Leave it to Christopher Kane to combine duck tape, plastic nuts and bolts, molded PVC lace, and embossed leather into a cohesive collection that pushed the fashion envelope in terms of both creativity and clothing.
The show started out quietly enough for a Kane collection. White on white ensembles, which used glossy strips of duck tape seemingly randomly scattered on tops and skirts, came outfitted with convertable biker jackets tricked out with a flower pattern pressed into their buttery skin. But by look number three the “fashion statement” designs started to dominate the show.
First, it was just the insertion of clear plastic nut and bolt ornamentation that pierced shoulder straps, held tiers of folded fabric to the body or finished off high-heeled footwear. A fashion flourish, to be sure, but still the clothing looked wearable. It was also a clever way for the designer to build up the volume on his outfits without making them look bulky.
Then the show took an even more experimental slant. Although the collection was a romantic one - filled with curlicue bow print dresses or three-dimensional alternatives pressed flat that wrapped the waist or gave a sharp edged adornment to the shoulders. But Kane is not a girly designer so before long those pretty little touches showed up in modeled plastic incarnations. Consequently, a skirt would be built out of linked garlands of plastic bows and paired with a sleeveless purple top adorned with a print of Frankenstein’s face or lady-like lace inserts on tops worn with sugar spun candy colored suits came crafted from matte PVC.
This was a collection that was decidedly feminine but, thankfully, never put women on a pedestal. No, these clothes were made for a woman with an urban attitude who is more than capable of standing on her own two feet.
- Jessica Michault