a day in the life of: tammy kane, business partner of christopher kane
Monday, September 16
This is the last day we have to prepare everything before we show our Spring ’09 collection, so I’m up early. I pull on my old ripped jeans (they’re ready for the bin, really), a white baggy T-shirt, and my Christopher Kane hand-knit biker jacket (made by a woman in Inverness—only two exist!), as London has started to get chilly and it’s like a comfort blanket. I’m out the door in half an hour and I head straight to the studio, which is only a three-minute walk away. I’m paranoid about being robbed again, as we were a year ago, but when I arrive the shutters are down and the alarm is undisturbed. I would die on the spot if that happened again.
After my daily morning coffee from our local Turkish bistro, I get on to my to-do lists. It’s good to have the studio to myself. I walk through the collection, taking in all the extra looks we made, and I have a moment of being really overwhelmed with what Christopher has come up with this season. I’m so proud of him.
Our girls start to arrive. We have the best team of girls ever—they’re like family to us, and they skip into work because they’re so excited about being involved in the collection. I add to my to-do list to buy a gift for each and every one of them, because without their efforts and hard work we wouldn’t have a collection.
First up today—dramarama—the cloth we ordered for the underskirts, which was supposed to arrive on Saturday, has been lost in transit. We have to go with a local source, who will deliver it to our factory. They’ve promised to have 11 slipdresses ready before the end of the day. I don’t tell Christopher about this because I know he’ll freak.
Another panic: We’re invited to Downing Street for Sarah Brown’s cocktail party to celebrate London fashion week. Trust it to be the night before our show! I doubt we’ll make it, but make a point of raiding the stock room to ensure I have a back-up outfit. Luckily I have some dry cleaning here: Balenciaga pants for my white, no-tan legs, and my cashmere sequin Christopher Kane jumper with Dior boots. If I need to put it on in the cab, I can—it’s easy to wear but looks great. That jumper is just too good; it’s called the “Carine” after Carine Roitfeld.
Regardless of being unbelievably stressed and busy, I still get distracted by clothes and outfits!
Russell Marsh, our casting director, arrives. Russell has worked with us from the beginning and we love working with him. He’s cast the most amazing models for the show; we decide to worry about money later and go with 36 girls. The collection is special and delicate, and we want it to be perfect.
Both Paul Hanlon (hair stylist, L’Oréal) and Lucia Pieroni (makeup artist, Shiseido) rock up with a lot of suitcases of kits. We work hard on getting the right look. We want to step away from the usual hair down. After a couple of hours, the hair is superclean with some shine. It’s a bit like an alien ‘do—from the side it has a Zaha Hadid shape.
We have another 15 girls to fit by 2 p.m. The factory working on our slips has a black out for a few hours and the machinists are sent home. It’s so ironic—they have made the most amazing complicated dresses, some with over 200 pattern pieces and now we can’t get 11 simples slips. Aaarrgh!!
The girls come and go—and they all look amazing, but my favorite is Issa, who’s wearing a really special dress.
We are so happy with how things are looking. The day flies by, and before I know it, it’s 8:30 at night! I realize we’ve missed the Downing Street party. We’ve been so busy that it totally escaped my mind. Unbelievable. We’re disappointed at not being able to go, but, well, the collection comes first.
We’re absolutely exhausted, but all the girls are fitted, and I’m ecstatic at how it looks. Christopher is a nervous wreck about tomorrow. We get home around 2 a.m. and go straight to sleep. We have Lara Stone in at 9 a.m. for her fitting; she’s opening the show.
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