June 11, 2014 New York
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.