The stiff upper lip that had held firm at London Fashion Week finally trembled and gave way at the closing show by Richard Quinn, which paid moving tribute to the Queen’s signature styles through the decades, with recognisable silhouettes, voluminous mourning gowns and intricate veils.
This chic commemoration, propelled by regal British style, almost didn’t happen. When the Queen died, the future of London Fashion Week was threatened by the withdrawal of luxury label Burberry and former Dior creative director Raf Simons from the official schedule.
Richard Quinn’s tribute to the Queen acknowledged her style through the ages and the garb of other monarchs in history.Credit: Getty
Acknowledging the months of work that go into planning new collections by designers, London Fashion Week’s organising body, the British Fashion Council, suggested labels proceed down the runway with caution.
“Shows and presentations of collections can continue, but we are asking that designers respect the mood of the nation and period of national mourning by considering the timing of their image release,” a statement said.
There was no need to withhold photographs of Quinn’s haunting yet joyous show, which began with black dresses, some in the style of designer Norman Hartnell who celebrated the Queen’s petite physique in the 1950s, while others recalled her later uniform of bright coats.
Sombre models walked on a black carpet against a backdrop of television screens playing footage from the Queen’s remarkable life, before the procession of black gave way to Quinn’s usual riot of colour, floral prints and brilliant polka dots.
The Queen with Vogue editor Anna Wintour at Richard Quinn’s runway show in 2018, before presenting him with the Elizabeth II Award for British Design.Credit: AP
If other designers had attempted this show, so close to the state funeral, accusations of exploitation would stick like velcro, but Quinn had a special relationship with the Queen.
In 2018, the London front row, more familiar with the presence of pop stars and influencers, was left fanning their faces when the Queen sat beside US Vogue editor Anna Wintour to watch Quinn’s second collection.
“Just before the show was about to begin, an announcement was made: ‘Would you all please rise for Her Majesty the Queen,’” says fashion journalist Glynis Traill-Nash, who attended the show. “We thought it was part of the schtick but the collective intake of breath across the catwalk suggested otherwise.
“The feeling in the room was electric. People immediately raised their phones to snap Her Majesty, only to lower them again, unsure of royal protocol.
“Quinn’s fast-paced show was heavy on his soon-to-be signature florals and inflated silhouettes, with headscarves that nodded to the Queen, even if the motorcycle helmets and Lycra-covered faces perhaps left her perplexed.”
On this occasion Quinn wisely kept fetishistic elements to a minimum, with black latex tights the only wipe-down hint of his darker side.
Following the procession of black and bursts of colour, Quinn closed the this year’s show and London Fashion Week with a pristine white bridal look, featuring a hooded dress covered with a heavy lace veil. It was a welcome reminder of more happy royal events, followed by some applause, with some guests preferring to clutch the single stem red roses found on their seats to their chests.
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