Loro Piana 26/27 秋冬女装 米兰

Loro Piana 2026-2027 秋冬女装系列｜Loro Piana「Nomadic Reverie 游牧遐想」秋冬系列发布（米兰时装周）｜2026-02-27｜米兰 Cortile della Seta

Loro Piana 这一季没有离开自己的院子。2026-2027 秋冬系列在米兰总部 Cortile della Seta——「丝之庭院」——发布，把品牌最熟悉的一处室内空间改成一趟行进的列车。这个 1924 年在意大利北部 Quarona 创立的羊绒与羊毛品牌，六代经营后被 LVMH 收入旗下，长期把「原料」当作品牌叙事的核心；这一次它要讲的是原料被带去哪里的问题。官方的说法是「游牧遐想」（Nomadic Reverie）：宾客进入后，像坐在车厢里看窗外景致流转，时间与远方的印记在空间里慢慢凝聚。

主题落在佩斯利花纹上。纹样以浓郁的大地色与南瓜色铺开，从入口一直贯穿到展厅深处，把整个空间串成一条线。佩斯利对印花工艺要求极高——它要在羊绒这类轻柔材质上做出细腻的渐变与精准的边界，同时不破坏面料本身的柔软与肌理。品牌选择把它做成空间的主色，而不是压在衣服上的装饰。这个纹样本身走过很长的路：它从波斯与克什米尔的披肩图案出发，十九世纪经苏格兰佩斯利镇（Paisley）的机织业扩散到欧洲，才有了今天这个名字——把它用在「旅程」这个主题上，等于把纹样自己的来历也编进了叙事。

空间的组织是这场发布最值得记的部分。主展厅里，人形模特与包覆 Sopravisso 羊毛的模块式展台错落摆开，新款包袋就陈列在上面；沿墙一排打蜡木质格间，格间里放 Grande Unita 羊绒围巾。这两种陈列方式把「穿」与「用」分开：中间是身体，墙边是配件。九道屏风把展厅分成若干区域，佩斯利纹样就印在屏风上，成为分隔而不是隔断——视线可以穿过去，动线却被打断。五条手工披肩单独成组，用同一套工艺语言收尾。

对品牌来说，这是一次把「旅行」这个叙事落到实体空间的做法：没有搭火车车厢的道具，而是用屏风、灯光与材质把「流动」做出来；也没有把主场让给装置，展厅本身就是品牌的总部院子，建筑与产品是同一套语言。对案例库的价值在于，它示范了一种高密度陈列的处理方式：当同季产品线很宽（成衣、包袋、围巾、披肩），如何用一个纹样、一道屏风和一排格间把它们分开，又不让空间显得零碎。发布之后，媒体对这场秀的评论集中在「不靠装置」这一点上——在同季米兰日程里，它既没有现场表演，也没有搭出的风景，展厅里最响的东西就是衣服本身。对品牌来说，这还是一次订货季的开场：展厅同时承担了给买手看货、给媒体拍照的两件工作。

Loro Piana did not leave its own courtyard for this collection. The Fall/Winter 2026-2027 line was presented at the Cortile della Seta, the courtyard at the maison's Milan headquarters, and the room was turned into a train in motion. The house was founded in Quarona, in northern Italy, in 1924, stayed in family hands for six generations and now sits inside LVMH; its story has long been told through raw material, and this season the question was where that material travels. The official title was Nomadic Reverie: guests entered as if seated in a carriage watching the landscape pass, with the marks of time and distance settling into the space.

The theme landed on paisley. The pattern was laid out in deep earth tones and pumpkin shades, running from the entrance into the depth of the hall so that the room read as one continuous line. Paisley is a demanding print on cashmere and other light fabrics: it has to hold a fine gradient and a precise edge without flattening the softness and grain of the cloth underneath. Here it was used as the colour of the room rather than as decoration applied to garments. The motif has travelled a long way itself: it began as a shawl pattern in Persia and Kashmir and reached Europe through the weaving trade of Paisley in Scotland, which is where the English name comes from. Putting it on a theme called Nomadic Reverie folds the pattern's own history into the narrative.

The organisation of the space is the part worth recording. In the main hall, mannequins stood among modular plinths wrapped in Sopravisso wool, with the season's new bags displayed on them. Along the walls ran a row of waxed timber compartments holding Grande Unita cashmere scarves. The two systems separated wearing from carrying: the body in the middle of the room, the accessories at its edge. Nine screens divided the hall into zones, and the paisley print was carried onto the screens themselves, so they cut the route without blocking the view. Five hand-finished shawls were grouped on their own, closing the sequence in the same visual language. Lighting stayed low and even across the hall, so the screens read as colour fields rather than as lit objects, and the wool on the plinths kept a visible depth instead of flattening under spotlights.

For the brand, this was an attempt to put the idea of travel into a physical room without building a train: movement was suggested through screens, light and material rather than through props. The hall was the maison's own courtyard, and architecture and product spoke the same language. For a case library, the value lies in how it handled a wide product range — ready-to-wear, bags, scarves and shawls — using one pattern, one run of screens and one wall of compartments to keep the space legible instead of scattering it.

The choice of venue also matters commercially. Showing inside its own headquarters rather than a rented palazzo lets Loro Piana control every surface the collection is seen against, and it turns the building itself into part of the season's story. Guests moved through a working maison rather than a set, which is a different proposition from the theatrical venues that dominate fashion week.

Across the wider Milan schedule, the presentation stood out for restraint: no live performance, no constructed landscape, and no attempt to out-scale the clothes. The collection was allowed to be the loudest thing in the room, and the paisley screens gave the eye somewhere to rest between looks. Review coverage after the show centred on that decision, and the same hall then went on to serve the selling season, working as a showroom for buyers as much as a set for photographers.

信息来源：LVMH 集团官方新闻稿（2026-02-27）；Loro Piana 官方发布稿。

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