The following chapter investigates the various avenues that the teaching of Fashion Design is now called upon to explore in a context in which virtual and augmented reality, as well as the metaverse, call into question the very meaning that the term ‘reality’ now holds within the sector. The vast array of questions that will arise on the roles of design, trained professionals, and even the relationship between manual work and mechanical work when hybridised—which has always been a feature of Italian products—will be considered not with a view to finding an answer, but as a means of bringing our focus back to education and training and, specifically, to the fundamental role that they play in constructing the kind of useful, versatile knowledge base and skill set that are becoming increasingly crucial in the professional world. Whilst fashion has always been the stage for an intertwining of bodies, arts, techniques, politics, approaches and materials, this is now truer than ever thanks to new technologies, which allow us to work in the virtual sphere as if it were our own reality, making it important to analyse and consider where we now stand as designers. In this day and age, the concept of remanufacturing (Barucco et al. in Remanufacturing Italy. L’Italia nell’epoca della postproduzione [Remanufacturing Italy: Italy in the Age of Post-Production], Venice, Mimesis, p 11 (2020))—a metaphor that encapsulates the current era of post-production in which products are manufactured from objects that are already in circulation, rather than from raw materials—has some clear points of affinity with the concept of the virtual, suggesting the possibility that traditional production systems could be reconfigured through these new technologies. Finally, we will consider the idea of ‘Made in Italy’: an international metabrand, an intricate and multifaceted heritage of techniques and products, approaches and materials that is yet another creative workshop that fashion designers must engage with. Indeed, it is these very designers who, faced with the paradigm shift being brought about by a wave of new technologies, are paving the way for a new development model in which the concept of creativity is no longer linked exclusively to the creation of products and systems, but instead to designing the memory of the future (Ibid. p.11.).