Rifat Ozbek put a spin on the current upward shift of the waistline by thinking toreador! instead of Empress Josephine. Such skewering furnished a fresh device for the opening of his spring Pollini show: a grayish raised-waist silk dress decorated with silver fringed bullfighter embroidery that, on closer inspection, turned out to be made of bunches of safety pins. The Andalusian cross-reference also provided a neat solution for bolero jackets and cropped pants, as well as fluttery-topped double-layered blouses with ingeniously pretty big-shoulder, narrow-torso silhouettes.

Details like fine black lace on nude wool brought a new lightness of touch to a show that has sometimes erred on the side of stodginess. Curvy black dresses with a dash of Moorish ribbon embroidery provided aficionados with a flashback to the form that gave Ozbek his first accolades in the eighties. Those good vibes didn't quite manage to sustain the show to the end, though; the Miró-esque teardrop Jacquards looked a tad heavy. Nevertheless, with its lace and woven leather shoes by Georgina Goodman, and funny straw picador hats by Philip Treacy, this was Ozbek's best stab at Pollini so far.