Harris Reed’s Nina Ricci: Marie Antoinette Meets Glastonbury | Fashion Week Review
The spring/summer 2026 collections are beginning to signal a shift in mood, and at Nina Ricci, Harris Reed is leaning into a distinctly escapist aesthetic. Inspired in part by Sofia Coppola’s 2006 film “Marie Antoinette,” and a current exhibition at the Victoria & Albert Museum in London dedicated to the queen’s style, Reed presented a collection that felt both historically informed and strikingly contemporary.
Reed, who became creative director at Nina Ricci last year, recalled being captivated by Coppola’s film as a child, specifically the introduction to designer Manolo Blahnik. That early fascination with maximalism and playful juxtaposition seems to have informed his latest work. “That was when I first learned who Manolo Blahnik was,” he said, remembering the unexpected pairing of Blahnik’s designs with Converse sneakers in the film.
The collection, described by Reed as “Marie Antoinette goes to Glastonbury,” wasn’t about literal recreation. Instead, it was an attitude, a mood, and a celebration of feminine energy. The show’s soundtrack, featuring music by Blur, contributed to a feeling of soaring dopamine levels, setting the stage for a collection that blurred the lines between historical court dress and modern festival wear.
Jacquard pantsuits in vintage pastel florals and metallic tiger prints were a standout, creating a visual tension between formality and rebellion. Models appeared ready for either afternoon tea or a headlining performance, a deliberate ambiguity that underscored the collection’s central theme. The footwear, particularly the colorful jacquard pumps with jeweled buckles – some extending over the knee – were undeniably opulent, though perhaps impractical for muddy fields.
Reed also explored new interpretations of classic silhouettes. While crinoline skirts were present, they were largely for show, serving as a visual echo of the past rather than a functional garment. Corsets, a key element of Marie Antoinette’s wardrobe, were reimagined in unexpected ways. One look paired an ice blue tiger print corset over a black T-shirt and lacy slip skirt, while another cinched a black velour tracksuit with a black moiré belt that resembled a cross between a cummerbund and an obi.
The designer drew inspiration from the house of Nina Ricci’s own history, specifically sketches by Gérard Pipart, a longtime creative director, for a ballet version of “Cinderella.” Cinched jackets with double lapels, borrowed from the house’s 1950s archive, added another layer of historical depth. These weren’t simply vintage pieces; they were recontextualized, imbued with a modern sensibility.
Reed believes that the current cultural moment calls for escapism. “Avenues of escapism is what we’re all looking for right now,” he explained. He also sees a broader societal shift, a reaction against what he describes as a “very male-dominated space” and a rise in “toxic masculinity.” “Creatively, when I talk to other designers or artists, I feel like we’re all subconsciously going towards the hyper feminine, or towards this kind of feminine energy that’s just been kind of lost,” he added.
The timing of the collection coincides with the 20th anniversary celebration of Coppola’s “Marie Antoinette” at the Palace of Versailles. The film, known for its vibrant visuals and anachronistic soundtrack, continues to resonate with audiences and influence contemporary fashion. Reed’s collection feels like a natural extension of that legacy, a playful and provocative exploration of femininity, history, and the power of imagination.
As London Fashion Week continues, Reed’s show stands out as a bold statement, a reminder that fashion can be both a reflection of the times and a means of transcending them. It’s a collection that invites viewers to indulge in a little bit of fantasy, to embrace the beauty of excess, and to perhaps, as the film suggests, rock out to a great soundtrack – corsets optional.