In English

One of Copenhagen’s most recognisable squares, Kongens Nytorv, is set to gain a new neighbour in the highest tier of luxury.

The former headquarters of Danske Bank, one of the most iconic buildings in central Copenhagen, is being transformed into a hotel firmly positioned in the international top league.

It will be operated by the Canadian luxury hotel group Four Seasons, marking the stage for one of the most ambitious hotel developments in Denmark to date.

Overview of the area currently being developed by the Thylander group

Although Danske Bank sold the property back in 2016, parts of its operations remained in the building for several years, only fully relocating when the new headquarters in Postbyen finally opened in 2024. A new chapter is now being written, with plans for a mix of hotel, retail and office space rather than banking.

This week marked a decisive step forward as Four Seasons signed the lease agreement with the ownership group behind the development, consisting of Thylander A/S in partnership with KanAm Grund Group on behalf of a German pension fund.

The plan is to transform the historic property into a hotel with more than 100 rooms across approximately 22,000 square metres. The project is also part of a wider redevelopment, aiming to elevate the area between Kongens Nytorv and Christiansborg into an exclusive new city district.

Total investment in the broader area exceeds €540 million, while the hotel project alone is expected to surpass €135 million. The ambition is a neighbourhood where hospitality, business and retail blend into a more international and experience-driven city centre, with strong respect for Copenhagen’s heritage.

The project is expected to be completed in 2028.

Bjarke Mikkelsen, CEO, Thylander Gruppen

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Today, Lakrids by Bülow reports a record year in its 2025 financial results. The Danish confectionery brand delivered 19% revenue growth over the year, reaching total sales of DKK 449 million (approximately €60 million), up from DKK 376 million (€50 million) the previous year. Net profit for the year amounted to DKK 56 million (around €7.5 million).

International markets now account for 76% of total sales, underlining the company’s continued expansion beyond its home market and its growing position as a global premium confectionery brand.

Fredrik Nilsson, CEO at LAKRIDS BY BÜLOW

Fredrik Nilsson, chief executive of LAKRIDS BY BÜLOW, said:

“2025 was a defining year for LAKRIDS BY BÜLOW. We delivered strong double-digit growth across all channels and regions, maintained profitability despite extraordinary global cost pressures, and continued to strengthen the foundations of our business.

I am incredibly proud of our teams across markets and of how our global community, particularly our LAKRIDS LOVERS, has helped drive both engagement and growth.”

The reference to a “defining year” also reflects a period of structural change for the company, including its acquisition by IDG Capital after Valedo Partners sold its stake. At the same time, Johan Bülow, the brand’s founder, stepped fully away from the business. The period was also marked by continued pressure from rising raw material costs.

Fredrik Nilsson continued:

“Despite historic increases in the price of cocoa, our most important raw material, we have protected EBITDA and continued to invest in international expansion, digital development and product quality.

Our retail business has performed exceptionally well, our e-commerce platform now accounts for 35% of total sales, which is rare in the confectionery sector, and our B2B channel has grown significantly with the addition of several prestigious partners.”

He added:

“To support our ambition of becoming a truly global brand, we have established a new internationally experienced board together with IDG Capital, which was founded in Boston and today operates across key global markets. The strengthened board brings experience from companies such as Tiffany, Mars, Starbucks and Acne Studios, and we are better positioned than ever to take the next step.

Our ambition is clear: to become a global, high-end confectionery brand, proudly made in Denmark. With renewed energy and a strong financial foundation, the company is entering 2026 with a solid platform for continued double-digit growth and improved profitability.”

You will be able to read more about LAKRIDS BY BÜLOW on dontt.dk in the coming weeks.

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Europe’s leading fashion and lifestyle platform Zalando announced last week a partnership with Vestiaire Collective to introduce secondhand luxury across 14 of its markets.

Vestiaire Collective is a French online marketplace for buying and selling pre-owned designer and luxury fashion, including handbags, clothing, shoes and accessories. Founded in Paris in 2009, the company now operates globally with millions of users. Through the partnership, Zalando customers gain access to a curated selection of authenticated secondhand luxury pieces.

The new partnership responds to strong demand for high-quality secondhand fashion. In 2025, an average of 62% of Zalando’s secondhand items were sold within the first seven days of being listed. Zalando data also shows that 40% of customers purchasing secondhand items add a new product to their order.

Through the collaboration, Zalando customers gain access to luxury fashion from more than 50 established designer brands, including items that were previously unavailable on the platform. The assortment spans clothing, footwear, handbags and accessories.

Alice Marshall, Director Pre-owned at Zalando, says:

“We are very pleased to offer a strong selection of authenticated luxury items together with Vestiaire Collective, our first secondhand partner. We are seeing growing interest in high-quality secondhand fashion, and with authenticated luxury pieces as part of the assortment, combined with the seamless shopping experience at Zalando. We hope to inspire even more customers to choose secondhand.”

Thomas Hezard, Chief Product Officer at Vestiaire Collective, adds:

“We look forward to our partnership with Zalando and to our shared mission of making certified secondhand luxury accessible to millions of customers across Europe. The partnership opens the door to a new generation of customers who can now discover and explore luxury fashion through secondhand pieces directly where they already shop.

It reflects a shared ambition to make circular luxury more visible, more relevant, and more appealing to a broader and younger audience.”

Earlier this year, Zalando also added accessories and childrenswear to its secondhand category.

Alice Marshall, Director Pre-owned, Zalando &
Thomas Hezard, Chief Product Officer, Vestiaire Collective

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Sebastian Quistorff hardly needs an introduction among Denmark’s coffee enthusiasts. As co-founder of Prolog, he helped shape one of the country’s most influential specialty coffee brands over the past decade, with a reach that extended well beyond Denmark’s borders. Earlier this year, he sold his stake in the company, closing a chapter that has defined much of his professional life.

A new one has already begun. Quistorff has joined Hagen as Director of Quality and Brand Experience. The Copenhagen-rooted coffee concept operates espresso bars in London and was founded by Danish entrepreneur Tim Schrøder.

Schrøder previously worked in investment banking and wealth management at Goldman Sachs in London from 2006 to 2011, a story for another time.

We spoke with Sebastian Quistorff about why Hagen felt like the right next step.

Sebastian Quistorff

Sebastian, to start with the obvious. Ten years at Prolog, what do you take away from that time?

“First and foremost, gratitude: gratitude for the many great experiences, and for a journey I would never have wanted to be without. Being part of something that started from nothing and eventually grew into something with real influence, and seeing a team grow along the way.”

What have you been doing since?

“I’ve spent the time reflecting on the past ten years, what they have brought, and what I can take with me moving forward, both in terms of the skills I’ve gained along the way, and the direction I want to develop in.”

And now the next chapter has landed at Hagen. What was it about the project that attracted you?

“It’s going to be an incredibly exciting chapter. It shares the same mindset I’ve worked with before, and I’m looking forward to testing myself on an international stage. We have coffee bars in both London and Amsterdam, and it’s the scale that really attracts me, trying to bring specialty coffee to a wider audience without compromising on quality.”

What drives you right now, as you think about the next chapter?

“That I love the coffee industry, from the very beginning of the coffee plant in the fields, to roasting, and especially everything that surrounds the service industry. Having a place where guests come every day, and where your product can have an impact and even contribute to people’s quality of life.”

What will your role be at Hagen?

“The title is Director of Quality and Brand Experience, and it is deliberately quite broad. It’s about both the quality of what we serve, and the experience of walking into a Hagen, whether in London or Amsterdam. I’ll be working to further improve the quality in the cup, drawing on much of the experience I’ve built up over the years.”

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On these pages, we have previously highlighted Copenhagen International Fashion Fair and in particular Sofie Dolva’s ambition to make CIFF more than “just” a trade fair, something that, in principle, could take place anywhere in the world. Now, another chapter is being added to that story.

Yesterday, CIFF presented its plans for the upcoming edition of the fair, which for many remains closely tied to Copenhagen Fashion Week.

The platform itself describes this as yet another important step in its transformation from a traditional trade fair into a year-round platform for the global fashion industry.

Sofie Dolva, CEO at CIFF comments:

“CIFF is no longer just a moment in time. It’s a platform built to support the industry continuously – across cities, markets, and formats. Our role is to create meaningful connections and opportunities where they matter most.”

Sofie Dolva, CEO at CIFF

Apollo Bar in Copenhagen set the scene for the presentation of CIFF 67.

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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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