By Seth Khouri
Nicklas Skovgaard
“It’s almost like a new chapter,” shared Nicklas Skovgaard when reflecting on his latest offering. The recent LVMH Prize finalist presented a collection saturated in candied hues; green apple, bubblegum pink, and cyan blue swept through a standing-room-only showspace with unapologetic vibrancy. Silhouette remained central to Skovgaard’s vocabulary this Copenhagen Fashion Week. Cinched waists anchored the collection, opening into what felt like a quiet masterclass in tailoring. A Polly Pocket–esque sensibility emerged through sharply shoulder-padded blazers, pleated skirts, and leather trench coats—garments that balanced playfulness with precision. One of the collection’s key touchstones traced back to the 1937 Danish film Mille, Marie og mig (Millie, Marie and I), starring Marguerite Viby. The film follows medical student Ellen Klausen as she adopts multiple names, appearances, and personas. It was this fluidity that captivated Skovgaard: “the way she was shifting through these three different characters while she was, at the same time, the same person.”
Sunflower
Ulrik Pedersen and Alan Blond transported their audience to the storied Library Bar at The Plaza, staging their latest Fall offering against an intimate backdrop of live performance—vocals by Soho Rezanejad, piano by August Rosenbaum. It was in this cultivated setting that an academic sensibility came into sharp focus. Corduroy, cashmere cardigans, supple leather jackets, and precisely tailored denim articulated the duo’s vision. Here, Pedersen and Blond delivered a decidedly more grown-up articulation of their codes, trading distressing for structure and intention. Maturity, in their view, is not defined solely by how one dresses, but by how one moves through the world—how one behaves, acts, and responds. It is a philosophy that resists urgency in favour of longevity. As the duo posited, “Instead of all this fast fashion, we need to go back to where people… just buy good, genuine clothes—pieces you want to wear, step away from, and return to again after a few seasons.”
Skall Studio
Like many seasons before it, Julie and Marie Skall returned to flowers as a point of fascination—a singular thread that has quietly stitched together their work over the years. This season, that floral reverie was deepened through the lens of Danish author Karen Blixen. “She would always go [to her garden] and pick flowers and make these beautiful arrangements in her house,” the sisters shared, a ritual that became both reference and ethos. The influence unfolded across all twenty-three looks, manifesting in embroidered smock dresses, delicately adorned blouses, and softly printed cottons. Silhouette, however, remained grounded in Skall’s familiar codes. Barn jackets and weighty wool coats appeared alongside airy cotton dresses and shirting, balanced by plaid skirts and woollen trousers—an interplay between the pastoral and the practical. Accessories extended this romantic pragmatism: small woven basket bags and headscarves were styled with wool bonnets, while gloves were tucked casually into waist belts. For Marie and Julie one thing appears evident: beauty is found not in reinvention, but in careful cultivation.
Anne Sofie Madsen
Anne Sofie Madsen’s Fall show landed with unmistakable force—its emotional charge lingering well beyond the venue. Reawakened for Fall 2025, the label’s renewed urgency felt grounded in experience rather than nostalgia. With Caroline Clante now alongside her, Madsen delivered a collection deeply attuned to the present moment, one whose growing influence could already be felt beyond Copenhagen. Set against a live, unrelenting performance by Wedding, Ghostly Matters unfolded as a kind of ritual—part confrontation, part exorcism. Broad-shouldered silhouettes, padded semi-sheer dresses, and shapewear-as-armour explored the space between concealment and exposure, body and garment. Utilitarian duffle coats and weighty wools anchored the collection, while roses—rendered in fabric and print—introduced a romantic unease, drawn from Danish folklore. Power and prettiness moved in tandem, leaving behind a collection that felt both haunted and resolute.
Henrik Vibskov
As Henrik Vibskov marked 25 years of practice—coinciding neatly with Copenhagen Fashion Week’s own 20th anniversary—it felt less like a coincidence than a quiet acknowledgement of influence. Since returning home after graduating from Central Saint Martins, Vibskov has helped shape a distinct fashion culture in the city, one defined by experimentation, cross-media thinking, and a willingness to disrupt. His Fall 2026 show, staged in the round at Østre Gasværk Theater, was characteristically theatrical. Amphibian motifs, mossy jacquards, and mycelium-inspired wovens intersected with checks, plaids, and utilitarian outerwear, including duffle coats and a cape-shouldered rain poncho. Titled Frog Carry Frog, the collection traced ideas of shared weight and collective labour—an abstract meditation that felt increasingly resonant as the show unfolded. Equal parts playful and profound, it reaffirmed Vibskov’s status as one of Danish fashion’s most enduring creative forces.
