Joely Richardson and Vanessa Redgrave sit front row at Roksanda Ilinčić spring 2023 show

The temperature in London might have finally dropped but the sun shone on the Serpentine Gallery this morning as the fashion crowd, refreshed after a week’s breather post-Paris Fashion Week, turned out to see Serbian-born, East London-based designer Roksanda Ilinčić’s spring 2023 catwalk show.

Joining the familiar fashion faces on the front row were a handful of Roksanda’s VIP friends Joely Richardson, Vanessa Redgrave, Daisy Bevan, Golda Sheuvel and Sophia Nomvete. Originally slated for September 19, the death of Queen Elizabeth II forced Ilinčić to depart the official London Fashion Week schedule for the first time since her 2005 debut, given the Serpentine’s location in a Royal Park. Showing today for first time amid the Frieze week schedule, the guest list was also more heavily art world dominated, with Eva Rothschild, Rana Begum, Tai Shani, Michael Craig-Martin and Hans Ulricht among the arty glitterati sat front row.

“The audience today is much more art related which is incredible for me because that is naturally much more who my customers are,” said Ilinčić post-show. “Usually they [her art crowd clientele] are not in a position to come to the show, but this week they are all in town. It was lovely to be able to see them again.”

Her fifth show at the gallery – “every time it brings a different mood” – today’s collection was sombrely themed ‘a reflection on death,’ a meditation that felt fitting against the stark black walls of Theaster Gates’s ‘Black Chapel,’ the 21st Serpentine Pavillion installation.

Each season the exhibition subconsciously influences Ilinčić’s designs, and this particular one “was really in some cosmic way timed with something that is happening in my private life,” she said, “so it really a place to meditate and contemplate on things that are maybe not necessarily nice but something that is part of life.”

The clothes themselves had a calming fluidity about them. Ballooning silk dresses in putty and peony shades came with dropped waists and hoods, or ruched Grecian-style around the neck, while silk scarves billowed from bags and the backs of collars. Trailing black ribbons tied at the waist of diaphanous dresses felt somehow serious, while layers of draped silk had a protective, cocooning effect.

There were several standout red carpet pieces too: one slinky fuchia satin gown with a flowing train looked destined for a Cate Blanchett or Keira Knightley moment (both brand fans), while giant lime green and cherry red sculptural gowns were party pieces of exaggerated post-pandemic proportions. Others had vast crushed taffeta rose-like shapes exploding from waistlines and shoulders, a nod to the flowers ceremonial relevance – from births to marriages and funerals.

Bold, colourful tailoring – an Ilinčić signature – came with panels upcycled from previous collections and soft floppy cashmere coats were easy and understated.

Vast mortarboard-like black velvet hats custom designed by Noel Stewart accompanied every other look to kooky, scholarly effect. “I’ve been working with him since day once but this season the hats really came into full force,” said Ilinčić backstage, explaining they were inspired by abstract artists “who would use just a square or circle shape to say things. Both of which are recurring motifs in my work.”

Roksanda Ilinčić’s SS23 collection might have been birthed from a dark place, and presented against a blackout backdrop, but it radiated hope and light.