He never lost his visionary POV-or his cheeky sense of humor (witness the “More Joy”–branded vibrators he launched for Valentine’s Day in 2020). (Dunham was the Rubberist, a person with a fetish for rubber, and Kirke the Looner, or someone who derives pleasure from balloons-rubbing, blowing, and popping them.) Last season extravagant ruffled red vinyl skirts mingled on his runway with jersey dresses featuring photorealistic prints of chicks, piglets, and rats designed by AI. Two dresses from this season found perfect wearers-and a perfect audience-when Kane attended 2019’s Met Gala with Lena Dunham and Jemima Kirke, the stars of Girls, which had ushered in a new era of sex positivity and realness on HBO. There was a teenage boy stripped naked in a drug dealer’s kitchen to prove he wasn’t wearing a wire there was a house partyer taking a crap in front of a hot girl (if not the hottest girl in. Sex had been a subtext of his work from the beginning, only here it was made explicit in a collection where latex and chain embellishments took center stage. When he name-checked The Joy of Sex, the 1972 illustrated guide to sex by the British author Alex Comfort, as inspiration for a 2019 show, no one could pretend to be surprised. Kane’s were decorated with rocks and crystals, like a science experiment. His 10-year anniversary show in 2017 featured a collaboration with Crocs-a full year before they would debut on the Balenciaga runway and cause a furor. And yes, like so much of what he did, they were a bit naughty. Another memorable collection was fall 2012, when a live-nude-drawing class inspired the silhouettes of reclining nudes that decorated elegant and romantic lace numbers in shades of blue, orange, pink, black, and white. His fourth collection, for fall 2008, was inspired by Planet of the Apes, which figured literally with images of shrieking gorillas plastered across otherwise very prim and proper little black dresses and more figuratively in the thousands of circular fabric pieces that he sewed together to create softly sculptural dresses that both concealed and revealed the form within. Photo: Umberto Fratini / īut Kane wasn’t a one-trick body-con pony. A decade later, for spring 2017, Kane returned to the silhouette that started it all.
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