September 17, 2019 |
Into a vast concrete basement we went, where a hyper-real meadow backdrop (surely too green to be true) was projected onto soaring cathedral-like walls. This synthetic nature was writ large and also miniaturised and used for all-over prints on the coats and mini skirts and little oblong shifts of Christopher Kane’s opening looks. It was all very intense but that seemed right. There was something very elemental about this show. It thrilled with Kane-isms – those particular fashion kinks that his legion of fans know and love. So a feminine, flounced anemone gown was held up with straps made from liquid-filled plastic bubbles, whilst a silk dress in bright neon (a Kane signature) was punctuated with giant silver baubles.
There were strange juxtapositions – skinny knits in highlighter pen yellow paired with prim paisley skirts or a paisley brocade skirt suit which might have owed a debt to Bruce Oldfield (Princess Di’s favourite couturier), worn with garish knee high cowboy boots. It looked great as did chainmail T-shirt dresses sprouting extravagant feather fronds. Science, sex and nature are constant Kane themes. There were space-scape prints, galactic sparkles and Eco Sexual sweatshirts emblazoned with Star Wars typeface. Expect to see them go viral when this collection hits stores in the Spring. Far out, trippy and full of fashion fetishes, it was Kane to the core.
Photographs by Jason Lloyd-Evans.
