Copenhagen Fashion Week 2026 Day 2: Mixed Signals

The weather had its own ideas. Rain threaded through the afternoon, soaking lawns and complicating outdoor plans, while the schedule continued from one very different Copenhagen to another. By the time evening arrived, predictability had become increasingly difficult to find.

Skall Studio Took Summer Off the Postcard

A wicker basket hanging from a bicycle hardly needed explanation in Copenhagen. At Skall Studio, however, it became part of La Piscine, Julie and Marie Skall’s languid vision of summer shaped by the South of France and the 1969 film of the same name. Striped linen tailoring, gathered cotton dresses, Liberty florals and roomy workwear carried that ease, while woven baskets and antique silver versions brought domestic craft into the styling.

References to the Skagen painters pulled the mood back toward Denmark, before models pushed bicycles through the show with wicker baskets fixed to their racks. Convenient timing, too: with Alexander Skarsgård about to spend Wicker dressed as a literal woven husband, Skall Studio may have accidentally called SS27’s next material obsession early. Better secure the baskets before menswear gets involved.

Studio Constance Let the Light In

Concrete surrounded the audience inside Brønshøj Water Tower as Studio Constance presented Light Ascending, Rebecca Dovenryd Almberg’s first collection within CPHFW NEWTALENT. Exaggerated proportions, draped jersey and flashes of vivid red explored a shift away from the darker mood of her previous season.

Old tablecloths, crocheted runners and placemats were reconstructed into pale garments before the show closed with six bridal looks. The setting amplified the transformation, giving discarded domestic textiles enough scale to move from familiar household objects into something almost ceremonial.

Gestuz Put Women Behind the Camera

Photo booths waited inside Fabrikken for Kunst og Design as Gestuz presented Double Exposure. Creative director Sanne Sehested looked toward 1970s Los Angeles, filling the collection with shoulder pads, leather, worn denim, exposed skin and zebra print around an image of women driving, dressing and photographing themselves.

The booth sharpened that idea of self-authorship. Taking your own photograph shifts control back toward the person inside the frame, giving Gestuz’s familiar glamour a more interesting question beneath the surface: who decides how a woman gets remembered?

Paolina Russo Quilted an Endless Summer

At Nørrebrohallen, Paolina Russo and Lucile Guilmard built Lone Star around the memory of a girl spending summer at her grandparents’ house making traditional star quilts. Quilting geometry moved into laser-printed denim alongside florals, tie-dye, knitwear and DIY embellishment, folding domestic craft into the label’s techno-folk language.

Skateboarders crossed the runway while live music kept the collection far from nostalgia for nostalgia’s sake. Customised Ecco shoes with rhinestoned laces pushed the same collision further, turning inherited craft into something restless, youthful and slightly unruly.

By Malene Birger Came Home Without Looking Back

Six years had passed since By Malene Birger last appeared on Copenhagen’s official runway schedule. For SS27, creative director Emilie Martinsen-Kønigsfeld returned with romantic shapes, restrained tailoring and softly draped pieces that kept the house’s familiar refinement intact without leaning too heavily on its past.

Some models carried two handbags at once, a small gesture tied to Martinsen-Kønigsfeld’s image of the By Malene Birger woman as a modern nomad. The comeback worked best when it treated familiarity as a foundation, then pushed it toward a more mobile and contemporary wardrobe.

Alectra Rothschild Broke the Doll Apart

Inside the dark Cisternerne, Alectra Rothschild / Masculina presented Doll Parts (a transsexual choreography). The collection continued Rothschild’s use of humanwear, performance and counterculture through natural fibres, recycled cotton, Tencel Lyocell and deadstock fabrics, placing clothing inside a broader conversation around the body and identity.

The title suggested a body broken into pieces and observed separately, while choreography gave those fragments agency again. Copenhagen Fashion Week 2026 ended August 4 underground, with Rothschild leaving the body unstable, mutable and unwilling to stay inside a prescribed form.

Copenhagen Fashion Week 2026 Kept Changing Shape

Nightfall never quite settled the mood on August 4. Copenhagen Fashion Week 2026 carried its second chapter into darker territory, where polish, craft and theatricality kept colliding without settling into one dominant language.

By the final presentation, the city had shifted again. The appeal sat in that instability, with each show nudging Copenhagen somewhere slightly harder to predict.