LOUIS VUITTON 2026 秋冬女装系列 巴黎

LOUIS VUITTON 2026 秋冬女装系列｜LOUIS VUITTON 2026 秋冬女装系列｜2026-03-10｜巴黎 卢浮宫方庭

路易威登把这一季的秀放回卢浮宫方庭。3 月 10 日，2026 秋冬女装系列在 Cour Carrée 发布，Nicolas Ghesquière 给出的线索是「时尚的人类学」——从品牌创始人从法国汝拉山区走到巴黎的这段人生出发，把「山里人穿什么」当成一个研究题目，再把它翻译成今天的衣服。

空间是这一季的主角。方庭本身就是卢浮宫最完整的四方院落之一，四面石立面围出一块开阔地。设计师没有在里面再搭一间房，而是在地面上铺开一层苔藓覆盖的「新景观」：土丘、草坡、被苔藓包住的石头，像是把一段山地直接搬进了巴黎市中心。这层景观压低了视线，观众席几乎与地面齐平，模特从坡上走下来而不是从后台走出来——出场这件事被做成了「从地形里出现」。

这套景观的作用不止是布景。方庭的石材是米黄色的，苔藓是深绿的，两种颜色放在一起互相吃光，所以灯光必须重新做：主光从侧上方打，把苔藓的质感拉出来，同时让石立面退到暗部，形成一圈背景。地面高低不平，模特走位要按坡道重新排，鞋跟的高度也因此被调整过——这是时装秀里少见的「场地反过来改服装」的情况。

服装与景观是同一条线。系列处理的是「材质与地形」的关系：羊毛、粗纺、皮革、毛皮被做成厚重的体积，肩部与外套的轮廓像山体的切面；针织做成贴身的一层，像登山者的内层；颜色以苔绿、土褐、石灰、暗红为主，全部落在景观的色域里。配饰上出现了绑带、扣具、大号软包与厚底靴，都是能走路的配置。

制作上，最大的成本在苔藓。真苔藓在室内活不过一天，所以景观是混合材料做的：底层是结构架，表层是真苔藓与染色苔藓混铺，局部用织物做草叶；为了保持湿润感，现场持续加湿，灯光热量也被控制。这套做法在秀后被整体回收，苔藓进入堆肥，结构架拆走——这是路易威登近年在秀场可持续上的固定做法。

传播层面，这场秀提供的是一组「有地形的画面」：模特走在坡上、苔藓在脚边、石墙在背后。它比纯黑盒秀场更适合拍全景，也更适合短视频——坡道让走动的身体有了上下起伏，画面天然有运动感。对案例库来说，这是一个「用景观改空间」的样本：不建房子，只铺地面，就把一座 17 世纪的庭院变成了山。

Louis Vuitton took this season's show back into the Cour Carrée of the Louvre. The Fall-Winter 2026 women's collection was presented there on 10 March, and Nicolas Ghesquière framed it as an anthropology of fashion: starting from the founder's own route from the Jura mountains of France to Paris, treating what mountain people wear as a research question, and translating the answer into clothes for now.

The space is the lead character. The Cour Carrée is one of the most complete square courtyards in the Louvre, four stone facades enclosing an open floor. Rather than building a room inside it, the design laid a moss-covered "neo-landscape" across the ground: earth mounds, grass slopes and moss-wrapped stones, as if a section of mountain had been moved into central Paris. That layer drops the eye line, puts the audience almost at ground level, and lets models descend from the slope instead of walking out of a backstage door — the entrance becomes an emergence from terrain.

The landscape does more than decorate. The courtyard stone is a pale beige and the moss is deep green, and the two eat each other's light, so the lighting had to be rebuilt: key light from high side angles to pull texture out of the moss, the facades pushed into shadow to form a dark ring behind. The ground is uneven, so model routes were re-blocked around the slopes, and heel heights were adjusted accordingly — a rare case of the venue changing the clothes rather than the other way round.

Clothes run on material and terrain. Wool, coarse weave, leather and fur are built into heavy volumes, with shoulders and coat shapes cut like rock faces; knits sit close as a base layer, the way a climber wears one; the palette stays in moss green, earth brown, limestone and dark red, all inside the landscape's own colour range. Accessories include straps, buckles, oversized soft bags and thick-soled boots — equipment for walking.

In production, the cost sits in the moss. Real moss will not survive a day indoors, so the landscape was built as a hybrid: a structural base, a surface of mixed real and dyed moss, fabric leaves in places, continuous humidification to hold the damp look and lighting heat kept under control. After the show the whole thing was taken apart and the moss sent to compost, the frames removed — part of the house's standing approach to show sustainability.

The location also carries a decade of history. Ghesquière has shown at the Louvre before, and the house has used the Cour Carrée as a recurring venue, so the audience arrives already knowing what the space looks like empty. That familiarity is what makes the landscape legible: people can see exactly what has been added, which is a different effect from dressing an unfamiliar room.

The collection's outerwear carried most of the weight, floor-length coats in felted wool and shearling cut wide at the shoulder, worn over narrow trousers and thick boots. Daywear came in layered knit and quilted pieces, and evening arrived as long dresses in dark silk with the hem left raw. Bags were soft and unstructured, carried by hand rather than on the shoulder, which suits a route that goes up and down a slope.

For communication, the show yields images with terrain in them: models on a slope, moss at their feet, stone walls behind. It photographs better in wide shots than a black-box set, and better on video too — the slope gives walking bodies a rise and fall that reads as movement on screen. For a case library it is a sample of changing a space with landscape only: no building erected, just a floor laid down, and a seventeenth-century courtyard becomes a mountain.

## 备注

- 官方：Louis Vuitton 2026 秋冬女装秀，2026-03-10，巴黎卢浮宫方庭（Cour Carrée）；创意总监 Nicolas Ghesquière - 主题口径：An Anthropology of Fashion / Super Nature（官方与 LVMH 稿） - 来源：louisvuitton.cn、LVMH、VOGUE、WWD、Harper's Bazaar（2026-03）

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