COURRÈGES SS27 巴黎

COURRÈGES｜COURRÈGES Spring/Summer 2027 女装秀（Drew Henry 首秀，巴黎女装周官方日程）｜2026-09-30｜巴黎

这是 Drew Henry 的第一场 COURRÈGES。九月三十日下午，巴黎东京宫的玻璃中庭。他接手只有几个月，五月才从伦敦搬到巴黎。这场秀是他给出的第一句话。

场地先说话。中庭被一块橙色有机玻璃隔开，光透过来，整个空间变成偏橘的暖黄。台下不是统一座椅，是 450 把从不同年代收来的椅子：学校椅、设计扶手椅、木椅，颜色各不相同，沿一条线排成走秀的路径。观众席就是布景，椅子的差异比任何装置都更直白：不整齐，不统一，允许杂乱。

衣服跟着走。开场是宽松的日常轮廓：没系好的腰带、敞开的领口、无袖外套、宽大短裤、毛巾布长裤。颜色很多，番茄红、杏色、芥末黄、浅蓝、草绿、米白，像把档案里的色卡整本翻开。

造型里的「错」是刻意的。毛边没收干净，腰带垂着，裙摆长短不齐，几层裙子叠在一起像随手抓来。Henry 在笔记里写，系列庆祝的是自由穿着的快乐，不需要解释。

品牌的记号被重新拿出来。白色圆领、几何贴片、成排纽扣、胸口方形色块，还有从 1964 年「Moon Girl」系列复活的短靴。帽子是另一条线：档案里压扁在帽盒中几十年的番茄红钟形帽重新开模，做成 PVC 包覆的体积感头饰。

材质上，他用轻而平的泡沫面料做几何拼片，也用涂层织物和乙烯基，但更软。手袋重做，铆钉沿边缘排一圈；鞋是多带的，颜色饱和。音乐由 Vegyn 负责，一部分为这场秀新写，节奏偏碎，和衣服的杂乱对得上。

传播层面，这场秀给的是颜色和椅子。橙色玻璃、彩色椅子、彩色头饰，三个元素就能说清画面，适合切成短视频，也适合被反复截图。它不靠明星，靠一眼能认出的布景。

对案例库来说，这是一个用观众席做装置的样本：450 把二手椅子替代了搭建，成本不高，视觉密度却高；橙色玻璃只做了一件事，把光换掉。空间、造型与传播被同一套颜色逻辑串在一起。

COURRÈGES Spring/Summer 2027 womenswear show 30 September 2026 — Paris Fashion Week official calendar Venue: Palais de Tokyo, Paris Agency: LamodeenImages Source: public information published by lamodeenimages.

This was Drew Henry's first COURRÈGES show. Late afternoon on 30 September, in the glass atrium of the Palais de Tokyo. He had been in the job only a few months — his predecessor left in March, and Henry moved from London to Paris in May. This was his first sentence.

The room did the talking. A sheet of orange Plexiglas divided the atrium, and the light coming through it turned the whole space a warm, orange-leaning yellow. The audience did not sit on matching seats but on 450 chairs gathered from different decades and different worlds: school chairs, designer armchairs, wooden chairs, each in its own colour, lined up to draw the route of the show. The seating was the set. The difference between the chairs said more about the attitude of the collection than any installation could: not neat, not uniform, comfortable with mess.

The building helped. The Palais de Tokyo's glass hall is closer to a covered street than a room; daylight does most of the work and the orange sheet only tints it. In photographs the result reads as late sun, which is part of why the images travel.

The clothes followed. The opening was a loose, everyday silhouette: belts left unbuckled, collars open, sleeveless jackets, roomy shorts, towelling trousers. The palette ran wide — tomato red, apricot, mustard, pale blue, grass green, off-white — as if the archive's colour cards had been tipped out on a table.

The mistakes were deliberate. Raw edges were left raw, belts hung, hems came at different lengths, shirt sleeves were slit open, and dresses were layered three deep as though grabbed rather than styled. In his notes Henry wrote that the collection celebrated the pleasure of dressing freely, without having to justify it.

The house codes came back out. Round white collars, geometric patches, rows of buttons, square colour blocks at the chest, and the short boots revived from the 1964 Moon Girl collection. Hats were the other thread: a tomato-red cloche that had been crushed in a hat box for decades was re-blocked and sheathed in PVC, blown up to a soft, almost shapeless volume.

For material he used a flat, lightweight foam cut into geometric panels, alongside coated fabric and vinyl — the house's old vocabulary — handled more softly than before. Bags were redone with rivets around the edge; shoes came with multiple straps in saturated colours. Vegyn made the soundtrack, part of it written for this show, the beat broken up and matching the untidiness of the clothes.

For communication, the show produced colour and chairs. Orange glass, mismatched seating, bright headpieces: three elements are enough to describe the image, which makes it easy to cut into short video and easy to screenshot and repost. It relied on no celebrity. It relied on a set you can recognise at a glance.

For a case library this is a sample where the audience seating becomes the installation: 450 second-hand chairs replaced a build, the cost stayed low and the visual density stayed high, and the orange glass did one simple thing — it changed the light. Space, styling and communication were strung together on a single colour logic.

Source: public information published by lamodeenimages.

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