Off-White FW26「MR. DAVIS」 巴黎

Off-White｜Off-White 2026 秋冬系列「Mr. Davis」（Ib Kamara 设计，Miles Davis 致敬系列）｜2026-03-05｜巴黎 亨利四世中学（Lycée Henri-IV）

三月五日上午十一点半，Off-White 把秀放在巴黎第五区亨利四世中学的庭院里。浅色石材的立面围出一个方形院子，一侧是连续的拱廊，石板地面被昨夜的雨洗过，中央放着一颗巨大的绿色球体，草地上另有一尊深色小雕像。

观众坐在拱廊下与院子两侧，模特沿着石板路穿过整个庭院，从校门方向走到建筑深处。秀开始前没有音乐铺垫，第一段声音是现场录的鸟叫与脚步，随后 tendai 为这场秀做的原创配乐才进来。

这一季名为「Mr. Davis」，Ib Kamara 把 Miles Davis 与 Betty Davis 两个人的音乐与穿着拆开重组：尼龙与蕾丝拼在一起，牛仔做过做旧与染色，红色亮片刺绣的品牌标志被简化成丝网印在丝绸上，再用粗弹力绳一样的带子系住；七十年代的廓形、被改写的波点反复出现。品牌还与 Miles Davis 遗产方做了正式合作，把他在马里布的家、他的面孔、以及 1971 年曲目《Yesternow》的名字印在关键单品上。

配乐由伦敦制作人 tendai 完成，五天时间在 Church Studios 做完，与 Kamara、Fabriana Pallidino、Morell Maison 一起工作。他把这场秀的声音形容为自由的、抽象的，正好接上 Virgil Abloh 生前多次提到的 Miles Davis。

把秀放进一所仍在使用的中学，意味着场地本身不能改：拱廊、石板路、雨后的水痕都保留原样，制作方只在院子中央加了一颗绿色球体作为唯一的当代物件。Off-White 由 Virgil Abloh 于 2013 年创立，2021 年他去世后，Ib Kamara 接手品牌的创意方向。这一季把秀放在学校而不是惯常的展馆，也让「致敬」这件事少了一点舞台腔。

传播层面，这个场地的价值在于「不像秀场」。学校庭院、拱廊、石板路，天然带着日常与历史的双重质感；绿色球体是唯一的当代物件，在一片古建里非常跳。模特在真实的天光下走，照片不需要修光就有层次。对品牌来说，把一个爵士乐手的一生放进一所法国中学的院子里讲，比搭一个舞台更省力，也更容易被记住。

At half past eleven on the morning of 5 March, Off-White staged its show in the courtyard of the Lycée Henri-IV in the fifth arrondissement of Paris. Pale stone facades enclosed a square yard, with a continuous arcade along one side. The paving had been washed by overnight rain. A large green sphere sat in the middle, and a small dark statue stood on the grass nearby.

Guests sat under the arcade and along two sides of the yard. Models crossed the whole courtyard on the stone paving, entering from the street gate and walking deep into the building. There was no musical build-up; the first sound was recorded birdsong and footsteps, and only then did tendai’s original score come in.

The collection is titled “Mr. Davis” and was presented as a single co-ed lineup, menswear and womenswear on the same runway, a format the courtyard made easy to read. Ib Kamara took Miles Davis and Betty Davis apart and put them back together: nylon mixed with lace, denim worn and dyed, the house’s logo embroidered in red sequins then simplified into a screen print on silk and tied with thick bungee-like cords. Seventies silhouettes and rewritten polka dots ran through the lineup. An official collaboration with the Miles Davis estate allowed images of his Malibu home, his face and the title of his 1971 track “Yesternow” to be printed on key pieces.

The score was made by the London producer tendai in five days at Church Studios, working closely with Kamara, Fabriana Pallidino and Morell Maison. He described the sound as freeform and abstract, which connects to Virgil Abloh’s repeated references to Miles Davis as a way of learning.

It is also the kind of setting that keeps a show from feeling sealed off from the street. For communication, the value of the venue is that it does not look like a fashion venue at all. A school courtyard, an arcade and wet stone carry both the everyday and the historical at once; the green sphere is the only contemporary object and it stands out sharply against the old building. Models walked under real daylight, so the photographs have depth without retouching. Telling the life of a jazz musician inside a French schoolyard is cheaper than building a stage, and far easier to remember.

Putting the show inside a working school means the site cannot be remade: the arcade, the paving and the rain marks were left as they were, and the production added a single contemporary object, the green sphere, at the centre of the yard. Off-White was founded by Virgil Abloh in 2013; after his death in 2021, Ib Kamara took over the creative direction of the house. Choosing a school instead of a usual exhibition venue also takes some of the theatre out of a tribute, which suits a collection that wanted to feel lived-in rather than monumental.

It also solves a problem that faces every tribute collection: how to make a reference feel physical rather than archival. Here the answer was location and sound. The courtyard gave the show a place that already belonged to another century, and the score gave it a pulse. Between them, the clothes did not have to shout their references; they could be read as garments first, with the Miles Davis story running underneath. That balance is what makes the images travel beyond the runway audience.

Source: public information published by Bureau Betak and the brands.

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