Berlin Fashion Week aspires to be the next London for young creative talent, but Copenhagen is also making its mark.
Copenhagen Fashion Week has stepped out from the shadows of more established fashion weeks and is now taking on a role model function, with sustainability and support for young talent at the forefront in the Danish capital. But how does the Zalando-sponsored Fashion Week balance progressive action with commercial success?
Sinéad O’Dwyer Makes History
This season, the important topics of accessibility and inclusivity were highlighted by one of these emerging talents. Irish designer Sinéad O’Dwyer, who has been supported by the British Fashion Council’s NewGen initiative for the past three years, moved to Copenhagen after winning the Zalando Visionary Award. This award not only provided her with €50,000 but also secured her a spot in the Copenhagen Fashion Week program.
O’Dwyer is known for her commitment to inclusion, showcasing a diverse range of models in various sizes rather than sticking to sample sizes. With her Spring/Summer 2025 collection, she brought her vision of body diversity to life and created an accessible runway experience at Copenhagen’s Opera Park. The designer, who specializes in textures, made a powerful statement for inclusion, demonstrating that the era of size-zero castings and inaccessible venues can be a thing of the past.
Her collection was developed in collaboration with the Danish Association of the Blind and the non-profit organization Hair and Care, which supports the visually impaired. On the runway, O’Dwyer presented strappy dresses, bodysuits, and cut-out silhouettes, marking her first venture into denim. To enhance accessibility, she provided audio descriptions and fabric samples for each look to blind and visually impaired attendees. Notably, blind activist Lucy Edwards walked the runway with her guide dog, Miss Molly, making history as the first blind model to perform at Copenhagen Fashion Week and setting a new standard for inclusion.
O’Dwyer’s commitment to diversity was particularly striking given that there appeared to be less body diversity on the catwalk compared to previous editions of Copenhagen Fashion Week. This could reflect the financial challenges involved in prototyping garments for various body types, especially as some promising talents have faced setbacks due to economic difficulties.
New Beginnings and Returnees
One brand that took a break in January due to financial challenges has now returned: A Roege Hove. Founded in 2018 by Amalie Røge Hove, the label announced its relaunch after having to close in autumn 2023. The designer shared that the brand struggled to stay afloat last year, as retailers often delayed payments for orders, leading to a domino effect that ultimately resulted in the brand’s temporary closure.
While knitwear remains a staple of A Roege Hove’s offerings, the brand has evolved since its last appearance on the Danish catwalk. This was evident in the casting, which featured models of varying ages and sizes. The runway showcased structured slip dresses with sheer layers, ribbed midi dresses, and the season’s favorite capris and ultra-short shorts, all in a muted color palette of silver greys, creams, and beiges, with a pop of neon green.
Another brand that has made a comeback is (Di)Vision, which gained attention for its tablecloth-dress stunt during the autumn/winter 2023 season. After struggling to convert its viral moment into financial success, the brand took a break from Fashion Week but returned this season with a “see-now-buy-now” collection focused on direct-to-consumer sales. The collection, which reflects an eclectic and wild style, targets Gen Z with upcycled pieces and collaborative designs. For Spring/Summer 2025, designer Simon Wick drew inspiration from urban maximalism, video games, and Tokyo fashion, showcasing layered looks featuring vintage denim, lace, jersey, leather, animal prints, checks, and 2000s-style accessories.
Leaving a Mark on Copenhagen Fashion Week
The coexistence of brands like Rotate and (Di)Vision, along with their ability to find suitable partnerships, is what makes Copenhagen Fashion Week unique. While (Di)Vision was sponsored by The Ordinary, Rotate collaborated with jewelry brand Pandora. The latter brand opened its first flagship store in Copenhagen at the start of Fashion Week, allowing Pandora jewelry to take center stage rather than overshadowing the garments, which were typically adorned with crystals.
Rotate’s collection featured ethereal and romantic designs with a nod to the 1920s, showcasing playful details and elaborate embellishments. Ruffles and fringes adorned trousers, shirts, and chiffon dresses, while continuous button plackets and flowing drapes provided an elegant contrast. The collection’s muted color palette included soft yellows, pinks, and blues.
Despite being a relatively new brand, Rotate has quickly become one of the most sought-after labels in Copenhagen, alongside established names like Gestuz and The Garment. This demonstrates that longevity and tradition, often seen as essential for success at Fashion Weeks in Paris, Milan, or New York, are not always necessary to make an impact on the Danish fashion scene.
This is perhaps best illustrated by Ganni, a brand that has not participated in the last two seasons but still maintains its fashionable dominance on the streets of Copenhagen despite its absence.
