Jonathan Saunders toned it down for spring, employing an earthy, thrift-shop palette and a more measured approach to pattern.

The Scottish designer mentioned “1981, Memphis, Miami” among references for a collection whose graphic sensibility came through as much in the shapes — boxy jackets and Macs, or bombers in bonded fabrics – as in the prints, mainly bands of color, paint splatters, offbeat crackle motifs and another resembling a chain-link fence.

Yet the decorations were distinctly his, including flashes of metallic and knits that were densely mottled. “I guess it’s my way of doing subtle sophistication,” he shrugged.

Jonathan Saunders toned it down for spring, employing an earthy, thrift-shop palette and a more measured approach to pattern.

The Scottish designer mentioned “1981, Memphis, Miami” among references for a collection whose graphic sensibility came through as much in the shapes — boxy jackets and Macs, or bombers in bonded fabrics – as in the prints, mainly bands of color, paint splatters, offbeat crackle motifs and another resembling a chain-link fence.

Yet the decorations were distinctly his, including flashes of metallic and knits that were densely mottled. “I guess it’s my way of doing subtle sophistication,” he shrugged.

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