Christopher Kane likes to be boldly unpredictable. In recent seasons he’s drawn inspiration from car crashes and outsider art, to name but two of his many creative forays. But he really outdid himself for fall, an unapologetic ode to faded glamour, decayed beauty, the lost and not found.
Here was thrift-store dressing hoarded to its logical conclusion. Corrugated beige leather resembled cardboard boxes; time-lapse photos of decomposing flowers were appliqued throughout; embroideries — some made by the house of Lesage — were piled high; and mink was lined with reflective fabrics. And Stephen Jones whipped up clear plastic headscarves à la Grey Gardens that would give Little Edie pause.