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Copenhagen Fashion Week Diary by Nerija Kanapkaite
Copenhagen Fashion Week is always a compelling experience — a place where bold colour palettes meet restrained minimalism, and where contrasting aesthetics coexist naturally. The week brings together diverse styles, carefully considered collections, inventive show formats, and emerging designers who continue to redefine the contemporary fashion landscape.
Each fashion capital carries its own rhythm and visual language. Milan and Paris are rooted in refinement and tradition, London thrives on experimentation and diversity, while Copenhagen finds its strength in balance — blending elements of each into a distinctly Scandinavian expression.
This marked my second time attending Copenhagen Fashion Week. While it didn’t quite match the intensity of my first visit at eighteen during the Fall/Winter season, it was still deeply memorable. This time, I was invited to shows by established Scandinavian brands such as Lovechild 1979, Stamm, and Opera Sport — with many of them offering front-row seating.
The experience stood in clear contrast to the previous year, when invitations were fewer and mostly limited to smaller brands, often with standing-room access only. Looking back, it felt like a natural progression — the result of consistent work over the past season, from contributing more editorial pieces to magazines to organising the Young Fashion event together with my team, both shaped by earlier experiences at Copenhagen Fashion Week.
What truly sets Copenhagen Fashion Week apart is its clear and consistent commitment to sustainability. Participation comes with strict environmental requirements, alongside a focus on non-commercial presentations and collaborations with other fashion platforms, including Berlin Fashion Week. This approach, combined with observations I’ve made while attending several fashion weeks this year, gives Copenhagen its distinctive character.
The contrast became especially apparent when reflecting on my experience at London Fashion Week, where many guests seemed more focused on filming themselves or scrolling through their phones than engaging with the shows. In Copenhagen, the atmosphere felt different. People were genuinely present — interested in the concepts, the designers’ processes, and the garments themselves.
On the third day of CPHFW, I met two girls from Helsinki — one a well-known influencer and DJ, the other an actress. They shared their impressions of Rolf Ekroth’s show, speaking emotionally about his use of a traditional Finnish folk song that every Finn knows by heart. Both were visibly moved, a reminder of how deeply people can connect to the brands and stories they care about. Moments like this highlight what fashion week is really about — experiencing each designer’s vision on an emotional level and connecting with fashion as a form of expression.
Over the course of the season, I attended eighteen shows and related events, from established Scandinavian brands to smaller emerging labels. Yet only a handful truly stayed with me — the kind that leave you with goosebumps and a quiet sense of awe long after the show ends.
Opera Sport
Being invited to the Opera Sport show was a highlight, and it fully lived up to expectations. Before the presentation, a Paris-based writer, Lidia, mentioned that the music had been composed by a close friend of hers. After the show, many guests spoke about how authentic the soundtrack felt — seamlessly complementing the riverside setting near the Opera House.
As a fashion event organiser and an artist who has presented her own collections, observing and analysing shows like this is an essential part of shaping future projects. I found myself drawn to the choreography of the models, the natural flow of the catwalk, and the considered seating layout. The collection followed current trends, yet retained a sense of restraint and timeless elegance — something increasingly rare to encounter.
Rolf Ekroth
Last season, I watched Rolf Ekroth’s show from a standing position; this year, I found myself seated front row, directly on the runway. For this season, Ekroth drew inspiration from Lavatanssit — the traditional Finnish dance pavilions scattered across the countryside, places filled with quiet anticipation and unspoken emotion.
Understanding the cultural layer behind the collection added depth to the experience. While Finnish people are often perceived as reserved, beneath that surface lies a strong undercurrent of romance and melancholy. In Lavatanssit, Ekroth presents his most distinctly Finnish collection to date. Every element — from hand-painted prints to carefully selected materials and thoughtfully constructed silhouettes — reflects a deep, personal connection to Finnish culture.
Stamm
The Stamm show held a special place for me, in part because it opened with a young Lithuanian model I had met earlier during my Young Fashion event. Seeing him step onto the runway was a genuinely moving moment.
The show began with a quiet performance: children releasing pigeons from boxes as the first models started walking, the birds taking flight above the runway. It was a subtle yet poetic gesture that set the tone for what followed. The collection itself was firmly rooted in ready-to-wear — a defining characteristic of Copenhagen Fashion Week, where fashion often feels both accessible and distinct.
Shaped by a globetrotting family background and a forward-looking vision, Stamm moves fluidly between contrasts: strength and sensitivity, high fashion and understatement, utilitarian references and couture details, calm restraint and dynamic energy. It’s this balance that gives the brand its quiet confidence.
Copenhagen consistently offers a strong source of inspiration — through its people, openness, and the diversity of personal style found throughout the city. The experience left me energised and motivated, with a clear desire to carry this momentum into future projects.
Author
Nerija Kanapkaite
Nerija Kanapkait is a writer and fashion enthusiast who began working in the field at the age of thirteen. With experience contributing to various magazines, she has explored different areas of the fashion industry, from editorial writing to event-based storytelling. She is also the founder of a PR agency focused on fashion and related creative fields, and the organiser of Young Fashion — an initiative dedicated to supporting and promoting emerging designers at the early stages of their careers.