2 posts tagged "Anne Sofie Madsen"
Even with the promise of champagne, 8 a.m. is an early call time for the last day of fashion week. But that didn’t stop editors from flocking to Day Birger et Mikkelsen‘s Copenhagen flagship for an early-morning presentation. While show-goers enjoyed a tasty brunch, models wove through the room in tweed coats, wrap dresses, pencil skirts, fluffy sweaters and tiger-print pants. Casual suits and beaded jackets were also Fall features and showed off the brand’s signature fusion of intricate craftsmanship and simplicity.
After more than thirty years on the fashion scene, Ivan Grundahl is not exactly a new kid on the block. Even so, his Fall ’13 felt youthful, and even a little rock ’n’ roll. Asymmetrical lines, architectural shapes, and uneven silhouettes are Grundahl’s signatures—all of which were present during Friday’s show. The collection (above) offered lots of heavy boots, loose trousers, and sweaters in dark prints, black, and army green. Large pockets and lace were used as accents, and balloon-shaped dresses and sequined skirts provided hints of femininity.
Stine Riis, the winner of last year’s H&M Design Award, closed out Copenhagen fashion week with her collection, RIIS. For Fall ’13, she continued her love affair with clean dressing and discreet details, showing tailored trousers and narrow pencil skirts mixed with silk shirts and wool outerwear. A gray jacket was one of the best pieces in the show, and cutout patent leather details on skirts and tops were a nice contrast to the modern minimalism.
Pink, mint, pumpkin, lemon, and mauve were the dominant colors at Copenhagen fashion week, but the underlying ethos was far from frivolous. Established illustrator and Denmark’s rising local design star Anne Sofie Madsen’s signature illustration on both her invite and a silk T-shirt (pictured) in her Spring 2013 collection sums up the Danish spirit. With a mixture of sweetness and bite, a girl’s face hovers over an ice cream cone. Her features are flanked by pitbulls and cobras as she is surrounded by a wash of pink with mint green and gold drips.
While Madsen is the right person to push Copenhagen’s spirit to artistic extremes, the same mixture of hard-core style with a candy-colored palette was everywhere during the week. Only Wood Wood took a decidedly darker turn from its previous British public school-inspired seasons, with a collection evoking Liverpudlian hooligans with plum tracksuits, scowls, and full blue Scouse brows. Overall, the catwalks were awash with sugary shades and earthy or edgy shapes.
The likely originator of this trend is Stine Goya, whose season after season success promoting a dessert-inspired pistachio, pumpkin, and berry palette now helps define the present moment in Danish design. Goya’s soft, pragmatic cuts counterbalance her smart and serious references. In past seasons, she channeled the Amish, haunted puppet theaters, and Victoriana. This season, she presented an elegant, relaxed white blouse paired with matching seventies-style trousers, both sporting a watercolor print of clowns from a Fellini film. Although Goya makes challenging artistic references and was introduced to Denmark’s fashion scene through her relationship with surrealist Henrik Visbov, her clothes are Copenhagen’s most realistic additions to real women’s lives.
This accessible mentality was also evident at Bruuns Bazaar, where Rebekka Bay, the former artistic director for Cos, presented clean, crisp clothes for women and men, with exciting dashes of yellow and blue against sage, mint, vanilla, and taupe. Peter Jensen’s menswear and womenswear employed brighter and bolder versions of the same ice cream colors. Even the reliably gothic Barbara í Gongini started her artful show of sculptural stiff pleats and Rick Owens-like ravished leather with a series of ghostly girls wearing only acid yellow shredded tights, dresses, and tops in thin cotton. With its harder forms and spectrum of dessert shades, Copenhagen was a treat.