June 17, 2013 London
Then there's Saunders' acute grasp of fabric technology, clearest in this season's use of bonding instead of stitching. A bicolor tee was the most striking example, probably because it was the most casual use of a technique Saunders had devoted months to perfecting. Something about the cavalier nature of that threw a little more light on his design personality, flippantly pop on top, a dedicated toiler down under.
Saunders also cut city shorts from vinyl-coated cotton and shirts from the translucent silk-Lurex blend that stood out in Resort. Their techy-ness was reflected in the slide show that flashed past on the walls of the London Film Museum, underscoring the fact that the designer's love of a synthetic sheen is another of his signatures. If Ettore Sottsass' Memphis from the late eighties helped define Resort, for Spring Saunders dialed forward to the early nineties: the sound and style of Pet Shop Boys, the spirit of Patrick Bateman, American Psycho and all-round snappy dresser. The wool and nylon tailoring was sharp, so sharp, in fact, that Saunders actually printed a crease on a pair of trousers. To go with the suits: his first range of ties and a collection of briefcases designed with Smythson. "The 'city-ness' of it all feels like a music video," said Saunders, "but it's not one I've ever seen."