After reading the recent article entitled The Looks of Lowered Expectations by none other than NY times writer Cathy Horyn, I found myself disagreeing with a woman whose blog posts and print articles I sincerely respect and, more importantly, agree with most of the time. Ms. Horyn's somewhat condescending conclusion about Milan's Fashion week is true to some degree; I did not particularly love Prada's Fall 2010 collection, especially the distracting black fabric serving as what appeared to be the underwire of a finely knit bra. I was also uninspired by Gucci’s line by Fridi Giannini, which was a color story and fit of the clothing disaster if nothing else.
However, as I looked through the pages of photos from the Milan shows, there emerged a clear scope and sequence embedded this season. I deeply disagreed with Ms. Horyn's blanket statement that "there is not enough fashion with a clear concept and image of how we live today." Milan's Fashion week served as the stage for some compelling conceptual work; mainly Burberry Prorsum, whose pieces were distinct combinations of military audacity and feminine genius, all of which find a sense of belonging in the grit and grind of NY city streets.
Similarly, Bottega Veneta's dresses presented a dreamy, ethereal fairy tale for women in search of grace and elegance, a perfect costume for any romantic evening out in Paris. And while I appreciate reading with a critical eye, the list of compliments far outweighs the insults. I embrace the many imperfections seen in the 2010 fashion shows as much as I do my own, however, Milan Fashion Week served its purpose. It was a platform for artists presenting their work, crafting canvases and illustrating lifestyles that I think speak honestly about the many ways we live life today.