This season, Hope relocated from its hometown of Stockholm to show in Copenhagen, which has become the pole for Scandinavian fashion. Designer Frida Bard staged a presentation inside a stark, circular office and retail complex, with models walking out mostly in groups, all wearing a similar suiting or color story. Some individual models made their way around the room too, one in a lime green shirtdress with a drawstring waist, another in a crisp white button-down and two-tone sand-colored trousers. The casting was a purposeful mix of androgynous boys and girls, a decision meant to emphasize the fact that Hope’s selling point is its gender-neutrality.
Bard’s training at Acne prepared her well for these kinds of blurry lines. Her suiting was particularly noteworthy, especially the grouping of clean black jackets and pants, one of which was styled with a sheer dress. It was an intriguing point for Bard to make, especially considering that some of the other groupings, like the mismatched stripes and a pair of light purple Mary McFadden–style accordion pleat tunics didn’t fit as seamlessly with the minimal lineup. Bard is a talented tailor, and she’d be wise to build on that strength at Hope.
