LACOSTE 2026 秋冬系列 巴黎

LACOSTE 2026 秋冬系列（Washed Out Match）｜LACOSTE 2026 秋冬系列｜2026-03-09｜巴黎 罗兰·加洛斯

拉科斯特把秋冬秀搬回了球场。3 月 9 日，2026 秋冬系列在巴黎罗兰·加洛斯的 Philippe Chatrier 中心球场上发布，主题叫 Washed Out Match——被雨冲淡的一场比赛。这是品牌第一次把秀场直接放在这块法网主场地，也是这一季所有视觉的起点。

空间的选择本身就是叙事。Philippe Chatrier 是红土球场的原型：一圈看台围住一块赭红色的地面，尺度大、边界清楚，任何东西放进去都会显得小。设计师没有试图填满它，而是把秀场压成一条贴着地面的长带——模特沿着球场的一侧走，观众席退到看台与球场之间，红土留在中央不被覆盖。这样处理的结果是，整块红土成为布景，而走道只占其中一条线。

「被雨冲淡」这件事在场地里被做成了真实的物理条件。红土被处理成湿的、深浅不匀的状态，像一场雨刚停；场地边缘留着积水的痕迹，光线压得低，颜色偏灰。这套处理让红土从「运动场地」变成「天气现场」——观众看到的不是一块维护良好的球场，而是一场被中断的比赛之后的场地。

服装与场地是同一条线索。系列从 René Lacoste 1923 年在多维尔那场雨战出发：那场比赛他被雨浇透，衣服贴在身上，却赢了。这一季把那种「湿透之后的运动服」重新做了一遍——网球 Polo 被拉长、领口松开、面料做成水洗后的软塌感；球衣的条纹被冲淡，颜色像被雨水稀释过；外套做成半透明，套在贴身针织外面，走动时能看到里面的结构。整个系列没有离开网球，但也没有做成復刻，而是把「湿」这个状态当成一种剪裁条件。

制作上最难的是控制红土。秀场的红土要做湿度处理，既要有被雨淋过的颜色，又不能扬尘；模特走过的脚印会留在场地上，这些痕迹本身成为画面的一部分，但必须在每一轮走秀之间保持一致。灯光以低角度侧光为主，压在湿红土的表面上，形成一层反光的膜，比任何背板都更有效。

传播层面，这场秀给出的是一组很少见的画面：赭红色的地面、灰色的天光、被水洗过的衣服。它不依赖装置，也不依赖明星，靠场地本身的记忆点完成识别——罗兰·加洛斯的红土在全世界都有辨识度，而「在这里办一场时装秀」这件事本身就是新闻。

Lacoste took its autumn/winter show back to the tennis court. On 9 March the Fall-Winter 2026 collection was presented on the Philippe Chatrier centre court at Roland-Garros in Paris, under the title Washed Out Match. It was the first time the house staged a show on that particular court, and the setting became the starting point for every image the collection produced.

The choice of space is the narrative. Philippe Chatrier is the prototype of a clay court: a ring of stands around an expanse of ochre ground, large in scale and hard-edged, a room in which anything placed inside looks small. Rather than trying to fill it, the designer compressed the runway into a single band close to the ground. Models walked along one side of the court, the audience sat between the stands and the playing surface, and the clay was left uncovered in the middle. The result is that the entire court becomes the set, and the runway occupies only one line of it.

The "washed out" idea was built as a physical condition rather than a graphic one. The clay was treated to a wet, uneven state, as though a rain shower had just stopped; traces of standing water remained at the edges, the light was kept low and the colour pushed towards grey. That treatment turns the clay from a maintained sports surface into a weather event — what the audience sees is not a well-kept court but the ground after an interrupted match.

Clothes follow the same line. The collection starts from René Lacoste's 1923 match at Deauville, where he was soaked through, his shirt clinging to him, and still won. This season rebuilds that "soaked sportswear": tennis polos are elongated with loosened collars and washed-soft fabric, the stripes on shirts are faded as if diluted by rain, and outer layers are made semi-transparent over close-fitting knits so the structure underneath shows as the wearer moves. Nothing leaves tennis, and nothing is a replica either; wetness is treated as a cutting condition.

In production terms the hard part was controlling the clay. The surface had to be treated for moisture so that it held the colour of rain without becoming dust; footprints stayed where models walked, and those marks became part of the image, but had to stay consistent between each pass. Lighting was low, mostly side-lit and pushed across the wet clay to create a film of reflected light — more effective than any built backdrop, and cheaper.

The guest seating was placed low, on the court surface rather than in the stands, which matters more than it sounds: from down there the clay fills the whole field of view, and the stands above become architecture rather than seating. Front-row photographs therefore have clay in the background instead of other guests, which is why the images read as a sports venue and not as a runway.

The collection also carried the tennis wardrobe into evening. Track jackets were cut long and belted, tennis dresses appeared in washed terry, and a series of knits came in the faded green and clay-red palette of the court itself. Accessories were minimal — a soft racket bag and a low tennis shoe — because the venue was already loud enough.

The set was struck within a few hours of the last exit, since the court returns to its normal use on the following day; the whole build sat on top of the existing surface rather than cutting into it.

For communication, the show produced a set of images rarely seen in a fashion context: ochre ground, grey daylight, clothes that look washed. It relies on no installation and no celebrity; the identifying detail is the venue itself. Roland-Garros clay is recognisable worldwide, and the fact of staging a fashion show on it is the story.

## 备注

- 官方：Lacoste Fall-Winter 2026 Runway Show「Washed Out Match」，2026-03-09，Philippe Chatrier 中心球场（罗兰·加洛斯） - 创意总监：Pelagia Kolotouros；灵感：René Lacoste 1923 年多维尔雨战 - 来源：corporate.lacoste.com、Hypebeast、WWD（2026-03）

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