Until the Pollini show, there hadn┐t been much allusion, direct or indirect, to the conflict in the Middle East this season. Rifat Ozbek changed that with his second look out: an innocuous-looking short silver shift that on closer inspection revealed an embroidered figure—arms in the air, mouth agape—plucked straight from Picasso┐s Guernica. (Of course, this being Ozbek, a designer who always has a lot going on, and this being fashion, it wasn┐t immediately clear how many in the audience had noticed his cri de coeur.)

Ozbek kitted out his power babes with all sorts of military regalia, most of it less in-your-face than that opening salvo. Tone-on-tone frogging decorated the collars and lapels of parkas and coats. A black silk jacquard used for a coat-dress and a jacket-mini combo looked for all intents and purposes like a miniature camo print. Then there were the green, red, and purple berets and the leather bags slung around the hips, fanny-pack style.

On the softer side were little dresses with flowers for epaulets and tops decorated all over with chiffon rosettes that were worn with short shorts in a substantial gray-wool knit. All in all, it was a good effort from Ozbek, and those dresses and rosettes were very pretty. (But pretty enough to make you forget the op-ed rumblings of a potential U.S. invasion of Iran, now that Ozbek's brought up the subject? That┐s a different question.)