what is Scandinavian design anyway??
A chat with Rebekka Bay of Marimekko on the state of design in northern Europe.
This is the first of three features on Copenhagen Fashion Week. Yesterday we deep dove into the most exciting show I saw, today we have an interview with a designer, and tomorrow we’ll explore trends in fashion seen in presentations and on-the-ground — and how they tie into larger culture. The Trend Report™ is a reader supported publication, exploring themes in online and offline culture: consider upgrading to a paid subscription to support the writer, Kyle, and to unlock full coverage.
What is Scandinavian design? What is the Scandinavian approach to fashion?
I think a lot of us can visualize what this looks like, or at least I can: soft, sleek woods that are most often blond placed amongst earth tones whose shapes trend toward the simple and functional. The fashion feels similar: wool long-skirts and slim dresses in camels and creams, khaki pants and burgundy sweaters, brown turtle necks, white tees, heather gray hats and scarves. There’s a simplicity here and, while “classic” in a way, can feel very much utilitarian: these aren’t the warmest places, most of which are on-the-water, requiring functionality between city and country, warm and wet.
Of course, this is just what-I-think and not entirely what-is-real, given I am very much informed by and influenced by the American (Millennial!) imagination: these are stereotypes. The modern Scandinavian approach like the Nordic, at large, feels more abstract, meaning it’s perhaps less cohesive as far as what the designers are producing and more a united mindset: there’s an individualist element, that you are free to be more colorful and play with patterns, going against being brand-first and more inclusive of vintage and non-traditional brands; this pairs with the area’s being a bit more conscious and responsible, which has dovetailed into CPHFW taking more responsible approaches to fashion week by adding in sustainability standards to curb the fashion industry’s waste and consumption cycles (even if such efforts can feel like the minimum).
What’s happening with Copenhagen fashion is easily setting trends, which those leading the industry are watching and fans of modern dress are taking inspiration from. (And I’d largely attributing this to the capitalist and consumerist need for constant novelty, that Paris and London and New York fashion weeks are played out and the media needs another location to rest the eye. Just look at the economy of CPHFW stories that look at the place longingly, which is propaganda I am not falling for as I thought it was all quite fine.) Thus, I had to chat with a designer (and brand) that represents the area, to elucidate this approach and help explain how CPHFW has become one of the most watched fashion weeks in the world.
In speaking with a few brands, one seemed to be an obvious choice for a chat: Rebekka Bay of Marimekko, who joined the 74-year old brand in 2021 as creative director. Rebekka has a fascinating history in and out of fashion, having been the head of Gap in the early 2010s, spending time at Everlane in the mid-2010s, before rounding out the decade leading innovation at Uniqlo. One of her biggest claims to fame — and perhaps most relevant in a Lyst Index sense — is she was the designer who launched COS, which played no small part in disseminating and defining contemporary Scandinavian “cool.” Before that? She was in the trend trenches, having worked as a trend forecaster for some time. This is a reminder to all of you who also work in such spaces: life can take you wild places. You never know where your career will take you so long as you keep pushing forward.
Marimekko debuted their Spring/Summer 2026 during CPHFW, which shared its trademark painterly prints, illustrative florals, and clever striping in the cutest colors possible, which seems to have become a clear touchstone of the brand — and pushes against the very “earth” tonality of the area, in no small way the butterfly wings that helped to inspire something like the now ubiquitous Acne rainbow mega scarf. In a way, Marimekko is the foundation from which the current state of the “Scandi” style: brighter, more pattern-rich, overstated but understated, joyful with an element of contemplation.
Over email, Rebekka and I chatted about local style and Marmimekko’s role in it, the influence of nature, and how a history in trend forecasting plays a role in design.
KRF: At nearly 75, Marimekko is a definitive Scandinavian brand. How has Marimekko helped to shape modern Scandinavian design, which has had a huge impact on larger design culture (in and out of fashion)?
RB: Ever since Marimekko was founded in 1951, our mission has been to empower people to be happy as they are and bring joy to their everyday lives through bold prints and colors. I think it is Marimekko’s unique art of printmaking that has played a part in shaping Nordic design as well. While Nordic design can often be connected to minimalism, Marimekko has always celebrated big patterns, abstract motifs and surprising and bold color combinations – and I think that the expert use of color and pattern is something Nordic design is very much known for.
Something that is also inherently Nordic as well as part of Marimekko’s design ethos is functionality. From the start, Marimekko designed clothes that were meant to be lived in; our dresses were – and are – designed to allow people to dance and run in them if they wanted to. That sense of functionality is present in Marimekko’s designs and in Nordic sensibilities still today – we want clothes that can be worn while biking, working, lounging or dancing, and still be stylish.
KRF: What's the Danish approach to style and design? As a Dane, what defines the Copenhagen (and/or Copenhagen Fashion Week) approach?
RB: Denmark has such naturally beautiful landscapes all around which is why Danes have a special relationship with nature. That might be one reason why Copenhagen Fashion Week has chosen to focus on sustainability and setting high standards for participating brands. Marimekko design philosophy revolves around crafting timeless, functional, and high-quality products that provide long-lasting joy to people, so presenting at Copenhagen Fashion Week feels like a natural fit for us.
I also see Copenhagen Fashion Week as a celebration of Nordic fashion design in general. It is always an exhilarating experience and a way for us to connect not only with the fashion industry but also with the wider Marimekko community.
KRF: Given CPHFW's progressiveness, how does this approach tie into sustainability? Is it a natural fit, born of the culture?
RB: I feel like a sustainable mindset tie into the Danes’ relationship to the surrounding nature.
KRF: With Marimekko, design and nature go hand-in-hand. How does this awareness fit into creating a collection?
RB: We at Marimekko are always inspired by nature, or more specifically the meeting between nature and architecture – for example, many of our prints are abstract interpretations of flowers or other botanical subjects. We also think about the surrounding nature when creating a collection; for instance, our Spring/Summer 2026 collection is very energetic and bold, fit for the high summer full of pinks, greens and blues from peony and cherry blossom to hydrangea and spirulina.
KRF: Since I run a site called The Trend Report™ (lol) and you have a history in trend forecasting, I'm curious how that work and aspect of your career informs your work as a creative director?
RB: In trend forecasting you are determining the bigger shifts and ideas going on in the society and having that background is very useful when making creative decisions, not only for upcoming collections, but also for our participation in design weeks, deciding on campaigns, show music, curating furniture for our stores or other. One way of seeing those shifts is through culture, and when it comes to fashion, I have always been interested in how it is influenced by culture such as architecture, music, books, podcasts and so on. I am still surrounding myself with different forms of culture to not only get inspired but to also understand the surrounding mood better.
Photos of Rebekka courtesy of the brand, taken by Rasmus Weng Karlsen.
sorry to be THAT brat but Marimekko is Finnish, therefore not Scandinavian but Nordic. (You can see the designer is never saying Scandinavian in reference to Marimekko). I feel Finnish style is distinct from Swedish or Danish (more playful, bold- sometimes à bit too much on the zeitgeist).