Christopher Kane must be laughing. If there is one designer who has always incorporated sexual attraction, perversion, botanical reproduction and everything Doing It into their collections from day one, it’s him. He has always taken an honest and clear-headed attitude towards fashion’s role in the mating game, the hot topic that has suddenly resumed in these new days of pandemic liberation fever.
So if you want sexual tension with an injection of sophistication, Kane is your man.
For Spring, he shot a show in a dark London warehouse a few months ago. It opens with a strong black varnish: straight up to a frenzied erotic chic. The Kane girls don’t necessarily want to serve things on a plate: her talent is devising ways that play badly with all kinds of secret suggestions. Throughout the collection there are devices for revealing skin – necklines in little black dresses that hint at fetishism but are belted in protective metal; unconventional slits or portholes in otherwise perfectly appropriate covered gowns; a sporty crystal mesh miniskirt with a zipped slit.
Kane is also experimenting with form, and this leads to all kinds of modern looking techniques. One of them this season is her play with wavy shapes, like a scarlet bra top and a matching skirt armored with 3D geometric zigzag ruffles. The point is, you never quite know where Kane’s credentials come from, but her career-long insistence on short, leggy party dresses means an overabundance of choices for quirky-minded girls. which are finally, finally out in the evenings and so on. .
One of the inspirations he alluded to was the life of 1950s sex bomb Jayne Mansfield. She with overflowing breasts – a controversial star who openly flaunted her sexuality and incredible body at a time when it was all highly frowned upon. You can see her energy behind a diaphanous dress with a pink satin bra made of sharp geometric satin dots: provocative, yes, but also armored with self-confidence.