Zia Lucia is a chain of Italian pizzerias in London, founded with the idea of bringing a sincere pizza to the table, made with selected ingredients and served in a familiar atmosphere. The rebranding project stems from the desire to amplify this identity: to make visible the genuineness and familiarity that have always characterized the place, through a popular visual and verbal language in the warmest and most recognizable sense of the term, an expression of a strong and conscious sense of Italianness.

The first step of the rebranding was to redesign the face of Zia Lucia, the real Aunt Lucia, giving her greater expressiveness and a stronger visual presence within the visual identity. Around the new portrait, a system of claims written in large format develops: messages that tell the identity of the brand and define its tone, through a light-hearted, ironic and direct language. The color palette preserves the red of the tomato, reworked in a more vivid and brilliant version, capable of expressing energy, warmth and visual directness.

The brand narrative is built around the word “genuine”, which contains a double meaning: on the one hand genuine, selected and quality ingredients; on the other hand, a way of being authentic, sincere and direct. From this concept, the two main claims, 'Be Genuine' and 'Genuine Inside', are born, which cross all the brand's touchpoints and define its tone and identity.

The visual identity translates the brand idea into a coherent and functional system. Textual communication, through messages such as “Everyone's welcome at our table”, “Pizza for the people” or the claim “Genuine Inside” printed on the takeaway pizza box, recalls an imaginary of openness, inclusiveness and human warmth. The color palette is essential and immediate, built on a few bright and contrasting colors. Red, the brand's main color, and its shades combined with black and white, create a recognizable, energetic and consistent visual system.

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The packaging for Attianese Conserve 1954 stems from the study of the old labels of the Campania canning companies that, from the 1950s onwards, exported tomatoes all over the world. The aesthetic is inspired by that visual imaginary, made up of collective memory and graphic codes typical of the time, and reinterprets it with a current perspective. The result is a project that combines design and identity, giving the product an authentic, artisanal and contemporary image.

The idea starts from the iconography of the bell labels of the 1950s: lively packages, illustrated by hand, full of ornaments and bright colors. They were often signed by local illustrators and told about a productive world that is almost forgotten today. This is where the project came from: observation, research and respectful reinterpretation of that visual universe. No forced nostalgia, but a sincere synthesis between past and present.

The tomatoes and the other graphic elements have been redesigned with simple and decisive lines, inspired by the style of illustrations before the photographic era. The original illustrations are by Claudia Bartoli, who created essential but expressive images, capable of evoking timeless beauty.

Color plays a key role: full, saturated and vibrant tones, reminiscent of old post-war lithographs and labels. Revised in a modern key, they maintain a strong visual impact. In this balance between past and present, the soul of the project is reflected: to tell a tradition with a current language.

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Il Sole 24 Ore chose us for the graphic image of the “Money and Family” series, created to accompany families in their daily economic choices, both large and small. We have thus created six covers in accordance with the themes of the publications.

We wanted uniformity and differentiation: we obtained them by declining — in our own way — the key concepts of the editorial line: clarity, linearity, promptness. Clarity in the graphic layout cage: the same for everyone.

Linearity in the icons that differ depending on the theme of the number. Immediacy in the choice of colors: palettes chosen tailored to the theme of the issue in question. Finally, the titles: essential, composed of a single word that immediately identifies the theme of the issue.

Antonio Alaimo Photos

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In ancient Greek there is a word that embodies the meaning of Beauty and Good: Kalokagathia. This word, so full of meanings, in San Salvatore 1988 becomes the common thread of his entire agricultural identity.

The soul of San Salvatore 1988 is Giuseppe Pagano, for us Peppe, who made only one request for the brand identity: to use buffalo in the graphics. We immediately liked the idea and we started working on it, initially using etchings then with more creative interpretations of the buffalo, but without finding a valid synthesis. In the end, the idea was to draw the buffalo as the ancient Greeks would have done on their artifacts, using the same iconographic style. We then moved on to the pictogram and the logo, preferring a more modern stick font for the latter, until we arrived at an image-symbol so essential that it immediately became timeless.

Also having to think about verbal identity, during a meeting we remembered a story that Peppe told and still tells today, the anecdote of a buffalo that ran away and ended up in the vineyards. From that story (and from Marvin Gaye) comes “I saw a buffalo in the vineyards and I drank wine. I saw a buffalo in the vineyards and he saw me.” The whole visual of San Salvatore, rather than telling a product, tells a territory, starting from the naming of its wines (Elea, Trentenare, Vetere, Jungano...) all derived from local places or toponyms.

An Aglianico reserve, dedicated to the great Master Gillo Dorfles, an Italian art critic, painter, philosopher and academic and above all a great friend of Peppe, who for years spent his summers right in his hotel. The Reserve bears both its name on the label and its drawings on the front, drawings with unique traits that the artist has given to the Company.

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The Alica pasta factory has raised the bar for quality by launching a line of pasta made with premium flours, selected among Italian excellences, such as Senatore Cappelli, intensely flavored whole wheat flours or organic, cultivated according to superior quality standards.

Creating the right packaging for this line of precious and refined pastes was a challenge and pushed us to make the vintage and Mediterranean concept of Pasta Alica even more original and elegant - a traditional line and to highlight the refinement of the project itself and the importance of the personality of each individual flour.

For this special edition, therefore, we chose something different in shape and material, creating a case instead of an envelope, and with an overall visual aspect that maintains a vintage flavor but is characterized by elegance and originality. The historical appeal guarantees, in fact, continuity with the brand's concept but the creation emphasizes the preciousness and uniqueness of the flours, to each of which a specific color palette is dedicated.

The visual is a game of shapes and colors, polygons and patterns placed side by side, which together recall the cement tiles of southern houses and recall the ancient cards of handmade pasta but without reproducing them. The reference to the ancient is, in fact, deliberately only a suggestion, a homage elaborated in an extremely contemporary and elegant visual complex, made up of contrasts and alternations.

Finally, the different color palettes, courageous and cheerful, are built starting from shades of yellow, ocher or gold to recall the color of wheat symbolized also by the essential and synthetic illustrations of the ears. Everything — the concept, the colors, the signs and the shapes — is designed to revolve around the thing that has the greatest centrality in this product: the ingredient.

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Every single piece of the Particolari line is handmade, inside every detail there is a story, the story of Maida and the art of preserving the good of the earth. Today you recognize Maida's square jars at first glance: special and unmistakable.

Maida is almost family to us: a customer that we have seen grow and whom we have been treating for some time. The key to the company is the love for the products of the earth that are processed by hand. Over the years we have translated this passion into an innovative, essential and evocative experience. For this project, we plunged into a territory rich in history, Paestum, one of the greatest architectural testimonies of Magna Graecia. And we went down to the details: of a fresco, a portal, a bell tower. A minimalist label, which leaves the product as the protagonist.

Let's start at the end... Maida's brochure begins with the word 'end' and begins a journey in reverse. The first image to appear, printed on a page that reveals the next, is the logo on the cap: we then proceed backwards to the fresh product and its cultivation. Black and white dominate to highlight the colors of vegetables, jams, legumes and sauces. The narrative continues to reveal little by little the places, Paestum, the land where it all began: because the secret is all there, at the beginning of everything. And finally, the cover: smooth and silver logo on a rough black background. To see with your hands, to feel with your eyes. And then once upon a time...

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We let ourselves be carried away by the waves of the Mediterranean Sea, a sea of stories, where men have met and cultural diversity has proved to be the most significant wealth of humanity.

The packaging designed for Ancient Mediterranean Essences brings to light ancient signs and symbols used to mark the amphorae, with spices, perfumes and oils inside, that traveled hundreds of years ago across the Mediterranean. The company was founded on the Calabrian coast and produces, thanks to the fertile land and the typical climate, herbal teas made with medicinal and spontaneous herbs grown in a unique habitat in the world. We have interpreted and redesigned those symbols for the great consistency with the product. To give strength to the packaging of the individual cans on each one of the symbols has been enlarged, becoming the absolute protagonist.

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Villa Dora wines are linked to Vesuvius like the peoples that live under the slopes of this giant that gives everything and could take everything away. They thank him, respect him and have represented him for centuries in the primal act of the explosion, to thank him.

Making an overrepresented symbol new is in itself the contradiction that has allowed us to make the ambivalence inherent in the essence of Villa Dora, so linked to the history of the territory, so innovative.

We looked at the ability of Futurism to be both synthetic and dynamic and we were inspired both by ancient local etchings and by contemporary, pop and international representations such as that of Andy Warhol.

Villa Dora's re-branding project is futuristic, daring and essential. The Vesuvius logo is synthetic, modern and not stereotyped. The Vesuvius of the labels is full of color, matter and stage presence. The visual focus is on the complex polygonal geometry of the mountain group to which it belongs and on the material sensations of its rocks.

The material effect is obtained with a courageous color, which does not resort to the predominance of lava red, created with printing techniques such as hot gold or silver leaf inserts to play with geometric shapes and figures and recall the rough surfaces of the stones. The illustrations applied to the final label are free from any text so that the centrality is all due to the game of pointed triangles, clear polygons and vibrant colors that summarizes the complexity of meanings that Vesuvius assumes for local communities and for this company anchored in roots but always looking for new forms of excellence.

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From a history of more than 60 years, today Tenuta Tortorella has become a laboratory of excellence, an all-Italian reality led by courageous young people, driven by a strong passion for the art of olive oil. The Tenuta Tortorella brand was founded in 2010 from the idea of Rosario Scorziello, a young man driven by the desire to continue to pass on a story of three family generations that has its roots in post-World War II southern Italy.

From the iconographic and historical research of the territory, we found it interesting to start with the stone sculptures of the sixteenth-century “portals” present in Altavilla. These portals had carved flowers, called 'flowers of reception'. Their meaning is precisely in the name: they welcomed guests, foreigners who arrived in the city. They are scattered all over Campania (many in Cilento). We worked on the shape of these flowers and made them unique, inserting them in the center of these round labels, circling around them the name of the product and “organic extra virgin olive oil”. We chose a low bottle, so that the label would live better on it and that it would create greater visual contrast.

It is the design of a capital T that recalls the shape of a portal, but also an olive tree. It expresses bonding or emerging with humility.

photo by Antonio Alaimo/press by So.Ve.Mec

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The entire Guerritore project was born from our first, illuminating, visit to the vineyard. Behind us rows and rows of vines, in front of us the whole panorama of the valley: an expanse of villages and districts whose visual rhythm was punctuated by church bells. Each town, a bell tower, a distinctive sign of identity.

Unlike the urban landscape, which responds to different aesthetic logics, crossing a territory made up of small towns, villages, means orienting yourself looking up to look for the bell tower of the churches. Thus, for the Fiano, Aglianico and Merlot Guerritore labels, we have chosen to reinterpret, in a post-modern key, the images of the royal bell towers of the villages of the Irno Valley, a symbol of the Campania identity that the wines represent. They are imaginary, visionary bell towers, deconstructed into minimalist elements and redesigned with chromatic contrasts, optical illusions and three-dimensionality.

The range of cold colors for the freshness of Fiano, the purple for a young wine like Merlot, the warm Bordeaux for the aged Aglianico and gold everywhere. The gold of the divisive experience of the sun reflected in the thousand windows of the valley. The gold of Guerritore wines, products of the highest quality, the result of a company that immediately made a choice of excellence and of a vineyard that, right from that first visit, when we turned to look at it, we understood to be the real jewel to be valued.

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The birth of packaging has a lot in common with a tree: it comes from a small seed and grows slowly, with time defining its contours. Even if it comes from afar, our project for the DOP selection of Sabino Basso Oil was born while the olives were being harvested; and while these changed shape to become oil, we were giving a new shape to the glass.

The birth of packaging has a lot in common with a tree: it comes from a small seed and grows slowly, with time defining its contours. Even if it comes from afar, our project for the DOP selection of Sabino Basso Oil was born while the olives were being harvested; and while these changed shape to become oil, we were giving a new shape to the glass. A pack to convey the great value of the product, first to the touch and then to the palate; ambitious but at the same time simple, essential but at the same time exciting.

We have designed a label with a natural anti-oil paper with a marked roughness that reminds the touch of an olive bark. The bottle we have designed instead is characterized by glass worked with anti-slip waves, concentric circles in relief that guide the touch from the base to the label.

The brand in the center is printed in relief and is recalled by the monogram decorated on the glass at the top of the bottle. The format chosen, given the great prestige of the product, is 500 ml: the perfect combination of versatility and elegance.

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For the limited edition of Vetere, the rosé wine from the San Salvatore 1988 farm, we worked on a totally new project, inspired by the territory of Paestum and its history, the place where Vetere was vinified.

For the limited edition of Vetere, the rosé wine from the San Salvatore 1988 farm, we worked on a totally new project, inspired by the territory of Paestum and its history, the place where Vetere was vinified. We have created illustrations and drawings inspired by the treasures preserved in the Archaeological Museum of Paestum, Greek vases and paintings, such as the Diver's Tomb. The illustrations are printed directly on the glass, without labels, in a color palette that recalls the colors used in Greek paints found right in Paestum. The counter label is printed on a special paper, removable without leaving a trace, to be able to keep the bottle once finished and reuse it, giving it a new life.

The illustrations are printed directly on the glass, without labels, in a color palette that recalls the colors used in Greek paints found right in Paestum. The counter label is printed on a special paper, removable without leaving a trace, to be able to keep the bottle once finished and reuse it, giving it a new life.

Illustrations by Stefano Marra/Print by DS Glass/Photos by Antonio Alaimo and Sofie Delauw

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A modern design tells of a primitive and rural land: Sardinia. For the Tenute Vignola project, we looked at Nuragic Art, a window on the past and this island's first major contribution to world art.

What inspired us in particular were the Nuragic bronzes, bronze statuettes made between the Bronze Age and the Iron Age, which served as an ex-vota. We were struck by the extreme simplicity of these objects, translated, on the labels of Tenute Vignola, into pure shapes and primary colors. Portal on a street, hypothetically infinite, of forms that are always different and yet always recognizable as part of a single identity. In fact, in what appears to be a work of extreme synthesis, the presence of the elements that characterized the works that inspired us remains constant and recognizable.

In what appears to be a work of extreme synthesis, the presence of the elements that characterized the works that inspired us remains constant and recognizable. So here, old and new at the same time, shields, headgear, cloaks and weapons appear. The shield always repeats the Sardinian proverb “in su binu sa veridade” (in wine the truth) to further underline the strong territorial identity of this wine and of this island.

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