Following Oslo Runway’s invitation, Numéro Berlin experienced the 11th edition of Norway’s Fashion Week first-hand. The week was overshadowed by the passing of King Harald V, which set a whole country on half-mast. Afterparties were cancelled and minutes of silence held before the shows would start.

Despite those cancellations, the days were still stacked with shows at spectacular venues, pop-ups, award ceremonies and Oslo’s creatives from all different disciplines presenting their work to an international audience.

Norway has confidently claimed their spot on fashion industry’s maps: As one of the organizers explained in her opening speech on the first evening: “The conversation about Oslo has changed – there is no more explaining Oslo, but people actually ask what is happening here.”

So what is happening there?

The brand kicked off with probably the most spectacular show of the whole week: Kari Traa invited guests to a ski hall and presented their new collection in about -4 degrees.

The freezing audience was supplied with the brand’s warm puffer jackets and comfortable snow boots to witness the fashion amidst the snow.

After skiers raced down the hill, the models gently sailed up in the ski lift, showcasing looks that sufficiently equipped them for the harshness of Norwegian winters. Referencing the typical knit patterns in bright colours, chunky boots, snowsuits and ski goggles, this collection basically screamed against the cold that is yet to come.

Envelope1976’s runway show took place in a venue that quite literally almost stole the show. Kistefos, a museum about an hour’s drive from Oslo, sits deep in Norway’s mystical landscape, surrounded by deep forest and springs. The show unfolded inside “The Twist“- a sculpture, bridge and gallery all in one, named after the optical twist at the heart of the building. There, models walked to nagging, energetic beats in front of metre-long artworks.

The collection was held in rich shades of brown, beige, cream, chestnut and black, accentuated by an occasional red. Stripped of distraction, the eye could settle on the intricacies of the designs: clean cuts, croc-embossed leather, and a careful attention to detail. Inspired by Nordic landscapes, the collection pairs new signature pieces with timeless classics, concluding in a modern wardrobe with subtle nods to 1970s fashion.

Woodling presented a “Confluence” of different streams during their show. Inspired by water in its different states of matter, the looks resembled water in its ever-changing forms. The looks were presented by models who seemed more like mermaids beautifully washed ashore, with a convincing wet-skin and wet-hair look.

The family-led company is deeply rooted in Norwegian heritage and the legacy that comes with it. With a dedication to creating heirloom-quality pieces, their knitwear is highly detailed and skillfully crafted, transcending fleeting trends.

Every year, on the last day of April, Norway holds a big celebration to welcome the light back and mark the beginning of spring. The long, painful hours in the dark are over, and the portal to spring opens. “Awakening” by Wilhelmina captures that exact moment: their collection moves from dark shades into lighter colours, all contributing to the “modern folklore” aesthetic of the brand.

The up-and-coming band SLEM truly awoke the dozing fashion crowd with their energetic, distorted music intro before the models came on, as live music merged with a runway show. 

The looks are of a magnificent ambivalence: the dark, almost edgy looks from the winter period with more voluminous cuts, before the light finally peaks through and they get superseded by light, romantic, playful looks – including blouses with balloon sleeves, floral patterns, and lots of pink in different shades.

Hair & makeup definitely impacted this show too, as the models resembled fairy-like creatures with bleached-out brows, oddly shaped lips,and a kink in their hair – who came to earth to tell us: Spring is here, yet again.