Christopher Kane and Alexander Wang have always shared a few things in common. Single syllable surnames aside, the two have risen through the ranks at much the same speed and time, they both boast loyal followings thanks to their relentless originality and their ability to translate the mood of the street as opposed to reinventing an era.
As Wang went on to head up Balenciaga and Kane was pursued by Kering, the two can no longer be regarded as young designers speaking for their respective cities; they are pros and every collection proves this further. Last season Wang had us in oversized parental advisory emblazoned sweaters and boys boxer shorts, whilst Kane took a fresh approach to florals for spring by dissecting flowers and teaching us all a bit about botany.
In their respective Pre collections, the designers did what they do best. Wang once more elevated street wear, teaming bleeding logo tees with stone washed tie-dye denim, sheer shirts on top of tropical bikinis and a sleeveless tuxedo covering a barely there matching mini; all teamed with slouchy knee-high moccasin boots in black or electric blue. It’s a boot that will no doubt be as notorious as the mini originals much loved by Mossy; if Autumn/Winter ’14 was Wang doing urban utilitarian, Pre ’15 was Wang doing street trustafarian.
Much like his last collection, Kane‘s was soft, nostalgic, unseen. Lace trimmed dresses were turned up and fastened with a brooch and paired with skater shoes, sweaters were cut-out and adorned with multicoloured flowers, which could also be found on the ankle straps and tops of shoes. As the floral brooches became studs that would make Pat Butcher proud and thoroughly considered clutches and holdalls were showcased, it was clear that Christopher Kane the brand, the luxury authority on what people actually want to wear had arrived; and though he may be a bit more of a businessman now, the clothes were still as fun, original, and giddying as his first bandaged neon.