Greeted by a mixture of funk-rock and reggae music and the assemblage of a lounge chair, record player and a stripped back bar, guests at Bianca Saunders were entranced by the mystery that presented itself in the creation of the perfect stage for her “Playwork” collection, a continued exploration of stylistic fluidity and a celebration of her Jamaican roots.
Marking the start of the show, a ballet of models ensued, as each took turns sitting at the bar, gazing upon each other, awaiting their turn to take to the runway.
From layered collars, pinched drapes and prints of illusions (perhaps as a continuation from FW22), the designer introduced reworked draped garments and twisted silhouettes shown throughout her looks. In particular, a black suit jacket with kite-shaped lapels (of which only the bottom took shape) and brown leather papery trousers stood out for their subtle yet intuitive construction.
Whilst few garments featured stretched graphics inspired by the popular sitcom, Oliver at Large, denim jackets and loungewear (everyday essentials) shared complementary hues of gold and blue. As part of the show’s performance act, two models wearing two-piece satin looks (blue and yellow respectively) shared a special moment – dancing slowly with one another on stage, suspended in their own time and locked within the soundtrack.
Iterations of colored slip-on loafers, “A”-shaped leather clutches and handbags took to the runway with plenty of presence, as part of the designer’s continued partnership with ECCO Leather. This was also a point of attention for the audience including guests, Usher and Daniel Arsham, who sat in the front row as it created the perfect balance of fluidity in relation to the garments.
