Christopher Kane Ready To Wear Spring Summer 2014 London
“Flowers for Spring…groundbreaking,” Miranda Priestly’s bitingly sarcastic critique on mediocrity from The Devil Wears Prada still resonates throughout the fashion industry and beyond. Not so for Kane, however; known for breaking fashion rules (for the better), he served just that: flowers. Only his were cut up and dissected, petals making teardrop-shaped cutouts strategically across the body, while others resembling textbook botanic illustrations crawled up on sweatshirts, jacquard skirts and dresses. The tender finesse of flowers was substituted by a more rigid, yet still uncannily seductive flora; at places even literally so, with petals pointing to or resembling female anatomy. Not a surprising subtext, considering that subversion is the very blood of the brand.
The climactic moment, however, in terms of innovation seemed to come with the spray-painted shirts and dresses in fluttering hologram tinsels. An effect achieved by heat-pressing fabric together until it melts into one, it was charged with an outright intergalactic fluorescence, offset by the feminine elegance of Kane’s silhouettes. As for his global following of women in need of high-impact eveningwear, he also served a handful of fluid silky gowns for good measure, each clasped or hanging by floral crystal collars and straps.
There’s no point arguing originality when it comes to Kane. What he does is, or feels ‘new’ even to the trained eye. And that’s what has every editor and buyer worth their salt ,with eyes peeled for what he does next.
- Maria Dimitrova