CONNER IVES SS27 纽约

CONNER IVES｜CONNER IVES 2027 春夏系列「Across the Pond」发布（纽约时装周官方日程）｜2026-09-12｜纽约

Conner Ives 在纽约州贝德福德长大，2014 年去伦敦读中央圣马丁，2020 年毕业，之后留在伦敦做自己的品牌。他的方法一直是从旧衣里找材料，拆开，再拼成新的东西。这一季他第一次把秀搬回纽约，系列名「Across the Pond」。

秀在中城一栋现代主义办公楼里的老餐厅。厅里有一方白色大理石水池，水面很静，池沿也是大理石。地面铺着蓝底白花的地毯，墙是深色木饰面，窗从地到顶，竖框把光切成一条一条。

家具是那几把有名的低扶手椅，黑皮革，钢架。灯光压得低，水面反着一层光，人走过池边，影子先落在水里。

走秀不是一条直道。模特从楼梯下来，绕过水池，穿过桌子之间的空隙，再回到楼梯口。有人在楼梯上停住，有人挥手。这种调度让衣服出现在被使用的空间里，而不是隔离的台上。

印花是拼的：抽象长裙，色块像从不同的布上剪下来再缝在一起；蓝与金的拼接裙，接缝处留着旧布的痕迹；浅绿礼服，裙摆层叠，走路时一层层开。

他的做法是把旧衣拆到布片，再按新版重新组合。这既是材料的再利用，也是一种美学：接缝不对齐，花纹不连续，反而成了标记。

造型偏美国式的艳：大耳环，亮面料，头发做得蓬。这种艳和餐厅的旧钱气质撞在一起，是这场秀有意思的地方。

传播上，这个空间本身就是内容。水池、楼梯、蓝花地毯，都是社交网络上容易被认出的画面；品牌不必搭景，只需选对房间。对第一次在纽约办秀的设计师来说，这是把「回家」讲成故事的一种省力方式。

风险是房间太强，衣服容易被房间吃掉。当照片里抢眼的是水池和楼梯，观众记住的可能不是衣服。

对案例库来说，这是一个「现成空间即布景」的样本：场地的性格决定照片的性格，制作费花在协调与调度，而不是搭建。

Conner Ives grew up in Bedford, New York, moved to London in 2014 to study at Central Saint Martins, graduated in 2020 and stayed. His method has been consistent: find old clothes, take them apart, rebuild them. For spring 2027 he brought the show home for the first time, under the title Across the Pond. He turned thirty this year, and the move was read as both a debut and a homecoming.

It was staged at The Grill, in a modernist tower in midtown. The room has a square pool of white marble, still water, marble coping; a carpet printed with blue flowers; dark wood panelling; windows from floor to ceiling, with vertical mullions cutting the light into strips. The building kept its original bones, which is to say wood, marble and very little daylight.

The furniture is the famous low lounge chair, black leather on a steel frame. Light sat low. The water held a second, softer room, and anyone walking the pool's edge cast a shadow into it before casting one on the floor. It is the kind of room that makes a photograph look expensive before anyone has done anything.

The show was not a straight run. Models came down the stair, went around the pool, threaded between tables and returned to the stair. One paused on the steps; one waved. Clothes appeared in a room that is used, rather than on a platform that is not.

Print was pieced. A long abstract dress whose colour blocks looked cut from different cloths and sewn back together; a blue and gold patchwork gown with the seams of old fabric still visible; a pale green gown layered so the skirt opened in stages as she walked. The references were American: prom, bridal, sportswear, all of it re-cut.

The method is to dismantle old garments to the panel and rebuild them to a new pattern. That is resourcefulness, and it is also an aesthetic: seams that do not align, patterns that do not repeat, become the signature.

Styling leaned into American flamboyance: big earrings, shiny surfaces, hair with volume. It was a collection about wanting to be looked at, shown in a room built for people who are looked at, and that collision was one of the more interesting ones of the week.

For communication the room did most of the work. A pool, a stair, a blue carpet are instantly recognisable on a phone; the brand did not have to build a set, only choose a room. For a designer showing in New York for the first time, it is the least expensive way to tell a story about coming home, and the most photogenic.

The risk is that the room is stronger than the clothes. When the pool and the stair are the most striking things in the photograph, the memory of the collection may not survive the trip. That is the trade-off of any show in a beautiful room, and this room is more beautiful than most.

For a case library this is a sample where an existing space is the set. The character of the venue determines the character of the pictures, and the production budget goes into coordination rather than construction. It also means the images belong to the building as much as to the brand.

Source: public information published by lamodeenimages.

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