And so, with one collection Jonathan Saunders recalibrated his design career.

The first exit arrived with power and grace, an embellished black, cropped trouser, fitted underneath a black crombie coat, it was a confident first salvo for a spring collection; a statement that these clothes were operating on a season free plane, almost too arch to be bound by the rule book of seasonality, one that’s becoming increasingly outmoded.

The black look cleansed the palette beautifully and a lesson in the art of sartorial balance followed. Feminine met masculine as sweet summer tops decorated with one gathered fabric bow (the bowing and tying continued throughout in a riff on origami) were paired with tailored city shorts. Skirts were full, mid length and gathered, they didn’t scream sex (his autumn/winter 2013 vinyl collection had that covered) but the sheer overlays on tops whispered it: “It was very much about the design process and then that confident femininity that is really close to my heart, he said.”

Almost every piece had a sense of occasion, Saunders created a gentle pause half way through the show with a simple gold sheath dress. He then began flexing his instinct for texture with deep ruching on skirts and dresses.

“I worked with the most incredible Japanese mill,” he said, “on creating fabrics. A sense of lightness was the most important thing to me.”

Delicate cotton, sheath-thin shifts were printed with paper that had been painted with colour, a technique Saunders learnt at University. The Japanese influence was clear; and it felt like new territory for Saunders, even the palette of brown and camel was unexpected. This was clever, esoteric but not so much it wasn’t totally wearable. It was elevated, yet it was aspirational. And the show music? Rousing strings from the soundtrack to the Sci-Fi horror Under the Skin, and this collection did just that.

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