In English

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Les Deux has unveiled a new collaboration with iconic American tennis label Prince, long regarded as one of the defining names in the history of racquet sports.

To mark the launch, we spoke with Les Deux creative director Mathias Jensen, who has been part of the company since its earliest days.

Together, the two brands have developed a collection shaped by the visual language of 1990s tennis culture, while moving beyond pure performance wear and towards something more rooted in atmosphere, identity and lifestyle. For Les Deux, the collaboration is as much about the world surrounding the sport as the game itself.

Here, Mathias Jensen reflects on the role of sport within Les Deux, working with Prince’s distinctive heritage and why tennis aesthetics continue to resonate so strongly in contemporary fashion.

Mathias Jensen, Creative director, Les Deux

Mathias, before we get into the Les Deux x Prince collaboration, could you explain the role sport plays for Les Deux as a brand?

“Sport has always been close to us, but not only because of what happens within the game itself. We started with ambition and community, and sport naturally brings those two things together. In the early days, I actually experienced our culture as something of a locker room.

There was a certain atmosphere, an energy, and a feeling that it was us against the world. On top of that, sport gives people something to gather around, and that aspect has always been important to us.”

How did the dialogue between Les Deux and Prince begin?

“We reached out to Prince because it made sense for us to work with a brand that has such a clearly defined universe. There is of course the tennis heritage, but also the attitude, the colours, the graphics and the sense of club culture. Tennis has always had a culture that extends beyond the match itself, and that was what we wanted to explore. Not just the player on court, but also the spectator and everything happening around the game.

At the same time, 90s nostalgia plays a big role in fashion right now, and Prince captures that feeling in a very authentic way. We see Prince as a heritage brand, in many ways similar to what we ourselves hope to become one day — a brand that evokes emotion and brings back memories.”

Prince is a highly iconic brand with a long history. Were there any Prince elements that were considered “untouchable”?

“When working with a brand like Prince, you have to respect what people already recognise about it. That was also part of why we chose them. The archive wasn’t something to be cleaned up, that was the whole point. The 90s iconography, the bold colour palette, the court lines and the graphic confidence of that era all needed to remain present. Our task was to place those elements into our world, not make them disappear.

We were given the opportunity to work with one of their most iconic back prints, where we merged our own brand elements with Prince’s. In addition, we were allowed to create a replica of one of their most popular 90s polo shirts. To make it fit into our shared universe, we chose to reinterpret it as a knit. It was a way of preserving the reference while giving it a form that felt right for the collaboration.

Overall, the process was very positive. Prince trusted us to handle their heritage and their brand with care, and I believe we did exactly that.”

What do you do once the decision to collaborate has been made?

“For us, it always starts with the reason for doing it. With Prince, we knew quite early on that we didn’t want to create a performance tennis collection. We were more interested in the world that tennis creates around itself.

The clothing, the clubs, the waiting between points, the people in the stands, and the entire atmosphere surrounding the game. It felt like a more interesting place to begin, because it allowed us to work with tennis as culture, not just as sport.

How do you start that process, and what does the collection consist of?

“Practically speaking, that’s where the design process begins. First, a range plan is created, and then the whole team gets together and throws ideas into the air. It’s actually my favourite part of the process.

There’s something special about that stage where everything is still open, and you can feel the energy in the room.

At the same time, we look into Prince’s archives and start building from there. The collection consists of 17 styles across apparel and accessories, where we’ve worked with technical materials, textured cotton qualities, striped knits, washed graphics and more relaxed silhouettes. Some pieces sit closer to the court, but the collection is really designed for everything happening around it. It carries the sporting reference, but it’s not only about playing the game.

Meanwhile, the marketing team works in parallel on the storytelling and the campaign, so product and narrative develop together. For us, it’s important that the collection doesn’t just stand alone as clothing, but becomes part of a larger world that people can feel and understand.”

And do you have a personal favourite?

“My personal favourite is definitely the striped rugby polo. And probably also the T-shirt with the colourful back print. It’s very much my style.”

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Danish company LifeX did not begin as a business plan, but as a personal frustration.

CEO and co-founder Ritu Jain moved to Denmark to work in tech, where building digital solutions became a natural part of her professional world. But the idea behind LifeX emerged outside the office — through her own experience of trying to settle into a new city.

Over the course of two years in Copenhagen, Jain moved eight times and quickly realised how poorly traditional housing systems are designed for people living internationally or constantly on the move.

Today, that experience has evolved into a company operating across several European cities, offering a more flexible way of living for young professionals.

LifeX sits at the intersection of housing, technology and community, catering to people building careers and lives between cities such as Copenhagen, Berlin and Munich.

At its core is a simpler approach to urban living — one where moving into a home should feel straightforward, accessible and less burdened by traditional barriers.

At the same time, the model challenges more established ideas around renting, ownership and how people choose to live in modern cities.

We met Ritu Jain on Vesterbrogade in Copenhagen over coffee.

Ritu Jain, CEO & Co-founder, LifeX

Ritu, if you had to explain LifeX in the simplest way possible — are you a housing company or a lifestyle platform?

“You could say we exist somewhere in between the two. The original idea behind LifeX came from a problem I experienced personally.

When you move to a new country, you need more than just a place to stay. You need an address, local registration, a bank account, and at the same time you’re trying to adapt to an entirely new culture. All of that often happens while starting a demanding new job.

That’s why we’ve always approached LifeX from the customer’s perspective. We built it as a tech platform that makes communication, payments and moving in much easier. Ultimately, it’s about simplifying the entire housing experience.

So in simple terms, LifeX is a platform designed to make moving into and living in furnished homes across major cities more seamless.”

About LifeX

LifeX is a network of co-living homes across Europe, originally founded in Copenhagen.

The company was launched in June 2017 by Sune Theodorsen and Ritu Jain.

Who is LifeX created for?

“People like ourselves. We actually started by using the solution ourselves. For three to four years, we lived in the homes we were helping to create.

Today, our members are typically between 25 and 40 years old, but it’s a very broad group. It ranges from teachers and chefs to people in finance or employees at companies such as Deloitte and Novo Nordisk. Others come from startups or international companies.

We have both Danish and international members, with a fairly even balance between men and women.

What they often have in common is that they are moving to a new city and don’t necessarily want to do it alone. Loneliness plays a bigger role than people might think, and a shared living setup can make a real difference. There is also a sense of security in it, we’ve heard from several women, for example, that they feel safer in LifeX than in the private rental market.”

Today LifeX operates in Copenhagen, Aarhus, Berlin, Munich, Oslo and Hamburg. How do you decide which cities to enter, and where does the company stand today?

“Our starting point is Copenhagen. We are a Danish company looking to grow internationally, and that’s what we’ve done in the cities you mentioned.

You could say we’ve largely expanded based on our members’ needs. In the beginning, when people moved on from Copenhagen to a new city, we would often receive emails asking whether we were there as well. These were typically people relocating for new jobs.

So it has really been an organic development, where demand from our own members has helped define where we go next.”

Where have you succeeded?

“We’ve helped thousands of people find a home, and many have built both communities and friendships through LifeX. For us, that in itself is a meaningful story, that we can help provide something as fundamental as a home and a base in everyday life.”

You’ve previously said it’s a misconception that you take housing out of the market. Where do you feel you are being misunderstood?

“Fortunately, it’s not our users or members who misunderstand us. There is a very fixed idea of how people are ‘supposed’ to live, you either buy or rent, pay a large deposit, and follow quite rigid frameworks.

We are trying to challenge that way of thinking about housing. There are already structural challenges in the housing market and with prices that are not created by us. We are not taking homes out of the market, not at all. We transform existing homes, which are often too large for the average family, and use them differently. People then choose LifeX if they find it attractive, which many do.

It can be about avoiding living alone in a new city, flexibility, or financial reasons. It varies a lot from person to person.”

Is there a lack of political courage?

“It’s perhaps more about clarity than courage. We’ve been here for eight years, and there are political voices that see us as a positive development, while others are more sceptical.

What we are missing are clearer frameworks, so it’s easier to understand what we are operating within. We are not an investment company or a short-term housing concept like Airbnb. We are trying to create more flexible housing solutions, not fewer traditional ones. So clearer rules would actually help everyone.

We would also like to contribute to a broader dialogue on how co-living can be recognised as one of several housing solutions, with a clear framework for everyone to follow.”

What are your ambitions for the company?

“We want to make LifeX a strong Danish brand with an even greater international presence. We can already see that the model works across cities and cultures, which gives us a clear signal that there is a global need for what we are building.

At the same time, Denmark has a strong international reputation, which has helped us become a trusted brand in new markets. We are also curious to explore even more markets than we are in today.”

Where do you personally find inspiration?

“I’m inspired by building something that solves real problems. For me, it’s about taking something complex and making it simpler. That is really the core idea behind LifeX, especially when it comes to something as fundamental as housing and everyday life in a city.”

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The last time we spoke with ARKK Copenhagen, the conversation centred around the brand’s strategic reset and how its newly established ARKK Lab was shaping the future of its sneaker universe. Since then, the Danish brand has continued to turn strategy into action.

Now, ARKK Copenhagen is taking another step forward with the launch of its first dedicated running shoe, a natural continuation of ARKK Active and the brand’s collaboration with Copenhagen-based running community HAV Runners.

Named Sprint X, the shoe has been developed with the ambition of making running more accessible. Rather than following the market’s obsession with maximum foam and exaggerated cushioning, ARKK Copenhagen has taken a different route, focusing instead on stability, control and versatility, equally suited for running sessions and everyday wear.

We spoke with Kasper Rasmussen, Co-founder and CEO of ARKK Copenhagen, about the new silhouette, the long-term ambitions behind it and why the timing feels right now.

 Kasper Rasmussen, CEO & Co-founder, ARKK Copenhagen

Kasper, why is now the right time to launch your first dedicated running shoe?

“It has been an ambition from the very beginning. Today, we have 10 years of experience, the right partnerships and the necessary know-how to do it properly.

At the same time, we’ve taken a clear position: instead of following the market’s focus on maximum ‘foam’, we’ve developed a shoe centred on stability and control. It makes running more accessible, especially for new runners and on varied terrain.”

When did work on the shoe begin?

“We started three years ago. When you develop your own soles and lasts, it takes time. Our ambition was to create a versatile, neutral running shoe for 5–10 km distances that also works in everyday life.

Sprint X is built as a hybrid, one shoe that combines performance and lifestyle, without compromising on stability.”

Hvordan er den blevet modtaget?

“Meget positivt. Vi har testet bredt, blandt andet hos Legs Studio, og feedbacken er klar: Stabiliteten og alsidigheden gør den nem at gå til. Det bekræfter os i, at vi har ramt rigtigt. Samtidig ser vi interesse fra samarbejdspartnere, hvilket understreger relevansen.”

Ser du løb som en ny kernekategori for ARKK Copenhagen?

“Ja, men med respekt. Det er en kategori, hvor teknologi og udvikling går hurtigt. For os er det en langsigtet investering, hvor vi bygger kompetencer og produkter op over tid. Sprint X er første skridt, ikke det sidste.”

Hvordan balancerer I mode, community og performance i samme brand?

“Det hænger naturligt sammen for os. Mode er vores fundament, og community – vores Friends of ARKK – er kernen i, hvordan vi bygger brandet.

Performance åbner en ny dimension, både i produkter og i vores aktiveringer. Med Sprint X og vores HAV Runners-univers kan vi nu tilbyde en samlet oplevelse, der går fra hverdag til aktivitet – med samme design-DNA og fokus på funktion.”

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While Denmark will, for once, be absent from this summer’s international tournament, Norway has experienced something of a national resurgence, charging through the qualification campaign for the 2026 World Cup, its first appearance since 1998.

The country’s standout figure is, without question, Erling Haaland.

At the same time, one of the Nordics’ largest optical groups, Synsam Group, with Profil Optik in Denmark as part of its portfolio, is taking a significant step onto the international stage through a new collaboration with the Norwegian star.

The partnership will see the launch of a collection of optical frames, sunglasses and sports eyewear focused on both performance and design, signed by Erling Haaland. It forms part of Synsam Group’s broader push into new international markets.

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Zalando is the main partner of the Copenhagen Marathon, which has grown into one of the city’s largest and most unifying events. A race that not only draws thousands of participants, but also transforms Copenhagen into a citywide celebration.

But what is driving Europe’s largest fashion and lifestyle platform to invest so heavily in Copenhagen in particular?

We spoke with James Rothwell, Senior Vice President Marketing at Zalando, on Friday morning in Copenhagen.

James Rothwell is Senior Vice President Marketing at Zalando, having joined the company in 2025. He has previously held senior marketing roles at companies including TikTok, Netflix, Google and World Rugby, bringing extensive international experience across technology, sport and culture.

James, you are here in Copenhagen for the Copenhagen Marathon, where Zalando is the main sponsor. Why is this an interesting partnership for Zalando?

We are very excited to be in Copenhagen for the Marathon. It’s a fantastic partnership that reflects our ambition to be Europe’s leading technology platform for fashion and lifestyle. Copenhagen is a city that lives and breathes an active lifestyle, and for us, this isn’t just a sponsorship; it’s about authentically integrating Zalando into sports culture.

By partnering with Sparta Athletics & Running until 2027, we can support our customers through every phase of their journey – from the moment they buy their first pair of running shoes on our platform to the second they cross the finish line. We want to celebrate the unique joy and community that arises when an entire city moves together, positioning Zalando as the go-to destination for runners in the Nordics and beyond.

Can you explain how you concretely work with activating a partnership like the Copenhagen Marathon?

For us, activation is about showing up across the full marathon journey: motivating the crowds, powering the runners, and rewarding the finishers. We don’t just want to be a logo on a bib; we want to be the pulse of the race. This year, we’ve designed three distinct, branded zones to engage the city:

At KM16 (Nørrebros Runddel), we’re focusing on the power of the crowd. We’ve introduced ‘The RoarBoard,’ a dynamic LED installation that visualises the energy of the spectators in real time. With MC Kamal leading ‘roar’ countdowns and cheer karaoke, we’re turning cheering into an interactive sport in its own right.

At KM32 (BLOX), we address the most critical part of the race: ‘the wall.’ We’ve partnered with DJ Harty to build the longest music zone in the marathon’s history: 230 metres of speakers lining the route. The BPM of the music actually evolves with the race pace to ensure every runner gets the specific acoustic ‘push’ they need at their toughest moment.

At the Finish Area (Fælledparken), we transition into celebration and recovery at ‘The Running Hub.’ This is where we reward the community with exclusive Nike x Zalando merch, customisation stations, and a space to decompress.

By combining technology, music, and physical retail experiences, we’re proving that Zalando is more than a platform; we are an active participant in the lifestyle of our customers.

Copenhagen has become an international running destination in recent years. What is your own impression of the city and the energy around marathon weekend?

The energy is absolutely electric. Copenhagen has this unique ability to turn a sporting event into a vibrant, city-wide public celebration. Seeing unprecedented numbers of runners take to the streets, especially as the city prepares to host the World Championships later this year, is a testament to the diversity and community we often talk about at Zalando.

My impression is that Copenhagen represents the best of European urban culture: it’s inclusive, it’s active, and it’s forward-thinking. This ‘Copenhagen energy’ is exactly why we’ve expanded our commitment from a single race in 2025 to a full suite of running events through 2027. We are proud to help take this city’s running events to the next level.

Fashion and sport are increasingly merging. How do you see that development at Zalando?

We don’t see fashion and sport as separate buckets: they are part of the same lifestyle ecosystem that we are creating. We know that 85% of our customers engage in sports weekly, so our role is to be their multi-specialist partner. We are seeing a massive shift where performance gear is becoming a staple of daily style – for example, the share of running shoes sold on Zalando in the premium price range has more than doubled in recent years. People are looking for gear that works as hard as they do, but still looks stylish and cool. We want to be the ones bridging that gap for our customers.

From my perspective, Zalando started as a very classic e-commerce platform but today plays a much more cultural role as well. How are you working with that development?

Indeed, over the years, we’ve evolved from focusing on transaction and convenience to being a destination for daily inspiration. Our goal in marketing is to transform Zalando from an advertiser into a publisher. We now operate with a “dual-speed” model: we run seasonal cinematic, large-scale campaigns with global icons like Lily Collins, while our in-house “Newsroom” team reacts to cultural trends in real time. They turn these trends into creative ideas, ensuring we stay relevant in the moments that matter most to our customers. Ultimately, we want to meet our customers where they are, in their moment of inspiration, and play a bigger role in their lives. We want to earn attention through storytelling.

How does Zalando decide which partnerships make sense culturally?

We ask: does this partner help us meet consumers where they are? We don’t just want visibility, we want to co-create shared cultural experiences. Whether it’s a high-fashion placement, such as Copenhagen Fashion Week, or a local marathon, the partnership must allow us to insert Zalando into a passionate cultural conversation. In Sports, we choose partnerships that resonate authentically with specific communities, whether that’s the freestyle ski community at LAAX in Switzerland, the passionate football fans in Germany via our partnership with the German Football Association, or the Copenhagen Marathon. Teaming up with locally relevant moments allows us to connect authentically with the community.

Besides Zalando, you have worked at several large companies (insert in intro). What is the most important thing you have learned about consumers in recent years that doesn’t really change, even in a fast-moving world?

We live in a world of infinite choice. Consumers are overwhelmed: they don’t want more options, they want better curation. They want a trusted partner to help them navigate culture and find their own voice and place in it. My biggest takeaway is that brands that play “offence”, taking risks and creating real cultural value, are the ones that build lasting relationships with customers.

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Today, Danish fashion label NN.07 reports another year of strong profitability, delivering a sizeable result once again.

Despite challenging market conditions, revenue is up 18% compared to 2024, resulting in an EBITDA of DKK 52m. This comes in a year where the company has navigated rising costs while continuing to invest in its international expansion.

We spoke with CEO Anders Rahr, who, when we last caught up, told us: “We’re only just getting started.”

Looking at NN.07’s latest performance, it’s hard to disagree.

Since then, the brand has continued to build its presence internationally. But what, more specifically, has driven the past year’s results, and where does NN.07 go from here?

We asked Anders Rahr.

Anders Rahr, CEO at NN.07

Anders, congratulations on the strong result. What has gone particularly well for NN.07 over the past year?

“What’s worked for us is, in many ways, quite simple: we’ve stayed the course. We’ve continued to focus on product, our partnerships and being present in the right places, and that’s now starting to resonate across our markets. It’s very much driven by a strong team and close collaboration across the business.

We can feel it quite tangibly in how people engage with the brand, both in-store and through the product itself. Most recently, our Aden chinos were highlighted as a ‘Best New Pick 2026’ by The New York Times Wirecutter.”

Can you describe where NN.07 stands as a brand in 2026?

“We’ve become more established internationally, without changing the foundation of what we do. There’s a stronger sense of recognition around NN.07 today, both in the products and in how we show up.

We’re also seeing a deeper connection with our customers across markets. And ultimately, that’s what matters most, not just that people buy into the brand, but that they come back.”

We last spoke about your retail concept, which has been widely praised internationally. The broader market is under pressure—have you been able to maintain momentum?

“Yes, we have. Retail plays an important role for us, because it’s where the brand is experienced in its entirety. When we open in the right locations and do it properly, we can clearly see the effect it has far beyond the store itself. It’s about the experience when you walk in, that’s just as important as what’s on the rails.”

Have there been things you’ve deliberately chosen not to do, which have been important for your development?

“Yes, we’ve been quite intentional about what we say no to. There have been opportunities we’ve passed on because they didn’t fit—either in terms of distribution or the brand. It’s not always the easy decision, but often it’s the right one in the long run.”

What is the next level for NN.07? What are you ultimately working towards?

“We’re still relatively early in our international journey. So the next level isn’t about doing something entirely different, but about strengthening what we already do.”

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What began with handmade jewellery at a dining table has grown into SMYKBAR, an eight-location concept spanning Denmark, Norway and Germany, with more openings on the way. Named after the Danish word smykker, meaning jewellery, SMYKBAR helped pioneer the idea of the jewellery café, blending retail, creativity and hospitality in a format of its own.

Behind it are Noah Middelboe and Nina Middelboe, son and mother, who developed the idea without a blueprint to follow. From the outset, the ambition reached beyond jewellery itself, creating spaces for creativity, presence and social connection, while building a concept designed to scale.

What started as an intuition has since grown into a brand shaped as much by atmosphere as operations, with expansion considered from day one.

We met Noah and Nina at their new flagship café on Kompagnistræde in Copenhagen to talk about building a category, growing together and what continues to drive them.

Noah Middelboe & Nina Middelboe, SMYKBAR

If we go back six years to the beginning of SMYKBAR. Noah Middelboe is 15 years old, and the idea has just begun to take shape. What did you actually imagine back then, do you remember?

Noah:
“It really started with what was simply my passion, and I think that’s important to say. I spent a lot of time at home making jewellery and was extremely detail-oriented about it. I was deep into gemstones, materials, techniques, everything.

At that point, I wasn’t walking around with a dream of becoming a jewellery designer or building a company.

But once we came up with the idea of a jewellery café, that idea actually aligns very closely with what SMYKBAR became. So if I had to answer your question, I think I was already imagining something very close to what SMYKBAR is today. And that’s still the most surreal part of it.”

Nina:
“Shortly after we came up with the idea for a jewellery café, I lost my job. That meant I suddenly had six months of salary and, at the same time, a strong belief in the idea of creating a space, a café where creativity and community would be at the centre.

There was just something in me saying: this is the moment.

We were living on Frederiksberg in a fairly expensive apartment, I was a single mother of two, so it was quite a leap. But I remember very clearly that I genuinely believed this could become something great, if we did it properly from the very beginning.”

With all due respect, you were completely inexperienced in running a shop or a café. When did you realise this was actually a good idea?

Nina:
“The café on Gammel Kongevej was our first. In the beginning, I could run it on my own during the early part of the day, and then Noah would come after school. Every day I spoke with almost everyone who passed by.

I got to know both the area and the customers because I was there all the time. The turning point for me was when people started walking in who I didn’t know and couldn’t place from the neighbourhood.

I remember it very clearly, it felt slightly intimidating, but also like a sign that something was working. From that day on, I don’t think we ever really looked back.”

Noah:
“We essentially opened twice because of COVID. We were quickly hit by a lockdown, so the 21st of April 2021 almost feels like the real opening. During that period, we spent a lot of time refining what actually worked.

A good example is our social media, where we gained traction quite early on.

So we were very local, as my mother describes, but at the same time already expanding our reach digitally. From the very beginning, some of our TikTok videos went viral, which brought in tourists and a lot of unexpected attention.”

Nina:
“I really wish more people would dare to do it. We learned incredibly quickly, everything from replying to DMs and emails to building a website, serving customers and buying stock, all without much prior experience.”

What made you realise that SMYKBAR wasn’t just a local concept, but something that could be scaled?

Noah:
“It was actually the plan from the very beginning. It really was. But if I had to point to a specific moment, it would be late 2022, when we opened in Aarhus. That was when the concept truly had to prove itself in terms of scalability.

At that point, I could no longer just cycle between the stores in Copenhagen.”

Nina:
“That’s why we also rented a cheap Airbnb in Aarhus and lived there throughout the entire launch phase. It was important for us to get it properly up and running, so both employees and guests would have the same experience we knew from Copenhagen.

It worked quite well in terms of creating the right vibe in the store, but we quickly became pressured on the back-office side. For example, understanding what was selling and what was in stock, or not accidentally showing pieces on Instagram that weren’t actually available in Aarhus.”

Noah:
“We were essentially working around the clock, but everything we built was already designed with scalability in mind. That makes a huge difference today when we open new stores. The more control you have over inventory, pricing and those systems, the more confident you are in taking bigger steps. In other words, opening more stores. And that’s what we’re going to do.”

If we move to today, what does it look like now?

Nina:
“Overall, we still have the same areas of responsibility. We do many of the same things we did in the beginning. The difference is that we now have eight SMYKBAR cafés, with our most recent opening in Hamburg. At the same time, we’ve opened a new flagship in central Copenhagen, where we’ve also brought our office together.”

Noah:
“We’re now more than 120 employees, which is incredible. I genuinely feel proud when I see our colleagues on Instagram, even when they’re together outside SMYKBAR. That’s when it all starts to make sense in a different way.

Our employees mean a lot to us. They are a huge part of the experience and the universe we are trying to create.”

There is a clear sense of community at SMYKBAR. It’s easy to understand why people are drawn to it as a place to meet. But you also mentioned that more and more companies are now booking in.

Nina:
“The desire to go to SMYKBAR comes from a need to be together. That is really the core premise of why we exist. And there are many ways to do that, but conversation simply changes when you’re doing something creative at the same time.”

Noah:
“I really enjoy working with companies. In principle, almost anything is possible. We’ve become quite good at putting together different formats depending on what they need, while also having a strong sense of what actually works.

It’s a good way for colleagues to get to know each other better, have a good time, and bring some new energy into the working day. We’ve also used our spaces for launches — and we can take the concept outside of the cafés as well.”

What is the most difficult part of scaling a concept that is so heavily based on experience and atmosphere?

Nina:
“We have very clear markers for the brand, the curtains, the furniture, the high quality of materials, so we actually know quite well what we need when we open in a new country.

What we spend most of our time on is recruitment. Who do we believe can help create that ‘vibe’, and who will work well together?

Once a new team starts, we closely support them with experienced staff in the beginning so they can learn everything in practice. We don’t spend a lot of time on training before opening. I don’t really believe in ‘learning in the abstract.’”

Noah:
“At the beginning we were just using Messenger groups, but today we have an internal app with guidelines and a way of communicating across locations. That allows us to learn a lot from each other and makes the scaling process more agile.

At the same time, it helps build relationships between employees more quickly. When you have so many young staff members, it’s important to create a sense of security within that.”

Nina:
“And if I had to point to one of the hardest parts of scaling, it’s finding the right locations. We could have opened in more cities already, but it’s very important for us to choose the right sites.”

What is the ambition for SMYKBAR over the next 2–3 years?

Noah:
“We believe there can be a SMYKBAR in every major city. But as my mother says, there are many factors involved. The locations need to be right — in terms of placement, price, size, and so on. But we definitely want to keep pushing forward.”

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Matilde Sandgaard has already built an impressive career around Bestseller at just 32. Today, she stands in a very different place. The large-scale fashion setup is behind her, but the ambition remains.

She is now channeling that energy into her own venture, BLK.LAB11.

Conceived for both men and women, the brand emerged from what Sandgaard describes as a “breaking point” — and a desire to do things differently. She describes BLK.LAB11 as bold, minimalist sportswear and athleisure, rooted in presence, performance and a more considered approach to how we move and live.

The brand has already made a strong start and recently opened a showroom and retail space in central Copenhagen, as the first step in ambitions that begin in Denmark but reach further.

We met Matilde Sandgaard on a rare quiet morning at House11 in the heart of the city.

Matilde Sandgaard, Founder, BLK.LAB11

What have you taken with you from Bestseller?

“A large part of what I’ve taken with me is drive, ambition, and the standard you hold your work to. You really have to make an effort and be diligent.

What I think Bestseller does best is its internal culture.

You get what you earn and what you take for yourself. People are extremely passionate about their jobs. There’s so much energy. That has been the foundation of who I’ve become professionally.”

How did it get started?

“We launched on 1 September last year. We did it in connection with me running the Sydney Marathon, where I actually received my 7th major star.

We created a lot of noise on social media, alongside several physical activations over the winter. We quickly sold out of several of our first styles. It was quite moving, also to feel support from people I’ve met along the way — it gave us a strong start.

But we’re constantly growing, and it has all been organic. I’m very proud of that.

Now we’re entering the next phase. BLK.LAB11 has a strong online universe, but we want to be more than that. We’ve just invested in a physical showroom and store at Kronprinsessegade 40, and we’re planning a lot of activations around that.

I’m really looking forward to sharing more about it.”

What are the ambitions for the longer term?

“They are big. Despite a strong start, not enough people know about us yet. I think most founders probably feel that way in the beginning. But we know where we want to develop.

First of all, we need to establish ourselves properly in Denmark. But we’re proud that we’ve already shipped orders to most of Europe.”

Who inspires you?

“I’m inspired by many people. It doesn’t necessarily have to be about people’s results, but more their energy and outlook on life, and the way they approach things.

Those who are decent along the way, who manage to keep a clean path behind them and do things intelligently — there are fortunately many of them.”

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Over the past few weeks, we’ve followed JOE & THE JUICE’s rapid global expansion. The company is now closing in on 500 stores worldwide, a milestone on the way toward its ambition of 1,000 locations by 2028.

This growth has recently been supported by a new investor, injecting DKK 320 million into the business. The announcement came alongside the presentation of the company’s latest annual results. (Read more here)

Yet the home market remains as important as ever for JOE & THE JUICE. Last year saw the opening of House11 in central Copenhagen, and the next major investment in its hometown is now ready to launch — a specially developed concept designed for airport environments.

Photo: Michael Clausen from Copenhagen Airport (left) and an illustration of the pink airplane from JOE & THE JUICE’s new store concept (right).

The interior combines Danish design furniture with a relaxed lounge atmosphere and a series of bespoke elements spread across nearly 300 square metres. The store is designed to handle heavy passenger traffic and a constant high pace. To ensure an efficient flow, 11 self-service units have been integrated, allowing travellers to quickly pick up their order on the go or enjoy it in a lively setting before departure.

Frederik Holch Schmidt, Country Director Denmark at JOE & THE JUICE, says:

“We wanted to create a space that works with the pace of an international airport, while still carrying the energy that defines JOE & THE JUICE. With more space and a different approach to design than our other locations, we’ve been able to think bigger in both expression and atmosphere. The store meets different needs and gives passengers the signature JOE experience to take with them on their journey.”

Michael Clausen, Director of the Shopping Centre at Copenhagen Airport, is equally enthusiastic about the collaboration.
He says:

“Our long-standing partnership with JOE & THE JUICE is built on a shared ambition to continuously elevate the passenger experience. It means a great deal to us to open a flagship store developed specifically for our environment. With a new design, high-quality materials, and distinctive features — including a pink aircraft breaking through the wall — the store becomes an experience in itself, while also offering travellers a small taste of Copenhagen to take with them on their journey.”

JOE & THE JUICE has been part of Copenhagen Airport since 2009. From Friday, when the new store opens, it will operate five locations within the airport.

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“Holger, I need a bin for my salon. Can you make one for me?”

This is how the story of the Danish design brand Vipp began. It takes us back to 1939, when hairdresser Marie Nielsen asked her husband, Holger Nielsen, that very question.

This became the very first Vipp bin, and through Marie’s salon, further requests soon followed. Before long, the bin was found in Danish medical and dental clinics, and from there its development gathered pace.

Today, it is a piece of Danish design history, and Vipp now produces a wide range of recognised products.

The icon remains the bin, with very little changed over time. In 1992, when Jette Egelund, daughter of Marie and Holger, took over the company, the lid was refined. But she also reshaped the mission together with her children: Holger’s design should now also belong in private homes.

She introduced the bin to some of Scandinavia’s leading furniture and design stores, and today Vipp is an internationally recognised brand sold worldwide.

More than 80 years after Holger delivered his first bin to Marie, Vipp remains family-owned and operated. For many years, their son Kasper Egelund served as CEO, and today he is brand director, following the recent appointment of Morten Woldum as CEO. Woldum has been with the company since 2010.

And so we arrive at the actual news.

Vipp has never lost sight of its origins. In a new collaboration with Copenhagen-based salon group HENRI, the brand relaunches its iconic pedal bin in a limited edition, symbolically returning it to where it all began.

On the left is Marie’s salon, where the story of Vipp began with the first pedal bin in 1939.

The collaboration also points to a meeting between two Copenhagen-based brands with an eye for craftsmanship and aesthetics. Since its founding in 2014, HENRI has developed from a modern men’s hair salon into a universe with eight locations across Copenhagen and its own product line.

The new edition is finished in Henri Teal, a muted blue-green shade developed in collaboration between Vipp and HENRI.

As Jette Egelund tells Vipp’s own channels:

“If you go back to the beginning, Vipp started in a salon. My father originally made the first pedal bin for my mother’s hairdressing salon. For decades, his bins were primarily used by professionals such as doctors, dentists and hairdressers, before finding their way into private homes. Bringing the bin back into a salon context feels like closing the circle.”

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