From Greenwashing To Designers Exiting

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The Copenhagen Fashion Week (CPHFW) has, for years, been hailed as the world’s most forward-thinking fashion event. Dubbed the “greenest” fashion week in the world, it set the global standard for sustainability when it introduced 19 mandatory requirements for brands in 2020, ranging from the use of sustainable materials to bans on product destruction and guidelines on production ethics. “Our ambition with this initiative is that Copenhagen Fashion Week will become more than an event for fashion shows, but also a platform for driving change in the industry,” said Cecilie Thormack, CEO of the CPHFW. This bold positioning has made the Danish capital a case study in ethical fashion and a role model for other fashion weeks to follow.

But as the CPHFW returned for S/S 2026 season this August with another tightly choreographed round of runway shows and presentations, cracks are beginning to show. From recent greenwashing accusations to major talent exodus to a rival fashion week in Paris – the CPHFW is quietly buckling under a number of systemic issues that, if ignored, could threaten not just its credibility but its future.

Sustainability Without Accountability At The Copenhagen Fashion Week?

The crown jewel of the CPHFW’s identity is its sustainability framework. Five years ago, it became the world’s first fashion week to impose binding environmental guidelines, a top-down transformation no other city had dared. The framework, updated regularly, requires participating brands to commit to responsible materials, fair labor, and measurable reductions in environmental impact. In theory, it’s a blueprint for the future of the entire global fashion industry, which remains as one of the most polluting sectors, fueling 8-10% of global carbon emissions and producing 92 million tons of waste annually.

A 2020 survey by McKinsey found that 67% of consumers consider the use of sustainable materials to be an important purchasing factor. The merging of genuine ecological concern with powerful marketing potential spurred brands to embrace sustainability, or, at least, its appearance, to avoid losing market share and relevance among the conscious consumers. The Copenhagen Fashion Week introduced its landmark requirements the same year, riding a cultural wave and aiming to spark industry-wide reform. In practice, however, the system has also enabled greenwashing — the practice of making misleading claims about the environmental benefits of a product.

Danish researchers and NGOs have flagged persistent flaws in the CPHFW’s framework. Baum und Pferdgarten has admitted it has “fallen short” on eliminating polyester; Berner Kühl has conceded its eco-messaging “could have been clearer”; and TG Botanical has been promoted as “sustainable,” a label many NGOs now call fundamentally misleading.

Earlier this year, the CPHFW came under the scrutiny of the Danish Consumer Ombudsman for alleged greenwashing practices, a complaint that was brought forward by the advisory firm Continual and Forbrugerrådet Tænk. Critics, like Tanja Gotthardsen, Danish anti-greenwashing expert, argue that enforcement at CPHFW is weak and self-reporting is opaque, and that certain participating brands continue to overstate their sustainability efforts without any real oversight.

“The CPHFW has promoted these brands as sustainable,” said Gotthardsen. “That’s simply not legal under Danish consumer law. It’s misleading not just to consumers but to the industry itself. I found numerous examples of admitted by the CPHFW brands, like Stine Goya, making dubious green claims—like producing mostly plastic clothing while claiming to ‘dream of a fossil free world.’ Baum und Pferdgarten promised to phase out virgin plastics by 2025, yet their webshop was still full of them. If the committee can’t catch these basics, how will they screen for complex human rights practices?” said Gotthardsen. “The CPHFW framework omits key concerns regarding production volumes, fails to qualify longevity, and often promotes what is already required by law as a sustainability benefit. Leadership has been alerted to these issues repeatedly, but they remain unaddressed.”

When asked directly if anything will change about the current sustainability framework or its enforcement, the CPHFW’s CEO Cecilie Thorsmark responded with a defiant answer: “A complaint has been filed, which is not uncommon. As such, we are not re-evaluating any procedures at this stage and do not anticipate the need to do so. The 19 minimum standards serve as a screening tool – a set of entry criteria – designed to support brands in advancing their sustainability efforts in order to qualify for the official show schedule. These requirements are not used as a certification or for marketing matters, nor do they imply that brands or their products are sustainable.”

The CPHFW’s sustainability framework has been adopted by several other fashion weeks and organizations around the world, notably, the British Fashion Council which is implementing these standards, with full effect for London Fashion Week by January 2026. Additionally, Amsterdam Fashion Week, Berlin Fashion Week, Norwegian Fashion Hub and Oslo Runway are also part of this initiative. “Without enforcement that is proportional to the scale of the problem: production overcapacity, unpaid living wages, misleading marketing, these so-called ‘requirements’ are little more than PR exercises [for fashion weeks]. And because other fashion platforms are adopting Copenhagen’s framework wholesale, we are not just failing locally, we are exporting these weaknesses across Europe and beyond,” said Gotthardsen.

“I believe it to be incredibly culturally insensitive to promote Copenhagen as a sustainability leader, when globally we see platforms and communities that are much stronger in promoting moderation, heritage and craft, like Bhutan Fashion Week or Dakar Fashion Week in Senegal. In Denmark, a lot of that has long been lost, and some cultural critics even say that Copenhagen opted for the ‘sustainability’ theme due to it not being able to differentiate itself or compete on any other grounds,” said Gotthardsen

Without third-party auditing, transparent reporting, and real consequences for failing these guidelines, Copenhagen’s “green halo” risks slipping into more symbolism than real, on-the ground, impact. Greenwashing complaints may, under the new EU rules, result in fines up to 4% of a business’ annual turnover (with additional fines for each country in which non-compliance is found), and exclusion from public procurement, for example. “The financial and reputational risks are real—but so far, there seems to be a calculated gamble [by Danish brands] that regulators will be slow to act,” said Gotthardsen.

“The problem isn’t that we don’t know what to do, as research has been clear for years: reduce volumes, improve wages, limit collections, design for fit and longevity. These are measurable, enforceable steps. The question is whether the CPHFW and its board have the courage to act on them,” said Gotthardsen.

A Great Incubator, But Can The Copenhagen Fashion Week Keep Its Talent?

Copenhagen is excellent at launching designers, however keeping them remains a problem. Over the past five years, the Danish capital has incubated some of the most influential voices in fashion: Ganni, Cecilie Bahnsen, Heliot Emil, Saks Potts, (Di)vision. These brands helped define a viral “Scandi style” for a global audience: practical yet romantic, understated yet confident. But as soon as these brands start to mature, they leave Copenhagen, or worse – shut down or file for bankruptcy.

Ganni recently made its runway debut in Paris, citing the need to tap into broader global attention. Cecilie Bahnsen, while still showing in Copenhagen, is increasingly prioritizing Paris for press and sales. The same goes for the Heliot Emil by brothers Julius Juul and Victor Juul, Paris remains their go-to-market for global sales.

For other Danish brands with promise – (Di)vision, despite a huge cultural following and international fanbase, has recently filed for bankruptcy. Saks Potts shuttered, surprising fans and despite strong sales, for “personal reasons.” What these departures and collapses suggest is that Copenhagen is a great place to start a fashion brand—but not to scale one.

“Season after season, the Scandi brands that once generated so much excitement are migrating to Paris Fashion Week. Others skip the shows entirely, focusing instead on commercial appointments, like Helmstedt. I miss them, especially Stine Goya, and without those big local players, it’s hard to attract international press and buyers to Copenhagen,” said Lidia Ageeva, Fashion Journalist and Communication Strategist based in Paris. “For freelancers, it’s even trickier: when you pitch a Copenhagen story, you need at least a couple of big-name brands to hook your editor,” Ageeva said. Such an exodus of key Danish brands is a systemic threat for a Copenhagen fashion week that positions itself as the ‘fifth capital’ after Paris, Milan, London, and New York.

“While we are honored that industry figures have dubbed us the fifth fashion week, our focus is on collaboration rather than competing with the scale of Paris, and we are happy to have contributed to the growth of two brands from the CPHFW schedule, Ganni and Cecilie Bahnsen, who have gone on to show at Paris Fashion Week. These brands’ success in Paris is a testament to the strength and calibre of the talent of our region,” said Cecilie Thorsmark, CEO of the Copenhagen Fashion Week.

The Copenhagen Fashion Week prides itself for functioning more like a stylish springboard than a self-sustaining ecosystem for designers seeking to scale and remain in Denmark. Participating designers are asking for change: “We started Deadwood by making something out of nothing. If the CPHFW really wants to support that kind of thinking, it needs to be more than a stage, it has to be a system. That means ongoing partnerships, sales channels that work, and space for collaboration. Less theatre for its own sake, more movement toward something different. Otherwise, we’re just circling,” said Felix von Bahder, Co-Founder of Deadwood.

According to Thorsmark, Copenhagen Fashion Week “actively chooses to focus on being a seasonal investment,” and that precisely its Achille’s heel. “Unlike Paris or London, where fashion weeks are organized by national fashion councils or industry bodies, Copenhagen Fashion Week is organized directly by the Copenhagen Fashion Week organization. We therefore do not hold the same year-round remit as those councils,” said Thorsmark, CEO of Copenhagen Fashion Week. And that seasonality is starting to impact the maturing fashion industry as more and more successful Danish brands are looking toward Paris as part of their overall business strategy to scale. “In many ways, Copenhagen is the opening chapter, the moment of intrigue. Paris is where commitment happens and professional relationships truly begin,” said Caroline Engelgaar, Creative Director of MKDT Studio.

“Copenhagen Fashion Week continues to play a meaningful role in our retail strategy, though it is not the sole driver. As we have grown in international recognition, we’ve seen increased interest from both existing and prospective partners, and our presence at CPHFW has certainly contributed to that. That said, it is only one piece of a broader, year-round effort. Building and maintaining strong retail relationships requires sustained engagement beyond those two weeks a year,” said Sanne Sehested, creative director at Gestuz, “Paris continues to be a key market for us to build further on international relations.”

While it is Paris for many, others are looking toward Asia as a potential opportunity for growth. “I do believe [scale] can happen while staying in Copenhagen – yet in our case we also have to look outside Denmark, especially after having such great success in East Asia. We cannot ignore the growth in the stores that sell our clothes there, and the K-Pop stars wearing our clothing.” said Marc C. Møllerskov, creative director of Fine Chaos.

“I think the CPHFW platform does offer potential for a brand’s work to be shown and embraced worldwide. It can be challenging though for our concepts to be fully understood by the Scandinavian crowd, as our design DNA is very ‘non-Scandinavian’ in its expression. This means we face a bigger challenge in grabbing the attention of the local crowd, but we have a solid community surrounding the brand which helps boost the exposure.”

Attempts at Connection, But Can The Copenhagen Fashion Week Be Transformational?

To its credit, CPHFW is trying. Showrooms like NEWTALENT, programs like the Zalando Visionary Award, and special exhibitions like “Future, Talent, Fabrics” are all noble attempts to connect designers with industry stakeholders. But these activities often feel ad hoc, as seasonal awards or programs aren’t a hallmark of a sustained investment by definition, and remain overly curated, much closer to marketing exercises than real economic drivers of the industry. They also lack the raw energy, risk-taking, and industry cross-collaboration required to build a long-term ecosystem. As one visiting buyer put it: “The CPHFW is beautiful. But it’s not where I go to write orders.”

“We invest significant time post-CPHFW to nurture the connections made and turn visibility into lasting value. Whether this continues to be the case as we grow remains to be seen, but for now, both seasons still serve a clear purpose in our broader growth strategy,” said Sanne Sehested, creative director at Gestuz.

If Copenhagen aims to be a global fashion capital, and not just a niche trendsetter or a talent incubator, it should stop treating fashion week like a media product and start treating it more like a supply-chain node. Over 20 years of reporting on emerging markets, I have seen the rise, death, and resurrections of many fashion weeks around the world, and those that have managed to succeed shared the following common threads: a deeper investment in trade strategy, infrastructure for mid-stage and scaled-up brands, an independent accountability ecosystem, and a strategic push away from the influencer economy.

The latter might be harder to achieve as what Copenhagen lacks in global trade clout, it makes up for in social media attention. But the balance is extremely skewed as the city is overrun with fashion influencers, bloggers, content creators, and aspiring street style stars. Their reels and tiktoks fill social feeds with viral moments, but behind the buzz lies a deeper problem: the runways are starting to feel more like lifestyle marketing events than professional showcases. A few remaining industry voices are drowned out by the buzz of streetstyle photography albums that currently dominate CPHFW brand coverage. Perhaps this explains the absence in Copenhagen of some of the fashion industry’s most critical fashion voices today: Suzy Menkes, Vanessa Friedman, Robin Ghivan, or Tim Blanks.

Seats once meant for buyers or editors are now taken by influencers whose presence boosts visibility at best, if not self-promotion. This season, a number of the media riser photographers shared their frustrations about the current CPHFW set-up, where they have to sit uncomfortably for hours, fighting for the best shot, while influencers are whisked to prime seats and runway locations in private, air-conditioned cars. The treatment at CPHFW of front row guests with social influence doesn’t have to come at the expense of media riser – something that has made New York and London fashion weeks so successful – is precisely how they manage visiting fashion photographers. In other words, treating photographers like you would social media influencers will make or break a maturing fashion week.

While the influencer marketing ecosystem around CPHFW is robust, the actual impact on the showcasing brands remains weak. “I like that people show up. It adds energy. But energy doesn’t pay rent. If the presence of international guests ends at a headline or an Instagram post, it’s surface. What I want is for that energy to leave the room and turn into something structural; orders, resources, introductions. Without that, it’s a nice night out, nothing more,” said von Bahder of Deadwood.

One regular visitor, who asked to remain anonymous, commented: “After attending Copenhagen Fashion Week for several seasons, I feel there’s less magic, less excitement in the air. Nothing feels truly new, it’s like déjà vu. There’s a certain laziness in the approach, a lack of inspiration behind strategic moves. Both coming from small brands, but also from the bigger ones. Last year, I was genuinely excited about Pandora’s annual dinner, celebrating Pamela Anderson as the new face of the brand; it was a real ‘wow’ moment. But one year later, [CPHFW and Pandora] are doing exactly the same thing? No special collection, no new campaign. If the world’s biggest jewelry player can’t bring fresh ideas to the table every year, that’s a problem.”

Ironically, just down the block from the CPHFW is the Copenhagen International Fashion Fair (CIFF), where hundreds of international buyers, showrooms, brands and retailers from 22 countries converge with the intent to make fashion deals. But few Danish designers have the bandwidth to engage at this colossal event while they manage their shows, guest lists, and press during the fashion week. The aim to combine shared visitors to each fashion event in Copenhagen is understandable, economics are important, but holding two major events at the same time acts more like a disservice to emerging Danish brands that are limited in capacity to cover so much ground.

One buyer’s recent account of visiting a few showrooms during the CPHFW and the CIFF painted a poignant example: “Locations are staffed with interns or ‘random people’ barely knowledgeable about the brands because the entire team is offsite working on a fashion show,” therefore missing a crucial business opportunity. “With around 1,500 brands showing at CIFF and buyers in town for only about 48 hours, some missed opportunities are inevitable. We make every effort to participate in all relevant events, remain available for additional viewings, and work hard to be as accessible as possible to introduce new prospects to the brand,” said Sibilla Foti, Sales Director at MKDT.

However, solution for this problem also exists, if one chooses to look further south in Europe, as Italy is a good example where Pitti Imagine Uomo trade fair held in June, and Milan Fashion Week held in September, have aligned in a way that allows each event to shine on its own and not compete, providing a focused attention, business, and trade opportunities that support each Italian fashion industry sector.

Between the glam of the CPHFW and the grit of the CIFF, Copenhagen has the right tools to make the synergy work for, not against, local brands, but there is not yet the workable vision to unify them. “The CIFF and the CPHFW should work closer together to balance their artistic with the commercial,” said von Bahder, co-founder of Deadwood.

What’s Next for Scandinavian Fashion?

The Copenhagen Fashion Week’s future depends on its willingness to evolve from a silo, not just a week of fashion, but a system for its maturing industry. No doubt, Copenhagen is having a moment, but the question now hangs over it – whether it can sustain a movement it so proudly launched just a few years ago? The values the CPHFW advocates for: sustainability, gender equity, and Nordic community – are all important, but values alone won’t sustain a Danish brand seeking to scale and stay in the country. “I adore Scandi street style; it may be the most inspiring of all, but you can’t build an entire fashion system around it. You need to deliver both creatively, with brands that have something to say to a global audience, and commercially, with labels that sell internationally,” said Ageeva.


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