江诗丹顿 Explore 展 迪拜

VACHERON CONSTANTIN（江诗丹顿）｜「Explore All Ways Possible」2026 年度巡展迪拜站（Al Shindagha Museum）｜2026-09-24｜迪拜

江诗丹顿 2026 年的年度主题是「Explore All Ways Possible」。迪拜站没有借展厅，而是在博物馆的院子里搭了一座临时建筑：钢架、条木格栅顶、四面通透，白天用自然光，夜里用灯。

场地在迪拜湾边的辛达加历史街区，风塔、窄巷、珊瑚石墙都还在。展亭插进这片老城肌理，材料只有浅色金属、藤编、亚麻和米色地毯，没有一件是沙漠奇观式的布景。

展览按方位分成四个世界，东南西北各一间；第五个世界交给阿联酋插画师 Mariam Abbas，由她凭空想象。

她给的画面是扁平的糖果色：粉与青的沙丘、仙人掌、热气球，迪拜塔与帆船酒店挤进同一张画，海浪和云画成一层层卷边。画被放大到整面墙，装进红漆木框，像一块舞台背景板。

展陈主体是表。历史表款与当代作品分列，落在斜面小展台上，每格配一块说明屏，另有一列嵌墙灯箱柜。文字克制，讲年份、机芯与旅行。

第五个世界的房间中央是一张长桌，桌上摊着可翻动的图册，椅子是柚木框配米色坐垫，两侧立深绿屏风，屏上只有一个马耳他十字。

数字部分由 Mazarine Middle East 制作，观众用手机或平板在场内触发内容。屏幕不在墙上，而在手里，动线因此是散的。

休息区在展场边缘：白色圈绒单椅、锤纹黄铜圆几、干花。这里几乎是被拍得最多的角落，因为有光、有坐处、有可摸到的材质。

传播上，这是一场为「可拍」设计的展览。颜色干净，结构清楚，每间都有独立的画面语法。品牌没有押明星，押的是场景的可复述性：五个世界等于五组图，媒体与来宾各自取用。

对案例库来说，值得记的是「轻建造」：不改场馆，用可拆的钢架与格栅在两天里造出完整空间，预算落在图形与家具上，撤场几乎不留痕迹。

VACHERON CONSTANTIN "Explore All Ways Possible" — Dubai 24–25 September 2026 Venue: Al Shindagha Museum, Dubai Agency: LamodeenImages

Vacheron Constantin's annual theme for 2026 was "Explore All Ways Possible." For the Dubai stop the maison did not borrow a gallery. It built a temporary structure in the courtyard of a museum: steel frames, a ceiling of timber slats, open on all sides, daylight by day and lamps after dark.

The site sits in the Al Shindagha historical district along Dubai Creek, where wind towers, narrow lanes and coral-stone walls are still standing. The pavilion was inserted into that fabric with a narrow palette — pale metal, rattan, linen, cream carpet — and nothing that treated the desert as spectacle.

The exhibition was divided by cardinal point, one room for each of the four directions, with a fifth world handed to the Emirati illustrator Mariam Abbas and left entirely to her imagination.

What she produced is flat and candy-coloured: pink and teal dunes, cacti, hot-air balloons, the Burj Khalifa and the Burj Al Arab crowded into a single composition, waves and clouds drawn as layered scrolls. The images were enlarged to full wall height and set into red-lacquered timber frames, so each room reads like a stage flat.

The objects were watches. Historical pieces and contemporary creations were shown separately, each on a tilted plinth with its own small screen, plus a run of lit vitrines recessed into the wall. The labels stayed short: a year, a movement, a journey. The maison dates to 1755 in Geneva, and the exhibition leaned on that span rather than on specification: navigation, trade and the measuring of time were the through-line, and the rooms were subtitled accordingly. The roadshow travels on to Saudi Arabia in December, which made Dubai read as an opening chapter rather than a one-off event.

In the fifth world a long table occupies the centre of the room, laid with albums that visitors can turn, surrounded by teak-framed chairs with cream cushions. Deep green screens stand at either side, carrying nothing but a Maltese cross.

Mazarine Middle East designed the digital layer, which visitors trigger from a phone or a tablet. Nothing is mounted on the wall; the screen is held, and the route through the rooms loosens as a result.

The lounge sits at the edge of the pavilion: white bouclé armchairs, hammered brass drum tables, dried flowers. It became the most photographed corner of the show, because it has light, a place to sit, and materials that invite touch.

As communication, this was an exhibition designed to be photographed. The colours are clean, the structure legible, and each room has its own visual grammar, so a phone snapshot arrives already composed. No celebrity was placed at the centre. The bet was on how repeatable the set is: five worlds meant five sets of images, and press and guests each took what they needed.

For a case library, the useful lesson is light construction. The museum was not altered; a demountable frame and a slat ceiling produced a complete space in two days, the budget went into graphics and furniture rather than architecture, and the strike left almost no trace. Within a day of closing, the courtyard was a courtyard again.

Source: public information published by lamodeenimages.

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