Lady Lan­vin

L’Officiel Middle East (English) - - Contents - BY SOUHA AB­BAS

As the new artis­tic direc­tor of Lan­vin, Bouchra Jar­rar, talks ex­clu­sively to L’of­fi­ciel Mid­dle East on the in­spi­ra­tion be­hind her first col­lec­tion for the house.

You may not have heard of her un­til now but Bouchra Jar­rar’s fash­ion cre­den­tials are im­pres­sive. In the past, she has worked at Jean-paul Gaultier, spent a decade at Ba­len­ci­aga (un­der Ni­cholas Gh­esquiere) as well as hon­ing her skills at Chris­tian Lacroix and Scher­rer be­fore she founded her own Haute Cou­ture la­bel. Her style is clean, clas­sic and in­spired by the shapes of the 50s and 60s. After a state of flux fol­low­ing the de­par­ture of Al­ber El­baz from Lan­vin, she is qui­etly tak­ing con­trol of the fa­mous fash­ion house and mak­ing her mark. What are your im­pres­sions after a sea­son with Lan­vin? Does it all live up to your ex­pec­ta­tions? This first col­lec­tion has en­abled me to set out my vo­cab­u­lary. It an­nounces the new Lan­vin style, the style I’m work­ing on for the Lan­vin fash­ion house. For you who are me­thod­i­cal in your work, has it been dif­fi­cult to es­tab­lish your style amongst a team that has worked for so long with an­other artis­tic direc­tor? Method al­low for pre­ci­sion and it’s with pre­ci­sion that I have worked with my teams. Us­ing method I am able to bring co­her­ence to the var­i­ous lines in my col­lec­tions. In your own words, what de­fines your first col­lec­tion with Lan­vin? This first sea­son at Lan­vin is an open­ing. I’ve been ex­plor­ing the paths of sen­su­al­ity and in­ti­macy, build­ing clothes around the body, un­veil­ing and veil­ing the sil­hou­ette. I’m search­ing for the es­sen­tial and har­mony. I love to dress women, to re­veal their in­ner selves, to make them feel sub­lime and to cross bor­ders be­tween fem­i­nin­ity and mas­culin­ity. Hence a wardrobe which shall evolve and echo it­self from one sea­son to the other. What are your first mem­o­ries as a fan of Jeanne Lan­vin’s fash­ion creations? What do you think of her as a woman, a de­signer and a busi­ness woman? Jeanne Lan­vin was a vi­sion­ary woman, a woman who con­structed both her de­signs and her fash­ion house. She was a woman of in­cred­i­ble moder­nity. You were a busi­ness woman who ran her own fash­ion house for over six years, what was that ex­pe­ri­ence like? To­day I am fo­cussed on my job as artis­tic direc­tor for Lan­vin. My prod­uct and or­gan­i­sa­tion vi­sion is an ad­di­tional as­set for the House. In to­day’s lux­ury world, is it dif­fi­cult to es­tab­lish an inim­itable style, par­tic­u­larly within a con­text where so­cial net­works have glob­alised fash­ion, dis­tribut­ing it mas­sively at an ac­cel­er­ated rate? It isn’t dif­fi­cult to es­tab­lish a style when one pre­serves “au­then­tic” cre­ation, by that I mean cre­ation born of the imag­i­na­tion and of artis­tic vi­sion. You have al­ready worked with sev­eral great names in fash­ion. How have you man­aged to make your own style, and how does it now com­bine with that of Lan­vin, a fash­ion house with a rich her­itage and his­tory? Be­cause it has al­ways been an ex­er­cise in style, with re­spect for the var­i­ous vi­sions that I shared with the de­sign­ers I have worked with. It is pos­si­ble only with re­spect. My style com­bines in­stinc­tively with the Jeanne Lan­vin style, which con­cen­trated on struc­ture, just like I do. What are your first mem­o­ries of fash­ion in gen­eral? What as­pects or peo­ple mo­ti­vated you to un­der­take a ca­reer in fash­ion? My first mem­o­ries go back a long way, be­cause I al­ways wanted to work in fash­ion. My style has been forged by my cre­ativ­ity, which I have been de­vel­op­ing from the very begin­ning. It hap­pened through meet­ing with the great cou­turi­ers and de­sign­ers in books. All those who make up the his­tory of fash­ion. What is your creative process? And par­tic­u­larly when dead­lines leave you no time to per­fect each one of your ideas … My process starts with ma­te­ri­als; a me­thod­i­cal ap­proach and a sure, con­trolled or­gan­i­sa­tion en­sure that dead­lines are met. What will be the next stage for you at Lan­vin? What are your dreams for the next col­lec­tions? To make them come true by pre­sent­ing the strong in­spi­ra­tion I feel in a har­mony. On a more per­sonal note, how do you spend your time out­side of the work­shop? I spend it with the peo­ple I love, my neph­ews, my fam­ily and my pri­vate space. Con­tem­po­rary art, mu­sic, read­ing. How has your life changed since you ar­rived at Lan­vin? My life has be­come more in­tense, it is con­cen­trated on Lan­vin, a name that I ab­so­lutely love.

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