Burberry 博柏利 第九届进博会（上海）

2026 年 11 月 5 日至 10 日，第九届中国国际进口博览会在上海国家会展中心开馆，博柏利在消费品展区（6.2 馆）设台。这是品牌连续第六年参展，也刚好撞上它创立一百七十年。展台不做成交，做的是把伦敦搬来上海：中央一座伦敦塔桥的复刻装置，桥下的地面印着泰晤士河的水纹，一条以典藏伦敦城市地图印花铺成的红毯从桥面向外延伸。

环绕塔桥的是一组伦敦街头常见的报亭——品牌把它拆成四个功能亭：CASHMERE SHOP（羊绒店）、RIBBON BAR（缎带吧）、CAFE 与刊物亭。亭子保留了报刊亭的骨架和开口方式，把陈列、试戴、休息与阅读塞进同一套尺度里；人在亭间穿行，动线自然绕着塔桥走完一圈。展台另一侧陈列羊绒产品与 2026 冬季系列，伦敦地图印花从地毯延伸到服装上；展期里还摆着一本《170 周年：群像印记》纪念刊，供人坐下来翻。

博柏利 1856 年创立，风衣与格纹是它最容易被认出的两件东西，一百七十年里这两样一直在被重做。进博会这条线它已经走到第六年：早几年是把伦敦公园的长椅、棋盘桌、报刊亭搬进馆里，2024 年「重返伦敦」把 Haymarket 旗舰店外墙的历史钟搬到展台，2025 年带来冬季系列，今年则把整条街的尺度搭了进来——塔桥、报亭、红毯、水纹，构成一个不用听讲解也能读懂的伦敦。对一个在中国做长期叙事的品牌，进博会的用处不在现场成交，而在于每年一次、媒体与采购商同时在场时的年度汇报，展台设计本身就是这份汇报的语法。

展期六天，流量压在开幕首日与专业观众日；今年又叠着一百七十年，话题有了不用额外解释的由头。内容上它给的不是新品发布会，而是「可以走进去的伦敦」——塔桥、红毯、报亭都是识别度高、理解成本低的符号，观众不必听讲解就能拍出一张「我在伦敦」的照片；拍照点被均匀分在四个亭子与桥上，等于把自发生成的图片密度做进了动线。消息面还有一条：今年 10 月，集团董事会首次在上海召开，与展台互为佐证。展期结束后，冬季系列与羊绒回到门店，展台留下的图像继续在媒体和社交上跑一个冬天。

From 5 to 10 November 2026, the ninth China International Import Expo opened at the National Exhibition and Convention Center in Shanghai, and Burberry took its stand in the consumer goods halls, in Hall 6.2. It is the sixth consecutive year the brand has exhibited and it falls in the year Burberry turns 170. The expo itself is in its ninth edition, runs under the theme New Era, Shared Future, and draws exhibitors from more than 160 countries and regions. The stand is not built to sell: it is built to move a piece of London to Shanghai. At its centre is a reconstruction of Tower Bridge, the floor beneath it printed with the water of the Thames, and a red carpet carrying the house's archive London map print runs out from the bridge.

Around the bridge sits a cluster of the street kiosks London is known for, taken apart and rebuilt as four working pavilions: a cashmere shop, a ribbon bar, a cafe and a newsstand. Each keeps the frame and the opening of a kiosk, so that display, fitting, rest and reading all happen inside the same small footprint, and a visitor walking between them is quietly walked around the bridge. On the other side the stand shows cashmere and pieces from the winter 2026 collection, with the map print travelling from the carpet onto the clothes; a commemorative volume, 170 Years: Portraits in Print, is left out for anyone who wants to sit down with it.

Burberry was founded in 1856 as a draper's shop in Basingstoke, invented gabardine in the 1870s, and put a weatherproof coat on officers in the First World War, which is where the trench comes from; the check was registered as a trademark a century ago and has been reissued in almost every decade since. The trench and the check are the two things the house is most easily recognised by, and both have been remade continuously across those 170 years. The expo is a line the brand has now walked for six years. Earlier stands brought London park benches, chess tables and kiosks into the hall; in 2024 the theme was a return to London, with the historic clock from the Haymarket flagship's facade reproduced on the stand; 2025 brought the winter collection; this year the whole scale of a street is built indoors, with the bridge, the kiosks, the carpet and the water reading as London without a word of explanation. For a house telling a long story in China, the expo is less a sales floor than a yearly report delivered while press and buyers are both in the room, and the design of the stand is the grammar of that report.

The stand runs six days, with the weight of visitors on opening day and the professional days, and the 170th anniversary supplies a reason for coverage that needs no further setup. What the brand gives is not a product launch but a London you can walk through: bridge, carpet and kiosks are high-recognition, low-effort symbols, so a visitor can make a picture that says London without hearing a single sentence of explanation, and because the photo points are spread evenly across the four pavilions and the bridge, the density of user-made images is designed into the route. One more fact runs alongside: in October the group's board met in Shanghai for the first time, which sits next to the stand as evidence of the same claim, and Zhang Yunxin, the group's executive committee member and president of Greater China, described the stand as a way of deepening exchange with Chinese consumers rather than a seasonal promotion. After the doors close, winter and cashmere return to the stores, while the images made here keep circulating through the winter.

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