CHRISTOPHER KANE: FRANKIE GOES TO LONDON
























... and makes beautiful clothes. During London Fashion Week, Christopher was quoted saying the inspiration came from the nuts and bolts of Frankenstein... but the clothes, despite some slits and fastenings (OK, taping, too), bear nothing too literal of that Dr-Frankie-story aesthetic, thank goodness.

Kane is one who does something completely different each season - I'm sure I have said that somewhere but now there are things I'm trying to pin down here - but in this collection I see a bigger-than-usual difference.

I always had the impression that, when it came to shapes, he preferred simplicity, which worked miracles in giving his signature embellishment just the right background (like a black but never blank canvas?). 

True, he has been heavily involved with textures as well. An example of how he combined the two was a/w 2011 (yes, the modern mermaids): while half of his collection was about simple shapes and beautiful dizzying crochet prints, the other half gave detailing centre stage, worked onto otherworldly textures.

Now, however, while integrating all of that, he seems to have tapped into something new, building it into the clothes and the design process too, and that's structure. It comes clearly across in the soft origami dresses and skirts, and the overlays (not the full or half-body cover-ups you see elsewhere) that are very cleverly and intricately charmed into the basic shapes.

New fascinations are quilting, rose embossing, bow fastenings, gaffer tape, bows, marble print, zigzag, and a soft bow print curling away on flowing overlays and a structured skirt suit, or the 3D plastic bow print that would look like wrought iron from a distance... guess I'm getting goosebumps. 

Right now, I feel like picking my favourites (which will definitely include the bikers!) and spending the night just marveling at them.



runway stills: vogue.co.uk



And a little more on Christopher Kane:

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