21 September 2026 |
Christopher Kane’s return to the London catwalk with Mulberry was the most anticipated show of London fashion week.
What would he bring the British bag house?
He focused on its codes taking his queue from its most famous bags the Bayswater and Piccadilly. The distinctive shape of the bag flaps and pockets became a graphic signature that ran through the entire collection, subtly and cleverly branding every piece. Kane focused on a minimalist leather wardrobe in a neutral palette, with laser cut curving edges of coats skirts and skirt dresses echoing the details of the bags. That Bag flaps detail was multiplied into all-over minimalist leather ruffles on mini dresses and repeated in a super sheer metallic gauze for evening. The language was clean, precise and focused.
But Kane added a few disrupters to the sleek sophistication served. A striking orange snorkel parka cut through the neutral palette with a zing. Kane found the Mulberry sweatshirts adopted by the Scottish football casuals of Kane’s youth in the brand archive and recreated them in slouchy proportions worn with white jeans. Other archive references hinted at how Kane, who works alongside his sister Tammy, might build out his Mulberry look. An excellent tartan Mac, made in the same check that used to line the bags in the ‘70s, ‘80s and ‘90s brought a town and country vibe. An eyelet cotton mini dress was inspired by an old 70s ad campaign produced by Mulberry’s founder Roger Saul. The interiors fabrics Saul designed in the 80s inspired the print on a floral strapless dress. As for bags, Kane supersized the Bayswater and elongated its flap, or gave it a curving bottom. He also added two new graphic styles the Axe and the Chop. The cheers went up as Kane took his bow. It’s good to have him back.
Photography by Christina Fragkou.
