GUCCI PRIMAVERA 发布会 米兰

GUCCI（古驰）｜GUCCI「Primavera」2026 秋冬系列发布（Demna 首场 GUCCI 时装秀，米兰时装周官方日程）｜2026-02-27｜米兰 Palazzo delle Scintille

Palazzo delle Scintille 原本是一座室内自行车馆，1923 年由建筑师 Paolo Vietti-Violi 设计，经历过战争损毁与多次改造。这一天它被改成一座「博物馆」：大厅包上超薄石材饰面（StoneLeaf，意大利大理石薄片，做出厚石的观感），观众坐在木质阶梯看台上，像走进一座临时剧场；十几尊古希腊罗马雕像的复刻散落在场内，高度超过人，全部由托斯卡纳工匠按乌菲齐美术馆与那不勒斯国家考古博物馆的原件 3D 扫描、翻模、放大制成。

空间由柏林建筑师 Niklas Bildstein Zaar 设计，是 Demna 长期合作的舞台伙伴。光线被压到很暗，只有一道水平的光带横切过场地，雕像半隐在阴影里，人从光里走过。这个处理把「意大利性」变成一套可视的装置：不是致敬历史，而是把历史摆在台上，当作可以被重新使用的布景。

系列名为「Primavera」，取自波提切利的《春》。Demna 在秀前发布的图像序列里放了米开朗基罗的《大卫》与波提切利的《维纳斯的诞生》，把文艺复兴的佛罗伦萨作为起点——GUCCI 1921 年就是在佛罗伦萨做皮具与行李箱起家。整场 83 位模特，单列行走、间距很大，沿着光带走过；服装收得很紧：亮面西装、超短裙、紧身皮衣、男士单肩 T 恤被拉成类似雕像束腰长袍的样子，腰包重新回到台上。

压轴是 Kate Moss，一条黑色长裙，侧开衩开到腰际，背面是丁字裤结构，走动时全场发出明显的惊呼。这段处理直接指向 Tom Ford 在 GUCCI 的 1994–2004 年代——那一段把品牌从家族困境里拉回时尚中心的历史。Demna 没有回避这个参照，反而把它放大、做成明示的舞台语言。

从传播看，这场秀几乎是为「被讨论」设计的：明星阵容（Paris Hilton、Steve Lacy、Alessandro Michele 等）、Kate Moss 的压轴、以及一批可被做成短图的造型。社交平台上对服装的评价两极，有人说「廉价」，也有人说这是 GUCCI 重回文化中心的起点。对案例库来说，它值得记的是空间与议题的绑定：一座旧自行车馆、一批翻模雕像、一道光，构成了一套可复述的「意大利性」装置，成本集中在材质与雕塑复制上，而非屏幕和机械。

GUCCI "Primavera" show 27 February 2026 — Milan Fashion Week official calendar Venue: Palazzo delle Scintille, Milan Agency: LamodeenImages Source: public information published by lamodeenimages.

The Palazzo delle Scintille began life as an indoor velodrome, designed in 1923 by the architect Paolo Vietti-Violi, and survived war damage and decades of reuse. For this show it was remade as a museum: the hall was clad in ultra-thin stone sheets by StoneLeaf, Italian marble sliced thin enough to suggest solid slabs without the weight, the audience sat on timber bleachers like a temporary lecture hall, and a dozen monumental replicas of Greco-Roman statues stood among them — all 3D scanned from originals in the Uffizi and the Museo Archeologico Nazionale di Napoli, then cast in plaster and enlarged by Tuscan artisans.

The set was designed by the Berlin architect Niklas Bildstein Zaar, a long-time collaborator of Demna. Light was kept very low, with a single horizontal beam cutting across the room while the statues stayed half in shadow and the models passed through the light. The effect turned Italianness into a visible device: not a tribute to history but history placed on stage as scenery that can be reused.

The collection was titled Primavera, after Botticelli's painting. The image sequence released before the show included Michelangelo's David and Botticelli's Birth of Venus, setting Florence and the Renaissance as the starting point — GUCCI began there in 1921 as a leather goods and luggage workshop. Eighty-three models walked in single file, far apart, following the beam. The clothes were tight and lean: shiny suits, micro dresses, fitted leather, men's one-shoulder T-shirts draped to resemble the tunics on the statues, and the fanny pack returned to the runway.

Kate Moss closed the show in a long black dress slit to the hip, the back cut as a thong, and the room audibly gasped as she passed. The reference points straight at Tom Ford's years at GUCCI between 1994 and 2004, the period that pulled the house back to the centre of fashion. Demna did not avoid the comparison; he enlarged it into explicit stage language.

The casting was part of the argument. Alongside models such as Anok Yai and Alex Consani, Demna put internet rappers, a Canadian hockey player and faces that looked like they had wandered in from a night out, and gave several of them small pieces of business — checking a phone, adjusting a bag — so that the runway kept breaking into ordinary behaviour. The clothes were made to feel almost weightless on the body, a deliberate contrast with the dense, layered silhouettes that have dominated recent seasons, and the front row included Alessandro Michele, whose own Gucci years were the last time the house generated this much argument.

For communication, the show was built to be discussed: a front row that included Paris Hilton, Steve Lacy and Alessandro Michele, a closing moment with Kate Moss, and a set of looks designed to circulate as short clips. The soundtrack closed on the Neapolitan song Tu sì na cosa grande, a final cue that the Italianness on display was staged rather than inherited.

Kering's chief executive Luca de Meo, speaking backstage, called it a very good starting point and said the execution was at the right level.

Reaction online split between those who called the clothes cheap and those who read the show as GUCCI returning to cultural relevance. For a case library, what matters is the binding of space to argument: an old velodrome, a group of cast statues and one beam of light produced a restatable idea of Italianness, with the budget concentrated in material and sculpture rather than in screens and mechanics.

Source: public information from lamodeenimages.

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