As the darkness fills up the lengthened gap left by the awaited runway, the first vibration of Kay Kwok’s Autumn/Winter 2014 soundtrack strikes, and the opening longhaired, straight-faced model steps out from behind a glowing white void.
The sound is anguishing, eclectic, yet captivating. The strobe lights are mesmerising, making the ghost-like silhouettes appear and disappear in front of the photographers’ frustrated lenses. Rather than a poorly orchestrated show, the strobes resonated the ephemeral nature of catwalks. Freezing the designs in photographs could never transcend the actual experience of clothes in motion, in an atmosphere of frenzy and anticipation.
Hong Kong based designer, Kay Kwok, draws us into an adrenaline-packed journey to the core of design at its most visceral and cutting edge state, inspired by the Eastern world. Like the underground rave of a Martian colony, the show succeeded in transporting us away from the gloomy air enclosing Victoria House into a kingdom where tailoring and nonconformity collide.
Neoprene, plastic visors and Perspex chokers were marched down the catwalk by sleek models donning hologram facial glitter, which seemed simply as an extension of their transparent skin. The garments were sliced by jagged lines which separated complex prints from blocks of greys, anthracites and neutrals.
Kwok’s fabrics revealed what resembled lunar landscapes and rugged rocks. His mastermind comes from the ability to showcase an oversized glowing disk diagonally perched on a seemingly classic black suit. This is Kay Kwok’s vision: bringing the modern man’s uniform into the future by challenging the norms through the creation of garments adapted to our contemporary lifestyle. We are no longer in an age of strict categorisation, but in one of fusion: fusion of the arts with technology, of science and belief, and in this case, of sportswear with tailoring.