Scene setting: A sumptuous stately home facade greeted guests as they entered Quinn’s enormous show space in South London. Columns, cornices and balconies were painted in a creamy grey, and populated trellises of flowers. In recent seasons, the London-based designer’s show concepts have reflected the gargantuan glamour that his designs evoke — last season Quinn’s S/S 2020 show showcased a performance by the Royal Philharmonic Orchestra and featured a tableau of debut bridal designs. As the show began, the walls of the mansion backdrop opened to reveal a live pianist and musician Hannah Grace, whose performance included a rendition of Abba’s Dancing Queen.
Mood board: A series of astonishingly bejeweled looks opened the show, riffing on the embellished outfits of Pearly Kings and Queens (a jacket was humorously emblazoned in Swarovksi crystals with the slogan ‘God Save the Quinn!’ There was also a more anarchic edge to proceedings than in past seasons, with Quinn’s signature face covering balaclavas reimagined in spiked gimp masks or beaded chainmail. Escapist eveningwear was high on the agenda (a contrast to the sensible clothing needed to arm against Storm Denis outside), with a resplendent role call of dresses in puff ball and prom queen and pannier shapes or tumbling ruffled gowns, in acid tone satins, with leg of mutton sleeves, bow and rose embellishments, polka dots and floral prints.
Finishing touches: Just hours after Molly Goddard showcased her menswear offering (and Rejina Pyo debuted sophomore menswear looks), Quinn debuted a show stopping selection of men’s looks, including beaded rose breastplates and ostrich feather vests paired with fit and flare trousers. Just like Quinn’s womenswear, it’s not fashion for the faint of heart. §
