Veteran designer channels founder Jeanne Lanvin's elegant spirit in 64-look co-ed Lanvin FW25 collection at Paris Fashion Week.
By Jesse Scott
Photography by Patricia Burén
Peter Copping turned back the clock for a spectacular debut FW25 collection as creative director of Lanvin. Copping, a veteran of Oscar de la Renta, Nina Ricci, and Louis Vuitton, displayed a profound understanding of both Lanvin's heritage and the current sartorial flashpoint in designing a collection richly layered with references to the golden era of interbellum fashion and, of course, Jeanne herself.
Copping, with his love for refined silhouettes and timeless elegance, has always excelled at paying tribute to the iconic figures that came before him. Heading a house like Lanvin is a complex multi-faceted role: it comes not just with the pressure to meet high commercial and artistic expectations but also to be caretaker of a legacy. Lanvin is the oldest continuously operating French couturier, and all eyes were on Copping as he began a new era for the house to close Paris Men's Fashion Week. Industry powerhouses like Claire Thomson-Jonville and of course Anna Wintour sat front row alongside stars like Zack Lugo, Laufey, and Benito Skinner. As the spotlight rose, the British designer rose to the challenge, carefully curating a selection of graceful, mature silhouettes that would have been loved by Jeanne's initial customers had they been born a century later.
Minimalist Luxury & Attention to Detail
Copping carefully considered every element of the Lanvin FW25 collection and its presentation, weaving a riveting new narrative deeply grounded in history. The runway carpet was inspired by the flooring of the bathroom in Jeanne Lanvin's house. Many silhouettes were informed by the house's archives, which Copping has extensively explored, and by Jeanne's own personal style. In speaking to press after the show, Copping expressed a deep respect for Jeanne both as a designer and woman. Effortlessly elegant, and carrying herself with a humility and grace later epitomized by Audrey Hepburn, she was a leader not only in couture but also in providing a fair working environment for her employees that was truly ahead of its time. There were strong echoes of Lanvin's dresses in Copping's debut. But there were also echoes of her admirable values and the way she expressed them through fashion.
Minimalist luxury dominated - these were approachable designs made from the most sumptuous of materials. Outerwear starred. Particularly covetous pieces included a trench style topcoat in a rich navy (Look 10), a camel peacoat with oversized lapels (Look 30), and a double-breasted herringbone wool coat paired with matching trousers and suitable for the most esteemed of 1920s gentlemen (Look 17). There were rare pops of bold patterns (an oversized coat in loud leopard print leaps to mind) but for the most part the collection was defined by subtle refinement, timeless layering techniques, and a luxurious color palette of tan, Bordeaux, grey, and black.
Visionary Looks for Both Men & Women
One of the most impressive things about this collection was its sheer breadth. In sixty-four looks, Copping outlined a clear vision for Lanvin's men's and women's lines in a concise and unified way. Menswear impressed with its diverse range of textures and forms. A diamond pattern leather jacket offered a sophisticated urban edge (Look 47), topcoats and blazers were proposed with avant-garde turtleneck shirts (Look 13), and a decadent velvet green jacket (inspired by one worn by Jeanne in a century-old photo), may have been the most memorable piece of all. Meanwhile, Copping played with texture, colour, and the occasional sparkle on modest long sheath dresses (Looks 9, 16, and 39) to add modern savoir faire to the timeless women's collection.
The Lanvin FW25 show tantalized guests with what is to come. Copping clearly has an inspired vision for the brand, and if his initial men's and women's looks are any indication, he is on track to bring Lanvin back to the glory days of Alber Elbaz.
