{"id":3716,"date":"2025-07-28T09:00:00","date_gmt":"2025-07-28T09:00:00","guid":{"rendered":"https:\/\/www.fondazionemcube.it\/?p=3716"},"modified":"2026-02-08T20:57:07","modified_gmt":"2026-02-08T20:57:07","slug":"newsletter-04","status":"publish","type":"post","link":"https:\/\/www.fondazionemcube.it\/en\/newsletter-04\/","title":{"rendered":"FMC #04"},"content":{"rendered":"\n

07.2025<\/p>\n\n\n\n

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FMC \/\/ September 2025. Our Upcoming Events<\/strong><\/strong><\/div><\/summary>
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08.09 \/ The new blind workshop at MART in Rovereto and Turin
<\/strong>We are ready for the new workshop at MART in Rovereto.
As part of the 45th Festival<\/strong><\/a> organized by Oriente Occidente, we will test the beta version of the game STATUS QU\u24baST<\/strong> together with blind and visually impaired participants and our partner Inventivio.
The workshop will be open to the general public, who will have the opportunity to try out the game mechanics and the tactile device Tactonom<\/strong><\/a>.
The workshop will then move to Turin <\/strong>for a final session with local communities, gathering feedback and making final refinements to the prototype.<\/p>\n\n\n\n

15.09 \/ New courses at the University of Turin
<\/strong>Starting in September, Fondazione M-Cube will launch two new workshops within the Department of Humanities \/ Communication Studies at the University of Turin. The workshops, focusing on Modern Mythology & Communication Design<\/strong>, aim to train professionals in communication and storytelling practices for the Cultural and Creative Industries.
These professionals act as \u201cvoices\u201d of change, translating emerging trends and data into innovative cultural communication designed to resonate across generations, with a greater awareness of the ongoing evolution of the key pillars shaping our world.<\/p>\n\n\n\n

25-26.09 \/ XXII. Conference Culture and Computer Science – Remixing analog and digital<\/strong><\/a> <\/strong> (Berlin)
<\/strong> At the end of September, we will be in Berlin with the project Eternal Cities \/ See The Invisible<\/strong>.
We will present our new scientific paper Cities as Emotional-Cognitive Constructs. Panoramic view to access Myth, Memory, and Meaning<\/em> by Emanuela Zilio and Chiara Masiero Sgrinzatto, and we will set up the demo exhibition Crafting Immersive Showcases \u2013 Hybrid Tools for Phygital Storytelling. MultipliCity and See The Invisible<\/em> at the KulturForum.<\/p>\n<\/div><\/details>\n\n\n\n

Bye Bye Anna<\/strong><\/div><\/summary>
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The news went around the globe as if it were an alien invasion: Anna Wintour steps down. The \u00fcber-powerful editor of Vogue America<\/em> has announced she is leaving her position as editor-in-chief after a career that began in 1988, while still taking on an \u201coverview\u201d role for all Cond\u00e9 Nast titles, especially the international editions of Vogue<\/em>. In other words, she has no intention of actually retiring.
May I add: what a pity!<\/p>\n\n\n\n

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If there\u2019s one common denominator in the fashion world \u2013 and particularly in fashion journalism \u2013 it is the servility towards figures who have spent years building and cementing a centralized, egomaniacal position that doesn\u2019t always correspond to genuine professional value, especially when judged over the long term.<\/p>\n\n\n\n

You don\u2019t need to be a fashion addict to know that The Devil Wears Prada<\/em> \u2013 both book and film \u2013 is directly inspired by her, based on the account of one of her assistants who survived years of cruelty and abuse. On screen, Miranda Priestley, the demonic editor of Runway<\/em>, amuses audiences with her Disney-stepmother wickedness. In real life, however, I challenge anyone to find anything positive in a boss who rules through a kingdom of fear.<\/p>\n\n\n\n

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I vividly recall one rare moment of collective clarity when she was booed in Milan a few years ago for imposing a change in the Fashion Week dates simply because they didn\u2019t fit her personal schedule. Who do you think you are?<\/em> as the Spice Girls would say.<\/p>\n\n\n\n

So who is Anna Wintour? A genius in the history of fashion, or a master manipulator of the press devoted to her own cult of personality?<\/p>\n\n\n\n

First of all, let\u2019s clarify something: if we are to identify a truly pivotal figure in this field, in the same role, that person is certainly not Anna, but Diana Vreeland. She, first at Harper\u2019s Bazaar<\/em> and later at Vogue<\/em>, shaped at least three decades of fashion aesthetics, launching the careers of couturiers, designers, photographers, and models like no one before\u2014or since.<\/p>\n\n\n\n

While these days of career retrospectives for \u201cQueen Anna\u201d see tabloids gushing over her stroke of genius in pairing a stunning neo-Byzantine Christian Lacroix jacket with ripped jeans\u2014thus inventing modern styling\u2014very few are asking what her actual contribution to fashion storytelling has been. Which designers has she truly nurtured and launched? Four names stand out: Marc Jacobs, Thom Browne, Proenza Schouler, and Miuccia Prada. <\/p>\n\n\n\n

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As a teacher of fashion history, whenever I\u2019m asked to talk about Marc Jacobs, I feel a genuine sense of embarrassment. Talk about what? Which innovation? Which historical moment? Nothing but good marketing dressed up as substance. Thom Browne? Let\u2019s just point out that he\u2019s the partner of Andrew Bolton, the icy curator of the Costume Institute at the Metropolitan Museum of Art in New York, who just happens to be Wintour\u2019s right hand in organizing the Met Gala. As for the utterly forgettable Proenza Schouler, I\u2019ll skip right over them and move to Miuccia Prada. When it comes to overrated names, she deserves a chapter of her own. The Devil doesn\u2019t wear Prada by chance\u2014or by choice. Quite simply, Prada bought the Devil. How furious poor Gianfranco Ferr\u00e9 was when Anna Wintour compiled a list of the world\u2019s best designers and\u2014who would have guessed\u2014Prada was the only Italian on a list dominated by Americans with a token few French. No Armani, no Versace, no Ferr\u00e9, no Valentino. A list as childish as it was dramatic, revealing a closed and non-meritocratic system built on an \u201cinner circle\u201d of chosen ones for the sake of mutual flattery.<\/p>\n\n\n\n

Turning the Met Gala into a spectacle that makes Barnum\u2019s Circus look like a premiere at La Scala has not been enough to chip away at the leaden statue, complete with bob and sunglasses. Because Anna is Anna, and she\u2019s still Anna. In an age when being cruel is \u201ccool,\u201d the Queen has reigned unchallenged, eliminating any possible rival. But what will happen if the crown now passes to someone with more talent and<\/em> courtesy? Perhaps we\u2019d discover that it\u2019s the only trend that looks good on everyone\u2014even when it\u2019s out of fashion.<\/p>\n<\/div><\/details>\n\n\n\n

Fashion: Professions in Transformation<\/strong><\/strong><\/strong><\/strong><\/div><\/summary>
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Discover the video talks by Fondazione M-Cube, starting from the world of fashion and then gliding into the vast universe of Modern Mythologies!<\/p>\n\n\n\n

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

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

With Algorithmic Aesthetics<\/em>, Grita and Fabrizio Modina invite us to reflect on how social media enters the fashion scene, reshaping it and introducing new players to the game.
What happens to identity and meaning in the frenzy of the algorithm? And where do subcultures end up?<\/p>\n\n\n\n

Follow us so you don\u2019t miss the next episodes!<\/a><\/p>\n\n\n\n

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