When I was in high school, I had an entire wall plastered with ripped out pages of fashion magazines, which I curated monthly, rotating out the old (which went into a folder for posterity) for the new.
But though the wall changed constantly over the years, several favorite clippings remained at all times. One of those was Christopher Kane’s first write-up in Vogue. A tiny little box with a few girls in flirty dresses that I fell in love with instantly.
Since then, I’ve tracked Kane’s career with gusto and relish every bit of his success. He’s always one of my most looked-forward-to collections each season, and for fall he didn’t disappoint.
The futuristic prints he’s favored the past few seasons remain, this time in high-gloss psychedelic warped lamé in red and blue. Jackets and blazers are accented with black leather collars and cuffs, while pencil skirts are wrapped in bow-tied swaths of the inky material. All interesting, but dresses are Kane’s bread and butter, and he delivered with short cut-out dresses blocked by leather piping–almost S&M looking.
The beaded wildflower print from spring remained, but the light white gauze base turned into black silk in the darker theme. And then there was the rose print; giant black roses afloat a purple-ish pink shift was breathtaking.
It isn’t like anything seen thus far in either New York or London. The palette is patriotic and royal–blue and red make purple, after all– and the cuts a perfect eclectic mix; ladylike in the length of the skirts, masculine rocker in the skinny trousers and leather toppers, and just plain fun dresses. Which is why we love Kane; he never fails to deliver beyond the trends, satisfying an itch we didn’t know we had.