“Like a wedding,” couture devotee Suzanne Saperstein commented Saturday night as she emerged from the Andaz Hotel's carpeted ballroom, where 3,000 feet of lush floral fabric had been draped around the room like curtains. and where hundreds of dazzling roses were placed. Arranged this way around columns and the live string quartet.
Richard Quinn's fall show was a feast for the eyes and a bonanza for wedding planners, guests and brides alike, as there were nearly a dozen white stunners in bouquets and veils.
Quinn's show was distinctly old school, emulating mid-century ballroom shows and showcasing the kind of grandiose evening galas associated with state dinners, debutante balls, and oligarch weddings.
In a deliberate statement against hype, the designer set out to create dresses with a traditional quality that could be passed down from mother to daughter, or create a mini-me version for those less patient.
Backstage, Quinn said her business is divided into three parts: special orders, bridal and ready-to-wear, and that her international clientele helps guide her designs.
The Hollywood glamor of yesteryear seems to be what they crave, and the designer created demure columns of black velvet whose drama came from giant frills, satin lapels as rich as clotted cream, and fabric rosettes circling the shoulders.
Except for some silver sequins sparkling under puffy black lace ball gowns and some sexy jumpsuits constructed with lattices of delicate beads, Quinn has mostly foregone subversive elements and let romantic, retro glamor take all the attention.
“Clothes that will be cherished forever,” she said.
The same goes for curtains. Quinn said the 900 meters had already been sold to a fabric retailer and would no doubt live a second life on some lavish special occasion. “So nothing goes to waste,” Quinn said with a smile.
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