FENDI FALL WINTER 2026 米兰

FENDI｜FENDI Fall Winter 2026 男女装合并秀（Maria Grazia Chiuri 首季）｜2026-02-25｜米兰

2026 年 2 月 25 日下午，米兰 Via Solari 35。这是 FENDI 总部新整修的展示空间，也是 Maria Grazia Chiuri 出任创意总监后的首场秀，男女装合并发布。观众进入的是一条很长的厂房式大厅：钢桁架屋顶刷成灰白，柱子裸露，混凝土地面抛光到能反出一点光，两侧是低矮的黑色钢架长凳，凳面铺铁锈红的坐垫。

空间里没有墙上的装置，压力全给到天花。两组裸灯泡用细线吊在不同高度，聚成两团发光的云，把大厅中段压成暖黄色；尽头是一道被灯打得发白的门洞，模特从那里进来，逆光走出，影子先落在地上。地面因此成了版面：跑道中央用深色大字印着一句话，意大利语「MENO IO, PIÙ NOI」，接着是英文「LESS I, MORE US」，箭头把两句串起来。

这句话同时是系列的题眼。衣服以黑色为主，长大衣、皮夹克、宽腿长裤、覆在吊带裙外的针织，剪裁收得干净，主张的是一份可以穿很多年的衣柜。面料处理偏实用：羊毛、皮革、剪羊毛；颜色除了黑，只有米、灰、深棕几段过渡。

走位是合并的，男装与女装交替出场，队列沿着地面文字的两侧行进，观众的视线被迫穿过那行字。灯不追人，只靠顶部灯泡与尽头的门光，模特走过时脸是暗的，轮廓是亮的，衣料的重量在暗处才看得出来。

制作上，这套方案的难处不在造型，而在把一个原本用于陈列的空间改回「厅」：桁架要遮、灯位要藏、地面要平到能印字又不至于反光过强，长凳的排距按走线长度反复调过。做法是尽量少加东西，让原有结构成为布景的一部分。

传播层面，这个空间给出的是一张可复制的图：一句印在地上的话，一群穿黑衣服的人在光尘里走。它不依赖明星，也不需要解释，照片发出去，文字自己会被人读出来。这是把「共同」这个抽象概念做成了一块可拍摄的地面——秀场因此成了文案的载体。

FENDI Fall Winter 2026, 25 February 2026, Milan. Maria Grazia Chiuri's first show as chief creative officer, and a co-ed one, staged inside the house's newly rebuilt show space on Via Solari.

The building matters to the staging. FENDI began in Rome in 1925 as a leather workshop, and the Milan headquarters on Via Solari was reworked with the architecture studio Politecnica into a flexible venue rather than a fixed theatre — a blank hall that can be re-planned each season. This show used that blankness deliberately: nothing was hung on the walls, and the architecture was left visible.

The room was a long industrial hall: steel trusses and columns painted a chalky grey-white, a polished concrete floor with just enough sheen to catch light, and low black steel benches running down both sides, their seats covered in rust-red cushions. Almost nothing was added to the walls. The pressure went to the ceiling instead, where two clusters of bare bulbs hung on thin cables at staggered heights, gathering into clouds of warm light over the middle of the hall. At the far end, a doorway was blown out white; models entered through it, backlit, so their shadows arrived on the floor before they did.

The floor was treated as a printed surface. Down the centre of the runway ran a line of large dark letters — "MENO IO, PIÙ NOI" in Italian, then "LESS I, MORE US" in English, with arrows linking the two. It read as a stencil, the kind of mark that survives a photograph taken from any angle.

That sentence was also the collection's argument, and it escaped the floor: the same phrase was woven into the webbing of some of the bags, so the message could be carried out of the room. The clothes were mostly black — long coats, leather jackets, wide trousers, knitwear layered over slip dresses — cut close and clean, aimed at a wardrobe rather than a season. Fabrics stayed practical (wool, leather, shearling), and the palette moved only through ivory, grey and deep brown.

Casting kept menswear and womenswear in the same rhythm, alternating looks so that the queue read as one household rather than two collections. There was no follow spot: models walked through the pools of bulb light and the white spill from the doorway, faces dark, silhouettes bright, the weight of the cloth visible only in the dimmer stretches.

Technically, the difficulty was not styling but conversion: trusses to conceal, lighting positions to hide inside the ceiling, a floor flat enough to carry stencilled type without turning into a mirror, bench spacing recalculated against the length of the walk. The benches were low and continuous, without armrests or numbering, so the audience read as a band of colour along the edge. The approach was subtractive — let the existing structure do the work of a set.

For communication, the room produced one reproducible image: a sentence on the floor, a line of people dressed in black moving through dusty light. No celebrity was required and no caption was needed; the phrase is legible in the frame, so it travels as text and as picture at once. That is the useful move here — an abstract idea about collectivity turned into a printable surface, with the runway acting as the medium rather than a backdrop. The first collection of a new era is usually remembered for its clothes; this one also left behind a sentence the audience could walk on.

Source: public information published by Bureau Betak.

-end-

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