A new era for The Garment
This review is brought to you in collaboration with Bolou Fine Jewellery
The Garment, Wednesday, August 7, 2024 at 1 PM, Bertel Thorvaldsens Plads
After the departure of co-founder Sophia Roe earlier this year, The Garment’s return to the runway has been highly anticipated. Gone are the ditzy knitted bralettes, exposed midriffs and ultra mini skirts synonymous with Roe. Missed though she is, the era has served its purpose and it’s time for something new. SS25 marks the second collection designed exclusively by Charlotte Eskildsen, where she pushed the brand into new sartorial realms.
In the cinematic world, there are “coming of age” movies where viewers watch the protagonist on a journey of growth and maturation. Something similar occurs in fashion. When a designer grows and evolves, it’s reflected in their work. That’s exactly what we witnessed today, The Garment’s official “coming of age”, a new era of maturity.
Albeit beautiful and undeniably charming, the choice of location was no surprise. In the sepia-toned courtyard of Thorvaldsen museum, showgoers were whisked away on a Roman holiday, enveloped in sunlight and Italian music, from Pavarotti’s Vinceró to ambient modern jazz. As the old adage says, “why change what already works?”.
Eskildsen has always had a perennial fascination for balancing the masculine and feminine, a theme which, to no surprise, continues this season. Several shirts were styled backwards, where the v-neckline and button down details delicately framed the model’s back. Loose-fit tailored trousers were concealed by ethereal chiffon dresses coloured in white, taupe and a gentle blue. Mini skirts and tiny dresses were paired with trousers in different textures, emphasising the importance of comfort, form and function. Romantic broderie anglaise and tie-up details were still present, though thoughtfully balanced with masculine counterparts. Bodies were covered modestly, and in turn, the garments were compensated with intricate details. Perhaps Eskildsen’s approach to femininity, where less is more, will prove to the masses that you don’t have to show skin or wear florals to express femininity.
With that said, there was a slight dichotomy between the responsible collection and the runaway cast. Outdated fashion theories that argue that the purpose of models is to be “professional clothing hangers”, a theory which has been scrutinised and rewritten in recent years, thankfully. In the past, The Garment has listened and followed suit, casting models of varying shape and supporting the very notion. Afterall, inclusivity falls under responsibility which is the very essence of Copenhagen Fashion Week. It was therefore surprising to see the lack of body diversity this season. Before we jump to conclusions, there could be many reasons why, such as time constraints in clothing production, or maybe there was a lower turnout at the casting. The brands who don’t comply often explain that they cast models who fit the samples, not because they want to fulfil a certain aesthetic. Whether intentional or not, the future of the fashion industry relies upon a commitment to change. And for this local Danish brand, who we know and love for their impeccable craftsmanship, we truly hope to see them rise again next season, to push towards our shared vision for the future.
See a selection of the show looks below and see the entire collection here.
