RICHARD QUINN’S FLORAL FANTASY: Mourning the past, or embracing the present?

Words by Madeleine Foster

“I wanted to make clothes that feel new and fresh, but could almost be in an archive one day.” Richard Quinn

Here is a link to view the images from the photoshoot: https://wwd.com/fashion-news/shows-reviews/gallery/richard-quinn-fall-2024-ready-to-wear-collection-1236198834/richard-quinn-fall-2024-ready-to-wear-collection/.

Richard Quinn’s Autumn ready-to-wear 2024 collection is an ode to antique womenswear from the Victoria era through to the 1950s, drawing upon inspiration from the past to create modern pieces designed to be cherished.

Quinn is a celebrated British fashion designer who is famed for his love of couture, designing fashion with an edge. Traditionally, Quinn creates pieces with latex and engages with the subculture of fetish apparel. The dichotomy of appealing textiles and fetish clothing are integral to his brand, and he is able to explore the craftsmanship of women’s clothing through his knowledge of the history of womenswear. 

Quinn’s most recent AW24 collection demonstrates his love for combining bold pieces with a high fashion sensibility. The clothes are abundant with historical accents from previous periods throughout history and the overall collection demonstrates both a love for the past and an excitement towards the future of fashion. 

The collection was showcased in the romantic 1901 ballroom at the Andaz London Hotel and was accompanied by a live string quartet. This created an atmosphere of periodic high-society elegance, while the plethora of pale pink bouquets developed an undertone of timeless femininity that carried through the show. The romantic atmosphere of this highly decorated ballroom set the tone for the rest of the collection before the pieces were displayed.

The clothes themselves are a beautiful combination of simplicity and classic romanticism. Quinn creates a non-specific historical time period with motifs of ruffle collars from the Tudor era and arm-length gloves popular in the 1950s. A non-specific era of opulence is imagined through floor length gowns embellished with pink, black and white sequins. Quinn combines fabrics of tulle, velvet, and accents of ostrich feathers to engage with this allusion of a bygone era of luxury and elegance. In addition, the collection is also primarily bridal with a dozen 1950s tea length gowns which are littered with flowers and beads. However, the designs that stand out most among the collection are a series of reimagined tuxedo jumpsuits in black and white.

A striking example of this is a sheer jumpsuit made with fishtail-type beading fashionable in the 1920s which is accentuated with a high neck ruff collar, a velvet black rose cravat, and white shoulders. (See Look 34.) The top of the outfit creates the illusion that a traditional tuxedo has been ripped off the model to reveal the jumpsuit underneath. The lack of a confining tuxedo jacket is an example of the liberating fashions of the modern day as the sheer, flowy beading allows the model to move freely rather than be contained in a traditional tuxedo structure.

This suit is an eclectic mix of all periods of history which when combined create a piece that is quintessentially modern. Quinn demonstrates an ode to the fashions of the past through this piece and showcases the innovative development of fashion design as an artform.

The styling of the models further contributes to Quinn’s appreciation of vintage women’s fashion. Makeup artist Terry Barber was inspired by 80s makeup and the Victorian ‘Mannequin skin’ that alludes to the romanticised, faded appeal of previous historical periods felt throughout the show. In addition, some models’ lips were a bright striking red that cut out among the layers of pastel and white fabric. This was used to incorporate a 50s glamour to the styling that complimented the vintage pinroll hairstyles. Barber’s use of vintage makeup enhances this timeless effect of the collection and utilises the contrast of red and white to replicate the contrast between the romantic historical and vividly modern elements of Quinn’s show.

The Flowers

In addition to the collection being a nod to past fashions, Quinn incorporates the natural world into his collection to reestablish a relationship between flora and femininity and highlight the craftsmanship behind the designs. Quinn consolidates the historically feminine elements of the collection through using flowers as they have been a staple in womenswear for decades and are commonly associated with beauty, love, purity and passion. (See Look 19.)

However, the flowers in this collection are also a testament to Quinn’s talent as a designer. Vibrant floral patterns are highly popular in fashion collections and high-street brands due to their versatility and attracting colours. Therefore, Quinn is using this staple print in womenswear to demonstrate his craft as an artist beyond the visual appeal, focusing instead on the structural details. The collection was handmade in house prior to the show and each design had a floral element incorporated, from a black rose collar to a white floor length gown silhouetted with hundreds of individually sequined flowers.

Quinn further utilises the floral pattern to portray the incorporation of modern technology in fashion. The floral textiles were handcrafted and printed using Quinn’s printing studio Epson, which is striking against the hand embroidery. As a result, Quinn presents a print that is entirely bold and refreshing, whilst achieving an archival effect through the traditional floral pattern that is reminiscent of the dresses worn throughout history.

The incorporation of floral patterns in this collection emphasises the significance of fashion construction as an artform that goes beyond a collection’s originality. The clothes are not a showcase of new ideas, but rather a demonstration of how past fashions can be reimagined through a modern lens. Quinn’s appreciation for painstakingly handcrafted work shines through the collection and draws us to adore the art of clothing construction and design. 

Ultimately, Richard Quinn’s Autumn 2024 show draws upon historical womenswear to create entirely modern designs, showcasing the progression of fashion craftsmanship and the romanticisation of vintage couture. Quinn incorporates florals and a variety of dress structures to explore the limits of traditional feminine fashion, resulting in an abundance of classic and elegant garments designed to be preserved for generations.