LOEWE 2026 秋冬系列 巴黎

LOEWE 2026 秋冬系列｜LOEWE Fall 2026 时装秀（巴黎女装周官方日程）｜2026-03-06｜巴黎

这是 Jack McCollough 与 Lazaro Hernandez 在 LOEWE 的第二季。第一季他们先立规矩，这一季开始玩：媒体把主题概括成「不严肃的奢侈，严肃的乐趣」——衣服被吹起来、被包起来、被做成看起来不太合理的形状，但每一件都能看出工艺。

LOEWE 1846 年在马德里以皮具工坊起家，Jonathan Anderson 在 2013 至 2025 年间把它做成「手工艺实验室」，两位美国设计师接手后，第一步是延续这门手艺，第二步才是加自己的语气。这一季他们做得更松，也更敢开玩笑。

最直观的是体积。几件外套与裙装像被充了气，肩、袖、下摆鼓起来，走动时轻轻晃动；乳胶涂层的吊带裙贴在身上，反光像第二层皮肤；皮革被织成针织的样子，柔软到可以卷起来。这些处理放在别的品牌可能显得奇怪，放在 LOEWE 却成立——这个品牌的历史就是「用手工艺处理奇怪的想法」。

配饰是另一条主线。包袋被做成软塌的、被压扁的、像被人坐过的形状；鞋跟做成不规则的石块状；金属件被故意做得笨重。整体没有一件是「标准奢侈品」的样子，但每一件都清楚地知道自己在开什么玩笑。

空间没有大装置，灯光偏亮，节奏轻快。秀场音乐选得俏皮，模特走得快，有些还带着表情——这在巴黎并不常见。整场像一个被精心安排的玩笑：观众知道这是玩笑，也知道玩笑背后是几个月的手工。

值得记的制作细节在面料：充气的体积靠内置的支撑结构完成，不是靠填充；乳胶涂层要在恒温下处理，否则会起皱；皮革针织需要先把皮裁成细条再编织，一件要花几十个工时。这些是「玩笑」的成本，也是 LOEWE 与其他品牌的距离。

传播层面，这场秀提供的是「怪得好笑」的图：鼓起来的袖子、扁掉的包、石块鞋跟。它们非常适合社交平台，因为一眼就能被记住。对案例库来说，这是一个「用幽默做奢侈」的样本——不靠 logo，不靠明星，靠形状与工艺制造记忆点。

LOEWE Fall 2026 runway show 6 March 2026 — Paris Fashion Week official calendar Venue: Paris Agency: LamodeenImages Source: public information published by lamodeenimages.

This was Jack McCollough and Lazaro Hernandez's second season at LOEWE. The first had set the parameters; this one began to play. The press summarised the theme as unserious luxury and serious fun — clothes that were inflated, wrapped and shaped into forms that did not quite make sense, while every piece still showed its making.

LOEWE began in Madrid in 1846 as a leather workshop, and between 2013 and 2025 Jonathan Anderson turned it into a laboratory for craft. The two American designers who succeeded him had to keep that workshop alive first and add their own voice second; this season they did both, and allowed themselves more humour than in the debut.

Volume was the most immediate effect. Several coats and dresses looked pumped full of air, shoulders, sleeves and hems rising and swaying as the models walked; latex-coated slips sat against the body like a second skin, catching the light; leather was knitted so that it could be rolled up like wool. In another house these gestures might read as odd; at LOEWE they are the house's history, which is a long argument for handling strange ideas with craft.

The set, meanwhile, stayed almost empty: a pale floor, even light, no props, so that the shapes had nothing to hide behind. For a collection this strange, that restraint was the right decision.

Accessories carried the second thread. Bags were soft, squashed, as if someone had sat on them; heels were shaped like irregular blocks of stone; hardware was deliberately heavy. Nothing looked like standard luxury, and every piece knew exactly which joke it was telling.

No large installation was built. The lighting was bright and the pace quick, and the soundtrack was chosen for wit rather than drama; several models walked with expressions, which is uncommon in Paris. The whole thing felt like a well-organised joke, and the audience understood both the joke and the months of handwork behind it.

The production detail is in the fabric. The inflated volumes were held by internal structures rather than padding; the latex coating had to be handled at controlled temperature or it wrinkled; the leather knit required cutting hides into strips and knitting them, dozens of hours per piece. That is the cost of the joke, and the distance between LOEWE and everyone else.

The casting leaned young and slightly odd, with faces that looked like they had wandered in from a party rather than a casting call, and the styling kept the proportions deliberately off — a huge sleeve over a narrow trouser, a squashed bag under the arm. That refusal of polish is what makes the collection legible as a point of view rather than a product line.

The show also made a quiet commercial argument: the bags, which are the house's main revenue engine, were photographed in every look, and the squashed shapes read as new classics rather than as jokes. That balance — weird on the runway, wearable in the store — is what a sophomore collection has to prove.

For communication, the show produced images that are funny before they are luxurious: a swollen sleeve, a flattened bag, a stone heel. They are ideal for social platforms because they are remembered at a glance. For a case library it is a study in using humour as luxury — no logo, no celebrity, with shape and craft doing the work of recognition.

It is also, quietly, the season's most effective argument that craft and fun are not opposites.

Source: public information from lamodeenimages.

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