Tête à Tête with Synchrodogs - Kenzine, the Kenzo official blog

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Food has always been part of the KENZO lifestyle, so we couldn't resist asking the TOILETPAPER team for their favourite recipe of the moment.  April Fool's Day has sadly passed but at KENZO, we like to surprise our friends and family all year round. Enjoy making TOILETPAPER's 'Chocolate mortadella'!

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White Chocolate (sugar, cocoa butter, powdered milk, soy lecithin)
Sicilian Bronte pistachios
Food coloring E129 (red)
The product may contain copious amounts of gluten and nuts.



Melt and temper the chocolate into squidgy discs.
Place the chocolate discs on acetate paper and grease them lightly with a brush.
Cut the pistachios in to halves and dispose of them into the chocolate.
Taking great care not to stain the pistachios, dye the areas of chocolate with the red food colouring. Let the slices cool and then package them.

An ideal snack for vegetarians looking to be corrupted. 


Soon available on www.toiletpapermagazine.org

TOILETPAPER strikes again this season and creates a second campaign for KENZO tinted with their very own sense of humour and  surrealism.

They explain how they came up with those unique images...

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KENZINE: The Fall/Winter campaign 2013 was an outright success and many people suggested it was one of the strongest of the year… Not bad for a first campaign as a team! According to you, what does it take to create a great campaign and make a difference?

Toiletpaper team: Toiletpaper images are made of simple images: it’s something you can easily describe during a dinner with friends, but without being able to completely explain that uncanny feeling it creates in your stomach. Same thing for the campaign: it probably worked well because of its way of treating the familiar as unfamiliar and vice versa.

K: what are the key elements you need when you create a campaign for KENZO?

TP: We’re not sure if there are key elements, because every change is good for creativity, and every habit is probably not. We believe that KENZO is a brand that fits our ideas and our vision of beauty like a glove. It's as simple as this.


K: The first time you shot for KENZO, the set was a bit crazy with the two horses, the kittens and Humberto’s mask... This time, was it more serious?

TP: As we said before, we like to change a lot from time to time… It had nothing to do with seriousness, since those huge plastic fishes were like a punch in the eye of tastefulness, weren't they?


K: What was the initial brief from Carol and Humberto?

TP: It’s a strange feeling: it is really hard to recall how it started when the work is finished… We probably talked about monastery and Orient, and some music also… But in the end, during the shooting brainstorming continues independently from where it started, as a Chinese whisper.

K: What was the inspiration? A bit of Hokusai? Film Noir? Mythology? Surrealism?

TP: If you want to come with a good recipe, you need to mix together a lot of ingredients, but none of them should cover the others. Just remember that in our dishes what looks tasty and yummy usually is also lethal.. Try it at your own risk!


K: Did you start with drawings, mood boards, collages?

TP: Basically mood boards and collages, but we must admit that the hardest side of working with us is probably that you’ll never know what to expect until you’re on shooting phase: that’s the moment where great ideas spring like frogs in a pond.


K: Who does what inside the TOILETPAPER team during the photo shoot?

TP: There are some phases of the work while we discuss all together, these sharing moments are fundamental for the shooting phase. Then naturally we begin to outline the roles more and more. Maurizio, is a kind of a deus ex machina who always manages to keep the right distance from the images, to criticize them in a neutral manner. Pierpaolo has this ability to improvise and reinvent, changing a comma or a whole set, even things that were already established. Micol is the aesthetic eye, and she knows how to tip the balance in the final stage of the number, when the cake is done and the decoration on top is missing. In any case, the territories do not have clear boundaries, and the invasion is more than welcome, because there are no fixed rules.


K: How was it like to shoot kids this time, do they allow more creativity, more craziness, more energy?

TP:  We are like children too, so the feeling was not very different from what we usually get during the set.

K: How was it like to work with Devon and Paul?
TP: They were great, it’s not so easy to find people who play your game by your rules!


K: You have influenced lots of different artists/photographers/designers, who influences you?

TP: A lot of artist, photographers and designers! And some very normal people as well: we are like sponges with legs: we go around, see things that affect our imagination and absorb them… That’s why it’s not so easy to go back to the influencers.


K: What is the best advice you have ever been given?

TP: Choose a job you love, and you will never have to work a day in your life.


K: A  secret you could share with us about the shooting?

TP: We brought the fish back home and keep it in an inflatable pool. It’s still there in our office


K: What are your favorite pieces from the Spring/Summer collection and why?

TP: We liked everything so much we couldn’t make a choice, really!

K: What do you share with KENZO in terms of values, in terms of aesthetic?

TP: We both are colorful and do not take ourselves too seriously… That’s the secret to stay mentally young and creative.

K: Why is it important to be irreverent?

TP: Because otherwise you’re already dead.

Maurizio Cattelan is one of the most amazing artists of the last decades. He's famous for his satiristic approach and his great sense of humor.

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After a memorable retrospective at the Guggenheim Museum in New York in 2011, Cattelan announced that he was retiring from art while continuing his collaboration with Italian photographer Pierpaolo Ferrari on Toiletpaper Magazine born out of a passion or obsession they both cultivate: images. The magazine contained no text or ads only full spreads of color photographs. Micol Talso is now in charge of art direction for the magazine.


Here's a portfolio they built for KENZINE.


Check out their Tumblr and videos.

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For Spring/Summer 2014, Carol and Humberto mixed punk and minimalism to create the graphic prints and cuts of the Spring/Summer 2014 collection.

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Growing up in Los Angeles during the golden age of Californian punk, the duo was inspired by this aesthetic encompassing music, fashion and visual arts. The famous black and white logo drawn in ink of a cult band from the Orange County scene is called to mind and revisited in the collection in both tops and straight-leg shorts. This scene also conjures up the thought of waves drawn with a black felt tip pen, which were ultimately reproduced on tops and accessories.

Devon Aoki is the face of our Spring/Summer 2014 campaign, once again conducted in collaboration with our friends from TOILETPAPER.

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Her American, European and Asian roots as well as her striking doll-like face led to her rise as one of the most unique-looking and beloved top models. For this campaign, we rediscover a siren in a surreal universe of striking colors.

Californian architecture was a major source of inspiration for the women’s Spring/Summer 2014 collection. The angular structure of the metal heels of the shoes evoke the rectangular and minimalist metal constructions of case study houses. Their perforations echo the style of futuristic googie buildings, which drew inspiration from the space age.

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For the mens show Fall/Winter 2014, american architecture was again a source of inspiration for Carol and Humberto. This time, they traveled to the rainy Pacific Northwest and their mysterious and ghostly workers' houses. These houses might appear banal at first glance, but they have layers and history when you look deeper. As stated in the collection, things are not always what they seem…

The Zygomaticus, or the set of 17 smile muscles, was the obvious choice to wrap up our KENZOPEDIA.

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Kenzo Takada was known for his beaming smile and his ability to switch from laughter to intense concentration from one second to the next. These days, his successors Carol and Humberto are adept at working their zygomaticus and that of everyone they meet. Fun is an attitude, a mood and a way of grasping fashion.

Time for the eight spread of this story by Synchrodogs featuring our ribbons pieces.

Art direction and concept: Synchrodogs
Assistant: Megane Laroche
Style: Annabelle Lacuna

Carol and Humberto are aficionados of new technologies. Their hyper-connected lives are shared online on social networks and KENZO is a playground where they experiment new digital forms of expression. 

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They constantly place innovation at the core of our house codes: last June, for example, they chose to present a holographic version of our Fall/Winter 2013 collection, during the LVMH Journées Particulières. Kenzine and our constant presence on social networks could be an other illustration of this statement and tell everything about Carol and Humberto's inspirations, showing you the behind the scenes and giving you a live coverage of the brand activity. Innovation will also transform our retail more and more with digitalized new spaces, connecting all aspects of the house in a 360° digital experience.

Time for an interview with the Ukrainian photographers Synchrodogs who made for us a "Spread Of The Week" story around our ribbons pieces. Tania and Roman, explain the meaning of their name as well as little stories about the influence of Ukraine in what they do. Enjoy.

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KENZINE: Where does your name Synchrodogs come from?
SYNCHRODOGS: We feel some animalistic spirit in us and rather canine, in our behavior in particular. That’s where the word “dogs” come from. At the same time we both are very alike in what we think is beautiful and what's ugly, our tastes and perceptions are “synchronized” to some extent. Those two elements put together are “Synchrodogs” and characterized us quite well.

K: Could you tell us about your background?
S: We both are Ukrainians, self-taught in photography and art. Graduating from technical universities, Tania was supposed to work in some library or archive, Roman should have done some robot automation. Luckily we were both introduced to photography by friends and it also strongly encouraged us to start!


K: How did you two meet and started working together?
S: As we are naturally from two different cities, 8 hours by train from each other, we are grateful that Internet made our meeting possible. In 2008 we both had accounts on some super old school photography website and started exchanging with each other. We were making photographs separately for a year before we met, so we were more or less at the same stage of 'ambitious beginners'.


K: Synchrodogs is a duo, who does what?
S: Both of us do everything. Firstly we develop ideas, then we try to make better ideas out of them. After that we create props and find locations where we can shoot. In between those we also talk about technics, like framing and composition. In our duo nobody is a model and we are both are photographers, though we often use ourselves to make a shot. For us it is often easier to play with our own body, rather than explaining our expectations to a model, so that the shots look as planned. But we mostly use this approach working on personal projects.


K: Do you also have solo projects? Or do you work with other people?
S: No, there is no art of Tania Shcheglova or Roman Noven, we do everything under the alias of Synchrodogs.


K: Is Ukraine a source of inspiration? Kenzo Takada was very influenced by slav cultures in the 80s. Is there a folkloric dimension in your work?
S: For us Ukraine is still a very tribal country, with all its primeval lifestyles mixed up with a slight post-soviet union feeling. People want to look fashionable but since they have no money and don’t read international fashion magazine they have to be inventive to take the most glamorous advantage of their small budget. This creates an absolutely unique background for us to live in, where every girl next door girl is wearing golden high heels just going to buy some bread in a shop. A clear example of this authentic fashion can be seen in our Misha Koptev project.


K: How would you explain the concept behind your Spread of the Week editorial?
S: The main concept for this shooting was to use sewing materials like bows, patches and fabrics, ribbons and brooches, to create those styles that would go in line with the KENZO Fall/Winter 2013 collection.


K: You put your models in abstract situations and poses. How would you define your relationship with the human body in general?
S: In our personal art projects the role of human is diminished, the person is something abstract, something that exists only in the context of nature, something that interact in the context of universe. In commercial shootings we prefer the model to remain less glamorous, more emotive, sometimes even awkward.


K: Where does your obsession for shooting nudes by frozen lakes or forests in winter come from?
S: We don’t have some exact obsession with forests, but it’s true that many of our personal projects are nature related, like the 'Animalism, Naturalism' series. We have to admit that we do love spending time outside the cities, with no people and no buildings around.


K: What would be your top 5 places in Ukraine to visit?
S: 1) Carpathian mountains with its snowy peaks.
2) Crimean Peninsula with its wild nature, sea and heaven garden in Yalta.
3) Lviv with its historical buildings and tiny streets.
4) Kiev with its capital status.
5) Luhansk with its deepest ukrainian ghetto.