It feels like Christopher Kane is still the brash, visionary upstart of London Fashion Week. And yet, spring celebrated his 10th anniversary; it’s been a decade since his Central Saint Martin’s student collection caught the eye of just about everyone in the industry for its inventiveness—a signature that Kane has carried through and pushed further.
The first half of his Spring 2017 collection promoted the contrast of beauty and the beast—ladylike jackets and pencil skirts, cardigan combos and day dresses done in various mixes of animal prints, dyed fur and string-embroidered flora and fauna. It was a vibrant and heady mix; relatable but also stylishly out-there.
Kane likes to mine English dress codes and in some cases, stereotypes, for the runway. Rainy day chic was a past theme, while this season, there was a bit of the housewife to slipdresses paired with matching day bags, frumpy cardigans styled off one shoulder and in what will surely be the most talked about shoe of the season, Crocs gussied up with raw stones.
Evening was pure granny glamour in the best possible way. Pleated silver or blue lamé were spun into draped dresses and party frocks. While safety pins kept the panels of a black silk dress together while showing a bit of skin.
Kane‘s other major dichotomy was the play of lingerie against religious motifs. Lacy bras and slips walked out as if from straight from the boudoir while prints of saints and medallions were worked into asymmetric tops. Because every woman is a sinner and a saint. And as for Kane, his runway continues to be one of the most interesting every season.
From: Harper’s BAZAAR US