A thick invitation with rays of light coming out of its transparent edges gave guests an inkling as to what was to come at the Kenzo show, the set to which show producer Etienne Russo had worked on in collaboration with David Lynch. With all the people mooching around the catwalk in the dimly lit, circular venue looking for coffee and caramelised popcorn – this season’s Kenzo breakfast – it was hard to get the full scope of Lynch’s vision, but there was talk of smoke effects and a sculpture of a big head. The world of Lynch centres around the weird, the surreal, and the somewhat confusing. And while the Kenzo collection didn’t immediately reference any of Lynch’s films or costumes, it captured the spirit of the unexpected, both in design and in styling. Clashing muted prints – some mosaic, some zigzag, some waves – had a tribal air about them, perhaps via native Northern American culture, which was indefinable and as a result, a little surreal. Lynch’s accompanying soundtracks of wind and water sounds made for a hazy, obscure atmosphere, where the weirdness of 3D triangle embellishment, skirts worn over suits and coats sliced up around the waist was surprisingly acceptable. When Humberto Leon and Carol Lim designed their first collections for Kenzo, there was a straightforward, entirely unpretentious and very instant likeability to their ideas, which this collection, with all its to-do, couldn’t imitate, although a more down-to-earth vibe was felt in the finale soundtrack of Lou Reed’s This Magic Moment. The magic of the day came courtesy of the collection’s winning element: the dark opulence of lurex knits, sequins, and shimmering jacquards.
Clashing muted prints – some mosaic, some zigzag, some waves – had a tribal air about them, perhaps via native Northern American culture, which was indefinable and as a result, a little surreal.