Runway Reviews

(LONDON) CHRISTOPHER KANE
The standout of the week, if not the season so far, Kane's riveting collection combined sci-fi sexiness with medieval toughness. But splicing references is besides the point, because this was a bonafide breakthrough-both for the young designer and fashion itself. Corrugated "ammo" bands of stiff fabric ornamented nearly every look, from empire waist babydoll minis in black, burnt tangerine, or forest green crushed velvet. And when the hard leather lines of flared coats with bondage rings met the eye-catching sparkle of oversized, round crystal buttons, it was no death match between butch and femme, but a glorious S&M harmony that would have done Alaïa proud.

ERDEM
Though the striking prints fairly flew off the runways, there was more love about this eclectic collection than the cacaphony of multi-colored butterflies. Slim empire-waist satin minis with frothy lace overlays had an undeniable girly charm, while a floor-length black velvet skirt with suspenders was gamine minimilism at its best. There were a few hidden surprises as well; a cerulean dress with a sweetheart neckline and smooth, featureless front turned to reveal an exquisitely draped bubble back hem.

PAUL SMITH
Let's play a game of fashion association. You say "preppy." Paul says..."neon"? Perhaps not the most immediate connection, but then, the best fashion's rarely based on obviousness, and after all, British culture's as much Gosford Park as graffiti artist-why shouldn't the two have tea? Luckily, there's nothing wrong with a little Day-Glo Gatsby when it's in Smith's capable hands. A round-shouldered acid-lemon coat added zest to a khaki-colored blouse and cream pleated tennis skirt. But even without the bright lights, muted looks, like a simple, short-sleeved LBD with a white Peter Pan collar, more than passed muster.