Christopher Kane’s collections have lately become an outlet for hisfrustrated inner scientist. For spring, Kane put flowers under hismicroscope, finding innovation and modernity in one of fashion’s mostcommon motifs. It was a state-of-the-art collection — light and uniquelyfeminine.

Making flowers look new is not easy. Kane did so bydissecting the blooms’ decorative potential, quite literally. Petalswere singled out as large-scale ergonomic cutouts traced in shiny patentthat gave a graphic, pop effect to silhouettes in pastel solids andengineered lace.

Shapes were clean, with a clinical quality thatKane savvily balanced with soft details. Some of the best looks werecrisp white slipdresses spliced with organza sunburst pleats in palegreen. Lest they be too classic, Kane made the straps look like thosethat fasten dental bibs.

More scientific and more playful werethe floral diagrams on sweatshirts, tanks and pleated skirts. One blackorganza slip was emblazoned with the word “Flower” across the necklineand featured colorful, cartoonlike appliqués that illustrated theprocess of photosynthesis.

A fashion experiment, perhaps, but one that delighted in its formula of wit, bravado and sophistication.

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