PARIS — The invitation for Courrèges demonstrated an intriguing design: a metal Möbius band, embodying the concepts of infinity with no clear start or end. This abstract idea of infinity funneled into Nicolas Di Felice’s latest collection, which, paradoxically, consisted of distinctly finite garments. After the show, Di Felice shared his perspective, describing this “infinity dressing” as an evolutionary concept. “I always start from what I have just created,” he emphasized. Each look built on the previous one—Look One served as the foundation for Look Two, and so on. Making a concrete assessment on the success of this approach based solely on 2D runway visuals is challenging, leaving the audience to take his claims at face value. To be frank, the idea of evolution didn’t immediately resonate as we witnessed the show unfold. However, one thing was clear: at 41 years of age, Di Felice is regarded as one of fashion’s most profound thinkers. He embodies a unique blend of intellectual prowess and an unabashed celebration of sensuality, creating a dynamic tension that characterized his latest showcase.
The collection opened with a striking, all-encompassing leather cowl, reminiscent of a cape from a Courrèges collection dating back to 1963. This eye-catching piece metamorphosed into a coat, then a dress, eventually influencing the entirety of what followed. Di Felice described the garments as fluid and responsive, moving “up and around and down the body like waves.” The transmutational theme permeated the lineup—elements like bras evolved into collars, which in turn transformed into straps supporting delicate slips of fabric. The entire design was engineered to mimic the fluidity of water, with the lapel of a bold black coat unfurling on one shoulder, akin to a cresting wave.
Moreover, the collection boldly asserted the powerful physicality of women in a way that countered patriarchal norms. Staying true to the spirit of the original Courrèges, Di Felice embraced the sheer audacity of revealing the body. His distinctive bra tops resemble the censor bars that social media platforms, like Instagram, enforce to obscure nudity, harking back to Di Felice’s youthful experiences in Wallonia where mature content was often marked by a stark white square on screen, known as un carré blanc. This distinctive imagery shaped his understanding of both vulnerability and empowerment.
The immense void in the center of the show space served as an artistic expansion of Di Felice’s vision. Last season, the space pulsated with life, while this time, it was filled with the mesmerizing motion of thousands of ball bearings, producing the calming sounds of waves as they rolled in and out. This auditory experience intertwined with a reimagining of Underworld’s iconic rave anthem “Born Slippy,” creating an exceptional sensory environment.
Later that day, Di Felice attended the show of his friend Julien Dossena, who heads the modern incarnation of Rabanne—a label known for its bold metal aesthetics. Dossena’s collection was whimsically titled Material Girls. Towards the finale, Manchester’s rising star, Libby Bennett, graced the runway dressed in a creation that shed gold leaf trails across the catwalk. She carried a striking bag crafted by Maison Arthus Bertrand, composed of 371 discs of 18-carat gold. Although the audience may not have perceived it at the moment, it marked a potential prelude to a revolutionary moment—a notion that is especially pertinent in our contemporary, ethically troubled landscape. It is worth noting that Dossena’s inspirations referenced Todd Haynes’ film Safe, embodying the concept of a woman isolating herself amid her own profound anxieties, enveloped for protection.
Yet, these layers Dossena presented were not solely about confinement; they evoked imagery of candy wrappers, gift packaging, or even the translucent coverings used for fresh produce in Japan. He appreciated the innocence of these notions while recognizing an inherent protective quality, reminiscent of Paco Rabanne’s original chainmail and armor-like designs. Notably, even elements of men’s boxer shorts made appearances beneath heavier outerwear. Dossena described his work as combining toughness with tenderness; layering being the essence, allowing viewers to extract personal interpretations from the pieces. The collection showcased a playful juxtaposition of a soft banker-stripe blouson on Gigi alongside a striking metallic geometric breastplate adorned by Loli, epitomizing the diverse spectrum of Dossena’s vision. While reservations linger, my curiosity is piqued, and I am eager to witness what more he has to unfold.
