[4] Delanghe was among the earlier members of the Incorporated Society of London Fashion Designers (IncSoc), joining in 1945 but withdrawing two years later due, reportedly, to financial difficulties.

[5] At a January 1947 fashion show – in which she shared space and billing with fellow IncSoc member Charles Creed – Delanghe featured draped and brocaded evening gowns with stiffened hems slightly raised at the front, while daywear was characterised by simple designs with high necklines and checked and plaid fabrics.

[8][9] Although she had resigned her membership of IncSoc, taking her out of the so-called "big ten" of British fashion designers, her work was still considered important enough to regularly feature in newspaper reviews of the couture shows.

[5][14] A reviewer of her second show of the year noted that although she had established a reputation for beautiful workmanship and attracted a loyal client base to her salon in Bruton Street, this collection's harem skirts, knickerbockers and stiff silk taffeta gowns was "backward looking" and out of keeping with the contemporary mood towards soft and flowing fashions.

[3] In 1966, Delanghe withdrew her membership from IncSoc – this at a time when the whole British couture industry was struggling due to high taxation, a shrinking customer base and the rise of ready-to-wear.