Culture is becoming increasingly valuable in Italia: it generated 115.8 billion euros and employed nearly 1.54 million people
There are almost 1.54 million people in employment. However, self-employment accounts for 35.4 per cent of this figure, rising to 48.2 per cent in the ‘Core Cultura’ sector alone – more than double the Italian economic average of 21.5 per cent.
There is a wooden puppet travelling the world. Spoken in 669 languages and dialects, *Pinocchio* is now the third most widely read book, behind the Bible and *The Little Prince*. This near-record, two hundred years after Collodi’s birth, serves as a useful reminder of something that figures alone struggle to convey: a country’s soft power is measured through its stories told elsewhere, in other languages, by other voices. It is an image that aptly captures the sixteenth edition of *Io Sono Cultura*, the report commissioned by the Symbola Foundation, Unioncamere, Deloitte and the Tagliacarne Research Centre. For it introduces the central theme of the entire volume: the idea of Italian culture as a system that generates value far beyond what is immediately visible (and measurable).
Overall, the figures confirm the strength of the cultural and creative industries. In 2025, the entire sector — professionals, businesses, the third sector and the public administration — generated €115.8 billion in added value, accounting for 5.7 per cent of the national economy, representing a 3.3 per cent increase on the previous year. The sector employs almost 1.54 million people, 5.7% of the total workforce, an increase of 1.7%. The effect extends beyond the sector’s boundaries: every euro generated triggers a further 1.7 euros in the rest of the economy, resulting in a total impact of around 310 billion euros, or 15.4 per cent of GDP. ‘The strength of our economy and of “Made in Italy” owes a great deal, in every field, to culture and beauty. More so than in other countries. Culture and creativity not only enrich our identity and fuel global demand for Italian products, but can also help us face the difficult challenges ahead together, without fear,” says Ermete Realacci, president of the Symbola Foundation.
Growth in 2025 will be driven by both components, but at different rates. ‘Core Culture’ in the strict sense of the term generates 66.8 billion euros and is growing by 3.2 per cent. The so-called “Embedded Creatives” — cultural and creative professionals employed in sectors not strictly cultural — generate almost 49 billion and are growing even faster: by 3.4 per cent. Italian creativity is not confined to its traditional spheres, but is entering seemingly unrelated sectors. Within “Core Culture”, software and video games remain the sector generating the most added value (€18.6 billion in output and a 27.8 per cent share), followed by publishing and the press, and by architecture and design, both of which have returned to growth. The key insight offered by Andrea Prete, president of Unioncamere, is that ‘the value of culture extends well beyond the boundaries of the cultural and creative industries, fuelling innovation, quality and competitiveness across many sectors of the economy’. This is the case in tourism, where the cultural component accounts for over 40 per cent of visitor numbers and more than half of total spending ‘thanks to an offering that is increasingly experience-oriented’. At a regional level, Lazio remains the region with the highest level of specialisation in the cultural and creative sectors, accounting for 8.1 per cent of the regional economy, whilst Lombardy retains its undisputed leadership with over 33 billion euros in added value. In Southern Italy, where the positive trend continues, Campania stands out in particular: over the five-year period 2021–2025, it ranks first in terms of business growth (+12.3 per cent).
Historical and artistic heritage is undergoing change. ‘Heritage tech’, for example, is on the rise: museums, archaeological sites and monumental complexes are using it to enhance the visitor experience, broaden access to collections and optimise management. At the same time, cultural venues are moving towards a less static role: they are, of course, custodians of the past, but at the same time they serve as active ‘infrastructures’ for experience and care, given that over 600 organisations have directed patients towards artistic experiences to combat loneliness and vulnerability. This highlights an aspect that is not assessed as thoroughly as it should be: social impact. ‘Measuring it means equipping ourselves with more comprehensive tools to guide decisions and investments,’ notes Ernesto Lanzillo, Chairman of Deloitte & Touche Spa. “Moving beyond a purely economic perspective does not mean downplaying its contribution to GDP or employment, but recognising that culture is also a driver of inclusion, social cohesion and sustainable development, as highlighted by UNESCO.”
Among the current trends, *Io Sono Cultura* notes that AI has now moved beyond the experimental phase and has become an integral part of many sectors, although questions remain regarding the protection of creative work and copyright. Behind the optimism, the report does not hide other major shortcomings. Self-employment accounts for 35.4 per cent of the workforce and rises to 48.2 per cent in the ‘Core Culture’ sector alone – more than double the Italian economic average of 21.5 per cent. Job insecurity and low wages are problems widely felt by those in the sector. And access to credit remains problematic – on both the demand and supply sides – according to Beniamino Quintieri, president of the Institute for Sport and Cultural Credit.
