Beauty, Awaken. Lanvin Pre-Fall 2026

December 12, 2025 | Design & Culture by Ed

Nearly a year has passed since Peter Copping’s debut at Lanvin. In that time, he has managed to reawaken the beauty of a brand that had been in a coma since Alber Elbaz’s glory days. For pre-fall 2026, the creative director of the oldest operating French maison pursued a refined elegance that feels comforting in its powerful discipline – while also delving deeper into Jeanne Lanvin’s history.

Not many people know that Venice holds a particular significance in the house’s chronicles. It was here that Jeanne traveled with her niece, Marianne, buying fabrics and visiting glass workshops. Archival photographs show Madame Lanvin in a white jacket and a black skirt falling just below the knee – a silhouette she favored whenever she visited the city on the water. That ensemble found its way into Copping’s pre-collection, looking contemporary and desirable.

Alongside creative meditations on Mariano Fortuny’s pleats and Murano glass beads, Copping also introduced striking double-flared silhouettes, ornamented capelets, and tweed tailoring featuring a skirt pinched with a brooch. One velvet column gown in ink black is dramatically gathered by a modernist, brooch-like embellishment. This one felt absolutely Parisian, “chic ultime“.

So far, Copping is offering Lanvin a truly exquisite vision.

ED’s SELECTION:

Lanvin Scarf-detailed Velvet And Gathered Chiffon Blouse

Lanvin Asymmetric Wool Skirt

Lanvin Pleated Chiffon Gown

Lanvin Double-breasted Satin-trimmed Wool Blazer

Lanvin Cat Leather Clutch

Lanvin Scarf-detailed Satin-trimmed Velvet Midi Dress

Lanvin Leather Ankle Boots

Collage by Edward Kanarecki.
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Blue. Lanvin SS26

October 1, 2025 | Design & Culture by Ed

Peter Copping delivered a sublime sophomore season at Lanvin. Not only would Jeanne Lanvin be proud – I believe Alber Elbaz would have loved it too. Blue – specifically a dusty shade of Giotto blue – has been synonymous with the house since Jeanne’s days. This season, Copping employed it in a myriad of electrifyingly beautiful ways: from the runway’s setting to a phenomenally chic, parachute-volume silk blouse.

But that wasn’t the end of his references to Lanvin’s core codes. He confidently revisited the drop-waisted, wide-panniered robe de style of the mid-1920s – Jeanne Lanvin’s all-time signature – recasting it as something absolutely contemporary and effortlessly wearable.

Ribbons also appeared, woven, tied, or left to flow as fringes: a respectful nod to Elbaz, who had resurrected the maison from years of obsolescence. The collection unfolded as a visual feast, a solid offering that restores Lanvin’s place as an arbiter of Parisian chic.

Copping clearly knows what he’s doing – with Jazz Age geometric prints, moiré coats, and a refreshingly sensual menswear silhouette: a cropped trench paired with short shorts. And let’s not forget the headwraps.

ED’s SELECTION:

Lanvin Draped Crepe De Chine Maxi Dress

Lanvin Scarf-detailed Gathered Lamé Blouse

Lanvin Asymmetric Satin-trimmed Wool Skirt

Collage by Edward Kanarecki.
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Awaken. Lanvin AW25

January 28, 2025 | Design & Culture by Ed

When the news broke that Peter Copping is taking Lanvin under his wings, a collective sigh of relief went through the industry. The absolutely talented designer, known for his deliciously refined stints at Nina Ricci and Oscar De La Renta, is a master of supreme elegance and chic femininity. And Lanvin – the oldest operating French maison – just needed a person like him after all these years of creative confusion that started since Alber Elbaz’s departure back in 2015. Yes, Lanvin was steadily falling into oblivion for a decade.

Peter’s debut collection was a beautiful return to form – his and the brand’s. It felt like a much-needed moment of true savoir-faire – especially after the embarrassingly dishonest, faux-elegant Jacquemus outing (in which the designer knocked off everything from Pieter Mulier’s Alaia to Matthieu Blazy’s Bottega Veneta on the way) that took place just a couple of hours before.

The unquestionable success of Copping’s autumn-winter 2025 collection lies in the effortlessness with which approached Jeanne Lanvin’s legacy. There are no literal references to her 1920s silhouettes or archaic-looking eveningwear (a huge mistake both Bouchra Jarrar and Bruno Sialelli, Copping’s predecessors, did during their blurry tenures). What’s present is a sense of understated modernity shaped by artisan techniques, unpretentious tailoring and richness of materials (these velvets! those crushed-pleats!). The finale dresses – especially the gold number – are just what the red carpet needs today.

This is a great beginning of a Parisian rebirth.

Collage by Edward Kanarecki.
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Jeanne in Shanghai. Lanvin SS21

October 19, 2020 | Design & Culture by Ed

Is Lanvin‘s choice of showing it’s spring-summer 2021 collection in Shanghai a surprise? Not really. It’s financially and commercially a wise thing to do. Lanvin is owned by Fosun International, the Chinese conglomerate with such eclectic subsidiaries as the Wolverhampton Wanderers and Cirque du Soleil. Also, as far as fashion is concerned, there’s beautiful irony to the fact that China was the first country to return to a sense of normalcy after the coronavirus outbreak. Pre-pandemic, China was the new shopping center of the world. Post-pandemic, staging your fashion show there is pretty much a win-win scenario. “We can do a proper event there with hundreds of people,” Bruno Sialelli, Lanvin’s creative director, said during a preview in Paris, two weeks before he shipped his pre-styled Lanvin show to Shanghai and live-streamed it from the historic Yu Garden. “And to be very pragmatic, this is the market that is going to drive growth in luxury in general. It’s good for us to federate our community there.” What about the collection? The designer seems to be leaving behind his Loewe style and induldges in Jeanne Lanvin’s rich, Art Deco heritage. The opening looks were sublime: from those golden trinkets to the reimagined Jean Dunand motifs that graced garments and accessories, and the Armand-Albert Rateau pieces and Georges Lepape illustrations that inspired them. The show started with Sialelli’s interpretations of Lanvin’s robe de style, the dainty drop-waist silhouette she loosely revived from the 19th century. The first – black with a crystal bow across the hip – was virtually a replica of its 1920s embodiment. Somehow, it looks relevant in 2020. “Lanvin was at its strongest in between the World Wars. It became a huge company with hundreds of employees, ateliers, cosmetics, and everything. It’s interesting to observe the pendants between the 1920s and the 2020s,” Sialelli reflected. “Art Deco’s three words were order, geometry, and color. I think it expresses something that’s interesting to re-contextualize today.” Discussing his silhouettes, he mentioned “a certain rigidity,” explaining, “from the beginning, I’ve thought about characters like Maggie Cheung or Anna May Wong, who have this put-together attitude; very neat. I want to translate that character.” The collection has its ups and downs (the daywear felt whatever…), but finally, the new Lanvin takes shape.

Collage by Edward Kanarecki.

Lanvin 130th Anniversary Capsule

December 28, 2019December 21, 2019 | Design & Culture by Ed

Celebrating its 130th anniversary, Lanvin has created a series of limited edition pieces inspired by its archives. Bruno Sialelli, the promising creative director of the historic maison, has come up with a joyful and mischievous capsule collection to revisit the Parisian fashion house’s heritage. The eveningwear features modern reinterpretations of exceptional pieces from Jeanne Lanvin’s atelier, the footwear is inspired by the iconic and timeless Arpège fragrance bottle of the house, while the apparel is printed with the founder’s drawings. Wearing a blue dress with golden wings, the “Lanvin angel” represented the house during the World’s Fair in New York in 1939, when Jeanne Lanvin presided over. As for the “Mermaid”, the founder presented the multicolored cloak at the international Golden Gate exhibition held in San Francisco in 1939. This is exactly something that the brand missed for a while: celebration of its past.