"After last season," explained Alber Elbaz, "we sat in the studio and asked ourselves, 'Where do you go after futurism?' And someone said to me, 'You want to go home.' So then I went back and started looking at Jeanne Lanvin's sketches again." What Elbaz came across was a sheaf of illustrations of Lanvin's wide-shouldered thirties gowns and that was enough to set him off on a path of intense cutting research, which led to one of the strongest advances in modern dressing to come out of the Paris shows. "It's all in the sleeve," he said.
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