{"id":3684,"date":"2025-10-28T17:22:00","date_gmt":"2025-10-28T17:22:00","guid":{"rendered":"https:\/\/www.fondazionemcube.it\/?p=3684"},"modified":"2026-02-08T20:55:27","modified_gmt":"2026-02-08T20:55:27","slug":"newsletter-07","status":"publish","type":"post","link":"https:\/\/www.fondazionemcube.it\/en\/newsletter-07\/","title":{"rendered":"FMC #07"},"content":{"rendered":"\n

10.2025<\/p>\n\n\n\n

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FMC \/\/ November 2025. Our upcoming events<\/strong><\/strong><\/div><\/summary>
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Photo: The Necklace, 1999 <\/em>@Alessandra Sanguinetti at C\/O Berlin<\/a>

2.11 \/ Discovering the Myths of\u2026 <\/strong>The Lifetimes Tour<\/strong><\/em><\/a>
An unmissable event of music and pop culture for FMC.
American superstar Katy Perry<\/strong> lands at Bologna\u2019s Unipol Arena<\/strong> for the only Italian date<\/em> of her world tour.
With over 115 billion streams<\/strong>, 70 million albums<\/strong>, and 143 million singles<\/strong> sold worldwide, Katy Perry remains one of the most beloved artists of all time.<\/p>\n\n\n\n

13.11 \/ Discovering the Myths of\u2026 <\/strong>The Mayhem Ball<\/strong><\/em><\/a>
The concert-event of the year: Lady Gaga<\/strong> returns to music after her cinematic ventures with a monumental show suspended between decadent baroque<\/strong> and dark neo-gothic<\/strong> aesthetics.
FMC will be in the Golden Circle<\/strong> at Lyon\u2019s LDLC Arena (FR)<\/strong> for an exclusive live report.<\/p>\n\n\n\n

17.11 \/ Discovering the shock-rock myths and the gothic-industrial aesthetics of<\/strong> Marylin Manson<\/strong><\/a>
With his world tour One Assassination Under God Tour<\/strong><\/em>, Marilyn Manson<\/strong> fuses a highly theatrical visual style<\/strong> \u2014 iconic makeup, altar-like stage sets, and powerful symbolism \u2014 into a performance exploring religious imagery<\/strong>, social decay<\/strong>, transformation<\/strong>, and rebirth<\/strong> at a time when our world is once again reflecting on the threat of global conflict.<\/p>\n\n\n\n

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19\u201321.11 \/ FMC in C\u00f3rdoba, Argentina for SiGraDi 2025<\/strong>
Meta-Responsive Approaches in Architecture, Art, Design, and Sciences<\/strong><\/a>
SiGraDi 2025 immerses us in the world of responsive design<\/strong>, exploring adaptive and flexible solutions in architecture \u2014 and in cultural project development \u2014 that can effectively respond to the ever-evolving needs of both people and ecosystems.
Here, we will present our research See the Invisible: Using Generative AI to Represent Mythical Layers in Immersive Panoramas<\/strong><\/em>, while deepening our understanding of \u201cEternal Cities.\u201d<\/strong><\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n

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24.11 \/ Off to New Zealand!<\/strong>
GDI 2025 Green + Digital + Intelligent Built Environments<\/strong><\/a>
GDI 2025 will allow us to explore cutting-edge research<\/strong> and transformative practices<\/strong> shaping the future of the built environment \u2014 from sustainable construction and advanced structural systems to smart cities and digital transformation.
Together with the M-Cube Foundation<\/strong>, we will present the paper
See the Invisible. How Generative AI Can Support Panorama Artists in Representing Spaces in a Deeper Way<\/strong><\/em>, while further investigating the idea of \u201cEternal Cities.\u201d<\/strong>
We will also lead a professional workshop<\/strong> on phygital panoramic environments<\/strong> and present the new demo<\/strong> of the See the Invisible<\/em> exhibition.<\/p>\n<\/div>\n<\/div><\/div>\n<\/div><\/details>\n\n\n\n

The Fantamoda<\/strong><\/div><\/summary>
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by Fabrizio Modina<\/em><\/p>\n\n\n\n

Out there, in the so-called \u201creal\u201d world \u2014 among the alpha males who couldn\u2019t care less about the difference between turquoise and cerulean \u2014 people play Fantasy Football<\/em>, that curious homemade offshoot of sports betting which has now evolved into a proper business.<\/p>\n\n\n\n

If a <\/strong>Fantasy Fashion League<\/strong><\/em> existed, this season \u2014 between Milan and Paris \u2014 I\u2019m quite sure I would have earned a considerable sum by predicting the goals and own goals of the great names of the fashion system<\/strong>.
The game of reshuffles, comebacks, and rebirths seemed to have crystallized all within a single season: Spring\/Summer 2026. It was worth placing a bet, just to make sure everything would change \u2014 so that nothing really would. More or less.<\/p>\n\n\n\n

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Photo: VOGUE<\/em><\/em>

And immediately, a miracle was announced (by the press office, of course): no runway show, but a short film filled with global celebrities playing the roles of a colourful, dysfunctional family.<\/p>\n\n\n\n

The media and social networks got crazy, while I remained incredulous that no one seemed to notice the elephant in the room: there was no collection. Or rather, what little could be seen \u2014 about 80% recycled from Tom Ford\u2019s glory days<\/strong> \u2014 was shamelessly promoted as a see-now-buy-now<\/em> line. Translation: we\u2019ve turned into fast-fashion wholesalers from Centergross, but hey, we\u2019re still f<\/em>**ing cool*.<\/p>\n\n\n\n

The worst fate, however, befell Versace<\/strong> \u2014 though it didn\u2019t take a psychic to foresee it. When a Maison that built its entire heritage on physicality, sex, and excess<\/strong> is acquired by another with a diametrically opposite history, the result can only be discordant and disorienting<\/strong>. The outcome is a pastiche of archive themes from different eras, which the new designer Dario Vitale<\/strong> clumsily glues together \u2014 almost childishly \u2014 like paper dolls<\/strong> on the shapeless, worn-out silhouettes of Prada. From Supermodels to zombies<\/strong>, Medusa is once again beheaded, and those few who dared to cry scandal were, of course, petrified.<\/p>\n\n\n\n

As for Armani<\/strong>, for obvious reasons, the models could have walked in papier-m\u00e2ch\u00e9 outfits and it still would have been a standing ovation<\/strong>. The King is dead, long live the King.<\/em> Good luck to whoever will have to carry such a heavy legacy \u2014 fully aware of the need to rejuvenate a brand whose loyal clientele starts, and ends, around the age of fifty.<\/p>\n\n\n\n

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Photo: Balenciaga<\/em><\/em>

Beneath the Eiffel Tower, all the thrill is at Dior<\/strong>, which bids farewell to Maria Grazia Chiuri<\/strong> (already comfortably settled at Fendi<\/strong>) to celebrate the debut of Jonathan Anderson<\/strong> \u2014 one of the very few genuine enfants prodiges<\/em> of an otherwise largely underwhelming generation of designers. After turning Loewe<\/strong> into a phenomenon, the Northern Irish creative has now agreed to take the reins of Dior\u2019s womenswear, menswear, and haute couture<\/strong>, all while keeping his own namesake brand, his Uniqlo<\/strong> collaboration, and his work as a film costume designer<\/strong>.

John Galliano<\/strong> lasted fourteen years before losing his mind, so one can only wish Anderson the best \u2014 if nothing else, for his courage and endurance. The collection is hybrid and at times confused<\/strong>, yet the details show exquisite craftsmanship<\/strong>, the footwear is a delight, and the silhouettes are intriguing. It will be the Haute Couture collection<\/strong> that truly determines whether the designer\u2019s vision can fuse with the brand\u2019s essence \u2014 but we trust in his talent.<\/p>\n\n\n\n

Equally positive was Pierpaolo Piccioli\u2019s<\/strong> debut at Balenciaga<\/strong>, though he is not easily forgiven for having handed over \u201chis\u201d Valentino<\/strong> to the rather inept hands of Alessandro Michele<\/strong>.
Piccioli faces the difficult task of restoring Balenciaga<\/strong> to its original status \u2014 that of a laboratory for the experimentation of form and architecture<\/strong>, rather than an emporium of sneakers and t-shirts for wealthy Asian teenagers. More couturier than designer, Piccioli enters the archives of one of fashion\u2019s greatest geniuses with humility, seeking a balance between past and present<\/strong>, while taking the bold risk of a radical shift in clientele<\/strong>.<\/p>\n\n\n\n

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Photo: Channel<\/em><\/p>\n\n\n\n

Last but not least, the Parisian week came to a close with Chanel<\/strong> \u2014 the other great question mark of the season.
Will Matthieu Blazy<\/strong> be able to revive France\u2019s most iconic \u2014 and most soporific \u2014 brand? The answer, thankfully, is yes<\/em>.
With a single snap of the whip, the post-Lagerfeld era \u2014 ruled by Virginie Viard\u2019s<\/strong> pseudo-intellectual bourgeois touch \u2014 is gone.
Blazy conducts a symphony of lightness and youth<\/strong>, sending a message to a new generation of clients<\/strong>.

On the runway, there are smiles \u2014 even a little dancing \u2014 to the gloriously kitsch notes of Rhythm Is a Dancer<\/em>. The message couldn\u2019t be clearer: we\u2019re rich, we\u2019re snobbish, but we don\u2019t have to be embalmed matrons.<\/em>
And so, in a game of musical chairs that not even Giulio Andreotti<\/strong> could have orchestrated better, everyone has found their place.
The talented ones, the less talented ones \u2014 all accounted for.
The circus goes on, as we wait for the arrival, sooner or later, of a new, true genius.<\/p>\n<\/div><\/details>\n\n\n\n

Fashion, a profession in evolution<\/strong><\/strong><\/strong><\/strong><\/strong><\/div><\/summary>
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Discover the video talks<\/strong><\/a> by Fondazione M-Cube, starting with fashion and then gliding into many other worlds of Modern Mythology!<\/p>\n\n\n\n

Double Zip<\/h3>\n\n\n\n

curated by Grita<\/em>
filming and editing by Simona Rapisarda<\/em><\/p>\n\n\n\n

The New Languages of Fashion: Video Games and the Metaverse<\/h4>\n\n\n\n

Fashion, video games, and the Metaverse come together in the story by Leonardo Assom<\/strong><\/a>. Technical “know-how” also takes shape in the digital realm, while the boundary between play and reality becomes increasingly thin…<\/p>\n\n\n\n

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