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LANVIN FOLIO

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LANVIN FOLIO

  1. 1. LANVIN Hyrald Magalit|S1B D1- Design AT2
  2. 2. RESEARCH
  3. 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. 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. 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. 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. 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. 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. 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. 10. Lanvin window display 2013 on Rue du Faubourg Saint-Honoré, Paris RESEARCH DISTRIBUTION IDENTITY
  11. 11. LANVIN Spring window displays ‘ANONYMOUS’ 2014 RESEARCH DISTRIBUTION IDENTITY
  12. 12. CLIENTS SERVICES RESEARCH DISTRIBUTION IDENTITY
  13. 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. 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.
  15. 15. RESEARCH Next Nature
  16. 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. 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. 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. 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.
  20. 20. DEVELOPMENT
  21. 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.
  22. 22. REFINEMENT THE FOUR ‘ENCHANTED WOODS 2014’ WINDOW DISPLAYs
  23. 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. 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.

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