THERE SEEMED TO BE NO END to the splendour
of show venues chosen during Copenhagen Fashion Week by the established,
trend-setting designers. The imposing surroundings of the individual
shows around town provided wholly exciting experiences. We went
from Bruuns Bazaar at the Throne Room at Rosenborg Castle to a New
Yorkesque underground parking lot, completely decked out by Munthe
plus Simonsen in Afro-inspired graphic printed materials. We went
from Days show at the navys immense old boiler smithy
to another former navy site, Base Camp, where Malene Birger held
her show. Noa Noa staged its fashion show as the musical Cabaret
at the Vega Club and Ivan Grundahl took possession of the salon
at Hotel Marriott. Susanne Rützou and Bitte both occupied warehouses
in the free port and Sand captured Copenhagen City Hall no less.
The lavish surroundings are inspiring frames to
the collections, but it is the special Danish design element that
sells so well globally. And, for level-headed Denmark, a very unlikely
concept characterized the collections: sumptuousness. Of all kinds.
Crystal, silver, antique gold or black onyx pearl was delicately
sprinkled on to chiffon, cotton and wool. This continued in art
déco style on sweaters and dresses in 20s styles at
Day, Malene Birger and Noa Noa, and as embroidery on mens
ties and belts.
Munthe plus Simonsen showed its artful designs
in voluptuous mixes of metallized Afro graphics, printed
or embroidered on loose shirt dresses, tunics, asymmetrical skirts
and quilted coats, in an explosion of colours and with the addition
of Masai jewellery. Susanne Rützous matte metals were
elegantly mixed with coloured embroidery on beautiful jackets and
pleated to-die-for skirts in heavy brocade.
The new light lady-like look was perfectly carried
out by Malene Birger in graceful 30s and 40s dresses
with gusset pleats or box pleats, gorgeous cardigans, and lovely
50s ankle-length dancing satin skirts.
Munthe plus Simonsen. TOP RIGHT
AND ABOVE LEFT: Malene Birger. ABOVE
AND LEFT: Sand. (Photographed
by Mikael Hjuler.)
For level-headed Denmark,
a very unlikely concept characterized the collections: sumptuousness.
Of all kinds