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.
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