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Hussein Chalayan, Spring/Summer 1995

Barbara Brownie

Source: Fashion Photography Archive 2015

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

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

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

Marc Jacobs, Spring/Summer 1995

Hayley-Jane Mazières

Source: Fashion Photography Archive 2015

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,

The Chanel “2.55” Handbag, Fall/Winter 1995

Julia Rea

Source: Fashion Photography Archive 2015

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

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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