BRITISH high street brand Topshop has gained a reputation for its numerous collaborations with outsiders.

Through these arrangements, customers are introduced to designers they might not have been exposed to, otherwise.

Another plus point is the range, under Topshop, becomes more affordably priced.

For the designers who partake, it also means a huge dose of publicity, a wealth of feelgood factor and money in the bank.

The one who has set the bar high with regards to Topshop partnerships has to be Kate Moss.

The supermodel’s collaboration with Topshop was a blockbuster in terms of sales, and well-received by fashion critics. And she isn’t even a proper designer.

But certainly, the most anticipated this year is the designer of the moment Christopher Kane and his Autumn/Winter collaboration with Topshop.

Kane certainly deserves all the attention.

After all, who else can cite that upon graduation from the uber-prestigious Central St Martins, no less a personage than Anna Wintour asked for a private viewing of his collection?

As a student at St Martins (where he enrolled at the age of 17 in 2000), Kane was already winning accolades; he won the Lancôme Colour awards (in 2004 and 2005).

At the show in 2005, he caught the attention of Donatella Versace, whose company sponsored his Masters in Art (Womenswear) collection and offered him a job to boot.

He eventually saw his solo collection on the runway when he debuted his Autumn/Winter line during London Fashion Week in 2006.

Kane first worked with Topshop in 2007; the resulting collection was quite successful. His current collection – the third collaboration – is touted as a landmark one.

Comprising 39 pieces, it is the largest Topshop collection with a designer thus far and includes accessories and footwear.

Since fashion is magic to many, Kane has used the trick of that trade – mirrors. Hence, there are a lot of man-made embellishments that give a subversive feel, courtesy of delicate mirrors and eyelets.

Kane has taken the circular mirror element historically associated with ethnic designs on bags and clothing and modernised it.

As it is all about the body, expect to see body conscious pieces in fine black gauze and embellished with the afore-mentioned mirrors and eyelets.

That detailing goes on in 1950s inspired high-waisted briefs worn as outerwear, slim fitting leggings, a slick long-sleeved dress and a high-necked body with cap sleeves.

Simple garments are glamourised; a black cotton shirt buttons up to the collar to expose oversized black gems covering the neckline.

Meanwhile, a white jersey T-shirt dress features several rows of oversized white opaque gems around the neck, sleeves and hem of the dress.

Evening dresses and camisoles have a deep V to accentuate the décolletage and feature oversized jewels around the neckline.

A heavy black jersey scarf is adorned with gems along the perimeter updating a winter essential.

Contrasting with the sleek body silhouettes, a smock dress has a high neck with an oversized clown collar, of which the long sleeves and the layered skirt’s hem are scalloped and adorned with eyelets.

Mirror embellishments appear again on a Grecian-inspired dress with a drop waist chiffon skirt.

It’s all about contrast between the modern and minimalist with classic approaches.

And for more casual apparel, look out for an embellished grey marl tracksuit, hooded sweatshirt and dress.

Repeated rivets decorate ink black jeans and matching denim jacket while an oversized slate grey silk-knit vest and an open cardigan feature the print of an enlarged rivet.

As a departure from his iconic gorilla symbol, Kane now references the alligator, where its mouth is emblazoned onto a jersey dress, a jersey tee and a black jersey shopper!

As for the bags, oversized slouch leather pouches covered in tiny mirrors come with two large leather tassels.

To complete the look, you can opt for high open-toe shoes formed from a leather mesh cut-about and a Chelsea boot with stiletto or stack heel.