Show Report

Show Report: Christopher Kane S/S 19 Womenswear

by Georgina Evans on 17 September 2018

Georgina Evans reports on the Christopher Kane S/S 19 womenswear show.

Georgina Evans reports on the Christopher Kane S/S 19 womenswear show.

Christopher Kane is fascinated with sex. The taboo, the kink, the science, the instinct: Kane loves sex appeal. Never explicit, always subversive, he twists and layers each reference. He's one who can conceal the perverse within femininity, leaving the onlooker befuddled as to whether that dress or that shoe was exactly as it seemed...

For S/S 19, Kane was looking at primal instinct, that raw sexual energy that all animals possess. A typically Kane osmosis of David Attenborough and Marilyn Monroe played as the show began - one narrated an observation of sexual prowess and the other spoke on the burdens of such behaviour. Both energies battled for an equilibrium in this collection. 'Marilyn Monroe was a sexual creature but she was despised for it.' says Kane backstage. Here Monroe's glamour and sex appeal were honoured and featured aplomb in bustier shapes, Kane's signature lace and deep V dresses. In contrast, sharp edges, bold power shoulders and lacquered textures took a primaeval bite out of Attenborough's encyclopaedia. Kane had been looking at the Praying Mantis as the poster child for this debauched and discerning collection. More often than not, when mating, female mantis' consume their partner's head mid-coitus. A deathly love scene like no other and well worth a Google search. T-shirts emblazoned with 'Sexual Cannibalism' and a sneaky looking mantis, green sheeny dress and thorax-like armour made of lingerie, all harked to the boss bug that devours and defies.

Christopher Kane S/S 19 Womenswear

That armour-cum-lingerie hybrid Kane created was one of the stand-out attributes of the collection. Kane had utilised a mini thong and metamorphosed it into dress strap, bralette, the front of a shoe. Taking the every day and the overlooked, and transforming them into dramatic and feminine pieces is what Kane does best. No ruffles here, this was a hard, strong and clean collection which encapsulated strength without intimidation and sexuality without slut. 'Women don't dress for anyone else but themselves.' added Kane, and quite rightly so. In the cell phone scrum backstage, one journalist asked Kane 'Do you feel like you've got your mojo back?' After such a collection how can one believe it had ever disappeared?


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