“Kane managed to confound skeptics who wondered whether he'd be able to move on from the ultrayoung, ruffly neon-and-nylon-lace collection with which he made his mark last summer. He did, with a giant step into tough black and oxblood leather, sumptuous burnt orange, scarlet, and emerald velvet (tear down the drapes!) and an intensely creative sequence of work that patched fluid Versace-esque crystal mesh over a base of matte-black knit.”

“The thing is, people assume I've undergone this huge transformation, that my life is so glamorous—and it is glamorous when they're whisking you off to, you know, the Versace show in Milan, when they're pouring you champagne—but at the end of the day it's my sister Tammy and me, still living in our little flat in Hackney, trying crazily to finish the next collection and struggling for money.”

“Kane is by no means a household name yet, but the only question is how swiftly this will change. He is the reason London Fashion Week is picking up again: he was unanimously cited by the international fashion press this season as the reason they have finally—after an almost 10-year absence—begun to return to the city to see the shows.”

“The manner in which he and his sister Tammy design is a kinetic process given to many changes. Witness: Two months ago he was thinking about the Queen, Barbara Cartland, and Big Bird. What they came up with, in essence, is a pretty contribution to party dressing involving veiled panels of sequins on dresses and a wispy suggestion of a longer hemline (transparencies were left to waft below the knee without constriction).”