Nina Ricci, a woman of charm, determination and impeccable taste and endowed with an exceptional talent for design, embarked on a career in fashion while still a young girl, completing an apprenticeship in dressmaking at Turin, the city of her birth. She commenced designing during her twenties and soon gained considerable experience at the major Haute Couture houses in Paris. This early exposure and training was invaluable in establishing the foundation of her own original creations that would enable her to shape the ideas, tastes and aspirations of fashion-conscious women for more than half a century.

In 1932, at the age of 49, Nina Ricci, in partnership with her son, Robert, established her own Haute Couture business, at 20 rue des Capucines. This soon flourished into one of the most fashionable Houses in Paris, made possible by an almost flawless association of two people with remarkable complementary skills. Facilitated by his extraordinary administrative expertise, technical mastery and bold preparedness to diversify the Haute Couture House into all areas of fashion and augmented by an excellent flair for visual imagery, Robert Ricci steered the company to great heights prior to 1939, through the subsequent difficult war years and entered upon a new phase of expansion after 1945.

At the house of Nina Ricci, women were attracted by the unique personal attention that each client received and the promise of something quite distinctive and original. It was the intention of Mme. Ricci to dress each woman according to her special personality, in fresh, uncluttered garments, that represented her distinctive preference for harmony, classical poise and feminine elegance. Each creation was stated in stunning high quality fabrics for which the house of Nina Ricci had already become famous.

Mme. Ricci's celebrated artistic qualities were visible in everything that she touched. The direct draping of models took on an image of ancient Greek caryatids. The natural folds of the fabric adorning the body in soft flowing wraps, swirling delicately, to form shapes that merged with the figure as the master sculptor had enveloped his stone.

This family enterprise, which successfully combined the creative talents of a quite remarkable woman and the business acumen and ingenuity of an equally remarkable man, established a new and exciting venture in 1945 with the introduction of their first perfume, "Coeur-Joie". Initiated by Robert Ricci who believed that perfume was the perfect feminine means of expression, to complement the 'haute couture' industry. It marked the beginning of an exceptional union that would make the name of Nina Ricci universally acclaimed as an outstanding 'Haute Couture & Parfume Company' and simultaneously inaugurate the beginning of the firm's international career.

The philosophy of 'Nina Ricci' to create a more beautiful world by endeavouring to provide components that would highlight the singular potential in each person and magnify their individual allure, through colour, style, and sensitive fragrances, proceeds uninterrupted today, in the capable hands of Gilles Fuchs who became President of the organisation in 1988, following the death of Robert Ricci.

It was perfume that first linked Gilles Fuchs to the Ricci family. A lawyer by profession but coincidentally the son of a perfume producing lineage at Grasse, the perfume centre in France, Gilles explains his early introduction to the family. "I met Mr. Ricci's daughter, Marie-Francoise when she visited the perfume institutions at Grasse and we subsequently got married. In 1959, my father-in-law, Robert, invited me to establish the Nina Ricci export department". Mr. Fuchs relinquished his position as an international lawyer and worked with Robert for the next thirty years, becoming a partner in the company. During that time he made enormous contributions to the establishment of a vast export network introducing trade relations with Japan in 1960 and opening up key development areas in Asia.

His great respect and admiration for Robert Ricci is clearly evident in Gilles Fuchs' illustration of the man who was instrumental in the establishment of the Nina Ricci perfume industry. "Robert was an astute businessman with a dynamic and inventive personality. A remarkably creative designer in the graphic arts with a highly established sensitivity for beauty. The war inaugurated many changes which affected the haute couture business and proved a turning point for an industry that had flourished in an environment of gaiety and glamour in pre-war days, that no longer existed. It became necessary to establish something new to supplement the fashion business".

Robert Ricci was fascinated by the possibilities he observed in perfume. He had a great liking for fragrances and believed that he could express his artistic attributes in bottles and scents which he perceived as works of art. His belief that this new industry would sustain the couture business through difficult times and provide a new means of expression, was well founded.

In 1945, Robert Ricci launched the delightful 'Coeur-Joie', a light, floral composition of jasmine, violets, roses and iris. The bouquet was as unsullied and beautiful as the uncut flowers themselves, replete in a country garden. According to Monsieur Fuchs, "'Coeur-Joie' literally means, 'with all my heart', and was an expression of pure happiness. Everybody was joyful that the war had ended and there was a great sense of relief and optimism. This perfume expressed these sentiments exactly, replacing the more mature and heavy fragrances of the period with a breath of fresh air".

The exquisite pink crystal heart-shaped bottle by the artist Marc Lalique, decorated in leaves and flowers by Christian Berard, completed this charming presentation. This was to be the beginning of a creative alliance between Robert Ricci and Marc Lalique, long time family friends, that would see the superb fragrances of Robert, displayed in splendid, romantic, aesthetic perfume bottles that bore all the characteristics of miniature works of art.

'Coeur-Joie' was so successful and such an original concept that it immediately propelled the House of Ninna Ricci into the mainstream competitive perfume arena, providing Robert Ricci the opportunity to establish himself in the world-wide market. He instituted a business link with the United States of America in 1946 which would determine the beginning of a long and successful association, establishing his fragrances at the pinnacle of the American perfume market, where they remain to the present day.

Monsieur Fuchs depicts perfume designers as creators, contemplators, and artists. "In this business we have to educate our sense of smell in order to 'know' the aroma and atmosphere. You sometimes have to train the nose to respond. I am accustomed to smelling perfume because I grew up in the business. It is absolutely essential to have the correct sense of smell in much the same way as a wine expert. The nose is a creator, a producer of something new. Some people have wonderful olfactory gifts but others must simply learn to identify the appropriate fragrances".

In 1948, the perfume, that is inextricably bound forever with the name of Nina Ricci, was launched on the market to accolades of praise and admiration for its magnificent bouquet and stunning presentation. 'L'Air du Temps' with its tantalizing discords of florals and spice, yielding heady scents of gardenias and jasmine, sandalwood and carnation with just a hint of musk blended together into a bewitching, youthful, classic perfume that promised the earth. The swirling linear curve of crystal, cut on a diminishing diagonal, is spectacular in its solid circular mass, topped by the most remarkable pair of doves with outstretched wings and beaks locked together in an irrevocable kiss, symbols of peace and love. The smooth finish of the birds in contradiction to the angular cut of the bottle, mirrors the perfume that it contains, with its blunt contrast. Gilles Fuchs believes that this perfume has sustained its remarkable popularity because it is utterly unobtrusive. "it is a perfume you do not become tired of. It does not interfere with your life because it is not too specific or too overpowering and you can live comfortably with it. It was absolutely contemporary then and it is still contemporary today. Its literal meaning, 'it is in the air' refers to what is happening right now, the spontaneity of life, young people and the speed of youth".

The successful expansion into perfumes kept pace with the company's other developments, acquiring a large share of the export market to America and Japan during the 1950's and 1960's. This would soon extend to over 130 countries around the world.

Mme. Ricci engaged a young designer, Jules Francois Crahey, in 1950, who's contribution to haute couture design would carry the reputation of Nina Ricci far beyond the borders of France. He continued to build on the creative foundation established by Nina Ricci after her retirement and received international acclaim with his 1959 collection.

Gerard Pipard joined the company in 1964 and became its artistic director, leading the house of Nina Ricci into modern and challenging decades. He would play an important role in the fresh ventures of the company, exercising his proficient skills in dress design to carefully blend new ideas with the established image of Mme Ricci's classical and elegant style. The House of Nina Ricci would be awarded the prestigious "22nd Golden Thimble' in 1987 for his Spring-Summer haute couture collection, in recognition of his enduring talent and success. Gerard Pipard's extensive understanding of the fashion market and his wide experience with other 'haute couturiers' in Paris rendered him an invaluable assistant to Robert Ricci in the development of the 'pret a porter fashion range', accessories and accompaniments.

Gilles Fuchs explains the importance of such diversification, "It would have been impossible to continue to rely on 'haute couture' as a single major source of income. The world is changing and the demand for designer 'ready-to-wear' fashion was directed by the customer who desired, elegant, individual clothes but lacked the resources to engage in high fashion shopping. To prepare and present a haute couture collection of approximately one hundred items, costs around one million dollars. To meet these expenses we have created sidelines and licenses, to pay for the haute couture business".

The company is now committed to a collection of mens wear and toiletries. The 'woody' Phileas range presented in strong faceted bottles is wonderfully refreshing with a blend of wild herbs, cypress and sweet lime. The fluted bottles of the Signoricci line present a more 'citrus' aroma, combining lemon, mandarin and rock moss, packaged in smart, Prince of Wales grey boxes. Almost all other accessories and fashion items, hats, gloves, leather goods and even costume jewellery are now produced by the company, although they do not manufacture everything themselves. Their designers automatically plan 'the total look', creating an overall fashion feeling. Although change must occur to meet the demands of modern society, the company has retained its philosophy to promote beauty and elegance and has seen its efforts rewarded in the demand for its products around the world. Recognition has been bestowed by numerous awards both at home and abroad, which include, the 'Chevalier de la Legion d'Honneur' to Madame Nina Ricci for her outstanding services to French Couture, the American 'Hall of Fame' presented to Robert Ricci for his early pioneering export market to America together with the 'Perennial Success Award' for 'L'Air du Temps' and at home, the significant 'Officer of the Legion of Honour', among many others. When Nina Ricci died in 1970 she left behind a successful and magnificent legacy that would continue to grow into an exceptional modern company.

In 1974, Nina Ricci perfumes were so popular both in Europe and overseas that it was necessary to open a Production Centre at Ury on the edge of the Forest of Fontainebleau, to meet the burgeoning demands. Popular new scents of the '60's and '70's included the very feminine, elegant, and mood-enhancing 'Capricci' with its delightful flavour of roses. 'Farouche' in its magnificent sculptured heart-shaped bottle by Lalique has an extraordinary tactile quality and guards the rich essence and radiant warmth of honeysuckle and orange leaves that sharpen the senses. Perhaps the most subtle yet intoxicating of all floral extracts is 'Fleur des Fleurs' created by Robert Ricci in 1980. It has a lively and beguiling quality that is at once modern yet traditional, emanating the charm of white flowers with just a hint of delicate woodland. The extraordinary design quality of Lalique is once more demonstrated in the charming bubble shaped bottle with its free-form, etched, linear rose, extending out from its smooth surface like a low relief sculpture. Today, the Ury Centre has doubled its production capacity, extended its buildings and increased its perfume lines, dispatching more than twenty million articles around the world each year.

In 1987, one year before he died, Robert Ricci launched the romantic and quite beautiful 'Nina', a tribute to his mother and a realisation of what he perceived best exemplified his perfume philosophy. It is very traditional in concept with the 'Ricci' emphasis on quality, sensitivity and romance, in keeping with his dictum, that 'perfume must be a work of art'. It is remarkably harmonious, combining violets, mimosa, marigolds, herbs, roses and essence, in an exciting patchwork-quilt of floral and wooded delights. A refreshing, spirited fragrance that pervades the senses with romantic dreams. The almost-round 'Lalique' bottle is cloaked in a linear pattern reminiscent of the delicate open pleats of fabric draped on a figure-form, interrupted by an asymmetrical heart-shaped window cut to reveal the name of Nina.

The eighties was a period change and expansion for the company, under the direction of Gilles Fuchs who re-organised and developed the perfume business and was active in the diversification of the Nina Ricci fashion group. The opening of a men's boutique, the 'Ricci-Club' in 1986, created a new focus for the company's development.

Monsieur Fuchs explains the current situation in the haute couture and ready to wear industry, "We have private customers who can afford and still like to be dressed in high fashion garments. In fact, we keep a type of dressmakers model with the measurements of each of our clients. Sometimes it is very amusing to see them look at the 'changing body', if they have become larger or smaller. We still have European princesses among our clientele who wish to buy creations that are individual, beautiful and singularly unique. Of course our 'pret a porter' attracts a much greater cross section of society, those who enjoy a high quality of garment that is exquisitely cut, exceptionally well designed and very elegant".

The designers have demonstrated a refreshing new dimension in the use of fabrics, textures, and electrifying colour with an accent on comfort and ease, embellished with the enchanting and delicate femininity of the modern woman.

Monsieur Fuchs asserts the company's continued success and popularity is due to preserving the legacy of Nina Ricci, in pursuing the ideals of harmony, elegance and perfection. The company's two largest customers outside Europe, are Japan and America. "Japan provides us with a strong couture business and also extensive patronage in perfumes and accessories. Our perfumes are in constant demand and our ready-to-wear industry is continuing to grow in the United States".

Today, the company is still family owned and continues to flourish, maintaining its autonomy in the face of the large multinationals. Gilles Fuchs explains that once a relatively small couture business is bought by a bigger concern it can simply disappear altogether. "There is a danger that a 'House' will become part of a corporation and will no longer develop original concepts, but will simply reproduce, by copying items. Creativity is immeasurable but has its own intrinsic value, it is spontaneous and can never be assessed in real terms. 'The House of Nina Ricci' is as much a romantic company today as it always has been. It has sustained, over the decades, the philosophy that all women are beautiful and has independently continued to create the apparel and perfumes that dreams are made of".