After a long break, Christopher Kane returns to the runway with a show at the Roundhouse, the famous musical mecca in North London.
Kane revisited many of his signature themes in the show, which is “a celebration of the beauty and complexity of the human body”, according to the show notes.
Christopher Kane uses the internal structures of the human body and the minimalism of doctors’ uniforms to create a collection that feels more like an anatomy class.
The show starts with Puritanical pastel silk organza skirt suits, with fold back hems trimmed in delicate rose lace, split to the thigh. The folds are a reference to dissected layers of skin.
Clear skeletal structures hold and cinch the upper body with miniscule buckles, emphasising the strength and importance of the abdominal area and exterior muscles.
These skeletal frames hold delicate sweet lingerie inspired dresses with splits that expose the longest and strongest bone in the body, the Femur.
Outfits featuring applique anatomical cross section drawings of hands, arms, legs and feet are symbolic of power and strength. Muscle and Bone intimidate and seduce simultaneously.
Transparent skins over dresses both protect and reveal.
Traditional and conservative twinset knits are subverted to suspend from shoulders by silver trigger hooks. Inspiration came from the young Queen Elizabeth and Princess Margaret roaming the grounds of Balmoral. Look 40 is a nod to her last official photograph taken in Scotland.
A single short black mini dress in duchess satin follows the architecture of a traditional Nurse’s cap.