Christopher Kane S/S 2015

Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox
Thank you for signing up to Wallpaper. You will receive a verification email shortly.
There was a problem. Please refresh the page and try again.
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.
Wallpaper* Newsletter
Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox
Jack Moss is the Fashion Features Editor at Wallpaper*. Having previously held roles at 10, 10 Men and AnOther magazines, he joined the team in 2022. His work has a particular focus on the moments where fashion and style intersect with other creative disciplines – among them art and design – as well as championing a new generation of international talent and profiling the industry’s leading figures and brands.
-
Peruse the ICA print sale, marking the institute’s 75th anniversary
London’s ICA print sale, with Counter Editions, includes limited-edition prints from Chris Ofili, Hannah Quinlan and Rosie Hastings, and more, available individually or as a box set
By Hannah Silver Published
-
Reed Krakoff ushers John Hardy jewellery into a new era, and refreshes its New York store
The ‘Spear’ jewellery collection riffs on John Hardy’s signature handwoven chain, while the boutique nods to the brand’s Balinese heritage
By Pei-Ru Keh Published
-
New Aesop store in Rome opens, an ode to the Eternal City
At the new Aesop Via del Corso store in Rome, architect Jakob Sprenger hosted a celebratory event with Wallpaper*, including a panel discussion chaired by contributing editor Dal Chodha
By Simon Mills Published
-
Margaret Howell London Fashion Week Women's S/S 2019
By Dal Chodha Published
-
London Fashion Week S/S 2023: Ahluwalia to Martine Rose
Though 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
By Jack Moss Last updated
-
Discover these fashion brands at London Craft Week
During London Craft Week, fashion brands including Smythson, Bally and Serapian are hosting events across the capital
By Hannah Silver Last updated
-
London Fashion Week S/S 2022: eight important insights to know now
Fashion brands are back with a bang in The Big Smoke. Here’s everything you need to know from London Fashion Week S/S 2022
By Laura Hawkins Last updated
-
Nicholas Daley's multicultural roots celebrated in London
By Laura Hawkins Last updated
-
Optimism and pragmatism align at London Fashion Week S/S 2021
In a socially-distanced show season different to any other, LFW's designers offered images of hope, escapism and utilitarianism
By Laura Hawkins Last updated
-
V&A spotlights the sartorial and social significance of the kimono
For the latest endeavour of London's Victoria and Albert Museum, Kimono: Kyoto to Catwalk explores the evolution of the iconic Japanese garment
By Grace Cook Last updated
-
Erdem A/W 2020 London Fashion Week Women's
By Laura Hawkins Last updated