The Hall's current installation, around which the models circled, in their wilting rose prints and plastic bonnets, is by artist Abraham Cruzvillegas. And it chimed neatly with Kane's theme of decay. The vast sculpture of geometric scaffolding is slowly overgrowing with weeds as intended, to provoke questions about the nature of change. In an industry that revolves ever faster, Kane seemed to be also questioning (rather than judging) the speed of change, this ceaseless quest for all that is new and shiny by focusing our minds on the beauty that reveals itself over time. And by drawing away from the crowd.
His opening look was corrugated cardboard packaging, brought back to life, stapled together and reimagined as a cavernous coat in camel coloured leather (the enlarged staple motif also decorated shoes and neat boxy bags). This was followed by a series of silk dresses and draped tops in a deliberately sheeny floral print that followed the life cycle of roses, their slow beautiful wilting, shot in their studio over a week in real time. Later the image would be further muddied and erased in bonded felt on Chantilly lace used in neat pencil trousers, tunic tops and long evening dresses, that clung provocatively to the body.