文化的融合双篇章展览丨中国上海丨TóngTóngTóng,&SCENE

2026/01/19 16:54:11

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上海与纽约的设计工作室 TóngTóngTóng，与创意工作室 &SCENE 合作，为今年上海时装周期间的《A Culture of Convergence: A two-part exhibition》打造展览空间与场景设计。该展览同时致敬法国时尚杂志 A Magazine Curated by 创刊 25 周年，以及中国独立设计平台 Labelhood 创立 20 周年。来自全球的年轻及知名设计师，不仅贡献了服装作品，还带来了私人物件——从山本耀司的香烟到 Erdem Moralioglu 最喜欢的书, 使展览像是一个鲜活的档案。

Design studio TóngTóngTóng, together with creative studio &SCENE, has turned a 600-square-metre space at Shanghai Fashion Week into a miniature archipelago—where fashion, memory and personal artifacts mingle like washed-up treasures.

▼展览概况，General Exhibition View ©Zhenli

设计师没有将这些物件视作高高在上的高雅艺术，而是希望营造一种不分彼此的集体感与亲密感，于是将展品布置在一系列柔和、带有自然曲线与起伏的“岛屿”之上。观众如同洋流一般，自由穿梭于岛屿之间，从不同角度观察展品，使原本静态的展示变得流动起来。

Created for A Culture of Convergence, the exhibition celebrates 25 years of French fashion magazine A Magazine Curated By and 20 years of Chinese fashion platform Labelhood. The exhibition invited emerging and established designers around the world to contribute not just garments, but intimate personal items—from Yohji Yamamoto’s cigarette to Erdem Moralioglu’s favourite book – making the show feel part fashion archive, part archaeological dig.

▼人偶与空间，Puppets and Space ©Kai Wai Wong

▼岛屿与陈列，Island View©Kai Wai Wong

▼岛屿之间的空间，Space In Between the islands©Kai Wai Wong

约 600 平方米的展览空间分为两层, 首层展出新锐中国设计师, 二层展出国际设计师,“岛屿”将各层空间划分为展示区、阅读区与接待区, 其中最大的一座岛屿尺寸超过 4.0×4.2 米。这些超大尺寸“岛屿”基于1.2×2.4 米的模数进行拆分，上部为磨砂铝板，下层为涂漆胶合板。它们在工厂里预制，再在现场拼合而成。

▼功能分析，Program analysis ©TóngTóngTóng

Instead of treating these artifacts as elevated high art, the designer sought to create a sense of collective authorship and intimacy. TóngTóngTóng scattered a series of gentle, organically shaped aluminum islands across the space, allowing objects to coexist as part of a shared landscape. Visitors can move freely around the gently curved forms as if they are ocean currents, encountering the pieces from multiple angles, transforming static display into fluid navigation. The islands also serve functional purposes—hosting reading zones, reception areas and display surfaces. The largest one measures over 4.0×4.2m.

▼岛屿上的物件，Object on Display ©Kai Wai Wong

铝板并未覆盖整个表面——故意留下的三角形留白，让岛屿呈现一种“几乎覆盖”的状态，形态既不完全柔软圆润，也不是完全锋利生硬，而是呈现出一种介于两者之间的模糊性格。这种安静但独特的语言，使展台与展品之间的界限悄然消失。

Each island is built from modular segments sized to standard 1.2×2.4m aluminum sheets, leaving triangular gaps where the material falls short—an intentional move. These “almost covered” surfaces create a form that’s neither too soft or too angular—just intriguingly in-between. Given an unique but quiet expression like that, the boundary of pedestals and exhibited items disappeared.

▼岛屿与书架，Islands and Bookshelves ©Kai Wai Wong

标签、纸堆与亚克力展示盒被随性地摆放在岛屿上，讲述、衬托并保护着展品，例如山本耀司的香烟、Erdem Moralioglu 最珍视的书籍等。它们如同来自不同时间与地点的遗存，构成一个介于考古现场与未来想象之间的交汇点。

Nothing is over-styled. Acrylic boxes, paper stacks and labels are casually placed on the islands, blurring lines between art, artifact and personal history, shaping a shared landscape as if this is an archeological site, the past and future are hereby all connected, and fashion doesn’t just decorate space, but inhabits it.

▼细部，Detail View ©Kai Wai Wong