RABANNE 2026 秋冬系列 巴黎

RABANNE 2026 秋冬系列｜RABANNE Fall 2026 时装秀（巴黎女装周官方日程）｜2026-03-05｜巴黎

Julien Dossena 这一季把 RABANNE 往「朋克」推了一步。茶歇裙被做成会散开的流苏与金属网，西装外套上开了拳头大的金属孔眼，像一枚枚穿孔；配饰也跟着走同一条线——链条、铆钉、以及品牌标志性的金属片，被重新组合成可以日常穿戴的尺寸。

RABANNE 的品牌原点就是金属：1966 年 Paco Rabanne 用塑料与金属片做「不可穿的裙子」，把时装从布料里解放出来。Dossena 2013 年接手，用十年时间把这个极端的起点翻译成可以日常穿的衣服——这一季的做法是把「手工」推到前面，让金属重新带上人的手温。Dossena 接手后一直在这个传统里做减法和加法，这一季他把「手工感」放大了——流苏是手工系的，金属网是手工拼的，孔眼的边缘故意留着毛糙，让衣服看起来像刚做完。

观众席排得紧，前排与走道之间只有一步距离，金属件的响声因此听得见。品牌这两年在成衣与配饰两条线上都在扩张，秀场的造型有一半是白天可以穿的：大衣、窄裙、针织，剩下的一半留给夜晚——金属网、亮片与流苏。这种「一半一半」的结构，是 Dossena 让朋克落地的办法。前段是深色为主的一组：黑色大衣、窄裙、长靴；中段开始出现印花与亮片，碎花被做成满身的亮片刺绣，远看像一块会反光的花布；后段回到金属与皮革，短外套配金属网裙，走动时发出细碎的响声。整场没有压轴的戏剧性场面，最后一套是黑色长外套，模特走完灯就暗了。

值得记的制作细节在金属件：孔眼不是印上去的，是真正打穿的；金属网不是整片买来的，是按版型裁好再手工连接的；流苏的长度按身高比例调整，保证走路时不会拖地。这些处理让衣服在照片里显得「重」，但在身上是轻的。

传播层面，这场秀提供的是「可以放大的细节」：孔眼、流苏、金属网。它们适合被拍成特写，也适合被做成短视频里的慢镜头。对案例库来说，这是一个「工艺驱动」的样本——没有布景，靠材料与手工把品牌的历史语言重新说了一遍。

RABANNE Fall 2026 runway show 5 March 2026 — Paris Fashion Week official calendar Venue: Paris Agency: LamodeenImages Source: public information published by lamodeenimages.

Julien Dossena pushed RABANNE a step further into punk this season. Tea dresses were reworked so that they dissolved into fringe and metal mesh, blazers were punched with grommets the size of coins, and the accessories followed the same line — chains, studs and the house's signature metal plates, rescaled for everyday wear.

The house was founded by Paco Rabanne, who in 1966 made dresses from plastic and metal discs and declared that fashion did not have to be sewn. Dossena arrived in 2013 and has spent more than a decade translating that extreme starting point into clothes people can wear on ordinary days; this season he pushed the handwork forward so that the metal carries the warmth of the hand again.

The brand's origin is metal: in 1966 Paco Rabanne made dresses from plastic and metal discs, freeing fashion from fabric. Dossena has spent his tenure adding to and subtracting from that tradition, and this season he enlarged the sense of handwork — fringe tied by hand, mesh assembled by hand, the edges of the grommets left deliberately rough so that the clothes look freshly made rather than finished.

The seating was tight, with a single step between the front row and the runway, so that the sound of the metal could be heard as the models passed. The brand has been expanding both its ready-to-wear and its accessories business, and roughly half of the looks were designed for daylight — coats, narrow skirts, knitwear — while the other half was reserved for the evening: mesh, sequins, fringe. That balance is how Dossena makes punk wearable without softening it.

No large installation was built. The light stayed low and the pace was quick. The first passage was dark: black coats, narrow skirts, tall boots. Then came prints and sequins, with floral motifs embroidered across entire surfaces so that from a distance they read as a piece of reflective cloth. The closing section returned to metal and leather, short jackets over mesh skirts that made a small sound as the models walked. There was no theatrical finale; the last look was a long black coat, and the lights went down.

The production detail worth recording is in the metal. The grommets are punched through, not printed; the mesh is cut to pattern and joined by hand rather than bought as a sheet; the fringe is measured against each model's height so that nothing drags. These decisions make the clothes look heavy in photographs and feel light on the body.

The casting and the soundtrack repeated the punk logic: models walking fast, some with wet hair, to a hard, repetitive beat that never resolved into a chorus. The room stayed dark until the last passage, when the metal caught the light and the collection's argument became visible all at once.

What the collection leaves behind is a method rather than a mood: take a material the house invented for shock value, cut it to a wearable pattern, and let the hand show in the finish. The punk reference stays, but it is carried by construction rather than by styling, which is harder to copy and easier to sell.

For communication, the show offers details that can be enlarged: a grommet, a fringe, a mesh panel. They photograph well in close-up and work in slow motion on video. For a case library it is a craft-driven sample — no scenery, with the house's historical language retold through material and handwork.

It is a useful record of how a heritage house keeps a radical origin alive without turning it into costume.

Source: public information from lamodeenimages.

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