AMIRI AW26 秀场 巴黎

AMIRI Autumn-Winter 2026 系列发布｜AMIRI 2026 秋冬系列时装秀（巴黎男装周官方日程）｜2026-01-22｜巴黎 Carreau du Temple

巴黎男装周进行到第三天，AMIRI 把 Carreau du Temple 的工业大厅改成一间客厅。没有高台，没有镜面 T 台，客人们落座在深色皮扶手椅与长条沙发上，脚下是拼贴起来的波斯地毯，背景是一整面印制的书架。这一季 Mike Amiri 给出的关键词是 Laurel Canyon, 1976——洛杉矶好莱坞山在七十年代的音乐与生活现场，也是设计师本人的出生年份。

空间的用意先于服装。AMIRI 官方口径把秀场称为「家」的一次还原：用旧家具、旧物、被使用过的痕迹搭出一个理想化的客厅，让走秀更像一场家庭聚会而不是舞台表演。灯光压低，书架与地毯把视线收拢到人身上，模特从沙发之间穿过，动线因此变得碎片化，观众不得不在自己的座位附近完成观看。对一场男装秀来说，这是刻意做小的尺度，也是这一季最明确的制作选择。

服装跟着空间走。开场的酒红色西装在肩部做珠绣，翻领末端加金属饰件，被媒体形容为「正式的牛仔装」；军事风上衣在肩线铺满珠片，配粉色缎面西部领带与棕色条纹羊毛长裤。西部衬衫、喇叭裤、蜥蜴皮与漆皮牛仔靴、金属包头的鞋尖反复出现，眼镜几乎成为统一配饰。针织开衫、水洗皮夹克与缀满水晶的单品把「跳蚤市场」的质感抬到夜场，亮面西装在灯光下像舞台面料。牛仔夹克被做成晚装，地毯的方块纹样又被移植到外套上——空间与服装互相引用，这是整场最容易被记住的处理。女装在这一季重新回到 T 台，占比约 15%，晚装的装饰性与男装礼服形成呼应。

从传播角度看，这场秀的画面几乎天生适合二次流通：书架、地毯、扶手椅提供了无需解释的场景符号，名人落座（Jeff Goldblum 与 Emilie Livingston 等）带来社交媒体的自然曝光，而 T 恤上的「Laurel Canyon」字样把主题压缩成一句可被拍照传播的文案。秀后半年，同一批场景描述被品牌沿用到零售上市的宣传里，秀场空间因此成为整个系列叙事的入口，而不只是一次性的布景。

AMIRI Autumn-Winter 2026 runway show Paris Men's Fashion Week official calendar — 22 January 2026 Venue: Carreau du Temple, Rue Eugène Spuller, Paris Agency: LamodeenImages Source: public information published by lamodeenimages (@lamodeenimages).

On the opening afternoon of Paris Men's Fashion Week, AMIRI turned the industrial hall of the Carreau du Temple into a living room. There was no raised platform and no mirrored catwalk. Guests settled into deep leather armchairs and long sofas set on a collage of Persian rugs, with a printed bookcase running the length of the room. The season's reference, printed across T-shirts, was Laurel Canyon, 1976 — the Los Angeles hills at the height of their music-scene years, and also the designer's birth year.

The set came before the clothes. AMIRI described the show space as a reconstruction of home: worn furniture, collected objects, the marks of use, assembled into an idealised den so that the runway would read as a house party rather than a performance. The room was arranged with chesterfields, pouffes and easy chairs rather than rows of seating, and the printed library wall stood in for a backdrop. Light was kept low; the bookcase and rugs narrowed the focus onto the people in the room, and models moved between sofas rather than down a single axis, which left each guest watching from within the set. For a menswear show this was a deliberately small scale, and it was the most decisive production choice of the collection.

Founded in Los Angeles in 2014, AMIRI built its reputation on West Coast rock-inflected tailoring, denim and hand-finished detailing, and the house has shown in Paris as part of the official FHCM calendar. The January 2026 session ran from 20 to 25 January; AMIRI's slot fell on the Thursday, the third day of the week, placing the label among the houses that open the season rather than close it.

The wardrobe followed the room. The opening merlot suit carried an embroidered satin yoke and tooled metal tips on the lapels, described in press coverage as formal rodeo. A merlot military tunic came with bead-embroidered shoulders, a pink satin Western tie and straight brown striped wool trousers. Western shirts, bell-bottoms, cowboy boots in lizard and patent leather with metal toe caps, and a near-uniform use of eyewear recurred throughout. Crystal-embroidered cardigans, washed leather jackets and embellished shirts lifted flea-market texture into eveningwear, while shiny suit fabrics caught the light like stage material. A denim jacket was treated as formal wear, and the square motifs of the carpets reappeared on coats — the room and the clothes quoting each other, the collection's most memorable device. Womenswear returned to the runway this season at roughly 15 percent of the business, its ornament answering the men's evening tailoring.

The audience was part of the set. Jeff Goldblum and Emilie Livingston were seated on one of the sofas, alongside Chris Brown, Avan Jogia and Didi Stone, and the arrangement meant that guests and models shared the same floor rather than being separated by a front row. That decision changed how the show was photographed: images from the room tend to include furniture, carpet and audience in the same frame, which is exactly the kind of picture that carries a set design beyond the fifteen minutes of a runway.

For communication, the show was built to travel: a bookcase, rugs and armchairs supply scene markers that need no caption, seated guests generated natural social reach, and the Laurel Canyon lettering on T-shirts compressed the theme into a line that photographs well. The collection reached retail on 27 August 2026, and the same description of the room was still being used to introduce it months later, which is the clearest sign that the set became the entry point to the season's story rather than a one-off backdrop.

Source: public information from lamodeenimages.

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