Lanvin plays a loose body against a collar that stands and belts at the throat, finished with a vinyl fitting at the strap. The virgin wool is dense enough to keep the shoulder square through a short, straight cut. Off white turns the same coat into the brighter half of a winter wardrobe.

Lanvin plays a loose body against a collar that stands and belts at the throat, finished with a vinyl fitting at the strap. The virgin wool is dense enough to keep the shoulder square through a short, straight cut. Black gives the collar all the emphasis.

A jacket that borrows from the men's wardrobe, which is where Jeanne Lanvin often started. The wool flannel is cut loose through the body and can be pulled in on its belt, with patch pockets set at the hip. Black keeps the borrowing quiet.

A sweater cut on a draped, asymmetric line that Lanvin traces back to dresses in the house archive. The wool and cashmere blend is light and warm at once, falling in folds rather than holding a knitted shape, and a brooch fastens the drape at the shoulder. Black keeps the asymmetry legible.

A grosgrain ribbon runs across the back of this sweater, the same finish Jeanne Lanvin used inside her couture dresses. The merino is thermoregulating and knitted fine, so the ribbon sits flat against it rather than pulling. Black makes the trim the only thing to notice.

A grosgrain ribbon runs across the back of this sweater, the same finish Jeanne Lanvin used inside her couture dresses. The merino is thermoregulating and knitted fine, so the ribbon sits flat against it rather than pulling. Garnet is a red deep enough to pass for brown until it catches the light.

A cigarette line in pure wool: narrow from the knee down, sitting on the waist without a break in the front. Lanvin keeps the tailoring plain enough that the cloth does the talking. Black, and cut to be worn with everything the house makes to match.

A sleeveless satin dress cut clean at the front, then broken by a diagonal seam that wraps the hip and fastens on a single ball button. Below it the skirt opens into a soft A-line and the satin catches light along the fold. Old pink is dusty enough to keep the sheen from reading as evening.

Pleats worked into the body of a knitted T-shirt, structuring what would otherwise be a plain layer. The knit is open and breathable, cut close enough to read as tailoring under a jacket. Moon is the warm off-white Lanvin runs through the whole of this group.

Lanvin took this one from Jeanne Lanvin's own travel clothes: an asymmetric cut, hemmed in fringing that moves a step behind the wearer. The knit is fine and light, so the drape stays close rather than stiff. Moon is a warm off-white, almost the colour of the yarn undyed.

Fringes and eyelets worked into an asymmetric wrap, in a double-faced cloth that shows finished on both sides. The cashmere in the blend takes the scratch out of the wool without loosening the hang. Black, so the eyelets read as texture rather than decoration.

Lanvin sets a white leather panel into the vamp of this black slingback, a graphic two-tone line in the spirit of the house's Art Deco heritage. The toe is long and pointed, the strap closes with a gold-toned buckle, and the insole carries Lanvin's signature blue. The heel is the surprise: short, glossy and sculpted into a flared spool.

A sleeveless top built around one ruffle, which falls from the throat to the hem and turns as it goes. The rest is left plain — a straight body, squared shoulders, a single ball button at the back of the neck. In ruby the ruffle reads as a line of colour rather than a shadow.

A sleeveless top built around one ruffle, which falls from the throat to the hem and turns as it goes. The rest is left plain — a straight body, squared shoulders, a single ball button at the back of the neck. Cream keeps the ruffle to a matter of shadow.