Similar to Victoria Beckham this season, Christopher Kane took the “less is more” path: less clothes and less looks result in a well-edited, meaningful line-up of truly intriguing garments. In Kane’s case, however, it’s been reverting to painting with multicolored glitter as he did as a kid that’s got him back to who he is. His flagship in Mount Street was turned into an exhibition space on the day of the collection’s presentation, filled with easels and canvases and imagined portraits of girls that he’d made obsessively during lockdown. Grouped around on mannequins were vibrant prints that made the jump from pictures to coats, dresses, shirts and t-shirts. Everything is painted – an idea that parallels with Katharina Grosse’s artistic practice, where she’s painting the world around her. “I haven’t painted for 14 years,” he said. “You know, in (the pace of) business, it’s chronic. At the beginning of lockdown, it took me a good month to say, I can’t sit here watching TV all day. I needed to do something. So I went out in the garden and just started painting, not caring whether what I was doing was crap or not. And then I started enjoying myself.” He made paintings of “brats – the girls I love, who’ve always inspired me,” gouaches of his nieces Bonnie and Tippi, and a more abstract impression in sage green sparkles of his sister Tammy. The idiosyncratic technique goes straight back to when he started making drawings in glitter pen of his mum at home in Newarthill, outside Glasgow, at the age of 14. Christine Kane encouraged both Christopher and Tammy, her youngest children, to be as creative as they liked at home. Instead of getting mad at them when their hours of painting and gluing on the sitting-room floor ended up ruining her best carpet, she just removed the carpet and let them get on with it. Going back to that feeling of making for making’s sake, without the pressure of thinking he was designing for any prescriptive outcome, was freeing. He began forming abstract shapes: “circles, voids, mouths” from whirling layers of acrylic paint and glitter. “Then I came up with a process of combing the paint. And then adding stripes. They became like my mindscapes.” In the end, having thought at first they didn’t want to make anything at all, Kane and his sister began transferring some of the work onto duchesse satin, Tyvek, and cotton, and a small summer collection began to take shape. Out of the big pause came something humming with energy, revealing a side to Christopher Kane’s creativity he might never have had time to rediscover and which he’d probably never have shared. As one of the restarts of the season, it felt intensely personal – something speculative, self-reliant, and not meant for endless reproduction. And most of all: “from now on,” said his sister, “we’re streamlining, editing before we decide to put something out into the world.”
Collage by Edward Kanarecki.