{"id":50402,"date":"2026-03-28T02:30:05","date_gmt":"2026-03-28T02:30:05","guid":{"rendered":"https:\/\/www.europesays.com\/dk\/50402\/"},"modified":"2026-03-28T02:30:05","modified_gmt":"2026-03-28T02:30:05","slug":"inside-the-tension-of-han-kjobenhavn-with-jannik-wikkelso-davidsen","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/dk\/50402\/","title":{"rendered":"Inside the Tension of Han Kj\u00f8benhavn with Jannik Wikkels\u00f8 Davidsen"},"content":{"rendered":"

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Han Kj\u00f8benhavn\u2019s<\/a> creative universe begins with emotion. Designer Jannik Wikkels\u00f8 Davidsen<\/a> works from memory, instinct, and the atmosphere of the environments that shaped him. In a fashion landscape dominated by speed and systems, his process follows a more intuitive path, guided by mood and lived experience. Another Day returns to the suburbs of his upbringing; the routines, textures, and quiet tensions that formed his early sense of identity. The silhouettes grow out of fragments, shaped by the way memory distorts and drifts, arriving as feeling before taking form.<\/p>\n

In this conversation with DSCENE Magazine\u2019s<\/a> Katarina Doric<\/a>, Jannik speaks about masculinity as an environment, casting driven by energy, and the emotional charge behind materials often labeled \u201cartificial.\u201d He reflects on instinct, risk, and the discipline of remaining aligned with his internal state instead of outside expectations. Across fashion, film, and design, the world he builds expands through curiosity and discomfort, shaped by a need to create from what feels true in the moment.<\/p>\n

\"\"Han Kj\u00f8benhavn SS26, Courtesy of Han Kj\u00f8benhavn<\/p>\n

Where do you see the greatest potential for disruption in fashion today?\u00a0\u2013 An obvious answer is technological integration and supply chain, these areas are progressing extremely and a lot of incredible opportunities within that. But for me personally, real disruption has to come from emotions and the journey from crafting a story based on those emotions and then connect it with to an audience in a unique way \u2013 that\u2019s my true romantic belief of how this industry should work and progress. Fashion has become very stems systematic, driven by strategies and financial perfection. I come from a place where creativity is rooted in deep emotions. When a garment carries an emotion, a specific memory, it naturally disrupts the noise around it.<\/p>\n

When a garment carries an emotion, a specific memory, it naturally disrupts the noise around it.<\/p>\n

Your shows often feel closer to psychological cinema than runway. What do you hope audiences feel when they enter your universe? \u2013 I want people to feel something familiar, but in a new way. Even a small shift in the everyday can create emotion. When audience and garment connect on a personal level, the experience becomes more than a show. If they leave with a feeling they can\u2019t fully explain, but they know it was real \u2013 then I\u2019ve achieved my goal.<\/p>\n

\"\"Han Kj\u00f8benhavn SS26, Courtesy of Han Kj\u00f8benhavn<\/p>\n

With Another Day, you focus on the rituals of suburban life. How do these repetitions and small dramas connect to your ongoing interest in tension and distortion? \u2013 The suburbs are built on routine. Same places, same textures, same characters. But inside that simplicity, there\u2019s energy \u2013 ambitions, fear, humor, frustration. I try to capture that tension. The familiar elements from my upbringing are still there, but slightly altered, pushed or distorted. That\u2019s where my creativity lives.<\/p>\n

Everything has to be natural and true. I don\u2019t construct or engineer a fictional narrative.<\/p>\n

You\u2019ve described your work as autobiographical. Does disorder come naturally from revisiting your past, or is it something you actively engineer in your collections? \u2013 Everything has to be natural and true. I don\u2019t construct or engineer a fictional narrative. Can\u2019t protect the journey that way. My past is not a linear narrative. It\u2019s fragments, moods, and emotions. When I work from memory, it doesn\u2019t come back as a clean structure \u2013 it comes back as a feeling. I translate that directly into silhouettes and materials. The disorder isn\u2019t the intention; it\u2019s just the truth of how I remember.<\/p>\n

\"HANHan Kj\u00f8benhavn Pre-Fall 2026, Courtesy of Han Kj\u00f8benhavn<\/p>\n

Masculinity is a recurring theme in your design language. How does your vision of masculinity evolve with each chapter, and where does Another Day place it? \u2013 Masculinity, for me, isn\u2019t one fixed definition. It\u2019s an energy I grew up with. Not glitter and glamour, but a life shaped by the suburbs \u2013 working-class environments, local sports clubs, everyday struggles and resilience. Some people carry masculinity in their expression, some don\u2019t, but there\u2019s an honesty and humility to those suburban characters that has stayed with me.The new collections continues to express that through the casting, the garments and the styling \u2013 a mix of people and energies that feels authentic to the world I come from.<\/p>\n

Authenticity is not defined by luxury. It\u2019s defined by the emotion behind the choice.<\/p>\n

The casting in your shows avoids idealization, leaning into memory and realism. How do you approach beauty and representation in this context? \u2013 I never cast based on classic beauty ideals. I cast based on energy \u2013 on whether a person can embody the garment and bring it to life. There must be a relationship between model and piece that feels authentic. That kind of realism is what I consider beautiful.<\/p>\n

\"\"Han Kj\u00f8benhavn FW23, \u00a9 Han Kj\u00f8benhavn<\/p>\n

Han Kj\u00f8benhavn has moved between fashion, film, and furniture. Where do you see the brand expanding its universe next? \u2013 We don\u2019t have a calculated plan for this. Creatively we work pretty liquid and try to move into different spaces that feel right in that moment in time.<\/p>\n

What I can say, is that I like to cross over to areas that are not perfectly complementary. I would look into something which feel very unfamiliar, something where I could learn from scratch and move into something completely different.<\/p>\n

My work must reflect my state of mind in that moment, not what the industry asks for.<\/p>\n

Artificial materials like faux leather and synthetic feathers play a big role in Another Day. What does \u201cartificiality\u201d mean to you in a culture obsessed with authenticity? \u2013 I grew up surrounded by synthetic materials \u2013 polyester track tops, faux leather jackets, shiny nylon. Those textures are part of my personal story. Using them is not about being artificial; for me, it reflects reality. Authenticity is not defined by luxury \u2013 it\u2019s defined by the emotion behind the choice.<\/p>\n

\"\"Han Kj\u00f8benhavn AW24, \u00a9 Han Kj\u00f8benhavn<\/p>\n

Looking back at the journey since founding Han Kj\u00f8benhavn in 2008, what moments of risk do you feel shaped the brand the most? \u2013 We\u2019ve always avoided being locked into one identity. Changing direction when expectations are clear is a risk \u2013 but it keeps the brand alive. My work must reflect my state of mind in that moment, not what the industry asks for. That approach has shaped the brand from the very beginning.<\/p>\n

Everything is too fast.<\/p>\n

If disorder is about rewriting the rules, what rules of fashion or culture would you most like to see undone in the years ahead? \u2013 Everything is too fast.<\/p>\n

Originally published in DSCENE \u201cThe New Disorder\u201d Issue.<\/p>\n

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