Holding a Fashion Degree from the Royal Danish Academy of Art, Julie Brøgger worked as an intern at many London based fashion brands before launching Brøgger in 2017, her eponymous brand. Still, it wasn’t until her runway debut in Copenhagen fashion week 2019 that she put herself on the map. 3 years later, we speak with her about her roots, female empowerment, and gender playfulness.
If you remember Lirika Matoshi’s viral strawberry dress, then Brøgger is the brand for you that takes the next step up. Sure, the patterns aren’t the same nor the silhouette, yet they both share a naïve flair capable of taking you to dreamland with just one garment.
With its headquarters in London, your brand keeps its Scandinavian flair. Is there a place in your designs for a mix between London and Danish influences or is it all seen through the lens of the influences you’ve nourished from your childhood?
I’ve spent the last 12 years in London and I think my work would look very different if it wasn’t for the bold and diverse influences of London. I come from a small country and Copenhagen is a very small city, it's wonderful, but London has more people than the whole of Denmark. It creates a completely different aesthetic, [level of] diversity and vibe.
In an interview you’ve explained your garments are made to empower women. We also know Queen Margrethe of Denmark and your mother have been your biggest influences so far. Your latest collection is even considered by many a love-letter to your mum. Which other stories inspire you?
I’m very inspired by contrasting elements, I think that's why women are so fascinating to me. Spring Summer 2022 was inspired by the representations of women in the 1970s, and I don’t think the female role has ever been more polarised than at that time. From housewife to the first generation of career women. It was the beginning of both an external and an internal battle for women and how femininity is perceived.
I believe femininity should be celebrated and, to me, is a powerful symbol, but contrasting it against masculine codes adds an interesting tension. Women’s fashion is a playground of opportunities.
I believe femininity should be celebrated and, to me, is a powerful symbol, but contrasting it against masculine codes adds an interesting tension. Women’s fashion is a playground of opportunities.
Speaking of power, your portrayal of empowerment goes beyond aesthetics. Hence your brand’s focus on sustainability and social inclusiveness. Please describe the importance of working with recyclable and organic materials at Brøgger.
Fashion is wasteful, no matter how you go about it, but as a cultural phenomenon it is hugely important. It relates to our sense of identity and representation of self. To discard fashion is impossible. But I believe in doing it in a considered and responsible way.To me the most important hurdle for the fashion industry is longevity. We should produce less but better. Some of my favourite pieces in my wardrobe are high quality vintage, and I want my daughter to be able to have the same experience in 30 years, that the clothes that are made today will last to be cherished over and over again.So the first step for Brøgger is quality. And then, when possible, recycled and organic materials sourced from Europe and garments produced in Europe.
Along these lines, not only is sustainability showcased through clothing, but with set design and the portrayal of fashion itself. How do you manage that?
With my show production team, I made the decision to only do shows in the summer and outdoors for now, which already changes things. Natural daylight in the right place and you won’t need a big set design. And we rent or borrow whatever we can for the shows without compromising on the aesthetic. It is more work, but it makes sense to all of us to work this way.The consideration of how Brøgger is represented is very important, creating clothes for one type of woman doesn’t interest me.
With the Fall Winter 2021 collection fresh out of the oven, the brand has recently presented its Spring Summer 2022 collection at Copenhagen Fashion Week. That collection furthers itself from this season’s Scottish influences towards a 1970s inspired spring collection. Seeing that you’ve never gone full pastel-themed, could you tell us what made you choose this new path?
I usually dip into some very bold palettes, and I will again, but I had this urge to create something that felt like a summer breeze. I was looking at what palette suited the most skin tones, and pastels are just very flattering on most women. So, it came from an idea of inclusiveness.
This collection also mixes light fabrics that clings on the body while also keeping certain areas of the body flowing. This, accompanied by your structural suits brings another vision from your usual visual statement for a woman. Could you tell us how it was working on this contrast?
To me it is the same woman, softness and femininity that co-exists with a contrasting nod to masculinity. I’ve grown up seeing my lawyer mother wear power suits to court with a silk blouse, red nails and lipstick, never letting go of her femininity in a male dominated world.
Seeing how you explore femininity not through a lens of gender, but from a lens of power: what are your thoughts on having your brand presented as womenswear? You’ve also said before that inclusivity comes in both shapes and palettes.
The alternative would be to present us as a unisex brand, which I think would be a bit of a stretch. I use guys in shows and Brøgger is worn by men too, but we cut to fit women. Still, I’m delighted every time I see a man in my clothes. I like to work from a viewpoint that brings me the opportunity to dip in and out of ideas around gender, yet the most interesting to me will always be female empowerment.
Fashion has always worked within the male-female division. Even with that point of view being reshaped since the past decade, classic fashion power-houses such as Gucci or Versace release separated women and menswear collections. We would like to know where your opinion stands on this topic.
It is difficult to get around the fact that men and women’s measurements and proportions are different, so if we want well fitted clothes the development of the collection should be different, but we are seeing a greater alignment in inspiration and direction. Something that is apparent in joining men’s and women’s shows. So the two are getting closer on attitude and point of view.
Lastly, on a lighter note, your collaboration with & Other Stories was outstanding. Will we see more of those in the future?
Maybe, but maybe in a different category, like shoes or swimwear. It is an interesting challenge to work with a different customer in mind. The collection I did with & Other Stories was an offering of investment pieces for their customer and only produced in a limited run. To me that is important when partnering with retailers that they have a similar mind set in terms of creating sustainable fashion.
