3. 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.
4. RESEARCH
AESTHETIC
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.”
5. 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.
6. 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
7. 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.
RESEARCH STYLE IDENTITY
8. RESEARCH STYLE IDENTITY
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.
9. 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
10. Lanvin window display 2013 on Rue
du Faubourg Saint-Honoré, Paris
RESEARCH DISTRIBUTION IDENTITY
13. 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.
14. 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.
16. 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
17. 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.
18. 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
19. DEVELOPMENT
Visual 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.
21. 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.
23. 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.
24. 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.
