London Fashion Week Feb 09: Christopher Kane's Feminine Blueprints

If Le Corbusier and Coco Chanel had a love child, Christopher Kane's A/W 09 collection would be the it.

Thick, black velvet ribbons on ivory organza formed the foundations for the Scottish designer's structured geometric designs that flirted between architecture and 1960's futurism yesterday afternoon.

As Kane said 'I wanted to achieve this black marker on paper look.' The collection was like looking at blueprints on fabric.

Back to basics in palette with ebony, ivoryand creams, the subdued tones were perfectly suited to the more modest London Fashion Week this year, in reflection of the economic situation. Rather than the in-your-face colours that have been seen in many collections in New York, such as Marc Jacobs, Kane was the atithesis by stripping down design to its velvety boned infrastructure.

With Vivienne Westwood watching on eagerly and Kanye West prepared to stand (mind you he was late) it was clear that Kane has many admirers. Beginning the show with a simple fawn cashmere cardigan and pencil skirt, the opening did not shock or break any rules but rather reaffirmed Kane's position as a great designer, although the British Fashion Council have already stated this by putting Kane in the New Generation: Fashion Forward Scheme.

The preppy style then progressed into the delicate, but structured, geometric sheath dresses that had the form and modernist style of a le Corbusier design or Mondrian painting as well as the feminine simplicity of a Chanel shift. Panelled, layered pieces were then followed by a taste of the 1960's 'futuristic' style with dresses that would look have looked as at home in the classic film 'Blow up' as they did on the runway in central London. Contrasting horizontal and vertical lamé stripes were woven together into a futuristic plaid in myriad shades.

'Bold, graphic and a bit poor, but really quite elegant. Poor and rich at the same time.'

Kane's view seems to sum up fashion week as a whole. He has achieved a balance between modesty and glamour without sacrificing anything. Rich details with simple structuring, a total opposite to the economic state, but works beautifully for Kane. The whole collection is wearable and even with the absence of the vibrancy and leathers of his S/S it is still innovative, proving that design is as effective in black and white as it is in technicolour.

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