This report examines the transition of fashion presentation from miniature figurines to immersive, technologically integrated performances, analyzing how these formats reflect broader societal shifts.

本報告探討時裝展示如何從微型人偶演變為沉浸式、技術整合的表演，分析這些形式如何反映更廣泛的社會變遷。

The genesis of fashion display resided in the use of 'Pandora' or 'Pippen' dolls from the 14th to the 19th centuries, serving as primary references for European nobility. A significant paradigm shift occurred in 1858 when Charles Frederick Worth established the House of Worth, substituting figurines with live models to demonstrate garment movement and introducing the concept of the brand label. The formalization of the 'fashion show' is attributed to Lucy Duff-Gordon in 1901, who implemented choreographed walks on elevated platforms for an exclusive clientele.

時裝展示的起源在於 14 世紀至 19 世紀使用「Pandora」或「Pippen」人偶，作為歐洲貴族的基準參考。1858 年發生了重大的典範轉移，Charles Frederick Worth 創立了 Worth 時裝屋，以真人模特取代人偶以演示服裝的動態，並引入了品牌標籤的概念。而「時裝秀」的正式化則歸功於 1901 年的 Lucy Duff-Gordon，她為專屬客戶在升高平台執行了經過編排的走秀。

Throughout the 20th century, the runway functioned as a mirror to geopolitical and social transformations. The post-war era saw Coco Chanel introduce the tweed suit in 1923 to accommodate the increased mobility of working women, while Christian Dior's 1947 'New Look' emphasized luxury following wartime austerity. The 1960s witnessed a democratization of the medium; designers such as Mary Quant and Yves Saint Laurent shifted presentations to unconventional venues like nightclubs and cafes to engage a rebellious youth culture, coinciding with the rise of 'pret-a-porter' (ready-to-wear) lines and space-age aesthetics.

整個 20 世紀，走秀台扮演了地緣政治與社會轉型的鏡像。戰後時代，Coco Chanel 於 1923 年推出粗花呢套裝，以適應職業女性日益增加的活動需求；而 Christian Dior 於 1947 年推出的「New Look」則在戰後緊縮時期強調奢華。1960 年代見證了該媒介的民主化；如 Mary Quant 和 Yves Saint Laurent 等設計師將展示地點移至夜總會和咖啡店等非傳統場域，以吸引叛逆的青年文化，這與「成衣」(pret-a-porter) 系列及太空時代美學的興起相吻合。

In the contemporary era, the runway has evolved into a vehicle for conceptual art and sociopolitical commentary. This is evidenced by Alexander McQueen's 1999 integration of industrial robotics, Hussein Chalayan's 2000 exploration of refugee displacement, and Demna's 2022 Balenciaga showcase addressing climate anxiety and conflict. Furthermore, the industry has faced scrutiny regarding the 'size zero' standard, which emerged in the 1960s and led to fatalities such as those of Luisel and Eliana Ramos, prompting the British Fashion Council to establish health guidelines. Current trends indicate a move toward 'fashion-tech' integration, as seen in Coperni's use of spray-on fabrics, and a shift toward net-zero emissions to satisfy a more environmentally conscious generation.

在當代，走秀台已演變為概念藝術與社會政治評論的載體。這可見於 Alexander McQueen 1999 年對工業機器人的整合、Hussein Chalayan 2000 年對難民流離失所的探討，以及 Demna 2022 年 Balenciaga 秀場中對氣候焦慮與衝突的探討。此外，業界對於 1960 年代出現的「0 號碼」標準面臨質疑，該標準導致了如 Luisel 和 Eliana Ramos 等死亡事件，促使英國時裝協會制定健康指南。目前的趨勢顯示正向「時尚科技」整合移動，如 Coperni 使用的噴霧面料，以及為滿足更具環保意識的一代而轉向淨零排放。

The fashion show has transitioned from an exclusive tool for the elite into a globalized, multidisciplinary medium that integrates technology and social activism.

時裝秀已從一個專屬精英的工具，轉變為一個全球化、跨學科的媒介，整合了技術與社會行動主義。