Lanvin holds the distinction of being the oldest continuously operating French couture house, which means that its archives are not only abundant with designs but also with stories. When Peter Copping arrived a little over a year ago, he seemed more drawn to the former. Now, after a couple of captivating shows in which he has both explored and reinterpreted defining silhouettes, he appears ready to integrate the latter. And what better place than wondrous Venice, where Jeanne Lanvin traveled with her niece, Marianne. It was moving to see their black and white photos—in front of the Bridge of Sighs and along the canals—tacked on to his moodboard some hundred years later. Back then, she bought fabrics and visited glass workshops. What she think of the world today?

The images were also revealing for what they wore, and it was easy to see how Copping saw potential in the clean lines of Mme Lanvin’s white jacket and black skirt hitting just below the knee, along with all the creative possibilities around Fortuny pleats and Murano glass beads.

Accordingly, there were evening looks executed with a more contemporary eye for embellishment—namely, heat-set stones instead of heavy embroidery and black velvet ribbons in lieu of corsetry, and you will surely spot a few strong red carpet contenders. Yet the main focus for Copping involved building out the daywear. “The first few collections have been quite dressy, probably because the show lends itself to this; but I really want the collection to be anchored in a full wardrobe for a woman,” he said.

From the double-flared silhouettes to the ornamented capelets and tweed ensembles featuring a skirt pinched with a brooch, these were alluring articulations of what Lanvin calls its “chic ultime” positioning. Copping pointed to several looks that surfaced while walking to work and noticing how Parisian women dress. “I’m always observing people and I wanted there to be some things that felt quite real in here,” he said, singling out the black knit leggings topped with a textured coat in vivid red that called to mind John Singer Sargent’s portrait of Dr. Pozzi (temporarily on view at the Musée d’Orsay from its home at the Hammer Museum in L.A.).

The Murano glass made for a pleasing graphic motif for silk dresses that shifted between fine pleating and draping executed with a light touch, while Fortuny jewel tones lent richness without being lavish. The jewelry was “Murano by way of Brittany,” Copping quipped, while noting they worked with a specially designated artisan of France.

Lanvin’s showroom occupies a grand home that looks out over the Parc Monceau, where the outdoor images in this series were photographed (by the duo known as Chaumont-Zaerpour). If excellent outerwear—the high funnel-neck jacket and shawl-collar coat—and sculptural heels (dubbed the Midnight Step) stand out as statement pieces, the collection also included highly wearable colorful sweaters with grosgrain ties at the back and the Lanvin ballerina flats, newly re-edited, which will appeal to stockists that lean more commercial. "You have to cover all bases, but then still make it feel believable,” Copping said. Indeed, many of his fitted knit jackets and asymmetrical dresses would pack perfectly for a quick trip to Venice circa 2026.