The Tamesis
This season, Ganni’s creative director Ditte Reffstrup traced the spark of inspiration to something personal: a poem. An avid reader, she has been revisiting Danish author Inge Christensen and her miniature meditation The Water Tree. Although short enough to be read between breaks, the poem sent her mind wandering north, back to the windswept fishing village where she grew up, a place where the wind rarely rested.
That landscape, she said, shaped her personality. It breeds resilience, of course, but also sensitivity to nature’s more fragile, vulnerable emotions. The women around her—mothers, sisters, the whole awesome coastal sisterhood—embodied the same duality: half steel and half sea fog. Naturally, this tension became the emotional backbone of the series.
As cultural shorthand, Revstrup invokes Björk, the patron saint of poetic intensity. That first trip to Iceland proved it: this is another kind of creativity that can whisper like falling snowflakes and, moments later, rearrange the tectonic plane with her voice. On the catwalk, this philosophy was reflected in clothing that was soft and purposeful. Wisps of lace, pretty trims, flowy hems and liquid fabrics pair perfectly with more grounded pieces: structured denim, chunky textures, blanket-like layering and silhouettes with real bones.
Romance is not in short supply. There were ruffles (lots of them), ruffles (lots of them), tiered dresses, nods to crinolines and doily-like lace inlays scattered across crisp white cotton aprons. But just when the sweetness is about to wear off, a pragmatic Danish realism emerges: tweeds, chunky knits and sensible heft. One suspects that somewhere in the windswept reverie, Wuthering Heights Might have made it onto Reifstrup’s reading list.
