Graphic shocks of red, yellow and dull blue twisted over crisp white tailoring and patent black pieces like Alexander Calder’s bright, disjointed kinetic sculptures.
Satans of the city:
Sharp suiting came dragged from the underworld as red satin linings protruded menacingly from under jackets and charcoaled glitter snaked over torsos. Red leather flicked like flames over heavy-duty doctor's bags and pointed, super-thick soled brogues.
The S&M touch:
Jackets were bound to the body by straps belted high on the chest, while an industrial black leather jacket hung oppressively from the model’s slight shoulders with dominatrix vibes. Hair hung in damp, heavy strands over the face and black PVC panels were slick with gloss – as if Sarah Burton’s men had emerged from a session in a sordid dungeon.
The soundtrack, curated by John Gosling, saw Missy Elliot classics mashed with the Cure: