RICK OWENS AW26 男装 TOWER 巴黎

RICK OWENS 2026 秋冬男装系列｜RICK OWENS Men Autumn-Winter 2026-2027「TOWER」时装秀（巴黎男装周官方日程）｜2026-01-22｜巴黎 东京宫

东京宫的展厅被灌满烟。不是薄雾，是能把人半身吞掉的浓烟，几道光柱从顶部切下来，模特从烟里浮出来，先看到的是鞋——圆头、厚底、像被放大过的警靴，一步一顿地压过来。这是 Rick Owens 2026 秋冬男装秀，系列名为「TOWER」：既是「爱之圣殿，光之塔」，也是一句为爱与希望做的祈祷；但塔也可以是管制，于是肩章被取下又重新做成戏仿。

布景比往季收得很紧。过去他常让模特走场馆外的长阶、涉过喷泉，这一次舞台留在室内：烟、光、地面，三样东西。音乐是 Ryoji Ikeda 的《Ultratronics 11》，由 Jeff Judd 重新混成金属般的脉冲，声音与烟一起把空间压成一个密闭的仪式现场。没有装置、没有投影，观众的注意力被迫集中在轮廓与材质上——这是制作上的选择，也是这一季最清楚的表达：当环境被抽空，衣服必须自己站住。

材质承接了这个任务。黑色公牛皮的合身外套像实验室的防护服，用带子系合；Kevlar 被当作面料使用，这种纤维强度是钢的五倍，原本属于防弹装备；姬路产的蜡感牛皮做成可拆解的两件式外套，短夹克剥开露出更长的背心层；喜马拉雅羊毛堆在肩背。长度及地的头饰在每一套里出现，模特要靠手把布拨开才能看清路，走得慢，反而把体积感和重量感放大。整场色调停在黑、灰、米与土色，偶尔一段淡紫，像在灰烬里留的一块布。

争议也被做进衣服里。军装元素在开场被刻意剥掉，随后以夸大的方式回归：过大的肩线、被拉长的廓形、像制服又不像制服的扣合方式，构成一种对权威的戏仿。Rick Owens 自己在后台引用 David Bowie 的《Fashion》——「我们是暴徒小队，正开进城来」——把「力量着装」推到近乎怪诞的程度，再用剪裁把它拉回可穿的范围。

从传播上看，这场秀提供的是一组极难复制但极易识别的画面：烟柱里的高个剪影、夸张的圆头靴、及地头饰。它不依赖明星嘉宾，也不依赖装置，靠的是氛围与轮廓的辨识度。对案例库来说，这是「减法制作」的另一种样本——把预算从搭景转到烟机、灯光与音乐，用环境本身完成叙事，同时把服装的材质细节留在了近距离的图片里。

RICK OWENS Men Autumn-Winter 2026-2027 "TOWER" runway show Paris Men's Fashion Week official calendar — 22 January 2026 Venue: Palais de Tokyo, 13 Avenue du Président Wilson, Paris Agency: LamodeenImages Source: public information published by lamodeenimages.

The hall at the Palais de Tokyo was filled with smoke — not a haze but a density that swallowed people to the waist. Light beams cut down from above, and the models surfaced through it, boots first: round-toed, platform-soled, exaggerated like police issue, each step landing with weight. This was Rick Owens' Autumn-Winter 2026 menswear show, titled TOWER — "temple of love, tower of light", a prayer for love and hope, with the acknowledgement that towers can also be about enforcement. Epaulets were deliberately stripped from bikers and outer shirts, then brought back as parody.

The set was tighter than in previous seasons. Owens has often sent models down the long steps outside the venue or through the water fountain; this time the stage stayed indoors: smoke, light, floor. The soundtrack was Ryoji Ikeda's Ultratronics 11, remixed by Jeff Judd into a metallic pulse, and sound and smoke together compressed the room into a sealed ritual. With no installation and no projection, attention was forced onto silhouette and material — a production decision that also carried the season's argument: when the environment is emptied out, the clothes have to stand on their own.

Material took on that task. Close-fitting coats in glossy black bull leather tied like laboratory garments; Kevlar, five times stronger than steel and normally used in body armour, was treated as fabric; waxy cowhide from Himeji was cut into two-piece garments where a cropped jacket peeled away to reveal a longer vest beneath; Himalayan wool piled at the shoulders. Floor-length headdresses appeared in every look, and models used their hands to part the fabric so they could see where they were going — a slower walk that magnified volume and weight. The palette stayed in black, grey, beige and earth tones, with an occasional passage of pale mauve like a strip of cloth left in the ash.

The controversy was built into the clothes. Military references were removed at the start and then returned in exaggerated form: oversized shoulders, elongated silhouettes, fastenings that read as uniform without being uniform — authority turned into parody. Backstage, Owens quoted David Bowie's Fashion — "we are the goon squad and we're coming to town" — pushing power dressing toward the grotesque and then pulling it back with tailoring into something wearable.

The house has used the Palais de Tokyo repeatedly, and the building's raw concrete and long sightlines do much of the work before any set is built. Owens founded his label in 1994 in Los Angeles and has shown in Paris since 2003, building a vocabulary of volume, drapery and heavy leather that makes a change of method legible to his audience. This season the shift was audible as much as visible: the metallic remix replaced the live choirs and orchestras of past shows, and the absence of a built environment meant the collection had to be read at walking pace, in near-darkness, with only the smoke to separate figure from ground.

For communication, the show produced a set of images that are hard to copy and easy to recognise: tall silhouettes inside columns of smoke, the exaggerated round-toed boots, the floor-length headdresses. It relied neither on celebrity guests nor on built scenery, but on atmosphere and the recognisability of shape. For a case library it is another example of production by subtraction — moving budget from set construction into smoke, light and sound, letting the environment carry the narrative while close-up photographs preserve the material detail.

Source: public information from lamodeenimages.

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