Christoper Kane; What’s Going On?

Christopher Kane is very aware of how his experiences have influenced his work, and it is undoubtedly to his time studying the MA course at Central Saint Martins to which he owes much of his success today, and in particular to the guidance he received from friend and mentor, the late Louise Wilson.

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Indeed, Kane dedicated his Spring/Summer show to Wilson, who died suddenly in May of this year. The palette is muted, almost sombre, but the designs have been dreamed and made into reality in the most sophisticated way possible; Wilson, surely, would have been pleased with her student.

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Other relics from Kane’s past resurface  in these designs; the burgundy pieces are a throwback to his own school uniform, whilst “controlled explosion” dresses of tulle and silk held together by silver bars stemmed from original hand-drawn designs from Kane’s college days. The use of rope was also one of Kane’s older concepts, repurposed for the modern day; a recently-discovered box of photos featuring his sister modelling his early designs resurrected old experiments with cord and rope, based on he work of Japanese photographer Nobuyoshi Araki.

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“I know what my references are,” said Kane, when bombarded with questions backstage. “But probably they don’t look the same as before.” This is the words and the work of a designer who is sure of himself; Kane has a very clear idea of where he and his ideas have come from, and this gives him a very clear direction in which to move forward. 

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The ropes seemed to knot the past and the present together, linking the infinite imagination and impeccable work of a generation of designers with Louise Wilson; a woman who Kane remembers as one of the main reasons that he has got to where he is today. 

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