SACAI 2026 秋冬男装秀 巴黎

SACAI 2026 秋冬男装系列｜SACAI Men Autumn-Winter 2026-2027 时装秀（巴黎男装周官方日程）｜2026-01-25｜巴黎 Carreau du Temple

巴黎男装周最后一天，阿部千登势把 Carreau du Temple 的玻璃顶下改成一个被打破的房间。一道石膏板隔墙横在场地中间，墙面上是被打穿的洞，边缘翻着碎屑；门是碎的，地上散着瓦砾。模特从洞口穿过去，动线被强制分成两段——这是 SACAI 这一季最直接的表达：先破坏，再重建。

主题来自拳击手穆罕默德·阿里。秀场播的是 Queen 的《I Want to Break Free》，随后是 Tears for Fears 的《Everybody Wants to Rule the World》，音乐由 Michel Gaubert 编排。阿部在后台说，她想表达「打破墙壁、跳出框架」的力量，也希望从「必须做得卖得动」的期待里挣脱出来。阿里出拳的图片被印在黑色上衣上，背面是他的那句话：你此刻所想，就是你正在成为的样子。

服装延续 SACAI 的拼接语法，但把「三段式」做成了结构原则：肩到腰、膝到踝之间被插入一段新的裁片，于是同一件衣服在上下两个方向之外多出一条赤道。最抢眼的是裤裙混合体——按宽腿裤裁，再截短，露出的部分像裙；外套则被横向剖开，下段缝在里布上，走动时两截各自摆动，却仍是一件。开场是一列黑白正装衬衫与松开的领带，随后进入皮革与剪羊毛、提花与格纹、工装与礼服的章节。

联名是这一季的另一条主线：与 Levi's 合作的硬挺深色丹宁，把 Type 1 与 Type 2 的轮廓拆开重组，皮衣细节被加到圆弧形夹克上；与 A.P.C. 合作，用 Jessica Ogden 的拼布被面图案做出似彩窗的几何纹样；鞋履则是与 J.M. Weston 合作的厚底德比。拳击手套造型的包、以及压在衬衫前襟的一排金属饰件，把「拳击」这条线索收在配饰上。

从传播看，这场秀的可复述性很强：一堵被打穿的墙、一首《I Want to Break Free》、一件裤裙合体的单品。现场嘉宾（Pharrell Williams 等）与音乐一起把画面推向社交平台，而「破坏—重建」的叙事又足够简单，能被一句话讲完。对案例库来说，它的价值在于空间与结构的一致性：墙上的洞和衣服上的插入段，是同一个动作在两个尺度上的重复。

SACAI Men Autumn-Winter 2026-2027 runway show Paris Men's Fashion Week official calendar — 25 January 2026 Venue: Le Carreau du Temple, Paris Agency: LamodeenImages Source: public information published by lamodeenimages.

On the last day of Paris Men's Fashion Week, Chitose Abe turned the space under the glass roof of the Carreau du Temple into a room that had been broken open. A plasterboard partition ran across the middle of the venue with holes punched through it, edges crumbling; doors were shattered and rubble was scattered on the floor. Models walked through the openings, so that the route was forced into two halves — the most direct statement of the season: destruction first, reconstruction after.

The theme came from the boxer Muhammad Ali. The soundtrack opened with Queen's I Want to Break Free and later moved to Tears for Fears' Everybody Wants to Rule the World, mixed by Michel Gaubert. Backstage, Abe said she wanted to express the power to break through a wall and think outside the box, and to escape the expectation that clothes must above all be sellable. An image of Ali throwing a punch was printed on a black top, with his line on the back: what you are thinking is what you are becoming.

Abe founded SACAI in 1999 after years beside Junya Watanabe at Comme des Garçons, and hybridisation has been her method from the beginning: knitwear with tailoring, military with evening, one garment carrying two or three incompatible ideas at once. This season she also brought the menswear and pre-fall womenswear lines closer together, so that several passages read as coed, and the show was framed as a statement about creative independence as much as about clothes. The glass roof of the Carreau du Temple stayed visible throughout, and the set never tried to hide the building: the broken wall sat inside an existing hall rather than replacing it.

The collection continued SACAI's grammar of splicing, but turned a three-part construction into a structural principle: a new panel inserted between shoulder and waist, and between knee and ankle, gave each garment an equator in addition to its north and south. The strongest piece was the trouser-skirt hybrid — cut like a wide-leg trouser, then cropped so that the remaining section reads as a skirt. Jackets were sliced horizontally, the lower section sewn to the lining so that the two halves moved independently while remaining one garment. The show opened with a long line of black-and-white formal shirts and loose ties, then moved through leather and shearling, jacquard and check, workwear and tailoring.

Collaboration was the second thread: with Levi's, stiff dark denim that took the Type 1 and Type 2 jacket silhouettes apart and rebuilt them, with biker details added to rounded jackets; with A.P.C., using Jessica Ogden's patchwork quilt patterns to produce geometric motifs that resemble stained glass; and with J.M. Weston for a platform Derby shoe. A bag shaped like a boxing glove, and a row of metal charms fixed to a shirt front, carried the boxing reference into accessories.

The finale moved into the quilted pieces made with A.P.C., cut as skirts and jackets, a quieter ending than the punched wall but the clearest link between the show's craft story and its theme of reuse.

For communication, the show is highly retellable: a wall punched through, a Queen song, one garment that is both trousers and skirt. Guests including Pharrell Williams, together with the soundtrack, pushed the images onto social platforms, and the destruction-and-reconstruction narrative is simple enough to summarise in a sentence. For a case library, its value lies in the consistency between space and structure: the holes in the wall and the inserts in the clothes are the same gesture repeated at two scales.

Source: public information from lamodeenimages.

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