Lanvin Fall 2025 Editorial Project

Review of Lanvin Fall 2025 Editorial Project by Photographer Vito Fernicola and Videographer Anna Prokulevicz with models Malgosia Bela and Mouha Seck

Lanvin unveils its Fall 2025 editorial project Gestures of Radical Elegance, the first under new Creative Director Peter Copping. Photographed by Vito Fernicola and featuring models Malgosia Bela and Mouha Seck, the project signals less a campaign than a manifesto — a quiet but deliberate announcement of where Copping intends to steer the maison. Editorial in format, it eschews the glossy hyperbole of traditional ads for something more pared down, minimalistic, and tellingly confident. If elegance is a cadence, as the release proposes, then this project strikes its first note with precision.

The imagery itself lives in a play of contrasts: sculptural coats and fluid knits against bare walls and open spaces, sharp tailoring softened by natural drape, nocturnal shadows cut by flashes of sunlight. Malgosia embodies a kind of radical restraint — her gaze direct, her posture uncompromising, her silhouettes elongated but unadorned. Mouha, meanwhile, channels quiet modernity through oversized knits and relaxed movement, embodying that tension between softness and structure. Together, they offer a vision that is less about spectacle and more about presence: elegance not as ornament, but as distilled essence.

Philosophically, this aligns with Copping’s stated exploration of heritage reimagined for today. There is no overindulgence in narrative — no sprawling sets or overwrought symbols. Instead, we are given gestures: a glance, a stride, a tilt of the shoulder. These gestures — pared back to their essence — echo the maison’s new definition of sophistication: composed, fluid, and attuned to the poetry of movement. It’s minimalism not as austerity but as refinement, a strategy that allows the clothes to speak without interruption.

That said, restraint is always a double-edged sword. While the clarity of vision is refreshing, some viewers may long for a richer narrative context — a sense of place or story that goes beyond elegance as pure form. The imagery, though plentiful, risks a certain sameness across frames. Yet perhaps that is precisely the point: an editorial project rather than a campaign, a series of meditations on a theme rather than a plot-driven performance. In this, it succeeds at being both understated and thorough, a mood board for the maison’s future.

As a first gesture, it works. Copping avoids the trap of rushing into spectacle and instead offers an intentional soft opening — one that establishes codes of sharpness, restraint, and sensuality. The message is clear: Lanvin’s new chapter is about elegance with backbone, poetry with structure. Consider this less a sales pitch and more a thesis statement. If gestures can indeed be radical, then Copping’s first gesture is one of studied control — and, perhaps, quiet confidence that more is yet to come.