You’re likely wondering whether this latest Lanvin collection was overseen by Bouchra Jarrar before her departure was announced on July 6; the official word is yes. The walkthrough took place both after she had left, and once Olivier Lapidus had been named her successor; which is to say, the maison’s narrative has shifted dramatically since Jarrar would have begun envisioning what she wanted these clothes to express. This much seems clear: They weren’t designed to disrupt. On the contrary, a relaxed ivory tuxedo, and flattering day dresses in poplin, or else in broderie anglaise, looked well-made and well-heeled without declaring any assertive statement; see the collar flounces and handkerchief skirts. What might endearingly be referred to as a “Bouchra bomber” signaled her brief but lasting influence of polished pieces that mingle well, while fabrics of varying weights and degrees of exposure (one dress was shown with sleeves and without) addressed women across a variety of markets and demographics. The strongest impact came from total matched looks—shoes and bags included—covered in floral motifs, whether a vivid emerald print, a bronze lamé, or a textured jacquard. All these stylized daisies weren’t random; in French, the flower translates as marguerite, which was the name of Mme. Lanvin’s daughter. Also noteworthy: the way in which the signature Lanvin blue became a faded shade of duck egg, which was applied throughout the offering, from a satin trench to the accessories. Such sotto voce branding felt well-considered.
Those who would rather take a wait-and-see approach might still be seduced by the bags and jewelry. Regarding the latter, the delicately shaped petal designs captured the sensitivity that women associate with Lanvin. It was pointed out that the curved metal hardware on one of the bags suggested a smile, but this may not have been the original intention. Yet given how Lanvin still faces some unresolved internal issues, any projection of hope could be read as a welcome sign.
