Colour is what Jonathan Saunders does really, really well. In fact, he's one of London's leaders - that may seem an unusual phrase but in a city known for ashen skies and slate suiting, a sense of which punchy, juicy-fruit shade to mix with which stands out a mile. Saunders grew up in the even greyer climes of Scotland, so maybe that's why his colour sense is quite so attuned.
Hence, on the second day of London Fashion Week Mr Saunders decreed 'Let there be light'. And light there was, pink, blue and yellow fluorescent tubes flooding his venue with brilliant shades of the same. The colour seeped across his collection too, from polished patent wedges through full-skirted day dresses, chiffon A-lines and chunky knits. And we saw that it was good.
Most of it, at least. This collection lacked something if the punch of autumn/winter's strict ode to the pencil skirt, but the variety of shapes ensures there was something for everyone. Roomy coats and crop-sleeve jackets, fluttery Rosemary's Baby georgette frocks and a touch of a bloused back skewed this collection towards the sixties, Palm Springs pastels rather than Swinging London. That was reflected in the decorative motif, a swirling psychedelic Paisley that coiled across trapunto-stitched day-dresses, silk housecoats and leapt into crewel-work embroidery on sickly-sweet semi-sheer skirts under narrow knits, and over fitted, high-collared cocktail frocks. The latter gave our best in show, a to-the-knee number in a delicate shade of Queen Mother primrose knotted up with a couple of fat, prissy bows at an open back.
So, back to Saunders' colour: lapis turquoise, peridot green, cerise, satsuma, sick pharmaceutical pastels of NHS blue, chalky white and a shock of Anadin yellow. Imagine the Valley Of The Dolls dames reworking there wardrobes whilst under the influence, and you get some idea of the dizzying deluge of raw pigment. A satisfying jolt to the system. Will our retinas ever be the same?