Were I Christopher Kane, I’d be terrified to follow up the ingenious collection he showed for Fall/Winter 2011 back in February. His liquid pouched dresses and handbags are the stuff collectors’ dreams are made of and they signaled a true forward-thinking stance that not many would dare to muster in a scenario as grandiose as London Fashion Week. But not Kane. His foray for spring 2012 may not be as robust, but it makes up for that in magic. Kane’s starting point for spring were pictures of young school girls lounging in their boarding rooms, penciled-in notebooks strewn about, the wallpaper starting to peel and fade. The description alone makes me hear notes of Air’s “Playground Love” – a Virgin Suicides motif, if you will.
The show opened with short dresses made of glistening Lurex yarn and holographic flower brocade. The flowers require closer inspection. The seams on the dresses also proved an unexpected, but welcomed touch, meeting at points in bisections that recall a school girl’s cootie catcher (I swear that’s what they’re called. Google it.) Metallic pastels were predominant and even so in the pool-side sandals, the show’s only footwear, that being another one of this collection’s master strokes (Expect those to sell like hot cakes come spring). After the brocades came the even more beautifully haunting aluminum organza dresses, some of which came appliqued with flowers sequined around the edges. They had the graphic quality of a doodle you’d find in a lovesick girl’s journal.
The final montage in his triptych of sorts were the bead encrusted garments, which were inspired by a patch Kane came across in a flea market. The thought that Kane can distill the pedestrian knick knacks found in your average flea market and create the stunners that closed this show just goes to show what a magician this man really is. To think his star is only rising. Time will tell that we’re seeing one of our future greats in his infancy.