SHIATZY CHEN AW26-27 巴黎

SHIATZY CHEN（夏姿·陈）｜SHIATZY CHEN AW26-27 系列时装秀（巴黎女装周官方日程）｜2026-03-09｜巴黎

3 月 9 日，夏姿·陈在巴黎发布 AW26-27 系列。这个台北品牌 1978 年创立，四十多年做的始终是同一件事：把中式服装的结构与手工放进西式剪裁。

秀场是巴黎一处旧厂房的挑高长厅。两侧排列黑框工业高窗，玻璃上还留着旧编号；天花裸露着钢架、管道和一整条轨道射灯；座位是刷白的木栈板长凳，凳面夹着牛皮纸座位卡。没有背景板，没有屏幕。

唯一的大动作在地面。整条走道铺满金绿色的干苔草，厚度接近草皮，尽头那面墙也用同样的材料封住。灰白的水泥地消失了，长厅变成一条被压平的野地，纵深被拉到最长。

这个处理先改变了声音。鞋跟落在草上没有回声，模特走近的几秒钟里，观众听到的是衣料摩擦。空间没有提供情绪，它先把耳朵清空。

造型从立领开始。白色立领长外套在腰间收成一个大蝴蝶结，下面配黑色皮短裤与长手套；黑色长风衣用一圈白色羽毛压住领口；红色蕾丝套装、红色连体衣、金线织锦长裙依次出现。颜色只有白、黑、红、金，出场顺序就是节奏。

面料是这场秀真正的分量。厚羊毛、提花织锦、蕾丝、皮革、羽毛交替出现，一套衣服上常有两三种质地的对撞。刺绣集中在门襟、袖口和下摆，远看是暗纹，近看才见针脚。

剪裁上，西式的肩与腰被保留，中式的立领、斜襟、系带被拆开再装回去。长大衣的开衩开得高，走路时才打开；裙摆的重量压在脚踝，转身时不会飘。

从传播看，这场秀给出的画面非常统一：一条草色的长带、两侧木质长凳、模特正面走来。长焦压缩之后，画面里几乎只剩人和地面，标志不出现也能认出。

这类图比细节图更容易被转发，因为它一眼能说明「东方工艺来到巴黎」。秀的钱花在面料与手工上，空间只做了一件事——把地面换掉。

On 9 March, Shiatzy Chen showed its AW26-27 collection in Paris. The house was founded in Taipei in 1978, and for more than forty years it has done the same thing: Chinese garment structure and handwork set inside Western tailoring. Paris is less a new stage for it than an annual examination.

The venue was a long, high hall in an old Parisian factory. Black-framed industrial windows ran down both sides, old numbers still painted on the glass. The ceiling was left open, showing steel trusses, pipes and a rail of spotlights. Seating was white-painted timber trestles with kraft-paper cards clipped to the boards. There was no backdrop and no screen. It sat on the official calendar in the middle of a week dominated by far larger houses, which made the restraint read as a choice rather than a limit.

The one large gesture was the floor. The whole runway was covered in a thick mat of dried moss and grass in gold-green, and the wall at the far end was faced with the same material. The grey concrete disappeared, and the hall became a flattened field, its length stretched to the limit.

That decision changed the sound first. Heels on grass have no echo, and in the few seconds it takes a model to approach, what the room hears is fabric moving. The space did not supply atmosphere; it emptied the ears, and attention fell on the clothes.

The silhouettes began at the collar. A white stand-collar coat gathered into a large bow at the waist, worn over black leather shorts and long gloves. A black trench was held at the neck by a ring of white feathers. A red lace suit, a red one-piece and a gold brocade gown followed in that order. The palette stayed at four colours — white, black, red, gold — and the sequence of colours was the rhythm of the show.

Fabric carried the weight. Heavy wool, jacquard brocade, lace, leather and feathers alternated, and most looks set two or three textures against each other. Embroidery sat on plackets, cuffs and hems: from a distance it reads as a faint pattern, up close as stitches. Some motifs follow the construction of the garment rather than lying flat on the cloth.

In cut, the Western shoulder and waist were kept, while the Chinese stand collar, diagonal closure and ties were taken apart and refitted. Coat vents were cut high so they opened only in movement; skirt hems were weighted at the ankle so nothing flew on the turn. The clothes look quiet in a photograph and gain volume only when they move.

The runway was long enough that a walk became a duration rather than a pose. Models came out in pairs, passed each other without stopping, and the grass took the sound of the second pair before the first had reached the end.

For communication, the show produced a very consistent image: a long band of grass, timber benches on both sides, a model walking straight at the camera. Compressed by a long lens, the frame holds almost nothing but a person and a ground, and the brand is recognisable without a logo.

That kind of picture travels further than a detail shot, because it states the argument in one glance: Chinese craft, arriving in Paris. For Shiatzy Chen the money went into fabric and handwork, and the space did exactly one thing — it replaced the floor. The decision is restrained, and it is legible.

Source: public information published by lamodeenimages.

-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