SAINT LAURENT MEN'S WINTER 26

SAINT LAURENT（圣罗兰）｜SAINT LAURENT 2026 冬季男装秀（Anthony Vaccarello 创作）｜2026-01-27｜巴黎

一月的巴黎，SAINT LAURENT 男装秀回到商品交易所的圆厅。与夏天的做法相反，这次空间被「收起来」：整片地面铺沙褐色地毯，吞掉石材的反光和脚步；观众沿圆墙坐进暗处，只留中央一片空场。穹顶壁画浮在上方，被压得很暗，颜色只剩褐与金。

只有一件东西，在墙上。一扇门洞的内侧贴满金箔，箔片之间留着细小缝隙与重叠，表面像被反复打磨；黑色 YSL 标识压在金箔正中，接近两个人的高度。它不发光，但在几乎没有其他光源的房间里，金箔把光收进去又吐出来，比别处都亮。

灯是黑色 PAR 灯，三三两两立在圆厅边缘的灯架上，直打中央。没有吊挂的桁架，没有投影，没有屏幕。模特一个一个走出来，穿过空场，再走回去；因为观众坐在四周，每一次往返都被不同角度同时看到。地毯把声音吸掉，能听见的只有鞋跟落在织物上的闷响。

这种处理与衣服的关系是直接的。冬季系列里有大量体积：宽肩长大衣、皮质短外套、包住手的袖口。空场与暗光让体量读成剪影，走动比细节更重要。金箔门洞提供仅有的一点暖色，人从它前面经过，黑衣被金色反衬，边缘更清楚。

从制作看，这是一次成本很集中的做法：钱花在一面墙的金箔与地毯上，其余都靠建筑本身。圆厅的弧线、穹顶的高度、石材的质感都不必复制；灯光只做一件事，把中间那块地面照亮。对一个一年要做几场秀的品牌，借建筑既省，又能保持调性。

从传播看，金墙是这一季被记住的画面。金色与黑色是品牌自带的两色，不需要额外解释；一张照片里有金箔、有标识、有一个走过的人，信息就齐了。秀图因此在社交平台上传播很快，也少被误认成别的品牌。地毯的处理同样有用：地面一消失，画面里只剩下人和墙，构图自动变得干净。

In January, SAINT LAURENT's menswear show returned to the rotunda of the Bourse de Commerce. The approach was the opposite of the summer one: this time the room was closed down. The whole floor was covered in a sand-brown carpet that swallowed both the reflection of the stone and the sound of footsteps; the audience was arranged along the curved wall and seated in shadow, leaving an empty field in the middle. The painted dome floated above, pressed almost to black, its colours reduced to brown and gold.

A single object stood against the wall. The inside of a doorway had been covered in gold leaf, the sheets laid with small gaps and overlaps, the surface looking as though it had been worked over many times; the black YSL monogram sat at its centre at roughly the height of two people. It did not emit light, but in a room with almost no other source, the gold took light in and gave it back, and became the one bright surface in the space.

The lamps were black PAR units, set in twos and threes on stands around the edge of the rotunda and aimed at the centre. No flown truss, no projection, no screen. Models came out one at a time, crossed the empty field and walked back; because the audience sat on every side, each pass was seen from several angles at once. The carpet removed the sound, so the sound that carried was a heel landing on fabric.

The treatment related directly to the clothes. The winter collection carried a great deal of volume: wide-shouldered long coats, short leather jackets, cuffs that covered the hands. An empty floor and low light let that volume read as silhouette, so that walking mattered more than detail. The gold doorway supplied the one warm note, and as figures passed in front of it the black cloth was set against gold, which made the edge of a coat easier to see.

In production terms, the money was concentrated: it went into the gold on one wall and into the carpet, and everything else relied on the building. The curve of the rotunda, the height of the dome and the texture of the stone did not need to be reproduced; the lighting had one job, which was to bring up the patch of floor in the middle. For a house that stages several shows a year, borrowing architecture this way is both cheaper and consistent.

For communication, the gold wall is the image people keep. Gold and black are the two colours the brand already owns, so nothing has to be explained; a photograph containing gold leaf, a monogram and one walking figure carries the whole message. Images travelled quickly on social platforms and were rarely mistaken for another house. The carpet did similar work: once the floor disappeared, only the person and the wall remained, and the composition cleaned itself up.

There is a discipline in the restraint. By removing everything that could distract — scenery, screens, a visible lighting rig — the show left the audience with a single comparison to make, between a body in cloth and a wall of gold. That is a narrow brief, and it is harder to carry off than a large installation, because there is nothing to hide behind.

Source: public information published by Bureau Betak.

-end-

图片及内容来自网络及品牌公开信息，出处见网络

文字来自 AI 编辑完成，AI信息自我辨识