The Scottish designer talks about turning to art during the pandemic, and why he feels like an outsider in fashion
when asked what outsider art – art made by the self-taught and the marginalised – means to him. “I have had periods in my life where I felt like an outsider, for example growing up in a small steel mining village and being gay.” he says. At Central Saint Martins I felt like an outsider because I knew I had a different aesthetic and way of working. In fact, in fashion I often felt like an outsider … I think the most interesting people in life are the ones that sit on the fringe.
“The artworks we chose reflected themes that mean something to us,” Kane explains of his and Tammy’s selection process. “For example, when we found Johann ‘Lejo’ Lechner’s photo collages we were transported to our childhood – you see something new every time you look at them.” Karl Vondal’s works, meanwhile, Kane loved for their “sickly-sweet colour palette and sexual themes. They look so innocent until you take a closer look.
Kane’s own artistic methods are intuitive, a form of meditation. “When I get into a flow, I just lose all the noise.” Glitter is sprinkled on his chosen canvases in a free yet perfectly precise way, with faces forming as though by magic. Some of his earliest glitter portraits were of his beloved mother, Christine. Finding painting again during the pandemic was a lifeline, a creative release in a strange new reality, and a way to access spontaneity.
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