COS SPRING SUMMER 2026 首尔

品牌｜COS

项目｜2026 春夏系列在首尔一处工业厂房内的发布——白色浅池平台上的走秀

时间｜2026 年（按素材标注）

地点｜韩国首尔（素材未标注场地名）

代理｜Bureau Betak（创意与执行制作）；K2 Worldwide（本地制作）

素材｜@k2_worldwide 公开图片与视频

信息来源｜K2 Worldwide 公开信息

COS 的 2026 春夏发布放在首尔一处旧厂房里。房子没有收拾：混凝土墙面、镀锌风管、喷淋管和黑色桁架都露在外头；厂房很高，搭出来的庭院只占中间一段，四边留出黑，人一进去先看到的是那片白。

庭院是往下挖的。白色平台之间嵌着几块浅池，池壁贴浅蓝小方砖，水很浅，池沿做成宽的白石台，够两个人并排走。池子把地面切成几条，中间那条是走道，两边都是水；走道是干的，模特从水中间穿过去。

白墙、白柱、白台阶都做了圆角，接缝填平打磨，看上去像一次浇出来的体量，不像拼装的板子。难的是平：池子先做防水和循环，池沿要能承人，白石台和池壁接在一处，误差留在几毫米里。粗柱从池边立起，柱头收进暗处，上面是厂房的钢梁和管线。

墙的上部开一排方形洞口，洞里是亮的，光被切成方块，落在平台和坐阶上，边界很硬，一格一格排过去。水面把光反到墙的下半部，那一圈比别处亮。近处看，白墙是哑光的，不反人。整场只有冷白、浅蓝和灰三种颜色；服装里的黑、无袖上衣、垂到脚踝的长裙，走过去时人被背景压成一个剪影。

走道是一条直线。模特沿中间的平台依次走出，两侧是水，背后是那排方洞；靠墙有一圈坐阶，人就坐在阶上，视线刚好在水面之上。空间不大，队伍拉得开，一轮走完用不了多少时间。

这样的布景是为画面做的。白底、硬光、一条水线，从哪个角度拍都干净，剪成竖屏也不散；短片里近景贴着手臂和裙摆，远景才露出整座庭院。发布结束，庭院拆掉，留下的只有图；品牌把预算押在一个能反复出片的盒子里，衣服的样子因此比场地更容易被记住；厂房的黑正好成了画面的边框。

English

COS showed its Spring Summer 2026 collection inside an old factory hall in Seoul. The building was left as it was: bare concrete, galvanised ductwork, sprinkler pipes, black roof trusses. It is a tall shed, and the courtyard built inside it occupies only the middle bay, so darkness is left at the edges and the first thing a visitor registers is the white.

The courtyard is dug down. Shallow pools are set between white platforms, their walls tiled in small pale blue squares, the water only ankle-deep; the coping is wide white stone, enough for two people to walk abreast. The pools cut the floor into strips, and the strip down the middle is the walkway. From the entrance it reads as a bathhouse drained for the morning: white decks, blue water, no furniture.

Walls, columns, steps and benches are all white, corners rounded, joints filled and sanded, so the set reads as one cast volume rather than assembled panels. The difficulty was level: the pools were tanked and given a circulation set before tiling, the coping had to carry people walking its edge, and stone and tile were brought together with the tolerance kept to a few millimetres. Above, the roof structure is left in view — pipes, ducts, cable trays and the black steel that carries them. Thick piers rise from the water and disappear into the dark above, out of the light.

Along the top of the wall runs a row of square openings, lit from inside, and the light is cut into blocks that fall across the platforms and the benches with hard edges, repeating at regular intervals so the floor looks ruled rather than lit. The water throws it back onto the lower half of the wall, and that band stays brighter than anything else in the room. Up close the white is matte plaster, not gloss, so it holds the light without throwing it back. The palette holds to cold white, pale blue and grey; the clothes — black, a sleeveless top, a dress dropping to the ankle — pass through as silhouettes: pale, unlined, close to the body, nothing that catches the eye before the shape does.

The walkway is a straight line. Models come out along the middle platform with water on both sides and the lit openings behind them; the bench runs around the wall, and people sit on it with their eye level just above the water. The room is not large, the line stretches out, and one pass takes very little time. Because the bench is built into the wall, the seating is part of the set rather than added to it, and the black of the shed frames the white on all four sides.

The set exists for the camera. White ground, hard light, one line of water: it photographs cleanly from every angle and survives being cut into vertical video. In the short film the camera works close on a forearm and a hem, and only the wide shot gives away the whole courtyard. When the show ends the set is struck and only the images remain — which is the argument for putting the budget into a box that keeps producing frames. In a season of quiet clothes the room has to be quiet in the same register, and the venue is remembered as a tone rather than a place.

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图片及内容来自网络及品牌公开信息，出处见网络

文字来自 AI 编辑完成，AI信息自我辨识