Henrik Vibskov could be described as the pied piper of Danish fashion. The designer, who recently celebrated 20 years in fashion, frequently lures his audiences to unexpected locations; this season it was an old hot-air-balloon hangar with a sandy floor. On one end was a creature who was bald, dressed in pink, and at least three times the height of the very tall designer. During the proceedings, the character raised itself up and started dancing while an octopus array of arms extended from the fabric near the hem of its skirt. On the other end of this barnlike space was an assembly line operated by models playing with ceramics. The theatrical performances spoke to the idea of solidarity, said the designer, and how we all “have to work together.”
This circus-meets-performance-art setup is classic Vibskov at his best, and it framed a confident collection that spoke to the designer’s strengths. Vibskov chose porcelain, a material that morphs from pliable to an easily broken solid, as one of his main inspirations for spring, studying all aspects of its history, shapes, patterns, and make. White collars and lapels worn by models—and his magnificent creature—were made of porcelain and attached to the clothing a bit like armor. Symbolically it represents the current fragile state of the world, speaking to these tumultuous times we are living in that have revealed the cracks and fault lines in society, culture, and the environment.
Workwear was another main influence, and it was these pieces—aprons, boilersuits, and the like—that really stood out. They related to the utility theme that appeared throughout the week, but Vibskov gave them his own spin by, for example, attaching labels inspired by workers’ punch cards. Both themes were worked into the collection as a whole, though Vibskov notes that the former figured more in womenswear and the latter in menswear.
This show had all the color, print, unexpected pattern mixes, and unusual materials that one expects of the designer, but things felt tighter and a bit more grown-up than last season. The fabrics—about 90% of which are sustainable, the designer reported—were more sophisticated. These ranged from a khaki plaid, used on neatly tailored suits, to trompe l’oeil wovens, like one that meant to appear dip-dyed. The intarsia knits were also nicely done.
“We have to remind ourselves that we have to enjoy the moments when things really are working,” the designer said in a recent interview. “It’s very unique, and there’s a special feeling about it because you never know if it will continue to the next day.” Vibskov’s show, the week’s finale, was one of those special moments.
