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Lanvin

Spring 2022 RTW

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Properties

Date: October 3, 2021
Location: Paris, France
Looks: 49
Brand: Lanvin
URL: wwd.com

Critic Reviews

By Joelle Diderich for WWD

Holy comic collaborations! Hot on the heels of Balenciaga’s link-up with “The Simpsons,” Lanvin has partnered with DC Comics on its coed spring collection.

Artistic director Bruno Sialelli was thinking about how to update the codes of the house for the Roaring ’20s 2.0. “We were trying to express Art Deco through a different prism, and we thought of Gotham City,” he said backstage before the show.

He took the theme quite literally, plastering oversize images of Batman, Robin and Catwoman on everything from men’s suit jackets to holographic tops and silver mesh party dresses. Sialelli said he had in mind a “glamorous, catty woman — something a little poisonous, a little moody and sexy, maybe.”

But he seemed to bypass entirely the fetish aspect of the Catwoman persona, opting instead for pastel draped baby-doll dresses with graphic bra underwiring, tutu-like skirts with geometric sequins, and flapper-style chiffon dresses, including a striking silver sequined slip worn by veteran model Carmen Kass.

Likewise, his modern-day take on the Caped Crusader ditched Bruce Wayne’s tuxedo jacket in favor of a cartoonish wardrobe, filled with daisy-print coats, oversize Lurex cardigans and an upscale purple leather Batman homage trenchcoat. There were some real bloopers, too, like a silver Tinselman costume that was as peculiar as it sounds.

Sialelli has always had a kooky streak, and it’s not the first time he’s incorporated comic art into his designs. But his “remixed” take on the Lanvin DNA lacked focus: here, a draped dress with a raw hem in tribute to Alber Elbaz, the late designer who put the house back on the map. There, a Batmobile-shaped clutch.

Broadcasting a clear identity for the Fosun-owned brand is key as it moves ahead with its turnaround plan, which includes the recent renovation of its flagship in Paris, and plans to double the share of accessories to account for 50 percent of sales.

“There’s a mix of references that feels new, and I think that’s the playground of a creative person these days: to combine things that feel new when put together. The saying goes that what’s new is what hasn’t been seen in a while,” the designer explained. “It’s both moody and very playful, joyful, light and immediate. The Roaring ’20s to me is all about youth.”

Ironic, then, that the highlight of the show was the appearance of another icon of the supermodel era, Naomi Campbell, who swept through the colonnaded entrance of the Salle Pleyel concert hall in a sequin-embellished tuxedo and ruffled cape. You could practically hear her purr.

See also:

EXCLUSIVE: Lanvin Deputy CEO Seeks Profitability by 2023

Alber Elbaz Dies at 59

Theory Taps Ex-Lanvin Men’s Designer Lucas Ossendrijver

By Anders Christian Madsen for Vogue

Because the Art Deco archives Bruno Sialelli is tackling at Lanvin are already an acquired taste, he is left with two options: Do you go the polite way, use it sparingly and open the door to a bigger potential audience? Or, do you go all in, amplify it, and secure yourself a perhaps smaller but more die-hard clientele? It would seem Sialelli has chosen the latter. The glamour-positivity that’s been embedded in his recent collections is now as full glitz as that customer could want: gilded embellishment, baby robe de style numbers, and cocktail dresses studded like skyscrapers.

“Most of the dresses we sold lately were the strongest ones, like Bella [Hadid]’s Lurex dress from the campaign,” Sialelli explained during a collection preview in his Paris showroom. “Most of the customers that come to us are coming to get supported by glamorous, fabulous products. They search for an elevated and more confident version of themselves.” Those facts encouraged him to push the envelope further. In what he called a “bold and joyful and free and unapologetic” proposition, the designer explored Pop-Arty daisy prints, dense tinselling, and motifs from 1940s Batman comics.

If it sounds like a jarring mix, it was. High-octane glamour has always walked a fine line between good taste and bad, and the collection’s clash between Batman-adorned metallic gazar dresses, so shiny they looked wet, and tinselled skirt suits was subversive to say the least. Talking about his vision for the collection, Sialelli referenced the way animated worlds freely mix styles and cultures. “Like a dream village in Pinocchio made up of a Bavarian church and an English house, and all this is mixed and looks new. I love that idea, and I love the way it’s applied in Batman.”

The superhero entered the picture courtesy of Tim Burton’s 1992 masterpiece Batman Returns, which Sialelli loved growing up. “The styling of the Art Deco through the lens of the movie was very interesting to us, because fashion is about creating dreams informed by many references that you relate very freely,” he said. After the pandemic, we all need a hero, but wearing him on a cocktail dress might be a curious move, even for Lanvin’s top-tier glamazons. The reference was most successfully translated into the shapes of Sialelli’s menswear, which is often more suited to the childlike whims that have previously made for great motifs in his work.

In this case, the broad-shouldered silhouette of the Batman universe drew a Tamara de Lempicka–esque line, which made Sialelli’s Lanvin man feel a little more mature. That feeling was echoed in two beautifully cut trench coats, which hung off the body almost like evening dresses. If Naomi Campbell has her own Bat-Signal lighting up the skies, someone summoned her last night: The supermodel closed the show, wafting through the Salle Pleyel in billowing black chiffon like the Caped Crusader.