The late Professor Louise Wilson's sudden departure had no doubt impacted Christopher Kane quite profoundly. The former student of hers at Central Saint Martins dedicated his Spring/Summer show to her memory, basing the collection on his earliest works when he was still under her tutelage.
"Soon after Louise died, we found a box of photos dating back to my time on the MA at Saint Martins," said Kane. "Because of meeting and being taught by Louise, I am where I am today." With those thoughts in mind, Kane revisited ideas from his very first foray into design, some of which have never been translated onto the runway. Kane reworked the idea of cords and tulle that burst through the seams of the dresses, which he described as "explosions." He shared his interest in Nobuyoshi Araki, whose work around Kinbaku (the bondage art of rope-tying) was referenced quite heavily when he first started. That explained the subtle Japonaiserie, notably in the basket weave knits in the opening looks and the nod to brutality. The collection also featured deconstructed styles that revealed the underlying structure of the dresses, leaving the boning exposed. Hard and soft, brutal and ethereal; all seemed to allude to the overarching sense of fragility.
"We have started to revisit ourselves in our collections," Kane added, emphasizing that it is a first for the brand. One can't help but acknowledge the concerted nostalgia and meditation over his entire body of work. Even the choice of Bordeaux was a nod to Kane's secondary school uniform from Taylor High. The cord motif throughout the collection seemed to resemble a relic from the past, but also a lifeline for the future. This collection may very well be the most personal one from Kane yet. It's a bitter-sweet reflective juncture for the house which Kane simply attributed to destiny: "Finding those pictures from the MA, this collection was meant to happen."