CHLOÉ 2026 秋冬系列 巴黎

CHLOÉ 2026 秋冬系列｜CHLOÉ 2026 秋冬系列｜2026-03-05｜巴黎

Chemena Kamali 这一季给 CHLOÉ 讲了一个「民间故事」。媒体把主题概括成 Folk Tale：披风、斗篷、围兜式连衣裙、蜜桃色衬衫，这些品牌档案里的原型被重新拿出来用，但她没有做成复古复刻，而是让它们看起来像今天可以穿的衣服。

秀场的氛围是第一层叙事。场内有薄雾，模特从雾里走出来，格纹裙摆动，头发被风吹起；媒体形容这些女孩像琼尼·米切尔《Ladies of the Canyon》里的人物，也像草原上的旅人。雾、风与低光让整场带一点神话感，但衣服本身是实穿的：厚针织、羊毛斗篷、长靴、宽腰带，都是秋冬的日常配置。

结构上，Kamali 把 CHLOÉ 的两个传统接在一起：一边是 1970 年代的波西米亚，一边是品牌创始时期那种柔软、垂坠、带一点浪漫的剪裁。围兜领的连衣裙被做成不同长度，胸前用细褶与蕾丝处理；斗篷做成长短两版，短的到腰，长的到小腿；衬衫用蜜桃色与奶油色，袖口放大，塞进高腰长裤或半裙里。

材质与颜色是这一季最容易被记住的部分。格纹、粗花呢、羊毛、丝质雪纺混在一起，颜色以奶油、焦糖、砖红为主，穿插深绿与暗紫。配件延续 CHLOÉ 近年来的做法：大号软包、金属扣腰带、以及一双带踝带的短靴。整场没有夸张的头饰或装置，浪漫靠面料与动势完成。

制作上，薄雾与风是这场秀的关键。雾机的位置被安排在场地四周，让模特从雾中「出现」而不是走进来；风速被控制在刚好能吹动裙摆与头发的程度，不能影响行走。灯光压在雾面上，形成一层发光的背景，这比任何背板都更有效，也更省钱。

传播层面，这场秀的画面非常适合短视频：雾、裙摆、走动的头发，都是能在三秒内传达情绪的素材。它没有依赖明星，也没有靠布景，而是用氛围与衣服的动势完成了传播。对案例库来说，这是一个「低成本高氛围」的样本——雾机、风扇与灯光三件套，配合正确的选角与音乐，就能把一场秀做出叙事感。

Chemena Kamali told CHLOÉ a folk tale this season. The theme was summarised in the press as exactly that: capes, ponchos, bib-fronted dresses and peach-toned blouses, all drawn from the house's archive but reworked so that they read as clothes to wear now rather than as costume.

Atmosphere carried the first layer of the story. There was mist in the room, and models emerged from it with checked skirts swinging and hair lifted by wind; the press compared these girls to the figures in Joni Mitchell's Ladies of the Canyon, and to travellers crossing a prairie. Fog, wind and low light gave the show a mythological tinge, while the clothes themselves stayed practical: heavy knits, wool capes, tall boots and wide belts, the ordinary equipment of a northern winter.

Structurally, Kamali joined two CHLOÉ traditions: the bohemian register of the 1970s and the soft, draped, faintly romantic cutting of the house's earliest years. Bib-fronted dresses came in several lengths with fine pleating and lace at the chest; capes appeared in a short version to the waist and a long one to the calf; shirts in peach and cream were cut with exaggerated cuffs and tucked into high-waisted trousers or skirts.

Material and colour are what will be remembered. Checks, tweed, wool and silk chiffon were mixed together, with cream, caramel and brick red dominating, broken by deep green and dark purple. Accessories followed the house's recent habits: oversized soft bags, metal-clasped belts and an ankle-strap boot. There was no exaggerated headpiece and no installation; the romance was produced by fabric and movement.

CHLOÉ was founded in 1952 by Gaby Aghion and is generally credited as the first luxury house built on prêt-à-porter rather than couture, which is why the romance in its archive has always been wearable. Kamali, appointed in 2023, keeps returning to that founding pragmatism: the dresses are soft, but they are cut to be worn in weather.

In production terms, fog and wind were the whole set. Smoke machines were placed around the perimeter so that models appeared out of the mist rather than walking in from a wing; the fans were tuned to a speed that lifted hems and hair without disturbing the walk. Light was pushed into the fog to create a glowing background, which is cheaper and more effective than any built backdrop.

The casting followed the same idea: girls with unbrushed hair, some of them clearly not professional models, walking as if crossing a field rather than performing a turn. The soundtrack stayed acoustic and low, so the room heard the clothes before the music.

The set also had a practical role: the fog hid the joins between the floor and the back wall, so the room read as landscape rather than as a venue, and the same trick allowed the show to be photographed from any angle without revealing the building.

For communication, the show is made for short video: mist, hems and moving hair communicate a mood within three seconds. It relied on no celebrity and no scenery, and let atmosphere plus movement do the work. For a case library it is a low-cost, high-atmosphere sample — a fog machine, fans and lighting, combined with the right casting and music, are enough to give a runway a narrative.

The fog cost a fraction of a built set; the casting and the music did the rest.

It is also the season's clearest argument that romance, handled with discipline, can still be a commercial proposition rather than a mood board.

Notes: the set was struck in a single night, and the runway surface was reused for the next show on the calendar.

Source: public information from lamodeenimages.

## 备注

- 官方／媒体来源：lamodeenimages - LMI 2026 秋冬时装周档案；场地：巴黎

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