For the Christopher Kane Resort 2018 collection, sprinkles of Scottish culture are found in the lineup inspired by Glaswegian architecture, furniture, textiles of Charles Rennie Mackintosh and his wife Margaret Macdonald Mackintosh.
The Mackintosh heritage industry is so much part of Scottish culture that “it was always rammed down our throats in school,” Kane said. “They were outsiders in their day. He was celebrated in Paris, everywhere, but not here.”
Shooting at Hill House, the collection was paired artfully with Mackintosh’s domestic masterpiece in Helensburgh. A key was a photograph of the Mackintoshes, with Margaret and her friends in Edwardian flounced blouses and puffed sleeves, which sent Kane back to the suspended frills he designed in an early collection, and to reiterate his biker jacket in white lace, with a deep frilled collar.
A long white lace dress with an embroidered snake’s head was directly taken from Margaret Macdonald’s stylized drawings. A black gridded tunic was decorated with roses and bugle beads while a white cotton piecrust collared blouse and matching frill-lined was similar to “the waitress” in Kane’s mind. Some punkish features were spotted in the collection, with “Angel-wing” knits, marabou feathers, silver chain chokers, and other rockin’ accessories.
However, what was the most important to Kane was that all of his sources were “genuine and authentic” to him. He believes that “people really respond to that.”