Oliver Lapidus tries to save Lanvin with the first Paris show


Langevin is the oldest French fashion house still working. It was founded in 1889 by Jeanne Lanvin, a woman who smashed the glass ceiling a century ago. It is also a turbulent brand that still retires from its popular exporter Alber Elbaz’s 2015 exit nicknamed the beloved, whose luxurious shawl and frill dress make the brand a toast for the entire red carpet.

Since Elbaz’s departure, what he was talking about at the time was the decision of the company’s Taiwan billionaire owner Wang Shaolan – a creative director, Bouchra Jarrar, has been hired and left after two collections. Figures are as frustrating as personnel, reporting a net loss of 18.3 million euros (£ 16.1 million) in real estate in 2016 and a 32% decline in sales for the first two months of 2017, according to a Reuters report.
If you now turn to Lanvin is a huge challenge, it will be understatement. It can be argued that Olivier Lapidus’s art director is relatively unconventional in his fashion experience – his resume includes running his own “e-fashion” brand and designing hotel interiors, which is unfair of. And his performance at Balmain Homme and his first series after a month’s preparation in Paris on Wednesday.

It may be particularly unfortunate if Lanvin’s two soul-stirring shows, clutched in luxe clothes, sit between two adult women. Prior to Lanvin was Maison Margiela, a fluffy white bag that deconstructed trench coats, denim boots and diamond spurs, and pillows, which continued an airline theme with bags and models of wrists and coats that hung on the label and wrote Such as “cabin crew” and “priority.”
Lanvin is followed by the Dries van Noten, where there are oil-gray slipknits and jackets and dresses made of silk scarves, a square-shaped strength suit with beautiful tulle, gorgeous impact patterns and rich embellishment.

Lanvin’s show started off as simple as Binx Walton’s model was wearing a black dress with a black skirt on her waist and her sleek, low ponytail wrapped in silver mesh. But the appearance that followed often tended to be tailor-made for silhouette and leg tips, much less as the mild forms and “ugly, beautiful” shapes that many fashionable people now explore.

Most of them look like teenagers wearing evening gowns, which is consistent with Lapidus’s heartfelt explanation of the thinking behind this “mini-series.” Speaking of backstage, he hopes to bring youth and freshness to the brand by offering a short bottom line while other brands produce very long brands, and he hopes to attract millennials: “Because they affect the world, so it’s a Very interesting moment, twist the old things and turn them into new ones. “