The applause at the end of Peter Copping’s debut at Lanvin said a lot about how glad people are to see him again. Tasked with bringing new relevance to the house that has (politely) lost focus since Alber Elbaz departed, Copping has decided to take his imaginative lead from the example of Jeanne Lanvin and her rich 1920s and ’30s legacy. Now, where did this show up? Whizz to the end of the show, to the glimmering cascades of gold-on-black antique-looking lace.
In one version, it’s a kind of apron, worn over gilded trousers. And then, the gold metallic lurex dress with a full, petalled skirt—a reincarnation of Jeanne Lanvin’s fashion-setting robe de style silhouette, but, with Copping’s sensibility, made both modern and magical. Copping has only scratched the surface of the potential he’s found.
Part of it is extrapolating graphic patterns from the Art Deco era, and delving into the glittering embroidery sample archive. One example: a silver mirror-embroidered long-sleeve t-shirt Copping made as a piece of outstanding eveningwear for a man. Other germs of ideas come from recurring shapes Copping has identified.
Capes on evening dresses were a Lanvin signature. One turned up cut as a shoulder-length black velvet cape with a deeply glamorous tracery of silver studs, placed over a sheer black blouse and worn with trousers. Copping is an ace dress designer—a chief qualification for a house that is known for its soft design.
His range reaches from couture-like spira.
