lanvin folio

LANVIN

Hyrald Magalit|S1BD1- Design AT2

RESEARCH

RESEARCH

BRAND HERITAGE

The brand was founded by Jeanne Lanvin who was born on the 1 January 1867 in Paris. As a teenager in a very modest family, it was clear that she was very interested working in the fashion industry, and so she began an apprenticeship with a milliner on rue du Faubourg Saint-Honoré. From being

in charge of delivering hats to clients, sixteen year old Jeanne Lanvin became an apprentice milliner and designed her first hat for Félix at 15 rue du Faubourg Saint-Honoré, the current address for Lanvin Menswear. In 1889, Jeanne Lanvin founded her fashion house . “Lanvin (Mademoiselle Jeanne) Modes” designed the hats of the most fashionable Parisiennes at the time. By 1897, delighted Jeanne Lanvin gave birth to Marguerite Marie Blanche and gradually designed a wardrobe for her, which led to her new brillaint business idea: Children’s wear, which later opened as the “Children Suits”

Department in 1908. A year earlier, Jeanne Lanvin and Marguerite had attended a costume ball. The scene was immortalised through a photograph of the dressmaker with her daughter, both dressed up and sporting hats.

This went on to become the house’s emblem. As Marguerite grew up and became a woman, Lanvin’s style evolved accordingly. At the start of the 1920S Jeanne Lanvin decided to produce luxury décor at a time when this sector was industrialised…A pioneer, she was a forerunner in the lifestyle area, partnering with architect and interior designer, Armand-Albert Rateau. Together they created a home decor store at 15 rue du Faubourg Saint-

Honoré, opposite her fashion house. During the roaring twenties, Paris was buzzing, swaying to the rhythms of jazz music and the discovery of art deco and the avant-garde dada movement. These were the happy days for Jeanne Lanvin, Vice President of the style section at the International Decorative Arts Exhibition.

Responsible for representing dressmaking, Jeanne embodied the elegance and excellence of this French tradition. The Lanvin Tailor-shirtmaker range was created in 1926 by Jeanne Lanvin with Maurice Lanvin, one of her nephews, assuming management of 15 rue du Faubourg Saint-Honoré, Lanvin’s

current address. Lanvin was then the only fashion house to offer both Men’s and Women’s collections. With great splendor, Jeanne Lanvin celebrated her daughter Marguerite’s thirtieth birthday with the creation of the legendary perfume arpege in 1927.

Perfumer André Fraysse brought together Bulgarian rose, Grasse jasmine, honeysuckle and lily of the valley in a sensual original blend. In 2001, the Lanvin house was sold to business woman and philanthropist, Mrs Shaw Lan Wang. Under her tutelage, Lanvin remained independent and held onto its precious family spirit. The artistic management was then entrusted to someone who lives and breathes the unique and inventive energy

that flows through Lanvin: Alber Elbaz.

RESEARCHAESTHETIC

The aesthetic of the Lanvin collections was deeply influenced by the visual arts. Jeanne Lanvin had an extensive collection of paintings in her apart-ment at 16 rue Barbet-de-Jouy. She was fond of the work of Edgar Degas, Auguste Renoir, Eugène Boudin, and Edouard Vuillard. In no small part

thanks to the chic interiors of her home, the Lanvin name became nearly as well known for impeccable home-decor products as for the in demand womenswear. Later on, some of the rooms of her apartment were re-created at the Musée des Arts Décoratifs in Paris.

Her patterns were simple, but embellished intricately with embroidery, appliques (a decorative design made of one material sewn over another), rib-

bons, and sunbursts. Her style emboided the femininity of youth in a most moden way with meticulous and relatively sparse surface embellishments and robe de style silhouettes. The robe de style, which is often associated with Lanvin, is characterized by its dropped waist and wide skirts designed

to resemble court dresses of the 18th century. The style conservatively hid the figure, which made it comfortable for clients of any age and shape. This particular style is unmistakably iconc of the 1920’s haute couture style of Lanvin

Lanvin’s use of color also became a signature. On a trip to Florence, she saw a Fra Angelico fresco, and its “quattrocento blue” would become a staple in her work; the shade will be known as “Lanvin blue.”

RESEARCH

CONSUMER’S LIFETSTYLE

As Lanvin is known for its high-end brand identity and great heritage, it is fair to

say that the consumers lifestyle would be characterised as high classed and wealthy. Furthermore, traits of Lanvin consumers

can be either male or female who are sophisticated, classy, elegant, immaculate,

successful and superior. Through research of Lanvin products in various online shopping sites such as Net-A-Porter (known for only marketing high end designer brands) and

Lanvin’s very own site, it can be concluded that individuals who possesses excessive

money will find their very expensive merchandises affordable.

SPECIALIZED PRODUCTS

Lanvin has extended their range of products such as both male and female shoes, clothing wear, fragrances, handbags and accessories. However Lanvin mainly specializes in clothing wear such as dresses

and evening wear particularly for women.

RESEARCH STYLE IDENTITY

STYLISTIC CODES

The glamour of the 50s continue to be an important source of inspiration for many designers that cyclically propose the stylistic codes of that decade. Lanvin’s 2014

Resort Collection was focused on a contemporary deconstruction of the elegance and the sensual characteristics of the 50’s thus creating an ultra-feminine collection that focuses the attention on flowing fabrics for evening and daily looks. Comfort is also

the focus for their garments. The colour palette within the collection are black, ivory, beige, vibrant green and Yves klein Blu (monochrome blue). Overall the collection is

mildy luxurious.



QUALITY AND ADDED VALUE

Some of the explanation to why Lanvin’s products are so expensive is that it is the meticulous research and development that goes into the end products, explained Lanvin designer Alber Elbaz in a 2009

New Yorker interview. Furthermore, it can be assumed that by rais-ing the price on their products is to simply gain an added sheen of prestige and exclusivity. Wealthy people are often stereotyped to love expressing their wealth by spending as much as they can on

high-end items. It is the price tag, as much as the product itself, that makes an item remarkable. The price tag and the fact that the ma-jority of the world can’t afford said item, has the inverse effect of

imbuing the purchaser with power.

COMMUNICATION IDENTITY

Lanvin is very active and up-to-date with all of their socialmedias which helps the viewers and consumers interested. The company is coherent with their social medias because of the distribution of

similar posts in every media, the use of neutral colours and the neat layout to keep to continously provide the same aesthetic

quality in regards to the brand.

RESEARCH COMMUNICATION IDEA

Lanvin window display 2013 on Rue du Faubourg Saint-Honoré, Paris

RESEARCH DISTRIBUTION IDENTITY

LANVIN Spring window displays ‘ANONYMOUS’ 2014


CLIENTS SERVICES


RESEARCH

BRAND EXPERIENCE

From the observation of the store’s visual merchandising, Lanvin is trying to create a completely unique experience for their customers within each seasons. It prompts people to stop and process what are the concepts be-

hind the displays and why are the mannequins positioned, constructed and dressed how they are. From the last two seasons of visual merchandising

displays, Lanvin tends to focus the execution of their mannequins and how they present their products in strange poses to communicate their concepts.Additionally, Lanvin has put up The heritage-focused microsite within their official website to give Lanvin a chance to humanize their brand and to in-

form their audience of the longevity of Lanvin’s productions that communi-cates stronger to the heart of the brand and create an experience separate

from specific lines or products.

RESEARCH

INTRODUCING THE CURRENT COLLECTION

RESORT COLLECTION 2014

Within the Resort Collection 2014 there are different fabric used widely according to the

situation: texture neoprence an jacuard knit for daytime, gold lame brocade and Tulle for evening

wear. The main piece of Lanvin Resort Collection are the draped dresses that are sinuous, embracing and

comfortable, they are able to enhance the female figure and can be worn with flat sandals that’s reminiscent of the ancient Greece attire. There

are also a few pattern solution for the collection such as reptile or paisley print. Elbaz also fills this look with lovely jewel-punctuated dresses: crystal

gems, sequins and mirrored fragments to give a 3D appearance to the garments and make the

collection remain simple but mildly opulent.

RESEARCH

Next Nature

DEVELOPMENT

NEXT NATURE

• This trend sees nature as alluring, sensual, spiritual, entertaining and ironic. Traditional ideas of nature, ecology and sustainability are given an overhaul

• This concept also sees nature merge with technology or thinking of it as “living technology”

• Next Nature puts a cosmic, techy, psychedelic and sublime slant on nature and see the future world as awe-inspiring

• It is magical and intimidating

DEVELOPMENT

INCORPORATING NEXT NATURE INTO LANVIN’S VISUAL MERCHANDISING

(Old Concept Statement with errors)

Lanvin’s design has evolved along with the seasons and current trends where structured, strict silhouttes have softened.

Instead, shapes are looser and fabrics more pliant, prints have been toned down, and sporty detailing are ‘in’.

But mindful of the brand’s stylistic codes and philosophy of sophistication and elegance. I could incorporate the Next Nature

concept into the brand’s latest 2014 collection ‘Resort’, for it displays vibrancy and exoticness that is similar with the trend’s importance of saturated and cosmic colours, and kaleidoscopic

patterns. Since the some of the designs within the collection possesses common pattern schemes, the Next Nature can be easily attributed within the designs in a conscientious

manner. To support the trend governing the collection, visual merchandising will play a crucial part in communicating

this trend successfully, so i would be designing 3 window displays for Lanvin’s flagship store in Paris. The ideas involve utilizing umbrellas and incorporating this item with the Next

Nature imageries to depict a season which will be held by the mannequins. The purpose of this display is to communicate to

the passerby that the merchandises are appropriate for any season and that it cannot be undermine by any occasions. In

otherwords, the clothing line is timeless.

DEVELOPMENT

Lanvin’s design has evolved along with the seasons and current trends where structured, strict silhouttes have softened. Instead, shapes are looser and fabrics

more pliant, prints have been toned down, and sporty detailing are ‘in’.But mindful of the brand’s stylistic codes and philosophy of sophistication and

elegance. I will be incorporating the Next Nature concept on to Lanvin’s next collection

for women’s evening or casual wear, focusing on the texture aspect of the Next Nature theme. To support these collection is a visual merchandising display for each designs, and the concept will be ‘Enchanted Woods’, which involves taking the previous ‘Resort 2014’ collection and its visual merchandising display further

and creating the effect of the next nature print from the clothes coming to reality- like magic. It also connects with today’s notion of technology becoming

three-dimensional and technologically advanced to which can signify that Lanvin also aims to be advanced in regards to fashion. This will be done by recreating the imagery of the print of the clothes and using it as a setting for each display.

Furthermore the prints that will be used needs to be connected back with nature or the forest for it to be effective and cohesive. I will be designing 4 dresses and a window display for each designs and choose two of these to be on display in

Lanvin’s store front.

INCORPORATING NEXT NATURE INTO LANVIN’S VISUAL MERCHANDISING

DEVELOPMENTVisual Merchandising insipiration

I’ve collected Lanvin’s past visual merchandising and An-thropologie’s surreal, enchanting and nature-like window

displays to assist me in creating a visual merchandise inspired by the Next Nature concept for Lanvin’s next

season collection but keeping in mind of the essense of simplicity and sleekness but from their pasts and current

window displays.

DEVELOPMENT

DEVELOPMENT

Here are the four images that I will be using and manipulating it into the desired pattern solution for

the Lanvin ‘Enchanted Woods’ collection. I chose these images because these natural objects are

typically found in the woods. Furthermore, I found the images exposes a lot of the objects’ texture, thus one of the focused characteristic of the Next Nature

concept.

REFINEMENTTHE FOUR ‘ENCHANTED WOODS 2014’ WINDOW DISPLAYs

REFINEMENT

I have incorporated the pattern of a Monarch Butterfly wings on to the hem of the dress. It adds contrast against the plain coloured bodice and intricacy. Furthermore, the dress remains to be simple but slightly elaborate, which is

want I aimed for.

I have incorporated the grass texture on the hem of the max dress. I made it more stylised by cropping the image into a triangular

blocks that would form around the hem of the dress. By doing this, the points of the triangles adds direction to the angle of the grass

and contemporariness.

I have incorporated the imagery of the pink Delphinium flower on the bodice of the dress and zoomed it more to expose the pollen of the flower. Furthermore, the pollen

gives a central point to the dress. I have photoshopped the flower and

slightly changed the colour and enhanced it further.

I have incorporated the imagery of the tree branch on to the dress and angled the thicker end of the branch to the longest point of the assymmetrical hem. By doing this,

it adds direction to the dress. I have photoshopped the branches and enhanced it further to expose the shadows which contrasted against

the white colour of the dress.

REFINEMENT

I have incorporated the newly designed VM display in to the flagship store ofm Lanvin in Rue du Faubourg Saint-Honore, Paris to get a visual representation on what it would look like. Here, I have chosen two of my

favourite designed window displays to be displayed at the front of the store.

lanvin folio

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