JEANNE FRIOT SS27 巴黎

JEANNE FRIOT｜JEANNE FRIOT Spring/Summer 2027「Hysteria」走秀（巴黎男装周官方日程）｜2026-06-24｜巴黎

Palais de Tokyo 的低层展厅，混凝土柱、剥落的白砖墙、外露的钢桁架和管道，顶棚临时贴了白色薄膜，白色阶梯看台沿墙摆开。这不是布景，是把建筑原本的毛坯状态留给观众。

开场是一声尖叫。新娘造型的模特从侧口冲出来，白色裙撑、胸衣上散开的绑带、撕裂的裙摆。传统上用来收尾的新娘，被放到了第一套，而且是跑着出来的。观众席先是一静。

颜色只有两个。前十七套是白，临床的、机构的、被约束的白；之后转黑，剪裁变硬，出现拳击、机车、赛车的语汇，衣服从病人变成要动手的人。

束带是她的签名。这一季它不再只是装饰，而是约束器的形状：肩带、腰封、垂下来的皮带、金属扣。它们有时收紧，有时全松，意义在两者之间滑动。

面料处理很杂。百褶 organza 做成 Madame Grès 式的垂坠，Lycra 连体衣配过膝绑带凉鞋，衬衫配骑行短裤，格纹网纱裙，还有看起来像被胶带缠住的裙子。

收尾与乳胶艺术家 Matisse Di Maggio 合作：数百片羽毛浸过乳胶，做成上衣和尖肩迷你裙，像一只翅膀被沥青粘住的鸟。压轴的是 Claude-Emmanuelle，夜场里的熟面孔。

妆发推同一个方向：漂白眉毛、白色睫毛、湿发贴着头皮。观众席里有很多社群的面孔，这在巴黎男装周并不常见。

Jeanne Friot 是法国设计师，同名品牌以升级改造面料、皮革束带和性别流动的剪裁立住。这是她的第九个系列，第二次进官方日程。

内容与传播：这场秀不靠美传播，靠叙事。尖叫、奔跑、绑带，三个动作就能说清主题；图片里最好用的是动势，跑、回头、裙撑散开，而不是站定的全身。放在骄傲月，立场本身就是内容。

制作判断：布景成本几乎为零，钱全在衣服、妆发、选角和那一声尖叫上。这是低布景、高概念的做法，也是年轻品牌在官方日程上最现实的打法。

The show took place on a lower level of the Palais de Tokyo, in a room of concrete columns and whitewashed brick with patches peeling away, steel trusses and ducts left exposed, the ceiling temporarily lined with white sheeting, white stepped benches set along the wall. Nothing was dressed. The unfinished state of the building was the set, and the audience sat inside it rather than in front of it.

It opened with a scream. A bride came through the side entrance at a run, crinoline swinging, the straps of her bodice streaming loose, the hem torn. The figure that traditionally closes a show was placed first, and she was running rather than walking, which set the tempo for everything after her.

Two colours only. Seventeen looks in white, clinical and institutional, the white of a ward or a sheet; then black, with tailoring that hardened and references to boxing, motorcycling and racing entering the room. The wardrobe moved from patient to someone about to fight.

Straps and belts are Friot's signature, and this season they stopped being decoration and took the shape of restraints: shoulder straps, corset belts, lengths of leather left hanging, metal buckles. Sometimes they cinched the body, sometimes they fell open, and the meaning slid between the two positions.

Fabric was handled in many registers. Pleated organza fell like Madame Gres, a Lycra bodysuit was paired with thigh-high buckled sandals, shirting ran over cycling shorts, there were checked mesh dresses, and pieces that looked wrapped in packing tape, echoing the strapping across the collection.

The close came from a collaboration with the latex artist Matisse Di Maggio: hundreds of feathers dipped in latex, built into a top and a sharp-shouldered minidress, a bird whose wings have been tarred so it cannot fly. Claude-Emmanuelle walked the last passage, and the room read the reference immediately.

Hair and makeup pushed in the same direction: bleached brows, white lashes, wet hair flat to the skull. The effect was less beauty than diagnosis. The benches held a lot of community faces, which is still not usual at a Paris menswear show, and the casting did as much for the argument as any garment.

Jeanne Friot is a French designer whose label has built itself on upcycled fabric, leather strapping and cutting that refuses a fixed gender. Hysteria is her ninth collection and her second on the official calendar, which makes the scale of the production notable: this is not a house with a budget to hide behind.

Communication is where the show is cleverest. It does not travel on beauty, it travels on narrative: a scream, a run, a set of straps, three moves that explain the theme before anyone reads a note. The images that work have movement in them, a body running or turning, a crinoline breaking open, not a still full-length. Placed inside Pride month, the position is the content. It also helps that the clothes photograph as graphic shapes, white on black, which is what a phone screen wants.

Production came down to a decision about where money should not go. The set cost almost nothing. The budget sat in the clothes, the hair and makeup, the casting and that single scream on the soundtrack. Low set, high concept is the most realistic strategy available to a young label on the official calendar, and this was a clean example of it.

Source: public information published by lamodeenimages.

-end-

图片及内容来自网络及品牌公开信息，出处见网络

文字来自 AI 编辑完成，AI信息自我辨识