If you walked into Bonnetje’s Autumn/Winter 2025 show expecting another round of upcycled menswear with a conscious edge, you left having witnessed something far more subversive. The Copenhagen-based brand, helmed by Anna Myntekær and Yoko Maja Rahbek, has long been in the business of taking apart old suits and putting them back together in ways that challenge conventional tailoring.
This season, they turned the work uniform into something unrecognizably seductive. Think low-cut blazers barely held together, corporate-grey pencil skirts remade in transparent plastic, and deconstructed pinstripe suiting sculpted into deep V-neck dresses with peekaboo backs.
“Ever since we started working with suits, we’ve been thinking about where they are worn,” Myntekær explained. “Last season was the airport, transit. This time, it’s the office.” But not the buttoned-up, double-mocha-latte-at-your-desk-by-nine office. No, Bonnetje’s woman is clocking in late, with smudged red lipstick, tousled hair, and the lingering scent of last night’s perfume.
The collection, aptly named Doublages—French for dubbing—plays with the double lives that the corporate uniform can conceal. Bonnetje draws inspiration from the sleek, menacing power dressing of The Godfather, the existential horror of Severance, and the idea that a suit can be both a form of authority and a disguise. In their hands, traditional officewear becomes a study in controlled chaos: Venetian blind-inspired skirts that open and close like window shutters, suit linings repurposed as lingerie, and slouchy blazers that drape as though stolen from a one-night stand’s floor.
“We like taking something masculine and very formal and then transforming it into something feminine and a bit odd,” Rahbek said. Odd is one way to describe the collection’s NSFW sensibility. One dress, cut high in the front and scandalously low in the back, was a literal take on Myntekær’s idea of “the backside of work life.” Another piece featured a 3D floral skirt made from repurposed shirt collars—a romantic callback to their Fall 2024 collection, but with a sharper edge.
Even the setting—an abandoned 1980s office building—played into the brand’s fascination with corporate remnants. “It’s a very ugly space,” Rahbek admitted. “But it’s cool.” The scent of the room was a mix of ink, lipstick, and warm electronics, a custom fragrance by artist Niklaus Mettler. It smelled like ambition and bad decisions.
Bonnetje’s approach to upcycling isn’t just about sustainability—it’s about storytelling. “When we collect all these old suits and shirts…it brings a story. Sometimes you can smell the perfume of the previous owner,” Hansen noted. “It really starts your imagination.” The brand’s strength lies in precisely this: an ability to turn something discarded into something not just new, but deeply evocative.
The question is: where does Bonnetje’s power-dressing narrative go from here? If this season was all about the blurred lines between work and play, what comes next? Whatever it is, expect the unexpected. Because in Bonnetje’s world, the office is just the beginning.
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