he Me woman is an individual,” describes Alber Elbaz with that mischievous twinkle in his eyes, “which doesn’t mean that she is an individualist or narcissist. No, she is an individual because she also thinks about herself. She pays attention to what she is or what she wears, rather than trying to position herself with respect to others.”
It all began with his vision for the brand, in which he believes that he is not clothing women as just models but rather to give them aesthetic value and character every day. “My work at Lanvin is about evolution, not revolution. I like the idea of ensuring longevity for Lanvin by building a palpable, long-lasting identity that is clearly Lanvin and forever Lanvin,” says the designer. He has a predilection for fabric and cuts that keep the silhouette airy, y, allowing the body to move freely, ly, with beauty and emotion shining through. And Elbaz took ook the same approach when creating eating Me; the fragrance is an extension of his Lanvin vin woman – sophisticated, ed, somewhat whimsical, cal, different, assertive, and utterly sensual.
Elbaz’s vision of the Lanvin vin woman goes hand in hand with his sumptuous ous designs. Who could forget get the peplum uproar he had Lanvin Blue embroidery caused just a few seasons ago, and all the jewellery simply dripping off the gorgeous creations?
These are Elbaz’s distinct touches, as Lanvin Me EDP, RM263 ( 50ml) & RM339 ( 80ml) evinced evinc on the bejewelled chain around aroun the fragrance flacon; the sophisticated black cap engraved en with late founder Jeanne J Lanvin’s favourite design; and the Art Deco silhouette. There is a touch of Lanvin Blue as well, the colour that is associated with Jeanne, and which is still found on the brand’s insignia today. She is said to t have discovered this bluemauve shade during her trips to Italy that eventually led to the opening of her dye factory f in Nanterre in 1923.
Lanvin Autumn/ Winter ’12, the source of inspiration