Vogue Spotlights CPHFW-Inspired Playful Tailoring to Refresh Workwear

Bonnetje’s runway debut on Monday night did more than revive suiting; founders Anna Myntekær and Yoko Maja Hansen showed “upcycled, structural suiting” staged in an “old‑fashioned office space, ceiling tiles and all.” The brand graduated from CPHFW’s One to Watch mentoring scheme to its funded New Talent programme before the show, and a standout was skirts and dresses made from vertical office blinds that reframed office materials as deliberate tailoring statements.

MKDT Studio arrived with a new creative chapter under Caroline Engelgaar following the departure of founder Mark Kenly Domino Tan in 2022. Attendee Pupato captured the effect: “It was absolutely stunning, the venue was the right place to showcase these white and beige tones [surrounded by] sculptural statues. There was reinvented tailoring, pleated skirts and delicate pearls necklaces in the back — one of my favourites,” she says. The detail of delicate pearl necklaces tucked to the rear of the presentation underscored a softer, more decorative approach to professional dressing.

Rotate closed out day four of fashion week with sculptural skirts created by Danish multimedia artist and experimental knitwear designer Sofia Linnemann, lending drama to the show. Linnemann’s work extends to her own brand, Heste Jente, which is stocked by Ssense, and her experimental knits translated into voluminous, architectural skirts that pushed tailoring toward costume-like proportions without abandoning wearability.

The broader CPHFW landscape leaned into Pan‑Nordic representation and tactile minimalism. Coverage noted that CPHFW “continues to expand its representation of brands from the broader Nordics, to the delight of many attendees.” Pupato also observed that “Brands propose even more qualitative and elevated pieces season after season [in Copenhagen],” and singled out peers: “The Garment or A Roege Hove proposed a new vision of minimalism, with more texture and a playful use of accessories, hats as well as a big focus on gloves.” Those examples point to accessories and texture doing the heavy stylistic lifting for otherwise pared-back silhouettes.

Back in editorial mode, Vogue Australia offered a practical counterpoint for everyday wearers with a shopping feature by Gladys Lai and Nina Miyashita on January 7, 2026 at 2:20PM titled “17 pieces you need to build your summer workwear wardrobe.” The piece frames summer dressing as a negotiation — “polished, but breezy; appropriate, but not stuffy” — and underscores that “the art of summer tailoring is a delicate one to master.” It promises help curating “From tailored tops to light trousers, Vogue helps you curate the ideal summer workwear capsule,” while including the commercial disclosure: “Vogue Australia may receive advertising or affiliate commission if you buy through our links. Read more here.”

Visuals and credits punctuated both runway drama and practical shopping: image credit lines read “Image credit: courtesy of Sir,” an alt-text block noted “Image may contain Park Seunghi Clothing Coat Adult Person Glove Long Sleeve Sleeve Footwear Shoe and Jacket,” and the name “Nicklas Skovgaard.” Together, the runway experimentation — upcycling, sculptural skirts, reinvented tailoring — and the January shopping guidance map a clear direction: workwear is not about retreating into safe suits, but about rethinking materials, silhouette, and seasonal adaptability for a more expressive and functional professional wardrobe.