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Lanvin

Fall 2023 RTW

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Properties

Date: March 5, 2023
Location: Paris, France
Looks: 52
Brand: Lanvin
URL: wwd.com

Critic Reviews

By Booth Moore for WWD

Following last season’s reset to a quieter brand of chic, Lanvin designer Bruno Sialelli’s coed fall collection focused on elevated everyday dressing, tailoring, chemise dresses and subtle nods to the house’s 1920s heyday.

There was no discernible theme or set save for the soaring arches inside the College des Bernardins.

The opening black dress, draped from the center, with delicate buttons down the back, worn with multicolored crystal boots, set the tone for the understated lineup, in which Sialelli left it to the knitwear, hoods and accessories to add whimsy.

Sharply cut double-layer blazer dresses, slash pleat skirts, classic tailored coats and sleek glossy croc outerwear in maroon, bottle green, dark plum, chocolate brown or black were rich-looking, but it’s not clear why customers would go specifically to Lanvin for them. A softer, swingier tufted purple princess coat seemed more on-message in terms of the brand’s romantic and feminine heritage.

Ditto the deep V-front cocktail chemises, one rustling with transparent beading, another in red sequins with a matching triangle bra top. A pair of studded, fishnet gowns with fringed hems were also compelling.

Menswear was also a bit all over the place, with quirky embroidered turtleneck dickies, leather hoodies and boxy suiting being the strongest propositions. Sialelli’s use of color, including a joyful bubblegum hue, stood out. But overall, the collection needs a stronger point of view to stay above the fray.

By Anders Christian Madsen for Vogue

In December last year, the Lanvin Group—controlled by the Chinese conglomerate Fosun–went public. The buildup to the big move saw a consolidation of the brand expressed in a more streamlined proposal for the house. Last season, it materialized in a “full wardrobe” approach to luxury that dialed down the opulent decoration and playful motifs that had characterized creative director Bruno Sialelli’s work. He continued that methodology in a measured Sunday morning show set under the vaulted ceilings of the Collège des Bernardins, a former Cistercian college from the 13th century that now serves as a center for theology.

Inspired by his venue, Sialelli watched the 1978 Éric Rohmer film Perceval le Gallois, a highly stylized medieval knight’s tale with naive drawings for backdrops. In the beginning of his Lanvin career, the result would have unfolded in the childlike creations that embodied his men’s collections, but bar a few boys in knitted jumpsuits, he stuck to a mature language in both silhouette and texture. His muted palette was interrupted only by accents of color in accessories and jewelry. The women’s tailoring manifested in ladylike double-layered blazers and sharp-shouldered jackets and coats he attributed to another film, the Isabelle Adjani–starring Possession from 1981.

His men’s tailoring cut a conservative line but was amplified in fabrications like “poodle” mohair and croc-embossed leather, likewise used in the womenswear. Those elements set the tone for a collection that approached the glamour characteristic of Sialelli’s work prior to last summer’s “reset” in texture and surface decoration. They didn’t scream “opulence,” but materials like those faux exotics and fluffy wools, tinseled velvets, sumptuous sequins, and rustling glass beads that adorned cocktail and evening dresses all fell under the category of textures that seduce the senses; things that stimulate that catnip effect of glamour.

“[There] is a bit more strength in the direction,” Sialelli said, comparing this collection to his last. “I think it expresses very well what place Lanvin takes in our landscape, in the eveningwear, in the tailoring, in the embellishment, in the emotion of the fabrics.” Sometimes it felt a little bit like some of these creations—such as the magnified, super-relaxed robes de style adaptations that closed the show—were dying to erupt into more extravagant versions of themselves. But the newly toned-down brand delivered plenty of viable and elegant wardrobe pieces to take its wearer from day to evening, as Sialelli set out to do with his Lanvin 2.0.