In today’s landscape, what does it take to bring a brand from sleeping beauty to avant-garde status? Nicolas di Felice opening the doors of Courrèges to a genderless community
Reviving a sleeping beauty is time consuming. Three years on and still going strong. Having an inner circle of friends and talents is key
OLVIER DUPON
Happy belated birthday Nicolas! You have reached a milestone. Is the big 40 just a number for you, or a time to take stock?
NICOLAS DI FELICE
Since my early thirties, I have not obsessed too much about time passing. Although turning 40 is considered a milestone, it did not affect me. On the contrary, looking back, I feel excited about what I have achieved over the past decade; I am surrounded by great friends, and all is going well. Besides, I have been so immersed in the upcoming collection and the preparation for the September show, that I have not had much time to think about anything else. To be honest, I am currently on my way to the office for my last day of work before a vacation.
OLVIER DUPON
In 2020, you were appointed as the creative director of Courrèges – a sleeping beauty until it was acquired by Artémis, the investment company of the Pinault family. Can you take us back to when you were recruited for the position? Did you have to persuade them?
NICOLAS DI FELICE
I did not have to knock on their door. Luckily for me, I was approached by someone who introduced me to the Pinault family. I have never had the desire to convince anyone so I did not try to persuade them. This comes from a concern that too much is at stake. It is better to find a good fit than force it. In the end, I started to work on sketches, but quickly realized that I should just introduce myself, not with an umpteenth photoshoot, but with a letter of intention addressed to Francois Henri Pinault. This can all be found in the ‘Anatomy of a Relaunch’ supplement. It includes relics of the Courrèges relaunch, an invitation bracelet of the first show and a copy of that letter.
I had a clear vision for the Courrèges brand and I humbly and sincerely went in and laid out my plans to revive the name.
The success behind the direction of Nicolas di Felice at Courrèges – building up a community of individuals to gain support
OLVIER DUPON
Having previously worked for Nicolas Ghesquière on two occasions (at Balenciaga and Louis Vuitton), then for Raf Simons (at Dior), you seem to be having a steadily successful career. What do you attribute your success to?
NICOLAS DI FELICE
I am a workaholic. I haven’t stopped working since arriving in Paris sixteen years ago. My knowledge of techniques has certainly helped. I can conceive a design from A to Z; from the sketch, via the cut, to the dressmaking of a garment. I have also been lucky. My proposal for Courrèges was well received, and it resonated with what some people had been longing for. Truly, it is a matter of being at the right place at the right time, while being supported by a group of great individuals, being part of a community.
OLVIER DUPON
Precisely, you surround yourself with a team of talented people (visual artist Erwan Sene for your shows and architect Bernard Dubois for the design of the Courrèges boutiques, among others), plus you are loyal to them over time. Is that essential to your well-being?
NICOLAS DI FELICE
It is true that I value friendships; I have had the chance to work with the same friends over the years, and it is great that we can evolve and grow together. However, one exciting aspect of the fashion world is that you constantly meet lots of different talents, so there are always new faces joining our club. We just had a great collaboration with Torso Solutions for a recent video campaign, so we may work together again.
Erwan is increasingly by my side; he contributed to my last show and we are planning the next one together. It is exhilarating when a collaborative project pans out. We assess each other’s personalities, learn how to lean on each other. In the end, I work with people I care for and it acts as a two-way mirror. It can be harsh but is always constructive.
Nicolas Di Felice on workaholism – managing to separate professional success from private life
OLVIER DUPON
For a self-described workaholic and someone at the heart of fashion, do you manage to separate your professional life from your private one?
NICOLAS DI FELICE
We started from scratch about three years ago. Let me just say that I did not inherit a fashion house that was working well. This turned out to be a top opportunity to imagine what Courrèges could be. It was our blank canvas and we faced the project with a ‘start-up’ mindset.
So of course, I knew that the flip side of this would be a very time-consuming endeavor. It was clear from the get go and I signed up for it. So, my private and professional lives do merge a lot. With six collections per year, what could come next is always playing in my mind. The music, the scenography, the inspirations. It is non-stop and everything tends to be interlinked.
I timidly attempt to have some short breaks here and there. It is essential to remember that the revival is only three-year old; so, it would not be a great time to fall asleep at the wheel. With each new collection the success of the brand is at stake. Until now, I am extremely grateful that things have gone well, yet I am also aware that things come and go very fast. It is not because one show has received rave reviews that we should rest on our laurels.
Past and present. Each Courrèges collection has its own narrative. They contribute to the same story
OLVIER DUPON
For three years, each of your collections for Courrèges has shown a sense of continuity; an interplay between Courrèges’ legacy and your vision of Courrèges set for Gen Z fandom. How do you reconcile that with the commercial imperative of constantly creating new things?
NICOLAS DI FELICE
Each collection revolves around a narrative. Put together, it is as if the beginning of the story started three years ago and is completed each new season. In a way, it tells the road trip of a group of friends, who collectively experience new things. Each discovery leads to a new place and further questioning. The next September collection evokes the New Age, and in that, it recalls the previous collection; yet the common denominator is subtly infused. It can also take the form of a detail on a garment. Why place a zip behind the elbow? Each collection, we aim to make beautiful clothes while challenging people’s perception. Why wouldn’t one wear his / her jacket this way instead?
Nicolas Di Felice – the reedition line and the few pieces from André Courrèges
OLVIER DUPON
Continuity is also represented by the reedition line (the few pieces from André Courrèges’s time). How key is it and how do you work the reedition along with the novelties?
NICOLAS DI FELICE
The part of reeditions in our offering is decreasing. It has been a year now since we stopped presenting the reeditions in the showroom. You have to remember that the number of reedited pieces has not increased since the beginning (a blouson, a skirt, a pair of trousers, a knit piece and a tank top). What increases or changes from one season to the other can be an additional colorway or a different texture. As a result, reeditions don’t cost us much time; they are a safe sell; buyers keep asking for them, which in turn provides us with a steady flow of cash. Besides, if you take the US, customers there are more interested in the new pieces than in the heritage.
At the moment I do not plan to launch new re-edits. That said, in the coming collection, although not identical, one bag has been highly inspired by an original piece from the Sixties.
Being part of my community – Nicolas Di Felice personal choices, bosses and team work
OLVIER DUPON
You have the chance to work for a brand with a strong logo. Where do you stand between plastering it all-over or being frugal with it?
NICOLAS DI FELICE
Well, I sense that people would actually like me to use more logos. That makes me think that I am quite parsimonious when it comes to applying them. A clue is to be found in my first collection. The logos on garments were embroidered tone-on-tone instead of the usual white on black. It is a personal choice; the Courrèges logo is a thing of beauty so it doesn’t need to be too big.
OLVIER DUPON
Personal choice. Do you have carte blanche from your bosses?
NICOLAS DI FELICE
Yes. Although they did not impose any direction for the first collection, nor any merchandising targets, I still wanted to make sure that the proposal was well formulated. Three years on, and I now feel more comfortable to use the carte blanche in order to explore and take more risks. An idea may not turn out to be a best-seller but as long as it helps enhance the message, that is good enough for me. Also, I can’t help thinking that they grant me carte blanche, because they sense that I am reasonable. What really helps me is the trust in my community, being proud of my community.
Nicolas di Felice ponders about the fashion world, new technologies and his reasonable ambitions for Courrèges
OLVIER DUPON
The fashion world is getting more competitive and saturated; yet the advantage seems to be on the side of big brands with deep pockets, while the smaller names cannot match the spending on multi-million dollar shows or advertising campaigns. In spite of this double standard, how can they still make their voices heard?
NICOLAS DI FELICE
Having access to less resources certainly makes us more resourceful. To be fair, this is all I have ever known. Inspiration can be anything, someone walking in the street. The best example is when I created an editorial story by zooming with a few people from my balcony. It was a simple idea that I had on a Wednesday and shot on the following Saturday. We have reached more than a million and a half views and if you compare this to a costly photoshoot, it’s a no brainer. This spontaneity is priceless when you are a smaller entity and have a like-minded team which follows your every idea at the drop of a hat.
The Chanel – Courrèges contest by Roland Barthes in 1967
OLVIER DUPON
Let’s take this further. From your own experience as a fashion player, do you agree with commentators who say that the fashion industry is at a turning point? Could the famous Chanel – Courrèges contest refereed by Roland Barthes in 1967 still take place today?
NICOLAS DI FELICE
This is an ambivalent issue. On a strictly fashion level, on one hand, we have witnessed a comeback of the fundamentals on the catwalk (a new luxury made of minimalist, well-made products); while on the other hand, the exact opposite is also happening – just look at the craze around Barbie. It is true that it is all about the ‘likes’, so brands have to create a buzz. A beautiful leather coat with natural tanning even from a major luxury house might not be enough to trigger a buzz.
Certainly, there is less social pressure regarding how one should dress, and minorities are finally being heard. So much praise for that! But is that a turning point? I am not convinced. There is always a question about fashion’s direction. Take the 80s when loud expression was met with the minimalist radicality of the Antwerp school of designers.
Artificial Intelligence: Nicolas Di Felice, Courrèges for Lampoon
OLVIER DUPON
New technologies – namely artificial intelligence – are set to transform the way we live and work. Is it an opportunity or a challenge in your line of work?
NICOLAS DI FELICE
It is a real issue. Let me be clear: I am very enthusiastic about the progress it enables in the medical world. As for the impact on the media landscape, the ease and rapidness with which we can share our collections throughout the globe is astounding. I love music. Look at how it has allowed unknown talents to spread their music across the world bypassing the majors.
There is a down side. Have you seen this app that helps you get back with your ex, or the one typing your break-up letter? It is just dehumanizing, unsexy and slightly worrying. Or the generation of near-human voices? I can’t help thinking about one of the top managers at one of the GAFAs who said that he would not allow his own children to have access to his company’s apps.
I am optimistic; I trust humanity but I remain vigilant.
OLVIER DUPON
What are your ambitions for Courrèges?
NICOLAS DI FELICE
We plan to open more boutiques around the world, and we are expanding the perfume category. This November, we will unveil three ‘hyper’ essences – rare perfumes presented in silver bottles. Our growth has been healthy over the past three years and my aim is to make it durable. I hope that I can count on the lucky star which has looked over me since the start of my career. Do not forget that I was not famous when they recruited me, whereas Courrèges has been a household name. I was well received and my ambition is to not disappoint.
Positioning Courrèges as a genderless brand is not about being a flag-bearer for Nicolas di Felice. Working on instinct and bringing people together is what matters
OLVIER DUPON
Your leitmotif at Courrèges is ‘Bringing People Together’, and you use your platform to promote your values. In a divided world, is your fashion political?
NICOLAS DI FELICE
No, I would not allow myself to be overtly political. I am not equipped for that. My work resonates with some people, and it is true that it is a vehicle for my values, be they just hinted at or loud and clear. They include my own concerns about social matters, which in turn also fuel the narratives of the collection. At my microscopic level, I indeed try to push the social boundaries. After all, I would much prefer a world in which people love each other.
Nicolas Di Felice – I don’t claim to be a designer of genderless clothes. Both collections (women and men) are worked simultaneously
OLVIER DUPON
On that note, I am wondering whether creating a genderless fashion is a way to fulfill your ambition to see people come together. You operate two lines, women and men, yet the Courrèges clothes can be worn by both genders.
NICOLAS DI FELICE
I don’t claim to be a designer of genderless clothes. Both collections (women and men) are worked simultaneously, and we use both female and male models, the difference being that male models are usually taller. The finished pieces are also presented side by side in the showroom and most of the time, one third of the girls in attendance will try on a boy’s jacket. We have the chance to be a very diverse group of persons with different builds. We end up trying every piece on ourselves to see if they work.
I don’t really think about this aspect. Some garments are genderless. Take a suit jacket; even if you make it ultra-fitted at the waist, some boys will go for it. Of course, I am aware that I am in Paris, that I operate in a microcosm in which my circle is made of all sorts of individuals. That is to say that working beyond genders is very natural and instinctive to me. In a nutshell, my motto is ‘you like it, wear it.
Nicolas Di Felice – pre-Summer 2024 collection
OLVIER DUPON
I like one particular sleeveless top from your pre-Summer 2024 collection. It is a second skin with degradé sunset colors and a small logo on the crux of the neck. Yet, it is hard to guess what it is: a cropped top, a bodysuit? This trompe l’oeil effect is emblematic of your style.
NICOLAS DI FELICE
I am glad that you single out that piece, which is also beautiful on a hanger on its own. It is like nothingness. For men, it also comes with long sleeves and has the normal tee length. For women, with or without sleeves and as a bodysuit. It is made of an extremely fine illusion mesh.
The print is inspired by a luminous prism and it takes me back to when I was in New York. Every day, I used to walk past the workshop of a photographer, who shot only auras. It is that memory and idea that we encapsulated in that top. For the catalog, it is worn by Tom, a model and now dear friend of mine.
With the top on, Tom’s aura is emanating from his body.
In the Courrèges repertoire, there were about four different textures. Nicolas Di Felice’s way of work
OLVIER DUPON
On the back of his diploma in engineering and eleven years as a cutter for Balenciaga, André Courage’s created pieces that freed one’s body. Out with the darts, in with the miniskirts and a space age aesthetic. Quintessentially classical when he used good weight wool fabric, structured enough to hold the intended shape he wanted it to have; or a pioneer when he made evening dresses out of black crinkle-texture vinyl on cotton spandex. What is your own approach with textures?
NICOLAS DI FELICE
In the Courrèges repertoire, there were about four different textures. Although I am not restricting myself to the same tight choice as André Courrèges, it is true that I don’t reinvent the wheel from one collection to the next. That said, a few new textures are introduced, like a particular type of embroidery in the next collection. It is essential to choose the right material for the right garment. For me, nothing works better than a nice gabardine for a trench coat. It is classic and it fits well; so, no need to rock the boat. I’d rather re-imagine the cut of that trench coat. I am not drawn to playful textures; overall, they have to be sharp and clean. Though, as I am telling you this, it could actually all change.
I am glad that summer 2024 is on the horizon, and with each summer comes a certain nonchalance in retrospect, I have taken a few more risks with textures for this collection. It makes me a bit giddy.
The Belgian rigor with the Italian sexiness – Nicolas Di Felice’s success lies in combining worlds
OLVIER DUPON
Born in Belgium into an Italian family, could it be that you benefit from the best of both worlds: the Belgian rigor with the Italian sexiness. Can this be found in your work?
NICOLAS DI FELICE
This is not something on my mind. I work instinctively from a sketch straight to a CAD design, then the pattern and I cut. There must be a bit of both. My silhouettes are sharp and geometrical, yet they should be able to move sensually. Above all, I enjoy making garments; working on a pair of trousers excites me more than anything. When I conceive a piece, I have a minimum of three persons in mind who could wear it.
OLVIER DUPON
You came from the Pays Noir, the nickname given to Charleroi for its mining past, and you have landed in the one fashion house, Courrèges, that uses immaculate white as a signature. Is this a figure of speech that explains your drive to unearth beauty from decay?
NICOLAS DI FELICE
What you just said touches me. It resonates a lot with me. Finding beauty in mundane objects interests me. It requires one to pay close attention to one’s surroundings. I like to spend time on details that do not ‘matter’ at first sight. I have always dreamed of building a collection of tee-shirts only. They would be handmade and in plain jersey. I find the idea beautiful.
Nicolas Di Felice for Courrèges: a community for those who appreciate genderless
Nicolas di Felice is a Belgian fashion designer, and artistic director at Courrèges. Having started as a junior stylist at Balenciaga under Nicolas Ghesquière, he moved up to head of tailoring at Dior under Raf Simons, then reached the position of senior designer for ready-to-wear tailoring at Louis Vuitton again under Nicolas Ghesquière. He was recruited at Courrèges in September 2020.
For three years, he has revived the brand, re-affirming its fundamentals all the while appealing to the new generations. Through his passion and expertise in making clothes, Courrèges has now become a community for those who appreciate genderless well-executed garments. ‘Bringing people together’ is Nicolas di Felice’s motto. An active advocate of the LGBTQIA+ cause, he has brought Courrèges in to collaborate for the Over the Rainbow exhibition at the Pompidou center.
Olivier Dupon
