CPHFW 20 years on: A deep dive into its enduring 'cool girl' image

Away from the glaring spotlights of Milan and Paris, global fashion weeks have been struggling to balance relevance, designer support, and audience stability. While some locations are introducing new strategies as part of concerted efforts to commercialise and democratise, others are rebuilding globalised frameworks after extended disruption.

In this context, Copenhagen Fashion Week (CPHFW) is often referred to as somewhat of a “success” story, outpacing events previously seen to have more stamina in both talent and enterprise. The fashion week celebrating its 20th anniversary this year is therefore validating, particularly among a Scandinavian fashion calendar that has ebbed and flowed as organisers reevaluated their positioning.

Honing local identity

Oslo Runway took a brief hiatus before returning for its 2023 edition, akin to Helsinki Fashion Week, which reestablished its in-person format in 2022 before transitioning to Fashion in Helsinki, championing a more localised perspective. Similarly, Stockholm Fashion Week paused operations in 2019, only to relaunch the full schedule in 2025 following more condensed seasons.

While business complexities and the pandemic have no doubt held influence, new strategies adopted by the Nordics recognise a need to hone local markets and regional identity, something Copenhagen has had less difficulty maintaining. Its ‘cool girl’ image has bloomed naturally, with the hoards of sleek, Scandi guests being just as much of the fashion week’s identity as participating brands. The city has nurtured this audience alongside a well-curated schedule that reflects what is happening style-wise on the streets, essentially building on a distinctive lifestyle brand.

That isn’t to say the fashion week hasn’t had its fair share of challenges. Questions over whether Copenhagen was losing touch of this ‘cool girl’ identity have ramped up in recent years. Whether it was the loss of social media “it” girl Emma Chamberlain as a regular on its front rows, or the departure of former fixtures Ganni and Cecilie Bahnsen from the calendar, the city could be viewed as yet another victim existing within the shadow of Paris and Milan, where ambitious brands turn for more reach.

In turn, the bankruptcies and closures of (Di)vision, Saks Potts, Wood Wood, Han Kjøbenhavn’s UK arm and, more recently, Fine Chaos show that Copenhagen hasn’t escaped the grip of global instability. Similarly, emerging talents occasionally disappear after participation in the NewTalent programme, after financial resources dry up. Former member Bonnetje, for example, opted for an archival exhibition this season in order to focus on producing collections that retained sustainable values.

Alas, it is this talent that has helped Copenhagen make a name for itself, and something that has continued to only strengthen into the SS27 season. The anniversary edition brought together 34 official shows and presentations, with returning names including By Malene Birger, Stine Goya, Mfpen and Marimekko, alongside new additions such as Almada Label and Yours Truly by Peter Jensen. The inclusion of Studio Constance, the first Swedish brand to join the CPHFW NewTalent programme, also suggests that Copenhagen is increasingly viewing its Nordic neighbours as part of its own ecosystem, in place of direct competitors.

A community that keeps on giving

That regional approach was visible in the continued support of designers and brands that have helped establish Copenhagen’s fashion identity. Ganni remains involved from the sidelines, collaborating with NewTalent brand Stamm on a series of runway looks made from deadstock fabrics. The partnership is a reminder that the community built around CPHFW extends beyond the brands currently appearing on its schedule, with established names still able to back the next generation without necessarily returning to the traditional format.

At the same time, Copenhagen has not become overly inward-looking. The introduction of an International Guest Slot brought New York-based Collina Strada to the SS27 schedule, with Hillary Taymour’s label closing the showcase days with the eccentric sustainability-focused approach the brand has become known for. Its one-off pre-spring collection, ‘Delirium in Bloom’, gave Taymour the opportunity to bring forth more ambitious, labour-intensive ideas that the brand does not typically produce at full scale. The collection offered up wispy dresses, fluid tops and draped fabrics, all of which felt suited to Copenhagen’s own image, while also being distinctly New York, where Collina Strada is also due to show in September.

Anne Sofie Madsen, meanwhile, looked beyond the region through a collaboration with Nike, bringing reconstructed transparent layers, slogan dresses and the women’s runway debut of Nike’s First Sight Shadow footwear to the Copenhagen calendar. Nike’s commercial dimension, seen in slogan dresses and transparent layers, contrasted Madsen’s plunging necklines and flowing silhouettes, offering another example of the city’s ability to connect local creative identity with a global fashion audience.

Sustainability in a cautious landscape

Sustainability is another defining part of that identity, yet since the introduction of the fashion week’s Minimum Standards in 2024, implementation has been iffy. After an investigation into greenwashing allegations and market doubt over leniency, CPHFW has been cautious in how these standards now function. For SS27, the event even chose not to enforce Minimum Standards six and seven, following debate around material guidance and the lack of a consistent industry framework. The decision reflects a wider reassessment of what sustainability requirements can realistically ask of brands as regulation develops.

Sustainability values underpinning Copenhagen’s model were evident in the collections themselves, particularly among emerging names. Stamm, which joined the NewTalent roster last year, has quickly become a distinctive proposition, using zero-waste production and weaving techniques to combine pattern and textile. The SS27 collection continued that approach with natural and biodegradable fibres, including recycled cotton and Tencel Lyocell.

Elsewhere, Taus brought its signature upcycled garments to its One to Watch showcase, while the wider schedule continued to favour collections where longevity and resume were part of core propositions. That does not mean every Copenhagen collection is explicitly sustainable, but eh values remain embedded in the ecosystem, particularly among newer names for whom material choices and production methods are integral.

In fact, the week is attempting to make those requirements more scalable. Its new partnership with Renoon introduces an AI-powered screening system designed to complement the existing Sustainability Requirements, automating parts of the assessment process while maintaining the same level of scrutiny. The system is also intended to support the international fashion weeks and councils that have adopted Copenhagen’s framework, a reflection of just how far the model has come.

That reach shows CPHFW’s influence. Its sustainability requirements have inspired fashion weeks in London, Amsterdam and New York to adopt similar standards, giving Copenhagen an influence that extends well beyond its own four-day schedule. Its continued success may therefore be less about competing with Milan, Paris or its Nordic peers for scale, and more about building a model that other fashion weeks increasingly want to emulate.