5 posts tagged "Stine Goya"
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.
The most committed designers won’t let the prospect of labor delay their shows. And in the case of Danish designer Stine Goya, that was labor literally—the very pregnant designer was due the same day as her collection was to debut. But Goya’s collection marched on as scheduled (her baby, for what it’s worth, didn’t make an appearance) and secured her spot as the standout of the season.
The designer’s relaxed, feminine forms are widely flattering, but like the seventies Danish designer Margit Brandt, Goya is her own best model. Maybe that’s why all the models in her show were styled with her own signature cat-eye makeup and coif—long, strawberry blond locks with blunt-cut bangs. The collection took hot-air ballooning for its theme, emphasizing voluminous, beaded frocks, printed silk dresses, draped trousers in pretty pastels and sherbet shades. And Goya, a former Chanel model herself, took her runway bow in a peach and white form-fitting dress with a balloon-sized belly.
The rest of Copenhagen fashion week was somewhat less buoyant, since many of the city’s most artistically innovative designers were M.I.A. Vilsbøl de Arce and Spon Diogo were noticeably absent from the schedule, which was heavy on commercial labels such as Munthe plus Simonsen, Malene Birger, and Hugo Boss. But the refreshingly clean minimalist Bruuns Bazaar collection, Henrik Vibskov’s Dadaist presentation on a circular stage set rotated by costumed stagehands, and Anne Sofie Madsen’s magnificent collection of dresses with sculptural frills and prints inspired by Piero Fornasetti maintained Copenhagen’s strong creative integrity as the fashion showcase for future generations of stylish Danes.
The calendar of global fashion weeks has already whipped cognoscenti around the world this year, and it’s barely February. This week, New York hosts its packed schedule of Fall shows; last week, it was Copenhagen’s turn on the world fashion stage.
Copenhagen fashion week energizes the whole city. Massive television screens beam the shows to the general public, who gather for impromptu parties on the street. Other fashion weeks have struggled to absorb trends from the axis-of-influence cities, but Copenhagen stays true to its own traditions, largely centered around loose, layers and bold prints. It’s a look done best by Henrik Vibskov, who helped define Danish design, but he’s got plenty of compatriots with collections worth seeing.
Stine Goya’s uncanny collection of graceful jumpsuits, rounded-shouldered jackets, raspberry-colored prairie-girl hats and softly draped dresses at the inspiring wood-paneled Danish Royal Danish Academy of Music was a standout (above left). So was the show from the talented Wackerhaus label, which looked like a sexed-up version of Goya’s slinkier pieces. The youthful, streetwear-leaning line Wood Wood stayed true to form with a collection of multi-layered print unisex coats, dresses and leggings in soft prints and muted shades of yellow, gray and maroon. Danish design is sometimes faulted for being overly theatrical, but any of these pieces off the runway could be easily assimilated into an everyday wardrobe. Not so those shown at Vilsbøl de Arce’s tiny presentation: lacerated leather masks, leather and wood laced boots and sculptural dresses and bodysuits (above right). They didn’t make a case for wearability, but you could easily see why the label often supplies Rihanna and Lady Gaga.
When Helena Christensen says go, you go—even, as it turns out, if it happens to be pouring rain. That’s how it went at the so-called “World’s Greatest Catwalk” that closed out Copenhagen fashion week on Saturday. Organizers laid down literally a mile of pink carpet in the city center, and Helena Christensen issued the sendoff to the more than 200 catwalkers, from infants (cradled in mom’s arms) to Denmark’s leading elderly model, all of whom hoofed it through town in looks put together by local merchants.
Rain, as it turned out, was one of the week’s overriding themes. A storm raged during Stine Goya’s show, where models glided through rooms decorated with Victorian-style installations of antique furniture and massive floral arrangements. At Wood Wood (above), the designers actually hosed down their models before sending them into the spotlight at the Den Frie contemporary art museum; with army jackets, shirtdresses, and khakis clinging to their bodies underneath backpacks, they looked like kids caught in a thunderstorm on the way home from school. On the other hand, mother nature luckily held the rain from Henrik Vibskov’s outdoor show at a park known locally as a hook-up spot (despite the swim goggles Vibskov accessorized his looks with, and the two enormous wood boats that burly men pushed into the center of the catwalk for the finale).
But rain or no rain, Copenhagen is about fun more than overly serious, capital-F fashion. Although one of the country’s most established names in womenswear, Margit Bradt (below), showed a strong collection playing on a safari theme (one picked up by several other designers as well), Soulland designer Silas Adler freely admitted that much of the best Danish style is “too basic to put on a catwalk” in Milan or Paris. (Though Adler, whose label grew out of a modest T-shirt project he started with skater friends, did throw some suits into the mix for the first time, below.) The real action in Denmark is at street-level, without the pomp and circumstance that can attend other European fashion weeks. Take Soulland’s after-party, which went down, sans formal invites, at a dive bar called Andy’s—one that the owner had to be roused from a stupor to open that night. Continue Reading “The Weather (And Fashion) Report From Copenhagen” »
Tonight at around 11 p.m.—so they say, but my money’s on midnight or later—a handful of Denmark’s best designers present a runway show of a few looks from their Fall collections for the revelers celebrating VMan‘s Scandinavian issue at Good Units. VMan‘s Stephen Gan sees big things in Scandinavia’s fashion future, I’m told, and has called in a few friends to make his case. But if late-night conditions aren’t favorable for a clear-eyed assessment (or for any editor with a husband, kid, or early bedtime), the group all gathered yesterday for a preview event and to meet the press.
Some names are familiar to U.S. buyers: Cheap Monday; Camilla Stærk, who shows at New York fashion week; and Henrik Vibskov, who shows men’s in Paris and a co-ed, and-the-kitchen-sink extravaganza in Copenhagen (last season’s included donkeys). But a few lesser-known Danish brands deserve their due. Day Birger et Mikkelsen, the lower-priced daywear line originally founded by Malene Birger, was covetable, especially at its reasonable prices. The men’s brand Soulland, whose hybrid cap/hat topper should replace the porkpie on every scruffy dude east of Avenue A, had great high-low pieces—I couldn’t take my hands off a varsity jacket with mink sleeves, even if it’s probably a little precious to wear anywhere near a game. And the flame-haired Stine Goya, an alum of Central Saint Martins, showed separates with a strong tailored streak. Her twining, cabled Snake sweater (pictured) is a best seller, she told me, and should look just as good with her wool or linen-silk wide-leg trousers as with your oldest weather-beaten jeans.