Highlights from Copenhagen Fashion Week SS20
Copenhagen Fashion Week was a force to be reckoned with. From the catwalk to the attendees, the clothing was every bit as bright, mismatching, and accessory-laden as expected. It was maximalist dressing at its best. But what made this year’s event a pure joy for all involved (even if, like me, you were a mere spectator watching from a tiny hand-held screen) were the themes of inclusivity, diversity and individual expression pulsating down the runway, and an insistence to ‘just have fun with it.’ My two favourite shows: Ganni and Stine Goya.
Ganni ‘Double Love’
Ever since that neon check number became the most coveted dress of the summer (for the Northern Hemisphere anyway), Ganni has filled my head with all sorts of ‘if only’ ensembles, only to ramp up a notch following Thursday's show.
The choice of venue set the tone, a hidden tennis court in Copenhagen’s Hotel Mercur, the perfect accompaniment to the brand’s ‘urban cool’ persona. In usual Ganni style, the collection was an edgy interpretation of feminine dressing. There were animal prints and feminine hues in a synchronous powerplay with more masculine tailored pieces.
The collection ‘marked a moment of maturity for the brand’ with calmer colour schemes and more sophisticated silhouettes, according to creative director Ditte Reffstrup, adding ‘but, don’t get me wrong, we’re still up for fun.’
When the weather packed in and the rain started pouring, that’s when the party really got started. Fitting then that this year’s show marked Reffstrup’s tenth anniversary as creative director, during which she’s enjoyed stratospheric success, evolving the brand from locally-known gem to global fashion player.
Influencers and models dancing in ponchos isn’t something you see often, but for the Ganni girl, fashion and fun are one and the same, and should always be cause for celebration.
Stine Goya ‘HOUSE OF GOYA’
Vogue Runway called it “the best show at Copenhagen Fashion Week,” taking place inside a gymnasium, which Teen Vogue declared “a visual synonym for the collection: sleek lines, bright colours, and a palatable sense of fun and games.”
Stine Goya started her eponymous label in 2006 as an alternative to the then lacklustre colour palette that defined Scandi fashion, which couldn’t ring truer following her SS20 collection debut, with its propensity for clashing prints and bold colours. There were florals on florals, stripes on hearts, colour on even more colour. Polka dots stole the limelight by taking on a variety of forms - scrunching into a sweater, puffing up a sleeve, embracing dancing limbs in a semi-opaque pair of tights.
The collection is inspired by the “extravagant aesthetic, freedom of expression and inclusive community of international ballroom culture.” In particular, it draws upon the documentaries Paris is Burning (1990), which celebrates the LGBTQ ballroom scene, and the 2016 documentary Kiki, which explores the ballroom as a safe space for LGBTQ youth of colour.
A mix of seasoned professionals, ballroom dancers and bumble-casted models made for a diverse and inclusive cast, bringing with them unmatched energy and flair as they strutted and vogued down the runway. It was an invigorating and refreshing performance, and hopefully sets a new precedent for inclusivity on the runway.