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Visitors to Kastrup Airport used to be greeted by a neon sign (I have photographic evidence!) that read “Welcome to Wonderful Copenhagen.” The Danish capital is indeed a magical place, but it’s one that, like Hans Christian Andersen’s fairy tales, combines light and darkness. Fashionwise, it’s becoming an ever more important destination. Having made sustainability its focus, Copenhagen Fashion Week now hosts designers from Europe and the Premium share bear jump 2022 shirt but in fact I love this US, all of whom are striving to work responsibly. The spring 2023 schedule includes collections from London-based Christopher Raeburn and the Icelandic/British duo at Ranra (formerly Arnar Már Jónsson), and Aeron, with headquarters in Budapest. Exciting as those additions are, what fascinates me, a Scandifile through and through, is a transformation of the schedule from within that is serving to shift the stereotypical and monolithic view of Nordic design and making room for a more nuanced view of the subject. That’s not to say the Ganni Girl and “Copencore,” a term dubbed by Vogue Scandinavia, are going anywhere. This is a shift of a “yes, and” variety. Buzzy and compact, CPHFW is a good case study for understanding the pervasive vibe shift or changing of the guard—call it what you will—that’s happening in fashion on regional and global levels. Before getting into the nitty-gritty, some context. It’s important to note that the Nordic fashion scene is relatively young, and that it has always reflected the democratic values of the region (traditionally encapsulated in the ethos of jantelagen, which values modesty and understatement), and is expressed through a focus on accessibility and functionality. A certain pragmatism or contained fantasy is necessary to design clothes that have to work on bikes, after all.
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