Henry resets Courrèges as Klausner brings glamour to Dries Van Noten

Paris fashion took two sharply different turns on Wednesday, as Drew Henry introduced his first collection for Courrèges and Julian Klausner presented a richly layered summer wardrobe for Dries Van Noten. FashionNetwork Israel reported on both shows, which paired a strategic change of direction at Courrèges with exuberant continuity at the Antwerp label.

Courrèges looks back to move forward

Henry’s debut unfolded at the Palais de Tokyo, where 46 looks were shown among an eclectic collection of historic chairs. The presentation marked a clear departure from the approach associated with Nicolas di Felice, who led Courrèges for five years before leaving last March.

Instead of di Felice’s close-fitting shapes, polished surfaces and dramatic evening pieces, Henry proposed a looser and more practical wardrobe. Belts hung open or were fastened only lightly. Sleeveless jackets, broad shorts, towelling trousers, open-necked shirts and relaxed dresses gave the collection an informal ease. A knitted jumpsuit, cropped-looking sweaters and a feather-trimmed bra and suspender belt, worn below an unbuttoned trench, added more unexpected notes.

Colour became one of the most immediate signs of the change. Orange appeared in several shades, alongside red, yellow, beige, chartreuse, green, pale blue and navy. Logos were deployed conspicuously, appearing on jewellery, collars, pockets and metal plaques. The effect was less futuristic and more closely connected to the label’s early visual language.

Henry also revisited Courrèges signatures from the 1960s. Rounded white collars, geometric details positioned around the chest and waist, and flat lightweight foam garments suggested a deliberately graphic construction. Buttons were scattered across multi-strap shoes and patchwork tops, while ankle press-studs gave some trousers a functional finish.

The change comes as the French house seeks greater financial stability. Courrèges is owned by Artémis, the Pinault family’s holding company, which cleared the brand’s debt in 2025. That makes Henry’s first collection more than a stylistic reset: it is also an attempt to define what might bring commercial momentum. Accessories will be central to that effort, and the debut introduced a new group of handbags, shoes, hats and sunglasses.

One handbag used pale red or off-white leather with metal rivets; another had an elongated, droplet-like form wrapped into its own strap. Oversized PVC hats recalled the label’s long association with the material, while bright leather shoes and disco-inspired sunglasses completed the looks. The audience responded warmly, although the wider question is whether the renewed 1960s emphasis will retain existing customers or reach a different audience.

Dries Van Noten turns fashion into fantasy

At Dries Van Noten, Klausner worked with a far more elaborate vocabulary. Floral, abstract and animal patterns collided with tassels, embroidery, brocade and crystals, producing clothes that were dense with detail but kept a fluid silhouette.

The collection was shown on the broad white floor of the Carreau du Temple. Its mood suggested glamorous women on the French Riviera during the 1950s and 1960s, filtered through an imagined version of old Hollywood. Klausner described the clothes as though they belonged to films that had never been made, combining invented poster imagery with ordinary wardrobe pieces.

Those imaginary posters appeared on silky dresses, sarong skirts and large pareos. One design carried the word “Vipère”, while repeated black-and-gold snakeskin brought a theatrical note to prints and oversized bags. Other patterns were intentionally obscured: floral and flamingo designs disappeared beneath fine organza, while a beige work jacket became partly transparent, revealing a leopard-print top underneath.

Stars supplied another recurring motif. Some were enlarged across the back of a brown-and-pink coat; others spread over the shoulders of a roomy jacket. Klausner also used a spray process to give several tops and dresses a blurred, energetic finish. Rhinestones and crystals appeared as shoulder or waist brooches, embroidery on sheer skirts and embellishment woven into mixed-texture outfits.

The most lavish looks were covered in multicoloured tassels, turning simple diva-inspired dresses into sparkling evening pieces. Accessories received comparable attention despite Puig’s stronger emphasis on fragrance and beauty, including the recent launch of the Velvet Violet scent. Sparkling court shoes with wooden heels, coloured leather gloves and bags ranging from miniature to oversized extended the collection’s visual stories.

Klausner has worked closely with Dries Van Noten for many years, and the show balanced knowledge of the house’s established identity with a willingness to experiment. Precise styling brought the numerous patterns and asymmetrical combinations into focus. FashionNetwork Israel reported that Marc Puig, the group’s executive chairman, waited after the presentation before greeting Klausner with a warm embrace—a sign that the collection’s exuberance had made its mark.