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Gestuz gives a tour de force in good design

Sanne Sehested has allowed her brand to grow without abandoning her fascination with punk, which she elegantly mixes with the feminine to give us quality clothing for the present day.
Sanne Sehested has allowed her brand to grow without abandoning her fascination with punk, which she elegantly mixes with the feminine to give us quality clothing for the present day.


Gestuz, Thursday 10. August 2023 at 12.00 in Den Grå Hal

I was told before the start of the show that we should not put any cultural significance into the choice of Den Grå Hal for only the fourth show for Gestuz since the brand debuted fifteen years ago. Although from the start it has had something rebellious about it, with many references to musical revolution, it was not the spirit of Christiania’s famous venue which was the direct inspiration to show the anniversary collection ‘Symphonic Rebel’ here. It was in the clean, contrast-filled setting with old wooden ceilings and a smashed concrete floor that designer Sanne Sehested had seen a unified beauty and from it created an almost cathedral-like atmosphere with columns of transparent, white fabric webs. This was underlined by a live performance by singer Bona Fide in a modern, electrified anthem on the theme of ‘my present self and the one I am becoming’, inspired by a Virginia Woolf quote.

This reflection perfectly suited the overall impression of the collection, which was both a journey through time with references to a lived (designer) life and a tour de force in relevant clothes for the present. Sanne Sehested has let Gestuz grow up with her, while she maintains her fascination with punk elegantly mixed with the feminine.

Over time, the backbone of the Gestuz collections has always been the good suit, which brings together an entire look in a split second: the suit with skirt and the suit with trousers. Here they were in abundance – hardly oversized anymore, but still sculptural long jackets gathered with soft fabric belts at the waist or distinctive silver buckles at the side over wide trousers in white and butter yellow, short broad-shouldered lapel jackets over moderate miniskirts or maxi skirts in off-white and denim blue, and a more close-fitting suit in black with white stitching as a graphic decoration. Not to mention the Wedgwood blue embossed velour suit with cropped bolero jacket and matching trousers that was sent down the catwalk as a showpiece.

The tree-friendly organic cotton denim was used in everything from a maxi coat in a pre-washed finish with trench coat details to a maxi vest and jeans with an almost boyfriend-like loose silhouette – many of which were studded in a very refined way which never looked tacky. The little punk fetish was emphasised by Ninna York’s big showpiece jewellery in a piercing style, which just added an extra punch.

Where other designers cultivate the transparent, Gestuz settles for the hint of bare skin in snake-print leather tops and a similar showpiece maxi dress, and plain or marbled jersey dresses in heavy eco-viscose inspired by Greek goddesses with slits and cutouts that suggest without appearing stripped.

Gestuz dares to be sexy in an understated way and pulls it off, even in a loose jumpsuit and cargo pants with pockets and zipper details or a small top in the same fabric and in the rock’n’roll inspired black leather jackets. Sanne Sehested has moved on, but she is true to her original style and never loses her footing.

See a selection of the show looks below and see the entire collection here.

This show review is translated from Danish to English by Graham Addinal.