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Europe, Middle East & Africa Milena Trevisani, Tel: +39 347 0970225, trevisani@nytimes.com; Asia Pacific Whye-Ko Tan, Tel: +65 6723 8150,
whye-ko.tan@nytimes.com; Latin America Christopher LaLime, Tel: +52 55 5658 5681, clalime@nytimes.com; U.S. & Canada Roddy Salazar,
Tel: +1 212 556 7201, roddy.salazar@nytimes.com
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THE NE W YORK TIMES SY NDICATE
FAIRCHILD STYLE INSIDER
Step Into Jeanne
Lanvin’s Office
Women’s Wear Daily
© 2014 WWD/Condé Nast Publications
Behind a nondescript door marked 313 on the third floor of Lanvin’s
corporate offices at 16 Rue Boissy d’Anglas in Paris is a well-kept
secret: the office of Jeanne Lanvin, impeccably preserved in almost
the same condition that it was in when she died in 1946. At one
end of the room is a large, L-shaped ebony desk, a small side table
topped with “Scandal” and “Arpège” perfume bottles and examples
of original Lanvin packaging from the ‘20s. At the other end is a
three-way mirror set on rolling castors that helped maximize the light
and the angles while Lanvin did fittings, which were held in her office
until the end of her career.
The space is usually closed to all but its curators, but during Paris
Fashion Week, in honor of Lanvin’s 125th anniversary, the house
offered a rare glimpse into its founder’s workspace, with the
archivist Laure Harivel hosting small tours for a select few. The
contents of the room paint a fascinating portrait of Lanvin, a woman
well ahead of her time in both her fashion sense and her lifestyle. It
was decorated by two interior designers: Armand-Albert Rateau, to
whom Lanvin was introduced by Paul Poiret in the ‘20s, and Eugene
Printz, who gave the space a modernist update in the ‘30s. Rateau
was responsible for the side tables and scroll-back chairs, replicas
of which Alber Elbaz requested for Lanvin’s stores, while Printz
added the ebony desk, the mirror and the extensive library. Wall-towall bookshelves are filled with research materials and scrapbooks
from Lanvin’s travels to Amsterdam, Barcelona, Pisa, Venice and
Florence, where she discovered the source of inspiration for the
signature Lanvin blue in a Fra Angelico painting.
The drawings are amazing, bound by year, with each look - there
were 250 per collection on average - individually named: for
instance, “Milanese,” “Dionysia” and “La Tour” from 1925. Another
book, from 1927, contains sketches of the dresses Lanvin created
for actresses in various theatrical productions and tours, and
exquisite, incredibly modern-looking bridal looks, each named after
the client who commissioned it. The sketchbooks span the early
‘20s through the ‘40s, illustrating the breadth and evolution of
Lanvin’s work.
Originally a milliner, Lanvin began her career at 16 Rue Boissy
d’Anglas. She opened a hat shop there in 1889 when she was 22
and didn’t begin designing clothes until 1897, when she started
making things for her daughter Marguerite to wear - and fashion
magazines took notice. She eventually opened a menswear
department, then launched an official children’s collection in 1908,
followed by a women’s collection the next year when she was
admitted to the Syndicat de la Couture.
During the designer’s day, 1,200 employees worked in Lanvin’s Paris
offices at the intersection of Rue du Faubourg Saint-Honoré and Rue
Boissy d’Anglas. The company is still headquartered in those offices,
where about 250 employees are based.
Through all her success, Lanvin never forgot her daughter’s
influence on her career. “Arpège,” the house’s first fragrance, was
commissioned as a 30th birthday present for Marguerite in 1927.
Its label is the figure of mother and daughter, adapted by Paul Iribe
from a photograph taken in 1907 of Jeanne and Marguerite walking
hand in hand to a costume ball. It became and remains the Lanvin
logo, appearing on all the packaging, the color of which Elbaz had
changed to Lanvin blue. ■
Lanvin did not draw her designs, preferring to drape directly on the
body, but she had a sketch artist render every look from each of her
four collections per year. She was ahead of her time, calling what’s
now known as resort and pre-fall “entré seasons.” Dozens of these
sketches (predecessors to look books) and volumes of embroidery
samples were brought in for the anniversary tours.
Photo credit: Women’s Wear Daily
Europe, Middle East & Africa Milena Trevisani, Tel: +39 347 0970225, trevisani@nytimes.com; Asia Pacific Whye-Ko Tan, Tel: +65 6723 8150,
whye-ko.tan@nytimes.com; Latin America Christopher LaLime, Tel: +52 55 5658 5681, clalime@nytimes.com; U.S. & Canada Roddy Salazar,
Tel: +1 212 556 7201, roddy.salazar@nytimes.com
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THE NE W YORK TIMES SY NDICATE
TRENDING NOW SLIDESHOW
WORLD
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Europe, Middle East & Africa Milena Trevisani, Tel: +39 347 0970225, trevisani@nytimes.com; Asia Pacific Whye-Ko Tan, Tel: +65 6723 8150,
whye-ko.tan@nytimes.com; Latin America Christopher LaLime, Tel: +52 55 5658 5681, clalime@nytimes.com; U.S. & Canada Roddy Salazar,
Tel: +1 212 556 7201, roddy.salazar@nytimes.com
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