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Christopher Kane on tween post-punk

This morning, in a black-out office space by the river, Christopher Kane showed a somewhat sombre collection of black shellsuits, and moody holographic flowers, and shoes in protective coverings - alongside illuminating flames of lacy pink and flashes of neon knits and sparkles of diamanté in the dark - set to menacing tween post-punk from Chandra Oppenheim. It was a powerful, shadowy show, and afterwards we ventured into the pitch-black backstage corridor to hear Christopher talking about his visions of luxury.

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How did this all happen?
The first thing we picked up on was the shoe bag, and protection. The nylon came into play with the outerwear, and the mink came into play with the eveningwear. Basically it’s the new luxury, mixing contrasts together, which is really important to come up with something new. Mink and nylon. Structures and organza. We wanted to make organza modern and three-dimensional, but also quivering and vibrating, an exploding motion picture like the flick-book of organza shapes. And diamanté was just, why not, throw a punch of something sick in there also? The neon was a nod to the past, as was the amazing knitwear with the threaded ribbon; basically I was looking back to when I started, as American beauty pageants were behind my MA collection… Nylon, patent, neon, it’s all around us.

Your soundtrack sang, ‘There’s a girl named Kate and she thinks she’s really great but she’s not! All the boys stare at the girl with blonde hair it’s not fair!’
That’s by Chandra Oppenheim. She was a child genius in the early '80s and her dad, Dennis Oppenheim, was a famous American artist. She was quite brutal, she wrote her very first record in 1980 when she was only 12, so it was a key song.

Was this a collection for mean girls?
No, not at all! I think it was just a really new, great song.