The ebb and flow of time, measured by the cycles of the sun and moon, and the seasons, were Ditte Reffstrup’s preoccupations for resort. Accordingly, she tapped Norwegian photographer Ola Rindal to shoot the look book, with varicolored roaming spots of light marking the pace. Fashion-wise, the collection remained within the brand’s comfort zone, with desirable iterations on Ganni tropes. Leopard print, for example, was cut into a delicious faux-fur coat with an asymmetrical closure; there was a coordinating bag that made the option all the more tempting. It was a look to dress up or down; and finding that middle ground was another focal point of this offering.
“Dressing up for me can actually be a little bit difficult,” said Reffstrup, who was wearing overalls. “I think it is something that doesn’t come easy to the Scandinavian people because it’s so far from how we dress, but we are working a lot with hacking that, trying to do things that feel occasional, but still in a Ganni way.” The fanciest pieces in the collection were a sequined dress with a handkerchief hem and side slit and a yellow confectionery dress, light as meringue.
Denim, however, remains the plot driver at Ganni. It’s not difficult to imagine the reptile-print jeans slithering into many a closet–particularly the flares worn with a matching jacket. A keeper of a maxi denim dress leaned into the western trend, but can also be styled in many other ways. The lineup’s most directional item was a pair of high-waisted flares that speak to the boho ’70s vibe fashion is rediscovering. They’d actually look smashing with one of the collection’s hand-knits, like the chunky man-in-the-moon number inspired by Mike Oldfield’s 1983 twangy, folk-pop song “Moonlight Shadow.”
