Christopher Kane improves upon the past with a Spring/Summer 2015 collection dedicated to his recently departed professor at Central Saint Martins, Louise Wilson, and inspired by unfinished works from his early archives.
The rope motif he revisits asserts a powerful visual, not unlike the fetishistic photographs by Nobuyoshi Araki that inspired its use. However, Kane is less driven by sex than surprise, and uses rope details to enhance his looks into artful treasures. Embroidered silk becomes a knotted network of multi-colored ropes across a sheer, clinging shift, which is later repeated on the four frothy frocks that close the show.
Kane’s work is elaborate and complex, requiring many adjectives to accurately describe. For example, he shows a short-sleeve mock turtleneck bodice in leather, with sheer paneling at the midsection that ends in a curving silk skirt. On top of all this, the bodice is pressed down by a web of leather straps. The sunburst strap motif is repeated, and looks almost as if it is holding up sections of Kane’s skirts and dresses. Another interesting technique was Kane’s use of peplum insets, similar to what Phillip Lim achieved on his runway in New York. While Kane’s pieces start out jutting away from the body and filled with tulle lining, they begin to take on more architectural qualities when he lines them in opposing directions on a creamy cocktail dress. One voluminous sheer blouse with a tiered skirt looked awkward in proportion, but the rest of the collection was restrained, streamlined and archly sophisticated. After a demonstration like this, one is apt to believe that Kane’s mentor would approve of how far the young designer has come in so short a time.
Photos: Courtesy of Imaxtree