STINE GOYA MAKES A COLOURFUL CASE FOR CREATIVE EXCHANGE

Welcome back, Stine Goya. The Danish designer returns to Copenhagen Fashion Week after a two-year hiatus with "Before," which she describes as a reflection on "a remarkable cultural moment when artists, writers and thinkers found themselves in extraordinary proximity" Imagining the intense potential when creatives across any and all disciplines collaborate, she pinpoints this "before" as the birth of Expressionism: "It was a period filled with anticipation: a sense that something was to come, even if its shape had yet to reveal itself."

At Terminal 13, a refreshingly diverse cast of models walks to Stravinsky's The Rite of Spring - itself a nod to the creative outbreak that sparked riots in Paris - in what feels like a rich fever dream. Coquette core has grown up.

Goya continues to prove herself as a virtuoso of print and visceral colour, arguably a protégé of the greats such as Gianni Versace and Emilio Pucci. Hockney-esque painted landscapes and woven jacquards of chrysanthemums, lily pads and bouquets of oil-painted florals blossom across petticoats, relaxed dresses and casual sets, with an oversized denim combination ranking amongst my favourites. Achieved through sequins, beading and handmade embroidery, texture expands throughout the collection, bringing depth even to the simplest duchess satin dresses, embossed with a faint brocade.

Florian Illies' 1913: The Year Before the Storm acts as a sentimental bridge between his writing and her ethos: "Europe's artists lived as if there were no tomorrow - in the middle of a clash between isms and new ways of expressing themselves," says Goya. "I was struck by how that mood mirrors now: a world full of change, where it's hard to know what's true, where Al is shaking our sense of reality and where so much seems to be out of balance."

The final looks offer an alternative through bold silk watercolour prints. Amid the chemises and flowing skirts, two looks are styled with contrasting silk scarves draped together. Following Celine's "Infinite Possibilities" campaign, which showcased the multitude of ways a silk scarf can be styled, it truly brings a smile to my face to see the idea so creatively realised on the runway.

The prettiness of the designs sits on otherwise functional, wearable garments, with fluid cuts and often adjustable fits. The functional component couldn't be better put than in the pair of Dr. Martens worn with each look. Even the footwear is charmingly drafted into the whole look with a simple white ribbon threaded through the laces, an unexpectedly effective detail.

Stine Goya's message behind this collection - "an ode to artistic exchange, to the communities that shape culture through shared imagination and to the enduring belief that the future is not fixed but imagined together" - is as beautitul as her designs. It is exactly the kind of advocacy we should be seeing more of amid the uncertainty surrounding Al: a reminder that designers can still prove the value of their craftsmanship and their relationships with their clientele. It feels like we're standing on the edge of major change - the kind we can't yet fully grasp.

For once, I can justify saying it was well worth the wait. It's good to have you back, Goya.