Putting Down Roots in Minimalism
Not long ago, Lovechild 1979 made a sharp U-turn with their look. The brand is keeping pace and staying on the right track with timeless, grown-up fashion, where the surprises lie in the details.This review is brought to you in collaboration with Bolou Fine Jewellery
READ THE ORIGINAL VERSION IN DANISH HERE.
Lovechild 1979, Tuesday, August 6, 2024 at 3 PM, Amaliehaven
It makes perfect sense to use the newly renovated and reopened Amaliehaven as a catwalk because Copenhagen’s many urban spaces add an extra dimension to the Fashion Week experience. We see the clothes in their rightful settings, as it’s here we’ll be wearing them, which simultaneously strengthens the branding of Danish fashion as accessible and wearable.
These were some of the reasons Lovechild 1979 chose to showcase their collection, “Working Perspectives,” among the four bronze columns, fountain, and waterfall, which forty years ago made waves with its industrial look contrasting with the surrounding historical architecture, but today just seems timely. Partly because we’ve grown accustomed to it, and partly because it fits well with the minimalism that characterises much of today’s design language in architecture, form, and fashion.
The choice of venue was also due to Lovechild designers Anne-Dorthe Larsen and Hanne Yo Andersen’s fascination with the American artist Eva Hesse, whose innovative, tactile works from the 1950s and ’60s inspired them to focus even more on the choice of monochrome fabrics with discreet details and let them be the driving force. Together, they already created a new minimalism for AW24 when Anne-Dorthe Larsen returned to her own brand after a few years’ hiatus, and that style is what they’ve chosen to put down roots in.
They used the inevitable decay of all products as inspiration for light canvas jackets and shorts with noticeable wear, which from a distance could resemble industrial broderie anglaise, intentionally leaving the raw, frayed seams visible on jackets in pinstriped suits, as if they were cut off at the waist after many years of use.
The rest of the collection featured intact materials in good everyday styles like slip dresses with wide straps, long vests as a jacket alternative, and feminine coat-dresses and trench coats, accented with Georg Jensen jewellery of the same minimalist ilk. All of it in a beautiful palette of wheat, vanilla, corn, variations of green, and blue like the summer sky.
And Lovechild 1979 made ‘the girlfriend shorts’ official.
They know many men love their satin-like boxer shorts, so to highlight the phenomenon and embrace the trend of gender-neutral clothing, it was, of course, one of the show’s three male models who showcased them. And it looked ultra cool.
This review has been translated using ChatGPT.
See a selection of the show looks below and see the entire collection here.
