Scandinavian fashion is known for a few things: its minimalist, well-tailored garments, its preference for quality and common sense over trends, and Henrik Vibskov. The Copenhagen-based, Central Saint Martins grad stands apart with signature punches of color, wacko graphics, avant-garde styling, and the crazy, atmospheric installations during his runway shows at fashion weeks around the globe (“Land of the Black Carrots,” “The Fantabulous Bicycle Music Factory,” and “Big Wet Shiny Boobies” were veritable hits). It makes sense that the designer has many more passions than just making clothing: he’s also a seasoned set designer, plays drums for his band Trentemøller, and gives lectures at design schools like the Istituto Europeo Di Design in Madrid and the Antwerp Royal Academy of Fine Art. MoMA PS1, New York’s Sotheby’s Gallery, the Palais de Tokyo in Paris, Akria Ikeda Gallery, and the ICA in London have all showcased his work.
Now, Berlin-based publisher Gestalten marks the tenth anniversary of Vibskov’s eponymous label with a monograph, which examines his twisted yet compelling creative vision. The book includes a preface by the designer’s brother, Per (a German professor of experimental fashion design at Dorothea Mink), backed by musings from Dorothea Mink, New Museum deputy director Karen Wong, Danish artist Jørgen Leth, and Röhsska Museum director Ted Hesselbom. Vibskov himself takes the reigns thereafter, tracking his career with photographs, random sketches, inspiration shots and behind-the-scenes imagery of runway presentations and art installations. As a whole, while it might be a bit confusing at the start, the book expresses the same beautiful chaos that emanates from Vibskov’s work.