desire to reinvent themselves. They are redesigning themselves, placing more and more importance on their values, and rediscovering their identity. And this is precisely where the brand comes in: to represent the idea of the future, values, and aspirations. The brand shapes the relationships between the company and its stakeholders, and among all internal collaborators, and like the elephant mother, provides the gentle push to make the company a… kind leader.

Brochures—whether corporate or financial—catalogs, annual reports, sustainability reports, and factsheets, in both digital and print formats, are the hallmarks of corporate communication. More precisely, they serve as the vehicle through which corporate culture travels, acting as a producer and disseminator of knowledge. The way a company presents itself, and the underlying storytelling woven into its communication, form the cornerstone of corporate publishing. This narrative doesn’t merely reflect the brand’s core values; it is also carefully crafted to resonate with the language and expectations of its stakeholders. Corporate publishing finds expression in a variety of multimedia formats: on paper or digital platforms, through symbolic or descriptive imagery, in motion or static. Regardless of form, everything must align with the guiding idea that embodies the company’s DNA. The skill of those who design corporate communication lies in their ability to adapt this core idea across multiple formats without compromising its essence—expressing, potentially without limits, the company’s unique identity. The Corporate Publishing Project in the Age of AI How is corporate publishing changing with the advent of Artificial Intellegence automations? What does it mean to create content in the era of ChatGPT? And further, what value does printed corporate publishing still hold in a time of digital dematerialization? These are pressing questions for anyone involved in shaping brand identity. As Antonio Romano aptly puts it: “Understanding a company’s DNA means understanding the space it is able to define—even without showcasing its products.” Without clear direction and governance, no automated system can guarantee the quality and coherence necessary for consistent communication across the entire corporate ecosystem. A brand is ultimately a promise—and if that promise is fulfilled, it becomes reputation. While digital technologies have made corporate publishing faster, they have also risked making it more superficial. Today, there is a growing need to return to accuracy: in the text itself and in the way it is delivered. There is a renewed call for more authorial contributions. It is often said that every company is now a media company—a publisher of its own content. But being a true publisher means possessing a clear vision of the world, one that is expressed exclusively through the quality of its authors. Inarea and Corporate Publishing: A Video Showcase of the Backstage Behind Paradigmatic Projects Case Studies FIT Consulting     Sara Assicurazioni     LUISS     BCC     Snam    

Who hasn’t experienced hearing a melody or a sound and immediately associated it with a brand? The concept of sonic branding has its roots in radio jingles, which helped connect music with a product in the absence of visual cues. However, in 2023, there was a 24% increase in investments of sonic brand identity by both local and global companies. This is a response to the rise of audio platforms, podcasts, voice assistants, as well as streaming services and digital communication channels. Consequentially, the touchpoints between brands and customers have multiplied, making sound a key element in enhancing brand recognition and recall. According to a Spotify survey (November 2023), 49% of millennials and Gen Z report paying and retaining more attention when listening than when watching something. This finding comes as no surprise, as sound is the element of the brand experience that interacts most directly with emotions. Inarea’s approach to sound design Inarea sound design combines creativity, technology, and acoustics, supported by neuroscientific testing in collaboration with BrainSigns, by-product of the University of Sapienza in Rome. These tests scientifically demonstrate how sound can influence emotions and brand perception. Through these processes, the audio concepts behind Inarea’s sound logos and brand themes are qualified and quantified through EEG, HR, GSR sensors, and Implicit Association Tests (IRT). Sonic branding is not an accessory element; it is a strategic lever for building a memorable and engaging brand identity. In an increasingly digital landscape dominated by audio content, companies that invest in a sonic brand identity are able to stand out, strengthening the emotional connection with their customers and leaving an enduring mark over time. Case Studies Bauli The sound logo and logo animation have a harmonious interaction with the visual and sonic elements. The logo animation focuses on the dot above the ‘i’ in the logo, accompanied and amplified by the A3 note at 440 Hz, known as the ‘chorister’ note because of how it harmonizes all other sounds and instruments. This note resonates and prevails, creating a strong element of recognition. FITP The track ‘Di Campo in campo’ (‘From Court to Court’) marks the first step in the construction of a sonic identity. Presented at the Grand Opening Show of the Nitto APT Finals in Turin 2024, it is an anthem of resilience and the will to overcome- qualities and characteristic of racquet sports. The concept is inspired by Nelson Mandela’s quote: ‘I never lose. I either win or learn. FIGC From the online world to the live atmosphere of the stadiums, this ambitious endeavor seeks to capture in sound the spirit, values, and attitude of Italy’s football culture. The brand theme ‘Azzurri’ features a driving, emotional progression built around just two notes, highlighted by the use of choruses and the soprano voice, evoking the Italian opera tradition. Una Nessuna Centomila Il brand theme è costituito da applausi in un ritmo che si intensifica gradualmente a simboleggiare forza collettiva e solidarietà e un messaggio di unità ed empowerment. Banca Ifis Un kit di elementi sonori (stems) on e offline caratterizza il tema principale del brand e una molteplicità di altri touchpoint digitali e i video istituzionali. Leonardo Nove note nella scala tonale del Fa diventano una sinfonia che si armonizza con richiami sonori al mondo del brand. Pattern musicali sono declinati in differenti touchpoint.

When the Future Honors the PastThe New Treccani IdentityAntonio Romano In everyday conversation, “it says so in the Treccani” means there can be no doubt about a statement because it is ‘certified’ by the most important cultural institution in the country. For us Italians, Treccani is not just the famous Encyclopedia or the Dictionary, but something much broader, familiar enough not to need further explanation. The term branded refers to anything that needs no other argument than the name (of the brand). From these simple observations, it follows that the Treccani brand is recognized, loved, respected, remembered, and therefore chosen. It is, in short, a brand. However, as we all discover over time, identity is not a static dimension; it is not something fixed once and for all. It is a process, requiring constant updating. There is a demand for contemporaneity that applies to each of us and is not only for individuals but also for organizations (which, in turn, are made up of individuals). Five years remain until Treccani’s centenary. The Istituto della Enciclopedia Italiana was founded in Rome on February 18, 1925, with the vision of its founder Giovanni Treccani and Giovanni Gentile, who was involved in the initiative. The goal of publishing the Encyclopedia and the Biographical Dictionary of Italians was to provide Italy with its own cultural identity, following the example set by other great nations. Although somewhat delayed, our nation-building found its highest expression through this project, bringing together the greatest minds of the time. The new logo in the two possible configurations. The first edition of the Encyclopedia was published in 1929, and the 35 volumes it consisted of (plus one index volume) were completed in 1937. The publication turned out to be a success, and since then, the work became an “indoor monument”: professional studies, public offices for top management, and homes of the middle class displayed the volumes as a true status symbol, able to communicate implicitly and immediately the cultural and social prestige of those who owned them. Over time, other works were added to the Encyclopedia, always produced thanks to the efforts of the best scholars in their respective fields. An extraordinary quantity and quality of content were effectively disseminated on the pages of these prestigious volumes, all signed by Treccani. Since 2009, much of that content has explored an alternative channel, the digital one: the Treccani Portal reaches 600,000 unique users per day. The guiding framework of the new Treccani design and its application methods. But the changes go beyond just this. New thematic areas are being explored to engage audiences that would otherwise be distant from the traditionally understood world of Treccani. Other companies or branches are being acquired to enable effective development of these new activities. Treccani Reti, Treccani Scuola, Treccani Arte, Treccani Libri, Bottega Treccani… these are all initiatives that align with the development plans put in place to secure a future for this prestigious history. In these almost hundred years, Treccani has changed, is changing, and will continue to change, all while remaining true to the spirit with which it was founded. Therefore, thinking about a renewed identity representation has meant revisiting this history and aligning it with the vision of the future that is intended to be established. To achieve this, a process was started involving a steering committee with resources from the various companies and areas of activity. This approach allowed the needs of each unit to be evaluated, while also finding pathways for a shared convergence. Treccani is now a unified brand, capable of representing even very different areas. In terms of design, it directly derives from the previous one created by us in 2005, ensuring continuity in its identity. The ‘tree’ or ‘source’ T (as it is called) has been modified to improve readability, even at very small sizes. Similarly, the Treccani name has been restructured, shifting from the classic Bodoni font to a more modern, yet very simple, typeface: Avenir. Avenir is a Sans Serif font, meaning it lacks serifs, making it easy to read even when displayed in very small text sizes. The reason for these design choices comes from the fact that we are increasingly reading on ‘glass’ and less on paper, and while smartphone screens are bright and have stunning definitions, they are still small in size. Unlike the previous one, the new brand will be presented as a single signature for the entire system: it will not be used in association with the names of the various companies or areas of activity. These, in fact, serve an organizational function, which is not of interest to the public, whose priority is instead being part of the Treccani world, regardless of the choice of a particular product or service. The brand plays its signaling and symbolic role all the more effectively when it is part of a homogeneous and coherent ecosystem, and in this sense, the project has drawn heavily from the history of the Institute. All the volumes of the great works have in common the presence of frames on the cover and spine, almost always embossed and in gold: this almost constant feature sparked an association of ideas, summarized in the concept ‘Treccani, the frame that encloses Italian culture.’ A compositional scheme (a format, as it is called) was therefore developed to host any message. Since it is no longer just the book that conveys content, the concept of the frame has also been extended to that of a ‘window onto contemporaneity and the future’: a portrait closely aligned with the new Treccani, called to face the complexity of this era. To ensure variety in the compositional scheme, a detailed palette was selected, composed of sixteen colors plus black (the typographic color par excellence), allowing for an extraordinary number of combinations, both of different colors and of colors and images (photographs and illustrations). One last defining linguistic element is the use of letters from the alphabet, composed in a pattern: a tribute to typography as … Read more

The defining characteristics of our Calendar can already be traced back to our early works in the 1980s: still-life photography, sculptural mock-ups made from everyday objects, a white background, and an effective, two-way relationship with words. Then as now, the project’s logic is based on subtraction, reducing elements to their purest form. Initially, many creative choices were driven by technical and economic constraints: the images were designed for billboard posters, solid backgrounds required an accuracy that printing houses of the time couldn’t guarantee, and the edges of figures had to remain within the margins to avoid trimming. Since 1991, when the first edition was released, we have established a recognizable language, always true to a principle of quality. The charm of our calendars still lies in the craftsmanship with which they are created and in their compositional structure—the mock-up, which reproduces something tangible rather than a mere combination of pre-existing, digitally reworked images. It is not just the impact of the forms that matters, but also the photogenic quality of the composition and its three-dimensionality—the magic of an image so striking that it tempts you to reach out and touch the page. The Calendar is a metaphor, or rather, a collection of metaphors. The first is conveyed through the images themselves; the second, more subtle, refers to the dedicated people who, with passion and patience, take on this challenge every year; the third represents the vision and mission that underlie our work. Our goal is to bring to life the idea of the future that a business, organization, institution, product, or service seeks to establish. Calendarea 2025. A Dive into Thought Aquarium is the theme of the 2025 Calendar: a deep dive into thought and exploration, searching for what best embodies a good omen for the future. A fantastical and visionary aquarium, where one can feel as comfortable as a fish in water—all year long! It is a visual journey through joyful, vibrant, and ironic icons, infused with life and serenity, just like the wonders found in seas, rivers, and lakes. Yet, beneath its surface, Aquarium holds a subtle metaphor in its name: in a world that constantly observes us, what if we were the fish in the aquarium? As with every edition, the distinctive language of the Calendar reveals Inarea’s guiding principle: the ability to see what already exists through plural design, to start from reality and recombine elements, generating unexpected associations that inspire new perceptions. DISCOVER OUR INAREA CALENDAR

The city, a longing for beauty.Antonio Romano Calendarea 2005, Inarea Square “Those who govern must hold the beauty of the city dear, above all else—for the delight and joy of visitors, for the honor, prosperity, and growth of the city and its citizens.” Constitution of Siena, 1309. Writing about beauty is always a challenging task. There is already an extensive body of literature on the subject, as it touches upon the existential horizon of both the individual and society. Its subjectivity is undeniable; however, there are shared codes within homogeneous social contexts, and the criteria that define it are, in turn, subject to temporal variables. Nonetheless, I must express my own point of view, and to do so, I try to distill my experience as a designer. The “forward projection” contained in the word “design” is nothing but a promise of the future, the very one that gives meaning and direction to life itself. As human beings, once our basic needs are met, we feel alive because we desire, but desire implies awareness of what is lacking. Beauty, therefore, is the missing part we long for, capable of astonishing us, surprising us, and above all, completing us. We are compelled to confront reality, yet we prefer its representation. Thus, our constant desire for beauty leads us to clothe our thoughts in the most fitting words, to have the clothes we wear, the homes we live in, and their furnishings speak for us… In other words, we assign to every point of contact with others a mark of our identity, whether implicit or explicit, one that can represent us in our relationships. This collective form is our personal promise of the future, as it is precisely on the duality of representation/relationship that our civilization has been built. Its most visible and tangible expression is the city. Architecture, on the other hand, is the organization of space, and it is this organization that, in turn, generates relationships. When we look, even with distracted eyes, at the built environment of any urban reality, we easily grasp the implicit message that its inhabitants have sought to convey throughout the ages: they were and are their promises of the future. It is no coincidence that “civis” unites citizen and civilization, because the city has always been the place of ideas, the space designated for debate. Does not politics, after all, stem from the word polis? The “space full of time” (Bob Wilson), formed by our cities, allows us to read the narrative of centuries and often millennia that our ancestors have passed down to us, and that we, in turn, must preserve and pass on. But alongside the “noble” notion of the beauty of the city, there is another, seemingly less significant, one, with which we come into more direct contact as we walk on foot or move by means of transportation. It is the city of streets and sidewalks, horizontal and vertical signage, shops and their signs, traffic lights, cars and public transport, both in motion and stationary, parks, flowerbeds, urban furniture, intercoms, and mailboxes… This too is a narrative, though fragmented and heterogeneous, capable of allowing us to grasp almost immediately that sense of promise for the future, inherent in the desire for beauty. I recall the railing of an apartment building on the outskirts, scattered with about thirty mailboxes, each one different from the other, arranged with no logical order. A trivial episode, certainly, but evocative of an absolute lack of dialogue among the unfortunate inhabitants of that building: without communication, there can be no relationship, and thus, no recognition. As long as we are able to make and receive promises, we are at the very heart of life; the elderly, the sick, and the disenfranchised lose their desire for beauty because, in the absence of promises, they feel they are instead at the periphery of their own existence. Extending the concept to the city, when the sense of periphery, in its most detrimental form, begins to infiltrate even the central areas, the perception of decay becomes tangible. In this sense, when it is said that Rome is a beautiful city, it is impossible to disagree. However, it is a synecdoche, as the reference is limited to the historic center, to the built environment immediately adjacent to the Aurelian walls, and to other neighborhoods or urban “fragments” of excellence. The architectural atrocities that have followed since the 1950s have caused such a theft of beauty—first from the landscape, and then from the city—that the rampant urbanization has turned into a true contagion, spreading from the outskirts to the center. Via Sistina, for example, is a thoroughfare envisioned by Pope Sixtus V to ideally connect the Pincio and Trinità dei Monti with Santa Croce in Gerusalemme, passing by the Basilica of Santa Maria Maggiore. A Renaissance gem, designed by Domenico Fontana, overcoming a topography reminiscent of the streets of San Francisco: a series of rises and falls that create beautiful perspectives, enhanced by the quality of the architecture and the presence of several monuments. Along the street, there were once grand hotels, art galleries, jewelers, and high-quality shops. Fortunately, at least in the upper part, near Trinità dei Monti, there is still a sense of unity that reflects the quality of the past. However, as you descend towards Piazza Barberini, the nature of the commercial activities degrades into doorless shops selling one-euro souvenirs, minimarkets open until the early hours, where minors can buy alcohol, clothing stores offering counterfeit brands, and tourist-oriented restaurants, complete with all the kitsch trappings of a hypothetical Italian cuisine: red-checked tablecloths, long-necked wine flasks, and fresh pasta displayed on the street… The decay of Rome lies in having accustomed the eye and shaped behavior to an aesthetics of ugliness, which, through the proliferation of such situations, effectively legitimizes the loss of decorum, not just in the urban sense. As a result, the pedagogical role of beauty is also lost: a child today, returning to the example of Via … Read more