1867-1946 Jeanne Lanvin

[cerfas]

You're very welcome toohip, Mr-Dale, Meg, Benzo, softgrey, and Estella!

I had Lanvin on the brain last night and was wondering about the history of the house. What I found interested me, so many of the pieces have timeless elegance...I really love the geometric shapes in the long purple dress, for instance. Also it was cool to laern that the house was started by a woman.

Softgrey, how wonderful to have something like that. And it seems fitting since Jeanne Lanvin was all about the mother-daughter bond . I read a lot about the perfumes last night as well. That was a big part of the brand, it seemed.
Here's a photo of the perfume

1929. Copyright, Galleria Martini &
Ronchetti,
Genova, Italy.

dsc.gc.cuny.edu

and another more documentary one

www.museesdegrasse.com

[cerfas]

These two images are really tiny but I thought they were beautiful anyway so I'm going to post them. Get up close and squint





www.scran.ac.uk

[cerfas]

ykidkwis - that dress sounds very cool! What were you doing with it?

Meg - I definitely see the inspiration for an 80's prom dress in the black gown

[cerfas]

She wanted a universe for her clients. With the partnership of Albert Armand Rateau, who decorated her house on the rue Barbet de Jouy and her villas at Le Vésinet, she opened “Lanvin Decoration” at 15 rue du Faubourg Saint Honoré and decorated her boutiques and the Daunou theatre in a fairytale of graphic and Art Déco themes in gold, black and white, underlined by an omnipresent shade of blue. A blue she was said to have borrowed from Fra Angelico and that featured on the walls of her room. A blue with a hint of violet, or when used in her clothes a more luminous blue, in complete outfits, touches or prints. A blue whose nuances vary like the blues in stained glass, according to time.

In 1925, she once again called on A. A Rateau for the decoration of the stands at the Exhibition of Decorative Arts.

During the 1930s, Eugène Printz decorated her office in the Faubourg Saint Honoré.

text from lanvin.com

Here's a picture of her bathroom, and a dressing table of hers

www.jahsonic.com and drwagnernet.com

[Lisa~~~*]

so gorgeous!

[Whitelinen]

Thank you, thank you, thank you for this thread!I love Lanvin, past and present

[Guessgirl96]

Does anyone know when they stopped using the mother and duaghter logo?

[cerfas]

You're welcome, White linen

[ballroombeliever]

Her creations were amazing

[DosViolines]

Winter 1926/27
Paris Couture Black Silk Taffeta Robe de Style Dress with Silver Beading!

This is the iconic dress from the era by Lanvin. Tom Tierney used the dress to showcase in his paperdoll book. And a similar Lanvin is shown in the Kyoto Costume Institute Fashion History book, which describes the dress as "significant". Black silk tissue taffeta with rhinestones, bugle beads and seed pearls in amazing deco design. Measures: 42" bust, 40" waist, 50" long from shoulder to hem. There are pinholes in the skirt (seen when held up to light), but looks nearly perfect without the light. The front ecru net panel at bust has some minor light staining, and just a small percentage of the seed pearls are missing. Any other beads missing are not worth even mentioning. There is no underpinning or lining. I shaped in the robe de style shape with tissue under. Pannier undergarment is necessary for the correct look. This dress can easily be the highlight of your 1920's clothing collection.

antiquedress.com

[DosViolines]

Lanvin hooded lace/tulle cape with gold sequins and embroidery, c.1930. Label: "Jeanne Lanvin/Paris/22.Faubourg St. Honoré."

vintagetextile.com

[DosViolines]

Images of Lanvin's (reconstructed) apartment.

For more info, check out the source: lesartsdecoratifs.fr

[DosViolines]

Dress
1922-1923
Black silk taffeta trimmed with machine-embroidered silk chenille and cream silk georgette bows and bands

Throughout the 1920s Jeanne Lanvin (1867-1946) excelled in the creation of ultra-feminine dresses with fitted bodices and long, full skirts, known as robes de style, of which this evening dress is an example. The black fine silk taffeta dress with boat neckline, and small, capped half-sleeves fastens with poppers down the left side. A pair of immense fern-like fronds are machine-embroidered in furry cream chenille on the skirt, and the cream colour is echoed in floating bands caught in silk georgette bows at the right sleeve and left waist.

vam.ac.uk

[DosViolines]

Coat
summer 1929
Black crêpe and silk chiffon

This knee-length afternoon coat, designed by Jeanne Lanvin, is made of black silk chiffon, to which squares of black wool crepe have been applied arranged in a radial pattern from the yoke, increasing in size towards the hem. The binding cuffs and double band collar are of the same material. The coat is cut with a slight flare from shoulder to hem and there is no fastening. The sleeves are long, slightly full and tapering to the wrist.

This coat is a significant example of the meeting between fashion and modernity: the geometrical forms, assembled according to the 'collage' technique, refer to the strong influence of abstract art on fashion during the 1920s. Black became an increasingly fashionable colour for elegant evening wear and was popularised by Coco Chanel in the mid-1920s.

vam.ac.uk

[DosViolines]

Evening dress
winter 1935
Satin, machine-sewn

This dress, designed by Jeanne Lanvin, is made of purple satin, cut on the bias of the fabric. It is sleeveless and has a low cut rectangular neckline. The back of the dress is cut into a point, attached to the back of the collar and showing two triangles of naked flesh. A huge collar based on a rectangular form is made of triangles and squares. The collar is covered with narrow parallel rows of stitching which reinforce the fabric and allow the collar to keep its shape. Lanvin broke the long line of the dress by attaching two ribbons, equally covered with stitches, at either sides of the waist. The ribbons, once fastened, emphasise the waist, a new and important feature of 1930s fashion. By using one single, very strong colour in this dress, Lanvin achieved the simple, yet sculptural look of the 'classical' fashion of the period.

Satin became popular in the 1920s when it was increasingly used for costumes in the silent cinema for its evocative character and the way it attracted the light. In Hollywood cinema, satin became the emblematic fabric of the 1930s Art Deco evening dresses and was mostly used in monochrome colours.

Cape
Winter 1935
Silk velvet hand sewn and hand rushed

This evening cape designed by Jeanne Lanvin (1864-1946) is a good example of her consummate knowledge of fabrics and characteristic love of textures. During the 1930s, fashion designers created boleros, and short capes to emphasise the length and fluid shapes of the evening gowns. The waist-length evening cape is made of purple silk velvet ruched to achieve the effect of Astrakhan fur. It has a wide rounded square falling collar fastening at the neck with a silvered button. The ruching, moulded on chiffon, is vertical over the shoulder, and horizontal on the collar and on the rest of the garment. It is lined with satin matching that of the dress.


This cape shows a very avant-garde design for the period. Its architectural shape, the off-the-neck gigantic collar and the use of huge buttons herald, almost 20 years before its time, a style developed by Balenciaga in the mid 1950s.

vam.ac.uk