Courrèges Fall 2025 Ad Campaign

Review of Courrèges Fall 2025 Ad Campaign by Creative Director Nicolas Di Felice with Artist Dan Colen

There’s a kind of quiet bravery in a campaign that dares to say nothing—and yet speaks volumes. For Fall 2025, Courrèges and creative director Nicolas Di Felice partner with artist Dan Colen to deliver a singular, arresting visual: an empty white field flecked with multicolored confetti. No models, no clothes, no logo. Just residue. Emotionally charged, visually restrained, and deeply referential, the image—anchored by Colen’s 2010 artwork Moments Like This Never Last—feels less like a product pitch and more like a shared breath after catharsis. A whisper after a scream.

The choice is as pointed as it is poetic. Di Felice has been open about his evolving emotional landscape—where his last collection emerged from a place of depression, this season’s visual world is softer, warmer, even euphorious. The confetti, suspended midair like a memory that won’t quite settle, evokes the ephemeral euphoria of a New Year’s Eve countdown or the afterglow of collective joy. It feels like sweeping up the party, but doing so with reverence. This isn’t about erasing the moment—it’s about honoring its passing.

What makes this campaign feel almost subversive in the fashion space is how little it tries to sell. There are no garments in view. No tags, no silhouettes, no seasonal must-haves. It’s not just minimalism—it’s a refusal to participate in the usual rules of fashion advertising. In doing so, Courrèges leans into a new kind of cultural fluency: the “if you know, you know” wink of intellectual intimacy. The campaign doesn’t broadcast. It beckons. And that’s precisely what gives it its charge.

It’s also a confident bet on the cultural capital of ideas—on the notion that consumers, especially in this moment, aren’t just buying clothing, they’re buying alignment. Aesthetic, emotional, philosophical. This campaign captures a mood, a feeling, a sensibility. And in doing so, it reminds us that meaning can be a luxury too.

Sometimes the boldest gesture is the one that doesn’t move. For Fall 2025, Courrèges and creative director Nicolas Di Felice deliver a campaign that stops time—and, by extension, the eye. Collaborating with artist Dan Colen, the house presents a single, striking image: a stark white field speckled with multicolored confetti and a swooping teal streamer. There are no clothes, no people, no styling, no slogan. Just the trace of joy, suspended mid-air, like the remnants of something beautiful that already happened. Or is just about to.

The chosen artwork, Moments Like This Never Last (2010), is quietly jubilant. It’s not loud or excessive. It’s not a shout of optimism. Instead, it’s a sigh of relief—a collective exhale after a period of intensity. Where Di Felice’s last collection was born from a place of personal heaviness, this campaign radiates warmth. It feels like memory and motion at once: the end of a party, or the beginning of one, depending on your mood. The confetti doesn’t settle; it drifts. And in that, we get a subtle metaphor for the season’s core idea—lightness through weight, emotion through absence.

This is where Courrèges plays its most intelligent hand. The campaign makes no attempt to explain itself. It’s an “if you know, you know” moment, and those are powerful in today’s fashion landscape. It doesn’t scream for attention; it invites intimacy. The decision not to include any garments—or even people—isn’t a retreat from commerce, it’s a statement of self-assurance. It suggests a house so confident in its cultural pulse, it doesn’t need to hold your hand. The visual doesn’t point to product; it points to sentiment. And that’s what discerning consumers crave—narrative, not noise.

In context, the campaign does more than reject convention; it reframes fashion marketing as artistic alignment. Colen’s confetti becomes a vessel for hope, memory, and refusal—a reminder that beauty can be both fleeting and profound. Di Felice positions the image not just as campaign material, but as a worldview. The backdrop of the Sky High Farm Biennial and its emphasis on local ecology, community, and resistance further deepens the layers. It’s not just a campaign; it’s a gesture of solidarity dressed in minimalism.

What lingers after the confetti isn’t just color or texture—it’s curiosity. And that’s the masterstroke. Amid a sea of literalism, Courrèges asks us to feel something, not buy something. Or better yet, it asks us to do both—but in that order.