Peter Copping reported that the discovery of a three-volume set of books celebrating 125 years of National Geographic set him on his way for Resort. It was surprising news from the Nina Ricci designer, who is more often influenced by grand interiors and historical figures than he is by native cultures at this hyper-French, hyper-feminine brand. No surprise, then, that he used a light touch. The collection didn't look "tribal" by any stretch of the imagination, but it had a pleasing variety of moods and looks.

From America, he lifted the motorcycle jacket and overalls. Rendered in tweed and lace, their counterculture and workwear associations were all but swept away; only their casual attitude remained. Photographs of Cuban women circa the 1950s influenced the collection's bold flower prints (Copping often used the reverse side of the prints to conjure a sun-bleached feeling), while pictures of Caribbean schoolgirls inspired the trim blue button-down he paired with a flippy skirt in a deep shade of brownish-red—a great wear-to-work outfit, by the way. Images of face painting from Africa became a graphic microprint on the stretch cotton he used for a three-piece skirtsuit. The third piece was a saucy bra—swap it for one of his special knit sweaters to make the suit office-appropriate. Copping may yet be at his most sublime when he's thinking Parisienne, as was the case with a gorgeous smoking gown whose ribbon straps descended the sides of the body to create tuxedo stripes. Still, this persuasive offering served as a timely reminder that Nina Ricci is more than just evening dresses.