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Christopher Kane’s collection started in smart pinstripes and blacks, and then bloomed into dark flowers and intricate embellishments. Prints included abstracted, low-contrast concoctions of purple wood grains on dresses and bluish cheetah spots on leather macs; details included large blossoms embroidered on scarlet sheer blouses and skirts, and flower beds of beads and shiny sequins. The collection offered a contemporary take on Japanese kimono florals, with undertones of fetishism and perversion in tight leathers and the thick rubber rings that structured key pieces: square bras that looked like De Stijl artworks and synthetic crop tops that opened and closed as the models marched along the purple-carpeted runway to rumbling noise. This was a much moodier, sexier take on the flower garden than Christopher’s last collection, suffused with a pop-edginess mirrored in the Grimes track that played after it was all over.
Text: Dean Kissick
Photography: Mitchell Sams
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