If fashion were literature, Christopher Kane would have the oppositeof writer’s block. On Monday he unleashed another blizzard of ideas thatclimaxed with mesmerizing cocktail dresses decorated in sheets ofchain-stitched organza that spilled and trembled like damp pages from anopen book.

Wet-looking, featherweight nylon was a centralfeature of Kane’s collection, which had a dark, industrial undercurrentand was shown inside a vacant, black-painted office space. Kane did afew obvious things with the filmy fabric — e.g., thin puffer vests likethe ones selling up a storm at Uniqlo — and many unheard of, includinglittle black nylon dresses trimmed with strips of tawny mink or delicateguipure lace. They were as unexpectedly pretty as they were slylysubversive.

Ruched into whip cream-like peaks, bands of nylontrimmed myriad dresses, skirts and glossy coats. They also figured asrumpled protective covers on footwear and bags as Kane launched acomplete leather goods range on the runway, gearing up for the openingof his first boutique later this year on London’s Mount Street.“Abattoir shoes,” he called them backstage before sucking back hiswords, given the sensitivities in England around meat and fur.

The revelation of the show was Kane’s killer tailoring, from the slouchytuxedo that opened to the strong-shouldered, double-breasted coatsdusted with crystals.

With this intricate collection, Kane made it clear that he’s scripting himself a thrilling fashion career.

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