Lanvin

Dispensing with formalities, Lucas Ossendrijver strolled through Lanvin’s show venue, sharing coffee with the audience as they waited to see what he and Alber Elbaz had in store. He spoke of contrast and said they had something for everyone. But rather than covering their bases, attempting everything, they delivered a succinct collection of versatile yet forward pieces.


The palette was almost entirely monochrome, with flashes of electric blue and fuchsia, and lashings of snakeskin. The shape was boxier than most this week, opening with a high-waisted wide leg, and boxy tops that billowed through the back. It recalled the uniforms of 1940s war advertisements for factory workers, coupled with the skinny heroin chic of an industrial club in Berlin, a la Christiane F. The hair was described by Guido backstage as “modern, chic, punk,” and paired with chain-link ear cuffs.

The entrance to the runway was a slick neon archway that the models strode through, as if entering a club. The Lanvin man knows he is the best-dressed anywhere, and this quiet confidence was mesmerizing.

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