PRINTS AND PATTERN OF THE SEASON: #2 - DOTS
Dots are inherited from the French swinging sixties, when fashion from the streets became mainstream, creating a complete revolution in the wardrobe and expressing the contestation of youth.
The Spring/Summer 2015 KENZO collection reinterprets the extremely creative era and celebrates the independent woman born in the sixties. This retro-futuristic influence can be found in the silhouettes and the prints: geometrical mini A-line skirts, sack dresses and of course dots of all sizes!
PRINTS AND PATTERNS OF THE SEASON: #1 BADGES
Set on a navy dots pattern, the Badges print celebrates two icons of the city: the Eiffel Tower and The statue of Liberty.
The Eiffel Tower was added to KENZO logo by Carol and Humberto as a fun and obvious reference to the house’s French origins and it now comes back every season. Our second icon of the season is the Statue of Liberty. And only very few people know it but the Iron Lady (in a smaller version) is also facing the Seine River, melting into the Parisian landscape. This season, those symbols are two elements of the same idea: an outsider view of Paris that twists the Parisian clichés.
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.
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.
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 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.
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.
The deeply contrasted colors of the Doors print play on the effect of harsh cinematic lighting and the disturbing, unnatural shadows and highlights that it produces. Like many of the other prints in the collection, Doors is a subtle optical illusion that reflects the offbeat atmosphere of the collection as a whole.