The face of the "Calendario dei preti sexy" is actually Giovanni Galizia, a former airline steward rather than a priest [1, 2].

The revelation challenges the authenticity of a long-running publication sold around the Vatican and raises questions about the marketing of religious iconography.

Investigative reporting by La Repubblica uncovered that several men featured in the calendar were not actually members of the clergy [2]. The reports indicate that Galizia worked as a steward at the Rome airport [1]. This discovery has prompted a correction of the calendar's iconography to reflect the true identities of the models.

According to reports, the calendar has been sold for more than 20 years [2]. The publication had long presented its subjects as priests to appeal to a specific market of buyers in Rome and beyond.

"Giovanni Galizia n’est jamais devenu prêtre ; il était steward à l’aéroport de Rome," Luca Bianchi of La Repubblica said [1].

The discrepancy between the models' professional backgrounds and their presentation as clergy has drawn criticism from observers. Marie Dupont of La Dépêche said, "C’est une erreur de longue date qui a trompé les fidèles, mais la vérité finit toujours par éclater" [2].

The fallout from the investigation suggests a broader pattern of misrepresentation within the publication. Claire Martin of BFMTV said, "Cette découverte remet en cause l’authenticité du calendrier et soulève des questions sur son marketing" [2].

Galizia's image had become the iconic face of the series, cementing the calendar's popularity through a blend of religious imagery and physical attraction. The revelation that he was a layperson, specifically a flight attendant, strips the publication of its primary claim to authenticity.

“Giovanni Galizia n’est jamais devenu prêtre ; il était steward à l’aéroport de Rome.”

The exposure of Giovanni Galizia as a steward rather than a priest transforms the 'sexy priests' calendar from a curiosity of the clergy into a calculated marketing product. By leveraging the perceived sanctity and exclusivity of the priesthood to sell imagery, the publishers relied on a fabrication that misled consumers for two decades. This incident highlights the tension between commercial exploitation and the cultural identity of the Vatican's surrounding environment.