A collection like a variation on movement. This one has the impulse of the gestures and the rituals proper to the summer. Each moment is decomposed, each piece can be worn and removed, even to the point of nudity. The beach as a gravitational pole: hands in the air, wardrobe slung over the shoulder.
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A collection like the feeling of summer. Wheels on the burning asphalt; a motorcycle runs towards the beach. At its edge at sunset, surfers undress in a parking lot. The night, the party, the feet are naked on the sand. The dance warms up, the excess clothing is wrapped around the waist, tied where it can. The wardrobe modulates itself - nothing must hinder the summer and its freedom.
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The faux leather strap links and connects the entire collection. On a large windproof parka, on a suede jacket, in faded denim, on a coat with heritage details (horizontal piped pockets) declined in leather or suit. We find the strap on the back of the leather biker jacket, inspired by a 1981 wetsuit coming straight out of the House’s archives, flanked by a logo like a tattoo, the same one that inaugurated the first men’s line in 1973.
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After exploring the archetypes of urban countercultures, Nicolas Di Felice, true to his aesthetic, deftly details those of the beach. Pearly jewels, surf pants or shorts, bathrobe or swimsuits and these twisted t-shirts - by a wave or a gust of wind. The Shark berlingot bag with its geometric pattern, dear to the House, whose integrated and profiled shoulder strap is reminiscent of a shark’s fin.
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Always playful and total, the Courrèges universe is more casual. The vintage is assumed - on a logo, a very seventies cotton fishnet or on the pattern of a little jacket directly coming from the iconic vinyl jacket. But the silhouette that emerges bears the beginnings of a new language where sneaker mules rub with sharp unisex leather jackets. Between the reinvented past and the near future, the collection exists outside of time.
