Now I realize that poppy is the signature flower of Kenzo.
“A nomadic flower, taking root in the asphalt. A flower in the city.”
“In the city, a red flower has appeared. Simple and beautiful. Delicate and strong. Unexpected.”
“...No one plants or chooses me. I simply grow. Anywhere, scattered here and there, so delicate, I am picked and I delight, I am left and I bloom.”
Source: http://www.kenzoparfums.com/EN/home/home_EN.html
It also represents the corporate colour of Kenzo—red, which come from the Mother of Nature and the style of Kenzo, inspired by nature environment and treasure different cultures.
Therefore in our analysis of the Kenzo (2004-2009 Ready to Wear Collection), we find that red colour takes an important seat in every collection, no matter it is Spring Summer or Autumn Winter. There may have adjustments in the amount of usage in respond to the theme of that particular collection such as in 2006 Spring Summer Collection the theme is about voyage and nautical style thereby the proportion of blue is more than red. But in 2007 Autumn Winter Collection the theme is about Tango with energetic and exotic feeling, red plays a much more important role.
Actually for Autumn Winter collection, red mostly incorporate with black and white (with variations along the gray scale) or others receding colours, contrasting effect takes place which make the colour red sprinkling on the stage in a vivid way.
As for Spring Summer collection , compares with Autumn Winter trends to be more colourful especially for 2007(5 hues with variations in value and chroma). Even though red is not necessary to be the main actress, it appears in a discreet way to unify the whole collection. Or more accurately is that red is being modified by white and black into pink (2009 Spring Summer Collection) and maroon respectively. The hue is still red.
Therefore both related and contrasting colour scheme can be finding in the collection of Kenzo from 2004 to 2009.
In order to create harmony especially using with lots of different colour and under contrasting colour scheme such as the Spring Summer Collection of 2007, the principle of order can ensure that colours will not incongruous with the rest of the colour scheme in other word avoidances of ambiguity.
While under related colour scheme, the principle of resemblance can strengthen the feeling of harmony and incorporate with repetition of colour, sequence of colour and emphasis of colour which can add a special touch to the whole collection without boring.
Mentioned before the corporate colour—red is from poppy thereby we can always see that the principle of familiarity is widely used.
Follow the routine of Autumn Winter Collection, my collection sticks to the corporate colour of Kenzo— red and integrates with achromatic. It is under related colour scheme—monochromatic—red and along the grey scale. The principle of resemblance is the core of my collection. And rely on it, I try to take an advanced step to apply skill of transition of colour with hues slide smoothly from red to achromatic, while values fades from dark to light and intensity melts from bright to dull. The purpose is to represent the tragic life of Lin Daiyu: red is her tearful life and black is her death.
My collection starts with red in the pure hue and ends with achromatic. Along the gradual line of transition it is similar with cinnabar which is the colour of Su Shi's Red Bamboo. Therefore principle of familiarity is also applied in my collection.
Harmony of colour is created not only because of using related colour scheme (monochromatic—red and along grey scale) with principle of familiarity, principle of resemblance and principle of transition; conveying a consistent feeling—Redemption with tearful love plays a remarkable role.
To conclude, using traditional Chinese novel's main character, Lin Daiyu, with the a sobriquet as Scion of Hsiao-hsiang / Lady of Bamboo to be the soul of my collection is to respond to the voice of Kenzo's signature flower—poppy. And pay much attention on red not only because it is corporate colour of Kenzo, it has remarkable meaning in traditional Chinese society.
Most Chinese are trapped by the frame of colour symbolism, but Su Shi could break it and create his own masterpiece.
