Christopher Kane S/S2022
Jacob Coburn-Blaauw glimpses inside the mind of Christopher Kane for his new S/S2022 collection
From designing costumes for Kylie Minogue’s 2007 2 Hearts music video to his six-season partnership with Versus (Versace), Christopher Kane, to this day, remains prevalent at the heart of womenswear. His focus has always been to make women ‘feel confident, safe and sensual’ and his latest collection fully embraces this ethos. S/S2022 presents a well-versed curation of looks that toys with historic periods, religion, sexual imagery and conservative norms.
Commencing in conformity, Kane captures the sinister to a tee; tailoring is angular and strictly cut, whilst jet-black patent faux leather seems to cling to the form in the various looks featured, creating a monotonous, minimalistic appeal. Emphasised by the pitch-black void illuminated with a strip of light to present the looks, an ever-so menacing aura filled the showroom.
Reoccurring throughout the collection were an abundance of aluminium plates – a motif that symbolises chastity and restraint; protecting the wearer. Elsewhere, the plates acted as a choker, restraining the model’s neck while simultaneously upholding the chainmail aluminium dress reminiscent of medieval armour. Though the opposing textures seemed unusual placed together, both pieces offset their differences, harmonising in an interplay between elegance and ferocity.
Several coordinated explosions of red appeared in a timely manner amongst the numerous looks, lacing unexpected flashes of vibrant colour into the drama, á la Pedro Almodóvar. Dresses, skirts and knee-high boots featuring over-extending buckles added playful sensuality and richness to his looks; at the same time mirroring then subverting Kane’s influences.
And much like his previous collection, which began as a focal point for artwork, Painted by Christopher Kane is featured on various shirts over several looks. Kane’s Wolfgang & Dennis are printed onto a pink oversized bell-sleeved T-shirt, tapping into a more ‘playful’ tone infused with erotic imagery.
Those wry erotic undertones continued with the open lace top adorned with a ‘Brat’ portrait, whose eyes challenged conformism in a discreetly sexual manner. Although the nature of the artwork is explicit in Kane’s more vibrant pieces, among more conservative styles, Kane’s playfulness remained just as, if not more, effective.
Christopher Kane’s S/S2022 hosted an abundance of nuanced perspectives – some seemingly more personal than others. His fascination with cult and his own catholic upbringing are both reflected in the Go to Hell and Sinner slogans. It’s these personal touches, amongst the well-executed symbolism, creativity and talent that leaves us asking, ‘will we ever get enough of Christopher Kane’s originality?’
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