For fashion’s beau monde, the drink of choice at industry soirees typically ranges from a glass of crisp champagne to a dirty martini. So when Amalie Røge Hove brought Copenhagen’s style set to ÅBEN, a brewery in the city’s Meatpacking District, it was as refreshing as the first sip of one of its chilled cans. Surrounded by towering steel vats and shining surfaces that distorted guests, the setting was a disarming introduction to the A. Roege Hove Spring/Summer 2025 show—and after all, ‘ÅBEN’ itself translates to ‘be open’, which feels right at home with Hove’s current design ethos.
One of the most sought-after talents to emerge from Denmark in recent years—with soaring global success and high demand, to boot—Hove is no stranger to burning bright. In fact, it was just last October that the designer lamented the end of her business due to issues she chalked down to scaling too quickly. But with new investors on board and some reinvigorated perspective, her eponymous label has been reinstated to its former glory. And despite admitting that there was much to learn about the business of fashion beyond design, today’s show proved that a savvier business model has not corrupted the designer’s enigmatic flair for twisting knitwear.
Like an alchemist, Hove’s ability to push the limits of knitwear and realise its full potential seems to know no bounds. Reworking signatures to platform her ever-expanding technical prowess, silhouettes felt at once more grown-up but still equally ready for a night out—or maybe it’s just the Brat green and no-pants-pants talking. Cardigans replaced tie tops, sheer, diaphanous layers sat over the top of opaque linings, and fits generally graced the body rather than accentuating it.
“For this collection, I was inspired by framing the female body, working on the principles of iterations—starting from the strict lines of the rib to a messier, almost disturbed line caused by the body,” she noted. “We have worked with volume growing from the lines of the rib in defined areas, moving and draping on its own, with a focus on the spaces in between.”
We could see this in the lightest contact of button-up tops delicately clinging to figures, fluid pieces cloaking the body with not a seam in sight, and textiles that appeared like paper formed around the body. If anyone in the crowd could limit their wishlist to less than the entire collection, I applaud their restraint. On a personal note, I’d take the lot.
