Look 1
Look 2
Look 3
Look 4
Look 5
Look 6
Look 7
Look 8
Look 9
Look 10
Look 11
Look 12
Look 13
Look 14
Look 15
Look 16
Look 17
Look 18
Look 19
Look 20
Look 21
Look 22
Look 23
Look 24
Look 25
Look 26
Look 27
Look 28
Look 29
Look 30
Look 31
Look 32
Look 33
Look 34
Look 35
Look 36
Look 37
Look 38
Look 39
Look 40

Lanvin

Spring 2022 RTW Menswear

--
Critic Score
No Reviews
--
Consumer Score
No Reviews

Consumer Reviews

There are no consumer reviews yet. Try submitting one above.

Properties

Date: June 22, 2021
Location: Paris, France
Looks: 40
Brand: Lanvin
URL: wwd.com

Critic Reviews

By Anders Christian Madsen for Vogue

Any kid who spent afternoons around the millennium watching MTV will know that the girl group All Saints is the catnip of a generation. Once its members started harmonizing, your heart melted, and it still does. Add a young Leonardo DiCaprio to the mix and the effect is positively euphoric. Bruno Sialelli pushed all those nostalgic buttons with his second music-video-style short film for Lanvin, which followed February’s re-imagining of Gwen Stefani’s “Rich Girl” from the same era. And he wasn’t even trying to hide his tricks.

“Being a teenager, with all your hormones, seeing things through the lenses of blossoming and being ‘in-between,’ The Beach was something very emotionally engaging,” he recalled over coffee in his opulent Paris showroom, referring to Danny Boyle’s DiCaprio-starring film from the year 2000. Its soundtrack featured All Saints’s elating “Pure Shores,” which also served as Sialelli’s score. “Their music catches you by the collar. It brings you back to your teenage life and the beginning of your sexuality. That was the manipulation we wanted to bring.”

A pretty straightforward affair, Sialelli’s short film riffed on Boyle’s appetizing MTV-worthy camera work and the sizzling, sexual gap-year exoticism of The Beach in a way those who know would know. “It’s an aesthetic and field that attracts me, being 33 years old. We thought it would be interesting to give that dimension to a collection,” he said, noting how the tactility, trippiness, and stolen kisses of the film felt almost radical in a post-pandemic climate. “But being, sort of, politically correct.”

If the mood was mischievous, it matched the collection. Saturated evening florals gave a certain decadence to short-sleeved day shirts and negligees, or plissé dresses, which had a second-hand sensibility about them that was echoed in little frilly bouclé suits and oversized khaki suits. Graphic skin-tight bodysuits and sci-fi slides cemented the idea of a traveler’s wardrobe: a co-ed melange of things picked up in diverse locations and mixed with a generous generational dose of sportswear.

Speaking of generational, Sialelli answered the increasing social media-driven appetite for branded clothes by reissuing Lanvin’s JL monogram from the early 1970s, which kind of looks like an Art Deco skyscraper. Designed by Jules-François Crahay, whose creations informed other pieces in the collection, it had been tweaked and colored for added trompe l’oeil and splashed across sportswear and bags. Sialelli, who isn’t normally one for a loud logo, smiled: “It gives this vibe of jet-setting…but with us, it’s never first-degree.” Whether you’re the type to fall head-over-heels for nostalgia or for logomania, the bait that Sialelli puts out is effective.

By Mimosa Spencer for WWD

Bruno Sialelli sent his pack of glamorous youth to a new setting this season, plopping them down in a shack on a tropical beach. The digital presentation conveyed an escapist theme, with models lounging around on couches in loosely cut suits, party dresses and flowery shirts.

The looks — which were a blend of the men’s spring collection with resort — were better suited for the streets, or a night club, for sure, but, set in a cluttered space and worn by bored-looking models added nonchalance to the elegance. Silhouettes moved the fore as embellishments receded a tad compared to last season’s party-themed looks, with loose tailoring contrasting with pleated miniskirts worn with skimpy bustiers.

Not that the crowd was entirely ill-equipped for their wet beach environment — a rain storm sends drips of water into the flimsy shelter — as Sialelli sprinkled in some sporty pieces, printed wet-suit-style tops and leggings in technical materials, which further pushed the lineup into a modern place.

A new JL monogram pattern featured prominently, covering tote bags, polo shirts, shorts and suits, rendered with a 3D effect, relayed through prints as well as jacquards.

The designer went full-throttle in the accessories department — his mandate is clear, and company officials are aiming to double the proportion of the category’s sales. There were rose-tinted sunglasses, subtly shaped like butterfly wings and a blown up necklace to match, mini charm necklaces, pointy flats with wings on the sides, slides embellished with sequins and endless options in the bag department, ranging from monogrammed carry-alls to neat, leather purses with chain straps and the 22 handbag with rounded edges and metal hardware, named after the Paris flagship at 22 Rue du Faubourg Saint-Honoré.

The historic store is another asset the label plans to leverage as its mines its bourgeois French roots for a young, international, digitally savvy audience — a task that Sialelli has taken on with confidence, helping to rebuild the label’s credibility which had been badly eroded when he joined.