“There is an idea of beauty expired this season,” says Christopher Kane. “But  how that dead and thrown away beauty  often  looks better  than  when it was supposedly  alive.  The notion  of  lost  and  found  had come to us some time  ago and we had started  to collect  and collage these things  together,  ideas and memories of people, places and objects  at different  times.  I  have always been obsessed with  recluses and the image of the outsider  making  their  own world by hoarding things  away. We wanted to emulate that  for this collection;  to take unlikely  things and make them beautiful,  looking to an outsider who has her own rules and her own style – she does what she wants and defines her own beauty.”

The  unconventional,   transformative  journey  of  the  Christopher  Kane  girl  continues  this  season in  a collection  that celebrates the lost and found. Drawing on the autobiographical,  the figure of the outsider and the  idea of a new primitivism, the  discarded  detritus  of glamour is accumulated  and elevated to new heights of fashion in the collection.

Subverting humdrum  ideas of luxury, a notion of preciousness and elegance is derived from the everyday together  with   the  more  exalted  this   season,  making  the  ordinary  extraordinary.  From  the  humble cardboard box, transformed  into  corrugated camel coloured leather for clothing  and accessories, to the  bricolage of embroideries and appliques,  ranging from the precious to the throwaway – many made with the  input  of  the  legendary Lesage for  the  first  time  – there  is a purposefully  naïve mix  of  techniques and textures, trinkets  and talismans,  that  almost belies the complex care and craftsmanship  behind the clothing  and accessories this  season.

Meaning and chaos combine in a dream-like,  stream of consciousness process for the collection  – itself mirroring  the idea of lost and found.  An idea of contrast and coexistence in  experimentation  abounds, making use of long-term  research as well as a fresh, celebratory spontaneity in the clothing.  Time-lapse photography of the life  cycle of flowers – a special studio project that took an entire week to document – appears as a new spin on lenticular  accessories as well as in studio crafted,  photo-real floral  prints  this season. Chantilly lace is felted  and mixed with  scrim to produce a new kind  of fabrication,  luxurious  in its purposefully faded glory. Meanwhile, mink is made hyper-modern when lined with reflective fabrics together with lace electrified  by reflective  stitching.

This season also sees the  introduction  of a new Kane logo, a somewhat tongue-in-cheek  notion  of the luxury  house staple,  in  a purposely  ‘Ye Olde  English’  found  typeface.  While  the  rain-mate  bonnet  is revisited,  somewhat more luxuriously,  with  the milliner  Stephen Jones for this  collection  – a first-time collaboration  with  the house.

Altogether, this  season sees a mix of childhood  memory and desire for some of the finer  things  in  life, simultaneously  with  a celebration  of the preciousness of the high fashion process once it is attained.

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