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.
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Inside Louis Vuitton’s Murakami London pop-up, a colourful cartoon wonderland with one-of-a-kind caféWallpaper* takes a tour of the Louis Vuitton x Murakami pop-up in London’s Soho, which celebrates the launch of a new ‘re-edition’ accessories collection spanning the greatest hits from the Japanese artist’s long-running collaboration with the house
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Get to know Issey Miyake’s innovative A-POC ABLE line as it arrives in the UKAs A-POC ABLE Issey Miyake launches in London this week, designer Yoshiyuki Miyamae gives Wallpaper* the lowdown on the experimental Issey Miyake offshoot
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Margaret Howell London Fashion Week Women's S/S 2019 -
London Fashion Week S/S 2023: Ahluwalia to Martine RoseThough slimmed-down, London Fashion Week nonetheless provided the moments of creative expression the city is known for – from Ahluwalia’s ode to Africa to Martine Rose’s much-anticipated runway return
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Discover these fashion brands at London Craft WeekDuring London Craft Week, fashion brands including Smythson, Bally and Serapian are hosting events across the capital
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London Fashion Week S/S 2022: eight important insights to know nowFashion brands are back with a bang in The Big Smoke. Here’s everything you need to know from London Fashion Week S/S 2022
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Nicholas Daley's multicultural roots celebrated in London -
Optimism and pragmatism align at London Fashion Week S/S 2021In a socially-distanced show season different to any other, LFW's designers offered images of hope, escapism and utilitarianism
