After Christopher Kane’s Mulberry debut on Sunday afternoon, the retro-futuristic central room in the Queen Elizabeth II Centre in London resounded with whoops and applause, and a whole section of the audience gave a standing ovation. It was not only a comeback for the much-loved Scottish designer, who shuttered his eponymous label in 2023 following financial challenges, but also a return for Mulberry, which hasn’t shown at London Fashion Week since 2017 and has had some pretty difficult years.
“It feels so good to be back,” the designer told Vogue chief critic Sarah Mower ahead of the show, “Mulberry is a British brand, with a great story behind it. When I got the offer, [my sister] Tammy and I were like: we can do something really great here.”
Kane was appointed earlier this year by former Ganni CEO Andrea Baldo, as he aims to turn around the ailing British label. “This has been a really pivotal and joyous moment for Mulberry,” Baldo said after the show. “Christopher’s vision really speaks to the codes of the house whilst moving the brand into a new era.”
The collection, entitled City Town Country, fused many of Kane’s design signatures with Mulberry’s heritage materials and silhouettes. Think harsh, square-necked minidresses (which Mower notes as a Kane staple), but this time crafted entirely from leather, with cheeky, geometric cutouts that mimicked the lines of Mulberry’s iconic Bayswater bag, and revealed a bit of skin.
These geometric lines on leather garments were a recurring theme, shown in various colors and styles. “Many of you have known me for a long time, and know I like to focus on one idea,” Kane said backstage.
“Repetition for me is so important. It instills a strong message.”
The collection leaned heavily on accessories, with monochromatic looks that let the bags shine. The Bayswater bag also featured, in its original form, in new colors, or supersized in croc-effect black leather (with a coat to match).
Kane also introduced some new styles, like the asymmetrical axe bag in white leather, and the chop, a smaller, curved shoulder bag style, both centered on the idea of cutting away at a Mulberry tree to promote new growth, Kane explained backstage. The shoes were another focal point: pointy court shoes and loafers with the Mulberry logo all featured a severe metal heel shaped like an axe.
Here’s what other industry insiders had to say:
Hamish Bowles, editor-in-chief, World of Interiors, and global editor-at-large, Vogue
It was very startling because it was so fashion, which one doesn’t really expect of that house. I thought that was rather marvelous and refreshing to have that sort of totalitarian approach. It was giving me a sort of ’60s Cardin-ish moment — although it wasn’t at all. There was an essential gravity to the pieces.
Osman Ahmed, editor and consultant
The word that comes to mind is ‘modern’. It felt so sharp and precise, and every look had some kind of design statement.
It’s so clear to see that Christopher is a designer’s designer — the level of innovation and experimentation here was incredibly high. The motifs of the Bayswater flap throughout were genius.
And it was sexy. But again, in a way that felt very modern.
I’m calling it: it was the show of the season.
Lulu Kennedy, founder, Fashion East
Wow, I am buzzing. We all are. Wonderful turnout to see the return of a true great. The show and collection were exactly everything I’d hoped for: the same singular vision explored and worked into with his precise rigor, but through a progressive and respectful Mulberry lens. He judged it perfectly, and the product is wildly desirable. Major.
Caroline Issa, editor-in-chief, Tank
It was amazing. I think just by seeing the love in the room, it just goes to show how great it is to have this perspective back on the runway, and for him and Mulberry, the leather, and his craft, and the way that he brings in his conceptual ideas, but then makes it super commercial, and, like, you just want to have everything in your wardrobe.
It was a pure joy to have him back on the schedule.
Bosse Myhr, buying director, Selfridges
We liked the first show very much: the square cutout pieces, the nod to the iconic Bayswater bag, and the pace of the collection was wonderful. There was a clear line visible throughout that we think our customers will be sure to like, as well as Christopher Kane designs that we have not had for a while. A great start!
Olivia Singer, editorial director, Prototype
I’m a die-hard Christopher Kane fan, and this felt distinctly Christopher — and Tammy — in its linear graphicism, its brilliant use of materials and its subcultural nods to school uniforms and football casuals. But it was excellent at exploring his long-standing personal obsessions through the lens of Mulberry: the cut-out patterns that echoed the Bayswater throughout; the little locks on the belts and shoes.
It was also just excellent shopping: fab jeans and parkas (the cropped one was fantastic); sexy little dresses; lovely jumpers; those brilliantly plus-sized bags. I’m thrilled to have him back — and to have him working for such an institutional British brand is a delight.
I can’t wait to see where he goes with it.
Charles Jeffrey, designer
I was so, so pleased to see him back on the London Fashion Week schedule, and I expected nothing less. It was such a triumph.
It felt like a clean palette and super fresh. It reminded me of Motherwell and the women that I know in my life, just being from the same area in Scotland as he is.
And I loved this idea of the axe and it being used as an emblem and a symbol for where he’s going to take the brand. I loved the parka jackets — [they] reminded me a little bit of the [British comedy troupe] Mighty Boosh.
I also loved that huge rugby shirt; I really want that, and I want the new bags.
Laura Hawkins, fashion features and jewelry editor, British Vogue
I found the black croc leather pieces particularly compelling, which really took root in the brand’s craftsmanship-focused heritage and Kane’s signature, more subversive streak. So too, the lock-detail loafers, which draw on the hardware of Mulberry’s bags and — considering the amount of loafers on fashion editors’ feet — are sure to be a commercial hit.
Archie Grant, stylist
I’m really happy for Christopher and Tammy [Kane]: it felt like such an exciting moment for London in general. I loved seeing him continue to finesse his signature aesthetics in fabrics like leather, which felt so right for Mulberry. And I now desperately want one of those parkas.
Kai Isaiah Jamal, model
Christopher Kane is a staple of London fashion, and to see his interpretation was both nostalgic and refreshing, meshing together his coding and Mulberry legacy. I spent a lot of the show adding to my wishlist and enjoying the middle ground between sexy and functional. To put it simply: that giant black croc bag just told me I need it and to book a holiday ASAP!
Lydia King, managing director of retail, Selfridges
Great to see Mulberry back on the schedule. Christopher Kane’s vision was fresh and clean, layering in smooth accessories with a bold vision. It felt new and relevant but with the same unmistakable Mulberry details.
Julia Hobbs, senior contributing fashion features editor, British Vogue
I’ve spent the summer bidding on archive Christopher Kane mini dresses — for me, and so many other editors, this was a long-awaited return to the runway of a beloved London Fashion Week star. Kane’s debut collection at Mulberry was equal parts wearable and elevated.
These are clothes that I’m excited to see in the wild — the cropped bomber jacket (hood up, South Park’s Kenny McCormick style) and ’60s-tinged shift dresses will no doubt be fixtures at London’s buzzing Bobbi’s Bar come spring.
Karen Binns, global fashion director, 10 Magazine
Smart move, Chris. Modern, sexy, and cool as ice. This is a true designer [and] creative director: considers the heritage of its bag and forms it into a full-on collection. This is how you turn it out for a new client. Quick and effective. Mr Kane, you got this. And yes, I’ll take the gray small shoulder bag.
Tiffany Hsu, chief buying and group fashion venture officer, Mytheresa
Christopher Kane’s debut for Mulberry feels like a compelling new chapter for the house. He brings his unmistakable sense of modern glamour and sensuality while engaging with Mulberry’s rich heritage and craftsmanship in a fresh way. It’s exciting to see these codes come together, and we’re looking forward to seeing how the collection resonates with the global luxury audience.
Tess McMillan, model
I found it to be brilliantly sharp but with such an imaginative essence. The silhouettes were so perfectly defined. There was a lot of gorgeous structure that was paired with a true fluidity, which of course is an impressively achieved coupling.