Baum und Pferdgarten, Wednesday 1 February at 17:00
Walking through the doors of Nikolaj Kunstshal, the former church nestled just minutes away from the bustling pulse of Strøget, there was an instantaneous dichotomy between the past and present; a theme that seemingly transpired throughout with a cinematic quality. With the choice of location alone, a meditative mood was set. The atrium of the church was submerged in darkness, with little pockets of light helping show-goers find their way. Ambient chimes reverberated in the background, growing louder with each passing minute. A fixture of semi-transparent orange tents weighed down by stones permeated – and at the same time divided – the space. This seeming array of parallels was a clear indication that the collection was about more than the physical material we wear on our bodies, but the feelings and personality that clothes can – or should – elicit.
Lights, camera, action is a phrase that has never felt more apt. As lights sparked up and deep synthed echoed, the start of the next instalment of the show was evident. The first looks were dark, preppy leather ensembles with a soft structured finish, presented in the form of a knee-length coat, a cropped jacket, and fitted trousers cuffed around the calf. Aesthetics swiftly transformed with a lighthearted yet rather sleek nod to athleisure through a tennis-ball-shaped bag, a recurring symbol in homage to the Tenenbaum’s. Anthropomorphic prints, black lace sequin details, sporty emblems, and quilted fabrics in a shape that was seemingly reminiscent of tennis balls, were visually and textually enticing. The fabric and design details changed with the character. Embracing Anderson’s philosophy of individuality, the collection was vast and expressive. It became clear that with each look came a new depth of character and stylistic inspiration, echoing the very inspiration of the collection, in homage to Wes Anderson’s film ‘The Royal Tenenbaums’.
‘The Royal Baumgarten’ satisfies a multitude of sartorial dimensions in a humble and ready-to-wear approach, and the diversity of the pieces allows for the ever-Nordic ‘less is more’ and the growing desire to experiment and use clothes as a form of self-expression. Despite the plea for authenticity, as the models came together and paraded hand-in-hand through the orange-sheet archway, a clear statement was made in an attempt to redefine how we choose to see clothes in the foreseeable future, as a form of character expression and, perhaps, not only for trends.
See the entire collection here