“We print everything in-house. We cut everything in-house. Yes, the beading is done elsewhere, but everything is made in-house.” So said Richard Quinn immediately after a show whose freshly carpeted salon venue at the Andaz London was swathed in 900 square meters of his signature floral fabric. That fabric, he added, had already been sold to a retailer: “Nothing gets wasted.”
While London’s womenswear fashion schedule teems with downtown radicals, it is not overly populated by uptown conservatives: Quinn is apparently thriving in that underpopulated niche.
Call it demi-couture or call it good old-fashioned dressmaking: either apply. Around a quarter of this collection was bridal, a symphony of full-skirted, embellished-bodice, tulle-shrouded parent-bankrupters in variations of ivory. There was a significant opening suite of gowns and not-quite catsuits that riffed, as Saint Laurent once pioneered, on traditional menswear eveningwear.
By the end, that freshly laid flooring was lined with tracks of errant ostrich feathers. The applause was thunderous, and many among the watching coterie of clearly clients pointed at pieces passing them during the finale with obvious intent. Afterward, during that chat, Quinn said that often his commissions come in two sizes: one for mother and the other for daughter. This fact had catalyzed the central thrust of today’s show.
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