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I am going to be honest with you: as an Italian, I detest the concept of bella figura. While it still remains one of the most deeply ingrained aspects of Italian culture, shaping not only individual behavior but also public life and institutions, bella figura may have finally reached the capolinea of its dominion on Italian costumes.听

Or does it?

Bella figura, as you probably know, is about maintaining dignity, projecting an image of composure, and ensuring that one鈥檚 external presentation fits an idealized version of self and society. For centuries, it has been the foundation of social decorum in Italy and extended from personal interactions to the grand theater of politics and governance.

A few years ago, Alfio Squillaci explored, on the journalistic platform Gli Stati Generali,听the pervasive role of bella figura in Italian life, linking it to the importance of faccia (face) and facciata (fa莽ade). The Italian preoccupation with outward appearance is not necessarily about deception, but rather about the belief that form and representation hold equal 鈥� if not greater 鈥� importance than substance. Luigi Barzini, in his seminal work The Italians (1965), highlighted this point, writing that in Italy, 鈥渞epresentation is as important as reality 鈥� often even more so.鈥� Indeed, this perspective did shape everything from architecture and art to fashion and politics, demonstrating how the Italian tendency toward aesthetics and symbolism is not simple vanity but a guiding principle of social order.听

The origins of bella figura can be traced back to Italy鈥檚 long history of hierarchical and highly structured societies. Think of the rigid etiquette of Renaissance courts or of the regulated decorum of the Catholic Church: Italy has always been governed by institutions that placed an emphasis on formality, ritual, and presentation. Nobility, clergy, and even the bourgeoisie adhered to strict social codes, where appearances mattered not only for status but also for maintaining a sense of order. In such a context, fare bella figura 鈥� making a good impression 鈥� became an essential social skill.听

Yet, bella figura is not without its contradictions, because what, if not bella figura itself, allowed for centuries听 鈥� 听and for way too long into modernity! 鈥� 听the development of environments where appearance holds more weight than merit or substance? Actions, when bella figura is involved, are not always judged by their inherent rightness or wrongness but by how they are perceived by others: a person can make a brutta figura (make a bad impression) without necessarily doing anything unethical, simply because their actions go against social expectations. This poses the risk of perceptions of propriety outweighing genuine ethical considerations, leading to a certain level of ambiguity 鈥� even hypocrisy.听

Beppe Severgnini, in his book La Bella Figura, takes a playful yet insightful look at how this cultural trait manifests in modern Italy; he says that Italians judge politicians by their smiles, professionals by their office d茅cor, and table lamps by their design.鈥漎our Italy and our Italia are not the same thing,鈥� he writes to his international readers: 鈥淚taly is a soft drug peddled in predictable packages, such as hills in the sunset, olive groves, lemon trees, white wine, and raven-haired girls. Italia, on the other hand, is a maze.鈥� Basically鈥� bella figura is great because it gives a beautiful idea of what鈥檚 in front of you but beware! The truth isn鈥檛 always so polished.听

Being dressed the right way, saying the rights things to the right people: this is 鈥渂ella figura鈥� (Photo: Volodymyr Tverdokhlib/Dreamstime)

However, in recent decades, the grip of bella figura on Italian society has started to loosen. Younger generations, particularly Xennials, Millennials, and Gen Z, have begun to reject the idea that appearances should take precedence over authenticity. Exposure to international influences, increased mobility, and changing social attitudes have contributed to a cultural shift where bella figura is no longer the defining measure of success or respectability.听

Education and experience play a central role in this transformation: those who have lived abroad or work in international environments tend to adopt a more relaxed attitude toward self-presentation; they understand that competence, knowledge, and authenticity carry more weight than superficial elegance. And so, the idea of making a good impression has evolved, creating a shift evident in various aspects of life: the rigid dress codes of past generations have given way to more casual and individualistic expressions of style; the formality once expected in professional settings has softened, allowing for a more open and meritocratic approach. Even in politics, there is a growing recognition that competence should matter more than charisma or aesthetic polish, even though, perhaps, we still have to work on it in this specific context.听

If you ask me, this evolution is a positive development. It suggests that Italy is moving toward a more substance-driven culture, one that values authenticity over mere appearance. That is not to say that bella figura has disappeared entirely 鈥� its influence is still felt in many aspects of daily life, from the way Italians dress to their meticulous attention to food presentation. However, it is no longer the rigid social imperative it once was.听

Ultimately, bella figura remains an intrinsic part of Italian culture, but its meaning is changing: where once it dictated how individuals and institutions functioned, it is now being reinterpreted in a way that prioritizes substance alongside style. In the past, fare bella figura often meant ensuring that one looked the part, regardless of one鈥檚 actual abilities. Today, we are redefining it: making a good impression is no longer about maintaining a fa莽ade but about demonstrating real worth. In this sense, Italy is getting finally in line with the rest Europe, embracing a cultural shift where integrity and competence are the true measures of bella figu