While emerging designers thrive in London and established houses dominate Paris, Copenhagen is the land of decidedly wearable clothes. It’s not unusual for Scandi brands to present iterations rather than distinct collections, and MKDT Studio is no exception. Rather than starting from scratch each season, the idea is to build a wardrobe, each collection in close conversation with the last, said creative director Caroline Engelgaar.
This season, Engelgaar looked to two contrasting Danish artists, homing in on the duality of womanhood, “moving gently between wildness and calm.” From the early 20th century painter Vilhelm Hammershøi, Engelgaar took a sense of contemplation and serenity. But the classic silhouettes and restrained black and white color palette were deceptively simple. Viewed from the back—as Hammershøi’s subjects often are—Engelgaar’s designs come to life: a structured cami cascades to the ankle; a loose linen blazer is lined with buttons, punctuating the spine.
From photographer Kirsten Klein, Engelgaar borrowed the concept of women at their wildest, roaming free in landscapes that refuse to be tamed. Sculptural column skirts and simple tops are layered under translucent jackets and double-layered dresses, giving the impression of a woman who cannot be boxed in, a sheer shadow hovering around her silhouette. The MKDT woman is a woman in motion, said Engelgaar. Blurred floral prints developed with visual creative Cecilie Ellerup seemed to sprint off the fabric. Floral appliqués by embroidery artisan Thit Moses were at once dainty and spindly, bursting forth as if they were alive. Where Klein captures wind whipping across open plains, Engelgaar douses skirts and dresses in full fringe that dances with every step.
The show space was designed to capture the feeling of women passing through the city, said Engelgaar, AirPods hanging out of organza shopping bags and flower slung underarm. The spattering of summer rain wasn’t planned, but it added to the atmosphere. MKDT Studio’s Nyhaven store became the backstage area, seating spilled out onto the sidewalks of the tree-lined Sankt Annæ Plads, and Hammershøi’s former home was visible in the distance. “It’s not as grand as our usual locations, but it’s extremely beautiful,” she said. “You get to see the way women walk, the way they sit, the way they move through the city. The everyday setting becomes the stage.”
