At Richard Quinn we were, as always, greeted by a single rose on our seats. This time around it was a gentle blush pink, setting the stage for the delicate collection to come. Presented at Andaz, London Liverpool Street (Quinn is a member of the hotel’s Artist in Residence Programme) within the 1901 Ballroom, models strode through the salon to the ethereal vocals of a live singer, supported by both a pianist and a string quartet, in achingly gorgeous gowns.

Each exquisite piece was designed to endure, exploring the continuity of sartorial heirlooms which can be passed down from mother to daughter, generation to generation, for years to come. There were strapless gowns bedecked with luxe sequins and black lace ball gowns underscored by shimmers of metallic silver. Huge plumes of ostrich feathers lined gauzy capes, ponchos and wide trouser legs. Elsewhere, varying shades of pink floral appliques coated floor-length shift gowns and crystal lattice bodices rested atop full skirts and layer upon layer of tulle. Former 10 Magazine coverstar Cora Corré sported one of those floral frocks, and with her hair pulled back in a balletic bun, she looked truly enchanting.

Poised against the ‘hype’ of the fast-paced fashion landscape, a number of almost-catsuits also came out. Some were rendered in chiffon in typical Quinn-y florals, others were rife with arced tiers of ‘20s-style beaded chains or were velvet with ruffled bibs evoking a Victorian mood.

The show ended with a promenade of distinguished wedding dresses, all of them ivory or white, yet each one holding its own. One gown in particular captured our hearts – a curvaceous, glittering gown with mid-century style lingerie construction and a flimsy veil draped over the whole thing. It was impeccable, as Quinn’s pieces always are, leaving us wanting more.

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