Mr Peter Copping
Mr. Peter Coppingan interview with Peter Coppingby Sophie Lebas de LachesnayA graduate of Saint Martin’s School and The Royal College of Art in London, the British Peter Copping makes stops at the Houses of Christian Lacroix and Sonia Rykiel before becoming part of Marc Jacob’s team at Louis Vuitton, in 1995, where he oversaw the women’s collection. In March 2009, he joined the House of Nina Ricci as artistic director, with the desire to “get rid of” the brand’s “little girl” style. Let’s see how he did…S.L. de L.: Now that you’ve done a capsule collection and two collections for the House of Nina Ricci, what was your biggest challenge in interpreting the label? P.C.: Once I scoured the House archives, I found that the Nina Ricci woman turned out to be very feminine, ethereal and romantic but also, especially in the ’50s, quite determined in very tailored suits, straight skirts and three-quarter length sleeves in bright colors. The challenge lay in that woman’s change of temperament. I didn’t want any more of that romantic, fragile side…I worked on the first capsule collection from that perspective, which proved to be a good balance between my work and the House’s codes. I like the idea of playing with silhouettes that are simultaneously ultra-feminine, glamorous and tough…That direction became more pronounced in the last winter collection, with heavier fabrics like tweeds and wools. Even though I really like the idea of bringing back certain fabrics from one collection to the next by treating them differently, as a basis. For example, we used a silk crêpe on some suit jackets last summer, then used the same crêpe for long dresses this winter. I think that consistency in collections is very important. It really gives our customers reference points.We see a certain nostalgia in the work of designers who often go back to the stylistic codes from their childhood. Your very “noirish” style has been reiterated over the years, throughout the various Houses you’ve worked for. Where does that fascination with the ‘50s — even the ‘40s — woman come from?(Laughter.) I obviously wasn’t born during that period! No, I’m fascinated by the female silhouettes you find in Hollywood film noir from the ‘40s, like Joan Crawford, that I grew up watching. And it’s precisely that period that is, in my opinion, the strongest in the history of the label.After twelve years with Louis Vuitton, how do you feel in this studio where two other artistic directors (Olivier Theyskens, Lars Nilsson) evolved over the past five years?I really don’t feel pressured by the previous changes at Ricci. The most important thing to me is working on the garment with the staff, trying it on. I’ve had a lot of discussions with Emmanuel from Puig (ed. note: the Spanish group that owns Nina Ricci, Paco Rabanne and Comme des Garçons Perfumes, among others). I think we’ve found the right middle ground, and results confirm that. We have much more traffic in the boutique and the studio, which is a few floors above, because that affords us a real connection between our work and our clientele. My years at Vuitton were particularly interesting, since Marc Jacobs and I arrived at the very beginning of the launch of their ready-to-wear line. That experience — especially the cruise and pre-fall lines, which I’d been entrusted to oversee in New York each season — gave me a taste of the work I’m doing today, and I pretty much accept the spotlight that’s inherent in that job. In the end, it all happened very naturally. I’d also like to get involved in all the little details of the boutique for a more personal, warmer universe, like a living room. And why not work on a perfume concept, as well?You’ve adapted your Vuitton campaign models to Madonna and Jennifer Lopez. Do you think it’s necessary to “sublimate” the work of the cuts and fabrics to celebrity images to exploit a brand’s image today? Or, conversely, do you find it more interesting to sublimate a girl-next-door with your designs?I suspect celebrities are very important in communications today but I’d prefer to see my dresses worn by a young woman with whom I’ve first created a real exchange, rather than on a celebrity who’s not always comfortable with the garment and who doesn’t necessarily have the right style. They’re two totally different approaches.People sometimes denounce the unhealthy relationship between the press and one’s advertisers. The House of Ricci only advertises its perfume. Do you feel it’s difficult to get magazine coverage without taking out ads in them?We’ve had very good feedback from the press. But I think a good magazine’s style section does have a duty to find the right balance between the major labels, young designers or even vintage clothing, to make the choice that’s best adapted to its image. That’s what journalism’s all about. Unfortunately, that problem isn’t new and touches on all media.So, the Ricci woman today is simultaneously determined and mischievous, always feminine… Has the little girl jumped overboard?Yes, that’s done! That’s happening even beyond the clothes — in the hairstyles, the makeup, in the models we choose for our fashion shows. She’s more womanly, once and for all.Above, from left to right, the “Winter Garden” collection, fall-winter 2010/11.1) Belted moleskin coat with fake-fur cuffs.2) Liberty print silk and black lace blouse and brassiere with tweed straight skirt.3) Mesh and cashmere belted jacket, fake-fur cuffs, over a radzimir smock.4) Bustier mini-dress in jacquard embroidered with tulle, organza and lace flowers.5) Crumpled nylon “petals” trench coat.
