In the intersection between masculine and feminine codes, MKDT excels

This show review was translated from Danish to English by Graham Addinall.

LÆS DEN DANSKE UDGAVE HER

Mark Kenly Domino Tan, Thursday, February 1, 2024, at 13.00, Kongens Nytorv 34, 1050 Copenhagen K

The fact that the AW24 collection from Mark Kenly Domino Tan was inspired by the pilot Amelia Earhart, together with the beautiful surroundings in d’Angleterre’s Palm Garden, gave an initial atmosphere of grand old wealth, but even though the collection had clear references from earlier times, there was nothing dated about it. It was contemporary and fresh, styled with large, sculptural silver jewellery by Amalie Grauengaard, and had edge and modernity.

The color palette was relatively neutral with mostly grey, white and black, and then there was a dark maroon on silk taffeta, which appeared again in a lighter version in brown mottled wool in trousers and coats. A few styles used a print in grey and white – an abstraction of aerial photographs of landscapes – and an off-white wool fabric was used in loosely woven checks, which worked on scarves and draped around the waist as a skirt.

The aviation inspiration was most evident in the two pilot jackets – one very classic in grey with dark grey fur details on the collar, sleeves and hem, while the other had replaced the fur with a round, quilted collar – also in grey. The fur collar appeared again on a short leather blazer, which  became a sophisticated reinterpretation of the pilot jacket. It is here – in the outerwear – that MKDT so often shines so, while a long coat probably isn’t very practical for a pilot, it’s also good that we don’t all have to sit in a small plane and can instead enjoy the beautiful versions shown here in thick, grey-grained wool (inspired, in fact, by old aircraft carpets and so still keeping to the theme).

There were plenty of wardrobe classics in the collection, which are also deep in the brand’s DNA: blazers, trench coats, shirts, double-breasted coats and trousers, trousers, trousers. All are items originally borrowed from a men’s wardrobe – precisely something that began to become more and more common for women to wear during the 1920s. And although many of the looks were built around typically masculine pieces of clothing, the styling with jewellery and bows made them super feminine. Feminine, but with the power radiated by precisely the type of women who in her time took over masculine professions and virtues, just like Amelia Earhart.

Both uniform details and power dressing elements appeared throughout and gave the collection a sense of confidence but, at the same time, it seemed very effortless and natural. There are wonderful qualities and it is very classic MKDT: making pieces that will be able to live a very long time in the wardrobe and continue to please.

This season we also got the pants in an ultra-high-waisted version, which reached right up to the chest in a slim, corset-like cut. Other trousers were styled with a sash for the same effect. Together with knee-length black boots or voluminous tops, there was something uniform-like and dressed up about the look. The leather boots and ballerinas were made in collaboration with Utzon, and by showing only flat shoes, it emphasised the collection’s power. Here no women were rendered helpless by unsafe stilettos, but were ready for work and activity if necessary.

In the show there were also a few men’s entrances, which could easily have been for women, because MKDT manages to fit so well in that intersection where it would be obvious to share a wardrobe with your partner, whether that is a man, woman or otherwise. The biggest problem would probably just be agreeing on who should be allowed to wear the beautiful coat today. All in all, it was another more than successful collection from Caroline Engelgaard’s MKDT.

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

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