Groundbreaking.

Whenever I consider writing about all the florals seen on the spring runways, I am always haunted by the eternal words of one Miranda Priestly:

Florals? For spring? Groundbreaking.

 And I know. I know it's the oldest cliche for spring (and therefore spring fashions) that there is.

And there are designers who try to make something new out of florals. They make them small patterns, oversized, geometric, painted, subtle, strong, colorful, dull, et cetera. But overall I understand why the Prada-wearing Devil is absolutely bored by the thought of florals on the spring runways. It is entirely overdone and hardly ever original.

Hardly.

But in 2006 a certain British designer had just launched his own namesake label and probably wasn't on the forefront of fashion editors' minds. Perhaps, if Miranda Priestly had seen the newest collection from Christopher Kane, she would have at least admitted that not all floral themes are overdone. Because Kane gave us something truly original here, and it deserves to be talked about.

There is always a part of Christopher Kane that wants to educate. It's quite clear the man is fascinated with science (He even declared "I love science" during his 2014 resort presentation) and each season he turns clothes into fabulous lessons in anatomy, biology, chemistry, etc.

His clothes are always very technologically advanced in terms of their construction. Kane has a knack for utilizing inventive and unconventional fabrics in his designs, and almost always uses computer-print textiles and patterns.

But the clothes themselves often come together to give the audience a lesson in some sort of scientific matter; for Spring, it was all about the anatomy of flowers.

How absolutely genius, I thought as I browsed through the collection images.

Flowers will always be a major player in spring collections, but nobody has done it quite like this. Instead of the typical pretty prints, Kane plastered colorful anatomic diagrams of flowers and their different scientific terms onto sweatshirts, skirts, and dresses. The diagrams were straight out of my seventh grade science textbooks, blown up on the bodices of dresses and shrunken down into a repeated pattern on skirts.

Arrows played another big motif in his textiles. In most cases there were giant arrows pointing to the different parts of flowers and explaining their scientific names, but in some instances the arrows became their own repeated pattern.

Not all of the collection was quite so literal. Per usual, Kane had plenty of looks that illustrated his mastery at concocting new and original forms and silhouettes. The opening outfits weren't floral diagrams but simple suits and dresses with tear-shaped (or petal-shaped, I realized further into the collection) cut-outs lined in shiny patent and metallic leather. Some cutouts were subtle (lining pockets, creating collars) while others were placed a little more precariously (high on the thigh or on the chest) but they all turned what would otherwise be simple, somewhat drab forms into something truly magnificent.

So. Maybe florals can be groundbreaking after all. All I know is if these looks had existed back in the seventh grade when I was learning all about plants and flowers, I probably would have paid a lot more attention.