Copenhagen Fashion Week (CPHFW) has long been more than just a stopover before the industry officially starts ‘Fashion Month’ with the big women’s fashion shows in the fashion capitals. Most of the models hitting the catwalk in the Danish capital are popular with Instagram It girls, industry veterans and shoppers alike and are likely to be on both shopping lists and social media feeds in six months at the latest dominate.
The Scandinavian style, which is traditionally often associated with minimalism, is now characterized above all by its playful objectivity, but largely avoids showmanship or artifice. In recent years, the aesthetic associations with the city have largely been shaped by brands such as Baum und Pferdegarten, Stine Goya and Ganni, although the latter decided not to feature on the catwalk this season.
Instead of taking part in the official show program of Copenhagen Fashion Week, the brand celebrated its tenth anniversary as part of CPHFW by taking a step away from the direct spotlight and making way for emerging talent. In collaboration with Fashion Week’s Talent Program, Ganni selected seven emerging Danish artists and designers to each present a work as part of the fashion house’s “Future, Talent, Fabrics” exhibition.
Promising talents demonstrate a sense of poetry and drama
Among the designers taking part in the exhibition were Nicklas Skovgaard and Alectra Rothschild, two of the most promising talents in the Danish fashion scene. However, both of them not only took part in Ganni, but also presented their visions on the Copenhagen catwalk. It was a runway debut for Rothschild’s eponymous brand Alectra Rothschild/Masculina that will be remembered for a long time.
The Central Saint Martins graduate, who has worked with Mugler’s creative director Casey Cadwallader and the team at Alexander McQueen, among others, showed provocative looks full of Y2K inspiration. The flagship of the collection were draped zero-waste dresses that adapted to different body shapes and were effortlessly showcased by a diverse, mostly transgender cast of models. Her own transition and the experience that came with it was also the inspiration behind the collection called “Rebirth Carry”. “This is a narrative of transformation that many trans people experience once the active transition process begins,” Rothschild said.
The internet’s fierce reaction to John Galliano’s recent couture collection for Maison Margiela has underscored the industry’s yearning for poetic design, as well as fashion’s yearning for theatricality. Combining a soft corporate silhouette with a sense of drama and the Tudor period, Nicklas Skovgaard’s collection could and should fill a space that only the likes of Galliano have dared to fill in recent seasons. While his flowing and literally inflated pieces already spoke for themselves, the designer punctuated his performance with choreography and ’80s beats. The models, who resembled dolls in many ways – another parallel to Galliano’s now infamous Margiela presentation – mingled with the audience, posing, dancing and playing with various fruits as they captivated the audience.
Half performance, half fashion show also best describes Paolina Russos’ show. After hosting their first show in Copenhagen last season, the two designers Paolina Russo and Lucile Guilmard returned to the Danish capital for fall/winter 2024 together with performance artist Esben Weil Kjær. Stonehenge was the inspiration for the stage, which was decorated with giant monolithic sculptures while models danced around in the brand’s signature knitwear. Runes, both in the form of patterns on the clothing and in the scenery, conjured up a folkloric yet contemporary atmosphere and a touch of nomadism on the catwalk, which was reflected throughout the entire collection.
While the three young brands brought an energy not unlike that of London’s once-vibrant fashion scene, they are the exception rather than the rule in Copenhagen. In many ways, commerce rules here, but the Danish capital also proves that commerce is not a synonym for monotony. The cult label Saks Potts presented a small but fine collection that harkened back to the 2010s, especially the festival style of model Kate Moss, while Rotate proved once again that the next party – and with it Reason to wear a shiny, sheer gown – is just an invitation away.
Copenhagen gets to work
However, a party mood was not the predominant theme of Copenhagen Fashion Week, as most designers seemed to be in the mood for work. Many of the fashion narratives this season have been busy, more commercial, and ultimately a little more “entrepreneurial.”
Tailored coats, two-piece suits, stiff shirts and ties – for both men and women – were on display in abundance. The Garment shortened the sleeves and length of jackets and layered oversized pointed shirt collars over knits, while Mfpen gave standard office wear a dash of grunge.
Designer Caroline Engelgaar’s collection for her Mark Kenly Domino Tans brand was inspired by pilot Amelia Earhart, and while there were some stylistic nods to the world of aviation, including flight jackets, it’s easier to imagine the collection in the conference room than in the air. The shoulders were severe and tailored, the collars stiff and the trousers wide, befitting a serious take on “power dressing” emerging in Copenhagen this season. Unlike some recent fashion trends, this approach also translates easily to all age groups – something the designers at CPHFW seemed to have taken to heart by showcasing clothing for different age groups that have long been on the runway should no longer be revolutionary, but in many ways it still is.