It is not uncommon today to encounter designers who consider the label they work for as their own: Albert Ebaz is part of such, since he introduces himself as “Albert from Lanvin”.
He left his first drawings there in 2001, beginning with ranges of fabrics deliberately “exhausted-looking”: the wool creases, the washed satin and gazar have a languid hanging. In ten years, with his cheeky expression and his lopsided bow-tie, he developed a kind of UFO image within the Fashion circles: his hand matures towards a colourful and modern universe in which the diktat are brushed aside and which let us imagine a light and quite different stylistic durability.
A sparkled woman tinged with melancholy, that’s what Mr Elbaz has done of the Lanvin’s woman. Strong, but inhabited with a sensational frailty: a skin, an austerity, a reserve, a mystery useful for the woman to take office and readapted by Elbaz. However his unpretentiousness does not rhyme with second rate.
When the Happy bag makes its entrance in the life of Lanvin, the child from Casablanca makes his mark, a votive esthetic identity: feminine, elegant, wonderful, fine. Developed in precious leathers, it can be covered with gems or embroidered with full details in ostrich feathers. With its overthicked flap striked with the Lanvin’s seal, it furthers the Parisian quintessence.
Its coarse-grained ribbon, entwined with a golden strap reinterprets the refinement of the atavistic conventions of the Fashion House: practicality, timelessness, delicacy. Today it is a capsule collection that the designer offers to celebrate his 10 years, organized around the genetic accessories of the brand. Titled “Happy 10 years”, the collection features 10 mini sets around a centric theme, each containing a Happy Bag, a ballet shoe or a trainer and a jewel, all with the Lanvin‘s signature.
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