Tao 2027 春季东京秀：这一季只讲白色，和像孩子画画一样纯粹地做衣服
Tao Tokyo Spring 2027
设计师栗原佐知子（Tao Kurihara）的 Tao 秀照例在青山 Comme des Garçons 总部的地下空间清晨开场。这一季的题目是「MY TRUE SELF」，她用白色来讲纯粹与自由：开场是层层叠叠的英式刺绣与桌布蕾丝做成的外套和裙装，像在慢慢变成窗帘与桌布；中间转入一段灰色剪裁；再回到白色，最后落在一片花卉细节与 Liberty 风印花的棉布荷叶裙上。模特云朵般的发顶别着草编与枝叶，衣服上的植物刺绣来自与艺术家 Hitomi Mori 的合作；配乐仍由她的丈夫操刀，竖琴、鸟鸣与钢琴声拼出她标志性的童话感。后台她说得很直白：这一季她把所有顾虑都放下，只做自己打心底真正想做的东西，就像孩子画画时不会想着要被夸奖。点评认为难得的是系列没有沉进感伤或怀旧里；而且 Mori 的刺绣难以量产，她把图案放大印到裙装和 T 恤上，让作品能被更多人分享——创意与商业并不必然对立。证据限制：本文为单场秀的现场评论，设计意图来自设计师后台自述，系列的商业表现尚待上市后验证。署名：颜如玉编辑台。
Tao Kurihara’s shows, which are held first thing in the morning in the bowels of the Comme des Garçons headquarters in Aoyama, have become something of a late-season treat.
MY TRUE SELF was the title the designer had chosen for this season, intended as an expression of purity and freedom, and told through white. We started with layers of broderie anglaise and complications of doilies, with lace-laden coats and dresses giving the surreal sense that they were transforming into curtains and tablecloths, before moving into a chapter of gray tailoring. More white, before we landed on a cacophony of floral details and Liberty-esque prints on cotton capris and ruffled skirts.
The models’ cloud-like hair was topped with straw and foliage, their clothes decorated with botanical embroidery in collaboration with artist Hitomi Mori (whose work is worth seeing up close on Instagram @nuimori1). The music—which as usual was composed by Kurihara’s husband—featured a mix of harps, birdsong, and the plink of a piano, adding to the storybook whimsy that Tao is known for.
In the CDG press room afterwards, which for the next few days is holding its seasonal exhibition of all the house’s brands, Kurihara was characteristically cheery. “I decided to just set aside all of my concerns and just create something I truly, purely wanted to make. How should I put it? It’s like when a child draws a picture, they aren’t thinking about wanting to be praised. It’s that kind of mindset, a state of total, genuine focus,” she said. “Saying this might make it sound like my previous work wasn’t like that, but this time I really felt I distilled everything down to just what I purely, from the bottom of my heart, wanted to create.”
To Kurihara’s credit, the collection wasn’t mired in sentimentality or nostalgia. It simply was. Even so, creativity and commerciality needn’t be mutually exclusive, as Rei Kawakubo has long instilled in her proteges. Mori’s artwork, difficult to produce at scale, was magnified and printed onto dresses and T-shirts—all the better to share it with the world.
来源：颜如玉编辑台 · vogue.com