Tuscan Artistic Craftsmanship Takes Center Stage at BTM in Bari: “Know-How” as a Strategic Tourism Product

Toscana Promozione Turistica is taking part in the BTM - Business Tourism Management in Bari, placing the invaluable heritage of regional artistic craftsmanship at the heart of its promotional strategy. In a landmark year marking the 90th edition of Mostra Internazionale dell’Artigianato (MIDA), Tuscany presents itself to the Southern Italian market by positioning craftsmanship as a strategic tourism product.

This vision finds full expression in MIDA 2026, which will transform into an experiential hub blending artisan workshops, show-cooking events by Vetrina Toscana and historical itineraries within the Fortezza da Basso. The event will serve as a strategic gateway to routes across “diffused Tuscany”, connecting visitors directly with workshops throughout the region. Beyond the exhibition itself, the initiative promotes mindful tourism, attracting new visitor flows through the enhancement of traditional know-how.

Through the Atlante degli Itinerari della Toscana Artigiana, Tuscan craftsmanship unfolds as a sensory journey across districts of mastery and materials that have shaped the history of world art. The route begins with the prestige of precious metals and stones, from the iconic goldsmith workshops of Ponte Vecchio in Firenze — whose current appearance dates back to 1595 under Medici rule — and extends to Arezzo, today an internationally renowned hub for jewelry.

The narrative continues through the dialogue between material and fire: the ceramics of Montelupo Fiorentino, closely linked to Medici patronage, meet the excellence of porcelain in Sesto Fiorentino, a tradition begun in 1737 thanks to the vision of Carlo Ginori. The region also celebrates the timeless relationship between marble and stone, uniting the white marble of Carrara — favored by Michelangelo and Antonio Canova — with the alabaster craftsmanship of Volterra, appreciated for over two thousand years for its unique translucency.

There is also the pairing of terracotta and crystal: on one side, the terracotta of Impruneta, whose tiles were chosen by Filippo Brunelleschi for the dome of Florence Cathedral; on the other, the mastery of glass blowing and engraving in Colle Val d'Elsa, known as the “Bohemia of Italy”. Finally, the textile and paper sectors demonstrate extraordinary regenerative capacity: Prato stands out as a leader in the circular economy with its regenerated wool, while the papermaking tradition of Pescia dates back to 1481.

Within this constellation of excellence stands the story of the Straw Hat of Signa, a product that perfectly embodies the union between artisanal ingenuity and maritime history. Known worldwide as “Leghorn” — from the English name of the port of Livorno from which it was exported — this accessory became a global status symbol, admired from international runways to cinema icons such as Audrey Hepburn and Sophia Loren.

Its production, within the historical relationship between Tuscany and Genova, intertwines with another icon of maritime heritage: jeans. Just as the Tuscan straw hat owed its success to Livorno’s shipping routes, the famous blue fabric traces its roots to Genoa. During the Middle Ages and the Renaissance, the Ligurian city was a center of excellence for producing a durable indigo-dyed fustian, renamed by French merchants “bleu de Gênes” (blue of Genoa), a term later anglicized into “jeans”. This historical parallel, celebrating a shared Tyrrhenian manufacturing heritage, will also be presented in Bari, building on a format successfully tested abroad on several occasions.

The Bari event reaffirms Tuscan manufacturing not merely as a legacy of the past, but as a strategic pillar for the development of mindful tourism. Through the enhancement of workshops, supported by a Charter of Values grounded in hospitality, sustainability and design, the Region underscores the value of human contribution and professional mastery. This mosaic of know-how transforms every itinerary into a unique experience of discovery and purchase, consolidating Tuscany’s image as a “Renaissance without end.”