GUCCI THE STORE SHOW 米兰

GUCCI（古驰）｜GUCCI「The Store Show」2027 春夏系列发布（Demna 主导的店铺概念秀，米兰时装周）｜2026-09-25｜米兰

米兰波特洛区的 Gate 11 是一座大型会展空间。Demna 把这里盖成了一间店——不是「像店」的布景，而是按真实零售空间做出来的完整店铺：石材地面、深色木饰面、带浮雕的墙裙，门口有橱窗、有门牌，门也有门的重量。

观众坐在店里的长凳上。模特从正门进来，穿过中庭，在镜子前停一下，再折回去。有人拎着购物袋，有人像刚逛完街的客人。

橱窗后的街景是画出来的：米兰式的外立面、拱廊、雨棚，玻璃上映出 GUCCI 的反字。灯光在这面窗上走了变化，从白天走到黄昏，中途还下过一场雨。

全场约八十位模特，男装先走。宽肩西装、飞行夹克、青年布衬衫、带领的 polo，腰间和鞋面反复出现马衔扣。造型刻意做出阶级的样子：乐福鞋不穿袜、白牛仔裤、公学式的头发；女装那边大衣扣紧，包钩在臂弯里。

女装以骑装开场，随后转进晚装：蓬松的皮草、开在胯侧的镂空长裙、剪裁利落的裙套装。比例在收——短外套配窄裙，肩线做得尖。

空间的核心是一条走廊式动线：两侧是橱窗与陈列台，尽头是试衣镜。观众与模特共用同一条通道，走秀与逛店在这里是同一件事。

材料的选择很明确：洞石、深色橡木、做旧黄铜、镜面。浮雕是马与花环，取自品牌的马术档案，被放大到墙裙的高度。地面用整块石材铺，缝对得很准。

这场秀的传播逻辑写在布景里：它同时是一次店铺设计的发布。秀后一个月，同款元素进入全球指定门店——秀场即样板间，图片即效果图。

对案例库来说，这是一个把预算放进永久资产的样本：布景不是一次性的，它会被拆开、搬进真实的店铺继续使用，秀的成本因此摊到了零售端。

明星与「真实客人」混在模特里，几位编辑与造型师也走了台。画面因此像一场被拍下来的夜晚，而不是一场被安排的展示。

GUCCI "The Store Show" 25 September 2026 — Milan Fashion Week Venue: Gate 11, Via Bartolomeo Colleoni, Portello, Milan Agency: LamodeenImages

Gate 11 is a large exhibition hall in Milan's Portello district. Demna turned it into a shop — not a set that resembles one, but a complete retail space built to the standards of a real store: stone floors, dark timber panelling, a dado of carved reliefs, shop windows at the entrance, a street number, and doors with the weight of doors.

The audience sat on benches inside the store. Models came in through the front door, crossed the hall, paused at a mirror, and turned back. Some carried shopping bags. Some behaved like customers who had just finished browsing.

The street behind the windows was painted: Milanese facades, arcades, awnings, with GUCCI reversed in the glass. The light on those windows moved through the show, travelling from morning to dusk, and at one point it rained. None of it was filmed. The change from day to night was done with light on a painted backdrop, and the rain was a real effect contained behind glass, which gave the audience something to watch between exits and gave photographers a sequence rather than a single frame.

There were around eighty models, menswear first. Oversized suits, bomber jackets, chambray shirts, collared polos, with the horsebit repeated at the waist and on the shoes.

Womenswear opened with riding clothes and moved into evening: bulky furs, gowns cut away at the hip, sharply tailored skirt suits. Proportions were tightened as the show went on — short jacket, narrow skirt, a shoulder line raised to a point.

The plan is a corridor. Windows and display tables run down both sides, a fitting mirror closes the far end, and the audience shares the same passage as the models. Walking the show and shopping the store are the same act here. The floor is the same stone throughout, so the eye finds no seam to stop at, and perspective does the staging.

Materials were decided early: travertine, dark oak, aged brass, mirror. The reliefs carry horses and garlands lifted from the house's equestrian archive and enlarged to dado height, and the ceiling was kept dark so that the carving holds the light.

The communication logic is written into the set, because the set is also a store-design launch. Within a month, elements of it were scheduled to appear in selected Gucci stores worldwide. The runway works as a showroom; the photographs work as renderings.

For a case library this is a sample where the budget goes into a permanent asset. The scenery is not disposable; it gets taken apart and reinstalled in shops, so the cost of the show is partly carried by retail.

The casting blurred the usual line as well. Alongside models, the house used people who read as clients rather than catwalkers, and a few editors and stylists walked too. The result photographs like a night that happened rather than a presentation that was arranged.

What the show argues is that a store can be a stage without being a fiction. The merchandise in the cases was real, the mirrors worked, and the audience could see itself in them — which is, in the end, the oldest retail device there is, and the one most easily photographed.

Source: public information published by lamodeenimages.

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