It also, Wick said backstage, wondered what it would be like for the same crowd to head to the high-brow Met Gala afterwards. From brother and sister duo Simon and Nanna Wick, who have built their brand on reworking vintage clothing and repurposing surplus materials, came a show that imagined what it would be like to be at the epicentre of the infamous New York festival. It was deadstock meets Woodstock 1999 at (Di)vision. He has also used the insect as the mascot of his new exhibition in the space. Staging its show at the Arken Museum of Modern Art, the brand introduced a new butterfly logo into its repertoire, created in collaboration with Danish artist Esben Weile Kjær. This season it manifested most keenly in metallic-coated denim jackets and jeans and glamourous Jessica Rabbit sequins that were countered with double-breasted wool-tweed coats (think Withnail if he made the trip from Camden to Copenhagen), grounded by a footwear collaboration with 66 North. Husband-and-wife design duo Nicolaj and Ditte Reffstrup have put their brand (and arguably Danish fashion) on the map with their take on nonchalant cool-girl separates that have that elusive high-low appeal. Printed Prince of Wales tailoring featured inverted lace seams, black LBDs with fringed tassels swept the floor, and suits with a hint of ‘the bar’ were cinched with silver belts. The Ganni girl may be renowned for her floral dresses and oversized embroidered collars, but this winter she’s swapping her billowing silhouettes for cuts that have bite. This was followed by leather dresses and faux-fur coats with hardware to conjure snowflakes and icicles. Goya’s own snow queen made an appearance mid-show, bearing the icy fruits of a studio experiment that saw organza dipped in boiling hot vinegar and salted water before being applied to a mannequin, where it freezes immediately. So, to the Jägermeister bar we went, where brocade and jacquard onesies, duvet wraps, diamanté tracksuits, and watercoloured floral puffer coats awaited. ’I was inspired by the story of this beautiful snow universe and ice-crystal landscape, the way that he was presenting his female characters in a very strong, brave and heroic way,’ said Goya backstage, noting dual inspiration from women skiers shooting down the slopes. Hans Christian Andersen’s Snow Queen via Aspen was the starting point for Stine Goya this season. Nothing brings a classic Danish fairy tale into 2023 like placing it in the context of a five-star ski resort. Presented to the backdrop of the rising star and performance artist William Darby pulling rave shapes in a smoke-machine-filled box, it was a show that gave us a tantalising glimpse into what the Wood Wood club – nay, community – looks like, and it’s one waiting in line for. ‘Disco denim,’ as Huckbody described it, played with ‘how a denim jacket might look under the light of a club… a bit trippy,’ while the prints of faces were actually the portraits of members of the Wood Wood studio shot by photographer Ellis Scott. less streetwear, more smart-wear subverted, leather donkey jackets were layered over crinkled satin dresses, brushed wool coats teamed with patent thigh-high boots, and embroidered shirting thrown on under slouchy suiting. I feel like each season we just get a little bit closer to fleshing out.’ Designed in collaboration with Cecilie Engberg and Liam Hodges, Wood Wood is going from strength to strength: the quality, the energy, the mood. ![]() ‘We wanted to build on this idea of characters that you would see on a Copenhagen night out. Subculture, youth culture, club culture – all were central to Wood Wood’s super-tight offering this season, designer Dominic Huckbody said backstage post-show. (Image credit: Photography by James Cochrane, courtesy of Copenhagen Fashion Week)
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