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FLYING THE FLAG If any sartorial naysayers find t
hemselves reading this – those still clutching the hackneyed stereotype that fashion is all style, no substance – spend a day shadowing Ena Quinn: your misplaced belief system will shatter. A several-year London dweller with incredible work cred, Quinn occupies one of the industry’s broadest-ranging roles – as a freelance fashion producer, she orchestrates every conceivable facet of client shows, installations and highlight events. Conventional work hours are thrown out the window, replaced by round-the-clock liaising with all manner of personnel: light directors, set designers, models, make-up artists… Under her eagle eye, venues transform into multisensory immersive worlds that transport spectators to a theatrical plain, if only for the fleeting length of a catwalk show. Her recurring collaborators stretch from Calvin Klein to Chloé, alongside a smattering of Alexander McQueen, but she’s fully bereft of name-drops; instead intent on recounting the time she flew home after a week of (unpaid) LFW work to probe farmers on their mental wellbeing at the Ploughing Championships. Having cut her teeth coordinating the DIT Fashion Show, connecting with Angela Scanlon and Brendan Courtney in the process, she was swiftly recruited by Jules Fallon post-college and spent a jam-packed year conjuring up shows. Leap a few years forward in her creative timeline and project credits (among other coups) include an immersive Coachella event for Calvin Klein, a sleepless-in-Shanghai trip for Chloé Cruise and a jaunt to the Miu Miu Jockey Club for Cruise 2020. Unsurprisingly, her fashion month bursts at the seams with work, but she thrives in the eye of the storm. Returning to Christopher Kane for the sixth time this season, she’s also likely to lend her know-how to Victoria Beckham and Stella McCartney. Hilariously, she likens backstage management to helping her mum, a primary school teacher, keep the pupils in check: “It’s just like getting schoolkids into the yard – they have to be in a straight line, standing still, phones away...” It’s a sweeter comparison than shepherding cattle. enaquinn.com HEMLINES words Amelia O’Mahony-Brady @MYSTENDHALSYNDROME Fusing historical portraiture with highend fashion, Antonio Patruno Randolfi’s collages have charmed a great number of style savants. Starting with the original portraits – from Assyrian kings to artists’ wives – Randolfi dreams up personalities for each figure, then devises their ideal wardrobe… Now every Rubens sitter looks naked without a bucket hat. #mystendhalsyndrome Refresh your Rigout... with some prêt-à-porter plasters for the consummate logomaniac. €18 - thechinatownmarket.com Above left: Baroness Emelie Pichon by Francis Pascal Simon, 1795, all clothes Valentino Couture. Above: Special project for Á Part magazine: Portrait of a Man by Anonymous Master, 1575 sweater knit, Acne Studios, Sunglasses, Loewe 18