The next, or rather the upcoming season that fashion will focus on is Spring Summer 2018. Already, since June, there have been some collections released which is a departure from normal calendar traditions. We will come to those in another article. For now, as promised before, we are speaking about the new fashion interest: Copenhagen.
For the last few seasons, the fashion world has taken an increased interest in Scandinavia. Perhaps it is the clean palette and refreshing colour choices that appeal. When looking at colour theory and, in particular, the psychology of colour, we find moods can affect choices. With much of the world in a chaotic state in part due to readily available widespread coverage of global events, it's hard to keep positive without detaching from the world. But some cultures have a better grip of the world around them, and the colour inspirations form those places can uplift us by tapping into aspirations, with colour reflecting a hope of mood.
The clean architectural approach of Scandinavian design is also a refreshing departure that finds a place for those who don't or no longer connect with information's cacophony. The designs coming out of Copenhagen Fashion Week offer the balance of creativity with the signature clarity of Scandinavian design that becomes its cultural signature, and the apt antidote that distance from chaos provides.
In much of the collections, we find a mix of 80s and 90s. In the former, the protective volume is met with lightness of structure, acting as an effortless protection from externals. The latter takes from it the combination of clean almost masculine cuts. Think of Helmut Lang's hard influence when feminism gained strength and how, in this era, we find our voice against rising right-leaning influences that remind us of past historic dangers. This clean almost clinical dry silhouette masculinizes and subtly empowers. The norm core practicality also comes into play; wearability translates into marketability, and that ensures practical survival via assured profit. And how about wet look pic coats and the return of midriffs...well...how 90s is that?
Layering continues to add to the armour, while defined stances and positions comes into play via contrast trim (Astrid Andersens, Cecilie Bahnsen and Ganni) and contrast seam detailing (Henrik Vibscov), while all collections also contained stripes which delineate and define borders, limits and space. And not all of us are unified together as observed by Astrid Andersens who had disjointed pieces like the return of arm sleeves (2000s anyone?) and the segmented skirt portions separate from the rest of the garment. Some of us are hanging by a thread...or a strap in the case of By Malene Birger when looking at some of her tops. The observation of truth under an elaborate veneer is seen in the way detailed sheer items as overlays revealed simpler straightforward items underneath at Cecilie Bahnsen.
Our complex world is something we cannot hide from, especially in this age of connectivity. With politics in the fore, fashion can only translate in the discussion, providing visual dialogue to appeal to our subconscious. Sometimes, it takes eyes distant for the action to convey what we live and the rest of the world sees. It will be interesting to see how the Big Four relate to these observations, whether the dialogue is in response or in concert with what has been revealed thus far.