For her second runway outing at Lanvin, Bouchra Jarrar sent a message of “tender and strong femininity,” she said during a preview. “It’s not a political act, but in the world we live in today, it’s important to give beauty and love.” The collection was stocked with beauty, full of gentle romance and confidence expressed through a look that veered from full blush femininity to a tougher, practical womanliness derived from men’s wear — two sides to Jarrar’s story. And, as she said upon her debut at the house for spring, as long as she’s at the creative helm, Lanvin is very much her story, aesthetically speaking. Jarrar noted, though, that she felt simpatico with Jeanne Lanvin’s modernist leanings and admiration for Alber Elbaz’s successful restoration of the house.

The fall collection continued to be based on the soft dresses, fluid tailored pants and moto jackets that Jarrar has long plied at her own label. She moved the needle in a more delicate, dreamy direction, taking inspiration from couture, the opera and exotic birds, including birds-of-paradise, swans and phoenixes worked on accessories and scenic prints. The newest dresses had a graceful ballerina quality, such as a powder-pink style with a twisted halter neck, lace sleeves and a skirt done in swishing layers of shiny mousseline that fell above the ankle. Romantic blouses curled around the shoulders and neck in short lace ruffles and were worn with high-waisted trousers and neat, tailored black leather pants that were more power bourgeois than edgy or biker. Bird brooches and belts sprouting with real feathers cast a fanciful spell on the tailoring, while flat ballerinas and boots with sturdy, studded soles kept even the prettiest, most classic looks grounded, practical and progressive.

By  on March 1, 2017

For her second runway outing at Lanvin, Bouchra Jarrar sent a message of “tender and strong femininity,” she said during a preview. “It’s not a political act, but in the world we live in today, it’s important to give beauty and love.” The collection was stocked with beauty, full of gentle romance and confidence expressed through a look that veered from full blush femininity to a tougher, practical womanliness derived from men’s wear — two sides to Jarrar’s story. And, as she said upon her debut at the house for spring, as long as she’s at the creative helm, Lanvin is very much her story, aesthetically speaking. Jarrar noted, though, that she felt simpatico with Jeanne Lanvin’s modernist leanings and admiration for Alber Elbaz’s successful restoration of the house.The fall collection continued to be based on the soft dresses, fluid tailored pants and moto jackets that Jarrar has long plied at her own label. She moved the needle in a more delicate, dreamy direction, taking inspiration from couture, the opera and exotic birds, including birds-of-paradise, swans and phoenixes worked on accessories and scenic prints. The newest dresses had a graceful ballerina quality, such as a powder-pink style with a twisted halter neck, lace sleeves and a skirt done in swishing layers of shiny mousseline that fell above the ankle. Romantic blouses curled around the shoulders and neck in short lace ruffles and were worn with high-waisted trousers and neat, tailored black leather pants that were more power bourgeois than edgy or biker. Bird brooches and belts sprouting with real feathers cast a fanciful spell on the tailoring, while flat ballerinas and boots with sturdy, studded soles kept even the prettiest, most classic looks grounded, practical and progressive.

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