As the first decade of his professional career draws to an end, Christopher Kane finds himself concurrently spearheading the contemporary British high fashion movement and seated atop a uniquely curated style identifiable as his own. Known for his masterful manipulation of graphics, the designer has, throughout his relatively short time in the profession, cast his creative gaze upon the molecular to the galactic and everything in between (from volcanos to mushroom clouds to gorillas and chimpanzees).
For Autumn Winter 2015, Kane continues his work as an enterprising explorer, taking us on a trip into the mathematical world of geometry. Kane revisits his familiar destination of three-dimensional prints, with the works of artist M.C. Escher serving as the symbolic compass. The motif of the season is clear, albeit somewhat misleading. It is about shapes, but also so much more than shapes in isolation. A closer look reveals that, this season, Kane focuses on the transition from order to chaos, specifically emphasizing the dynamic interactions between the shapes with each other, as much as he does their mathematical properties. One can imagine the pieces themselves as pin drops on a map of Kane’s graphical journey: from the initial soft crumble of the perfectly tessellating cubes to the shirt that caves in upon itself onto the final rubble that remains, there is a clear beginning, middle and end to the collection.
For our editorial, RSVP takes the same active approach to the collection as Kane, going on a journey of our own into the realm of geometry. This is our interpretation of Christopher Kane’s Autumn Winter 2015 collection.