Quira’s fall presentation was held at the Oratoire du Louvre, a rather solemn location that framed what Veronica Leoni called “a raw, crude, textural collection.” The tension between abstraction and physicality, control and release is what makes her designs so compelling; here, she went for a more rigorous approach than in previous outings, indulging less in the “instinctive vitality of the creative gesture,” and focusing on a more edited, almost architectural method of construction.
Leoni is part of a wave of women designers that clearly understand how women feel and live the act (and the meaning) of dressing. She offers ease and complexity in equal measure—or better said, she makes complexity look easy. While her point of view is strong, it allows ample room for self-representation, and to “own the garment with a spirit of interpretation.” Leoni is building an expressive take on classics, pivoted on a decisive, slightly severe tailoring language, with defined shoulder lines sustaining streamlined coats, fitted feminine blazers and elegant masculine tuxedos. As a counterpoint, she introduced a dash of impromptu creativity, allowing spontaneous styling gestures to play, modify or adapt—short askew-hemmed skirts shaped as triangular kites could be softly adjusted around the hips regulating their length; coats had loose side panels that could be wrapped or folded as protective capes; the collar on a white crisp poplin could elongate into a decorative cravat. “I like when the look is a bit undone, organic, not too virtuous,” Leoni said.
The collection’s artsy visual portfolio was shot by model Guinevere Van Seenus, a friend of Leoni; she agreed to a series of self-portraits, also capturing choreographer and performer Imre van Opstal. Said Leoni: “Guinevere owned the narration with such emotional intensity and empathy, it felt almost physical.”
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