On May 14th Mr. Mr. Christophe Muser, Representant of Nina Ricci in Korea, visited our seminar.
Faire couture: A tribute to the pleasure of finery
When the 1930’s saw Paris decked out in eccentric illusion. Madame Ricci on charming, irresistible and delicious femininity. It was very clear for her that it had to be highlighted with quiet elegance. Nothing austere, just grace in all simplicity. Enhanced by an ornamental detail or magnified by the richness of a fabric, the main idea came to life and movement in a complex structure.
A figure beloved by Paris society, Nina Riccci had said her adieux after 30 years of creating fashions when her son, Robert, a visionary advertising executive, convinced her to create a couture house in her name. In 1932, it opened on Rue des Capucines. The loveliest silhouettes of France cinema were soon paying the homage in real life as well as on the silver screen, while Nina was establishing her legend as the White Lady, all in white form the crepe of her dresses to her many ropes of pearls, her sassy curls and her perfect complexion.
Robert Ricci needed a territory to suit his scope, while the Maison Ricci needed an arm to conquer the World. The businessman turned to fragrance and in 1945, created Coeur Joie, an amazing floral-musky scent. With Capricci. Fille D’Eve and Farouche, success followed success, and the house constantly grew, becoming a worldwide symbol of the quest for Parisian taste. In 1948, an icon took flight on the interlaced wings of tow crystal doves: L’air du Temps, whose time would always be right, and marked the beginning of an exclusive partnership between Lalique and Ricci.
In 1959, Madame Ricci moved aside in favor of the talents of the young Jules-François Crahey. He offered a new expression of Ricci femininity, sophistication all in silky volumes and geometry. The press declared a new genius while princesses and members of Café Society showed up wearing his Crocus suit. The way opened for Géneral Pipart, who for thirty years would be the virtuoso hand of Ricci. Perpetuating the sprit of the great Nina, he dresses young goddesses of the big screen and royal houses in fabulously colorful, feminine creations.
Show windows created by Warhol and Daniel Buren, collaborations with Sol Lewitt, Cesar and David Hamilton: thirty years after the first gouaches by Christian Berard for L’air du Temps, Robert Ricci pursued sis bold artistic encounters throughout the 1970’s and 80’s.
When the 1930’s saw Paris decked out in eccentric illusion. Madame Ricci on charming, irresistible and delicious femininity. It was very clear for her that it had to be highlighted with quiet elegance. Nothing austere, just grace in all simplicity. Enhanced by an ornamental detail or magnified by the richness of a fabric, the main idea came to life and movement in a complex structure.
A figure beloved by Paris society, Nina Riccci had said her adieux after 30 years of creating fashions when her son, Robert, a visionary advertising executive, convinced her to create a couture house in her name. In 1932, it opened on Rue des Capucines. The loveliest silhouettes of France cinema were soon paying the homage in real life as well as on the silver screen, while Nina was establishing her legend as the White Lady, all in white form the crepe of her dresses to her many ropes of pearls, her sassy curls and her perfect complexion.
Robert Ricci needed a territory to suit his scope, while the Maison Ricci needed an arm to conquer the World. The businessman turned to fragrance and in 1945, created Coeur Joie, an amazing floral-musky scent. With Capricci. Fille D’Eve and Farouche, success followed success, and the house constantly grew, becoming a worldwide symbol of the quest for Parisian taste. In 1948, an icon took flight on the interlaced wings of tow crystal doves: L’air du Temps, whose time would always be right, and marked the beginning of an exclusive partnership between Lalique and Ricci.
In 1959, Madame Ricci moved aside in favor of the talents of the young Jules-François Crahey. He offered a new expression of Ricci femininity, sophistication all in silky volumes and geometry. The press declared a new genius while princesses and members of Café Society showed up wearing his Crocus suit. The way opened for Géneral Pipart, who for thirty years would be the virtuoso hand of Ricci. Perpetuating the sprit of the great Nina, he dresses young goddesses of the big screen and royal houses in fabulously colorful, feminine creations.
Show windows created by Warhol and Daniel Buren, collaborations with Sol Lewitt, Cesar and David Hamilton: thirty years after the first gouaches by Christian Berard for L’air du Temps, Robert Ricci pursued sis bold artistic encounters throughout the 1970’s and 80’s.
