An Aspirational Kind of Excess
Review of Richard Quinn Spring 2027 Fashion Show
By Angela Baidoo
How many brands can honestly proclaim to truly know their customer, and to that end understand exactly what they desire season-after-season. Irrespective of the changing winds of politics or economics Richard Quinn has found an undoubtedly lucrative corner of luxury fashion clientele, that has afforded the designer the freedom to push the boundaries of bespoke and put the UK on the map as a destination for fantasy gowns and unrestrained eveningwear.
THE COLLECTION
THE VIBE
Divine Decadence, Fantasy Garden, Aspirational Excess
Last season’s exploration of Outer Space led the designer to turn the tables and reflect on the Quinn woman’s inner sanctum. And so, today’s setting of a floor-to-ceiling, plush-carpeted showspace was designed to give us a glimpse into what his private clients must surely experience when they begin their bespoke journey with his atelier. And the addition of the chandeliers then served to transport us to the ballrooms in which she would inevitably wear her decadently encrusted gowns.
The theme that flowed through today’s collection was a study on the ‘ritual of dressing.’ That for many would not involve too much forethought, but when catering to the 1% you can imagine that a ritualistic choreography is part of the daily routine. The season, the occasion, the undergarments, the shoes, and the accessories are a performance art that will have been handed down over generations. As the right way to do things. So, when taking in a Richard Quinn collection these aren’t simply clothes or ‘looks,’ they are the end result – or starting point, if you will – of how a certain subset of private clientele ‘shop.’ This is not about edits, capsules, or even trends. This is about curating a personal archive, much in the same way the ultra-wealthy invest in their art collections.
And each season the designer lets us into this world, recreating the moments in which these ballgowns will live. From 360-degree mirrored walk-in wardrobes (reflecting the ‘heightened drama of getting dressed’ the designer spoke to in his notes), to the ballrooms that exist behind gated residences.
The 1980s remained central to the vision and felt appropriate to reference. As it was a time when excess was aspirational and the ‘Lifestyles of the Rich and Famous” were highly coveted. The glamour and highly dramatic wares on display set the tone for the re-introduction of Richard Quinn ready-to-wear. As todays’ show coincided with the launch of the brands new website, bringin the fantasy ever closer to reality for those seeking to own a piece of British craftsmanship to start their very own ‘future archive.’
THE WRAP UP
Quiet as it’s kept, London is slowly building a reputation for modern occasion-wear. Not the sort you will find on the couture runways – Michael Stewart’s Standing Ground debut aside – but the emergence (or pivot) of designers who understand that fantasy still has a place in fashion, and more importantly, that there remains a woman willing to invest in the countless hours of craftsmanship that it takes to bring those fantasies to life.
Richard Quinn is fast becoming one of London’s most successful examples of building a business around the art of dressing up. Where red carpets and runways are a necessary part of the annual social calendar. Now, with his return to ready-to-wear and a new digital home for his bespoke designs Quinn is set to open up his world to a wider audience who embrace excess as a virtue.
