Alberta Ferretti is Mediocre and Mod


Photo: Marcus Tondo /


The Alberta Ferretti collection of Autumn/Winter 2011 was not taken in with so many welcoming arms. In fact, Ferretti’s collection could be described as a controversial one. Mixed opinions across the critiquing board flooded the mass media. WWD(Women’s Wear Daily) wrote a rather harsh review saying, “Despite some appealing clothes, fall felt like the result of major indecision.” Meanwhile other industry reads defended the collection such as the Daily Front Row also reporting, “Oh, behave! Alberta Ferretti is supporting the late sixties, early seventies look.” Nevertheless, the neutral group of the industry brought level-headed, rather fair reviews to the public. Critiquing and giving level-headed praise into the ring. However, whichever side you wish to join, my stance will stand firm. This time, Ferretti created a mediocre collection–actually every season she holds the title.

Moreover, Ferretti is felt to be a “filler” at Milan Fashion Week. She never seems to disappoint–obviously she always has a great red carpet turn-around. Yet Alberta Ferretti never creates a major plausible collection. I tend to agree with a fashion blog, Tracy Clifford Style which admits that the blogger has, “had the pleasure of seeing almost every one of Alberta Feretti’s Collections over the last few years and always have the same reaction: ‘It was pretty.’ I have never been excited about anything specific or found her designs to be particularly innovative…She puts out a consistent collection that is feminine and of course ‘Pretty’.” A fair opinion, since Ferretti collections can impressively look the same every time without pulling all too many harsh, negative reviews. Her clothes will always be in a secure position at a high-retailer and one garment will always become the apple of an eye; however, Alberta Ferretti is extremely safe.

In this instance, the Ferretti collection for autumn was fluently present of the 60s’ mod configuration. Loud, aggressive–almost jewel-like colors accompanied the basic tunics, pants, and outerwear. However, despite the strange movement to change from her signature style, Ferretti returned to her roots in the end with red carpet worthy gowns. Mostly light and flowing, these dresses would prove to impress the public. The collection was seemingly a quick conglomeration to jerk the industry’s attention–probably to prove that Ferretti was capable to produce more than just a gorgeous gown. Nevertheless, the modish change did not rid any attention, but left the industry–as a whole–bewildered.

One moment to the next I found a great piece. On the whole, it was sadly pointless.

Stars: 3/5


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