Italy’s tourism strategy made headlines after critics and social media users pointed to a controversial choice in an official promotional video. The campaign, envisioned to showcase Italy as a vibrant and welcoming destination, drew attention for using images of people enjoying Slovenian wine in Slovenia as part of a broader invitation to explore Italy. Reuters reported on the criticism surrounding the decision and the campaign’s reach.
The video, titled Open to Wonder, was part of a larger advertising effort with a budget reported at €9 million. The production was attributed to Armando Testa, a well-known communications group, known for creating campaigns that fuse storytelling with contemporary visuals. The promotional piece aimed to juxtapose the timeless appeal of Italy’s art and history with a modern, youthful energy that resonates with younger travelers.
Within the video, the goddess Venus—an emblem of Italian art rooted in Botticelli’s Renaissance work The Birth of Venus—appears in scenes that playfully blend high culture with casual, everyday moments. The imagery includes Venus engaging in a pizza moment near iconic Italian landmarks such as Florence Cathedral and the Colosseum. Some of the most discussed footage shows a group of teenagers smiling and drinking wine on a sunlit patio. Observers noted that the supposed Italian patio was actually located in the Kotar region along the Slovenian border, and a bottle on the table carried a label reading COTAR wine, suggesting the location was misrepresented as Italian.
When asked about the matter, Armando Testa’s contact group did not provide a statement at the time of reporting. The documentary nature of the video and its international reach led to swift debate about how borders, culture, and authenticity are portrayed in tourism marketing.
The reception to the video was immediate and widespread, with critics and social media users reacting even before it was confirmed that portions of the filming occurred outside Italy. The discussion touched on broader questions about representation, the use of art and iconography in marketing, and the impact such choices may have on audience trust.
In response to the scrutiny, the Italian Tourism Minister addressed the controversy, describing some critics as snobbish and arguing that the portrayal of Venus as an influencer was a deliberate choice intended to engage a younger demographic. The minister’s remarks underscored a tension between ambitious branding goals and the expectations of authenticity held by travelers and industry observers alike. The episode has become a talking point for discussions on how national brands navigate global audiences while maintaining credible, culturally respectful messaging.
Analysts note that tourism campaigns frequently blend myth, history, and modern lifestyle to create memorable narratives. Yet this instance underscores the importance of transparent storytelling and accurate localization in campaigns that aim to attract visitors from diverse markets. As Italy continues its efforts to compete for travel demand in a crowded international landscape, stakeholders are likely to consider stricter review processes and clearer guidelines to balance creative expression with factual integrity.
Overall, the episode serves as a case study in modern destination marketing: striking a balance between aspirational imagery and verifiable authenticity, and ensuring that the experience promised by a promotional piece aligns with the realities travelers may encounter on the ground. The outcome may influence future campaigns as marketers weigh the benefits of bold, cinematic storytelling against the risks of misrepresentation in a digital age where audiences scrutinize every frame. The discussion continues as tourism officials reassess how art, history, and contemporary culture can be woven together to invite visitors while upholding credibility and trust.