Richard Quinn signals the hourglass as key silhouette for autumn/winter 2026

Richard Quinn delivered a characteristically dramatic showcase for autumn/winter 2026 at Sinfonia Smith Square Hall in London, cementing his reputation as one of London Fashion Week’s most glamorous designers.

The south London-born creative, who honed his craft at Christian Dior and on Savile Row before launching his label in 2017, has become synonymous with bold florals and sculptural, statement eveningwear.

Presented against a stark black-and-white geometric runway, this autumn/winter 2026 collection unfolded with Quinn’s signature florals alongside more sculpted silhouettes and highly engineered styling.

Backstage, models stood enveloped in sweeping, structured gowns. The grandeur of the concert hall amplified the collection’s theatrical styling, underscoring Quinn’s affinity for dramatic, old-school couture.

Corsetry and hour-glass peplums emerged as the central trend. Strapless bodices were tightly structured and often accented with oversized crystal brooches at the neckline or waist – a detail repeated throughout the show and on other runways this season.

One ivory lace corset dress was capped with a delicate black lace bolero and cinched at both bust and hip with jewel embellishments before exploding into a tiered black tulle fishtail. The contrast between rigid bodice and frothy volume reinforced the return of hyper-defined hourglass dressing.

Overskirts were another major statement. A polka-dot strapless column dress was partially concealed beneath a sweeping black satin overskirt that opened at the front, revealing the fitted silhouette underneath. The layered look created movement without sacrificing structure suggesting that detachable or sculptural overskirts could become a key red-carpet styling device for AW26.

Conversely to other runways this season, mermaid hems dominated.

Nearly every gown flared dramatically below the knee, creating elongated, statuesque proportions. After several seasons of looser tailoring across London, Quinn’s insistence on body-conscious shaping feels like a deliberate reaction.

Florals, Quinn’s signature, appeared in two directions. Dense, dark blooms were scattered across black gowns, winterised and controlled. In contrast, pale lemon and white floral accents of embellishment also introduced soft romanticism.

Feathers also signalled a continued trend that has been spotted on almost every London Fashion Week runway. A sheer, high-neck illusion gown embroidered with delicate leaf motifs dissolved into dramatic black feathered cuffs and a matching feathered hemline.

The payoff was both ethereal and theatrical as texture was concentrated at the extremities rather than overwhelming the silhouette. Quinn’s interpretation of the feather trend felt particularly couture-driven.

Velvet remained a dominant finish. Black velvet gloves were ubiquitous, paired with velvet bodices and floor-length skirts that absorbed the stark light of the white runway. The matte-versus-shine contrast amplified the drama of the look.

Colour, though mainly monochromatic, had moments of vibrant impact. Powder pink corsetry, acid yellow gowns and mint satin skirts punctuated the largely black and white palette.

These confectionary tones; particularly offset by black; suggest that icy pastels will continue into autumn/winter rather than being reserved for spring.

The repetition of crystal brooches – fastening halters, cinching waists and anchoring bows – introduced an accessory trend that has already prevailed in the past two months.

Jewellery wasn’t layered; it was integrated into the garment construction itself, reinforcing this precise and more couture sensibility.

Since establishing his label in 2017, and following his presentation of the inaugural Queen Elizabeth II Award for British Design in 2018, Quinn has consistently championed structured eveningwear.

Sculpted corsets, dramatic fishtails, statement overskirts and winter florals signalled a return to structured femininity, echoing the 1940s and Fifties silhouettes of Dior’s ‘New Look’. Rather than merely nodding to that era, Quinn amplified it with fierce intensity.