Christopher Kane S/S 2015

Dedicating his latest collection to his friend and mentor Louise Wilson OBE, Christopher Kane set out by explaining in his show notes how he - shortly after her untimely death - had found a box of photos of his sister Tammy wearing cast-aside prototypes featuring 'coils, chords and ropes' from his MA degree days. This was where Kane decided to pick up from for spring, building his nascent student samples into perhaps his most elegant offering yet. The Scottish designer's collections are always a deeply personal affair, through which he often re-lives his youth, and to wit this season's dominant Bordeaux hue came courtesy of his high school uniform. This maroon was successfully paired with cream, navy, dove grey and sky blue to form a rich summer palette. Kane's chord connection, on the other hand - initially composing rather polite twin-sets - was tied to the more adult concept of rope bondage, for which the designer cited his recent work with Japanese art photographer Nobuyoshi Araki. This manifested as intertwined cable embroideries and later crisscrossed satin cocktail sheaths. Also key to the collection were a series of what Kane dubbed 'explosions', where pleated silk tulle sporadically jutted out of the hem of a satin mini skirt or sprayed from a jacket neckline Queen Elizabeth I-style. These were eruptions of Kane's creativity that bubbled from below the collection's smooth satin surface. But little did they know that these rivers of pleated tulle would soon be completely contained by something as simple as a strategically placed silver metal bar. You'd like to think that his tutor would have approved of the synergy.

Dedicating his latest collection to his friend and mentor Louise Wilson OBE, Christopher Kane set out by explaining in his show notes how he - shortly after her untimely death - had found a box of photos of his sister Tammy wearing cast-aside prototypes featuring 'coils, chords and ropes' from his MA degree days. This was where Kane decided to pick up from for spring, building his nascent student samples into perhaps his most elegant offering yet. The Scottish designer's collections are always a deeply personal affair, through which he often re-lives his youth, and to wit this season's dominant Bordeaux hue came courtesy of his high school uniform. This maroon was successfully paired with cream, navy, dove grey and sky blue to form a rich summer palette. Kane's chord connection, on the other hand - initially composing rather polite twin-sets - was tied to the more adult concept of rope bondage, for which the designer cited his recent work with Japanese art photographer Nobuyoshi Araki. This manifested as intertwined cable embroideries and later crisscrossed satin cocktail sheaths. Also key to the collection were a series of what Kane dubbed 'explosions', where pleated silk tulle sporadically jutted out of the hem of a satin mini skirt or sprayed from a jacket neckline Queen Elizabeth I-style. These were eruptions of Kane's creativity that bubbled from below the collection's smooth satin surface. But little did they know that these rivers of pleated tulle would soon be completely contained by something as simple as a strategically placed silver metal bar. You'd like to think that his tutor would have approved of the synergy.

Dedicating his latest collection to his friend and mentor Louise Wilson OBE, Christopher Kane set out by explaining in his show notes how he - shortly after her untimely death - had found a box of photos of his sister Tammy wearing cast-aside prototypes featuring 'coils, chords and ropes' from his MA degree days. This was where Kane decided to pick up from for spring, building his nascent student samples into perhaps his most elegant offering yet. The Scottish designer's collections are always a deeply personal affair, through which he often re-lives his youth, and to wit this season's dominant Bordeaux hue came courtesy of his high school uniform. This maroon was successfully paired with cream, navy, dove grey and sky blue to form a rich summer palette. Kane's chord connection, on the other hand - initially composing rather polite twin-sets - was tied to the more adult concept of rope bondage, for which the designer cited his recent work with Japanese art photographer Nobuyoshi Araki. This manifested as intertwined cable embroideries and later crisscrossed satin cocktail sheaths. Also key to the collection were a series of what Kane dubbed 'explosions', where pleated silk tulle sporadically jutted out of the hem of a satin mini skirt or sprayed from a jacket neckline Queen Elizabeth I-style. These were eruptions of Kane's creativity that bubbled from below the collection's smooth satin surface. But little did they know that these rivers of pleated tulle would soon be completely contained by something as simple as a strategically placed silver metal bar. You'd like to think that his tutor would have approved of the synergy.

Dedicating his latest collection to his friend and mentor Louise Wilson OBE, Christopher Kane set out by explaining in his show notes how he - shortly after her untimely death - had found a box of photos of his sister Tammy wearing cast-aside prototypes featuring 'coils, chords and ropes' from his MA degree days. This was where Kane decided to pick up from for spring, building his nascent student samples into perhaps his most elegant offering yet. The Scottish designer's collections are always a deeply personal affair, through which he often re-lives his youth, and to wit this season's dominant Bordeaux hue came courtesy of his high school uniform. This maroon was successfully paired with cream, navy, dove grey and sky blue to form a rich summer palette. Kane's chord connection, on the other hand - initially composing rather polite twin-sets - was tied to the more adult concept of rope bondage, for which the designer cited his recent work with Japanese art photographer Nobuyoshi Araki. This manifested as intertwined cable embroideries and later crisscrossed satin cocktail sheaths. Also key to the collection were a series of what Kane dubbed 'explosions', where pleated silk tulle sporadically jutted out of the hem of a satin mini skirt or sprayed from a jacket neckline Queen Elizabeth I-style. These were eruptions of Kane's creativity that bubbled from below the collection's smooth satin surface. But little did they know that these rivers of pleated tulle would soon be completely contained by something as simple as a strategically placed silver metal bar. You'd like to think that his tutor would have approved of the synergy.

Dedicating his latest collection to his friend and mentor Louise Wilson OBE, Christopher Kane set out by explaining in his show notes how he - shortly after her untimely death - had found a box of photos of his sister Tammy wearing cast-aside prototypes featuring 'coils, chords and ropes' from his MA degree days. This was where Kane decided to pick up from for spring, building his nascent student samples into perhaps his most elegant offering yet. The Scottish designer's collections are always a deeply personal affair, through which he often re-lives his youth, and to wit this season's dominant Bordeaux hue came courtesy of his high school uniform. This maroon was successfully paired with cream, navy, dove grey and sky blue to form a rich summer palette. Kane's chord connection, on the other hand - initially composing rather polite twin-sets - was tied to the more adult concept of rope bondage, for which the designer cited his recent work with Japanese art photographer Nobuyoshi Araki. This manifested as intertwined cable embroideries and later crisscrossed satin cocktail sheaths. Also key to the collection were a series of what Kane dubbed 'explosions', where pleated silk tulle sporadically jutted out of the hem of a satin mini skirt or sprayed from a jacket neckline Queen Elizabeth I-style. These were eruptions of Kane's creativity that bubbled from below the collection's smooth satin surface. But little did they know that these rivers of pleated tulle would soon be completely contained by something as simple as a strategically placed silver metal bar. You'd like to think that his tutor would have approved of the synergy.