Mood board: In the #MeToo era, there’s a new caution in provocative dressing. But eroticism is something that Christopher Kane is embracing. Last season, the designer presented a collection inspired by illustrations from Chris Foss and Charles Raymond The Joy of Sex and More Joy of Sex. For S/S 2019, Kane was more wrapped up in the natural world. His collection, presented in the round at Tate Modern, was showcased against an eerie robotic soundtrack playing clips from nature programmes, and when played out inside the stark concrete backdrop of the showspace, it was bolstered with a hard, cyborg-like energy.
Best in show: The extensive collection incorporated a host of Kane’s signatures: lace detail dresses but with cut-outs that resembled armour or eerie exoskeletons, crystal embellished coats and oversized gem embellishments, bordering on bad taste. A series of logo t-shirts alluded to sex in the natural world, like a print of two praying mantis’ with the slogan ‘Sexual Cannibalism’, or two leopards fighting with the phrase ‘Fore Play’. Elsewhere, square shouldered blazers had a Claude Montana severity, and shiny silk dresses draped seductively across the body.
Finishing touches: The buckle-detail trainer that Kane introduced in 2016 has been a hit for the brand. For S/S 2019, alongside lace-detail and gemstone embellished boots, the designer debuted a colourful lace-up trainer. These were paired with acid wash denim mini dresses and tiny lace skirts, and bought modernity to those super sexy, shorter silhouettes.
Christopher Kane S/S 2019.
Christopher Kane S/S 2019.
Christopher Kane S/S 2019.
Christopher Kane S/S 2019.
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Margaret Howell London Fashion Week Women's S/S 2019 -
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