Oh and the peacock feathered suit was killer. See it, and our other favorite looks from backstage at the presentation, below.
Having previously styled for projects like "Femmes of Darkwave," a photo series by friends Sevin and Yvette, Danielle was eager to collaborate on a scene with Sevin, a fellow 35mm photographer. The idea had been brewing for some time, and Sevin's readiness to experiment made them a natural fit. Amid Sevin's collection of suits and dresses, a playful conversation led to the inclusion of chainmail attire and even the suggestion of a possible shibari-inspired concept. With Joel's input, the decision was made to suspend Sevin from chains—a creative choice influenced by their experience with hook suspension and archery, plus their affinity for weaponry.
The stage was set, quite literally, as the trio embarked on a 12-hour journey to craft a world that married danger with opulence. The outcome was the inaugural installment of Danielle's new series, titled Assassins, a loosely drawn inspiration from the edgy ambiance of Faces of Death.
A Roege Hove SS24
If one imagines Scandinavian knits, Amalie Røge Hove’s skintight creations are barely what first comes to mind, at least not a few seasons ago. Through her unorthodox approach, the young designer has successfully carved out her signature, and managed to turn the concept of knitwear into a much broader universe. Hove’s technique allows her designs to welcome all sizes: each garment stretches, thus putting individuality at the forefront of her creations. As for this season, the collection was introduced to the sound of an airplane taking off, a busy sidewalk buzzing in the background, possibly from a capital bigger than Copenhagen. Tonal boldness was present, and worked well: lime green, soft pink, and orange dressed the female silhouettes, stepping outside of Hove’s neutral spectrum.
PLN SS24
Being criticized for the overwhelming darkness of last season’s presentation, this invitation kindly prepared us for its complete opposite: “WEAR YOUR SUNGLASSES,” it asked, and the crowd did as they were told. Luckily, one might say, for the almost surgical lighting of Nikolaj Kunsthal situated as an extension of the church, would have left one blind. At least now the audience only left death, as the sound, created by artist Sausha De La Ossa, was bone-chilling. The collection was mostly black, with some dashes of silver, but sometimes an all pink, beige, or purple look punctuated the line up allowing the crowd to catch some well needed air. Shoulders were big and wide – made of caps – and denim were long and perfectly loose fit.Yet the creatures were not convicted to death, rather to the truth. Through his designs Nielses seeks companionship by disrupting the notions of what's considered normal. What is more real, reality or the absurd? One only finds out if the person manages to find themself first, the designer argues. And as the show came to an end, perhaps Nielsen reached his state of sobriety, for just as his NT colleague – Nicklas Skovgaard – closed his presentation earlier that day; with an all white, yet not all virgin, version of a bride, so did PLN, too.
Henrik Vibskov SS24
A question more relevant today than ever, yet one which Henrik Vibskov victoriously has unfolded via his unconventional ways of thinking for over two decades is: what is the role of a creative director today? Since graduating from Central Saint Martins in 2001, Vibskovs practice has continued to span an eclectic range of creative disciplines. Confronting the conservative ways of thinking, consequences led him to compose a universe of his own, and this Wednesday evening at the Design Museum of Denmark, we were once again invited to take a trip with his spaceship. As unpredictable as the outcome of any millionaire-moon-travel, all the audience knows when it comes to Vibskov, is to expect the unexpected. The Unboxing Waltz Tutorial, the waltzy whirls were crosscut with the freestyle by MC Jahmarl Crick, aka KyleLondonnn, whose lyrics propelled the energy from slow and subtle to eccentric and electric. All very Vibskov. The idea of boxing, as an athletic practice, was further articulated through the collection, as there were deconstructed gloves transformed into barbaric hats, shoes that came padded around the ankle, and beautiful low-waisted structures. Patterns were mixed, matched and layered on top of each other, while lace hoodies were styled either underneath blazers or sweatshirts. Textures traveled from light to heavy and the collection carried a bold color seam. Thus, not only as a creative director, but as an artist, it perfectly aligns with the approach Vibskov has been practicing since his dawn as a designer, the one which the industry is now following along with.
As the setting exalted the delicate wears on display, Reffstrup’s commitment to the heritage of Danish daywear yielded some solid looks, creating a lightness that has been missing from past seasons. There was a great emphasis on tailoring, admittedly, and a knitted dress that could easily move from day to night, showing a palate cleanser of a collection: textiles got sleeker this season with accentuated waistlines and fitted shoulders, while cut lines on jackets with an origami patterned feel were also standouts, teamed with pieces spliced together suiting checks for a playful twist on tradition. A tradition that finds fresh, inclusive ground, as the brand unveiled an impressive collaboration with model and diversity advocate Paloma Elsesser, who partnered to design a size inclusive range that champions the model's style and influential voice in the world of fashion. “Paloma is a dream girl,” cheerfully notes Reffstrup, explaining that, “Her style is unmatched and serves as such an inspiration to the industry and women around the world.”
After several seasons of frantic prints and bold designs, GANNI’s pared-back neutrals looked new; in particular, the earthy shades. Those came in striped-like cardigans and two-piece sets inspired by textured surfaces and the tactility of trees, taking form in a transparent, hooded dress silhouette adorned with draping on the hip and styled with matching pants. The ability to pull off, say, skin-tight volumes is no mean feat: but the GANNI girl knows a thing or two about marking edgy territory without falling into the banal. Cheeky! But then again, a chic-cheek feel might very well be what Reffstrup does best; there were minis rendered in black, encrusted with shimmering clusters of sequins, alternated by tailored black leather-like dresses with white contrast stitching and sequins bedecking a knitted dress. Also top notch: Western-inspired cowboy boots to bikers and slouchy pointy-toed knee-highs.
The brand is not for style amateurs who want to simply veer towards a minimal edge, but in the more digestible offerings one can find its price (albeit, there’s an extremely ample range to sample from). Perhaps Reffstrup’s smartest idea here was her play on casual femininity, pairing strict suiting, for instance, with a generously provocative, sensual leather accent. All in all, this was a strong and perky collection with a potent taste that had girls dancing to the sound of a bouncy beat, raising a glass to honor positive change. Cheers to that.
