Forget Alexander Wang, Christopher Kane is fast becoming the most interesting young designer of today. Unconvinced? Cast your mind back to some of Kane's earliest designs, the bodycon dresses of his first collections in a crayola rainbow of colours, clashtastic and mixfabulous in a way that would pre-empt the runways of seasons to come (Marc Jacobs, anyone?). Still not convinced? Think about the intrigue that Kane creates with deceptively simple designs. An organza mini-dress? well, there's plenty of those from chanel to charles anastase. But with a scalloped hem in layer upon layer of floaty organza the apricot orange colour took on a shimmery pearl quality that made it stand out from every other party dress on the market. Think about how Kane plays around with established materials and shapes in a thoroughly clever, if slightly ironic way, like the flirty frilly full skirt in white wash denim, of all materials.
You still don't believe me? Just take a look at his most recent collection. Kane has this inane ability to be constantly inspired, every single one of his collections to date has been drastically different in both theme and execution to the one that preceded it. In a time when designers are constantly revisiting both their own, and other's, design archives with questionable frequency Kane is consistently reinventing the image of the 'Kane' girl, and in a way that is, it must be said, audacious. Sometimes a trailblazer, yes, sometimes a follower of the fashpack, sometimes in a class of his own: always fresh. And who doesn't want fresh in a time like ours?
Kane's most recent collection in London during the fall 09 fashion week was another change for him following the now infamous 'Planet of the Apes' collection last season which saw giant gorilla prints on long sleeved ice-skater skirted mini dresses, scalloped hems, bright clashing colours (like an acid yellow with a tangerine orange), circular cut outs on leather skirts, bright animal prints, puffy sleeves and paillete embellishments.
And yes, that season was a sell out, stocked by both internet sites and chic department stores (think the yasmin sewell revamped Liberty and Dover Street Market in London) women, mostly young and hip it must be said, flocking to deck themselves in a floaty confection made hard-edge by Kane's textile and tailoring expertise.
The current collection, however, is a study in how a designer can successfully appeal to a range of customers, broadening his appeal with a showing that is both youthful in that murky colouring, 'don't give a fucking damn' styling and edgy accesories, but also classic and timeless, thus appealing to a more sophisticated (for lack of a better word) customer with the exquisite, and i mean really exquisite, tailoring on blazers and skirts, the incredibly chic ribbon detailing on organza dresses that seemed to just float around the dresses, not merely sewn onto them, and the sharp, lean sillhouettes that the workplace so adores.
A vision in mostly charcoal black with the odd slice of murky jewel tones (i know, it doesn't seem possible, does it?) and milky white organza the clothes sashayed down the runway, some of them moving unbelievably well. One dress, with ribbon applique in pleated ripples on the hem, swayed in and around the model's knees like a cloud. I'm not even kidding. It was an incredible show to watch, a sartorial experience, even more astounding considering Kane's last collection, with the gorillas, the loud music, the bright bright colours. But, as many noticed, the collection may have been gaudy, but it was also very very clever. Kane drew on a few motifs: namely the circular cut out pattern which was later seen at Chloe, and ran it through the collection in various ways, each and every one a prime example of excellent workmanship and hardware. The leather circular cut outs on a skirt never drooping, despite the heaviness of the fabric, they seemed to stand up straight perpendicular to the legs of the models. Or what about the intrigue of the sillhouette of a mini dress with circular puffed sleeves, the arms turned into some sort of bizarre comic parody of the bodybuilder with his excruciatingly built up biceps.
This season he has taken that sly, and always very subtle, way of his of showing his fashion credentials and his ability to make really really good clothes that are well made and cool and impossibly on the pulse. A mini dress made up of sheer paneling and layers of floaty ruffles, Full skirted mini dresses with detached sleevelets, Cashmere jumpers that were on the right side of slouchy without being too far away from fitted, checked a line skirts that you know the fashion-savvy business woman will just eat up. Quality without sacrificing cool.
Christopher Kane is, without a doubt, one of the best young British designers. He is this because of his hip youthful designs that push the boundaries of what constitutes chic time and time again in that way that is so characteristic of the london fashion scene. But with this collection he has also established himself as one of the best young designers full stop. Appealling to the hipster youth is all very well, but there comes a time when a brand, a successful one that is, needs to broaden its horizons.
Welcome to the club.
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