Sébastien Meyer and Arnaud Vaillant like to take things one at a time. Two seasons in at Courrèges, they’ve already completed their first mission: to make the dusty Space Age label desirable again and open it up to a younger audience. For their first resort effort for the house, the designers took a more black-and-white point of view, ditching the pop colors to sharpen the lens on their purist designs. “We wanted to explore the [relationship] between the construction of the clothes and the House’s factory in Pau, in Southwest France,” said Meyer, referring to the building designed by André Courrèges — “Le Corbusier of fashion” — in 1972.

 

But Meyer and Vaillant have a way of honoring the Courrèges legacy while keeping things light, deftly bridging the past and future with their own experimentations with new technology. Case in point: the line’s layered, shiny-black, 3-D-printed polyurethane shorts whose rounded volume nods to Courreges’ early cocoon forms.

 

The outerwear was stellar, spanning minimalist rubber macs with sharp, soldered seams, rivet-like snaps marking out the pockets and an archive-inspired collar with a double-snap closure, and fresh updates on the iconic Sixties Courrèges vinyl jacket in a monochrome patchwork of rubber, pinstriped wool and smooth and textured vinyl.

 

The focus was on simple, graphic, wearable styles, but there was also a flash of Meyer and Vaillant’s fun beam-me-up side in the line’s showpiece coat, its sculptural silver meshlike surface embroidered with vinyl elements and fixed with snaps.

By  on June 28, 2016
Courrèges Resort 2017

Sébastien Meyer and Arnaud Vaillant like to take things one at a time. Two seasons in at Courrèges, they’ve already completed their first mission: to make the dusty Space Age label desirable again and open it up to a younger audience. For their first resort effort for the house, the designers took a more black-and-white point of view, ditching the pop colors to sharpen the lens on their purist designs. “We wanted to explore the [relationship] between the construction of the clothes and the House’s factory in Pau, in Southwest France,” said Meyer, referring to the building designed by André Courrèges — "Le Corbusier of fashion" — in 1972. But Meyer and Vaillant have a way of honoring the Courrèges legacy while keeping things light, deftly bridging the past and future with their own experimentations with new technology. Case in point: the line’s layered, shiny-black, 3-D-printed polyurethane shorts whose rounded volume nods to Courreges' early cocoon forms. The outerwear was stellar, spanning minimalist rubber macs with sharp, soldered seams, rivet-like snaps marking out the pockets and an archive-inspired collar with a double-snap closure, and fresh updates on the iconic Sixties Courrèges vinyl jacket in a monochrome patchwork of rubber, pinstriped wool and smooth and textured vinyl. The focus was on simple, graphic, wearable styles, but there was also a flash of Meyer and Vaillant's fun beam-me-up side in the line’s showpiece coat, its sculptural silver meshlike surface embroidered with vinyl elements and fixed with snaps.

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