When Cecilie and Amalie Moosgaard speak about denim, they do so with the quiet conviction of women who have lived in it. For the Danish twin sisters – models, entrepreneurs, and now collaborators with Japanese denim label upper hights – jeans are not merely a staple of everyday wardrobes, but a lifelong companion, one that has shaped their style, their identity, and now, their professional path.
On 10th September, their capsule collection with upper hights launched worldwide. The project marks the brand’s first foray into the European market, and the sisters’ minimalist approach to fashion makes them fitting ambassadors. That upper hights chose to enter Europe via Scandinavia, and especially Copenhagen, is not a coincidence; their choice to be present in ‘the capital of sustainable fashion’ is a reflection of their core values.
As the upper hights team explains, ‘Europe’s fashion landscape is increasingly defined by an appreciation for craftsmanship, sustainability, and understated sophistication.
‘The values at the heart of upper hights – “quiet strength” and “elevating the everyday through minimal, functional design” – speak directly to this cultural moment.
‘The Moosgaard sisters’ style is subtle yet commanding, perfectly aligning with our belief in being minimal yet full of confidence, and their commitment to sustainability and timeless beauty make them ideal partners to share our vision internationally.’
Indeed, denim has always been more than just a fabric – it’s a symbol of cultural shifts and often rebellion. Denim’s reputation today as a democratic and universal clothing belies its relationship with women. For much of the twentieth century, jeans were shorthand for male labour and leisure, and women who adopted them often did so at some social cost.
Japan offers one of the most telling examples of denim’s fraught early place in women’s wardrobes. In the 1970s, a minor scandal erupted at Osaka University, when female students were criticised for wearing jeans to campus. A professor even went so far as to call them ‘second-class citizens’. Instead of retreating, however, the women persisted, their sartorial defiance turning denim into a quiet symbol of resistance.
If denim’s political charge was contested in Japan, so too was its material form. Imported from the United States in the post-war era, American jeans carried the allure of rebellion and counterculture. But Japanese artisans were not content to reproduce the fabric wholesale – they elevated it.
Unlike the mass-produced, industrial denim of the American market, Japanese makers embraced traditional methods, including shuttle looms, natural indigo dyeing processes, and painstaking attention to detail. The result was a fabric that balanced ruggedness with refinement, and by the late twentieth century, ‘Made in Japan’ denim had become synonymous with unmatched quality, revered by collectors and connoisseurs around the world.
But the label, ‘Made in Japan’, like ‘Made in Italy’ before it, is not immune to dilution. Globalisation has blurred boundaries, and outsourcing and factory closures have strained the continuity of the craft. Many of the historic mills that once produced shuttle-loom denim have shut their doors, some after more than a century in operation.
Howa Co, for example, is a highly specialised denim manufacturer based in Okayama, in the Kojima traditional denim district of Japan, which makes jeans for upper hights as well as other brands. Their representatives describe how ‘the most pressing issues are an aging workforce, a shortage of successors, and rising production costs, which are reshaping the way craftsmanship can be sustained.
‘Denim began as workwear but has evolved into a symbol of individuality and freedom, and through technical and stylistic innovation, it has become a refined fashion icon.
‘As sustainability becomes ever more essential, we believe the future of denim lies in merging eco-conscious innovation with traditional techniques.’
Against this backdrop, the arrival of upper hights in Europe feels both timely and poignant. Founded in Japan, the label occupies a particular niche: contemporary denim rooted in heritage, but designed with a clean, cosmopolitan sensibility. The Moosgaard sisters, with their Scandinavian minimalism and long-standing affection for the brand, were natural collaborators.
As the Howa representatives put it: ‘Collaborations like this allow us to reimagine the expertise and sensibilities of skilled artisans in contemporary forms.
‘They spark innovation while also creating opportunities for younger generations to learns and engage with these traditions – by combining heritage techniques with fresh perspectives, we are not only safeguarding craftsmanship, but also amplifying it on a global scale.’
The Moosgaard capsule collection, described by the sisters as their interpretation of ‘perfect jeans’, is pared-back, versatile, and understated. This is denim as foundation rather than adornment, clothing designed to outlast seasons and to resist the cycle of obsolescence.
For those familiar with Cecilie and Amalie Moosgaard, this philosophy is unsurprising. The twins have spent more than a decade working in fashion, their careers spanning modelling, creative direction, and entrepreneurship. Their silhouettes are simple, their colour palette subdued, and their wardrobes dominated by staples rather than statements. In this sense, the Moosgaard sisters embody a generational shift; where denim once signified rebellion or subculture, today it is as much about subtlety and self-definition.
The sisters are also acutely aware of the fragility of the denim ecosystem. In their work with upper hights, they encountered first-hand the challenges faced by Japanese mills and workshops. Declining demand has forced some to reduce staff, shedding skilled artisans whose expertise is not easily replaced.
This raises uncomfortable questions. Can ‘Made in Japan’ remain a meaningful designation if the structures that sustain it continue to erode? What does authenticity mean when heritage is outsourced? The answers are far from clear, but collaborations like the Moosgaard capsule stylishly draw attention to the issue. By foregrounding Japanese denim’s integrity, they also spotlight the need to protect it.
