‘Nothing’ was the declaration emblazoned on scarves, hats and jackets at Lanvin. A provocation? No; on the contrary, Lucas Ossendrijver explained it like this: “There is nothing: no meaning, no collaboration, no print, no art, no vintage, no decoration” because he wanted it to be about cut, construction, and proportion. So the Lanvin man wore his everyday clothes devoid of decoration in a seemingly random, perhaps rushed, way: shirts peeked out from under cropped sweaters, knits were partially tucked into trousers, which were slim and tucked into socks or else loose and turned up, comfortable outerwear with statement shoulders alternated with other slim, structured coats. It all had a technical-experimental feel that also covered the fabrics and textures.