March 7, 2026 |
At Lanvin, Peter Copping continued to settle into the house with a collection that leaned into a slightly severe, quietly cinematic elegance. Shown inside the mineral gallery of the Jardin des Plantes, the mood was muted and controlled, the palette largely restrained – charcoal, slate, deep brown – punctuated by dark plaids and flashes of texture.
The hats set the tone immediately. Oversized and pulled low over the eyes, they obscured the face almost entirely, the brims extending out and trailing down the back with a slightly austere, almost monastic drama. Copping referenced a photograph by Irving Penn of a coal delivery man, and the result had that same utilitarian exaggeration – something practical pushed into something quietly theatrical, while also nodding to Jeanne Lanvin’s beginnings as a milliner.
The opening looks established a kind of austere glamour: sculpted coats and tailoring drawn into the waist, their proportions subtly tweaked to accentuate curves. Faux fur scarves were slung loosely over shoulders, while flouncy tea-length skirts nodded to Lanvin’s robe de style heritage without feeling costume-y.
Elsewhere the collection loosened up. A triptych of modest floral dresses came cut on the slant, hems flicking as they moved, while a slinky silver draped dress skimmed the body with languid ease.
Towards the end the palette sharpened: ruby dark and crimson bright appeared in a sculptural wool coat and hat set, then a vampiric velvet gown with a faux fur collar. The finale leaned fully into evening – a metallic one-shoulder draped gown, a flapper-like cream shift under black mesh beading and a sweeping black wool coat with duchess sleeves and swinging teardrop beads. Trés chic.
Photography courtesy of Lanvin.
