GANNI 2026 秋冬系列展示 巴黎

GANNI 2026 秋冬系列｜GANNI Fall/Winter 2026 展示（巴黎时装周官方日程）｜2026-03-03｜巴黎

GANNI 这一季没有走秀，做的是「展示」（presentation）。空间被布置成一处近乎地质的现场：地面散着低矮的石头，石头上搭着格纹毯与蕾丝，模特站在反光的平台上，被抬离地面。正中央是一块约两米半高的巨石，丹麦画家 Linus Alexander Hübell Salic 整场站在旁边，直接在石面上作画，把装置一点点变成一件进行中的作品。

灵感来自创意总监 Ditte Reffstrup 的家乡——丹麦北部的港口小城 Hirtshals，她称那里是「丹麦风最大的地方」。在这样的地方长大，人对自然的理解不是观看，而是身处其中：风、海、低温，既是威胁也是日常。她把这种「坚硬与脆弱同时存在」的状态做进了衣服：厚针织、毛毯改成的裙子、仿剪羊毛大衣把人整个包住，里面却是蕾丝吊带、荷叶边与内衣式的分割线。

结构上，她把历史服装的元素拆出来重用：高腰线、马甲、吊带结构，用厚重的羊毛与雕塑感外套重新做一遍，让「少女感」变得有筋骨。裙装在贴身之后突然放开下摆，走动时才有动势；金属长拉链头与毛边保留了一点工业感。颜色以大地棕、米色打底，穿插绿、紫与黄的跳色，像北欧天际线的变化。豹纹仍在，但被放大、调软，与格纹、电光花卉混在一起。

材料是这一季的另一条主线。品牌延续「Fabrics of the Future」计划：用丢弃渔网再生的尼龙 InResST 做羽绒与软配饰；用橙皮与橄榄油生产废料做的 Ohoskin、Oleatex 替代皮革，已经能做到量产。配饰上推出 Very Bou 包（带翻盖与蝴蝶锁）与 Jenny 高靴（沿用上一季芭蕾鞋的轮廓，加翻折靴口与铆钉）。Reffstrup 说，第一只 Ohoskin 包当年锁在总部玻璃柜里，现在可以规模化生产了。

传播层面，这场展示的可看性来自「现场作画」这个动作：它给了媒体一个可以被拍摄、被延时摄影的过程，而不是一组静态造型。对案例库来说，这是一个「低动线、高过程」的样本——没有 T 台，空间靠石头、毯子、镜面平台与一位画家撑起来，成本不高，但画面有故事。

GANNI Fall/Winter 2026 presentation 3 March 2026 — Paris Fashion Week official calendar Venue: Paris Agency: LamodeenImages Source: public information published by lamodeenimages.

GANNI did not stage a runway this season but a presentation. The space was arranged almost geologically: low stones scattered across the floor, plaids, blankets and lace draped over them, and models standing on reflective platforms that lifted them off the ground. At the centre stood a rock about two and a half metres high, and the Danish painter Linus Alexander Hübell Salic stood beside it for the duration of the event, painting directly onto the stone so that the installation became a work in progress.

The reference was personal and geographical. Creative director Ditte Reffstrup grew up in Hirtshals, the port town in northern Denmark she calls the windiest place in the country. Growing up there means living inside the weather rather than watching it: wind, sea and cold are both a threat and the ordinary condition of the day. She translated that coexistence of hardness and fragility into clothes — chunky knits, skirts made from blankets, faux shearling coats that wrap the whole body, worn over lace slips, ruffles and lingerie seams.

Structurally, she pulled historical elements out and reused them: empire lines, waistcoats and suspender constructions rebuilt in heavy wool and sculptural outerwear, so that the girlish register acquired a frame. Dresses stayed close to the body and then released into wide hems that move; long metal zip pulls and raw edges kept a trace of the industrial. Earthy browns and beiges anchored the palette, broken by green, purple and yellow that read like shifts in a Nordic sky. Leopard print remained, enlarged and softened, colliding with checks and electric florals.

Material was the second thread. The brand continued its Fabrics of the Future programme: InResST, a recycled nylon made from discarded fishing nets, used for puffers and soft accessories, and Ohoskin and Oleatex, leather alternatives derived from orange peel and olive-oil production waste, now produced at scale. Accessories included the Very Bou bag with a flap closure and butterfly lock, and the Jenny High Boot, developed from last season's ballerina with a fold-over collar and studded trim. Reffstrup recalled that the first Ohoskin bag had been displayed in a glass case at headquarters; now it can be made in volume.

The business context explains the shift in format. GANNI has been building a Paris presence, with a flagship that opened last October and a new office in the city alongside its Copenhagen base, and the brand has recently been recertified as a B Corp. A presentation rather than a runway suits that stage of growth: it costs less than a show, it allows buyers and press to look closely at fabric and finish, and it puts the sustainability story — which is hard to convey on a catwalk — at the centre of the room. The reflective platforms also solved a practical problem, lifting garments to eye level so that the layering could be read without a model having to walk.

Reffstrup also named Björk among her references, describing a small woman with an outsized intensity, and the writers, musicians and artists who shaped her idea of femininity — a list that explains why the collection reads as grown-up rather than nostalgic.

For communication, the presentation's value came from the act of painting: it gave press a process to film and photograph rather than a set of static looks. For a case library it is a low-traffic, high-process sample — no runway, a space held up by stones, blankets, mirrored platforms and one painter, with a modest budget and a clear story.

Source: public information from lamodeenimages.

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