Mountains, one of our prints of the season for women, takes this vision and distorts it. In bold Lime, the print presents an image of a mountain as reflected and twisted in shattered glass, alluding to a sense of drama and mystery that percolates through this collection as a whole.
Like the Doors, Neon Plaid and Peaks prints, White Noise draws on the stylistic devices and cinematic signatures of director David Lynch, whose oeuvre inspired the KENZO Fall/Winter 2014 collection. The flickering black and white illusion of broken peaks reflects that of TV static – a visual experience now relegated to an earlier era thanks to digital – , and a device used in the credits for both Lynch’s Twin Peaks and his subsequent 1990 feature film Fire Walk with Me. In the opening credits of the latter, the camera rolls over what is revealed to be TV static; David Lynch’s name appears last in the roster, then someone smashes the TV with an ax. White Noise also drew inspiration from his 1997 film, Lost Highway, a psychological thriller in which the lead character is tormented by video tapes of himself sent to his home.
Oregon and Washington states are renowned for their spectacular landscape of rugged coastline, lush green interior, shadowy forests and epic peaks. David Lynch, whose oeuvre was the core inspiration for the Fall 2014 collections, set his cult 1990 television series Twin Peaks in a fictional lumber town of the same name in Washington, and this print is a tribute to Twin Peaks’ weird and unexpected elements. The Peaks graphic also resembles a double-gabled house, reflecting the eerie double nature of the fictional community: Twin Peaks is an all-American town of homely cherry-pie values, and yet the site of an ambiguous, ancient evil.
The color-palette of the Peaks print reflects the twilight tones of this moody, misty and at times mystical region. Deep contrasted shadows behind the Peaks play on the effect of cinematic lighting, as found in the Doors print, another one of our prints of the season.
The films of David Lynch – the core inspiration for Fall/Winter 2014 – are peppered with machines and tools, and Carol and Humberto played on this motif for their KENZO collections. The opening credits for Twin Peaks, for instance, include a disturbingly long 50 second focus on a saw-sharpening machine. They entertained the fantasy that tools could have their own agency, and so the ‘Monsters’ print was born.
Our ‘Monster’ seem to be composed of an assortment of steelworker’s tools left carelessly on the floor, yet there is a strange beauty about them: from another point of view they could be mistaken for the silhouettes of birds of paradise, or floral patterns.
Taking eerie inspiration from Twin Peaks' red room perhaps, things are just not what they seem in teaser GIF number 9.
One more teaser GIF to go before the reveal of our campaign this afternoon.