There were some promising pieces: a black patent trench coat edged with chiffon frills, a black brocade tuxedo jacket with jewelled lapels, and a number of shimmery evening looks, including a black peasant dress with burgundy velvet shoulders and crystal detailing on the bodice, were not a million miles away from the aesthetic with which Lanvin has come to be associated: reassuring elegance with a funky twist. The flashes of autumnal jewellery were equally welcome: gem-encrusted chokers and cuffs, and chain and crystal earrings jazzed up ensembles, and along with black heeled lace-up shoes had considerable after-dark appeal.
The fit, however, looked off, and the fabrics stiff. Lanvin's signature molten draping, so synonymous with its refined silhouette, was nowhere in evidence with lace and velvet dresses that appeared fusty and rigid. Gone, too, were festive poofs and witty silhouettes that made Lanvin under Elbaz so fun to wear. Breaking up is always hard to do - but the goodwill was palpable in the audience. With a tighter focus, and a finer finessing of the myriad ideas that filtered through this show, perhaps Lanvin can find its feet again.