This was the designer’s first effort since the ouster last October of artistic director Alber Elbaz, with whom he had shared design credit. “Of course I miss him,” Ossendriver said, while stressing stability in his design team and its obsession with intensive, hand-wrought techniques and billowing silhouettes.
Here were familiar shapes – enveloping, soft-shouldered coats; pajama-loose suits; filmy camp shirts – but given a more rugged aspect with intentional crinkling, raw edges and spray dye techniques, giving clothes and shoes alike an aged appearance.
Slip-on and low-top sneakers appeared with the various sprayed treatments, mostly in primary colors that juxtaposed the darker clothes. Lace-up creepers were finished in a woven treatment. Leather dress shoes had patches of suede applied overtop.
Scruffy, long-haired models – one a dead ringer for German Renaissance painter Albrecht Dürer – brought to mind the bohemian, swashbuckling flair of Johnny Depp with their unzipped shirts, coarsely knotted lariats banging on their lean ribcages.
If Elbaz was partial to borderline-feminine couture fabrics, Ossendrijver went for woodsy English checks, beefy shearling detailed with metal rings and frazzled kangaroo fur. While the color palette was restrained, the layered looks – also melding bits of denim and shots of plaid – added up to a rich display.
According to sources, Lanvin management may not name a new overall artistic director to succeed Elbaz, but rather appoint a new women’s creative director, leaving Ossendrijver in charge of men’s.
Elbaz gave his vote of confidence on Instagram, posting a portrait with Ossendrijver and writing “Good luck with your show today Lucas.”
[With contributions from Christian Allaire]