JACQUEMUS « LE PALMIER » 巴黎

JACQUEMUS｜JACQUEMUS Fall-Winter 2026「Le Palmier」系列发布（巴黎国立毕加索博物馆）｜2026-01-25｜巴黎

JACQUEMUS 把 2026 秋冬系列放回巴黎国立毕加索博物馆，系列名「Le Palmier」。这栋 17 世纪府邸位于玛黑区，此前已接待过品牌；这一次 Bureau Betak 没有加任何东西：没有 T 台、背板和装置，只有一段被当作走道的石楼梯。

空间就是内容。主楼梯自门厅盘旋而上：浅色石灰岩的踏步、雕花拱券、黑铁栏杆与黄铜柱头。梯段在两层之间形成中庭，墙面是暖米色的石与灰绿色的木门，几幅毕加索的画挂在转角，画框的金色在暗处反光。观众不坐成排，站在平台与回廊上，把石阶让出来。

走秀是一次下楼。模特从上层起步，在梯级上逐个停住，形成错落的定格，再向下移动。螺旋的梯段让人看到侧面、背面与俯视，衣服在转身中改变轮廓。制作的工作量因此不在搭建，而在清洁、站位与打光。

灯光就是造景。色温压得很低，接近黄昏后亮起第一盏灯的那种暖；光从上方与侧面落下，在石灰岩上留一层薄金，影子被拉长投在墙面，圆形帽檐在石面上摊成一个椭圆。暗部基本不补光，拱券深处保持黑色。

衣服与楼梯互为量体。圆盘帽大过肩膀许多，在窄处几乎要侧身；大衣是米灰色的厚羊毛，肩线干净、下摆开衩，走下石阶不飘；黑色皮短裤、透明的黑纱长裙、灰呢胸衣配喇叭裙，材质在低光里各自保留层次。红白条纹的一组是全场少见的强色，在暖石色里像一段插入的旗。

内容与传播：这场秀交给媒体的是「人走进一栋老房子」，而不是「品牌搭了一个景」。预算落在协调、清洁与照明，产出的是可被反复引用的空间照片：楼梯的纵深、帽檐的圆、影子的长度。对案例库来说这是近乎零装置的样本——价值不在加法，而在把已经很好的空间调到刚好能走秀、也刚好能拍照。社交图片因此不需要解释场景，观众一眼认得出这是哪里。

JACQUEMUS Fall-Winter 2026 "Le Palmier" 25 January 2026 — Musée National Picasso-Paris, Paris Design and production: Bureau Betak Source: public information published by Bureau Betak.

JACQUEMUS took its Fall-Winter 2026 collection back to the Musée National Picasso-Paris and called it "Le Palmier". The house is a seventeenth-century mansion in the Marais that had already hosted the brand once before. This time Bureau Betak added nothing to it: no runway deck, no backdrop, no installation, only a stone staircase used as a route.

The space was the whole design. The main stair coils up from the entrance hall — pale limestone treads, carved arches, a balustrade of black wrought iron with brass finials — a circulation route that existed for going up and down. Between the two floors it opens into a double-height stairwell with warm beige stone, grey-green panel doors, and several Picassos hung on the turns, their gilded frames catching what light there was. Guests were not seated in rows; they stood on the landings and along the galleries, leaving the middle of the stair clear.

The show was organised as a descent. Models started at the top, stopped one by one on the steps to make a staggered composition, then moved down. Because the stair spirals, the audience saw profiles, backs and the view from above, and each silhouette changed as the body turned. The production workload therefore sat in three places rather than in building: cleaning every tread, re-choreographing where the audience stands, and getting the light right.

Lighting was the only scenography. Colour temperature was held low, close to the warmth of the first lamp switched on after dusk; light fell from above and from the side, leaving a thin gold film on the limestone, throwing long shadows onto the wall, spreading a round hat brim into an ellipse on the stone. Shadows were largely left unfilled, the arches stayed black, and models walked out of the dark into the light and back again.

Clothes and staircase measured each other. The wide disc hats were much broader than the shoulders and had to be turned sideways at the narrow part of the flight; coats were heavy oatmeal wool with a clean shoulder and a vented hem that did not fly when walking down stone; black leather shorts, sheer black chiffon dresses, grey flannel bustiers over trumpet skirts — each material kept its own layer in the low light. One red-and-white striped passage was the rare strong colour, like a flag dropped into the warm stone.

On content and communication: what this show handed to the press was the image of people walking into an old house, not of a brand building a set. The budget went into coordination, cleaning and lighting, and the return was a set of spatial photographs that can be reused indefinitely — the depth of the stair, the circle of a brim, the length of a shadow. For a case library it is a near-zero-installation sample: the value of the production is not in addition but in tuning an already good room until it is exactly walkable and exactly photographable. The house framed the evening as the first glow of a party, and the venue carried that reading: a stair is where guests arrive, not where a catwalk would be built. The brand's social output followed the same logic; the images need no caption to explain the place, because the place is instantly recognisable.

Source: public information published by Bureau Betak.

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