Titled “Doublages,” Danish brand Bonnetje’s fall-winter 2025 show lifted the partition between personal and professional identity with a corpcore-inspired collection that built on its DNA. Here’s a look inside the show, set in an abandoned office.

Bonnetje Explores Work-Life Selfhood at Copenhagen Fashion Week AW25

Titled “Doublages,” Danish brand Bonnetje’s fall-winter 2025 show lifted the partition between personal and professional identity with a corpcore-inspired collection that built on its DNA. Here’s a look inside the show, set in an abandoned office.
February 03, 2025
article by Mari Alexander/

photography by James Cochrane

Above the low din of chatter, a phone rings — brrr, brrr, over and over, as though left on an unoccupied desk.

It rings insistently, a trill so harsh and nagging you can practically picture the device it’s coming from. (A curly-corded rotary dial phone is what comes to my mind.) The venue makes this even easier to imagine — an abandoned office floor with gray curtains, low ceilings, and pale walls. In other words, it’s a spectacularly ordinary setting that Danish brand Bonnetje picked to showcase its fall-winter collection 2025 during Copenhagen Fashion Week. “We actually have our studio close by, also in an abandoned office,” co-founder Anna Myntekær tells me in a post-show interview. “I think for us, it makes sense because we get very inspired by what’s [around us].” 

Brrr! Brrr! The phone rings more frequently and with more urgency. You almost can’t help but think and hope: Is anyone going to get that? The space between rings grows shorter the more we wait, now punctuated by staccato-like footsteps. The last few guests take their seats, the air filled with anticipation. Brrr! Brrr! Louder now, more erratic, and the clip-clop of heels more horsey. 

Yellow lights cast a wide, steady beam across the runway that gets a little brighter right before the start of the show. Through an illuminated door, the first model appears, her steps slow, heavy, and methodical. Before the rest of her comes into sight, I notice her hair, piled and swirled skyward. She walks tigerishly in her suit — a delicately pinstriped blazer-and-skirt ensemble. Despite her put-togetherness, there’s a certain undone feeling about the whole look. Maybe it’s the exposed stitching that traces the curves of the waistline and the length of the skirt. Perhaps it’s the pen dangling from a silver bead chain looped around the model’s neck. Or the hair. Or everything.

On the left“It’s all upcycled,” Anna says. To create this look, men's suit pants were cut up and stitched into a pencil skirt. “We turned something very masculine into something very feminine.”

The humble suit has been a consistent source of ideas for Anna and Yoko Maja Hansen, who co-founded the brand after graduating from Amsterdam’s Gerrit Rietveld Academie and working at several influential brands. At their spring-summer 2025 presentation, Anna and Yoko deconstructed and reconstructed the suit into a fully fledged, clever collection centered around the idea of getting dressed while in transit. Using this hard-working staple as a foundation, this season, the duo zeroed in on the elusive boundary between work and personal life — lifting the partition between the two. 

“We digged a bit into this whole private, work-life [balance],” Anna tells me, “and how it’s not really there, maybe, and how you almost carry your office home, and you always have this,” she pauses to gesture with her phone, “in your pocket.” By rendering communication possible at all times, cellphones have allowed our work lives to creep into our personal lives, Anna argues. (If this sounds very Severance-y to you, it helps to know that the co-founders were greatly influenced by the show as well as the satirical horror thriller film, American Psycho. They also leaned into their imagination, picturing the people who used to work in their office before it was abandoned in the late ‘80s. Hence the poufed, swept-over hair.) 

To show this duality — and the intrusion of work into personal lives — there’s an interplay between the state of dress and undress, of power and vulnerability. “We like to work with the contrast, what’s underneath, like, the fragile, intimate, almost-naked,” Anna says. 

We see several riffs on traditional blazers, combining strong shoulders with clean lines. There’s a floor-sweeping coat that features several overlapping blazers (I count six) like the stacked dossiers. There’s a sleek blazer with an open back, and another with a belly-spanning cutout in the center. In fact, there’s a fair amount of circular cutouts throughout the collection, exposing the curve of the waist, a sliver of hip, and a little bit of midriff. “It’s almost like a [peepehole] into the person inside,” Anna tells me. It’s sultry without being overtly so, nimbly walking the line between prim and provocative by revealing just enough of the wearer’s private self. 

Building on that idea of reveal-conceal, the designers cut thick fringes out of upcycled suits, bonded them with scuba fabric for added structure and weight, and transformed them into skirts that resemble old-school roller blinds. Held together by beaded cords, the panels gently clap against each other with every step the models take. “It’s about how you can control how much you want to share,” Anna says. “You can open; you can close.” Another look swings farther into sexy territory, with a shorter-than-micro skirt and a sliver of a bra made from a button-down shirt (once again merged with scuba fabric) to look like white vinyl blinds, some bent, as though in neglect. 

On the leftBeaded cords and ball chains are seen repeatedly for styling effect — most notably as necklaces with attached pens.

The fabrics of many other pieces are sheer, paired with only a few modesties: a floor-sweeping slip with an upcycled waistband is worn over a slinky underwear and little else. A black skirt is cut so high that you can see the inner pockets. One of the more striking pieces is a clear skirt and dress inspired by a plastic document sleeve, with reinforced punch holes running along the side. (Later, we see a white belt with punch holes modeled after that reinforced binding edge — a collaboration with Copenhagen-based accessories brand, Venczel.

What gives a bigger, more arresting visual punch is a skirt made entirely of shirt cuffs, twisted into rose-like shapes. Beyond that, the collection dances in familiar territory in its offer of pants reimagined out of jacket linings and sharply tailored coats reincarnated from old blazers. Made with panels of deadstock and upcycled fabrics, a long-sleeved, floor-length dress with (significant) derriere cleavage is a stand-alone beauty — and quite an unexpected one at that. There are slips, too, that communicate lots of sex appeal.

Just like last season, the designers chose to leave the garment’s old labels — some hidden in inner linings and others proudly on display. Like tattoos on the body, these are reminders of the pieces’ past lives and an integral part of their story. Perhaps, above all, they’re also a testament to Bonnetje’s creative imagination. With every collection, Anna and Yoko further dissect the suit — teasing out every major tissue, tendon, and artery, and studying its many linings and pathways. “We always work with the suit,” Anna reminds me. “So it all starts with the suit.” And I hope that never stops.