Cecilie Bahnsen Gets Experimental 

A pervasively feminine whimsy underpins Cecilie Bahnsen’s diaphanous creations like ruched and ruffled dresses, asymmetrical outerwear, and fluid tailoring. The guiding principle she operates under is about creating something precious for every day. For Fall-Winter 2023, her breezy silhouettes are contrasted with masculine tailoring; her penchant for the ethereal is grounded by a collaboration with ASICS; and then there’s her denim, first introduced last season. In a palette of white, black, sky blue, baby pink, and scarlet — familiar shades in the Bahnsen vernacular — she arrives at something more experimental than before.

Partly, this is owing to her increasingly mindful approach to design. Last season, she mused on a Yoko Ono exhibition she saw at the Louisiana Museum in Denmark years ago. This time around, she recalled 1990s fashion history when tJapanese designers such as Rei Kawakubo, Yohji Yamamoto, and Junya Watanabe were establishing their labels in Paris. This has prompted a newfound experimental streak, one that harks back to anti-fashion minimalism but maintains her recognisable romantic elements and steady focus on craftsmanship.

“I always find myself leaning into more analog processes, doing everything by hand. From drawing the sketches of the designs, to the pattern making, designing the fabrics, and even draping the materials on the forms, I try to incorporate the delicate touch of hand into everything we do,” Bahnsen said over email.

 

What would you like us to know about this collection? 

This collection focuses on playing with color and textures through an experimental lens. Further pushing the boundaries of my creativity while remaining true to my voice. A feeling of “gesamtkunstwerk” emerges through both the show and collection where the models, music, light, colors, textures come together into one complete moment.  I was inspired by the [designers] of the ’90s – Comme des Garçons, Yohji Yamamoto, and Junya Wantanabe. This was a moment in fashion where I myself first began to experiment and play with my own style. A moment where I began to find my sensibility in design.

 

How intentional are you about evolving creatively — how do you think about this when beginning a new collection? 

The creative design process has more of an artistic approach. In developing new fabrics and techniques for the collection, I’ve always taken a sculptural approach when designing clothes. I like to re-use shapes and develop new ones by using my favorite features from previous design to give birth to new ones and in that way continue the collections, and pass on the DNA from dress to dress.

 

What moment, design or collection marked a turning point for you? 

Becoming a finalist for the LVMH Prize in 2017 was a pivotal moment. Being listed alongside many other incredible designers was an opportunity I’m still deeply grateful for that has established many relationships that I cherish to this day.

 

How would you describe your evolution as a designer/brand? 

As we continue to grow into an international brand, I’m always mindful of what we stand for. The heart of the brand is making clothes for the women who recognise themselves in our designs. I will continue to stay true to my own voice, designing with care and love and following my dreams of creating beautiful designs to treasure. 

 

Evolution and improvement are related. What is one essential improvement the industry could be making? 

I think the speed that fashion moves in makes it very hard to both have the time to be creative and to run a business. The fashion industry is moving very fast and I don’t think it would harm anyone to slow down and consider how much we produce, and be more aware of our production process. 

 

The year is 2025: how might you have evolved? 

For the brand Cecilie Bahnsen, we are continuing to explore and expand the brand’s DNA. Perhaps expanding into new categories, children’s wear has always been an idea I would love to discover. 

 

Evolution is gradual; revolution is radical. Is fashion still capable of revolution?

I believe fashion can still be capable of revolution, as long as creative voices stay true to their vision and do things in their own unique ways.

 

By Paul McLauchlan

 

This interview has been lightly edited for clarity.