In my mind, and very likely in reality, I say the name of designer Henrik Vibskov like a famished zombie: Vibskovvv... Vibbbbskoooooooovvvv. Everything the influential Dane creates is infused with such interesting whimsy—structurally, philosophically—that even reference to his name provokes an intense, subhuman yearning.
Copenhagen Fashion Week is happening right now for S/S ‘16, and Henrik Vibskov, who showed Thursday, did not fail his rep. Under the watchful eye of brick-patterned performance artists camouflaging into a tent-like sculptural set piece, he sent typically unisex oversized cardigans and suits with various squiggles, painterly chiffon layering skirts in watercolor shades, and a bevy of tuniclike caftans in sheer and that are currently topping my life-wants list. Then there were those incredible caps, in which he reimagined the hunting cap as an angular sculpture with an abstract grate slicing right through it, for the effect of looking like you’re going camping in an art museum (the hats, a signature Vibskov accessory, look like you could grill hot dogs on them were you so inclined).
Then there were these patterns, “ESCAPE” blasting all through them, free-floating in patterns that, very very lightly, are emitting Memphis group vibes, without being too referentially ‘80s. With those oxford flats, it’s a little bit subdued but still super adventurous.
That’s Vibskov in the middle, who himself looks like he is going to camp in an art museum or, perhaps, paint something brilliant on a canvas. Predicting it now: doctor’s scrubs gonna be so hot for next Spring.
In this interview, Vibskov discusses how survivalism in extreme conditions inspired the line.
Also great in Copenhagen: Barbara I Gongini’s punk vampiras, too cool to care about unorthodox ventilation, adorned with oversized, weeping-willow accessories like big bike chains and tattered headpieces.
And the butterfly-like puffer blouses by Marie Sloth Rousing at the BA show for Stafet, the Royal Danish School of Design.
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Images via AP.