EP 雅莹「共织共创，东方雅莹」第九届进博会（上海）

2026 年 11 月 6 日，第九届中国国际进口博览会在上海国家会展中心进入第二天，雅莹在消费品展区 6.2 馆的展位（6.2A4-03）开馆，主题写作「共织共创，东方雅莹」。这是雅莹集团创业三十八年来首次以独立展位参加进博会，品牌把它称作中国首展。同一天，品牌全球代言人唐嫣到场，全球首发与她共创的「东方外套」系列。

展台讲的是「一块布从哪里来」，两条线索并排铺开。一条是东方的天然纤维：四川宁南的 6A 级桑蚕丝、阿坝的牦牛绒、阿拉善的「白中白」羊绒；另一条是欧洲面料工坊的织造，意大利、法国、瑞士的百年工坊各自拿出自己的纱线与组织。牡丹、褶艺、苗绣这些非遗手法没有做成展柜里的标本，而是被拆成工序放到墙面和台面上；一面「东方衣脉」的墙交代面料与纹样的来路，另一处展板把一件外套在工坊里要走的工序逐条列出来。衣服没有封在玻璃里，外套挂在动线两侧，人可以走近看肩线怎么收、袖口怎么翻、里布怎么缝。

雅莹 1988 年从浙江嘉兴起步，做的是中国女性衣橱里那件「能穿出去」的高端女装，三十多年把桑蚕丝、山羊绒、牦牛绒三种材料做成了品牌的底子，也因此把「东方」落在了材质和工艺上，而不是图案上。唐嫣与品牌的合作始于 2021 年，2026 年 8 月 25 日升格为品牌全球代言人，同期的秋冬大片叫「是雅是莹，合而为真」。对这样一个长期在国内讲东方美学的品牌，进博会的意义不在卖货，而在于把话语换一个场域：这里坐着的是各国展团、采购商与境外媒体，品牌首次以展商身份站在其中，「东方」就不再只是自我描述，而是一件可以被外部检验的事。

展期只有五天（11 月 6 日至 10 日），节点却卡得很紧。开幕第二天是专业观众与媒体流量最集中的时段，代言人到场加上全球首发，把一个展位变成一件可发布的事件；「共创」这个词也有用处——它把代言人从「穿的人」变成「一起做的人」，粉丝因此有了转发的理由，媒体也有了追问设计的切口。现场照片的右下角统一带着「EP YAYING / 第九届中国国际进口博览会」的角标，每一张流出的图都自带展会场域的凭证，这比任何一句「我们参加了进博会」都硬。展会结束之后，这套内容会转成门店与线上的冬季叙事：先让人知道这块布好在哪，再让人愿意为它付钱。

On 6 November 2026, the second day of the ninth China International Import Expo at the National Exhibition and Convention Center in Shanghai, EP YAYING opened its stand in Hall 6.2 of the consumer goods section, booth 6.2A4-03, under the title 'Woven Together, Eastern Yaying'. It is the first time the group has taken a stand of its own at the expo since it was founded in 1988, and the brand calls it its China debut. The same day, its global ambassador Tang Yan appeared to launch the Eastern Coat collection the two of them developed together.

The stand is built around one question: where does a piece of cloth come from. Two threads run side by side. The first is eastern fibre, with 6A grade mulberry silk from Ningnan in Sichuan, yak down from Aba and the whitest white cashmere from Alashan. The second is European weaving, with century-old mills in Italy, France and Switzerland each bringing their own yarns and structures. Peony patterning, pleating and Miao embroidery are not presented as specimens behind glass; they are broken into steps and set into the walls and tables. One wall, titled Veins of Eastern Dress, sets out where the fibres and motifs come from, and a panel lists, line by line, the steps a single coat passes through in the workshop. Nothing is sealed in a case: coats hang along both sides of the route, close enough to read how a shoulder is set, how a cuff is turned and how a lining is joined.

EP YAYING started in Jiaxing, Zhejiang, in 1988, making the kind of high-end womenswear a Chinese woman can actually wear out of the house, and over three decades it has built its base on three fibres: mulberry silk, cashmere and yak down. That is why its idea of the east sits in material and craft rather than in ornament. Tang Yan has worked with the brand since 2021 and was named global ambassador on 25 August 2026, alongside an autumn campaign titled 'Ya and Ying, Together True'. For a house that has spent years explaining eastern aesthetics inside China, the expo matters less as a sales floor than as a change of venue: the room is filled with national pavilions, buyers and foreign press, and a brand standing among them as an exhibitor for the first time is making a claim that outsiders can check.

The stand is open for five days, from 6 to 10 November, and the timing is tight on purpose. The second day of the expo is when professional visitors and press are densest, and an ambassador plus a world premiere turns a booth into a publishable event. The word 'co-created' does work here too: it moves the ambassador from the person who wears the clothes to the person who made them with the house, which gives fans a reason to pass the images on and gives editors an angle on the design rather than the dress. Every photograph leaving the stand carries the same corner mark, EP YAYING and the name of the ninth expo, so each image arrives already certified by the venue, which is a stronger argument than any sentence claiming attendance. For a house of this size the expo is also a procurement signal: the mills and the fibre suppliers it names on the wall are the same partners it will need when volumes rise, and a stand is a cheaper way to be taken seriously by them than a trade fair in Europe. After the doors close, the material shifts into the winter story told in stores and online: first make the case for the cloth, then ask to be paid for it.

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