Rimowa SHKC Flagship Store Opening After-Party 上海

Rimowa 日默瓦｜SHKC 旗舰店开业后的派对：以酒吧与唱片室为主场的夜间活动｜2026-09｜上海 SHKC

一间酒吧，一层木地板，一圈马赛克。Rimowa 上海 SHKC 旗舰店的开业派对没有另搭舞台，而是把场地改成了一间唱片室：木饰面、混凝土、铝与霓虹，四样东西反复出现。

中心是一张 DJ 台。台身包暖色木皮，台面是灰色混凝土，两块板之间留一道细缝；台前用银色钢管与十字扣件搭了一道护栏，管件没有藏起来，接口露在外面。台上两台唱机、一台旋钮混音台，线从台后垂下去。台身正面嵌着一枚霓虹的 M 字标，光是白的，形状取自行李箱的铝框轮廓。

唱片放在地上。一只银色铝壳行李箱打开，箱盖立起，箱底排满黑胶，内部的隔层与绑带还在原位——它被当成唱片箱用，而不是被摆在展台上。这是整场里一个有效的动作：产品退回到被使用的状态，铝壳上的划痕反而成了说服力。

墙面是另一套语言。靠墙一排木饰面矮柜，柜内藏灯；柜前立着发光的 RIMOWA 字母，字距拉开，光从字后透出。柜上靠着黑胶，立着一盏小台灯，放着一张卡片，卡片上印着 THEO CROKER 与一行字。旁边有人吹小号，铜管的声音压过唱机。地面是拼花木地板，靠墙一圈小方块马赛克，把座位区与通道分开。

街上也有这场活动的一部分：一辆黑色老式轿车停在门口，车门上刷着白色的 RIMOWA，用作接送。宾客拎着银色的小箱子进场，箱面在闪光灯下反光——这是这场活动想要的画面：产品不需要展台，它在人手上。

传播上，开业只能剪彩一次，派对可以拍一整夜。DJ、小号、唱片、霓虹、车门上的字、宾客手里的箱子，每个元素都能单独成图，合起来又是一条完整的夜间叙事。把派对放在酒吧式的空间里、而不是货架之间，也解决了空间问题：店内要陈列，不能有烟、有酒、有低音；酒吧可以提供这些，而产品以被使用的方式出现，比在货架上更接近日常。

A bar, a timber floor, a ring of mosaic. The opening party for Rimowa's SHKC flagship in Shanghai did not build a stage; it turned the venue into a record room, and four materials recur in every photograph: timber veneer, concrete, aluminium and neon. The venue already had the bones for it, a long bar with a pale marble top and a leather front, bentwood stools, parquet underfoot, so the build only had to add what was missing.

At the centre was a DJ booth. The body was clad in warm wood veneer, the top was a grey concrete slab made of two panels with a fine joint between them, and a railing of silver steel tube and cross clamps ran in front, the fittings left exposed rather than concealed, so it read as something assembled on site. On the deck, two turntables and a rotary mixer, cables dropping away behind. A neon M was set into the front panel, white light, its outline taken from the aluminium frame of a case. The booth was built as furniture rather than scenery, using the same veneer as the shelving behind it.

The records were kept on the floor, within reach of whoever was playing. A silver aluminium case stood open beside the booth with its lid upright and records packed into the base, the dividers and straps still in place; it was being used as a record crate, not displayed on a plinth. That was the move that carried the night: the product returned to a state of use, and the scratches on the shell became the argument.

The wall was another language. A run of low timber cabinets lined one side with lights hidden inside, and in front of them the RIMOWA letters stood illuminated, widely spaced, light leaking from behind each one. A record leaned against the shelf, a small table lamp stood beside it, and a card carried the name THEO CROKER and a line of type. Nearby someone played trumpet, and the brass cut across the records. The floor was parquet, bounded by a band of small mosaic tiles that separated the seating from the circulation route.

Part of the event was outside on the street: a black vintage saloon parked at the door with RIMOWA painted in white on its side, used as the shuttle. Guests arrived carrying small silver cases that caught the flash. That is the image the night was built to produce: the product does not need a plinth, it is in people's hands, and the car did the work of a poster while moving through the city, putting the name on the street before the door opened.

For communication, a store opening gives one ribbon cutting, while a party can be photographed all night. The DJ, the trumpet, the records, the neon, the lettering on the car door, the cases in guests' hands, each element stands alone as an image and together they make a single night's narrative. Choosing a bar over the store also solved a spatial problem: a store has to display, and cannot have smoke, drink or bass; a bar can, and the product appears in use, which is closer to daily life than a shelf. The room itself stayed low, in light, in height and in sound, so that everything important happened at hand height, and most of the photographs were taken from that height.

信息来源：K2 Worldwide 公开信息。

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