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.

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.

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.

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.

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.

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.

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.

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.

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.