Christopher Kane is a man fascinated with duality. A little bit naughty, but a little bit nice, we always know to expect a heavy dollop of both sugar and spice. This season’s collection played on themes of hyper-femininity but inevitably subverted the cloying sweetness to bring Kane's very own brand of fashion attitude.
We had riffs on ribbons with plasticized jelly bows clutching a chiffon pencil skirt like a web, ribbon prints on floaty sheer dresses and oversized bows placed on frocks and blouses. The palette centred on sherbert pink, lemon and clean white, adding a further sense of girlishness.
But there were also tougher style notes at play. Perspex Frankenstein (who featured on a print tee) nuts and bolts provided heavy-duty fastenings while taping added a protest-chic feel to the collection. By cross-hatching bejewelled, lace dresses with tape, we saw Kane attempting to literally cancel out the picture perfect prettiness. There was a sense that Kane’s girl, like her dresses, was broken and needed taping up – hinting at a fragility far beyond her fashion taste.
Material innovation as always was central to Kane’s collection – we had rose embossed motocross jackets, wide woven tops with matching skirts and plastic ruffles adding to the artificial tenor of the line. Also present was a collaboration with denim supremos JBrand, with an oversized boyfriend jacket and shorts – all fastened with the soon to be iconic see-thru nuts & bolts. Footwear also integrated utility closures with bolted ankle and toe straps and telephone cord sandals.
This collection was Christopher Kane at his off-kilter finest, and completely re-energised a fashion pack fighting through the fug of Day 10 fatigue. The King of London’s catwalk skedge? You’d be hard pushed to find anyone who didn’t agree.