Fashion Week Round Up: Copenhagen’s Autumn/Winter 2024 Campaign

Copenhagen Fashion Week came to a rolling stop last Friday, capping off a week of bus malfunctions, mixed-gender offerings synopsized by muted consumer influence, and artistic theatrics with an onslaught of after-parties throughout the city. After finally getting settled back in London, I’ve compiled a list of designers whose work deserves a deeper dive post-show.

“Extra Order in the Ordinary Extra” was the fitting title for Stamm’s Fall/Winter showing on the second day of the week. Elisabet Stamm, the designer of her namesake label, debuted a collection based on sculptures, Scandinavia’s infamous muted colour scale, and the overwhelming feeling of comfort. As a child, Stamm would steal her father’s jackets and implemented these memories through oversized garments that gave models solace. The show opened with three cloaks draped over models who appeared to have quickly run out of the house without taking off their eye masks. Each jacket featured linear graphics akin to racing garments, which was a theme that would reappear deeper into the collection, manifesting into a full leather moto set. This ethos of tailored comfort continued through the likes of baggy sweatsuits, bomber jackets with emphasized shoulder structure, and multiple takes on a loose puffer jacket. The bottoms were hard to ignore, pairing consumer-driven denim that would please everyone with comfortably tailored trousers and sweatpants. Stamm’s showing exemplified the designer’s ability to conform activewear in a high fashion setting, achieving her goal through easily pairable tones, over-the-top yet complimenting silhouettes, and blips of artistic flair. 

The “Clubhouse” collection, and the show in its totality, was one of my favourites throughout the week. Kicking it back to the old school, the label fused golf and ski aesthetics with 2000s flair, applying tactical notions to the classic menswear tailoring that you may seen strutted into a country club. The collection’s dedication to functionality was apparent, offering everyone in attendance a glimpse into what the most fashionable of athletes indulge in once getting off the slopes. Although the vibe in the crowd felt somewhat pretentious, the collection itself deviated from the atmosphere. Long peacoats were styled overtop suit trousers with drawstrings and hoodies, showcasing the range’s ability to appear formal whilst feeling comfortable. Knitwear played a massive role in the menswear showings, with the unzipped, beige track jacket with a large monogram logo on the back winning the front row’s approval. Following a slew of monochromatic looks that made me ponder just how deep a royal blue can appear, the crowd erupted upon Lucas Braathen, a championed Norwegian alpine skier, strutting down the runway with an exposed chest beneath the brand’s staple peacoat and a pair of hot pink trousers.  

That subtitle is a bit of a double entendre. The collection in itself, as my 16-year-old self might put it, was fire. But as my fellow media members and I sweated through our knit jumpers, we were treated to easily the best soundtrack of the week paired with frayed uniforms depicting how the deviously cool kid in school may alter their school-issued clothing. The label showed surprisingly well-fitting formal wear, dressing the majority of the male models in some sort of outfit that called for a tie. Each model walked with personality, and as sweat dripped down their foreheads and baby hairs stuck to their face, they showcased a collection of looks driven by knitted sweaters, with either zippers or buttons, paired atop dress shirts which were baggy on the sleeve. My favourite look from the show was the knee-length peacoat that featured a muted plaid design and a raised collar which looked like a straight jacket. 

Copenhagen Fashion Week wasn’t all runway shows for the team at PAUSE. Two designers drew my eyes at the Bella Center, an absolutely gargantuan exhibition that showcased designers who ranged from just blowing up to being cemented members of the fashion community. Isnurh is a Copenhagen-based brand that attempts to defy definition. The label makes clothing that allows people to feel secure and comfortable while still standing out of the crowd. Founders Oliver and Kasper achieve this by applying small details to tried and trusted cuts and silhouettes, achieving looks that may appear standard to the naked eye, but become unique upon close inspection. Their clothing allows you to truly wear your emotions, capturing this essence in two ways. The direct approach includes a few graphic designs, such as a cartoon character lying down in its own pool of tears, meant to provoke emotion and conversation. The less direct approach includes their mantra of feeling connected through individuality, giving wearers the chance to feel heard without wearing costume-like outfits. Isnurh is a rising label that clothing lovers who identify with brands that offer value beyond just being clothing should pay attention to. 

The other label that was discovered at the Bella Center was SPSR, a custom fashion brand that is trying to protect traditional suit tailoring by offering modern representations to traveling streetwear lovers. SPRS has three types of suits, ranging from classic three-buttons to double-breasted. Although their range is petite in stature, it punches above its weight class when it comes to customization. Purchasers of an SPSR suit will receive a 1 on 1 meeting with the founder of the label who gives customers the chance to customize the suit lining, hardware, colour, and materials from a vast collection of unique swatches. Although suits are the label’s bread and butter, their ready-to-wear goods are just as innovative. Their entire collection is described as Antonio Vivaldi featuring Kendrick Lamar, with the latter’s prominence shining through in a collection of graphic t-shirts developed by streetwear and pop culture lovers. The current line features football-inspired goods, which are fully customizable with the likes of retired footballers’ last names, kit numbers, and graphics depicting athletes completing difficult tasks. SPSR studio is for lovers of bespoke clothing, especially if they’re in need of something innovative.

The final show on the schedule was Han Kjobenhavn, who showed a collection called Silence. The brutalist nature of the designs screamed everything but silence as we watched the models strut down the runway in knee-high moon boots and a range of designs that perfectly molded wearable art into a selection of looks that would prosper in a mainstream setting. This season emphasized the accentuation of large, sharp shoulder profiles. Jackets and jumpers were overly tailored along the upper body, slimming down into cropped waistlines and baggy sleeves. The majority of the show’s offerings were oversized in a way that borders gimmicky and costume-like without stepping over the line into absolute insanity. Given how absurd some of the cuts and designs were, the collection as a whole seemed wearable. The denim and cargo pants were structured in a maximalist way, paired with chunky choker chains and jackets that looked like something John Wick would wear if he ended up in a crossover episode with The Matrix. In the end, Han Kjobenhavn didn’t leave a lot to be desired. The profound designs and ability to make over-the-top tailoring appear mainstream were the standout efforts from the show.