BALENCIAGA Summer 27 巴黎

BALENCIAGA（巴黎世家）｜BALENCIAGA Summer 27「Les Coraux de la Liberté」男女装合并秀（巴黎女装周官方日程）｜2026-10-01｜巴黎

秀名叫「Les Coraux de la Liberté」，自由珊瑚。这是 Piccioli 在 BALENCIAGA 的第三场成衣秀，十月一日下午，巴黎网球俱乐部。

场地是白的。高墙、浅色石地、一根方形石柱，几乎没有别的。唯一的颜色站在地上：几组珊瑚造型的织物雕塑，由艺术家 Aude Franjou 制作，经 Maison Parisienne 画廊提供。

这些珊瑚不是石头做的。染色的绳、线、布条被缠成枝状，从地面长起来，高过人头，颜色从洋红、朱红、橙到黄一段段过渡。它们不挂墙，也不吊在空中，就立在观众与走道之间。

动线绕着它们走。模特从雕塑之间出来，绕过石柱，再走回去。白墙把颜色反得更亮，石地有一点反光，影子落在脚边。

衣服比装置安静。开场的几件是宽大的丝质斗篷式长裙，肩线落到手臂，腰不收紧，走动时整件在身体外面晃。随后是日常的部分：白背心配做旧牛仔裤、蓝色尼龙飞行夹克配白色阔腿裤、粗针织开衫。

手工藏在细节里。蕾丝拼成整片，边缘不锁；流苏沿下摆排开；有些外套的衬里翻出来，做成第二层。剪裁仍是 Cristóbal Balenciaga 那一套，立领、茧形、后背的弧线，但被放到轻的面料上，体积还在，重量没了。

颜色比过去几季松。白、灰、米是底，上面压着番茄红、钴蓝、柠黄和一段玫粉。鞋是低帮的极简运动鞋，包是软的，可以夹在腋下。

谢幕时 Piccioli 自己走出来，黑 T 恤、深色牛仔、脖子上一条红绳。他没有停在台口，走完了整条路。

传播层面，画面很明确：彩色的珊瑚、白墙、走过去的人。装置负责被记住，衣服负责被购买。这季的分工特别清楚，珊瑚提供颜色，衣服提供穿法。

对案例库来说，这是用一件装置撑起整个空间的样本。白盒子不需要搭建，成本集中在一件艺术品和灯光上；艺术品有作者、有出处，可以直接写进说明。空间、内容与传播被同一件东西连起来，这在时装秀里不常见。

BALENCIAGA Summer 27 "Les Coraux de la Liberté" co-ed show 1 October 2026 — Paris Fashion Week official calendar Venue: Tennis Club de Paris, Paris Agency: LamodeenImages Source: public information published by lamodeenimages.

The collection was called Les Coraux de la Liberté — the corals of liberty. Pierpaolo Piccioli's third ready-to-wear show for BALENCIAGA, on the afternoon of 1 October at the Tennis Club de Paris.

The room was white. High walls, pale stone floor, one square stone column, and almost nothing else at all. The only colour stood on the ground: several coral-shaped textile sculptures by the artist Aude Franjou, shown courtesy of Maison Parisienne gallery. Seating was kept simple — low benches along the walls, so that the audience sat level with the corals rather than above them.

The corals are not stone. Dyed rope, cord and strips of cloth are wound into branches that rise from the floor and pass head height, the colour moving in bands from magenta through scarlet and orange into yellow. They are not hung on the wall or suspended from the ceiling; they stand between the audience and the walkway, as if grown there.

The route went around them. Models came out between the sculptures, passed the column and turned back. The white walls pushed the colour brighter, the stone floor took a faint reflection, and the shadows fell at their feet.

The clothes were quieter than the installation. The opening looks were wide silk cape-gowns, the shoulder line dropped onto the arm, the waist left free, the whole garment moving outside the body as the model walked. Then came the everyday: a white vest with worn jeans, a blue nylon bomber with white wide-leg trousers, a coarse knit cardigan.

The handwork sat in the details. Lace was pieced into whole panels with the edges left raw; fringe was set along hems; on some coats the lining was turned out to make a second layer. The cutting was still Cristóbal Balenciaga's — stand collar, cocoon, the curve of the back — but carried onto light fabrics, so the volume survived and the weight did not.

The palette was looser than in recent seasons. White, grey and beige as ground, with tomato red, cobalt, lemon yellow and a passage of rose laid over them. The shoes were low, minimal sneakers; the bags were soft enough to carry under the arm.

At the end Piccioli came out himself in a black T-shirt, dark denim and a red cord at his neck. He did not stop at the mouth of the runway; he walked the whole length.

For communication the images were unambiguous: coloured coral, white wall, people walking past. The installation is what gets remembered, the clothes are what gets bought, and this season the division of labour was unusually clear — the coral supplied colour, the clothes supplied ways to wear it.

For a case library this is a sample where a single artwork holds up an entire space. A white box needs no build; the budget sits in one artist's work and in the lighting, and the work arrives with an author and a provenance that can go straight into the caption. Space, content and communication held together by one object is not common in a fashion show.

Source: public information published by lamodeenimages.

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