A new Lanvin identity, inspired by heritage yet intrinsically formed for a future. Presented at the Galerie de la Géologie et de la Minéralogie located in the Jardin des Plantes, the Winter 2026 Lanvin women’s collection by Artistic Director Peter Copping is an expansion of creative interchanges – a dialogue between generations, a timeless conversation for today and tomorrow.

New house signatures, refined and represented. Fluidity of movement, sculpted tailoring, a rigorous linear silhouette given paradoxical lightness through applications of knit, the Maison’s expertise in flou. Peter Copping’s reinvention of Jeanne Lanvin’s notion of le chic ultime is given fresh expression, new instigation. A blurring between the casual and the formal, between day and night, proposes a dynamic and multifaceted wardrobe of neo-elegance. Today, these have become synonymous with Lanvin.

For 2026, a celebration of the centenary of Lanvin’s menswear inspires a modern fusion between masculinities and femininities. A masculine presence is asserted in fabrics – crisp wool, flannel, melton or grain de poudre, while men’s shirts are cut in fine wool poplin or silk taffeta, French cuffed. Men’s inspired tailored jackets and coats have their proportions fundamentally altered, drawn in against the body through tucks, darts and shirring – couture as an act. They are architected to the innately feminine, formed to the waist, sleeves articulated, volumes reconsidered.
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In the vital exchange between past and present, techniques translate – bead droplets are hand-embroidered, yet fringes are laser-cut, discovering a new space between the contemporary and couture, a new modern identity.

Shapes reinvent ideas of Lanvin. The emblematic silhouette of the robe de style is remembered through gestures of volume in skirts of wool or fluid silk, newly cut to move against the body, hinted at with a deconstructed ruffle. Exaggerated hats evoke a sublimated cloche, nodding to Jeanne Lanvin’s origins as a milliner. Lalique glass and the linear embellishments of Art Deco – both present in her private apartments – translate into prints and seamwork.

Caught as if mid creation, tailored coats are folded at neck or revers, afforded a feminine softness. Moulage, the draping of fabric on the form, inspires dresses that contrast streamlined, moulded form with panes of free fabric, a sensibility of creation. Seams form external decoration, the internal grosgrain belt spanning an anterior waist. These are part of an indisputable language of Lanvin – a mood of the atelier, of the joy of making and creative expression, a feel of her hand. The spontaneous beauty of the unfinished and undone.

Cuissarde boots with exaggerated tongue, others buckled and doubled in spazzolato or crocodile effects. XL faux-fur charms tied to matching twin scarves. The Compagnon becomes a canvas for inlays of leathers in Art Deco homage, while jewellery reinterprets flat links of metal and strass and the flexible metallic band of a man’s wristwatch as bijoux. Gloves cuffed and opera-length.

Paris in the 1920s translates throughout to an attitude, a sensibility of freedom, itself freed from time – a coat held closed, a collar rising high. Faux fur stoles and gloves are cinematic, subtle shadows of the period that still resonate. Another dialogue, a gentle reflection. An eternal esprit.