Denmark’s quintessential fashion label has shifted its focus from its native Copenhagen to the bustling city of Paris. For this season, Ganni left behind its signature large-scale shows at Copenhagen Fashion Week—where its last showed in August—to stage its first-ever runway in the French capital on Tuesday, September 24.

Although Ganni’s roots date back to its founding in 2000 by Frans Truelsen, and its transformative acquisition nine years later by Ditte and Nicolaj Reffstrup, the excitement of a debut was palpable before the show. The luminous Galerie Haute in the Palais de Tokyo was the chosen venue, welcoming a crowd of fashion insiders with a striking centerpiece: a recycled aluminum sculpture shaped like a steaming cauldron. This symbolic figure wasn’t accidental. For Ganni, the bubbling cauldron represented a magical brew of innovation, sustainability, and community—the key ingredients behind the brand’s success, which now boasts 70 standalone stores and a network of 700 international retailers.

Adorned in puff-sleeved dresses or denim ensembles bearing Ganni’s distinctive style, a select group of loyal followers and guests eagerly awaited the brand’s Parisian debut. Ganni has been partially owned since 2017 by L Catterton, the investment arm of LVMH. With the arrival of actress Kelly Rutherford—joining a front row led by South Korean singer Yuna, American actress Liza Koshy, and French influencer Lena Situations—the show began, and the fashion alchemy took hold.

The first look, a white ensemble featuring a belted blazer and wide Bermuda shorts layered over a sheer gauze shirt, set the tone with an honest statement of intent. The Ganni girl had grown up, her style now more refined and elevated, while still retaining that rebellious and relaxed Danish spirit. Titled “The Craft,” the collection was a celebration of artisanal craftsmanship, with more polished lines fitting for Paris Fashion Week, even though Ganni was showing outside the official fashion calendar.

In typical Ganni fashion, the collection played with contrasts: masculine and feminine, utilitarian and romantic. The Parisian offering featured biker-buckle trench coats, corset-detailed skinny jeans, and dresses with playful volumes, ruffles, and ruching. Of course, Ganni’s signature floral and leopard prints made their appearance. The more commercial side of the collection included oversized sporty t-shirts and long dresses emblazoned with a bold “Ganni” logo and the number 13 across the chest. The colour palette was notably restrained, with shades like black, white, chocolate brown, and sky blue. The only bold pop of colour came from a scarlet red, romantic dress with corset details and a pirate-inspired flair.

“We wanted to channel the intuitive confidence and dynamic energy of the Ganni woman,” said creative director Ditte Reffstrup, who received a standing ovation, visibly moved by the audience’s response. “This collection is about bravery, empowerment, and connection, pushing our boundaries both in design and innovation,” she added, reflecting on the meaning behind the brand’s latest offering.

This season, Ganni took significant strides in its “Fabrics of the Future” initiative, a project launched in 2019 aimed at researching and developing sustainable, innovative materials. For Spring/Summer 2025, Ganni’s team studied and tested 30 new fabrics, all on the verge of commercialisation. By next spring, six new alternatives to polyester, cotton blends, and leather will be available to Ganni customers. Sustainable innovation will also extend to footwear, with the introduction of a pioneering biofiber called SimplifyberTM, which can be molded to form the textured upper part of a shoe.

On the accessories front, Ganni’s profitable range included lace-up boxing boots and pointed-toe ballet flats with buckle details. The brand also featured crossbody bags and oversized shopper totes, all featuring handcrafted straps or woven finishes. As is customary for Ganni’s shows, the brand collaborated with two emerging designers: Danish talent Nicklas Skovgaard and New York-based Claire Sullivan.