Salvatore Gregorietti’s professional activity enables us not only to examine his work scientifically, but also to focus on some of the specific themes and issues that informed fifty years of Italian graphic design.Read more
This book offers a historical and analytical reconstruction that responds to precise intentions in terms of method. The enquiry into Gregorietti’s work, divided chronologically into three parts so as to bring out the nuances, the years of training, the collaboration with Unimark and the experience of Gregorietti Associates, has been entrusted to a group of scholars and specialists and to witnesses of his life’s journey, selected on the basis of specific expertise and competencies. In compiling
a rich chronological summary of works, structured by decades and subdivided by the typology of work, the aim is to present a detailed overview of his activity, with information as detailed as possible on the individual projects. The extensive iconography that accompanies both the articles and the summary, with a new and original approach to the visual reconstruction, offers a further opportunity for analysing and understanding the projects of this great designer.
Salvatore Gregorietti (Palermo, 1941)
After attending the Kunstgewerbeschule in Zurich, he became the assistant in Milan to Massimo Vignelli, who in the mid-1960s brought him in as a partner to Unimark International, the design “corporation” working in Italy. Here, building on his experience at La Rinascente with Adriana Botti and photographers such as Serge Libis, Aldo and Marirosa Ballo and Oliviero Toscani, Gregorietti combined the rigorous method of coordinated corporate identity, typical of Unimark’s international reach, with his capacity to direct the photographic narration, often rising to the role of art director. Then again, he interpreted sensibilities that came not only from the culture
of his time, but from his personal influences: Liberty and Art Deco styles, as well as the world of comic art and illustration arising from his lengthy collaboration with Milano Libri – he designed Linus magazine since the very first issue in 1965. This background gave him flexibility in his expressive language and in the fields of action which came out, for example, in his editorial designs for Sonzogno, Bompiani, Emme edizioni, Feltrinelli or for Ottagono and Casa Vogue magazines, as well as in his work for Cassina, Brionvega, Valenti, the Venice Biennale or the Istituto Bancario San Paolo. Systematized in 1988 in his book La forma della scrittura, which he wrote with Emilia Vassale based on his teaching experience in Carrara, the “method” never changed even after he founded Gregorietti Associates with his son Matteo, and in 1989 began working for Benetton (in partnership with Toscani), Prénatal, Croff, Gavazzi or the Gruppo Iris-Fiandre, for the publishers Feltrinelli, Sylvestre Bonnard, Archimede edizioni, Anabasi, Le Vespe and, after 2000, for institutions such as the Poldi Pezzoli Museum or the Fondazione Giangiacomo Feltrinelli.