TIME AW26-27 巴黎

TIME｜TIME AW26-27「Layers of Time」时装秀（巴黎女装周官方日程）｜2026-03-09｜巴黎

TIME 是韩国 Handsome 旗下的女装品牌，1993 年创立，设计由 Jung In Choi 主持。3 月 9 日，它在巴黎发布 AW26-27 系列，名字叫「Layers of Time」。

场地是法国国家图书馆黎塞留馆的椭圆阅览厅。十九世纪末的建筑，玻璃穹顶高约 18 米，穹顶内圈刻着十六座城市的名字；三层书架沿弧线环抱整个房间，长条橡木阅览桌与绿色玻璃罩台灯排成一圈圈同心圆。

走道不在别处：模特走在两圈阅览桌之间的通道上。没有加高台，没有另装灯具，原有的台灯和穹顶落下来的光就是全部照明。观众坐在阅览桌前。

这个选择把阅读的秩序借给了观看。观众与模特之间只隔一张桌子的宽度，模特经过时衣料几乎擦到桌面，前排的人要抬起头才能看全一套衣服。

造型是收着的。棕色花呢长大衣配皮裤，奶油色羊羔毛外套，深蓝缎面无袖长裙，灰褐针织叠同色系衬衫。颜色集中在棕、灰、藏蓝、米，接近图书馆里旧书脊与木头的色阶。

「Layers of Time」的层次落在穿法上：针织加衬衫再加大衣，同色不同明度，三层叠起来也不臃肿。肩线柔和，腰身放松，都是可以穿出门的衣服，不是为秀场造的概念款。

面料以羊毛、羊绒、缎面和皮革为主，哑光与微光交替。细节很少，扣子和门襟都藏进结构里，走近才看见。

传播上，这个场地替品牌省了很多解释。穹顶、绿罩台灯、环形书架，观众一眼就知道这是哪里；这一类场地照比黑箱秀场更有记忆点，也更容易被时尚媒体当作「巴黎」的注脚引用。

对 TIME 来说，进入巴黎女装周官方日程是国际化的一步；图书馆关于知识与时间的联想，正好接住系列名。品牌不必在新闻稿里说明立场，空间已经说完了。

这场秀最大的制作决定是「不做」：不搭台、不打新灯、不遮建筑。判断很准，因为那间屋子本身就比任何装置更有分量。

TIME is a Korean womenswear house under Handsome, founded in 1993 and designed by Jung In Choi. On 9 March it showed its AW26-27 collection in Paris under the title Layers of Time.

The venue was the oval reading room of the Bibliothèque nationale de France, Richelieu site. The building dates from the end of the nineteenth century; its glass canopy rises about eighteen metres, and the names of sixteen cities are inscribed around the inner rim. Three tiers of bookcases curve around the room, and long oak reading tables with green glass lamps are set in concentric rings.

The runway was not built anywhere else: models walked the aisle between two rings of desks. There was no raised platform and no new lighting rig; the reading lamps and the light falling through the canopy were the whole illumination. The audience sat at the desks rather than on show seating. Guests came in through the library's own doors and stone corridors, past the lockers and reading rooms, so the show began before the first look appeared. At that scale a single figure reads small in the frame, which was part of the effect.

That choice lent the order of reading to the act of looking. A visitor and a model were separated by one desk width, close enough that fabric almost brushed the tabletop, and anyone in the front row had to lift their head to take in a full look.

The clothes were held back. A brown speckled tweed coat over leather trousers, a cream shearling jacket, a sleeveless navy satin dress, grey-brown knitwear layered over shirts in the same family. The palette sat in brown, grey, navy and oat — close to the colour of old book spines and wood.

The layering in Layers of Time was a matter of dressing rather than styling: knit, shirt, coat, three tones of one colour worn together without bulk. Shoulders were soft and waists loose. These were clothes for a street, not concepts built for a runway.

Fabric ran on wool, cashmere, satin and leather, matte against a low sheen. Details were few; buttons and plackets were folded into the construction and only appeared at close range. Shoes were flat or low, black for the most part, with one pale toe; bags were small enough to be carried in one hand. Nothing competed with the coat.

For communication, the room did most of the explaining. The canopy, the green lamps and the curved shelves tell anyone instantly where they are, and that kind of venue picture outlasts the black-box show: it is easy for fashion media to file under Paris.

For TIME, entering the official Paris calendar is a step in an international push, and the library's associations with knowledge and time land neatly on the collection's title. The brand did not have to argue its position in a press note. The space had already said it.

The production's largest decision was to do nothing: no stage, no new lights, no covering of the architecture. It was the right call, because the room carried more weight than any installation could have.

What the show left was a set of pictures that look like reading, not selling — a model walking through a room built for silence, and a house trusting the room to speak for it.

Source: public information published by lamodeenimages.

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