In classic fashion week chaos, the week began delayed and a bit rocky. After arriving early as hell at London Heathrow (a habit I’ve developed as a result of many travel mishaps and near-missed flights), I ripped my brand-new-to-me wool coat (Vinted, duh!) straight down the back just before boarding.
My flight landed around 2:50pm on day one of CPHFW. Instead of attempting to navigate public transport in what was already shaping up to be an unreasonably busy day, I hopped in an Uber to meet my Airbnb host. Once I arrived, I quite literally threw everything on the floor, quickly changed my outfit and headed back out within 15 minutes.
The first show was Studio Constance held at Bjarke Ingels Group, a gorgeous architectural office space in the Port of Copenhagen. The invitation would inevitably propel me out towards the warehouses and converted offices across from Svanemølle Harbour. If I hadn’t yet noticed the frigid cold and snow biting at my toes, I certainly did by the time the ocean’s icy wind whipped against my double-layered coats on the way to the venue. The runway was expertly laid out, with generous pours of red wine circulating the dimmed space, candlelight illuminating the corner of the room.
Next up was the Bonnetje Presentation, which, of course, was on the other side of the city. Walking into Store Kannikestræde, the venue was packed as models slowly walked around in a presentation-style format, wearing reimagined white vests-turned dresses. Models could be seen standing on platforms as pink liquid-filled glassware completely overtook a central table. All the while, a flutist and pianist performed in unison – cementing the illustrious, slightly sultry ambiance.
Then it was onto the Anne Sofie Madsen show at Bredgade 28. The awe-striking venue is a Rococo-style structure built in the 1750s. To my surprise, a live band was gearing up to perform alongside the runway as we neared the scheduled start time. The runway, in collaboration with UGG, was imbued with bouncy, high energy throughout. Ending on a high note, Kai-Isaiah Jamal closed out the show.
No rest for the fashion-afflicted, it seemed. Next, I dashed back to the warehouses near Østerport, stopping first at a packed, snow-riddled bus stop filled with fashion girlies shivering in the −1∘𝐶 temperatures. Fed up with waiting for a bus that threatened to never arrive, and worried about missing the opening of the Han Kjøbenhavn runway, I called an Uber. A huge van rolled up and we shuttled a few other freezing fashion week attendees into the car… only for the bus to arrive immediately behind us.
This might’ve been less embarrassing had the driver not missed our turn, leaving me to pay £10 for a three-minute drive and arrive immediately after the busload of guests. We closed up the evening at the Nazzal Studio Afterparty at Soho House Copenhagen. Though, not before I was swindled out of £70 on overpriced tourist-trap chargers as my phone was nearly dead. I got a Mezcal Negroni at the bar, caught up with a friend, and let my shitty iPhone 12 charge in the background.
The next two days were chilled in comparison, offering more time to observe the incredible Copenhagen fashion scene. Attendees were seemingly more reserved than what I usually experience in London. Of course, fashion events can breed cliqueiness anywhere. But I’ve always found that for every closed-off person you meet, there are three more who can’t wait to chat. You just have to be the one to break the ice, as it were.
Throughout the following two days, we attended the O.FILES Presentation and the Henrik Vibskov show, both unique in that they showcased new formats to engage with either collection. Leaning into a combination of presentation and runway shows, there was a social element encouraged both during and after either event. On the 29th, we attended the RANRA presentation at The Lab Cph, as well as the Vagabond runway show, which were two of my personal favorites the whole week.
Afterwards we hit Apollo Bar, which had hosted the Caro Editions runway earlier in the week (missed it because of the damn plane). The food was great, but the service was even better. Primarily as we had a fab time chatting with our server, who we ended up giving over all creative control over our meal. He ordered the entire meal for us.
Between surprise plates landing on our table, we struck up an interesting conversation with someone we thought was a food critic (nope, but she is a chef!). Safe to say she joined us for drinks at a bitchy, vinyl-focused neighborhood cocktail bar called bird.cphthe following evening. I am not lying when I tell you these were some of the sluttiest, most delicious cocktails I’ve had in a long time. The “Penicillin” in particular will live rent free for the foreseeable, trust.
We were tipped off about the Heliot Emil afterparty just up the street and decided to try our luck despite not being on the guest list. They let us in. But one of the unsaid rules of fashion week afterparties I’ve learned: don’t check your coat until you vibe check the party. It was cute but not enough movement for us (fashion people don’t dance). Soon after entry we migrated to the official CPHFW 20 years afterparty after a couple of cheap tequila shots.
Walking through the frozen streets had us nearly ready to give up and go home… But inside, the energy was buzzing, and well worth the tiny shards of ice pelting throughout our journey. The vibes were further assisted by the seemingly never-ending flow of pre-batched gin cocktails, wine and beer. Attendees were keen to get a dance on, and to a degree that I rarely see at other after fashion parties I’ve attended. A welcomed change of pace for sure. Suddenly, we ran into some of the team at Paolina Russo on the dancefloor for a wee chat & boogie.
The last unofficial day of fashion week started with a talk entitled Fashion as a Platform For Identity and Expression. It was a really nice environment to engage with many topics that are inherently part of fashion week, but not always directly addressed. The panelists discussed what it means to challenge social norms and promote their culture through fashion. Not only this, but they expanded on ways the industry can be directly part of solutions regarding issues of inequality and racial concerns. Though, only if they actively work with marginalized folks and platform them directly. The audience was engaged throughout, and we walked away having much to think about moving forward.
Afterward, Skall Studios presented a warm and inviting showroom experience, lit by candlelight. In the back, many lovely treats and snacks were available to enjoy whilst engaging with the collection up close. As the week came to a close, Fine Chaos hosted a pre-party event at its brick and mortar store. There, we made sure to enjoy the DJ set, an ample range of orange wine, and jager mixed with mate (in wine glasses though, of course). We moved on to our final stop – the closing party at Hangaren, an iconic warehouse venue opposite a massive wolf mural. Pulling up to the heaving venue, the grounds were packed with snow and ice, illuminated by the headlights of those next to arrive .
Copenhagen Fashion Week was a prime place to witness some of the exemplary talent that exists across new-gen designers and brands pushing the limits of what it means to create within restriction. Of all the fashion weeks I’ve attended, CPHFW continues to stand out for its commitment to forward movement and upward trajectory in an industry that sometimes refuses to budge. Meanwhile, their efforts are cemented by championing sustainable best practices and new ways of innovating in an industry that could do with some bigger conversations around access and equity. All said, this city gave me many reasons to warrant a return. Despite the freezing cold temperatures, I’ll certainly be back.