Richard Quinn Fall Winter 2025-2026 “Echoes of Grandeur”. Story by Eleonora de Gray, Editor-in-Chief of RUNWAY MAGAZINE. Photo Courtesy: Richard Quinn.

Richard Quinn knows how to set a scene. A house with a grand Georgian facade, faux railings, and “Richard Quinn” carved into the stone, just in case anyone momentarily forgot whose world they were stepping into. It’s an escapist fantasy on a grand scale—because what better way to transport us than a black-tie affair set in the eerie stillness of a winter’s night? The guests are leaving, the snow is falling, and the moon is high. The silhouettes emerge—elegant, familiar. Dior? Perhaps a spectral Chanel? No, it’s Richard Quinn’s latest collection.

And what a collection it is—stunning, dramatic, and absolutely reminiscent of everything we’ve seen before. But maybe not in England.

An Ode to Haute Couture’s Greatest Hits

Quinn’s guests streamed out in a carefully curated vision of black and white—because nothing says fresh like a parade of vintage references. The 1950s and ’60s couture echoes were everywhere: corseted bells, draped pannier skirts, swathed necklines, and enough satin bows to wrap up an entire Parisian maison. The embroidery from India? It sparkled. The sequins? They glistened through the artificial snow, shimmering with the soft hum of déjà vu.

Ah, but don’t get too comfortable in this nostalgia trip—Quinn was, after all, making a point. Gone were the chaotic prints and dizzying colors he’s known for. This was black and ivory. Chic. Elegant. A refined whisper instead of a scream. Groundbreaking.

A Wedding Party That Won’t End

Then came the veils. Because what’s a Richard Quinn show without brides? Tulle cascaded down the backs of models like a ceremonial procession, one veil at a time. They drifted past like characters in a surreal dream—or guests who forgot to leave after the last glass of champagne. And for the finale? They weren’t just on the runway. No, Quinn made sure his brides peered out of every window in his meticulously constructed house, watching us as if frozen in time. A gothic fairy tale, or simply a collection refusing to let go of its past lives?

Tailored in England, Embroidered in India—Sold Worldwide

But let’s not forget: beneath all this romanticism, there’s business to be done. Quinn’s house isn’t just a fantasy, it’s a functioning machine. A South London atelier buzzing with demi-couture commissions, bridal orders, and a tailoring service that will fly to wherever the money calls. The collection may whisper of Parisian grandeur, but its seams tell a different story: “Tailored in England, embroidered in India.” A tagline so efficiently globalized, it could be a marketing slogan.

And let’s not ignore the print works—a key player in Quinn’s empire—helping design and fulfill commissions for brands far and wide.

A British Fairytale—With a French Accent

There’s something poetic about Quinn positioning himself within the long tradition of British court dressmakers while crafting a collection that so desperately longs to be in Paris. The silhouettes, the embroidery, the careful mimicry of haute couture’s golden age—it’s all there. And yet, for all its precision and beauty, one can’t shake the feeling that this collection is merely an echo of something greater. A beautiful, well-made echo.

Richard Quinn knows how to craft a fantasy. Whether it’s one that will truly redefine the runway—or just replay the past in a fresh coat of sequins—is another matter entirely.

See All Looks Richard Quinn Fall Winter 2025-2026