JACQUEMUS「Le Bonheur」科西嘉

JACQUEMUS｜Jacquemus « Le Bonheur » Spring 2027 系列发布｜2026-06-29｜科西嘉岛利勒鲁斯

2026 年 6 月 29 日上午十点，科西嘉岛利勒鲁斯，Pietra 灯塔下的海岸小径。没有搭建的舞台，也没有围起来的观众区：一条浅色水泥小路从海岬下绕上来，一侧是干砌石墙，一侧是赭色的岩壁与灌木。

布景就是地形。灯塔立在山脊上，白色塔身、绿色灯室，背后是几乎没有云的蓝；海在下方，风一直吹。模特从小路远端一个接一个走来，队列被地形拉成一条线，走近、经过、再走向坡下。

利勒鲁斯是巴拉涅海岸上的小港，灯塔立在港口外的岩岬上，通往它的是一条沿海的小路。秀没有占多少地方：观众站在转弯处，没有座椅，也没有遮挡，要应对的只有太阳与海风。

品牌在官方页面上把「布景」写成一段文字：场景发生在通往 Pietra 灯塔的小路上，风无处不在，清晨的光柔和温暖；一个像微风一样简单的动作，就足以让幸福出现。这段话其实替代了装置说明——没有一件东西是新建的。

系列叫「Le Bonheur」，法语里的幸福。衣服是夏天的：白色长裙、红色连身裤、薄荷绿长裤、草编包与细带凉鞋，面料轻，被风吹起来，裙摆贴在腿上。

走秀没有回程。模特从小路走到尽头就停下，站在岩壁边上，等下一批人上来；队尾的人站成一列，面对海。这个安排把「终场」拆掉了，照片里因此没有常见的集体谢幕，只有人和风景。

传播上，这是一次把地标当布景的做法：画面里有灯塔、海、岩壁和队列，几乎不需要文字说明就能被认出。它也解决了户外秀的两个问题——观众规模与视线——办法是把人数压到很小，把注意力都交给风景与衣服。对品牌来说，这种借景把制作重心从搭建转到选址与天气上，风险更大，换来的是一组别人搭不出来的照片。

Jacquemus "Le Bonheur", 29 June 2026, ten in the morning, on the coastal path below the Phare de la Pietra at L'Île-Rousse, Corsica. Nothing was built and nothing was fenced: a pale concrete track climbs around the headland, a dry-stone wall on one side, ochre rock and low scrub on the other.

The landscape was the set. The lighthouse stands on the ridge — white tower, green lantern — against a sky with almost no cloud in it; the sea sits below, and the wind keeps moving. Models came up the path one after another, and the terrain pulled the queue into a single line: approach, pass, continue down the slope.

The brand's own page describes the décor as a piece of writing rather than an object: the scene takes place along the path leading to the Pietra lighthouse, where the wind is everywhere and the morning light is soft and warm, and a gesture as simple as a breeze is enough for happiness to appear. That paragraph replaces the usual set description, because nothing here was newly made.

The collection was called Le Bonheur — happiness — and the clothes were for summer: long white dresses, a red jumpsuit, mint trousers, straw bags, thin-strapped sandals, fabrics light enough to lift, hems pressing against the legs.

Casting leaned on the island. Reports described a lineup drawn largely from Corsican models, which matters in a place this specific: the clothes were being worn by people the landscape belongs to, and the pictures read as a portrait of a coast rather than a brand visiting one.

There was no return walk. Models reached the end of the path and stopped at the edge of the rock, waiting for the next group to arrive, until the last of them stood in a line facing the sea. That arrangement dismantles the finale: there is no collective bow in the photographs, only people and a view.

L'Île-Rousse is a small port on the Balagne coast, and the lighthouse stands on the headland beyond it, at the end of a coastal path. The show took very little of the site: guests stood at the bend, without seating or shade, with sun and wind as the only conditions to manage.

For communication, this is a landmark used as a backdrop. Lighthouse, sea, rock and a line of figures — the image is identifiable without a caption, which is the point of staging in a place that already exists in the audience's memory. It also solves the two problems of an outdoor show, capacity and sightlines, by keeping the guest list small and giving the attention to the landscape.

For the brand, the trade is clear. Borrowed scenery moves the production effort from construction to location and weather: permits, access, a single narrow path, a morning window when the light behaves. The risk is higher, since nothing can be adjusted once the wind arrives, and the return is a set of photographs that could not be built anywhere else.

Bureau Betak's work on a site like this is mostly invisible: a route surveyed for gradient and surface, a start time set against the sun, a handful of positions found for cameras and for guests, and a plan for the wind that does not involve adding anything to the frame. The restraint is the design, and the photographs are the only thing that gets built.

Source: public information published by Bureau Betak.

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