At its core, his Self-Portrait Residency range captures Kane’s signature subversive elegance while reimagining it for modern tastes. Think crystal chainmail, delicate lace ruffles, and bias-cut satin dresses with intricate lace panels — hallmarks of Kane’s early work. “I felt so inspired looking at the collection again, how after almost 17 years it remains just as modern. That is the true test of design,” he muses as he fondly recalls his days designing SS07. “[Revisiting my debut collection] felt like I was working with an old friend… it really was a cathartic process in that I realised how much time has passed since I started with the SS07. It was a very special time when we launched our business from a bedroom with very limited capital. We had Yasmin Le Bon and Naomi Campbell come by to our little home studio, trying on the pieces, all of which I recalled when working on this project.”

“Bold colours, frills, crystal hotfix, plastic zips, and stretch lace and jersey were the perfect concoction—a frenzy of clashing textures. For me, it was perfection. But I recall how shocking it was when it went down the [SS07] runway. It was unapologetically obnoxious, and I think that is something that drives me. I enjoy disrupting and surprising by taking ordinary materials and making them extraordinary.”

For Kane, the most fulfilling part of the experience was the collaboration itself. “Obviously, to see the collection come together in such a seamless way was so satisfying,” he said. “However, the best part has been getting to know Han—he is really amazing. Han explained his vision for his Residency programme to be something more than the usual collaborations where two brands merge their identity,” Kane said. “He wanted me to come on board and be myself. I think that is very contemporary and modern way to think about a partnership. From the outset, Han was very open about me having creative freedom. He was very supportive throughout.” The Residency culminated in a vibrant launch party that Kane described as a highlight of the experience. “We created an immersive Warhol-esque factory shoot. It truly was a special evening; the energy in the room was electric.”

Above all, Kane hopes the collection will resonate with those who wear it. “I want the pieces to empower them, to feel the best versions of themselves,” he said. This belief in the transformative power of fashion – to uplift and inspire – remains a cornerstone of Kane’s creative philosophy.

The Self-Portrait Residency, with its emphasis on individuality and collaboration, has set the stage for more exciting creative partnerships. The collection, once a labour of love crafted by a young designer with big dreams, was now reborn—bolder, brighter, and just as unapologetic as it was all those years ago. By revisiting his past, Kane forged a path for the future, proving that great design doesn’t just endure—it evolves, disrupts, and inspires. It was a moment of celebration, not just for what had been achieved, but for what lay ahead. But for now, Kane is content to bask in the glow of his rediscovered vision, knowing the best is yet to come.

Lookbook Images

Creative Direction: Han Chong & Christopher Kane
Photographer: George Eyres
Stylist: Emilie Kareh
MUA: Vass Theotokis
Hair: Sarah Jo Palmer
Nails: Lauren Michel Pirez
Set Design: Danny Hyland
Choreographer: Meshach Henry
Casting: Anita Bitton
Art Direction: Simmonds Ltd