Richard Quinn Fall/Winter 2019 Ready-to-Wear Review

Richard Quinn is a new, London-based designer who has already gained the approval of Queen Elizabeth II. That’s quite an accomplishment for someone who’s only been presenting independently for a year. His Central Saint Martins graduate collection won him the H&M design award in 2016, which allowed him to sell pieces for the massive retailer as well as expand his business.

This time last year, Quinn presented a collection that combined Leigh Bowery ostentatiousness with fabulous luxury. Premium silk scarves in floral and chain prints were pieced together to form fantastic flowing dresses. The color combinations and shockingly contrasting prints almost hurt the eyes at first. But as the eyes adjusted, the clothes revealed themselves as something beautifully romantic and modern. Each season Quinn has built on his kaleidoscopic designs. Last season, the pieces became more subdued yet still twisted, with black velvet bodysuits covering the entire body, head to toe. These bodysuits created a neutral palate, allowing for the individual pieces to shine through.

This time around, for Fall/Winter 2019, it was full-fledged glamour. Quinn presented one of those fashion shows that are so beautiful you can only compare them to the shows of greats. John Galliano and Raf Simons for Christian Dior and Alexander McQueen for his own line and for Givenchy all come time mind. Quinn’s show featured a live orchestra, massive floral arrangements, a huge crystal chandelier, and flower-pedal confetti as a finale.

The clothes again were very floral and colorful, in beautiful, shiny brocades and dazzlingly intricate beadwork looked fantastic on 1950’s cut secretarial suits and day dresses. Shoulders expanded and puffed up along with skirts, creating a 1980’s silhouette. Thankfully however, the collection wasn’t too referential. Silhouettes that harkened to the past quickly expanded into something new. Dowdy shapes and ruffle collars were taken to their ultimate extreme, especially because they were worn over black latex bodysuits that were dripping in chicness.

The final looks were printed pieces draped in bows with contrasting black feathers and tulle. The sharp contrast created a great impact that made the audience stand up and cheer. Though it tacky and cheap to label someone as the “new so-and-so” when the final white feathered and bejeweled gown came out and the petals descended, one couldn’t help but think of some of Alexander McQueen’s final work: fetishistic, theatrical, yet made with the upmost care for quality and detail.

Photos Courtesy of VogueRunway.com