The origins of Parfums Lanvin are inseparable from the remarkable life of its founder, Jeanne-Marie Lanvin (1 January 1867 – 6 July 1946). Born in Paris as the eldest of eleven children, Jeanne’s career began humbly at age sixteen when she apprenticed at Madame Félix, a Parisian milliner. She later trained with the dressmaker Talbot before opening her own hat shop on the rue du Faubourg Saint-Honoré in 1889, a location that would become synonymous with her success.

Her personal and professional lives intertwined from the very beginning. In 1895 she married Count Emilio di Pietro, and in 1897 gave birth to her only daughter, Marguerite—later known as Marie-Blanche. Jeanne’s devotion to her daughter would shape her creative legacy. She designed exquisite clothes for Marguerite, which soon attracted the attention of wealthy Parisians who began requesting similar dresses for their own children. Soon, their mothers were commissioning garments for themselves, and Jeanne’s reputation as a couturière grew rapidly. By 1909, her official entry into the Syndicat de la Couture cemented her place among the elite houses of Paris fashion.

In the 1920s and 1930s, Jeanne Lanvin emerged as one of the most influential designers of her generation. She was celebrated for her robes de style—romantic gowns characterized by voluminous skirts, delicate embroideries, and pastel hues. These stood in deliberate contrast to the era’s modernist, straight-cut chemise dresses. The robe de style became a signature of the house, defining Lanvin’s vision of femininity and refinement. Her designs, often embellished with intricate trimmings and virtuoso beadwork, embodied lightness and grace, marking her as a master of elegance in an age of rapid social and cultural change.

Lanvin’s empire expanded far beyond couture. By the early 1920s, she had established shops devoted to menswear, lingerie, furs, and home décor. In 1920, she founded Lanvin-Décoration, an interior design division overseen by Armand-Albert Rateau, who also created her celebrated Art Deco bronze furniture and interiors at 16 rue Barbet-de-Jouy. He later designed the spherical La Boule flacon for Arpège, produced by the Manufacture Nationale de Sèvres, while artist Paul Iribe provided the now-iconic image of Jeanne and her daughter that continues to grace Lanvin perfume bottles today.

The most enduring chapter of her expansion came with the founding of Lanvin Parfums SA in 1924. This venture firmly positioned the house within the flourishing perfume industry of interwar Paris, a moment when couture houses were cementing their identities through fragrance. With perfumes such as My Sin (1925) and Arpège (1927), Lanvin created olfactory signatures that mirrored the artistry of her gowns—scents imbued with sophistication, imagination, and emotional resonance.

Jeanne Lanvin’s contributions were widely recognized: she was named Chevalier of the Légion d’Honneur in 1926 and later elevated to Officier in 1938. When she passed away in 1946, stewardship of the house naturally fell to her daughter Marguerite di Pietro, Countess de Polignac, who had already been involved in management. However, Marguerite’s death in 1958 without heirs meant that the house passed to a cousin, Yves Lanvin, ensuring that the family’s name endured within French couture and perfumery.

From its beginnings in Jeanne’s millinery shop to the creation of Lanvin Parfums SA, the house built a legacy of elegance that fused fashion, fragrance, and artistry. Parfums Lanvin remains a testament to Jeanne Lanvin’s vision: that beauty could be expressed not only in dress but in scent, extending her creative world into the air itself.

Lanvin in the Late 20th and 21st Century

By the late 1980s, the House of Lanvin was struggling to maintain the luster it had enjoyed under Jeanne Lanvin and the generations immediately following her. In March 1989, Britain’s Midland Bank purchased a stake in the company from the Lanvin family and brought in Léon Bressler to refresh the brand’s fading image. The revival effort was short-lived. By February 1990, Midland exited the venture and sold Lanvin to Orcofi, a French holding company tied to the Vuitton family.

Lanvin then entered a new corporate chapter when L’Oréal acquired a majority interest: 50% in 1994, 66% in 1995, and full ownership by 1996. Under L’Oréal, Lanvin operated within a vast luxury portfolio. While the company maintained visibility, its direction was often subject to the rotations of executives and designers that typified the French fashion industry during this period.

A decisive turning point came in August 2001 when Lanvin, then the oldest fashion house still in operation, was taken private by Harmonie S.A., an investment group headed by Taiwanese media magnate Shaw-Lan Wang. Shortly afterward, in October 2001, Alber Elbaz was appointed artistic director. Elbaz’s creative vision transformed the house, earning critical acclaim and commercial success. His appointment marked the beginning of a renaissance for Lanvin, one that recaptured the spirit of Jeanne Lanvin’s elegance while making the brand relevant to a new generation.

Elbaz paid homage to the founder’s aesthetic legacy in many ways, including his 2006 decision to adopt a signature forget-me-not blue for Lanvin’s packaging. This delicate, luminous shade was said to be Jeanne Lanvin’s favorite, inspired by her admiration for a Fra Angelico fresco (Suzy Menkes, 2005). That same year, Lucas Ossendrijver joined as head of men’s design, adding strength and modernity to Lanvin’s menswear division, which quickly gained recognition for its innovation and craftsmanship.

Lanvin’s revitalized presence in the luxury market also resonated with popular culture. In May 2009, First Lady Michelle Obama drew international attention when she was photographed volunteering at a Washington, D.C. food bank while wearing a pair of Lanvin sneakers—crafted in suede, finished with grosgrain ribbon laces, and capped with metallic pink toes—retailing at $540. This image, widely circulated in the media, underscored Lanvin’s renewed relevance in both high fashion and mainstream conversation. Later that year, on December 4, 2009, Lanvin opened its first U.S. boutique in Bal Harbour, Florida, signaling its continued global expansion.

Leadership and Creative Direction

Since Jeanne Lanvin’s passing in 1946, the house has been shaped by a succession of directors and designers, each leaving their imprint on its evolution.

Directors and Officers

1946–1950: Marie-Blanche de Polignac (Jeanne Lanvin’s daughter), owner and director
1942–1950: Jean Gaumont-Lanvin, director general
1950–1955: Daniel Gorin, director general
1959: Yves Lanvin (cousin of Marie-Blanche), owner; Madame Yves Lanvin, president
1989–1990: Léon Bressler, chairperson
1990–1993: Michel Pietrini, chairperson
1993–1995: Loïc Armand, chairperson
1995–2001: Gérald Asaria, chairperson
2001–2004: Jacques Lévy, director general

Designers

1946–1958: Marie-Blanche de Polignac, director general and designer
1950–1963: Castillo (Antonio Cánovas del Castillo del Rey), women’s collections
1960–1980: Bernard Devaux, hats, scarves, haute couture; women’s “Diffusions” line
1964–1984: Jules-François Crahay, haute couture and “Boutique de Luxe”
1972: Christian Benais, men’s ready-to-wear
1976–1991: Patrick Lavoix, men’s ready-to-wear
1981–1989: Maryll Lanvin, ready-to-wear, first haute couture in 1985, women’s “Boutique” collections
1989–1990: Robert Nelissen, women’s ready-to-wear
1990–1992: Claude Montana, five haute couture collections
1990–1992: Eric Bergère, women’s ready-to-wear
1992–2001: Dominique Morlotti, women’s and men’s ready-to-wear
1996–1998: Ocimar Versolato, women’s ready-to-wear
1998–2002: Cristina Ortiz, women’s ready-to-wear
From 2002: Alber Elbaz, artistic director of all creative activities
From 2003: Martin Krutzki, men’s ready-to-wear
2005–present: Lucas Ossendrijver, men’s ready-to-wear

This lineage of leadership and creativity reflects the resilience of Lanvin. From the pioneering vision of Jeanne Lanvin herself, through decades of corporate restructuring, to Alber Elbaz’s modern revival, the house has continually adapted while preserving its heritage. It stands today as a symbol of elegance, artistry, and enduring relevance in the ever-changing world of fashion and perfume.

Perfumes:

The Beginning:

Jeanne Lanvin may have begun offering her earliest perfumes privately to a select circle of clients before officially founding her perfume company in 1924, following a practice common among couturiers of the period who used fragrance as an extension of their fashion houses. Several of her first creations, including Irisé (a delicate blend of iris and violet), Kara Djenoun (inspired by her travels in Egypt), Lajea, Le Chypre, and La Dogaresse, are believed to have been composed as early as 1923. These early perfumes, likely shared as exclusive gifts or limited offerings, laid the groundwork for her official entry into the perfume world. By 1924, Lanvin began to expand her fragrance line, formally introducing additional perfumes to the public and establishing a foundation for what would become one of the most celebrated French perfume houses.

In 1924, Jeanne Lanvin established Lanvin Parfums S.A. at 4, Rond Point des Champs-Élysées in Paris, marking a significant expansion of her already flourishing fashion house. For Jeanne Lanvin, perfume was not merely an accessory to couture but an essential extension of her aesthetic philosophy. She believed that fragrance was integral to a woman’s style, a final, invisible adornment that completed her vision of elegance. Just as her experience as a milliner had taught her the power of hats and trimmings in defining an ensemble, she regarded perfume as an “olfactory accessory”—a subtle yet profound means of winning women’s hearts and deepening their attachment to the Lanvin world.

Lanvin did not take this new venture lightly. She prepared thoroughly before officially launching her perfume division, experimenting with trial fragrances and researching the most effective ways to present them. At the time, most fashion designers who ventured into perfumery relied heavily on established perfume houses to create their scents and craft their packaging. Lanvin was no exception. She enlisted the expertise of Henriette Gabilla, founder of Les Parfumeries de Gabilla, one of the most respected perfume companies of the early 20th century.

Gabilla specialized in assisting couturiers and designers in the complex process of perfume creation, from formulation to bottle design. However, she often worked under conditions of discretion, allowing the fashion house to present the fragrance as its own innovation. This practice was consistent with industry norms, where collaboration between perfumers and couturiers remained largely hidden from public view. In the case of Lanvin, the fingerprints of Gabilla’s expertise could be traced in the selection of perfume names and in the styling of the bottles, reflecting a blend of Lanvin’s creative vision with Gabilla’s technical mastery.

The founding of Lanvin Parfums was more than a business expansion—it was a bold step that reflected Jeanne Lanvin’s modern, holistic approach to fashion and lifestyle. By integrating fragrance into her house alongside couture, menswear, home décor, and accessories, she anticipated the future of luxury branding: a seamless universe of design in which perfume played as crucial a role as a gown or jewel.

The creation of Lanvin perfumes was very much a family affair. Jeanne Lanvin’s brother, Gabriel Lanvin, a chemist by training, played a crucial role in assisting Madame Maria Zède with the technical aspects of fragrance development. Production of these perfumes was carried out at the Suresnes factory of René Duval, founder of Parfums Volnay, ensuring that Lanvin’s scents were crafted with both artistic vision and scientific precision.

Perhaps the clearest example of Henriette Gabilla’s influence on Jeanne Lanvin was in the story of My Sin. The perfume was not originally a Lanvin creation but was first introduced by Parfumerie Gabilla in 1920. Its presentation was striking: a round flacon of black crystal, molded with stylized floral motifs and enriched with gilded enamel, designed by the renowned glass artist Julien Viard and produced by the firm Depinoix. The bottle itself had an earlier precedent—it had already been used for Gabilla’s perfume Amour Américain in 1920. Variations of the same flacon were also produced in clear crystal with gold highlights, and appeared with other Gabilla perfumes such as Minnie in the same year.

This exquisite design, coupled with the evocative name My Sin, served as direct inspiration for Jeanne Lanvin when she decided to launch her own perfume line. By 1927, she introduced her version of Mon Péché (My Sin) in France, housed in a flacon designed by Armand-Albert Rateau, her close artistic collaborator who also designed interiors, furniture, and other Lanvin perfume bottles. In recalling its origins in 1926, Lanvin attributed the fragrance to a collaboration between Firmenich and Madame Zède, then employed by Gabilla as a perfumer or “nose.”

Despite its refined presentation, Mon Péché initially failed to capture the Parisian market. Yet, the fragrance’s story did not end there. According to Charles Panati in Extraordinary Origins of Everyday Things, Jeanne Lanvin quickly recognized the allure of the name and the opportunity it presented abroad. Rebranded as My Sin for the American market in 1925, the perfume became an immediate and resounding success in the United States, where the suggestive name resonated deeply with women seeking a modern, daring, and distinctly French form of luxury. What faltered in Paris triumphed overseas, cementing My Sin as one of Lanvin’s most iconic creations and laying the foundation for the enduring reputation of Lanvin Parfums.

Other Scents:

Beyond Mon Péché (My Sin), Jeanne Lanvin offered a wide range of fragrances, many of which have now been lost to time and are highly sought after by collectors. Her very first perfume, Irisé—meaning “iridescent”—blended the delicacy of violets with the elegance of iris. This was followed by Kara Djenoun, an oriental composition whose name drew inspiration from her travels to Egypt. The word evoked both the wild spirit of a djinn and the imposing Angerian mountain known as Garet el Djenoun. Another perfume, Le Sillon, carried dual associations: the “wake of a ship” and a type of silk known for its rippled, furrow-like texture. Niv Nal, with its exotic ring, was in fact a clever inversion of the name Lanvin itself, while Lajéa, released in 1924, referenced both a region in Brazil and a contracted form of “La Jeanne,” a near-signature in perfume form. Equally evocative was Géranium d’Espagne, later marketed to English-speaking audiences under the simpler name Spanish Geranium.

Several of Lanvin’s creations reflected the popular styles and playful wit of their time. Chypre aligned with the era’s fascination with mossy, resinous blends, while Comme-Ci, Comme-Ça—literally “so-so”—was a light-hearted floral that spoke to Lanvin’s playful side. J’en Raffole, meaning “I’m mad about it,” likely reflected Lanvin’s own passion for her work. By contrast, La Dogaresse, translated as “The Doge’s Wife” or “The Dowager,” may have been a more personal reference to Lanvin’s marriage to an Italian nobleman, as well as her extensive worldly travels. By 1925, no fewer than fourteen distinct perfumes had been launched under the Lanvin name, including refreshing eaux de toilette such as Où Fleurit l’Oranger, Cross Country, and Après Sport.

The most enduring creation of this early period was Mon Péché (My Sin), completed in 1924 and launched the following year. It marked the final fragrance crafted by Maria Zédé, Lanvin’s trusted collaborator, and her first international triumph. The perfume’s daring use of aldehydes, combined with an opulent blend of florals, animalic notes, and warm woods, resonated strongly with American consumers and became a transatlantic bestseller.

Lanvin’s ambition for perfume did not end there. In 1925, she brought in a rising star of the fragrance world, the young perfumer André Fraysse, then only 27 years old. His remarkable talent and modern sensibilities ushered in a new era for Lanvin Parfums, elevating the house to even greater heights with a series of innovative and memorable olfactory creations.

Fraysee Era:

André Fraysse often spoke of the profound difference between natural and synthetic perfumes. “Natural perfumes,” he explained, “are a blend of exotic vegetable materials, taken from flowers, plants, roots, and moss of various trees, such as a chypre (cypress), combined with animal matter from creatures as different as the spermaceti whale, the Tibetan mountain deer, or the civet cat of Abyssinia.” The civet cat’s secretions, he noted, resembled “coal-black grease,” but when diluted into a perfume in the tiniest of amounts, they imparted an unmistakable warmth and depth. Musk, another animal-derived material, performed a similar role in rounding and intensifying fragrance compositions. These raw essences, though rare and costly, provided a richness that synthetics alone could not replicate, and their use became a hallmark of Lanvin perfumes under Fraysse’s direction.

To achieve this olfactory complexity, Lanvin perfumes relied on a truly global palette of ingredients. Ylang-ylang was brought in from Madagascar, prized for its lush, creamy floral note. Vetiver, extracted from the roots of a hardy Javanese herb, added its earthy, smoky-green tone. Sandalwood came from Mysore in southern India, valued for its soft, milky richness, while the fresh zest of bergamot fruit, long a staple of colognes, provided brightness and lift to countless blends. These exotic imports joined a wealth of botanicals grown closer to home in France. Fraysse emphasized that the heart of French perfumery lay in Grasse, on the Côte d’Azur, where “flower-growing has been the economic mainstay of the area for more than a century,” with no fewer than 10,000 growers cultivating jasmine, roses, violets, and other perfume staples.

By the mid-20th century, Lanvin had become one of the world’s foremost consumers of these natural treasures. In 1965, Fraysse revealed that the house was the leading buyer of jasmine, purchasing a full ton annually at a staggering cost of $2.5 million. Other materials commanded equally astronomical prices: amber seed from Guatemala at $2,000 a pound, iris root from Italy that required five years of aging before it could be used, and musk at $1,000 a pound. These were only the beginning of the expenses, he explained, as advertising, publicity, and years of experimentation all contributed to the final cost of a perfume. Fraysse admitted that “ninety-nine percent of our efforts come to nothing. It is a matter of luck.” Yet when fortune aligned with skill, the results were timeless.

The greatest of these successes was Arpège, introduced in 1927 and inspired by the sound of Jeanne Lanvin’s daughter, Marguerite, practicing piano scales. Its name, the French word for “arpeggio,” symbolized harmony in both music and fragrance. The aldehydic floral blend—rich, elegant, and enduring—remains one of the great classics of perfumery, often mentioned in the same breath as Chanel No. 5, Guerlain’s Shalimar, and Jean Patou’s Joy.

Lanvin Parfums under Fraysse continued to innovate throughout the interwar years and beyond. In 1928 came Pétales Froissées (Crushed Petals), a delicate floral woody scent, and L’Ame Perdue (Lost Soul), both characteristically poetic in name and composition. The house turned toward bolder expressions in the 1930s: Rumeur (1934), a fruity chypre oriental; Prétexte (1937), a spicy floral; and Scandal (1933), a leather fragrance that perfume master Edmond Roudnitska would later hail as one of the greatest of its kind. After the war, Fraysse continued to refine his creations, with Crescendo, finally launched in 1958 after nearly two decades of development. Its trademark was registered in 1939, but Fraysse, ever a perfectionist, waited until the composition met his highest standards before its release.

By the time World War II arrived, Lanvin had already secured its place as one of the world’s leading perfume houses. Its reputation was built not only on couture but also on its mastery of fragrance, thanks to the creative vision of Jeanne Lanvin and the technical genius of her perfumer, André Fraysse.

An article in the Ottawa Citizen (1961) illustrates the stature Lanvin had achieved by the mid-20th century. It announced the launch of Crescendo, a fragrance more than 20 years in the making. Described as a subtle and appealing magnolia essence, Crescendo followed in the footsteps of Lanvin’s five iconic predecessors: My Sin (1924/1925), Arpège (1927), Scandal (1933), Prétexte (1937), and Rumeur (1934). At this time, Lanvin was purchasing one-third of the world’s total industrial production of jasmine and rose petals—an extraordinary statistic that underscored both the scale and seriousness of its perfume operations.

Fraysse, who had joined Lanvin in 1925 as a young and largely unknown perfumer, was by then the house’s celebrated “nose” and head chemist. He had been with the company for 35 years, and his meticulous methods became legendary. Each Lanvin fragrance was built from a complex formula of at least 50 different ingredients, with its recipe recorded in utmost secrecy. According to the article, only Fraysse himself and the company president were privy to the formulas, which were also safeguarded in sealed envelopes stored in a bank vault. Upon his death, instructions for producing the perfumes were to be passed to his successor—a measure that underscored the importance of continuity in protecting Lanvin’s fragrant legacy.

Fraysse was described as a tall, distinguished man, with gray hair and an immaculate white smock, as precise in his work as a surgeon. Perfumery, he claimed, was often a family inheritance: his father had been a perfume expert with Yardley, his brother also worked in the trade, and even his teenage son aspired to follow in his footsteps. His dedication extended beyond the laboratory; like a vintner attending the grape harvest, Fraysse traveled personally to source raw materials. He obtained sandalwood from India, vanilla from Madagascar, rose essences from Bulgaria, and delicate floral absolutes from Grasse in southern France. His discerning eye and nose ensured that Lanvin perfumes retained their reputation for luxury and authenticity.

From the mid-1960s until the company’s eventual takeover by L’Oréal, Lanvin was managed by Bernard Lanvin, a member of the family. Production and bottling took place at the original factory in Nanterre, while the administrative headquarters operated from 3, Rue de Tilsitt in Paris. This period also saw significant corporate changes. In 1964, Charles of the Ritz merged with the Lanvin group, creating the entity known as Lanvin–Charles of the Ritz. By 1971, ownership shifted again when the company was sold to Squibb. Seven years later, in 1978, Squibb divested Lanvin and reorganized the business under the name Charles of the Ritz Group, Ltd.

Despite these changes in ownership and structure, the prestige of Lanvin’s perfumes remained intact, rooted in decades of artistry and tradition established by Jeanne Lanvin and André Fraysse.

Post-Fraysee:

In 1974, Bernard Lanvin took decisive action to reclaim the integrity of his family’s brand in the United States. After buying back the Lanvin trademark, he immediately destroyed more than $3 million of US merchandise, citing outdated packaging and marketing strategies that he believed had cheapened the family name. Lanvin eliminated the free-gift-with-purchase promotions, discontinued most accessory items such as bath powders and cologne kits, and vowed never to allow his fragrance firm to be run by American interests again. He viewed the American practice of gifting as offensive, comparing it to staying in a luxury hotel where one would not expect a free extra room or bed in the hallway: “The whole idea is an insult to the customer and a blight on the name of the firm,” he remarked.

Bernard Lanvin emphasized his belief that a French company should be run the French way. He expressed frustration that many Americans mispronounced both the Lanvin name and the names of the perfumes themselves, scoffing at the idea that some thought Arpège was pronounced “Ar-ped-gee” by “Lan-vin.” He clarified the correct pronunciation—Ar-Pehj by Lah-va—and underscored that control had returned to the family. “Now that I have control, I will never let it go again,” he declared. “Lanvin will have the same image, same marketing, same pronunciation worldwide.”

The US fragrance trademark had originally been sold in 1969 to LCR, a division of Charles of the Ritz. Bernard Lanvin reacquired it in 1979, giving him full ownership of the Lanvin brand in America, with distribution managed by Scannon, Inc. That same year, Lanvin orchestrated a major PR and promotional tour in the United States, reasserting the house’s presence in its most important international market.

As part of this revival, Bernard Lanvin repackaged Arpège in its original luxurious black “boule” bottle, complete with the hand-painted gilded logo depicting Jeanne Lanvin and her daughter Marie-Blanche. The fragrances were presented in elegant black and gold motifs, returning to the classic Lanvin Art Deco aesthetic and restoring the visual and olfactory prestige of the brand.

In 1994, Arpège was reformulated and relaunched. Its top notes were brisk and jubilant, composed of bergamot and neroli, while the heart featured a tender, feminine bouquet of roses, jasmine, and ylang-ylang, enhanced with aldehydes. The base offered warmth and depth with sandalwood, patchouli, and vetiver, rounded by a lingering touch of vanilla. By 1998, Arpège was distributed in the United States under Cosmair’s European Designer Fragrance Division, further cementing its global reach.

Since 2007, Parfums Lanvin has been owned and managed by Inter Parfums, ensuring that the legacy of Jeanne Lanvin’s visionary creations continues under careful stewardship while maintaining the luxurious image that Bernard Lanvin so diligently restored.

Lanvin's Shop:

By 1927, Lanvin’s Paris shopfront had become a refined showcase of luxury and elegance. Its decorative lanterns and broad window spaces conveyed a distinctly Parisian quality, emphasizing the house’s dedication to perfumes and boudoir accessories rather than sports models. The presentation was intended to appeal to the sophisticated clientele who had long admired Jeanne Lanvin’s couture work, translating the same sense of refinement from fashion to fragrance.

A 1927 description in Parade highlighted the spacious interior of Lanvin’s perfumery. Along the perimeter of the room, a few display cases showcased the perfume bottles, with architecture that was deliberately simple and unadorned, avoiding unnecessary decoration. At the back, two large glass doors provided visual openness, while a wrought iron grille discreetly concealed the elevator cage. The arrangement reflected the firm’s strategic goal: to promote the merchandise elegantly while ensuring the space felt open and inviting to customers. By contrast, the Chéramy perfumery was described as more intimate, with a smaller, intricately designed staircase featuring frosted glass and a wrought iron banister. Display counters and cases were thoughtfully arranged, and comfortable armchairs allowed customers to explore the perfumes in leisure and comfort.

By 1929, commentary in Le Mercure reinforced the singularity of the Lanvin perfume brand. Jeanne Lanvin’s reputation as one of Paris’s greatest couturières gave her perfume line immediate prestige. The publication suggested that the name “Lanvin” itself naturally evoked notions of the divine. Consequently, the perfume line should carry the name alone, without the additional term “Parfums,” allowing the full weight of Jeanne Lanvin’s personal signature to shine. To indicate that the name was a branded product, the use of quotation marks or italics was recommended, subtly emphasizing the perfumes as extensions of Lanvin’s couture artistry rather than as a separate commercial enterprise.

Through these thoughtful choices in shop design, product display, and branding, Lanvin successfully conveyed the elegance and sophistication of her house, bridging couture and fragrance in a seamless, immersive experience for her clientele.

History