Christopher Kane Spring/Summer 2016 ready-to-wear collection was shown in London Fashion Week on September 21, 2015.
Christopher Kane surpised us each season with something entirely new to keep us on our toes. The interesting thing now is that those varied and brilliant ideas have built up as one to become his signature, a repertoire of techniques. When you see them, you know they’re his and this collection was especially clear in showing them off.
There was that neon lace, which more recently has slipped into his pre-collections, there were primary bolts of colour to configure with jagged and purposely-jarring appliqué and chaotic embroidery. It was a hyper take on homespun with stitching squiggling out like handwriting across a knit or a sheath of a dress. We knew we’d seen the idea once before, but here it was renewed and played out to entirely different effect. That was the point.
A kapow colour palette led the way for a collection that was about taking things apart and piecing them back together, the designer cited. „Crash and repair, that’s what we kept saying to each other.“
The train of thought followed what has been a difficult few months for Chris and Tammy, whose mother sadly passed away just before their show last February. So just as much as this was a collection inspired by John Chamberlain’s sculptures and Scottie Wilson, it was one that came from an emotional point of view. „The car crash became the metaphor,“ said Kane in his show notes.
And so that idea of damage and repair, of building back up, could be seen in the pieces, which were patched and pieced together: splaying fringing; plastic pockets; wafting layers of sheer with lace to trace the body; dresses fastened in place by plastic clasps, a brilliantly crude and inventive use of them.