Dear Shaded Viewers and Diane,
On a rainy Monday afternoon in London’s Camden Town, guests dressed in this season’s rubber raincoats were swishing their way town several flights of stairs into a wide basement lit with projections – of a deep blue sky first, and wildflowers next. These would soon become the standout prints in Christopher Kane’s spring 2020 collection. What happens when the preoccupation with nature and the state of our planet that may designers have had on their minds this season, meets the exploration of sexuality in all of its textures that this brand routinely returns to? Ecosexual was something of an otherworldly ode to the world we live in and the galaxies above, with a fitting soundtrack of Buffy Sainte-Marie reminding us all that ‘Magic is no instrument / Magic is the end’. One would recognise Kane’s best-known futurist staples – the glittery, liquid-filled plastic envelopes, now coming also as earrings and dress straps, the neon-lace frocks we’re sure to tell the tan lines of next summer by – somehow balancing out, sharpening those blooms and clouds, a paisley print, one of the moon. Sensual, smooth, somehow trim and feather-framed at once, this show was the first outing and the outline both of a wardrobe for the flower child of the twenty-first century’s second decade.
Later,
Silvia
