The familiar setting of L’École des Beaux-Arts looked a little different for the Lanvin show for fall. Gone were the usual tiered seats in favor of dense rows dispersed throughout the space, creating a snaking runway that traversed the new set-up like a queue at Disneyland. This allowed for a lot more natural light and introduced an extraordinary democracy; everyone sat close close to the clothes and could see the details easily.
We were in Lanvin territory immediately within the first few looks — clean lines and high-luxury fabrications. But it soon became apparent that there was a touch of the future at work. Men’s designer Lucas Ossendrijver sent out Jackets with concealed buttoning and bindings that were made to be seen, delineating the forms. The sneakers continued to evolve, coming out in intense shades of fuchsia, turquoise and greens.
The show then took a casual turn and became much more retro-future, with references to rockabilly, prints that recalled the Memphis movement, and future-western colliding with formal pinstripes. All of these things felt very on-trend and covetable. The last section featured silhouettes of faces on the fronts of shirts reminiscent of African masks. The message was unclear with this final statement, except that we were not being given one face to put to the garments, but rather the featureless face of ‘everyman.’ This seemed apt, as there really was something for everyone.