FRONT ROW AT THE FALL/WINTER 2014 WOMEN'S SHOW - Kenzine, the Kenzo official blog

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Our Fall/Winter collection is a homage from Carol and Humberto to David Lynch. Besides the mysterious aura and the cinematographic theme, references to his work are can be found in the prints and colour range of our collections. For the third collection and final chapter - our women show - the director himself designed the mysterious set with the head. Our models payed him a tribute with this Blue Velvet makeup.

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Find the women's Fall/Winter 2014 collection in our eshop.

Our Fall/Winter collection is inspired by David Lynch’s work and the theme of the broken mirror appears in a recurrent manner in the prints, the campaign visuals and our boutique windows.


Pacôme Thiellement is the author of « La Main gauche de David Lynch » (« David Lynch’s left hand »), a book that highlights David Lynch’s work as an analysis of the TV culture. We asked him to tell us all about the symbolism of the broken tube.

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"Twin Peaks opens on the image of a mirror. Facing the mirror is Josie Packard, the heiress of the Packard Mill, played by the actress Joan Chen. She is putting make-up on while singing in a low, almost stifled voice – meanwhile, her brother-in-law, Pete Martell, played by Jack Nance, goes fishing and stumbles upon the corpse of Laura Palmer (Shery Lee). “She is dead… Wrapped in plastic…”


Throughout the series we will see the mirror over and over again, associated with dibbouk (a malicious pocessing spirit believed to be disclocated soul of a dead person. It supposedly leavesthe host body onceit has accomplished its goal,sometimes after being helped.) Bob (Frank Silva), who takes pleasure in seeing the frightened faces of his victims. It’s when his vessel Leland Palmer (Ray Wise), the father and murderer of Laura, looks at himself in the mirror that Bob’s face is conjured up: Leland is then just an empty shell, an envelope containing “straying influences”, with “a large hole where his conscience used to be.” Taking over his prey through their suffering and perversions, the dibbouk is the vehicle of criminal impulses that the “culprit” of Laura Palmer’s murder has become. 

 

Midway through the series, FBI agent Dale Cooper, the show’s protagonist (Kyle MacLachlan), arrests Leland, but the latter commits suicide in jail, allowing Bob to find another victim. Agent Cooper stays in town and begins being guided by signs. But these signs no longer help him to resolve a criminal investigation, they transport him to the frontier of the world: the Black Lodge, standing at the heart of a circle of twelve sycamore trees, but outside space and time. Cooper enters it and goes through the opposite of a journey of initiation, as the journey will empty his soul and turn him into a shadow. Twin Peaks also ends on the image of a mirror. It’s the mirror of the bathroom of one of the rooms of the Grand Nord hotel – broken by Agent Cooper.  In it, he just gazes into Bob’s face instead of his own.

The hero that we have loved and we have followed is contaminated by the evil he is trying to fight. With its ending, the series, which is like a mirror for the soul of the viewer, breaks this mirror, leaving the viewer alone and worried, faced with an evil that he or she will have to fight on his or her own, without the help of Agent Cooper or any other character. The mountains of Twin Peaks are like two beings mirroring each other, the series and its viewer. If the relationship between TV and mirror is not clear enough, the movie Twin Peaks – Fire Walk with me, which presents a journey of initiation this time, as opposed to the series, opens with a broken TV and ends on the vision of an angel. By breaking a TV set full of electricity, the movie reminds us that from now on, the fight against the dark psychic forces will unfold in real life. But the series could officiate as our guide, with a wing in one world, and the other in another world. 

 

The goals of Twin Peaks is to make life resemble Twin Peaks, not just television. The goal of Twin Peaks is to have the viewer in his or her turn see the dibbouk in his or her mirror, and not just in Cooper’s. The goal of Twin Peaks is to qualify us in our turn as illuminating knights to take over the fight that the FBI agents have lost - Dale Cooper, but also Chet Desmond (Chris Isaak) and Philip Jeffries (David Bowie), who have disappeared in mysterious circumstances before the Palmer Case. The mirror of Twin Peaks will also be present in David Lynch’s next movies. In Lost Highway, it’s the mirror in which we see Renée Madison (Patricia Arquette) watch herself in her bathroom – the last image of the character before her disappearance and her replacement by Alice Wakefield. In Mulholland Drive, the two young women (Naomi Watts and Laura Harring) look at themselves in the mirror before kissing, making love and going to the Silencio, the anti-initiatory center that will corrupt their souls and plunge their reality into darkness.

 

This mirror is the “Mirror for Princes” from traditional, Arthurian and Persian knight’s narratives. The “Mirrors for Princes” are preparations for a fight. And this fight is like a constant fight that first goes through the exploration of every fragment of the world like the pieces of a puzzle. In every moment of our life, there is a dragon to be slain and a princess to be saved – and very often, they both are the same person. The mirror symbolizes when one becomes the chosen one. It reminds us that we are not the only ones looking at the world. The world is also looking us in the eye. We expect something from the world and in return, it expects something from us.

 

To get there, we have to tear it into pieces. The world only starts to acknowledge us when we have been broken: our hearts broken, our souls torn, our faces drowned in tears. The world loves us only when we are broken, our bones raw, our flesh burning. But conversely, we can only start to understand the world when we discover it piece by piece: chunks, fragments scattered around like poems – with their words dispersed upon a page. That is the meaning of Leonard Cohen’s song Anthem, “There is a crack, a crack in everything / That's how the light gets in.” Even the world, even the angels have had their heart broken. That’s why we can communicate with them. We are all also broken – and it’s through the cracks that we can start talking to each other, understanding each other, loving each other."
 

 

 

Halloween is almost here and we've got you covered. This season, our collection is inspired by David Lynch so the Twin Peaks characters were an obvious choice. Get a stylish costume together with an aura of mystery!

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Laura is the darling of the whole city of Twin Peaks but she has so many secrets. Pick a blonde wig and a black outfit and you will look just as mysterious as she was... Well, before she was killed!

Accessorize the look with those high wedges...

... and this Fire pouch.

 

Our collection was inspired by Lynch and Twin Peaks so imagine how excited we were when we heard rumors of a come back a couple of months ago. And then nothing happened. Mystery remained.


Until that tweet from David Lynch a couple of days ago - simultaneously with Marc Frost : "Dear Twitter Friends: That gum you like is going to come back in style"! #damngoodcoffee
Two iconic quotes from the series. It had to be a sign...

 

Today, an official announcement has been made!

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Have a look at that video and you'll discover Laura Palmer back in the days, and a message annoucing “25 years later” followed by the iconic entrance of Twin Peaks and a date: 2016.

 

So it seems that you will still have to wait for two more years to see the series back on Showtime. David Lynch and Mark Frost will write and produce nine episodes, all directed by Lynch himself and nothing could make us happier.

 

Cult film déja-vu and a dizzying sense of distortion were the influences that came together to create the Broken Floor print, one of our prints of the season.

 

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Of course, an iconic black and white chevron pattern forms the floor of the ‘Black Lodge’, the extra-dimensional setting for the finale of David Lynch’s 1990 television series Twin Peaks.
In typically KENZO style, the pattern has been deliberately broken and distorted, and this bold print spans the floors and walls of the KENZO loves Printemps pop-up store, and is best admired on the Broken Floor print scarf.

 

Squares is one of the prints from the women’s Fall collection, and like many other prints of the season, plays with perspective.

 

 

 

 

 

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The bold pattern of repeated squares creates a negative/positive optical illusion to create an extremely graphic look. In the same vein as the Doors print, Squares make reference to the frames in rolls of film – a cinematic nod to the work of David Lynch which was the focal reference of the Fall/Winter 2014 collections. 

 

Shop the Squares coat, pants and jumper in our e-shop.

The book corner section highlights the most original aspects of this season's themes, through works selected from our KENZO boutiques and reviewed by Angelo Cirimele. To kick off the launch of the Pre-Fall and Fall/Winter 2014 collections, Angelo's pick of the week is 'Chaos Theory of Violence and Silence', the catalogue of the 2013 David Lynch exhibition at the Aomori Museum of Art in Japan. The oeuvre of David Lynch was the core inspiration for the Fall/Winter 2014 collections, and the director himself collaborated with Carol and Humberto on the typically offbeat and eerie set and soundtrack for the women's show. 

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I never really knew what to make of the concept of the “complete artist” or the eclectic genius  -  someone able to manipulate many narrative and visual forms.  However David Lynch has transcended whatever doubts I had.  Born as a filmmaker whose stories flirted with fantasy, he was one of the trailblazing directors whose work in television was the blueprint for the contemporary modern explosion of innovative, groundbreaking, and creative shows.  This catalogue of a David Lynch exhibition contains paintings, set designs, and of course the obligatory evil looking snowmen!  What we see is how the apparently chaotic pieces and designs all sit together in harmony.  Fantasy tinged with reality, backgrounds composed like film sets, the fine lines between glamour and monstrosity, which are imbued in all of Lynch’s work.  It’s the power of this universe he creates that was the inspiration for Carol and Humberto’s latest collection.

'Chaos theory of violence and silence', David Lynch, 2012, 136 p. Ed. Akaaka.
KENZO – 60, rue de Rennes, Paris. 

Carol and Humberto mined the wondrous work and world of David Lynch for the last two KENZO collections (men’s and pre-Fall) and their infatuation reached a climatic point today at the woman’s Fall/Winter 2014 presentation in Paris. For the grand finale in this cinematic trilogy the duo actually worked with the iconic director himself on the soundtrack, mood, and set design, which included a giant sculpture that dramatically flickered at the end of the runway. “This was always our plan to work with him on the finale, on the ending,” said Humberto excitedly post show. 

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From the cloak and dagger dark curtained venue, to the maze-like configuration of the catwalk, and the driving kick-drum beat on the soundtrack, Lynch’s touch was distinctly present at every moment. Even the candied popcorn served to guests seemed like a nod to his obsession with Americana. “He really designed the entire thing,” said Humberto. “Including the mirrors, the configuration of the runway, even the way the girls walked… it was meant to feel like they were getting lost.”


 

Although Lynch’s oeuvre is both varied and extensive, this marks his first foray into the world of fashion shows. “He’s never worked on a fashion show so I think he was really intrigued about the process,” said Carol.

 

As for the garments, the duo set out to create a collection “though the eyes of David Lynch,” — a wardrobe for the modern Lynchian heroine. Silhouettes and, as ever with Kenzo, prints were the focal points of this collection with the former explored as never before. Volumes were exaggerated and then contrasted to great effect: lean tailored looks were styled with buoyant circle skirts that sat on the waist, fitted bodices had peplums, and sharp tailored suits that should have been slim were made in quilted down. Nothing was as it seemed.

 

The “tool creatures” first seen in the men’s Fall/Winter 2014 collection reappeared in both print and as embroidered motifs, and other prints were drawn directly from Lynch’s universe — reflections of shattered mountain ranges appeared in acid yellow and a herring-bone flooring pattern was pushed to almost a psychedelic effect.

 

 

KENZO regulars Leigh Lezark, Jessica Alba and Mademoiselle Yulia sat front row drawing up their shopping lists — those pochettes inscribed with the words “Forever, no?” will certainly be at the top — and although Lynch couldn't be there another important luminary was present. Founder Mr Kenzo Takada, put in an appearance to show his continued support for the new team. “We really design with him in mind, so it’s nice to see him being excited about what we are doing,” commented Humberto backstage.


 

Our best KENZO ambassadors this morning in front of La Cité de la Mode in Paris... A joyful mix of Eyes and tigers from last season and fish and waves from this one!

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This morning, KENZO friends and family came out in force at La Cité de la Mode in Paris to show some love and support to Carol and Humberto.
A beautiful front row where Jessica Alba, Rila Fukushima, Jeanne Damas, Mademoiselle Yulia, Delfina Delettrez, Suzie Bubble, Chiara Ferragni, Atlanta de Cadenet or Tao Okomonto were wearing their favourite KENZO silhouettes of the season.

Even Kenzo Takada graced us with his presence!

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