LACOSTE SS27 巴黎

LACOSTE（拉科斯特）｜LACOSTE 2027 春夏系列时装秀（巴黎女装周日程）｜2026-10-04｜巴黎

LACOSTE 把秀放进了红土球场。罗兰·加洛斯的 Court Philippe-Chatrier 换了一种用法：红土不再平整，被堆成阶梯状的看台与坡道，一层一层围住中间的空地，浅灰的座椅从土坡后面升起来。

制作由 lamodeenimages 承接。整个空间的材料只有一种：红土。地面是它，墙是它，台阶也是它。侧墙刷着一行白字，写的是「胜利属于最顽强的人」。

红土有一个别的材料给不了的性质：它会留下痕迹。模特跑过，鞋底带起一层细粉，落回去就是一道新的纹路。灯光从上方斜打，土面的颗粒全部显出来。

土里还压着几片木质构件，形状像展开的扇骨，一半埋进去，一半露在外面。它们不解释什么，只让这片地看起来被人使用过。

衣服跟场地是一路的。条纹针织、短裤、Polo 的变形、宽松的风衣，颜色是土红、米白、深蓝这些球场上的颜色。皮革与丝质混进来，把运动服往城市的方向推了一点。

配饰是斜挎的百褶包、细带凉鞋、白色网球鞋与窄框墨镜。头发被风吹乱，妆很淡，像刚打完一场球。

走秀的方式也不同：模特不是走，是跑。有人在红土上小跑，有人干脆冲过去，裙摆和包一起甩起来。这种安排在照片里留下的是动态，不是姿态。

LACOSTE 1933 年由网球手 René Lacoste 创立，那件带鳄鱼标志的白色短袖衫是它的起点。九十年代之后品牌多次调整方向，近年在 Pelagia Kolotouros 手中重新向网球与法式休闲靠拢。

传播上，红土是一个无法被误认的背景。它不需要解释，辨识度也比多数布景高：一看就知道是网球，一看就知道是法国。观众就坐在土坡边缘，镜头里始终有人的膝盖和鞋。

活动内容与传播在这里合得很紧：场地就是品牌的历史，模特的动作就是产品的用法，照片不需要文字说明就能讲完。秀结束，红土被推平，球场回到球场。

Lacoste put its show on a clay court. Court Philippe-Chatrier at Roland-Garros was given a second use: the red clay was no longer flat but piled into stepped banks and ramps that wrapped around a clearing in the middle, with the stadium's pale grey seats rising behind the earth.

Production was by lamodeenimages. The set used one material only — clay. Floor, wall, step, everything. A line of white letters was painted along the side wall, reading that victory belongs to the most tenacious.

The architecture did the rest. The stadium's concrete bowl sat above the clay like a lid, and the grey seats, with no advertising boards in sight, made the red look redder. Nothing was hidden and nothing was dressed up; the court was simply allowed to behave like a studio.

Clay has a property no other material offers: it keeps a record. When a model runs, a sole lifts a little powder and it settles back as a new line. The light came in from above at an angle, so every grain on the surface registered, and the whole room looked dusted rather than built.

Pressed into the clay were a few wooden components shaped like opened fans, half buried and half exposed. They explain nothing; they simply make the ground look used.

The clothes belonged to the same place. Striped knits, shorts, reshaped polos, loose trench coats, in the colours of a court — earth red, bone, navy. Leather and silk were mixed in, which pushed the sportswear a step toward the city without changing its posture. Shorts came in crisp cotton with a pressed crease, the knits were fine-gauge and close to the body, and one long coat was worn open so that it trailed behind the runner like a flag. Against the clay, every colour went flat and chalky, which is what that ground does to anything placed on it.

Accessories were a pleated bag worn across the body, thin-strapped sandals, white tennis shoes and narrow sunglasses. Hair was left windblown and make-up stayed light, as if the models had just come off a match.

The walk was different too: the models ran. Some jogged across the clay, others sprinted, skirts and bags swinging together. What the photographs caught was movement rather than pose, and the casting favoured people who could actually move — long-limbed, unhurried in the shoulders, comfortable in flat shoes.

René Lacoste, a tennis player, founded the company in 1933, and the white short-sleeved shirt with the crocodile on it was the beginning. The brand changed direction several times from the 1990s, and under Pelagia Kolotouros it has moved back toward tennis and French leisurewear.

For communication, clay is a background that cannot be mistaken. It needs no explanation and is more recognisable than most sets: one glance says tennis, another says France. The audience sat right at the edge of the earth banks, so knees and shoes stayed in frame and the pictures kept a sense of a crowd.

Event and promotion are tightly joined here. The venue is the brand's history, the models' movement is how the product is used, and a photograph needs no caption to finish the sentence. It also lets one set of images run in sport and fashion outlets at the same time, which widens the reach of a single show without extra production.

When it was over, the clay was levelled and the court went back to being a court.

Source: public information published by lamodeenimages.

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