A name kept secret until the last moment, an identity unveiled like a twist in a play: this is how Superstudio chose to reveal the man it presents as The Hidden Genius of its FUTURFASHION platform. His name is Pierre Amour; he lives in New York, took his first steps in fashion in Paris alongside legendary designers, and stands out for an uncommon ability to use artificial intelligence as a genuine creative tool.
“Young, brilliant, passionate. Looking at his work, I felt again that thrill of Grande Mode that I had not experienced in a long time,” explains Gisella Borioli, founder and soul of Superstudio, a historic figure of fashion journalism. “That is why I decided, once again, to support a talent I believe in and to give him the visibility he deserves, keeping his name secret until today so as not to lose him among so many others.”
The Hidden Genius took the form of a spectacular virtual show at Superstudio Più, in the Atelier of the FLA Museum, taking the audience inside a FUTURFASHION that is surprising yet possible: collections, silhouettes and visions that were also born with the help of AI, but conceived to leave the screen and become real fashion. Two readings overlap there, according to Superstudio: GREAT FASHION, that of desirable garments, unprecedented shapes and volumes, innovative materials, where AI acts as a tool that gives form to the designer’s ideas, a fashion that does not obey trends but tries to anticipate them; and IMAGINATION, that of play with artificial intelligence, an active accomplice in the inventions born in the designer’s mind, without limits, an extravagant entertainment that hides, beneath its eccentricities, inspiring ideas and details for those who can look beyond.
This story finds its natural continuation in the spaces of the Atelier of the FLA — FlavioLucchiniArt Museum — where Pierre Amour’s creations enter into dialogue with Flavio Lucchini’s works and sculptures devoted to fashion. The FLA brings together a substantial collection of works, from sculptures to drawings, which tell the history of contemporary fashion over the past fifty years — a setting that places the young designer’s work from the outset within a lineage rather than within a mere technological novelty. The event was supported by Audiolux, the Istituto Marangoni Milano, White Show and Ferrari Trento.
The choice to show work born of artificial intelligence alongside works and sculptures that trace fifty years of fashion history establishes, from the scenography onward, a dialogue between two regimes of creation that have long ignored each other: that of the archive, rooted in heritage, and that, still uncertain, of generative tools. Few fashion institutions embrace this confrontation so head-on, generally preferring to present AI in isolation rather than measure it directly against the history it claims to extend.
By choosing to reveal its protégé’s identity rather than keep it anonymous any longer, Superstudio is betting that the mystery will have intrigued enough for the now-known name not to become a mere anecdote. It remains to be seen whether Pierre Amour can make a fashion that will outlive him exist beyond the screen and the story of his discovery. The wager is all the riskier because the revealing of a name, once done, cannot be replayed: the whole value of the arrangement rested on that precise moment of transition between anonymity and recognition, an instant that does not repeat.
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