The runway at Courrèges this season was so narrow it was almost confrontational. Designed to look like a city street — complete with manholes and surface markings — the set had guests pulling their feet in just to avoid grazing the clothes as models passed. It set exactly the right tone for what creative director Nicolas Di Felice had in mind.

For his fifth anniversary at the house, Di Felice drew inspiration from Belgian filmmaker Chantal Akerman, specifically her 1993 film “Portrait of a Young Girl at the End of the ’60s in Brussels.” The collection, titled “24 Hours in the Life of a Courrèges Woman,” traced the arc of a single day — morning through night — with a cinematic sensibility he described as a tracking shot in his head. “It’s about a girl on the move,” he said backstage. Fabrics were chosen accordingly, including a flecked denim that carried the texture of asphalt.

The soundtrack moved with her — from urban street noise at the start to pounding techno by the end.

The show opened with a white satin dress draped from a metallic frame, a nod both to the intimacy of a bedsheet and to an archival 1965 image of a model holding a white square — a quiet homage to founder André Courrèges, the Space Age pioneer who pushed geometric design so far he was sometimes accused of forgetting about the body underneath. Di Felice has never had that problem. His version of Courrèges is sharp and kinky in equal measure — glossy textures and precise proportions applied to slim coats with funnel collars, a sleek pleated skirt, and dresses with graphic cutouts at the side and back.

The house’s signature vinyl got a full workout too, showing up cool and edgy in a T-shirt and matching trousers, then sleek and polished in a technically impressive pleated dress. For a touch of lightness, Di Felice pieced together skirts and evening dresses from organza Paris Métro tickets and cloakroom stubs — collectibles from daily life, elevated into something wearable. A new bag, the Shadow, completed the picture, shaped as if moulded around whatever it carries.

The cast included veteran models Anne-Catherine Lacroix and Nataša Vojnović, whose easy confidence on the narrow strip reflected exactly the self-possession Di Felice has been building toward at this house. “I hope to make women feel beautiful — as simple as that sounds,” he said. “There is a structure to Courrèges clothes that is there to protect you.”

For the finale, every look came back — but reworked entirely in white. An open canvas, Di Felice called it. Whatever the next day brings, she’s ready.