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You know, I can’t pretend that I’m not extremely lucky to be able to do what I do. Running around to and from fashion shows, always one catlike stride away from death — sometimes I feel like I’m living in a movie’s makeover montage. But it can also get extremely tiresome; your feet start berating you for standing in lines for hours and standing in the very back row trying to see over a garish but still absolutely fabulous hat; your confidence, self-esteem and patience are tested as you try to maneuver through the crowds. You start to question why you do it, why bother? Then you see a show that just reaffirms everything. And your feet be damned, your ego bruised as it may be, it’s kind of worth it after all. Away from the tents, Kimberly Ovitz showed her incredible Fall 2011 collection and reaffirmed my love for fashion.

As I was approaching the Pace Gallery on the super west side of Manhattan, I saw some commotion — large men in black suits ushering out what appeared to be a very important someone. Then I saw the bob and my heart fell onto the sidewalk. She was gone before I could even respond to what had just happened, but I saw her. She turned and looked in my general direction. I saw Anna Wintour and I’m somehow still alive. I thought that would be the highlight of my day. I walked into the Pace Gallery and waited.

14 girls strutted out, their mouths slashed with neon yellow, their hair and half their face netted. They walked around the giant black circle that sits dead center of the gallery then stood in circular silence. After a few flashbulbs and a few shared glances mired in confusion, everyone began moving around the models — this was the show. By having the audience move of their own volition, the show was truly about the clothes. And to their credit, the models stood silently and still for an hour, though every ten minutes two would step out and rotate.

The clothes were like the presentation, simple but brilliant. Inspired by modernist architecture and her taste for adventure, Ovitz’s woman seemed to step out of a post-Apocalyptic Utopia. Possessing a beautiful severity, the looks came predominantly in grey, black or white, though neon yellow reappeared in various  forms — as in a black stretch jacquard dress with neon yellow embroidery — lending a hint of radioactivity.

Slouchy tops, draping, jersey pieces and column dresses are having a moment. I’ve seen them all crop up again and again over the last few days but Kimberly Ovitz has done it the best so far. Though those themes came off as very 90s at other shows, they were futuristic here: a sheer black column paired with a slouchy black cardigan was chicly dramatic; a grey, heavily draped cardigan gathered at the waist with grey and neon leggings created a beautiful silhouette; and several jersey pieces were embellished with graphic heat transfer prints.

The collection was more than just a presentation but an experience. I left the Pace Gallery feeling tired, because I haven’t not been tired in ages, but also inspired. This is what fashion is about for me. At its best it is wearable art, a testament to a designer’s talents and vision. So a gallery was the most appropriate place for Kimberly Ovitz. I’m convinced now that Anna had come down from on high to bestow her blessing.