However, it was not the explicit perversity of his work which captured the imagination of Jonathan Saunders, but rather his tonal experiments in the early days of colour photography. Saunders took the erotic opulance of Outerbridge's romantic hues and fused it together with his own impression of modern decadence.
The Scottish designer was also proud to embrace the strict and subtle sexuality of this era with sheaths, pencil skirts and a teeny belted waist to devise an austere, yet elegant 1940s silhouette. This refined simplicity of the shape and structure juxtaposed magically with the complex clashes and elaborate abstract prints.
The range of influence within the pieces diversified immensely yet, inside the box, they complemented with ease. The wealth of reflective blues originated from lalique glass vases, absorbing light, becoming impressively majestic. Figurative painter, Euan Uglow also lent a hand to Mr Saunders satisfying efforts but most alluring were the art nouveau prints, establishing an expensive baroque affection.
Towards the end, these enchanting prints somehow grew tribal and ultimately dreamt up an exotic avant-garde jungle with splashes of rainforest jades and indigenous plant life.
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