GIVENCHY SS27 巴黎

GIVENCHY（纪梵希）｜GIVENCHY 2027 春夏系列时装秀（巴黎女装周日程）｜2026-10-02｜巴黎

GIVENCHY 这一季的秀场像一座刚脱模的石膏建筑。墙是米白色的，厚到可以在上面挖洞：几个巨大的圆形开口贯穿墙体，观众坐在洞里，模特从另一边走过。

布景设计由 @jchinlund 担任，制作由 lamodeenimages 承接。空间被切成两半：一半是这片浅色石膏与圆洞，另一半是胶合板方块垒起的阶梯，头顶悬着几块巨大的胶合板圆盘，颜色是赭黄与砖红。

浅色地面上画着一个红色三角，用来给模特定点。没有屏幕，没有印花背景，所有视觉重量都压在结构的厚度上。

Sarah Burton 掌管 GIVENCHY 之后，方向一直清楚：把高定的手工放回成衣。灰色廓形外套肩线干净，里面是白衬衫与宽裤；红色皮革衬衫配酒红皮裙，接缝压了明线；绿色流苏长裙的流苏是一束束缝上去的，走动时整件衣服在晃。

白色礼服配红色或黄色的鞋，蓝色连衣裙的裙摆裁成不对称。真正抢镜的是配饰：耳上挂着拳头大的树脂宝石，肩头别着同样的石头，鞋是毛球状的穆勒鞋，颜色亮到发荧光。

GIVENCHY 1952 年由 Hubert de Givenchy 在巴黎创立，以剪裁与面料起家，1988 年归入 LVMH。此后几任设计师各走一段，Burton 2024 年接手，把重点放回工作室的手上功夫。

制作上最费工的是那些开口。圆形要保证边缘厚度均匀，才能在没有装饰的情况下立住；胶合板圆盘要吊得稳，又不能在地面留下支撑的痕迹。这类布景不靠颜色，靠几何精度。

传播上，圆洞是一个天然的取景框。摄影师站在洞里，模特被框在圆中，一张照片同时有空间和衣服；而且观众被嵌进墙里，画面前景不会出现一片黑色的后脑勺。

宝石耳饰与荧光鞋是另一种素材，适合特写，也适合在短视频里被放大。活动内容与传播在这里是同一条线：秀场先给一个能记住的形状，衣服再给能记住的细节。

秀结束，石膏墙被拆掉，只留下照片里的几个圆。

The Givenchy set looked like a plaster building that had just come out of its mould. The walls were off-white and thick enough to be cut: several large circular openings ran straight through them, with the audience seated inside the openings and the models passing on the other side.

Set design was by @jchinlund, production by lamodeenimages. The space was divided in two — this pale plaster and its round holes on one side, and on the other a stepped bank built from plywood blocks, with huge plywood discs suspended overhead in ochre and brick red. From below the discs read as a ceiling; from the side they were the only ornament in the room.

A red triangle was painted on the pale floor as a mark for the models. No screens, no printed backdrop: the whole visual weight sat in the thickness of the structure. Everything in frame was either pale plaster or raw board, and the clothes supplied the only saturated colour.

The material choice was deliberate. Plywood and plaster are workshop materials rather than luxury ones, and using them at architectural scale made the room feel like a building site that had been swept clean, so that the clothes read as the finished object inside an unfinished shell.

Since taking over Givenchy, Sarah Burton has kept one direction: put couture handwork back into ready-to-wear. A grey coat with a clean shoulder over a white shirt and wide trousers; a red leather shirt with a burgundy skirt, topstitched along the seams; a green dress whose fringe was sewn on in bundles, so the whole garment moved as one piece.

White gowns were paired with red or yellow shoes, and a blue dress was cut asymmetrically at the hem. The accessories took the attention: resin stones the size of a fist at the ears, the same stones pinned at the shoulder, and mules covered in pom-poms in a yellow bright enough to glow. Bags were small and satin, in pink and cream, carried by a strap or tucked under the arm.

Hubert de Givenchy founded the house in Paris in 1952 on tailoring and fabric, and it joined LVMH in 1988. Several designers have each taken it in a different direction since; Burton arrived in 2024 and moved the emphasis back to what the studio can do by hand.

The openings were the hardest part to build. Each circle needed an even edge thickness to stand without ornament, and the discs had to hang steadily without leaving any trace of support on the floor. A set like this does not rely on colour; it relies on geometry being exact.

In media terms, the round hole is a viewfinder built into the architecture. A photographer standing inside it frames a model inside a circle, and one image carries both the space and the clothes. Because the audience was set into the wall, there was also no dark mass of guests in the foreground, and every frame came out clean.

The stones and the pom-pom shoes are the other kind of material — close-up pictures, made for short video and for the detail shot that travels further than the full look.

Content and promotion run on the same line here: the set supplies a shape people remember, the clothes supply the details, and the two together keep an image from feeling empty.

When the show ended the plaster came down and the plywood went back to the yard. Only the circles in the photographs were left.

Source: public information published by lamodeenimages.

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