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Courrèges, The Row and Dries Van Noten

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It is hard to think of two fashion houses more diametrically opposed than Courrèges and The Row—from party-ready energy to poetic minimalism in Paris this sunny Wednesday. The contrast continued with a polished and successful display by Julian Klausner for Dries Van Noten at the Opéra Garnier.
 

Courrèges: Got to party up

Photo Credits: Godfrey Deeny

Another white box, another bizarre centerpiece—this time, rising confetti—and another impressive collection by Nicolas Di Felice in another morning show for the house of Courrèges.

This season, Nicolas Di Felice’s big inspiration was an art photography book by Dan Colen titled “Moments Like This,” in which he captured around 100 images of confetti. Several of these images featured shards and oblongs of color, serving as the wellspring for this fall/winter 2024/25 collection.

The show opened with minimalist draping—long rectangles of fabric gently wrapped around the torso and shoulder—seen on many models as they walked through a rising shower of confetti.

Photo Credits: Godfrey Deeny

“I call it the one-minute Courrèges,” laughed the ever-unpretentious Di Felice in a packed and celebratory backstage as guests and models swigged champagne.
 
Seen in the opening look: a three-meter black rectangle of fine wool looped around the neck, transforming into a scarf, blouse, and train.

Curling, twisting, and wrapping rectangles into stunningly shaped tops—paired with pencil pants. Continuing the idea with barely-there cocktails—long parallelograms coiled around the neck before entangling the torso and cascading to the floor.

Nicolas Di Felice paid clever homage to André Courrèges in the final look. The founder’s futurist gleaming white vinyl sheet dress from 1968 was reborn as a rolled wrap dress with a back flare, made without any sleeves, leaving the model’s arms trapped inside.

For chilly evenings, he designed razor-sharp coat dresses and bodices in the brand’s signature black plastic toile. But the heart of the show was the bold new draping—the freshest we’ve seen in many seasons—anywhere. A reminder of why Di Felice has turned Courrèges into such a hot label again. Making him the first designer to successfully revive the house founded by André Courrèges, following a half-dozen wannabe successors after the founder’s retirement in 2011.

Photo Credits: Godfrey Deeny

“I wanted to recall the optimism of André and the love of a party. In tough times like today, one needs them,” he concluded.

Overall, it’s a great fashion statement, even if one feels Di Felice has reached the end of the path with his staging. Please, no more white boxes.

 

The Row: Poetry and poise

A moment of fashion poetry and calm at The Row, where half the guests sat on deep-pile carpets in the grand Paris mansion where the show was staged.

Light filtered onto the guests, cast from the milky blue sky outside. None of the models wore footwear as they gently drifted through a series of rooms, serenaded by the acoustic guitar and soft horns of “Abussey Junction” by Kokoroko.
 
The mood reflected the purity of the clothes—especially the super trench coats, shortened with precise panels or flowing wide and nipped at the neck with two visible buttons. 
 
Every coat looked classy yet never attention-seeking—double-face cashmere wrap coats with tuxedo lapels, lambskin greatcoats in burgundy, or soft spy coats with big lapels in black leather.

These were precisely the kind of clothes that every lady editor and buyer wanted to wear—understated but never underwhelming, and thousands of miles from noisy Instagram. Attendance at the show even came with one condition: guests were prohibited from publishing iPhone photos on social media.
 

Dries Van Noten: A day at a closed opera

Photo Credits: Godfrey Deeny

Looks like this succession plan will work at Dries Van Noten, where Julian Klausner presented what was effectively his third collection for the Belgian brand.
 
Unveiled at the Opéra Garnier, the collection earned substantial applause for Dries Van Noten’s designated successor. The mood was self-confident chic, particularly in mannish tailoring that honored the house’s codes while pushing them forward—blazers and double-breasted jackets crafted from silk tie fabrics, whether polka dot or geometric.

Photo Credits: Godfrey Deeny

 
The show opened with a lot of black—not traditionally a Dries color, perhaps—but still a series that worked, particularly the coats with peplums and pencil pants paired with silk scarf wrap tops.
 
Klausner also played on Dries’ ethnographic roots, incorporating snakeskin obis, cummerbunds, and Africa-style piping. He also tapped into the season’s biggest trend—faux exotic fur—with a great shearling coat in an Appaloosa print.

Photo Credits: Godfrey Deeny

 
All told, this marked a significant step up from his debut, where Klausner grappled with his choice of prints and silhouettes.
 
“I liked the idea of the cast visiting the opera on a day it was closed. Or after a show, wondering what might happen,” smiled Klausner backstage. Strangely, the backstage area was the most beautiful room in the Palais Garnier, while the runway itself was held in a darkened side passage with blacked-out windows.
 
When asked to define the DNA of Dries Van Noten, Klausner responded: “What I wanted was to be free. But for me, the key to Dries is the wardrobe—that people wear the clothes, and hopefully several times, and that they bring them joy.”
 
With the Puig cousins, who own Dries and four other fashion houses, standing nearby and beaming, one imagines women will be wearing these clothes for a long time. Yet, what might matter even more to the Catalan cousins is seeing their beloved Barcelona FC win the Champions League this year—though that seems less likely.

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UK consumers will vote with their purses if single-used plastic packaging glut continues

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Beware, UK retailers and brands aren’t doing enough to reduce the use of single-use plastic packaging, and consumers will vote with their purses if this goes on.

Image:Aquapak

New research shows 65% of UK consumers felt retail is falling short when it comes to cutting harmful plastic, with just 18% saying they are doing enough, according to sustainable packaging producer Aquapak.

The findings show that British shoppers want to see retailers take positive steps to reduce the impact of the packaging they use on the environment. Some 59% said they wanted to see the conventional plastic used in packaging replaced with an alternative material which can be recycled and doesn’t harm the environment.

Meanwhile, 57% said they should use more paper-based packaging which can go into kerbside recycling collections and 49% said that they should stop using traditional single-use plastic completely.
 
If such changes are not made, the findings suggest that consumers are happy to vote with their feet and purses. 

Over the next 12 months, 56% of those surveyed said they will try and buy more products that do not use single-use plastic packaging, such as polyethylene bags.  They are prepared to take even more extreme steps over the next three years, with 46% saying they will stop buying products that use single-use packaging and hard to recycle packaging altogether.  

For retailers and brands facing environmental challenges throughout the supply chain, they should take heart from the fact that 32% of consumers said that they would be prepared to pay more for packaging which is 100% recyclable. Of these, 43% said they would pay 5% more.

Some 30% said they would pay more for clothing and accessories packaged in recyclable material, with 41% of these saying that would also be happy to pay 5% more.

Mark Lapping, chief executive of Aquapak, said: “We recognise that businesses have many challenges to deal with when it comes sustainability, whether it is carbon, water or biodiversity but it is important that they don’t just pay lip service to new technologies but opt for real change.

“The good news is that there is a commercially proven solution that will make their plastic packaging problems disappear. We have developed Hydropol which can be incorporated into paper to create planet-friendly wrappers for dry foods, snacks and confectionery, or used as film to make garment bags, providing an alternative to current packaging which is hard to recycle and inconvenient for consumers.”

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Barbour International in Saturdays NYC collab for SS25

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Barbour International has collaborated with New York based lifestyle brand Saturdays NYC to create a three-piece capsule menswear collection for SS25.

The collection, made up of a lightweight wax jacket, a graphic sweatshirt and an oversized T-shirt, completes the Barbour International x Saturdays NYC collection available from 6 March through Barbour.com and selected stockists worldwide.
  
The collab link is inspired by Barbour International’s motorcycle heritage and Saturdays NYC’s city and surf roots. So the capsule collection “fuses both iconic brands seamlessly… present[ing] lasting quality through a modernised attitude”.

The key Lightweight Wax takes inspiration from Barbour’s original A7 jacket first introduced and created by Duncan Barbour in 1936, which became “synonymous amongst bikers back in the 1960s and 70s”. This reimagined style retains many of the original key details including the angled chest map pocket and robust functionality, we’re told. But it’s given a modern twist as it has been presented in a lighter-weight waxed cotton fabric. Finished with a dual branded logo and a shock-cord hem adjustment for more of a relaxed fit, this jacket is a synergy of both brands. 

Featuring a checkered monochrome graphic the sweatshirt “adds a bold statement to a contemporary look” while the graphic T-shirt exhibits Saturdays NYC’s “illusional graphics, with a reference to Barbour International’s black and yellow colour scheme”.

Saturdays NYC said of the second-time collaboration: “Barbour International is a brand that has inspired us since we started designing and to continue this partnership is an exciting commitment to design and craftmanship.” 
 

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Rip Curl owner KMD Brands names new CEO

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KMD Brands, owner of Rip Curl, Kathmandu, and Oboz, announced on Wednesday that Brent Scrimshaw will transition to the role of group chief executive officer and managing director, effective March 24.

Rip Curl

In his new role, Scrimshaw will work out of the Australia-headquartered company’s offices in Melbourne.

Outgoing KMD Brands CEO Michael Daly will step down March 25, and will remain on in a transitionary period with Scrimshaw until April 4.

A sports apparel veteran, Scrimshaw has been a director of KMD Brands since 2017 and global CEO of marketing services company, Enero, since 2020. Before that, the executive had a 19-year career at Nike, serving as vice president, EMEA brand marketing and core category business, and vice president and chief executive of Western Europe.

“I’m energised by the opportunity that lies ahead as I step into the group CEO role,” said ​Scrimshaw.

“Having spent 30 years building brands around the world, I’m excited to enable a strategic focus on deepening our consumer connections through bold and innovative product, all while amplifying the unique identity of our iconic brands. I look forward to collaborating with our talented teams to unlock KMD Brands’ next phase of growth.”

Daly first announced his planned departure from KMD Brands in October last year. Less than one month later, former Rip Curl CEO Brooke Farris also stepped down from her role after three years leading iconic surfwear brand.

 

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