Artistic director Peter Copping presented his second show for Lanvin with a clear reference to the 1920s, the decade when founder Jeanne Lanvin defined her design aesthetic and Art Deco reached its peak in Paris. The timing aligned with the centenary of Art Deco, marked in 2025. That same Lanvin blue appeared on the runway and in several dresses.
The collection leaned into Jazz Age style with low-waisted gowns, geometric motifs, and headbands. Copping added a sensual note by opening flapper dresses at the sides and fastening them with ribbons around the hips. Jackets featured puffed shoulders and were secured at the back with fabric ties, while trench coats were shaped like dresses with defined waists and full skirts. White skirts with black inserts took inspiration from Deco geometry and shaped it into a sharper, more minimal form.
The robe de style, a hallmark of Jeanne Lanvin’s 1920s designs, was defined by a fitted bodice and a wide, side-flared skirt, offering a romantic counterpoint to the straight silhouette of the flapper dress as well as framing the show. Updated in washed silks, these gowns took on a softened look. Embroidered diamonds, ribbon details, and draped scarf prints expanded the collection’s reference points. Knit dresses suggested the 1930s.
The soundtrack, “Visages Fade to Grey,” reinforced the dialogue between archival sources and present interpretation. Eveningwear set the tone, designed with precision and balance. “The starting point was the archive, not just the clothes but Jeanne Lanvin’s fascinations,” Copping explained. He placed chiffon over jewel-like embroideries and reworked archival motifs into prints.
Menswear felt less consistent. The range included lime denim, outerwear in technical fabrics, and oversized leather coats. This category is still exploratory and remains in development.
The show stood out for its restraint. While other Paris stages leaned on spectacle, Copping focused on clarity. Embroidered criss-cross patterns, hand-pleated skirts, and liquid silks were paired with coats and trousers. The result pointed toward durability rather than display.
Lanvin under Copping projects stability and careful research. The work is poised and deliberate. The question is whether this controlled elegance will build influence in today’s market. The challenge is to move from preservation into authority.
Copping has delivered polish and consistency with an archival base. The next step is to convert restraint into presence and place Lanvin at the centre of the conversation. Only time will tell.
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