Curated by Monica Fumagalli Iliprandi and Giovanni Baule
On the occasion of the centenary of Giancarlo Iliprandi’s birth, this exhibition offers an in-depth exploration of the Milanese designer’s work, shedding light on his rich, cultured, and still-relevant design universe.
Drawing on materials from historical archives and private collections, the show highlights Iliprandi’s experimental and interdisciplinary approach to graphic design—an approach that skillfully integrates form, function, and communication.
The exhibition layout, designed by Lissoni & Partners, unfolds in thematic sections that trace the key trajectories of his career. It begins with his education, where painting, photography, set design, and architecture all converge in his early projects, and continues through his work in communication and product design, where graphics and industrial design merge in a continuous dialogue. For Iliprandi, to communicate an object means to participate in its very design process.
One section focuses on his work for mass retail and his collaborations with major commercial spaces such as La Rinascente, Standa, Croff, and Grancasa, where he introduced innovative graphic formats and visual strategies.
Another central focus is Iliprandi’s contribution to editorial and music publishing. He collaborated with prominent magazines such as Interni, Abitare, and Rivista Rai, and created album covers for I Dischi del Sole. Through reworking photographic images, he crafted visual montages that anticipated the themes within.
In the field of type design—from Nebiolo to Honeywell—Iliprandi reinterpreted letterforms using both traditional techniques and digital tools. Simultaneously, he translated photography into visual narratives through magazines and photobooks like I travestiti and Milano.
A dedicated section celebrates his hand-drawn work: sketches for fashion, sports, theater, emblems, and alphabets—expressions of his deep visual culture.
Public and institutional communication also features prominently, with posters and campaigns such as Basta and Mitagogia exploring provocative languages and free-form compositions.
Finally, the exhibition highlights Iliprandi’s commitment to professional associations—especially his roles within ADI and the Art Directors Club Milano—and his impact as an educator. He left a lasting mark on major Italian schools and universities, always combining hands-on practice with theoretical reflection.
PIAZZA COMPASSO D’ORO, 1, 20154 MILAN 
