The ‘Made in Italy’ label is a cornerstone of our economy. It is our calling card, ensuring that Italian and north-eastern Italian products are recognised and appreciated around the world. During the economic boom years, cinema played a key role in establishing what we now call a brand – a label that encompasses both tangible and intangible elements: quality and lifestyle, alongside certain products of the era. But it is in recent years that economic studies have placed greater (and justified) emphasis on the value of the sectors that, more than any others, define ‘Made in Italy’. These are the ‘4A’ sectors: apparel, furniture, automotive and food – sectors in which the North-East excels. Out of around 5,000 goods traded worldwide, Italy leads the market in around 1,000 of them, second only to Germany. It is thanks to its ability to export these products that the north-eastern economy has been able to limit the damage caused by a long recession that is not yet fully over, due to domestic demand that is struggling to recover. The quality that sets our products apart is admired and sought after by the growing middle classes in newly developing countries, as well as in other nations. On closer inspection, what we commonly refer to as ‘Made in Italy’ already embodies the factors which – within the processes of globalisation – are today the key drivers for success in international competition: products tailor-made, tailor-made to the customer’s needs; customisation; flexibility; quality of materials used; design, aesthetics, culture; professionalism.
Finegil newspapers, 13 November 2016
Messaggero Veneto, 13 November 2016
Thus, ‘Made in Italy’, with its distinctive characteristics, is well-suited to meeting the demands of a wealthy and growing global market. It is no coincidence that we are witnessing the ‘Italian-sounding’ phenomenon, whereby foreign companies use references to Italian products to capture market share, treacherously taking it away from the legitimate Italian brands. Nor is it a coincidence that the Renzi government launched a plan in 2015 to promote ‘Made in Italy’ on an extraordinary scale and attract investment to Italy. Because to succeed in an increasingly crowded market, it is essential to stand out. And what enables a brand to be recognised are the intangible aspects, the evocative dimensions: what conveys an identity, values and a style. The research (Community Media Research) investigated the extent to which the typical characteristics of ‘Made in Italy’ are perceived by the public, which ones these are, and how much they contribute to defining it. And, therefore, to define us. Of the list of characteristics proposed, two stand out above all others in the collective imagination as defining our ‘Made in’ identity: ‘creativity’ (83.9 per cent) and ‘aesthetics, beauty’ (79.9 per cent). On the one hand, inventiveness, the ability to identify new solutions and the skill in finding one’s way out of difficult situations are the main characteristics not only in the world of manufacturing, but can also be extended to the everyday behaviour of a large part of the population. On the other hand, good taste, an appreciation of beauty and attention to outward appearances are elements that have come to the fore in recent decades (although they are not yet universally adopted) and which are evident not only in lifestyles but also in the management of our cities. Further down the ranking, though widely shared, are two other values: the concept of ‘quality’ (62.2 per cent, particularly in Friuli Venezia Giulia: 66.7 per cent; and in Veneto: 63.0 per cent) and ‘passion’ (50.6 per cent). Whilst the first dimension evokes and ties in with the earlier themes of aesthetics and beauty, highlighting how in our country there is a focus on quality of life that has few equals elsewhere; the second refers to our traditions, and to the care and passion we put into our work. The population’s view of other aspects generally attributed to ‘Made in Italy’ in public discourse is, however, different. ‘Culture’ (42.4 per cent, though in Friuli Venezia Giulia it reaches 68.4 per cent) and ‘good living’ (40.1 per cent, though in Trentino-Alto Adige this figure rises to 54.5 per cent) do not, on average, exceed the 50 per cent threshold in terms of public support. On the one hand, we can identify a perception that insufficient attention is being paid to our heritage of knowledge; on the other hand, it is likely that this reflects the climate of economic hardship and uncertainty that has pervaded our country for some time. However, it is the last two aspects of the ranking that should give us the most cause for reflection: ‘innovation’ (20.4 per cent) and ‘technology’ (14.6 per cent) are not perceived as integral parts of our DNA, particularly in Friuli-Venezia Giulia and Trentino-Alto Adige. In other words, they are not recognised as part of the ‘Made in Italy’ concept and, by extension, of our region’s manufacturing sector. When the various traits proposed are combined to determine the extent to which the public perceives a ‘Made in Italy’ identity, three groups emerge. The predominant group is that of the ‘Made In-sure’ (50.9 per cent), i.e. those who believe that only some of the proposed dimensions help to define distinctive characteristics. Among these, we note in particular men, entrepreneurs and managers, as well as residents of Trentino and South Tyrol. The second group consists of ‘Made in Italy’ supporters (40.9 per cent), who attribute the majority of the listed characteristics to it. This group is predominantly made up of women and younger generations, students and residents of Friuli-Venezia Giulia. Finally, the proportion of the most critical group – those who believe there is no such thing as a genuine ‘Made in Italy’ (8.2 per cent) – is marginal.
Ultimately, a sort of dissonance emerges once again between reality and perception, between the ‘Made in Italy’ of products that find their way onto international markets and the ‘Made in’ that defines us: it is the brand of our region, a calling card with its light and shade. It is our identity, the construction of which is still a work in progress.
Daniele Marini
Methodological note
Community Media Research carried out the survey, which took place nationwide from 22 March to 4 April 2016 amongst a representative sample of the resident population in Italy aged over 18. The methodological aspects and data collection were handled by Quantitas. There were a total of 1,997 respondents (out of 13,287 contacts). The data analysis was re-weighted according to gender, region, age group, employment status and educational qualification. The margin of error is +/-2.2%. The survey was conducted via a visual survey on the main social networks and using a random sample reached via CAWI and CATI systems. Full report available at www.agcom.it e www.communitymediaresearch.it.
