In the industrial surroundings outside of TAP1 — a former distillery turned event venue located on the outskirts of the city — a steady stream of showgoers have formed a line in front of an airstream bar for wine, water, beer, and branded handheld fans (just in case it gets toasty indoors). Some are just standing around, having a chat, sipping their drinks. Others have clustered in front of the entrance, eagerly holding up their phones, QR codes at the ready. This is the mise en scene outside of Rotate, whose show typically closes out Copenhagen Fashion Week, capping four packed days of runway shows, presentations and celebrations. 

But first, a drink. I get in line with all the other Rotate faithfuls and grab a can of white wine to accompany me to the show. With a capacity for thousands of guests, the venue is massive on the inside, with hazy, sheer curtains partitioning the runway and softening the space’s otherwise industrial architecture. As the crowd makes its way slowly to its seats — fueled by alcohol and end-of-fashion-week exhilaration — the event seems to be taking on the carefree energy of a late-summer party. Frenzied chatter, bursts of laughter, the clatter of heels. 

The waiting intensifies; when a hush descends, the audience perks up in anticipation. A floaty, airy soundtrack introduces the first model, who descends upon the runway in a see-through bodysuit that lightly veils the body in a whisper of a polka dot print. Then, more polka dots, more diaphanous fabric falling to the floor. 

Sheer Softness

Jeanette Madsen and Thora Valdimars, the Copenhagen-based duo behind the brand, are clever architects of a party-like atmosphere. They launched Rotate back in 2018 as a capsule collection for 156-year-old Danish retail force Birger Christensen — capturing a decidedly feminine mood with playful embellishments, bold colors and prints, and statement-making silhouettes touched with ’80s-inspired glamor. Rotate’s high-octane party dressing broke away from the typical minimalist Scandinavian look by embracing playful extravagance and making clothes for those who love to dress up to stand out at a party.  

This season, Jeanette and Thora used another decade — the ’70s — as source material, ushering the brand into “its most feminine chapter yet,” according to the show notes. The opening looks’ sheer fabrics that trail to the floor evoke a light, airy feeling from the start. This sheer story continues throughout the collection with featherweight chiffons and satins showing up in blow-away capes, misty skirts, and billowy dresses that move effortlessly indoors, sans any encouragement from the wind. 

Seventies fun and Flair

“We didn’t want it to go too far away from what Rotate is,” Thora told Vogue Scandinavia. “We wanted it to be the ’70s cool girl.” The designers drew subtle references from the era’s diverse trends and reinterpreted them with a modern point of view. A free-spirited and bohemian breeze wafts through loose and floor-skimming silhouettes. Ruffles are as romantic as ever, sprucing up extreme high-low skirts and dresses. On the less softer side of things, a relaxed jacket with dropped shoulders is rendered in a warm, earthy suede, not unlike ultrasuede, which practically became a household fabric in the ’70s. 

The decade also brought about a denim gold rush, so of course, there’s a sprinkling of that throughout. Most styles sit high on the waist, hugging the hips and elongating the legs. I wouldn’t call them bell-bottoms, not by any stretch, but Jeanette and Thora did flare the legs enough to give it that certain ’70s spice. As far as necklines go, a strong case is made for low collars, spread dramatically open to reveal long necklaces. There are also wrap-style drapes and shoulder-bearing halters that ooze a certain kind of languid sensuality. 

But Make it Rotate

Rotate is known for prints, but there are none in sight this season. What a surprise! Instead, a dusty ’70s-inspired palette is given a modern spin — think: whites, grays, browns, and lots of taupes, warming up everything from a body-hugging spaghetti-strap dress to an oversized blazer with a flowy scarf. Several brands are going through a bit of a (baby) blue period this season, but the color is particularly romantic here when paired with gauzy fabrics. Ditto with trendy favorites like butter yellows and lighter-than-light pinks made for bright, summery days. 

The decade is also articulated through accessories, most notable of which are chunky silver chain belts, sitting loose and low on the waist. In one look, they’re layered on a silver-gold skirt that feels particularly retro. Bangles, too, are worn at various points along the arm, and long heart-shaped necklaces dangle low in true ’70s fashion — all a collaboration with Copenhagen-based brand The Good Statement. But there’s something else to get excited about in the accessories realm: the animal-print slingbacks and red flip-flop heels seen on the runway hint at a future shoe collection — which would be a first for the Danish brand.

When Jeanette and Thora emerge at the end of the show, hand in hand and all smiles, they’re met with extended applause and whoops and cheers from the crowd. A well-deserved reaction and a strong curtain-close on yet another memorable fashion week. The show we’ve all been waiting for is over — but it’s not goodbye quite yet. In the evening, I make my way across town to a lively subterranean room filled nearly to capacity, where music is booming, red lights are strobing — and the after-party is just getting started.