Copenhagen’s Fashion Week was very… Scandinavian. Cool, laid-back, nothing we haven’t seen before. The overlap with Paris Haute Couture Week didn’t exactly spice things up. Ιf anything, the “meh” factor went up a notch. But France can take part of the blame. Still, a few looks managed to stand out. You don’t have to do something new, you just have to do it well.
Forza Collective
Kristoffer Kongshaug was one to watch this season, from start to finish, though admittedly more towards the finish. The designer saved his best for last. A sheer blue peplum gown, ruffles at the waist, collar to the Gods. Necks, in fact, were very much his thing this season, inspired by an old photograph of his late aunt in a high-necked jacket. “I’m from the rural part of Denmark, so it’s my first memory of a woman who would dress up,” the creative told Vogue. That being said, hope the photo album runs deep.
SSON Studios
When I think of Copenhagen’s taste, Miu Miu comes to mind. Recycling has recently joined the list. Sson works with discarded and recycled materials, this season turning its attention to excess, and the art of making it desirable. Luckily, Yulia Kjellsson, creative director and co-founder of the brand, knows exactly what to do with the overflow. Picture handbags reimagined as skirts, boots wide enough to accommodate four calves, polka dots, stripes, muted pink, navy, gray, white, you get it. The ethical Miu Miu-ification we like to see, even from miles apart.
@bonnetje.official via Instagram
Bonnetje
Scandi girls often write the rules of minimal cool. At least Bonnetje’s Yoko Maja Hansen and Anna Myntekær did. Deconstruction of menswear and manipulation of fabric sit at the core of the label’s identity, and it looks just as good as it sounds. Think mini dresses crafted of shirt cuffs, maxi dresses built out of tank tops and blazer sleeves. And now that blazers joined the conversation, picture them at war with Rococo paniers (the panniers won), and the list goes on. Let’s just hope the “finance bros” can keep up with the recycling.
Nicklas Skovgaard
Skovgaard has a little retro in him, always. Inspired by “Denmark’s Darling,” actress Marguerite Viby and her film “Millie, Marie and Me,” the collection leaned into contrast, just like she did on screen. That 1930s juxtaposition came with the thinnest eyebrows, colors, a bit of romance, and leather holding company to feather-light fabrics. “It’s a lot about exploring that tension between control and expression,” the creative told Vogue. “Creating these silhouettes that hold both characters.” Fair enough. Someone dim the lights.
In Copenhagen, doing it well is more than enough.
