Courrèges Spring 2027

For his Courrèges debut, Drew Henry went back before the Space Age became shorthand for the house, digging into the colourful, playful beginnings of André Courrèges. That meant looking beyond the precision and monochrome minimalism associated with the brand in recent years and finding something stranger and more joyful. A shapeless pumpkin-coloured hat from the archive, designed by Jean Barthet, became an unlikely symbol for the collection: a little odd, slightly irreverent and deliberately imperfect.

At the Palais de Tokyo, Henry reworked familiar Courrèges codes with a looser hand. Ribbed knits, vinyl jackets and A-line dresses were joined by lean coats and jackets with raw edges, metallic logos and oversized belts, while baggy trousers arrived in punchy shades. His background working with Phoebe Philo at Céline and on her own label was evident in the more commercial pieces, including fluid jumpsuits, lean tunics and body-skimming knits.

But it was the psychedelic side that gave the collection its personality. Henry looked to figures including James Baldwin, Tracy Chapman and Cher, drawn to their devil-may-care attitude and the punk spirit he sees in early Courrèges. Cartoony floral bra tops, cage jumpsuits dotted with tufty flowers and HotPants with an unexpected cutout brought a deliberately playful edge. The signature A-line dress was flipped backwards and made unisex, proving that even the house’s most familiar shapes could be given a new direction.

The debut was confident without feeling overly polished, which seemed fitting for a designer interested in the humour and spontaneity buried in the Courrèges archives. Henry has clearly arrived with plenty of ideas, from psychedelic nostalgia to commercial wardrobe staples. If the slightly squashed orange hat was the collection’s oddball opening note, the clothes suggested a much broader and more considered future for the house.