I haven't had much chance to write anything detailed on this blog for a while, so as my writing comeback of sorts I thought that it would make sense to write about Christopher Kane, as his designs (and Raf Simons’) were what sparked my interest in fashion in the first place. If I had more time, I’d write an article on all 23 of Kane’s womenswear collections (maybe just 22, actually, because SS08 didn’t do anything for me), but instead I’ve had to go through the painful process of creating a really tight edit. The collections below are those which speak to me the most, evoking happy memories as well as general awe. It’s no great coincidence that I’ve warmed to the spring collections more; while for my own wardrobe I favour monochromatic safeness, I love looking at beautiful clothes in the kind of colours I’d never be able to get away with wearing.
I wrote heaps about this collection ages ago, but it deserves another mention. SS12 had triumphs aplenty, but Kane’s offerings were definitely the greatest. Artists in any field shouldn’t ever have to rein in their creativity, but, these days, fashion designers (particularly those heading up smaller, less financially-stable brands) are under pressure to create clothes with mass-market appeal. If you’re a fresh-faced designer whose income barely covers the rent of your dingy London studio, let alone the materials for your craft, you need your clothes to sell if you want your brand to expand. It’s not rocket science; producing clothes for esoteric interests doesn’t cut it unless you are Hedi Slimane, i.e. rolling in it (in which case you’re absolutely fine — continue to make clothes for your friends in bands that everyone else got over years ago — if it makes you happy then that’s all that matters). So, what made this collection stand out to me was Kane’s ability to pull off what very few designers can: the perfect balance of the commercial and the conceptual. The white shirts, cricket jumpers, boxy schoolgirl skirts and denim pieces are all accessible pieces — women all over can emulate Kane SS12 looks with ease simply by reaching to the back of their wardrobes — and yet there are some elements that just scream ‘expensive’ and ‘creative’ in the way that only runway looks can. The killer cuts, the aluminum-infused organza, the exquisitely detailed embellishment and sequin-lined appliqué… you can’t buy this sort of design complexity in Topshop (not even in the Boutique section, no, even though the brains behind it strive to emulate this sort of class).