The South Wing

Remember when the Jetsons went back in time and met the Flintstones?

It happened in 1987, more than 20 years after both shows had moved from prime-time sitcom status to a firm position in Saturday-morning syndication. Hanna-Barbera Productions released an animated movie in which the Jetsons visited the past and accidentally sent the Flintstones (and the Rubbles) to the future. Too bad London designer Christopher Kane wasn’t on hand to provide the (animated) costumes. For his spring 2009 collection, Kane designed the perfect wardrobe for Jane’s, Judy’s, Betty’s, and Wilma’s time-traveling escapades.

The Jetsons, more so than the Flintstones, captured the fashion of the 1960s. George and Elroy’s moon boots and brightly colored jumpsuits mirror–and possibly influenced–many of the space-age designs by Pierre Cardin and  Andre Courreges. Kane’s most recent collection takes the futuristic shapes, textures, and colors of these designers but mixes them with animal prints and segmented platforms, transforming his models into prehistoric Barberellas. Of course, mini skirts and op-art details always evoke the ’60s, but Kane has gone further with his approach to the leathers, chiffons and marabou fragments by creating scales, layering and segmenting the body in different ways from other contemporary designers. But it all just rings of a former vision of space as the final frontier.

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, Raquel Welch in One Million Years B.C., and Dian Fossey and her gorillas. Perhaps this is what would have happened if Courreges and Cardin designed costumes for those films or were in charge of Fossey’s fieldware. The influences are obvious and make sense considering the 26-year-old designer likely grew up watching references to these images on TV and in the movies.  Although his white-and-black op-art chiffon creations remind one of Courreges, Kane’s approach to the the materials brings up Cardin. topamax

Cardin used innovative and experimental molding and other techniques with fabric that transformed the female form, often creating a molded wool bubble, safe for the space age. Kane’s creations do this as well, the shingled leather skirts and geometric chiffon sleeves create a sort of exoskeleton for these futuristic barbarians, but more than forty years later. Fortunately for him, fashion has a short memory.