The series of blah black dresses that opened Olivier Lapidus’ first show as artistic director of Lanvin might as well have been a funeral procession. Lanvin as we knew it — the house Alber Elbaz revitalized with charm, creativity and clothes that stood out and stoked desire — is no longer with us. That may seem a cruel judgment for a designer’s debut collection, but, in this case, it’s the truth — and it’s not his fault. The Lanvin company has been in turmoil — with a big management shuffle under way, and defections from its board of directors to disassociate themselves from the majority owner’s decisions and governance.
Called to duty in July, within days of Bouchra Jarrar’s ouster after just two seasons, Lapidus didn’t go into the gig with a big aesthetic identity, nor did his lineup outline one. The best looks — a black minidress with a draped back; tuxedo tailoring — were innocuously plain; the worst belonged in a duty-free shop — garish logo prints that worked the cheap side of sexy. It felt like he had little to work with — a feeling echoed in the dark, bare-bones venue. The show raised some essential questions: What does the future hold for Lanvin? How long will the industry continue to care?