Perrier-Jouët x Iris van Herpen, Press Dinner 东京

Perrier-Jouët × Iris van Herpen｜媒体晚宴（press dinner）：庭园入口与石材餐室长桌，香槟与时装的合作发布｜2026-09｜东京 庭园与石材餐室

一场媒体晚宴，两层空间。东京，九月。入口是一段日本庭园：苔地、石桥、暗水、竹篱，白花压在池边，灯从下往上打亮树干与石面。人从庭园走进餐室，光由冷转暖，声音由外转内——这段路就是开场。

餐室是一间石头房间。墙是大块浅米色石材对拼，天花的折面同样贴石，接缝收成细黑线，筒灯藏在折线里，只向下打。房间没有吊灯，也没有中心，视线被压到桌面高度；长桌顺着房间走，把空间分成几条并行的带。

长桌铺米白亚麻，两侧是浅木的 Y 形靠背椅。桌心不是花球，是一条苔藓带：银莲花、野草、细枝从苔里长出来，高低不齐，像一段搬进来的地被。苔上每隔一段立一支蜡烛，火苗很低；杯是手绘银莲花的香槟杯，白瓷盘配银器，菜单卡上印着两个名字。

靠墙立着三支黄铜柱，高低错落，各托一件东西：一瓶香槟裹着白色褶皱欧根纱，纱上有金色刺绣；一瓶罩在玻璃钟罩下，罩底是黄铜盘；还有一块画着瓶形的纸板。背后的墙是深绿，金色细线勾出植物与花，字也是金色，写着 CHAMPAGNE PERRIER-JOUËT 与 IRIS VAN HERPEN。绿、金、白，颜色到此为止。

传播上，这是一场 press dinner，产出的是一桌可被拍的画面。桌面压低，蜡烛与苔藓给出近景层次，手绘杯与刺绣纱给出可放大的细节；媒体坐在桌前，镜头自然往下走。合作不必上台讲：一边是香槟的银莲花纹样，一边是时装对材质与结构的处理，两者都落在手工与自然形态上，苔与花就是物证。对案例库来说，这是用桌面陈设替代舞台装置的样本——没有背景板，没有投影，靠材料、颜色与光把两个名字放进同一张照片。

说服力在尺度的递减：庭园给出气候，房间给出墙体，桌子给出细节。人一路走进来，注意力一次比一次收窄，最后落在一只杯子上。

A press dinner in two spatial layers. Tokyo, September. The entrance was a Japanese garden: moss ground, a stone slab bridge over dark water, a bamboo fence, white flowers pressed against the edge of the pond, uplights washing the trunks and the stone. Guests walked from the garden into the dining room and the light went from cool to warm, the sound from open to enclosed; that walk was the opening. The garden was small and enclosed, but it did its work before the door was reached: moss underfoot, water to the side, and the sound of the street gone.

The dining room was a stone room. The walls were large panels of pale beige stone butted together, and the folded ceiling was faced in the same stone, its joints closed to a thin black line, with downlights recessed into the folds. There was no chandelier and no centre, so the eye was pushed down to table height. The tables ran with the length of the room, dividing it into parallel bands.

Long tables were laid in off-white linen, flanked by pale wood chairs with Y-shaped backs. The centre was not a bouquet but a strip of moss, with anemones, grasses and thin stems growing out of it at uneven heights, a piece of ground cover carried indoors. Candles stood at intervals along the moss with low flames; the glasses were coupes painted by hand with anemones, the plates white porcelain, the cutlery silver, and the menu cards carried two names. The cloth ran long and curved slightly, so the table read as a continuous surface rather than a series of settings.

Along the wall stood three brass columns at different heights, each holding one object: a bottle of champagne wrapped in pleated white organza with gold embroidery; a bottle under a glass cloche on a brass dish; and a card painted with the outline of a bottle. The wall behind them was deep green, drawn with fine gold botanical lines, and the lettering was gold too, reading CHAMPAGNE PERRIER-JOUËT and IRIS VAN HERPEN. Green, gold and white, and no fourth colour. The bottles were lit from the front so that the organza cast its own shadow on the green, which gave the wall a depth a printed backdrop cannot hold.

For communication, a press dinner produces a table that can be photographed. The table was kept low, candles and moss gave the foreground depth, the painted coupes and the embroidered organza gave details that survive a crop; journalists sat at the table, so the camera naturally travelled downwards. The collaboration did not need to be explained from a stage: on one side the anemone motif of the champagne, on the other the couturier's handling of material and structure, both resting on handwork and natural form, with the moss and flowers as the evidence. For a case library it is a sample of table dressing replacing stage machinery: no backdrop, no projection, only material, colour and light putting two names into one frame.

The argument was carried by scale, diminishing. The garden set the climate, the room set the walls, the table set the detail; walking in, attention narrowed at every step and came to rest on a single glass. That narrowing is the whole design, and it is why the event photographs well from any distance: wide from the garden, mid from the room, close from the place setting.

信息来源：K2 Worldwide 公开信息。

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