During a men’s fashion month composed of statement-making collaborations, prints, and even models, Lanvin chose to embrace “nothing” on the runway this season. Literally nothing. Where a logo or at least artsy print would ordinarily be, whether on scarves, bags, or jackets, there existed a simple stripe or pattern or, in several cases, the actual word “nothing.”
Lucas Ossendrijver, the Parisian fashion house’s long-time men’s designer, said of the show’s seemingly lack of theme, “I took things from everyday life, things that everybody knows—the check shirt, the chino, the parka, the coat—and I set myself a challenge of how to elevate them.” In that sense, Lanvin certainly followed suit of many designers in recent months, as they all look to the streets for inspiration and emphasize practicality. While this trend has been appreciated and embraced by many, some are beginning to wonder if practicality and comfort are worth the high designer price tags or the schleps to Milan and Paris for the shows. Ossendrijver suggests that lines like his own are in fact worth it because the designers have a vested interest in the cut of the cloth and the boning of a jacket. These luxury labels, unlike their less expensive competitors, he argues, are aware of how every mechanical choice and detail affects a garment.
While some items seem to embrace Ossendrijver’s notion of elevation a bit too much—it’s hard to imagine the average Lanvin-wearer rocking cropped sweaters and dad-like plaid shirts—many pieces of the collection, like the many hooded overcoats and shearling-lines jackets, went just far enough. In every garment that made it down the runway, though, the designer’s strict attention to shape and form is evident.
In a season chalk-full of muted garments and accessories, largely in an attempt to follow and attract the street-style trendsetters of today’s youth, Lanvin differentiated itself from other luxury houses by staying true to its widely renowned silhouettes and high quality. Ossendrijver’s simple but well-curated collection, as well as the unique choice of Mort Garson music that made even the most rigid of magazine editors and streetwear bloggers want to dance, proved that “nothing” was indeed something.
Written by GABBY SHACKNAI
Visual Editor MARÍA JOSÉ GNZLVZ
Photos by voguerunway.com