He pitched his more modern approach deep in the Tanks of the Tate, which had been decorated with a cacophony of greenery bursting out of the ceiling, floor and across pillars (styled from 10,000 plants which will be donated to local community projects) offering a kind of juxtaposition which he underscored in the collection itself – a study in the unexpected style non-rules London is synonymous with. Gritty meets pretty if you will, or as De Sarno puts it, “Fashion design is a means to study, explore, interpret. After having expressed my ideas of desirability and sensuality, this is another piece of me, more romantic, more contradictory. I like taking something that we think we know and breaking away from its rules, taking it as far as it can go, without ever distorting it. Bringing it towards its opposite and finding harmony.”