L'Italo-Americano

THURSDAY, FEBRUARY 20, 2025 www.italoamericano.org 12 L'Italo-Americano I am going to be hon- e s t w i t h y o u : a s a n Italian, I dislike the c o n c e p t o f b e l l a figura. While it still r e m a i n s o n e o f t h e m o s t deeply ingrained aspects of Italian culture, shaping not only individual behavior but also public life and institu- tions, bella figura may have finally reached the capolinea of its dominion on Italian costumes. Or does it? Bella figura, as you prob- ably know, is about main- taining dignity, projecting an i m a g e o f c o m p o s u r e , a n d ensuring that one's external presentation fits an ideal- ized version of self and society. For centuries, it has been the foundation of social decorum in Italy and extend- ed from personal interac- tions to the grand theater of politics and governance. A f e w y e a r s a g o , A l f i o Squillaci explored, on the j o u r n a l i s t i c p l a t f o r m G l i Stati Generali, the perva- sive role of bella figura in Italian life, linking it to the importance of faccia (face) and facciata (façade). The Italian preoccupation with outward appearance is not necessarily about deception, but rather about the belief that form and representation hold equal — if not greater — importance than substance. Luigi Barzini, in his semi- n a l w o r k T h e I t a l i a n s ( 1 9 6 5 ) , h i g h l i g h t e d t h i s point, writing that in Italy, "representation is as impor- tant as reality — often even more so." Indeed, this per- s p e c t i v e d i d s h a p e e v e r y - thing from architecture and art to fashion and politics, demonstrating how the Ital- ian tendency toward aesthet- i c s a n d s y m b o l i s m i s n o t simple vanity but a guiding principle of social order. The origins of bella figura can be traced back to Italy's long history of hierarchical and highly structured soci- eties. Think of the rigid eti- quette 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, ritu- al, and presentation. Nobili- t y , c l e r g y , a n d e v e n t h e b o u r g e o i s i e a d h e r e d t o strict social codes, where appearances mattered not only for status but also for m a i n t a i n i n g a s e n s e o f o r d e r . I n s u c h a c o n t e x t , fare bella figura — mak- i n g a g o o d i m p r e s s i o n — became an essential social skill. Yet, bella figura is not without its contradictions, because what, if not bella f i g u r a i t s e l f , a l l o w e d f o r centuries — and for way too long into modernity! — the d e v e l o p m e n t o f e n v i r o n - m e n t s w h e r e a p p e a r a n c e h o l d s m o r e w e i g h t t h a n merit or substance? Actions, w h e n b e l l a f i g u r a i s i n v o l v e d , a r e n o t a l w a y s j u d g e d b y t h e i r i n h e r e n t rightness or wrongness but by how they are perceived by others: a person can make a brutta figura (make a bad impression) without neces- sarily doing anything uneth- ical, simply because their a c t i o n s g o a g a i n s t s o c i a l expectations. This poses the risk of perceptions of propri- e t y o u t w e i g h i n g g e n u i n e ethical considerations, lead- i n g t o a c e r t a i n l e v e l o f a m b i g u i t y — e v e n hypocrisy. Beppe Severgnini, in his book La Bella Figura, takes a playful yet insightful l o o k a t h o w t h i s c u l t u r a l trait manifests in modern Italy; he says that Italians judge politicians by their s m i l e s , p r o f e s s i o n a l s b y their office décor, and table lamps by their design."Your Italy and our Italia are not the same thing," he writes to his international readers: "Italy is a soft drug peddled i n p r e d i c t a b l e p a c k a g e s , such as hills in the sunset, olive groves, lemon trees, w h i t e w i n e , a n d r a v e n - haired girls. Italia, on the other hand, is a maze." Basi- cally... bella figura is great because it gives a beautiful idea of what's in front of you but beware! The truth isn't always so polished. H o w e v e r , i n r e c e n t 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 i n t e r n a t i o n a l i n f l u e n c e s , i n c r e a s e d m o b i l i t y , a n d c h a n g i n g s o c i a l a t t i t u d e s have contributed to a cultur- al shift where bella figura is no longer the defining mea- s u r e o f s u c c e s s o r respectability. 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-presen- tation; they understand that competence, knowledge, and a u t h e n t i c i t y c a r r y m o r e weight than superficial ele- gance. 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 indi- vidualistic expressions of s t y l e ; t h e f o r m a l i t y o n c e expected in professional set- tings has softened, allowing for a more open and merito- cratic approach. Even in pol- i t i c s , t h e r e i s a g r o w i n g recognition that competence s h o u l d m a t t e r m o r e t h a n charisma or aesthetic polish, even though, perhaps, we still have to work on it in this specific context. If you ask me, this evolu- tion is a positive develop- ment. It suggests that Italy i s m o v i n g t o w a r d a m o r e substance-driven culture, one that values authenticity over mere appearance. That is not to say that bella figura has disappeared entirely — its influence is still felt in many aspects of daily life, from the way Italians dress to their meticulous attention to food presentation. How- ever, it is no longer the rigid s o c i a l i m p e r a t i v e i t o n c e was. Ultimately, bella figura remains an intrinsic part of Italian culture, but its mean- ing is changing: where once it dictated how individuals and institutions functioned, it is now being reinterpreted in a way that prioritizes sub- stance alongside style. In the past, fare bella figura often m e a n t e n s u r i n g t h a t o n e looked the part, regardless o f o n e ' s a c t u a l a b i l i t i e s . Today, we are redefining it: making a good impression is no longer about maintaining a façade but about demon- strating real worth. In this sense, Italy is getting finally in line with the rest Europe, embracing a cultural shift where integrity and compe- tence are the true measures of bella figura. GIULIA FRANCESCHINI Being dressed the right way, saying the rights things to the right people: this is "bella figura" (Photo: Volodymyr Tverdokhlib/Dreamstime) The rise and fall of bella figura: the evolution of Italy's aesthetic ideal LA VITA ITALIANA TRADITIONS HISTORY CULTURE

• Cover