Copenhagen Fashion Week is always a highlight in the fashion calendar: it’s where the most exciting Scandinavian fashion brands showcase their latest vision AND the street style is some of the best. This Spring/Summer 2025 season was no exception.
Designers reacted to the unrelentingly bleak world news with cautious optimism, staging music-filled, largely al fresco shows with a diverse cast of characters, making use of old and recycled materials to bring their visions to life. At more than one show I found myself smiling and dancing in my seat.
From Zalando Visionary Award winner Sinéad O’Dwyer’s mould-breaking curve fashion, how a denim jacket was the real street style star to Martin Asbjørn’s quietly confident power tailoring at REMAIN, here is everything you need to know.
Sinéad O’Dwyer
(Image credit: Sinead O’Dwyer / James Cochrane)
Sinéad O’Dwyer prioritises inclusivity in her collections, so it’s heartening to see the London-based, Irish designer receive not only the support of Copenhagen Fashion Week, but also win the prestigious Zalando Visionary Award.
When you try on clothing and it doesn’t fit […] it’s not you that’s wrong – it’s the clothing.
Sinéad O’Dwyer
O’Dwyer’s Spring/Summer ’25 offering saw the designer further play with her signature bondage techniques and rib-knit fabrics, continuing to champion curve fashion in ways that feel truly sincere. I particularly loved the second-skin denim and all the audibly jingly charms, from a lightning bolt belt to the ornamental suspender belt clips.
‘When you try on clothing and it doesn’t fit or you don’t feel comfortable in yourself, it’s not you that’s wrong – it’s the clothing that wasn’t made for you and was never made for you,” O’Dwyer noted at the collection re-see, the following morning.
REMAIN Birger Christensen
(Image credit: Remain / James Cochrane)
REMAIN’s Danish-born Creative Director Martin Asbjørn knows a thing or two about precise tailoring, and the brand’s latest offering is further proof. Combining influences from the ’80s and ’90s, the collection featured beautifully executed power tailoring in soft greys and blues, with rouleau buttons and nipped waists and touches of transparency here and there. I grabbed five minutes with Asbjørn to delve deeper.
1. What was on your moodboard this season?
I always start my collections from a place of intuition and investigation. The mood for this collection is set through the seemingly different fashion eras of the ‘80s and ‘90s, where I found inspiration in their shared connection of the power to shape and expose the female body. In the ‘80s it was through extreme colours and oversized tailoring, next to the decade’s obsession with fitness culture. Whereas in the ‘90s, women left behind the eccentricity and moved towards a more minimal and sleek way of dressing, highlighting a more sculptured silhouette.
2. Who is your muse?
There is no one muse or model for this collection; I find inspiration from many different women. This collection is reflective of how we see the REMAIN woman, she is a contemporary woman on-the-go, a woman who seeks to dress in quality garments, valuing subtle yet statement items, contrasting and dancing around each other to form a cohesive wardrobe.
3. How would you describe the collection?
This collection features a series of contrasts, that work seamlessly together to form a coherent selection. We explore the idea of what is means to be a heroine in today’s world – how power dressing translates into the contemporary woman’s wardrobe by looking at ‘superhero’ silhouettes and modernising them into everyday, wearable garments.
We have taken the minimal and polished silhouettes of the ‘90s and pairing them with the masculine and exaggerated tailoring of the ‘80s.
Martin Asbjørn, REMAIN
4. Tailoring is central to your work – how does that find its way into the collection, this season?
This season we have played with different formulations of tailoring, both in suiting silhouettes and through using traditional tailoring fabrics in subversive ways. We have taken the minimal and polished silhouettes of the ‘90s and pairing them with the masculine and exaggerated tailoring of the ‘80s. We feature snatched waists, tailored shoulders and elongated shapes, and challenge classical ideas through using sheer and shiny fabrics.
5. Your work always feels both modern and timeless – how do you achieve this balance?
One of the core principles of REMAIN is the longevity and timelessness of the garments. Whilst each collection finds a new tone and seasonality, I believe there should be a red thread throughout the collections, allowing them to flow into each other and form a strong body of work. As such, the designs are kept simple yet impactful. Through focusing on the intricate details and finishes, high quality and unexpected fabrics, and bold structural silhouettes, the collections find a balance between modernity and classicism.
(Image credit: ROTATE / James Cochrane)
6. What is your favourite look/s from the show?
We have created an ankle length dress from delicate chocolate brown, slightly shiny, suiting wool that features a high neckline, and layered pleats that almost look like trousers beneath the dress. The dress is so simple yet mesmerising in its intriguing details, and it is a standout piece for me.
ROTATE Birger Christensen
(Image credit: Rotate / James Cochrane)
Everyone was in a celebratory mood for ROTATE – the final show in the Copenhagen Fashion Week calendar. The collection didn’t disappoint, offering up a whole host of perfect dresses in which to waft around all of summer’s parties. V necks and flutter sleeves lent a 1920s sensibility, while ROTATE’s signature flounces found their way into dresses via peplum hems and puff sleeves, evoking an ’80s meet ’50s aesthetic.
Each look was gilded by pieces from Pandora. Sculptural rings, bangles and earrings from the Danish brand were stacked for impact, while 2,000 of their iconic tennis bracelets formed part of a glittering maxi dress.
ROTATE’s Creative Directors Jeanette Madsen and Thora Valdimars shared more with me, below.
1. What was on your Spring/Summer ’25 moodboard?
We wanted to create the ultimate mood of summer – the warmth, lightness, freedom and romance of the season. We pulled inspiration from many places that reminded us of this mood, and what it formed was a movie-like sequence, a visual so strong it felt almost like a real physical emotion. The collection is delicate, the pieces are lightweight, colours are soft, details have been inspired by the 1920s to bring a sense of escapism.
2. What are your favourite looks from the show?
Thora: This season we have played on some of the most iconic silhouettes from ROTATE, one of which is the classic Dawn dress. The Dawn dress is known for its exaggerated puffed sleeves, and in this collection we have transferred this detail into a cute pair of puffy shorts and a frill detail on dresses – it adds a 1950s element, which feels very elegant.
Jeanette: My favourite pieces are the simple lace garments in a vibrant raspberry pink. The dresses are minimal in their design, but they fit the body so beautifully, that they become memorable in their simplicity.
(Image credit: ROTATE / James Cochrane)
3. What did your collaborative creative process look like this season?
Our collaborative creative process is the same each season! We work together every single day and are in constant conversation with each other even when we aren’t in the office, so we are ping-ponging ideas between us all the time. Every time we see something we like, we share it and find ways to place the ideas. This is our true passion, so we are always thinking on our feet!
4. Who is the ROTATE muse, now and forever?
It’s hard to pinpoint just one muse, as we are inspired by many strong, passionate women. We have always been inspired by Bella Hadid, as she is so multifaceted. Not only is she ethereally beautiful, she is strong-willed and open, whilst being relatable, authentic and considerate.
The collection is an exploration of what summer romance means to us.
Jeanette Madsen and Thora Valdimars, ROTATE
5. How would you describe the collection?
The collection is an exploration of what summer romance means to us. It is full of the drama and glamour that ROTATE is known for, but this season we have focused on utilising more graceful fabrics and finishes and subtle colours.
Flowers are a central part of the collection’s story, where we have explored how to form flowers in different prints, embellishments and adornments to create a veritable blooming garden. We have played with details that recall the 1920s and 1950s, with intricate sequin embroidery, sculptural drapery, lively ruffled hems and puffed skirts.
Marimekko
(Image credit: Marimekko / James Cochrane)
The volume was turned up for Marimekko’s Spring/Summer ’25 show, as speakers blasted out techno beats from DJ Nene H – the first note was so sonorous that editors jumped out of their seats, prompting giggles from all round.
The jubilant mood continued as Marimekko showcased a mix of lesser-known prints – unearthed from the brand’s rich archives – as well as new designs, made in collaboration with London-based artist Petra Börner. Dresses and two-pieces were practical and beautiful in equal parts – just what we like to see from the Finnish design house. I caught up with Creative Director, Rebekka Bay, to chat more.
1. What were you inspired by, this season?
Throughout 2024 we are celebrating Unikko – our most recognisable floral print’s 60th anniversary. I wanted 2025 to be still concerned with floral and botanical prints but wanted to take the opportunity to celebrate the lesser-known flowers, in our vast archive of more than 3500+ prints. Among those prints designed by Japanese print artist Fujiwo Ishimoto.
I was really inspired by the body of work published in Flora by Nick Knight and the photographs by German photographer and sculptor Karl Blossfelt.
Our latest artist collaboration is with London-based artist Petra Börner, who has created four entirely new artworks for our Spring/Summer 2025 collection, resulting in a capsule collection of wearable pieces of art.
Rebekka Bay, Creative Director, Marimekko
(Image credit: Marimekko / James Cochrane)
2. What is your favourite look/s from the show?
It is difficult to pick just one, as for me it is really in the combination, the twinning, the repetition, the pacing of the collection that I find each look to be important. Pressed for an answer [I’d say] the timeless Galleria stripe set – a skirt and overshirt – [proof that a] print designed in 1956 is still equally relevant today.
But also, the continuation of our denim collection, Marimekko Maridenim, and how well that works in total looks as well as in combination with another icon, the Jokapoika shirt. Finally, the prints developed by Petra Börner – especially Eldfamn in the full skirt and overshirt.
What I love about Marimekko is that we are both democratic and inclusive.
Rebekka Bay, Creative Director, Marimekko
3. Who is the Marimekko muse?
It would be impossible to name just one, as what I love about Marimekko is that we are both democratic and inclusive, it does not mean that I am not inspired by the way Jenny Walton, Laila Gohar and Susie Lau wear Marimekko and make it their own.
4. How would you describe the collection?
Dynamic, energetic, high summer in full bloom. But also essential, easy, and utilitarian.
5. Why did you choose The Opera Park as your venue?
At Marimekko we always seek for happy contradictions, whether that means being in the meeting between nature and architecture, bold prints, and minimal silhouettes or feminine florals and an energetic, high-paced soundscape.
The Opera Park felt like the perfect location for its twisting paths and blooming wildflower fields, where models come out from the hidden gardens and then disappear again before continuing down the runway. The high-paced soundscape brought it all together and celebrated the energy of this season.
MUNTHE
(Image credit: MUNTHE / James Cochrane)
MUNTHE’s unwavering commitment to craftsmanship proves that fashion doesn’t need to be fast and that there is immense value in delayed gratification.
For MUNTHE’s Spring/Summer ’25 collection, founder Naja took this concept one step further by personally planting flower seeds in a small greenhouse. Once the flowers had fully bloomed, they were picked and pressed according to her vision. These pressed flowers were then arranged by hand to form a print, which became the central inspiration for the collection.
The motif flourished in the form of floral-embroidered denim, bomber jackets elaborately quilted with flower patterns, and delicate organza embellished with crystal posies.
Gestuz
(Image credit: Gestuz / James Cochrane)
In an opulent, chandelier-laden room in Moltke’s Mansion, we took our seats as a long-haired guitarist tuned up on a worn, buttermilk-yellow ottoman, surrounded by Persian carpets. Out walked Danish singer Brimheim, signalling the start of the Gestuz show.
As the performance and set suggested, the collection was replete with pieces that wouldn’t look out of place in a rockstar’s wardrobe, from dagger collar blouses and buttery leather bomber jackets, to oversized blazers and sheer maxi dresses.
Lovechild 1979
(Image credit: Lovechild 1979 / James Cochrane)
The Lovechild 1979 show drew inspiration from the sculptures and abstract works of Eva Hesse, resulting in a collection of modern wardrobe staples.
Airy, feminine fabrics juxtaposed practical textures, creating a series of looks for work and play. Think sheer tencel, soft lamb leather and fluid silks, as well as roughed-up denim and crisp cotton poplin – all in a palette of wheat and vanilla with shades of blue and green.
The brand always prioritises sustainability, here making use of Naia acetate – an innovative textile produced from pine and eucalyptus wood.
Ukrainian Fashion Week
(Image credit: Ukrainian Fashion Week / James Cochrane)
It is the fifth time that Copenhagen Fashion Week has partnered with the ‘Support Ukrainian Fashion’ initiative, offering solidarity and support for Ukrainian designers.
This season, Ukrainian fashion brands J’AMEMME, KATERINA KVIT, OMELIA, PLNGNS and SIDLETSKIY showcased their work, which including deconstructed tailoring, elements of transparency, and directional evening wear.
‘Our resilience is a testament to the strength of the fashion industry, the power of solidarity, and the unbreakable spirit of Ukrainian designers,’ said Iryna Danylevska, Founder and CEO of Ukrainian Fashion Week. ‘We strive to preserve culture, traditions, and creativity in the darkest times.’
Baum und Pferdgarten
(Image credit: Baum und Pferdgarten / James Cochrane)
After Copenhagen Fashion Week, many guests were off to the Paris Olympics. I hope they gathered ample outfit inspiration from Baum und Pferdgarten’s Spring Summer 2025 collection.
Titled ‘Office Olympics’ and taking place at Copenhagen’s Østerbro Stadium, the Spring/Summer ’25 show sought to capture the energy of this year’s sports-saturated year – the Euros, Olympics, Wimbledon, et al.
Models wore rugby and football shirts with lace and tulle skirts, resulting in looks that were pretty and preppy in equal measure. There was the classic combination of white socks and loafers, and the unexpected addition of football-shaped bags. If this is how my school P.E. uniform had looked, I would have been more into sports.
OpéraSPORT
(Image credit: OpéraSPORT / James Cochrane)
This season, OpéraSPORT’s co-founders Awa Malina Stelter and Stephanie Gundelach were struck by the beauty of the flowers in the Exillion Garden, a hidden gem north of Copenhagen.
The Spring/Summer ’25 collection may have been inspired by blooms, but it was anything but blousy. Instead, the brand debuted floral quilting in vegan leather, poppy-red separates and monochrome jersey pieces with frilled trims – all in recycled or organic fabrics, and ornamented with jewellery by Copenhagen-based brand, AKVA.
Caro Editions
(Image credit: Caro Editions / James Cochrane)
If you’ve tried to secure a Caro Editions piece, you’ll know that the brand’s one-off, handmade creations sell out almost instantly. You’ll have to be quick on the mark when the Spring/Summer ’25 collection hits the (virtual) shelves – because my goodness, it’s really very good.
There were perky garden hats and clownish (but totally chic) detailing. There were balloon-legged trousers tucked into riding boots. There were jewel-hued velvet blazers – one oversized, another with a nipped waist. There were clashing prints and colours, too – tartan and stripes, leopard and zebra, blue and green (which, as the rhyme goes, ‘should never be seen’ but worked perfectly here). The show was one of my fashion week highlights.
Skall Studio
(Image credit: Skall Studio / James Cochrane)
The Skall sisters are fans of ’60s and ’70s style, and this latest collection takes inspiration from the British designer and style icon Loulou de la Falaise.
The look was anything but costumey, but rather laced with subtle nods to bygone eras, from a blousy flower adorning a simple, sleeveless top to embroidered detailing upon wafty kaftans and throw-on jackets. I particularly loved the relaxed tailoring in tones of white and off-white – I could happily spend a summer in one of Skall’s tailored waistcoats, wide-leg trousers and oversized summer hats.
Forza Collective
(Image credit: Forza Collective / James Cochrane)
‘The collection draws inspiration from an ongoing interplay between structure and softness,’ read the show notes for Forza Collective’s Spring/Summer ’25 collection.
Kristoffer Kongshaug fused elements from ’60s and ’70s couture with ’90s minimalism. There were dresses in candyfloss pink, sunflower yellow and apple green – some semi-sheer, others traced with girlish ruching, another with foiled bra cups.
To showcase the collection, Kongshaug chose women who embody the strength and energy of the brand, including Danish actress Ellen Hillingsø and ballet dancer Cecilie Lassen.
The Garment
(Image credit: The Garment / James Cochrane)
The Garment makes a strong case for dresses over trousers – in this case, delicate, ethereal chiffons atop tailored slacks.
Designed by Charlotte Eskildsen, the brand’s latest collection features intricately detailed lace and lingerie fabrics sourced from flea markets in France, proving it is more than possible to breathe new life into old textiles in fresh, modern ways.
The stand-out look? A semi-sheer, pale-blue suit – perfectly tailored, fuss-free and just a little bit sexy.