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READ DAY 1
READ DAY 2
On the third and unofficial final day of Copenhagen Fashion Week, a late breakfast followed by a stroll through the Copenhagen Botanical Gardens led to a block party on the longest pedestrian street in Europe, Strøget. Here, store openings, live DJs, coolers full of Carlsberg and Heineken beer and lawn chairs full of champagne-sipping show-goers made for a rowdy walkway to City Hall's courtyard full of posing fashion fans. Apparently a stiletto run was held on Strøget, too, and the winner of the race was, for the first time in CPHFW history, a man—wearing five-inch heels.
Stine Goya's store opening showed her most recent collection, which was sadly not on the runway this season, due to a happily busy schedule. As always, the S/S '14 pieces are entirely desirable and fresh, made up of new it-patterns and textures I'm sure of which I haven't seen that last.
The standout womens wear show today was an impressive Freya Dalsjø, which I say was impressive for a few reasons. First, in-demand model Lindsey Wixson walked, and second, she walked many times, given the structure of the show: Models had to layer on garments, as they were in keeping with the Marc Jacobs/Louis Vuitton/Prada recent trend of easy dressing for the home... Silk nightgowns, robes and Céline-like fur-lined sandals. One important part of CPHFW to note is that most of the collections are very wearable, and this albeit highly luxurious one was no exception. Next was a decidedly more esoteric designer, Moon Spoon Saloon, which brings out an avid Jeremy Scott-like crowd to its shows. The theme was very Bowie's Spiders from Mars, and the walks just as dramatic as the sparkling jumpsuits.
From City Hall we drove out to an abandoned building (I'm sure I could find out what it used to be, but I rather liked the arguments between our drivers over whether it was a hospital, a school, or a factory) with no seats in its large, tape-marked show space. This was the last show I planned on attending, and since it was menswear, a first show for the designer—Wali Mohammed Barrech—and since I had heard very little buzz about it, I had no expectations for the collection. What ended up being the standout show of the entire week started slowly, with a monochromatic pale blue scrub-like uniform and sandals. More models emerged, wearing long straight wigs, criss-crossing through the room in thin, camping tent-like material and sanitary masks, adding bungee closures and dramatic rouching to the mix of ornamentation. Just as exciting as the clothing (an Eckhaus Latta meets Marilyn Manson vibe) was the slow color shift, which took us from washed denim and B&W inverted Compostition book patterns to tomato red in every texture, and back again. I'm hoping I see much more from this new talent.
To top off the magical week on day four, the beautiful and amazing coordinators Eva Kruse and Anne Christine Persson swept us over to Noma, literally the best restaurant in the world (four years in a row) for lunch. Needless to say, it was the best lunch I've ever had. Next up, two premiere ballets, based on Oscar Wilde's novel A Portrait of Dorian Gray and Bernard Pomerance's play, The Elephant Man—both tragic, timeless, and at once modern. Along with Danish magazine parties, more trips to Tivoli's amusement park, the shore, the clubs and the shopping, Copenhagen's Fashion Week extras almost—I said ALMOST—upstaged the shows. But that's just the kind ofprecarious balance Danish culture is all about, right?