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John Galliano, Fall/Winter 1994–1995

Paula Alaszkiewicz

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

In 1990, John Galliano moved from London to Paris. His early years in Paris are described as an ebb and flow, mostly determined by financial backing or the lack thereof. Cycles of decline and regrowth have since characterized the public perception of Galliano. After forgoing the previous season due to lack of funds, Galliano’s spring/summer 1994 collection was presented in the Louvre’s Cour Carrée to critical acclaim. In March 1994, pieces from the collection were celebrated in a Vogue editorial

Hussein Chalayan, Spring/Summer 1995

Barbara Brownie

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Hussein Chalayan’s spring/summer 1995 collection, entitled “Temporary Interference,” was his second commercial collection. It contributed to establishing Chalayan not only as a fashion designer, but as a philosopher and artist for whom clothes are a medium for provoking questions and symbolizing complex notions about human ambition. With this collection, Chalayan explores man’s ill-fated attempts to elevate himself to the status of the divine. Helium-filled balloons pull full-length slip dresses

Red or Dead, Spring/Summer 1995

Amelia Francis

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

The Red or Dead spring/summer 1995 ready-to-wear collection presents fashion pieces with a distinct moral statement: designer Wayne Hemmingway’s disgust at the practice of Western tourists exploiting the Far Eastern sex trade. This issue was particularly pertinent in the cultural context of the time. While this instance of a designer using his work to highlight cultural, ethical, and political dilemmas is by no means the first or last of its kind, the nature of the issue at hand, and the way it w

Bill Blass, Spring/Summer 1995

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Bill Blass’s 1995 spring/summer collection focused on color and short hemlines, clothes that he thought were “just pretty.” The dominant color was pink—a marker of femininity. That season, fashion looked to the golden age of Hollywood, the 1930s, for inspiration and Blass was no exception. However, while other designers created clothes with tight, long satin pencil skirts that hobbled movement, he ignored that trend and instead made fun and flattering clothes with a twist. His evening clothes wer

Issey Miyake, Spring/Summer 1995

Veronica Maldonado

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

In a season with an overflowing schedule and no clear unifying trend, Issey Miyake once again gained the admiration of both the fashion media and industry by continuing to stick to his now famous aesthetic and innovative fabric making methods. Miyake’s presentation was, as in the previous spring, less fashion show and more multimedia performance, this time with a live string quartet. His Paris Fashion Week success came at the heels of another—the recent launch of his Pleats Please line was exceed

Marc Jacobs, Spring/Summer 1995

Hayley-Jane Mazières

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

When the American designer Marc Jacobs appeared on New York’s fashion scene, in 1986, after graduating from the Parsons School of Design, he promptly attracted the attention of the fashion press, which praised his playful yet sophisticated streetwear. During his appointment as Perry Ellis’s creative director from 1988, he dared to launch a groundbreaking grunge collection in 1992—the press loved it; Perry Ellis executives loathed it—and he was publicly suspended from his assignment. Nonetheless,

Oscar de la Renta, Fall/Winter 1995

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

For his fall/winter 1995 collection, Oscar de la Renta focused on simple, stylish shapes, yet crafted them with sumptuous fabrics in rich colors. Heavy usage of appliqué and beading, along with chunky costume jewelry, added the glamour and opulence that de la Renta is renowned for. As a designer who typically favored classic styles over seasonal trends, this collection marked a time in which de la Renta’s designs were remarkably aligned with the contemporary fashion mood.

Oscar de la Renta, Spring/Summer 1995

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Oscar de la Renta’s spring/summer 1995 collection featured an array of sherbert candy shades and styles of dress, from halter, strapless, and bandeau minidresses to full, short-sleeve A-line versions, inspired by his mentor, Cristóbal Balenciaga. Shown at New York Fashion Week, the collection also included provocative, nightwear-inspired styles and even a wedding dress. While the mix of styles was eclectic, many of the designer’s praised signature traits were apparent, which converged to form an

The Chanel “2.55” Handbag, Fall/Winter 1995

Julia Rea

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Since its introduction in February 1955, the “2.55” handbag has formed an integral and enduring part of the House of Chanel’s stylistic vocabulary of accessories. Its recurring role as an immediately recognizable and iconic symbol of both the brand’s unique heritage and contemporary identity is a rare example of a fashion object that embodies a contradictory blend of permanence and continuous renewal. By examining the historical context of the 2.55 bag through the lens of a contemporary version,

Anna Sui, Spring/Summer 1995

Nadya Wang

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Anna Sui drew significantly from the 1940s to put together her spring/summer 1995 collection. While the dresses and skirts were ladylike in their silhouettes, they were saved from being conservative by the rubberized chiffon Sui used. This translucent material made visible the bare breasts and light-colored boy shorts underneath, such as in a halter top and pleated skirt combination in matching prints that bared the midriff. Tropical daytime looks, which were emphasized with flower crowns and lei

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