So the year of fashion change starts. First from the gate: Lanvin, where Peter Copping, who took the creative reins in September, not only had the task of giving an old name a reboot because, you know, consumers were bored and the bags simply did not sell – He had to resuscitate it.
Because while Lanvin likes to identify himself as the oldest French couture house in constant existence, the use of the word ‘existence’ in relation to the brand could stretch the matter in the past decade. Since Alber Elbaz left in 2015, it has been lake on a Maison on a lifestyle after a series of designers whose names nobody can really remember his identity that it was driven into almost total irrelevance. The task of Mr. Copping was to take it back into action.
The commitment was high, not only for Lanvin, but for the designer himself, who had done short stints as creative director of Nina Ricci and Oscar de la Renta, where he had the not -worthy task of taking over after the death of the Mr. De la Renta in 2014 and was fired fairly quickly after a collision with management. In recent years he has spent the scenes in Balenciaga, first as head of Couture and then executing special projects and VIP dressing. Lanvin was again an opportunity to make his voice heard, and to show what happens when his characteristic affinity for a little French flou is tempered by the challenge of Demna’s dark vision in Balenciaga.
Does he have?
Although the first show of Mr. Copping more like an epipen injection looked like the paddles of Defibrillator, still offered a carefully calibrated dose of adrenaline.
This means that it has provided a convincing explanation about what a certain kind of tempting refinement could look like at the start of the second quarter of the 21st century. When the inhabitants of the Bauhaus ended up in the board of a technology company and then threw themselves on a Le Corbusier lounger for a gin -fizz after a long day of debating about the future and an evening of Champagne Schmoozing, this is what they could wear , what they could wear, what they could wear, then they could wear what they could wear, this is what they could wear, what they could wear. . It is not an accident that the geometric beige and the black carpet that covered the floor of the show room was recreated from a carpet – the bathroom of Jeanne Lanvin. There was a photo of the bathroom on the backstage of Mr. Copping’s Mood Board.
The currently popular locks of large sets shun! And larger celebrities! Mr. Copping concentrated on the clothing instead. That is an idea that these social-media-driven days are increasingly out of (ahem) fashion, but that is part of the field here. Free yourself from the viral.
Mr. Copping, in a COED show that fell in the weird, muddy color palette of the 1930s – bronze and navy and bordeaux – and the long, shady lines of the 1920s, with fallen waist and pencil skirts and cocoon over jackets bend down To the top ankle. Well -known forms (the trench coat, the pea coat, the column dress) had received the brutalistic treatment: peak collars razor -sharp, but also wrapping; Power shoulders were made soft, but not retired; The romance of a capelet strewn in silver and threw over a pure t-shirt and black pants, folded at the waist. They spoke softly against the heritage of the house without being hired in it.
The result had a no-nonsense force that seemed easy to catch, but not giving in to beauty or the need for an easy resolution. Although the men’s clothing (the first of Mr. Copping) looked more like a wrestling supporting act than as an equal partner in the reinvestment, the evening was very good. Especially a few gold and black lace dumbbell and a dress, an effective apron worn out on top of matching 24-carat pants and a washed silk ivory t-shirt covered with a yoke of black sequins and combined with slouchy black pants. If someone does not wear them to at least one award show this season, the stylist community does not work.
The fact that the clothing was shown on models of all ages (and not former super models that were brought back to a performative head stunt, but simply older models that wore their experience elegantly) underlined the feeling that these were clothing for individuals. Those with multi -layered lives.
Not to mention the evidence that it is possible to learn from history instead of easy to repeat. That is the real wake-up call.
