CELINE MEN SUMMER 2027 巴黎

CELINE｜CELINE 男装 2027 夏季秀（巴黎男装周官方日程）｜2026-06-28｜巴黎

巴黎网球俱乐部（Tennis Club de Paris）的室外场地上，白色脚手架与白色板墙把球场围成一条走道。设计没有另建房子，只用一套常见的钢管与扣件，把场地重新划成"内"与"外"。

脚手架刷成白色，立杆、横杆与斜撑全部露明，节点上的扣件也在；白板填在框架之间，成为一人多高的墙。远看像一张放大的线稿，近看能读出搭建的顺序。

走道铺在原有的浅灰混凝土砖上，没有加高。一侧的白墙以浅浮雕写出 CELINE PARIS 字样，几乎与墙面同色；墙前留出一小块沙地，种着一株小树，树冠高过墙头，是画面里少见的绿。

观众席沿走道两侧排开，与模特同高，坐得很近；没有看台，也没有高台，前排的手几乎能碰到经过的衣服。这种平视的处理，让整场的观看关系更接近球场的边线。

光来自天空。白色板墙把日光反进走道，阴影浅而软；场地原有的混凝土梁柱，以及上方的黑色筒灯，都留在背景里，明与暗的分界由白色结构决定。

序列靠结构本身完成：观众先穿过脚手架下的门洞，再进入两侧有墙的直道，尽头是那面写着品牌名的墙。动线只有一条，来回都走同一段，看秀与散场共用这条路。

同一套白色语言也用在陈列上：几层白色层板架在细杆上，针织与衬衫平铺着，像被摊开的衣柜。衣物不再只是穿在身上的样衣，也成了空间里的物件，观看的距离因此被拉近。

制作上，脚手架是可租、可拆、可重复使用的材料，刷白之后与场地彻底分离；造价不在造型，而在把球场临时改成一个能走路、能坐下的房间。

传播上，这套骨架给出的图像很轻：没有布景的厚重，只有线与面。浅浮雕的品牌名、沙地里的树、脚下的旧砖，三样东西把巴黎的日常感带了进来，与男装强调的个人穿着方式对得上。

CELINE Men Summer 2027 28 June 2026 — Paris Venue: Tennis Club de Paris Agency: Bureau Betak (runway design and production) Source: public information published by Bureau Betak.

The outdoor courts of the Tennis Club de Paris were turned into a corridor by white scaffolding and white panel walls. Nothing was built in the sense of a building: a standard system of steel tube and couplers was used to redraw the site into an inside and an outside, and the rest of the club stayed exactly where it was. It was the last day of the Paris menswear week, and the show ran at midday.

The scaffolding was painted white, so uprights, ledgers and diagonal braces all read clearly, couplers included. White boards filled the bays between the frames and made walls a little above head height. From a distance it looked like an enlarged line drawing; up close the order of assembly was still legible in the joints.

The route ran on the club's existing pale concrete pavers, with no raised platform. On one side a white wall carried CELINE PARIS in shallow relief, almost the same white as the surface around it. In front of that wall a small bed of sand was left open and a young tree planted in it, its crown rising above the wall — the one green note in the frame.

Seating ran down both sides at ground level, at the same height as the models and very close to them. There was no grandstand and no raised deck; the front row could almost touch the clothes as they passed. That level relationship made the audience feel less like spectators in a theatre and more like people standing at the sideline of a court.

The hour of the show mattered to the light. The sun stood high, the white boards threw it back into the aisle, and the shade under the scaffold stayed cool and even, while the club's own concrete columns and beams, and the black downlights above them, stayed in the background. Where light ended and shadow began was decided by the white structure rather than by the building.

The sequence was made by the structure itself. Guests passed through a doorway under the scaffold, entered a straight run with walls on both sides, and arrived at the wall carrying the house name. There was one route only, walked in both directions, so the show and the exit shared the same piece of ground.

The same white language was used for display: several long shelves were carried on thin uprights, with knitwear and shirts laid flat on them as though a wardrobe had been opened out. Clothes were no longer only samples on a body but objects in the room, which brought the viewing distance down.

On the production side, scaffolding is hired, dismantled and used again, and paint is what separated it from the site. The cost sat not in shape-making but in the conversion of a tennis club into a room that could be walked through and sat in for an hour.

For communication the structure produced very light images: no weight of scenery, only line and plane. The shallow lettering of the name, the tree in its bed of sand and the old pavers underfoot brought a Parisian everydayness into the frame, which matched a menswear collection argued around personal ways of dressing rather than a single look. Because the set read as an idea rather than as decoration, it survived the small screen, where most of the audience met it.

Source: public information published by Bureau Betak.

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