Alex Mullins presented a series of nine triptychs this season. Despite the rich references that were to follow, we were presented with one sentence as we took our seats, a reiteration of the fact I stated to start.
The first trio of looks to emerge were two-pieces in beige, black and burnt orange. The simple cuts of these double-breasted suits were highlighted by elastic looking vests in mint green, the lightest of acid blues and Stabilo Boss pink. Pulled taut across the torso, the cut out shapes manipulated the purpose of the pieces beneath them.
Mullins' surrealist influences and his love of distortion returned this season; a set of Pollock-esque suits were obscured by bulbous bags strapped to the bodies of his models. The caramel and burnt sugar silk suits were easily my favourite pieces. One shirt was cropped and cut to reveal an unpredictable erogenous zone, the middle of a man's back. The fabric's natural sheen looked easy and luxurious here, a cleverly contemporary use for this traditional fibre. The collection closed with a Koi carp print, showing creatures from Irezumi, the art of Japanese tattooing.
White sweatshirts with 'Alex Mullins' underlined in red, indicated my least favourite sign from Microsoft Word - a misspelling. These shirts showed us that amongst his vibrant cultural referencing, the draw of logomania pervades even designers like Mullins's work, adding a canny, commercial element to this layered collection.
For S/S 19, Mullins showed fashion aside from a gimmicky show. He explored the fantasy clever clothes can emulate, free from excess in set, lights or a wordy press release.