“There is a continuation of the idea of ‘crash and repair’ from Spring-Summer in this collection, that same girl from last season who is eccentric, rich and poor, sophisticated and unsophisticated is still there, but other elements have entered her world. I could see how many things led to her from our past, like the Bride of Frankenstein from Spring-Summer ’13 or the loop tape silhouettes falling apart from Autumn-Winter 13-14, and new versions of these things appear here.” – Christopher Kane
Both the everyday and over-the-top inform the 2016 Pre-Fall collection, from the extraordinariness/naivety of outsider art to the sophistication/subversion of grande dame evening wear, there is a practical sensibility mixed with graphic pop appeal, a seductive finesse with scientific precision, and a general embracing of the borderline psychosis of the Christopher Kane girl from Spring-Summer ‘16. That girl is still here, only more so; her power coming from the individuality of her outsider experience and the refusal to pay attention to rules.
A characteristic and signature contrast of extremes and experimentation takes place throughout the collection, both in terms of ideas and materials. Delicate rose motif Swiss lace is sliced through with waterproof technical tape – a nod to the Bride of Frankenstein from S-S ’13 – or is echoed in rough car painted stencils on heavy sheepskin or satin. Appliqued lace is also ‘sutured’ into place, and is contrasted with the geometric lines of hot-fixed ‘molecular’ crystals, mirroring the previous patterns of Frankenstein-style tape with a scientific edge. Refined, pleated organza ruffles are contrasted with the severity of simple silhouettes, an unlikely and wry enlivening of minimalist themes.