ImaginareaDaily

Founded by Antonio Romano in 1980, Inarea reflects the vision of one of the leading figures in Italy’s design culture. Over the years, he has shaped the identities of companies and institutions that have become part of the country’s collective memory. Aci, AC Milan, Anas, Autostrade per l’Italia, The Venice Biennale, Cgil, Cisl, Confcommercio, Confindustria, Coni, Enel, Eni, Frecciarossa, Ilva, Italo, Maxxi, Rai, Snam, Tim, Treccani, Webuild, …to name just a few—spanning decades of economic, technological and social transformation that have redefined the relationship between brands, media and people. The XXIX ADI Compasso d’Oro Career Achievement Award recognises not only the value of his work, but also his ability to interpret design as a cultural tool—one that understands the present, anticipates change and shapes a vision of the future.

What does it mean to receive the Compasso d’Oro for lifetime achievement?

It is the recognition of a path in which design has always been understood as a means of giving value to things, both material and immaterial: the end is always identity. A better world is also a more beautiful world. When art stopped placing beauty at its centre, design took over that space: first through function, then by creating relationships, empathy, belonging.

A career that runs parallel to the evolution of contemporary brand identity.

In the Seventies, advertising opened up a new world for products. In the Eighties came the idea of relationality: we understood that everything that exists communicates. At the time, companies were multiplying their marks — a brand for every product. We worked in the opposite direction, towards a single identity reference capable of representing many elements, however different from one another. With CGIL, for example, that red square became a container able to hold together very different stories. It was a cultural shift: not celebrating what belongs to us, but what we belong to.

Today, in the age of social media and online communities, this question of belonging seems even more central.

Certainly. A brand’s success depends on how many people feel it as their own. People want to belong to worlds in which they recognise themselves, and algorithms now amplify that dynamic continuously. This is why the “purpose” underlying a brand identity has become decisive: what counts is not only what you do, but why you do it.

What were the turning points in Inarea’s history?

After CGIL came Finmeccanica, Enichem and ILVA, which gave us credibility. The RAI rebranding was then a decisive step, because that project entered people’s homes. You only had to say “the butterfly people” and everyone knew who we were. But I could just as well name CartaSì, equally fixed in everyone’s memory, because we turned “Servizi Interbancari” into a simple, familiar name, suited to a society in which digital payments were becoming part of everyday life; or La Biennale di Venezia: an almost provocative project, an unorthodox and disruptive identity for a historic institution.

That RAI mark is still alive in the collective imagination, even though it was replaced more than fifteen years ago. Why?

Because it was a polysemic form: a mark able to generate several readings and several meanings at once. From a distance you saw a butterfly; then you discovered two profiles facing each other — the symbol of dialogue and of moving beyond broadcast television. In those years we had already sensed that the “one to many” model would come to an end, and that digital would turn everything into a more interactive relationship, moving to one to one and many to many.

Which crises most changed the way a brand is represented?

The economic crisis, which in Italy was compounded by the political one of Tangentopoli, hit us hard: we were an independent firm and we went through extremely difficult years, yet we managed not to lay off a single person. Later, the Lehman Brothers crisis radically changed the global market. Until then, the internet had opened enormous possibilities even to independent practices like ours: we received enquiries from all over the world, particularly from emerging markets that saw one of our projects online and contacted us directly. We had also built an international network of partners, but the financial collapse made those flows vanish, and the market concentrated around the large multinationals of branding and strategic consulting. Meanwhile, digital was already changing the very language of the brand: a change that happened almost in silence, like a snowfall you notice only when you open the door and find the whole landscape transformed. Touchpoints became immaterial, increasing the weight of words and of the interface. In the digital world, changing an identity no longer means replacing signs, physical materials or sales networks, but updating interfaces, applications and online environments. Big Tech set a new rhythm of change, and the life cycle of brands has shortened dramatically.

Which historical events contributed just as much to redefining the representation of the brand?

The 11th of September 2001 shattered the happy illusion of globalisation that had followed the fall of the Berlin Wall in 1989, carrying us into today’s post-globalisation. In that passage, the promise of linear integration and of a single world market collided with the reality of a profound geopolitical fragmentation and the return of economic and cultural barriers. Identity moved from being a concept of belonging rooted in shared values to an expression of otherness and radicalisation, shifting progressively towards the culture of the body and of pure aesthetic representation. In brand identity, this scenario marked the decline of the static “heraldic” symbol in favour of the new rules of “liquid” branding: one no longer guards rigid, specific values, but governs flexible languages and narratives, adapted to different audiences.

Today artificial intelligence can create a logo in a matter of seconds. What is left of the designer’s craft?

AI is a magnificent instrument, provided we do not put a gun in the hands of children. Artificial intelligence opens up enormous possibilities: it lets us save time and reach explorations that, by traditional methods, would cost us far greater effort. But it does not replace sensibility. I continue to believe that a project works when it generates an emotional impact and then finds a rational confirmation. Passion remains a uniquely human prerogative.

Who is a good communicator today?

Someone who manages to hold on to an authentic “purpose”. Communication is no longer a vertical transmission: the passive spectator no longer exists, and the only thing that works is the creation of belonging. In other words, the winner is the one who builds communities in which people feel welcomed and represented. And this is why it is urgent to reaffirm design as a strategic and economic driver for our country. We must take it out of the logic of the ephemeral and of purely commercial trends and bring it back to the deeper plane of design culture, valuing it as a collective heritage. Because if identity is the substance that binds us, it is through design that we judge the world.

Since 1980, passion for this profession has always been our greatest asset. It is a passion that rewards hard work and, at times, is itself rewarded: I have been honoured with the Compasso d’Oro Career Achievement Award, the highest recognition in Italian design.

This award symbolically embraces my entire professional journey and invites me to reflect on fifty years of my life through the brands created for companies, industrial groups and institutions. Many of these projects have become part of our collective memory, yet every one of them is the result of a shared effort.

I have always considered Inarea a community before a company, and it is this spirit that has given depth to the relationships built with colleagues, partners, suppliers, clients and friends throughout this long journey. They are the people with whom I wish to share this recognition, and to whom I extend my heartfelt gratitude for their unwavering support.

Thank you once again, and my warmest regards.

Antonio Romano

The evolution of law firms is unfolding rapidly and profoundly through the integration of new organizational models, technological innovation, and increasingly complex market dynamics. In this context, branding becomes a strategic tool to redefine the identity and positioning of law firms. We discuss this with Mario Suglia, for a cross-disciplinary perspective spanning law and the design of relationships.

What have law firms evolved into today?

Today, lawyers are increasingly acting as advisors—proactive figures able to anticipate scenarios and guide clients through strategic legal decisions. This shift in role is accompanied by a decisive factor: technology. Through the systematic integration of tools such as artificial intelligence, law firms are becoming “service platforms” where people and technologies coexist, reshaping processes and capabilities.

At the same time, multidisciplinarity is growing. Lawyers are no longer “isolated” professionals; depending on the area of work, they engage and collaborate with other disciplines—from tax to business advisory. This hybridization naturally leads to aggregation: firms tend to merge and evolve into complex organizations, often structured as corporate entities (STAs—lawyer companies), in order to respond to increasing market complexity.

Today, it is difficult to imagine a solo practitioner remaining competitive. The collective dimension becomes a strategic asset, enabling integrated expertise and greater organizational strength.

How does this evolution connect with branding dynamics?

The key shift is from the individual—where each professional now has their own personal brand—to the group, the firm, and therefore corporate branding. Traditionally, the focus has been on the individual lawyer. Today, especially in corporate contexts, the emphasis is increasingly on the firm itself. This reflects a change in client expectations: not so much a search for individual excellence, but for structures capable of managing complexity.

A law firm’s brand thus becomes the synthesis of a promise: the ability to be reliable, competent, and consistent over time. In this phase of significant transition, it is essential to define the right balance between the master brand—the firm—and the surnames of the individual lawyers who compose it. It is the primary, collective brand that generates trust and builds reputation. This marks a deep cultural shift, still unfolding but ultimately irreversible.

How important is naming for a law firm today?

This aspect, too, is undergoing a crucial shift, marking—also symbolically—the move beyond the traditional model tied to the founders’ surnames. Increasingly, firms are choosing names or acronyms that are independent from individuals and capable of expressing a distinct, enduring identity.

This does not mean diminishing the value of founders or individuals, but rather redefining their role within a broader system. The name thus becomes an element of synthesis and vision: it must be recognizable, distinctive, and aligned with the firm’s positioning. It is a delicate balance, especially in this transitional phase where elements of personal and corporate branding still coexist.

What are the tools of brand identity for law firms today?

Branding now has a multidimensional nature. It is no longer limited to the logo or visual identity, but extends across multiple sensory and relational levels. The visual dimension—and its expression in digital environments, from the website to online communication—remains fundamental, yet new sensory languages are emerging.
For example, olfactory branding is becoming increasingly relevant for law firms, shaping physical spaces as a distinctive element of brand recognition. Similarly, brand languages translated into interior design contribute to building a coherent experience. In addition, firms can leverage sound—through sonic logos and musical themes—as a distinctive marker.
More broadly, branding takes form through consistent moments of interaction that build relationships and reinforce the perception of the law firm.
In essence, design helps make the law more usable, useful, and understandable. Law firms, as active players in its application, are becoming increasingly aware of this in the way they build relationships with their clients.