Loro Piana STUDIES Chapter I「On the Plaid」米兰

Loro Piana｜STUDIES 研究展第一章「On the Plaid」——以毯与格纹为线索的材料研究展（米兰设计周）｜2026-04-21｜米兰

Loro Piana 的 STUDIES 是一个研究性的展览系列，第一章叫「On the Plaid」，放在米兰设计周。空间被一层米色织物包起来，墙不是刷的，是绷的。

入口是一道窄廊，两侧全是织纹布，接缝对得很齐；正对入口的墙上印着系列标识和一段双语说明。廊子尽头开一个方口，能看见里面亮着的展柜。

展厅里立着一排橡木框架，比例像织机，也像画架。框架上下各一根木轴，织物绷在中间，用铜钉压边；框架之间的空隙刚好够一个人走过。

展品是布，不是衣服。一块米白底上起凸的锦缎，纹样是缠枝花，靠光才看得出；一块棕白斜格的毯料，格子被拉斜；一块象牙底上绣着红色蓟花，线脚密得发亮。

在意大利语里，plaid 指的不是格纹，是那种可以随身带的毯子。展览从这个词出发，把毯、格、纹样放回同一个源头：羊毛、织机与人的手。

还有几幅装在木框里的纸本：植物、风景、线条，颜色都淡，像是从织物上拓下来的。它们和布并置，说的是同一件事——图案先被画出来，再被织出来。

地面是米色剑麻地毯，踩上去没有声音；天花压得低，灯藏在框架上方，光只往下走，织物的起伏被侧光拉出来。

制作上是「软搭建」。墙面的织物整幅绷上去，用木框和暗扣固定，拆下来还能用；框架是标准件，现场组装。成本集中在织物的打样和缝制上。

品牌 1924 年在意大利北部的毛纺产区创立，做面料起家，成衣是后来的事。所以这场展览不需要解释「我们也会做衣服」，它只需把布料放回被研究的状态。

这类展览的画面很安静：没有模特，没有动作，全是平视的特写和织物的表面。它不适合短视频，适合被放大看，读者是会摸面料的那批人。STUDIES 的作用不是卖货，是把「贵」翻译成「有依据」。空间几乎不造型，钱花在布上，画面靠质感撑住。

Loro Piana STUDIES, Chapter I — "On the Plaid" April 2026 — Milan Design Week Agency: LamodeenImages

Loro Piana's STUDIES is a research-led exhibition series, and the first chapter, On the Plaid, opened during Milan Design Week. The space is wrapped in a single beige textile: the walls are not painted, they are stretched.

The entrance is a narrow corridor lined with woven cloth on both sides, seams aligned with some care; facing the door, the series mark and a short bilingual note are printed small on the fabric. At the end a square opening gives onto a lit vitrine.

Inside, a row of oak frames stands at the proportion of looms, or of easels. Each has a wooden roller at the top and the bottom, the textile stretched between them and pinned along the edges; the gaps between frames are just wide enough for one person to pass, and from behind you see that there is another layer.

The exhibits are cloth, not clothes. A damask in ivory with a raised vine pattern that only appears when light rakes it; a brown-and-white blanket check pulled off the square, with the wobble of a hand-drawn line left in; an ivory ground embroidered with red thistles, stitching dense enough to shine.

In Italian, plaid does not mean a check. It means the travelling rug, the blanket you carry. The exhibition starts from that word and puts blanket, check and pattern back at the same source: wool, loom and hand.

A few framed works on paper hang among them: plants, landscapes, lines, all pale, as if rubbed off the textiles. Placed beside the cloth they make one argument — the pattern was drawn before it was woven.

The floor is beige sisal and takes no sound; the ceiling is low, the lights hidden above the frames so that light only travels downward and side-light lifts every relief in the weave. There is no dark furniture anywhere: wood, linen and paper, and the only colour comes from the cloth.

As production it is soft construction. The wall cloth is stretched in single widths over timber and hidden fixings, and can be taken down and reused; the frames are standard components assembled on site. The budget sits in sampling and sewing the fabric, which is the part of the process the house knows best.

Loro Piana was founded in 1924 in the wool districts of northern Italy and began as a fabric maker; ready-to-wear came later. The exhibition therefore does not need to explain that the house can also make clothes. It only has to put cloth back into the state of being studied — pattern, yarn, weave, hand — and let visitors read the drawings beside the weaves, the sample beside the finished length.

Images from a show like this are quiet: no model, no movement, eye-level close-ups and surfaces. They do not suit short video; they suit being enlarged. They travel through design and architecture press and the brand's own channels, and the readers are the people who touch fabric for a living.

STUDIES is not there to sell. It translates expense into evidence: almost no scenography, the money in the cloth, the image held up by texture. For a case library it is the cleanest example of material replacing set — a pavilion built out of the product it is showing.

Source: public information published by lamodeenimages.

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