【2026进博会】L’ORÉAL GROUP 欧莱雅集团「美之奥德赛」

L'ORÉAL GROUP 欧莱雅集团｜第九届中国国际进口博览会「美之奥德赛」（The Beauty Odyssey）双展台｜2026 年 11 月 5 日–11 月 10 日｜上海 国家会展中心

欧莱雅今年是第九次参加进博会，主题「美之奥德赛」（The Beauty Odyssey）。与往年不同，这次是双展台：一座在消费品展区，一座在法国馆，两处同时揭幕。官方给的说法是「历九弥新」——第九次来，讲的是同一件事的第九个讲法。

主展台的组织方式是按主题切块，八个展区并列：新龄美、美发、美之道、生态圈、质量与安全各占一块，加上首发与科技展示区。这种做法和常见的「品牌墙 + 产品柜」不一样——不是按品牌排队，而是按议题分区，参观者走完一圈，看到的是欧莱雅理解的六个「美」的问题，而不是二十几个品牌 logo 的集合。27 个品牌、120 件产品散在这些区块里，不集中陈列。

整个展台最重的一处是「新龄美探索舱」。这是一个可以走进去的互动装置，用舱体把「肌肤长寿科学」这件抽象的事变成一段有入口、有进程、有出口的体验。参观者在里面看到的是数据与影像，出来之后才看到产品——顺序是反的：先给认知，再给货。

另一个体量最大的是全球首发的艺术装置「龙凤美神」（KALLISTÉ TWINS）。它占了展台的视觉中心位，是整个空间的收口点，也是今年所有传播物料的第一画面。装置本身是 AI 参与创作的，与展台「AI 向美」这条线呼应。

法国馆的展台是另一套逻辑：四个紫色功能区，尺度比主展台小，但色彩统一、边界清楚，靠颜色区分动线，没有主展台那种多主题并置的复杂度。两座展台一主一辅，一个讲全景，一个讲国别与集团身份。

产品层面，本届带来近 30 款首发新品，是历届最多：1 个艺术装置全球首发、4 项美妆科技亚洲首发（巴黎卡诗 K-SPA「院线级」护理、兰蔻菁纯驭时光能面膜、多效光能美发棒、全新人类皮肤生物工程），以及五大新品牌的中国首秀——COLOR WOW、Skinbetter Science，加上葆蝶家、巴黎世家、恺芮得三个香水品牌加入集团后的首次集中亮相。

从执行角度看，双展台的难度不在搭建本身，而在两套内容要在同一周内互不打架：主展台承担集团叙事与首发，法国馆承担国别身份与品牌矩阵，物料、动线、接待口径全部要分开做又不能割裂。Havas Events Shanghai 承担了这次从概念到落地的全案。

L'Oréal returned to the China International Import Expo for a ninth consecutive year under the theme "The Beauty Odyssey", and this time the structure changed: two booths instead of one, one in the Consumer Goods exhibition area and one in the French Pavilion, unveiled in the same week. The group's own framing was "nine times over, still new" — the ninth visit, told as the ninth version of the same story.

The main booth is organised by theme rather than by brand. Eight exhibition zones run side by side — healthy ageing beauty, hair, the philosophy of beauty, the ecosystem, quality and safety, plus debut and technology areas. That is a different logic from the familiar brand wall with product counters behind it: visitors walk a route of questions rather than a queue of logos. Twenty-seven brands and 120 products are distributed across those zones instead of being gathered in one place.

The heaviest element on the booth is the Healthy Ageing Exploration Capsule, an interactive chamber you step inside. It turns skin longevity science — an abstract claim in most beauty marketing — into a sequence with an entrance, a progression and an exit. Visitors see data and moving image inside, and only meet the products on the way out. The order is deliberately reversed: cognition first, merchandise second.

The largest single object is the globally debuted art installation, KALLISTÉ TWINS, placed at the visual centre of the booth as the point where the whole space resolves, and used as the opening image of the campaign. The piece was made with AI involvement, which ties it to the booth's "AI towards beauty" thread.

The French Pavilion booth runs on a different logic: four purple functional zones, smaller in scale than the main booth but consistent in colour with clear boundaries, using colour to separate circulation rather than stacking themes. One booth carries the panorama, the other carries national identity and the group's brand portfolio.

The nine-year record matters to how the booth reads. Brands entering China through the expo — close to half of the group's current Chinese portfolio first appeared here — arrive with a different expectation than brands already on shelf, and the layout gives the new ones their own showing points rather than folding them into the existing counters.

On product, the group brought close to thirty debuts this year, its largest number at any edition: one global debut art installation, four Asian debuts in beauty tech — Kérastase K-SPA salon-grade care, Lancôme Absolue time-reversing mask, a multi-effect light-based hair tool, and a new human skin bioengineering platform — and the China debut of five new brands, including COLOR WOW and Skinbetter Science, alongside the first collective showing of Bottega Veneta, Balenciaga and Creed fragrances since joining the group.

The volume also changes the circulation. With 27 brands and 120 products spread across eight zones, the booth has no single route: visitors who follow the theme sequence see the group argument, while visitors who arrive for one brand can cut straight to its zone. Both readings work, which is what keeps a group booth from reading as a catalogue, and it is the main reason the thematic split was worth the extra build complexity.

Read as production, the difficulty of a two-booth build is not the construction. It is keeping two content systems from contradicting each other inside one week: the main booth carries group narrative and debuts, the French Pavilion carries national identity and portfolio, and the materials, circulation and hosting scripts have to be separated without becoming two unrelated events. Havas Events Shanghai delivered the full scope, from concept to execution.

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