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[121] Furniss identified Fiona's character arc as struggling with insecurities about her identity and appearance before finally "accept[ing] herself in a so-called 'ugly' physical manifestation", which she described as merely "cute" as opposed to "push[ing] the boundaries of true ugliness." [4] Bob Waliszewski of Plugged In (publication) believes Fiona "has bought into the conventions of fairy tale romanticism hook, line and sinker", writing, "Her skewed perspective on love and marriage undermines agape love and spiritual discernment in relationships." [102] Similarly, TV Guide film critic Frank Lovece described Fiona as a "beautiful and headstrong princess" who has spent too much time thinking about true love

This dichotomous decadesandwiched between the counterculture 1960s and the opulent 1980switnessed the demise of haute couture's majestic reign and the simultaneous ascension of designer-led conglomerates

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