by Olivia Morea | Gina Parker
Day two of the Copenhagen Fashion Week did not throw any curveballs as the designers we look forward to seeing in Copenhagen, provided a solid account of themselves. Here are the top three shows we attended.
Morten Ussing is already known for his sensual take on the scandi silhouettes. This collection is not necessarily a surprise nor it is a drift toward a different direction. And we are thankful for that. MU's work builds on his previous work as it should. This collection held on to what is so good about his work, the flowy architecture of his clothes, the movement of the drapes, see-through summer fabrics are all there. MU's work stands out because his finishing touches are becoming bolder, stronger and more self confident. His talent was always undeniable according to our colleagues at Vogue Italia, but to build on that requires a sense of comfort that drives a designer to explore deeper as opposed to go outright asymmetrical, and MU is doing just that with ease and poise.
A complete contrast to all the other show during SS19 (so far) Stine Goya went on an all out rampage with her prints. While the color palettes veered from one spectrum from the other, the consistently elegant and whimsical prints were the standout performers for the show. Stine while still in her 30s have always been able to bridge age appropriate cuts with timeless presentation and with each passing cycle, she expands her line of vision along with her admirers. It is inevitable that some would compare her to Mary Katranzou of scandi-fashion, it is worth noting that her silhouettes are as exquisite as her prints. And this collection would stand out as a stepping stone for something greater, sharper and significant.
MUF10 is the darling of Copenhagen street style crowd. Incorporating varied cultural elements and diversifying cuts and silhouettes to express the right tone is part and parcel of MUF10's DNA. Reza Etamadi's MUF10 is probably the most culturally diverse clothes in many ways. The divergence of street style through the prism of social, ethnic and national identity is routinely present within the constructs of MUF10s workflow. You can almost feel the socio-economic divergence that is happening within MUF10s aesthetics. Copeanhagen has always produced very strong streetwear that rivaled Berlin, New York and L.A. due to it's insular identity and that was a winning formula even 5 years ago. But in a globalized world where Cape Town, Shanghai, Tel Aviv or Beirut is as important as any other streetstyle obessed city that insular formula does not cut it anymore. And MUF10 have figured out that foundational element of the progression of streetstyle aesthetics. And addresses that insular-ness by making clothes that would fit in any streetstyle showdown anywhere. MUF10 might be rooted in the diverse identity of Danish fashion, but it is surely a global-looking brand.
