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Jonathan Saunders

A sun-drenched square in London’s King’s cross set the perfect backdrop for what was one of Saunders’ best collections yet. The ensuing runway show was a testament to the Scottish designer’s flair for color and experimental pattern use. There were electric paisley culottes, graphic bias-cut dresses, and kimono jackets crafted from mismatched silk panels. As striking as the looks were themselves, so were the worldly influences that arrived in the form of the aforementioned kimono silhouettes, Moroccan fringe, and guipure lace collages reminiscent of Moorish tiles. Although the designs veered more towards maximalist, there was an overarching sense of ease that came through breezy, effortless shapes that oozed a cool nonchalance.

Jonathan Saunders

A sun-drenched square in London’s King’s cross set the perfect backdrop for what was one of Saunders’ best collections yet. The ensuing runway show was a testament to the Scottish designer’s flair for color and experimental pattern use. There were electric paisley culottes, graphic bias-cut dresses, and kimono jackets crafted from mismatched silk panels. As striking as the looks were themselves, so were the worldly influences that arrived in the form of the aforementioned kimono silhouettes, Moroccan fringe, and guipure lace collages reminiscent of Moorish tiles. Although the designs veered more towards maximalist, there was an overarching sense of ease that came through breezy, effortless shapes that oozed a cool nonchalance.

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