By Marta Elena Casanova
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Italian women’s football continues to grow steadily and decisively, both in terms of audience and competition quality. The data updated to 2025 confirm a positive trend involving spectators, clubs, infrastructures, and media visibility. The 2024/25 season and the beginning of 2025 mark a true historic turning point for the movement, culminating in record stadium attendances and the approval of structural reforms by the FIGC.
Growing Spectatorship and Record-Breaking Attendance
The most remarkable data comes from Turin: on January 9, 2025, the Allianz Stadium hosted approximately 40,000 spectators for the Serie A Femminile match between Juventus and Fiorentina. This represents the new absolute record for a women’s football match in Italy, surpassing the previous one set on March 21, 2023, at the Stadio Olimpico in Rome (Roma vs. Barcelona, UEFA Women’s Champions League, 39,454 attendees). This is an unequivocal sign of the growing interest in the movement, driven by major cities and increased media exposure.
The average attendance at Serie A Femminile stadiums increased by 25% compared to the previous season, with a national average exceeding 2,300 spectators per match. Semifinals and the Coppa Italia Femminile final also recorded significant numbers, with consistent attendances above 10,000 fans.
Stadiums and Infrastructure: A Leap in Quality
Beyond spectators, infrastructures are also improving. Clubs like Roma, Milan, and Juventus have invested in the women’s sector, allowing their teams to play in prestigious stadiums, at least for key matches. The Tre Fontane of Roma, the Viola Park of Fiorentina, and the Pozzo-La Marmora of Como have become symbols of a new era for women’s football, where facilities are no longer just functional but also identity-defining.
Furthermore, thanks to the FIGC reform on April 15, 2025, Serie A Femminile will expand from 10 to 12 teams starting from the 2025/26 season, making the league even more competitive and increasing the total number of matches available to the public. Serie B will also expand from 12 to 14 clubs, offering new opportunities to emerging clubs and previously marginal territories.
Media Visibility and Sponsorships
The 2024/25 season saw a 40% increase in TV and streaming hours dedicated to Serie A Femminile. DAZN and RAI have consolidated their offerings, while the official social channels of the FIGC Femminile and individual clubs have also recorded double-digit growth in followers and interactions. Sponsoring companies—including sportswear brands, banks, and tech companies—are decisively investing in women’s football as an asset for inclusive and modern communication.
Economic Impact and Future Prospects
According to a recent FIGC report, women’s football in Italy generated over 120 million euros in direct and indirect economic impact in 2024, including investments, tourism, and sponsorships. This is a significant increase from approximately 85 million euros in 2022, demonstrating that the movement is not only a sports issue but also an economic and territorial development factor.
With the implementation of the FIGC reform and the entry of new teams, the goal for the future is to create a stable and sustainable professional system. Adopting virtuous models, focusing on the youth sector, and fostering collaboration between men’s and women’s clubs will be crucial to maintaining the positive trend.
The 2025/26 season will be the first with 12 teams in Serie A and 14 in Serie B. This will mean more matches, more athletes involved, and a denser calendar capable of offering continuity and storytelling to the public. Italian women’s football has proven to have solid foundations and a concrete growth perspective, not only in sports but also culturally and socially.
2025 represents a turning point for Italian women’s football. The numbers speak clearly: more spectators, more investments, greater competitiveness. And with the Allianz Stadium record, the movement has shown it can engage the masses. The future is now, and women’s football is ready to be a protagonist.
By Marta Elena Casanova
