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Fortunato Depero, sketch, 1931 (Archivio Galleria Campari), and the bas-relief designed by
Mario Botta on one side of the historic factory in 2009 (©️ Enrico Cano). Courtesy of Campari

mous printers Officine Grafiche Ricordi to create his posters. itifs where, according to Davide’s vision, people could taste
Campari overturned the advertising paradigms of the time his product at its best. It was basically one of the very first sin-
and placed the client, his Bitter, and the way of drinking it at gle-brand stores in history.
the center of his ads. He basically celebrated the ritual of the Fortunato Depero represented perhaps the most emblem-
aperitivo and contributed to defining its characteristics through atic example of the bond between Campari, art, and advertise-
his campaigns. Then, in 1901, another decisive step was tak- ment. He is the brilliant artist who defined Campari’s image
en toward fame and success. Painter and illustrator Marcello in an indelible way, creating a real icon of twentieth century
Dudovich presented one of his paintings to Campari depicting design in 1932: the Campari Soda bottle. So emblematic that it
two lovers kissing passionately: the only witnesses are two tu- doesn’t even need a label. From that moment on, Campari took
lip-shaped glasses resting on a coffee-table. Campari realized off and became the synonym of Italian Style around the world.
that the image captured the essence of his product. The final The osmotic relationship between Campari, art, and com-
stroke of genius was tinting it all in red and transforming it into munication has never stopped; in fact it has led to new varia-
a poster that bears only the caption “Bitter Campari – Milano tions. From the unforgettable commercials directed by Tarsem
(Italy).” This was the origin of Red Passion. Ninety years be- Singh (especially The Scratch, which showed for the first time
fore the namesake campaign, it already embodied the brand’s an explicit reference to sapphic love in a commercial) and the
four fundamental values: passion, a cosmopolitan approach, ones made by Fellini and Sorrentino, to the new headquarters
uniqueness, and prestige. in Sesto San Giovanni designed by the architects Botta and
From this moment on, the union between Campari, art, Marzorati: the historical building from the late nineteenth cen-
and creative advertisement became unbreakable: artists such tury was incorporated into a new, very modern brick structure
as Tofano, Sinopico, and Cappiello created unforgettable post- that overtly pays tribute to Depero’s figurines.
ers, the café becomes a meeting place for artists, irredentists, The new headquarters are also home to the Campari Gal-
and intellectuals, with futurist painter Boccioni even depicting lery: a museum with posters, sketches, drawings, and art books
it in one of his most famous paintings, Riot in the Gallery (1910). documenting Campari’s incredible journey and its connection
Then, in 1915, Campari opened Camparino, also located in to art and advertisement. The ideal way to complete a circle
Galleria Vittorio Emanuele: a bar that mainly focused on aper- that started over a hundred years ago.

114 Heritage Protagonist