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In town
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 Day’s show at the navy’s 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 men’s 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 Rützou’s 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.

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