Courrèges Fall 2025: That’s a Wrap
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Since taking over as artistic director of Courrèges, Nicolas Di Felice has made togetherness a central tenet of his revival of the Space Age brand. Before showing his first collection, he released a film of people making out, and he has since staged a series of club nights. The blinding white set for his fall runway show featured a central square covered in confetti that glistened in the sunlight streaming through the glass-and-steel roof of the Carreau du Temple venue. Di Felice said the idea came from a book of Dan Colen’s confetti paintings, and it reminded him of the optimism of founder André Courrèges. “It’s this idea of bringing in color when everything is gray,” he explained backstage. “It gave me joy and reassurance. It also reminded me that celebration is important, now more than ever. We know that in times of great societal change, parties bring people together.” You May Also Like He wasn’t talking about fiddling while Rome burns, but rather the way nightclubs and raves have traditionally provided freedom and safe spaces for the LGBTQIA+ community. As models emerged, a wind machine lifted the metallic confetti into suspended animation. The concept carried over into the clothes, with twisting constructions inspired by party streamers. The first look appeared as if a fringed shawl had been loosely draped and pinned on the model’s body, but Di Felice is an expert at making things look easier than they are. Still, this idea was one of the more challenging that the master pattern-cutter has brought to the table. Beauty Gallery 19 Photos View Gallery Miniskirts with dangling asymmetric trains may look cool as show pieces, but it’s hard to imagine how they will translate into real life. The funnel-like shawl collars on his parka jackets felt like a more organic extension of his wrapping instinct. The designer said the bulky leather and technical outerwear was inspired by survival gear. A stretch tulle turtleneck dress, meanwhile, was completely covered in silver snap fasteners, for a lightweight take on body armor. Throughout the lineup there was a push and pull between duck-and-cover protective gear, like military-inspired greatcoats or a blanket-like oversize sweater, and party clothes with a devil-may-care attitude. Filmy tops were yanked to one side, an armhole turning into a collar, while going-out tops consisted of a single feather. Di Felice’s finale look was a white off-the-shoulder satin dress, wrapped around the torso like a blanket, inspired by a 1964 style from the archives. It was, the designer said, a “white flag.”
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