Nina Ricci SPRING/SUMMER 2014 PARIS FASHION WEEK
Peter Copping has a delightfully deft way of drawing his audience into a circle of intimacy in his Nina Ricci shows. His clothes are delicately drafted and never in high-drama mode, but he’s become extremely skilled at finding devices to focus the attention of a packed Paris tent on his pretty but never saccharine collections. This season, a sheer white curtain was spooled out along the center of the runway, keeping pace with the first model who walked out. She was wearing white, too. Voilà—a serene, feminine space in which to concentrate on the minutiae of Copping’s essay about merging ideas borrowed from menswear with lace, silk, and whisper-fine knits.
Out it all came, in tiers and layers, pleats and frills, and subtle transparencies, concisely expressed through the medium of men’s shirting, dickies, vests, and tailoring loosely adapted from eighteenth-century tailcoats. For nearly three-quarters of the show, it was all done in white and cream; a procession of shirttail-shaped skirts, fluttery, lustrous accordion pleating, baby-fine thermal knits, and eyelet ruffles, anchored by abbreviated jackets and neat coats.
Copping could have easily—and perhaps more impactfully—left it at that: a complete statement entirely in white. In fact, he went on to show more pieces in dusty lavender-gray, and a section of flower-print dresses. It’s good to know there’s going to be a wider range of Nina Ricci options in stores come spring, of course, but after the success of all those whites, Copping really had nothing left to prove.