Ozbek looks to fashion's future beyond the New Age
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.RIFAT OZBEK presented a brave new collection for spring/summer 1995 in Paris yesterday, using imagery from fencing and futuristic films such as Bladerunner to produce a collection that picked up where his 1990 New Age collection left off.
The first section was all white with fencing tunics, and detachable shoulder pads that looked like epaulettes. Miniature corsets were laced around the models' necks and tailoring was strict. Fabrics ranged from shiny patent leather to Aertex and sequinned Lycra. Jackets of stretch satin were stitched with corset details.
Soft, pastel-coloured jackets with fluted sleeves boasted square-cut, built-up shoulder lines - more Star Trek than power suit. Elements of disco crept in, with stretch satin bandeau tops and sequin-encrusted hot pants and trousers in emerald green, shocking pink and silver. The collection did not look to the Forties, Fifties, Sixties or any other golden era and the result was strangely futuristic.
Karl Lagerfeld's spring/summer 1995 collection for Chloe produced some wearable clothes, while still keeping in the spirit of Chloe, with sherbet colours and floaty layers of chiffon.
One section of chintzy, lacy milkmaid dresses verged on 1970s Laura Ashley, but 1960s-inspired, bottom-hugging knitted trouser suits and neat skirts worn unbuttoned over lacy underslips brought the Chloe look up to date.
Some dresses were pure Fifties Brigitte Bardot, with bell-shaped knee-length skirts over net underskirts. Best of all was a slimline rose-print jacket worn over a lacy skirt, and a series of silk skirts and tunics with delicate flowers painted around hems and necklines.
(Photograph omitted)
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments