Sound bite: ‘It all started with illustrations from The Joy of Sex and More Joy of Sex, by Chris Foss and Charles Raymond. It’s both a text book study and a sensuous display of line drawing, almost in coffee table book form that’s both weird and really everyday. All of which always intrigues me.’ – Christopher Kane.
Mood board: Kane hammered home his intentions right from the outset this season. Before models even took to the runway at Tate Britain, a stark electro soundtrack repeated phrases (or perhaps commands) such as ‘more sex’ and ‘even more pleasure’. While the prodigal designer has never shied away from sensuality and subversion, his designs have never been as overtly erotic as they were for A/W 2018. Black crepe dresses bared jewel-encrusted cage constructions, while sheer rubber gowns entrapped with fine lace left little – or nothing – to the imagination. Cashmere jumpers were slashed horizontally and tailored leather jackets, skirts and boots were pierced with heavy crystals that jingled when moved.
Best in show: For all the kink, there was a sophistication in the rigorous detail and sharp silhouettes within the collection. Kane’s woman gained a new-found confidence and control with her armour-like jackets, crushed velvet tuxedo coat sand metallic brocade power suiting. You can bank on the marabou-trimmed camisole dresses, which bared illustrative prints from the two books, becoming collector’s items.
Christopher Kane A/W 2018
Christopher Kane A/W 2018
Christopher Kane A/W 2018
Christopher Kane A/W 2018
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Margaret Howell London Fashion Week Women's S/S 2019 -
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