"I’m newly graduated, so I haven’t yet had the chance to establish everything related to production,” says Anne-Kathrine Bech Rønn as she presents her collection to buyers from Boozt, Storm, Magasin, and Mads Nørgaard in the finale of Danmarks Næste Tøjdesigner.

And indeed, getting a collection into production is the final major challenge for the young designers, who, through an audition and four competitions, have battled for the chance to stand before the four buyers. Although the competition is structured to meet each designer at their respective level, it could be beneficial to focus more explicitly on the challenges and demands that a typical production entails. This would not only help guide the designers, giving them a clearer understanding of the standards their collections need to meet, but also serve a public interest by giving viewers greater insight into how modern clothing production works - far removed from participants’ sewing machines on dining tables and in bedrooms.

Boozt recognizes the potential in Anne-Kathrine Bech's collection, and she ultimately secures a purchase agreement worth 300.000 DKK, making it the program's largest deal. Production logistics were later streamlined by integrating her into DK Company's production facilities.

“This is exactly what all of us young designers need help with: the production mechanism. So I’m pretty lucky that Boozt is stepping in to support me on that front,” says Anne-Kathrine Bech Rønn to Fashion Forum shortly before the finale is aired on television.

It’s been a while since the finale was filmed, so the work to bring the collection into production and eventually to market is well underway. Fortunately, the production process also allows room to uphold some of the values that this season’s participants, like those in the first season, prioritize and frequently emphasize. These include values like responsibility, quality, material reuse, durable design, and sustainability - although that word is one the participants are reluctant to use, aware of its weight. For Anne-Kathrine Bech Rønn, it’s partly about using materials that don’t require new production.

"There are often leftovers from other companies' production, and I’ve had the opportunity to work with that. So, there will be parts of the collection that are limited edition, and later, the same style might be available in different materials. I think it’s important to take responsibility in everything we do, so it’s exciting that Boozt has entered this partnership, opening up some new opportunities they may not have worked with much before. I see it as a great opportunity for all of us," Anne-Kathrine Bech Rønn continues about the collaboration, explaining that the entire collection will consist of deadstock and other leftover materials.

"I should be able to stand by it."

But Anne-Kathrine Bech Rønn is not the only one of the three finalists to secure a deal. In fact, all three of them do—despite the fact that Cecilie Bønnelycke Hansen has created a collection with great attention to detail, which would be difficult to produce on a large scale. At least, if the goal is to make a profit on the garments at the same time. Throughout the program, Cecilie Bønnelycke Hansen has focused heavily on adjustable clothing, which can change size, appearance, and form according to the user’s needs and desires. And that's why it's fortunate that not all four buyers operate on the same scale.

Important to have enough time

And the fact that they had followed the first season and made some reflections about it was an important prerequisite for the three finalists' participation in season 2. For all three, it was especially important that there had been some changes in the program since the first season, which received criticism from several sides. Particularly, the question of how much time the designers were given to complete each task was something they had prioritized highly.

"It was a bit of a requirement from me when I went to the casting. I wanted to know what was going to be changed, and I honestly wouldn't have participated if we didn’t get enough time for the tasks. So it was really positive that it was changed," says Mads Barfod, who had also auditioned for the first season but had to step back when the filming clashed with an internship he was supposed to attend. Something he is now glad about, considering the changes.

"I thought it was way too hectic in the first season, and because of that, the show didn’t really depict the full picture of what you do as a designer and how the industry works. When you’re speaking to the sustainability and responsibility discourse, it’s important to create designs that are well-executed, and that takes time. It should be a slow process rather than this fast fashion, which goes completely against everything we’re fighting for in the industry," Anne-Kathrine Bech adds. A sentiment she shares with Cecilie Bønnelycke Hansen.

"It’s important to me that people understand that clothing doesn’t just take a week to make, and then that's it. I’d love to create something where we show the viewers that what they see in the program is the first prototype. After that, you’d go back and forth until you have a completely finished product," she explains.

"In the first season, I don't think they showcased what they should have, so it's really great that it's been changed a bit. But there's always room for improvement, so let's call it a step in the right direction," concludes Anne-Kathrine Bech.