Loewe showed SS27 inside a two-storey scaffold arena at the Château de Vincennes

A Spring Summer 2027 show in the courtyard of the Château de Vincennes, Paris, under Loewe creative directors Jack McCollough and Lazaro Hernandez.

Drop the single-plane runway: a circular two-storey arena where the audience surrounds the show on two levels and models thread between zigzag benches.

A temporary volume of white scaffolding and translucent fabric referencing Padua's anatomical theatre, the Globe Theatre and Detroit's gasometers; zigzag ground-floor benches compress the catwalk, a balcony adds a second line of sight.

No commercial results documented; the design's effect is structural — every seat sees the clothes from its own height and distance, and the audience becomes part of the set.

For its Spring Summer 2027 show, Loewe left the conventional runway behind. Casper Mueller Kneer Architects erected a two-storey circular arena — a temporary volume of white scaffolding and sheer white fabric — in the courtyard of the Château de Vincennes in Paris, for the collection by creative directors Jack McCollough and Lazaro Hernandez.

The geometry quotes rooms built for surrounded spectacle: Padua's Anatomical Theatre, London's Globe Theatre and Detroit's industrial gasometers, whose exposed frameworks echo in the scaffold ring. The plan reads almost diagrammatically — structure, audience, runway, all legible at once. Ground-floor benches zigzag across the centre instead of forming long parallel rows, so models pass within a few feet of certain seats, while a balcony gallery stacks a second ring of viewers above.

The effect is structural rather than decorative: fashion is seen from several heights and distances at once, the compressed catwalk trades parade-length for proximity, and the audience — looking across, down and through the space at itself — becomes part of the set. The source documents no commercial results for the show.

A traditional catwalk shows clothes in one plane to one rank of seats; the arena's two levels and circular plan multiply the ways the collection can be seen.

The references — anatomical theatre, Globe, gasometers — are all architectures of surrounded looking, matched to a show where watching each other is part of it.

Zigzag benches deliberately shorten the runway, trading spectacle distance for the nearness the design treats as central.

A runway is an architecture problem: replace the corridor with an arena and proximity, not length, becomes what the clothes are judged by.

The arena was built as a temporary volume for the SS27 show and the source records no results beyond the event itself. Its working rule — structure, audience and runway legible at once, with the balcony adding an overhead reading a flat runway cannot give — is what the show's images carried.