Spring Ready-to-Wear 2015

Lanvin

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Lanvin RTW Spring 2015

Lanvin RTW Spring 2015

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  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015
  • Lanvin RTW Spring 2015

Lanvin RTW Spring 2015

Reviewing the work of Jeanne Lanvin, from her graceful, simple gowns to her lavish embroideries, Alber Elbaz came up with the concept of “all or nothing.”

Who needs a red-carpet runway moment? Alber Elbaz posed that question to himself while planning his spring show for Lanvin as the house notes its 125th anniversary. His answer: No one. At least not until next year, when the Lanvin retrospective he’s working on with Olivier Saillard opens at the Palais Galleria. Instead, he commissioned a delightful editor’s gift — a chocolate Arpège bottle filled with jellybeans and nestled in a box decorated with his charming artwork — and called it a celebration.

The better to focus on the clothes. “Fashion always feels like a crime scene,” he said during a preview, explaining his foray into the house archive. “We can take from others, but we have to know how to move it around so nobody will know where it’s coming from, and that’s what we’ve done.” Reviewing the work of Jeanne Lanvin, from her graceful, simple gowns to her lavish embroideries, he came up with the concept of “all or nothing.”

Within that either-or dwelt tremendous range, so much so that the collection felt disjointed at times. But in his self-deprecating, gentle way, Elbaz is one of fashion’s boldest different drummers. If the mood du jour doesn’t suit him, he doesn’t join in, and at the top of that list is the one-note show. He designs real clothes for real women, and his real women are as varied as they are chic. He opened with “nothing” — fluid gowns devoid of decoration save for a knot in back or a row of grommets down the side. Lovely, short dresses took on the simplest of decoration in thin gold chains outlining seams and fastening necklines; so, too, tailored looks. Shapes were diverse: biker jacket; oversize, sleeveless jacket with wide lapels; elegant trench.

And then came Elbaz’s take on “everything”: exquisitely elaborate lace collages in black and multiple shades of blue for dresses and a bomber jacket over a skirt; a detailed flora-fauna print taken from the screen by Armand-Albert Rateau in Jeanne Lanvin’s quarters. The print starred a large stag, which leapt across the bodices or backs of short, floaty dresses and sleekly cut jackets.

The lovely diversity was driven home by models who walked the show. Elbaz enlisted many current usual-suspect beauties, but also some of their still-gorgeous predecessors. “Amber, Violetta, Natasha, Malgosia,” Elbaz said, indicating his casting board. “It’s not about that model or this model coming back,” he said. “It’s about beautiful women.”

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