Christopher Kane Goes Back To His Roots For His Latest Project

The Story

History is filled with stories of ordinary people who achieved incredible things, but never truly received the recognition they deserved; overshadowed by the limitations of their time. But Janet Harbinson, known affectionately as Nettie, is one such person finally being celebrated for her quiet heroism in short film, The Spirit of 1926.

The film, created by revered whisky distillery The Macallan, is a triumph of collaboration between some of the UK’s finest talents, from film director Mike Newell and actor Emily Mortimer to Scottish musicians Simple Minds and – not least – Scottish fashion designer Christopher Kane. The Macallan felt the designer, who created the beautiful period costumes that bring Harbinson to life on screen, was perfect for the job due to his shared values of time-honoured skill, quality and craftsmanship.

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The Inspiration

The film picks up as Harbinson finds herself at the helm of The Macallan distillery after her husband Alexander, the managing director, dies suddenly. It was during her tenure, in 1926, that she unintentionally created the most valuable bottle of whisky ever sold at auction. Many say this was down to the courage she displayed in her work and her strong belief in doing the right thing – not only for herself but the wider community.

As Harbinson’s story belongs to Scotland, it felt only right that a fellow Scot such as Kane be involved to help tell it. In fact, Kane’s childhood memories of growing up in Newarthill, a working-class village near Glasgow, are intertwined with the nostalgia of The Macallan brand. “Being Scottish, whisky has been omnipresent,” says Kane. “My father and uncles were all passionate about it – the smells of the different types are still clear as day today.”

While Kane wasn’t aware of the individual role Harbinson had played in the whisky company growing up, he quickly fell in love with her story and wanted to help bring it to life. “It was so inspiring to hear of her determination to lead the business after the death of her husband. Courage, resilience and a lot of stamina would have been required,” Kane says. “She was such a modern thinker for her time.”

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The Creative Process

To design the costumes for the film, Kane needed to immerse himself in Harbinson’s world – a process he took on wholeheartedly. “First, I had to get to know her. The archivist at The Macallan was fantastic and shared visuals, photographs and newspaper clippings – all of which shaped a vision of her in my mind,” the designer explains. “I felt like I knew her by the end of it, so it was quite intuitive as I began research and development of textiles and fabrications. I think we did her justice.”

Being Scottish, Kane says that he had the advantage of understanding the nuances and complexities of balancing both function and aesthetic within Harbinson’s costumes, as well as the masculine and feminine roles she played in her community. “She was such a progressive figure, yet always humble and caring. I felt it was important to portray the warmth I felt for her in the garments.”

Kane explains that while he usually avoids historical references in his contemporary work, this project allowed him to embrace heritage fabrics such as wool, tweed and lace, while adding his own unique and distinctive stamp. “I was very conscious not to make things twee,” he says. “Scottish culture can be both a curse and a gift – there is a fine line to tread. Because of my own upbringing, I understand how to make it work. I wanted to create clothes that nodded to hard labour, the heather that would have grown wild around the estate, and the cold winters that would require heavy knitwear.”

The Nostalgia

One of the most special parts of the design process, Kane admits, was the way it helped him reconnect with Scotland after moving to London in 2000. “I have spent more time [in London] than in Scotland, but I still have a love for home. I love the humour more than anything,” he says. “Working with The Macallan has made me grow closer to Scotland. The trips to the estate and distillery are different every time you go, depending on the season. It truly is a beautiful setting – fairy-tale stuff.”

Kane also drew parallels between Harbinson’s work ethic and his own – one that, he says, was instilled in him from his early years by the important women in his life. “I was surrounded by women [growing up]; my mother, my grannies, my aunts, my sisters,” he reflects. “Through them, I learned about life and all of that shapes the way I work.”

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The Empowerment

It takes instinct and conviction to chase a dream and make a success of it – something that Kane understands very well. Like Harbinson, he has also listened strongly to his intuition throughout his career and maintained a strong belief in himself. “Tuning into your instinct is intrinsic to being a fashion designer. It is intangible – and odd – how it manifests, but the times I chose to ignore it have always been troublesome.”

In turn, he aimed to impart some of that feeling into the clothes he created for the character of Harbinson. “Clothes can be a powerful tool and my priority is always to create original designs that will last a lifetime,” he explains. “I want women to feel confident and empowered to face anything or anyone.”

To learn more about Harbinson and her story, watch the full film at The Macallan.

Please enjoy responsibly.