Dansk is a Danish magazine that went through several trials and trials since its arrival as one of those titles pursuing to provide a platform for a particular national innovative talent in the international scene. These days it is undoubtedly the most acclaimed Danish fashion magazine and plays a significant role in Scandinavian fashion and design media industry. With occasional brief forays into other disciplines Dansk is almost exclusively a fashion magazine, covering both men’s and women’s fashion. Although it profiles a range of approaches to fashion – some with the pared down simplicity that we have come to associate with Scandinavian design and some less so- the emphasis is on precise full-bleed photography unhindered by a fairly understated art direction; the fashion is expected to speak for itself. In addition to the pool of local talent it profiles as designers, stylists and photographers, its growing reputation as one of the important barometers of northern Europe’s fashion scene means that is has also become more international in outlook and contributors over time.
In Dansk’s case, the traditional Spring state-of-the-art fashion statement that glossy fashion magazine’s traditionally make at this time of the year coincides with Dansk celebrating its 25th issue. Needless to say, it uses the opportunity to make a number of strong and directional statements indeed. The stunning cover and key fashion story inside feature Thomas Penfound, he of the punk rock swagger and the face of campaigns for Burberry and Louis Vuitton amongst others. Shot by Aitken Jolly and styled by Anders Solvsten Thomsen for the ‘Missionary Man’ story, the feature takes gender-bending on an even more convoluted journey than usual. Inspired by Annie Lennox, Mr Penfound is cast as a woman playing a man; a reverse Victor/Victoria as it were. It’s a fitting showstopper of a lead article for Dansk’s 25th issue. The cover shows Thomas sporting Tom Ford as the introduction to the new look Dansk designed by hip Copenhagen-based art directors Design Unit. Although the issue takes its usual stroll into other domains, let’s be blunt, it’s the fashion in this issue that steals all the attention. Page after page is devoted to stunning images of the most contemporary fashion in an eclectic mix of approaches; far too many excellent shoots to single out all of the praiseworthy work crammed in. But, indeed, three very different fashion stories should be mentioned: ‘Her Name is Rio’ that literally re-appropriates National Geographic-style saturated documentary imagery as fashion; ‘Out of Shape’ that creates stunning photos of highly sculptural clothing; and ‘The Wilhelm Freddie Project’ that takes a dreamy DIY Surrealist trip through deep shades of pink and green.
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