Heritage brands often struggle to strike a balance between the weight of their past and the demands of restless modern consumers. Peter Copping confronted this challenge head-on at the presentation of the Lanvin Fall 2026 collection in Paris. This outing marked a departure from his previous work for the brand. For the first time since he arrived at the house, Copping decided to let the menswear stand alone. He moved the presentation to the company headquarters to offer an intimate view of his progress.
| 📌 Key Facts |
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| 🧵 Maison: Lanvin 🧵 Designer: Peter Copping 🎉 Milestone: 100 years of Lanvin menswear (founded in 1926) 🏛️ Location: Lanvin headquarters, Paris 🧶 Key Materials: Modernized Venetian textiles, alpaca, velvet, nylon 🎨 Color Palette: Gray flannel, jewel tones, absinthe green 👔 Focus: Relaxed tailoring, couture techniques, wearable elegance 🌍 Inspiration: Parisian heritage and Venetian craftsmanship |
The menswear of this particular house carries a century of history. Jeanne Lanvin established her men’s line in 1926. She was a pioneer in that regard, as no other couture house had offered a dedicated menswear line at that time. Copping used this centennial anniversary to reflect on the past while moving forward. He had spent much of his career designing women’s clothing. This collection proved that he has a clear understanding of the male wardrobe. He did not rely on basic tropes. Instead, he examined the founder’s personal archives to find a new direction.
Archival scrapbooks were displayed in glass cases throughout the presentation space. The books contained fabrics that the founder had collected during her travels to Venice decades ago. Copping did not simply recreate these old textiles. He collaborated with the original weaving workshops to modernize the materials. One workshop in Venice has been operating for five centuries. They produced a monochrome version of a historic textured fabric for Copping. This material was featured on denim jackets and jeans, which grounded the luxury of the brand in a practical context.
Despite its high-end pedigree, the collection felt relaxed. There was a sense of ease that often eludes heritage brands. Ribbed pullover sweaters featured simple stripes. They looked like clothes a man might actually wear on a Tuesday afternoon. Copping moved away from the rigid structures of formal dressing. He introduced velvet pants in a shade of green reminiscent of absinthe. These pieces had leopard spots flocked onto the fabric. Such choices demonstrated a willingness to experiment with the brand’s identity.
Evening wear remained a central pillar of the collection. Copping applied couture techniques to masculine silhouettes. He transformed the pleated fabrics often associated with Fortuny into tuxedo pants. These trousers featured a side stripe made of grosgrain. Shirt bibs featured heavy bead and paillette embellishments. These details mirrored the intricate work found on the brand’s famous gowns. They suggested that elegance is not limited to one gender.
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Copping also explored outerwear with a utilitarian edge. A woman modeled a few of the coats to demonstrate their versatility. One coat was made of textured alpaca that felt substantial. Another was made of lightweight nylon with a wet-look finish. These garments hinted at the direction in which the designer might take the women’s collection in the future. Copping seems interested in a style that allows for sneakers rather than just formal footwear.
Paris remains at the heart of this brand. The dialogue between the French capital and other destinations, such as Venice, shaped the entire aesthetic. Copping used gray flannel, a staple of the brand since its early days, as a neutral base for vibrant jewel tones. He used amethyst colors to contrast with the sober tailoring. The clothes seem to belong to a man who travels frequently. They are not costumes for a runway, but rather, tools for a life lived across borders.
