IS IT REALLY A NEW DAY AT NINA RICCI?

Is it really a new day at Nina Ricci? After years of either inconsistent visions of various creative directors or viral ideas that never went beyond the runway, the historic Parisian Maison needs an assertive path to take in order to be a name that sparks true interest and desirability among contemporary customers. Stepping in to fill those boots was Harris Reed – a bold native American designer via London known for his gender-fluid approach for his namesake label… oh and collaboration with mass-produced  jewellery brand, Missoma. 

Already dressing superstars in the months leading to his show such as the Harry Styles rosette black look for this year’s Brit Awards, to the loofer-like Florence Pugh in luminous orange for her BAFTA opening-of-an-envelope appearance – Reed took to the red carpets giving us a teaser of just what he had in stall for his Paris show.

Telling Vogue, Reed explained “I’m feeling nervous and excited” about the debut which in our opinion, went car-crashingly wrong. The debut collection was a loud and bold statement filled with over-the-top shapes, eye-popping colours, and psychedelic prints. Bold Silhouettes staggered the runway in platforms debuting a runway showcasing a collection for the houses ready to wear re-debut. Runway-spanning circle skirts leaned perilously close to costume and gimmicky, just like most of the offering. Fast-forwarding to the end [thankfully] the show-closed with a hobble skirt – with the only award going to the model who wore it deserves a prize for not toppling over. Except for all the camp-y looks and downpour of Harris Reed’s own label, there was no depth in this debut or wider understanding of the heritage brand and DNA of Nina Ricci. Was Reed is way out of his depth to take on the struggling house of Ricci?

While we adore the namesake label of Harris Reed, clothes-wise, Reed for Ricci has a long, long way to go.