2016 Resort

Oscar de la Renta

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Oscar de la Renta Resort 2016

Oscar de la Renta Resort 2016

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  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016
  • Oscar de la Renta Resort 2016

Oscar de la Renta Resort 2016

Peter Copping used light constructions and Oscar de la Renta's signature bright colors to pay homage to two of the late designer's favorite places.

Peter Copping’s creative direction at Oscar de la Renta is still in its infancy, as he discovers the world of the late designer and how to treat it. Resort was Copping’s second collection — third if you count bridal — for the house, and he used it to explore one of de la Renta’s signature motifs — bright color — through the lens of his favorite places. “I really wanted to marry two of Oscar’s worlds, New York City and Punta Cana,” Copping said. It goes without saying that de la Renta’s love for unapologetic femininity, which Copping shares, was also a major factor.

 

Beach colors of marigold, magenta, persimmon and marine blue were used in bold floral prints and embroideries, sometimes in tandem on printed dresses with embroidered over-bodices. Copping tends toward a light construction, which refreshed neat daywear, such as a black-and-white mini daisy dot cotton poplin skirt suit, and gave breathing room to voluminous taffeta gowns and cocktail dresses that riffed on opera coats. Swimwear-inspired bodices and a filmy caftan — Copping’s first ever — underscored the air of ease that’s wafting through the house.

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