COURRÈGES 2026 秋冬系列 巴黎

COURRÈGES 2026 秋冬系列｜COURRÈGES Fall 2026 时装秀（巴黎女装周官方日程）｜2026-03-04｜巴黎

COURRÈGES 由 André Courrèges 于 1961 年创立，是 1960 年代「太空时代」时装的代表，白色、几何与短裙是它的原点。Nicolas Di Felice 接手后把品牌带回这类简洁的结构，这一季是他的第五年，也是他把「日常」正式写进品牌语汇的一次。他没有做回顾展式的庆祝，而是把一场秀做成「一个女人完整的一天」：邀请函是一只时钟，造型从清晨的街道走到夜里，中间经过地铁、办公室与晚餐。品牌档案里那些硬朗的几何线条被保留下来，但被放进了具体的生活场景。

空间没有大装置，走秀动线干脆，灯光从冷到暖过渡，配合音乐把一天的时间感做出来。开场是通勤感很强的一组：直筒外套、窄裙、贴身的高领，手上拎着像刚出地铁的包。随后进入夜里的部分——乙烯基（vinyl）材质的上衣与裙装开始反光，剪裁更贴身，肩线更锋利。整场节奏像被时间推着走，没有停顿。

材质是这一季的重点。Di Felice 把 COURRÈGES 的未来主义语汇压到日常材质上：涂层织物、光泽皮革、以及他反复使用的乙烯基，配上干净的羊毛与府绸。颜色以黑、米、酒红为主，穿插一段金属银。配饰克制，腰带与手套成为造型里唯一的「硬」元素，鞋跟高度统一，走路的声音在场地里被放大。

值得记的制作细节在剪裁：外套的肩线做了轻微的前倾，袖笼收窄，走动时衣摆不飘；裙装用斜裁，贴身但不勒；裤装的高腰线被反复确认，保证坐下时不堆叠。这些处理在照片里几乎看不出来，但在现场看模特走过时非常明显——这也是 Di Felice 一贯的做法：把复杂度藏在版型里，让衣服看起来简单。

传播层面，这场秀提供的是一组「城市生活」的画面：地铁票、街角、夜色里的反光面料。它不依赖明星或布景，靠的是节奏与衣服的可穿性。对案例库来说，这是一个「叙事驱动、低装置」的样本——空间几乎不参与，时间感由灯光、音乐与造型顺序完成，成本可控，但概念完整。

COURRÈGES Fall 2026 runway show 4 March 2026 — Paris Fashion Week official calendar Venue: Paris Agency: LamodeenImages Source: public information published by lamodeenimages.

This was Nicolas Di Felice's fifth year at COURRÈGES. Rather than stage a retrospective, he built the show around one woman's full day: the invitation was a clock, and the looks moved from a street at dawn through the metro, the office and dinner. The house's hard geometric lines survived, but they were placed inside specific situations rather than displayed as abstractions.

COURRÈGES was founded in 1961 by André Courrèges and became one of the defining houses of 1960s space-age fashion, built on white, geometry and the short skirt. Di Felice has returned the label to that structural clarity, and this season, his fifth year, he brought the everyday into the vocabulary on purpose rather than as a backdrop.

No large installation was built. The runway route was direct, the lighting shifted from cold to warm, and the music carried the sense of hours passing. The opening passage was deliberately commuter-like: straight coats, narrow skirts, close-fitting turtlenecks, bags carried the way someone carries them after a metro ride. Then came the night section, where vinyl began to reflect the light, the cut drew closer to the body and the shoulders sharpened. The pacing felt driven by time rather than by a finale.

Material was the season's focus. Di Felice pressed COURRÈGES' futurist vocabulary into everyday fabrics: coated cloth, glossy leather and the vinyl he returns to repeatedly, set against clean wool and poplin. Black, beige and burgundy dominated, with one passage of metallic silver. Accessories stayed minimal — belts and gloves were the only hard elements — and heel heights were uniform, so that the sound of walking was amplified in the room.

The production detail worth recording is in the cutting. Jacket shoulders were pitched slightly forward, armholes narrowed so that hems stayed still in motion; skirts were cut on the bias, close but never tight; waistlines on trousers were checked again and again so that nothing bunched when a model sat. Almost none of this survives in a photograph, and all of it is obvious when a model walks past — which is Di Felice's method: complexity hidden in the pattern, so that the clothes read as simple.

Casting was deliberately ordinary rather than starry: models of different ages, several of them walking at a pace that suggested they had somewhere to be. The soundtrack moved from ambient to a harder beat as the light warmed, and the pace never slowed for a finale, which is unusual in Paris and made the "one day" idea legible without a single caption.

The set also solved a practical problem that most Paris shows ignore: with no scenery and a single continuous route, the audience could see every look from the same angle, so the collection was judged on fit rather than on decoration. Buyers left with a clear sense of what would sell.

For communication, the show produced images of city life rather than of spectacle: a metro ticket, a street corner, fabric catching the light at night. It relied neither on celebrities nor on scenery, but on rhythm and wearability. For a case library it is a narrative-driven, low-installation sample: the space contributes almost nothing, time is created by lighting, sound and the order of looks, and the concept arrives intact on a controlled budget.

What remains after the show is the discipline: a house known for futurism choosing to prove itself on the fit of a coat and the line of a trouser, in a room with nothing to hide behind.

Source: public information from lamodeenimages.

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