Peter Copping Out at Oscar de la Renta, *Update* Laura Kim & Fernado Garcia Confirmed - Page 3 - the Fashion Spot
 
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02-09-2016
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It seems like a great choice, a bit à la Valentino.
They know the brand, the history, the atelier and the clientele. I hope they'll bring some of the edge of their Monse label (i didn't know anything about it).

They can make it work. I've seen taffeta, pink, intricate constructions & ball gowns in their own collections...SO OSCAR!

I wish them the best.

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03-09-2016
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Didn't know, interesting for sure. Feels like they are going to do well.

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03-09-2016
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Hopefully they'll really make an impact and move the house forward. Copping did nothing for the house. He was a promising candidate at first but it wasn't a good fit.

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04-09-2016
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Quote:
Originally Posted by Lola701 View Post
It seems like a great choice, a bit à la Valentino.
They know the brand, the history, the atelier and the clientele. I hope they'll bring some of the edge of their Monse label (i didn't know anything about it).

They can make it work. I've seen taffeta, pink, intricate constructions & ball gowns in their own collections...SO OSCAR!

I wish them the best.
Sincerely, i didn't know them and the Label too
But hope they will do their best and will make their work in traditions of Oscar de la Renta.

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04-09-2016
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I really like what they're doing with Monse and I hope they can bring some of that innovation and push over to ODLR. Good luck to them!

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04-09-2016
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what's shocking is that they weren't given the role in the first place after so many years at the company...

looks like, combined, they have all the celeb contacts and the design chops needed for the job...

starting their own brand was brave and brilliant...
good for them!

ODLR is lucky they decided to go back~

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06-09-2016
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I'm incredibly excited to see what they'll do with ODLR. Before finding out that they originally worked for/with Oscar I would never have guessed it based on their designs for Monse, but the clothes I've shot/seen from them are beautifully made and have a nice balance between a sort of European sensibility and American ease, which I suppose was always at the heart of Oscar's work as well.

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06-09-2016
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Quote:
Originally Posted by softgrey View Post
what's shocking is that they weren't given the role in the first place after so many years at the company...
I had the same thought. Why, if it has worked out for years , let them go to take on someone completely different? They seem perfect for the job.

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07-09-2016
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^ I have a feeling it was a combination of wanting a bigger name who was already known as a creative director (in this case Copping) and a lack of faith that Kim and Fernandez were capable enough to head up a large brand.

The assumption was likely that Copping's following of clients, editors, buyers and all of that from Nina Ricci would automatically follow him to de la Renta.

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19-01-2017
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Monse and Oscar de la Renta to Combine Fall 2017 Shows

Quote:
The collections will be shown on the runway consecutively, with no break, on Monday, February 13.

Designers Laura Kim and Fernando Garcia, co-creative directors of both Monse and Oscar de la Renta, will debut their Fall 2017 collections for the two brands together — one after the other, with Monse leading — during New York Fashion Week at 6.30pm ET on Monday, February 13. The runway show will take place at IMG’s Skylight Clarkson Square venue with a set designed by the New York-based Stefan Beckman Studio.

The venue is a surprising choice for Oscar de la Renta, which typically shows at a more buttoned-up location such as the Morgan Library, the Park Avenue Armory or in its own offices. But the decision to show the collections consecutively, with no break, is truly unorthodox.

For one, it makes it that much harder for the brands to sit apart in the marketplace. It also puts more pressure on the design team to have both collections ready on the same day.

But Garcia argues it's easier — and more cost-effective — to stage one event than two, while also allowing the designers to show editors and buyers how the two labels are distinct yet complement each other. (While Oscar de la Renta's aesthetic will certainly evolve under Kim and Garcia’s watch, it seems sure to remain the dressed-up antidote to Monse’s flashier, rebellious quality). There will also be a "reveal factor" before the first Oscar de la Renta look hits the catwalk in order to clearly delineate the lines, and to underscore the elder brand's gravity.

“We wanted to attack it head on: Can we do two different collections that have an identity on their own and be brave enough to show them together?" Garcia said. "Having them be consecutive does not mean that there is necessarily a blending of the ideas. There’s going to be different styling for each show, and it’s going to be very apparent where the [change] happens. The clothes are very different."

According to Oscar de la Renta chief executive Alex Bolen, the thinking was driven not only by an intention to shake up the increasingly staid runway-show format, but also to convey that the two labels are part of the same brand family. "We talk about brands DNAs, and I think that, on some level, if Fernando is part of the Monse DNA and part of the Oscar DNA, it’s impossible for them to be totally separate," he said. "And guess what? I don’t think they need to be totally separate. It’s going to be a happy day for me when I see a real customer with an Oscar blouse and a Monse skirt.”

The scheduling also provides, intentionally or not, a bit of relief to editors and buyers with unpleasantly packed schedules. "It’s one less show that somebody has to run across town for," Bolen added.

But the show also marks a homecoming for Monse. In September, it was announced that Kim and Garcia would be rejoining Oscar de la Renta as co-creative directors — and showing their first collection in February 2017 — after departing from their positions as studio director and senior designer, respectively, more than a year earlier in order to launch Monse, their own line. During the period of separation, Monse gained quite a bit of recognition on the red carpet and was picked up by several prominent retailers, including Net-a-Porter.

In February 2016, Kim also began working for Oscar de la Renta rival Carolina Herrera as senior vice president of design, while Garcia was hired by the same brand as a consultant. However, in September it was announced that the duo would replace Oscar de la Renta’s former creative director Peter Copping, whose work did not resonate with the label's loyal customers.

As a part of Kim and Garcia’s return to Oscar de la Renta, the house agreed to invest, both financially and operationally, in the still-sizzling Monse label. And while ready-to-wear remains the bread-and-butter for both brands, Bolen has aspirations to increase their marketshare in other categories. “On the Oscar runway, we are very focused on the total look. Look closely not just at the clothes, but at the jewelry and the shoes and the bags," he said. "We have been stronger in ready-to-wear and jewelry than we have been, for example, in shoes and bags. Those are important to us, and we think that we have interesting things to say."

While there is an air of “bringing the gang back together” to the forthcoming show, the last few months have been bumpy for the designers and their current and former employers. In December 2016, Carolina Herrera filed a lawsuit against Kim for allegedly violating a non-compete agreement when Oscar de la Renta re-hired her and Garcia as co-creative directors. All parties reached a settlement in early January 2017, but the complication underscored the longtime rivalry — albeit an outwardly friendly one — between the two houses. Bolen declined to comment further on the lawsuit, only to say, “I have no comment on any of that. We are focused on the future."
BY LAUREN SHERMAN
JANUARY 19, 2017
BUSINESSOFFASHION.COM

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19-01-2017
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^That feels weird and not done, curious tho.

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19-01-2017
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This sounds like a very very strange idea, but we will see how it works as it unfolds. I will say their return to OdlR has done wonders for Monse because despite all these outlets reporting how hot the brand is I, nor anyone I know, ever heard of it. I can only imagine combining the shows will raise the brand's profile even more.

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29-08-2017
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Can we please update the title of the thread........


Quote:
Oscar de la Renta Has a New Creative Team, a New Look, and a Growing New Base, Including Zoe Kravitz, Huma Abedin, and Nicky Hilton

by Karin Nelson
August 18, 2017 9:00 am

A cupid in a custom-tailored suit, the late fashion designer Oscar de la Renta spent considerable effort trying to find a fella for his studio director, Laura Kim. “He would be like, ‘How about this guy?’ ” recalls Kim, a 35-year-old Korean-born Canadian who joined the house as an intern in 2003 and went on to work by de la Renta’s side for more than a decade. “I’d be like, ‘Oscar, isn’t he engaged?!’ ”

It never panned out—at least not on the personal front. Professionally, however, de la Renta found Kim the perfect match when, in 2009, he brought fellow Dominican Fernando Garcia on board. Garcia, whose father owns Ferretería Americana, a sort of Dominican Home Depot, had skillfully orchestrated a meeting with de la Renta—“a god on our island, right up there with our founding fathers”—while the designer was vacationing at his arcadian retreat in Punta Cana. Garcia had no formal fashion training—he had just graduated from the University of Notre Dame with a degree in architecture—but he was deeply passionate and brought with him a sketchbook filled with his drawings of women in romantic red-carpet-worthy dresses, which he had been honing since he was a child. “I was curious to hear about his upbringing, his trials and errors, what kinds of colors he liked…” says Garcia, 30, of their conversation. “But he kept talking about this Laura girl. He knew we would complement each other.”

And they did. Though at first Kim was less than thrilled to take this inexperienced kid onto her team—“I was so annoyed,” she says *point-blank—Garcia, who arrived on the final frantic day of preparations for the 2010 resort show, quite literally hit the ground running and immediately ingratiated himself. “I’d give him something to do, and he would actually physically run really fast, which helps before a show,” Kim says. It was not long before the two became a formidable pair, with Garcia, a glutton for glamour, happily handling celebrity dressing, and Kim, a brass-tacks kind of gal, successfully building the more *commercial aspects of the brand.

And yet when de la Renta became terminally ill with cancer, and discussions came up about his successor, the two were passed over for the British designer Peter Copping, an aesthete with a penchant for the ultrafeminine who seemed, on all fronts, to be the ideal candidate for the job. “I made the mistake of underestimating their maturity,” admits Alex Bolen, the CEO of the company, in retrospect.

Kim, who had always wanted to go out on her own, decided that this was the moment, and she convinced Garcia to join her—much to de la Renta’s dismay. “We told him we were leaving to start our own company 30 minutes before Hillary Clinton was scheduled to come by,” Garcia says. “It was poorly timed.”

“I just remember seeing Laura in the corner crying, with Fernando consoling her,” recounts political aide Huma Abedin, who accompanied Clinton that day. “And Oscar telling us, ‘Can you believe it?! These young people are leaving me!’ ”

The two went on to launch Monse, named for Garcia’s mother, in May 2015, and gained immediate acclaim—as well as insta-fans like Amal Clooney and Sarah Jessica Parker—for their loosey-goosey take on men’s shirting. Meanwhile, Copping, who had taken over at Oscar de la Renta in November 2014, on the day of the designer’s funeral, departed abruptly after just 21 months, citing “personal circumstances.”

Fast-forward to a frigid day in March of this year: Kim and Garcia, who were appointed co–creative directors of Oscar de la Renta last September, are seated in their former boss’s office, an airy space in midtown *Manhattan replete with books and fashion photographs that, save for a bigger desk that comfortably accommodates them both, remains exactly the same as when de la Renta occupied it. This is where they start their days; in the afternoon, they meander downtown to the Monse studio—Garcia travels by subway, and Kim, who has a fondness for four-inch heels, by car. They credit their two amazing design assistants for allowing them to sanely balance the demands of both jobs.

A few weeks earlier, they had presented their debut Oscar de la Renta collection, for fall—a youthful, clean-lined update on the house’s refined aesthetic. De la Renta’s signature bold prints, rich fabrics, and *voluminous silhouettes were still very much present, but Garcia and Kim had kicked the exuberance of the brand up a notch with neon *cocktail dresses, racy cigarette trousers, and thigh-high bejeweled boots that Nicky Hilton Rothschild, a longtime client, approvingly described as “next-level insane.” The presentation was ambitious: Kim and Garcia showed their collections for Monse and Oscar de la Renta back-to-back within a stately set inspired, in part, by the Catherine Palace, in Saint Petersburg. (“Right after we returned to the house, we went to Russia with Alex [Bolen],” Kim explains. “We call it our honeymoon trip.”) Many of Oscar’s doyennes were there—Mica Ertegun, Naty Abascal—alongside younger swans like Princess Mafalda of Bulgaria and Princess *Maria-Olympia of Greece. Save for one of the shimmering curtains not opening, which prevented half of the audience from taking in the full dramatic effect, it was an impressive first outing. “We’re happy with it. As for the curtain snafu, it makes for a good story,” Garcia says with a shrug.

Among the many things that he and Kim learned from de la Renta, who was an incorrigible jokester, as well as a fantastic dancer and singer, is that a lighthearted attitude goes a long way. “Oscar always brought a sense of levity when things got too serious,” says Garcia, recounting a few of the shenanigans that occurred in the office, including the time Garcia flipped the script and prank-called de la Renta, pretending to be the socialite Mercedes Bass. “I’ll reenact it one night over drinks,” he promises.

Indeed, it is this learned nonchalance that has allowed them to weather the telenovela-like drama that brought them to this point, much of which they are legally barred from discussing. In brief: Shortly after Kim and Garcia left Oscar de la Renta, they were snatched up by François Kress, then president and CEO of Carolina Herrera, with the assumption that Kim would eventually be promoted to creative *director of the rival house. But Herrera herself was none too pleased, and tensions naturally arose. After Copping left Oscar de la Renta, Kim and Garcia swiftly resigned, returning as co–creative directors and prompting a lawsuit from Herrera that aired what arguably became the world’s priciest dirty laundry in the newspapers. In the end, the two parties settled, and by now much of the dust has, too. “It’s strange not having to talk to our lawyers every day—we’ll have to cook up something new,” is all Garcia, with a crooked smile, will say on the matter.

From left: Political aide Huma Abedin, Princess Maria-Olympia of Greece, model Sasha Pivovarova, and fashion editor Naty Abascal.
Photographs by Emma Summerton, Styled by Patrick Mackie; Hair by Luke Chamberlain for Kérastase; makeup by Mathias van Hooff for Bobbi Brown at Management + Artists; manicure by Gina Edwards for Dior. Set design by Viki Rutsch at Exposure NY. Zoe Kravitz: Hair by Nikki Nelms at Impaq Beauty; Makeup by Nina Park for The Wall Group; manicure by Casey Herman for Dior at the Wall Group; Thandie Newton: hair by Vernon Francois for Vernon Francois at Artists & Company; makeup by Jo Strettel for NARS at Tracey Mattingly; digital technician: Matthew Thompson; photography assistants: Cindy Leaf, Kiri Wawatai, James Ridley; fashion assistants: Diana Choi, Merrit Rea, Madison Parker; Special thanks to pier 59 studios

Laura Kim comes from a family of architects. Her father is one, her grandfather is one, and so is her sister. She considered becoming one, too, but ever practical, she did the math—“It’s five years of school, instead of four,” she notes—and decided on fashion instead. She moved from Calgary to New York to attend Pratt Institute, and landed at Oscar de la Renta while still in school. Alex Bolen, who is married to de la Renta’s stepdaughter Eliza, started at the company the same week Kim did, and he distinctly recalls the moment she caught the boss’s eye: “Oscar loved great buttons, and we had a dearth. Laura said, ‘I think I have some.’ Sure enough, she came in the next day with these amazing handmade buttons, and he was like, ‘What else can you do?’ ” In fact, it was Kim’s mom who had made the embellished passementerie specimens. “She’s good with her hands,” Kim says. “So I sent her all the materials and was like, ‘Send me options tomorrow!’ ” Kim had proved not only her resourcefulness but also her keen understanding of the brand. “These guys know what the company needs,” Bolen says now.

“We know how Oscar would want to push the house forward,” Garcia concurs. “But you can’t do it in one season. You can’t alienate the clientele, which is vast. Rather, it’s a matter of tweaking.” To that end, he and Kim are slowly trying to streamline the design codes, adding an array of sleek suiting and fluid, monochrome cocktail looks. “Oscar never liked over-the-top. It’s funny, right?” Kim says. “His customers loved embellishment, but you would hear him say, ‘I just want to do a clean black column gown.’ He loved simplicity, and that feels right for the house now.” Pushing the notion further, Kim even experimented with a slouchy knit this season—an idea so foreign to the brand that Sarah Jessica Parker described it, in hushed tones, as “a little subversive; nastier, you know?” But paired with a pencil skirt and over-the-knee suede boots, it looked refreshingly practical.

In 2008, in the midst of the recession, the house launched costume jewelry, which has since gone gangbusters, accounting for 10 percent of overall sales; shoes and bags, however, have never been a big category. There are plans to remedy that as well—incrementally. For fall, Kim and Garcia debuted the TRO, a compact purse festooned with a metal gardenia, and there is a waiting list for those $4,990 bejeweled boots. “Our shoe designer hand-embroidered them the day before the show,” Kim recalls. “His wife was about to have a baby, and I was like, ‘Hold it in!’ ” Most progressive, though, is their goal to make their business more environmentally conscious. They worked with Eco-Age, a company that promotes the use of sustainable fabrics and factories, on Emma Watson’s wardrobe for her Beauty and the Beast press tour. And they are consulting with additional planet-friendly firms on strategies to lessen their impact on the environment—including figuring out how to produce Oscar de la Renta’s signature shocking pink, a color that can be ecologically harmful to achieve, in a green way.

“What they’re doing feels like a respectful evolution of the brand,” says the stylist Kate Young, who dressed Selena Gomez for the L.A. premiere of 13 Reasons Why in a copper mini cocktail dress from the fall collection. Still, Garcia and Kim can’t help but feel the enormity—and the oddity—of shepherding the legendary 52-year-old fashion house into the 21st century. “It’s strange that Laura and I are in charge of perpetuating Oscar’s DNA,” Garcia admits. “To be honest, I still think of myself as his lunch grabber—running down to Pret A Manger and telling him what kind of soup they have.”
Source: Wmagazine.com

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2 Weeks Ago
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Just a short update on what Copping is currently busy with.

Quote:
PETER COPPING
The ex–Nina Ricci designer spent a brief but critically acclaimed period as creative director at Oscar de la Renta. Copping’s stint then led him to an unexpected new chapter—magazines!

How did you end up as a contributing editor at Architectural Digest?
I attended the wedding of Colby Jordan, a fellow AD contributor, last year in the South of France and got talking with Jane Keltner de Valle, AD’s style director. She knew I was passionate about homes and interiors, and she set up a meeting between myself and Amy Astley. Amy asked if I would like to contribute, and I jumped at the chance.

How do you look back on your time at Oscar de la Renta?

Unfortunately, I never got the chance to work alongside Oscar as was planned. I found it a challenge to arrive in a house that was in mourning, and with a family that wasn’t ready, at that point, for change. Another challenge was working with the in-house atelier; it lacked the savoir faire I had experienced in Paris. The highlight was designing a custom evening gown for Lynn Wyatt to wear to her 80th birthday ball. I do not regret my time at Oscar de la Renta at all, and am very proud of the legacy I left, especially the Spring/Summer 2016 collection. It was selected by Vogue as one of the best collections of the season, and for me, it captured the spirit of the house in a fresh and modern way.

Have you stayed in New York?
No, I have spent most of the time at the home in France I share with my husband, Rambert Rigaud. It has been quite a contrast to my life in New York. We were renovating the last part of our house in Normandy, so being there enabled me to oversee the final stages of the work.
Source: Fashionweekdaily.com

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2 Weeks Ago
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I love his candidness about his time at the house.

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