Fashion, design and lifestyle: how Made in Italy conquers global markets

There is one fact that, more than any other, tells of the strength of Made in Italy. Italia, seen from abroad, continues to be the country of history, art, beauty, food and tourism. But its products do even more: they resist the oscillations of judgement on the country-system, socio-political fragilities, and lazy stereotypes. In a word, they enjoy a life of their own. This is the heart of Havas Csa's 'Global Italy' research, conducted on over 4 thousand people in six key markets: France, Germany, the United States, China, Japan and the Middle East.

The numbers, presented this week at the inauguration of the new headquarters of the advertising bigwig headed by the Bolloré family - listed in Amsterdam and from the end of 2024 subject to a spin-off from Vivendi - explain the phenomenon. The international perception of Italia rests on a solid core: history at 77%, tourist attractiveness at 78%, art at 73%, friendly and relaxed lifestyle at 72%. But alongside this classic, almost postcard image, there is the economic substance of the Italia brand: three out of four interviewees consider Italian products to be extremely attractive; more than 50% immediately link them to the great Made in Italy sectors, with fashion at 65% and design at 60%.

The decisive point, however, is another. The Havas analyses show that there is no correlation between the judgement on the socio-political context in Italia and that on products. Translated: even if the country is perceived as stable or 'in crisis', the reputation of Made in Italy remains intact. It is a symbolic but also an industrial reputation, built over time by brands, supply chains, manufacturing, perceived quality.

The research also dismantles a cliché: it is not so much Italian origins that strengthen product judgements, but concrete experience. Those who have been to Italia or have worked with Italian companies read our production system in a more contemporary way, also recognising innovation.

This is where the real challenge comes in: there is no single exportable Italia. There is, if anything, one and the same Italia translated into different cultural alphabets. In France, natural elegance works, with culture as the gateway; in Germany, beauty must prove itself; in the United States, the icon must come closer to everyday life; in China, the balance between heritage and innovation is growing; in Japan, the discreet beauty of gesture and material prevails; in the Middle East, experience, status and distinctiveness count.