As both symbols of the State and places devoted to the representation of sovereignty, embassies represent an aspect of the “conspicuous visibility” of Italians abroad that still deserves some critical attention. Although the Italian unification marked a new departure in the way the national government shaped foreign policy in part by means of architectural projects outside Italy, it was especially during the Fascist regime that national propaganda was spatially materialized through the promotion of new embassy buildings, one prominent example being the one in Ankara. This paper proposes to explore the overlooked case of the Italian embassy in Kabul. The project’s inception and subsequent history are necessarily intertwined with the historic phases of Italian politics, from the end of the Great War, through the rise of Fascism until the post-World War II years, marked by a new aspiration towards a moral and physical reconstruction of the country. The embassy’s origins can be traced back to 1919, when Carlo Sforza, the Italian plenipotentiary minister in Istanbul, signed an agreement with the Afghan king Amanullah Khan pledging Italian financial support for the Third Afghan War. Architect Andrea Bruno was commissioned to design the present embassy building, which opened in 1974. Since the early 1960s, Bruno had been involved in the restoration works on the Buddhas of Bamiyan, later inscribed on the unesco List of World Heritage in Danger.