Lanvin just moved into impressive new headquarters in the trendy 10th arrondissement: a listed, 18-century mansion with an oval reception room, gobsmacking marble floors, frescoes and a charming garden out back.
Artistic director Peter Copping’s pre-spring collection held up to the very, very pretty surroundings of the Hôtel Botterel de Quintin, his lean, soigné silhouettes and feminine detailing pleasing the eye as much as the decor.
The English designer seems to have found his groove at the Paris house, and there’s no denying his long experience – at Louis Vuitton, Nina Ricci, Balenciaga and other houses – shows in the fits, proportions and finesse.
He settled on Andrée Putman, the French luminary of interior design, as a guiding light for the season. No one else worked a white shirt, black suit or pencil skirt quite like her, and Copping also drew links between her and founder Jeanne Lanvin.
For one, the interiors Putman designed for the Air France Concorde in the 1990s were seemingly inspired by Lanvin’s famous bathroom, dating from 1924 and part of the permanent collection of the Musée des Arts Décoratifs in Paris.
“And then I found pictures of her at home, and there she was propped up against an Art Deco desk which had once belonged to Jeanne Lanvin,” Copping marveled. “So it was kind of nice to know that this woman, who I found quite inspiring, was looking at the other woman that I find inspiring.”
Putman’s style could be felt in the clean lines, tailoring and graphic use of black and white, with touches of khaki and red.
Copping also riffed on his hit fall 2026 collection, reprising the slender, languid dresses with slanted hemlines and continuing a vaguely ’20s line. He added crisp pea coats and the kind of waist-cinched jackets Putman wore, alongside pleated knit skirts and cape-like tops, draped jersey gowns and sleek takes on tuxedo dressing.
It’s conservative chic with enough drama to get you noticed, whether in a fancy building or out on the lively streets of Paris.
