The lost meaning of Italian elegance and craftsmanship
Vogue World Milan is all over social media, but not for the reason one might expect. Rather than embodying class and sophistication, it generated enough grotesque memes to last for years. Some viewers even described it as a “plastic surgery expo.” Even Miuccia Prada appeared to have something to say without saying a word. So, spectacle yes, but not exactly in a flattering sense.
However, some people commented, “It was so Italian” — which left us astonished. What was so Italian about it? Just Milano and those sitting in the front row. Certainly not what Vogue claimed. In fact, it seemed closer to the Met Gala idea of fashion spectacle than to any distinct Italian vision.
Created by Anna Wintour in 2022 for philanthropic purposes, Vogue World is an international event less a fashion show than a highly produced spectacle that brings together designers, models, celebrities, performers, and technology. This Milan edition took place in Galleria Vittorio Emanuele II, bringing together Italian craftsmanship, fashion, performance, and technology.
Staged on September 22nd, the event was in collaboration with the Milan Municipality, Teatro alla Scala and its Academy. More than 500 guests were seated along the four arms of the Galleria. The front row was historic and exceptional: many of the biggest names in Made in Italy were there — Miuccia Prada, Raf Simons, Donatella Versace, Pierpaolo Piccioli, Domenico Dolce, Stefano Gabbana, and more. The event raised €2.65 million for the Biblioteca di Quarto Oggiaro redevelopment and expansion.
According to the official programme, Vogue claimed to move through “The Artisanal Revolution,” “The Industrial Revolution,” “Made in Italy,” “The Age of Intelligence,” and “The Imagination Revolution.” Vogue specifically said the event was intended to address the value of craftsmanship in the age of AI.
But was Vogue World Milan really so?
Elegance, craftsmanship, Italianness — these didn’t seem to be the main values. Elegance, in particular, seemed a lost concept.
There is an interesting contradiction at the heart of the evening. Vogue explicitly presented the event as a celebration of “Made in Italy,” craftsmanship and the human touch in the age of AI, while sponsors including OpenAI and Meta supported the event. The very forces the spectacle claimed to examine were footing the bill.
So, Vogue World Milan claimed to celebrate “Made in Italy” and craftsmanship. Yet the spectacle seemed to undermine both. Most importantly, what does it mean to celebrate “Made in Italy” when the people and production system that actually make it possible are increasingly under pressure?
For an event ostensibly celebrating human craftsmanship and “the human touch,” Vogue World Milan’s defining moment was four robots waving at the crowd. A fitting confession that fashion would rather borrow Silicon Valley’s hype than trust its own hands. The irony runs deep: Vogue World was billed as a tribute to Italian artisanal tradition, yet the segment everyone talked about featured Unitree humanoid robots wearing nothing at all, doing little more than waving and mimicking a lasso motion.
Il Fatto Quotidiano called the staging “extremely didactic.” A wooden model of the Duomo, tailors in white coats, then the Industrial Revolution, then the irruption of technology, all seasoned with ostentatious luxury and so much show-off that it left doubts about the event’s true meaning: a mere and self-referential celebration of fashion as the status quo.
On her Instagram, Frida Giannini highlighted the disconnection between the rhetoric of Italian craftsmanship, elegance and “Made in Italy”, and the extravagance of the event itself. She wrote:
“Tacky and ridiculous… Nonsense. Nonhumor. Nonelegance. Only an embarrassing circus. For Milano and Italy… With Open AI and robots??? Please, a bit of consistency. And dignity. So sad.”
She was having fun, she swore — but only because she could see all the details of those creepy faces having fun. The point stands: the inconsistency between the rhetoric and reality wasn’t a detail. It was the whole show.
While Italian craftsmanship was being celebrated as a marketing slogan, a few kilometres away the Made in Italy supply chain was enduring one of its most dramatic moments. The figures released by Milan’s CGIL paint a stark picture: in just three years, Milan’s fashion system has lost a quarter of its exports (−23.3%), sliding from over €3 billion to under €2.3 billion. Artisan businesses are shuttering (−19.7% in clothing, −17% in leather). And hours of temporary layoff schemes (cassa integrazione) soared in the second quarter of 2026. (source: Il Fatto Quotidiano)
The hands that actually make Made in Italy possible went unmentioned.
Is this Italian? Is this Italian elegance? Or is it simply a spectacular representation of what fashion has become — a circus of its own making?
Find the response in Miuccia Prada’s eyes.