ON A rainy February evening in London, Richard Quinn decided to make it snow. Unveiling a white-dusted grandiose set, complete with street lamps and and the stately facade of a two-story Georgian townhouse, his autumn-winter 2025 collection unfolded like a cinematic love letter to the capital.
It was here, in this very city, that Quinn was shaped as a designer, where he shaped his identity, and on this midnight-stroked runway, he invited us to forget our umbrellas and damp jackets.
Dedicated to celebrating life’s special occasions, Quinn honed in on elegance – specifically traditional femininity. Truly understanding the layered beauty of dressing up for women, not just the routine of it but also the notion that this is something women have done for generations. He understood the ethereal magic of transformation, especially in those milestone moments.
The lights dimmed. The flute and string-fuelled soundtrack began to play and the first look walked gracefully through the middle of the runway. She exhibited a strapless black and white knee-length gown that echoed the New Look from the late 40s and dresses akin to Audrey Hepburn’s style, with a large white cabbage rose punctuating the chest.
Then, as if by magic, it began to snow from the ceiling. If Quinn was after an old Hollywood moment, he had just then crafted one worthy of the silver screen.
As the snowflakes quietly pirouetted through the air, a cascade of monochrome dresses – each a testament to Richard Quinn’s exquisite craftsmanship – swept through the wintry streetscape. Sculptural silhouettes, cinched with corseted belts and adorned with pannier skirts and opera gloves, celebrated the art of demi-couture with a commanding elegance. Embroidery shimmered like frost-kissed lace, while crystallised clusters mirrored the snowfall, blurring the line between fabric and fantasy.
But this is Richard Quinn, so print and colour are non-negotiables. Flowers bloomed defiantly; on a black and white long-sleeve gown; in an 80s shoulder-padded yellow dress; and in a effortlessly flowy piece that was finished with pearl cross-hatch embroidery across the shoulder and collarbone allowing the skin to peak through.
Hints of bridalwear flickered throughout as some models adorned white tulle veils at the back of their heads. Then for the grand finale – as if the enchantment of bringing a wintery wonderland to our feet wasn’t enough – an array of opulent wedding gowns varying in size, length and force of embroidery came gliding through, each a homage to London’s Romanticism movement.
Taking the entire audience by storm, Richard Quinn reminded us of the beauty that peaks through all occasions. The beauty that gives women a chance to reinvent themselves for a day, adding glamour in all its extravagant forms to our dresses and makes a stroll in the cool mist of the snow feel like a scene from an old classic.
by Imogen Clark
All images by Lee Scullion for GLASS