A giant rock stood at the center of Ganni’s presentation, slowly transformed into an artwork. Creative director Ditte Reffstrup said the live painting performance represented the mood this season, one of toughness and fragility.
The joy of the collection was how softly Reffstrup chose to interpret that contrast.
Where past seasons leaned into the playful, punchy codes of the “Ganni Girl,” this outing felt notably more romantic. Lace was embroidered discreetly with the Ganni name and threaded throughout the collection on slips, bloomers and full layered skirts with delicate volume.
It was a subtle but effective touch to update pieces that might otherwise read as retro.
Reffstrup paired these delicate pieces with heavier elements such as chunky knits, sculptural outerwear and patchwork blanket skirts made from thick wool offcuts that grounded the look with the brand’s pragmatic Scandi DNA. Cloud-like asymmetric nylon puffers made of discarded fishing nets added soft sculptural volume while reinforcing the brand’s dedication to using better materials.
These are chic outfits for the windswept port town of Hirtshals, where Reffstrup grew up – “the windiest place in Denmark,” she noted. Reffstrup also cited Bjork as an inspiration, a tiny woman with an outsized intensity.
The result was a wardrobe that felt grown-up without losing its sense of charm. Ganni’s signature leopard print was still present though tonally softer.
Accessories are an increasingly important sales category for the label, and this season Ganni launched a larger, locked version of its popular Bou bag with the “Very Bou,” as well as the Jenny boot, built from last season’s studded ballerina slipper. The accessories incorporate plant-based leather alternatives such as Ohoskin, made from orange peels and biobased resin, and Oleatex, derived from olives.
Reffstrup recalled that the first Ohoskin bag was on display at the headquarters encased in glass; now the brand can produce at scale. That’s good news on the sustainability front, though Reffstrup acknowledged her frustration that the industry’s urgency around the topic has cooled in recent seasons. But she vowed to continue the company’s “Fabrics of the Future” work as it is one of the pillars the brand was founded on.
With a growing presence in Paris, including a flagship that opened last October and a new headquarters here in addition to its Copenhagen base, the brand seems to be entering a new phase. Reffstrup said the understanding the energy of both cities is now sharpening her design language. The collection suggested a designer increasingly confident in refining, rather than reinventing, her voice.
