I came to corporate heritage from cultural anthropology, and after almost ten years it's still how I work. Before advising a company on its history, I want to understand how that company actually thinks, remembers and decides. It's less a credential than a way of paying attention — and it's usually what makes the difference between a heritage project that gets admired and one that gets used.

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When I joined Promemoria it was a promising but small archival company: we digitised archives and built websites for them. From 2020 to the end of 2025, as Chief Operating Officer, I helped turn it into a heritage consulting studio — from 15 to 40 people, three times the revenue and EBITDA, and more than 100 heritage and cultural projects delivered. Along the way we built a reputation we still protect carefully: Promemoria delivers on time and on budget.

At the start of 2026 I moved into Chief Innovation Officer. In its first six months, the practice I now lead — the advisory and curatorial work I used to do myself — has gone from around 5% to more than 20% of a revenue that is itself growing 13%. My job now is to build the team of consultants and curators who can carry that demand, and to design the frameworks they work from, including the AI workflows that are changing what a company can ask of its own archive.

Strategic Heritage and Brand Advisory

I work directly with owning families, boards and C-level teams on the long questions: what a company's history means for where it is going, and how to use it in positioning, anniversaries, brand and product narrative. Increasingly the work also points inward — heritage is one of the few assets a historic company has that builds recognition among its own people and makes it attractive to the ones it wants to hire. These are programmes that stretch over years and across several internal units, and much of my job is keeping the thread.

Heritage Infrastructure — Archives that Work for the Business

With my team I design and build the groundwork heritage depends on: founding new archives, restructuring existing ones, physical and digital. The test is always the same — can leadership, brand, communication, HR, design and product teams find and use what the company already owns, and is the archive ready for what AI will ask of it.

Brand & Heritage Experiences — Spaces, Sites, Exhibitions and Short Films

Brand spaces, exhibitions, websites and events, curated together with the producers and specialists who build them, so that every detail stays aligned with the brand strategy rather than drifting from it. It also covers heritage and brand short films, which I've conceived and followed through production — often the fastest way to make a company's history legible to people who will never set foot in its archive.

Editorial Projects

Books, monographs and corporate publications for clients — and ARCHIVIO Magazine, whose strategy I lead: an internationally distributed publication on archival culture, made with renowned contributors and an editorial team I'm glad to work with.

Among the companies and institutions I've worked with: Ferrari, Armani, Ducati, Moncler, Azimut Benetti, David Yurman, EssilorLuxottica, Lavazza, Riva, Ferrari Trento, Fornasetti, Triennale Milano, Fondazione Renzo Piano, AMDL Michele De Lucchi. I speak at industry events and teach as a guest lecturer at universities from IUAV in Venice to SCAD in Savannah.

If you're wondering what your company's history could actually do for your business, I'm always curious about a history I don't know yet.

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