The minimal aesthetic isn’t monolithic, even if designers pursuing this look often focus on key wardrobe items. At House of Dagmar, for example, knitwear has always been a focus, as has architecture. And that soft/hard dichotomy animates the brand, and also, says CEO Karin Söderlind, relates back to “the Scandinavian aesthetic or the Stockholm woman, how she lives. We light candles and we have soft interiors to make our homes feel more cozy, even if it’s clean in the lines.”
To extend the metaphor a bit, tailoring is the building and knitwear is the interior in this collection. Not all the outerwear is structured however; there’s a double-faced robe coat, with matching scarf, and shaped satiny suiting. Many designers are feeling for the hourglass shape, and although Dagmar collections are not designed to a theme, creative director Sofia Wallenstam says the inspiration here was a ceramic figure created by one of the brand’s collaborators. The longer lines, and 1930s influences we’ve been seeing elsewhere are present in this collection as well; the latter in the form of a cowl-back evening look. Sweater dresses were a staple at CPHFW and the one shown here was distinguished by a subtle twist of the strap. It’s these unexpected details that bring Dagmar’s brand of minimalism to life.
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