香奈儿 LESAGE刺绣坊 时尚与装饰百年回顾展

香奈儿 LESAGE刺绣坊 时尚与装饰百年回顾展

2026年09月25日-2026年11月15日

上海 浦东美术馆

项目传播

项目现场

作为香奈儿 le19M 高级手工坊体系内的传奇工坊，始创于 1924 年的 Lesage 刺绣坊，积累了规模庞大的刺绣与斜纹软呢档案，见证百年欧洲高级时装手工艺演进。落地上海浦东美术馆的《LESAGE 刺绣坊：时尚与装饰百年回顾展》，是 la Galerie du 19M 上海文化项目的核心板块，由 Lesage 刺绣坊与 Émilie HAMMEN 联合策划，把巴黎工坊珍贵档案带到中国，既是工坊百年技艺的系统性回望，也是中法工艺文化对话的重要公共文化事件。展览跳出单一时装作品陈列，以刺绣时装、斜纹软呢、室内装饰、技艺传承四条叙事脉络，梳理刺绣工艺跨领域发展路径，为国内观众理解西方高级手工技艺、时装与装饰艺术的边界提供权威样本。在空间造型与现场制作层面，展览依托浦东美术馆三层美术馆白盒空间，采用克制的美术馆式展陈语言，不做夸张的商业美陈，依靠展墙分割、档案式展柜、柔和分层灯光构建叙事动线。空间兼顾大型高定成衣、织物软装、海量小样档案的差异化展陈需求，将 75000 件刺绣样品、30000 件斜纹软呢档案精选展品有序排布，把香奈儿经典刺绣作品、维克多・雨果故居红厅中国丝绣复原等跨文化展品并置，让空间叙事跟随历史时序与四大主题线索自然流转，充分还原织物、丝线的细腻肌理质感。

活动展期内，观众可以欣赏首度来华的高定刺绣成衣与室内装饰作品，读懂嘉柏丽尔・香奈儿从东方乌木漆面屏风汲取的创作灵感；展览同步配套专题讲座、手工坊公教活动，传递三代工匠坚守传统又持续实验创新的匠人精神，构建面向公众的手工艺交流场域。从传播营销维度来看，美术馆专业语境弱化品牌商业属性，以文化展的姿态吸引艺术爱好者、时尚从业者与普通观众，媒体与专业圈层产出深度解读内容，社交平台衍生大量工艺细节分享 UGC。项目以文化输出替代硬广，完成 le19M 高级手工坊的理念传播，实现技艺科普、跨文化交流、品牌艺术格调塑造的完整营销闭环。

As a legendary atelier within CHANEL le19M Métiers d’art system, Lesage, founded in 1924, preserves massive archives of embroidery and tweed textiles and witnesses the evolution of European haute‑couture craftsmanship over a century. Hosted at the Museum of Art Pudong, “LESAGE Embroidery Atelier: 100‑Year Retrospective of Fashion and Decoration” serves as core segment of la Galerie du 19M Shanghai cultural programme, co‑curated by Lesage and Émilie HAMMEN. It brings precious Paris‑based archives to China, delivering a systematic review of the atelier’s century‑old craftsmanship and forming a significant public cultural platform for Sino‑French craft dialogue. Moving beyond isolated fashion‑piece display, the exhibition sorts cross‑field development of embroidery art along four narrative threads: embroidered haute‑couture, tweed textiles, interior decoration and craft inheritance, offering authoritative references for local audiences to understand boundaries between Western high‑end handcraft, fashion and decorative art. In terms of spatial styling and on‑site production, the show adopts restrained museum‑grade display logic inside the white‑box gallery on the museum’s third floor, avoiding ostentatious commercial decorations. Partition walls, archival display cabinets and layered soft lighting shape chronological visiting circulation.

The venue meets diversified exhibiting requirements for large couture garments, textile furnishings and numerous sample archives. Selected pieces from 75 000 embroidery samples and 30 000 tweed archives are well arranged. Cross‑cultural exhibits including classic CHANEL embroidered creations and restored Chinese silk embroidery for Victor Hugo’s Red Salon are presented side‑by‑side, enabling spatial narrative to unfold naturally alongside historical timeline and four thematic chapters, and faithfully presenting delicate texture of threads and fabrics.

During exhibition period, visitors view debut‑showcase haute‑couture embroidered garments and interior‑decoration works, and interpret Gabrielle Chanel’s creative inspiration drawn from oriental black‑lacquer screens. Supporting programmes including lectures and handcraft workshops convey artisan spirit of three‑generation craftsmen balancing heritage and experimental innovation and build public exchange space for handcraft culture. From marketing‑communication perspective, the museum context dilutes commercial attributes. It attracts art professionals, fashion practitioners and general public. In‑depth reviews from media and expert circles together with UGC content focusing on craft details spread widely on social‑media platforms. Replacing hard‑selling promotion with cultural output, the project disseminates le19M Métiers d’art philosophy and achieves a complete marketing closed‑loop covering craft popularization, cross‑cultural communication and brand artistic‑taste building.

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