On a winter night, under the soft glow of the moon, Richard Quinn transported London Fashion Week 2025 into a world of sophisticated fantasy. The setting — a Georgian house with an imposing facade, faux railings, and the name "Richard Quinn" engraved above the door — seemed lifted from a modern fairytale. But the magic was only beginning.
Quinn presented an elegant narrative: "It’s after midnight, at the end of a private black-tie party — perhaps a pre-wedding dinner or a day-after celebration — and the guests are leaving. It’s snowing, and the moon has risen." And it was precisely this atmosphere that took over the runway.
Quinn’s “guests” emerged in a theatrical procession of black and white dresses, evoking the haute couture silhouettes of the 1950s and '60s. Structured corsets, voluminous pannier skirts, draped necklines, and satin bows adorned with delicate rose corsages shimmered under the falling stage snow. The sparkle of sequined embroidery danced with every movement, creating a visual spectacle that balanced classic opulence with modern refinement.
Interestingly, Richard Quinn’s signature vibrant florals — a staple of countless collections — gave way to a minimalist, monochromatic palette.
“I thought about the tuxedo, the idea of black and white, black and ivory — and how to do it in a very chic, elegant way that isn’t just a dinner jacket,” the designer explained.
But the final surprise came with the brides. Several models walked the runway with white tulle veils pinned to the back of their hair, adding an ethereal touch. In the grand finale, they all reappeared at the house’s windows, like glamorous specters watching the crowd — a cinematic moment that solidified Quinn’s theatrical mastery.
Yet, behind this fairytale aura lies a solid, pragmatic foundation. The designer, who operates his atelier and showroom in South London, runs a thriving demi-couture and bridal business. His international clients, many of whom were sitting front row wearing Quinn, know that he offers a full-service experience:
“Now it’s like end-to-end service. We’re flying people around the world directly, but everything’s made here, except for the embroideries, which are done in India,” Quinn revealed.
There is something almost nostalgic — and strategically brilliant — about his approach. Quinn revives the tradition of great British court dressmakers of the 1980s, like Bellville Sassoon and Victor Edelstein, who dressed the young Princess Diana and society ladies. For those who doubt the ability of London designers to scale their businesses globally, Richard Quinn is the answer.
And although his productions could easily rival those of Paris, Quinn remains loyal to his roots:
“I want to do shows that could be in Paris. But I don’t want to be in Paris,” he said firmly. “I’m born in London, I’m London-based, London-centric. It’s about doing something really special here, amplifying it to the world, and being a global business.”
Richard Quinn didn’t just present a collection; he told a story, built a dreamlike setting, and reaffirmed that British luxury indeed has the power and poetry to conquer the world — straight from the heart of London.
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