Sculpting Darkness / Han Kjobenhavn

In conversation with Jannik Wikkelsø Davidsen, creative director of Han Kjøbenhavn.

In conversation with Jannik Wikkelsø Davidsen, the mastermind behind Han Kjøbenhavn on the occasion of his latest fashion show during Milan Fashion Week together with an exclusive backstage photo report by Sara Scanderebech.

What is your current state of mind?

Observative, focused. Preparing myself for what’s coming.

Can you talk a bit about your background and about how did it all come about?

I started working with graphics and visuals from a young age, then went on a more conceptual journey where it was more about learning how to use your brain in a new way, thinking laterally, working with emotions, working with shape. After that, I had more time to work with art and installations which was a combination of my education and background. It’s been going for a good 20 years now. So, it’s been an organic process getting to where I am now, and my work is a combination of it all.

Can you tell us about your FW/22 Collection showcased here in our pictures and about your decision to start showing during Milan Fashion Week?

I like Milan from a personally point of view, the people, the culture, the history – everything. In terms of fashion, it’s unique, with influential houses and iconic individuals that inspires me – that’s something I want to be part of and something I want to help build even further, when given the opportunity. Being on the “men’s” fashion week calendar in Milan for the past four season has made it a more natural choice, because we feel part of the family and appreciate the platform and energy in the city.

We are really eager to know the story behind our favorite and iconic black leather dress with the unique “hand neck”.

The process started off when collaborating on a bag with ceramic artist Naomi Gilon. During this process it was obvious that there was something more in this than “just” the bag, it was bigger, had a very specific energy. It then became a bigger story and an important element in the collection – where the emotion in hand became the core of a few unique pieces the “grip” dress being one of them.

You said in a past interview “It is all about embracing the dark side that we all have. It’s about turning it into something positive and it is where my creativity grows”. Sounds like a therapeutic procedure. Do you think that your success is emerging from this internal trip from darkness to light?

True, it is a therapeutic process, in a sense all humans are searching for some sort of satisfaction. I think, working as a creative, and working with personal stories and experiences can somehow produce a good stimulus to the level which your mind expects, The journey does not always go from darkness to light, and it’s a difficult process to control, and it should not be controlled, it has to be fluid – but everything is a balance, that’s what I’m always working towards – finding the right balance and the suspense between the two things.

Which is your favourite form of communication to create journeys to new places for your audience?

I like real things, stuff I can touch, smell, feel – and I like to be around people, I think that’s why we’re happy to be back, and able to do physical runway shows rather than digital ones. I like to tell our story to a real audience, it’s just different, you can feel and smell the energy, the intensity – the feeling of sending the collection out there, observing the room, its special – and when it’s out there, it’s out there, and you can’t control anymore, almost like you pass it on, it’s not yours anymore. There is something very special about that.

Currently the effects and the chasm of social stratification are reflected intensely in the fashion industry. Do you think that ethical fashion, sustainability and environmental consciousness can eliminate this gap?

I think that stratification is important. People come from different backgrounds, have different opportunities, which reflects in different types of creativities. I don’t think that fashion and sustainability can eliminate that gap, and I don’t think it should. I think that being able to tell stories, from unique human beings from different backgrounds, you never want to not recognize that, you always want that uniqueness in it. It’s obvious that fashion must be more ethical, I think all fashion houses and brands should do the outmost best to take care of each other and the world, for me it’s always been like that, but I think in general it’s our responsibility.

We live in a historical period, in which negative inputs and sociocultural insecurities are everywhere. How easy is for you to comment these issues though your work?

There’s no positive or negative input, but there will always be good and evil. The time right now is an obvious example and it’s disgusting. Now we live in a time where it’s protected by so many social channels, we are aware of everything around us. I have my opinions and I use what’s around me and inside me and put it into my work. I think it is clear for everyone to see, when looking at my creative process and the work I put out there – and the people I connect to my collections, what story I’m telling. If you are looking into the details of the latest show, you are not in doubt of where I stand.

The prism of your creativity comes from different environments and social circles. Would you like to share some details about what moves you and inspires you deeply? 

I have always been very uncompromising in terms of how I do things, and I always follow my emotions and instincts (no questions asked). There are obviously immensely talented people out there that inspires me – and do great work. I don’t like to name specific individuals, but in drawn to more dystopian, the lateral and the less linear. I’m drawn to instant emotions and reactions, not stuff that grows on you and you must learn. It has to be passionate, it has to be powerful, and it has to make me feel.

Would you like to set your mark in the fashion industry with a strong and fast rupture or you prefer a fluid and steady pathway to establish your work?

Fluid, and steady, I think that’s what we’re doing, as a human you evolve every day, and it’s also our jobs to learn all the time and educate yourself. See what’s around you in terms of art and culture, take that and bring it into your next project. Always build layers. Don’t blow up.

If you could change one thing about yourself, what would it be?

My work can have an extreme emotional effect on me. When I deliver something, I am content with, it only lasts for 2 minutes, but if I fail with the promises, I made to myself, it lasts for months. The faith, creativity, and the way I work with emotions, and the emotional outcomes which I have, I don’t know if it is possible to not feel the way that I do.

Sculpting Darkness / Han Kjobenhavn AW22

Credits:

Designer: Han Kjobenhavn / @hankjobenhavn
Photography: Sara Scanderebech / @sara.scanderebech
Interview: Iro Bournazou / @irwb

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