(Images from Vogue.com)
As the last gasp of left wing divisive gender ‘conservatism’ and its obsession with social media hashtag causes that pass as quickly as they come, it is the ripple effect which can be felt thereafter, due to digital marketing networks and trends. News sites and clickbait all feeding into advertising and its monetary systems will source what is a current social or popular cultural trend. The fashion industry, like most reliant of digital networks, will attempt to originate trends prior to seasons. As in the early days designers and the like, would view what was seen on on the streets, at the styles developing hence a clever fashion designer could initiate the beginnings of a look or style in all of its originality.
And the streets are always right, not staring at a cell phone or computer screen. A smart designer such as Christopher Kane knows this.
As noted, particularly with New York Fashion Week, a climate, within the context of fear of digital hashtag vilification, has instigated of what is viewed as a ‘trend’ has arrived in earnest. A conservatively banal, poorly fitted, frumpy and dowdy collections which cover (in a sloppy and uncaring way) over the female form. Almost like an representation of religious dress requirements for women via theocratic belief systems.
Christopher Kane’s Fall Ready-To-Wear 2018 cheerfully brings back the sex appeal, the desire, the want and the reverence of sexuality, rare in this day of wayward sensibilities and misjudged sentiments. With two reviews from notable online fashion websites calling this collection “controversial” the other hinting, in a balanced and humorous way, that Kane did not tow the line with keeping in lock step of the current digital “outrage” ivory tower movements (which is ALL Hollywood, not the poor person on the street).
The divinity of lace as a material, one of the slight trends of 2017, which hopefully makes a swing back onto the runways. When used creatively in a contemporary sense it can meld into a sensual style. Christopher Kane for his RTW 2018 collection has utilized the sensuality of what sex is, referring to an old illustrated manual (1972) called the “Joy of Sex.” His collection, despite its sex theme, holds at times a restraint, with the middle part of the array following through with overladed styled coats and blazers. With the last part of the collection reverting back to its more sexual aspects, however this collection is far from controversial by any stretch of the imagination. One of the stand out pieces was the single leather and lace one piece mini skirt, what a great combination – rarely seen on runways, which Kane has achieved on this occasion. Interesting to see if it could be developed further as a style. Wool coats, blazers, black stylized dresses with glass beadings. Open zips, high thigh skirts, a tantalizing peering at 1970s and 1980s sex.
Christopher Kane has sent a message, subtle but relevant.
Coming Paris shows could be where we will see the controversial.
C H I A S M U S 