At the beginning of 20th century, Italy, and in particular the Northern area (where the biggest textile industries were located), felt the need to define its own national fashion style. Turin 1911, and specifically the Pavilion of Fashion, was the space where Italy developed its own narrative about "moda", or fashion. The arrangement of the exhibition was curated by Giorgio Ceragioli, Giovanni Giani, and Oreste Pizzo who displayed, in lavish settings, hundreds of mannequins dressed by the most important Italian Fashion Houses.

The main hall featured Ceragioli's dioramas, huge painted canvasses illuminated by changing displays of light and shadow. The dioramas entitled "Paper-hunt," "Patinoire" and "Sulla spiaggia" reproduced the "toilettes" that young men and women wore in these leisure activities.

Architecturally speaking, the Palace of Fashion was one of the most charming pavilions, even in the planned modesty of its proportions. It was situated on the left bank of the river Po, at the very beginning of the Fair's itinerary, thus highlighting the importance that the fashion industry was beginning to have in Italy at that time.

The pavilion combined Art Nouveau elements with the echoes of the Turinese Baroque. The exterior featured large windows and columns, and was enriched by Art Deco motifs, such as flowers and leaves. The two foreparts, that were on the corners of the Palace and that ended with golden domes, were well balanced with the central structure that displayed large circular windows.

The major exhibits in the Pavilion were featured in a free guide that was distribuited to all fairgoers.

The Pavilion of Arts Applied is the first of the largest and most impressive structures that the visitors encountered upon entering the exposition from the Main Entrance at Umberto I Bridge. It was designed by the architects Lorini & Co., and it occupied an ample area on the left bank of the river Po. The Pavilion included several exhibitions. Besides the exhibits of Arts Applied to Industry, the pavilion included China, Japan, and Persia. The main entrance of the building was lavish and echoed the curves and vivacity of the Baroque style. It displayed a large staircase leading to the "pronao" (colonnaded entrance), from which the visitor could access the inner galleries. The facade, crowned by the great dome of the central hall, was grandiose and included several statues by sculptors Ravanelli and Sassi. The dome, which seemed to be inspired by the dome of Saint Peter in Rome, ended on a pinnacle with a Winged Victory, which was 45 meters high from the ground.