FENDI SPRING 2027 米兰

FENDI｜FENDI Spring 2027 女装秀（Maria Grazia Chiuri 第二季）｜2026-09-23｜米兰

2026 年 9 月 23 日下午，米兰，Maria Grazia Chiuri 为 FENDI 做的第二季。场地被改成一个镜面的盒子：天花、地面与四周的墙体都覆上反射材料，观众席夹在中间，几乎找不到房间的边界。

天花是这套装置的主体。一排排白色灯管横向铺满整个顶棚，密度很高，灯管之间只留窄缝；镜面把灯管翻倍，地面再翻一次，走进去像站在一条没有尽头的灯廊里。走道不画线，方向由灯管的排列给出，模特的倒影常常先于本人出现：先是膝盖以下的一段反光，再是完整的人。墙面的镜板做成竖向窄条，拼缝被灯光盖住，房间因此显得比实际更深。

据现场报道，这套镜面的构思参考了意大利艺术家 Luciano Fabro 的作品；制作方把它落成可拆装的镜面板与灯架。座椅低而连续，没有靠背，观众坐下后与模特处在同一高度，镜面里同时出现自己的脸——看与被看被放进同一个画面。

服装往轻里走：内衣式的吊带、薄纱叠层、带皮草领的外套、宽肩长大衣，颜色有薄荷、芥末、烟草棕，包袋回到 Baguette 的弧形。肩线被放大，袖口与裙摆留出松量，层叠的薄纱只有在走动时才分开，露出下面的第二层。

争议也来自这套装置。有评论认为镜面反光让服装细节难以看清，画面抢了衣服的戏；也有报道认为这种「看不清」本身就是提问的一部分。空间在这里不只是背景，而是叙事的一方。

传播上，镜面给出的是「无限延伸」的图：一条灯管隧道，人影成双，观众自己也入镜。它适合短视频与竖构图，在信息流里一眼可辨。品牌得到的是高辨识度的场景，代价是服装的可读性被部分让渡——这是当下秀场常见的一种交换，而这一次交换被公开讨论了，讨论本身又给画面添了一层意思。

FENDI Spring 2027, 23 September 2026, Milan. Maria Grazia Chiuri's second womenswear season for the house, and a set that took the opposite route from her debut: instead of leaving the architecture bare, the room was wrapped until the architecture disappeared.

The venue was turned into a mirrored box. Ceiling, floor and perimeter walls were clad in reflective material, with the seating set inside it, so that the edges of the room were difficult to locate from any seat. Nothing in the space told you where the hall stopped.

The ceiling carried the concept. Rows of white fluorescent tubes ran across the full span at close intervals, packed densely enough to read as a single luminous field. Mirrors doubled the tubes, the floor doubled them again, and the result was a corridor of light with no visible end. No line was painted on the runway; direction came from the alignment of the tubes, and models were often visible in reflection before they arrived in person.

Press reports described the mirror idea as a reference to the work of the Italian artist Luciano Fabro, realised here as demountable mirror panels and lighting trusses. Seating was low and continuous, without backs, so that guests sat at the same height as the models. In that arrangement the audience appears in the same reflective plane as the clothes: looking and being looked at occupy one image.

The collection moved toward lightness — lingerie-inspired slips, layered sheers, coats with fur collars, broad-shouldered tailoring — in mint, mustard and tobacco, with the Baguette returning in its curved shape. Most of those details depend on layering and translucency in motion, and they do not resolve in a still frame.

That is where the set became contentious. Some reviews argued the reflections made the clothes hard to read and that the image took over from the garment; others treated the difficulty of seeing as part of the question the show was asking. Either way the space was not a backdrop but a participant, and it changed how the collection was received.

The set also behaved like a filter: it rewarded whoever moved, and flattened whoever stood still, which pushed photographers toward the same few positions and produced a coherent body of images rather than a scatter of angles.

For communication, the installation produced images of endlessness: a tube tunnel, doubled figures, the audience caught in its own reflection. It suits vertical video and short-form feeds, and it is identifiable at thumbnail size — a real advantage in a season where hundreds of shows compete for the same scroll. The trade is legibility: the clothes surrender part of their detail to the room. That exchange is common in contemporary staging; what was unusual here is that it was argued about in public, which extended the show's life beyond the day itself.

Technically, a room like this is unforgiving. Every seam in the mirror panels, every cable, every scuff on the floor is multiplied, so the surfaces have to be installed to a tolerance that a matte set never demands. Light levels also had to be balanced between what the camera needs and what the eye can bear in a closed reflective box, and the seating had to be positioned so that guests did not appear as a wall of reflections blocking the walk. None of that shows in the photographs, which is usually the sign that it was done properly. What does show is the discipline of the repetition: one material, one light source, one direction, held for the whole run.

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