CASABLANCA SS27「Amore E Progresso」巴黎

CASABLANCA（卡萨布兰卡）｜CASABLANCA 2027 春夏系列「Amore E Progresso」时装秀（巴黎女装周日程）｜2026-10-02｜巴黎

十月的巴黎，CASABLANCA 把秀场做成一间被夕光泡过的室内丛林。系列名是意大利语「Amore E Progresso」，爱与进步，像旧旅行海报上的口号。

空间由 lamodeenimages 承接设计与制作。四面墙没有一块是平的：上千片赤陶色板条垂下来，叠成会反光的表皮，灯光扫过像被风吹皱的沙。

地面铺草绿色，中间留一条通道；两侧长条种植槽里长起棕榈树干，叶片在高处交叠，遮掉大半天花。橙、赤陶、草绿把房间围住，人站在中间，皮肤被烘成暖调。

衣服接着讲同一件事。白色针织网球套装，短上衣配百褶短裙，领口袖口镶一道绿；绿色渐变吊带裙，从肩头的浅绿过渡到下摆的深绿；黑色长礼服胸前别一朵立体花。

配饰是护目镜式太阳镜、渔夫帽、系带高跟穆勒鞋和一只格纹手袋。最显眼的道具是冲浪板，板面绿到蓝的渐变，印着品牌的花体标志，模特夹在腋下走出来。

它不只是装饰，更像一句提示：这个系列把海滩和网球场收进同一个衣柜。CASABLANCA 由 Charaf Tajer 于 2018 年在巴黎创立，最早靠丝质衬衫与印花套装被人记住。

它的语汇一直取自七十年代的度假、赛车与球类运动，讲究松弛和光泽，不讲究结构。这一季的工艺落在针织与染色上：渐变裙身要在一片布上完成从浅到深，对纱线排列要求很高。

拼色针织衫的镂空是织出来的，不是后剪；网球套装的镶边换了另一种密度，走动时出现轻微起伏。从传播看，空间给的是可辨认的色块，三条信息在一张竖构图里就说完。

活动与传播在这类项目里是同一件事：冲浪板与花朵胸针是记忆点，让图片在信息流里有能被指认的细节；布景不抢衣服，却给衣服一个不会认错的背景。成本集中在墙面单元与植物的运输养护上。

秀散场，墙被拆走，图片留下来。

Casablanca called its Spring/Summer 2027 collection Amore e Progresso — love and progress — and built a room to match the words. It reads like a slogan lifted from a 1960s travel poster, and it was used as one: bright, optimistic, faintly retro, more interested in mood than in argument.

The set, designed and produced by lamodeenimages, was a jungle contained by walls. Thousands of terracotta-coloured slats hung from ceiling to floor, overlapping into a surface that caught the light and shifted with it. The floor was laid in grass green with one lane left clear down the middle. Long planting beds ran along both sides, palms rising out of them, fronds closing overhead until most of the ceiling disappeared.

Colour did the first piece of storytelling. Orange, terracotta and green enclosed the audience, and the lighting pushed every skin tone warm. Photographs taken in that room needed almost no correction, because the wall itself was the backdrop. The carpet was the same green as the planting beds, so the models seemed to walk on grass that ran all the way to the walls, and the ceiling above them was almost entirely leaves.

The clothes carried the same idea. A white pointelle tennis set — cropped top, pleated skirt, green tipping on the collar and cuffs. A green ombré slip dress that ran from pale at the shoulder to deep at the hem. A long black gown with a single sculpted flower pinned at the chest. A green and yellow knit whose sleeves were openwork rather than cut. Prints were scarce; most of the interest came from texture, and from how hard the green read against the white.

Accessories were visor sunglasses, a bucket hat, lace-up heeled mules and a checked bag. The glasses came as one wraparound lens rather than two, and the mules laced at the ankle in thin cord. The prop that everyone remembers is a surfboard, airbrushed from green to blue and printed with the house's script logo, carried under one model's arm.

That board is the collection in one object: beach and tennis court sharing a wardrobe. Charaf Tajer founded Casablanca in Paris in 2018, and the label was first noticed for silk shirts and printed suits before it moved into full collections.

Its vocabulary has always come from 1970s resort, motorsport and racquet sports — relaxed, glossy, deliberately unstructured. This season the technical work sat in knit and dye. The ombré panels demand exact yarn sequencing; the openwork is knitted rather than cut; the tennis trim uses a different gauge, so it ripples slightly as the wearer moves.

Casting leaned on models with a long stride rather than on names, and the pace was brisk: no pause at the end of the runway, no posing. Hair was worn loose or piled high, make-up stayed light, and one model came out in a pink afro.

For communication, the room supplies recognisable blocks of colour — orange wall, green floor, tropical planting — enough to carry a vertical image without a caption. The surfboard and the flower brooch are the two details that make a picture identifiable in a crowded feed.

That is the value of a project like this: the set does not compete with the clothes, but it gives them a background that cannot be confused with anything else. The budget goes into the number of wall units and into transporting and maintaining the plants — atmosphere built from material rather than from lighting tricks.

By evening the walls were gone and the plants were on a truck. The pictures stayed.

Source: public information published by lamodeenimages.

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