JEANNE FRIOT AW26「AWAKE」巴黎

JEANNE FRIOT 2026 秋冬系列｜JEANNE FRIOT「AWAKE」时装秀（巴黎男装周官方日程开幕秀）｜2026-01-20｜巴黎 圆点剧院

巴黎男装周的第一场秀，没有在白色帐篷里，而是在圆点剧院的红丝绒舞台。开门前，门厅里单独陈列着一件银色皮革「铠甲」——那是 2024 年巴黎奥运会开幕式上骑手的服装，由 Jeanne Friot 设计，当晚有 2300 万人看过。它被红色隔离绳围着，像一件提前摆好的注脚：这位 30 岁的法国设计师，是从公共记忆里走进时装周的。

15 时 30 分，灯暗，红幕拉开，鼓声起，一段金属质感的口白宣布开场。这场秀名为「AWAKE」，由 23 位洛林芭蕾舞团的舞者与约 15 位模特共同完成，编舞是曾参与奥运开幕式的 Maud Le Pladec。舞者不是背景：他们以群像的方式穿插、包围、推动模特，队形像一场被编排过的集会，走秀的节奏因此被不断打断、重组。终场是两位「新娘」在台上接吻——据现场报道，这是巴黎秀场上的第一次。

服装把「抗争」写得直接。T 恤上印着反转的「Revolution」与「Love」，另一句是「It's Never Too Late to Fight Against Fascism」。材质与工艺却往高级定制方向走：紧身裙用手工缝缀的亮片，牛仔裤缀上流动的鸵鸟羽毛，格纹被做成模糊的错视外套；标志性的「腰带裙」这一季加了紧身胸衣结构，每一条腰带都在试衣时按模特身形单独打版，据设计师说，一件要做三个月。

「祖母」是另一条线索。开场造型来自刚去世的祖母 Micheline 的衣橱，被重新剪裁成带小腰带、宽肩的西装；千鸟格套装是献给她的段落，随后过渡到香烟裤与及膝裙。整场不分男女装，设计师说，在一个二元的世界里做非二元的衣服，本身就要选边站。

空间上，剧院提供了现成的舞台感：红幕、台口、乐池与观众席的落差，把「表演」与「观看」的关系摆得很清楚。品牌没有另搭布景，只在门厅做了那件铠甲的陈列，把奥运的记忆接到秀场入口。对案例库来说，这是一场「以人和动作为布景」的秀：预算没有花在装置上，而是花在 23 位舞者、编舞与三个月的工艺上，空间被表演重新定义。

JEANNE FRIOT Autumn-Winter 2026 "AWAKE" runway show Paris Men's Fashion Week official calendar — 20 January 2026, 15:30 Venue: Théâtre du Rond-Point, Champs-Élysées, Paris Agency: LamodeenImages Source: public information published by lamodeenimages.

The first show of Paris Men's Fashion Week did not take place in a white tent but on the red velvet stage of the Théâtre du Rond-Point. Before the doors opened, the foyer held a single object behind a red cord: the silver leather armour worn by the rider at the opening ceremony of the Paris 2024 Olympic Games, designed by Jeanne Friot and seen by an audience of millions. It worked as a footnote placed in advance — this 30-year-old French designer was arriving at fashion week from public memory rather than from the trade.

The foyer arrangement was deliberate: one garment, isolated and lit, with the theatre's own red carpet leading past it toward the auditorium, so that the audience entered the show through a piece of the brand's history.

At 15:30 the lights went down, the red curtain opened, drums sounded and a metallic voice announced that the show was about to start. Titled AWAKE, the presentation was carried by twenty-three dancers of the Ballet de Lorraine alongside roughly fifteen models, choreographed by Maud Le Pladec, who had also worked on the Olympic ceremony. The dancers were not a backdrop: they surrounded, interrupted and pushed the models in group formations that read as an organised assembly, so that the rhythm of the runway was constantly broken and rebuilt. The finale brought two brides kissing on stage, reported as a first for a Paris runway.

Friot is not a newcomer to visibility: her silver armour of interlocking belts, worn by the rider at the 2024 opening ceremony, was seen by a television audience of millions, and her clothes have appeared on Madonna and in Emily in Paris. The Rond-Point was filled with around six hundred guests, including the theatre director Thomas Jolly, and the house was showing on the official calendar for the first time — a move from the basement performances of 2022 to the centre of the week.

The clothes stated the politics directly. T-shirts carried Revolution reversed into Love, and the line It's Never Too Late to Fight Against Fascism. The making, however, moved toward couture: a skintight dress with hand-embroidered sequins, jeans with flowing ostrich feathers, a checkered coat rendered as a blurred optical print, and the signature belt dress rebuilt with a corset base — every belt patterned on the model during fittings, three months of work per piece according to the designer.

Her grandmother formed the second thread. The opening looks were reworked from the wardrobe of Micheline, who had died recently: suits with a small belt at the side and wide shoulders, followed by houndstooth tailoring as a tribute, then cigarette silhouettes and knee-length skirts. The collection refused the men's/women's split; Friot noted that making non-binary clothes in a binary world means choosing a side.

Commercially, the collection also marked a widening of the audience: after the Olympics, Friot said she had been receiving requests from customers in their fifties and sixties, and the atelier was taking on couture-level work to answer them.

The theatre supplied the staging. Red curtain, proscenium, the drop between stage and seating made the relationship between performance and audience explicit, and the brand built no set beyond the armour in the foyer, which connected the Olympic memory to the entrance. For a case library, this is a show that used people as its scenography: the budget went into twenty-three dancers, a choreographer and three months of craft rather than into an installation, and the space was redefined by the performance inside it.

Source: public information from lamodeenimages.

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