SAINT LAURENT MEN'S SUMMER 202

SAINT LAURENT（圣罗兰）｜SAINT LAURENT 2027 春夏男装秀（巴黎男装周，Anthony Vaccarello 创作）｜2026-06-23｜巴黎

这场男装秀开在巴黎商品交易所的圆厅里。建筑本身已经叠了两层时间：外围是十八世纪谷物交易所的穹顶与壁画，中央是安藤忠雄插进去的清水混凝土圆筒，模板对拉孔均匀留在墙上，筒底绕着一圈木面长凳。Bureau Betak 没遮住任一层，只把地面抬起来。

圆厅中央立起白色圆形平台，台面略高于脚踝，边缘是一条干净的弧线。雾从平台四周溢出，顺弧线往下淌，在地面聚成缓慢移动的白。模特脚踝以下被雾吃掉，人像从云里长出来。平台不设台阶，上下被藏在视线之外。

墙上的开口被处理成一个「门」。门洞内衬浅色木饰面板，正中嵌着黄铜的 YSL 标识，尺寸接近真人高度。它在雾的对面，被一束光单独照亮，成为整个圆厅里仅有的一点暖色。观众沿圆筒外侧坐下，没人正对秀道，都是侧看——这是圆厅自带的观看方式。

白天光从天窗落下，穿过穹顶下的结构，在混凝土墙上投出斜向格栅影子。影子随太阳移动，秀开始前后位置不同。加上平台与雾的白，整个空间只有三种色调：混凝土的灰、木的暖、雾的白。

衣服在这种环境里被看得很清楚：上身的长外套、软肩、宽松的长裤，都靠着「轮廓」而不是细节取胜。雾把下半身简化掉，观众的注意力被抬到肩线、领口和衣摆的摆动上。这是很经济的一步——不搭复杂布景，只控制地面与空气。

从传播看，这套设置几乎是为影像设计的。雾是一种天然的滤镜，它抹掉观众、抹掉地面的杂物，只留下人与白；任何一张照片都自带「梦境」的质感，不需要后期。圆厅的弧线与穹顶又提供了很强的空间识别度，画面里只要出现混凝土弧墙和格栅影子，就知道是哪一场秀。品牌在这里不需要额外的符号，标识已经嵌在木门里。

This menswear show took place in the rotunda of the Bourse de Commerce in Paris, a building where two periods already sit inside each other: around the edge, the dome and frescoes of an eighteenth-century grain exchange; at the centre, the cylinder of board-formed concrete that Tadao Ando inserted into it, tie-holes left evenly in the walls and a ring of timber benches running around its base. Bureau Betak covered neither layer. It raised the floor instead.

A white circular platform was built in the middle of the rotunda, its surface a little above ankle height, its edge a single clean arc. Fog spilled from the rim and ran down the curve, gathering on the floor into a slow-moving white. Models disappeared below the ankle, shoes reduced to an outline, figures seeming to grow out of cloud. The platform had no visible steps; the act of getting on and off was kept outside the audience's line of sight.

An opening in the wall was treated as a door. The reveal was lined in pale timber panels with a brass YSL monogram set into the centre at roughly human height. It stood opposite the fog, lit by a single source, and supplied the one warm note in the rotunda. The audience sat along the outer curve of the cylinder, so that nobody faced the runway directly and everyone watched from the side — which is how a round room works.

Daylight came down through the glass dome and, passing the structure beneath it, laid a diagonal grid of shadow across the concrete. That shadow moved with the sun, so its position differed before and after the show began. With the white of the platform and the white of the fog, the room held three tones: the grey of concrete, the warmth of timber, the white of mist.

Clothes read clearly in that environment. Long coats over the body, soft shoulders, wide trousers — everything depended on silhouette rather than detail. Fog simplified the lower half and lifted attention to shoulder line, collar and the swing of a hem. A coat moving through mist is a better argument than any embroidery. It is an economical move: no complex scenery is required, only control of the floor and of the air above it.

For communication, the set was designed for images. Fog works as a filter that removes the audience and the clutter of the floor and leaves only figures and white, so that every photograph arrives with a dreamlike quality and needs no retouching. The arc of the rotunda and the dome above give the space an identity that cannot be substituted: show a curved concrete wall with a grid of shadow and the show is identified. No extra symbol is needed, because the monogram is already set into the wooden door, framing every exit so that each model left through a lit rectangle.

What the room also does is slow the audience down. A circular runway has no beginning and no end, so guests keep turning their heads rather than waiting for a single entrance, and the show becomes something watched in fragments. That restlessness is useful: it produces many small images instead of one ceremonial one, which is why the photographs look less like documentation than like stills.

Source: public information published by Bureau Betak.

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