Richard Quinn, one of London’s most intriguing young designers, continues to refine his very own vision of contemporary romance. His career path reads like a modern day fashion fairytale: from receiving the rare support of the late Queen Elizabeth II, to building a direct to client business model, to cultivating a devoted clientele who cherish his creations as objets d’art. Most importantly, Quinn remains one of the few designers who treat eveningwear as a true art form an almost radical stance in today’s era of ready to wear dominance.
For spring/summer 2026, Quinn transformed Westminster’s Smith Square Hall into an operatic stage, where drama, elegance, and craftsmanship collided. The choice of venue a historic concert hall with a sense of grandeur set the tone for a show that looked back to the past while speaking firmly to the present. When Naomi Campbell opened the evening in a sleek black gown with exaggerated white cap sleeves and floral appliqué, it was clear that Quinn intended to blur the line between performance and fashion.
The collection unfolded like a series of arias, each silhouette telling its own story. Column gowns with fluid capes evoked the languid sophistication of 1920s heroines; voluminous tulle skirts whispered of Grace Kelly’s timeless femininity; while a golden sequined corset gave way to a mermaid hem, shimmering with echoes of the 1970s disco era. It was a symphony of contrasts minimal lines against maximalist details, restraint beside opulence.
Quinn also revisited familiar motifs from his own archive. A yellow gown tied with cascading bows recalled its red predecessor from spring/summer 2025 a design memorably worn by Saweetie on the front row. In doing so, Quinn reaffirmed his consistency: a designer building not just seasonal collections, but a coherent, evolving universe.
The second act of the evening belonged to bridalwear, now a cornerstone of his demi couture success. Here, Quinn embraced the ritualistic power of white gowns, balancing fantasy with tradition, ensuring that his pieces are not only admired on the runway but lived in during life’s most meaningful moments.
While some may still miss the fetishistic edge of his earlier latex-strewn experiments, today’s Quinn has refined his voice. He has carved out a space for a mainstream romanticism lush in its tulle, precise in its tailoring, rich in florals that feels unmistakably his own. Operatic, modern, and unapologetically beautiful, his work continues to prove that fashion, at its best, is both spectacle and soul.
Photos courtesy of Richard Quinn
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